Inside the Collection: Christine Mack Is Redefining the Future of Art Patronage

Last month, the Southampton Arts Center debuted “Beyond the Present: Collecting for the Future,” an exhibition curated by Christine Mack and art historian Natasha Schlesinger, who also serves as Executive Director of the Arts Center. The show featured artwork from the Christine Mack Art Collection, which Mack has thoughtfully built over two decades, with a dedicated focus on contemporary art and emerging voices.

Mack’s passion for nurturing artists led her to establish the Mack Art Foundation, a unique initiative providing studio space and housing in New York City for artists who live outside the city. Mack remains deeply involved in the foundation’s operations, personally selecting artists and supporting their professional growth, from portfolio development to practical aspects like headshots and self-promotion. This hands-on approach ensures that artists receive meaningful, ongoing support beyond just exposure.

“Beyond the Present: Collecting for the Future” not only showcases works by artists affiliated with the foundation but also includes pieces from Christine Mack’s broader collection, reflecting her commitment to diversity, innovation, and evolving artistic dialogue. During the exhibition’s opening, Mack sat down with Whitewall to discuss the inspiration behind the show and her evolving journey as a collector who champions the future of contemporary art.

Christine Mack and a Lifelong Passion for Art

WHITEWALL: When did your love for art first begin? Can you recall a moment that sparked it?

CHRISTINE MACK: I believe the spark truly ignited when I moved to New York at the age of 19. I was studying at Parsons and spent every spare moment running around the city, exploring exhibitions and museum shows. But the real turning point came when I attended my first Art Basel Miami Beach 20 years ago. That was when I realized the sheer scale and energy of the global art world. I felt like a kid in a candy store-completely overwhelmed in the best way. That’s when the art bug officially bit me.

WW: Is there a simple way you’d recommend people connect with art in their everyday lives, even if they’re not collectors?

CM: Absolutely- you don’t need to be a collector to appreciate or connect with art. There’s so much access now, from public art installations and street murals to museums, sculpture parks, and galleries that are free and open to the public. Even scrolling through art websites or reading art publications can be a great way to discover new artists and perspectives. Art is everywhere-you just have to be curious and open to experiencing it.

Collecting with Purpose and Intuition

WW: Are there any particular themes, artists, or mediums you’re currently drawn to as you expand your collection?

CM: I’ve been drawn to thematic collecting since the very beginning. Over the years, I’ve built a strong collection of works by Black artists, emerging female voices, and contemporary painters whose practices incorporate surrealist undertones and references. While figurative art has always been a core interest, I’ve recently become increasingly intrigued by works that blur the line between figuration and abstraction- like a George Rouy painting I recently acquired that beautifully embodies that fusion. I also have a deep connection to Nordic art, which reflects my roots, and more recently, I’ve developed a growing interest in textiles and ceramics, two mediums I’ve just begun to explore in my collection. It’s always evolving shaped by personal resonance, curiosity, and a desire to engage with the perspectives shaping the future of art.

WW: What’s the most unexpected place you’ve ever discovered or acquired a piece of art?

CM: One of the most unexpected places I’ve encountered art was during a recent trip to Tokyo at TeamLab, the immersive digital art museum. It felt like stepping into another universe- every space was activated, and the boundaries between viewer and artwork disappeared. There was one whimsical room that completely disoriented me. Everything felt upside down, and I got so dizzy I froze in place. I had to close my eyes and walk backwards to get out! It was surreal but also a reminder of how powerful art can be when it pushes us physically and emotionally out of our comfort zones.

Curating “Beyond the Present: Collecting for the Future”

WW: This show includes over 75 works from your collection—what were some of the biggest challenges you faced while curating “Beyond the Present: Collecting for the Future”?

CM: One of the biggest challenges was narrowing down the selection since there were so many works we wanted to include. It was important to me to spotlight a wide range of emerging voices while maintaining a strong foundation of established artists to serve as a kind of scaffolding for the show. Creating a meaningful dialogue between past and present was essential. Balancing scale, medium, and theme-while ensuring each piece had room to breathe-became a curatorial puzzle, but ultimately a very rewarding one. With their focused and thoughtful approach, curators Christina Strassfield and Natasha Schlesinger brought a dynamic structure to the exhibition that feels layered, cohesive, and reflective of the essence of my collection.

WW: What’s the most recent piece in the show—and what’s the earliest?

CM: The earliest work in the exhibition is a Keith Haring tarp from 1980- energetic and emblematic of that downtown New York spirit that still resonates today. The most recent is a painting by Tara Lewis that I added at the very last minute. It features a playful nod to JAWS, which felt especially fitting given that this summer marks the 50th anniversary of the film- and, of course, we’re at the beach! It adds a touch of humor and pop culture to the show, which I love. That mix of historic and contemporary, serious and lighthearted, really captures the spirit of my collection.

“Creating a meaningful dialogue between past and present was essential.”

-Christine Mack

WW: Is there a piece in the show that’s especially personal or meaningful to you?

CM: Most of the works in my collection are deeply personal and meaningful to me. I often know the artists personally, which naturally deepens my connection to the work. One piece that stands out is a small, intimate painting by the wonderful artist Danielle McKinney titled Joy. It’s a self-portrait of her reclining on a sofa, holding a book. She told me that “Joy” was her nickname, and the painting captured her in a rare moment of peace and happiness. That story stayed with me. The work now serves as a gentle reminder to slow down and carve out time for myself-something I often struggle to do. It’s both beautiful and grounding.

WW: You’re showcasing both established and emerging artists. How did you balance those voices in the curation process?

CM: I’ve always loved placing emerging and established artists side by side- it’s something I do naturally in my own home, so it felt intuitive to bring that approach to this exhibition. A piece by a younger artist can bring fresh perspective to a more iconic work, and vice versa. These juxtapositions create unexpected connections and highlight the continuity and evolution of ideas across generations.

Looking Back, Looking Forward

WW: After more than 20 years of collecting, how does this show illustrate how your vision has evolved?

CM: I’ve always collected from the gut- drawn to works that moved me emotionally or intellectually without overthinking how everything fit together. But in the process of curating this exhibition and shaping its central theme, I came to a realization: I had been collecting in themes all along, even if I wasn’t fully conscious of it at the time. Patterns began to emerge, recurring interests in identity, representation, surrealism, and the fusion of abstraction and figuration. The show allowed me to step back and see the broader narrative that has taken shape over the past two decades. It was both revealing and validating to recognize that what once felt instinctive now reflects a more defined, evolving vision. This exhibition feels like a snapshot of that journey, one that continues to grow and shift with curiosity and purpose.

WW: What do you hope people walk away with after seeing the show?

CM: I hope that everyone who visits Beyond the Present: Collecting for the Future- regardless of age, background, or familiarity with contemporary art finds something that resonates with them. The exhibition brings together a diverse range of voices, mediums, and perspectives, encouraging viewers to think about where art is headed and the stories we choose to preserve. It’s not just a reflection of what’s in the collection today, but a conversation about the future. My hope is that visitors leave feeling more curious, more engaged, and more aware of art’s power to reflect and shape the world around us.

“Trust your taste- it’s what makes your collection uniquely yours.”

-Christine Mack

WW: Looking back on your collecting journey, is there anything you would have done differently?

CM: There were definitely moments when I passed on works I genuinely loved because I let someone else’s opinion override my own instincts. Whether it was an advisor, a trend, or just second-guessing myself, I’ve learned that those gut feelings are there for a reason. Collecting is such a personal journey- it’s not just about investment or validation, it’s about what moves you. Over time, I’ve come to trust my eye and intuition above all. Some of the most meaningful pieces in my collection are the ones I chose simply because they spoke to me. If I could give my younger self advice, it would be: trust your taste- it’s what makes your collection uniquely yours.

WW: What role do you think collectors play in shaping the future of contemporary art?

CM: I’d love to see more collectors actively championing emerging artists. The art world has grown into such a powerful commercial machine that, all too often, the artist fades into the background eclipsed by the market and the monetary value of the work. But behind every piece is a person with a story, a vision, and a need to sustain their practice. I believe collectors have a unique opportunity and responsibility to help bridge the growing gap between artists and the market. By investing in emerging talent, collectors can make a meaningful impact, enabling artists to continue creating and building sustainable careers. I’m currently developing a platform where collectors can “support an artist” not just by acquiring their work, but by getting to know them, understanding their process, and becoming part of their journey. It’s about fostering deeper, more human connections between artists and collectors and helping shape a more inclusive and supportive future for contemporary art.