What made you want to start collecting art?
I started collecting when I realized how exciting it could be to play a role, however small, in an artist’s career. I also love the idea of finding work by artists who have been overlooked by history.
What was the first and the latest artwork you purchased?
My first major acquisition was a work by Sam Gilliam, whose career was on the rise at the time.
My most recent acquisition is a monumental piece by Edvins Strautmanis. He, along with other artists like Ed Clark and Helen Frankenthaler, would lay the canvas on the ground and move the acrylic pigment around with various tools, including a broom. The resulting work is explosive and full of movement.
You are now very young, how do you think your collection will evolve with time?
I am hoping that the work I collect today will continue to grow in its cultural significance. I would like to start acquiring more work from young artists who are grappling with exciting new ideas and techniques.
What do you look in an emergent artist to collect him/her besides the aesthetic of the artwork?
Ideas. I want to live with artwork that has something to say beyond its aesthetic merits. An artwork should have a point of view.
How would you describe the difference between the artworks of the past decades with the ones from nowadays?
In order to be relevant today, new art needs to have fresh intellectual vigor. It’s very difficult to innovate a new visual style, so artists must investigate the ideas in their work as well as the technique.
What would you say is the best evolution for contemporary galleries to reintroduce people into arts?
Successful galleries show work that speaks to our modern times. Whether it’s through modern aesthetics, or work that responds to political and social issues, this is one of the best ways to engage people with art.
What is your daily art read?
I enjoy the ARTnews daily digest as well as Roberta Smith’s
reviews in the New York Times.