We were delighted to interview Anna Kauffmann (MAAB 2024), who is currently working at Crown Fine Art as an Assistant Coordinator on projects for galleries and private collectors. After completing her MA in Art Business at Sotheby’s Institute of Art, she gained experience at Sotheby’s across the 19th Century and Old Masters Paintings departments.
In previous years, Anna worked in galleries in London and Milan and coordinated corporate events, developing strong skills in research, client relations, and project management. She now focuses on coordinating shipments, technical projects, and installations for galleries, auction houses, luxury brands, financial institutions and private collectors, combining her passion for art with a practical interest in the operational side of the market.
Your role at Crown Fine Art puts you close to the practical side of how artworks are handled, scheduled, and moved. What first drew you to this area of the art world, and what aspects of art logistics have you found especially engaging as you’ve started your career?
After working in the Specialists department at Sotheby’s, I was keen to move closer to the operational side of the art world to gain a deeper understanding of what happens behind the scenes and understand how artworks are moved and shipped around the world.
What initially drew me to art logistics was observing experienced registrars at leading international galleries such as Gagosian, David Zwirner, and Hauser & Wirth. I realised that the stronger registrars have a solid background in art logistics, so that made me see this field as a fundamental step in building a strong and well-rounded career in the art world.
I particularly enjoy the fast-paced nature of my job, and every shipment presents new challenges, which keep the role engaging and mentally stimulating.
Logistics has also given me a different perspective on the art market. Working on international fair shipments, such as Frieze, Art Basel Miami, and Abu Dhabi Art Fair, has been particularly insightful, as it offers a clear view of market demand and emerging trends.
This role is teaching me that challenges are part of daily work, whether it’s delayed flights, transport disruptions, or customs issues. The key lies in quickly finding effective solutions and always keeping the plates spinning.
Art-coordination roles often mean managing multiple timelines, stakeholders, and last-minute changes. Is there a project or moment in your role so far that you’re particularly proud of or really enjoyed, and what did it teach you about working in art logistics?
One of the most rewarding experiences in my role has been working on Frieze, alongside coordinating on-site projects for private clients.
Crown Fine Art is the official storage partner for Frieze, so this project was an amazing opportunity to work closely with gallerists, registrars, technicians, and private collectors.
Working to such high-pressure demands showed me the importance of clear communication, flexibility, and how to deal with tight schedules, international shipments, and last-minute changes.
Coordinating projects for private clients in London, such as installations and house moves, has been equally formative. Managing these jobs requires close attention to detail and an understanding of each client’s space and expectations, which is helping me to build trust and confidence in my role.
During your MA Art Business, you completed a Work Placement at Sotheby’s. How did spending time inside a major auction house influence the way you approach your work now, and are there particular lessons or ways of working that stayed with you?
Working at Sotheby’s was a genuinely eye-opening experience and has shaped the way I approach my work today.
I started my work placement in the 19th Century Paintings Department and, when it ended, I was offered the opportunity to work in the Old Masters Paintings division.
Researching and cataloguing requires patience, persistence, and a trained eye. I spent long days at the Warburg Institute, the Victoria & Albert Museum, and the British Library, slowly piecing together the provenance of works.
What makes Sotheby’s especially inspiring is the people. I was surrounded by specialists who were deeply knowledgeable, endlessly curious, and genuinely passionate about their work.
Working in that environment encouraged me to ask questions, stay open-minded, and absorb as much knowledge as possible.
If I were to take one lasting lesson from that experience, it’s the importance of being curious. Approach each day ready to learn and pay attention to the smallest details. This way of working has stayed with me and continues to shape how I approach my job today.
Photo above and Cover Image: Frieze Masters, October 2025 – on-site installation of gallery booths.