There’s a creeping trend in the art world that’s been bothering me — and no, it’s not another Basel photo dump or an AI-generated Hockney remix. It’s auction houses handing over curatorial reins to celebrities like they’re selecting starters off a tasting menu. “Karlie Kloss presents…” “Cynthia Erivo curates…” Oh, really? What exactly are we doing here?
Now, don’t get me wrong. I’m all for a touch of glamour in the art world. A red carpet moment, or a fashion-meets-art crossover? Sure. But the word “curate” used to mean something. It was about knowledge, perspective, maybe even obsession. Now, it’s just a marketing tool, neatly packaged with a press release and sprinkled with a couple of sexy lot numbers. So, let’s get into the Karlie Kloss situation.
In 2024, Karlie Kloss, supermodel and socialite entrepreneur, was asked to curate Sotheby’s “Contemporary Curated” auction, framed as a celebration of female artists. The works — by names like Cindy Sherman and Yayoy Kusama — weren’t the problem. The problem is that Kloss, as a figurehead, has absolutely no business being the one to “curate” these works.
The accompanying video showed her strolling around the pieces, with all the charisma of a corporate PowerPoint presentation. When asked what she thought of a piece, or why she chose it, her responses were like they came straight off a Hallmark card: empty feel-good platitudes about empowerment, tech, and women. Seriously? She couldn’t tell the difference between a Cindy Sherman and an Agnes Martin if her life depended on it, yet here she is being lauded as the face of “Women’s Month” for an art auction. It’s not the presentation that’s the issue—it’s the concept of her being the one chosen. This isn’t curating; it’s pure optics.
And then there’s the Cynthia Erivos and the Elie Gouldings—sure, they are actors and singers with incredible talent, but what qualifies them to curate a contemporary art auction? What curatorial insight are we supposed to get here? That they’re fashionable? Well, so’s my barista. What does that have to do with art?
Here’s the core issue: we’re confusing proximity to art with the ability to speak meaningfully about it. Being photographed or painted, or generally hanging around artists, doesn’t suddenly make you an art connoisseur. Liking a piece doesn’t mean you understand it. And for the love of all things cultured, this isn’t gatekeeping—it’s simply about having some standards.
Compare this to true creative visionaries — Virgil Abloh, Kim Jones, or even Lenny Kravitz (via his design studio) — who bring actual fluency in visual culture. These are the people who think spatially, conceptually, and materially. They live with the art, they collect it, and they understand what it means.
There’s a clear difference between having your portrait auctioned and being the one to select which works should be auctioned. Between “I love this because it reminds me of Ibiza” and “I’m interested in how this artist deconstructs traditional portraiture and challenges the male gaze.”
If auction houses want to engage younger, more diverse audiences, brilliant. But there are better ways than handing over the catalogue to the latest Instagram darling. Invite an art-loving stylist who actually understands how visual language works. A fashion designer who has a real curatorial sensibility. A filmmaker with a visual vocabulary beyond just “looks cool.” Hell, even an actual art curator with informed opinions.
So no, not everyone should curate an auction. And that’s absolutely fine. There’s room for muses, icons, and collectors. Just don’t mix up the roles and call it curating. Some of us are trying to take this seriously.
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