The Most Influential Art Collectors Youve Never Heard of

Like about activities, traditional ways of collecting art were upended this year by COVID-19. Galleries in nigh every city with a thriving contemporary art scene close downwardly for months; fairs and auctions became almost exclusively virtual affairs; and, suddenly, once-secondary channels like online viewing rooms and Instagram became the primary means for artists, dealers, and collectors to connect. Among the financial rollercoaster caused by the pandemic and other sociopolitical crises in 2020, many collectors remained equally or fifty-fifty more active and engaged than in years by.

We reached out to collectors around the world to go a sense of how their collecting practices changed in 2020; the artists, galleries, organizations, and institutions they supported; and who they accept their eyes on going into 2021.

Lisa Young and Steven Abraham

New York

Natisa Jones, I Had Such an Astonishing List, 2019. Courtesy of the artist and Young-Abraham Drove.

What was the about meaningful artwork you purchased in 2020?

A painting entitled I Had Such an Amazing List (2019) by

. We had been looking at expanding our collection to be representative of the broader Asian diaspora and learned nigh her through Hatch Art Projection. Nosotros were immediately struck by her potent visual linguistic communication and abstracted figures in her work. The slice was the result of her reflection on transitional spaces, the disconnection that came with being in a transitory state just also needs and attempts to connect. She was at the time living betwixt Bali, Jakarta, and Amsterdam for nigh four years and moved between places every 4 months or so. The title itself was talking almost how she uses lists as a way to navigate each one of those places. Being in constant transition, she found that her lists had to change to reflect her priorities at the moment and place. With this comes constant questioning and evaluation of her values and goals. Although this brings anxiety to her and things are not always working out the way she intended, she felt that her lists had been a compass for her life to navigate changes.

It was created in 2019, and viewing it in 2020 in the midst of the pandemic actually struck a chord for us; information technology felt prophetic in just how strongly that anxiety would exist felt by usa (and the world, really).

Would yous say you've been more than or less active as collectors in 2020 than in years past?

This year hasn't necessarily inverse our level of activeness, but rather has made u.s.a. reverberate on our roles as collectors and has changed what those activities are. More than than anything, it has pushed us to recollect of collecting more as a practice than a series of acquisitions. With many shows being upended and everyone staying home, we establish ourselves spending more time doing virtual studio visits and connecting with other collectors, curators, galleries, etc. A silver lining has been being able to exercise this with people outside of New York and taking more time for personal connection. Particularly in reaction to COVID-19, we've also been thinking almost how we tin support artists in their practices, and have started a pilot program to provide studio space for those who accept been impacted.

Are there any artists you're looking forward to collecting or supporting in 2021?

At that place are many artists on that listing, but two that come to mind are

and

. Oscar'southward approach to portraiture is equally textured as the relationships he has with his subjects, and the use of symbols and icons brings forwards an intimately complex narrative that reveals new clues at each gaze. Timothy'south paintings are as personal and the way he uses the canvas as a stage is mesmerizing. The alloy of real retentivity and passed-down myths calls to mind something uniquely his and echoes of familiarity with our own lived experiences.

Estrellita B. Brodsky

New York

Jesús Rafael Soto, Metamorfosis de un cubo, 1955. Courtesy of ANOTHER SPACE.

What was the most meaningful artwork you purchased in 2020?

I recently caused Metamorfosis de un cubo (1955), an early work by

, an artist I've been studying for a long time and the field of study of my Ph.D dissertation at the Institute of Fine Arts. This work was included in the influential exhibition "Le Mouvement," at the Denise René gallery in Paris in 1955, where it was purchased that same yr by the renowned Venezuelan architect and major collector, Carlos Raúl Villanueva. When I curated Soto's retrospective at New York University's Grey Fine art Gallery, nosotros were unable to borrow this piece of work so it was a nice turn of events.

Information technology is such a pregnant piece of work for many reasons: its early date, its relationship to the rest of the artist's oeuvre, its impeccable provenance, and certainly its visual strength. I think it is a pivotal work within the larger historical narrative, every bit Soto was the only Latin American artist to exist included in "Le Mouvement" alongside of other international artists

,

,

,

,

, and

—a decisive exhibition in the history and development of the Kinetic motility. This work reflects Soto'due south early experimentation with multi-layered Plexiglas, a material he used throughout the residue of his career (and which

claimed to pioneer a decade later). You don't come across works of this historical significance every mean solar day.

Would you say you've been more than or less active as a collector in 2020 than in years by?

This year I even so caused works from artists I knew from before and from dealers and galleries with whom I had worked in the by. I have also caused work related to the recently inaugurated exhibition at my nonprofit foundation, ANOTHER SPACE. The show is most artists' role in shaping the means in which we arroyo the environment.

I and my husband Dan have felt very strongly that we wanted to support cultural institutions that were facing disquisitional challenges because of the pandemic and a want to support inclusion and diversity. Nosotros were happy to give added back up to large institutions such as the Metropolitan Museum of Fine art as well as smaller ones such equally El Museo del Barrio. I was too pleased to go along my support of other acquisitions groups and culturally specific initiatives.

Are there any artists y'all're looking forrard to collecting or supporting in 2021?

At Another SPACE we just opened "Stayin' Alive," an exhibition about survival and resilience, looking at artists' strategies in anticipating or coping with environmental and social crises from the 19th century until today. It has been fascinating to meet so many artworks questioning the ways in which nature is perceived and utilized, frequently underscoring the destruction of various ecosystems and the erasure of indigenous practices and cultures—particularly in Latin America.

I have discovered the work of artists such every bit

, who has been addressing water and land pollution in her native Republic of colombia since the 1970s, and whose work remains underappreciated in the Us. I have also had the chance to deepen my understanding of the piece of work of other pioneers similar Chilean-born

and the Argentinian

, who were already exploring the possibilities of fine art and applied science to bargain with large-scale environmental issues since the 1960s and '70s. I believe artists play an important role in shaping our perception of nature and they will be crucial to address climate change (specially at a time like this, when science has been under assail from the highest levels of regime). I would love to see more museums exhibit these types of works.

Cindy Chua-Tay

Hong Kong

Liu Xiaodong, Coming across a scene similar this 1 cannot simply call up of Manet's Le D'ejeuner sur l'herbe, 2020.06.12, 2020. Courtesy the artist and Lisson Gallery.

What was the almost meaningful artwork yous purchased in 2020?

Personally, I "reconnected" with our collection this yr. For one time we are spending a large portion of time at dwelling house and indoors, and in doing so, we are able to fully bask and appreciate our art drove. I accept too taken to rehanging some works to my hubby's chagrin, merely that has enabled me to relook, reflect, and recurate the collection. It's been therapeutic!

The most meaningful work I purchased is a precious piece by

from Lisson Gallery. Liu, the ordinarily afoot Chinese painter, was unable to travel dorsum to his dwelling in Beijing, China, and was in lockdown in the U.s.a. from the middle of February. From his tiny apartment (a far weep from the luxury of space he normally enjoys in his studio in Beijing), he fabricated a serial of watercolor paintings documenting the changing landscape of New York City over a period of 4 months. This torso of piece of work serves equally a record of this landmark moment in history: from the colorful, poignant, picturesque scenes of the Large Apple in springtime nether the pandemic—with quietly deserted children's playgrounds, unusually abased streets, delicate blossoms falling from the trees, and intimate, precious portraits of his wife, young man artist

, and his girl—to the subsequent zeal, chaos, and crowds of the Black Lives Matter protests that swept the city and the rest of the nation.

The piece that resonated with me is entitled Coming across a scene like this i cannot only think of Manet's Le Déjeuner sur 50'herbe, 2020.06.12, a watercolor on paper. Liu depicted a beautiful picnic scene in a New York City park, which, to him, resembled the famous

painting. While Manet's painting focused on a female person nude staring plainly and directly onto the viewer and in the visitor of two dressed men, Liu'southward scene feels like a contemporary response to the Manet painting. Information technology embraces men of different races, sitting together, their sexuality ambiguous and unknown, yet their togetherness and closeness reflects the unity and freedom and so pronounced and apparent in a city like New York. Some other affair that stood out for me was the scale, or rather how special it is to own a work by Liu that isn't big and life-size (as his works tend to be). Every bit he was unprepared for fine art material when he was forced to exist in quarantine in New York, he resorted to small works on paper and watercolor, which was all he could find at that time. This is an unexpected departure for Liu, but it as well gave him a freedom to document in existent time, hence creating a serial that is securely wistful and meaningful.

Would you say you've been more than or less active as a collector in 2020 than in years past?

In that location hasn't been a huge alter or shift in my collecting this year. The principal difference for me has been how I see art, and the corporeality of time I actually spent and continue to spend looking at art. Absolutely we all seem to have more time to view and appoint with art this yr. I am now more engaged with artists and taking function in many artists' talks and studio visits on webinars globally. I am also "participating" in a lot more than art fairs, as in attending them virtually. In the past I had to painstakingly pick the fairs I could nourish, due to the constraints of my travel schedules. This year, I have been a virtual attendee in an unprecedented number of art fairs! It has been almost gratifying.

Pamela Joyner

San Francisco

Suzanne Jackson, Dissever - DRAPE, 2020. Photo by Timothy Doyon. Courtesy of Ortuzar Projects, New York.

Suzanne Jackson, Lizards, 2005. Photo by Timothy Doyon. Courtesy of Ortuzar Projects, New York.

What was the most meaningful artwork you purchased in 2020?

The most of import purchase for the collection is not a single work, merely a body of works I have added to the collection. In 2020 we accept added five works by

. She is in her seventies and making a serial that is the almost transformational of her career. The innovative nature of the current practice inspired me to buy current works and to also look dorsum to endeavor to assemble earlier works as well. Her translucent acrylic paintings, which typically hang from the ceiling, significantly advance the conversation almost painting. In our drove, they are in dialogue with 's slab paintings, 's drape paintings, and 's hanging tapestries. In a larger art historical context, Jackson'due south piece of work easily relates to floor works past

. We have been focused on adding women of the earliest generation in our collection considering they however accept been less recognized than other artists of color.

Would you say you've been more or less agile equally a collector in 2020 than in years past?

We have been the busiest we have always been. We are adding more work than is typical considering traveling less has enabled me to research and remember more. Nonetheless, I have focused on filling gaps in the drove with work by artists that we already own. It is much harder for me to add new artists if I cannot do studio visits and see exhibitions.

We are ever active lenders, but this has been the busiest year in my collecting history for loan requests. Many institutions are featuring artists of color and we are happy to assist by lending works from the drove.

In addition, several of our artists, similar

, are deeply immersed in social justice organizations and take asked collectors to support these efforts. We have been honored to participate in several of these projects that have great and positive impacts on communities in demand. We are involved with a number of institutions who notice that these are the nearly enervating times. In that context, we also are trying to do our function.

Samallie Kiyingi

Cairo

Leilah Babirye, Kuchu Series (Queer Ugandans), 2020. Courtesy of Stephen Friedman Gallery.

What was the most meaningful artwork you purchased in 2020?

One of the most meaningful works I've purchased this twelvemonth is from "Kuchu Series (Queer Ugandans)" (2020), a series by

. I first came across Leilah's work in 2014 during the Kampala Art Biennale in Uganda. Fifty-fifty then, Leilah had a very powerful and distinct visual aesthetic. Leilah'due south work was completely different from anything I had seen in Uganda at the time. Leilah's combination of wooden sculpture and found objects was very raw simply also very considered. A graduate of Makerere University in Uganda, I was struck by how she used her formal grooming as a point of departure to create something then hit.

In smaller art markets, with a limited puddle of collectors, at that place is at times force per unit area to arrange—aesthetically likewise every bit conceptually—to "make information technology." Leilah instead chose to claiming. It's also special because it'south quite personal. I am from the aforementioned ethnic group every bit Leilah, so the titles of her works, which are in my mother tongue, every bit well equally the cultural references, take added meaning.

Every bit an African, I think information technology's so of import to back up African artists. A lot of my support has previously been to fine art institutions—the Ugandan Arts Trust (also known as 32 Degrees East, where Leilah completed a residency), the Gasworks residency space in London, and Tate Modernistic's African Fine art Acquisition Committee—but increasingly I've moved to support artists more directly. I was therefore thrilled when I learned that Leilah is now represented past Stephen Friedman Gallery in London. The piece of work I purchased in 2020 is a work on paper and was part of the gallery's "25 Years" anniversary evidence. Unfortunately no sculptures were available, but I am hoping to acquire one presently.

Would you say you've been more than or less agile as a collector in 2020 than in years past?

In recent years I haven't been able to travel every bit much to run into fine art as I used to. Yet, the move to online appointment by the fine art world in 2020 has meant that physically missing an art fair or a gallery opening doesn't mean missing out on seeing art. As a result, I've been far more active as a collector this year. While it's not the aforementioned as seeing art physically, I have found that galleries are now far more open to virtual conversations. It'due south likewise been great to take a front-row seat to major art fairs and auctions from the condolement of my own habitation. I've tried to brand an outcome out of it—fine art and champagne…without the sore feet.

Are there any artists you lot're looking frontwards to collecting or supporting in 2021?

I am definitely hoping to continue supporting Leilah Babirye'due south practice. I'1000 also a large fan of

. She is a thoughtful and exceptionally talented multidisciplinary artist. Without fail I discover her piece of work moving, multilayered, and beautiful. I've quietly been watching

from a distance. She is an extraordinary storyteller tackling circuitous problems with disarming simplicity. She has had some amazing institutional commissions recently and I'm looking forward to her side by side gallery show. Concluding simply not to the lowest degree, I'yard looking forward to engaging more with the work of

. There is a repose ability to her collages which I am fatigued to, merely I need to larn more.

Grażyna Kulczyk

Engadin, Switzerland

Eszter Salamon performing The Valeska Gert Monument at Muzeum Susch, 2020. © Maja Wirkus. Courtesy of Muzeum Susch and Art Stations Foundation CH.

Eszter Salamon performing The Valeska Gert Monument at Muzeum Susch, 2020. © Maja Wirkus. Courtesy of Muzeum Susch and Art Stations Foundation CH.

What was the most meaningful artwork you purchased in 2020?

This year, I have continued to make several important acquisitions to fill what I felt to be gaps in my collection. Though the work I chose is very timely, I did not want today'south valuations and perceptions in the art market to postpone my commitment to the drove. One work that is particularly of import is a spectacular and large work past

. I have been observing her practice for quite some time at diverse occasions. Her work is fabricated to be shown to the public in major museum collections. When it comes to the collection, I am very methodical and will consider the artist for some time; nonetheless, when I've made a decision on how the artist will contribute to the mission of the collection, I am impulsive and follow my intuition on the artwork itself.

Would you lot say you've been more or less active as a collector in 2020 than in years past?

The practise of collecting itself—traveling to attend art fairs and exhibitions effectually the world—has been impacted by the pandemic, but the quantity of my acquisitions has been relatively equal in 2020 compared to recent years. My priority has been to maintain all the programming at Muzeum Susch and prefer a "concern as usual" approach with all safety precautions in identify. In these challenging times, I think that, with strict public hygiene regimes, cultural institutions should remain open up for the public as much as possible. Cultural institutions offering an essential service for guild and artists. Nosotros did adapt to the lockdowns with a dedicated podcast, Echolot (bachelor online), and we continued to update our Muzeum Susch app with virtual tours of the latest exhibitions.

During the first spring lockdown, I funded over 100 financial stipends for artists in my native Poland. The financial support was provided to artists regardless of their groundwork, practice, and phase in their career. It was intended to be used how they felt necessary for their survival and practise. Too, even in this critical state of affairs, I decided to keep the operation programme ACZIUN SUSCH at Muzeum Susch running. Gimmicky choreography is extremely shut to my heart. I take long been involved in supporting it. We supported Eszter Salamon in realizing a choreographic picture, shot on-site at Muzeum Susch, on German avant-garde choreographer Valeska Gert. We supported visual artist Laurent Goldring, who, in collaboration with choreographer Isabelle Schad, prepared his new exhibition dedicated to the choreography of washing hands—a ritual so relevant to all of us in this moment. I am besides delighted to be a partner in a book by dance dramaturge Guy Cools, who reflects on the tradition of lament in the arts.

Arthur Lewis

Los Angeles

Lorna Simpson, Night Dream, 2020. Courtesy of the artist and Arthur Lewis.

Kim Dacres, Sharese, 2018. Courtesy of the artist and Arthur Lewis.

What was the most meaningful artwork you purchased in 2020?

Dark Dream (2020) past

. Lorna is a fable and an artist I profoundly admire. I take been a large fan of hers for a long time. Hauser & Wirth managing director Madeline Warren and I have had ongoing conversations for a number of years almost Lorna'south work, and the moment when she shared that Night Dream was available, I immediately had to have information technology! Information technology is now a crown jewel in my collection.

Would you say you've been more than or less active equally a collector in 2020 than in years past?

I have definitely been more active equally I think it'southward of import to back up artists and the communities that uplift them. During this time, I have prioritized organizations like the Studio Museum in Harlem and 's NXTHVN.

Are there whatsoever artists you're looking forward to collecting or supporting in 2021?

Kwesi Botchway, Cocoa Girl, 2020. Courtesy of the artist and Arthur Lewis.

In the autumn, I purchased Sharese (2018) by

, who is a first-generation Jamaican American artist and teacher. She spoke to me about her craft, where she uses discarded rubber from bike and car tires to pay tribute to educators in her community. I accept and so many great things to say about Kim—she is meticulous near every detail, the passion she has for each piece of work is palatable, and she is an extraordinary storyteller who brings various materials to life. Additionally, her evidence sold out virtually immediately, and she deserves all of the success that she'southward earned and will continue to see. This is also a testament to gallerist Sarah Gavlak, who introduced me to Kim'due south work. She provided Kim with a platform to further explore her narrative. Sarah and her actions prove that providing opportunity is not a risky proposition. I hope this was a kickoff conquering of more to come and I am super excited to come across her exercise grow.

In the spring, I purchased Cocoa Daughter (2020) past

during our tertiary week of lockdown. The second I saw an image of the slice, I knew I had to have information technology! Kwesi'south paintings leave viewers with a long-lasting aftereffect in an astounding manner. You lot cannot forget those red eyes and the beautiful blueprint he creates to depict his subjects—I am blown away past his talent. Kwesi has appeared in group shows at Unit Gallery in London and Mariano Mercier Gallery in Brussels. He is becoming quite popular, as I've received several calls from collectors and his work oft comes up in conversations I have within the art community. The world is watching and I have a feeling that another star is born.

Makgati Molebatsi

Johannesburg

David Mbele, Untitled, ca. 1960–70s. Courtesy of Makgati Molebatsi.

What was the most meaningful artwork you purchased in 2020?

I acquired an untitled and undated artwork (apparently created in the 1960s or '70s) by the late creative person David Mbele, which depicts a group of schoolchildren in what appears like a classroom, with their slates and books. It takes me back to my early school days in the mid-'60s. Mbele, who passed abroad in 2010, was one of the Southward African Blackness artists productive in the townships during apartheid.

I was attracted to one of Mbele'southward artworks included in the exhibition "A Black Aesthetic: A view of South African Artists, 1970–1990" at the Standard Bank Gallery, which ran from February to April 2019. The majority of the artworks in the exhibition were fatigued from the collection of the University of Fort Hare in the Eastern Cape of South Africa. I posted the image of his artwork on Instagram, which led to my discovery of an archive of artworks he had left with his family when he passed away, very well preserved. I caused the artwork from the family unit very recently, around August.

During the lockdown, when everything was closed and schooling was remote, I wondered virtually the children from township schools who had no ways nor access to remote learning. I thought back to my early schooling in black townships during apartheid. I remembered the artwork from visiting the family sometime last year. I sought to acquire the artwork, which resonated with my master schooling, when we used slates in our commencement year of schooling, which was called sub A. It too made me recollect of 's photo from 1960 of students kneeling on a floor in a classroom to write, from his seminal book Business firm of Chains (1967).

Would you say you've been more or less active as a collector in 2020 than in years past?

I have been less active, considering the challenging period we are experiencing with concise means of income. In October I was among the facilitators participating in the Ubuciko Professional Development Programme for Visual Artists weeklong workshop, an initiative by a collaboration of art organisations the Arts & Culture Trust, an inspiring individual, Rolihlahla Mhlanga, and Kgalee Contemporary, which was supported past a Johannesburg Property company PARETO. I delivered a virtual primary class to early career artists called "Navigating the Fine art Market and Understanding how Value is Ascribed to an Artwork." This brought me into contact with a young and promising lensman, Mpumelelo Buthelezi, whose work I take adult an interest in.

Are there any artists you're looking forrard to collecting or supporting in 2021?

The photographer I accept just mentioned, Mpumelelo Buthelezi. I am looking at acquiring one of his photographs and to continue supporting him where feasible. For his young age, he brings so much emotion, dedication, judgement, and precision to his photography. He has a very promising career ahead of him.

Jorge Pérez

Miami

Amelia Peláez, Sin título (Untitled), 1950. Courtesy of Jorge Pérez.

Pamela Phastimo Suntrum, The Two II, 2020. Courtesy of Jorge Pérez.

What was the most meaningful artwork you purchased in 2020?

Despite the obvious challenges that this year has presented, we have been lucky enough to expand and strengthen our collection. As a very easily-on collector, I find that every acquisition has meaning, but there are certainly some that stand out. This yr, we purchased a spectacular painting from 1950 past avant-garde Cuban master

. The piece is stunning and adds some other layer to our Cuban and Latin American collection.

We also got our hands on several works by the young African artist

, whose practise I truly adore. Pamela was born in Botswana, studied in the Usa, and is currently based in Johannesburg, South Africa. We were beginning introduced to her when we were researching artists for our upcoming exhibition at El Espacio 23, "Witness: Afro Perspectives from the Jorge Thousand. Perez Drove." Her multidisciplinary work is inspired by literature but is infused with science as she creates alter egos and a parallel universe to reverberate modern gild also as her own life. Her process is also extremely unique—she uses a diversity of media, all very lightly layered, exposing intricate drawings beneath the pigment.

Would you say y'all've been more or less active as a collector in 2020 than in years by?

Pamela Phastimo Suntrum, The Seven, 2020. Courtesy of Jorge Pérez.

The pandemic has without a doubt impacted the way we see and experience art. Nosotros miss visiting museums and traveling to art fairs, but we have been pleasantly surprised past the richness and variety of the online and digital platforms. I take had the opportunity to join numerous Zoom studio visits, typically past invitation, but I have also participated in just as many live showings on Instagram, Facebook, and YouTube. I think this is an incredible opportunity for students, immature collectors, and even the general public to have this close interaction with amazing artists from around the world.

We certainly cannot ignore the negative furnishings this pandemic has had on people, in particular inside the arts and culture customs. Information technology has always been one of my biggest missions in life to back up creatives, and we've actually doubled down on our efforts this year. On the collection side, we're continuing to purchase art, both from local and U.S. artists, only also away in countries like Spain, Colombia, South Africa, and Republic of cuba. Additionally, we've committed to a $250,000 donation to the nonprofit arts organization Americans for the Arts for a first-of-its-kind national programme, which volition benefit artists, public fine art administrators, and/or representatives from the borough design field. Of course, there is notwithstanding a lot more work to exist washed, and we are committed to making it happen.

Lauren Prakke

London

Zoe Buckman, Her Hair Wild, 2020. Courtesy of the artist and Lauren Prakke.

What was the virtually meaningful artwork y'all purchased in 2020?

Information technology'south definitely 'due south Her Hair Wild (2020), which draws from a poem she wrote at a difficult fourth dimension, but it takes on a new context during the pandemic as it speaks to the feeling of being limited or trapped. I think we met when I chaired the Tate Young Patrons at an art event we held in Miami and we totally hit information technology off. Zoë may take a dissimilar recollection, but I conspicuously call up we bonded over our mutual passion for women'south equality, racial equality, living in both New York and London, and evidently fine art. I wanted to stay all night equally I was intrigued—and that is sort of rare for me.

I purchased it in total 2020 pandemic style—online at Her Clique, which offers limited-edition works by women while supporting nonprofit organizations. Two things inspired me to buy it. I concord a degree in 19th-century literature and I'one thousand fatigued to words—all the same you translate her words, they have an immediacy and a ability that is hard to turn away from. The 2nd is that proceeds become to benefit United Way of New York Metropolis, which helps depression-income New Yorkers make ends meet and lead self-sufficient lives.

Would you say you've been more than or less agile as a collector in 2020 than in years past?

I've been less active in 2020 every bit the bulk of my free energy has gone into emergency help for women affected by domestic violence during COVID-19 (I really qualified every bit a volunteer advisor), and simultaneously a project chosen 100secs with Restless Buddha to go the suburban women's vote out in swing states. I experience strongly that we are/were in dire need of political modify, intelligence, stability, and civility in our authorities.

I've been approached by the Children's Institute in the Watts neighborhood of Los Angeles (interestingly in a building designed free by

himself) to motility forwards on an arts project for them. It's a community centre supporting everything from after-school youth development activities, counseling, and arts and figurer classes to a gang job strength. It only bankrupt basis in January and I'one thousand so excited well-nigh what they're doing.

Are there whatever artists you're looking frontward to collecting or supporting in 2021?

I am really drawn to artists that highlight social causes and injustice in our earth, from

, Zoë Buckman,

,

, and

to the well-known godfather of For Freedoms,

. A painting of a vase of pretty flowers no longer does information technology for me. When you walk into my dwelling, you're very clear nearly what I represent.

Karen Robinovitz

New York

Kelly Akashi, detail of Cultivator (Metamorphic), 2020. Courtesy of the artist; Tanya Bonakdar Gallery, New York; and Francois Ghebaly Gallery, Los Angeles.

What was the about meaningful artwork you purchased in 2020?

'due south Cultivator (Metamorphic) (2020) is super meaningful to me. I have been following her for years and she has only gotten ameliorate and better with each new work. This was my favorite work from the show "Mood Organ," which opened at Tanya Bonakdar Gallery in February. It was taken before the show opened, and so I had reserved a dissimilar one. But when the original sale of the piece vicious through, I was offered the work. It's a very personal slice for the creative person as the pedestal represents her cardiogram. Easily in art have ever felt important to me, perhaps due to the historical references. This oversized bronze paw, intertwined with fragile, sinuous handblown glass, reflects such an elevated moment in Kelly's practise. Information technology lives simply outside my sleeping room so I get to have it in every day, multiple times a day.

Would you say you lot've been more or less active every bit a collector in 2020 than in years past?

I take been a fleck less active as a collector since COVID-19 (my budgets accept taken a hit), but I remain as active as an appreciator and a museum board member. Information technology has been a challenging time for art institutions and information technology is prissy to be able to contribute with my skill prepare in marketing and digital media to back up in new ways. I may not exist going to galleries as much equally I used to, just I have increased my screen fourth dimension on my phone so much that it is a little embarrassing! Most of that time, when I'm not working, is spent looking at art.

Are in that location any artists you're looking forward to collecting or supporting in 2021?

I am in love with 'due south work. I recently acquired a piece and I would similar to collect more than. I love how intimate and personal her paintings feel and she is incredible with her sense of realism. I am also hoping to collect

,

,

,

,

,

…the list goes on. In that location is no shortage there! They all have something different that resonates with my sensibility. They're all strong women whose stories permeate their work in circuitous ways.

Patrizia Sandretto Re Rebaudengo

Turin, Italia

Michele Rizzo, Rest, 2020. Photo by DSL Studio. Courtesy of Fondazione La Quadriennale di Roma.

What was the about meaningful artwork you purchased in 2020?

It'due south ever hard to decide between artworks. I feel privileged that even in 2020, I have been able to add together a number of exciting new works to the collection. For example, I acquired additional works from Brazilian artists already present in the collection, such equally incredible new paintings from

and

, which have brought a colorful, positive spirit to the lockdown months. Similarly, I'g very happy to have added new works by brilliant and young artists such every bit

,

, Pia Krajewski,

, and

in the last few months.

I also purchased Rest, an installation and performative work by

, an Italian choreographer and artist based in Amsterdam. We supported the production of this work for the Quadriennale—the most important exhibition in Italy devoted exclusively to contemporary Italian art—which recently opened in Rome. It is a room-sized installation composed of several sculptures, representing lying homo bodies—possibly ravers, at rest every bit the title suggests. They are immersed in a dynamic landscape of sounds and colored lights, and they come up together as a outcome of a performative activity by a group of dancers which recalls traditional processions, playing on the thought of clubbing as a religious rite. I decided to support and purchase this work because I was fascinated by the proposal past Michele, whose work I have been following since he performed his famous HIGHER xtn. (2018) at my foundation in 2019.

Would y'all say you lot've been more or less active as a collector in 2020 than in years past?

Ana Elisa Egreja, Tropical paradise: Green nevertheless life with Cobogós, 2020. Courtesy of Sandretto Re Rebaudengo Collection.

This has been a very different yr, where everybody has needed to accommodate. I've been active in a unlike way—collecting more digitally and traveling less. What remained very important is my commissioning activity, whether it is linked to the exhibition plan of the Fondazione or to other major international art events. This is the case of the contempo acquisition of the video Who'southward Afraid of Ideology? (Office three) - Microresistances (2020) by Marwa Arsanios, which was deputed for the 11th Berlin Biennale and whose product we supported. The work is the final chapter of a trilogy that explores the intersection between feminism and ecology, dealing with specific communities of women in dissimilar countries, from Syria to Colombia, where they have to fight to keep their right to the land confronting extractivist industries.

With regard to the plan of the Fondazione, we recently produced several works for the grouping show "Waves Between U.s.," the terminal exhibition of our Young Curators residency program. Featuring a selection of young Italian artists invited by 3 international curators at the cease of a 3-month inquiry trip through our country, the exhibition has both a physical component, displayed in the Fondazione'south space in Guarene, and a virtual component: digital commissions presented on the project's website. These include works past

,

,

, and the collective Femminote, amongst others.

Are there any artists you're looking forward to collecting or supporting in 2021?

Luiz Zerbini, installation view of Happiness Across Paradise, 2020. Courtesy of Sandretto Re Rebaudengo Collection

We are currently working on ii major commissions, to be presented in 2021. The first, which is planned to open in March, is the solo exhibition "Neural Swamp" by

, who is the recipient of the Future Fields Commission in Time-Based Media, a joint initiative with the Philadelphia Museum of Art. Syms is working on a new installation which employs AI engineering science for screenplay writing, graphic symbol development, and interim, and which will be presented in an immersive surroundings. I am really interested in her ongoing investigation into the politics of engineering science, and how human beings and relationships are affected by the way individuals are represented and communicate with each other. Nosotros already started to work on the next commission of this series, with

, who will present his work at the Fondazione in the fall of 2022.

Another important projection planned for next year is the launch of a new outdoor sculpture park in Guarene, on a colina located in the Langhe region of Piedmont, close to Palazzo Re Rebaudengo (the Fondazione's second venue). There, we will install existing works from the drove and also invite artists to conceive site-specific works; the creative person I invited for the countdown intervention is

. As is typical of her exercise, she has started to investigate the history of the site, taking inspiration from endless sources: from scientific discipline to folklore, from literature to botany and geology. I am actually impressed past her inquiry process, which materializes in a fascinating sculptural language that combines myths and facts, history and stories.

Alain Servais

Brussels

Kapwani Kiwanga, Flowers for Africa: Morocco, 2019. Courtesy of the artist and Goodman Gallery.

Young-Jun Tak, Chained, 2020. Courtesy of the artist.

What was the about meaningful artwork you purchased in 2020?

I discovered

at the splendid final Berlin Biennale in September. I never heard about him before, just the visual impact also as the strength of the story he was telling was overwhelming. It mixes many subjects nosotros are interested in: gender, religion, foreign culture, and civilization. He doesn't accept a gallery, then I negotiated with him the custody of the work and information technology will travel from the biennial to Brussels. Museums and biennials are our favorite discovery places. The works are often artists' most ambitious and nosotros respect the research and introspection effort of curators, which is for us an essential filter. The artwork also often gets better contextualization, which makes its relevance easier to appraise.

I have been following

for many years. Her contempo presentations at the Prix Marcel Duchamp, the Dhaka Fine art Summit, and the Macba in Barcelona finished disarming me. The format is unusual and challenging as information technology consists only in the description of a bouquet of flowers to be submitted to a florist each time information technology must be installed. Just nosotros also find that it brings to light important viewpoints on decolonization. This work, Flowers for Africa: Morocco (2019), joins two other works past Kiwanga in the collection.

Would yous say yous've been more or less active as a collector in 2020 than in years past?

We accept been voluntarily as active as previous years as we were lucky plenty to travel intensely earlier the confinement and we went back to galleries, museums, and biennials every bit soon every bit they reopened in Belgium and in Europe. We focused our acquisitions on artists directly and smaller and mid-sized galleries which nosotros thought the about vulnerable in the electric current pandemic. We also kept welcoming artists and curators at our residency, the Loft.

Are there whatsoever artists y'all're looking forward to collecting or supporting in 2021?

The list of artists nosotros are interested in is long and nosotros are patient until we find the right works because we believe that finding the right work is as essential equally supporting the right artist. Nosotros volition also brand sure to be exposed to artists we don't know by visiting galleries, museums, and biennials equally far every bit we can go.

Julia Stoschek

Düsseldorf

Meriem Bennani, installation view of Political party on the CAPS, 2018, at JSC Berlin. Photo by Alwin Lay. Courtesy of the artist and C L E A R I Northward G, New York / Brussels.

What was the nearly meaningful artwork y'all purchased in 2020?

That is a tough question—sort of like being asked to pick a favorite kid. During Art Week, nosotros bought 4

films at KOW, which means we at present have a total of eight works in the drove. They are stunning and very meaningful on many dissimilar levels. Barbara worked to create a more compassionate and sensual cinema so every bit to change the canon that she felt didn't reverberate her reality. I outset saw her piece of work at KOW many years ago so had the pleasure to meet Barbara in 2018.

We also bought a single-channel version of Political party on the CAPS (2018–19) and Mission Teens: French School in Kingdom of morocco (2019) by

, which was office of "horizontal vertigo" curated by Lisa Long. Lisa introduced me to Meriem's work and I recall her approach to video, installation, and sculpture is very smart and edgy. Meriem'southward political wit is then on point and filled with humor; something really needed at the moment.

Simply to proper noun one more piece: Leila Hekmat'due south video installation CROCOPAZZO! (2020) bought from Bortolozzi blew me away. I encountered Leila's work at the gallery and was immediately captivated by the particular of her play/video/installation. She writes, films, designs, and produces everything with utmost perfection. And information technology'southward some other work that offers comic relief although information technology deals with the weight of the earth. Other acquisitions included car, route, mountain (2020) by Cemile Sahin and Community Action Center (2010) by A.G. Burns and A.Fifty. Steiner.

Would you say yous've been more or less agile as a collector in 2020 than in years by?

Leila Hekmat, installation view of CROCOPAZZO!, 2020. Courtesy of the artist and Galerie Isabella Bortolozzi, Berlin.

I've been a little less active this year. I haven't been able to experience equally much art equally I would have liked because of the pandemic. Just it is very important for me to support galleries and artists. I participated in sure support initiatives, for example 's 2020Solidarity, and equally the president of the board at KW Found for Gimmicky Art and lath fellow member at MOCA Los Angeles, I'm involved in acquisitions and the funding of certain projects like the KW Product series. I also recently joined the Freudeskreis at Hamburger Bahnhof and contributed to the acquisition of a flick by

for Preußischer Kulturbesitz.

Are there any artists yous're looking forward to collecting or supporting in 2021?

Nosotros are currently planning our upcoming drove exhibition titled "A Fire In My Belly." There have been specific acquisitions for this show, which I volition not nevertheless share to keep it a surprise. The prove will span all three floors of the drove and present approximately xxx works, mixing old and new. It volition be a visceral and poetic exhibition. I tin't expect!

Robert and Eric Thomas-Suwall

Minot, Due north Dakota

Kyle Dunn, Clay God, 2020. Courtesy of Kyle Dunn and P·P·O·Due west, New York.

What was the most meaningful artwork you purchased in 2020?

One of the nigh meaningful works nosotros purchased in 2020 was Dirt God (2020) by

. We offset encountered Kyle's work online and were struck by his beautifully queer figuration and uniquely stylized forms. However, owing to his utilize of bas-relief, we found that the paintings took on a new dimension in person when we saw them at Art Basel in Miami Beach. We had been trying to find the perfect piece of work for some fourth dimension, and while we missed out on some before pieces, the stars aligned when Kyle signed with ane of our favorite galleries: P.P.O.Westward. They arranged a studio visit in New York City in March 2020 where we were struck by a item work that elegantly incorporated the sculptural element while highlighting Kyle's recurrent themes of masculine vulnerability, isolation, and melodrama. Although the world changed dramatically immediately after our visit, we were lucky enough to acquire Dirt God from P.P.O.W's online presentation for Frieze New York.

Would you say yous've been more or less active as collectors in 2020 than in years past?

Given our isolated location in North Dakota, a big function of our interaction with the art world has been online, peculiarly through Instagram (@theicygays). Since we were already comfortable acquiring works remotely, the pandemic has not really slowed down our collecting. In fact, we feel that the events of 2020 have served as a catalyst for many meaningful works of art and thus we've actually increased our conquering over the past year. In addition, we realize this has been a challenging year for many in the art community and were therefore motivated to go along to back up artists and galleries nosotros worked with previously while also reaching out to exciting new talent. As for other organizations, we continue to serve on the board of our local museum (via Zoom), support fundraisers (via Instagram), and even held a (socially distanced) do good for our local symphony in our backyard.

Are there any artists you're looking frontwards to collecting or supporting in 2021?

Our collection has gradually coalesced effectually female-identifying and queer artists and nosotros are excited to go along to support these artists and their galleries into the coming year. All the same, there are several artists not yet in our collection whose works we admire, including 's haunting dreamy tableaus, 's ambiguous intimate creations, and 's fascinating monochromatic compositions. In improver, it seems that nosotros discover a new emerging creative person every time we open Instagram, so you lot never know what might happen in 2021!

Allan and Mei Warburg

Hong Kong; Sonoma, California

Ugo Rondinone, White Bluish Monk, 2020. Courtesy of the artist and The Donum Estate, Sonoma, California.

Ugo Rondinone, Black Red Nun, 2020. Courtesy of the artist and The Donum Estate, Sonoma, California.

What was the about meaningful artwork y'all purchased in 2020?

Although we like to collect through commissioning, nosotros can't stop calculation new works to our collection if something catches our optics. Donum is a 200-acre estate, therefore we are drawn to awe-inspiring works. We added three to the collection this year; they haven't been placed yet, equally the state needs to be prepared. Early spring is the best time for this; in addition to the vineyard and the Donum buildings, we are a living farm, so we accept to consider the seasons. Non to mention the most recent fires which devastated California; we were i of the lucky ones and our thoughts are with those who were not and so fortunate.

We take followed the piece of work of

for a while due to his land art works. Nosotros had seen Vii Magic Mountains (2016) in the Nevada Desert a few years back. The way they popped off the horizon made us think of how they would wait confronting the backdrop of the rolling hills of southern Sonoma. Nosotros love the formed stones as objects of beauty and contemplation, the inner self and the natural earth in these bright colors. And then nosotros acquired nuns + monks from his prove [at Galerie Eva Presenhuber] in Zürich in September. We have decided to place them around our lake and works are underway to build upward the foundations underneath them.

We also commissioned

to make some new works for Donum House—which is currently being transformed by architect and designer David Thulstrup. Hein has made us these colored mirror balloons to go in our tasting rooms. They produce beautiful notwithstanding distorted perspectives of the surrounding space. We already have a work of his on the estate, One- Two-3 (2017), a curved construction that our visitors honey.

Would y'all say you've been more or less active every bit collectors in 2020 than in years past?

Jeppe Hein, installation view, from left to right, of Redwine Mirror Balloon, Chardonnay Mirror Airship, and Rose Mirror Balloon, 2020. Courtesy of the creative person and The Donum Manor, Sonoma, California.

Nosotros are in discussion with a number of artists for Donum. We really just finalized plans for a major work. The pandemic gave us and the artist a bit more fourth dimension to remember and consider the work. The placement of fine art on Donum involves a lot of thinking and land preparation. As our projects are long term, our activity hasn't changed; we are committed patrons and have an evolving vision for our manor. We produce eight,000 cases of estate-grown pinot noir and chardonnay a year; everything we do has to complement one another, from harvest to sustainable farming.

We recognize that the arts have been seriously impacted past COVID-19 and we have stood past our artists. Naturally, we are involved with some nonprofit arts organizations, where we live in Hong Kong and those local to Donum, in the Bay Area.