Gallerist Q&A - Annika Nuttall

How did you come to enter the art world?

There’s one pivotal moment I remember very clearly from when I was around 16 or 17 years old, visiting an exhibition at the Louisiana Museum of Modern Art. There, I saw a series of portraits that I couldn’t stop thinking about. I kept asking questions, wanting to know more, and felt a deep hunger to understand what I was seeing.

One portrait in particular stayed with me: a sketch where the artist had taped a new piece of paper over the original drawing and re-drawn the mouth to get it just right. That simple, obsessive act completely captivated me. It was the moment that quietly set me on a path into the world of art.

Let’s fast forward a few years to when I completed a Master’s degree in art history and gained early experience as a guide at ARoS and as an assistant at a gallery in Aarhus. It was during those years that I realised how much I was drawn to close collaboration with artists and being part of bringing art into the world.

How does your background as an art historian influence your approach to running a gallery?

My academic background in art history has given me a strong foundation, which I draw on every day. Especially when it comes to curating exhibitions and selecting the artists I choose to work with. That art historical perspective is always with me; it shapes my aesthetic judgment, the way I read artworks, and the context in which I place them.

That said, art history alone doesn’t make you a gallerist. Most aspects of being a gallerist you’re not prepared for when studying art history. They have to be learned through practice on your own. Running a gallery requires expertise, business acumen, relational work, and a great deal of persistence.

If there’s one thing my background as an art historian has sharpened above all, it’s my eye to recognising potential and quality.

If you were to describe the gallery in just three words, what would they be?

Open, committed, and curated.

What’s the best thing about being a gallerist?

The best moments are when everything feels in balance – when the collaborations are working, the exhibitions resonate, and the gallery is buzzing with life. I feel genuinely happy every time a new exhibition opens, and people show up for the opening. It means more than one might think.

What matters deeply to me is creating connections: between people, between artwork and viewer, between artist and collector. When I see someone discover a piece, they don’t know they’re missing; when new people meet each other and fall into conversation because the gallery created the space for it, that’s when I feel I’ve succeeded.

Can you tell us about your dynamic with the artists you represent—what does collaboration look like in practice, and how do you see your role in that relationship?

My collaboration with the artists, especially those I represent long-term, is close and built on trust, honesty, and mutual respect. I'm involved in nearly every aspect of the process: from creative sparring and writing texts to strategic conversations and connecting them with relevant contacts in my network. They are offered a solo exhibition at Annika Nuttall Gallery approximately every other year, take part in group shows in between, and are also presented at the fairs the gallery participates in.

When we plan a solo exhibition, it’s the artist’s idea and direction that form the foundation. My role is to listen, ask questions, offer advice – while also considering how the exhibition is presented and how it meets the world.

I invest a lot of energy in supporting their practice and I believe they can feel that. The relationships often grow so strong that the line between work and private life starts to blur. Many of the artists I work with have also become close friends, which is something I truly value.

One of the most meaningful parts of my role is when I can open doors that help move their careers forward. Whether it’s securing a show at an art institution, initiating a museum conversation, or connecting them with a collector who suddenly sees their work in a new light. The artists create the work, but I see myself as the bridge that connects it with new possibilities. And that’s what drives me: when what we’ve worked toward together starts to take shape.

Since the gallery was established in 2020, what would you say has been the greatest challenge so far?

Building a gallery takes time and persistence and that is a challenge you have to be ready for. It’s not just about curating exhibitions or representing artists, but about being fully present on every level; personally, professionally, and organisationally.

You dedicate yourself 100 percent, and I do so willingly. But it also means living with the gallery as an integrated part of your life as it never fully stops.

So perhaps the biggest challenge hasn’t been one specific event, but rather the ongoing task of staying balanced in something that is constantly in motion. Of navigating growth while remaining present and true to what I set out to create.

Looking ahead, how do you see Annika Nuttall Gallery evolving?

The first 4 years and 8 months haven’t been quiet, and I don’t expect things to slow down anytime soon.

I guess now is a pretty good time to announce that the gallery is moving to a new location in November 2025:

In Aarhus there are developing new creative spaces that are going to buzz with art and culture. One of these new spaces is Kunstbyen, an area full of creative energy, businesses, and life around Kulbroen, Lydbyen, and Filmbyen. It feels like exactly the right place to be, and with my deep engagement in the city’s art scene, I can’t imagine the gallery being located anywhere else.

I’m looking forward to opening the doors, and to build even stronger frameworks for the artists, the exhibitions, and the public.