Click HERE to see a video interview with Jack Shainman.
NAME: Jack Shainman
AGE: 50
HAILS FROM: Williamstown, Massachusetts
PRESIDES OVER: Jack Shainman Gallery, 513 West 20th Street and 524 West 24th Street, New York, NY; and 25 Broad Street, Kinderhook, NY
GALLERY’S SPECIALTY: Contemporary art
ARTISTS SHOWN: El Anatsui, Radcliffe Bailey, Yoan Capote,
Nick Cave, Gehard Demetz, Vibha Galhotra, Barkley L. Hendricks,
Brad Kahlhamer, Hayv Kahraman, Titus Kaphar, L.N. Tallur, Kerry James Marshall, Enrique Martinez Celaya, Richard Mosse,Odili Donald Odita, Toyin Odutola, Michael Snow, Susana Solano, Hank Willis Thomas, Carlos Vega, Carrie Mae Weems, Lynette Yiadom-Boakye
FIRST GALLERY SHOW: Paintings by Claude Simard, in 1984
Tell us about your background. Do you remember the first work of
art that captured your attention?
My father was a professor at Williams College, so I grew up with the Clark Institute and the Williams College Museum of Art. They are the reason I do what I do, and it is so gratifying to see my artists installed in those venues. The William-Adolphe Bouguereau at the Clark with the nymphs leading the satyr was always an attention grabber.
What drew you to the business, and how does your personal taste influence the type of artists you show?
It always felt innate. Growing up,
I would save up all my money to buy work from art students. I had that collector gene. Perhaps having a gallery was a way to feed it. As for personal taste, it absolutely influences the artists I show. To represent
an artist, I have to be in love with the work and want to own it myself.
What sets your gallery apart?
I represent artists from around
the world and bring artwork into the arena that may otherwise be overlooked. But that is only a small part of it. The artists we work with have a rare combination of formally excellent work that also often has a political engagement or a social commitment.
What are the biggest challenges you face as an art dealer?
Keeping the lights on! I am grateful that our artists are doing so well and that we have been able to expand to The School in Kinderhook, to
24th Street, and also to the seventh floor of 20th Street. I feel responsible for presenting work that will keep the gallery alive and growing without compromising quality
or succumbing to market needs.
How has the art landscape changed since you started out? Where
do you see it headed in 5, 10 years?
Most of my current staff wasn’t even born when I opened the gallery. But in 30 years of business, I can say that the landscape has changed immensely. I watched everyone
move from the East Village to SoHo to Chelsea and beyond. I remember how everything used to happen in person before we sent JPEGs and PDFs, how it was about being in a space together, but also how exciting it was when we got a website and the art world became global. As for the future, I’ve seen bubbles come and go. I think contemporary art is a force that is here to stay, but I also anticipate that there will be bumps along the road as it grows, and we all have to be smart and think long-term.
What is your view on art fairs?
They are a necessary evil. I limit our participation because it takes
away from the gallery and puts a
lot of pressure on the artists. It’s very rewarding to focus on exhibitions at home and museum exhibitions elsewhere. All that being said, it is also great to have everyone in
the art world in one place, meet new people, and put together the booths.
Are there any works that have been painful to part with?
I wish I had bought a work from Kerry James Marshall’s first show
at the gallery. They were relatively inexpensive, but I just couldn’t
afford it at the time when I was just starting out. Every time I see one I sigh.
What is the best advice you’ve received about buying or selling art?
Buy what you love and make sure you are selling to people who are also buying what they love.
What are the most important skills for an art dealer to have?
We must listen and remember that our job is to do the very best for the artists and their work. When I have to make tough decisions, I step back and think about what is best for the work. That usually helps all the noise fall away, and the decision becomes clear.
If you could own any artwork, price no object, what would it be?
Michelangelo’s Sistine Chapel ceiling. I could install it at The School. I already have a place picked out.
If you were not an art dealer, what would you be doing?
I would be riding horses—hunters and jumpers—full-time.
A version of this article appears in the July/August 2014 issue of Art+Auction magazine.
