'It was as if the painting was calling out to me': Kim Manocherian on why collecting means playing the long game

Kim Manocherian began her collecting journey in 1992 with a series of hand-coloured lithographs of Andy Warhol’s shoes Romer Pedron
The New York-based collector Kim Manocherian is said to have the world’s largest holding of works by the late British-Portuguese artist Paula Rego, and much of the rest of her collection (numbering about 600 pieces in all) follows in a similar vein, with an emphasis on works made by women and with strong narrative elements. She lends generously to institutional shows in the US and abroad from her collection, which also includes works by Alice Neel, Sarah Lucas, Vanessa German, Chantal Joffe, Mary Beth Edelson, Louise Bourgeois and more. She spoke to The Art Newspaper about her approach to collecting and her favourite spot for dinner and a drink near Frieze New York.
The Art Newspaper: What was the first work you ever bought?
Kim Manocherian: In 1992, I purchased a series of hand-coloured lithographs of Andy Warhol’s shoes from Susan Sheehan Gallery.
What was the most recent work you bought?
A painting titled Gezeichnet (2018) by Miriam Cahn that I discovered at a Christie’s auction in London this past October. I was bidding on another piece when my attention gravitated towards Cahn’s painting that appeared across the screen. Despite having little information about the artist, and the pressure of making a split-second decision, I couldn’t shake off the feeling it left me with; it was as if the painting was calling out to me. I reached out to every gallery that represented the artist and was offered other available works, but none of them resonated with me the way that one did at the auction. Months later, the painting became available. It felt like a sign, a second chance to bring this painting into my life.
What is the most unusual place you’ve installed a piece in your home?
I once installed Nancy Becker’s Head of Medusa on my bathroom ceiling, but I would say Sam Jinks’s hyper-realistic sculpture Woman and Child (2010), an elderly woman holding a baby, has had the most interesting journey in my apartment. I think she is exquisite, but it seems that if she is at the foot of your bed, she can be a little unsettling. I’ve had to move her around my apartment, depending on who is visiting.
What do you regret not buying when you had the chance?
There was a Paula Rego painting that I saw in another London auction. Once again, it wasn’t what I went in for, and I wasn’t prepared. Clearly, there’s a lesson there. Anyway, I bid on it, but it went for more than I was willing to spend. I couldn’t get it out of my mind—and, many years later, it came up again in an auction. Once again, it went for more than I felt was justified, so I passed. I wish I had the pleasure of looking at the painting every day, but I never want to look at a work and only see what I paid for it.
What’s your least favourite thing about art fairs?
There are times when I feel like the galleries and even the art are not changing, and I suddenly don’t even know what country I’m in anymore. You can feel the country’s pulse at an art fair—the excitement, or lack thereof, is palpable. If you’re looking to buy at fairs, it can become hard to focus with so many people crowding the stands and so much to see. It can become an assault on the senses!
Where do you like to eat and drink in or near Chelsea and Hudson Yards?
That is easy; I love the restaurant and bar Greywind on Tenth Avenue. Chef Dan Kluger is exceptional. The service is consistent. The ambience is comfortable and chic, and the bar is a throwback to another time. I also love Chef Dan’s more casual restaurant, Loring Place, on Eighth Street. My absolute favourite place for breakfast, lunch or dinner in Chelsea is Empire Diner. For me, the ultimate goal is to have exceptional food in a comfortable environment.
What are you most looking forward to during the fairs and auctions in New York this month?
I have been collecting for more than 40 years and have developed great friendships with gallerists from other countries. My favourite thing about the fairs is the chance to see friends. I also love attending fairs with someone I can trust, and my go-to person is my dear friend Carolyn Lane Steins, founder of Inspired-Collecting. She was my art consultant for years before I had the confidence to do my own hunting. But our friendship remained, and we go to many art fairs together. It’s nice to get another perspective on art and to banter with a friend who is knowledgeable at fairs. After that, it is possible to find an artist I didn’t know before—I love (and hate) the hunt—and when I do, it’s a score!
If you could have any work from any museum in the world, what would it be?
Honestly, my answer changes every time I’m at a museum. There is always something heart-stopping; no one work is the end-all. How could there be? The most recent was Paula Rego’s War (2003) painting, now at the Tate. It’s emotional and incredibly powerful. It has a combination of sweet and delicate colours depicting the most horrific issues. But I’m always changing, and art speaks to me on a very primal level, depending on my mood and on what’s going on in my life.

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