Alright – so today we’ve got the honor of introducing you to Layne Hubble. We think you’ll enjoy our conversation, we’ve shared it below.

Layne, looking forward to hearing all of your stories today. We’d love to hear about when you first realized that you wanted to pursue a creative path professionally.

For as long as I can remember and from a very early age, I was absolutely enamored with the intersection between art and history. I used to look forward to the school day ending, knowing that a new documentary on Egyptian history was waiting for me at home on the DVR. I would look for programs on archeology, anthropology, or paleontology— not quite positive what I wanted to be when I grew up, but knowing that I never wanted to give up this feeling of discovery.

In undergrad, I pursued history— tempering it with a degree in political science to appease the ‘you’ll-never-make-money’ commentators. Although my school did not provide degrees in art history or library science, I was able to self-craft a minor in museum studies. Up until the final years of my bachelor’s degree, I had no clue that museum studies was even an option— let alone a viable career path. For my Honors thesis, I wrote about the infamous conflict between England and Greece in regard to the Parthenon Marbles. The project symbolized a beautiful moment of harmony in my life, where passion and pursuit intersected perfectly.

Despite that moment of clarity, my future trajectory was violently derailed when the world went into quarantine. I was a graduate of 2020 and many museums and art institutions were the first to close and lose funding. I felt completely unmoored. I had no direction and no desire— I had forgotten the feeling of discovery. The process of resurfacing— of returning to myself— was not quick. I had to relearn who I was and what I wanted out of this life.

In the process, I discovered Sotheby’s Institute of Art and knew, deep down, that this was the next step. I applied, was accepted, and eventually moved to New York City to pursue a master’s degree in Art Business. From there, my career began to snowball and I embodied the archeologists I always admired— sifting through opportunities, connections, and kismet crossovers to figure out what I wanted to do and who I wanted to be.

I am still in the process of discovery— I imagine that I always will be. But I have finally found the right path and both of my feet are firmly pressed upon the ground. Now, I step forward.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I am an Art Communications Consultant. I work for different entities and individuals and provide a myriad services— all having to do with the way [art] businesses manage their media presence’. My career path has been organic in nature— evolving and growing with new experiences and wider connections.

I started as an intern for an art, antiques, and design fair in New York City— The Winter Show. For about two years, I managed their social media and, along the way, began to slowly build up an independent client base of artists and galleries. Each of the businesses I work for were seeking support for their media and marketing— on social platforms, with newsletter campaigns, and/or advertising.

After several years with the fair, I was brought on as the Communications Associate— a title I hold today. In tandem with this position, I also maintain and manage the different clients I have met and partnered with over the past several years.

The most satisfying aspect of this unique career path is the opportunity to grow and hone my offerings. With each collaboration, I have the privilege of learning about a new corner of the art and antiques world from experts in the field. In addition to feeding my erudite curiosity, I am also able to find new ways to tailor my services and provide greater support.

What can society do to ensure an environment that’s helpful to artists and creatives?

This is a critical question to ask oneself, no matter who you are, where you are, or what you do. The art world— though seemingly exclusive and elitist— is, in actuality, a realm without walls. Creativity cannot be restricted by society, class, and economic opportunity.

However, the means of bringing a creative vision to fruition CAN be. And, unfortunately, often IS.

The Artist has never been considered a lucrative persona, not really. Blue Chip greats like Jeff Koons, Damien Hirst, and Anna Weyant may suggest otherwise, but media and literature going back centuries paint The Artist as a destitute dreamer. A lost soul too consumed by their inner machinations to hold down a job. Although it may serve as a convenient comedic heel, the stereotype does far more damage than one might expect.

Most artists are not career artists, they must work other jobs to make ends meet.
Most artists undersell their work, for fear of losing out on a sale.
Most artists pursue their professions blindly— hardly anyone provides art business courses tailored specifically to artists.

The best way one can support a more egalitarian art ecosystem is to remember the points listed above and to take appropriate action.

Do not gatekeep the identity of an artist; proudly share their work with the world and allow them to grow accordingly.
Do not bargain with an artist when purchasing a piece; never ask for a discount.
If it is in your power, support artist resale rights and the right of first refusal. Do not frequent art galleries and institutions who are known to treat artists poorly.

Be a Patron. A far richer persona than a collector, a patron— in the historical sense— “is an individual or institution that provided financial support and encouragement to artists. They often commissioned artworks, funded artistic projects, or collected and displayed art, playing a crucial role in the development and preservation of art throughout history.”

Take full ownership and responsibility for your actions as you move throughout the creative world. Be a Patron.

Is there mission driving your creative journey?

In addition to advocating for emerging artists, I also strive to break down the elitist and limiting preconceptions that negatively shape the art world. During my time working for an art, antiques, and design fair, I have witnessed the self-imposed restrictions that some individuals place on themselves when considering art events. Admittedly, this is a product of carefully curated visions of exclusivity that have blanketed the art market for centuries.

I hope to help people see that such obstacles are simply smoke and mirrors.

An art fair is like a circus— it comes to town once a year and brings along a trove of wondrous treasures, interesting people, and curious objects. Fascinating still, it presents a setting filled with museum-quality pieces that have existed, almost exclusively, in private collections. In other words, the works you see at a particular fair may not resurface again in your lifetime.

When you visit a museum, do you feel the need to buy the objects on display? Do you stop yourself from entering the Metropolitan Museum of Art by saying “ah, but I can’t afford anything inside! I better not go.” — The answer is no. So why is it, when asked why they do not attend art fairs, many people say “well I can’t afford anything inside.”

So what? The art world, the art market— they are what you make them out to be. Do not let fine print and perceived importance stop you from exploring the sheer glory of human craftsmanship!

Artisans throughout history— professional ancestors of the working class of today— poured their lifeblood, sweat, tears, and countless years into many of these artworks. As such, they deserve to be seen and appreciated by anyone, including you.

Contact Info:

• Instagram: https://www.instagram.com/lohubble/
• Linkedin: https://www.linkedin.com/in/layne-hubble/

Image Credits

Juan Patiño