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Webber London

Webber London
18 Newman Street,
London W1T 1PE

+44 (0)20 7439 0678

Webber Gallery
18 Newman Street,
London W1T 1PE

Webber New York

Webber New York
Roulston House, Suite 292
124 9th Street

+1 212 343 7491


New York | Agent

Salary: Upon Application

Start Date: Immediate

At WEBBER we want to invite people who will grow with us as we expand our endeavours in the contemporary art and photo world, which is why this role relies on an individual that exercises genuine collaboration in the creative industry. Since artist relations, development and production are paramount, our agents are required to have strong existing industry relationships and awareness of the systemic changes necessary to creating pioneering work. You would be working with our Senior Agents/Producers and Company Directors to not only establish exceptional artist management and set production, but further develop our belief in empowering artists who challenge their respective mediums.

For details please contact:

London | Gallery Manager

Salary: Upon Application

Start Date: Immediate

Email CV and cover letter to:

WEBBER are seeking a dynamic, collaborative, creative individual to join the team as Gallery Manager, as the gallery expands operations in 2022.

Working with the Directors the role will guide and deliver an annual program of WEBBER’s exhibitions, talks, events and international fairs, manage sales and relationships with collectors, museums and curators and provide strategic support for our growing artist roster. 2022 will be an exciting year for WEBBER as it launches new Editions, explores US expansion and continues to develop its international partnerships with publishers, charities, and London’s diverse arts community. Role responsibilities would include:

  • Annual programming of exhibitions and events
  • Operational responsibility for the gallery premises and logistics, including gallery inventory
  • Sales management and prospection
  • Financial reporting and cost management
  • Artist development and representation, with a strong emphasis on international museums, publishers and cultural institutions
  • Management of WEBBER’s international fair presence
  • Marketing responsibility including management of the gallery’s digital platforms & social media
  • Press management and outreach
  • Event management
  • Identifying new talent

WEBBER are passionate about supporting artists and fostering positive change in the arts industry, and through a variety of partnerships we participate in a range of community and charity collaborations that complement our inclusivity objectives.

The ideal candidate will be someone who shares WEBBER’s ethos and interest in supporting a more accessible and democratic approach to the contemporary art and photo community. WEBBER is an equal opportunities employer and especially welcomes applications from underrepresented communities. You will have:

  • Approx 5 years’ experience across programming, artist management and sales
  • International network including collectors, curators, museums & publishers
  • Excellent organisational skills
  • Strong curatorial eye for detail
  • Committed member of the photographic arts community
  • Interest in emerging and diverse talent


Daniel Shea American Framing 22.05–21.11.21

Daniel Shea, American Framing


Daniel Shea | American Framing at the Biennale Architettura 2021

22 May - 21 November 2021

Daniel Shea’s newest body of work explores alternative ways of seeing for the New York-based photographer, whose practice is grounded in studies of architecture, form, and social constructs. Developed, in various forms, over the past three years and still ongoing, Shea’s new photographic language hones in on textures.

The series, comprised mostly of black-and-white photographs, began with Shea taking on new subject matter. Having focused on urban environments and architectural history for his series 43-35 10th Street, Shea turns to the natural world as an alternative photographic environment. In the density of woodland areas – some around New York City, others in places further afield like Alaska – Shea attempts to see the trees for the forest, discerning textures and details amongst the larger mass of greenery (and reimagining the traditional saying). This metaphor runs through the body of work and applies especially to Shea’s method of photographing nature. Shea seeks out his subjects within these landscapes, and in the process confronts how we relate to nature – appreciating and looking at the natural world despite the knowledge of our impact on it, which isn’t always in view – in a time of environmental crisis. There’s a dichotomy, then, between what’s seen in the photographs and what we know of the natural world. Rather than taking in the landscape as a whole, Shea’s granular photographs hone in on the details, the elemental; texture is the defining formal quality.

In this way, Shea also sees cities anew. Taking this newly developed photographic language, Shea applies it to the urban environments he knows so well, seeing them this time through a new lens entirely. Construction sites and architecture become subjects once again – places like steel yards, some busy with people and others empty. These urban scenes highlight the details – a hammer and wood shavings, construction materials – as well as busier moments of labourers at work. It’s not so much where the photographs were taken, as how Shea approached his subject matter as he moves from the natural world to built-up, constructed environments.

This new body of work is seen for the first time at the Venice Biennale’s 17th International Architecture Exhibition, as part of the United States Pavilion, American Framing. The US’ exhibition, curated by Paul Anderson and Paul Preissner, examines softwood construction and framing in American architecture, its history and continued significance as a fundamentally egalitarian material and building practice. Reflecting on Shea’s previous series 43-35 10th Street, and its interrogation of architecture and capitalism, this exploration of architecture’s social implications aligns with Shea’s own practice. In this context, Shea’s new photographs – staged alongside a full-scale wood framing structure, built as a new facade for the pavilion and courtyard – showcase the raw material central to wood framing.