Art Lies, Volume 23, Summer 1999 Page: 16
60 p. : ill. (some col.) ; 28 cm.View a full description of this periodical.
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
Todd Hido
Untitled #1913
from "House Hunting" 1996
Chromogenic print,
30" x 38"affair. When I finally paid off the piece and took it
home, I couldn't believe what a new feeling I experi-
enced. Why was it so different? I had always had art on
the walls, or at least posters of art. But this was work by
someone I had never met, and for some reason, that was
significant. Somehow I was sharing in that person's
world.
I recently visited the newly renovated home of
Robert Card and Karol Kreymer, and Bob showed us his
first acquisition, an etching that hangs among their
fabulous, diverse collection. I realized that my own
experience is not unique. That first piece of art is often
the spark, the awakening of a passion for living with art.
Once that initial spark of passion has been ignited,
the collection grows. There are many different strategies
for building a collection. I know that my own could be
more systematic, but it isn't. I collect because of my love
of the object-both for the sensual visual pleasure it
brings, and also for the concept it represents. I am
addicted to the way that art presents me with an alter-
native view of the world
(but don't dismiss that
visual pleasure thing).
Truth is, any
honest interaction with
another person expands
our own way of seeing
the world. It's just that a
piece of art is usually less
ephemeral than a conver-
sation, and living with a
piece allows one to be
constantly reminded of
that concept, that "other"
vision of the world.
Not that anyone
can ever see through
someone else's eyes. The
ultimate wonder is when
someone else's effort gives
you an insight into your
own worldview. The
artist's effort and your perspective combine to make a
piece of art something new. It isn't the artist's original
intent that actually matters. What matters is that it
works for you, that you connect to it.
A curator selects art and creates a context for it
through its position next to other works, thus adding a
layer of meaning to the piece. In that same way, through
his/her personal choices, a collector also adds something
to a work of art, both through the connections made
with other pieces in the collection, and because of the
reason for the purchase in the first place.
Because they are my choices, my collection means
more to me than it does to anyone else. It's great to share
it, but the primary reason for the collection's existence is
for my own pleasure and contemplation. Further, taking
people through the collection, I realize that many pieces
are really fragments, abstract pieces that alone cannot
convey the complete concept, like the old adage "you
had to be there." These pieces act as souvenirs of a larger
event, action or experience that can't be satisfactorily16 I ARTLIES SUMMER 1999
explained to the casual observer.
I've realized that a collection like mine, rather
haphazard and intensely personal, reveals more about
my own personality than it does any important trends
in contemporary art. Agnes Martin said in an interview,
"The value of art is in the observer. When you find out
what you like, you're really finding out about yourself."
Also, ""Everyone sees beauty, I think, and art is a way to
respond." For me, these comments ring true - I see the
collection as recording my own personal view of beauty,
and, in a funny way, recording personal growth and
exploration of ideas.
My experience with collecting informs what I
choose to show in my gallery. The gallery's philosophy
from the very beginning has been to showc e work that
I felt was important, that made a difference, that
changed the way that I see the world. The idea has
always been to share that vision with anyone who cared
to walk in the door.
But it's not just about what's new. As the gallery has
matured and grown, I have embraced the responsibility
to care for and nurture a group of artists, and in so
doing, I have developed a deeper relationship with those
artists. In that same way, a collector gains a deeper
appreciation for an artist whom they collect over time.
There's an opportunity to explore the nuances of the
artist's body of work.
The combination of looking for and being chal-
lenged by art that finds new ways of mirroring our
changing world, and supporting the growth of artists
whose concepts and attitudes continue to enlighten,
make being a collector a wonderfully enriching life
activity. It's a perfect example of the business adage
"Win-Win"-not only does collecting bring personal
enrichment, but it also helps to sustain and promote a
cultural community.
To continue to grow, we take risks, ask questions,
step outside our own comfort zone and open ourselves
to different points of view. I know that people approach
much contemporary art with trepidation-they feel
that they're not "in the know," and truth be told, there
is a lot of insider art-art that comments on other
art-making. Mostly though, that commentary is only
an additional layer of meaning over another more
fundamental premise.
The key to taking the first step towards under-
standing is to ASK! Those who are willing to share their
personal collections are also usually willing to explain
WHY certain pieces live with them. For those of us who
show work and/or live with it in our homes, we bare a
little bit of ourselves by showing the choices we have
made, but are usually glad to do so.
As a gallery owner specializing in the art of our
time, I look at a lot of art everywhere. My tastes have
evolved, but I think about what drew me to that first
piece. Not everyone stays in love with the first piece of
art they buy, but I'm lucky. I still live with Jugete and see
it everyday. O
- Kerry Inman is a collector and owner
of Inman Gallery in Houston.
Upcoming Pages
Here’s what’s next.
Search Inside
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Periodical.
Lightman, Victoria H. Art Lies, Volume 23, Summer 1999, periodical, 1999; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228053/m1/18/?q=%22Bryant%2C+John%22: accessed May 25, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .