#Valeria Napoleone | Explore Tumblr posts and blogs

art-now-germany · 4 years ago

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Quiff,, Wolfgang Schmidt

Sincerely to: Andy Hall, Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani, Paul Allen, Edythe L. and Eli Broad, Rosa and Carlos de la Cruz, Patricia and Gustavo Phelps de Cisneros (Venezuela and Dominican Republic), Donald and Mera Rubell, Steven A. Cohen, Theo Danjuma, Maria Baibakova, Adrian Cheng, Ingvild Goetz (München), Victoria and David Beckham, Leonardo Dicaprio, Alan Lau, Camilla Barella, Ralph DeLuca, Arthur de Ganay, Ramin Salsali, Moises Cosio, Pedro Barbosa, Monique and Max Burger, Joaquin Diez-Cascon, Luciano Benetton, Roman Abramovich and Dasha Zhukova (Russia), Robbie Antonio (Philippines), Hélène and Bernard Arnault (France), Maria and Bill Bell (United States), Peter Benedek (United States), Debra and Leon Black (United States), Christian and Karen Boros (Germany), Irma and Norman Braman (United States), Peter Brant (United States), Basma Al Sulaiman, Marc Andreessen, Laura and John Arnold, Camilla Barella, Swizz Beatz, Claudia Beck, Andrew Gruft, Robert and Renée Belfer, Lawrence Benenson, Frieder Burda (Germany), Richard Chang (United States), Kim Chang-il (Korea), David Chau and Kelly Ying (China), Pierre T.M. Chen (Taiwan), Adrian Cheng (China), Kemal Has Cingillioglu (United Kingdom), Nicolas Berggruen, Jill and Jay Bernstein, Ernesto Bertarelli, James Brett, Jim Breyer, Christian Bührle, Valentino D. Carlotti, Edouard Carmignac, Trudy and Paul Cejas, Dimitris Daskalopoulos (Greece), Zöe and Joel Dictrow (United States), George Economou (Greece), Alan Faena (Argentina), Mark Falcone and Ellen Bruss (United States), Amy and Vernon Faulconer (United States), Howard and Patricia Farber (United States), Larry and Marilyn Fields (United States), Marie Chaix, Michael and Eva Chow, Frank Cohen, Michael and Eileen Cohen, Isabel and Agustín Coppel, Anthony D'Offay, Hélène and Michel David-Weill, Antoine de Galbert, Ralph DeLuca, Amanda and Glenn Fuhrman (United States), Danielle and David Ganek (United States), Ken Griffin (United States), Agnes Gund (United States), Steven and Kathy Guttman (United States), Andrew and Christine Hall (United States), Lin Han (China), Henk and Victoria de Heus-Zomer (Holland), Grant Hill (United States), Maja Hoffmann (Switzerland), Erika Hoffmann-Koenige (Germany), Tiqui Atencio Demirdjian, Beth Rudin DeWoody, Eric Diefenbach and JK Brown, David C. Driskell, Mandy and Cliff Einstein, Rebecca and Martin Eisenberg, Ginevra Elkann, Tim and Gina Fairfax, Dana Farouki, Michael and Susan Hort (United States), Guillaume Houzé (France), Wang Jianlin (China), Dakis Joannou (Greece), Alan Lau (China), Joseph Lau (China), Melva Bucksbaum and Raymond Learsy (United States), Agnes and Edward Lee (United Kingdom), Aaron and Barbara Levine (United States), Adam Lindemann (United States), Eugenio López (Mexico), Jho Low (China), Susan and Leonard Feinstein, Nicoletta Fiorucci, Josée and Marc Gensollen, Alan and Jenny Gibbs, Noam Gottesman, Florence and Daniel Guerlain, Paul Harris, Barbara and Axel Haubrok, Alan Howard, Fatima and Eskandar Maleki (United Kingdom), Martin Margulies (United States), Peter Marino (United States), Donald Marron (United States), David MartÍnez (United Kingdom and Mexico), Raymond J. McGuire (United States), Rodney M. Miller Sr. (United States), Simon and Catriona Mordant (Australia), Arif Naqvi (United Kingdom), Peter Norton (United States), Shi Jian, Elton John, Tomislav Kličko, Mo Koyfman, Jan Kulczyk, Svetlana Kuzmicheva-Uspenskaya, Pierre Lagrange, Eric and Liz Lefkofsky, Robert Lehrman, François Odermatt (Canada), Bernardo de Mello Paz (Brazil), José Olympio & Andréa Pereira (Brazil), Catherine Petitgas (United Kingdom), Victor Pinchuk (Ukraine), Alden and Janelle Pinnell (United States),Ron and Ann Pizzuti (United States), Michael Platt (Switzerland), Miuccia Prada and Patrizio Bertelli (Italy), Howard and Cindy Rachofsky (United States), Mitchell and Emily Rales (United States), Dan Loeb, George Lucas, Ninah and Michael Lynne, Lewis Manilow, Marissa Mayer, David Mirvish, Lakshmi Mittal, Valeria Napoleone, John Paulson, Amy and John Phelan, Ellen and Michael Ringier (Switzerland), David Roberts (United Kingdom), Hilary and Wilbur L. Ross Jr. (United States), Dmitry Rybolovlev (Russia), Lily Safra (Brazil),Tony Salamé (Lebanon), Patrizia Sandretto (Italy), Eric Schmidt (United States), Alison Pincus, Heather Podesta, Colette and Michel Poitevin, Thomas J. and Margot Pritzker, Bob Rennie, Craig Robins, Deedie and Rusty Rose, Stephen Ross, Alex Sainsbury, Alain Servais (Belgium), Carlos Slim (Mexico), Julia Stoschek (Germany), Budi Tek (Indonesia), Janine and J. Tomilson Hill III (United States), Trevor Traina (United States), Alice Walton (United States), Robert & Nicky Wilson (United Kingdom), Elaine Wynn (United States), Lu Xun (China), Muriel and Freddy Salem, Denise and Andrew Saul, Steven A. Schwarzman, Carole Server and Oliver Frankel, Ramin Salsali, David Shuman, Stefan Simchowitz, Elizabeth and Frederick Singer, Jay Smith and Laura Rapp, Jeffrey and Catherine Soros, Jerry Yang and Akiko Young (United States), Liu Yiqian and Wang Wei (China), Anita and Poju Zabludowicz (United Kingdom), Jochen Zeitz (South Africa), Qiao Zhibing (China), Jerry Speyer and Katherine G. Farley, Susana and Ricardo Steinbruch, Kai van Hasselt, Francesca von Habsburg, David Walsh, Artur Walther, Derek and Christen Wilson, Michael Wilson, Owen Wilson, Zhou Chong, Doris and Donald Fisher, Ronnie and Samuel Heyman, Marie-Josee and Henry R. Kravis, Evelyn and Leonard Lauder, Jo Carole and Ronald S. Laude, Francois Pinault (France), Udo Brandhost (Köln), Harald Falckenberg (Hamburg), Anna and Joseph Froehlich (Stuttgart), Hans Grothe (Bremen), UN Knecht (Stuttgart), Arendt Oetker (Köln), Inge Rodenstock (Grünwald), Ute and Rudolf Scharpff (Stuttgart), Reiner Speck (Köln), Eleonore and Michael Stoffel (Köln), Reinhold Würth (Niedernhall), Wilhelm and Gaby Schürmann, Ivo Wessel, Heiner and Celine Bastian, Friedrich Karl Flick, Monique and Jean-Paul Barbier-Mueller (Genf), Christa and Thomas Bechtler (Zürich), David Bowie (Lausanne), Ulla and Richard Dreyfus (Binningen und Gstaad), Georges Embiricos (Jouxtens and Gstaad), Friedrich Christian "Mick" Flick (Hergiswil and Gstaad), Esther Grether (Bottmingen), Donald Hess (Bolligen), Elsa and Theo Hotz (Meilen), Baroness Marion and Baron Philippe Lambert (Genf), Gabi and Werner Merzbacher (Zürich), Robert Miller (Gstaad), Philip Niarchos (St. Moritz), Jacqueline and Philippe Nordmann (Genf), Maja Oeri and Hans Bodenmann (Basel), George Ortiz (Vandoeuvres), Graf and Gräfin Giuseppe Panza di Biumo (Massagno), Ellen and Michael Ringier (Zürich), Andrew Loyd Webber, Steve Martin, Gerhard Lenz, Elisabeth and Rudolf Leopold.

https://www.saatchiart.com/art/Painting-Quiff/694205/3616535/view

#portraiture #abstract #fineart #popart #modern #WolfgangSchmidt

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toloveawarlord · 5 years ago

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OC Masterlist

My regular masterlist is in my bio!

This is an incomplete list of OCs. This list includes all OCs that I am currently putting under the WIP folder. If you’ve ever wondered what the inside of my brain looks likes, this is a good representation.

This list currently only contains OCs for Ikerev, Ikevamp, Ikesen, and Obey Me. Other otome will added in time as I put out more work.

It’s an extensive list so it’s under a read more!

Ikemen Revolution:

Iris Adley:

Profile

Pairing: Edgar Bright

Story: For Crimson Glory

Colette Marston

Profile

Pairing: None

Story: Visions of Red

Nova Clemence

Profile

Pairing: Ray Blackwell

Story: Shattered Glass

Sophia Emerson

Profile

Pairing: Fenrir Godspeed

Story: Etched in Blood

Aspen Lancaster

Profile

Pairing: Jonah Clemence

Story: Behind the Times

Arielle Godspeed

Profile

Pairing: Oliver Knight

Story: The Time Between

Greer Atlas

Profile

Pairing: Lancelot Kingsley

Story: Tale as Old as Time

Aster

Profile

Pairing: None

Story: Ghost in the Starlight

Shae Durham

Profile

Pairing: Edgar Bright & Luka Clemence (Poly Ship)

Story: For My Master (nsfw)

Genevieve Reyes

Profile

Pairing: Luka Clemence

Story: My Solemn Vow

Emery Hayes

Profile

Pairing: Luka/Jonah Clemence

Story: What Once Was

Pippa Marcelle

Profile

Pairing: Lancelot Kingsley & Harr Silver & Sirius Oswald (Poly Ship)

Story: In A Year

Joanna Clemence

Profile

Pairing: Edgar Bright

Story: The Jack of My Heart

Evie Noelle Clemence Bright

Profile

Parents: Edgar Bright & Luka Clemence

Story: A Pair of Jacks

Ivy & Rose Kingsley-Clemence

Profile

Parents: Lancelot Kingsley & Jonah Clemence

Story: Crowned Royalty

Wren Blackwell

Profile

Pairing: Undetermined

Story: Star Crossed (coming soon!)

Sabrina Clemence

Profile

Pairing: Undetermined

Story: Unreleased

Annalise Perry

Profile

Pairing: Kyle Ash

Story: Unreleased; Also in “Chaotic Kingsley”

Sage Altimari

Profile

Pairing: Harr Silver

Story: Unreleased

Clarissa Bright

Profile

Pairing: Loki Genetta

Story: Unreleased

Lumi Blake

Profile

Pairing: None

Story: Unreleased

Jinx

Profile

Pairing: Undetermined

Story: Dead Talks (coming soon!)

Hollis Ash

Profile

Pairing: Fenrir Godspeed

Story: Unreleased

Naomi Kaiser

Profile

Pairing: Red Army (Poly)

Unreleased (nsfw)

Sapphire:

Profile

Pairing: Undetermined

Unreleased

Ikerev Fae Au:

Briar

Profile

Pairing: Luka Clemence

Story: Unreleased

Neri

Profile

Pairing: Zero

Story: Unreleased

Sif

Profile

Pairing: Lancelot Kingsley

Story: Unreleased

Ithica

Profile

Paring: Fenrir Godspeed

Story: Unreleased

Cersi

Profile

Pairing: Jonah Clemence

Story: Unreleased

Vesta

Profile

Pairing: Dean Tweedle

Story: Unreleased

Pisti

Profile

Pairing: Edgar Bright

Story: Unreleased

Lycus

Profile

Pairing: Kyle Ash

Story: Unreleased

Erato

Profile

Pairing: None

Story Unreleased

Argos

Profile

Pairing: Seth Hyde

Story: Unreleased

Ikerev Kids Older Gen:

Atticus Kingsley

Profile: Toddler ; Teen

Parents: Lancelot Kingsley & Victoria Buckley

Story: Chaotic Kingsley

Lyra Kingsley

Profile: Toddler ; Teen

Parents: Lancelot Kingsley & Victoria Buckley

Story: Unreleased

Caroline Clemence

Profile: Toddler ; Teen

Parents: Jonah Clemence & Eleanor Atlas

Story: A Queen in the Making

Jude Clemence

Profile: Toddler ; Teen

Parents: Jonah Clemence & Eleanor Atlas

Story: Unreleased

Eden Bright

Profile: Toddler ; Teen

Parents: Edgar Bright

Story: The Red Army Princess

Beckett Ash

Profile: Toddler ; Teen

Parents: Kyle Ash

Story: Ashes to Ashes

Sadie Ash

Profile: Toddler ; Teen

Parents: Kyle Ash

Story: Ashes to Ashes

Otto Blackwell

Profile: Toddler ; Teen

Parents: Ray Blackwell

Story: Unreleased

Castor Oswald

Profile: Toddler ; Teen

Parents: Sirius Oswald & Grace Fuller

Story: Unreleased (coming soon!)

Nash Oswald

Profile: Toddler ; Teen

Parents: Sirius Oswald & Grace Fuller

Story: Unreleased (coming soon!)

Cosmo Oswald

Profile: Toddler ; Teen

Parents: Sirius Oswald & Grace Fuller

Story: Unreleased (coming soon!)

Ezra Clemence

Profile: Toddler ; Teen

Parents: Luka Clemence & Olivia Davenport

Story: Twin Collision

Valarie Clemence

Profile: Toddler ; Teen

Parents: Luka Clemence & Olivia Davenport

Story: Twin Collision

Sasha Hyde

Profile: Toddler ; Teen

Parents: Seth Hyde & Violet Halloway

Story: Devils in Disguise

Finley Godspeed

Profile: Toddler ; Teen

Parents: Fenrir Godspeed

Story: Black Army Mischief Maker

Lief Genetta

Profile: Toddler ; Teen

Parents: Loki Genetta

Story: Caged Magic

Lux Genetta

Profile: Toddler ; Teen

Parents: Loki Genetta

Story: Caged Magic

Casimir Silver

Profile: Toddler ; Teen

Parents: Harr Silver

Story: Unreleased

Khepri Atlas

Profile: Toddler ; Teen

Parents: Mousse Atlas & Nailah Katton

Story: The Atlas Puzzle

Scarlett Lapin

Profile: Toddler ; Teen

Parents: Blanc Lapin & Colleen Ainsley

Story: Unreleased

Declan Lapin

Profile: Toddler ; Teen

Parents: Blanc Lapin & Colleen Ainsley

Story: Unreleased

Valen Tweedle

Profile: Toddler ; Teen

Parents: Dean Tweedle & Lydia White

Story: Unreleased

Clea Tweedle

Profile: Toddler ; Teen

Parents: Dean Tweedle & Lydia White

Story: Unreleased

Rosaleen Tweedle

Profile: Toddler ; Teen

Parents: Dalium Tweedle

Story: Unreleased

Emmeline Tweedle

Profile: Toddler ; Teen

Parents: Dalium Tweedle

Story: Unreleased

Jaxon Tweedle

Profile: Toddler ; Teen

Parents: Dalium Tweedle

Story: Unreleased

*Younger Gen IkeRev Coming Soon!*

Ikemen Vampire:

Ophelia Rose

Profile

Pairing: All residents

Story: At Your Service

Alara Bayar

Profile

Pairing: None (might change when adult)

Story: And So They Met

Elodie Perrin

Profile

Pairing: Arthur Conan Doyle

Story: Unreleased (coming soon!)

Juniper Haywood

Profile

Pairing: Undetermined

Story: Unreleased (coming soon!)

Amelia Earhart

Profile

Pairing: Theo Van Gogh

Story: Unreleased (coming soon!)

Chuuya Nakahara

Profile

Pairing: Undetermined

Story: Unreleased

Jericho Blake

Profile

Pairing: Undetermined

Story: Unreleased

Asha

Profile

Pairing: Leonardo

Story: Unreleased (coming soon!)

Selia

Profile

Pairing: Jean D’Arc

Story: Unreleased

Pandora

Profile

Pairing: Napoleon Bonaparte

Story: Unreleased

Mina Van Gogh

Profile

Pairing: Charles & Arthur (Poly ship)

Story: Unreleased (coming soon!)

Elaine Odette Doyle

Profile

Pairing: Isaac Newton

Story: Truth in Simplicity

Ikevamp Kids: Unreleased

Ikemen Sengoku

Miki

Profile

Pairing: Nobunaga Oda

Story: Clever Canary

Katria Petrov

Profile

Pairing: Masamune Date

Story: Solitary Confinement

Rena Tokugawa

Profile

Pairing: Ieyasu Tokugawa

Story: The Ties that Bind

IkeSen Kids:

Natsu Oda

Profile

Pairing: Iri Tokugawa

Story: The Art of Love and War

Nadia Oda

Profile

Pairing: Senri Takeda

Story: The Art of Love and War

Hikaru Toyotomi

Profile

Pairing: Mei Akechi

Story: The Art of Love and War

Iri Tokugawa

Profile

Pairing: Natsu Oda

Story: The Art of Love and War

Minori Ishida

Profile

Pairing: None

Story: The Art of Love and War

Mai Akechi

Profile

Pairing: None

Story: The Art of Love and War

Mei Akechi

Profile

Pairing: Hikaru Toyotomi

Story: The Art of Love and War

Mari Date

Profile

Pairing: Yuri Sanada

Story: The Art of Love and War

Katsue Uesugi

Profile

Pairing: Satoru Takeda

Story: Unreleased

Senri Takeda

Profile

Pairing: Nadia Oda

Story: Unreleased

Saika Takeda

Profile

Pairing: None

Story: Unreleased

Satoru Takeda

Profile

Pairing: Katsue Uesugi

Story: Unreleased

Yuri Sanada

Profile

Pairing: Mari Date

Story: Unreleased

Yori Sanada

Profile

Pairing: None

Story: Unreleased

Obey Me:

Verena

Profile

Pairing: Asmodeus

Story: Unreleased (coming soon!)

Azazel

Profile

Pairing: None

Story: Unreleased

Beleth

Profile

Pairing: None

Story: Unreleased

Xaphan

Profile

Pairing: None

Story: Unreleased (coming soon!)

Valefor

Profile

Pairing: None

Story: Unreleased

Onoskelis

Profile

Pairing: Solomon

Story: Unreleased

Alrinach

Profile

Pairing:Undetermined

Story: Unreleased

Serafine

Profile

Pairing: Lucifer

Story: Unreleased (coming soon!)

Karina

Profile

Pairing: None

Story: Unreleased

Hex

Profile

Pairing: Satan

Story: Unreleased

Sybil & Silas

Profile

Pairing: Belphegor & Beel

Story: Unreleased (coming soon!)

NEXT GEN:

Lucifer:

Unreleased

Mammon:

Unreleased

Leviathan:

Henrik: Profile

Valeria: Profile

Cosmin (unreleased)

Nerin (unreleased)

Satan:

Coming Soon

Asmodeus:

Unreleased

Beelzebub

Unreleased

Belphegor

Coming Soon

Diavolo

Unreleased

Barbatos

Unreleased

Simeon

Unreleased

Luke

Unreleased

Solomon

Unreleased

Michael

Unreleased

#oc masterlist #ikerev oc #ikevamp oc #ikesen oc #ikemen revolution #ikemen vampire #ikemen sengoku #obey me #incomplete but long

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oubliettemagazine · 6 years ago

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Il mecenatismo al femminile: Emma Fenu intervista Valeria Napoleone, collezionista d’arte contemporanea

«Nessuna donna è un’isola»: una per tutte e tutte per una. ‒ Talk Show ideato e condotto da Serena Dandini

Valeria Napoleone

A Firenze, dal 21 al 23 settembre del 2018, si è svolto il meraviglioso Festival, diretto da Serena Dandini, intitolato “L’eredità delle donne”: è stata un’occasione preziosa di incontro, confronto, riflessione e condivisione di progetti che ha messo in luce, raccontando…

View On WordPress

#emma fenu #eventi firenze #mecenatismo al femminile #serena dandini #valeria napoleone #valeria napoleone intervista

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arttalks-london-blog · 7 years ago

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Philanthropy & Patronage 20.11.2015

This session of Art Talks focused on different modes of philanthropy and patronage within the changing landscape of funding cuts for artists, institutions and art organisations. Our speakers included Candida Gertler, founder of Outset Contemporary Art Fund and collector and patron Valeria Napoleone.

Candida Gertler OBE – Co-founding director of Outset Contemporary Art Fund. She initiated the contemporary art events as a board member of the British Friends of the Arts Museums of Israel and is Chair of the organization ‘Women in the Arts Lunch’. She co-founded Artprojx and developed its philanthropic arm resulting in the creation of Outset Contemporary Art Fund. Fore more than a decade, she serves as Executive Member of the Tate International Council. She was recipient of the 2010 Mont Blanc Award for Arts Patronage and was acknowledged as Officer of the Most Excellent Order of the British Empire (OBE) for services to Contemporary Visual Arts and Arts Philanthropy in Her Majesty’s 2015 Birthday Honours List.

“ There is not a single person I know who is indifferent to art if they open themselves up a little bit. Then it’s an explosion. ” - Candida Gertler

Valeria Napoleone – Collector and Patron. She started her collection in the mid 1990s, she resolved to acquire only works by women artists. Over the years, the collection has grown at a steady pace, covering a wide range of media, from pottery to video. Alongside her attempt to address gender inequality in art, Napoleone is an active patron of a number of arts organizations. She launched global project – XX - to get women artists into museum collections in the US and UK in collaboration with the Contemporary Art Society in London and Sculpture Center in New York. XX initiatives endeavor to increase the number of commissions and number of female artists in public collections.

“ Valeria Napoleone XX will build upon my continuous mission to support relevant artists’ practices and those realities which are overlooked and ignored by the mainstream. ” – Valeria Napoleone

Image Credit : Nathan Coley, We Must Cultivate Our Garden, 2008. Scaffolding and illuminated text, 9.9mx0.45m, Courtesy Parafin, London

#fatos ustek #Louise O'Kelly #candida gertler #outset #valeria napoleone #patronage #philanthropy #contemporary art #shoreditch house #soho house #culture #curator #artist #art #artworld #collector #gallery

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bild-er-words · 8 years ago

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Collector Valeria Napoleone on the Need to Support Women Artists

LONDON — When London-based collector Valeria Napoleone started her collection in the mid 1990s, she resolved to acquire only works by women artists. Over the years, the collection has grown at a steady pace, covering a wide range of media, from pottery to video. Notably, Napoleone avoids blue-chip names, supporting artists at the beginning or in the middle of their careers, such as Lily van der Stokker, Ella Kruglyanskaya, and Ida Ekblad. The collector is also known for developing enduring relationships with those artists she supports.

Alongside her attempt to address gender inequality in art, Napoleone is an active patron of a number of arts organizations, including the ever resourceful Studio Voltaire, a nonprofit gallery based in south London. She’s also a member of New York University President’s Global Council and sits on the board of the Institute of Fine Arts in New York City.

For the first time in almost two decades, key works from Napoleone’s collection are accessible to the public in Going Public – The Napoleone Collection. First shown at Graves Gallery, Sheffield last year, the traveling exhibition features pieces by the likes of Monica Bonvicini, Tomma Abts, Shirin Neshat, and Mai-Thu Perret. In December, the show moved to Touchstones Rochdale, in Greater Manchester, where it is still currently installed.

I met with Napoleone to talk about her collection, gender equality in art, and the meaning of going public.

Francesco Dama: Let’s start with Going Public. Why did you decide to work on the project, and why now?

Valeria Napoleone: Private collections going public is a very sensitive subject. Collectors have always been loaning to institutions, but what is very different at the moment is the context. Quite a few incredible exhibition spaces are now closing due to cuts in public funding. So there is a sense of emergency and a need for creativity. It’s not just about loaning; it’s about collaboration.

What I’ve been doing at Sheffield and Rochdale came very spontaneously, like everything in my life. Both cities have communities that are quite deprived of contemporary art. They are not exposed to it, and I think it’s absurd. Art is not just for the art lovers; it can be appreciated at many different levels. So when [the museums] initially approached me with the idea of showing my collection, I instinctively said “yes.” That was the beginning of a lot of work and discussions.

FD: Did you work with the curators at the museums?

VN: Yes, we worked together, but the final decisions were mine. I selected the pieces, and we curated them in the space, with minor changes in the display between the two exhibitions. Touchstones Rochdale is much bigger, so we could accommodate bigger works. It was fascinating to curate pieces that I know well — that are part of my collection — outside the domesticity of my place.

Installation view of Going Public – The Napoleone Collection at Touchstones Rochdale

FD: So the collector becomes the curator?

VN: Yes, you do the extra step because you want to make an impact. And you want to maximize this impact. When I started the selection process, looking at my inventory, thinking about the communities in Sheffield and then Rochdale, I didn’t want to alienate anybody. I wanted to open doors to contemporary art and to be connected with them, stirring conversations. So I selected works that could engage rather than put them off. Nothing too conceptual, nothing too dry. I selected works that reflect the way I collect, considering the span of time of my collection. I included pieces I bought in 1997 and some I acquired in the past three years, starting with Monica Bonvicini’s video “Hausfrau Swinging.”

FD: Your activity in the art world could be described as an effort to address gender inequality. However, I sometimes feel puzzled by some art events or exhibitions that promote themselves as supporting gender equality in art. I sometimes have the feeling that the artworks on display have been selected only because of the gender of their makers, rather than their quality. It’s like curators want to tick all the boxes of political correctness.

VN: These days museums and curators are not immune to being seduced by the market and trends. It is often that they do not take risks or follow their own visions. Women artists have been left behind for so long that to catch up and have prominent presence in museums takes visionary and courageous individuals, who are rare. Most often incredible women artists are represented not by the so-called “blue-chip” galleries, but by younger or mid-career gallerists who have a tough journey ahead and lots of work to do. They not only have to navigate the gender inequality and bias, but also market-driven choices on behalf of curators.

Installation view of Going Public – The Napoleone Collection at Touchstones Rochdale

FD: How do you address this disparity? Can you give me a concrete example?

VN: As you know, I sit on the board of the Institute of Fine Arts in New York. In October of last year we relaunched the Great Hall Exhibitions, adding a special focus on the practice of women artists. What’s different from other, similar programs is that ours is based on two exhibitions a year only. This allows time to build up context around the show. The committee selects the artist, the students of the institute curate the exhibition and create work around the program: screenings, talks, discussions, performances.

FD: As with any cultural process, this will take time …

VN: Absolutely. It’s not going to happen in a generation. We have to navigate it carefully and give the right message. It’ll take time, but it’s also very exciting. We can be catalysts; we can inspire people to look in new directions.

Going Public – The Napoleone Collection continues at Touchstones Rochdale (The Esplanade, Rochdale, UK) through March 11.

First published on Hyperallergic, 27 February 2017

#Valeria Napoleone #Francesco Dama #Touchstones Rochdale #Graves Gallery

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ateliertito · 5 years ago

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// Happy International Women's Day @valerianapoleone - Art Collector and Philanthropist from London, Milan Born Valeria Napoleone has been a powerful voice for women in the arts over past two decades. Great insights and inspiring conversations @Art Basel 2019. - #internationalwomensday #women #womensday #artcollector #christies #valerianapoleone #valeria #womencollectors #womenartists #mindthepricegap #tito #titö #ateliertito #ateliertitö #artbasel #artbaselconversations #artbaselswitzerland (at Messe Basel) https://www.instagram.com/p/B9fAhDpBhF7/?igshid=14nackeb8vpz4

#internationalwomensday #women #womensday #artcollector #christies #valerianapoleone #valeria #womencollectors #womenartists #mindthepricegap #tito #titö #ateliertito #ateliertitö #artbasel #artbaselconversations #artbaselswitzerland

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edicolaelbana · 6 years ago

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Edicola Elbana Show del 4 Aprile 2019

Se torna Napoleone s'incazza come una bestia, ha lasciato le chiavi pe fassi guardà la casa e ha detto: " ogni tanto aprite per fa sciorinà", ma.so 200 anni che sta villa sta aperta due ore il giorno e basta e i tour operator vendono i pacchetti co la villa in foto bella lustra e infiocchettata, mentre invece nella realtà è lasciata al degrado.

Cappelle rotte,cappelle frantumate e cappelle di marmo,centrodestra alle primarie e farmaci equivalenti,nell'Edicola più scappellata del web.

Chiudo con una segnalazione seria ed importante, Sabato la scuola Incanto della nostra amica Valeria Pireddu, terrà un concerto.alle terme di San Giovanni, per aiutare la giovane Simona e la sua famiglia in un momento veramente brutto.

Ascoltate buona musica ed aiutate una famiglia che ha sicuramente bisogno.

#isoladelba #edicolaelbana

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caveartfair · 6 years ago

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How Women Artists Survive the Challenges of Mid-Career Stagnation

Each year, London-based collector Valeria Napoleone sets an acquisition budget for herself, and considers what works she might add to her roughly 400-work-strong collection of art by women, built over more than two decades. In the past five years, she noticed a strange, recurring phenomenon: Works by young artists, often barely out of grad school, commanded similar or higher prices than pieces by accomplished mid-career artists, some of whom she herself had been buying since the late 1990s.

“You have someone in her fifties, with a long story of exhibitions, and the price is the same as an artist who’s just had one or two solo shows in a gallery, so what’s happening here?” said Napoleone. “I’m confronted with this more and more every day.”

Any artist’s mid-career period—which, for this story, is loosely defined as an artist who has been working continuously for at least a decade—can be fraught. But it is especially challenging for female artists, who face deeply ingrained stereotypes and biases, whose work is less easily received by a male-dominated art market, and who may be less inclined to advocate for themselves than their male peers. Interviews with more than a dozen artists, dealers, and arts professionals show how women navigate this tricky terrain—with sheer perseverance, conscious reinvention, and the help and support of friends.

“It is definitely a sensitive time for male and female artists,” said Mary Sabbatino, who, as vice president and partner of Galerie Lelong, has worked with or represented the estates of artists such as Nancy Spero, Etel Adnan, and Ana Mendieta. Collectors will take a chance on younger artists, especially at a lower price point; artists with established museum track records are considered a surer bet. Curators, meanwhile, would prefer to be credited with the discovery of a new voice.

At middle-age, women no longer comfortably conform to the “wild child” image the world expects of an artist.

“In mid-career, artists are kind of in the middle. They’re neither completely vetted, nor are they new,” said Sabbatino.

This is regrettable, said Kathleen Gilrain, executive director of Brooklyn exhibition space Smack Mellon, because at mid-career, an artist is often maturing into a richer, more nuanced phased of their work. Smack Mellon, of which Gilrain is also chief curator, offers exhibition opportunities specifically to mid-career artists without gallery representation, with a focus on women.

“An artist might make a big splash when they’re younger and then they get into this mid-career phase when they’re not the name any more, and then they kind of disappear,” said Gilrain. “Well, they don’t disappear! They’re still making work, and they’re making a lot better work, maybe, than when they made that big splash.”

“The work gets better, artists get better when they keep making art,” she continued. But unfortunately, she added, “there’s a serious ageism problem in the art world, and I see it a lot.”

This problem can be compounded by the lack of clear professional stepping stones in the art world, said Mark Smith, executive director of Axisweb, a nonprofit supporting artists in the U.K.

“In other career paths, you can clearly see, ‘Okay, that’s where I go next,’ and as an artist, that’s not there,” he said. “If you consider an artist’s career, it’s very up and down. One of the problems many artists face when it’s 10 or 15 years in, is they’re no longer the new thing.”

The new generation of artists’ ease with social media and comfort with self-promotion and creating their own opportunities puts older artists at an even greater disadvantage, Smith said.

“They’re not so digitally savvy as younger artists, and don’t have that DIY approach to doing things,” Smith said. “Artists who’ve been doing it for 10 or 15 years, maybe they’re worn down by the process. Younger artists are more switched on to that DIY way of doing things.”

Lynn Hershman Leeson, 77, has worked for most of her life in San Francisco, holding as many as five adjunct teaching jobs at once to support herself and her daughter while pursuing her art career. “It was really scary and grueling, and I was like one step ahead of the law in getting evicted and raising a kid,” she said. “I was almost 50 when I got my first job.…Things like a postage stamp, you had to think twice about whether you’re going to buy that.”

Leeson was finally “discovered,” as it were, in 2014 by Gavin Brown’s Enterprise’s then-staffer Bridget Donahue, who took the time to pore through a binder of materials and DVDs covering Leeson’s lifetime of work. In 2015, Donahue opened her eponymous gallery with a mini-retrospective of five decades of Leeson’s work, helping jump-start her career in the United States.

Nina Katchadourian, 50, said her career has been marked by female “gate-openers” such as her San Francisco dealer Catherine Clark, as well as curators she has worked with very closely, often on multiple occasions.

“The people who have been the most supportive of my career in the past 10 years have been women,” Katchadourian said. “My closest professional relationships have been actually with women…with the ones who have really put their full weight and trust and faith behind what I’m doing. There have been some amazing men, too, but it does sort of strike me now that it’s mostly women, actually.”

The artist Marilyn Minter, now 70, attributes the divergence between women and men’s career paths in part to the power wielded by male collectors, who were unreceptive to the feminist work she and her female colleagues were making as they came of age. This was especially true of collectors of her generation, whose buying power also grew as they approached middle age.

Portrait of Marilyn Minter and Laurie Simmons by Laurel Golio for Artsy.

“I’m not a sociologist or anthropologist, but until recently, the collector base was all men of the same age as that of the women artist…and they never saw a powerful woman. If their mother had a job at all they were nurses, or teachers, or librarians, or housewives,” Minter said. “They can’t wrap their head around someone being an innovator and being female.”

Minter watched as talented men in her cohort of artists were lionized by male collectors and the press, while equally talented women had careers that never quite reached the same peaks, especially in market terms.

“The male collectors, they go after the identified ‘art heroes,’ the so-called Picassos of the time, the ones that generate all the press,” she said, acknowledging that some (she cited Jeff Koons, Christopher Wool, and Richard Prince) “are very good,” while others, who are “just terrible,” nonetheless get the backing of dealers and auction houses.

“Why isn’t Kara Walker selling for as much as Jeff Koons? Why isn’t Cindy Sherman? They changed art history as much as Jeff Koons did,” Minter said.

Why, indeed. Artists offered a wide array of explanations of how the mid-career experience can challenge women, from the asymmetric social expectations or parenting obligations that hobble many women’s careers, to art-world specific factors such as the myth of the heroic male genius.

“The whole structure of the art world is built on getting a certain kind of commercial and institutional support that has been denied to women,” said Joan Semmel, 86. “In the beginning of a career, one can fight against it and get by on just the sheer novelty of them having a woman, that has, quote, ‘talent’ and ability…and but the problem is, how do you get the institutions to support that career?”

The historic worship of male creative genius, Semmel said, paves the way for collectors and museums to buy into men’s work.

“There’s the kind of mythology of the heroic male genius who comes on the scene and pisses in the fireplace,” she said. “It’s a little hard for us to piss on the fireplace. We don’t function quite the same way.”

“People are more comfortable after a certain age with the profile of the woman artist as a crazy old lady.”

Creative genius in women, in the art world’s stereotype, often wears a different frame, Semmel said. In women, genius often takes “the form of the beautiful fabulous woman who’s the lover of whoever and has made these wonderful paintings, or else the madness��it’s wonderful to have the madness in there somehow, that in some way accounts for the genius that this poor woman has.”

That latter aura is most readily ascribed to women in their reckless youth, or in old age; Laurie Simmons, 69, believes that “people are more comfortable after a certain age with the profile of the woman artist as a crazy old lady.” But at middle-age, women no longer comfortably conform to the “wild child” image the world expects of an artist.

Mary Kelly explored this in-between period in a work tellingly titled Interim Part I: Corpus (1984–85), a series of texts on aging, narrated through scenes of female camaraderie, discussions of fashion, a day at the beach preceded by the agony of bikini shopping. At the 40th birthday party of a friend, Kelly wrote, “Sarah interrupts to tell me the leather jacket is lovely but she distinctly remembers that I said I’d never wear one. I confess I finally gave in for professional reasons, that there’s so much to think about now besides what to wear, that the older you are the harder it seems to be to get it right and that the uniform makes it a little easier.”

Installation view of Mary Kelly, Interim Part I: Corpus, 1984–85 in Pippy Houldsworth Gallery’s booth at Frieze London, 2018. Courtesy of Pippy Houldsworth Gallery.

Speaking alongside the Corpus installation, which was shown at Frieze London in October, Kelly described how approaching one’s mid-career phase, especially as a woman, makes it harder to conform to the “marketable identity of the artist as younger, dissident” type who “has a drug habit,” which is part of the myth of the artist as a creative Other. “We’re part of the entertainment industry,” Kelly said.

The sexism women face is pernicious and grinding. “It’s very hard to even talk about it, because it’s like a thousand blows,” Semmel said. “It happens in increments, in small shots, over and over and over again, in different ways, and a lot of people get discouraged.”

Judith Bernstein—represented by Kasmin gallery in New York, The Box in Los Angeles, and Karma International in Zurich—said the biggest obstacle facing women in the art world is self-doubt. She cites the writings of Louise Bourgeois, another artist famously ignored for most of her career, as inspiration.

“She never stopped making work,” Bernstein said. “That is the way to overcome self-doubt, to continue on.”

Philadelphia Civic Center Censorship Petition, 197 Courtesy of Judith Bernstein.

For nearly a quarter-century, from her early forties until her mid-sixties, Bernstein, 76, did not have a solo show. Her radical critiques of male sexuality, as seen in her famous “Screw Drawings,” didn’t earn her many admirers among the male establishment.

“Being a woman, feminist, and making sexual work that critiqued men had its many disadvantages,” Bernstein said. “There were so many mid-career women who were also dead in the water. We did what we had to do to sustain ourselves and our studios. I taught,” she added, though she believes the censorship also affected her academic career. “I never made tenure and was always given adjunct positions.”

The perceptual barriers women face in their mid-career years are often compounded by the demands care burden that comes with parenthood, which, in every country and culture, still falls disproportionately on women. While many female artists describe parenthood as an experience that enriches their lives and deepens their artistic practices, it unquestionably demands time that previously might have gone to the self-promotion and networking that is often critical to career advancement in the relationship-driven art industry. In a 2011 Axisweb survey of 138 artists, half of the respondents said childcare responsibilities had hindered their career; according to Smith, the majority of artists who said that were women.

“It definitely becomes harder, once you have a family and you’re raising kids, to find the time to not only spend time in the studio making your work, but to promote and…[go] out there and [meet] people, the curators and writers that can promote your work,” said Gabriel de Guzman, Smack Mellon’s curator and director of exhibitions.

Men, Semmel said, “could hide [children] more easily. They were able to handle that kind of double life more easily than a woman could, because she was charged with most of the childrearing.” Regardless of how much childrearing a female artist did, the decision to become a parent often changed people’s perceptions.

“I have a list of things male artists said to me that are just so insulting,” said Simmons, whose mid-career period coincided with the birth of her elder child, the director and writer Lena Dunham. “‘Well, maybe you should find a gallery that’s sympathetic to women with children,’” one man told her. “What gallery exactly would that be? The ‘Women With Children Gallery’?” Simmons laughed. She recalled another critic and curator who was known to tell people, “Oh, Laurie’s work was much better before she had children.”

“There was a time when you couldn’t admit you had a child because that would immediately make you ‘not a serious artist,’” remembered Semmel. “Not men of course, but just women. So you hid your children when people came to look at work.”

Natalia Nakazawa, a New York–based artist and the assistant director of EFA Studios at the Elizabeth Foundation for the Arts, agreed that when an artist’s mid-career period coincides with the raising of small children, it can be challenging.

“It’s the highest point of activity,” said Nakazawa, 36. “The amount of stuff that has to be completed—you have to be at ultimate functionality.”

“There was a time when you couldn’t admit you had a child because that would immediately make you ‘not a serious artist.’”

But in her experience, it pushed her and other mothers she knows to greater heights of creativity, ingenuity, and collaboration, both in life and in art.

“I actually think it’s a very dynamic period, and I think it’s one that…the art world has had the wrong attitude about,” Nakazawa said. “It’s like, ‘Oh, poor you, you have a child, that must suck for you.’”

Nakazawa and her friend Wanda Gala, a performance artist, are both parents. To save on childcare and support each other’s careers, they trade babysitting duties when they need to go out at night and network. Gala drops off her son with Nakazawa if she has to work all night on an installation, or she’ll watch Nakazawa’s three-year-old son while she goes to an opening.

“Let’s face it, the whole art world is based on evening events,” she said, which normally ties up parents or forces them to pay for expensive babysitters. “It clicked on so many levels, and our kids love each other. It was one of those things where it makes sense, if we rely on each other.”

When Abigail Reynolds, a Cornwall-based artist in her forties known for her intricate collages, won 2016’s BMW Art Journey award, she saw a marked contrast between her deep ambivalence around leaving her children, then seven and eight, and the reactions of men she spoke to about her upcoming journey, which took her along Silk Road trade routes, photographing and documenting lost libraries.

“They’d be like, ‘Ah great, you can just not have the children with you, you can have all that time on your own!’” she said. “But it doesn’t feel like that for me. It’s not just, ‘Yay, off I go, yippee.’ It’s actually bittersweet, and I’m torn.…I noted how many men said that to me, because I actually thought about taking the children with me along the Silk Road, which would have been nuts.”

“Women tend not to leave their children for extended periods over that time,” Reynolds continued. “It’s very hard to do so, because your partner basically has to pick everything up, that’s a big negotiation, that’s a big ask. And partly because you just miss them and you feel like you should be there.”

Reynolds avoids identifying herself as a “middle-aged woman,” the same way she wears vaguely androgynous clothes; biographical details or labels are “a constraint as much as they are useful,” she finds. Middle age, in particular, comes with a set of assumptions wholly at odds with her outlook and personal values.

“I prize flexibility, suppleness, openness, and simple direct enjoyment,” Reynolds said. “None of these qualities do we socially attribute to middle age.”

What sustains men in the rocky mid-career period? The explanations often mirror the experience of their female peers. Instead of exclusion and discrimination, boys’ clubs; instead of childrearing obligations, a partner who will do the lion’s share of the work; instead of self-doubt and discouragement, entitlement and ambition.

“Men were, and still are, much more aggressive,” said Bernstein. “They dominate conversations, and their entitlements and expectations are far greater. This is changing, but it is so entrenched and still present in the art world.”

Leeson has noticed it, too.

“Men have a different kind of entitlement and confidence than I did, and even when I went out and tried, I think I made it worse. I’m not a great schmoozer,” she said. “In fact, once someone was interested in buying something, and then they met me and changed their mind,” she added, an experience that further diminished her appetite for schmoozing. “When you are rejected like that, it just does not build your confidence.”

Plus, men had many more colleagues and peers in the art world, Leeson said: “They had groups, so they met, and they helped each other.” Women weren’t necessarily showing or selling enough to exercise leverage on each other’s behalf.

“Men have a different kind of entitlement and confidence than I did, and even when I went out and tried, I think I made it worse.”

Sculptor Judy Fox, 61, said the schmoozing came naturally to her when she was younger; she rather enjoyed the openings and parties. The problem arises later, when women approach what comedian Amy Schumer delicately termed their “last fuckable day.”

“Being an artist now is…almost 50 percent celebrity-ness and charm, and in order to get past that, you have to have really strong work,” said Fox. “Men’s charm, aka sexiness, lasts up until they’re 55, whereas women aren’t sexy after 40, 45, and there’s a huge flirtation thing that goes on in the art world that has to do with charming curators.”

Men, Fox added, are also socialized to value professional success more, giving them “a lot more motivation,” in her observation. (Over the years, studies have shown that people in general are uncomfortable with ambitious women, who often face backlash for self-promotion).

Katchadourian was still grappling with these questions in her thirties. Now, coming off of a traveling mid-career retrospective at age 50, she is no longer ambivalent.

“It took me a while to become comfortable with the idea of being ambitious and wanting success and having success when it happens,” she said. “It feels like a different thing if you’ve been working really hard at something for 25 or 30 years.”

“The art world loves young bad boys and old ladies,” Marilyn Minter loves to say.

In recent years, women in their seventies, eighties, nineties, and even hundreds, as well as long-deceased female artists, have been championed by dealers in need of new material to offer collectors and museums belatedly assessing their male-heavy collections.

The attention lavished on the post-menopausal set has not gone unnoticed by women in their mid-career stage.

“As a woman, maybe what I should expect is to be pretty much ignored, and if I’m lucky enough to get to my seventies, ‘Oh, look, this woman’s been making this interesting work for 70 years,’” Reynolds said, gently mocking the “discovery” of women who have been hiding in plain sight.

“Why do we have to play such a long game?” she continued. “And what if you die when you’re 50? You’re fucked because you never got through the bad bit?”

There are signs that the landscape is beginning to shift. Female storytellers, journalists, and politicians are reshaping popular culture and political and public discourse. In the art world, Frieze London has, for the past two years, featured special sections devoted to female artists. Female artists are even making their way into evening auctions, long the dominion of men. When Sotheby’s held an auction in November 2017 featuring nine lots by women out of 72, the auction house billed it as the most women to appear at one of its contemporary evening sales in its history. Most recently, the sale of Jenny Saville’s Propped (1992) for $12.4 million made her the most expensive living female artist.

“And what if you die when you’re 50? You’re fucked because you never got through the bad bit?”

Institutions are actively seeking artists from demographic groups they have ignored in the past. The female Surrealists have been dusted off and given museum shows. London’s National Gallery finally acquired its first work by Artemisia Gentileschi in July, bringing to 20 the number of works by female artists in its collection of over 2,300 items. In 2017, the Uffizi Gallery announced that it would be showing more work by female artists. In 2016, 197 years after its founding, the Museo del Prado held its first show by a female artist, Clara Peeters, and will open another female-focused show in 2019, with the work of 16th-century painters Sofonisba Anguissola and Lavinia Fontana. These developments establish women and other previously marginalized groups as part of the canon, creating more opportunities for today’s artists.

There are also several prizes dedicated to supporting women in their mid-career period. Smack Mellon offers shows to mid-career female artists. The three-year-old Freelands Award gives £100,000 to a regional arts organization to present an exhibition (including new work) by a mid-career female artist; £25,000 of that is paid directly to the artist. Melanie Cassoff, managing director of the Freelands Foundation, came from a corporate background before heading up the arts organization. She had expected female artists to face similar challenges as women in other parts of the workforce, especially around parenting obligations and access to childcare, but hadn’t realized the art world presented its own unique challenges.

“I had no idea that the concept of mid-career was a very different thing for artists, male and female,” Cassoff said. “It had to be explained to me—that even though you can emerge and make your name, unless you are constantly reinventing yourself, you fall by the wayside.”

In bestowing the inaugural award—to Scottish artist Jacqueline Donachie and Scotland’s Fruitmarket Gallery—the founder of Freelands, Elisabeth Murdoch, noted that despite Donachie’s prominence in Glasgow’s booming art scene, she had never in 25 years of work had a comprehensive exhibition spanning new and old work. In its second year, the award went to Lis Rhodes, who is in her seventies and has been making films since the 1970s, and Nottingham Contemporary.

“The art world loves young bad boys and old ladies.”

This past year, Susan Unterberg, the philanthropist behind the longstanding prize Anonymous Was a Woman—which gives 10 $25,000 grants annually to women over 40—revealed her identity for the first time. Unterberg, 77, who began her career as a photographer in her thirties after marrying and raising two daughters, said she had not been encouraged by those around her to pursue her practice.

“The way I grew up, I wasn’t supposed to have a career, I wasn’t supposed to be an artist, I wasn’t supposed to sell work, which I’m sure was true of a lot of people of my generation, living on the Upper East Side,” she said, referring to the New York neighborhood that includes some of the wealthiest zip codes in the country.

The recipient of a large inheritance, Unterberg was able to work on her art without worrying about finances. But she said winners of the prize have also said the award for them was “not as much about the monetary need as the personal need for recognition.” By coming forward, she hopes to be a more vocal advocate for women supporting one another.

And a younger generation of female artists are finding their mid-career period to be as fruitful as any other. Amy Sherald was in her mid-forties when she painted Michelle Obama’s portrait for the National Portrait Gallery in Washington, D.C. Demand soared for her work, and Sherald was subsequently picked up by global mega-gallery Hauser & Wirth. Katchadourian says her mid-career period has brought peace with her own ambitions, and intimacy with the questions that ground her work.

“I am finding 50 much more comfortable and pleasant than 30,” she said.

For Yamini Nayar, 43, a New York–based artist working in different media, the mid-career period has been one of risk and growth. She left her part-time job at a conservation studio when she became pregnant, and turned to making art full-time. While well-meaning colleagues warned her about becoming a parent, she, like Reynolds, found that parenthood has enriched her work, leading her to new ways of looking, feeling, and seeing.

“I can see the shift toward the body and thinking more bodily,” Nayar said. “I deal a lot with architecture and faith and buildings, but the figure and the body [have] become such a strong part of my thought process now.…It’s really about experiencing it as the body moving through space, and being more in touch with that aspect of myself.”

In fact, Nayar said that until she was reached for this story, she was wholly unaware that mid-career anxieties were common.

“I don’t feel like I’m slowing down,” she said. “I don’t have that sense at all.”

from Artsy News

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- SOLD - Swamp Forest, Collection: S. Ribbe,, Wolfgang Schmidt

Swamp Forest - Sumpfwald Sincerely to: Andy Hall, Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani, Paul Allen, Edythe L. and Eli Broad, Rosa and Carlos de la Cruz, Patricia and Gustavo Phelps de Cisneros (Venezuela and Dominican Republic), Donald and Mera Rubell, Steven A. 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Schwarzman, Carole Server and Oliver Frankel, Ramin Salsali, David Shuman, Stefan Simchowitz, Elizabeth and Frederick Singer, Jay Smith and Laura Rapp, Jeffrey and Catherine Soros, Jerry Yang and Akiko Young (United States), Liu Yiqian and Wang Wei (China), Anita and Poju Zabludowicz (United Kingdom), Jochen Zeitz (South Africa), Qiao Zhibing (China), Jerry Speyer and Katherine G. Farley, Susana and Ricardo Steinbruch, Kai van Hasselt, Francesca von Habsburg, David Walsh, Artur Walther, Derek and Christen Wilson, Michael Wilson, Owen Wilson, Zhou Chong, Doris and Donald Fisher, Ronnie and Samuel Heyman, Marie-Josee and Henry R. Kravis, Evelyn and Leonard Lauder, Jo Carole and Ronald S. Laude, Francois Pinault (France), Udo Brandhost (Köln), Harald Falckenberg (Hamburg), Anna and Joseph Froehlich (Stuttgart), Hans Grothe (Bremen), UN Knecht (Stuttgart), Arendt Oetker (Köln), Inge Rodenstock (Grünwald), Ute and Rudolf Scharpff (Stuttgart), Reiner Speck (Köln), Eleonore and Michael Stoffel (Köln), Reinhold Würth (Niedernhall), Wilhelm and Gaby Schürmann, Ivo Wessel, Heiner and Celine Bastian, Friedrich Karl Flick, Monique and Jean-Paul Barbier-Mueller (Genf), Christa and Thomas Bechtler (Zürich), David Bowie (Lausanne), Ulla and Richard Dreyfus (Binningen und Gstaad), Georges Embiricos (Jouxtens and Gstaad), Friedrich Christian "Mick" Flick (Hergiswil and Gstaad), Esther Grether (Bottmingen), Donald Hess (Bolligen), Elsa and Theo Hotz (Meilen), Baroness Marion and Baron Philippe Lambert (Genf), Gabi and Werner Merzbacher (Zürich), Robert Miller (Gstaad), Philip Niarchos (St. Moritz), Jacqueline and Philippe Nordmann (Genf), Maja Oeri and Hans Bodenmann (Basel), George Ortiz (Vandoeuvres), Graf and Gräfin Giuseppe Panza di Biumo (Massagno), Ellen and Michael Ringier (Zürich), Andrew Loyd Webber, Steve Martin, Gerhard Lenz, Elisabeth and Rudolf Leopold.

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#conceptual #abstract #fineart #WolfgangSchmidt #realism #expressionism

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