‘I think I’ve always been interested in art. As an art history major at Rice University in Houston, Texas, I had the opportunity to work directly with [the philanthropist] Dominique de Menil – she became my mentor. She was a humanist who was deeply interested in art’s spiritual side. She taught me about the energies that artworks give off and how they can reinforce or counterbalance one another. She brought in noted professors and art historians and founded a building [the Rice Media Center] where she held exhibitions with leading artists of the time. Her passion and commitment inspired my own journey.

‘The first work of art that I ever collected was a Jean Cocteau print. After finishing my undergraduate studies, I had a gig copyediting for an independent art dealer in Paris. I was so intrigued by her work that I traded my services for the print, rather than being paid in cash. That was my first real piece of art.

‘I then earned a master’s degree in art conservation and art history at New York University’s Institute of Fine Arts. This also had a lasting influence, and I continue to work in the field as an advocate for preservation and for the protection of endangered sites and cultural heritage. In 1998, I co-founded the Friends of Heritage Preservation group and have served as its director ever since.

‘My interest in art naturally evolved into being dedicated to supporting contemporary artists. Artists need space and time to create, and that’s a key benefit of the Suzanne Deal Booth/FLAG Art Foundation Prize, which awards an artist $200,000 and solo exhibitions in Austin and New York. So far I’ve received very positive feedback from the recipients [Rodney McMillian (2018), Nicole Eisenman (2020), Tarek Atoui (2022), and Lubaina Himid (2024)] about how life-changing the prize has been for them. They have been able to completely focus their energy on making art over a sustained period. For example, Lubaina Himid took a break from teaching to focus on creating new work, which she exhibited at The Contemporary Austin last spring. The show is now on at the FLAG Art Foundation in New York.

‘In my own collecting, I steer clear of art with negative or violent themes. While I’ve collected such pieces for institutions, I prefer that the art in my home brings a sense of well-being, joy, or happiness. I love seeing how people respond to these uplifting and intriguing works. I often rotate the art in my space, especially works on paper, which I keep in dark corridors to protect them from light damage.

‘In 2010, I became the steward of Bella Oaks, an historic vineyard in Napa Valley, northern California. The art there is very different from the art installed at my house. Because of the vineyard’s agricultural setting, I must be very thoughtful about where each artwork is placed. The farm roads are dusty and machinery can pose risks, so the pieces – by artists including Max Ernst, Joel Shapiro, and Solange Pessoa – are placed along the entrance path rather than within the fields themselves. It also means that the artworks can be enjoyed often while coming and going from the property.

‘One of my favorite outdoor pieces is Untitled [2015–2019] by the Mexican artist Bosco Sodi. It’s made of solid terracotta cubes, formed by hand and fired in a kiln he built in Oaxaca, Mexico. Each cube is unique with different patinas, and they’re stacked without mortar. The organic structure looks like it belongs within the landscape and yet it’s totally contemporary.

‘The view of the vineyard from my office at Bella Oaks is framed by a commission by the California Light and Space artist Robert Irwin. This work has the magical effect of disappearing edges while encouraging the eye to see a vista of the vineyard in a new way, thus making the natural beauty the art instead.

‘Another favorite is the Yayoi Kusama installation in my garden, also framed by vineyards. The mirrored cube’s presence is large enough to be appreciated daily and reflects its surroundings, almost appearing to be wrapped in the landscape. You can also step inside the work for a completely different experience, where the viewer is invited to peek at each pinhole perspective, seeing multiple, intimate views of the landscape. I love seeing visitors’ reactions of awe and wonder. The piece has the most beautiful title – Where the Lights in My Heart Go [2016]. How can you resist that?

‘Both art and wine require a dedication to cultural heritage and preservation. Just as I care for the Bella Oaks vineyard and strive to make the best wine, I want to surround myself with art that brings me happiness. All that beauty feeds my soul.’