VALENTINO D. CARLOTTI Valentino D. Carlotti, works in the Institutional Client Group of Goldman Sachs' securities division. Mr. Carlotti serves as a board member of the Studio Museum of Harlem. http://blackartinamerica.com/group/fine-art-collectors/forum/topics/top-power-brokers-and-collectors-of-black-art
Valentino D. Carlotti et David Shuman rejoignent le conseil d’administration de la Fondation Guggenheim La Fondation Guggenheim a annoncé que Valentino D. Carlotti, un associé senior de Goldman Sachs, et l’investisseur privé David Shuman rejoindront le conseil d’administration de la fondation. Valentino Carlotti, qui est également en charge de la Securities Division du groupe client institutionnel de Goldman Sachs, siège aux conseils d’administration de l’American Ballet, Theater, Jazz du Lincoln Center et du Studio Museum à Harlem. Il a également été président de la branche brésilienne de la banque, ce qui fait dire au président de la fondation, William L. Mack, ainsi qu’à sa directrice Jennifer Blei Stockman que « son expérience en Amérique latine ainsi que son engagement en tant que collectionneur passionné seront de grands atouts pour le Guggenheim. » David Shuman a créé à New York le fonds Northwoods Capital Management LLC, et a été décrit comme un « collectionneur pointu spécialiste de l’expressionnisme abstrait et de peinture contemporaine », doté « d’une excellente compréhension du marché de l’art international ». Le duo a également souligné que David Shuman « a permis au musée de faire de nombreuses acquisitions... https://fr.artmediaagency.com/tag/valentino-d-carlotti/
ÉDOUARD CARMIGNAC Créée en 2000, la Fondation Carmignac a pour origine la collection d'entreprise de Carmignac Gestion. Depuis plus de 25 ans, Édouard Carmignac, gérant d'actifs, collectionne l'art contemporain. Abritée, place Vendôme, dans les locaux de la société de gestion, et dans ses filiales à l'étranger, la collection si singulière, constituée dans un premier temps autour du Pop Art et de l'expressionnisme allemand, porte l'empreinte des coups de cœur du président et fondateur de Carmignac Gestion. Les acquisitions récentes font place aux pays émergents pour refléter au mieux un monde en évolution auquel chacun de nous est à l'écoute. Une collection riche et engagée La collection Carmignac compte aujourd'hui près de 250 peintures, photographies et sculptures des XXe et XXIe siècles. Partagée par l'ensemble des équipes de Carmignac Gestion, la collection offre une ouverture sur d'autres univers, conforme à l'esprit pionnier qui fait le succès de Carmignac Gestion sur les marchés internationaux depuis plus de 25 ans. Ouverture vers l’art contemporain " Pourquoi l'art contemporain ? Parce que - répond M. Carmignac - je suis dans l'anticipation permanente et les œuvres qui me parlent sont celles qui m'interrogent sur l'état actuel du monde." Notre vocation de mécène n'est pas tant d'accumuler que d'initier pour ensuite offrir à la collectivité un patrimoine commun ainsi que de faire partager la passion de l'art contemporain. http://www.fondation-carmignac.com/fr/la-collection/
Banker Edouard Carmignac heads the Carmignac Gestion firm and in 2000 founded the Fondation Carmignac to acquire contemporary art and support artists through prizes and grants. The foundation’s holdings, which are rich in American and German postwar art (Warhol, Basquiat, and Richter are represented, among others), are displayed at the company’s offices. “Having artworks in-house creates the most ideal work conditions possible for each and every one of our workers,” Carmignac has said, adding how moved he is when his colleagues appreciate the art. The foundation has four rules that guide its acquisitions, which now number around 200: “Buy what we love,” “No taboos,” “Without borders,” and “No reselling.” The collection includes works by John Baldessari, Alexander Calder, Maurizio Cattelan, Urs Fischer, Douglas Gordon, Keith Haring, Zhang Huan, Jeff Koons, Roy Lichtenstein, Shirin Neshat, Gerhard Richter, Ed Ruscha, and Andy Warhol. http://www.artnews.com/top200/edouard-carmignac/
En avant-première de l’ouverture de la Fondation Carmignac à la rentrée 2017 sur l’île de Porquerolles, Walk on the Wild Side offrira une introduction privilégiée sur une collection riche de plus de 250 œuvres d’artistes majeurs des XXe et XXIe siècles. La collection d’Édouard Carmignac a principalement été orchestrée autour de deux pôles, le pop art américain et l’école allemande. Édouard Carmignac découvre dans les États-Unis de la fin des années 1980 l’effervescence du pop art ; Jean-Michel Basquiat lui exécute son portrait (Zing, 1984), il devient dans la foulée l’un des plus importants collectionneurs de Roy Lichtenstein en France et acquiert des œuvres majeures d’Andy Warhol dont les magnétiques et iconiques portraits de Mao et de Lénine, peints en 1973 et 1986. A la même époque, il s’enthousiasme pour les œuvres de l’allemand Gerhard Richter, et acquiert ses premières toiles dans les années 1990, avant que l’artiste ne connaisse un succès mondial ! Sa collection s’élargit par la suite progressivement, suivant une dynamique personnelle, faite de coups de cœur. Ainsi, des œuvres d’artistes tels que Willem de Kooning, Martial Raysse, Miquel Barceló, Andreas Gursky, Maurizio Cattelan, Ed Ruscha, John Baldessari et Sterling Ruby sont venues intuitivement entourer le noyau fondateur. http://www.artsixmic.fr/au-coeur-de-la-collection-carmignac-walk-on-the-wild-side/
ALFONSO GARCIA CASTILLO A former financial adviser, Gracia Castillo has been collecting since he was quite young. In his words, he has “been in contact with the art scene since an early age.” While he pursues emerging artists with a focus on those from Latin America, he is guided in his purchases largely by instinct, he says. His recent acquisitions include etched light boxes by Marcela Armas, cutout photographs by Jose Dávila, sculptures by Cynthia Gutiérrez, and drawings by Françoise Vanneraud. http://www.huffingtonpost.com/artinfo/modern-painterss-50-most-_b_1694931.html
TRUDY & PAUL CEJAS Paul L. Cejas (born 1943) is a native of Cuba who arrived in Miami, Florida in 1960, is chairman and chief executive officer of PLC Investments, Inc., a wholly owned company that manages portfolio investments, and investments in real estate, health care and venture capital projects. He served as Ambassador to Belgium under U.S. President Bill Clinton. Cejas was founder, chairman and chief executive officer of CareFlorida Health Systems, Inc., the country's largest Hispanic-owned health care company, which merged with Foundation Health of California in 1994. https://en.wikipedia.org/wiki/Paul_L._Cejas
A certified public accountant, Paul Cejas was the founder of CareFlorida Health Systems, the largest Hispanic-owned healthcare company in the United States, which he sold in 1994. Now he is the CEO of PLC Investments, which manages extensive holdings, ranging from real estate to venture capital, and has the title of Honorable attached to his name, having served as ambassador to Belgium at the end of Bill Clinton’s presidency. He and his wife, Trudy, have owned some impressively lavish (read: eight-figure) properties in South Florida over the years, which they have filled with modern and contemporary art, specifically Latin American, European, and American. Among the artists they have collected are Thomas Houseago, Fernando Botero, Guillermo Kuitca, and Rufino Tamayo. The pair have funded philanthropic projects throughout Florida, and Paul has served on the boards of the Miami Art Museum, the Smithsonian, the Latin American Advisory Board of the Tate Museum, and University of Miami. http://www.artnews.com/top200/trudy-and-paul-cejas/
Trudy & Ambassador Paul Cejas have created a collection of modern and contemporary art that has long been considered one of the top collections in the United States. Their Star Islandhome features paintings by Yves Klein, Gerhard Richter, Agnes Martin, masterpieces by Wifredo Lam, and many more exciting works. https://www.icamiami.org/calendar/enchanted-evenings-2017-trudy-ambassador-paul-cejas/
CESAR CERVANTES A restaurateur who doesn’t use consultants for buying art, Cervantes lives in suburban El Pedregal with his collection and his family. Indeed, he considers his art pieces — including works by Abraham Cruzvillegas, On Kawara, Jimmie Durham, and Gabriel Orozco — family members. Only his ownership unites the collection, but he does feel that his profession “is now more influenced by my involvement in culture through collecting art than the other way around.” Most recently he acquired “Dieu,” a 1974 work by Robert Filliou he’s wanted for seven years. Yet the thrill never wanes. “I honestly still feel excited about acquisitions made 5 or 10 years ago,” he says. http://www.huffingtonpost.com/artinfo/modern-painterss-50-most-_b_1694931.html
The Savage Detectives at the Cervantes Collection Cesar Cervantes, Mexico City from collectorspace on Vimeo. Collectorspace presents The Savage Detectives at the Cervantes Collection, featuring Dominique GonzalezFoerster’s Untitled (Bolaño) (2011). In this work, Gonzalez-Foerster places a copy of Roberto Bolaño’s The Savage Detectives (1998) on a pile of sand, stacked in a corner of the exhibition space, and leaves open the two pages that include a triplet poem, including a straight, wavy, and a broken line. The sand underneath the book does not denote a locational specificity, but rather suggests the author’s relationship to a landscape. The landscape also materializes an image from the book, as the wavy line reappears on the sand. Gonzalez-Foerster thus creates a habitat for The Savage Detectives, treating it as a literary text, a visual image, as well as a living being. Untitled (Bolaño) reflects collector Cesar Cervantes’s interest in artworks that are connected to time, history, and the concept of ready-made. Based in Mexico City, Cervantes started off by collecting modern Mexican masters, but eventually shifted his attention to works by contemporary international artists. He later began to revisit conceptual works from the 1960s and 1970s, questioning the existing readings of contemporary artistic production. He now contemplates a question rarely discussed: when to stop collecting? Dominique Gonzalez-Foerster (b. 1965) lives and works in Paris and Rio de Janeiro. Recent solo exhibitions include: Cloud Illusions I Recall (a collaboration with Cerith Wyn Evans), Irish Museum of Modern Art, Dublin (2013); T.451, Tensta Konsthall and the Asplund’s library, Stockholm (2012); chronotopes & dioramas, Dia Art Foundation, New York (2009); and TH.2058 The Unilever Series, The Turbine Hall, Tate Modern, London (2008). Selected upcoming and recent group shows with participation of the artist: Montreal Biennale, Montreal (2013); ELLES, CCBB RJ, Rio de Janeiro (2013), and Stage it! (Part II), Stedelijk Museum, Amsterdam (2013). Cesar Cervantes is a collector and patron of contemporary art based in Mexico City. The Cervantes Collection began by focusing on early works by On Kawara and Gabriel Orozco. The Collection includes numerous conceptual works from the 1960s and the 1970s by artists such as Alighiero Boetti and Robert Filliou, as well as more recent pieces by Bernadette Corporation, Abraham Cruzvillegas, Jimmie Durham, Claire Fontaine, Daniel Guzmán, Damián Ortega, and Rirkrit Tiravanija. http://collectorspace.org/?p=3991
MARIE CHAIX Marie Chaix, née à Lyon (Rhône) le 3 février 1942, est un écrivain français. https://fr.wikipedia.org/wiki/Marie_Chaix
Marie Chaix is one of fashion’s most sought-after stylists, best known for her versatility and unpretentious take on glamour. Born in France, Chaix moved to London to study at Central Saint Martins before working at Self Service magazine, where she is now fashion editor-at-large. Her work has appeared in publications including Vogue Paris, W, i-D, Acne Paper and Double. Chaix has crafted images with photographers including Glen Luchford , David Sims , Mario Sorrenti , Alasdair McLellan , Mario Testino , Mert and Marcus, Roe Etheridge, Jamie Hawkesworth and Terry Richardson . Proenza Schouler , Kenzo, Sportmax, Sonia Rykiel and Roberto Cavalli are amongst the brands who currently tap Chaix's expertise as a consultant on their ready-to-wear collections and advertising campaigns. https://www.businessoffashion.com/community/people/marie-chaix
RICHARD CHANG American-Chinese investment professional Richard Chang, the founder of the Domus Collection, is a trustee of the Royal Academy in London, a member of Tate’s International Council and its Asia-Pacific Acquisitions Committee, and a trustee of MoMA PS1 and the Whitney Museum in New York, where he is also co-founder and chair of the performance committee. Dividing time between New York and Beijing, he is considered key in bridging Western and Asian art; he often sponsors special projects, such as Beijing-based artist Huang Ran’s feature film The Administration of Glory in 2013 (which was selected for the Palme d’Or at Cannes in 2014—see 31-Year-Old Artist Ran Huang Selected for Cannes’ Palmes d’Or), and Pipilotti Rist’s first exhibition in China, at the Times Museum in Guangzhou. https://news.artnet.com/art-world/top-200-art-collectors-2015-part-one-286048
American-Chinese investment professional Richard Chang founded the Domus Collection 2008, based in New York and Beijing. Since 2010, he has been listed in ArtReview’s Power 100 as one of the key collectors of Western and Asian art and a key broker of ties between the two artistic communities, both personally and through his involvement with institutions. Chang is a trustee of the Royal Academy in London and MOMA PS1 and the Whitney in New York, where he is also co-founder and chair of the Performance Committee. http://www.artforbes.com/artcollector.html
Founded in 2008 by Richard Chang, a collector residing both in New York and Beijing, The Domus Collection presents a new ideal driven by a personal passion for art acquisition during an unprecedented period of international change. Focusing on both Eastern and Western artists, the private collection seeks to establish a cross cultural dialogue as contemporary art is embraced by more and more people worldwide. The Domus vision looks to build a unique repository of emerging and established contemporary artists to raise new questions about art internationally. By presenting ongoing exhibitions, the collection will continue to explore contemporary trends and practices, and offer new models for engagement. Domus has instituted a program to work in collaboration with institutions globally to ensure the collection's continued commitment to education and advocacy of the arts. http://www.domuscollection.com/
Five years ago, Richard Chang decided to make supporting contemporary art his "second job." Since then, the 38-year-old Chinese-American collector, who oversees investments in real estate, hotels, media and fashion for his wealthy family, has raised his international art-scene profile considerably. He splits much of his time between New York and Beijing, where he started the nonprofit Domus Collection to educate local audiences about Western art through exhibitions. The first such show, "Roundtrip: Beijing–New York Now," was staged at the Ullens Center last year. Mr. Chang is also a key adviser to the fast-rising Hong Kong International Art Fair. Attending the fair's latest edition last weekend, Mr. Chang talked about being a global collector today. Below, an edited transcript. "The first work I bought, in 1997, was actually a Picasso, a drawing from 1961—nothing significant. It turned out to be not such a bad choice, but it was sort of a one-off. After that, I collected mostly young, emerging artists. As you get more confident as a collector, you get bolder and start raising the stakes. Now I'm buying some works that run well into seven figures. For me, that's high. So it becomes less impulse-driven. But even if I couldn't buy art, I think I would keep an inventory of my own imaginary museum. http://www.wsj.com/articles/SB10001424052702304066504576343282755948362
Do all boards on important museums lead to Richard Chang? Maybe. In London this collector is a longtime trustee of the Royal Academy of Art, the vice-chair of the Tate International Council and a member of its Asia-Pacific Acquisitions Committee. In the US he is a trustee of MoMA PS1 and the chair of performance at the Whitney Museum of American Art. This year he adds another feather to his cap: president of Performa, the influential New York biennial dedicated to performance in contemporary art. Besides having a say in major institutions, he makes it a point to offer individual artists support through the Domus Collection, which he founded back in 2008. This year he has supported Tatsuo Miyajima’s solo show at Sydney’s Museum of Contemporary Art Australia and Mariko Mori’s eco-installation for the Rio Olympics, Ring: One with Nature, a luminous 6m-high ring at the peak of a waterfall. https://artreview.com/power_100/richard_chang/
KIM CHANG-IL Location: Cheonan, South Korea Employment: Property development, retail, and transportation Art Collection: Contemporary art http://www.artfortune.com/collectors-11/
Founder of the recently launched Arario Museum, Kim Chang-il is one of Korea’s top gallerists as well as collectors, and is also an artist. His collection began with an interest in contemporary and modern Korean artists, but, as reported by the Huffington Post, a visit to MOCA in Los Angeles in 1981 inspired him to expand his collection. His holdings now number around 3,700 pieces, and include work from Korean contemporaries as well as YBAs, members of the Leipzig School, and young artists from China, India, and Southeast Asia, as well as respected big-name artists from the West. https://news.artnet.com/art-world/top-200-art-collectors-2015-part-one-286048
An Entrepreneur, A Party Man, An Artist: “I am Chang-Il Kim” Larry’s List had the pleasure of meeting with one of Asia’s biggest art collectors, ranked for 9 consecutive years on Artnews’ top 200 art collectors: Kim Chang-Il. He is a self-made multimillionaire and the owner of one of the largest contemporary art collections in the world, boasting over 3700 pieces by prominent artists with the likes of Andy Warhol, Damien Hirst , Gerhard Richter, Cindy Sherman and Nam June Paik. His passion for collecting was ignited by walking in a culture and arts district in Seoul where he bought his first traditional Korean landscape. This kick started his collecting journey of Eastern and Western contemporary art, after having travelled to Germany partying with leading German Modern masters. The successful businessman is the proud owner of Arario Gallery with branches in South Korea and China. What is more, he is uniquely known for owning five art museums in Seoul and Jeju Island, under the branch of Arario Museum showcasing his jaw dropping collection. http://www.larryslist.com/artmarket/the-talks/an-entrepreneur-a-party-man-an-artist-i-am-chang-il-kim/
Most artists struggle financially until they make it big. Kim Chang-il's story is different. First he was a self-made multimillionaire in South Korea and the owner of one of the largest contemporary art collections in the world. Then he became an artist. That's when the critics arrived. "People despise me and point to me and say, 'Why are you painting?'" says Mr. Kim. "Everyone does, even my wife. 'Why are you painting?' They ask if it's because I've become arrogant." Of course, Mr. Kim has reason to be confident. He always thought, for instance, that he would be a rich businessman. His grandparents told him so; a fortuneteller even predicted it. After university, Mr. Kim took over the dusty convenience store his mother was running inside a bus terminal. He revamped the store to give it a modern look and business took off. Soon, he had enough money to buy the entire bus station. Over time, that mushroomed into an empire of department stores, restaurants, cinemas and galleries. Mr. Kim coped badly at first with the sudden wealth and he says he spent a reckless amount at bars. But in 1977, when he was 26 years old, he had an epiphany as he walked around Insadong, a culture and art district in downtown Seoul near his old high school. "The art made me feel safe. Like it would save me from my recklessness." He was taken, he says, with what he likes to call a "dream virus" that pushed him into the realm of art, and he started to collect with a passion. Today, Mr. Kim displays many of the works he's accumulated in Cheonan, an hour's drive from Seoul. There, outside his Arario Gallery, sculptures by great contemporary artists such as Keith Haring, Damien Hirst and Armand Fernandez are free for the public to enjoy anytime. He also owns galleries in Seoul, Beijing and New York. http://www.wsj.com/articles/SB125679853805215367
DAVID CHAU & KELLY YING Based in Shanghai, David Chau and his wife, Kelly Ying, acquired the bulk of their wealth from David’s fleet-management company, and estimate that they spend around $1.5 million annually on art acquisitions. Chau set up a $32-million art investment fund when he was 21, and is the financial backer of two galleries, Leo Xu’s and Simon Wang’s Antenna Space. He is also the co-founder, with Ying, of Shanghai’s newest art fair, Art021. Their personal collection is anchored by work by three young Chinese artists, Liu Wei, Xu Zhen, and Yang Fudong, as well as an extensive selection of video art. https://news.artnet.com/art-world/top-200-art-collectors-2015-part-one-286048
A Lady with a Fashion Sense and an Art Collection Kelly Ying isn’t just a pretty face. From previously working in the fashion industry to being a former gallery director, Ying is an active collector and the co-founder of ART021: a fresh new art fair in Shanghai, which will begin its 3rd edition this year. With the aim to connect a new mix of Chinese collectors with spaces in China, ART021 is already attracting international names and leading galleries. Kelly Ying is also the wife of collector David Chau (Zhou Dawei), who is himself much involved in the art scene in China, supporting various galleries and cultural institutions. Her collection consists of contemporary artists coming out of China, who are of similar age to her. However, until recently, she has branched out to younger international artists. http://www.larryslist.com/artmarket/the-talks/a-lady-with-a-fashion-sense-and-an-art-collection/
David Chau is 30 years old Shanghai-based art collector, who set up a $32 million art-investment fund when he was 21. Chau studied Chinese classical painting at Canada’s University of British Colombia in Vancouver, and made his first million dollars when relatively young by trading coins and sports memorabilia on eBay. Chau began collecting in 2003, and today he funds two of Shanghai’s top galleries: Leo Xu Projects and Antenna Space; and most importantly, he cofounded ART021 art fair. He possesses around 150 pieces by Wu Dayu, while his collection includes contemporary art stars such as cutting-edge conceptual artist Xu Zhen and auteur film maker, Yang Fudong. Kelly Ying is probably the most publicly known Chinese art collector. Based in Shanghai, she is married to David Chau (art collector who is also on this list). Originally working in the fashion industry, Ying is now focusing entirely on art. She is the co-founder of Art021. Her collection consists of contemporary artists coming out of China, who are of similar age to her. However, until recently, she has branched out to younger international artists. http://www.widewalls.ch/young-art-collectors-china/david-chau/
ARTPRICE: As an art collector, which cultural event had the strongest impact on you these past 12 months? The globalisation of contemporary art and the growing number of collectors have impressed me over the last 12 months. I have noted how the Western art market has continually set records both on the primary market and the secondary market, making us lose sight of the intrinsic value of art. Some wealthy investors, much talked about, have started collecting and investing in art. Many new collectors, especially in China, India, Russia, the Middle East and Latin America are now engaged in speculation, following the Western example. The works of some artists that were worth $10,000 last year are selling this year for between $500,000 and $1 million. This was unimaginable in the past. Last year, with the globalization of the art market, greed took precedence over any other approach. Auction houses were not spared: despite some fine records, Christie’s and Sotheby’s each had to announce the departure of their CEO after poor annual reports. This is an appalling phenomenon. Fortunately, this speculative bubble has calmed down a little over recent months in both the West and the East. Excessive manipulation of the art market and focus on the financial value of works causes the academic level to suffer. I went to the Venice Biennale this year and noticed that many collectors who had been followed over the past 12 months were not there. This proves that the bidders are not actually attached to art. Westerners consider that the Chinese contemporary art market was subject to too much speculation between 2005 and 2007. Despite this, it seems to me that this is exactly what is now happening on the contemporary art market in the West. I am struck by the contrast between China and the West. In the last 12 months, the Chinese collectors who survived the bubble in 2008 and have also founded their museum are beginning to look at artists and their work. In parallel, the museums are focussing on the promotion of art and culture. For all these reasons, many private museums have been created in China, including LONG Museum, Yuz Museum Shanghai and Ullens Center for Contemporary Art, as well as the QIAO Zhibin (West Bund Oil Tank Art Centre) project, which is in progress. http://fr.artprice.com/artprice-reports/the-contemporary-art-market-20142015/professionals-insight/david-chau-collector-patronfounder-of-art021-shanghai-contemporary-art-fair-china
PIERRE T.M. CHEN #13 Taiwan's 50 Richest (2016), #14 in 2015, #959 Billionaires (2016), #10 in Taiwan Taiwan's leading art collector picked up Andy Warhol's ?Mao? (1972) and Gerhard Richter's ?Abstraktes Bild? (1992) this past year. An engineer early in his career, he made his first fortune creating electronics components maker Yageo. http://www.forbes.com/profile/pierre-chen/
One of Pierre Chen’s collections, Tamsui, is an oil painting by Japanese-period Taiwanese artist Tan Ting-pho. It fetched $4.5 million (NT$144 million), setting the latest world record for a ‘NT $100 million’ purchase of an oil painting by an ethnic Chinese artist. https://en.wikipedia.org/wiki/Pierre_Chen
Chen made his first purchase in 1976 while still a student—a wooden sculpture by Chinese artist Cheung Yee. It took him a year and a half to save up the funds to do so. Today, the computer engineer’s extensive collection features hundreds of paintings and sculptures by blue-chip artists including Mark Rothko, Willem de Kooning, Henry Moore, Les Lalanne, Antony Gormley, Cai Guo-Qiang, and Jeff Koons. He is currently most excited by Western contemporary art, and purchases rather emotionally: he is said to have bought an untitled Cy Twombly because it made him feel “calm” and a yellow Warhol Fright Wig because he found it “so fresh.” https://news.artnet.com/art-world/top-200-art-collectors-2015-part-one-286048
Though he recently stepped down from being CEO of his electronics company, Chen has definitely not retired from collecting. In fact, the Taiwanese entrepreneur made his biggest purchase ever in at Christie’s in May, when he paid $26 million for the painting Swamped (1990) by Scottish painter Peter Doig. Other works in his Western-leaning collection include pieces by Georg Baselitz, Francis Bacon, Gerhard Richter, Cy Twombly, Marc Quinn, Andreas Gursky, and Mark Rothko. Reportedly, full-time staff help Chen buy his art. In 2014–15, some 75 works from his collection toured four Japanese museums in the exhibition “Guess What? Hardcore Contemporary Art’s Truly a World Treasure.” https://news.artnet.com/art-world/artnet-news-index-top-100-collectors-part-one-513776
With a net worth of $1.96 billion as of 2016 (according to Forbes) Pierre Chen has been collecting art since 1976, the year before he founded the Taiwanese electronics behemoth Yageo. His first purchase was a sculpture by the Hong Kong artist Cheung Yee priced at 25,000 Taiwanese dollars, which took him a year and a half to save, according to a 2014 profile in Sotheby’s magazine. His purchases over the years have ranged from Thomas Struth and Gerhard Richter to Tan Ting-pho and Cai Guo-Qiang. His collection is a sort of comfort for him. “My business changes very quickly,” he told Sotheby’s. “I am fighting everyday because there is always some new technology coming to the market. For me to have balance in my life, I need art and music.” Asked about his favorite works in his collection, he told ARTnews those would be Cy Twombly’s Untitled (Rome), 1971, and Francis Bacon’s Three Studies for a Portrait of Lucian Freud (1965). In May 2015, at Christie’s, New York, Chen dropped a cool $26 million on Peter Doig’s painting Swamped (1990), setting a new auction record for the artist. http://www.artnews.com/top200/pierre-chen/
CEO of Yageo Corporation, the tall, slim and always a classy dresser Pierre Chen shares the honors with Barry Lam of Quanta as the most sophisticated art connoisseur in the Taiwanese business community. From entrepreneur to a savviest art collector, Pierre Chen has put a considerable effort into his art collecting. He does lots of homework, and asks for opinions from a lot of artists before buying a painting. One of Pierre Chen’s collections, Tamsui, an oil painting by Japanese-period Taiwanese artist Chen Cheng-po fetched $4.5 million (NT$144 million), setting the latest world record for a ‘NT $100 million’ purchase of an oil painting by an ethnic Chinese artist. http://www.artfortune.com/collectors-7/
ADRIAN CHENG In 2010, Cheng founded the non-profit K11 Art Foundation to support young Chinese contemporary and groom a new generation of audiences for contemporary art. He initiated collaborations between K11 Art Foundation and international museums and art institutions such as Palais de Tokyo in Paris and Institute of Contemporary Arts (ICA) in London, showcasing artistic talents from China and also facilitating cross-cultural dialogues within the global art scene. The Foundation also have an art village in Wuhan with studios to nurture young artists from China. Cheng was included in ArtReview Power100 in 2014 (#100) and 2015 (#76), and is also the Top 10 Young Art Collectors on Larry’s List, as well as 20 of the World's Most Innovative Art Collectors on artnet. https://en.wikipedia.org/wiki/Adrian_Cheng#Art_patron
One of the world’s youngest billionaires, Cheng is heir to a property-development fortune in Asia. He graduated from Harvard and has gone on to found the nonprofit K11 Art Foundation, which supports art villages in Wuhan and Guiyang, China; its collection focuses on international artists, such as Yoshitomo Nara and Olafur Eliasson, while Cheng’s own personal collection includes work by Chinese artists such as Zhang Enli. In 2012 Cheng was also invited to join Tate’s Asia-Pacific Acquisitions Committee. https://news.artnet.com/art-world/top-200-art-collectors-2015-part-one-286048
Chairman of the New World Development, a $16 billion real estate and retail venture, Adrian Cheng has joined commerce with art in his K11Art Mall, a museum that aims to increase the visibility of Chinese contemporary art with branches in Hong Kong, Shanghai, and Chengdu. Cheng is also a passionate art collector himself and owns works of local and international artists. https://news.artnet.com/art-world/meet-20-of-the-worlds-most-innovative-art-collectors-117315
As heir of one of the most influential property development tycoons in Asia, Adrian Cheng has the vision of merging commerce and art. Consequently, he has developed the first “Art Mall” – called K 11 – in Hong Kong in 2009. Meanwhile the mall has branches in Shanghai and Chengdu. Cheng is also a passionate art collector himself and owns works of local and international artists. http://www.larryslist.com/artmarket/features/top-10-young-art-collectors/
“Notre action repose sur trois piliers, explique le mécène. Nous voulons développer à l’étranger la notoriété et la compréhension des artistes chinois, en soutenant des expositions dans les plus grandes institutions et en multipliant les collaborations. Mais je souhaite aussi que le public chinois puisse avoir accès et s’éduquer à l’art contemporain de son pays, un art qu’il ne connaît pour ainsi dire pas du tout. Nos centres K11 à Shanghai ou à Hong Kong y travaillent. Nous soutenons également la créa- tion émergente à travers, notamment, notre vil- lage K11 de Wuhan qui propose, chaque année, à une dizaine de jeunes artistes de la Grande Chine [la Chine continentale, Taïwan et Hong Kong] un studio ainsi qu’un soutien logistique et relationnel. J’ai par exemple financé le film de neuf heures de Cheng Ran, que nous avons présenté en avant-première à la Biennale d’Istanbul.” Et qui fut aussi visible dans la prestigieuse section Unlimited d’Art Basel en juin... Changement de décor. Nous voici à Wuhan, “petite ville” de 10 millions d’habitants, plus connue pour ses universités et ses entreprises françaises (PSA et Renault) que pour sa scène artistique. C’est là qu’Adrian Cheng a installé un “incubateur” destiné à révéler une nouvelle génération d’artistes. “Des artistes qui ne sont plus aussi politisés que dans les années 90, explique le jeune collectionneur. Ils s’intéressent aussi bien aux enjeux mondiaux qu’à la vie quo- tidienne. Ce ne sont pas de bons artistes chinois, ce sont de bons artistes tout court.” Sélectionnés par un comité qui inclut toujours un commissaire étranger, les artistes sont accueillis au sein d’un “village” qui tient plus de l’hôpital aseptisé que de l’habitation pittoresque. On y découvre, entre autres, de très intéressantes sculptures réalisées à partir de claviers d’ordinateur fondus. Plus loin dans la ville, un espace propose à de jeunes commissaires de se faire la main. Une passionnante exposition menée par un duo de curateurs dévoile les meilleures réalisations d’une jeune scène photographique. http://www.numero.com/fr/art/art-chinois-adrien-cheng-fondation-k11
ZHOU CHONG 25, graduated with a degree of art history from UCLA. He is a second-generation collector, and made his first art purchase art in 2010. His family runs a large pharmaceutical group. Zhou is based in Shanghai, where he also owns a restaurant, "Macasa", displaying his art. http://www.forbes.com/sites/alexandreerrera/2014/11/11/chinas-new-power-collectors-part-1/#437ff7f76f0c
Second-generation collector Chong Zhou, 25, compares his method of collecting with that of his parents, who run a large pharmaceutical company. “They bought on instinct,” he says, “and later, when the market took off, on investment.” But, with a degree in art history from UCLA, Zhou is more concerned with research and education. His first major purchase was in 2010, a self-portrait by Yayoi Kusama, bought from a Tokyo gallery. Now he owns more than 100 works, by heavy hitters such as Zeng Fanzhi, Yoshitomo Nara, and Yang Fudong. Today, however, he is concentrating on China’s younger artists, born post-1975, such as Qiu Xiaofei, Sun Xun, and Shi Zhiying. Instead of a museum to house his collection, he has opened a restaurant, Macasa, in Shanghai, featuring rotating shows. http://www.artnews.com/2014/10/21/new-generation-of-chinese-art-collectors/
Jiayin Chen :Tell us about yourself and how you got involved in art collecting? Chong Zhou :In 2007, I went to college in the US, majoring in art history, and graduated from UCLA in 2012. My mother started to collect Contemporary Chinese art from very early in 2001, and therefore my family has always been a major influence on me. My mother has a great eye: she purchased the works by these important artists like Zeng FanZhi, Zhou Chunya, Mao Yan...when the prices were very low. Today, collecting art has become an important part of my career; I spend half of my time everyday on art, attend charities, fairs and exhibitions to continue to support young artists. JC: Who is your first piece by? CZ: Yayoi Kusama. I bought the work in a gallery in Japan. JC : What is the proportion of media artwork in your entire collection? CZ: Overall, I don't own that many media artworks so far. But it’s definitely going to be my focus this year. I already have photography, mixed media, and video. I became more interested in new media art recently, though in earlier years I didn’t notice as much. Now I have started to collect these media artworks and also begun to conduct more research around the subject. JC: Why are you changing your focus? CZ: First of all, I see this as a coming trend. People are paying more attention to the field. Not only in the US and Europe, but also in China, many pioneering collectors are taking action. On the other side, things grow on you, your taste and aesthetics change overtime. Some collectors pick up quickly, some are relatively slower. And some still can't understand the new art forms. JC: What do you think are the main factors that hold back collectors from considering media art CZ: From my perspective, there are two reasons. The first reason is the value of the art. Whether this kind of art has value from the art history perspective, or value in thecommercial sense Many people are still debating and confused. I have no doubt that some older collectors see collecting (media art) as difficult to understand—even collecting photography sometimes is still considered edgy—so when it comes to video and installation, many people just don’t recognize the values. The second reason is more tacky: the obstacles in collecting and displaying. To institutional collectors, displaying video works is not a problem, but forprivate collectors like myselfit’s not practical to build a specific auditorium for playing video works. As for installation, especially what I refer to as “sculptural installation”, which can be viewed as sculptures, these are more acceptable for collectors. However, many installations require a vast space and complicated materials, so for most collectors, it’s still challenging. Although institutions such as museums are the most ideal place for artworks, in the long term, can artists rely on institutional support forever? Without support from individual collectors, the art market will be too limited; I think herein lies the most difficult challenge. http://www.onscreentoday.com/conversation/collecting-like-an-artist
MICHAEL & EVA CHOW Michael Chow, the 76-year-old restaurateur, collector, and artist (he just had his debut solo exhibition in Beijing—see Michael Chow’s Art Show in Beijing Is Anything But Saucy) moves seamlessly between his various interests: food, art, fashion, and film. LACMA trustee Eva Chow is co-chair (with friend Leonardo DiCaprio) of the museum’s yearly Art+Film Gala, which has become the LA event to rival the Oscars. Under her tutelage, the gala netted $4.1 million in 2013 and $3.85 million in 2014 and regularly brings in stars and collectors alike, including Salma Hayek, Nicolas Berggruen, and Eugene Sadovoy. In addition, Eva is on the board of governors for The Broad—Eli and Edythe Broad’s three-story, $130 million contemporary art museum in downtown LA. https://news.artnet.com/market/la-art-power-couples-284815
At Home With Michael and Eva Chow: "One of the Coolest Couples on the Face of the Earth" Whether they're hosting the president and Kanye, chairing LACMA's Art+Film Gala (with Leo) or celebrating the 40th anniversary of a dining institution beloved by the biggest stars in fashion, film, music and art, Michael and Eva Chow stand at the center of L.A's cultural universe. "My basic drive is to live life like a movie," says renowned Hollywood restaurateur Michael Chow, the eponymous avatar behind the inevitably celebrity-soaked, invariably critically derided Mr Chow, marking its 40th anniversary in Beverly Hills. "I'm always looking for those moments when my daydreams are somehow coming true. This movie is manipulated to be real." Chow's "movie" included a scene Oct. 10, when he and wife Eva hosted President Obama and 20 guests for a fundraiser in the Macassar ebony-lined library of their 11,600-square-foot Holmby Hills home (its design was inspired by Madrid's Museo Nacional Centro de Arte Reina Sofia). Among those who paid $15,000 to attend, in a brokered accord worthy of Jimmy Carter, were Kim Kardashian West and Kanye West, whom the president famously called a "jackass" in 2009. (One attendee says West interrupted the proceedings to commiserate with Obama, at length, that both are good guys targeted by haters.) (...) The couple, hailed by tastemakers as the epitome of chic — he with urbane, edged wit and she with easy grace — long has been a cultural force. Burnished by their dazzling aura, their restaurants have remained at the center of a fickle celebrity zeitgeist for decades. Mae West once prompted a standing ovation at the Camden Drive address; Andy Warhol would come by New York's 57th Street location multiple times a week. These days, Beyonce and Jay Z head to Mr Chow in Tribeca for a casual date, while Leslie Moonves and Bob Daly share a power lunch in Beverly Hills. Meanwhile, the Chows' A-list dinner parties pull an astonishingly starry guest list from the worlds of fashion, film, art and music (move a seat over, Mick Jagger). Right now, the pair, who, as Michael puts it, are "always looking for 'the moment,' just like in the theater," appear to have found it (again), with Eva emerging as one of L.A.'s key culture czars, and her husband, at age 75, in yet another act, transforming himself into a noted fine artist. (...) Their custom-designed home evinces such coolness. The art isn't just blue-chip (Ed Ruscha, Peter Blake, Jean-Michel Basquiat, et al.). It's full of portraiture of the Chows by those blue-chip artists. They've got a trove of rare pieces by French art deco master Emile-Jacques Ruhlmann. Their screening room's piece de resistance isn't yet another vintage-style popcorn maker. It's aquarium-like picture windows into the adjacent swimming pool. http://www.hollywoodreporter.com/news/at-home-michael-eva-chow-742435
KEMAL HAS CINGILLIOGLU Son of Turkish financier Halit Cingillioglu, Kemal Has Cingillioglu serves as a member of the European advisory board at Christie’s. He made headlines this past year when he purchased Cy Twombly’s 1960s work Untitled (Rome) for $4.4 million at Christie’s. https://news.artnet.com/art-world/top-200-art-collectors-2015-part-one-286048
Halit Cingillioglu is one of the best known names world-wide in the field of art. He has been involved in collecting artworks since his childhood and known as a major art collector. According to ART news magazine he is listed among the top ten collectors worldwide in the impressionist, modern, post-war and contemporary art fields. As a worldwide expert in art, he is a member of the Advisory Council of Sothebey's where the company benefits from his experience and knowledge in art. http://www.artfortune.com/collectors-7/
Halit Cingillioglu and Kemal Has Cingillioglu are members of one of Turkey’s prominent banking families. Halit has worked for various banks, brokerage houses, insurance companies, and the Istanbul Stock Exchange (as a board member) since the early 1970s. He’s the founder and principal shareholder of C Group, a Turkish banking and financial-services conglomerate, and the former chairman of Demirbank, which was seized by the Turkish government in 2001. According to a 2001 New York Times article, Cingillioglu may have used the bank’s money to purchase nine paintings by Monet, Renoir, Cézanne, and Picasso, which he auctioned the same year at Sotheby’s, on whose advisory council he sits. Like many in his family, Kemal also works as a financier. Though his father sits on the advisory board of Sotheby’s, Kemal is a member of Christie’s European counterpart. Fun fact: In 2013, Halit Cingillioglu proposed demolishing a 1930s townhouse in a central London conservation area for the purpose of building a seven-story “iceberg house” complete with an underground swimming pool, spa, and game rooms. http://www.artnews.com/top200/halit-cingillioglu-and-kemal-has-cingillioglu/
The Dirty Details Behind the Big New York Auctions I covered the fall New York art auctions—focusing more than usual on the art itself for a change—for another art publication, and the editors there knew full well in advance that my writing voice verges on…hysterical, littered with random gossip and innuendo that for the most part is entirely true no matter how cartoonish it may appear at first blush. (The last thing anyone wants to hear from me is my opinion about the actual art: only who's showing, buying and selling. Period.) I'm no Cindy Adams, who signed off her NY Post gossip columns: "Only in New York, kids, only in New York." But the art world is a not a place unto itself, kids, it's a veritable planet. There was a sculpture by Jim Shaw (b. 1952) subject of a retrospective at New York's New Museum, at Phillips day sale entitled Dream Sculpture from 2006 made of hay, wood and metal estimated at $40,000-$60,000, which failed to sell, one of 208 works by the artist to appear at auction. I'm not saying it was a factor in the lack of performance of the work, but a slightly conceited—bordering on arrogant—(very) young collector I know kind of tampered with it and another work after an alcohol-soaked lunch before the sale. During the preview, the guy took some hay lifted from Shaw's Dream and inserted it into a collage on canvas by Korakrit Arunanondchai (b. 1986). Plainly visible central to the composition of piece, which hadn't been removed when I saw the artwork a day later, was a chunk of hay stuffed into the burnt denims affixed to the face of Arunanondchai's canvas. I can imagine the hay being individually wrapped if the work is ever subsequently lent to an exhibition, forever preserved in its wrongfulness. Morally, I should have removed it, but I was too embarrassed. Oh yeah, the protagonist-collector, who has on occasion referred to himself as a genius (always a reassuring sign), also called himself Stingel-damus, after Nostradamus (1503-1566), the self-proclaimed seer of prophecies, due to how many Rudolf Stingel's he squirreled away before the recent price surge. Clever genius. Speaking of Stingel, an uptown gallery that may have an exquisite exhibition by the artist (up through January), albeit the single most unstable conservationally, comprised of brittle Celotex insulation board, foam and silicone, but I won't say who. The whippersnapper, who went straight to the gallery after spending a night and early morning at a rave (or whatever kids do when they're out all night), was lamenting the fact that I've given too much ink (or the digital equivalent) to one Larry G and should mention him more. Well, here you are, dude. Kenny Schachter - http://www.monopol-magazin.de/kenny-schachter-gives-dirty-details-behind-big-new-york-auctions
BILL CLARKE Executive editor of Toronto-based Magenta magazine, a journal of international art, his collection has been expanding for 12 years and focuses on works on paper, artist’s books, and multiples from the likes of Christian Marclay and Jonathan Monk, though it also includes an impressive array of pieces by emerging artists. http://www.huffingtonpost.com/artinfo/modern-painterss-50-most-_b_1694931.html
Collecting runs in Bill Clarke’s blood. Following in his father’s footsteps, a lifelong and avid collector of rare coinage, Clarke has always maintained his own collection of some variety. It began with gum cards as a kid and then evolved into a record collection in his teens. He also collected vintage 1960s Beatles toys and memorabilia which are now nostalgic souvenirs. His personal art collection has been expanding for 12 years and focuses on works on paper, artists’ books, multiples from the likes of Christian Marclay and Jonathan Monk, and an impressive array of pieces by emerging artists. While his day job in the communications department for the College of Nurses of Ontario seems about as far removed from the art world as one could get, the position affords Clarke the freedom to pursue his philanthropic and editorial ambitions in the art world on the side. For the past three years, he has worked as the editor of Magenta, a Toronto-based journal covering international art. He is also a contributor to ARTnews, C Magazine, and Canadian Art, and remains a familiar fixture in galleries. As an active member of the art selection committee for Art with Heart from 2007-2011, Clarke assisted in the fundraising auction for Casey House, an HIV-AIDS hospice in Toronto. The roads that lead to collecting art are often winding and mysterious. In the same way an artist pursues their creative endeavors, there is no straight and narrow path for a collector. The artist and the collector collide by some strange combination of timing, circumstance, and opportunity. Like the charming couple Herb and Dorothy Vogel who crammed an extensive and influential art collection into their modest New York apartment, Bill Clarke proves that no matter the size of your bank account, there are ways to build a stunning collection on a budget. You have always been a collector, but what inspired your art collection? I was the production manager for Canadian Art magazine from 2000-2001. I didn’t know Canada had such a dynamic and diverse art scene until I was exposed to it through the magazine. I was constantly amazed by the creativity coming across my desk I and started wishing I could live with some of it. But like most people, I thought that only the rich could afford art. I started collecting in earnest after seeing the exhibition Ask the Dust by a (now-disbanded) Winnipeg-based collective called the Royal Art Lodge. Several members now have successful solo careers including Marcel Dzama, Jon Pylypchuk, Neil Farber and Michael Dumontier. But, when I first saw their work back in 2003, I knew I had to own something– anything! The work made me laugh, and it spoke to where I was in my own life at the time. I acquired several collaborative drawings and solo works until the group parted ways in 2008, and the prices for their solo work soared beyond my means. Still, I love every piece I obtained early on. I purchased other artists at the time, but the Royal Art Lodge is the seed from which the collection grew. How would you describe the aesthetic of art that you gravitate toward? I like works on paper: drawings, collage, paintings, artist’s books, and prints. From a practical standpoint, paper is a pretty resilient medium, and it’s easy to frame, display and store. From a financial standpoint, it’s often more affordable than painting and sculpture. I also buy smaller pieces because I don’t have a large home and I like the intimacy of small work. You have to get up close and really look to appreciate them. Most of the collection leans toward quirky figuration and finely detailed drawing (a friend calls it “hyper-drawing”), though lately I’ve been looking at more abstract work. What qualities do you look for in a work of art? How do you know when a piece on a gallery wall must become a part of your collection? At first, I just have to feel “Wow!” about the piece and be able to pay for it within a reasonable amount of time. Those rules still apply. But, the collection is nearing 200 individual works, not including the artist’s books. Not just anything comes into it anymore. Whatever I purchase now has to relate to what’s already there, visually or thematically. I’m learning to curate, I suppose! Mainly, though I buy what I love. (...) http://installationmag.com/up-close/
ALEXANDRA & STEVEN A. COHEN Billionaire former hedge fund manager Steven Cohen, who is reportedly worth some $11.1 billion, is said to spend 20 percent of his income on art, with a collection that famously includes a Pollock drip painting and Damien Hirst’s iconic shark piece, which he bought from Charles Saatchi for $8 million in 2004. In 2006, he offered to buy Picasso’s Le Rêve from Steve Wynn for $139 million, but Wynn accidentally put his elbow through the painting and the deal was off until last year, when Cohen finally purchased the painting, now repaired, for $155 million. He was also the secret buyer of the Alberto Giacometti sculpture Chariot in November, which he bought at Sotheby’s for a near-record $100,965,000. https://news.artnet.com/art-world/top-200-art-collectors-2015-part-one-286048
Steven A. Cohen frequently appears on ARTnews‘ annual list of the Top 200 Collectors in the world. According to Forbes, he is worth $9.3 billion (his Impressionist and contemporary art collection alone is worth an estimated $1 billion). In 2006 he paid $137.5 million for Willem de Kooning’s Woman III (1952), and in 2013 he bought Picasso’s Le Rêve for $155 million. Cohen was reportedly the consignor of Franz Kline’s King Oliver (1958), which sold for $26.5 million at Christie’s record-setting November 12 evening sale. artnet.com https://news.artnet.com/market/the-top-10-uber-rich-art-collectors-157162
Steven A. Cohen owns $1 billion worth of art. Cohen runs hedge fund SAC Capital. He reportedly spent $137.5 million on de Kooning's Woman III, and recently paid $155 million for a Picasso that was famously elbowed by Steve Wynn. http://www.artforbes.com/artcollector.html
Steven A. Cohen is an American hedge fund manager, and has become a prolific figure in the finance industry. He is America’s 35th richest person with net worth of $9.3 billion, and owns 7% of Chinese search engine, Baidu. He was not born into a rich family, his parents were a dress manufacturer and a piano teacher. His association with finance began at an early age when he took poker as a hobby and often betting his own money in tournaments. Poker taught him how to take risks, which he carried into his profession. For the past decade Alexandra and Steven Cohen have been among the highest profile consumers in the art world, buying works like Damien Hirst’s “Physical Impossibility of Death in the Mind of Someone Living,” the 14-foot tiger shark submerged in a tank of formaldehyde, for $8 million, and de Kooning’s seminal painting “Woman III,” which Mr. Cohen bought privately in 2006 from the entertainment magnate David Geffen for a reported $137.5 million. http://www.artfortune.com/collectors-6/
FRANK COHEN Location : Manchester, England; Employment : Home-improvement stores Art Collection : Contemporary art; modern British art http://www.artfortune.com/collectors-8/
Who: Cofounder of the Dairy Art Centre. What to expect: This new account by the collector will bring you images of the collection inside the Dairy Art Centre in London, including images posing with renowned artists. http://www.larryslist.com/artmarket/features/top-50-art-collector-instagrams-part-i/
Frank Cohen (born 15 October 1943) is a British entrepreneur, Art collector and Philanthropist. He was born and raised in Manchester where he worked on a number of his own businesses before building up the ‘Home Improvement Company’ based in and around Manchester and then ‘GlynWebb Home Improvement Stores’, which was a large chain of Do It Yourself (DIY) stores in the North East, North West, Yorkshire, East Anglia, and the Midlands of the United Kingdom. Cohen sold the business in 1997 and his passion for collecting art became his full-time occupation. Cohen is the founder of Initialaccess Ltd which had an exhibition space in Wolverhampton, UK, and also the co-founder of Dairy Art Centre in London, UK. Cohen is one of the world's most influential and prolific collectors of British and international contemporary art. He began collecting Modern British art in the 1970s and in the early 1990s became a patron and supporter of the Young British Artists (YBAs). He also collected American and German art of the 1980s and 1990s, contemporary Japanese art (especially the Superflat movement) and more recently has added contemporary Chinese and Indian art to his interests. Every year he is listed in ARTnews magazine's list of ‘The World's Top 200 Collectors’ and is often referred to as the Medici of the North. Among his most important works are pieces by Leon Kossoff, Stanley Spencer, Frank Auerbach, Patrick Heron, Howard Hodgkin, Bridget Riley, Barbara Hepworth, L.S. Lowry, William Roberts, Edward Burra, Richard Prince, Thomas Schutte, Damien Hirst, David Salle, David Hammons, Jean Dubuffet and Jim Dine. Major international institutions who have loaned works include The National Portrait Gallery, London; Tate, London; the Guggenheim in New York; the Art Institute of Chicago and MoMA, NY. https://en.wikipedia.org/wiki/Frank_Cohen
Initial Access opened on 19 January 2007, as a space to present exhibitions from Frank Cohen’s internationally important collection of contemporary art. It is sited on the outskirts of the millennium city of Wolverhampton, in two refurbished warehouses that provide 10,000 sq feet of exhibition space. Initial Access presents different aspects of the Collection in a series of curated exhibitions. The programme is designed to mount shows of new acquisitions to the collection, explore themes among works that may not have been seen before and give the public an opportunity to see more of the collection currently in store. http://www.initialaccess.co.uk/
Frank Cohen, a Mancunian DIY magnate whose collection is second only to Charles Saatchi's, and Nicolai Frahm, a Dane based in London since 1997 with postwar European abstract art among his collecting passions, will stage shows drawing on their respective collections as well as loans from other sources. Situated near the British Museum, the 12,500 sq ft warehouse was the former milk depot for Express Dairies, and Cohen and Frahm are retaining the building's raw, industrial design. Entry will be free and there will be a bar lounge because, in Cohen's words, "we think that art should be for everyone". Comparisons with Saatchi, who also opens his gallery to the public, are inevitable. There will be some overlaps, but the Dairy will stage one-man shows rather than the group exhibitions favoured by Saatchi. The opening show in April will be devoted to Swiss artist John Armleder. He is among older artists who, Cohen and Frahm believe, have been eclipsed by the art world's obsession with youth. "We're trying to give London another space which has a completely different feel [from Saatchi's Chelsea gallery]," said Cohen, 69, who made his fortune with DIY stores, having started as a market trader selling wallpaper from an old ambulance "in the freezing cold seven days a week". The son of a factory machinist, he left school at 15 and recalls that his family seemed never to have money but never starved. Over decades, he has built a collection of modern British artists including LS Lowry, as well as contemporary American, German, Chinese and Indian art. The Tate showed its appreciation in appointing him a Turner prize judge in 2003, when Grayson Perry won (Perry is in Cohen's collection). He opened a gallery in Wolverhampton, but few people beyond those in the know visited. Cohen closed it, deciding that he would find a space in London. https://www.theguardian.com/artanddesign/2013/jan/27/art-gallery-london-dairy-billionaire
MICHAËL & EILEEN COHEN Location : New York Employment : Packaging and paper products Art Collection : Contemporary art, especially video http://www.artfortune.com/collectors-8/
On Oct. 6, 2005, the Art Dealers Association of America convened what it calls a "Collector’s Forum" -- a panel discussion addressing issues in contemporary art. The subject of this forum was "Four Perspectives on Video and Installation Art: Creating, Collecting, Exhibiting and Selling." The panel was chaired by Allan Schwartzman, an art advisor and writer, and featured the presentation of two witty videos by artist John Pilson. Also speaking on the panel was Whitney Museum curator of film and video Chrissie Iles, and dealer Roland Augustine, partner in Lurhing Augustine gallery, which was hosting the panel. Representing the collectors on the panel was Eileen Cohen, whom art-market insiders consider a passionate collector with an extraordinary eye. From her headquarters on Wooster Street in SoHo, with her husband Michael, Cohen began collecting African sculpture, then branched out to photography and contemporary art. When she decided that prices were too high in the contemporary arena, she began buying 1970s Minimalism, putting together a collection of perhaps 150 drawings that went to the Museum of Modern Art as part of the Rothschild Foundation collection. "Eileen has an instant opinion about quality," said one source. "And an uncanny ability to suss out new areas for collecting." At the ADAA Collector’s Forum, Cohen revealed what she first called her "treatise" on collecting, which she quickly redefined as "ten important points" that collectors should remember. Herewith, freely transcribed, are Cohen’s ten points: 1. Look with your eyes and mind, not with your ears. 2. Know the history of art -- history repeats itself, often in less interesting forms, and you don’t want to be fooled. 3. Know the artwork before you get to know the artist. 4. Don’t be fooled by an artist’s charm -- these days, artists learn how to sell themselves in art school. The best artists don’t try to sell their work. 5. Give back to the art community -- support museums and alternative spaces. 6. To learn about new art, set up a network of art informers, from writers and curators to art dealers. Don’t be afraid to ask foolish questions! Artists are always great to talk to, but they aren’t always great judges of art (they tend to like art that is similar to their own, or the art of their friends). 7. Avoid playing the competitive game with other collectors, racing to buy "new" work by the latest "hot" artist. Usually the best pieces are the ones that are left over. 8. Treat collecting as the important endeavor that it is -- give plenty of time to the enterprise. 9. Look for art that is universal and timeless (rather than single-issue art, which tends to wear thin after a while). 10. Live with your art and enjoy it. From this list, it is quite clear that great art collectors are made, not born. Like anything done well, collecting art requires passion, perserverence and hard work. But its rewards are great. One question remains. Have you started your art collection yet? http://www.artnet.com/magazineus/news/artnetnews/artnetnews10-18-05.asp
JAMIE COHEN-HORT Daughter-in-law of notable collectors Susan and Michael Hort, Jamie is an art consultant who earned her chops working at the Hirshhorn Museum, the Jewish Museum, and the IBM Gallery. Her family has also been an influence, and last year she curated the installation in the couple’s home for their exclusive Armory Week brunch. In addition Hort often advises the various charities she supports, such as the Jewish Community Project and the Rema Hort Mann Foundation, which offers grants to emerging artists (and support to cancer patients). Like her mother- and father-in-law, Hort has a passion for emerging artists. Her particular affinity is for the gallery scene on the Lower East Side, which she told the Financial Times in 2011 “generally has the advantage of a lower price entry point.” http://www.blouinartinfo.com/news/story/816177/the-50-most-exciting-art-collectors-under-50-part-2
One of the privileged treats for art collectors and aficionados during Armory Week is the annual viewing of the Hort Family Collection, a new hanging of a selection of the 3,000-plus artworks owned by Susan and Michael Hort, which they open to Armory Show VIPs and other guests. Though they’re open only to a select crowd, the viewings, which began 13 years ago, have become wildly popular and today can bring up to 3,000 visitors per day. Curated by art adviser Jamie Cohen Hort, the collectors’ daughter-in-law, the 2014 installation features over 150 works displayed over four floors of the family’s Tribeca home and includes works by a range of artists, from art world veterans like Cindy Sherman to lesser known emerging artists like Greg Gong, who has never had a show and is not represented by a gallery, yet. It is widely known that the Horts have always had a penchant for emerging talent and often create not only a little buzz around greener artists they decide to bring into the fold. Though there are works on permanent display, the annual viewing is geared toward newer acquisitions. “Our one request of Jamie as she decides on what to install,” said Susan Hort in a statement on the pamphlet handed out at the event, “is that she focus on what we have purchased recently and on what we have not seen recently.” https://news.artnet.com/exhibitions/want-a-peek-inside-the-exclusive-hort-family-collection-4948
ISABEL & AGUSTIN COPPEL Isabel and Agustin Coppel began their art collection in the 1990s particularly with a selection of Mexican modern art, which they promptly redirected to both national and international contemporary art with an important emphasis on photography. Interested in promoting contemporary art and with the intention to reach a wider audience, the collection ventured into the public sphere as a civil association, Isabel and Agustin Coppel Collection (CIAC) A.C. chaired by Agustin Coppel Luken, president of Grupo Coppel. CIAC is committed to the research and dissemination of contemporary art, supporting exhibitions, publications, research and art projects.In addition to the support provided to different art projects, and with the aim of creating a closer dialogue with a wider audience, CIAC develops projects like exhibitions, publications, apps and audio guides, which allow not only to show its collection, but also to create and share knowledge about the art of our time. To carry out these projects, CIAC works closely with renowned art professionals as well as public and private museums, thinking about these partnerships as a way to reach different audiences. With the interest on art promotion, in addition to her participation in CIAC, Isabel Gomez de Coppel is part of the board of the Museum of Contemporary Art San Diego, while Agustin Coppel Luken is part of the patronage of Museo Tamayo Arte Contemporáneo in Mexico City and the Philadelphia Museum of Art. http://www.coppelcollection.com/en/nosotros/
One of five billionaire sons of Enrique Coppel Tamayo, who created a Mexican retail empire targeted at low-income shoppers, Agustín Coppel serves as chairman and chief executive of his father’s holding company, Grupo Coppel. With his brothers, he also has interests in a bank, a retirement-fund management company, and real estate. He and his wife, Isabel, have assembled one of Mexico’s most notable collections of contemporary art, one that includes works by local stars Francis Alÿs, Melanie Smith, Gabriel Orozco, Abraham Cruzvillegas, and Damian Ortega, as well as pieces by global artists such as Gordon Matta-Clark, Lygia Clark, Ed Ruscha, Hélio Oiticica, Tatiana Trouvé, Rivane Neuenschwander, and Terence Koh. In 2011, the Coppels lent 100 works from their collection to the Museum of Latin American Art (MOLAA) and the Museum of Contemporary Art San Diego (MCASD) for a two-venue show called “Mexico: Expected/Unexpected.” http://www.artnews.com/top200/isabel-and-agustin-coppel-2/
This exhibition of the Isabel and Agustin Coppel Collection attempts to explore contemporary Mexican art from a point of view that simultaneously underlines the intense dialogue with its canonical predecessors that characterizes it and the international landscape to which it also belongs. The Isabel and Agustín Coppel Collection features key figures of the Mexican contemporary art scene such as Francis Alÿs, Melanie Smith, Gabriel Orozco, Carlos Amorales, Abraham Cruzvillegas, and Damian Ortega among many others. Departing from the work of these artists the collection expands diachronically in an effort to establish the possible influences and antecedents to the work of these artists, in the practices of figures such as Gordon Matta Clark, Lygia Clark, Ed Ruscha and Helio Oiticica. It also deploys itself synchronically as it incorporates younger international artists with a poetic that seems akin to that of the Mexicans, such as Tatiana Trouvé, Rivane Neuenschwander and Terence Koh. “Mexico: Expected/Unexpected” attempts thus to explore a possible definition of Mexican contemporary art with works that dialogue with and overcome that notion as a stable category. In a movement that echoes what seems to be taking place in other areas of Mexican culture such as film and literature, the Isabel and Agustín Coppel Collection –as well as this exhibition- operate as a sort of mirror that projects an image of contemporary Mexican art that is unstable, rich, complex, unpredictable, in which tradition and innovation are in constant interplay. The resulting image surprises just there where the viewer would have only expected the plainness of the cliché. http://archives.lamaisonrouge.org/spip.php?article198&date=archives
MOISES COSIO The Mexican-born film producer created Alumnos 47, a foundation which supports the local arts community in Mexico City as well as projects related to film, media, and social issues. He’s only been collecting for a handful of years, in 2010, he partly financed Mexican artist Pedro Reyes’s Marxist puppet show and owns work by Reyes. He’s also on the boards of the Rufino Tamayo Museum and the Monte Fénix museum. https://news.artnet.com/art-world/meet-20-of-the-worlds-most-innovative-art-collectors-117315
Moisés Cosio is a Mexican film producer with interest in arts education and in the development of the local contemporary art scene. He has been running projects to support local artist and art appreciation in the communities, and has collaborated with various international art institutions. http://www.larryslist.com/artmarket/features/top-10-young-art-collectors/
Mexico’s Bright Collecting Future “Mexico City collecting at this point has changed dramatically over the past 10 years”. A claim stated by an American gallerist at Mexico City’s biggest art fair, Zona Maco in February this year. Mexico does not always pop into one’s mind when speaking of the art market. Yet, it is gathering much attention from its thriving art scene due to the arrival of exciting art fairs, attracting a strong base of collectors from Southern America and the whole of Latin America. Moisés Cosio, a Mexican film producer based in Mexico City, sees a growing and bright future for the country and is taking a leap forward in helping show off what Mexico’s art scene has to offer. With an interest in arts education and in the development of the local contemporary art scene, Cosio has been running projects to support these local artists and promote art appreciation in the surrounding community and has collaborated with various international art institutions. His interest in philanthropy and social projects were inspired in part by a family tradition of supporting social causes. This upbringing led him to launch Alumnos47 in 2011, which seeks to create learning communities for contemporary art. Cosio is a board member of the Tamayo and MUAC Museums. He is also part of the international leadership council of the new museum. http://www.larryslist.com/artmarket/the-talks/mexicos-bright-collecting-future/
A 28 ans, Moisés Cosio soutient déjà activement la culture publique. En février dernier, le producteur pour Detalle Films lançait Alumnos 47, une fondation dédiée à créer des communautés d'enseignement de l'art contemporain. Il présentait aussi son premier projet majeur, une bibliothèque mobile qui voyage dans Mexico. Le projet est né de collaborations avec plusieurs institutions artistiques (dont le SoMA en Corée du Sud et le MoMA de New York) pour créer des bibliothèques communales. Bien que n'ayant collectionné que depuis quatre ans, Cosio s'est fait assez bien connaitre pour prendre place sur le panel « New Collecting: From the Personal to the Political » à arteBA, en mai dernier. Sa collection compte des œuvres par l'artiste autodidacte mexicain Dr Lakra. En 2010, il aidait à financer un spectacle de marionnettes Marxiste, par l'artiste Pedro Reyes. http://fr.blouinartinfo.com/news/story/816825/les-50-collectionneurs-les-plus-passionnants-de-moins-de-50
EDUARDO COSTANTINI Argentine real estate developer Eduardo F. Costantini is dedicated to promoting art and culture in Latin America. The 69-year-old is the founder and chairman of the Museo de Arte Latinoamericano de Buenos Aires (MALBA), which is unwritten by Costantini’s namesake foundation. In 2001, Costantini donated over 220 works of Latin American art to the museum by artists including Diego Rivera and Frida Kahlo. Costantini has developed some of the most iconic buildings in Buenos Aires, including the Catalinas Plaza in 1995 and the Alem Plaza in 1998. In 2009, he started work on Oceana Key Biscayne in Miami, a project to be completed in 2016, with prices for condominiums topping out at $21 million. The tower’s outdoor space naturally includes two sculptures by Jeff Koons, both of which residents have an ownership stake in. Not a bad perk! Fun fact: According to the New York Times, in May 2016, Costantini paid $15.7 million for Diego Rivera’s Baile en Tehuantepec (1928) in a private sale brokered by Phillips. It is reportedly the highest price ever paid for a work by a Latin American artist. http://www.artnews.com/top200/eduardo-f-costantini/
Jeff Koons and Eduardo Costantini On Oceana Bal Harbour's Multimillion-Dollar Art Collection Modern design, contemporary architecture, dreamy views paired with exceptional art pieces, soft yet powerful background music, a beautiful audience, lots of positive energy and a fresh sea breeze. This exactly describes the feeling a guest had, attending last week's inauguration event, while entering through the chic gates of Bal Harbour’s latest luxury residential development: Oceana Bal Harbour, created by none other than the Argentinian art mogul and real estate developer Eduardo Costantini. “My philosophy in real estate as well as in collecting art is to have the best. In all of my projects, prime location, five-star service, innovative design and the latest technology are all a must,” said Eduardo Costantini, Chairman of Consultatio Real Estate and founder of MALBA in Buenos Aires, arguably the most impressive Latin American modern art museum. He curated the all-star team of architects and interior designers for the project, including Piero Lissoni, Enzo Enea and Bernardo Fort-Brescia. Koons, a great visionary and currently the world’s most renowned contemporary artist, was the guest of honor at Oceana Bal Harbour’s stunning event for the unveiling of the residence’s museum-worthy art collection as part of the condominium’s debut during Art Basel Miami Beach 2016. The collection—which consists of paintings, sculptures, installations and objects—was curated by Costantini himself and comprises abstract, conceptual and site-specific commissioned pieces. The entire collection will become a shared asset of the Oceana Bal Harbour residents. (Oceana Bal Harbour has 240 units, which range in price from $3 to $30 million. The tower is surrounded by 5.53 acres of land with 400 feet of pristine beaches. The artful complex boasts resort-style five-star amenities, including 24-hour concierge services, a world-class spa, private cabanas, pools for fitness and relaxation with poolside restaurant, a grand salon with chef’s kitchen and bar, kids activity room, cinema, underground as well as valet parking, and more.) One reason for Jeff Koons' appearance, for sure, was the inauguration of his multimillion-dollar, larger-than-life sculptures “Seated Ballerina” and “Pluto and Proserpina,” which were brought to the complex by Costantini and are permanently located at Oceana Bal Harbour as part of the new luxurious project. Nel-Olivia Waga -https://www.forbes.com/sites/neloliviawaga/2016/12/09/eduardo-costantini-and-jeff-koons-unveil-oceana-balharbours-multi-million-dollar-art-collection/#140bfe5f7fa0
Sylvain Sorgato
NAMEDROPPING prototype : CAR-COS RVB
extrait d’un ensemble de 378 dessins noticés réalisés en 2016 et 2017
dessiné sur Samsung Galaxy Note4 et Wacom Bamboo en utilisant le logiciel ArtRage4 composé avec le logiciel PagePlus X7
tous les extraits reproduits sont en libre accès sur Internet, trouvés en utilisant les mots-clef : [nom + prénom] + art + collection les adresses des sources figurent au pied des articles
exemplaire de démonstration en mode colorimétrique RVB destiné à être consulté sur un écran
Sylvain Sorgato MMXVII