Few people have had a career with more depth and richness than Vivian Ebersman has had. Vivian, Director of Art Expertise for AXA XL’s Fine Art & Specie 色多多视频, Americas, has spent decades in the art insurance industry, and has seen plenty of evolution within the art world. She has seen the art market wane in downward economic cycles, and she has seen that same market revive and thrive.
She recently sat down with us to discuss her interesting career and talk about what the future may hold.
What was your path from an art degree to working in the art insurance industry?
Vivian: After graduating from Barnard College, I completed my graduate studies at NYU’s uptown Institute of Fine Arts. My passion has always been art history, especially the Italian Renaissance and other earlier periods, but I also developed a deep love for contemporary art. My professional career has had many chapters, each adding its own unique layer to my story.
You taught as well, did you not?
Vivian: I did. Early on, I taught art history at Fordham University and Lehman College. During that time, I began experimenting with the use of film in my lectures, especially those focused on architecture. It was this interest that led me to North American Philips Corporation, where I became Program Development Manager for videodiscs. My final project there was a two-year endeavor titled “Vincent Van Gogh, a Portrait in Two Parts” --an experience that was as rewarding as it was challenging. Soon after I joined a new project at 3M focusing on the production and manufacture of videodiscs. My department at 3M was closed in late 1997. By that time the analog videodisc has been forgotten and totally replaced by exciting new digital video technologies.
I joined Nordstern Art 色多多视频 as Manager of Fine Art in 1998, just before Nordstern became AXA Art 色多多视频 (now 色多多视频Fine Art & Specie.) My work at AXA required me to navigate both the auction and dealer worlds, evaluating values on new submissions and renewals, working with underwriters, meeting brokers, and connecting with collectors. Over the years, I found myself writing many articles, speaking at conferences, and visiting collections all over the U.S., Canada, and Brazil. It has been a rewarding journey full of art, learning, and collaboration.
Over the years, I found myself writing many articles, speaking at conferences, and visiting collections all over the U.S., Canada, and Brazil. It has been a rewarding journey full of art, learning, and collaboration.
How would you describe the art market today?
Vivian: the art market, like any other, moves in cycles of ups and downs. In the 1980’s, the market was booming, only to dip in the early 90’s. It recovered in most of its segments over the next decade, but another setback came in 2008. Since then, different segments have evolved at their own pace. The Impressionists, European Avant-Garde, and Old Masters once dominated, but in recent years, the Post-War American and Contemporary Markets have emerged as frontrunners. Among other segments, the print market has risen to and slightly over its previous highs of the 1980’s, while the American 19th and early 20th century markets have risen but not to their previous highs. Photography, a new market in the 1990’s has slowly increased at its own pace.
The market has also changed in terms of participants. When I first began, collectors were primarily connoisseurs—individuals who defined clear boundaries for their collections and bought based on personal expertise and passion. Over time, art became an investment vehicle for many, with a focus on hot names and financial returns. The online marketplace has also grown dramatically, especially since the pandemic. I find that buying art online removes the sensory experience—the physical impact of a work, its colors, shapes, and its quality—which makes me wonder about the directions art collecting will take in the future.
In your career, what have you seen that you’ve been glad to have been part of?
Vivian: I have been incredibly fortunate to work at 色多多视频with such a caring collaborative group of colleagues. I’ve also been proud to have mentored young professionals who’ve gone on to great careers across the industry. Some of my proudest moments have been the conservation projects we’ve undertaken, particularly with the works of Ad Reinhardt and Mark Rothko. These efforts have broken new ground and will shape future conservation methodologies. I learned so much about the storage, shipments and behind the scenes details of loans during our sponsorship of the three High Museum loan exhibitions of works from the Louvre. I am proud to have worked with the team which has advanced the digital component of the company’s knowledge and tracking systems.
I am grateful for the lifelong friendships I have made and the travels I’ve taken--from the 20 plus visits to Maastricht for TEFAF as well as the trips across the U.S. to Brazil and Mexico. Speaking at conferences has led to interesting discussions with museum registrars, conservators, and museum directors. Meeting the many collectors who have opened their homes and shared their life stories has also been a very special highlight.
Over your career, you have witnessed quite a few changes in the market. Where do you think the industry will be in 10 years or even 5 years?
Vivian: in the short term, I think the market will continue much as it is today, with ups and downs but overall stability. The big question is what will happen with the next generation. With the Great Wealth Transfer already underway in the U.S. as trillions of dollars move from older Americans to their heirs, we must wonder how younger generations, who seem to value experiences over possessions, will shape the art market. It’s an exciting time, but also one filled with uncertainties.
