David Walega, Chicago - MEET THE COLLECTOR Series Part Twenty Nine
I was introduced to David Walega through Debra Kerr from Intuit and I’m so glad she did this, as what an interesting man he is and I love his definition of what being a collector means to him. Read on for part twenty-nine of my ‘Meet the Collector’ series.
1. When did your interest in the field of outsider/folk art begin?
I was introduced to the work by a friend who took me to a gallery show of work by artists from Gugging and La Tinaia. I was really struck by the work and how raw and emotive it was. At the time, I was finishing my fellowship training in medicine, and became fascinated with the use of art as a therapeutic endeavor, which in turn led me to discover the work in great depth. While in Florence for the first time, we took a little adventure to La Tinaia and spent the day there. From that point I was hooked. I subsequently moved to Atlanta, and my practice partner was a collector of the great American South artists: Nellie Mae Rowe, Howard Finster, and Bill Traylor.
2. When did you become a collector of this art? How many pieces do you think are in your collection now? And do you exhibit any of it on the walls of your home or elsewhere?
I bought my first real piece of art in 1997 and a lot has happened since then! Being an art collector is a privilege and a duty. We are stewards of the work and ambassadors for the artist. My collecting life has been a journey, and since I am by nature very inquisitive, have many interests and travel a lot, the collection has grown into several different areas and is not relegated to only "outsider artists". I collect things that I find beautiful or disturbing or in dialogue with other work in the collection, now comprising over 200 paintings, photographs, drawings, sculptures and constructions. Like many collectors who buy more than they can exhibit at any one time, I have work at home, in my office, and often lent to museums and curators for other exhibitions. I keep the art storage business flush with cash. Friends often say "where are you going to put that" when I buy a new work, knowing full well that the walls are already packed salon-style. I usually respond "that's a great question but that's not the point!"
Installation photograph in David’s house
3. Can you tell us a bit about your background? I read that you’re a renowned pain doctor – quite a different role to the arts!
I am a physician anesthesiologist but specialize exclusively in the mechanisms and treatment of chronic pain and cancer pain, specifically without opioids. I have a very active clinical practice and also conduct multiple clinical research trials developing novel interventional or surgical methods of treating chronic pain. Admittedly, my identity is entwined in this area of medicine, and not being able to treat as many patients during the COVID crisis really tore me apart. I treat patients who come to me as their last hope. Many of these folks have been marginalized by their chronic pain or have been told their pain is in their heads, and have internalized this negativity. Many have a mental health challenge that has resulted from chronic pain. So of course there are strong synergies between their angst and sadness and the emotive works I first saw in the 90’s.
4. I understand that you collect contemporary art alongside other forms of art. What is it that draws your eye to outsider/folk art?
My eye is drawn to emotion. So I don't distinguish between "outsider" and "insider" artists. I deplore these ignorant terms and that's why I place them in quotes. This is the same "tribalism" in the art world that we see in our "us versus them" society. We ghetto-ize or isolate "the other" when we lack understanding or we feel threatened and unsure. I think art, the epicenter of humanism, is the last place we should be seeing this mentality.
Installation photo in David’s house
5. What style of work, if any, is of particular interest to you within this field? (for example is it embroidery, drawing, sculpture, and so on)
Works on paper, specifically drawing, are so important because the artist can usually be much more free to be experimental and immediate. If they hate the work or it is not really successful, not much has been lost, in contrast to a failed 60 x 64" painting on stretched canvas. It is also egalitarian. One doesn't need a studio assistant who is constructing canvases and applying gesso and primer. I think on a conscious and subconscious level working on paper allows freedom and risk, as there is not as much to lose. Drawing is ubiquitous. We can all relate to it. Materiality also becomes more loose and interesting. One can use fine paper or found paper from old ledgers, receipts, diaries. Watercolor, graphite, ink, chalk, paints are all options with works on paper and I think the creative impulse is much more active and experimental under these conditions.
6. Would you say you had a favourite artist or piece of work within your collection? And why?
That's difficult. I only buy what I love or what I cannot stop thinking about (realizing later that I love the work!). A James Castle booklet of bound drawings is a piece I always go back to. His process was so strong and individual and he was so creative (by necessity) with his materials.
7. Where would you say you buy most of your work from: a studio, art fairs, exhibitions, auctions, or direct from artists?
My collection is really focused on living artists, so usually I will not buy at auction. I feel it is critical for us all to support the artist and the studio system. Mega-sales of blue chip art at the top three auction houses don't help the living artist. Art fairs are a convenient way to see many works from many galleries in one stop, talk to many gallerists, bump into art world friends, but can be visually overwhelming. Much of my travel (pre COVID) revolves around visiting cities and regions because I wanted to see a particular show or exhibition. I often only accept invitations to lecture at universities or conferences, if there is an exhibition or art show that I really want to see at the same time.
Once one has been collecting for a while, the relationships created with gallerists, curators, and artists are so enriching. Gallerists who know the collection are usually open to showing related work, and great gallerists will push us to explore work we would otherwise pass by without notice.
Installation photo in David’s house
8. Is there an exhibition in this field of art that you have felt has been particularly important? And why?
"The Encyclopedic Palace" at the Venice Biennale curated by Massimiliano Gioni was so important in re-contextualizing what had been called "outsider art" as "art" on an important world stage. Lynn Cooke's show on "outliers" recently and of course the Bill Traylor exhibit at the Smithsonian curated by Leslie Umberger was also amazing and so important in placing this artist in the canon of Great American Artists, not just "an outsider artist".
9. Are there any people within this field that you feel have been particularly important to pave the way for where the field is at now?
There are so many, but anyone who has taken a risk and shown this art along with contemporary art get my kudos. Anyone who is willing to pull down those unnecessary barriers that ghetto-ize the art and shows courage gets a round of applause. Roberta Smith has been writing effusively about "outsider art as ART" for decades.
Installation photo in David’s house
10. When did you become a board member of Intuit and what drew you to this museum?
I joined the Board of Directors at Intuit 3 or 4 years ago. The Executive Director, Deb Kerr, approached me at an art event, introduced herself, and basically told me I needed to join the Board. At the time, Intuit was going through some important changes and a growth trajectory that I wanted to be a part of and give my time and energy to see it remain successful. Intuit has such a deep rooted community attachment to the city, and the Chicago Imagists, and many of the great teachers who spent their careers at the Art Institute of Chicago. I have been living in Chicago for 17 years and consider it home. I am incredibly proud of all of its cultural institutions but especially those, like Intuit, which succeed despite a lack of resources. Intuit has been putting on world class exhibitions for decades, and its original founders have been so generous in their creative energies and excitement, which is terrific. I am also on the Board of Directors for Arts of Life, a non-profit that provides studio space, materials, and other resources for Chicago artists with disabilities. The Board is an interesting diverse mix of really dedicated community minded people from banking, healthcare, marketing, and entrepreneurship and are amazing to work with at Arts of Life.
11. A conflicted term at present, but can you tell us about your opinion of the term outsider art, how you feel about it and if there are any other words that you think we should be using instead?
Call it Art. Period.
12. What’s next for you? And are you looking to continue to add works to your collection – what sort of things?
I am always excited to see "what I haven't seen before". I would like to understand and learn more about the artists and art programs in Asia, Southeast Asia, and the Middle East.