Jacolby Satterwhite, a pioneer of queer art in the 21st century, has battled cancer since the age of 12. His story has struck a chord in the art world, a stark reminder of the challenges of creating while sick. In recognition of his indelible impact, the Rema Hort Mann Fund will award Satterwhite the inaugural Artists Living with Cancer grant, to be presented at the nonprofit’s 30th anniversary gala on Oct. 28 in New York.
Arts patron Susan Hort and her family cofounded the organization in 1995 after her daughter Rema, as devoted a champion of emerging talents like her parents, died from stomach cancer. In the years since, the family has awarded over $9 million to support artists and cancer patients, all before unveiling this $10,000, unrestricted grant.
In its inaugural year, Satterwhite will receive a $25,000 allocation supported by the Robert Rauschenberg Foundation, before the $10,000 grant program continues. To mark the occasion, Hort sat down with CULTURED to reflect on the artists and friendships that shaped her collection, the urgency of supporting artists living with cancer, and where the foundation goes from here.
Tell us how your collecting journey began.
Before I collected contemporary work, I had a friend who dealt in 19th-century American art. He owned the Rand Gallery in Cincinnati, and whenever he came to New York we’d spend the day looking at art together. I even started investing with him, and when we sold works we owned together, I’d often take my share in art. Everything changed when I met Jack Tilton. He took my husband and I around as new collectors. We bought a Joan Mitchell, and the first contemporary work that really felt like the beginning of our collection was a sculpture by Paolo Icaro. We still have it on view today, and we always say it “started the monster.” [Laughs]
Michael wasn’t immediately convinced by the work. I came home and told him, “We just bought a piece of contemporary art—and the artist and the dealer are coming to dinner.” Paolo installed the sculpture himself, and over dinner he and Jack were so fascinating that Michael completely changed his perspective. We’d spent years buying work by artists who were no longer living, but contemporary artists are incredibly thoughtful people. You don’t have to agree with everything they say, but they’re endlessly interesting.
Which artists in your collection do you find yourself coming back to most often?
I knew Marlene Dumas through Tilton Gallery, who represented her for many years, so we have some early works by her. I’m also especially attached to Nicole Eisenman. I brought Nicole into the gallery in the early 1990s, and whenever she needed money she’d call and say, “Susan, come do a studio visit.”
Every time I went, I ended up buying something. Most of the work then was on paper, although she was making a few paintings too, and we were fortunate enough to acquire two of them. We also have an early Fred Tomaselli. We brought Fred into the gallery as well, and what’s so meaningful is that these artists have remained our friends over the years. That’s one of the greatest joys of collecting contemporary art.
Whose collection inspires you?
The Rubells! They inspire, and they’ve also become friends over the years. I still remember getting a call from Mera one Saturday morning from downstairs. She said, “We’re in town. We assume you’re up. When are we going to go look at art?” We got dressed, had breakfast together, and spent the day looking at art.
Launching a grant specifically for artists living with cancer feels especially timely. Can you tell us more about how this new initiative came to fruition?
It was actually Carole Server, our board president, who first brought the idea to me. The moment she mentioned it, I thought, yes. It just felt right. I’ve had two children who died of cancer, so while I don’t know what it’s physically like, I know what it does to a family. We were fortunate, since we had the resources, they had insurance, and an incredible support system. So many people don’t have that. They’re trying to navigate an impossible situation without the financial or emotional support they need.
That’s why this grant felt so important. Artists living with cancer are facing not only a devastating diagnosis, but also the reality of trying to sustain a creative practice while managing treatment and expenses. If we can ease even a small part of that burden, it’s worth doing. Especially now, with what Trump is doing to health insurance, it’s just disgusting. It makes the need for this kind of support even more urgent.
What do you hope these grants will make possible for artists living with cancer?
I hope they don’t have to think about money all the time. If we can take even a little of that burden away, they can focus on their health and get back to doing what they do best—their work. That’s the real gift.
As the foundation looks further down the road, what are you most excited about?
[My husband] Michael and I are getting older, and we’ve realized that if we want the foundation to continue, we have to let the next generation take the lead. That’s exactly what we’re doing. We’re stepping back a little, but trust me, we’re still very involved. We’ve brought in wonderful new leadership, and it’s exciting to see fresh ideas take shape. When someone comes to us with a thoughtful idea, we’re all for it. The foundation has been around for 30 years, and it’s healthy for it to evolve. That’s how we make sure it’ll be here for the next 30.
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