Art, Film, and the Power of Sharing: A Conversation with Michael Sherman
What if collecting art wasn’t just about ownership, but about amplifying voices and sparking conversations? Michael Sherman, film producer and passionate art collector, embodies this philosophy. His journey from buying street art prints to championing emerging artists and building a vibrant, eclectic collection is as inspiring as it is thought-provoking. But here's where it gets controversial: Sherman believes it’s his responsibility as a collector to share his art with the public. Is this a noble mission or an overstep? Let’s dive in.
Sherman’s approach to collecting mirrors his film production ethos: artist-first, public-facing. Co-founder of Bow & Arrow Entertainment, he’s produced films like Horsegirls and A Photographic Memory, spotlighting young talent. His art collection, housed in his Los Angeles home, is equally dynamic, featuring works by Devin N. Morris, Joyce J. Scott, and even a micro-gallery in his six-year-old daughter’s room, adorned with pieces by Katherine Bradford and Thornton Dial. And this is the part most people miss: his daughter’s room isn’t just a gallery—it’s a space designed to inspire her with diverse, powerful female voices.
Sherman’s collecting journey began in 2006 with a Banksy print and a Noah Davis painting. But it wasn’t until he stumbled into Art Basel Miami Beach, clueless about how art fairs worked, that his passion truly ignited. “I’d say to galleries, ‘Oh, this is cool. Can I buy it?’ and they’d say, ‘Who are you?’” he recalls with a laugh. Fast forward to today, and his collection spans storage units and museum walls, reflecting a deep commitment to supporting underrepresented artists.
His partnership with chef-restaurateur Vinny Dotolo adds another layer to his story. Together, they founded Spaghetti Western, a shared collection aimed at making art public. Their first major exhibition, “Where the Real Lies,” featured works by Sasha Gordon and Louis Fratino, among others. But here’s the question: Does making art public dilute its value, or does it democratize it? Sherman’s actions suggest the latter, but the debate rages on.
Sherman’s connection to institutions is equally profound. Inspired by Kerry James Marshall’s 2017 MOCA show, he funded buses for students to attend, believing, “Every young person should be able to walk into a museum and see an example of themselves.” As a trustee of the Baltimore Museum of Art, he walks the talk. But is this enough? Should collectors do more to bridge the gap between art and accessibility?
His collaboration with artist Rashid Johnson on Native Son highlights another facet of his philosophy. Johnson’s 7-by-10-foot brass piece, created specifically for Sherman’s home, is a testament to their friendship and shared vision. Yet, Sherman’s most poignant acquisition might be Doreen Garner’s From the Larynx, Sandra, a piece inspired by Sandra Bland’s tragic story. “A piece like that should never be left behind,” he says, underscoring the power of art to confront and heal.
Sherman’s latest discovery, Brenda Draney, whose work explores Indigenous experiences in Canada, reinforces his commitment to amplifying diverse voices. But as his collection grows, so do the questions: How much is too much? And at what point does collecting become hoarding?
Sherman’s story challenges us to rethink the role of collectors in the art world. Is art meant to be possessed, or should it be shared? His answer is clear, but what’s yours? Let’s continue the conversation in the comments—agree or disagree, your voice matters.
