Karen Robinovitz’s eyes light up when she talks about art, a passion she pursues for the emotional, rather than financial, upside.
“I buy art because I love living with it, and it inspires me,” the longtime collector said. “I don’t buy art to sell it.”
Her Brooklyn home is a testament to color, and perhaps fitting for her latest endeavor as co-founder of the Sloomoo Institute—a slime- and color-exploration hub with five locations across the U.S. Robinovitz’s legacy is also bounded through co-founding Digital Brand Architects in 2010, widely considered to be the first significant social-media influencer agency and largely responsible for transforming and formalizing the influencer space. Prior to founding the agency, she was an author and journalist, contributing to Marie Claire, The New York Times, and Elle, among many other publications.
Robinovitz, 52, doesn’t keep count of the number of pieces she has, but her collection has grown to a point where certain artworks rotate between her home and the homes of her brother and parents in Florida. She grew up in a family enamored by art and calls it “a point of bonding” between her and her mom, specifically.
Robinovitz poses in her home underneath the painting Hard Pressed, 2017, acrylic on canvas, by Christina Quarles.
Courtesy of Karen Robinovitz
“We could go to museums all day, and art was always a part of a conversation,” Robinovitz said. “It’s cool to be an adult now and share that art.”
Color is the only real connecting thread of Robinovitz’s collection. Rather than a singular artist or era, she searches for emerging artists who might be a year or two away from a big break, and she is often drawn toward female-identifying artists with a story to tell, such as Los Angeles–based mixed-work creator Christina Quarles. Whether it’s on canvas, made from ceramic, or a stand-alone furniture piece, nothing is out of bounds for Robinovitz when it comes to collecting art. Mansion Global Experience Luxury caught up with her over a video call from her office in New York.
Mansion Global: What is the most recent piece you’ve acquired?
Robinovitz: In December, I acquired a piece created by [Texas painter] Piper Bangs. It’s a very surreal fruitscape; trippy, drippy, and slimy. There’s a beautiful depth and textural sparkle to the work when you see it in person.
Katherine Bernhardt’s “ET and Xanax!”, 2019, acrylic and spray on canvas.
Canada Gallery
How often are you rotating out pieces?
Robinovitz: That tends to be dictated by wall space. Right now, my walls at home are at full capacity, but I can always find room. I don’t have space for anything large, so that has to go elsewhere. I love to rotate when I can, to have visual inspiration around me, maybe moving a piece or two every four to six months. I tend to do the rotating when my husband is away, since the rotating tends to make him feel unsettled.
I loan out a couple of pieces a year, which inevitably leaves me with another space to fill. I have promised a Quarles piece to the Whitney Museum [in New York]. She’s a queer artist whose work speaks to female identity and sexuality, and that combined conversation is displayed through her work in a really gestural way. Now, her art is really coveted and she’s a part of a major blue-chip gallery.
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Do space constraints influence how you collect?
Robinovitz: The lack of space isn’t a deterrent; I liken collecting to an addiction. Even the basement of our apartment has art lining the walls. It’s literally about not being able to live without art, and my desire to add to my collection is so strong that I figure it out. I’m bringing art into my new office with my business partner Sara Schiller, who is a major street-art collector. We have around 6,500 square feet of space, and we’re excited to bring out pieces that have been in storage.
A sculptural work by Kennedy Yanko, whose work speaks to the concept of bodies and skin, playfully hangs in the wardrobe.
Seth Caplan
Why do you think you collect such a wide range of artists?
Robinovitz: Art enhances my life and the way I see the world. I have a lot of emotion tied into the art I collect, and I want to see the artist succeed. I like to purchase things before an artist really blows up. If people start selling pieces at auction, somebody’s market can soar and they can raise prices too much. I buy a piece because I love it and want to live with it.
An example is [Chicago-based multidisciplinary artist] Donna Huanca. I bought two of her paintings six or seven years ago, then acquired some of her sculptures. Since then, her work has evolved enormously. I don’t go very deep with one artist because I tend to buy their work early, then the art goes out of my price point.
Artist Cristina de Miguel depicts a fierce pair of heels.
Courtesy of Karen Robinovitz
From Left: “Pythia Pollen” by Maddy Inez, 2023 glazed stoneware; “Mundane and the Divine” by Dominique Fung, 2020, oil on canvas.
Courtesy of Karen Robinovitz; Courtesy of Megan Mulrooney Gallery
Is there anything about your collecting style that you think has changed over time?
Robinovitz: I do have an artist adviser, but I also rely on my own intuition. My collection has evolved along with my life. There was a point in my 40s when I went through a lot of personal loss, and I found positive energy in my art. I get a lot of joy through that energy, and it carries over to the vibe I’m looking for with my business. Because my [newest] business is about slime, I look at that thread and the story about the women behind it and how they all work together.
This interview was edited for length and clarity.
