Collectors Bob And Jane Clark Regret Starting Late

(MENAFN- USA Art News) Collectors Bob and Jane Clark have expressed that their primary regret in art collecting is not starting their journey sooner. Bob Clark's passion for art evolved from his interest in architecture and design, naturally extending to Clayco, the design and construction company he established in 1984, which operates under the motto“The Art and Science of Building.” Today, the company showcases works from his collection in its offices nationwide.

Bob Clark mentioned to Observer during Aspen Art Week that his serious engagement with art collecting began around 2010, coinciding with him spending more time away from business and meeting his second wife, Jane, who became his partner in collecting. Jane, a former dentist, had a long-standing interest in art but limited time to pursue it until their marriage.“Since we've been married, I've been able to experience this whole new activity that I always wanted to pursue, in terms of going to art fairs and meeting artists,” she told Observer, adding,“It's fortunate that I was able to find a partner who also had an interest and a passion for pursuing the arts in this way.”

Early in their collecting, the couple encountered Theaster Gates before his career gained its current prominence. At that time, works by Black artists were just beginning to attract broader collector attention, swiftly becoming a key focus for the Clarks.“There were a few amazing artists who were doing well, but not like you see today,” Bob recalled. Their initial acquisitions included pieces by Derrick Adams, Rashid Johnson, Vaughn Spann, and Ebony G. Patterson, whose markets and reputations were still in development. The Clarks prioritized working with emerging artists, believing that“Helping artists created enthusiasm in us, being with them on the journey, seeing them grow as artists and become well known in the art community,” Jane explained. Another core principle was visibility, ensuring that all works were displayed rather than stored, whether in their own spaces or on loan to galleries and museums. They credit Kansas City collectors Sharon and John Hoffman as mentors, with Bob jokingly referring to his collection as the“Hoffman Expansion Collection” due to their encouragement to acquire art for personal enjoyment over investment.

The Clarks underscore the importance of human relationships in their acquisitions, citing connections with artists and gallerists who have guided them. Beyond Black artists, their collection has expanded to include works by Asian artists, and more recently, Indigenous and Native American artists, influenced by Jane's Filipino background and a collector friend. While their collection initially focused on portraiture, recent acquisitions have diversified into textile-based works, such as those by Jeffrey Gibson.

The Clayco offices provide unique exhibition opportunities. Bob explained that art in their Southwest offices, in Phoenix and Southern California, differs from works in Chicago, where they highlight local artists, including a significant portion of their collection by Black artists. He acknowledged galleries like Mariane Ibrahim for their role in bringing recognition to these artists. The collection also reflects Clayco's emphasis on diversity, with roughly 5,000 employees representing 46 languages. Bob shared that some team members feel“seen for the first time in their business careers” through the art collection, citing the impact of works like a Nick Cave Soundsuit, particularly for employees from similar backgrounds to Cave, who grew up near their St. Louis office.

Jane highlighted the educational aspect, noting how the company fosters art exposure for employees through programming, clear labeling, and office tours. Employees near specific pieces are encouraged to learn about them to explain their significance, reinforcing Clayco's“art and science” culture. This ambition led to hiring Stavroula Coulianidis, a young Greek-American curator, to manage and promote the collection and its related programs. Bob praised Coulianidis for making the collection more accessible through improved identification and office tours, stating,“The architects and graphic designers experience a different sensation than being in a typical corporate building. We're really living our mantra of the art and science of building.”

The Clarks primarily acquire works jointly, with over 90 percent of the collection reflecting mutual decisions, though each occasionally selects pieces based on individual taste. Bob joked that Jane tends to prefer more“macabre” art. Coulianidis has become integral to identifying artists and galleries, and presenting potential acquisitions within the collection's context. The couple regularly attends major art fairs, including Art Basel Miami Beach, Art Basel Hong Kong, the Armory Show, and Frieze Los Angeles, as sources of exposure. Jane mentioned an upcoming trip to South Korea for Frieze Seoul, anticipating exposure to new cultures and art genres. This year, they attended the Venice Biennale, where nine of their represented artists were exhibited. Their engagement extends beyond acquisition, with the Clarks and Clayco supporting institutions like the Contemporary Art Museum St. Louis, where Jane serves on the board, and the Saint Louis Art Museum.

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Source: Observer Arts

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