John Wieland and his late wife, Sue, didn’t plan to become art collectors. When the couple began acquiring artworks nearly fifty years ago, they didn’t even think of it as collecting—they were motivated by simple necessity. “We had a house, and we needed some art on the walls,” Wieland tells Observer. But what began casually grew into a collection of more than 400 works that today serves as a cultural magnet in the Southeast.
Wieland built his career as a housing developer, eventually founding a firm, John Wieland Homes and Neighborhoods. He achieved great success, and that success continues to shape his approach to life today. Although the couple’s first purchases were functional—a way to fill empty walls—John and Sue soon felt the need for a guiding principle, something beyond immediate attraction. Given his career and their interest in the concept of domestic life, the choice seemed obvious: their collection would focus on art about house and home.
“Almost all of us are fortunate enough to live in a home,” Wieland explains, which makes the theme nearly universal in its appeal. In the early days of the couple’s collecting journey, their interpretation was literal. “If we saw a work of art, it would need to have a fairly good-sized house right in the middle to qualify.” Over time, though, the scope expanded, and they “broadened it out so that it can be representative of what happens at home or a portion of the house.” This evolution led to acquisitions like a mid-sized painting by Haley Barker of a Christmas tree. “You think about the holiday and faith, and of course, the Christmas tree is part of it.”
From there, they established one of the collection’s central tenets: discovery. According to Wieland, the collection is meant to be “a new way of looking at art for the people who visit”—an ethos that would come to shape the founding of The Warehouse, the contemporary art institution that now houses the Wielands’ collection. The 37,000-square-foot warehouse on Atlanta’s west side was renovated to accommodate the growing holdings and opened in 2010. Since then, The Warehouse has served not only as a practical solution but also as a charitable way to share art and, as Wieland says, “complement the museum experience.”
The Warehouse has its own leadership: director Philip Verre and curator Jack Wieland, who manage and interpret the collection beyond its ties to the family. The Wieland collection continues to grow, and since its opening, Wieland says that visitors are consistently surprised by what they encounter within its walls—few expect such breadth from a collection dedicated to house and home. While each person takes away something different, one piece that stands out is Blue Hallway (2000) by James Casebere. The photograph shows an interior hallway nearly submerged in water, with only the tops of doors and walls visible above the dark liquid. From the right-hand side, a spotlight cuts into the gloom, illuminating the edge of a doorway. In the dimness, the beam feels as bright as the sun. The work captures the complexity of the collection’s themes: the centrality of home, the sense of the unexpected—where does the light originate?—and the promise of discovery—what lies beneath the water?
A visit to The Warehouse is eye-opening, and there’s much we can still learn from the Wielands and their vision. But above all, one truth remains: art feels most alive when seen within a home.
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