Admiring Abstract Art with the Admirer of Abstract Art

Everyone knows abstract art is back in full force. Some talk about the figuration bubble bursting, while others claim they crave more freedom to interpret the art around them. But the truth is, Abstract Art was never dead. And Figurative Art will never die. But this is always a fun conversation to have. The New York and Miami based collector Michael Wiener is an art patron in the truest sense of it and a collector with an eye for young talents. Also known as the “Admirer of the Abstract” on Instagram, we met with Michael to speak about his trajectory in the art world, the artists he has his eye on and why he chose to focus his collection predominantly on abstract art.

Michael, it’s a pleasure to connect again. You’ve been collecting art for over 30 years, first in New York and most recently in Miami where you also live for part of each year. What has your collecting journey been like and how did you first fall in love with art?

Michael Wiener: Yes, certainly great to connect with you Bibi, and to see all that you have accomplished with newcube. About 34 years ago I purchased my first piece of art. It was a lithograph by Yaacov Agam. I found myself studying it each day, I was captivated by the work. At the beginning I was collecting rather aimlessly, mostly modernists but was interested in knowing more. With a desire to explore more of art history, I bought my first abstract expressionist work by Elaine De Kooning, a good size canvas from the 1950s. After living with that painting, I was hooked and I collected ABEX works for about 20 years, building a museum quality collection focused on the 1950s.

Once that goal was complete, I wanted to see more artists working with Abstraction. Ultimately, that led me to collecting emerging artists, which also gave me the opportunity to engage with artists at the start of their careers. I collect with the same passion, but have transformed that drive into supporting the artists and the galleries where it really matters. I now spend most of my time doing studio visits, seeing shows, and discovering new practices by young talents. This has been truly intriguing and fulfilling.

As a collector and art patron, it’s important to support institutions.

MW: Absolutely. I actively loan works from my collection to museums and currently have a painting by Kate Meissner on loan to her exhibition at Abroms-Engel Institute for the Visual Arts in Alabama. It’s a real joy to see these works shared with new audiences and traveling for museum exhibitions around the country or abroad.

Now, tell us more about your collection. We already know you admire abstract art and we appreciate your support of up and coming artists.

MW: I am partial to gestural abstraction and collect artists whose works I love and find transformational. A big part of what I enjoy is the pursuit of discovering these artists. Some of the favorite works in my collection are by artists such as Mannat Gandotra, Wenhui Hao, Tsai Yanju, Sylvia Ong and Sarah Martin-nuss.

Most recently, I acquired a painting by the young artist Justin Robinson from Danny First’s The Cabin in Los Angeles – a residency Robinson just completed. I love the composition of his painting and his brilliant use of color, which I believe was influenced by his time working as Eddie Martinez’s assistant. I am now proudly hanging that work in my Miami residence.

As a collector with an eye for catching talents early, who are the artists you currently have your eye on?

MW: Tara Downs just closed an exhibition featuring the works of Nizhonniya Austin (the exhibition was on view until February 22). Her work is exceptional and I was lucky enough to acquire a painting by her. These powerful works are rendered in saturated and bold colors and chronicle deeply personal histories. I also have my eye on a recent RCA grad, Seohyun Oh. Seohyun’s work is inspired by nature, and animal/tree spirits and she explores the interconnectedness of life through a unique interplay of color, form and rhythm – a practice to watch. Seohyun is currently part of a two person show at Jack Barrett Gallery in New York City.

There are so many great talents out there and most recently, there have been many heated conversations regarding the role and necessity of an art advisor. How do you typically choose the artists whose works you wish to acquire?

MW: I watch Instagram very closely, and find that as a good place to identify talent early on. I also count on my relationships with many gallerists here and abroad. Attending shows has also been particularly useful, especially art fairs such as Untitled and NADA in Miami. In New York I am also fond of fairs like Independent, NADA and The Armory show. I also have to give a lot of the credit to my art advisor, Dakota Sica, whose eye and input have been invaluable to building my collection. He and I often collect the same artists and the process has actually been super enjoyable. A great art advisor definitely makes all the difference.

We couldn’t agree more. A great art advisor has your best interest at heart and can add so much to your collecting journey and experience. Similarly, given our extensive art advisory services at newcube, I can say that working with genuine art collectors who understand the subtleties and ethics of the art world is also equally valuable!

At newcube, we work with seasoned collectors who have been acquiring works for decades, but we also advise young collectors who look up to more seasoned collectors like yourself and who are just starting. We give them genuine advice, support them with due diligence, help them identify the best works by the artists they follow, and guide them in the best way possible. What advice would you give to a collector or an art lover who is just starting to collect art?

MW: This may be cliché, but I would say “only buy what you love.” I would also say to try and collect the best work of an artist… don’t settle, don’t rush. If you really get the collecting bug and want to bring purpose and continuity to your collection, an art advisor, to me, is an invaluable part of this process. The relationship allows you to spend your time exploring art in a more streamlined way while avoiding potential pitfalls. A good advisor can open up doors to works you might not be able to otherwise secure, while at the same time advising you on the quality of the work and its pricing.

Absolutely! There are great advisors to collectors out there, but unfortunately very few advisors to artists. At newcube, a big part of what we do is to support, guide and advise up and coming artists throughout their career paths. As a collector who’s been building valuable relationships with the artists you collect, what advice would you give to up-and-coming artists today?

MW: I would tell them to price smart. You can always raise your prices, but it’s hard to lower them. Stay true to what is captivating your collectors initially until you build a solid following and then experiment more at that point, as your collectors will be willing to perhaps follow you over a cliff at that point (but likely not before). It is important for an artist to be able to articulate their practice with others. Last but not least, it is good to have a robust presence on Instagram, as that’s often how artists are first noticed in today’s world.

Thank you for these valuable tips. I particularly appreciate your take on how important it is for artists to be able to articulate their practice. In today’s competitive world, artists need to find ways to stand out and build a reliable support system around them. A big part of what you do as an art patron is to introduce these young artists to galleries or collectors that can help them grow. You’ve worked with galleries to place some artists. Can you tell us a little more about how you see these partnerships work?

MW: I really enjoy helping young artists, so when I see one that I think is exceptional and whose work hasn’t been shown in the US yet, I try to make an introduction to a few galleries in NYC to see where there is a fit. I am honored that the gallerists trust my eye and know me well from collecting. I have had great success with this and have organized three solo exhibitions this year alone. Half gallery had a solo exhibition of Katherine Qiyu-Su last year and is having another solo currently through March 15th this year. I personally own two of her works and I think it’s still a great opportunity to own this very talented artist’s work. Katherine paints these colorful and fantastic organic patterns on linen, which flicker between abstraction and figuration.

On an end note, any dream acquisition?

MW: I have a few. But I would love to own another painting by Mannat Gandotra – I just have to find a wall big enough to fit the painting I have my eye on. Mannat paints big and one of my favorite works I saw in her studio in London this past summer, but it was 9 feet high. It would indeed be a dream to own that painting or one that scale. I see her work as museum worthy. They exude an intense energy and are quite lyrical. Mannat aims to create these visually abstract universes that are alive and that seem endless in a way. They are full of foreign forms in bold colors intertwined with lines, which all come together to create this other world. And she talks so well of her own work, it’s all in all very captivating.

We also love Mannat’s work and can’t wait to see where she’s headed! We know she’s going places. Thank you Michael! Always a pleasure chatting with you!