As the director of the Gerald Peters Gallery, Ashley Tatum Casson,
29, oversees 10,000 square feet of gallery space. Between juggling
shows and hobnobbing with collectors and internationally renowned
artists at openings and galas, the Dallas native has become an expert
multitasker. We spoke with her one recent Sunday as she caught up
on laundry while keeping one eye on the Cowboys game.
When did you know you wanted a career
in the arts?
In high school I was a frustrated studio artist. You’re either
an artist or you’re not—I’m not, but I do have
a good eye. In college, I took a lot of art history courses. I always
knew I didn’t want a 9-to-5 type of job, and I liked who I
became and how I opened up around artistic people.
Who do you become?
I find that artistic people seem to live and breathe on a different
plane altogether—sometimes on a different planet—than
straight, left-brained people. That makes everything more interesting.
Did your parents stress the importance
of art?
My mother did take me to museums quite a lot. She grew up on a small
farm in Greenville, Texas, and in college she studied abroad at
the Sorbonne. That experience was quite different, and it never
left her. That said, my parents never would have suggested a career
in the arts—they were a little concerned about that choice!
Did you go right from college into the
art business?
Yes, my first job was interning at the Trammell and Margaret Crow
Collection of Asian Art in downtown Dallas. I loved being around
these wonderful objects of art and fantastic antiques, but collections
management just wasn’t enough. I wanted something more interactive,
so that’s when I started reacquainting myself with the art
scene. I hadn’t lived in Dallas for five years, so I went
gallery-hopping. I came across one that needed an assistant director—it
was a perfect opportunity, and I absolutely loved it.
What does your job entail?
There are only a few of us on hand, and as director I supervise
all aspects, including advertising, writing press releases, assisting
clients and getting in new clients. It’s a lot of networking,
and that includes lunches and galas, but also being the liaison
to my artists. First and foremost my job is to promote the careers
of the artists who I represent.
I also travel quite a bit and I think that’s vital. The art
world is so global these days, no matter what your specialty. I
go to New York four or five times a year, to Europe occasionally
and all over the country to see my artists.
Besides being around artists, what do
you love about your job?
Sometimes when I’m the only one there and that one phenomenal
client walks in the door and they say, “Do you have half an
hour and a tape measure? Would you mind coming over to my house?”
And half an hour later, they’re your new best friend. I love
that spontaneity.
Is being young an advantage or a disadvantage?
I’m really not intimidated by age; certain people are daunting
to me, but that also stimulates me—I think it’s exciting.
Whatever reputation someone has, you take that with a grain of salt.
You have to gauge them for yourself and figure out, okay, this is
how I need to talk to this person, this is how to get through to
that personality. Sometimes you succeed and sometimes you don’t,
but it’s always fascinating. The egos are fascinating.
Who are your mentors?
Certainly two of my biggest influences are Gerry Peters and Edmund
(Ted) Pillsbury [partners in the Gerald Peters Galleries]. Gerry’s
a self-made entrepreneur—he loves the arts—and Ted came
from an academic world; he has a Ph.D. and is a world-renowned expert.
They’re a complete 180 in appearance and approach, so I have
kind of polar-opposite mentors and bosses. Ted hired me at the very
beginning as registrar for the gallery.
Was it difficult figuring out which partner’s
example to follow?
If you do nothing but follow your predecessors, I think you’re
doomed to be judged a second-rate derivative. I’ve blended
their styles to a point, but I disagree with them, too. It’s
okay to disagree with your boss as long as you can back up your
argument.
How do you manage to find the time and
money to buy a different dress for every opening and gala?
Let’s just say it’s a good thing I have a lot of friends
in the fashion industry to tell me about sample sales and private
previews! There are a few other gallerists in the same position.
We don’t have a lot of disposable income at our age—we’re
putting it toward, well, art, because we’re all obsessive
about art, but I’m also trying to buy a house. So we regress
back to dorm-room days and raid each other’s closets.
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