In Conversation with Emily Friedman
Freeman’s | Hindman is thrilled to welcome Emily Friedman, founder of Emily Friedman Fine Art, a full-service advisory specializing in contemporary and post-war art, for the next installment of our In Conversation series.
Join us as Emily sits down with Zack Wirsum, Senior Vice President and Head of Post-War & Contemporary Art, for a dynamic discussion ahead of our May 13 Post-War and Contemporary Art sale. They’ll explore Emily’s journey through the art world and highlight some compelling works featured in
A Vision in Color: A Curated Session by Emily Friedman, which is offered in our upcoming sale.
Zack Wirsum: Where did your art world journey begin? Is there something specific that inspired your interest in and passion for art? What ultimately led you to Art Advising, and how long have you worked as an advisor?
Emily Friedman: My art world journey began in my college Art History 101 class, where I was first introduced to the New York School and Abstract Expressionism. I was immediately swept off my feet. I still remember writing my first paper on Franz Kline, completely immersed in the raw energy captured by his powerful brushwork. That paper unlocked a door; suddenly, I wanted to learn everything I could about the movement, from Jackson Pollock to Helen Frankenthaler. Now, nearly 20 years after professionally entering the art world, I’m still driven by the same passion.
I started my career at Heather James Fine Art in 2007 as the registrar and, over several years, moved exclusively into sales. I was fortunate to get a front-row seat to the inner workings of the secondary market from a very young age. I decided not to finish college; instead, I poured everything into building my career in the art world.
In 2016, I started my business, Emily Friedman Fine Art, and began my advising journey. I began advising because I love the discovery process and enjoy getting to know people and understanding what resonates with them. Collecting is such a personal journey - whether someone’s just starting out or has been collecting for decades, I find it rewarding to help shape something meaningful. There’s nothing like the thrill of the chase, the strategy, and the satisfaction of finding just the right piece for the right person. It feels like magic when it all comes together.
Lot 41 | Kikuo Saito (Japanese, 1939-2016) | Silver Landing, 1987 | Estimate: $40,000 - 60,000
ZW: We have enjoyed working with you for years as a buyer. During that time, I have always admired and appreciated your discerning and forward-thinking taste as a bidder, so I was thrilled when you first approached us to collaborate on the sale of a large consignment, knowing that the material had been selected with your sophisticated eye and market savvy. What attracted you to working with Freeman’s | Hindman on the first consignment, and how did it evolve into an even larger, tightly curated, cohesive session in the sale?
EF: First of all, thank you! That means a lot coming from you, and it has been a pleasure working with you and the entire Freeman’s | Hindman team over the years.
I care deeply about this particular collection. From the start, I knew I wanted to place it with a house that would contextualize the work with thoughtfulness, transparency, and a shared commitment to the vision. Because the collection spans categories—fine art, design, jewelry, and couture—your enthusiasm, nuanced approach, and appreciation for its range made Freeman’s | Hindman feel like a natural fit.
Once we decided to partner on the sale, the opportunity to expand the offering became very exciting. I started thinking about how to build on the core group to create something that felt bigger than a single collection, something that could also reflect my eye, my advisory work, and the range of works I’ve placed and gravitated toward over the years. That’s how the larger group came together: through a mix of works from clients I advise and a few from my own collection, all to tell a broader story.
Lot 55 | Lita Albuquerque (American, b. 1946) | Red on Red on Blue, 2005 | Estimate: $10,000 - 15,000
ZW: Despite coming from multiple and varied sources and the works themselves spanning decades, the works you have included in the auction are visually consistent. What are you looking for when sourcing artwork for clients? Do you have an advisory philosophy? Are there specific artists or movements that you gravitate towards and champion? Are any of those artists represented in this present offering to whom special attention should be paid?
EF: My approach to collecting and advising is generally this: buy what makes you happy, what moves you, and what you can't live without while also keeping an eye on the market. I believe your collection should grow with you. Tastes shift, life happens, and ideally, the artwork on your walls should be both emotionally meaningful and support your personal evolution.
I pay close attention to the market and am always looking for under-recognized or undervalued artists. There’s nothing more rewarding than discovering an artist with a compelling story and helping bring that story to a wider audience.
I deal primarily in blue-chip Post-War and Contemporary art, focusing on Post-War abstraction and the Light and Space movement. For me, these works go far beyond the visual. They engage the nervous system. They’re intuitive and visceral. You don’t need to be a scholar or a seasoned collector to feel something when you stand in front of them. They invite you to pause, reflect, and be present. That kind of stillness feels more important than ever right now.
Several artists in the sale really embody this energy and have been a close part of my world: Peter Alexander, Mary Abbott, Lita Albuquerque, Emily Mason, Alice Baber, and Paul Jenkins, to name a few. These are artists I’ve followed, admired, and placed with many collectors, and I’m thrilled to spotlight them in this sale. They each speak to that visceral, emotional response that defines my collecting philosophy.
Lot 33 | Emily Mason (American, 1932-2019) | Ginseng Hill, 1969 | Estimate: $8,000 - 12,000
ZW: Over the years, I have observed you having a knack for being ahead of the market curve and acquiring works by artists like Mary Corse, Alma Thomas and Emily Mason before their prices jumped significantly.
Are there artists in the present group that you can identify as undervalued and could be due for an upward market correction?
EF: I'm so glad you asked. This sale includes quite a few works that I consider compelling opportunities.
There is a group of smaller works by some of my favorite AbEx artists, including Mary Abbott (Lot 34), Alice Baber (Lots 31 and 32), Sonia Gechtoff (Lot 36), and Emily Mason (Lot 33). These are very strong examples at accessible price points and present wonderful opportunities for collectors.
I’m so excited to include three works by Lita Albuquerque (Lots 55, 56, and 57) in this sale. She’s an important figure in California’s art history and a key voice in the Light and Space movement. Her work explores big ideas - time, space, our place in the universe- doing so in a way that feels personal and immediate. Lita has had a remarkable career, working in permanent collections of institutions like the Getty, LACMA, and the Whitney. If you don’t already know her, now is a great moment to take a closer look. She’s long overdue for wider recognition.
Lot 59 | Peter Alexander (American, 1939-2020) | Rose Wedge, 2011 | Estimate: $20,000 - 30,000
The Peter Alexander Rose Wedge (Lot 59) is a beautiful, luminous piece that feels every bit like a slice of a California sunset. It’s a special opportunity to acquire a great example from one of the founding voices of the Light and Space movement.
Lot 35 | Ethel Schwabacher (American, 1903-1984) | Ode #I, 1954 | Estimate: $30,000 - 50,000
Ethel Schwabacher (Lot 35) is another standout. She's a historically significant artist whose work comes to market very rarely. Only eight paintings have ever been sold at auction, and just a couple in the last five years. The last work, a small 9 x 12-inch canvas, sold for $45,360 on a $10–15k estimate in 2023. The piece in this sale is not only larger, it’s a knockout, and it has the potential to set a new record for her.
The Kikuo Saito (Lot 41) painting is one of my personal favorites, a fantastic example that feels joyful and sophisticated. I’m also thrilled to offer a couple of his beautiful works on paper, which you rarely see come up at auction.
Lot 46 | Al Held (American, 1928-2005) | Fathom Mark XIX, 1989 | Estimate: $40,000 - 60,000
The Al Held (Lot 46) and Robert Natkin (Lot 43) are also beautiful, high-quality works, and their estimates are well below what you might typically see in a gallery setting.
Lot 43 | Robert Natkin (American, 1930-2010) | Bern No. 338A, 1983 | Estimate: $15,000 - $25,000
Last, but not least, the Enrico David (Lot 81) is a museum-quality painting offered at a very timely moment, as White Cube just announced representation. That kind of momentum can create a new wave of interest, and this is the kind of piece that could really benefit.
ZW: Turning to the broader sale, outside of what you have selected to be included in it as a guest curator, are there other lots in the sale that speak specifically well to the works that you consigned and that you think bidders should take a closer look at?
EF: Absolutely. I’m especially excited about the Bernice Bing (Lot 26) in the sale. I’ve long admired her work, and seeing the growing recognition of her contributions to postwar abstraction and the Bay Area art scene has been incredible. This painting is a beautiful example of the dualities she explored — it carries a certain darkness but also an inner luminosity that draws you in.
Lot 26 | Bernice Bing (American, 1936–1998) | GAM SAAN, 1985-86 | Estimate: $10,000 - 15,000
The group of five Gertrude Abercrombie (Lots 93, 94, 95, 96, and 97) paintings are fantastic. Each one feels like a jewel, showcasing the range of her poetic, surreal vision. The estimates have been kept conservative, considering the incredibly strong auction results over the last year. I wouldn’t be surprised if we see more fireworks here.
Lois Dodd’s pieces (Lots 89, 90, 91, and 92) also stand out. She’s one of those artists I’ve been watching for years, and every time a good work comes up, I think, “I better move on this before it’s too late.” Her work still trades at very reasonable prices, given her stature compared to peers she came up with, like Alex Katz.
ZW: We’ve spent most of this conversation discussing how you so effectively use your keen aesthetic vision to advise others. I imagine you also take your work home with you, so to speak and collect yourself. Who do you have in your collection and who is on the wish list?
EF: My wife and I have been collecting seriously for over ten years now. Our collection is very important to me, and I try always to practice what I preach! The first major piece we acquired was a Mary Corse white light painting. Over the years, we’ve been fortunate to collect works by many wonderful artists, including Alma Thomas, Mary Abbott, Emily Mason, Alice Baber, Kikuo Saito, Günther Förg, Ed Ruscha, Roy Lichtenstein, Lita Albuquerque, Peter Alexander, Larry Bell, Hank Willis Thomas, and Zanele Muholi.
We fantasize about one day adding a Tracey Emin or Sam Gilliam collection. We’ve also been talking about exploring photography in a deeper way. Wolfgang Tillmans and Catherine Opie are at the top of that list. It’s a collection that continues to grow with us.