Namedropping D'OF-DUB

ANTHONY D’OFFAY Georges Anthony d'Offay (born January 1940) is a British art dealer, collector and curator. (...)

He began dealing in art in the late 1960s. With the closure of the Robert Fraser and John Kasmin galleries he became one of the pre-eminent art dealers in the world operating from premises in Dering Street off the top of New Bond Street in London. He closed the gallery in 2001 and founded ARTIST ROOMS in 2008. He has been the recipient of the UK Montblanc de la Culture Arts Patronage Award (2009), The Prince of Wales Medal for Arts Philanthropy (2011) and the Paolozzi Medal (2011). He has been awarded Honorary Doctorates by The University of Edinburgh, De Montfort University, Leicester and Sheffield Hallam University. (...)

Anthony d’Offay closed the gallery in 2001 and worked on building a collection of over 1000 works from Beuys and Warhol to Koons and Hirst. The collection, then valued in excess of £100 million, was donated jointly to the National Galleries of Scotland and Tate in 2008 with the assistance of the National Heritage Memorial Fund, The Art Fund and the Scottish and British Governments.

Since 2009 there have been more than 120 ARTIST ROOMS exhibitions in museums and galleries across the United Kingdom. These free shows have been seen by some 29 million visitors. 55,000 young people are in Artist Rooms education programmes and a 10-fold surge in attendance has been recorded at many venues participating in the programme. 93% of visitors said that the experience of ARTIST ROOMS had changed their ideas about art. The Art Fund charity was one of the original principal supporters of ARTIST ROOMS. It continues to sponsor the Touring Programme of exhibitions from the collection and facilitates dynamic education projects in each venue. https://en.wikipedia.org/wiki/Anthony_d'Offay

The donation of a major new international collection of contemporary art valued at £125 million was announced this morning at Edinburgh's Scottish National Gallery of Modern Art. ‘Artist Rooms’ is being created through a donation made by collector Anthony d'Offay and his wife Anne who amassed the collection of 725 pieces over a period of 28 years.

Secretary of state for culture, media and sport Andy Burnham said: ‘We would need to look back to the late 19th century or the early 20th century with the likes of Sir Henry Tate to see a similar sized gesture.’

The concept behind the exhibition is a series of 50 individual rooms devoted to 25 particular artists and will include works by Joseph Beuys, Damien Hirst and Andy Warhol. https://www.list.co.uk/article/6771-anthony-doffay-donates-125-million-contemporary-art-collection-to-scotland-and-the-tate/

Il fut le plus grand marchand d'art contemporain d'Europe et collectionne aujourd'hui des cartes postales.

Jusqu'au 5 avril, 220 d'entre elles sont exposées à la Maison européenne de la photographie, à Paris, sous le titre "American Dream". Toutes ont été réalisées aux Etats-Unis, dans les trente premières années du XXe siècle et révèlent une Amérique méconnue. "L'information qu'elles délivrent n'existe que sous cette forme, explique Anthony d'Offay. Elles n'ont jamais été reproduites dans un livre quelconque. Si vous voulez savoir à quoi ressemblait l'Amérique d'il y a cent ans, vous devez regarder ces images. Elles vous disent quelque chose de très direct, de très important, à propos de ce qu'était ce pays."

Presque septuagénaire, Anthony d'Offay est un homme délicieux, bien élevé - à l'université d'Edimbourg - et doté d'un joli sens de l'humour. Généreux aussi : il a donné une collection de 725 oeuvres majeures de l'art contemporain à son pays, la Grande-Bretagne. Plus exactement, il l'a vendue : 26,5 millions de livres (29,6 millions d'euros), au lieu des 125 millions auxquels elle était évaluée. Il s'en excuse presque, plaidant l'absence de déduction fiscale sur ce type de don au Royaume-Uni. A l'annonce de cette offre, le Sunday Times a titré "From Vampire to Mr Nice Guy". Son activité passée de marchand l'apparentait-elle à Dracula ? "C'était sans doute parce que j'étais si fatigué que j'avais l'air à moitié mort", répond-il, réfutant l'image du galeriste suçant le sang de ses artistes. Il savait mordre, toutefois. Au faîte de sa puissance, à la fin des années 1990, il possédait au moins cinq galeries à Londres, avec un chiffre d'affaires de 26,3 millions de livres en 1998-1999. Et n'hésitait pas à faire son marché chez ses jeunes confrères : en 1996, il débauche ainsi l'artiste Rachel Whiteread de la galerie Karsten Schubert, ce qui provoque la fermeture de cette dernière.

A son apogée, en 2001, sa galerie emploie 35 personnes et représente quelque 40 artistes, parmi les meilleurs du siècle. L'été de cette même année, sur les 110 artistes montrés à la Biennale de Venise, 11 viennent de chez Anthony d'Offay. Soit exactement 10 %, du jamais-vu. http://www.lemonde.fr/culture/article/2009/03/31/anthony-d-offay-philanthrope-sur-le-tas_1174753_3246.html

HERMAN DALED Herman Daled est un radiologue et collectionneur (il préfère lui-même le terme de collecteur) belge, situé à Bruxelles, spécialisé dans le domaine de l'art conceptuel. Il a notamment aidé le développement du travail de Daniel Buren et de différents autres artistes de cet art en accumulant leurs œuvres.

Il a notamment collectionné avec son épouse, Nicole Daled-Verstraeten, à partir des années 1960 des artistes tels que Jacques Charlier, Richard Long, Marcel Broodthaers, Niele Toroni, On Kawara, Dan Graham, James Lee Byars (en), Sol LeWitt, Vito Acconci.

En 2011, il vend une partie de sa collection au MoMA. Herman Daled a publié plusieurs livres d'artistes, tel que Rebondissements de Daniel Buren ou autour du domaine de l'art, tel que Contrat de première cession d’œuvre, écrit par le marchand d'art Seth Siegelaub et l'avocat Robert Projansky. https://fr.wikipedia.org/wiki/Herman_Daled

Herman Daled: pourquoi j’ai vendu au MoMA Le prestigieux MoMA de New York vient de l’annoncer officiellement et de confirmer la nouvelle que nous donnions en primeur il y a quelques semaines. Le Museum of Modern Art a acquis l’essentiel de la célèbre collection belge d’Herman et Nicole Daled, sur l’art conceptuel européen et américain entre 1966 et 1978.

Au total, 223 œuvres de tous types, dont la plus grande collection d’œuvres de Marcel Broodthaers (80) et des œuvres historiques de Daniel Buren, Niele Toroni, On Kawara, Dan Graham, James Lee Byars, Sol LeWitt, Vito Acconci et d’autres. Elle a acheté aussi toutes les archives qui éclairent cette époque bouillonnante de l’histoire de l’art dont le musée new-yorkais n’avait jusqu’ici que peu d’œuvres. "La collection Daled est une des acquisitions les plus importantes de l’histoire du musée, explique son directeur et elle remplit des manques de nos collections et approfondit considérablement d’autres parties de celles-ci." A partir du 22 juin, le MoMA exposera un choix des œuvres de la collection Daled. Au même moment, le Getty Museum de Los Angeles annonce le rachat des archives Harald Szeemann.

Nous avons rencontré Herman Daled dans le très bel hôtel Wolfers qu’il habite depuis les années 70, à deux pas de l’hôpital Cavell à Uccle, où il exerça son métier de radiologue. Une maison 1930, classée, d’Henry Van de Velde, dans laquelle habitèrent la baronne Stoclet et ses filles avant de rejoindre le palais Stoclet. Il la préserve dans son état initial, quitte à ce que les murs s’écaillent, mais reprenant une citation de l’architecte Luis Kahn, il explique : "Je crois à la valeur des ruines, un bâtiment retrouve alors son esprit initial ."

Pourquoi vendre et pourquoi au MoMA et pas à un musée belge ?

Je rappelle d’abord que je n’avais jamais exposé cette collection. J’avais accumulé des œuvres et des archives (notes, lettres, fiches). C’est Chris Dercon, alors directeur de la Haus der Kunst à Munich, aujourd’hui directeur de la Tate Modern à Londres, qui m’a proposé de venir avec une équipe étudier ce que j’avais et le présenter à Munich. Ils ont passé trois mois chez moi et décidé de montrer ce que Nicole et moi avions acquis entre 1966 (achat de notre premier Broodthaers, "La robe de Maria") et 1978 (achat de 70 papiers de Toroni, marquant la fin d’une période de notre vie). Ils ont fait un boulot formidable et publié un magnifique catalogue (qui est en passe d’être traduit en français). Tout le monde me demanda ce que cette collection allait devenir après ma mort (NdlR : Daled est né en 1930). Je n’en savais rien et j’imaginais mon fils, mon seul héritier, devoir se débrouiller avec tout ça. Je dois avouer que j’ai été déçu du manque total d’intérêt de la part des institutions belges. A part Joost Declercq, directeur du musée Dhondt Dhaenens à Gand et Dirk Snauwaert du Wiels, pas un directeur n’est venu à Munich voir cette collection, ni le musée des Beaux-Arts, ni le Smak, ni le Muhka, ni le Mac’s, ni Ostende. Par contre, j’avais des offres du Ludwig Museum, de l’Art Institute de Chicago, de la Culturgest de Lisbonne, d’un musée mexicain. Mais c’est Christophe Cherix, le spécialiste du MoMA, qui nous a convaincus. Il a fait venir toute la collection et les archives à New York pour les présenter devant le conseil des donateurs (board of trustees). Nous avons offert cinq œuvres clés de Buren, Toroni, Graham et Sol LeWitt. J’avais ainsi une réponse à ma question et j’ai eu de la chance de pouvoir prendre une décision "pre mortem" en trouvant une destination favorable à ma collection et éviter ainsi des ennuis à mon fils. http://www.lalibre.be/culture/arts/herman-daled-pourquoi-j-ai-vendu-au-moma-51b8d4dfe4b0de6db9c1bdb8

THEO DANJUMA At the heart of the Danjuma Collection, started in 2008 by young London collector Theo Danjuma, lies a belief in contemporary art as a global, cross generational conversation.

The collection has a firm focus on established conceptual artists of Danjuma’s own generation, but also supports emerging artists from “new” geographies, particularly Africa, reflecting his family ties to the African continent. http://danjumacollection.com/about.php

Theo Danjuma laughs as he recalls first encountering the work of Matias Faldbakken at a friend’s house in Berlin. The piece he saw involved bits of tape stuck directly onto the wall. “It was one of those; I was so freaked out,” the 28-year-old collector says when we meet at Electric House, minutes from his Notting Hill home. “At the time, it was such a shock, I had no way of comprehending [it].”

This was only a few years ago, but Danjuma is a quick learner. Today, he describes the Norwegian artist—and his conceptually-driven assemblages of everyday objects—as making up “a big part” of his collection, which also features works by the likes of Jordan Wolfson, Cory Arcangel, Jason Rhoades, and Danh Vō. Hooked on contemporary art since the purchase of a Julie Mehretu work on paper in 2008, Danjuma has embraced art collecting with gusto. To date, he’s bought over 400 works, some of which will be shown in the exhibition “One Man’s Trash (Is Another Man’s Treasure),” which opens at 33 Fitzroy Square in London on October 6. https://news.artnet.com/exhibitions/mega-rich-nigerian-ex-generals-son-makes-art-world-splash-117847

Since 2008, when he first picked up a work on paper by Julie Mehretu, this young Nigerian collector has had a thing for contemporary art. Now owning over 400 works, Danjuma, the son of Nigeria's former Chief of Army Staff and Africa's 29th richest man (see: Mega-Rich Nigerian Ex-General's Son Makes Art World Splash), will use a wing in his family's hotel in Lagos to show contemporary art, and plans to invite established artists to Lagos to meet the city's young art students. He's also emblematic of Nigeria's growing visibility in the world of contemporary art. https://news.artnet.com/art-world/meet-20-of-the-worlds-most-innovative-art-collectors-117315

DIMITRIS DASKALOPOULOS Location : Athens Employment : Financial services and investment company (Damma Holdings SA) Art Collection : Contemporary art, especially large-scale installations; sculpture, drawings, collage, film, and video http://www.artfortune.com/collectors-8/

Beyond his vast collection of contemporary art, Greek food and beverage entrepreneur Daskalopoulos is a member of the board of trustees of the Solomon R. Guggenheim Foundation, Tate International Council, the Director's Vision Council of the Museum of Contemporary Art Chicago, and the Leadership Council of New York's New Museum. He is also a founding partner of the Whitechapel Gallery's Future Fund. In 2014 he was honored by Independent Curators International (ICI) with the Leo Award, which celebrates a “visionary" approach to collecting. He is also a champion of the contemporary art scene in his home country, and recently founded a nonprofit, NEON, committed to bringing contemporary culture to everyone in Greece. https://news.artnet.com/art-world/top-200-art-collectors-2015-part-one-286048

Dimitris Daskalopoulos is a collector of contemporary art, the caretaker of the D.Daskalopoulos Collection, Greece, and the founder of the NEON organization. He is also a member of the Board of Trustees of the Solomon R. Guggenheim Foundation, the Board of Trustees of the Museum of Contemporary Art Chicago, Chairman of the Collections Council of the Solomon R. Guggenheim Foundation, and an active member of the Tate International Council and the Leadership Council of the New Museum and a founding partner of the Whitechapel’s Future Fund.

The D.Daskalopoulos Collection founded in 2010 the post of The Daskalopoulos Curator International Art at Tate, to focus on contemporary and emerging international art, specifically from non-western regions, central to Tate’s commitment to broadening the geographical scope of its collection. The D.Daskalopoulos Collection continues to fund this post, now renamed The Daskalopoulos Senior Curator, International Art (Africa, Asia & Middle East), which is currently held by Clara Kim. Dimitris Daskalopoulos is a founding partner of the Whitechapel’s Future Fund (2011). His funding has enabled the Whitechapel Gallery to realise 3 projects over the next 4 years: a permanent post, The Daskalopoulos Head of Education & Public Programmes, held by Sofia Victorino, who runs the Gallery’s programme of learning with talks, events, courses, schools, family and community programmes; a new initiative, the NEON Curatorial Award; and a cultural programme between Athens and London, the NEON Curatorial Exchange.

Dimitris Daskalopoulos is also a supporter of the Scottish National Gallery of Modern Art. In 2015, the D.Daskalopoulos Collection created and funded a new post, The Daskalopoulos Curator of Engagement.

Currently held by Mairi Lafferty, the new role is for an initial three year period, and aims to deepen public engagement with the Gallery’s public programme.

Dimitris Daskalopoulos is also active in the Board of Trustees of the Solomon R. Guggenheim Foundation and Chairman of the Collections Council of the Solomon R. Guggenheim Foundation. At the Solomon R. Guggenheim Foundation he has contributed to a discretionary curator’s fund for acquisitions, which he established as a gift to the Foundation. He has also been active in the support of the Solomon R. Guggenheim Foundation (SRGF) acquisitions program through his membership of the International Directors Council. In 2003, Mr. Daskalopoulos and the SRGF jointly acquired Matthew Barney’s sculpture, Chrysler Imperial (2002), which is a partial promised gift to the museum.

In 2014 Independent Curators International (ICI) honored Dimitris Daskalopoulos with the 2014 Leo Award. The award acknowledged his visionary approach to collecting, through the D.Daskalopoulos Collection, and his work in establishing NEON, a non-profit organization committed to bringing contemporary culture closer to everyone in Greece.

Over the years he has contributed funds to facilitate exhibitions and acquisitions at major public art institutions worldwide, including Tate, the Solomon R. Guggenheim Foundation, the New Museum, Carnegie International, the National Museum of Contemporary Art in Greece and the Athens Biennale. http://ddcollection.org/en/patronage/

HELENE & MICHEL DAVID-WEILl Location: Paris and Cap d'Antibes, France; New York. Employment: Banking Art Collection: collects 17th-, 18th-, and 19th-century French painting http://www.artfortune.com/collectors-8/

Michel David-Weill, né à le 23 novembre 1932 dans le 7e arrondissement de Paris1, est un banquier, mécène et collectionneur d'art français.

Michel David-Weill suit ses études au lycée français de New York, puis à l'Institut d'études politiques de Paris.

Il rejoint la banque familiale en 1956. Surnommé « Le Dernier Empereur de Wall Street », il est président-directeur général de la banque Lazard de 1977 à 2001.

Il fut également président de la Société anonyme de la Rue impériale de Lyon, de la holding Gaz et Eaux, d'Eurafrance, président du Conseil de surveillance de Sovac (1982-1995), vice-président de BSN puis du groupe Danone, administrateur d'ITT, membre du Conseil de surveillance de Publicis, associé-gérant de Partena et de Partemiel, gérant de Parteger et de Parteman, directeur de Banca Leonardo. Il est l'actuel président du Conseil de surveillance d'Eurazeo.

Comme son père, Pierre David-Weill, auparavant, il est élu, en 1982, membre libre de l'Académie des beaux-arts3, Il est président du Conseil artistique de la Réunion des musées nationaux depuis 1988 et a été président du Conseil supérieur du Mécénat culturel de 1987 à 1989, membre du Conseil du Musée de la Légion d'honneur et de la Société des amis du Louvre, du Conseil d'administration de la Cité des arts, ainsi que membre de la Morgan Library et du Metropolitan Museum Council (New York). Il est également membre du comité d'honneur du Groupe PlaNet Finance. https://fr.wikipedia.org/wiki/Michel_David-Weill

Très active dans le domaine des arts, Hélène David-Weill est nommée Présidente en 1994 de l’Union Centrale des Arts Décoratifs, une institution qu’elle connaît bien puisqu’elle en est l’administrateur depuis 1981. Hélène David-Weill a une parfaite connaissance de la collection de ces musées avec une prédilection toute particulière pour les arts décoratifs français. Son mari, Michel David-Weill, issu d’une famille de collectionneurs, Président de la banque Lazard Frères, Membre de l’Institut, Président du Conseil artistique de la Réunion des musées nationaux et Trustee du Metropolitan Museum de New York, s’est toujours impliqué dans la vie des musées et notamment des Arts Décoratifs. http://www.lesartsdecoratifs.fr/francais/qui-sommes-nous/soutenez-nous/particuliers/le-comite-international/decouvrez-nos-grandsdonateurs/michel-et-helene-david-weill

Etre riche, tout un art (...)

En art, il célèbre le goût français, celui du XVIIIe, et cela dessine comme un autoportrait rêvé : «De la réserve, de la tenue, de la mesure dans la démesure, de l’équilibre, de la froideur, du recul, de la sensualité, de la légèreté.» Il aime Boucher, Fragonard, Watteau, Corot, Picasso. Il n’aime pas Dürer, le Greco, le Caravage, Bacon, Basquiat. Il préfère «la mer calme aux côtes déchiquetées, les champs de blé mûr aux forêts dévastées par la tempête». Il aime «les annonciations, pas les crucifixions». Il reste dans le regret d’un ordre social disparu.

De l’aristocratie, il aurait sauvé «la politesse, le désintéressement, l’élévation de pensée, le goût de la distinction». Sans oublier la séparation de la société en classes. Mais, vu la démocratisation ambiante, il se contente d’observer quelques règles à l’ancienne.

Marié depuis cinquante ans, il s’abstient de «parler boulot en dehors du bureau», déplore l’exposition de la vie privée et les divorces «pour un rien». Il vient d’une famille juive alsacienne. Son père a poussé à la conversion au catholicisme afin de «prendre la religion dominante du pays». Lui s’est contenté d’allier les deux facilités.

Son père était contre la création d’Israël, il est devenu un important contributeur de la cause. Il dit : «L’un des avantages de ma judaïté, c’est qu’en 1981, parce que j’étais juif, les socialistes ne m’ont pas tiré dessus alors qu’a priori j’avais tout pour devenir leur bête noire.»

L’homme sait recevoir et possède l’art de la conversation. Mais ce qu’il préfère, c’est mettre en valeur ses dernières acquisitions. Des lions arabes en guise de pièces d’échiquier (XIIe siècle). Un miroir en ivoire décoré d’une fontaine de jouvence (fin XIIIe). Un astrolabe praguois (XVIe). Il se rassoit. Devant lui, un humidificateur à cigares où il se sert prestement et une boîte de chocolats Jeff de Bruges. Et une jubilation qui guette quand il parle des nus et des femmes. Un regret à sa manière : «Comme je n’ai pas pu avoir de harem, j’ai collectionné les oeuvres d’art.» Une affirmation sans émotion : «En matière de sexe, rien ne m’étonne ni ne me choque.»

Et une habitude d’avant : «Je refusais de rejoindre mon bureau et je restais à tourner en bas de l’immeuble tant que je n’avais pas croisé une belle femme.»

Luc Le Vaillant - http://www.liberation.fr/portrait/2007/09/10/etre-riche-tout-un-art_100836

GEMMA DE ANGELIS TESTA « Art is, in my opinion, a vision without prejudice of a gateway to the world. The artists often offer new panoramics of reality. Artworks are sources of thoughts and questions. It is up to us find our own answers and if there is dialogue or symphony with the artist, then all becomes more stimulating. » (...)

In 2003, Gemma Testa founded the association ACACIA, which she currently presides. The association connects a hundred of collectors and art lovers who have the goal to promote Italian contemporary art through events, exhibitions and seminars. The collection created by ACACIA has always dialogued with public institutions. In 2015, The Museo del ‘900 received 21 artworks from the association, highlighting ACACIA’s commitment to the promotion of art to the public, moving away from the private context. Among the many artists present in the ACACIA’s collection we can find Francesco Vezzoli, Maurizio Cattelan, Luca Trevisani and Marzia Migliora. http://www.larryslist.com/artmarket/magazine/gemma-de-angelis-testa-italy/

ANTOINE DE GALBERT Location: Paris. Employment: Inheritance Art Collection: Primitive art; contemporary art http://www.artfortune.com/collectors-9/

La Maison rouge a été créée à l'initiative d'Antoine de Galbert, gérant d'entreprises et grand amateur d'art contemporain. Pendant une dizaine d'années, celui-ci tient une galerie d'art à Grenoble. Il se constitue peu à peu une collection qui prend de plus en plus de place dans sa vie. Il choisit alors de la réunir autour d'une fondation d'intérêt général, afin d'affirmer ses positions et son engagement dans l'art contemporain.

La Maison rouge souhaite promouvoir toutes les formes de la création actuelle, notamment par le biais de collections privées, et par un commissariat d'exposition souvent indépendant, ce qui donne cette particulière effervescence à ces lieux.

La Maison rouge comporte un espace d'exposition de 1 300 m2, un café-restaurant, un patio (lieu d'exposition en plein air), ainsi qu'un vestibule (consacré à de jeunes artistes) et une salle multimédia (pour des conférences, l'organisation de performances, des concerts...) ; une pièce ouverte en 2006, baptisée « La Suite », accueille concerts, lectures et œuvres de collectionneurs.

Au sein de la Maison rouge est également implantée, depuis son ouverture, l'une des cinq librairies spécialisées en art contemporain, Bookstorming, qui propose sur près de 50 m2 un choix d'œuvres (multiples, objets) et de plus de 4 000 livres. Régulièrement sont organisées des présentations d'ouvrages (une vingtaine par an) et des expositions thématiques.

En janvier 2017, Antoine de Galbert annonce la fermeture de la Maison rouge à l'horizon 2018 en expliquant qu'une éventuelle fin de l'aventure était de tout de manière programmée. https://fr.wikipedia.org/wiki/La_Maison_rouge,_fondation_Antoine-de-Galbert

[exponaute] On imagine que pour vous cette exposition est particulièrement émouvante.

[Antoine de Galbert] (après une longue hésitation) Oui. Les premiers jours, quand on ouvrait les caisses, je revoyais des œuvres que je n’avais pas vues depuis longtemps… Pour l’expo, j’ai joué le jeu en montrant aussi des pièces achetées il y a trente ans, et pas seulement, comme le font certains collectionneurs, ce que l’histoire ou le marché a retenu. Je n’ai pas oublié mes amours passés. Il y a certaines œuvres que je ne ré-achèterais pas, mais je les aime toujours. Car je connais le contexte dans lequel je les ai acquises.

L’ensemble forme une sorte de flux assez cohérent.

Dix ans après la création de la Maison rouge, avez-vous le sentiment d’avoir atteint votre objectif ?

J’ai le sentiment qu’on est même allé beaucoup plus loin ! Franchement je ne savais pas où ça allait mener…

On fait ce qu’on aime, sans dépendre de quiconque, en exprimant une subjectivité, un goût. Lequel est contestable, et n’est pas nécessairement le meilleur. On y est arrivé. Mais au-delà de cela, il s’est passé quelque chose d’humain, une amitié – je l’entends souvent. On va continuer comme ça, à se sentir libre.

La Maison rouge a en effet ceci de particulier qu’on y croise autant les habitués que les non-habitués des expositions d’art contemporain. Comment expliquez-vous cela ?

Nous sommes dans des propositions différentes de celles des autres lieux. Par exemple, il y a tout un pan de l’art qui m’intéresse peu, c’est l’art conceptuel. Cela ne veut pas dire que j’ai raison, mais c’est mon choix. À la Maison rouge, on vient comme chez quelqu’un : cette notion d’intimité est ancrée depuis le départ. Par ailleurs, la volonté était de relire l’histoire de l’art à travers des collections particulières, où l’on voit parfois des œuvres de qualité muséale, mais surtout le regard d’une personne sur l’art.

Souhaitiez-vous montrer l’importance du rôle des collectionneurs dans l’art ?

Je ne pense pas que les collectionneurs aient besoin d’être défendus. Mais certains ont pris le pouvoir, parfois de manière abusive. Ça n’est pas parce qu’on est une personne privée qu’on est plus intelligent qu’un conservateur de musée. Ça n’est pas parce que la France est ruinée et condamnée au mécénat privé, que celui-ci doit supplanter le public. La loi Aillagon [datée de 2003, elle encourage le mécénat et les fondations, ndlr], c’est très bien, mais elle est arrivée trente ans trop tard. Les pays protestants anglo-saxons ont ça depuis toujours. Ici, on passe d’un système totalement public, les collectionneurs étant traités comme des originaux, à un système qui va devenir privé. Et ce n’est pas une bonne chose. Il ne faut pas que les musées deviennent des têtes de gondole. Ils ont un devoir d’exhaustivité et de service public. Il y a un savoir dans les musées, que l’on ne retrouve pas nécessairement dans le milieu privé. En revanche, la « fraîcheur » du regard des individus privés est une bonne chose pour le public. http://www.exponaute.com/magazine/2014/06/19/antoine-de-galbert-ma-collection-nest-pas-un-musee-cest-un-paysage-interieur/

ARTHUR DE GANAY A sophisticated collector from Berlin who started buying art as a young architecture student in Paris. He has since expanded his collection, with a focus on architectural and landscape photography with works by Elger Esser, Thomas Ruff and Arwed Messmer. His collection is now housed in a former jam-factory along the Spree River in Berlin, and can be viewed by appointment only. So plan and book, because this guy knows exactly what he is doing. https://publichouseofart.com/articles/top-7-young-art-collectors-you-need-to-be-friends-with

It was upon seeing a work by Hiroshi Sugimoto that Arthur de Ganay decided to collect contemporary art, and mainly large-format photographs that grapple with landscape and architecture. After 10 years of collecting, he opened up his own exhibition space in an old Jam factory in Berlin where the public can view his collection. The three contemporary artists de Ganay believes will be relevant in five years are Thomas Ruff, Hiroshi Sugimoto, and Elger Esser. https://news.artnet.com/art-world/meet-20-of-the-worlds-most-innovative-art-collectors-117315

Arthur de Ganay collects the big names of photography: From Hiroshi Sugimoto to Thomas Struth and Thomas Ruff or Candida Höfer, his private art collection is featuring all of them. In the ARTberlin questionnaire, Arthur de Ganay shares his point of view about photography as an art form, his favorite art spot in Berlin and surprises us with his idea of the best art city to travel to.

The latest art piece you bought for your collection “Butendorf”; 2009 by Laurenz Berges // The moment you realized: I want to collect / own art As studying architecture; I was 23. // If you collection were a book – what title would it wear The invention of modern Photography. // The best thing of being a collector The collection gives me strength // The worst thing of being a collector The collection takes me time. // Something you always have to defend about your collection Photography is as valuable as painting.

Why is art so personal but at the same time related to a lot of people? The collection tells a lot about the collector. // I have 1.000 Euro that I want to spend on art – what shall I buy? I would invest in Photography; it is still under valuated. // If I want to connect traveling with art – where do I go Düsseldorf. // Three contemporary artists that will still matter in 5 years? Thomas Ruff. Hiroshi Sugimoto. Elger Esser. // One thing you could change about the art market – what would this be? It definitivly needs more transparency. // How did social media change the way you collect art? Social media changes the art of photography. http://www.artberlin.de/sammlung/arthur-de-ganay-preview/arthur-de-ganay-berlin/

Rencontre avec l’architecte et collectionneur français Arthur de Ganay, à propos de sa collection de photographies établie dans une ancienne usine de Berlin-Est. Votre collection, installée à Berlin, est centrée sur les motifs de l’architecture et du paysage des années 1990 à nos jours. Que recherchez-vous, en tant qu’architecte, dans la diversité de points de vue des 22 artistes exposés ?

La photographie d’art que je collectionne se détache de la vérité architecturale. Même si elles touchent au même sujet — l’architecture —, les visions de ces artistes se révèlent parfois antagonistes. Ce qui m’importe, c’est cette liberté d’interprétation propre à l’art.

La photographie contemporaine allemande issue de l’école de Düsseldorf est largement questionnée. Quel usage est fait de l’objectivité qu’enseignaient Bernd et Hilla Becher ?

Elger Esser, qui appartient à la dernière génération formée par les Becher dans les années 1990, est leur élève le plus important, car il s’est distancié de leur enseignement de la manière la plus radicale. Par son refus de la topographie, de l’objectivité, il marque une subjectivité assumée et réintroduit le romantisme du paysage dans la photographie contemporaine. On l’a souvent comparé à Caspar David Friedrich, peintre du romantisme allemand, mais on peut tout autant comparer une partie de son œuvre sur les fleuves avec l’impressionnisme. Condisciples d’Esser, Laurenz Berges a pris une position très poétique, tandis que Götz Diergarten est paradoxalement le plus proche des Becher avec cette idée de répétition topographique, de neutralité, qu’il applique à des sujets plus anodins et modernes que l’héritage industriel [rhénan]. http://www.loeildelaphotographie.com/fr/2014/10/17/article/26395/collection-arthur-de-ganay-photographies-d-architecture-et-depaysage/

NATHALIE & CHARLES DE GUNZBURG Location: New York Employment: Investments Art Collection: Postwar and contemporary art http://www.artfortune.com/collectors-10/

Charles de Gunzburg is a cofounder of the investment firm FdG Associates and heir to the Seagram’s fortune.

He is a trustee of the Jewish Museum in New York and his French wife, Nathalie, is chairman of the Dia Art Foundation‘s board of trustees. “When I became chair, Dia didn’t have a full development team,” Nathalie told Sotheby’s magazine in 2013. “Now we’re getting all the tools we need. The idea is to make Dia stronger.” http://www.artnews.com/top200/nathalie-and-charles-de-gunzburg/

It’s quite a distance — stylistically and chronologically — from the brightly colored geometry of the French early-Modernist painter Sonia Delaunay to the Shaker-like austerity of the Minimalist sculptor Carl Andre. But in her collecting life, Nathalie de Gunzburg, the chairwoman of the Dia Art Foundation’s board in Manhattan, has bridged the gap.

Growing up in Paris, she was drawn to art early on by her mother, who worked for an auction house, and in her teens she began buying fairly history-sanctioned works like 19th-century watercolors, eventually developing a special affection for Delaunay. But after moving to New York in 1998 and marrying the investor Charles de Gunzburg, a Seagram family heir, her instincts (“the way I collect is totally intuitive, based mostly on what I learn and teach myself”) began leading her in a more unorthodox direction, one she didn’t fully grasp herself until later.

“I was buying pieces with my husband, and at that time we didn’t have room for many things, and when I began to pull work out of storage, I said to myself, ‘Oh my God, really everything is Minimalist,’” said Ms. de Gunzburg, who said she was drawn to Dia because of its roots in the Minimalist and Conceptualist art of the 1960s and 1970s.

Their Upper East Side townhouse is a well-lived-in shrine to many artists from that generation — Andre, Donald Judd, Dan Flavin and Robert Smithson — but also to bold outliers like Louise Bourgeois. Here are edited excerpts from a conversation during our visit.

Why were you drawn to Minimalist artists?

It was very physical and gutsy, and they were taking huge risks when they first began. You don’t have an image to help you interpret anything. And the radicality of that really hit me right from the beginning. Coming from France I had little idea who these artists were — there wasn’t a strong contemporary art scene when I was growing up. And then I became totally hooked.

Minimalist sculpture looks great in white-cube galleries. But how is living with it?

I always thought that it looked like New York — rigid, sometimes imposing, very muscular. But I have to say that living with it in a place like this city actually calms me. https://www.nytimes.com/2017/02/16/arts/design/calmer-new-york-living-through-minimalist-art.html?_r=0

HENK & VICTORIA DE HEUS ZOMER Henk and Victoria de Heus-Zomer, who made their fortune in the cattle-food industry, began collecting art in 1989, when they moved into a new home and reportedly needed something “to fill the empty walls." They have since anticipated many trends in the market—acquiring works by such artists as Zhang Xiaogang and Ai Weiwei long before the international art world took notice of them—and they have become avid collectors of other contemporary Chinese artists as well. Theirs is now one of the largest contemporary art collections in the Netherlands. https://news.artnet.com/art-world/top-200-art-collectors-2015-part-one-286048

''On the December 8th, the Nyenrode Art Fund held the preview of the art exposition from De Heus-Zomer at Nyenrode. This spectacular exposition is created out of the private collection of Nyenrode alumnus Henk de Heus and his wife Victoria de Heus-Zomer.

The theme of the collection is “New roads & Challenges” this means that the art works are made from different materials combined with different techniques. Together with some other students, I was invited for the preview of this exposition, which made a great impression on me.

After the introduction of the collection by the chairman and secretary of Nyenrode Art Fund, we received a tour by Henk & Victoria de Heus. This tour was very interesting since they know so much about their art and they talk about it with so much passion. In my opinion, it is important to know a story behind the art to understand the origin of the artwork.

One of my favourite works of the collection was made of ash. The artwork reflects the face of an Asiatic man.

The story behind it is very interesting since the artist worked in layers and used different colours of ash. He worked on several pieces at once assessing whether the ash color is right or not. If not, the ash will be blow off the painting. If the ash color is right, the ash will be constructed on the painting with a special spray.

Another work that interested me is “Queuing” made by Yu Hong in 2011. This painting shows multiple people who are waiting in a queue. I think the girl on the right really stands out with her facial expression. Lastly, there is a very long photo with a lot of Buddha’s but Mao is there as well, can you find him?

If you are interested in the exposition you can go and see it for yourself in the Albert Heijn Building on the first floor! If you want to know more about the exposition you can also buy the book Nieuwe wegen/Challenges at the service desk of Nyenrode.

This was my last blog for this year. Wishing you all Happy Holidays and the best wishes for the New Year!

Regards, Monica' http://newsroom.nyenrode.nl/life-as-a-nyenrodian-art-collection-de-heus-zomer

ROSA & CARLO DE LA CRUZ Location: Key Biscayne, Florida. Employment: Coca-Cola bottling in Puerto Rico and the Caribbean live in a 15,000 square foot gallery home with one bedroom Art Collection: Contemporary art http://www.artfortune.com/collectors-8/

Rosa and Carlos de la Cruz beckon enthusiasts to The de la Cruz Collection Contemporary Art Space. The couple even exercises the same benevolence at home, where many view their private collection by appointment. http://www.artforbes.com/artcollector.html

Completed in December of 2009, the de la Cruz Collection is privately funded by Carlos and Rosa de la Cruz.

This space serves as an extension of their home, where for over 25 years they have shared their collection with the public. The primary purpose of this space is to provide education and awareness in the visual arts.

Educational programming includes lectures, artist-led workshops, docent-led tours, scholarship opportunities and student travel initiatives.

In order to serve our local schools, a series of workshops and classes were established in collaboration with Dade County Public Schools to serve both teachers and students. These programs offer to give our local students the opportunity to learn of different approaches to the creation and presentation of contemporary art. Students are encouraged to visit the space and library throughout the year, as well as, apply for internship positions.

The de la Cruz Collection is not a foundation, is not registered as a 501(c)(3) under the US Internal Revenue Code and does not receive governmental assistance. http://www.delacruzcollection.org/mission.html

Rosa and Carlos de la Cruz first met as teenagers in Havana. Both were from cultured backgrounds; Rosa’s father was an architect and Carlos’s family collected art. Married since 1966, they have assembled one of Miami’s finest collections of contemporary art (including a noteworthy number of postwar German paintings), much of which is housed in the 30,000-square-foot de la Cruz Contemporary Art Space, launched in 2009 and free to the public. Carlos holds degrees from University of Pennsylvania’s Wharton School, as well as a degree in law from the University of Miami, where he is now a senior trustee. He sits on the Council of Foreign Relations in addition to holding a chairmanship at CC1 Companies, a $1-billion-per-year bottling and distribution empire.

Rosa serves as director and treasurer of the same company. The de la Cruz collection includes works by Isa Genzken, Christopher Wool, Felix Gonzalez-Torres, Mark Bradford, and Peter Doig.

Fun fact: The first work they acquired was by Rufino Tamayo—the couple had toyed with the idea of building a strictly Latin American collection, but then decided to focus on contemporary art in general. http://www.artnews.com/top200/rosa-and-carlos-de-la-cruz/

Home is where the “art” is for Cuba-born art aficionista Rosa de la Cruz, who lives with the likes of Sigmar Polke, Jim Hodges, Martin Kippenberger and other 20th-century master artists. For many, her gallery-like lifestyle seems more than extraordinary; but for Rosa, it’s simply a way of life.

“Many visitors are surprised that my husband, Carlos, and I live in a house that looks like a museum,” Rosa says.

“We use this home like any normal house, and we also host many functions here.”

Perhaps the most noteworthy event is the garden party Rosa has hosted for the past several years to kick off the preeminent Art Basel Miami. Because last year’s party quickly outgrew her home, she’s moving this year’s event to the Miami Design District, where German artist John Bock will complete an 8,000-square-foot installation at the Moore Space Loft. No worries, though, Rosa’s home and collection are still open to the public, by appointment only. And she likes it that way.

“One of the problems with contemporary art is that people are not familiar with it,” she says. “I’m providing a service that’s personal with a story behind it — not a museum experience. People who don’t generally like contemporary art end up liking it when they leave.” http://www.floridadesign.com/issues/16_3/pr/rosa_cruz/

ÉRIC DE ROTHSCHILD Location: Paris and Pauillac, France. Employment: Banking Art Collection: Old Masters; modern and contemporary art http://www.artfortune.com/collectors-14/

A scion of the French banking family, Eric de Rothschild, like many of his predecessors, works in banking and lives in Paris, having rebuilt the bank with family members. In addition to managing Chateau Lafite Rothschild, he has served as chairman of the Shoah Memorial in Paris since 2001. Rothschild’s collection focuses on Old Masters and modern and contemporary art; it includes works by Girardon and Marsy, as well as a number of contemporary artists.

Fun fact: Eric de Rothschild made controversy and headlines in 2015 when he set out to sell two celebrated Rembrandt portraits that had been in his family since 1877. They went to the Louvre and Rijksmuseum for almost $180 million, according to a report in the New York Times. http://www.artnews.com/top200/eric-de-rothschild/

Before roughly 26,000 visitors were admitted into the Rijksmuseum in Amsterdam this past weekend to view two Rembrandt portraits heralded as new national treasures, their former owner, Éric de Rothschild, had a moment alone with his two old friends, the newlyweds Marten Soolmans and Oopjen Coppit.

“I was delighted to see them again,” said Mr. de Rothschild, a French businessman who, until March, had the portraits in his Paris home, one on each side of his bed. “At home, they were part of the environment, and they rarely showed all their importance. They were now all of a sudden more official. At home, they were very much at ease. Now, they were dressed up more in their evening clothes. They were on their best behavior.”

Until now, Mr. de Rothschild has never spoken publicly about the sale of the paintings last year to the Rijksmuseum and the Louvre for 160 million euros, or almost $180 million at current exchange rates, in an unusual joint purchase that was arranged between the Dutch and French governments.

Mr. de Rothschild said in an interview last week in Amsterdam that the impetus to sell had come from his brother, Robert de Rothschild, who wanted to settle a tax bill incurred from passing assets to his son.

“I didn’t want to separate the pictures or to sell either one,” Éric de Rothschild said. “For art historical reasons, they were a pair, and they should remain a pair. Therefore, I accepted to sell mine with his.”

The brothers inherited the Rembrandts from their father, Alain de Rothschild, when he died in 1982, though the works have been in the family since 1878. “We don’t have any other Rembrandts,” he said.

“Grandpa had a few, but we only had two,” he said, referring to himself and Robert.

Each son was allowed to choose a portrait.

“I had the lady because I preferred her,” Mr. de Rothschild said. “When you look at them both, you have the impression that Rembrandt was more interested in her, and painted her closer to her character. Hers is a more psychological portrait. The painting of the man and his costume is magnificent, and so is the sheen of the material in which her dress was made. But the face of the woman was more — you had the impression that Rembrandt had given her more psychological thought.”

When he obtained an export permit from the Ministry of Culture in March 2015 to try to sell the works abroad, Mr. de Rothschild was criticized by the art news media in France for wanting to take the works out of the country. He said that when he put them on the market through the auction house Christie’s in London, the Rijksmuseum reacted immediately. He said he was pleased that, in the end, the paintings will be shared between two of the world’s greatest art museums.

“They came back to their country of origin, and they were also able to stay in the country which their owners had always lived,” he said, referring to the Netherlands and France. “So it was, to a certain extent, a rather ideal situation.”

The portraits will be on view at the Rijksmuseum until Oct. 2.

In addition to pieces Mr. de Rothschild inherited, he has bought for his personal collection many works of Pop Art, English School paintings and old masters over the years. “I’ve bought everything, nearly, except Impressionists,” he said. “I never found them very exciting.” https://www.nytimes.com/2016/07/06/arts/international/rijksmuseum-rembrandts-eric-de-rothschild.html?_r=0

KASSEEM DEAN Swizz Beatz’s Music Studio Is Basically an Art Gallery (...)

Mr. Dean, 38, is also an avid art collector (and curator for Kola House), who made his first major purchase, an Ansel Adams photograph, when he was 18.

He has since devoted considerable energy to building what he calls the Dean Collection, an assortment of art that he intends to pass on to his five children. It is kept in storage, at home and in his personal studio in Chelsea, which is where the Maybach was headed that evening.

“Sometimes you’re leaving the studio at four, five or six in the morning, you can just lay back and have a little baby moment,” he said, referring to the pillow in his lap from the Brooklyn Museum, whose board Mr. Dean joined in 2015. (...)

Once he realized he actually had several hundred thousand dollars in the bank, Mr. Dean bought a house, looked around and realized he didn’t want to decorate with posters. It was time to hit the galleries.

“They wouldn’t take me really seriously,” he said. “I was 18. And the style was different back then: baggy clothes, everything 10 times bigger. I just didn’t look like the type of person who was coming in to buy fine art.”

He eventually met the collector David Rogath, who became his guide to the art world. Mr. Dean’s collection now includes works by famed artists like KAWS and Kehinde Wiley.

Back at his music studio, Mr. Dean showed off works by Dustin Yellin and Michael Vasquez, then bounded excitedly over to a print of Damien Hirst’s “For the Love of God,” a platinum skull encrusted with diamonds.

“None of these vibes can hang in my house,” he said, referring to the skull, which appears three-dimensional from certain angles. “Imagine going to the kitchen and that’s in the hallway. Nah, I’m cool.”

In the corner of another room, on the floor next to a set of shelves that displayed photos of Mr. Dean and the singer Alicia Keys, his wife of six years, were two large plaques. “My wife and friends had these made for my accomplishments throughout the years,” said Mr. Dean, who only has a 2010 BET Producer of the Year statuette on display in the studio. “They know I don’t celebrate this type of stuff.”

The support between the pair goes both ways. When Ms. Keys was criticized this summer for her decision to go makeup-free, Mr. Dean took to his Instagram to defend her choice. “Somebody’s sitting home mad because somebody didn’t wear makeup on their face — not your face, but they didn’t put makeup on their face,” Mr. Dean said with incredulity in the post, emphasizing that Ms. Keys’s decision was a personal one. https://www.nytimes.com/2016/10/02/fashion/swizz-beatz-music-producer-art-collector-alicia-keys.html Recording artists Alicia Keys and Kaseem Dean, better-known as Swiss Beatz, have put their New Jersey mansion on the market for $14.9 million, reports Curbed.

The 5.42 acre, 25,000 square-foot compound in Englewood, once owned by Eddie Murphy, is filled with artwork by contemporary artists, including several graffiti art legends. Listing photographs for the property show the 32-room mansion decked out with work by Kaws, Maya Hayuk, Jean-Michel Basquiat, Andy Warhol, Ernie Barnes and Keith Haring.

The couple also owns works by Takashi Murakami, Peter Max, Joan Miro, Sam Francis, and Marc Chagall.

At a Sotheby’s sale of Basquiat works in 2013, Beatz told Artspace how he started collecting. “I was getting older and graduating in life,” he recalls. “I got a little success and wanted to start buying art for my house.”

After he approached art world veterans such as Enrico Navarro, Jeffrey Deitch, and Tony Shafrazi, Beatz said “Basquiat’s name just kept coming up in conversation, so I started doing my homework and saw that the lines with me and him were running parallel. I was making music like he was painting—just making it out of anything, like ‘give me this broken turntable’.”

Not only has Beatz snapped up well-known artists, he’s also deejayed events at Art Basel in Miami Beach, curated a collection at Scope art fair, and hinted at possibly opening a gallery.

The house, which has eight bedrooms, 10 full bathrooms, a movie theater, an indoor pool, a bowling alley, two elevators, and a recording studio, was built in 1980.

For a cool $15 million you could have it all, except the art, of course. https://news.artnet.com/art-world/alicia-keys-swiss-beatz-art-collection-328813

RALPH DELUCA This former stock broker from New Jersey got his start collecting film posters: Orson Welles’s Citizen Kane signed

by Welles; the original 1931 Dracula poster, formerly owned by Nicholas Cage; and the original poster for Metropolis, which made headlines when DeLuca paid $1.2 million for it at auction. What began in the early 1990s as a passion project has evolved into a sizable collection that has grown to include works of contemporary art. https://news.artnet.com/art-world/meet-20-of-the-worlds-most-innovative-art-collectors-117315

The motto of Movie Archives, Inc. is "No One Will Pay You More" and owner Ralph DeLuca seemed to be on a mission to prove it last December. In a bankruptcy court auction, Mr. DeLuca placed a winning bid of $1.2 million for a lot of nine pieces of film art which included a Metropolis one sheet that now is being called "the world's highest-valued poster."

On Thursday, December 13, in an auction conducted in U.S. Bankruptcy Court in Los Angeles, Ralph DeLuca, owner of the New Jersey-based Movie Archives Inc, won the posters in bidding against three other rivals. The bidding started at $700,000 in the bankruptcy auction which included posters from The Invisible Man, and King Kong, along with original art created for Jailhouse Rock depicting its star Elvis Presley.

Mr. DeLuca described his Metropolis one sheet as the poster art world's Mona Lisa, adding, "I was expecting to pay $1.5 to 1.6 million at least." Mr. DeLuca believes that his Metropolis poster is, by itself, worth more than what he paid for all nine items. In 2005, the Metropolis one sheet was bought in a private sale by a California collector for what was then a record $690,000. After declaring bankruptcy, the former owner had to release the poster as part of the court action which led to the December auction.

The Metropolis poster is a beautiful piece of German Expressionist art originally created by Heinz SchulzNeudamm in 1927 to publicize Fritz Lang's science-fiction masterpiece. The poster depicts the robot woman created by the film's sinister scientist, Rotwang, in a bleak future world of oppression where workers are totally regimented to serve a powerful urban elite. The silent classic features actors Brigitte Helm, Gustav FrĂśhlich, Alfred Abel and Rudolf Klein-Rogge, and was written by Lang and wife Thea Von Harbou.

So far Mr. DeLuca has not announced any plans to sell the coveted poster but was quoted saying, "I think I'll keep the poster unless I get overwhelmed with a 'Guinness-Book-of-Records' offer. I believe it will be the first to go past $1 million and even hit $2 million." http://www.classicimages.com/features/article_30190476-8843-11e2-93c6-0019bb2963f4.html

TIQUI ATENCIO DEMIRDJIAN Venezuelan-born Tiqui Atencio Demirdjian purchased her first artworks at the age of 18—a Valerio Adami she loved for its strong colors and composition, and a painting by Emilio Boggio. At her wedding a year earlier, Demirdjian’s father had presented her with a painting by the French artist Bernard Buffet, inspiring a lifelong passion for art collecting. Demirdjian is a member of the Mustique Company’s board of directors, and chairs acquisition committees for the Guggenheim Museum and Tate Modern. http://www.artnews.com/top200/tiqui-atencio-demirdjian/

Mrs Atencio studied at Marymount Academy, Rome and Tarry Town, New York. Social-communications at the Catholic University of Caracas, Painting & Drawing at Lucio Rivas Academy, Caracas, and History of Art at L’Ecole des Galeristes de du Regard, Paris.

Mrs Atencio is Director of the Board of Advisers for Art Institutes International. She is a member of the International Council of the Guggenheim Museum, New York and a member of the Executive Council for the Tate Gallery, London. She is also Chairman of the Latin American Art Acquisitions Committee of Tate.

Mrs Atencio is a member of the Board of Directors of the Mustique Company.

She collects Modern, Contemporary, Pre Columbian and Latin American Art. http://www.ltbfoundation.org/iac/tiqui_atencio.htm

Coleccionista venezolana, afincada en Londres, miembro del patronato del Guggenheim de Nueva York, del patronato de la Fundación Tate Américas de la Tate de Londres y presidenta del Comité Internacional de la Tate Modern de Londres. http://www.arteinformado.com/guia/f/tiqui-atencio-demirdjian-167326

American Patrons of Tate Transitions to Tate Americas Foundation to reflect the organisation’s evolving role and expanding geographical base of support 15 March 2013, London and New York – Tate announces the renaming of the American Patrons of Tate, an independent charity based in the United States, to the Tate Americas Foundation. The renaming more accurately reflects the charity’s role to support the acquisition of art from the Americas and expanding geographical base of support from both North and South American patrons.

Sir Nicholas Serota, Director Tate, says: The 2013 celebration of the 25th anniversary of Sir Edwin and Lady Manton’s founding gift, provides the ideal time to review the changing role and support base of Tate’s Americas-based charity to reflect involvement and support from generous patrons in both North and South America. The newly named Tate Americas Foundation will build on their extraordinary vision to acquire art for Tate from the Americas and to support exhibitions of those artists’ works.

The Board of Trustees of Tate Americas Foundation, chaired by Jeanne Donovan Fisher (New York), voted unanimously to evolve the name. Tate Americas Foundation board of trustees also includes Frances Bowes (San Francisco), Estrellita Brodsky (New York), James Chanos (New York), Henry Christensen III (New York), Ella Fontanals-Cisneros (Switzerland), Noam Gottesman (New York), John Studzinski (New York), Juan Carlos Verme (Lima, Peru), Tiqui Atencio Demirdjian (London and Venezuela), and Robert Rennie (Vancouver, Canada).

Tate Americas Foundation will host the third Artists Dinner fundraising gala inNew YorkonWednesday, May 8, 2013at Skylight at Moynihan Station. The Artists Dinner will honour thirty artists from the Americas who are represented in the Tate’s collection. All proceeds will be used to acquire additional art of theAmericasfor Tate. http://www.tate.org.uk/about/press-office/press-releases/tate-announces-tate-americas-foundation

LEONARDO DI CAPRIO He’s just acquired a 1973 work by Frank Stella. In May 2013, he pocketed a Takashi Murakami painting at a Christie’s sale he orchestrated. He has for a long time coveted the canvases of Jean-Michel Basquiat and now, Ed Ruscha and his childhood memories involve cartoonists Robert Williams and Robert Crumb. Oh, and as an ultimate emblem of his art world stature, he’s sat for a portrait by Elizabeth Peyton.

The acclaimed actor and art-aficionado Leonardo DiCaprio has developed an acute eye for up-and-coming artists and amassed an impressive collection over the years (see From Hollywood to the Art World, the New Celebrity Collectors). He is also frequently seen behind the scenes at major auctions, like the Christie’s $248 million Contemporary Art Sale in November 2011, and the $219 million Sotheby’s Impressionist and Modern Art Sale in May 2014.

UPDATE: On January 7, 2017, at Sean Penn’s Haiti Rising Gala charity auction in Beverly HIlls, DiCaprio, added to his collection a work by Ed Ruscha for $125,000. DiCaprio also bid on several other items including a 1967 Toyota Land Cruiser owned by Julia Roberts and Danny Moder’s, but only walked away with that one work

by Ruscha.

This past weekend at PULSE Art Fair in New York, DiCaprio scooped up Nachlass (2015) by Brooklyn-based artist Jean-Pierre Roy after seeing a picture of the work exhibited on the Instagram account of Gallery Poulsen from Copenhagen At Art Basel in Miami Beach this past December, DiCaprio acquired an important 1973 Frank Stella work from Marianne Boesky gallery for nearly $1 million. Though the gallery primarily carries Stella’s later stainless steel sculptures, the artist’s work produced between 1970 and 1974 would resemble his quite minimal Polish Village series or his concentric squares series, characterized by bold and colorful geometric shapes.

At a Christie’s sale DiCaprio organized to benefit his environmental foundation, the auction lots betrayed his artistic inclinations (see Meet 20 of the World’s Most Innovative Art Collectors). On view at “The 11th Hour” sale were Mark Grotjahn’s Untitled (Standard Lotus No.11, Bird of Paradise, Tiger Mouth Face 44.01) (2012), and Andreas Gursky‘s Ocean V (2010), from DiCaprio’s private collection.

At this same auction, DiCaprio bid on Takashi Murakami’s Mononoke (2013), which he bought for $735,000.

At Art Basel in Miami Beach in December, DiCaprio consulted with his dealer friend David Nahmad on a Picasso drawing on view, presumably at Zurich-based Galerie Gmurzynska, who boasted a drawing entitled Fillette (1939) by the Spanish master and whose booth was a celebrity magnet at the fair.

A Picasso drawing also featured as an item at Leonardo’s charity gala in Saint-Tropez this past August (see Billionaire Buys $1 Million Picasso Sketch at Leonardo DiCaprio Gala). And that’s not all—DiCaprio was seen peering over the glass sky-box of a Picasso-heavy Sotheby’s sale in May of this year (see Erratic Bidding at Sotheby’s $219 Million Sale of Impressionist and Modern Art). Seems like the actor has a thing for the Spanish artist.

DiCaprio was seen perusing the Philips auction sale “Under the Influence,” where Oscar Murillo set a personal record of $401,000 with his Untitled (Drawings off the wall) (2011). Vanity Fair has suggested that the sale might have belonged to the hat-bearing actor.

At a Berlin exhibition a few years ago, DiCaprio discovered Walton Ford’s watercolors. The painter’s depictions of extinct and endangered species like the elephant bird or the Tasmanian tiger, match DiCaprio’s own concern for environmental protection. Walton Ford is represented by Paul Kasmin Gallery in New York. His work also featured in DiCaprio’s Christie’s sale.

In an April 2013 interview with the Wall Street Journal, DiCaprio relays that his father introduced him to Los Angeles-based illustrative artists Robert Williams and Robert Crumb in the 1970’s and 1980’s. We wouldn’t be surprised if Leo has coveted some of their earlier cartoons as part of a childhood memorabilia collection.

One of the actor’s first important purchases was a Jean-Michel Basquiat drawing, though which one it is hasn’t been confirmed.

“In New York, Andy Warhol, Basquiat, Francesco Clemente and Julian Schnabel were the guys who were big in the 1980’s when I began to understand art better. They were my heroes, and I’ve continued to be a huge admirer of Basquiat,” DiCaprio told the Wall Street Journal. https://news.artnet.com/art-world/leonardo-dicaprios-art-collection-275860

ZOE & JOEL DICTROW Zoë Dictrow is a former magazine advertising manager, and her husbandJoel a former Citigroup executive.

The collectors are well known for their support of emerging artists. According to Bloomberg, the New York-based couple bought a number of artworks at NADA Miami in December. These include pieces by Alex Dodge, Ruby Sky Stiler, and Alice Mackler. They have also been longtime collectors of more established art heavyweights, among them Gerhard Richter, Robert Gober, Cindy Sherman, and Sarah Sze. https://news.artnet.com/art-world/artnet-news-index-top-100-collectors-part-one-513776

Collectors Zöe and Joel Dictrow on a Life of Chasing the Newest Art In an era when art collecting has become a high-octane pursuit for financiers looking to diversify their portfolios, Zöe and Joel Dictrow are holdovers from another time—collectors whose support of younger artists, innovative gallery programs, and the art world's grassroots borders on benificence. A former magazine advertising manager and Citigroup executive, respectively, the Dictrows have lived in the same West Village apartment for four decades, gradually expanding it as their collection grew by adding two neighboring apartments. A cozy warren of rooms, their home brims with work by artists from Gerhard Richter and Cindy Sherman to today's emerging stars-to-be, covering their walls, filling their bookshelves, and even, in the case of a bespoke installation by Sarah Sze, crawling across their ceiling.

Every year, the Dictrows open their doors to VIPs from the Armory Show for a collection tour that has become one of the most anticipated events of its kind, unveiling their newest acquisitions. But engaging with contemporary art is a year-round activity for the two, playing a central role in their lives. To hear about their approach to collecting, Artspace editor-in-chief Andrew M. Goldstein sat down with the Dictrows in their home to talk about their hard-earned insights into the art world, how they live with art, and how their pursuit of the new has brought them closer together.

As patrons of emerging artists, you have been especially supportive collectors when it comes to younger galleries, taking chances on new talents before the establishment catches wind of them. It seems that collecting isn't just a pastime for your—that it's really a way of life.

Zöe: It's true—this is our pleasure in life. We’re learning so much and enjoying ourselves and meeting interesting people, which is the great pleasure of the art world. Through art we find we have real connections with many different people who superficially would not appear to have anything in common with us, age-wise, culturally, professionally, or economically. It’s such a vast little world, which sounds strange, but it really is a huge number of people to be able to relate to.

You are known for always collecting together, so I would imagine you have exceptionally similar tastes in art.

How do you go about deciding on an acquisition?

Zöe: Well, we do agree on a lot, but we also have our own personal directions.

Joel: There are certain things that she leans toward and other things I lean toward. Our standard for compromise depends on how expensive it is. If a piece is not too expensive, then we say, okay fine, we’ll indulge you or me. If it’s reasonably expensive, then we use the “over my dead body” standard. There are couple of things that I wanted and Zöe said, “No way.”

Zöe: You can only invoke “over my dead body” if you really hate it. I mean, it has to be really objectionable.

And then, you may want it, but it’s probably not going up. [Laughs] Because I’m the one who, at the end of the day, puts the art up in the apartment, and maybe we can’t find a good spot for it. It’s got to feel right.

You’d be surprised how many different arrangements you need to try. The Richter, for instance, can be very tricky. We move that around the apartment—right now it’s probably the sixth or seventh place we’ve put it.

Sometimes you can put something next to it and the Richter just slaps it down. It could be something very interesting, but not next to a Richter! http://www.artspace.com/magazine/interviews_features/how_i_collect/how-i-collect-zoe-and-joel-dictrow-52364

JOAQUIN DIEZ-CASCON Architect Joaquin Diez-Cascon is the founder of the only art collector organized art fair, called SWAB, which is organized in Barcelona. A collector of emerging artists, Diez-Cascon once collected Spanish artists, but is now focusing on young artists all over the world who worked in the 1970s and '80s.

(News.artnet.com) AfN: The first question is about the amazing name of the fair, SWAB. Why have you chosen this name? Does it somehow reflect the spirit of the fair?

Díez-Cascón: We took the word "swap" and added "b" from Barcelona instead of "p"; and like a SWAB we try to collect samples from contemporary art in order to find the youngest and most innovative art worldwide.

AfN: You are architect and collector, so we can say that here in SWAB you have put your two biggest passions together. Your architectural team has designed the fair inside of this emblematic building, the Reales Atarazanas. How was this project born? What challenges did you face, taking into account that it was a private initiative with a small and familiar team and that it is the first contemporary art fair in Barcelona?

Díez-Cascón: Three persons have organized it: Fernando Rial, Marina Díez-Cascón and myself. We all are architects. Fernando has designed the internal architecture of the fair and have addapted it to the gothic building, where the ships were made in the Middle Ages. We thought Barcelona needed an art fair equivalent to Volta, Pulse or Frieze, for example, and we have tried to take the contemporary art to the fair through 42 galleries from 13 countries, which work basically with young artists. (...)

AfN: What kind of work can be found in SWAB? Díez-Cascón: Drawing and painting, basically, but also photography and sculpture. This year we have asked the gallerists not to bring video because we didn't want to coincide with LOOP, which will be hold in Barcelona in a few days. The most of the artists here are young, born after 1970.

AfN: What about collecting? Which kind of collector do you have here?

Díez-Cascón: This fair is for all those collectors who, as myself, already have a small collection and who like contemporary art made by very young artists. It's also for foundations and companies, and we especially want to initiate the young collectors who maybe still don't know that they are going to be collectors but will begin today.

AfN: What are your impressions after the first day? What are the prospects for this first edition?

Díez-Cascón: I think everything is going right, people are liking it very much. Personally, I'm really having to stop myself from buying one of the wonderful works of art that I can see here... We are expecting to have about 5000 visitors, and I hope the gallery owners will be satisfied with their experience in Barcelona.

AfN: Despite the great potential of Barcelona in terms of galleries and artists, some of the experts say the art market in Barcelona is at a standstill. Does SWAB want to pick it up again? In which context does SWAB take place?

Díez-Cascón: Well, I think they didn't know the artists that have come to Barcelona. That's why we have created SWAB: the world is producing some kind of art that can not be seen in Barcelona, where sometimes we don't even know that it exists. We take those artists to Barcelona and let the people know them, so can they become collectors. (...)

AfN: I would like to know a bit more about your collection... How long have you been collecting? What kind of art do you look for? Did you always collect emerging art?

Díez-Cascón: I have liked art ever since I was a child. At first I was undecided as to whether I should choose to study fine art or architecture. I came to realize, having painted for a year, that my work was really not that good, but although I gave up painting to study architecture, I never gave up collecting works of art. Of course, it has developed over the years, and right now I just collect emerging art. I had a small collection based on Spanish artists, which I have been selling in order to turn it into my current collection, based in young artists from all over the world who worked in the 70's and 80's… (...) https://www.artfacts.net/index.php/pageType/newsInfo/newsID/3588/lang/1

ULLA DREYFUS-BEST Location: Binningen and Gstaad, Switzerland Employment: Inheritance Art Collection: Old Master painting and drawings; Mannerism; Symbolism; Surrealism; contemporary art http://www.artfortune.com/collectors-8/

The heiress Ulla Dreyfus-Best serves as a Member of Advisory board at Sotheby’s and is considered among the 200 world top collectors. With her husband Richard, of the same eclectic approach focused on the idea of “artificial”, she has gathered together hundreds of artworks, including masters such as Peter Breughel, Gustave Moreau, Johann Heinrich Fussli, Katsushika Hokusai, Arnold Bocklin, Alfred Kubin, René Magritte, Hans Bellmer, Gustave Doré, or Matthew Barney, most of them hanging on the walls of the couple’s residencies.

A selection of 120 pieces from this unique collection is currently on exhibition in Venice, including a nice canvas from a follower of Hyeronimus Bosch, a copy from Archimboldo, and some pieces not attributed yet but for this reason not less interesting: and that is the point. In the case of the Dreyfus-Best’s collection even a minor work becomes a fundamental passage for the story which the collection embodies. A story that is not the one of a classic “wunderkammer”, but that of human weaknesses, fears, dreams, ambitions and desires. https://www.conceptualfinearts.com/cfa/2014/06/10/the-richard-and-ulla-dreyfus-best-collection-a-survey-of-the-human-soul/

Le musée privé d’Ulla Dreyfus-Best On n’envie pas le personnel chargé de faire le ménage chez Ulla Dreyfus-Best, sinon peut-être pour l’occasion qui lui est ainsi donnée de côtoyer une des plus étonnantes collections d’art jamais constituée par des particuliers. Des photographies de son intérieur sont publiées dans le catalogue de l’exposition, que lui consacre le Kunstmuseum de Bâle : hormis les murs, normalement droits, tout n’est que courbes, contrecourbes, rocaille, recoins, autant de pièges à poussière.

Mais poussiéreuse, la collection ne l’est pas : dans la cage d’escalier, suspendues à une chaîne rouge, se succèdent une tortue verte, une boule de démolition rouge au crochet de laquelle pendouille une bouée de plage. Nos lecteurs perspicaces auront reconnu un Jeff Koons. La bestiole indéterminée qui dépasse de l’anneau de la bouée contemple un tableau de Füssli peint entre 1805 et 1810 (des Füssli, rarissimes sur le marché, elle en possède au moins une douzaine). La tortue, elle, a vue sur une collection de crucifix et de bijoux de piété dont la fabrication s’échelonne du XVe au XIXe siècle.

Les sept salles ne reproduisent pas l’accrochage original, mais donnent une idée très juste de ce qui fait la spécificité de la collection Les sept salles qu’y consacre le Kunstmuseum ne reproduisent pas l’accrochage original, mais donnent une idée très juste de ce qui fait la spécificité de la collection accumulée durant des décennies par Ulla Dreyfus-Best et son mari Richard, décédé en 2004. On pourrait la résumer par le titre du Jeff Koons, Wrecking Ball (« Boule de démolition »), mais aussi, rappelle Andreas Beyer, le commissaire de l’exposition, une allusion aux lois régissant aux Etats-Unis le ramassage des épaves rejetées par la mer. Et la première impression que ressent le visiteur, c’est cela : des trouvailles, apparemment dues au hasard. Ainsi, la première salle regroupe entre autres le Koons, un « souffleur de feu » du XIIe siècle, le fer à repasser à la semelle hérissée de clous imaginé par Man Ray en 1921, une tapisserie du XVIe siècle, ou deux « dents » de narval…

Un « souffleur de feu » ? L’objet est très rare, les exemplaires connus se comptent sur les doigts d’une main.

C’est une petite statuette en bronze représentant un personnage androgyne. On le remplissait d’eau avant de le poser sur les braises de la cheminée et la vapeur ainsi produite s’échappait par les oreilles. Sa fonction exacte ? Personne...

Harry Bellet - http://www.lemonde.fr/arts/article/2014/12/15/le-musee-prive-d-ulla-dreyfus-best_4540639_1655012.html

DAVID DRISKELL David C. Driskell (born June 7, 1931, Eatonton, Georgia) is an artist and a scholar in the field of African-American art. Driskell is an emeritus professor at the University of Maryland, College Park.

Driskell holds a Master of Fine Arts degree from Catholic University and nine Honorary Doctoral degrees. In 2000, Driskell was honored by President Bill Clinton as one of 12 recipients of the National Humanities Medal.

David C. Driskell: Artist and Scholar by Julie L. McGee, a book detailing Driskell's life and work, was published in 2006.

Driskell is represented by DC Moore Gallery. His first exhibition at the gallery was held in October 2006. https://en.wikipedia.org/wiki/David_C._Driskell

One of the world's leading authorities on the subject of African American Art, Prof. David C. Driskell is highly regarded as both an artist and a scholar.

Born in 1931 in Eatonton, Georgia, David C. Driskell grew up in North Carolina and completed the art program at Skowhegan School of Painting and Sculpture, Maine, in 1953 . He received an undergraduate degree in art from Howard University in 1955 and an M.F.A. from Catholic University of America in 1962. He then explored post-graduate study in art history at The Netherlands Institute for the History of Art in The Hague. Trained as a painter and art historian, Driskell works primarily in collage and mixed media, and printmaking.

Prof. Driskell began his teaching career at Talladega College in 1955. He taught at Howard and Fisk Universities and served as Visiting Professor of Art at several universities, including Bowdoin College, The University of Michigan, Queens College, and Obafemi Awolowo University in Ile-Ife, Nigeria. He joined the faculty of the Department of Art at the University of Maryland, College Park in 1977 and served as its Chairperson from 1978-1983. In 1995, he was named Distinguished University Professor of Art and taught until his retirement in 1998. In 2001, the University of Maryland established the David C. Driskell Center to honor Prof. Driskell as an Artist, Art Historian, Collector, Curator, and Scholar. The Center honors Prof. Driskell by preserving the rich heritage of African American visual art and culture. http://www.driskellcenter.umd.edu/about/dcd.php

Highly regarded as an artist, scholar and curator, David Driskell is cited as one of the world’s leading authorities on the subject of African American Art. He has been the recipient of ten honorary doctoral degrees and has contributed significantly to scholarship in the history of art on the role of Black artists in America. He has authored seven books on the subject of African American art, co-authored four others, and published more than forty catalogs from exhibitions he has curated. His articles and essays on African American art have appeared in major publications throughout the world.

Driskell was born in 1931 in Eatonton, Georgia, USA. He was educated at Howard University and received the Master of Fine Arts degree in 1961 from The Catholic University of America in Washington, DC. He currently holds the title of Distinguished University Professor of Art, Emeritus, at the University of Maryland, College Park.

He is recipient of the Distinguished Alumni Award in Art from Howard University in 1981 and from The Catholic University of America in 1996. In October 1997, Driskell was awarded the President’s Medal, the highest honor the University of Maryland bestows on a member of its faculty. He received the Presidential Medal from William Jefferson Clinton in December 2000 as a National Endowment for the Humanities recipient. Upon his retirement from teaching at the University of Maryland in 1998, The David C. Driskell Center for the Study of the African Diaspora was founded to promote his scholarship and service to the University.

Trained as a painter and art historian, Driskell works principally in collage and mixed media. His paintings and prints have been featured in numerous solo and group exhibitions in galleries and museums throughout the USA including the Corcoran Gallery of Art, the Baltimore Museum of Art, The Oakland Museum and The Whitney Museum of American Art, among others. He has exhibited internationally in England, Holland, South Africa, Poland, Brazil, Japan and Chile. He has been the recipient of several foundation fellowships among which are the Harmon Foundation, three Rockefeller Foundation Fellowships and the Danforth Foundation. http://www.dcmooregallery.com/artists/david-driskell

GLEN DUBIN Location: New York Employment: Asset Management Art Collection: Modern and contemporary art http://www.artfortune.com/collectors-9/

Philanthropists Glen Dubin and his wife, Dr. Eva Anderssen-Dubin, have notably signed the Giving Pledge created by Bill Gates and Warren Buffett, which commits them to donating half of their wealth during their lifetimes. Dubin is a self-made billionaire; born in Washington Heights in Manhattan, his mother was a hospital administrator and his father a taxi driver and later a dress manufacturer. Dubin studied economics at Stony Brook University and later became a hedge-fund manager. In 1992 he cofounded Highbridge Capital Management, stepping down from his position as chief executive in 2013. Dubin is on the board of both Mount Sinai Hospital and the Museum of Modern Art, and was a founding member of the Robin Hood Foundation.

Fun fact: Dubin has promised Overdrive, a 1963 Robert Rauschenberg silkscreen from the collection, to MoMA. http://www.artnews.com/top200/glenn-dubin/

Inside Glen Dubin's Plans to Give Away Nearly $1 Billion Warren Buffett, Bill Gates, and Mark Zuckerberg might be the most well-known Giving Pledge signatories, but there are plenty of lesser known billionaires who have also pledged to give at least half their wealth to charity.

Glenn Dubin, co-founder of Highbridge Capital Management, is one such philanthropist.

Dubin, who is currently worth $1.7 billion, and his wife, Dr. Eva Anderssen-Dubin, are active board members at a number of non-profit organizations. Dubin is on the board of New York's Mount Sinai Hospital and Museum of Modern Art, and is a founding board member of the Robin Hood Foundation, while his wife sits on the board of the Alliance for Lupus Research and the Michael J. Fox Foundation, her alma mater, the Karolinska Institutet in Stockholm, and the Trinity School in Manhattan.

When it comes to charitable donations, however, Dubin has said he's always considered philanthropy a personal and private matter, which can make it hard to figure out just how much the couple has given. Their most notable contributions have been to Mount Sinai, which has received at least $16 million to support the Dubin Breast Center, and the Robin Hood Foundation, which has gotten at least $6.5 million to fight poverty in New York City. Harvard's Kennedy School of Government, which has no apparent connection to the Dubin family, received $5 million in 2010 to create the Dubin Fellowship for Emerging Leaders, while Dubin's alma mater, Stony Brook University, received $4.3 million for the Dubin Family Athletic Performance Center, which opened in 2012. (...)

When everything is added up, it comes to somewhere in the neighborhood of $80 to 100 million that they've committed to charity so far, assuming they have been similarly generous to all the organizations with which they're involved. Still, that's only a small fraction of the nearly $1 billion the Dubins will need to give away to fulfill their pledge. (To say nothing of the new money Glenn Dubin might make in coming years.)

So what can we expect from the Dubins moving forward? There doesn't seem to be much in the way of a cohesive cause or mission that ties together their philanthropy, other than the fact that most of it stays close to home. But Dubin, who just turned 57, recently stepped down as CEO of Highbridge Capital, and while he's still the fund's non-executive Chairman, the move may well mean that he has more time now to spend on philanthropy.

Still, given Dubin's relatively young age, there's a good chance we could be waiting 10 or even 20 years before seeing more significant chunks of his money going out the door. Dubin stated in his Giving Pledge letter, however, that he hopes making his generosity more public will inspire others, so more major announcements might be on the way.

A couple things to watch for: A donation of Dubin's massive art collection to one or more museums, and Celine's involvement with the United Foundation, which, after six years of existence, made its first grant that we can see for $22,413 to an educational organization in the U.S. Virgin Islands.

Michael Gentilucci - https://www.insidephilanthropy.com/wall-street-wallets/2014/4/15/inside-glenn-dubins-plans-to-give-away-nearly1-billion.html

Sylvain Sorgato

NAMEDROPPING prototype : D’OF-DUB 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