Culture Crawl
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Foundation Nurtures Emerging Artists and Helps Them Find their Voice:
An Interview with Christine Mack
March 2026
Artist Joey Healey and Christine Mack (Right) at the Greenpoint Studio, Brooklyn, New York
Photographer: Christian Högstedt/Photo Courtesy: Mack Art Foundation
Photographer: Christian Högstedt/Photo Courtesy: Mack Art Foundation
By Susan M. Rostan, MFA, Ed.D.
Christine Mack, a dedicated art collector for over 20 years, is the founder of the Mack Art Foundation and Greenpoint Studios, a residency program supporting emerging artists from outside New York City. The residency provides artists with studio space, a residential apartment, and opportunities to engage with galleries, curators and collectors while fostering community engagement. The foundation also supports artists through scholarships, awards, and funding initiatives.
Christine serves on the boards and committees of major cultural institutions, including the Guggenheim Museum, Moderna Museet Stockholm, Studio Museum in Harlem, Brooklyn Museum, and Buffalo AKG Art Museum. Passionate about children's well-being, she is a board member of the Child Mind Institute and a parent advocate for Partnership to End Addiction, where she has developed workshops for parents and teens.
Christine serves on the boards and committees of major cultural institutions, including the Guggenheim Museum, Moderna Museet Stockholm, Studio Museum in Harlem, Brooklyn Museum, and Buffalo AKG Art Museum. Passionate about children's well-being, she is a board member of the Child Mind Institute and a parent advocate for Partnership to End Addiction, where she has developed workshops for parents and teens.
Susan Rostan had the privilege of spending time with Christine in a Zoom interview. They talked about how Christine's interest in supporting emerging artists' growth emerged, and the roles played by her childhood in Sweden, her family, and her social and professional contacts.
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I'd like you to share a little bit about what your involvement in the arts was like as you were growing up.
My Swedish mom and my American dad married in Manila, where my sister and I were born. My parents divorced before I was born. My mom worked for the Swedish embassy in Manila, and we stayed there for seven years. I was seven when I left Manila, and my sister was almost nine. My dad moved back to the U.S., and we moved to Stockholm. We went from the tropical Southeast Asia culture and climate to Stockholm, which was a little bit of a culture shock for us. When I was about 14 or 15, my sister entered a picture of me in a modeling contest, which I won. I was super shy, super skinny, and never imagined myself modeling, but my sister said, ‘It's a good way to make money, and you're going.’ Then I got the opportunity to go to Paris and work as a model for the summer. It took off from there, and it was a great opportunity that led me to New York, where I had always wanted to live because my dad was there. I kept modeling while I put myself through Parsons School of Design, studying graphic design and advertising. I did not grow up in a family that collected art. I think the early exposure to art came with school trips to the Moderna Museet in Stockholm. After Parsons, I worked as a graphic designer at Hearst Publications and did a lot of freelance work on the side, creating logos for friends starting businesses. I left Hearst Publications and opened my own design firm, Cee-Jay Design, 30 years ago. I loved it. I was in a creative city, getting all these connections, and had a couple of interns working for me. During that time, I met my husband, Richard. We got married and started a family immediately. We have three sons. When I had my second son, because I was nursing, I moved my office home and started tapering off some clients. I started doing a lot of philanthropic work in graphic design. Then I had my third son and became a full-time mom. They were all athletes, so I was captain mom. I loved it, but still felt ‘What about me?’ |
Christine Mack (Artwork in Background by Elian Almeida)
Photographer: Weston Wells/Photo Courtesy: Mack Art Foundation |
As they got older, I started collecting art. My in-laws are big collectors, and I think I got exposed to art through them. My father-in-law was the chairman of the Guggenheim for 16 years, and it always seemed like a dream to me to go to exotic places, learn about art, and see the best museums.
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"After my kids got older, I started going to galleries and art fairs, learning about art and artists, and I got completely hooked by the art bug." ~ Christine Mack |
I bought my first painting maybe 25 years ago. I found a painting by Amy Myers that I loved, and I used all the money I had to buy it. It's still my favorite. After my kids got older, I started going to galleries and art fairs, learning about art and artists, and I got completely hooked by the art bug. During COVID, I took certificates at Sotheby's and Christie's, covering the global art market, collecting, opening a gallery, and writing about art. The silver lining was that after COVID, I was ready to pursue my dream.
Before COVID, I had started Space2Curate with my good friend and art advisor, Natasha Schlesinger. We always wanted to help artists. After COVID, there were all these empty storefronts, and we said, 'Why don't we take advantage of them and show art by these artists or curate art shows?' I wanted to take it a step further and help artists, maybe finding space for them to come and work in New York, since it made my dream come true. |
In the meantime, I was collecting. I collected smart and early. I fund my foundation through my collection.
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What skill sets did you bring to your vision of the Mack Foundation?
My vision at the beginning was that I just wanted to see if I could help some artists with a space. There was a space in Greenpoint, Brooklyn, an area that's being gentrified. It used to be an art hub. And now, it's more expensive, so the artists get pushed out as the rents go up. There was a street-level space in a building where my husband was a partner — he's in the real estate business — that had been unrented for many years. It almost looked like a little gallery. He said, ‘They have to rent it to a not-for-profit because it's a community space.’
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"My dream was to create a foundation, a physical space, where I could house my art and my creations, create art shows, and also have studio space. It took a little while because I had no idea what I was doing." ~ Christine Mack |
If I had a not-for-profit, I could rent it. So I got my not-for-profit certificate. My dream was to create a foundation, a physical space, where I could house my art and my creations, create art shows, and also have studio space. It took a little while because I had no idea what I was doing.
I was making this happen, learning along the way. I asked artists, ‘What do I need to get in the studio?’ and I built out the studio space. That was exciting and fun, and I learned a lot from it.
Then I needed artists. My first artist was Hannah Lupton Reinhart, whom I had met in L.A. I wanted each artist to have a community service project. She wanted to do an art project with kids. So we went outside New York to a camp for kids. That was fun, and she told people, and my applications started coming in. The first year, I had about 30 applications for five spots. The second year, I had 100 applications, and it has kept growing and growing through word of mouth and social media.
I was making this happen, learning along the way. I asked artists, ‘What do I need to get in the studio?’ and I built out the studio space. That was exciting and fun, and I learned a lot from it.
Then I needed artists. My first artist was Hannah Lupton Reinhart, whom I had met in L.A. I wanted each artist to have a community service project. She wanted to do an art project with kids. So we went outside New York to a camp for kids. That was fun, and she told people, and my applications started coming in. The first year, I had about 30 applications for five spots. The second year, I had 100 applications, and it has kept growing and growing through word of mouth and social media.
There are many, many, wonderful foundations and residencies, but they're usually outside New York. [There aren’t] many in New York or Brooklyn that offer fully paid apartments or studios. Mine is much smaller and very hands-on.
Melissa Rios at Work
Photographer: Weston Wells/Photo Courtesy: Mack Art Foundation |
How did you come to the criteria you use?
Christine felt she could help emerging artists under 35 the most. So she looked at other foundations and asked herself, ‘What’s important for me?’ They can't be from New York; I really want to get artists who haven't been to New York or are from another country. They also have to have talent — their work has something that I feel is exciting or could be. I ask them, ‘Why do you want to come to New York? What is it that you want to accomplish?’ [Their reasoning] is most important to me. I've had the most amazing artists, each so different, all in their mid-20s like my kids. They become part of the family. [During] the two and a half months they are here, it's incredible to see how they change. It's such a privilege to be part of this. They're so happy and respectful, but I get so much out of it, too. Sometimes I reach out directly. I'm always scouting for artists worldwide. That's how I collect. |
Does having an MFA matter?
No. Most of my artists are self-taught. My last artist from Paris went to business school and worked in finance. She always doodled, but she started drawing and selling her art. She secured a solo show in New York, and everything that she made in the studio flew out. So you don't need an MFA.
And is it true that most successful artists have to sacrifice their personal life and financial security to invest themselves totally in making art and trying to make the right contacts and network?
Absolutely. That's my residency's purpose: giving them at least a few months to paint and be nurtured. I think some artists really pursue it that way: ‘This is it. I have to do it.’ Some artists never have the opportunity. Some artists never make it, and they have to get a normal job. I think you also have to be very lucky.
I want to nurture them. For me, they're geniuses; they have this talent. If we don't support artists, we won't have art. I want them to have the freedom to paint and be exposed to the best city in the world for art and museums.
No. Most of my artists are self-taught. My last artist from Paris went to business school and worked in finance. She always doodled, but she started drawing and selling her art. She secured a solo show in New York, and everything that she made in the studio flew out. So you don't need an MFA.
And is it true that most successful artists have to sacrifice their personal life and financial security to invest themselves totally in making art and trying to make the right contacts and network?
Absolutely. That's my residency's purpose: giving them at least a few months to paint and be nurtured. I think some artists really pursue it that way: ‘This is it. I have to do it.’ Some artists never have the opportunity. Some artists never make it, and they have to get a normal job. I think you also have to be very lucky.
I want to nurture them. For me, they're geniuses; they have this talent. If we don't support artists, we won't have art. I want them to have the freedom to paint and be exposed to the best city in the world for art and museums.
I have the connections in New York. I help artists meet gallerists, advisors and curators. I teach them how to talk about their art and not to be shy. I take them to gallery openings. They change: some come shy, then leave saying, ‘Wow, I can't believe I did this.’
You are the good fortune in the equation, able to remove obstacles for artists.
I try. Even artists not in my residency call me ‘the fairy godmother.’ I take them under my wing. I take them to all the openings. I'm co-chairing a committee at the Guggenheim, so I get invited to VIP events. I always come with my artist. I introduce them to everyone.
You are the good fortune in the equation, able to remove obstacles for artists.
I try. Even artists not in my residency call me ‘the fairy godmother.’ I take them under my wing. I take them to all the openings. I'm co-chairing a committee at the Guggenheim, so I get invited to VIP events. I always come with my artist. I introduce them to everyone.
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"My next mission is bigger: I'm building out more studio space where a cohort of artists will be working together and connecting collectors with artists directly — no middleman, just giving them an opportunity to get to know the artists and purchase their works." ~ Christine Mack |
My life now is basically the art world. The artists stay in touch. When they return to New York, they can stay with me. They're family. I never thought it would grow so much. I did this for fun, for the artists and myself.
My next mission is bigger: I'm building out more studio space where a cohort of artists will be working together and connecting collectors with artists directly — no middleman, just giving them an opportunity to get to know the artists and purchase their works. What variables make for success for emerging artists, and what make for frustration and limited growth? For success, figure out if you can support yourself or make it as an artist. Is it a hobby or a full-time job? You have to put yourself out there and meet people who can help you. Go to galleries, get to know artists, because without connections, you can be a great artist and maybe somebody will discover you…or not. |
And if self-promotion isn't in your nature?
You could go to art school, start small in your community, and maybe somebody will discover you. It's hard, though. Social media has been helpful. I find artists on Instagram and Artnet. As a collector, I visit newer, smaller galleries to find talent. The advice I give my artists is to do those things. I introduce my artists to people in the gallery, and they have to talk to them. It's like giving them training wheels.
Put yourself out there. Pick your best works and put them on Instagram.
It sounds like nurturing goes out so much in one direction. How do you balance your personal, professional, and social life?
I don't sleep a lot, and I have a lot of energy. My days are full, my schedule is full, but the more I do, the more I can get done. I’m very efficient. I don't know how to relax. I find it hard and boring. I get excited about doing things. I'm not a big vacation person. I've always wanted to stay busy.
At the same time, where and when do you find sanctuary?
That's a good question. As social as I am, I need alone time. I love hiking. I love forests and being in nature. I need trees, the smell of pine trees. Growing up in Sweden with all that nature, it feels comforting. I feel very calm. I also love looking at art undisturbed, by myself, discovering things. I find it relaxing and soothing. You disappear. Art changes you. It's all or nothing for me. I love New York, the grittiness, the people, the energy. There's no gray for me.
You could go to art school, start small in your community, and maybe somebody will discover you. It's hard, though. Social media has been helpful. I find artists on Instagram and Artnet. As a collector, I visit newer, smaller galleries to find talent. The advice I give my artists is to do those things. I introduce my artists to people in the gallery, and they have to talk to them. It's like giving them training wheels.
Put yourself out there. Pick your best works and put them on Instagram.
It sounds like nurturing goes out so much in one direction. How do you balance your personal, professional, and social life?
I don't sleep a lot, and I have a lot of energy. My days are full, my schedule is full, but the more I do, the more I can get done. I’m very efficient. I don't know how to relax. I find it hard and boring. I get excited about doing things. I'm not a big vacation person. I've always wanted to stay busy.
At the same time, where and when do you find sanctuary?
That's a good question. As social as I am, I need alone time. I love hiking. I love forests and being in nature. I need trees, the smell of pine trees. Growing up in Sweden with all that nature, it feels comforting. I feel very calm. I also love looking at art undisturbed, by myself, discovering things. I find it relaxing and soothing. You disappear. Art changes you. It's all or nothing for me. I love New York, the grittiness, the people, the energy. There's no gray for me.
Susan M. Rostan, MFA, Ed.D., is a visual artist, educational researcher, and the author of Digging: Lifting the Memorable from Within the Unthinkable, a work of creative nonfiction. She has written well-received articles in The Journal of Creative Behavior and Creativity Research Journal as well as chapters in diverse books on creativity. She has an MFA from Long Island University and a doctorate in gifted education from Columbia University. Dr. Rostan has directed the Rostan Art School since 1970, conducted extensive research in children's artistic development, and has served as an adjunct professor in Hofstra University's School of Education.
