Art and finance have long been intertwined, but the contemporary phenomenon of art as an asset class has brought this relationship to the forefront. Maura Brewer’s video essay “Leverage” delves into this complex intersection by focusing on the financial dealings of billionaire investor and Museum of Modern Art trustee, Daniel Sundheim.
In her video essay, Brewer meticulously traces 12 art-backed loans that Sundheim took out between 2013 and 2019, using his art collection as collateral. This self-perpetuating cycle of borrowing against art to buy more art sheds light on the speculative nature of the art market during a period of low interest rates and feverish speculation.
Projected onto the floor at Timeshare gallery in Los Angeles, Brewer’s video essay is a bold statement on the sculptural nature of her work. The images of artworks by market darlings like Basquiat, Grotjahn, and Koons are juxtaposed with autobiographical stories, illustrating the stark contrast between the experiences of a working artist and a wealthy investor.
The video is accompanied by minimalist grids inspired by Uniform Financial Code Filings of arts patrons Ronald Lauder and Peter Norton, highlighting the stark contrast between the human touch of the artist and the cold logic of the market. Brewer’s exploration of the invisible systems that govern the art world challenges viewers to rethink their relationship with art and money.
Through poignant visual storytelling and critical analysis, Brewer’s “Leverage” offers a thought-provoking look at the financialization of art and the complex dynamics at play in the art market. The exhibition at Timeshare gallery invites viewers to engage with these ideas and reflect on the intricate connections between art, money, and power.
