Meet Our Guest With Litsa Veldekis

Portrait of Litsa Veldekis. Courtesy of Litsa Veldekis.

Litsa Veldekis is an experienced art consultant with more than 25 years working across the primary and secondary art markets. Her career has taken her through senior positions in the auction world – including CEO of Menzies Art Brands and Founding Director of Bonhams Australia – where she helped shape landmark sales and handled major collections. In 2024, she opened Litsa Veldekis Gallery in Sydney, representing contemporary artists alongside managing private sales, valuations, and collection building.

She is also President of the Art Consulting Association of Australia (ACAA), the national body representing art consultants and accredited valuers. In this role, Litsa works to advance professional standards, ethics and transparency in art consultancy, highlighting the vital contribution consultants make to the broader Australian art ecosystem.

As Guest Work Agency’s Founder and Director, Alana Kushnir, has recently joined the ACAA, we sat down with Litsa to hear more about her path into art consulting, the work of the ACAA, and the opportunities and challenges facing art consultants in Australia today.

Your career spans some of Australia’s most prestigious art institutions and roles -from Senior Art Specialist and CEO at Menzies Art Brands, to launching Bonhams Australia, and now founding Litsa Veldekis Bespoke Art Dealer. Could you share what first drew you toward art consulting, and how your early experiences shaped your approach today?

I knew I had to level up and gain the skill set to be employable, so I gained a BA in Art History and Theory and Performance Studies, and a Master’s in Curatorship and Modern Art, both from the University of Sydney. The year I graduated, I took a job in an auction house in Cumberland Street, that’s now 25 years ago, and immediately loved the pace, the emporium style sales, and the energy of live bidding. Over the years, I’ve had the privilege of working to bring to market major collections - such as the Reg Grundy Art Collection and the Laverty Art Collection and held senior roles at Menzies and Bonhams Auctioneers. These experiences gave me a deep understanding of the market and shaped my approach to consulting…it’s got to be grounded in scholarship, strategic insight, and client-focused service.

For those less familiar, art consulting can cover many different responsibilities. How would you explain what it is that art consultants actually do?

Art consultants work across many facets of the art ecosystem. For example, I advise private and corporate clients on acquiring, managing, and valuing artworks. I have built relationships where I now provide my opinion and guidance on building collections, I coordinate restoration, installation, and commission artists to produce public works and works for private sale. Regularly liaising with institutions, auction houses, and galleries, it’s a role that blends connoisseurship with market insight, always tailored to the client’s goals and the thematic direction of the collection.

Litsa Veldekis Gallery, Sydney. Courtesy of Litsa Veldekis.

You currently serve as President of the Art Consulting Association of Australia (ACAA). What key goals and values does the ACAA uphold, and how does it support art consultants and clients across Australia?

The ACAA exists to uphold professional standards in the field of art consultancy. We promote ethical, independent, and informed practice, and serve as a trusted body for both consultants and their clients. Our members provide a wide range of services - from valuations and collection management to advisory and curatorial work and must meet strict professional criteria. Through our newsletter Canvass, we promote regular events, exhibitions, and advocacy work and support ongoing professional development and sector visibility.

In your view, what are the most exciting opportunities for professional art consultants in Australia right now?

We’re seeing a real expansion in the role consultants play from advising on new private collections to working with architects and designers on integrated art strategies. There’s also growing appetite for Australian art internationally, as we’ve seen with The National Gallery of Australia partnering with Tate Modern to stage the first large-scale presentation of Emily Kam Kngwarray’s work in Europe. Consultants and experts in the field can help navigate those markets. Similarly on the institutional side, we have members who curate exhibitions for major state and regional galleries illustrating an increasing demand for independent expertise and mentorship.

What unique challenges do consultants face in Australia’s current cultural and economic landscape? How is the ACAA helping consultants adapt to these challenges?

Consultants are navigating a dynamic and sometimes volatile market. Ethical challenges arise around provenance, valuation accuracy, and the tension between advisory independence and commercial interests. The ACAA plays a crucial role here – we have a Code of Practice for members which includes clear standards of practice, and we provide forums for discussing complex issues like market transparency, digital disruption, and sector sustainability. Broader industry challenges, such as funding instability and workforce gaps, also impact our members, and we’re advocating for more recognition of the consultant’s role in the cultural economy.

How do you see the future of art consulting evolving in Australia? What role will the ACAA and its members play in shaping that future?

The future of art consulting is increasingly interdisciplinary, bridging collecting, curating, education, and strategic planning. Consultants will play a key role in shaping how we engage with art in both private and public contexts, especially as audiences become more global and diverse. As a national body the Art Consulting Association of Australia will continue to lead in defining best practice, providing professional development, and supporting a new generation of consultants committed to integrity, inclusivity, and innovation.

We’re grateful to Litsa Veldekis for sharing her insights and experiences. Stay tuned for more conversations with GWA clients and colleagues in the art and collectibles space.