Community of New York, Issue 7

Clara Ha

The visionary behind CHART and its artistic community

Words JAE KIM

Photography LISA KATO

In Tribeca, amidst the bustling streets and towering skyscrapers, the art ecosystem thrives not on individual endeavors, but on the collective spirit of collaboration and support. In this bustling enclave, where cobblestone streets echo with the footsteps of artists and enthusiasts alike, the galleries of Tribeca have forged a unique bond, coming together to cultivate an environment that fosters not only the appreciation of art but also a sense of belonging for all who wander its streets. Amidst this dynamic landscape lies CHART, a gallery founded by Clara Ha in 2019. CHART’s distinct program, while adding its own color to the canvas of Tribeca’s artistic scene, is but one brushstroke in the larger masterpiece of communal creativity that defines this neighborhood. Here, amidst the hustle and bustle, art isn’t just a solitary pursuit—it’s a shared experience, a celebration of unity.

JAE KIM: Clara, could you share the genesis of the CHART in Tribeca and what led you to establish a collaborative platform for exhibitions, bringing together thinkers and tastemakers?

CLARA HA: At the time of my departure from my last longstanding position at a former gallery, numerous changes were unfolding in the art world. The market was expanding globally, with galleries increasing both in footprint and quantity (around that time, the term “mega gallery” was coined). This surge created a demand for more artists and inventory, resulting in an increasingly competitive landscape for mid and small-sized galleries.

It became evident that the traditional gallery model was becoming unsustainable. A necessary and logical solution emerged—small businesses collaborating, working together on exhibitions, and engaging in other projects. As a seasoned veteran of the art world embarking on opening a new gallery, I recognized the importance of contributing something unique to the existing gallery community in New York. My primary objective was to create programming that fostered dialogue through an exchange of ideas and showcased artist-centric exhibitions.

JK: In the realm of art curation, CHART stands out for its distinctive approach of inviting diverse voices to organize exhibitions. How do you believe this shared model enhances the overall artistic experience for both the artists and the audience?

CH: As a gallery owner and woman of color, I feel a profound responsibility to represent and support the diverse voices of makers, curators, and thinkers. In this era, where information and images are constantly disseminated worldwide through platforms like social media, fostering a more holistic worldview becomes imperative to reflect this diversity in our gallery programming. For example, in Kiwha Lee’s solo exhibition that took place in January, she draws upon visual language and techniques inspired by ancient Asian printmaking and painting traditions. Her work seeks to establish a new approach to abstraction, challenging and reshaping the Western pictorial hierarchy.

JK: Can you share about the PROJECTION exhibition and its programming? The latest seventh issue took place last May.

CH: The name of the gallery, CHART, is an amalgamation of my initials and “art.” The word “chart” resonated with me as it serves both as a noun and an active verb. Defined as a recording of progress, CHART encapsulates our role as gallerists—to document progress in discourse, thinking, and culture. Similarly, “Projection” describes looking towards the future or shining a light outwards. The initiative, PROJECTION, originated during the pandemic with the mission to support emerging artists, irrespective of age, providing them with the opportunity for their inaugural exhibition. Hosted in the lower level of the gallery, PROJECTION often contrasts in context and dialogue with a more mature artist featured in the main space. This approach not only establishes exposure but also initiates a market for these emerging artists. Many of them have subsequently embarked on fantastic future projects. In (a recent) iteration, PROJECTION 007, featuring Esther Ruiz, will open a show at the project space at The Aldrich Contemporary Art Museum on May 8th. I hope that our collaborations contribute, even if minutely, to moving the needle.

JK: What is the quintessential aspect you value when communicating with your artists and the audience?

CH: Sharing the perspective of an artist that broadens the viewer’s thinking is the most rewarding aspect of a show. I believe this is one of the main reasons why one chooses the path of a gallerist. We value makers who contribute to expanding thinking.