Kim Manocherian Transforms Her Manhattan Terrace with Art Collection

Kim Manocherian, an avid collector and arts patron known for her extensive Paula Rego collection transforms her Manhattan terrace into a stunning summer outdoor show. The owner of the iconic "Sleepwalker" sculpture that was once placed at the New York's Highline and quite controversial, Manocherian is no newbie to acquiring works that are provocative, and confrontational.

Over the past four decades, Manocherian has built a personal, yet bold collection, featuring works from the likes of both renowned and emerging artists such as Sarah Lucas, Alice Neel, Gertrude Abercrombie, and William Kentridge; and while most of her art is displayed throughout her penthouse—ranging from a punching bag by Jeffrey Gibson to Rego's dramatic ceiling-to-floor painting "The Maids"—her sculpture collection is given space to breathe in this summer rotation.

With great taste and careful selection, her terrace is currently adorned with works by Willie Cole, Austin Eddy, Jackie Klempay, Urs Fischer, and Balata Rubber. Notable pieces include "The Worrier" by Willie Cole, "City Bird" by Austin Eddy, "Jerry and the Marble Faun" by Jackie Klempay, "Asymmetry" by Urs Fischer, and "Elephant with Mice" by Balata Rubber.

Named after a folklore character, Scheherazade, depicted in a portrait painting of Manocherian by the late feminist artist Paula Rego, this collection is giving “take it or leave it attitude”. It’s unapologetic in its nature and undeniably not one to overlook.

While exploring the concepts of beauty, identity, and gender inequalities, Manocherian's terrace is a great example of how collectors can transform private outdoor spaces into lively, public art displays. A newly grandmother, art currently caught up with the collector about her recent terrace rotation and what’s next to her collection.

What are some of the works you’re placing on your terrace at the moment? Do they change every year?

I love having art on my terrace but I also don't want the art to take over the living space. I have enough trouble finding space for living in my home as the art is the focus and seating is secondary! So when I have visitors; there's a lot of moving things around.

I’ve had a Willie Cole shoe sculpture called The Worrier on the terrace since I've been here and he's probably permanent. Francis Upritchard made this whimsical little bronze elephant with a couple of mice hanging on; I fell in love. Elephants and cats are my favorite creatures but it's the whimsy that drew me in. While answering this interview, Anton Kern Gallery alerted me to another Upritchard; this time a monkey.

The Tony Matelli, although a nightmare for me to install; is so strong it takes over the personality of my space so that is temporary. I'm always looking but I need work that doesn't take over. Last year I fell in love with a Dana Schutz sculpture at Zwirner. They set up a cardboard model and we all realized it was just too big for the space… heartbreaking.

With a 4-week old- granddaughter; she is very much on my mind with new work I acquire. It thrills me to think she will get some joy and laughter from some of the whimsical work; while unconsciously learning about art!

Being that "The Maids" just arrived in time for the Spring/Summer - we wonder, do you remember the first time you came across the work of Paula Rego? How did it make you feel?

The first time I saw Paula Rego's work it was an article in an interior magazine and I went berserk. I found out immediately the work was only in London and that week my mother went with me to see the work in London. I couldn't believe I had never encountered her work before that point. John Erle Drax showed me two works. They were both the same price and both more than I had ever spent. I chose the less daring one; one of my few art regrets. But it began my love affair with both the work and my relationship with Paula and the two people at the gallery who dealt with her and her work; John as mentioned, and Frankie Rossi.

About three years after that first visit; Marlborough Gallery bought back some of Paula's most important work from Satchi who had bought it for a song in the 80's. That is when I first saw the painting The Maids in person. I told John that I didn't think I could ever afford it but would he give me notice if they were getting ready to sell it so maybe I could borrow the money? Four years after that and a lot of sweat and tears; I was able to borrow money to buy the maids. It immediately went on loan to museums all over Europe including a solo show at the Tate "proper". Year six it was shipped back to the U.S., where I then had to pay extraordinary taxes but I sent it to storage because I was sure I could talk to NYC museums and they would want to borrow The Maids for a show. I was very naive, as that is not a task for a collector - I honestly was doing it because I promised Paula I would do everything I could as it was so important to her to be in important American museums. So I rented a crane and had it lifted into my apartment where it now resides.

What motivated you to focus your collection so heavily on women’s rights and feminist themes?

Just as the artist is telling their story with their work; I am sadly lacking that gift but I too am expressing my story with what I choose. My mother once pointed out that I seem to collect pieces with something in common for a period of time and then it changes. For instance, there was a period where none of the work had eyes or eye contact. It was a very astute observation that I had never noticed but as it was pretty spot on to that time of my life; I learned to pay close attention now.

How do you envision the future of your collection?

It is my hope that my collection can serve as a point of departure for important conversations. I have many thoughts about what direction I want to go but I have also learned that the expression "man plans, god laughs" is a very true one. I've become more flexible. Before my granddaughter was born I would have told you that I wanted to buy even more provocative work. But at the moment I am more focused on whimsy and humor because I am thinking of my granddaughter and other grandchildren and introducing them to the joy of art. But I can't control my perverse side. It always surfaces.