[ be a man of your word ]
The American thirty-six-year-old art dealer about his perspectives on curation ethics, NFTs and his reflection on the matters of diversity and representation within the gallery system
Vito Schnabel
[ don't talk about things you want to do ─ do them ]
/ it all comes down to human sensibility
As a focus curator, Schnabel seeks out artworks that look unprecedented, or rooted in an artistic heritage, yet surpassing it through personal approach. «As any piece of music, they [the artists] take from what they’ve listened to but transcends it into their own».
The late poet and painter Rene Ricard, the Italian painter Francesco Clemente, the film director and painter Gus Van Sant or the thirty-year-old Californian artist Ariana Papademetropoulos: when it comes to signing an artist in his gallery, Schnabel's connection is instantaneous. As he elaborates, the process of establishing representation typically unfolds rapidly. Before signing Papademetropoulos, he stumbled on her work at an art fair, their paths crossed again unexpectedly at a Swiss airport, and just a month later he was visiting her studio in Los Angeles.
Upon his meeting with American artist Ron Gorchov, Schnabel got captivated by his convex canvas structures and in a quick decision, purchased one of Gorchov's pieces for four thousand dollars. Gorchov’s ability to manipulate space and form within his artworks made him admire, and in 2013, Schnabel organized a solo exhibition titled Ron Gorchov: Monsieur X at his New York gallery. «Gorchov is one of those artists that can only do one thing with their lives. Even when he was a teacher and couldn’t afford to make his shield shape, he was making flat paintings. He just always made art». A few weeks ago one of his pieces sold for over two hundred thousand.
At the end of the month of December 2015, Vito Schnabel, unveiled a second gallery space in the Swiss Alps. Located in Bruno Bischofberger's former art space in St. Moritz, the gallery was inaugurated by presenting contemporary Swiss artist Urs Fischer's wax sculpture Bruno & Yoyo. The statues which represented Bischofberger and his wife Yoyo got lightened up and melted away, as a metaphorical passing of the baton between the former and current gallery owners. Off-site, the Stoves – outdoor installations of multifaceted artist Sterling Ruby – were adding a ceremonial aspect to Schnabel’s second gallery opening. Currently on view until the end of July is the solo exhibition of Australian artist Jordy Kerwick. Self-taught, Kerwick was signed by Schnabel in 2021 and has garnered international acclaim for his style characterized by vibrant color palettes and stylized compositions.
/ emphasizing artistic appreciation over finances
Most will assume it requires a flair for artistic tendencies combined with a sense of business – the type a poker player could have. Schnabel has carved a niche for himself among gallery owners.
At fourteen, Schnabel already knew he wanted to open a gallery. His lifelong friend and mentor, the Swiss Art dealer and collector Bruno Bischofberger – who represented Miquel Barceló, Jean-Michel Basquiat or Andy Warhol among others –, gave him insights to make the right start. «The best word of advice he gave me was: Be a man of your word. Instead of talking about things that you want to do, just do them».
Going out in New York with his older sister after the September eleven attacks, Schnabel met a group of young artists such as the photographer Dash Snow and the painter and sculptor Dan Colen – from whom he bought a piece. Two years later, aged sixteen he organized his first group show
[the Incubator, 2003]. «All of a sudden after the opening, people wanted to buy those young new artists I had shown». The financial aspect of an art piece’s market ranking has been far from his concerns. «I didn't even know how to write an invoice», said Schnabel revealing his first precept: the value of art can never be the primary aspect. «Chasing things that you don't believe in to make a quick dollar, holds no interest for me».
A decade later, Schnabel was already inaugurating his first gallery on Clarkson Street in the heart of Manhattan. In that time, the art dealer encountered artworks that could have achieved success but rather liked losing out on financial opportunities than engaging with artists whose work did not interest him. For Schnabel, art needs to be telling stories. Currently on view at his New York gallery is an exploration of American artist Brigid Berlin’s work. Berlin was a rebellious and punk woman who served as an inspiration to many artists from Warhol – to whom she gave his first polaroid camera – to Gerhard Richter or Heiner Friedrich who created the Dia Art Foundation. «Her story is an example of 'do what you believe in’. Certain people are born to be artists, other athletes, writers, teachers, whatever it is. Just try to stay true to yourself. Brigid did that».
/ fostering inclusivity: a continual effort
A survey conducted by the online art brokerage Artsy in 2020 in the United States, revealed that black artists constituted approximately 7% of the artists represented by art galleries. In 2018, Asian artists accounted for approximately 8% of the ones present in the most prestigious American art galleries. Regarding gender representation, in the three thousand galleries registered in the Artsy database in 2019, almost half represented 25% or fewer women.
He is questioned about the breadth of diversity and inclusion within his artistic representation. «I'm aware and I’m happy that art has come to the surface that I would've seen otherwise. I can only deal with what I feel and believe in. I hate to put it that simply, but it's the truth». Admitting that those questions did not change his philosophy of how he selects the artist nor show their work, Schnabel questioned himself, «Is it bad? I don't know». Out of the twenty-one artists he represents, fifteen of them are men, while six are women. Thirteen of the represented artists hail from a white American background, with only one Asian, one Afro-American, and one South American artist, also part of the gallery's roaster. These numbers reveal a notable gender and cultural disparity within the roster. It is the genuine talent of the artists with whom he collaborates that serve as the guiding force. «Once you start messing with that identity you get lost», said the curator.
Being rather engrossed in the visitors’ inclusion, Schnabel aims to foster engagement and positive interactions through live events, such as poetry readings, talks, or performances. Audiences can actively participate and immerse themselves in the artistic experiences while benefiting from what Schnabel describes as «the human touch». At the end of the month of May, to close Francesco Clemente’s Angelus Novus show at the Clarkson street gallery, he invited Laurie Anderson, American artist, composer, and musician. «The way she plays the violin is funny, deep but also otherworldly and surreal». A pressing concern emerged when considering the limited amount of space available to access those on-site events. Compounding this challenge is the geographical limitation that only individuals residing in larger cities have the opportunity to attend such events.
/ digital platforms and NFTs
Schnabel believes in the potential of online art platforms to contribute to a broader cultural democratization. Thus, following those thoughts on visitors’ accessibility Schnabel created ArtOfficial, a non-fungible token (NFTs) and editorial platform made with the support of investor and social media influencer Gary and AJ Vaynerchuk. «It's one of the reasons why the art world has grown so much. People from all over the world can see exhibitions happening in Paris or New
York that they wouldn't necessarily have seen otherwise». In that respect, ArtOfficial was thought to break down the barriers traditionally associated with the viewers’ accessibility.
Recognizing the power of the digital frame to transform the art world, ArtOfficial was also established to reflect the conversations happening around the question of the decentralized web3, the digital currencies, or the art experiences those can offer. It also gave Schnabel’s artist the possibility to experiment and get acquainted with artworks’ digitalization. «I found it intriguing to witness artists willingly lending themselves to something new, their minds actively attempting to adapt to this language and exploring if they could operate it».
Francesco Clemente created a series of works that got sold as NFTs on Schnabel’s platform. The winning bid granted the buyer the opportunity to partake in a live watercolor portrait session with Clemente himself. For now, the gallery owner made the decision to temporarily suspend the platform and will reactivate it once the timing feels appropriate. Schnabel's stance on NFTs remained steadfast, as he did not feel the need to engage with this digital asset form and thus refrained from participating in any personal collection. «It's just not where I'm operating». While recognizing the growing prominence of crypto money within the art world, Schnabel maintained a measured distance from the phenomenon. Never experiencing a genuine appreciation for it as the essence of NFTs failed to resonate with him in a sincere way.
«I never felt the true good of it»
/ the revolution the art world needs
«Every period of art history has been a reflection of what was going on in the world». The ever-evolving nature of art creation makes it a porous entity, influenced by the political and social landscape in which it exists. By acknowledging the interplay between art and its external environment, Schnabel appreciates the impact that politics and social dynamics have on artistic creation.
Referring to the widespread adoption of artificial intelligence tools, the emergence of web3, and the burgeoning crypto market, Schnabel explains: «Today we are in the middle of a revolution that will happen regardless». As his limited interest in NFTs signifies, for Schnabel there are noteworthy revolutions currently underway, and ones that should continue to unfold. While he appreciates the transformative potential of technologies like artificial intelligence, Schnabel highlights the ongoing social revolutions that go beyond technological advancements.
The recognition of female artists and African American artists within the art world are in his view deeper revolutions as they seek to rectify historical imbalances and inequalities. «The revolution that truly matters, in my opinion, is the acknowledgment of artists who have been creating art for years and haven't been properly looked at. This revolution is not only longer-lasting, but also holds urgency». Previously stating not selecting talents on background basis, he now cannot seem to ignore the seriousness of elevating and celebrating the work of marginalized artists.