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Clayton Press

Clayton Press is a cultural historian, art market scholar, and essayist with more than five decades of engagement with contemporary art — as collector, critic, curator, and institutional insider. His formation is unusual in a field that tends to reproduce itself. Before becoming an analytically rigorous voice in the contemporary art market, he was an anthropologist, a management consultant, and a researcher whose fieldwork took him across the Caribbean, Europe, the Middle East, and the developing world. That formation did not leave him. It became his method.

Press studied anthropology, art history, and Black studies at the University of Rochester — where he received the Genesee and Francis G. Wells Scholarships for academic achievement — and spent the 1968–69 academic year on exchange at Howard University in Washington, D.C., studying ethnomusicology with Olufela "Fela" Sowande MBE, African American studies with Gregory U. Rigsby, and Afro-Caribbean studies with Jane Phillips. He went on to complete a master's degree in exceptional psychology at the University of Pittsburgh and doctoral studies in anthropology and material culture at Southern Illinois University, Carbondale, where his dissertation examined the effects of mass tourism on traditional values in Barbados.

His first career was in field research. He served as a researcher for the Smithsonian Institution in Mandeville, Jamaica; research fellow for the International Labour Office in Kingstown, St. Vincent; consultant to the World Bank in Washington, D.C.; and Doctoral Research Fellow of the Organization of American States at the Sir Arthur Lewis Institute of Social and Economic Studies, University of the West Indies, Bridgetown, Barbados. These appointments gave him something rare in art world discourse: a prior fluency in the social science of value — how objects acquire meaning, how markets form around them, and how cultural infrastructure shapes behavior.

The move into management consulting was characteristic. After a year teaching linguistics and social anthropology, Press joined Cresap, McCormick and Paget (later Towers Perrin) in Chicago at a moment when leading strategy consultancies were actively recruiting social scientists to add analytical depth to business thinking. Co-located in Chicago and New York, he led engagements for clients ranging from international airlines to multinational conglomerates. As a partner subsequently at A.T. Kearney and Accenture, his work spanned strategy, marketing, and operations for Bell Canada, ConAgra, Deutsche Lufthansa, Projeto Jari, Malaysian Airlines, Petromin, and SoCalGas, among others. Business and art, in his account, opened the same kinds of doors — and the discipline of executive-level analysis sharpened a critical vocabulary that gallery culture rarely provides.

Press began collecting in earnest in Chicago after Rochester, acquiring in 1968—before the primary market had developed its present infrastructure—a print by Ian Tyson from London Grafica Arts: Squares Within Squares, purchased without prior knowledge of Malevich, Albers, or LeWitt. It became, in his word, a signifier. After relocating to Los Angeles in 1985, he became a partner in New Strategies, a salon-style gallery, while continuing at Towers Perrin. In 2006, he merged his specialty consulting practice—serving family offices and nonprofit arts organizations including the Boston Chamber Music Society, the Chamber Music Society of Lincoln Center, the Institute of Contemporary Arts London, the Los Angeles Master Chorale, and SculptureCenter—with linn press | specialists in contemporary art, where he remains a partner.

Press served as adjunct professor in the Art Business program at New York University's School of Professional Studies from 2011 to 2024, teaching art market economics and art history, and has been an active visiting researcher at Princeton University's Marquand Library of Art and Architecture since 2016. He was the primary research scholar and ghost editor for Michael Shnayerson's Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art (PublicAffairs, 2019), a widely read social history of the postwar contemporary art market.

His own books include a monograph on the monumental sculptor Georgy Frangulyan, Off-Modern published by Skira Editore (Milan) in 2022; REDS (Mnuchin Gallery, 2017); Next to Nothing. Close to Nowhere: Kathleen Jacobs (2016); LOVE STORY: Anne and Wolfgang Titze Collection (Belvedere u. 21er Haus, 2014); and PIAT {FIVE} (Baibakov Art Projects, 2010). His most recent volume is To Walk with Nature: Kathleen Jacobs (2024).

As a catalog essayist, he has written or contributed to publications for Mnuchin Gallery, Museo Tamayo, and Mishkin Gallery, among others. He was a co-creator of Christian Jankowski's Point of Sale (2002)—a three-screen time-based work acquired simultaneously by the Institute of Contemporary Art, Boston and the Metropolitan Museum of Art. His writing has been translated into German, Italian, Spanish, and Russian.

As a market observer, Press has spoken regularly on contemporary art and art market economics at venues including art fairs and universities in Cologne, Miami Beach, Milan, Moscow, New York, and Venice. His commentary has appeared in The Art Newspaper, Business Insider, Forbes, The New York Times, The Wall Street Journal, The Robb Report, and Süddeutsche Zeitung. He served as a visual arts essayist at Forbes.com for two years, contributing nearly 150 essays. He is a resource for private banks and wealth management firms on art as an asset class.

Press served on the Board of the Los Angeles Institute of Contemporary Art in the 1980s, including as Treasurer, and on the 20th Century Acquisitions Committee of the Philadelphia Museum of Art in the 1990s. He is currently a standing Patron of both the Metropolitan Museum of Art and the Art Institute of Chicago. With his partner Gregory, he has been a benefactor to the Art Institute of Chicago, the City of Chicago Department of Cultural Affairs, the Los Angeles Museum of Contemporary Art, the Metropolitan Museum of Art, the National Gallery of Australia, the Philadelphia Museum of Art, Princeton University Art Museum, and the Whitney Museum of American Art.