A Conversation with Jane Anspach
Co-Founder of Bobby Anspach Studios Foundation and Mother to Bobby Anspach
Video: Stefano Giovannini, courtesy of New York Post
Personal Connection & Foundation Origins
Could you share the story of how the Bobby Anspach Studios Foundation came to be?
The foundation began as an effort to preserve Bobby's art after his passing. Paula Baldoni, a Toledo gallerist who had been working with Bobby recommended consulting Saul Ostrow, a New York art critic, while emphasizing the importance of continuing Bobby's legacy. We were completely unfamiliar with establishing a foundation!
Interestingly, Bobby had actually drafted documents for a potential foundation himself. We believe this was either intended for after his death or as a way to maintain his art outside of galleries, as he was concerned about the commercialization of art. The foundation wasn't officially established until two years after his passing in 2024.
Jane Anspach in Bobby’s dual installation: ‘The Beautiful Nothing.’
How would you describe Bobby's artistic vision and what made his work unique?
The unusual medium—pom-poms rather than oil paint—reflected the heartfelt conviction behind the work. It wasn't about creating an image on canvas but helping people help themselves. Everything about it was different: sound, light, pom-poms.
He believed he would create the most beautiful artwork in the world, though we discussed how beauty is subjective. The conviction was its true beauty. His vision was beautiful too: saving the world, giving people peace, helping them live compassionately. This vision was informed by his immersion in Buddhism, eastern religions, and insight meditation. He recognized our world's suffering and saw a path forward, while believing the contemporary world was becoming increasingly difficult for people.
Mother & Artist Relationship
How did you experience Bobby's artistic journey as his mother? Were there pivotal moments that stand out?
Bobby was a natural creator from an early age—he assembled toys by following directions at just four years old and had an innate talent for figuring things out. A pivotal moment came in fourth grade when his teacher called me about his self-portrait; all the teachers were amazed by its thoughtful, dimensional quality—unusual for a child.
He always said he wanted to be "an artist" when he grew up. Once when I asked, "What will you do to make money?" It likely marked his first realization that society doesn't fully value artistic pursuits. Though versatile—excelling in math and literature, taking architecture classes at the Toledo Museum, even building computers in high school—he preferred independent exploration over structured lessons, often learning basics then experimenting on his own.
Looking back, I see he perfectly fit the artist's profile: philosophical, analytical, critical, and sensitive. He embraced breaking rules and challenging conventional perspectives, naturally gravitating toward conceptual art.
What was your relationship with Bobby's art like during his lifetime?
He discussed his art throughout his creative evolution—from machine building to developing his aesthetic. He shared about graduate school and the critiques he experienced. The process caused him considerable anxiety, as art school graduate programs can be quite intimidating when your work is subjected to intense criticism.
As a family, we exposed all our children to the arts. I ran a small gallery in an antique mall when the kids were young. I would research artists, price pieces, and create informative cards with details about the artist, who they studied under, and their exhibitions. I insisted all my children take at least one art history class in college, and we made regular trips to museums and cultural events in bigger cities like New York and Chicago.
Foundation Mission & Impact
What do you believe would make Bobby most proud about the work the foundation is doing today?
He loved giving people those moments of joy and revelation through his art. He particularly delighted in having people experience his work and talking with them afterward about their reactions. He was truly a listener who paid deep attention to people's responses. I think he would be absolutely thrilled by everything that's happening now.
How does the foundation aim to continue Bobby's artistic legacy while also creating opportunities for other artists?
We've established a grant program that will award its first grants this fall during Bobby's exhibition at the Newport Art Museum. We're currently assembling the committee, and we’re excited for the foundation to be able to help support emerging artists on their journey.
Bobby often acknowledged that his artistic vision couldn't have developed without his family's financial support. The time he devoted to meditation, soul-searching, and cultivating compassion took away from having a "real job." Each year, Bobby contributed to a foundation that provided scholarships for people who wanted to attend meditation retreats in Barre, Massachusetts, but couldn't afford them. He was committed to helping people access these experiences without cost concerns.
He understood that the various mediums and materials he incorporated into his art were expensive. Combined with the cost of graduate school, he recognized that he couldn't have developed his vision in the same way without fortunate circumstances.
What has been the most rewarding aspect of leading this foundation so far?
He still feels alive to me in a strange way because we're continuing Bobby's work. It's like stepping into his shoes. We get to embody the role of the compassionate artist trying to do good in the world. It's wonderful to remain connected to such a kind human being, which is truly what he was. We wouldn't have thought to do this on our own—we needed others to encourage us.
The Anspach family at "Bobby's World," SPRING/BREAK NY, 2018. This edition, themed "Stranger Comes to Town," took over two abandoned floors of the former Condé Nast building in Times Square.
Future Vision
What are your hopes for the Bobby Anspach Studios Foundation over the next five years?
It's expensive to sustain this for five years. I'm treating it like a startup until we find people who share the vision and have resources to help expose others to this broader perspective. The world could be different if we shift our viewpoint slightly, loosening our grip on money and material things, allowing our hearts to come from a different place. Maybe there's hope for people to change.
Are there any upcoming initiatives or events you're particularly excited about?
I love that the Newport Museum approached us—we didn't seek them out. This will be the first time exposing so many people to this work, which is tremendously exciting.
The Newport Museum also offers programming for schools, including those serving children with emotional and psychiatric challenges. I see these experiences as healing for kids—learning meditation and developing skills for stillness and self-reflection.
Jane and Bob Anspach at Studio 3X, Bobby's studio in the Gowanus neighborhood of Brooklyn.
