Breaking into the art world rarely follows a straight path. For many, it’s a journey shaped by curiosity, chance encounters, and a willingness to take risks. Art advising, in particular, is one of those careers that few people set out to pursue until they stumble into it and realize it’s exactly where they’re meant to be.

At its core, this field is about connection (yes, we say this all the time!) between artists and collectors, between creativity and strategy, and between intuition and expertise. There’s no single roadmap to becoming an art advisor, but along the way, our team has learned a few things about building a career in the arts, following your instincts, and creating opportunities where they didn’t exist before.

Our team comes from a range of backgrounds, from auction houses and galleries to interior design firms, and that diversity is what gives our work depth (and keeps our office fun!). For this post, I sat down with Manuela Uribe and Katie Morse to talk about their paths into art advising, what they’ve learned along the way, and how following their passions led them here.

Can you share a little about your background and what first drew you to the art world?

Katie Morse: I was lucky to grow up surrounded by art, my parents own The Granary Gallery on Martha’s Vineyard, so from an early age, I got to see both sides of the art world: the creative energy of artists and the business that makes it all possible.
While studying at Northeastern University, I took part in their co-op program and spent a semester working at Roberts Projects in Los Angeles. That experience confirmed that I wanted to build a career in the art world.
Manuela Uribe: I’ve always been drawn to making things, experimenting with different media was a big part of my childhood. I studied at the School of the Art Institute of Chicago, where I initially focused on painting before transitioning into art history. That shift came from wanting to understand not just how art is made, but how it fits into a larger cultural and historical context.

Was art advising always on your radar, or did you discover the field along the way?

KM: No, I actually discovered art advising while I was in college. It felt like a perfect fit once I learned about it, combining my business background with my personal love for art. It was this realization that you could bridge the creative and the commercial sides of the art world in such a meaningful way that really drew me in.
MU: Yes, I was exposed to a range of careers in the art world during college, from working in galleries to gaining experience in museums, the term art advisory would continually pop up. That’s when I started to see how many different paths there are within the field, and art advising really stood out as one that connected both my academic background and my creative interests.

What was your very first job or internship in the arts, and what did you learn from it?

KM: My first job was working for my family’s gallery, and it was the best introduction I could have had to the art world. I learned how to really talk about art, not just describe it, but communicate its value and meaning to clients. It also helped me develop my eye and understand how personal art collecting can be.
MU: During college, I worked at the university’s art galleries and later interned at an art advisory in Bogotá, Colombia. That experience confirmed that this was the right path for me. I learned how to work directly with clients and institutions, manage collections, and see the behind-the-scenes of the advisory process. Soon after graduating, I joined a gallery in Colombia to help produce a collection catalogue for a client - it was the perfect project, it let me combine my background in art history with my technical and design skills. It was one of the first times I saw how everything I’d studied could come together in practice.

Breaking Into Art Advising

For someone interested in art advising, what skills or experiences do you think are most important early on?

KM: Attention to detail is absolutely essential, it’s the foundation of everything we do. You also need to understand the broader art ecosystem: where the market has been, where it’s heading, and who the key players are. Art advising is collaborative by nature, so being able to communicate clearly and work well as part of a team is just as important as having a great eye.
MU: Art advising is such a niche field, and your network plays a huge role. Building relationships early on, talking to peers, getting involved in your local arts community, and showing up at openings or events, can open doors you didn’t even know existed. A lot of opportunities in this world come through word of mouth or referrals, so getting your name out there and being part of the conversation really matters.

Were there specific courses, mentors, or experiences that prepared you for this career?

MU: Yes, during my senior year at SAIC, I took a course called Art and the World of Big Money, taught by Britton Bertran, who was then the director of the Kerry Secrist Gallery in Chicago (now Secrist Beach). It was a deep dive into the inner workings of the art world, everything from gallery operations to the financial and administrative sides that most people never see. It was the first time I really understood what happens behind the scenes, and it completely changed how I thought about the art market and where I wanted to be within it.

The Work Itself

What does a “day in the life” look like for you?

MU: No two days are ever the same, which is part of what makes this work so fun. I usually start with an inbox clean-up and a look at our calendar to see what’s coming up. Most days I’m working on client projects - that can mean anything from drafting art proposals to corresponding with galleries or working with Katie, our registrar, on consignments.
As Framing Manager, I also spend a lot of time overseeing the framing pipeline - checking in with our framers each week and collaborating with clients on creative framing decisions. It’s one of my favorite parts of the job because the right frame can completely change how a piece feels. I don’t think most people realize just how important a good frame is! And when I’m not doing that, I’m usually out sourcing new artists, visiting galleries, going to fairs, or cold reaching out to artists whose work catches my eye. It keeps me inspired and connected to what’s happening right now in the art world.
KM: My days usually start with some planning, figuring out what needs to get done that week and checking in with the advisors to see what viewings, installations, or shipments are on the schedule. I handle a lot of the logistics, so I’m constantly coordinating between our team, galleries, and Cypress, our art handling arm.
There’s a lot of moving parts, from managing inventory to making sure artworks are packed, transported, and installed safely. It’s definitely a juggling act, but I love it, it keeps things exciting, and every day feels a little different. Plus, it’s so rewarding to see everything come together when a project finally clicks into place.

What part of the job surprised you the most when you first started?

MU: For me, it was how much of the work actually happens outside the office. Studio visits, art fairs, exhibition openings, those experiences are such a big part of what we do. They’re not only fun and inspiring, but essential to staying connected to artists, galleries, and the pulse of what’s happening in the art world.
KM: I was really surprised by how collaborative the job is. There’s so much teamwork involved behind the scenes, constant communication between advisors, registrars, and our art handling team to make every project come together smoothly. It takes a lot of coordination to get things right, but that collaboration is also what makes the process so rewarding.

What’s the most rewarding part of the work - and what’s the most challenging?

MU: The most rewarding part is seeing a piece of art go from that very first moment of discovery - maybe at a gallery, a fair, or even in an artist’s studio - all the way to being installed in a client’s home. Being part of that journey, watching it come full circle, and knowing you helped make that connection happen is such an incredible feeling.
KM: For me, it’s that moment on installation day when everything comes together - the art, the placement, the framing, all the logistics - and it just works. Seeing it all come to life in a space is so satisfying. The most challenging part is that there are a lot of moving parts to manage, and things don’t always go perfectly, but when it does come together, it’s worth every bit of effort.

Advice for Aspiring Art Advisors

What advice would you give to someone just starting out in this field?

MU: Go to openings, visit fairs, talk to people. The art world runs on relationships, so showing up and staying curious goes a long way.
KM: See as much art in person as you can. Experiencing work firsthand sharpens your eye and reminds you why you love it in the first place.

Are there common misconceptions about art advising that you’d like to clear up?

MU: A big one is that people assume we’re like galleries or brokers - that we hold inventory or buy works to resell. We don’t. Our role is to act as an intermediary between the collector and the gallery or artist, guiding the process and advocating for our clients’ best interests.

What’s your dream project or placement?

MU: I’ve been dying to place an Ana González Rojas tapestry.

KM: I’d love to work on a boutique hotel project here in New England.

What are you looking forward to?

MU: I’m excited to see the company continue expanding beyond New England. We’re working on projects all over the country, and it’s rewarding to see that growth take shape.
KM: I can’t wait for the official launch of Cypress, our in-house art handling company. Growing it and making great art handling more accessible - luxury art handling for the people

Photos taken at Mass MoCa in North Adams, Massachusetts

Written by Anne Cabot

So You Want to Be An Art Advisor