In 2003, Cliff Benjamin and Erin Kermanikian founded Western Project. The pioneers were the third gallery to open in Culver City. In 2015, they moved out of their space and now operate in our new virtual frontier. I caught Cliff on the island Maui.

Beyond the obvious financial benefits, what were the other considerations that compelled you to abandon a brick-and-mortar gallery?

Even before the virus, our culture was quickly evolving technologically, so people have looked to experience the world through a media format more and more. That being said, it results in smaller daily attendance of people actually looking at an exhibition, or art directly. Showing and talking about work with clients was key as to why we went to work everyday. Sending jpegs was not as thrilling as a client discovering a piece of art in front of them.

What is the difference between the internet gallery and the private gallery? And, how do you now define Western Project?

Perhaps it is a matter of semantics or context. If a business wants to communicate globally it has to be on the web in some form. How it deals with clients is another matter. I think a private gallery is more geared to servicing a select group of clients, those who have had a history of buying and curiosity about collecting in depth.

In our conversation, you mentioned that some of the big internet art market sites were unproductive. What do you mean?

The proliferation of these sites certainly indicates the shift in values from a collector-based market to a shoppers market. It’s great that there is more of an audience for buying art, but at the same time it flatlines a quality of experimentation and risk in art making.

Are there any downsides to not having a brick-and-mortar gallery?

It certainly isn’t as much fun. I loved installing and curating exhibitions. Our Bob Mizer show was elaborate and museum quality, as were a number of others such as Bob Flanagan, Sheree Rose, Tom of Finland, Wayne White and more. And again, turning people on to new artworks in person was terrific. Seeing someone light up inside in front of a painting was the best.

What is the next step for Western Project?

The next pop-up event will be an exhibition for Carole Caroompas. She has spent the last five or six years on five large paintings that are the most challenging works of her career. If you know Carole’s work, it has always been uncompromising, but this group of paintings is mesmerizing, difficult and direct. Not for those who want an easy read.