The American dealer Vito Schnabel about his perspectives on curation ethics, NFTs and his reflection on the matters of diversity and representation within the gallery system
Emphasizing artistic appreciation over finances – Vito Schabel ethical entrepreneurship
To succeed in the ever-evolving art world is a high-wire performance. Most will assume it requires a flair for artistic tendencies combined with a sense of business. The type a poker player could have. But this is far from what Vito Scnhnabel, the American thirty-six-year-old art dealer would say. With a commitment to pushing the boundaries of creativity, and an ethic of honesty, and sensibility, Schnabel has carved a niche for himself among gallery owners, with a commitment to ethical entrepreneurship.
The ethic of honesty according to Vito Schanbel
At fourteen, Schnabel — whose father is the artist Julian Schnabel — already knew he wanted to open a gallery. Born in a family rooted in the art world, Schnabel was destined to inherit an artistic sensibility. 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 in the art world.
Ethical entrepreneurship in art: a different approach to work
«The interest Bruno has for his artist is contagious. And I feel lucky to be able to have the time that I’ve had with him», he said. Bischofberger’s vast experience left an indelible mark on Schnabel’s artistic development and approach to work, as he explains: «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, Schnabel met a group of young artists. Among them 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] showcasing along those upcoming artists, numerous ones varying in age, nationality, and plastic approach. «All of a sudden after the opening, people wanted to buy those young new artists I had shown». But 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», he explains in what can be considered ethical entrepreneurship.
Ethics and aesthetics in Vito Schnabel curatorial approach
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. In that matter, 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 Gerhard Richter. Or Heiner Friedrich, who created the Dia Art Foundation. «I think her story is so powerful, it’s 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», said Schnabel.
As a focus curator, Schnabel also seeks out artworks that look unprecedented, or rooted in an artistic heritage, yet surpassing it through personal approach. «As any great piece of music, they [the artists] take from what they’ve listened to but transcends it into their own», he explains.
Art representation in Vito Schnabel’s etichal galleries
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. And 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 first 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, providing a platform for Gorchov to showcase his artworks and reach further recognition. «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». And a few weeks ago at an auction, one of his pieces sold for over two hundred thousand.
Vito Schnabel gallery – from Sterling Ruby to Jordy Kerwick
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 color palettes and stylized compositions.
Art Representation – fostering inclusivity: a continual effort
When questioned about the breadth of diversity and inclusion within his artistic representation, Schnabel once again responds with utmost sincerity. «I’m aware and I’m happy that incredible art has come to the surface that I would’ve seen otherwise. But 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».
Vito Schnabel: gender and cultural disparity
Out of the twenty-one artists he represents, fifteen of them are men, while six are women. Fourteen of the represented artists hail from a white American background, with only one Asian and one South American artist. These numbers reveal a notable gender and cultural disparity within the roster of artists being represented by Schnabel. But for him, it is the talent of the artists with whom he collaborates that serve as the guiding force. Ensuring his authenticity and integrity. «I know what I think and once you start messing with that identity you get lost», said the curator.
On another hand, 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. It hit so many different notes». But 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.
Vito Schnabel about 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. He explains, «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. But 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», explains the gallery owner.
NFTs, Vito Schanbel’s ethical entrepreneurship
The Italian contemporary artist 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», he said before adding, «but it’ll be interesting to see where it lands». 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», he concluded.
The revolution the art world needs: gender representation in art
«Every great period of art history has been a reflection of what was going on in the world», said Schnabel. 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: «I think today we are in the middle of a revolution that will happen regardless». But, 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.
African Americans and the female artist – gender representation in art
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», said Schanbel. 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.
Art representation, gender representation
A survey conducted by the online art brokerage Artsy in 2020 in the United States, revealed that black artists constituted approximately 7 percent of the artists represented by art galleries. Similarly, in 2018, Asian artists accounted for approximately 8 percent 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 percent or fewer women. To cultivate an inclusive and equitable art world, gallery owners need to prioritize representation as a guiding principle.
To answer Vito Schnabel’s reflection on the subject, while the selection of artists should be guided by his artistic sensibility, it shouldn’t deter him from considering the needs of promoting greater diversity within the gallery system.
Vito Schanbel
Vito Schnabel was born on July 27, 1986. He is the son of artist and filmmaker Julian Schnabel and designer Jacqueline Beaurang. He has two sisters and two half-brothers. Schnabel attended Saint Ann’s School in Brooklyn.
