A few years ago, a London-based journalist on a press junket ahead of O’Keeffe’s retrospective at the Tate Modern remarked to me that Santa Fe was a “distinctly female town.” There is a lot of truth in his statement evidenced by the large number of female visionaries who have put down roots in Santa Fe and the surrounding communities. Some of the most famous and forward -thinking examples: Agnes Martin, Georgia O’Keeffe, Mary Cabot Wheelwright and Mabel Dodge Luhan -- to name just a few.
Georgia and Agnes by ANR
A 2019 study identified Santa Fe as the top city in the U.S. for woman-owned businesses. While I cannot be certain that this is 100% true, as the study was conducted by the website, Nerd Wallet, I was buoyed by a phone call I received from Laureta Huit in early November 2019.
Huit had recently left her museum position at the Aspen Art Museum and moved to Santa Fe to launch her woman-owned private collection management company. Why Santa Fe? Why now? I was excited to sit down with Laureta and prove the naysayers wrong: young people are moving to Santa Fe and young professionals are starting businesses here.
At 36 years of age, with an impressive resumé, Huit could have chosen to launch her company anywhere.
METTA: Why Santa Fe?
Laureta : I’ve traveled and spent a lot of time in big cities, I had always seen myself living in a huge cosmopolitan city, but I found myself choosing opportunities in smaller and smaller places, and I have absolutely fallen in love with the slower pace of living. I have always loved Santa Fe and New Mexico. It feels historic and old worldly, it’s beautiful in all seasons, and it has so much to offer. You find the best film offerings and art exhibitions to rival any other city. I also hike and love the outdoors, and Santa Fe offers the close access to nature that I need.
METTA: You grew up in El Paso,Texas, were you exposed to art in your community? Your family? What spurred your interested in aesthetics and fine art?
Laureta : I always had an interest in art, my mother is an interior designer and my father was an architect and builder, I never correlated my interest with their professions and business.
As a child I was in so many activities, dance, swimming, music, sports, science, Girl Scouts. I feel like I had very well-rounded exposure to many different activities, nothing really stuck, I never felt pressure from my family to pursue or not pursue anything, as long as I gave it a shot, they were happy.
It wasn’t until much later in life I found interest in Fine Arts. I originally entered university planning to study philosophy and pursuing a doctorate, then planning on teaching at the university level. As I entered college, I was able to explore my academic interests and art history was one of them, initially I thought about only minoring, but my interest and passion grew. I began working at the student-run museum as a part-time preparator and I could finally see a career path in galleries or museums begin to open in front of me.
This was just as outlandish and impractical as a philosophy degree in everyone else’s opinion, but I didn’t care, I could see the moves I had to make, and I was tenaciously single-minded in my pursuit.
METTA: You resumé lists quite a lot of museum experience, why are you now launching a private art management business?
Laureta : I cherish my museum experience and I hold my colleagues in such high regard, I am launching private art collection management business now because I could see many lenders lacked the time, knowledge, or resources to care for their private collections at museum standards of care. As collection care professionals, we have an obligation to these objects in perpetuity, and as I see it, if a collector, purchases an object, they are obliged within their means and know-how to do the same. I can offer anyone the knowledge I have acquired over the years tailored to their personal collection and belongings.
METTA: What part of collection management are you best at and what do you enjoy the most?
Laureta : My perspective comes from the institutional mindset and the practice of preventive measures. I can identify present concerns that may seem minor, but over the years may lead to the degradation of work. I am highly detail-oriented person, so thoroughly inspecting work for present condition is a key factor in my work. This way, I can track environmental changes that may be happening year to year and come up with a preventative solution. I really enjoy cleaning and caring for objects, as well as packing them for transport. There is a real intimacy to this aspect of the job.
METTA: Tell me more about your interest in Native American art and your emphasis on Western art collections? Do you feel like a westerner?
Laureta : I fell in love with Native American artwork when I was working at the El Paso Museum of Art and we were working on a Woody Crumbo exhibition of lithographs. The colors and figurative representation of animals really intrigued me and led me to find my love and passion for Native American artwork. I began researching objects and tribal histories and I found it captivating. I have had the honor of working with many Native collections at each institution I have been with.
My time in New Mexico lead me to discover the transcendental painting group. The key feature of which is geometric abstraction and landscapes-- something that just innately clicks in my brain.
METTA: What is one of the most exciting paintings or objects you have worked with?
Laureta : All the Native American collections I have had the opportunity to work with. I have worked with contemporary artists, and “blue chip” art in collections, which were all invaluable opportunities, but housing and caring for Native collections feels very special to me.
METTA: Who is your dream client?
Laureta : Someone who is open and interested in preserving their collection in terms of longevity. Someone who collects what they love and surrounds themselves with it.
METTA: Finish this sentence. I cannot live without………...
Laureta: My supportive family, my amazing friends, my enduringly loyal doggie.
