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Liliane & Michel Durand-Dessert
Sculpted bodies, the art of a distant continent, the passion of collecting ... . These are some of the qualities that will be evoked in a special exhibition sponsored by the annual tribal art event in Paris called Parcours des Mondes 2008. This special show will be hosted by the historic Hôtel de la Monnaie de Paris (the old Paris mint) from September 10 24, 2008, and is intended to embody the spirit of the Parcours, which strives to promote appreciation of and encourage the development of new interest for non-Western art. With this installation of nearly 150 unique sculptures from many parts of Africa, Fragments of the Living: African Sculptures from the Liliane and Michel Durand-Dessert Collection will offer a view of an intimate and impassioned approach to art...
Tim Hunt - Tribute
Tim Hunt recently re-emerged into the tribal art world as a New York–based dealer in fine African and Oceanic art. “Re-emerged,” as he was in fact long in the field, having started his profession at Christie’s tribal art department in London in 1980, where he worked with Hermione Waterfield and Bill Fagg. He left Christie’s in 1986 for a long stint at the Andy Warhol Foundation for the Visual Arts in New York, where for almost thirty years he served as chief curator and headed the sales of foundation-owned Warhol artworks. Throughout his time at the nexus of the contemporary art scene, which involved his attendance at important annual art fairs such as Art Basel, Frieze, and Maastricht, Tim maintained a strong interest in tribal art and would make time on a regular basis to visit most of the international tribal art fairs in New York, Paris, Brussels, and San Francisco. As much as he loved the life of a Warhol insider, Tim’s heart was connected to the people and art he first experienced in London...
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Nestled in the high plateau of Crans-Montana in Switzerland, the Pierre Arnaud Foundation in Lens is presenting a magnificent exhibition on Australian art called "Art aborigène. Territoire du Rêve" ("Aboriginal Art: Dreaming Territory"), which will be on view until May 20, 2018. Bérengère Primat, a woman whose sensibility for the culture is a part of her family’s DNA, is the driving force behind this groundbreaking show. In the first interview she has agreed to give, she told us in her gentle and understated tone about her unusual connection with Australian Aboriginal art. Her story is both fascinating and touching, and it demonstrates that love, humility, and determination can lead to incredible human experiences as well as artistic ones.
In the following interview Clamra Célestin tells us about his lifelong involvement with African tribal art, from his boyhood in Chad to his present life in New York and Paris. His early experiences with the art as healing implements offer insights beyond those collectors usually have. And his observations from the perspective of an African collector provide us with food for thought. Clamra’s life as a collector is indeed a case study. From his early years of buying contemporary African sculpture to satisfy a hunger for the art to his advanced connoisseurship of African tribal art, his story contains much to which we can relate. As happens with so many of us, there was a turning point after which he was able to recognize authentic ritually used ancestral art. In his case, this happened during his apprenticeship with famed collector Werner Muensterberger. Clamra’s sense of purpose as a collector and ancestral guardian has freed him from the conflicts often found in the pursuit of collecting tribal art. He is a dedicated collector who continues to learn, trusts his instincts, and remembers his raison d’être. His memoir is scheduled to be published in English at the end of 2017 by Ohio University Press. The French version, titled "Fils du Ciel: De Kindiri à Manhattan", was published by l’Harmattan in Paris in 2011. Discover the full interview by downloading the PDF below or click here : https://youtu.be/Nswxxej4ioA for more info!
An impassioned and fascinating personality hides behind Rosa Amorós’ frail and discreet appearance, and her eyes light up when the word “art” is mentioned. A recognized artist in her native Spain, her life was centered around her studio and at the Escola Massana in Barcelona, an art and design center where from 1971 until 2005 she taught ceramic arts, the discipline in which she most distinguished herself creatively. She was also a regular presence at museums, exhibition venues, and art fairs. She shared twenty years of her life with Gustavo Gili, an editor and book publisher specialized in the engravings of great Western artists such as Picasso, Miró, Saura, Michaux, among many others, as well as in art, design, and architecture, prior to his passing in 2006. Together they assembled a tribal art collection that is as eclectic in its composition as it is coherent in spirit.
Faith-dorian Wright - Tribute
Faith-dorian Wright, a devotee of the arts and a woman with great artistic energy, was born in Brooklyn, New York, where she grew up with an appreciation for art that was instilled in her by her mother. Already recognized for her artistic talent in high school, she was accepted into a special New York City program for gifted children, the first of its kind at the time. Inquisitive and curious, she insisted as a young girl that she wanted to study science, an unusual choice for woman in the 1950s, and went on to complete a bachelor of science degree at New York University in 1955. She continued her education, completing a master of arts degree at New York University and going on to post-graduate studies at the Pratt Institute and the Parsons School of Design, followed by a successful career that distinguished her both as an educator and as an exhibiting artist. Her works enhance museum collections in the U.S., Europe, India, and Israel. She married attorney Martin Wright in 1955 and together they raised their two children. Her deep interest in tribal art developed while at New York University, where she was taught by Robert Goldwater, the first director of the Museum of Primitive Art, and Hale Woodruff, the African-American artist, who also was a collector of African art. Tribal art became a source of inspiration for her, and this was the impetus for her and Martin’s deep and shared passion for collecting in this field... Discover the full article by downloading the PDF below!
Federico Benthem - Tribute
On February 16, 2017, Federico embarked on the most intense voyage of his life—the one that would take him to the next world. Born in the Andalusian town of Málaga on November 20, 1944, Federico Benthem Gross was the grandson of Julia Loring Heredia, the third Marquesa of Casa Loring, and of Ricardo Gross Orueta, the founder of the Museo Loringiano de Arqueologia de Málaga. While still a young child, Federico received an important gift of artworks from his grandfather. It marked the beginning of his life as a collector and the birth of a limitless passion for archaeology and antiquity that would shape his existence. At the age of eighteen, Federico left for Barcelona to pursue architecture studies. During this time, he also took his first trips to the American continent, where he visited Peru and especially Mexico, developing interest in the pre-Hispanic cultures, the artworks of which he actively began to collect. He was a tireless adventurer and traveled the world as his passion for the traditional cultures of the Americas, Africa, Oceania, and Asia continued to grow. His enduring fascination for art and culture gave rise to his decision to become an art dealer... Discover the full article by downloading the PDF below!
For François Boulanger, whose good-natured silhouette is well known to every Belgian tribal art dealer, “collectors do not readily appreciate the true value of small ethnographic pieces.” That is how humbly he qualifies the works in his collection, which is as atypical as it is exceptional. In the course of the last twenty-five years, François, with the unwavering support of his wife Françoise (many collectors would envy him for her limitless devotion to the cause of the collection), has amassed no fewer than 900 African works. “But these are only small objects,” he says, a bit defensively, “musical instruments, 500 sanzas— at one time, I had nearly as many as Tervuren. And there are also the drums and whistles.”...