The Many Faces of Sibyl
An artwork is created in a private space, a studio. A gallery is where an artwork is introduced to the public and the marketplace, like a debutante ball (but less creepy). The nature of the gallery, where and how it is, helps determine the life of the artwork, where it will go, and how it is viewed. A ceramic vase in a store is considered for its function, while the same vase in a FINE ART GALLERY is considered primarily for its aesthetics. A vase in a CONTEMPORARY ART GALLERY is to be considered for both its physical and non-physical qualities. Concept is a key component of contemporary art, as well as how an artist’s practice relates to history and the art of our time.
There may be clues inherent in an artwork—in its material, size, or subject—that flag a work as contemporary art. But if an artist uses traditional media, small scale, or conventional subjects—small still life paintings for example—the context of a contemporary art gallery will help push the conceptual element of the work to the forefront of the encounter with viewers. In other words, context—where and how artwork is shown—matters.
A contemporary art gallery has the dual function of selling art and amplifying its intangible properties, or in woo terms, its aura. Sibyl, a gallery in Riverbend, has been selling art and amplifying auras for two years now, making it one of the most exciting art venues in the region showcasing both local and from-elsewhere artists.
Sibyl occupies the ground floor of a modern house overlooking the levee on Zimpel Street, one block south of Oak Street. Katherine Ainsley, owner and gallerist, lives upstairs with her husband, Storm, and two dogs. When we spoke in the gallery, a large space with concrete floors, white and wood panel walls and a balcony, I asked Ainsley if Sibyl began with an idea or a space.
“The washy idea was, ‘Maybe I’ll open my own space,’” she said. The idea to live and run a gallery under the same roof was, to Ainsley, a sort of ideal. “It has a warmth to it,” she said, citing 56 Henry, a New York City gallery which began in an apartment. The couple had left New York where Ainsley worked as a gallery director, and were undecided where to settle long-term. Visiting New Orleans, where Ainsley grew up, they stopped at an open house across the street from where her father lived. The house belonged to a master cabinet maker who used the first floor as his workshop.
“The space was full of power tools. The walls that aren’t plywood were fuchsia, and the ceiling was yellow. But it had the light and windows and the big door, and I just loved it. It felt good.”
Their “low ball” offer for the house was accepted. “I guess we’re moving to NOLA and opening an art gallery,” the future gallerist said.
Whether approaching by car or walking the short distance from the Carrollton streetcar, one doesn’t happen upon the gallery. One must arrive deliberately, to see art. Knowing that Sibyl is situated in a residence, visitors may expect something casual. But while the gallery is unpretentious in its character, it’s unfailing in its professionalism. For example, I’ve never found Sibyl inexplicably shuttered during posted open hours, a courtesy I wish were universal. Ainsley told me that when she first opened and traffic was low, her husband might suggest heading out for an early dinner, but she refused to leave until the official closing hour had arrived. And the space is polished without feeling sterile or precious—in other words, it’s ideal for showing contemporary art.
Sibyl’s program has included paintings, sculptures, photos, and installations, and each show presents a holistic transformation of the space—changes in the color of the walls, the lights, installation of large structures, and the risky inclusion of water or mist. It’s evident the gallerist is willing to work with each artist to help realize their unique vision. The art is always thoughtfully selected and expertly installed, not overcrowded but spaced for an optimal experience of the work. While some artists are skilled at curating and installing their own work, it’s a drastically different skill set than making art. Artists who show at Sibyl benefit from the gallerist’s expertise.
I asked Ainsley about her approach to installing work. “Coming from working in galleries in New York, it was always a certain standard—I have this standard internally,” Ainsley said, “but none of it would be possible without Storm. He is the person who figures out ways to save time and money. We try to do everything in-house ourselves, if possible.”
What she meant by “everything” includes framing, building exhibition furniture, and installation as well as photography and design.
Commercial galleries rely on sales to operate. Some commercial galleries, depending on their market, may steer artists toward producing more sellable art or presenting their artwork in a way that will maximize sales but dilute their vision. A gallery may have white walls and a minimal aesthetic and call themselves “contemporary,” but if they consistently prioritize sales over the most expansive version of the artist’s vision, they may be compromising that intangible ingredient—the concept, the aura.
Nonprofits, funded by donations, membership fees, or other sponsorship, can theoretically afford to show more experimental art or work in formats that would be difficult to sell to local buyers. An NFS (not-for-sale) installation that expresses an artist’s weird vision will not bankrupt a nonprofit gallery. The downside of the nonprofit collective model is that on a bad day it can operate like a ship with plenty of rec directors but no captain, no one to ensure the installation is tight, the promotional material edited, or potential buyers informed.
Sibyl, a commercial gallery, manages to thread the needle, connecting artists with buyers while creating an environment that supports creative exploration. One of the best shows I saw last year was Jon Gott’s exhibition at Sibyl, in which the artist constructed a giant bamboo structure and included many esoteric pieces like a growing pile of debris from the gallery’s swept floor. While certain conceptual pieces were less likely to sell to a local market, they were absolutely essential for viewers to gain an understanding of the artist’s vision and to contextualize all his work. In this way, when an artist’s show at Sibyl closes, they go forward with the benefit of whatever sales were made and having materialized their vision. As a gallerist, Ainsley’s job includes curating exhibitions that situate artists within the greater conversation of contemporary art by seeking not only buyers but attention from art professionals in and beyond New Orleans.
POLO SILK PRESENTS: Cash Money Records from the ’99 – 2000 opens January 31. The 35mm photographs by iconic local photographer Selwhyn Sthaddeus “Polo Silk” Terrell feature Lil Wayne, Juvenile, Magnolia Shorty, and others who were part of the hip-hop and bounce scenes in New Orleans. With the inclusion of the artist’s iconic backdrops (NFS) designed by Polo Silk and airbrushed by his cousin Otis Spears, I anticipate another notable transformation of the gallery.
This winter marks the two-year anniversary of the gallery. I’ve seen every exhibition at Sibyl since it opened, and collectively they represent a raised bar for showing contemporary art in New Orleans. And it’s clear that Sibyl is a labor of love, and possibly, a love of labor.
Sibyl is located at 8630 Zimpel (Zimple) Street. For more info, check out sibylgallery.com and @sibylgallery.
Photo: Overview of Foreign Correspondent by Jon Gott (2024) courtesy sibylgallery.com
