https://www.curaart.com/testimonials daily 0.75 2024-02-22 https://www.curaart.com/testimonials/glen-hardwick-bruce monthly 0.5 2024-02-22 https://www.curaart.com/testimonials/antony-wright monthly 0.5 2023-05-20 https://www.curaart.com/testimonials/tiffinylendrum monthly 0.5 2023-03-13 https://www.curaart.com/testimonials/alice monthly 0.5 2023-03-13 https://www.curaart.com/testimonials/zh35fvwo67x8pueqpftubvirabrhw8 monthly 0.5 2023-03-13 https://www.curaart.com/testimonials/oebfuwzno3l8t21v4fv0zywgj4bqmq monthly 0.5 2023-03-13 https://www.curaart.com/testimonials/blog-post-title-three-f2946 monthly 0.5 2023-03-13 https://www.curaart.com/testimonials/blog-post-title-one-fjd94 monthly 0.5 2023-03-13 https://www.curaart.com/testimonials/ntv9brebk0alic3lev3wcxxbft9knr monthly 0.5 2023-03-13 https://www.curaart.com/testimonials/blog-post-title-two-swan5 monthly 0.5 2021-04-15 https://www.curaart.com/testimonials/tylers-and-bricklayers monthly 0.5 2023-03-13 https://www.curaart.com/journal daily 0.75 2026-04-03 https://www.curaart.com/journal/collecting-stories-next-generation-collecting monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/a2607908-c6a6-45c9-b6ce-48ed07edfc02/IMG_6315.png JOURNAL - Collecting Stories: Next Generation Collecting with Georgina Adam - To celebrate the recent launch of her new book ‘NextGen Collectors and the Art Market’ we spoke to art-market commentator Georgina Adam about some trends she recognized through her research. The book was published by Lund Humphries in association with Sotheby’s Institute of Art as part of their Hot Topics in the Art World series and features some comments from CURA Art on the subject of collecting. This is the first book to focus on the tastes and buying patterns of a new group of dynamic and influential collectors, most of them still under 50, who are shaping the art market today. It is an incisive survey of the changing landscape of art collecting, as a younger generation of collectors disrupts the status quo. Adam examines how changes in collecting trends are being driven by generational shifts in the sources of wealth, as well as the changing tastes and geographies, different motivations, and new modes for acquiring art. These trends are likely to have a profound impact on the ways in which art is bought and sold, as Georgina Adam describes with clarity and insight. This interview is a section of a longer interview with Georgina, recorded at Cristea Roberts Gallery, London, in March 2026. Image: Georgia Powell and Georgina Adam at Cristea Roberts Gallery, London, courtesy of Lund Humphries https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/cebf3bd8-3541-481f-8929-d87d83377e27/IMG_6279.JPG JOURNAL - Collecting Stories: Next Generation Collecting with Georgina Adam - Georgina Adam is a journalist and author who has covered the global art market for over 30 years. She is a contributor to the Financial Times and The Art Newspaper, where she was Art Market Editor from 2000 to 2008 and is now Editor at Large. She is the author of Big Bucks: The Explosion of the Art Market in the 21st Century (Lund Humphries 2014), Dark Side of the Boom: The Excesses of the Art Market in the 21st Century (Lund Humphries 2018) and The Rise and Rise of the Private Art Museum (Lund Humphries 2021). Georgina regularly interviews Next Generation Collectors for the Financial times, including Sarah Arison and James Whitner. Image: Georgina Adam at Cristea Roberts Gallery, London, courtesy of Lund Humphries. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/fda0eb91-33fa-406d-b1d4-39970288364d/IMG_20260202_125645.jpg JOURNAL - Collecting Stories: Next Generation Collecting with Georgina Adam - How was the art world and market changed in the last 30 years? It has changed enormously because of two things, the much wider geographic spread and the impact of the internet. Huge new populations (China, India) were able to engage more, and learn about artists and exhibitions, and about the market itself. Fairs came to places like Seoul and people from across Asia came to fairs in the West. The internet allowed so many more collectors to discover artists and see what other collectors like. What are the key changes to the demographics of collectors over those decades? It is difficult to generalise but collectors may be much younger, because immense fortunes can even be made by people who are only in their 30s – whereas the previous generation of collectors tended to be older. https://www.curaart.com/journal/collecting-stories-purposeful-patronage monthly 0.5 2025-11-21 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/73cc8ca6-9e0e-4832-b7e0-1d4171518059/sugar+cane+punts.JPG JOURNAL - Collecting Stories: Purposeful Patronage - The importance of supporting the arts cannot be overstated. Financial backing not only has an immediate impact on an artist’s career but can also shape the future of art. Early investment in living artists is crucial to ensuring they can continue developing their practice. Yet only a small percentage of artists earn a sustainable income through their work. A report published on Artsy reveals that three-quarters of artists in the U.S. earn less than $10,000 a year from their art, often requiring them to take on other jobs or abandon their artistic careers altogether. In the UK, Hettie Judah’s recent report indicates that most artists make around £14,000 annually and similarly rely on secondary employment to support their practice. Image: Liesa Bacchus, Study of sugar cane punts, Guyana, 2021, Indian ink and fine liner on cold pressed paper. Courtesy of the artist. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/2fc70e21-1a7a-405c-b5d0-be669c9f1727/Henriane+.jpg JOURNAL - Collecting Stories: Purposeful Patronage - Henriane Mourgue d’Algue has over two decades of corporate, business management and executive coaching experience across continents and numerous industries. Her current focus is on impact investing, money coaching and accelerating inclusion. Henriane has always had an interest in art having studied Art History at UCL, and aims to give back to the arts through her collecting and philanthropic activities. Henriane collects works and supports underrepresented artists with a particular interest in the subject of identity and cultural exchange. She is the Founding Patron for Second Floor Studios, a Patron of The Residency Community, sits on the Executive Board of the Fondation BeLonging (France) and is interested in supporting projects that benefit artists directly Image: Henriane Mourgue d’Algue. Courtesy of Henriane Mourgue d’Algue. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/5110dfb8-8d7a-4b8b-9c56-2c4de94ee9c5/Liesa+studio+pic+2025.jpg JOURNAL - Collecting Stories: Purposeful Patronage - Liesa Bacchus (b. 1988) is a British painter of Indo-Caribbean heritage, whose parents hail from Trinidad and Guyana. Liesa’s practice is an exploration of her dual identity, with her family and their history being the main source of inspiration for her paintings. She draws upon their lived experiences in the Caribbean and their subsequent move to England in the 1950’s and 1980’s. Her work addresses themes of colonialism, ‘British-ness’, the Indo-Caribbean diaspora and the indigenous peoples of the lands her ancestors were displaced to through indentureship. Although Liesa would primarily describe herself as a painter, drawing has continued to be fundamental to her practice, often describing this aspect of the creative process as being ‘the bones for the paintings’. A lot of this stems from the act of drawing as being a cathartic exercise for Liesa, where it gives her agency to re-evaluate and re-center herself as a painter. Liesa pieces together, personal photographs and stories passed down from generations past with material sourced from documentaries and literature, resulting with each of these components serving as the foundation for the art she creates. Liesa is a member of Second Floor Studios, she lives and works in London. Image: Liesa Bacchus in her studio. Courtesy of the artist. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/0ccca68e-acbd-4ae3-886f-0858fc1e3012/20220521_141749.jpg JOURNAL - Collecting Stories: Purposeful Patronage - Liesa, it’s no surprise that artists often have to have another means of income alongside their art making. Could you explain the financial burdens of being an artist living in London and maintaining a studio? It’s honestly a constant juggling act! From my own personal experiences, the only way that I can continue as a practicing artist and support myself is through jobs that offer part- time shift work. These jobs are all too often not paid that well but it’s the only way that I am able to continue as a practicing artist and have sufficient time for it. Prior to my current studio with Second Floor Studios I was in a studio share, I luckily secured that space as a colleague from a previous job was leaving, had it not been for that I would most likely would’ve been on a long waiting list as affordable studios are a bit of a rarity in London! Having a studio of my own is something that I was working towards and when I contacted Second Floor Studios, I was very fortunate to be offered one that was within my budget. Over the years I’ve seen an increase in submission fees for open calls, so I now only apply for open calls that I’m guaranteed to be selected for or those that align with my ethics. Image: Liesa Bacchus, First visit to Guyana, 2020, watercolour on cold pressed paper. Courtesy of the artist. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/f49f5a04-ba95-4150-8581-68e5962dab69/Indentured+Indian+labourers+working+on+a+banana+plantation.jpg JOURNAL - Collecting Stories: Purposeful Patronage - Liesa, what does it mean to you to be supported in this way? How has the support changed your studio practice? It has helped a tremendous amount! It has enabled me to move into a larger studio space and work on bigger pieces and take on more commission work. Having Henriane’s support is a great boost, and it has given me that agency to pursue and work towards pieces that I most likely would’ve had to put on hold. My main takeaway from my patron support would be, having someone that believes in my practice and can see its potential, as my work isn’t commercial and is most often viewed as quite niche, as there still isn’t much awareness on Indian Indentureship, particularly here in the UK so it’s especially heartening to have Henriane support my practice. Image: Liesa Bacchus, Indentured Indian labourers working on a banana plantation, Jamaica, 2025, oil and acrylic on canvas. Courtesy of the artist. https://www.curaart.com/journal/a-day-in-the-life-joe-mckee monthly 0.5 2025-05-30 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/e78bb9df-2a7c-44a4-bb69-87fab2fa3ff1/Joe.jpg JOURNAL - A Day in the Life - Joe McKee - Joe McKee, Partner and COO of Solid Art Services Joe McKee has worked on innumerable projects with a wide variety of art world clients in Los Angeles. After co-founding MAMA Gallery in 2015, he went on to manage logistics and operations at some of L.A.’s top art handling companies, before developing the global fine art division for Malca Amit. He has consulted for a number of emerging galleries and individuals while still finding time to cultivate his own art practice. Joe now brings his wealth of art install and logistical experience to the SOLID team. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/db7e9844-25b6-4d27-ab13-74acb6257c6d/3030SMainWeb.jpg JOURNAL - A Day in the Life - Joe McKee - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/bbb98c25-530e-41ac-90d0-3eb62aba033d/unnamed.jpg JOURNAL - A Day in the Life - Joe McKee - Make it stand out SOLID’s team installing Damien Hirst’s, Radiance, 2018. Photo courtesy of the Zimmer Family Collection. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/c21a41eb-8209-43d4-9d35-df7c66b6b5e8/unnamed+%281%29.jpg JOURNAL - A Day in the Life - Joe McKee - Make it stand out Crates of artwork stored at SOLID’s storage facility. https://www.curaart.com/journal/building-a-meaningful-collection monthly 0.5 2025-05-30 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/633ce481-4bdf-4062-8c49-814cec821a5c/STEPA005.jpg JOURNAL - Insight: Building a Meaningful Collection - Make it stand out Private collector’s home, U.K. © Andreas von Einsiedel Photography. https://www.curaart.com/journal/a-day-in-the-life-kamila-m-korbela monthly 0.5 2025-05-20 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/d61c301a-cfdf-4e05-adce-982e524ec052/image005.jpg JOURNAL - A Day in the Life - Kamila M. Korbela - Make it stand out Image: Kamila M. Korbela at LA Art Labs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/cd7fdfbb-be98-4e5d-8373-2d3a9f1f5a44/IMG_6349.jpeg JOURNAL - A Day in the Life - Kamila M. Korbela - Make it stand out Image: Kamila places newly applied paint samples in a radiation chamber under UVA and UVB radiation to artificially age them. Courtesy Irfan Khan / Los Angeles Times. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/f955d6bb-1677-4248-9b96-2dd6a2e781a4/IMG_8595.jpeg JOURNAL - A Day in the Life - Kamila M. Korbela - Make it stand out Image: LA Art Labs with the Los Angeles County Department of Arts and Culture working on the Richard Haro mural “Among the Valiant” at Salazar Park in East Los Angeles. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/4f8a3a1d-53a5-4322-bb65-eaa3f52c23b2/S+M+Sultan+Conservation+Project*.jpg JOURNAL - A Day in the Life - Kamila M. Korbela - Make it stand out Image: Kamila with the Bengal Foundation’s conservator team. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/d391cb80-62e3-4a1f-8b94-562a5e1f7fc8/IMG_9132.jpg JOURNAL - A Day in the Life - Kamila M. Korbela - Make it stand out Image: Kamila M. Korbela treating a panel painting by Stefan Lochner in Germany. https://www.curaart.com/journal/collecting-stories-christian-levett monthly 0.5 2026-03-28 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/7691c7cc-b018-4eb3-8918-69c049c96f21/Figurative+Gallery+at+FAMM_3_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man - Former investment manager Christian Levett has long been an impassioned arts patron, having at times described his collecting habits as “intense” or “enthusiastic.” This started from impulses as a child to amass football cards and other collectibles, and has since turned into a refined pursuit that focuses on Levett’s changing interests and focuses. Levett has always been interested in sharing his collection and opened the Mougins Museum of Classical Art (MACM) in 2011 in Mougins, France, displaying antiquities, armour and classically inspired artworks. Image: Figurative Gallery at FAMM, photgraphed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/31d551c7-da17-4e48-874d-2ee31664066e/Muse%CC%81e+FAMM_cre%CC%81dit+%C2%A9FAMM.JPG JOURNAL - Collecting Stories: Christian Levett, Museum Man - In recent years, his focus has undergone a drastic shift, with Levett instead turned towards the work of women artists, especially Abstract Expressionists. This transformation was fully realised in June 2024 with the re-opening and re-branding of his museum into Femmes Artistes du Musée de Mougins (FAMM), becoming the first private museum in Europe solely dedicated to work by women artists. Displaying only artwork created by women, the institution’s collection, spanning from Impressionism to Contemporary artworks, will include renowned artists such as Tracey Emin, Carrie Mae Weems, Joan Mitchell, Lee Krasner, Helen Frankenthaler, Elaine De Kooning and Cecily Brown.  We were honoured to join the opening of the museum recently and speak with Christian about his collecting journey. Image: Musée FAMM ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/6f20af54-0ad4-416e-afad-327ff62749c2/Christian+Levett+in+front+of+Dorothea+Tanning%27s+artwork%2C+Eperdument_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpeg JOURNAL - Collecting Stories: Christian Levett, Museum Man - From our experience, collecting is a habit or interest that starts in childhood. Was this the case with you? Yes, definitely. My interest started with a box of military medals at home, awarded to various family members over the years, some dating back to the late 19th Century. I was fascinated by the stories behind them. My grandad’s brother was killed in WWI, my father was in the army, and another grandad was part of the Metropolitan Police sent to Germany after the war. My mum lived through the war in London and experienced bombings as a child, so conversations about history and war were always part of our household. Image: Christian Levett in front of Dorothea Tanning's artwork Eperdument, photographed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/a2b397b7-56e5-4c89-93bf-4334709443be/Figurative+Gallery+at+FAMM_5_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man - I discovered a medal shop near where I lived in Southend-on-Sea, Essex. One day, I went in with my mum, saw all these medals, and thought it would be fun to start collecting campaign medals. They were quite affordable then, around 50p, and today they might be worth around £20. I also started collecting coins, like Victorian pennies, and it became a bit of a bug filling gaps in my collection. As a child, I was also into collecting football cards, just like many others. Opening a packet, getting duplicates, and trading them at school was quite thrilling. Whether this collecting bug was always in me or triggered by these experiences, I’m not sure, but once you get that little burst of excitement from acquiring something new, it tends to stick with you. It’s a feeling many collectors understand. As a child, I was also into collecting football cards, just like many others. Opening a packet, getting duplicates, and trading them at school was quite thrilling. Whether this collecting bug was always in me or triggered by these experiences, I’m not sure, but once you get that little burst of excitement from acquiring something new, it tends to stick with you. It’s a feeling many collectors understand. Image: Figurative Gallery at FAMM, photographed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1d680e84-a851-4116-9455-cf820217d1be/Impressionist+Gallery+at+FAMM_1_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man - You said that your family weren't established in the art world. Infiltrating the art world is sometimes about inherited knowledge and connections; was it therefore hard to establish yourself in the art world as a collector? I never really thought about it like that. Most people just start buying pieces they like, thinking about where they'll hang them at home. When I was assigned to Paris, I figured it would be for 18 months to 2 years. I had an apartment in London from when I was 24, so I knew where I'd eventually place these things. I wasn’t trying to establish myself in the art world; I just bought pieces because I liked them and thought they were of high quality. That didn’t change even as my collection grew over time. Image: Impressionist Gallery at FAMM, photographed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/ef32158e-7ad6-4fbf-b5ff-bea194931fcf/Abstract+expressionist+Gallery+at+FAMM_2_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man - I started buying Impressionist and Post-Impressionist drawings, then antiquities in my early 30s. It wasn’t until around 2009 that I got noticed in the art world, after I announced plans to open a museum in Mougins. That’s when the media took an interest. Before that, Christie's and Sotheby's knew me because I was buying significant pictures and hand-painted natural history books. So, while the auction houses knew who I was, the broader art world didn’t catch on until the museum announcement. Image: Abstract Expressionist Gallery at FAMM, photographed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/9e506475-d9b0-450c-967b-f40fb79754cf/XXIth+century+Gallery+at+FAMM_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man - When individuals start collecting, they usually rely on established connections and especially advisors to be pointing them in the right direction, but you've done it all through your own instinct, which I think is really impressive. When I started in my 20s, I was too small to attract an art advisor’s attention anyway. The art advisor model wasn't really a thing back then. The kind of art advisors we see now started emerging in the early 2010s, and now it's a huge industry. Some advisors, like Melanie Clore and Henry Wyndham, have been amazing, with decades of experience at places like Sotheby's. But when I started, you mostly had to figure it out on your own. Image: XXIth century Gallery at FAMM, photographed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/39574a40-4ed3-43c9-ae55-69d8446a45d6/Vue+d%27inte%CC%81rieur+FAMM_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man - Around 2013 or 2014, I decided to just focus on post-war art. I bought great pieces by a mix of male and female artists. People like Picasso and Basquiat, and Tracy Emin, Louise Bourgeois, and Helen Frankenthaler. I was simply buying great art by great artists who I liked. I then came across a catalogue for a show on female Abstract Expressionists at the Denver Art Museum. It opened my eyes to many artists I hadn't considered before. I started looking into their careers and market values, discovering they were significantly undervalued despite having amazing backgrounds and exhibitions. Image: Vue d'intérieur FAMM_crédit, photographed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/74ff9808-4a6c-45a9-a419-f0d8ca1a3459/Christian+Levett+in+the+Abstract+Expresionist+Gallery_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man - A selection of 100 works in the collection will be displayed in the newly opened Femmes Artistes du Musée de Mougins with this new focus on art by women artists. Is the aim of the museum to inspire people just as you were inspired visiting museums as a child? Is the aim to educate? What do you feel like its contribution will be? I like to think that people will experience this museum of women's art and see how astonishing the collection of exclusively female artwork is. It’s a stark reality to hear that almost 90% is the art on the walls of museums are by male artists, most of whom are also white. And so, I hope that visitors will be thought provoked after seeing the museum to question how we ever got to the point of almost exclusively showcasing male artists in Western Museums. Because, there is so much great artwork by great female artists, if you just look for it. And that starkness and that realisation is what I think I would really like to achieve. The collection consists of over 500 pieces, so we will be rotating the display, which also means that there will always be something more and something different to see. I think there will also be an interesting experience for people who come into the museum who maybe don’t realise that it’s filled with art by women. And they experience an incredible collection, without that context, and interact and enjoy the artwork for just what it is, which is just great art. It’s just another interesting encounter that I think the museum will open the doors to. Image: Christian Levett in the Abstract Expressionist Gallery, photographed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/8b8cf71e-0a94-4f79-9445-9b56d2cedde9/XXIth+century+Gallery+at+FAMM_4_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man - Absolutely. And the impact is huge. I mean, it's only really when you flick through Katy Hessel’s book and you see art history purely through the lens of women artists, for the first time, that you realise the impact that it has. I think the impact of having them all in one place will be huge for education and for visibility. Yeah, well this museum is going to pack a serious punch. We’ll be showing about 160 years of female art, from about 1865 through to the present day. Image: XXIth century Gallery at FAMM, photographed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/7e86f40a-713f-4db4-a06f-41e78bc2f8fc/Surrealist+Gallery+at+FAMM_cre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man - Your role in not only collecting but showcasing the works of lesser-known artists will have an impact on art history. Do you consider yours or a collector’s role in art history? No, I don’t really think like that at all. Of course, I think it’s important and I’m very proud that it will help to establish more female artists, but I think I just like to put collections together that have a firm narrative and theme, and I think they’re more interesting like that. I used to jump around into different collection themes that have captured my focus for a period of time. Interestingly, I think that focusing on female artists is going to become my forever focus now. Image: Surrealist Gallery at FAMM, photographed by Jerome Kelagopian ©FAMM https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/afc37c8f-d3ed-46fd-9b44-603f27ecbcc6/Entrance+at+FAMM_Ccre%CC%81dit+%C2%A9FAMM_Photos+Jerome+Kelagopian.jpg JOURNAL - Collecting Stories: Christian Levett, Museum Man Do you have any advice that you would give to anyone thinking of starting a collection? Firstly, buy an artwork that grabs you emotionally, for whatever reason that that may manifest itself in. It could be because you find genius in its execution, it could be because you find it funny, provocative, sensual, vibrant, or something else entirely. But it has got to grab you. There's got to be something about the work that you truly connect with when you look at it. Secondly, if you want to collect properly, then always buy the best art work from the best artist that you can personally afford. Don't buy two or three mediocre works if you could buy one exceptional work for the same combined price. Just save up and buy the better work when it comes along as you’ll be better off in the long run. And then after that, you should be careful about the condition. Make sure you’re prepared to look after your collection properly. You must also be conscious of the provenance. If it’s not a contemporary work, make sure it’s registered with the artist register if it's more than 20 or 30 years old. It’s important that you do your own due diligence to make sure something isn’t stolen. So ideally you would try to get provenance back to the artist, if it's a late 20th Century work in particular. And you would want provenance to back before the Second World War if it's 19th Century. Image: Entrance at FAMM, photographed by Jerome Kelagopian ©FAMM https://www.curaart.com/journal/collecting-stories-cchpounder monthly 0.5 2026-03-28 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/30f086e2-b22f-4cea-8271-61a5366ae4fe/CC+Pounder+portrait*.jpg JOURNAL - Collecting Stories : The Arts Advocate - We were thrilled to talk to CCH Pounder about her role as patron, collector, gallery owner and museum founder. While the award-winning actress is known for her major TV and movie roles including “Law & Order: SVU,” “The Shield,” and “Avatar: The Way of Water,” she has always been an arts advocate in a variety of ways. In 1992, CCH Pounder and her husband, the late Boubacar Koné, founded and built the Musée Boribana, the first privately owned contemporary museum in Dakar, Senegal, which they gifted to that nation in 2014. Now, her collection contains over 500 works of art focusing on Caribbean and African artists and artists of the African Diaspora, as well as traditional African sculptures. Most recently the exhibition, “Double ID” opened at The Charles H. Wright Museum of African American History in Detroit on April 26th featuring works from the CCH Pounder-Koné collection. The show examines W.E.B. Du Bois’ concept of “double consciousness” through contemporary artworks centering the inner self, identity, and evolving spirit of Black men. Image: CCH Pounder. © Thom Bennett - Photographs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/d4ce6042-d6fc-4f6b-9fab-006409dfebae/MuseeBoribanaPhoto.jpg JOURNAL - Collecting Stories : The Arts Advocate - CCH Pounder was originally born in Georgetown, Guyana and grew up in Versailles Estate, a small sugar cane town. After attending boarding school in Hastings, in the South of England, Pounder immigrated to the United States in the 70s and went to college in New York. She currently lives in New Orleans, Louisiana. Image: Musée Boribana. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/0a028dbd-3cae-440f-a71f-63f9cf8b9b28/Gallery++CRETE+1.jpg JOURNAL - Collecting Stories : The Arts Advocate - When did your interest in art begin and what inspired you to start collecting? I think when I was a kid I wanted to be a visual artist. I had a wonderful mentor who said, “Acting is for young people.” She said, “Art, as long as you have your hands and your eyes, you can do it.” So, in my innocence, I thought, well in the first half of my life, I'll be an actor. And then the second half I'll be a visual artist. Of course, it didn't quite work out that way. What it [acting] did do is set up the stage for me to become an art appreciator. To really support my friends who were struggling along the way and to bring their work to the attention of people who might not have known them. I particularly hung in the black artists diaspora, so I introduced Caribbean artists, American artists, African artists, whatever community I was in at the time. There was always this wonderful conversation, I didn't realize that in a very small way, I was a connector. There was always exchange and support. Image: CCH Pounder’s home gallery © Thom Bennett - Photographs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/203c2a37-91b4-44bb-ad7e-16bb09cf3d89/FIRELEI+BAEZ+CIQUAPA+PELUDA+2016+4%3A23.jpg JOURNAL - Collecting Stories : The Arts Advocate Are you still actively acquiring? Well, I shouldn't be, I'll be very honest. What my collection does offer is from the 60s to present day, it has an interesting span, the majority of which is current. I would like to tell you that I've stopped collecting, but every now and again I'm ruined by some gallerist or friend who says, “I just saw something that calls your name!” I have something to offer particularly with artists who are now well known, you can see their growth through the different decades of their work, because many of the artists I have collected from the beginning of their careers. That's been a blessing; there's a story to tell. At this point, it’s about making sure that what I do have is well maintained. I have housing that is temperature controlled [and all the monitoring equipment], it's really like supporting a growing child. If you’ve got a piece of art that you love, it's not enough to just hang it on the wall. You [have to care for it]. Since our museum was in Africa, we always had to check for insects and examine the back of each work, you must be diligent. My attitude didn't change with my collection in the United States. Image: Firelei Baez, Ciquapa Peluda, 2016 from the exhibition “Queen.” © Ashley Lorraine Photography. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/ed0e7abb-f98e-4465-a952-94eb08f0d46d/4-23+Robert+Pruitt+%2522Fireflies+on+the+Water%2522+2014.jpg JOURNAL - Collecting Stories : The Arts Advocate - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/72451b80-b83f-46df-ad5d-bcfdbf8bafc4/4-23++Allison+Saar+%2522Coiffed%2522.+2016+tin%3Awood.jpg JOURNAL - Collecting Stories : The Arts Advocate - Make it stand out Image: Robert Pruitt, Fireflies on the Water, 2014 (left); Allison Saar, Coiffed, 2016 (right) featured in the exhibition “Queen.” © Ashley Lorraine Photography. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/c80a6e63-194b-4ad8-b670-d98e61bea0dd/4-23+EBONY+G.+PATTERSON+Untitled+%28Disciple+VII+-+from+Gangstas+for+Life+Series%29%2C+2008.jpg JOURNAL - Collecting Stories : The Arts Advocate What advice do you have for fellow collectors? Take this with a grain of salt as it's only one person's opinion: If you can, develop your own love of the collecting process. One of the great ways to do that is learn a little bit more about the artists, where they're from, what made them come to the art world and what they're trying to depict. When I listen to an artist, I suddenly get to see yet another dimension of the work that I would not have considered and that makes it more interesting for me to take a closer look. I say that you will find great satisfaction in falling in love with a painting or a statue or a sculpture, a bass relief…I think that is still the most important part of collecting. [One of my favorite pieces] is a mermaid caught in a net, and there are so many faces. And everybody says, “Oh, there are so many mermaids!” I say, “No, it's the same one.” It's her, it's her face struggling to escape. It’s a piece by Kiné AW, a Senegalese artist. I love the kind of energy that it gives out. Image: Ebony G. Patterson, Untitled (Disciple VII - from Gangstas for Life Series), 2008 featured in the exhibition “Double ID” © Thom Bennett - Photographs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/9fa5c51a-7281-4417-bf50-48856a4bb469/Gallery+3.jpg JOURNAL - Collecting Stories : The Arts Advocate The idea that my collection travels for the rest of its life would make me very happy. I'm hoping that I'll be able to pull off this type of preparation to make that happen. It is important to ask the question, how do I keep this going after I'm gone? This is not something that will necessarily interest a child of yours or a cousin or a brother or sister. I want it to be a foundational effort that really runs, so that everybody can get to see it. Image: CCH Pounder’s home gallery © Thom Bennett - Photographs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/7226906f-a4b0-4004-b368-721388718073/4-23++CAMARA+GUEYE+Cafe+Dakar%2C+2009.jpg JOURNAL - Collecting Stories : The Arts Advocate - Thank you to CCH Pounder for sharing her story with us! “Double ID" from the CCH Pounder-Koné Collection is on view at The Charles H. Wright Museum of African American History in Detroit from April 26, 2024 - October 20, 2024. Don’t miss it! Image: Camara Gueye, Cafe Dakar, 2009 featured in an exhibition at The DuSable, Chicago © Ashley Lorraine Photography.. https://www.curaart.com/journal/collecting-stories-the-wright-way monthly 0.5 2024-04-29 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/eb3ea83c-6c0b-4267-9f07-313e10960b6e/wrights.jpg JOURNAL - Collecting Stories: The Wright Way Drs Ato and Tonya Wright met at medical school whilst training to be a Radiation Oncologist and Obstetrician Gynaecologist respectively. Having been born in Accra, Ghana, Ato moved to the United States, age 13. Tonya was born and raised on the British Caribbean Island of Anguilla. Together, they enjoy travelling and appreciating art and music with their three sons. Ato and Tonya’s collecting is intertwined with their familial and professional lives, their tagline being - ‘living with art in the home’ - and focuses on supporting and uplifting artists of the African diaspora. They go about collecting with purpose and integrity, sharing their journey through exhibitions and other initiatives and fostering a supportive arts ecosystem on a global scale. In 2021, they were featured in the Larry’s List Next Gen Art Collectors Report. As advocates for responsible collecting, their approach speaks to both the very personal experience of refining your own aesthetic, but also the power of collective change through combined effort. We were honored to speak with them earlier this year and share their story with you here. You can keep up to date with The Wright Art Collection here. Image: The Drs. Wrights with “Emotional Curfew”, 2019 by Kojo Marfo © Connie Hobbs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/76fba7c5-2b67-40bb-9261-eeafd8740d6f/pearson2.jpg JOURNAL - Collecting Stories: The Wright Way - When and why did you start collecting? After completing our medical training in our respective specialities, we moved to New Orleans to start our careers. It was there that our collecting journey began. What started as a mission to beautify our living space, grew into passion to document our history and culture through artistic expression. Image: Gene Pearson Sculpture (origin Jamaica) and beaded African face masks (origin Ghana) © Connie Hobbs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/228db2d4-7958-4f1a-81c4-c5f8ff029eab/mahaffey.jpg JOURNAL - Collecting Stories: The Wright Way - We know that you have relationships with many of the artists that you collect, could you expand on this and why you feel it’s important? As collectors, we are also advocates and patrons of the artists’ practice. We believe that it is important to be a part of the artist's journey in a way that is authentic to both parties. Maintaining a relationship with artists allows us to support their practice. Do you feel like a custodian for the works of art? Yes, we cherish the opportunity to be part of the stories of the various artists we collect and help all the artists we collect to be a part of history. Do you feel a responsibility towards the artwork and the artists? We do feel that it is important to collect in a manner that adds value to an artist's career. Image: Kayla Mahaffey “Beautiful day in the…”, 2021 © Connie Hobbs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/e29ca972-d277-474e-b43c-7a81059e3312/izere.jpg JOURNAL - Collecting Stories: The Wright Way - What advice do you have for fellow collectors? We find joy in collecting. Sometimes Art can complement aspects of our careers and sometimes it serves as an outlet. As an oncologist, I was very proud to use art related event to raise funds for the Lymphoma Leukemia Society. My advice to fellow collectors is to determine your “why” and let that guide your collecting practice. Image: Left: Izere Antoine, “Fabiola’s Fantasy II“, 2023. Right: Top; Synthia Saint James “Our Grandparents” 1996. Right: Middle; Emmanuel Gillespie “Temporary Freedom Mini“, 2023. Right: Bottom: Synthia Saint James “Young Mom and Dad” 1996. © Connie Hobbs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/40762b69-7a4e-47b3-9858-d7e8c8a4d074/botchway.jpg JOURNAL - Collecting Stories: The Wright Way - Do you have any dream projects you’d be willing to share with us? We are currently working on a benefit exhibition to be held in October, to bring awareness to the maternal mortality crisis in the United States. Unfortunately, the United States ranks last amongst wealthy nations when it comes to maternal deaths and even more disturbing is the fact that Black women are at the highest risk for adverse outcomes, at 2-3 times the rate compared to Hispanic and White women. With this exhibition, “It’s True, I Was Created In You,” we’ve commissioned 30 international artists of the African diaspora to create works to highlight this cause. Image: Kwesi Botchway, Untitled, 2022 © Connie Hobbs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/6eb204e8-5e9c-4f42-9c2f-af59ba37a25a/atugonza.jpg JOURNAL - Collecting Stories: The Wright Way - What do you envisage or hope for with regards to the legacy for your collection? Our mission is to use our art platform to improve the visibility of underrepresented artists in the contemporary art world and to catapult more of our friends into the collector realm. Artists are integral to the preservation of culture and in order to preserve the cultures of the African diaspora, we need collectors and custodians from the culture and beyond, who can genuinely enjoy the stories. On the flip side, it helps the artists careers. Image: Forward: Richard Atugonza “Confidence 2”, 2020 and Back: Alex Peter Idoko “Lost in Yesterday”, 2020 © Connie Hobbs. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/8f1db908-5951-46bb-9fe3-abc7494242aa/mensah.jpg JOURNAL - Collecting Stories: The Wright Way - Thank you to The Wrights for sharing their story with us! Image: The Wrights with Richard Mensah, “Queen Nanny”, 2021 © Connie Hobbs. https://www.curaart.com/journal/a-day-in-the-life-lucy-scovell monthly 0.5 2023-11-02 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/a986f7d2-bafe-4d4d-a26f-9432cc17d983/IMG_9086.jpeg JOURNAL - A Day in the Life - Lucy Scovell Lucy Scovell is a journalist and founder of The Istanbulist, a publication about all things art, design and travel in London, Istanbul & beyond. Through newsletters featuring curated edits, Q&As with local tastemakers, studio visits and feature articles, Lucy shines an authentic light on the people and places that make her home cities so special. Lucy interviewed us earlier this year for Christie’s Magazine and more recently asked us our top ten collecting tips for The Istanbulist. Firstly, where are you located today? I’m currently in London, where I’ll be for the next month or so for work, a house move and my best friend’s wedding. Autumn is such an exciting time in London as it marks the start of a new season of blockbuster exhibitions, festivals, art fairs and auctions. How do you usually start your day? Do you have a routine that you follow? With a very large cup of coffee! I also try to do a 30-minute yoga routine two or three times a week before settling down in front of my computer. As I spend so much of the day sitting down, I find taking this time to stretch and work my body really helps me get in the zone for the day ahead. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/e2e87dc7-581b-410b-a26d-dcb9bb170dbb/IMG_9011.jpeg JOURNAL - A Day in the Life - Lucy Scovell - What are some of the perks and challenges of being a freelancer in the arts sector? Good question! Having the opportunity to interview inspiring people for publications I admire has to be one of the biggest perks of the job. As is seeing art spanning millennia and media from all over the world. As for challenges, I think the biggest one is the constant need to self-motivate. It can be tough setting your own deadlines and sticking to them! How do you navigate travelling between two cities? With careful forward planning so I’m in the right place at the right time. And two toothbrushes! Can you tell us a little bit about what you have learned over the years and what you wish you knew before starting this career? I’ve learnt to take the knock backs in my stride and to have more confidence in my writing. I’ve also learnt that taking risks can pay off if you embrace the challenge and dive in headfirst. As for what I wish I’d known… it would have to be that everything always works out in the end, even if it’s not how you first expected it to be. I’d also say that the art world can be daunting and intimidating when you’re fresh out the blocks, but don’t be afraid to ask questions. People are more often than not very happy to share their time and knowledge. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/8fe93008-a278-4921-9b70-a3d64844f8d9/2022_BURCAKBINGOL_3.jpg JOURNAL - A Day in the Life - Lucy Scovell - Make it stand out Image of Burcak Bingol in her studio in Istanbul ahead of her show at Tate St Ives. Image: Nazli Erdemirel. https://www.curaart.com/journal/a-day-in-the-life-kendra-walker monthly 0.5 2023-09-24 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/fd52820a-f5ca-48e9-b6e0-7f79e4921fcc/Kendra+Walker+standing+in+front+of+Patrick+Eugene+photogragh+by+Piera+Moore.jpg JOURNAL - A Day in the Life - Kendra Walker - Kendra Walker is an art advisor and art writer that prioritizes and critically analyzes the work of emerging and established Black artists. As an arts writer she includes race theory and sociopolitical research in her work. She has contributed to editorial publications such as Artnet News, The Art Newspaper, Artsy, Galerie Mag, Cultured Mag, Contemporary&, and Sugarcane Mag. Kendra Walker focuses on making the art world more accessible for people of color and placing black art in institutions and in the collections of black collectors. Kendra received her bachelor’s degree in psychology and fine art from Georgia State University in addition to studying art and architecture in numerous European cities. Kendra is now based in Atlanta, Georgia. Kendra Walker is the Founder of Atlanta Art Week and the Black Art Experience. She has been featured in publications such as The New York Times, Essence, Artnet News, and others. Image: Kendra Walker standing in front of Patrick Eugene, photogragh by Piera Moore https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/2a87bb0c-bfe4-47bc-a0dc-50bfa6e5aa4e/Atlanta+Art+Week+2022+Billboard.+Image+courtesy+of++Orange+Barrel+Media.jpg JOURNAL - A Day in the Life - Kendra Walker Image: Atlanta Art Week 2022 Billboard. Image courtesy of Orange Barrel Media https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b93b3b92-b34e-4fd6-a343-dd528737d81a/Atlanta+Art+Week+collection+tour+2022.+Photograph+by+Raphael+Miller.jpg JOURNAL - A Day in the Life - Kendra Walker - Tell us about some of your favourite aspects of your job? Image: Atlanta Art Week collection tour 2022. Photograph by Raphael Miller. Tell us about some of your favourite aspects of your job? My favourite aspects of the job include creating experiences for people, cultivating community, and supporting the overall art economy with my services. Connecting people and exposing them in a manner where they feel comfortable to participate in the art industry in something I enjoy. How does your afternoon shape up? My afternoon typically shapes up with virtual or in person meetings/ viewings. Or just finishing up paperwork/ emails etc. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/2a965240-82bd-4d68-a26b-cb99d1a755dc/Screenshot+2023-05-04+at+13.07.06.png JOURNAL - A Day in the Life - Kendra Walker - Make it stand out Image: The Black Art Experience artist talk and mimosas with Allana Clarke, Chanelle Lacy, and Kendra Walker at Kavi Gupta Gallery. Photograph Kyle Flubacker https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/30e01adb-0939-4c50-b560-56021ac996ea/Screenshot+2023-05-04+at+13.22.46.png JOURNAL - A Day in the Life - Kendra Walker - What is the best piece of advice that you have been given? I wouldn’t say advice, but I would say intentionally strengthening my faith has been one of the most beneficial things I have done in my adult life. When things get rough and uncertain which a lot of times, they do with entrepreneurship, there has to be a bigger thing or entity that keeps you grounded and understanding that everything will work out. When things get rough you must have a bigger reason as to why you are doing what you are doing, or you will end up quitting. The bigger picture aspect of your work is what will push you to go further when odds and circumstances are stacked against you. Image: The Black Art Experience artist talk and mimosas with Allana Clarke, Chanelle Lacy, and Kendra Walker at Kavi Gupta Gallery. Photograph Kyle Flubacker. https://www.curaart.com/journal/cura-art-collaborates-with-christies-education monthly 0.5 2023-02-07 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1dfe2559-82ca-4078-ae19-3f5235c2ff84/df96d6f6-fd61-4ad7-977f-8b52a202d583.JPG JOURNAL - CURA Art collaborates with Christie’s Education - Whether you’re an experienced collector or just starting out, the responsibilities associated with owning art and other precious objects can often seem overwhelming. We visited the studio of Christopher Le Brun https://www.curaart.com/journal/feature-cynthia-corbett-gallery monthly 0.5 2023-09-24 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/5dc0882b-08ff-44eb-8c09-2b855303df88/Cynthia+Valianti+Corbett+%28c%29+Emma+Pratte_01.jpg JOURNAL - Feature: Cynthia Corbett Gallery - Tell us about starting your gallery I started my career as an economist and diplomat. In 2000 I followed my passion for art history and studied in a postgraduate programme at Christie’s Education before establishing my gallery in 2004. I wanted to focus on pop-up shows, finding artists and experimenting with curation. I work with many of the artists I discovered in my early years as a gallerist many of whom are now in major public and private collections. In addition, each year we add represented artists to our roster then embark on a partnership with them designed to both nurture their creative interests and assist them with securing Museum exhibitions, acquisitions and high-profile curatorial projects. Image: Cynthia Valianti Corbett (c) Emma Pratte https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/e5e39f4b-9890-433f-bec4-e310d4581a98/Cynthia+Corbett+Gallery_Deborah+Azzopardi_Divided_2020_33x48.3cm_Courtesy+of+Deborah+Azzopardi+and+Cynthia+Corbett+Gallery.jpg JOURNAL - Feature: Cynthia Corbett Gallery - Do you work with artists and collectors globally? Yes, many of our collectors are based in the USA and Europe. I was born and grew up in the USA in a tight knit Italian - American community in Massachusetts, where many of my family still live. Soon after I opened my gallery, I started doing art fairs and exhibitions on both the West and East coasts in the USA, and this allowed me to meet many of the Gallery’s collectors who I am fortunate enough to still have strong relationships with today. Image: Deborah Azzopardi, ‘Divided’, 2020. Courtesy of Deborah Azzopardi and Cynthia Corbett Gallery https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/af566e9b-8931-4776-93a0-f4fc85d255c8/Cynthia+Corbett+Gallery_Klari+Reis_Hypochondria+60_2023_Mixed+Media%2C+Petri+Dishes%2C+Tee+Nuts+and+Steel+Rods_Diameter+101.6cm_Courtesy+of+Klari+Reis+and+Cynthia+Corbett+Gallery.jpg JOURNAL - Feature: Cynthia Corbett Gallery - Do you encourage artist – collector relationships? Yes, I do encourage this as I believe this is vital for collectors to have a relationship with the artists they collect as it adds a deeper meaning to the piece. It’s important for both the collector and also for the artists, and for them to know where their work has gone, the reasons for a collector’s interest and the other art in their collections. I believe these types of relationships are good for all parties involved: gallery, artist and collector. It’s interesting for the collector to see the development the artists make throughout their career, no matter where in the timeline the artist may be whether at the very start of if the artist is mid-career or more a established part of their career. It is especially important when collectors commission pieces - that the relationship between the artist and the collector is close, intimate and trusting - this is such a personal experience. Commissioning should be enjoyable for everyone and ensure that all parties benefit from it as much as possible. Image: Klari Reis ‘Hypochondria 60’, 2023. Courtesy of Klari Reis and Cynthia Corbett Gallery https://www.curaart.com/journal/the-residency monthly 0.5 2024-02-29 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/28a65c64-4b92-487a-b960-e347e6c43e08/Untitled+design+%281%29.jpg JOURNAL - The Residency - The Residency, from CURA Art, is a platform aimed at supporting and sponsoring underrepresented artists, centred around time away from their usual routine at various appropriate spaces. The Residency uses a unique approach, creating a supportive ecosystem through mentorship and community, connecting artists with influential patrons as a catalyst for change. Created in response to the growth of collecting with purpose – collectors identifying and valuing their role in supporting the arts – The Residency is part of a movement seeking to nourish the art sector at a time when public funding for culture is being reduced. https://www.curaart.com/journal/cura-art-in-partnership-with-the-auction-collective-presents-its-my-house-a-benefit-auction-for-selah-neighborhood-homeless-coalition monthly 0.5 2023-11-02 https://www.curaart.com/journal/collecting-stories-a-specialists-eye monthly 0.5 2022-09-05 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/ada7c0b6-9c09-4b98-bde1-f84f28069806/4C3A5641+%281%29.jpg JOURNAL - Collecting Stories: A Specialist’s Eye - Arushi Kapoor is a young art dealer, gallerist, philanthropist and collector currently living in Los Angeles. Her collecting story demonstrates how many advisors also collect and support the artists that they champion. When did your interest in art begin? Were your family collectors or art enthusiasts? I don’t have conscious memory of when my interest in art first came to being. My mum started collecting before I was born so I was always surrounded by art and artists growing up. I always was curious of understanding the artists perspective in museums. I think my first memory is of seeing figurative marble sculptures in the V&A in London. When and why did you start collecting? I started collecting maybe around the age of 15 years. It was a teddy beach sculpture by the Asian artist Valay Shende. I fell in love with the piece and told my parents, who helped me acquire it. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/9f63f486-68a6-400e-bd87-2b4b9c738dd6/Arushi+Kapoor+%285%29.jpg JOURNAL - Collecting Stories: A Specialist’s Eye - Do you feel like a custodian for the works of art? Do you feel a responsibility towards the artwork and the artists? My responsibility is towards the artist and the collector. I am looking out for the best for both of them. I am merely a bridge. I am thankful to all the artists I collect and work with and the clients that entrust me with getting them the best works. Is there a particular aesthetic that you’re drawn to? Figurative post-war contemporary is my jam. I like black and white paperworks. I also love diasporic and aboriginal art. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/88e98cfa-e290-464c-8c9c-471c10876710/tempImageeNe2UW.jpg JOURNAL - Collecting Stories: A Specialist’s Eye - Which artists are on your wish list right now? Robert Pokorny, Victor Ubah, Sophie Kipner, Robert Nava, Molly Green, Fika Leon, Hannah Reinhart. Is there a work that got away? And what’s your favourite piece, and why? Suanjaya Kencut is the work that got away. I wanted one for a while but missed the boat on primary market. I have too many favorites to list them. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/10642a5e-6c25-4047-be9f-b2c3f2bdab52/tempImagenHs9MT.jpg JOURNAL - Collecting Stories: A Specialist’s Eye - Make it stand out Image: © Victor Ubah, The Rest, 2022, courtesy of Arushi Kapoor. https://www.curaart.com/journal/insight-claire-tabourets-i-am-spacious-singing-flesh monthly 0.5 2022-09-05 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/68a7599e-fb9f-427b-a4c1-fd3b190d77af/Screenshot+2022-08-11+at+13.50.36.png JOURNAL - Insight: Claire Tabouret’s ‘I am spacious, singing flesh’ - Make it stand out Image taken by CURA Art https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/9558390d-5635-437e-bc0d-28eb7913113c/IMG_2902.jpg JOURNAL - Insight: Claire Tabouret’s ‘I am spacious, singing flesh’ The artist utilises repeated figures, each with a distinct personality, much like those in the historical and religious paintings hanging in the city’s churches and civic buildings. An intimate connection confronts you in ‘Self Portrait as a Vampire’, as the artist’s own intense, characterful face stares out at you; a seriousness captured with soft yet expressive brushstrokes. In all, the show represents the emotive reach and mystical lands one can explore through the realm of a canvas, and then you step back out into the most beguiling of them all; the island of Venice. https://www.curaart.com/journal/collecting-stories-the-native-new-yorker monthly 0.5 2022-09-05 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/7b478404-3223-48b3-bdab-d5e2d0ebf2bc/Abruscato.JPG JOURNAL - Collecting Stories: A Native New Yorker - Dylan and Sarah Abruscato live in Brooklyn and demonstrate a new generation of collectors finding artists online. They currently own works by Jordy Kerwick, Szabolcs Bozó, Ben Sledsens, Jansson Stegner, Vojtěch Kovařík, Mònica Subidé, and Charlotte Keates, among others. Many such purchases, including the works by Kerwick, Bozó, and Kovařík, were discovered and made via Instagram, before each had major gallery representation. Their collection represents the power of making connections to creatives through social media channels, and how these platforms are becoming a worthwhile place to discover and connect with artists. Dylan’s story also demonstrates how collecting trading cards as a child can develop into a fruitful passion as an adult, and how family often influences an interest in the arts. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/2a5f7168-9f3b-48c0-9675-2df4b3e83d11/Jordy+Kerwick.PNG JOURNAL - Collecting Stories: A Native New Yorker - Scientific research supports the idea that collecting is in our nature, and something inherent in us that is apparent and encouraged when we’re children by the likes of collectable toys or trading cards. So, where do you find art? I actually made my first art purchase by cold messaging Jordy Kerwick on Instagram back in 2017. My wife and I stumbled upon his page one night and immediately loved his work. Buying a painting can feel unapproachable to young collectors, but Jordy made it as easy as texting with a friend. From there, I used Instagram to continue discovering and connecting with any artist whose work caught my eye. In addition to posting their own work, a ton of artists share the work of other emerging artists. That’s actually how I first came across the work of Szabolcs Bozó - through an Instagram story of Jordy’s. Five years later, Instagram is still my main tool for art discoverability. It’s just such a great platform for connecting with artists, galleries, and likeminded collectors all over the world. Image: © Jordy Kerwick, courtesy of Dylan Abruscato https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/818d6157-f4be-457a-ba15-a4ea8e9e844d/Szabolcs+Boz%C3%B3+in+situ.JPG JOURNAL - Collecting Stories: A Native New Yorker - Is there a particular aesthetic that you’re drawn to? I’ve always been drawn to a style that I’ve dubbed Cuteism. There’s currently a generation of young artists who seek the aesthetics of images made by, or for, children, and for some reason, they really speak to me. I just love bright, bold colors, paired with a nostalgic narrative. My wife is typically drawn to more timeless pieces, particularly modern takes on classic masterworks. And since we’ll never buy a piece if it doesn’t speak to both of us, the intersection of our aesthetics is what really makes our collection so special. Image: © Szabolcs Bozó, courtesy of Dylan Abruscato https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/c8c6c615-c54b-4710-b36d-2f1854145932/tempImageefXW1p.jpg JOURNAL - Collecting Stories: A Native New Yorker - Make it stand out Image: © Ben Sledsens, courtesy of Dylan Abruscato https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/aa75dcf5-1884-4a3d-877f-effb9b391b06/tempImagenp2xV7.jpg JOURNAL - Collecting Stories: A Native New Yorker - Make it stand out Image: © Jansson Stegner, courtesy of Dylan Abruscato https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/707d3f32-e2cd-4966-a82a-38a69b907c89/Charlotte+Keates.PNG JOURNAL - Collecting Stories: A Native New Yorker - Thank you to Dylan for sharing his Collecting Story with us! Image: © Charlotte Keates, courtesy of Dylan Abruscato https://www.curaart.com/journal/venice-biennale-part-1 monthly 0.5 2023-11-02 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b50f09fa-b5dc-4f79-bc70-2dad80dd48cb/Denmark.jpg JOURNAL - A trip to….Venice Biennale - Denmark : Uffe Isolotto, We Walked the Earth, curated by Jacob Lillemose. This deeply haunting installation made us both gasp as we turned the corner. The artist Isolotto states “I transformed the entire pavilion into an apparent idyllic Danish farmhouse, but once you enter the setting you encounter a haunting drama of life and death personified by a hyperrealistic family of centaurs.” With a damp feeling and faint smell of grass, the pavilion takes you through the lifecycle of a family of three centaurs. The installation was complex and unpredictable; you couldn’t help but make a comparison to the present time in the world that we are living in. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/9c6b747e-5436-4de3-9cd2-78afb16b28d7/Ghana.jpg JOURNAL - A trip to….Venice Biennale - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/c514e753-56a0-4a1e-afa6-413c12e4c9de/ghana+2.jpg JOURNAL - A trip to….Venice Biennale - Ghana Na Chainkua Reindorf, Afroscope, Diego Araúja, “Black Star - The Museum as Freedom,” c urated by Nana Oforiatta Ayim. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/d3c7ace9-fe12-42e0-81a4-d26803fbf449/France.jpg JOURNAL - A trip to….Venice Biennale - France : Zineb Sedira, Dreams Have No Titles, curated by Yasmina Reggad, Sam Bardaouil, and Till Fellrath. The French pavilion is transformed into an enchanting cinematic installation, built around the Algerian independence movement of the 1960s. Viewers are engaged by themes of family, decolonization and racism through sculpture, film, photography and music. As the first artist of Algerian descent to represent France at the Biennale, Zineb Sedira brings extensive cinema research together with her own family history and experiences in Algeria, France, and England, in this semi-autobiographical work. By walking through reconstructions of sets from classic films and Sedira’s own home, she considers personal as well as political events and the fusion of influences that keep culture alive. One film playing in the living room even features her friend in the neighboring British pavilion, Sonia Boyce. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/fe7b48d1-4cf6-40bc-b677-950bcfc173a3/Poland.jpg JOURNAL - A trip to….Venice Biennale - Poland : Małgorzata Mirga-Tas, Re-enchanting the World, curated by Joanna Warsza and Wojciech Szymański. This pavilion was a joy to experience; the craftsmanship and detail of twelve large textiles two stories high had immediate impact. Małgorzata Mirga-Tas’s tapestries allude to the “Hall of the Months” frescos from the Renaissance Palazzo Schifanoia in Ferrara, Italy. This marks the first time a Roma artist is representing a national pavilion in the over 120-year history of the Venice Biennale. The Romani, colloquially known as Roma, are a group of people who originated in Northern India, predominantly living in Europe and the Americas. The installation challenges stereotypes and presents an insightful picture of a Roma community, also drawing attention to the role women have played in Romani history. The scale of the piece makes an essential task such as a doing laundry feel monumental, and while the work is a joy to look at, the feeling is bittersweet, as in recent years freedom of expression has been increasingly under attack in Poland. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b7c39a55-b61b-412a-928d-e2672679157b/IMG_1740.jpg JOURNAL - A trip to….Venice Biennale - USA : Simone Leigh, Sovereignty, Curated by Eva Respini. We have been long time fans of Simone Leigh’s work and it is wonderful to see her heavily represented at this year’s Biennale. Leigh’s monumental sculptures reinvent the lives and lost histories of Black women across the diaspora. As the first black woman to represent her country in the US pavilion; the 1930s concrete building has been transformed to look like a thatched traditional west African structure. She was the recipient of the Golden Lion for best participation in the Biennale’s central exhibition, The Milk of Dreams, which included her 16-foot-tall bronze sculpture Brick House (2019). The curator, Eva Respini, explains that Leigh’s work serves as an “’incomplete archive’ of Black feminist thought, with works inspired by leading Black intellectuals. Her work insists on the centrality of Black female forms within the cultural sphere, and serves as a beacon in our moment.” https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b158bdfe-11e4-46d0-8ecf-635dbc672d3c/Igshaan+Adams.jpeg JOURNAL - A trip to….Venice Biennale - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/e9024270-3618-461c-b998-d14ab92e616f/Ruth+Asawa.jpg JOURNAL - A trip to….Venice Biennale - Ruth Asawa, Hanging Eight Separate Cones, 1952. The late Ruth Asawa’s iconic ethereal sculptures highlight the connection between the interior and exterior surfaces of the work, a relationship that the artist long described as interdependent and integral. She was a pioneer who overcame tremendous racial, gender, and class prejudices in her lifetime. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/17d4dff3-4627-4ebe-9151-8e8d8a3ee5e4/Felipe+Baeza.jpg JOURNAL - A trip to….Venice Biennale - Felipe Baeza, Wayward, 2021. Originally from Mexico and currently living in Brooklyn, Felipe Baeza’s paintings present “his dreams of other planets and other ways of looking at life” in the form of bodies undergoing transformation; half-human and half-plant. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/cdb90c60-5c95-42ee-9d04-213bd4a92e77/Witches+Cradle*.jpeg JOURNAL - A trip to….Venice Biennale - Make it stand out The Witch’s Cradle in The Milk of Dreams, 59th Venice Biennale, 2022. Photo: Marco Cappelletti; © La Biennale di Venezia https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/4623ac2f-d562-4b0e-96c8-5ad26d5d489b/Noah+Davis.jpg JOURNAL - A trip to….Venice Biennale - Noah Davis, The Conductor, 2014. Noah Davis’ The Conductor, is from a series focused on the “Garden City” Pueblo del Rio in Los Angeles, built by Richard Neutra, Paul R Williams and more in 1941. The painting depicts a man in a tuxedo conducting an unseen orchestra, representing the potential of art and performance in a low income community. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/ccfcc68e-8de9-4335-af81-20e1f9d13fd9/Safia+Farhat.jpg JOURNAL - A trip to….Venice Biennale - Safia Farhat, Gafsa & Ailleurs, 1983. Colorful hand spun tapestries by Tunisian artist, educator and activist Safia Farhat feature a blend of geometric shapes and figurative forms depicting fantastical narratives. She uses weaving as an expression of the reforming spirit of her time. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/26980047-a889-41cd-8403-639365674c8f/Kudzanai-Violet+Hwami.jpg JOURNAL - A trip to….Venice Biennale - Kudzanai-Violet Hwami, Wedding of the Astronauts, 2022 series. Kudzanai-Violet Hwami’s paintings draw on her years growing up in Zimbabwe and South Africa to examine the ways we exist together and experience one another in an increasingly digital world. She is one of the four recipients of the grant for the inaugural edition of Biennale College Arte, launched in 2021. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/4fbb0182-9127-469c-8f5f-1d4ede4d4c5c/Delcy+Morelos.jpg JOURNAL - A trip to….Venice Biennale - Make it stand out Delcy Morelos, Earthly Paradise, 2022. Photo: Roberto Marossi. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/2259860d-879e-4774-90e9-c54e3fdaee7b/Paula+Rego.jpeg JOURNAL - A trip to….Venice Biennale - Make it stand out Works by Paula Rego. Photo: Roberto Marossi; © La Biennale di Venezia. https://www.curaart.com/journal/collecting-stories-a-modern-british-man monthly 0.5 2022-08-11 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/3cdb22b2-438b-41cb-9d8f-760f14c8df76/Screenshot+2022-06-17+at+17.36.04.png JOURNAL - Collecting Stories: A Modern British Man - When did your interest in art begin? Were your family collectors or art enthusiasts? I come from a working-class background in Hackney, (before it was suitably gentrified!) and did not grow up with any real notion of art as something that belonged in people’s homes. I did however begin regular trips to the Tate in my teens and am still struck today by how civilizing it is that these museums are free in London, so any kid like me can wander in and discover. In my teens, I found a library book on David Hockney and that blew my mind, the freedom, the sexuality, the humanity made me read it over and over wishing I was in the Hollywood Hills on a rainy day in London. The fact that a boy from Bradford made it into this lavish world was a constant encouragement! Image: Cleanliness is next to godliness, by David Hockney, courtesy of AW. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/08e0ca3a-be00-4904-9a66-b42d6ac212d4/IMG_2212.JPG JOURNAL - Collecting Stories: A Modern British Man - How and when did you start collecting art? Just after university, I became very interested in post-war British art and culture and bought some Keith Vaughan drawings from Richard Selby at the Redfern Gallery, that really began my odyssey into collecting. They were a few hundred pounds, a fortune to me at the time, but Richard was incredibly patient and showed me lots of fascinating things. I recently bought an expensive Keith Vaughan painting from Redfern, illustrating the value of finding time for young collectors and enthusiasts. Image: Taken by CURA Art in the home of AW. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/938d4223-e3f3-43e1-b307-4090a728e9b4/Screenshot+2022-06-17+at+16.51.42.png JOURNAL - Collecting Stories: A Modern British Man - Is it important to surround yourself with your art, or is it more about the process of acquisition? I love to be surrounded by my collection and show it to others. I don’t enjoy the process of acquisition in itself, these are not primarily investment vehicles in any sense to me, I find that idea a bit soul-destroying. Do certain works represent memories/stories to you? Is this an important part of your collecting? Every single work represents a story and moment in time. My collection spans from early 20th century to the 1980s, I really enjoy the sense that there is a dialogue between the artists themselves. I once actually drew a little map showing the connections that person A taught person B at the Slade, who shared a studio with person C etc. My husband and I always bought works for each other at significant birthdays etc., so there is also that layer of personal memory to each one. It amuses me that artists that loved and were jealous of one another from Nevinson to Bomberg to Hockney to Patrick Procktor are now condemned to stare at one another on the wall. Image: The Temptation of St Anthony, by Keith Vaughan, courtesy of AW. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/43188318-5420-4e52-8e95-138b2e842152/Screenshot+2022-06-17+at+16.57.17.png JOURNAL - Collecting Stories: A Modern British Man One of the reasons that we started CURA Art was because collectors weren’t been guided and supported with managing their collection after acquisition. With Liza being a trained conservator, we’re especially interested in finding the balance between placing a work based on aesthetic choice but with equal consideration for its long-term preservation. More often than not, we will see works displayed or stored in conditions that are causing irreversible damage. Often this can go unnoticed as a gradual change. This not only undermines the original idea of the artist but can also reduce the value of the work itself. With this in mind, do you consider the preservation of the artwork when choosing a place to hang or place it? I am very lax on understanding preservation and do not think about it nearly enough- I need help!! Is there a work that got away? As I mentioned, I discovered David Hockney in my early teens and at the same time began reading Christopher Isherwood’s Berlin stories, this was important as it led me to study in Berlin during formative years some time later. So the work that got away was definitely a lovely pencil drawing of Isherwood by Hockney that was up at auction years ago. It seemed like a huge price for a simple sketch although I am sure it’s much more valuable now. Image: Gervase holding a tape, by Patrick Procktor, courtesy of AW https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/19e5a392-0c99-4ceb-b768-85320fd3d11f/IMG_2217.JPG JOURNAL - Collecting Stories: A Modern British Man - One of our ambitions is to encourage and support access to private collections through loans, exhibitions and published research. Not only can this add to the provenance to the work, it can also be a great joy for the collector to share their passion with others. Would you like to share works from your collection in this way? I feel it is a bit of a duty to lend works for publications or exhibitions if asked, whether any of my collection is sufficiently exciting is quite another question! Image: Taken by CURA Art in the home of AW. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/d3112e54-4514-41d7-96e5-b0cf66aca9b7/IMG_2218.JPG JOURNAL - Collecting Stories: A Modern British Man - Do you have a favourite work? Favourite work is a question I have wrestled with! The last painting my husband bought for me before he passed away was a lovely small oil by Henry Scott Tuke, so that is very top of mind. I bought him a very unusual piece, a brass knuckle-duster belonging to Henri Gaudier-Brzeska from the Fine Art Society, that represents a very modernist combination of violence and aesthetics that couldn’t be a greater contrast to the lyricism of the Tuke. They sort of bookend different waves within the collection. Finally, I am very proud of the wonderful large Keith Vaughan work ‘Birdman’ that I alluded to earlier. I have always wanted an important work by Vaughan, he is the artist that to whom I feel most profoundly connected for a multitude of reasons. Image: Painting by Henry Scott Tuke, courtesy of AW https://www.curaart.com/journal/its-my-house monthly 0.5 2022-06-17 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b5741996-9a67-48dd-9473-4b3e190e6910/ItsMyHouse_Insta_AnnounUpdate1080x1080-V.gif JOURNAL - CURA Art presents: It’s My House! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.curaart.com/journal/collecting-stories-its-my-house monthly 0.5 2022-05-20 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/327d5d65-1fc3-4711-a0dd-395a04c0c1f3/porch-living1.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ - Who better to start this feature than one of the owners of Porch Gallery, Heather Stobo? After moving to Ojai in 2009, Lisa Casoni and Heather Stobo saw the need to create an art space befitting to the town’s renowned creative spirit. In 2013, merging their backgrounds in the arts, they established Porch Gallery in its current historic building in downtown Ojai. Five years later, they purchased the storied establishment, and embarked on a restoration that now encompasses a creative live-work art gallery and gathering space. Today, Casoni and Stobo create exhibitions representing emerging and established contemporary artists, while producing artistic events throughout the Ojai Valley. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/f56e189c-e79c-4bdb-ba6b-08bbfe1d9b85/FLIGHTBL-ChrisBrown.jpeg JOURNAL - Collecting Stories: ‘It’s My House!’ Tell us about how you started collecting – what inspired it and what was the first piece – or was it an unconscious and evolving process? I started collecting when I was 23 and working at Crown Point Press in San Francisco. The first piece I purchased was an etching by Christopher Brown. I bought that specific piece because it was the first body of work that was produced during my tenure at the gallery. In hindsight, I should have bought the Anish Kapoor that I was in love in with. Image: Christopher Brown https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/73aff768-e631-439c-b014-45d42dd7d0ea/gary-lang-porch.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ What is your favorite work and why? Many for various reasons: Most sentimental: William T. Wiley etching given to me by Kathan Brown, founder of Crown Point Press Sexiest: Mona Kuhn photograph Most Heart Warming: Gary Lang work on paper given to Lisa by the artist when her parents passed away Best investment: at this moment…..Sanford Biggers collage. Image: Gary Lang https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/8c2e4b69-58aa-4455-beec-12ba39c0e496/FFP_Fred+Fisher+Ojai+Home.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ - Make it stand out Photograph: Tim Street-Porter https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/31b8b00e-58df-4076-9d0d-5f209e64f569/F%26J+Guy+Webster.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ - Tell us about how you started collecting – what inspired it and what was the first piece – or was it an unconscious and evolving process? We’ve taken a multipronged approach to collecting. We’ve both always loved art and been close to it. I lived in the Venice art world for many years. Our approach has evolved mostly intuitively but familiarity with the artist is a key thread. My first real artworks were in trade from artist clients or bought from or simply gifts from artist friends: Elsa Rady, Roger Herman, Guy Dill, John Nava, Eric Orr, James Welling, Martin von Haselberg, Elyn Zimmerman, Julius Schulman, Lisa Adams, Ingrid Preston, Marvin Rand, Coy Howard, David Ireland, Robert Wilson, Lauren Bon, Roy McMakin, Stephen Harby, JoAnn Callis, Charles Garabedian, James Turrell, Peter Alexander. Then there are the artworks by artists we like that show up at auction or charity sales: Richard Hamilton, Donald Judd, Billy Al Bengston, Ed Ruscha, Frank Gehry. Or simply bought from a gallery: Ed Moses, Rosaline Delille, Beatrice Woods, Dennis Mukai, Ezra Stoller, Giorgio Morandi. Image: Portraits of Frederick and Jennie by Guy Webster https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/e45398b1-df64-46d0-821e-f79748bc1f24/tempImageNg2pbl.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ - What is your favorite work and why? A small painting by my close friend Eric Orr, with whom I collaborated on an early loft project, entitled “Portrait of Fred”. Image: ‘Portrait of Fred’, by Eric Orr https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/52e5fa41-023e-4718-9021-83ab36585299/Reading+Nook.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b96d3bda-d3fc-486a-8c24-c5c7a23d4e28/Tapestry.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ - What piece has the most interesting story and why? We helped John Nava get a commission for a tapestry for Princeton’s Firestone Library. John gave us a test weaving from the Belgian textile mill which hangs in our living room. Image: ‘Firestone Library Tapestry’, by John Nava. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/015d3757-6161-456c-8840-baa30fc03439/Marc+Swanson.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ - If you could own any work of art or other precious object from any time (and irrespective of cost), what would it be? James Turrell’s ‘Roden Crater’ Image: ‘Draped Canvas’ by Marc Swanson https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/145818bc-8bf7-4545-9e25-88374551315b/IMG_1379.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ - Senon Williams is an artist and musician living and working in LA, alongside his partner, Beth Ann Whittaker. His work was included in ‘It’s My House!’. Beth Ann is Associate Director of the Sam Francis Foundation, and founder of Plain Sight Archive. Together, their collection reflects both their creative spirit and their desire to learn about and support artists from the past and present. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/a681abf4-cbf1-43d6-8c83-8ec27db30b2f/Screen+Shot+2022-04-07+at+11.26.25+AM.jpeg JOURNAL - Collecting Stories: ‘It’s My House!’ - What is your favorite work and why? Beth Ann: First of all this is a really hard question!! My favorite piece we have is by the artist Ruth Francken. A red resin and chrome table with metal phone sculptures from 1964. So many reasons why... the piece itself to me speaks to connections and communication, to and idea of a "future technology" that we are living through now. I also love this work because she was an artist in the 20th century that has not had much attention paid to her powerful scope of work. That resonates with my passions of historical erasure and recovery. The piece had previously been in a home of another California artist and I love the continued story how an artwork builds, lives and carries through generations. Image: Ruth Francken, "Tranquilizer Table", 1967, chrome and resin. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/bb2dc5af-de45-4e7c-8ed1-dbfd58ebbb1d/IMG_4428.jpeg JOURNAL - Collecting Stories: ‘It’s My House!’ - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/6db407a3-5f65-451e-b389-fd4afc219898/Barbara+Breiter.JPG JOURNAL - Collecting Stories: ‘It’s My House!’ Senon: My favorite work of art is a mosaic self portrait my mother made in Highschool as a school project. She never allowed her artistic self to flourish though, at such a young age her talent was incredible. I feel a responsibility to carry on what should have been for my mother. I have a need to create inside of me but this painting reminds me it is imperative. Image: Barbara Breiter mosaic from the early 1960’s https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/7ee383e5-6653-4e04-880a-5badafe583fa/image_6487327.JPG JOURNAL - Collecting Stories: ‘It’s My House!’ - What piece has the most interesting story and why? Senon acquired this intricate ink on paper drawing in the ‘90s and the artist was unknown. It had a scribble scrabble signature at the bottom but illegible with the year 1960 written next to it. 25 years later, we figured out who actually created the work. Gregory Masurovsky and Beth Ann was fortunate to meet with his son. He was married to painter Shirley Goldfarb. They lived in Paris from the early 1950s. Image: Gregory Masurovsky, Ink on paper, 1960 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/47a4b82c-46f4-4df7-8007-0213b3422afc/IMG_4545.jpg JOURNAL - Collecting Stories: ‘It’s My House!’ - What is your favorite work and why? My favorite piece in my home is a maquette of a bronze sculpture, Europa laat zich niet ontvoeren (“Europa will not be kidnapped”) by the Dutch artist, Marius van Beek (see photo). He produced the work in 1979 and it was installed in the center of the town s’Hertrogenbosch (Hieronymus Bosch’s home town). My cousin in Holland has another maquette in his living room which was given to him by a senior Dutch jurisprudent. Whenever I visited him I greatly admired the maquette and eventually found a gallery in Holland that was able to locate another one (there were only four produced). https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/7cc019b3-2bc1-4356-90d1-0f5464386ba5/index.php.jpeg JOURNAL - Collecting Stories: ‘It’s My House!’ What drew me to the piece is that van Beek challenges the archetypal myth of the encounter between Europa and Zeus, whereby Zeus in the form of the Minotaur kidnaps Europa and disappears in the sea with her hanging onto his back. van Beek depicts Europa luring Zeus, leading him away from her and underneath the potentially threatening banderillos. Europa is showing she is the master of the situation, a torera who has mastered the ultimate male authority. The original myth is supplanted by Europa’s triumph against a long-accepted outcome canonized in classic mythology. https://www.curaart.com/journal/collecting-with-a-purpose-in-conversation monthly 0.5 2022-07-03 https://www.curaart.com/journal/in-the-studio-nancy-cadogan monthly 0.5 2021-10-25 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/e30434dc-e82a-46de-91d7-61502dd26ff1/Nancy+in+studio.jpg JOURNAL - In the Studio: Nancy Cadogan - In 2019, Nancy opened ‘Mind Zero’, a new series of 11 large-scale oil on canvas paintings to mark her first solo exhibition for The Saatchi Gallery, and signalling a new direction for the artist. The show was a sell-out success, praised by the art world and media with The Evening Standard describing her work as, “Heaven on canvas”. ‘Footnotes’, Nancy’s follow-up exhibition for The British Art Fair, continued the artist’s bold new direction. In 2020 Nancy participated in numerous group shows with Lyndsey Ingram Gallery, Gillian Jason Gallery and Zuleika Gallery. In October 2020 ‘Gusto’ opened at the Keats Shelley House museum in Rome, celebrating the Bicentennial of Keats’s death. 2021 has seen her immersed in the subject of feasting, in response to her upcoming collaboration with The Land Gardeners and chef Lulu Cox for their book, ‘Soil to Table’. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/da81d66e-11e7-4871-8c9e-48bbe2d65339/All+the+Good+Things.jpg JOURNAL - In the Studio: Nancy Cadogan - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/8c10eb51-3415-4fcb-b2ba-290f9fcb132c/A+Study+of+Quinces.jpg JOURNAL - In the Studio: Nancy Cadogan - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/d88ccb66-fe47-4fa4-a53b-a50a689e943f/Winter+Orchard.jpg JOURNAL - In the Studio: Nancy Cadogan - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.curaart.com/journal/aldebarancollection monthly 0.5 2021-10-07 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1633444840975-EXSMM2UHT01LPCG54US1/Victorino+Roson+Diez-Feijoo+-.jpg JOURNAL - Collecting Stories: A new approach for a new era - Colección Aldebarán - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1633444915112-4ASBJEKND5NYRZJH8QOZ/Victorino+Roson+Diez-Feijoo+-+Emmanuel+Taku.+2021.jpg JOURNAL - Collecting Stories: A new approach for a new era - Colección Aldebarán Tell us a little about you: Born in 1990, I completed my primary and secondary education in schools in Madrid, Spain and Reading in the United Kingdom, before graduating from the University of Navarra (Navarra, Spain) in Law with a Diploma in Economics. I also completed an Introduction to Common Law course at Fordham University (New York, USA) and a Masters in Financial Markets and Banking at CUNEF (Madrid, Spain). My professional experience is focused on the financial sector (investment banking, IPOs and private equity transactions) which I have worked in for almost 10 years, in Spain and the United States. I am a partner at Oktopus Ideas Lab, a young digital agency committed to cutting-edge technological projects, sometimes taking an equity stake in them by acting as an investor. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1633531634449-PX5IG8R5VYUEPC8TYJMB/Victorino+Roson+Ferreiro+-+Dulcamara+-+Ibiza%2C+2010.JPG JOURNAL - Collecting Stories: A new approach for a new era - Colección Aldebarán You inherited the collection from your father, was it daunting starting out in the art world, and do you feel a great sense of responsibility to carry on your father´s legacy as a collector? At first my sisters and I were a bit overwhelmed; it was a very important collection for us because of its sentimental value and its prestige. This great responsibility pushed us to take the decision of continuing with the collection and somehow, nurturing it. As for the present, we are about to launch a wide range of initiatives! Looking back, after 5 years I think we have done a good job so far, although we still have a lot to do. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1633531817317-47ZB7NR3MM9VJORJORL4/Victorino+Roson+Diez+Feijoo+-+Olafur+Eliasson%2C+Tate+Modern%2C+London+2019.JPG JOURNAL - Collecting Stories: A new approach for a new era - Colección Aldebarán What do you consider when acquiring an artwork? How do you find new works for the collection? I truly like to study before acquiring a potential new work (the artist, their work, their way of thinking, their techniques, and the most important thing (if possible), meeting the artist personally). So far, since the creation of Colección Aldebaran, we have found new acquisitions in Art Fairs (Carlos Amorales in Zona Maco – Ciudad de Mexico - Mexico), at residencies (Emmanuel Taku in The Noldor Residency - Accra, Ghana), through galleries and sometimes contacting artists directly. We see traveling as a privilege and great tool to learn and discover new talent. This year, we had the honour to visit the Biennale, Venice; the Gerhard Richter exhibition in the Kunsthaus, Zurich; the Tapies exhibition in the Chillida Leku, San Sebastian or the Alexej Von Jawlensky exhibition in the Fundación Mapfre and the Ida Applebroog in Reina Sofia Museum, Madrid. https://www.curaart.com/journal/cura-art-x-eye-of-the-collector monthly 0.5 2022-07-03 https://www.curaart.com/journal/valerianapoleone monthly 0.5 2023-11-02 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617122771569-3OLDI4GNTSFMJUM9LAG0/valerianapoleone2.jpeg JOURNAL - Collecting Stories: The Renaissance Women. When CURA Art met Valeria Napoleone Born in Varese, near Milan, Valeria now lives in London with her family and has firmly established herself in the UK arts sector as an avid supporter of many of its institutions. She is ardently focused on re-addressing the imbalance of supporting and championing women artists, by acquiring their work as well as through targeted initiatives. Valeria’s patronage has established a strong collection of female contemporary artists and through this process she has formed an exceptionally close bond with them along the way. She has provided critical support to the careers of many of today’s most acclaimed artists including Phyllida Barlow and Margarita Manzelli. She emphasizes the importance of investing in contemporary artists and building a relationship with them, stating that it’s important for her to ‘be connected to the reality of my time’. https://www.curaart.com/journal/collections-are-a-passion-and-whatever-their-financial-value-they-require-diligence-when-it-comes-to-their-care monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1627588060902-ERN42BFGQFZLGX9LYBUO/Smith+Greenfield+image+no+credit+required+sml.jpg JOURNAL - Insight: Collections are a passion, and whatever their financial value, they require diligence when it comes to their care. - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.curaart.com/journal/in-the-studio-marta-abbott monthly 0.5 2021-11-25 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1622704223466-40KW0RDU54Q7JXVIWCYC/d7a3d2f6-79ff-4327-ada9-bd1b305b1fd6.JPG JOURNAL - In the Studio: Marta Abbott - Make it stand out Marta’s recent collaborative project, with Florence-based Uruguayan artist Nicolas Denino entitled ‘Liminal Forms’. https://www.curaart.com/journal/artists-as-collectors monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1622037262681-TEY75JYCV21MWPE6YN6W/Deborah_Brown_office_art_collection.jpg JOURNAL - Collecting Stories: Artists as collectors - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1622032318621-LIAVPZS8U50DQRDFGJOH/Deborah_Brown_Call_Box_2021_oil_on_canvas_60x48inches.jpg JOURNAL - Collecting Stories: Artists as collectors - We asked contemporary artist Deborah Brown what it means to her to collect: “Like many artists, I own artworks by artist friends and colleagues. The works in my collection were largely acquired during the time when I directed and programmed Storefront, one of the early artist-run galleries in Bushwick, Brooklyn. It was my habit to acquire works from the shows I organized as a way to support artists’ careers and express my enthusiasm for their practice. Being surrounded by these works is a daily pleasure. Most of them are hung in my warehouse studio in East Williamsburg where I can see them every day. One wall is hung salon-style with small works, but other works climb other walls in other rooms. 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https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/78a56614-ef6e-484d-bff8-8386ed89fbe0/Collecting+with+Purpose+for+website.jpg NEWS-PRESS - Collecting With Purpose talk during Frieze Week L.A. We were hosted by our client, David Johnson, for a discussion centred around collecting with purpose, delving into the why behind collecting; values, stewardship and legacy. This was followed by a collection highlights tour. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b1cafe7d-3b2c-47dc-ab59-a999f258a00f/Untitled+design.jpg NEWS-PRESS - Georgia is interviewed by journalist Georgina Adam for her book ‘NextGen Collectors and the Art Market’, published by Lund Humphries. An incisive survey from bestselling art-market commentator Georgina Adam of the changing landscape of art collecting as a younger generation of collectors disrupts the status quo. Drawing on new interviews with collectors and art-market specialists internationally, Adam examines how changes in collecting trends are being driven by generational shifts in the sources of wealth, as well as the changing tastes, different motivations and new modes of acquiring art of Millennial and Gen Z collectors compared to older generations. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1d5f0f43-ce8f-451e-ac62-c6ed0edda84d/Screenshot+2026-03-07+at+11.09.32.png NEWS-PRESS - In line with our mission to support responsible collecting, we encourage clients to have a disaster recover plan for their collections; a plan of action for their most precious objects should the worst happen. The fires in 2025 in L.A. taught us the importance of these plans. Protecting collections is also about employing measures that provide preventive, rather than responsive solutions, and consider the everyday environment for a work of art. To offer further information, we’ve created a free collection care guide with useful tips and considerations that can be applied to a collection of any size and material. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/2aa1c2a9-5793-462a-a270-5cb61d98de9a/Screenshot+2025-05-16+at+13.37.59.png NEWS-PRESS - Georgia is interviewed by Art Basel about Gen Z collecting habits The art market has gone through great changes in the last decade when it comes to digital capabilities. These, in turn, are affecting the channels through which art is purchased. The Art Basel and UBS Survey of Global Collecting 2024 reports that buying in person from a dealer’s premises or gallery remains the most common way for high-net-worth (HNW) collectors to access dealer sales, with 74% doing so. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/81f17d31-2434-44a8-83e0-cbe7a0d901bd/London+Art+Fair+post.JPG NEWS-PRESS - We partnered with London Art Fair to organise a discussion on the subject of philanthropy The history of art is a history of patronage. The arts have always relied on private patronage to survive but does that model still work in the 21st Century? During a time of global crisis why should I give money to the arts? This debate brings together supporters of the arts to talk about how they have funded artists, museums and galleries and their own approach to patronage and why it still matters. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/d61df184-790f-46ef-ae84-26408e0bf4ac/The+Residency+Community+x+Christie%27s+London+%28Landscape%29.png NEWS-PRESS - The Residency Exhibition at Christie’s London! We’re thrilled to be partnering with Christie’s London to promote our project The Residency. The exhibition will include the works of artists that have been included in the project since its inaugural year in 2022. The exhibition runs 26th October - 3rd November in the King Street Galleries at Christie’s London. Artists included: Alejandra Aristizábal, Béatrice Lebreton, Bobbye Fermie, Irini Bachlitzanaki, Precious Opara, Remi Ajani and Soumya Netrabile. In keeping with the strong sentiment of community, we are also thrilled to be showcasing a work by our Advisory Board member Emma Prempeh. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/8248de3d-9830-4ed2-a3b6-fb2e23a0c4cb/21st+Century+Collecting+.jpg NEWS-PRESS - Our partnership with Christie’s Education continues! As a company, we are committed to encouraging collecting with purpose, and supporting collectors with the responsibilities surrounding the role. We understand the need to inform and inspire collectors, as well as provide them with accessible information, which is why we have partnered with Christie’s Education in London and New York to provide courses and sessions aimed at collectors at all stages. ‘21st Century Collecting’ focuses on the subject of the role and responsibilities of being a collector today. It also considers the possibilities that surround the role, including support for artists and institutions. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/786136e9-fb9c-4324-aed3-6dd3b55e4eb3/Screenshot+2023-09-24+at+14.58.13.png NEWS-PRESS - We share our top ten collecting tips with The Istanbulist We were recently interviewed by journalist Lucy Scovell for her platform The Istanbulist. “As we hurtle headlong into Frieze Week — a dizzying week-long carrousel of big spending, exhibition openings, private views, talks and collector tours, all pegged around the opening of Frieze London — I thought now would be the perfect time to look at what it takes to build an art collection from scratch. For all the tips and tricks of the trade, I turned to Liza Shapiro and Georgia Powell,, the brilliant brains behind Cura Art, the company they co-founded in 2019 with the principal goal of supporting art owners with everything from collection care and management to patronage and philanthropy. Having worked in the arts for a combined 20+ years in a variety of gallery, collection management and curatorial roles, they know a thing or two about collecting and caring for art.” https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/0fe3feb7-d0a4-444c-b1ab-eade2f54ff72/Screenshot+2023-09-03+at+20.54.45.png NEWS-PRESS - Georgia is featured in Artsy article about young collectors. One of our Founders is featured in ‘10 Young Collectors on How They Got Started’, discussing the artists in her collection, and her work to promote collecting with purpose. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/67b46518-9b1c-4cd2-b1c2-834ca5176525/Insta+post+.png NEWS-PRESS - ‘It’s My House!’ at Home House, London It’s My House! was founded by CURA Art as a series of exhibitions in appropriate spaces. CURA Art, in collaboration with A Space For Art and Offshoot Arts, invites you to It’s My House! a collective space and exhibition celebrating the role of collectors in their embrace and support of creativity. This immersive installation-exhibition utilizes the building’s former life as a domestic space, creating a united “house” and cultural hub for inspiration, debate and sanctuary, surrounded by the joy that artistry brings. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/a8574522-3151-4e17-9e9f-66bc833512f6/Screenshot+2023-03-04+at+11.56.11.png NEWS-PRESS - CURA Art featured in Christie’s Magazine We were interviewed by Christie’s Magazine about starting CURA Art, our work with collectors and our project The Residency. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/d36569df-ccec-452e-a70a-86c8e4bae280/tempImageMdgL5y.jpg NEWS-PRESS - Collecting with Purpose - Sustaining Meaningful Relationships in the Arts Our talk during Frieze Week LA at Sarah Brook Gallery In a changing environment, one that reflects the importance of support and community, a new approach to collecting is emerging. Key to this change are the relationships between artists and galleries that support them, as well as the patrons who acquire their work and the arts professionals that maintain collections. In this talk, we had the unique opportunity to hear directly from contemporary artist Colleen Herman, Los Angeles gallerist Sarah Brook and art conservator and founder of LA Art Labs, Kamila M Korbela. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b4e753cc-cd9d-4aea-acbe-f43e2dfe354a/21st+Century+Collecting+.jpg NEWS-PRESS - 21st Century Collecting - CURA Art curates a course for Christie’s Education Learn from collectors themselves, as well as artists and specialists in the field about collecting in the twenty-first century with this in-person and online course. Whether you’re an experienced collector or just starting out, the responsibilities associated with owning art and other precious objects can often seem overwhelming. With guidance, collecting can be an incredibly fulfilling experience, that turns passion and interest into a rewarding journey. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/31bf0f86-29a5-4dad-9062-bd7d4ffe2106/Screenshot+2022-11-09+at+15.53.56.png NEWS-PRESS - What does it mean to be a Collector? Why is this role increasingly important? We’ll be discussing these topics and more at Christie’s Education as part of their ‘Art Business: Up-To-The-Minute’ short course. The patronage and philanthropy of collectors is becoming increasingly vital for the support of artists and sustaining the arts more broadly. Thankfully there is an appetite and interest amongst a generation of conscientious collectors. Whether it be focusing their acquisitions on underrepresented groups, educational or philanthropic initiatives, providing access to the works they own, or supporting artists directly through funding and grants, this renewed sense of patronage will be vital to the arts going forward. The talk will introduce current collecting trends, within the context of the history of collecting and the art market, using case studies and helpful tips to inform you about how collectors are responding to an ever-changing environment. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/abd4335e-eca7-4a7d-a26b-a460021e53e4/Its+My+House%21+Social+Media+1.png NEWS-PRESS - CURA Art in partnership with The Auction Collective presents ‘It’s My House!’ a benefit auction for SELAH Neighborhood Homeless Coalition Timed Live Auction hosted by The Auction Collective October 10 – 31, 2022 It’s My House! celebrates the breadth of incredible artists living and working in Los Angeles, inspired by the city’s contradictions; a metropolis built on optimism and opportunity, while the reality is also one of poverty and division. Through resilience, the city represents the ultimate juxtaposition between light and dark, nature and fabrication. Los Angeles embodies human ingenuity and imagination; an endless playground for artistic exploration. The It’s My House! exhibition series was founded by CURA Art, to provide a 'home' for inspiration, debate and sanctuary, surrounded by the joy and passion that artistry brings. It’s My House! highlights diverse mediums, in response to increasingly experimental contemporary practices and a growing interest in cross collecting. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/8bc1c278-8910-49fe-9117-f7395f24cd94/Soumya+and+Precious.png NEWS-PRESS - The Residency featured in Curator Guide! Curator Guide Editor-In-Chief, Amanda Quinn Olivar speaks with inaugural residency artists Precious Opara and Soumya Netrabile. The two artists talk about their backgrounds and how The Residency has influenced their work and careers. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/85a1e359-7b7d-4547-a512-a96a43700973/Screenshot+2022-08-12+at+11.27.57.png NEWS-PRESS - The Residency featured in Apollo Magazine! Writer and collector, Christina Makris joined us at Villa Lena this year to write about the project, and interview us and the two artists. In this article she presents a history of residencies and the importance of time away from the studio for an artist’s practice. Christina identifies and contextualises The Residency, presenting it as the contemporary example of how meaningful patronage and sustained support for an artist can be vital to their career. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b5e6eef3-08e0-418d-bac6-b831d6f1e7f7/ART_-RaphaelleDetheve-20.jpg NEWS-PRESS - The Transformative Nature of a Month Spent at Villa Lena We write about the Collection at Villa Lena that documents the history of the Residency programme there. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/b7f04bb7-1ebf-41a9-8fa6-9bbb52d735dd/The+Residency+Insta+Square.png NEWS-PRESS - The Residency launches at Villa Lena The Residency, from CURA Art, is a platform aimed at supporting and sponsoring underrepresented artists, centred around time away from their usual routine at various appropriate spaces. The Residency uses a unique approach, creating a supportive ecosystem through mentorship and community, connecting artists with influential patrons as a catalyst for change. Created in response to the growth of collecting with purpose – collectors identifying and valuing their role in supporting the arts – The Residency is part of a movement seeking to nourish the art sector at a time when public funding for culture is being reduced. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/9ce456b5-f488-4cf2-b825-774fe06d5e6e/Artist+Talk+Graphic+.PNG NEWS-PRESS - ‘It’s My House!’ Artist Talk Saturday March 19, 11 am, Porch Gallery, Ojai. What does ‘Home’ mean to us all? CURA Art and Artists from the show will be joined by art critic, curator and writer Shana Nys Dambrot for an in-conversation and Q&A. To coincide with ‘It’s My House!’ at Porch Gallery we have invited artists from the exhibition to talk with Shana Nys Dambrot about their work and how they explore the theme of ‘home’ through their artistic practice. Artists in the show have responded to this theme in different ways, covering subjects such as homelessness, displacement, migration, identity and the lines of connection that seek to unify us all. The subject of ‘home’ is one of particular significance and poignance, within the context of the pandemic and increasing mass migration in response to conflict and climate change. What does ‘home’ mean to us all, and what will that idea look like in an uncertain future? Artists included: Rebecca Farr, Adia Millett and Senon Williams. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/2051aa08-6e5c-4dfc-a588-0c47b21d6f51/qtj0194dtlnd7.jpg NEWS-PRESS - CURA Art take part in ‘Collectors’ Series’ talk at Santa Barbara Museum of Contemporary Art MCASB's 'Collectors' Series' brings together experts in the field of contemporary art and beyond to examine trends and movements within the realm of art collection. Through conversations with artists, patrons, curators, and galleries this series aims to make sense of the 'art market' and how it pertains to the support of artistic production. Alexandra Terry, Chief Curator, MCASB, will speak with Georgia Powell and Liza Shapiro, the founders of CURA Art. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/a6f3c5d5-f439-4131-b15d-78154f5b3735/Screenshot+2022-02-15+at+10.42.33.png NEWS-PRESS - ‘It’s My House!’ featured in LUM Art Magazine Our exhibition, ‘It’s My House!’ at Porch Gallery is featured in Santa Barbara based art magazine LUM Art. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/cce567c5-c3a3-45f8-a195-f23ec0639d6e/AltArt.jpeg NEWS-PRESS - CURA Art chairs a panel discussion for ArtTable at Intersect Palm Springs ‘A Look at Alternative Art Spaces in Southern California’ A Virtual Panel Discussion presented by ArtTable Tuesday, February 8 1:30 pm (PST) 4:30 pm (EST) | Virtual What makes an art space “alternative,” and how are these spaces addressing the underserved needs within the local art world? In this virtual discussion, we will hear from several professionals who have either founded or currently run alternative art spaces in the Southern California region. Image: Elizabeth Tinglof, Shoebox Projects, 2018. Courtesy of Shoebox Projects. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/8d934204-0ed2-4d65-bd1f-2af4c36c862b/Screenshot+2022-02-08+at+16.44.37.png NEWS-PRESS - Liza Shapiro featured in Artnet’s ‘What I Buy and Why’ series Liza was recently interviewed for Artnet’s special feature on collecting, ‘What I Buy and Why’. In the article, she talks about the artworks she wishes she bought when she had the chance, and offers some preservation tips. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/7e1ce4ea-30ce-48e0-96c3-1f6852b3036d/ItsMyHouse_Insta_AnnounUpdate1080x1080-V.gif NEWS-PRESS - CURA Art presents ‘It’s My House!’ A celebration of collecting creativity Porch Gallery, Ojai, CA 93023 January 13 to March 21 2022 CURA Art, in collaboration with Porch Gallery, invites you to It’s My House!, a collective space and exhibition celebrating the role of collectors in their embrace and support of creativity. This immersive installation-exhibition utilizes the building’s former life as a domestic space and creates a united “house” and cultural hub for inspiration, debate and sanctuary, surrounded by the joy that artistry brings. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/24a4d013-d0a1-4595-9b3c-8245920edf78/PHOTO-2021-11-11-13-34-33.jpg NEWS-PRESS - Collecting with a Purpose: In - conversation As part of the exhibition ‘YOLK’, curated by Mollie E Barnes of She Curates for the Taurisano Collection we were asked to take part in a panel discussion on the subject of collecting with a purpose. Collector Nish McCree discusses how she found focus for her collecting, and her plans for the expansion and sustainability of the contemporary art ecosystem in Ghana and across Africa through The Cowrie Culture. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1633980020456-C54LG0QFKHBS3OX4WBAJ/W2I6OCDQIMI6VIKWABELMLG3KE.jpg NEWS-PRESS - In-conversation with artist Sougwen Chung Thursday 14th October, 5-6pm, in person at Asia House, London. Explored through the pioneering artistic practise of Sougwen Chung, Mollie E Barnes of @shecurates and Georgia Powell of CURA Art examined the future of creating and collecting in a new era. ‘Entangled Origins’ was a new, progressive exhibition from award winning artist Sougwen Chung, presented by Gillian Jason Gallery. As Chung's first solo show in London, the works span the past five years of the artist's research and creation. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1630490055012-7V1CQSXCHEMWV7M47LOL/Valeria.jpeg NEWS-PRESS - CURA Art x Eye of the Collector - Collector as patron – Valeria Napoleone in conversation with Jane Morris We partnered with London’s new art fair Eye of the Collector to host a talk on the role of the Collector on 9th September 2021. Collector as patron – Valeria Napoleone in conversation with Jane Morris. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1627926953759-C8X922J9U6Y76NDUIXB9/ARTNET.jpeg NEWS-PRESS - Georgia Powell featured in Artnet Georgia Powell featured in Artnet https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1627926976641-C3ZFOXQMCEJ463ZGOWN6/SHOUTOUT+LA+2.jpeg NEWS-PRESS - Liza Shapiro featured in Shoutout LA https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1627924161208-6Y9XW7LDYFLBIC268C0X/ONLINENextGenCollectingSustainingArtandCulture_T637590171811498628.jpg NEWS-PRESS - CURA Art at Masterpiece 2021 NEXT GEN COLLECTING: SUSTAINING ART AND CULTURE, CURA Art were part of a panel discussion at Masterpiece Art Fair. What sets the next generation of collectors apart from their forebears? In this panel discussion, young leaders in the arts consider how the practice of collecting is evolving in a swiftly changing world. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617204202415-OSIFPE9VKBR7LCHH3ZHY/artsy.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617135655808-LU96AK9VVHVC50PJE2YK/LITA.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617136078388-5GYXR9AXLCU74ESRB6HZ/L%2526%2BG%2Binstall%2B.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617188181729-3FQ2YR0THUSL5Q4AM2JE/Diwaniya%2BArt%2BGallery%2BImage%2B19.jpg NEWS-PRESS - CURA Art at INTERSECT 21 We were thrilled to contribute to Intersect Art and Design’s online exhibit ‘Intersect 21’. The new-found digital art fair, has championed ideas of globalisation in the art world to new heights, dissected ideas of nationalism, borders and differences, by bringing people together on one unified platform. Intersect 21 pushed this idea further, through showcasing art from three distinct areas that may not otherwise be presented in conversation with one another; Southern California, the Middle East and North Africa. As both a celebration of diversity and cultural particularities, in contrast with unifying themes and artistic techniques, Intersect 21 highlighted the possibilities of cultural exchange. This concept was explored in our panel discussion ‘Shaping the World Around Us: Patterns and Motifs in Contemporary Art’ with three of the fair’s artists and two experts in the curatorial field. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617185581524-LNIQZ596RBZ132ODQMSK/Cyprus%252525252BAvenue%252525252B1.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617183458758-TARFNWJ5HDGTJXNJ0AV4/IMG_7190.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617192564614-8DV4CA2TFSW9N1MW83QA/art.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617186983175-MBPMM2AC4J6SM6D0YO9F/IMG_9737.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617186857993-QFQ4J700RRBVM8W0VVJQ/placeholder-cover.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617186832158-5VBQF0HIX2OF590SU8K9/eb0d0d74-c543-43f5-bacf-acf906219422_rw_1200.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617185243075-ZW7NNGVOKSQY0H7Q47X6/EMAIL+INVITATION.jpg NEWS-PRESS - LA: NIGHT AND DAY CURA Art presents LA: NIGHT AND DAY at The LODGE. Los Angeles - a bright and guilty place – Orson Welles In collaboration with The LODGE, CURA Art presents select LA­­­–based artists, showcasing some of the city’s leading established and emerging talent, LA: Night and Day brings together examples that acknowledge and celebrate the complexity of the city’s contradictions. The exhibition explores the influence and draw of the city, where many of the artists choose to live, allowing its intricacies to inspire their practice. Works chosen highlight the fragility of the ecosystem and the existential threats, while others reflect the glossiness and optimism. Vivid colors, bold and graphic lines contrasted with darker themes, organic shapes and monochromatic palettes create a visual dialogue and two distinct approaches. https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617168399532-525A9BE8T0LHQMY6SLZV/Curate+LA.png NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617189070581-Z5WEAJCNQKS13TL3DD9Q/IMG_9738.jpg NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617163802534-BC75B3FW31US20VNX2RI/The+Art+Buyer.png NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617166249782-KIBV3GFSOVX7YM90YA1A/Sotheby%27s+Institute+of+Art.png NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617229538894-LGE2UU81J5GN5CO6I0UX/The+Art+Gorgeous.png NEWS-PRESS https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/1617188008619-SX48C0WIT9MDCIQZC92I/Screen_Shot_2017-12-05_at_5.05.57_PM_1024x1024.jpg NEWS-PRESS https://www.curaart.com/privacy-policy daily 0.75 2024-01-03 https://www.curaart.com/education daily 0.75 2026-02-13 https://images.squarespace-cdn.com/content/v1/6008908747882c7180a13bf4/655a01af-d32f-4b20-a13f-b93eb11b5fe7/240E3F35-059D-4389-B3CE-DE3A96C5B653.JPG EDUCATION - "Georgia curated a thoughtful and interesting course and pulled together inspiring, articulate and approachable speakers.” Christie’s Collector “At Christie's Education, we support and promote institutions and businesses in the art world that help to elevate the experience of students, collectors and others who have a passion for art. The educational initiatives undertaken by CURA Art have highlighted the importance of purposeful collecting in the art world. The partnership between CURA Art and Christie’s Education has made it a valuable resource for both our students and collectors.” Glen Hardwick-Bruce, Director of Continuing Education, Christie's London & EMEA https://www.curaart.com/glossary daily 0.75 2025-04-24