WOMEN IN THE ARTS: Building a Collection that Supports Emerging Artists

One of the greatest joys of working in the art world today is the opportunity to cross paths with inspiring, authentic, and passionate women. Over the years, we’ve formed lasting friendships that are as much a part of our professional journey as the art we collect and champion. Anne Parke and Danielle Falls, an art advisor-collector duo who are also close friends, are a perfect example of how the personal and professional can beautifully intertwine. Their partnership is a testament to the idea that the most meaningful collaborations in the art world often blossom from genuine relationships, where trust and shared values transcend traditional boundaries. In their case, the lines between friendship and business are not only blurred but enriched—creating a dynamic that is both professional and deeply personal, and a true reflection of the power of connection in this field.

With Art Basel opening in Miami this week, our founder Bibi Zavieh reconnected with Anne and Danielle. We took a moment to reflect on our respective journeys into the art world—how we arrived, why we stay, and how it’s shaped who we are. Anne and Danielle shared how they support artists and how the art world has become an integral part of their lives. This reunion is a reminder that we’re not just participants; we are connected to something much larger—an ever-evolving conversation that continues to inspire, challenge, and define us.

Bibi Zavieh: Thank you both so much for taking the time to chat. One thing the three of us share is that art became something we knew we couldn’t live without from a young age. Anne and myself are also both art historians. Now, in our respective careers, our passion for art and for supporting artists is deeply woven into what we do. I’d love to hear how each of you found your way into the art world—what was the spark that brought you here?

Danielle Falls: My journey into the art world began in childhood, with trips to New York City to explore exhibitions. In college, while studying Art History, I spent weekends visiting galleries and traveling to see shows—experiences that solidified my deep appreciation for the creative energy art brings. Early on, I focused on collecting smaller works and editions from artists I admired, gradually expanding my collection as my career as a lawyer allowed me to acquire larger pieces. Beyond collecting, my involvement has grown through serving on boards and museum groups, such as at the Bronx Museum, and collaborating with artists and clients who share a similar passion. These experiences have not only enriched my understanding of the art world, but also shaped my perspective on the vital connections that drive this community.

Anne Parke: I studied Art History and International Studies at the University of Richmond and I had internships in New York at the Asian American Arts Centre and the International Monuments Fund. After a few years working as an assistant at financial institutions, I knew I wanted to transition to the commercial gallery world. I exhaustively started calling and emailing everyone I knew with a connection in the art world. I saved up for a flight to Miami during the fairs, slept on a couch in an AirBNB with probably 6 other people. I accepted every meeting, every coffee, really any introduction that I thought would help lead me to a role at a gallery. One of those meetings was with Eleanor Acquavella, who then very kindly forwarded my resume to Kristine Bell, senior partner at David Zwirner. The stars aligned that at that moment she was looking for a second sales assistant and Kristine hired me! I worked for and learned from her for the following three years.

BZ: A few years ago, you two were introduced through a mutual friend, and since then, you’ve built a close friendship that’s clearly rooted in your shared passion for the arts. Anne, as an art advisor, and Danielle, as a lawyer specializing in intellectual property and now a collector, how do you support one another in both your professional roles and your personal successes?

DF: Anne’s expertise and sharp eye for identifying meaningful works immediately impressed me. Over the years, she has been instrumental in shaping my collection and introducing me to artists and galleries that align perfectly with my vision. What truly sets our relationship apart is how we champion each other’s growth and successes, both professionally and personally. As my art advisor, Anne knows my taste intimately, which allows for an honest and collaborative working relationship that I deeply value.

AP: I’ll never forget the first time I met Danielle for a drink at Temple Bar a few years ago. After probably 10 minutes of getting to know each other, this young woman was already telling me (actually almost yelling at me) how to pivot my skill set into setting myself up for financial success within a 3-5 year time frame. She was genuinely confused why I wasn’t consulting, sitting on boards, expanding my advisory. I remember leaving drinks feeling so inspired by this person I barely knew, but with whom I shared a lot of values and perspectives. Since then, Danielle has helped manifest all those things for me: through her introductions, I now consult on the art for the member’s only club People’s in Greenwich Village, I have joined the board of the Bronx Museum, and my advisory has expanded at a pace I can barely keep up with the referrals. In turn, I always refer any client or friend to Danielle’s legal services. She’s helped so many of my gallery and artist friends, as well as my contacts beyond the art world. We both prioritize each other’s professional endeavors and successes.

BZ: This is truly wonderful—women supporting each other with such genuine care. It’s such a powerful key to success and to building a strong, thriving community. Both of you are involved with the Bronx Museum, particularly its Acquisition Committee. How did you each become involved, and how do you contribute to the museum’s accessibility and ongoing success? For others looking to engage, what’s the best way to get involved with the Bronx Museum?

DF: I joined the Bronx Museum as a trustee two years ago and nominated Anne to become a trustee last year. As chair of the acquisitions committee, I had the privilege of restarting it after nearly a decade of inactivity. Anne has been a tremendous support, serving as a committee member alongside an incredible group of women I’ve had the pleasure of collaborating with professionally in recent years.

For anyone looking to get involved, the Bronx Museum welcomes people who are passionate about art and accessibility. Whether through memberships, donations, or volunteering, there are so many ways to support the museum and its mission to make art available to everyone.

AP: There are so many ways to support this incredible institution, starting with our Emerging Patrons group. We endeavored to form a group of members who are curious about art and community engagement and who also want to have fun hanging out with each other as we explore the museum and surrounding art world. We intentionally programmed events for smaller groups so that each member of Emerging Patrons could talk to one another and engage directly with artists, curators, and gallerists. Annual membership is significantly less than the larger museums in other boroughs and we are still delivering knock-out programming. From studio tours to gallery walks, gala after-parties and salon presentations, every member knows that attending an Emerging Patrons event will be genuinely fun and fulfilling.

BZ: The Bronx Museum’s mission of being at the intersection of art and social justice, truly empowers the community. I love seeing how the collection has evolved in recent years and how it focuses on artists of African, Asian, and Latin American ancestry, and artists who live(d) and/or work(ed) in the Bronx and for whom the Bronx has been critical to their artistic practice and development.

The three of us also share a genuine interest in supporting and championing the works of emerging artists. At newcube, we are proud to champion up and coming artists globally by providing them key career guidance, by connecting them to curators and galleries and by placing their works in reputable collections. Anne, who are some of the artists you’ve recently placed in Danielle’s collection?

AP: I am constantly looking at art in any way possible: reading, visiting galleries, attending art fairs, even friends’ apartments spur beautiful discoveries of artists. By now I know Danielle’s taste and we have worked a lot on the direction of her collection. I am thrilled by her recent acquisitions of works by Stephanie H. Shih, Hasani Sahlehe, Sylvie Hayes-Wallace, Justin Chance, and Y. Malik Jalal.

BZ: Danielle, can you tell us more about your art collection?

DF: My collection focuses on emerging and traditionally underrepresented artists, particularly those from minority backgrounds. I’m passionate about supporting entire gallery programs, rather than just selecting one or two artists.

The first piece I purchased this year was a sculpture by vanessa german titled For Honoring Sexual Desire and Kink and my most recent acquisition is a quilt by Justin Chance from Tara Downs Gallery. Interestingly, both pieces feature ladybugs, which hold special meaning for me. A few years ago, my closest friend encouraged me to choose a spirit animal—a creature that symbolizes qualities or guidance I identify with. I chose the ladybug, which is often associated with protection, luck, and renewal. Ever since, I’ve been drawn to artworks that incorporate them.

I’m always on the lookout for works that resonate emotionally or conceptually—there’s something thrilling about discovering new talent and connecting deeply with their vision. My wishlist today include artists like Kim Dacras, Reverend Joyce Mcdonald, Clotide Jiminez, and Eduardo Sarabia, to name a few.

BZ: As young collectors living in New York, we know how wall space can be a challenge. Danielle, do you display all the artworks you’ve acquired in your home, or do you get creative with how you store or rotate pieces in your collection? Any tips for managing and showcasing art when space is -somewhat- limited?

DF: I don’t live with all of my artworks, but I try to avoid traditional storage as much as possible. While I do have a storage unit with the exceptional team at SRI for particularly large or challenging pieces, my preference is to keep the collection dynamic and accessible. I often loan works to friends, with the only stipulation being that they carry insurance for the piece while it’s in their care. I’m also exploring the idea of creating a kind of “rotating home gallery series” across the city—where, once or twice a month, people could visit my friends’ homes and experience the works that are part of the Falls collection in intimate and unexpected settings.

BZ: That’s such a cool idea! I can’t wait for this to happen! What advice would you give a young professional looking to acquire their first artwork?

DF: For new collectors, my first piece of advice would be to immerse yourself in the art world — see as much as you can and spend time exploring the local art scene. Visit galleries, attend openings, talk to artists and curators. The more exposure you have, the better you’ll understand what resonates with you.

Working with someone like Anne as an advisor is invaluable. A good advisor brings expertise, deep connections, and a nuanced understanding of the market, which can help guide your decisions, especially early on. In the collecting process, seeing a work in person is ideal — it’s hard to replicate the physical presence of a piece digitally. That said, if you trust your advisor and they have an intimate understanding of your preferences, it’s not always necessary.

AP: The top piece of advice for someone looking to acquire their first artwork or their 100th artwork will always be to buy what you love. The next piece of advice is to just LOOK at as much art as possible – look at what else the artist is making, look at what the contemporaries of that artist are making. The more art you see at galleries and museums and fairs, the more your brain will recognize and understand which pieces you are drawn to and why. I don’t think you need to see an artwork in person before acquiring it, especially if you have seen other examples of the artist’s work, and that is where the trust comes into the advisor dynamic. There have been times where I call Danielle from a gallery or an art fair and ask “Can I confirm this sale for you, I know you need this for your collection” and she trusts my eye and my relationships with galleries enough to say yes.

BZ: Trust is key when advising collectors. It’s ideal when it becomes a genuine friendship along the way. How do you think one can cohesively bring pieces together from different artists?

AP: Danielle and I spend a lot of time thinking and talking about her collection as a whole, and which artists make sense for her interests. Truly we spend hours strategizing over her artist wishlist, mapping out intentional acquisitions for upcoming exhibitions and fairs while also allowing room for artist discovery. I think the most important thing you can do when building a collection is taking the time to think about what you like and why. Once you understand that foundation and intention, navigating the overwhelming amount of shows and booths will become significantly more manageable. I also like to remind my clients that taste and interest can change and as a result it is natural for a collection to change in direction too. It’s what actually makes art collecting an engaging and fulfilling lifelong experience.

BZ: Everyone is down in Miami this week for the last crazy week of the year! Can you both tell us about your upcoming plans this week in Miami?

DF: The NADA closets – It’s one of my favorite parts of Miami Art Week because I’ve found some of my best pieces there at incredibly accessible prices. The key, though, is being there in person — you can’t buy these works from a preview. The thrill of discovery and those unexpected finds make it such a rewarding experience.

AP: I definitely look forward to NADA every year – I absolutely love the possibility of discovery, and I feel the galleries really deliver on bringing excellent presentations of their program. I am also looking forward to the Bronx Museum Monday Night Welcome dinner where I can spend quality time with other board members and museum staff. But the highlight of the week will be the dinner on Thursday night! Danielle and I founded an art insurance brokerage, Nail to Nail, and we are cohosting a dinner with SRI Fine Art Services. We cannot wait to share Nail to Nail with everyone and to support our friends at SRI.

BZ: Many congratulations on launching Nail to Nail! Can you share advice to a young collector attending Art Basel Miami for the first time?

DF: Take the time to see everything, even when you’re feeling tired or overstimulated. The sheer volume of art can be overwhelming, but it’s also what makes Art Basel Miami such an incredible experience. Push through, stay curious, and allow yourself the time to discover pieces or artists that truly resonate with you. Sometimes, the most rewarding finds come when you least expect them.

AP: It is near impossible not to be overwhelmed your first time at Miami art week, so I recommend staying grounded and reminding yourself of your initial intentions. I love starting my mornings with a run on the boardwalk and a quick dip in the ocean to clear my head. It helps me to focus when I later walk into the mania of the fairs and events. Also for all first timers: if you are taking a photo of an artwork on a booth, remember the next photo immediately needs to be the caption label or booth sign with the gallery name. I promise you will not remember where you saw that one artwork when you’re scrolling through hundreds of photos later. Make this a habit every time you see art.

BZ: Love the caption advice, Anne! And, my piece of advice: recharge on Vitamin D and manage your FOMO! Thank you both so much for your time, and see you all soon in Miami!