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Behind every work hanging at @phillipscollection is a commitment to preservation, care, and stewardship. These photos offer a glimpse into the thoughtful conservation work happening behind the scenes to help ensure these pieces can continue to inspire generations to come. #vangogh #lloydmcneillquartet #lloydmcneillart #matisse #johnsloanartist

Behind every work hanging at @phillipscollection is a commitment to preservation, care, and stewardship. These photos offer a glimpse into the thoughtful conservation work happening behind the scenes to help ensure these pieces can continue to inspire generations to come. #vangogh #lloydmcneillquartet #lloydmcneillart #matisse #johnsloanartist

Behind every work hanging at @phillipscollection is a commitment to preservation, care, and stewardship. These photos offer a glimpse into the thoughtful conservation work happening behind the scenes to help ensure these pieces can continue to inspire generations to come. #vangogh #lloydmcneillquartet #lloydmcneillart #matisse #johnsloanartist

Behind every work hanging at @phillipscollection is a commitment to preservation, care, and stewardship. These photos offer a glimpse into the thoughtful conservation work happening behind the scenes to help ensure these pieces can continue to inspire generations to come. #vangogh #lloydmcneillquartet #lloydmcneillart #matisse #johnsloanartist

What an amazing @phillipscollection gala!! Thank you to the greatest team ever. Thank you to all who love the Phillips. "Love is everywhere," and especially at the Phillips.

With sincere gratitude: @lucymercerbar @keithmcnallynyc @minettataverndc and @js.audio for your generous support.

What an amazing @phillipscollection gala!! Thank you to the greatest team ever. Thank you to all who love the Phillips. "Love is everywhere," and especially at the Phillips.

With sincere gratitude: @lucymercerbar @keithmcnallynyc @minettataverndc and @js.audio for your generous support.

What an amazing @phillipscollection gala!! Thank you to the greatest team ever. Thank you to all who love the Phillips. "Love is everywhere," and especially at the Phillips.

With sincere gratitude: @lucymercerbar @keithmcnallynyc @minettataverndc and @js.audio for your generous support.

What an amazing @phillipscollection gala!! Thank you to the greatest team ever. Thank you to all who love the Phillips. "Love is everywhere," and especially at the Phillips.

With sincere gratitude: @lucymercerbar @keithmcnallynyc @minettataverndc and @js.audio for your generous support.

What an amazing @phillipscollection gala!! Thank you to the greatest team ever. Thank you to all who love the Phillips. "Love is everywhere," and especially at the Phillips.

With sincere gratitude: @lucymercerbar @keithmcnallynyc @minettataverndc and @js.audio for your generous support.

What an amazing @phillipscollection gala!! Thank you to the greatest team ever. Thank you to all who love the Phillips. "Love is everywhere," and especially at the Phillips.

With sincere gratitude: @lucymercerbar @keithmcnallynyc @minettataverndc and @js.audio for your generous support.

What an amazing @phillipscollection gala!! Thank you to the greatest team ever. Thank you to all who love the Phillips. "Love is everywhere," and especially at the Phillips.

With sincere gratitude: @lucymercerbar @keithmcnallynyc @minettataverndc and @js.audio for your generous support.

I didn’t see this juxtaposition of Fra Angelico’s frescoes at San Marco with small Rothko panels. I wish I had. Two artists separated by five centuries who understood color and space as vehicles for the ineffable — light, transcendence, devotion rendered visible, material. San Marco is one of my favorite museums in the world, and this is exactly the kind of encounter it invites. Thank you @boltonbeatriz for sharing.
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@dailyrothko

I didn’t see this juxtaposition of Fra Angelico’s frescoes at San Marco with small Rothko panels. I wish I had. Two artists separated by five centuries who understood color and space as vehicles for the ineffable — light, transcendence, devotion rendered visible, material. San Marco is one of my favorite museums in the world, and this is exactly the kind of encounter it invites. Thank you @boltonbeatriz for sharing.
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@dailyrothko

I didn’t see this juxtaposition of Fra Angelico’s frescoes at San Marco with small Rothko panels. I wish I had. Two artists separated by five centuries who understood color and space as vehicles for the ineffable — light, transcendence, devotion rendered visible, material. San Marco is one of my favorite museums in the world, and this is exactly the kind of encounter it invites. Thank you @boltonbeatriz for sharing.
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@dailyrothko

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Fabulous quick trip to The Barnes Foundation to see "Henri Rousseau" on the last days of the exhibition, including two gems loaned from The Phillips Collection.

I was inculcated with a passion for Rousseau from an early age by Lawrence Steefel, a wildly enthusiastic modern art history professor at Washington University who captured me for the discipline. I've been delighted by the charm of Rousseau ever since...strange, wonderful, lighthearted, and always so earnest. There is nothing cynical or ironic about these whimsical, magical works.

And a few favorite snapshots of the Barnes permanent collection.… What struck me on this visit was the persistent tension between the art and the doctrinaire installation framework that insists on making demands of both viewer and object, prescribing how the work should be seen and how the experience should go. Art always outpaces theories of interpretation and prescriptions of meaning. At the Barnes, you can see and feel the works pressing against the constraints, struggling to be seen on their own terms. The art wins every time.

#henrirousseau @phillipscollection @barnesfoundation

Things my brilliant husband said in his op-ed in Art Newspaper today….

https://www.theartnewspaper.com/2025/11/06/comment-the-phillips-collection-museums-us-250th-anniversary

As the US’s 250th anniversary approaches, museums must keep pushing the American story forward.

The Phillips Collection was founded amid a president’s calls for a return to “normalcy”, and today the museum is addressing a city and a country grappling with a similar dynamic.

Things my brilliant husband said in his op-ed in Art Newspaper today….

https://www.theartnewspaper.com/2025/11/06/comment-the-phillips-collection-museums-us-250th-anniversary

As the US’s 250th anniversary approaches, museums must keep pushing the American story forward.

The Phillips Collection was founded amid a president’s calls for a return to “normalcy”, and today the museum is addressing a city and a country grappling with a similar dynamic.

Things my brilliant husband said in his op-ed in Art Newspaper today….

https://www.theartnewspaper.com/2025/11/06/comment-the-phillips-collection-museums-us-250th-anniversary

As the US’s 250th anniversary approaches, museums must keep pushing the American story forward.

The Phillips Collection was founded amid a president’s calls for a return to “normalcy”, and today the museum is addressing a city and a country grappling with a similar dynamic.

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

Sometimes I find myself in the rarest of privileged positions, and last night’s opening of "Dyani White Hawk: Love Language" at the Walker Art Center was one of them.

I am deeply grateful to have been invited and welcomed into the Lakota ceremony that preceded the exhibition opening celebration. Lasting 2-1/2 hours, it included a drum circle, stirring talks centered on the exhibition’s themes—See, Honor, Nurture, and Celebration—along with loving, funny, and generous remarks from Dyani’s friends, family, and important voices in the Native American community in the region.
I’ve never experienced anything like it, let alone inside a US art museum. The warmth, depth, openness, and sense of kinship among Dyani’s Lakota relatives (broadly writ, as I learned and felt) was memorable and transformative. It really was a privilege to be there, to be in a space I would otherwise never have the opportunity to occupy.

Thank you and congratulations to Dyani, the Walker, and everyone who made the evening and exhibition possible.

The exhibition itself is superlative, flawlessly curated and breathtaking in scope. The elegant presentation reveals the full range of Dyani's expressive power and true mastery of diverse media. Her ability to put down, shape, and assemble materials verges on the alchemical. I love this work deeply. No wonder the exhibition is called "Love Language."

@dwhitehawk
@walkerartcenter
@bockleygallery
@alexandergrayassociates

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

My visit with FRA ANGELICO at @palazzostrozzi

1. MOTHER AND CHILD
2. MARY MAGDALENE’S REPENTANCE
3. TROMPE L’OEIL
4. MARY MAGDALENE IS A POP STAR
5. THE FRIARS DO WELL IN THE END
6. THE MOCKING OF CHRIST
7. I FEEL LIKE THOMAS STRUTH
8. I’M RUBBER YOUR GLUE
9. NEW YORK TIMES ILLUSTRATION. I LOVED YOUR PIECE @jasonfarago
10. BACK TOGETHER AGAIN
11. FRA ANGELICO’S HANDWRITING
12. THE PALACE
13. THE BIG ONE: THE STROZZI ALTARPIECE

Outstanding must-see exhibition (my crappy photos of the art cannot do justice to the work so you’ll just have to go see it for yourself at the National Gallery or the Getty) And we bumped into co-curator Philip Brookman.

Outstanding must-see exhibition (my crappy photos of the art cannot do justice to the work so you’ll just have to go see it for yourself at the National Gallery or the Getty) And we bumped into co-curator Philip Brookman.

Just keep looking

Just keep looking

Just keep looking

Just keep looking

Just keep looking

“It’s not every day you can to walk through a Dubuffet.”
Jardin d’émail by Jean Dubuffet is a walled ‘garden’ designed specifically for the Kröller-Müller Museum in 1974.

“It’s not every day you can to walk through a Dubuffet.”
Jardin d’émail by Jean Dubuffet is a walled ‘garden’ designed specifically for the Kröller-Müller Museum in 1974.

“It’s not every day you can to walk through a Dubuffet.”
Jardin d’émail by Jean Dubuffet is a walled ‘garden’ designed specifically for the Kröller-Müller Museum in 1974.

It’s been a joyful, whirlwind stretch at The Phillips Collection—full of big moments, exciting transitions, and well-deserved celebrations.
*
We toasted and bid a fond farewell to our extraordinary Board Chair, John Despres. See John with the Binstock family dog, Yoki (yes, she’s part of the festivities too), and then swipe to see John catching a tribute from Chair Emeritus George Vradenburg (John is now a part of the Chair Emeritus club at the Phillips). That’s John along the left margin of the photo, surrounded by his lovely family. The celbratory toasts and dinner were a fitting send-off for a leader who’s meant so much to me personally, and to our museum.
*
We also welcomed the brilliant photographer Richard Learoyd to celebrate the acquisition of three of his monumental works, bringing the total number of Learoyds in our collection to five. Richard works with a camera obscura (think pinhole camera, but with highly sophisticated lenses), creating images that feel more like magic than photography. They’re otherworldly. Having Richard with us was a terrific treat.
*
Then came the opening of VIVIAN BROWNE: MY KIND OF PROTEST, a show that’s as powerful as it is overdue. Browne was an abstract painter at a time when making that choice was, in her words, a form of protest. She stood for her beliefs and for her art, and the results are breathtaking. Her family joined us for the opening, and seeing the show with them—so beautifully installed in our intimate galleries—was deeply moving.
*
And finally… a little personal highlight: me with one of my many favorite paintings in the Collection—Picasso’s 1930s portrait of Dora Maar—freshly hung for the first time since I arrived at the Phillips. Thrilling!

#PhillipsCollection #MuseumLife #RichardLearoyd #VivianBrowne #MyKindOfProtest #WomenInArt #Picasso #DoraMaar

It’s been a joyful, whirlwind stretch at The Phillips Collection—full of big moments, exciting transitions, and well-deserved celebrations.
*
We toasted and bid a fond farewell to our extraordinary Board Chair, John Despres. See John with the Binstock family dog, Yoki (yes, she’s part of the festivities too), and then swipe to see John catching a tribute from Chair Emeritus George Vradenburg (John is now a part of the Chair Emeritus club at the Phillips). That’s John along the left margin of the photo, surrounded by his lovely family. The celbratory toasts and dinner were a fitting send-off for a leader who’s meant so much to me personally, and to our museum.
*
We also welcomed the brilliant photographer Richard Learoyd to celebrate the acquisition of three of his monumental works, bringing the total number of Learoyds in our collection to five. Richard works with a camera obscura (think pinhole camera, but with highly sophisticated lenses), creating images that feel more like magic than photography. They’re otherworldly. Having Richard with us was a terrific treat.
*
Then came the opening of VIVIAN BROWNE: MY KIND OF PROTEST, a show that’s as powerful as it is overdue. Browne was an abstract painter at a time when making that choice was, in her words, a form of protest. She stood for her beliefs and for her art, and the results are breathtaking. Her family joined us for the opening, and seeing the show with them—so beautifully installed in our intimate galleries—was deeply moving.
*
And finally… a little personal highlight: me with one of my many favorite paintings in the Collection—Picasso’s 1930s portrait of Dora Maar—freshly hung for the first time since I arrived at the Phillips. Thrilling!

#PhillipsCollection #MuseumLife #RichardLearoyd #VivianBrowne #MyKindOfProtest #WomenInArt #Picasso #DoraMaar

It’s been a joyful, whirlwind stretch at The Phillips Collection—full of big moments, exciting transitions, and well-deserved celebrations.
*
We toasted and bid a fond farewell to our extraordinary Board Chair, John Despres. See John with the Binstock family dog, Yoki (yes, she’s part of the festivities too), and then swipe to see John catching a tribute from Chair Emeritus George Vradenburg (John is now a part of the Chair Emeritus club at the Phillips). That’s John along the left margin of the photo, surrounded by his lovely family. The celbratory toasts and dinner were a fitting send-off for a leader who’s meant so much to me personally, and to our museum.
*
We also welcomed the brilliant photographer Richard Learoyd to celebrate the acquisition of three of his monumental works, bringing the total number of Learoyds in our collection to five. Richard works with a camera obscura (think pinhole camera, but with highly sophisticated lenses), creating images that feel more like magic than photography. They’re otherworldly. Having Richard with us was a terrific treat.
*
Then came the opening of VIVIAN BROWNE: MY KIND OF PROTEST, a show that’s as powerful as it is overdue. Browne was an abstract painter at a time when making that choice was, in her words, a form of protest. She stood for her beliefs and for her art, and the results are breathtaking. Her family joined us for the opening, and seeing the show with them—so beautifully installed in our intimate galleries—was deeply moving.
*
And finally… a little personal highlight: me with one of my many favorite paintings in the Collection—Picasso’s 1930s portrait of Dora Maar—freshly hung for the first time since I arrived at the Phillips. Thrilling!

#PhillipsCollection #MuseumLife #RichardLearoyd #VivianBrowne #MyKindOfProtest #WomenInArt #Picasso #DoraMaar

It’s been a joyful, whirlwind stretch at The Phillips Collection—full of big moments, exciting transitions, and well-deserved celebrations.
*
We toasted and bid a fond farewell to our extraordinary Board Chair, John Despres. See John with the Binstock family dog, Yoki (yes, she’s part of the festivities too), and then swipe to see John catching a tribute from Chair Emeritus George Vradenburg (John is now a part of the Chair Emeritus club at the Phillips). That’s John along the left margin of the photo, surrounded by his lovely family. The celbratory toasts and dinner were a fitting send-off for a leader who’s meant so much to me personally, and to our museum.
*
We also welcomed the brilliant photographer Richard Learoyd to celebrate the acquisition of three of his monumental works, bringing the total number of Learoyds in our collection to five. Richard works with a camera obscura (think pinhole camera, but with highly sophisticated lenses), creating images that feel more like magic than photography. They’re otherworldly. Having Richard with us was a terrific treat.
*
Then came the opening of VIVIAN BROWNE: MY KIND OF PROTEST, a show that’s as powerful as it is overdue. Browne was an abstract painter at a time when making that choice was, in her words, a form of protest. She stood for her beliefs and for her art, and the results are breathtaking. Her family joined us for the opening, and seeing the show with them—so beautifully installed in our intimate galleries—was deeply moving.
*
And finally… a little personal highlight: me with one of my many favorite paintings in the Collection—Picasso’s 1930s portrait of Dora Maar—freshly hung for the first time since I arrived at the Phillips. Thrilling!

#PhillipsCollection #MuseumLife #RichardLearoyd #VivianBrowne #MyKindOfProtest #WomenInArt #Picasso #DoraMaar

It’s been a joyful, whirlwind stretch at The Phillips Collection—full of big moments, exciting transitions, and well-deserved celebrations.
*
We toasted and bid a fond farewell to our extraordinary Board Chair, John Despres. See John with the Binstock family dog, Yoki (yes, she’s part of the festivities too), and then swipe to see John catching a tribute from Chair Emeritus George Vradenburg (John is now a part of the Chair Emeritus club at the Phillips). That’s John along the left margin of the photo, surrounded by his lovely family. The celbratory toasts and dinner were a fitting send-off for a leader who’s meant so much to me personally, and to our museum.
*
We also welcomed the brilliant photographer Richard Learoyd to celebrate the acquisition of three of his monumental works, bringing the total number of Learoyds in our collection to five. Richard works with a camera obscura (think pinhole camera, but with highly sophisticated lenses), creating images that feel more like magic than photography. They’re otherworldly. Having Richard with us was a terrific treat.
*
Then came the opening of VIVIAN BROWNE: MY KIND OF PROTEST, a show that’s as powerful as it is overdue. Browne was an abstract painter at a time when making that choice was, in her words, a form of protest. She stood for her beliefs and for her art, and the results are breathtaking. Her family joined us for the opening, and seeing the show with them—so beautifully installed in our intimate galleries—was deeply moving.
*
And finally… a little personal highlight: me with one of my many favorite paintings in the Collection—Picasso’s 1930s portrait of Dora Maar—freshly hung for the first time since I arrived at the Phillips. Thrilling!

#PhillipsCollection #MuseumLife #RichardLearoyd #VivianBrowne #MyKindOfProtest #WomenInArt #Picasso #DoraMaar

It’s been a joyful, whirlwind stretch at The Phillips Collection—full of big moments, exciting transitions, and well-deserved celebrations.
*
We toasted and bid a fond farewell to our extraordinary Board Chair, John Despres. See John with the Binstock family dog, Yoki (yes, she’s part of the festivities too), and then swipe to see John catching a tribute from Chair Emeritus George Vradenburg (John is now a part of the Chair Emeritus club at the Phillips). That’s John along the left margin of the photo, surrounded by his lovely family. The celbratory toasts and dinner were a fitting send-off for a leader who’s meant so much to me personally, and to our museum.
*
We also welcomed the brilliant photographer Richard Learoyd to celebrate the acquisition of three of his monumental works, bringing the total number of Learoyds in our collection to five. Richard works with a camera obscura (think pinhole camera, but with highly sophisticated lenses), creating images that feel more like magic than photography. They’re otherworldly. Having Richard with us was a terrific treat.
*
Then came the opening of VIVIAN BROWNE: MY KIND OF PROTEST, a show that’s as powerful as it is overdue. Browne was an abstract painter at a time when making that choice was, in her words, a form of protest. She stood for her beliefs and for her art, and the results are breathtaking. Her family joined us for the opening, and seeing the show with them—so beautifully installed in our intimate galleries—was deeply moving.
*
And finally… a little personal highlight: me with one of my many favorite paintings in the Collection—Picasso’s 1930s portrait of Dora Maar—freshly hung for the first time since I arrived at the Phillips. Thrilling!

#PhillipsCollection #MuseumLife #RichardLearoyd #VivianBrowne #MyKindOfProtest #WomenInArt #Picasso #DoraMaar

It’s been a joyful, whirlwind stretch at The Phillips Collection—full of big moments, exciting transitions, and well-deserved celebrations.
*
We toasted and bid a fond farewell to our extraordinary Board Chair, John Despres. See John with the Binstock family dog, Yoki (yes, she’s part of the festivities too), and then swipe to see John catching a tribute from Chair Emeritus George Vradenburg (John is now a part of the Chair Emeritus club at the Phillips). That’s John along the left margin of the photo, surrounded by his lovely family. The celbratory toasts and dinner were a fitting send-off for a leader who’s meant so much to me personally, and to our museum.
*
We also welcomed the brilliant photographer Richard Learoyd to celebrate the acquisition of three of his monumental works, bringing the total number of Learoyds in our collection to five. Richard works with a camera obscura (think pinhole camera, but with highly sophisticated lenses), creating images that feel more like magic than photography. They’re otherworldly. Having Richard with us was a terrific treat.
*
Then came the opening of VIVIAN BROWNE: MY KIND OF PROTEST, a show that’s as powerful as it is overdue. Browne was an abstract painter at a time when making that choice was, in her words, a form of protest. She stood for her beliefs and for her art, and the results are breathtaking. Her family joined us for the opening, and seeing the show with them—so beautifully installed in our intimate galleries—was deeply moving.
*
And finally… a little personal highlight: me with one of my many favorite paintings in the Collection—Picasso’s 1930s portrait of Dora Maar—freshly hung for the first time since I arrived at the Phillips. Thrilling!

#PhillipsCollection #MuseumLife #RichardLearoyd #VivianBrowne #MyKindOfProtest #WomenInArt #Picasso #DoraMaar

This year, the Phillips celebrated Jarl Mohn @jarlmohn at its annual Gala, giving him our most prestigious honor, the Duncan Phillips Award. This award recognizes collectors and patrons who embody the spirit of Duncan Phillips’s passion for art and his belief in its role as “part of the social purpose of the world.” Like Phillips, Jarl understands how art, artists, and art organizations can positively impact society, and he demonstrates this convincingly by the nature of his deep engagement with the Los Angeles art community. 

I am also grateful to call Jarl a dear friend who has profoundly influenced my life and career. I met him in 2007 when I was Senior Advisor in Citi Private Bank’s Art Advisory Service. Ironically, my role was to advise Jarl, but I learned more from him than he did from me. Just look at his creation of MAC3, the Mohn Art Collective—an unheralded, endowed partnership between the Hammer Museum @hammer_museum, MOCA LA @moca, and LACMA @lacma to share the responsibility of collecting and stewarding the work of emerging Los Angeles artists.

Jarl believes in the power of the Los Angeles art community to strengthen civil society. Through his encouragement of artists and his efforts to unite people and institutions around art, Jarl shows us that the values and lessons of Duncan Phillips’s life remain alive and deeply relevant. Thank you, Jarl, and congratulations!

This year, the Phillips celebrated Jarl Mohn @jarlmohn at its annual Gala, giving him our most prestigious honor, the Duncan Phillips Award. This award recognizes collectors and patrons who embody the spirit of Duncan Phillips’s passion for art and his belief in its role as “part of the social purpose of the world.” Like Phillips, Jarl understands how art, artists, and art organizations can positively impact society, and he demonstrates this convincingly by the nature of his deep engagement with the Los Angeles art community. 

I am also grateful to call Jarl a dear friend who has profoundly influenced my life and career. I met him in 2007 when I was Senior Advisor in Citi Private Bank’s Art Advisory Service. Ironically, my role was to advise Jarl, but I learned more from him than he did from me. Just look at his creation of MAC3, the Mohn Art Collective—an unheralded, endowed partnership between the Hammer Museum @hammer_museum, MOCA LA @moca, and LACMA @lacma to share the responsibility of collecting and stewarding the work of emerging Los Angeles artists.

Jarl believes in the power of the Los Angeles art community to strengthen civil society. Through his encouragement of artists and his efforts to unite people and institutions around art, Jarl shows us that the values and lessons of Duncan Phillips’s life remain alive and deeply relevant. Thank you, Jarl, and congratulations!

This year, the Phillips celebrated Jarl Mohn @jarlmohn at its annual Gala, giving him our most prestigious honor, the Duncan Phillips Award. This award recognizes collectors and patrons who embody the spirit of Duncan Phillips’s passion for art and his belief in its role as “part of the social purpose of the world.” Like Phillips, Jarl understands how art, artists, and art organizations can positively impact society, and he demonstrates this convincingly by the nature of his deep engagement with the Los Angeles art community. 

I am also grateful to call Jarl a dear friend who has profoundly influenced my life and career. I met him in 2007 when I was Senior Advisor in Citi Private Bank’s Art Advisory Service. Ironically, my role was to advise Jarl, but I learned more from him than he did from me. Just look at his creation of MAC3, the Mohn Art Collective—an unheralded, endowed partnership between the Hammer Museum @hammer_museum, MOCA LA @moca, and LACMA @lacma to share the responsibility of collecting and stewarding the work of emerging Los Angeles artists.

Jarl believes in the power of the Los Angeles art community to strengthen civil society. Through his encouragement of artists and his efforts to unite people and institutions around art, Jarl shows us that the values and lessons of Duncan Phillips’s life remain alive and deeply relevant. Thank you, Jarl, and congratulations!