Insider's Guide to the New York Art World

Have you ever wondered how to get into the art world in New York? Well, unless you know someone, or have parents who know someone, it takes the right mix of hard work, low-paid positions and genuine love and investment in the artists you are working with.

Williamsburg-based Anneliis Beadnell has all of the above in droves, and we went to visit her at the beautiful P.P.O.W. Gallery in Chelsea, where she has been the Associate Director for 2 years.

Anneliis, an affecting 30-year-old who passionately talks about the artists P.P.O.W. represents, is the antitheses of the Gallery Girls set—in the best way possible.

Read more from The Drift's conversation with Anneliis as she drops some knowledge on how she got where she is today and her favorite haunts around Gotham.

You are the Associate Director of a famous New York gallery, P.P.O.W. How did you get to such an important role? Have you always done gallery work?

I always knew I wanted to help artists share their work, I just didn't know in what exact capacity that would be in.

After graduating from Sotheby's, I decided to stay in New York and worked for Independent Curators International as a grant writer, then the Irish Consulate as an artist liaison, working on their educational shows.

I remember the moment I decided I was all in—I was painting a woman's wall in Park Slope to make extra money after selling some of my friend's artwork, and had an epiphany, roller in hand, that I wanted more than anything to work with and help artists. That day, I learned about a job at P.P.O.W. through a connection, friend and painter Robin Williams,wrote the best cover letter of my life and had two interviews soon after.

Photo by Portia Munson in front of her work in April 2013

You also were the Director at the now-closed Jack the Pelican Presents gallery in Williamsburg. How did that experience shape your skills and desire to work in the art world?

Well, I was an unpaid, interim Director for Jack the Pelican—so that shaped a lot! Between living on ramen (and only ramen) and working non-stop, I somehow found even more passion for working with artists.

It was an amazing time to be working in the art scene in Brooklyn, Williamsburg specifically. A lot more artists were there 10 years ago—it was a big crazy party all of the time. That crazy flexuous edge is gone now in Williamsburg, and in Manhattan, if you're not looking in the right places.

Why is it so hard to find that organic, exciting art in Chelsea, Williamsburg and other traditional art enclaves in New York?

There is a shift from people in the business world coming over into the art world because, in New York City, the luxury price tag of fine art makes art and, say, stocks, the same thing—investment.

Two types of people buy art: The art appreciator and the art observer. The appreciator invests in and keeps a piece because they create an emotional bond with the work, artist and know their story. The observer looks at the beauty of the piece and how it fits into a space, focusing on its monetary value.

And P.P.O.W. is different than other galleries that feed into the safe "observer" collector?

We appreciate all collectors! But P.P.O.W. is known as a gallery that holds to its morals and founding beliefs. Wendy Olsoff and Penny Pilkington, the founders of P.P.O.W., were at the forefront of the New York art scene when they started the gallery in the East Village in 1983 and have worked with artists like Nancy Spero, Sue Coe and Carrie Mae Weems.

At that time, the art scene was a very supportive and organic community. Although we are a world-renowned gallery now, there is a reason why it is and stays that way. To be blunt... Wendy and Penny don't fuck their artists over.

Photo by Hunter Lydon

If you could describe gallery work to someone interested in it as a career, what would you say?

Gallery work is like being on-call all the time. You work for the artist, not just your boss, curator or the collector. Your first responsibility is to uphold the integrity of the artist and their work.


You started your website, Artists For Artists, in 2010. It's become a resource for new artists, established community members and educators. Why did you decide to invest time in this endeavor while you were looking for a job?

I started ArtistforArtist.org because dialogue between artists is important, not just the relationship between a critic and an artist. I wanted to create organic conversations that helped new artists discover more about themselves right out of school, instead of them being critiqued by unknowledgeable bloggers.

I also knew that starting a platform like this was a way to be heard above the crowd. A friend helped me "brand myself," which is this unspoken, but important, step for anyone in any industry who wants to make a name for themselves.

I had lots of help and support because I wanted to support the same people. Branding yourself is really just collaborating with and recognizing other's assets; it's a way to monetize your brand in a personal way that will build collateral for the future.

At Jack the Pelican Gallery

What is your advice to anyone wanting to stand out from the crowd and make connections in New York's art world?

I didn't have any connections in New York when I got here. I'm from a industrial town in Ohio—how was I going to find a way into the art world?

I decided that I had to invest in myself and believe others would invest in me. This is the best advice I can give anyone! If you are interested in being creative, align yourself with other creative people. Don't just be a profile online! Get out there and meet people, talk to them and start creating a community, or join one.

We love our wonderful city. What are your favorite parts about living in New York?

The physicality of living here. Always being surrounded by beautiful buildings, people, older couples, multiple ethnicities—it's all beautiful and stimulating in different ways.

Also: Perogi's Boiler Room, Snacky's in Williamsburg, The Whitney and just walking around the Lower East Side on a weeknight is one of the best things in the world.