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? This is the philosophy that drives Michael Sherman, a film producer and passionate art collector whose approach to both fields is deeply intertwined. But here’s where it gets controversial: Sherman believes that collectors have a responsibility to share their art with the public, a stance that challenges the traditional notion of private ownership. Does he have a point, or is this just idealism in a world of exclusive galleries and high-priced auctions?
Sherman’s journey into the art world began in 2006 with a Banksy print and a Noah Davis painting, purchased during a time when his budget was limited but his enthusiasm was boundless. Fast forward to today, and his Los Angeles home is a vibrant, eclectic gallery featuring works by artists like Devin N. Morris, Joyce J. Scott, and Thornton Dial. But what’s truly remarkable is how Sherman’s collection extends beyond his walls. His six-year-old daughter’s room, for instance, doubles as a micro-gallery showcasing pieces by Katherine Bradford, Grace Metzler, and others—a testament to his belief in making art accessible, even to the youngest minds.
And this is the part most people miss: Sherman’s collecting isn’t just personal; it’s deeply collaborative. Alongside his longtime friend, chef-restaurateur Vinny Dotolo, he co-founded Spaghetti Western, a shared collection aimed at championing artists they love and bringing their work to public spaces. Their first major exhibition, “Where the Real Lies,” featured artists like Sasha Gordon and Louis Fratino, proving that art can transcend private collections to become a communal experience.
Sherman’s commitment to accessibility is further evident in his institutional involvement. After being moved by Kerry James Marshall’s 2017 MOCA show, he funded buses to bring students to the exhibition, ensuring young people could experience the transformative power of art. “I feel like everybody should be in a museum,” he says, a bold statement that raises questions about inclusivity in the art world. Is this a realistic goal, or a utopian dream?
His film career, too, reflects this ethos. As co-founder of Bow & Arrow Entertainment, Sherman has produced films like Horsegirls and A Photographic Memory, amplifying emerging voices in cinema. His collaboration with artist Rashid Johnson on Native Son is a standout example of how his worlds of art and film converge. Johnson even created a 7-by-10-foot brass piece for Sherman’s home, a work that holds deep personal significance.
But here’s the real question: Can Sherman’s approach to collecting—rooted in sharing and accessibility—become a model for others? Or is it too idealistic in a market-driven art world? As he continues to collect, collaborate, and advocate for public engagement, Sherman challenges us to rethink the role of art in our lives. Is it something to possess, or something to share? The conversation is far from over, and Sherman is at the forefront, inviting us all to join in.
