Renowned art enthusiast Kim Manocherian has dedicated four decades to curating a diverse collection of over 600 works with a special emphasis on the work of female artists. Kim’s remarkable collection includes works by feminist icons such as Paula Rego, Mary Beth Edelson, Alice Neel, and Louise Bourgeois. Through her philanthropy and advocacy, Kim strives to amplify the voices of women in the art world and beyond. Join us in conversation with Kim as we explore her inspiring journey and the impact of her collection on shaping a more inclusive and equitable artistic landscape.

Your collection is named after Scheherazade, the heroine from One Thousand and One Nights. Can you tell us more about the significance of this character in relation to your collection, and how her story resonates with your own journey as an art collector?

Early on, I realized that my interests lie in storytelling, but it was only after my friend and late artist Paula Rego portrayed me as Scheherazade in her painting that I really embraced it. I connected deeply with the character because she was strong and wove tales to save herself and other women. I see art as a medium through which narratives are preserved, which has been a guiding force behind my collection.

Many of the artists in my collection are women, which was not intentional at first, but supporting women who are telling a story themselves is a gateway for me. Embodying Sheherazade's attitude towards saving other women is a story that really resonates with me.

Kara Walker, Another Time Traveling Afro-Crone Bends Your Future to Rectify Her Past (2023). Courtesy of Kim Manocherian.

You've mentioned in other interviews, having a special appreciation for self-trained women artists like Vanessa German and Mokarrameh Ghanbari. Can you share more about what draws you to their work and their inclusion in your collection?

Among the self-trained women artists, and even some of the formally trained, I am drawn to those who use art as a tool to navigate their personal traumas. I find it incredibly powerful that art can serve as a form of expression for healing, not just for the artists but also for me, the collector, and others who engage with these artworks. I am drawn by the raw emotions exuded in paintings that serve as a reminder of human growth and evolution.

Paula Rego, In the Garden (1986). Courtesy of Kim Manocherian.

You’ve loaned and donated several collection pieces to institutions worldwide, such as Tate Britain, Musée de l’Orangerie and to MoMA. How do you hope your contributions will impact the representation of female artists in these institutions' collections?

My goal in contributing to museums is to spark conversations about the importance of gender diversity in the arts and women’s rights and encourage institutions to acquire new perspectives. I hope one day Paula Rego, undeniably one of the greatest woman artists of our generation, receives the recognition she deserves in a US museum, and as always, I’m enthusiastic about sharing important works from my collection.

Paula Rego, Untitled No. 4 (1998). Courtesy of Kim Manocherian.

Before your involvement in the art world, you were the CEO of your family's business, the New York Health and Racquet Club. How did your background in business influence your approach to art collecting and your commitment to supporting female artists?

I cannot say that my experience as CEO of the New York Health and Racquet Club, which was part of my life for 46 years, directly related to my collecting so many female artists. It did, however, encourage my support for artists beyond collecting. For example, I came across Jeffrey Gibson, whose work I was drawn to despite not being a female artist. Gibson’s exploration of Native American culture and identity struck a chord, and I personally valued it, so I donated punching bags from the club to show my support for his creative process.

Working with my family has influenced me. My upbringing, with a father who migrated here from Iran and a family dynamic that included both male and female siblings, definitely influenced my perspective on gender roles and cultural identity. Iranian culture, with its views on a women’s role, instilled in me the urgency to challenge societal norms and advocate for gender equality. In leading a predominantly female team at the clubs, I witnessed firsthand the strength and resilience of women in powerful roles. Through supporting women artists and art generally, I found a platform to express my frustrations and advocate for change.

Paula Rego, Untitled No. 4 (1998). Courtesy of Kim Manocherian.

Looking ahead, are there any specific artists or types of artwork you're hoping to add to your collection in the near future? What draws you to these particular artists or styles?

I’m always on the lookout for visceral, physiological, and typically figurative art with some kind of confrontational narrative. Most of which my body and soul react to, but lately, I’ve been more particular about what I acquire as I have much more art than walls! I do not buy at the top of the market or purchase art as an investment, nor will I buy art that feels like a bad investment. But ultimately, this is my legacy for my children, so I always have that in mind.

Left: Jeffrey Gibson, Homma 2013). Right: Jeffrey Gibson, Figure No. 3 (2014). Courtesy of Kim Manocherian.

Lastly, if you could impart one piece of advice to aspiring art collectors, particularly those interested in promoting female artists and underrepresented voices, what would it be?

I would say be intentional about collecting, but don’t ignore that gut feeling you get when you see an artwork you’re drawn to; if you follow your instinct, there might just be a pattern or a start to an exceptional collection. Connecting with artists you enjoy collecting is important, too. I would also suggest showing up to artists' exhibition openings, studio visits where possible, or any way you could support them aside from collecting. It’s rewarding!