Mr. Ropac, as one of the most successful gallerists in the world, do you find it difficult to decide between things you want to collect for yourself and things that you want to sell?
I’m confronted with this decision every single day. I sometimes compete with my best clients over pieces. Sometimes people say that if a gallerist is also a good collector then he will never sell the good pieces! But we’re here to place the work. And I have 80 employees in galleries in both Paris and Salzburg that all want a salary at the end of the month, so of course I have to keep the business afloat. But I’m in a fortunate position that allows me to keep some of the works. My collection is growing over time and eventually it will really mean something. I still feel young, so I still feel I haven’t entirely reached my goal.
Do you have to like something personally in order to exhibit it or represent that artist?
Of course we don’t choose artists whose work we don’t like – that would be a funny thing to do! That is exactly the freedom we have. Museums have to make an overview of where art is, they have to take in things they like and dislike. But as a private gallery, we are in a position where we can choose what we show and whom we represent. There are too many great artists that I get very excited about for me to work with artists that don’t get my emotion going. Without this, I would not be good. I just know myself.
At what point did you begin to trust your taste and have confidence in the things that you like?
Well, I was fortunate enough to meet Jean-Michel Basquiat before he was known in Europe. I had never heard the name; he was this African-American working in a basement in New York. After I met him, he gave me a portfolio of his drawings and that was my first little show at the beginning of the ’80s. I believed 100% in this artist, but in a naïve way. I didn’t know much, but I believed in it. I didn’t need somebody to tell me this is great, I felt this is great. I don’t know, maybe it’s a gut feeling. I don’t know why it worked out so well, but I always believed 100% in the artists I worked with. There was no doubt in my mind.
How did you get in touch with Basquiat?
It was my first visit to New York and I didn’t know anybody there, but through Joseph Beuys I was connected with Andy Warhol. I was a nobody from Austria, but I asked Warhol about young artists and somehow he said, “This is a young artist.” Of course, I maybe wouldn’t have looked at Basquiat so carefully if somebody else had given me his name, so it was helpful for me that it was Warhol. But when I first met Basquiat, I did not know what to expect. I went in and he was working on the floor… It was an amazing experience. And it led to several shows during his lifetime. We worked together between 1982 and 1988. We had four wonderful shows with him.
Having met so many artists over your career, do you believe that some people are great artists and some people simply are not?
I’ve seen artists trying so hard to be great artists, trying very hard for years, dedicated to it every day, but just not making it. I think you don’t learn to be an artist, and you don’t learn to create a great work of art. It’s a gift. You can study – I’m a strong advocate of art schools. I’m involved in the Fine Arts Academy here in Paris and I always think it’s a good idea that people start to learn if they feel they can do it because it gives you an advantage. It speeds up the process because you receive guidance from professors that are often successful artists themselves and this helps you. But nobody can tell you to create great art. Nobody. If it is not within you, forget it.
“Contemporary art was hardly taken seriously before, but now people are aware of the art of today.”
How has collecting and selling art changed in the last 30 years?
It started like a very elitist thing in an ivory tower. People hardly knew anything about contemporary art and the art world also presented itself like an elitist club – not in terms of money, but in terms of approachability. I’ve seen it move into the center of life today, which is a very positive development. Now art is really part of almost everybody’s life, automatically. Contemporary art was hardly taken seriously before, but now people are aware of the art of today. And that is so much more exciting.
It’s true that a lot more people are interested in contemporary art, but to me it still seems to be in the ivory tower.
There is still a generation, I guess, that is not so aware. But even my housekeeper knows a little bit about art… In sports news they make references to Jeff Koons. I find that surprising! They don’t even need to explain it, they just use it as a reference. As good as this is, it also brings attention to contemporary art that has attracted a lot of speculation and we see the result in today’s prices for certain artists.
I read that you sometimes have people showing up at the gallery with suitcases of money wanting to buy art pieces. Was that a literal statement?
Yes, it happened! But it was just one incident. We do business with a variety of art collectors, so that was just one example of how things can go wrong. We try to protect our artists from the price rising too rapidly, but we are not the ones who decide. The market has become very fast. At the auction houses, there are huge groups of advisors and art consultants. Some of them are very serious and they know what they are doing, but some of them don’t. They just want to be associated with the art world, which at the moment is very chic, without doing their homework first. They turn collectors almost into speculators by saying, “Buy this today, and sell it tomorrow as a profit.” It is language you would have never used before. We still try to avoid this as much as we can.
Art Basel Miami is one of the places where the most art is sold, but it’s also become a pop culture event with celebrities and parties and all these other things going on.
Miami is a good example of how things can potentially go wrong. If the parties are taking over the art… I’m not against it and I don’t want to say that their motivations within the art world always have to be the most idealistic. I’m not saying that at all. But Miami has become quite a circus. I don’t want to judge it, people seem to have such a good time there and I don’t want to spoil their fun, but the question is: how much good does it to do for the art world itself? And that I don’t know. I cannot answer that. If it brings attention to the art, it’s perfect. If it takes away the attention and channels it into pure entertainment, then of course I’m against it.
Why is it important for you to discriminate among your buyers and not just sell to the highest bidder?
We’re trying to accompany artists for many years to see how they develop and how museums and the press treat them. We want to help them go through all of these important steps of a career. So we still try to work with collectors or people who want to collect, but where collecting means something beyond the point that you just want to use it as an asset within your portfolio to invest part of your money. Of course there’s a responsibility that it holds its value, but to only put money into focus is not something we would want – to reduce this to a pure investment vehicle or speculation.
Did you always approach things like that?
It was not necessary before to be careful, because the few people that found their way into contemporary art were welcoming because it was such a small group. You couldn’t really speculate so much on contemporary art and people bought for other reasons. They wanted to live with contemporary art, they were curious. In the last 10 years the context has changed a lot because it has become such a market-driven business. But I think the positive effects of contemporary art becoming more mainstream outweigh the negative aspects. I’m happier today than 30 years ago in terms of the attention artworks get and how much of an integral part art is in life today. In the end, we are in a very fortunate situation today. People are hungry for new art, new artists. The worst is ignorance, when people are not interested in looking at art, but people are more and more curious.
Source: The Talk
Top 5 Takeaways From Tiger Woods’s Latest Press Conference
Tiger Woods met with the media Wednesday in front of the Farmers Insurance Open and gave a reasonable way to deal with his PGA Tour return. You can see his full question and answer session here.
Underneath, we trimmed it down. Here are the five most interesting statements from Woods’ Wednesday press conference:
- On his expectations: “I think yeah, my expectations have tempered a little bit because I haven’t played. When I came back off my ACL injury in ’08 and started playing in ’09, it was nine months but I hadn’t played a full schedule prior to that. Here, I haven’t played a full schedule since 2015. It’s been a long time. To be honest with you, I just want to start playing on the Tour and getting into a rhythm of playing a schedule again. I haven’t done that in such a long time, so I don’t know what to expect. Just go out there and just play, I’m going to grind it, give it everything I possibly have if I put the ball in the right position and make some putts and try to work my way up the board.”
- On how desperate his back woes were: “You know, I tried all different types of treatment on it and we went – I went through every single procedure that is nonsurgical prior to getting it fused. I exhausted every single procedure I could possibly do and it just didn’t get better. So the surgery and fusion was the only step I had left. I was very lucky because it’s down at L5-S1 and it only has maybe six degrees of rotation, so it’s really not much at all so I got lucky in that regard. It’s been tough. I didn’t know when the back was going to go out. I don’t know if you guys were watching this past week with Freddie, how bad it was. He was fine and all of a sudden he makes a couple bad swings and there it goes. That’s very similar to how I was.”
- On getting his speed back: “I hadn’t felt good in four, five years. My surgeon, you know, he said from the get-go, once it’s fused, you’ll have – you’ll have speed like you did back in your early 30s. And he’s right because there’s no pain, I’m not flinching, it doesn’t hurt as I take the club back, it doesn’t hurt right before impact, it doesn’t hurt after impact, it doesn’t hurt when I walk. It was a tough go for a while and I don’t have any of those feelings.”
- On why he’s going without a coach (for now): “I’ve said it many times already, it’s just that no one’s had a spinal fusion at that level and be able to hit the ball that hard, as hard as I do. So I’d like to meet somebody who can swing it over 120 miles an hour with a fused back. Do you know anybody? That’s what I mean, no one understands that. So I have to rely own my own feels and play around with what my body can and cannot do. It’s not going to look like it used to, I don’t have the mobility that I do – that I used to and that’s just the reality. Now it’s just a matter of what can I do, and that’s just practicing and getting my feels and trusting, experimenting a lot to try and figure out what can this body do and how explosive can it be and how am I going to control shots with different shapes, am I going to have different feels. Some of that stuff is yes, some of that stuff is different and I’m still learning it.”
- On his plan early in the year: “I’m just trying to build towards April. That’s what I told you guys last year in the Bahamas, I’m looking forward to playing a full schedule and getting ready for the Masters and I haven’t done that in a very long time. That’s usually been my schedule and my outlook. From ’96 on it’s been that way to try to get ready for Augusta and there’s no reason to change that.”
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Top 5 Times Oprah Has Lost Her Cool On Her Talk Show
Here are the most effective crossroads in Oprah TV history when everyone’s eyes were on Oprah, and she lost her cool, cries on a show, lost her poise or even merely lost her brain, making all of us either cry or lowered that even Oprah is a slave to her feelings in some cases. Plan to go on the passionate, crazy ride that spread over a very long while with our dearest anchorperson. As we enter her last season, prepare for more Oprah crying minutes. Get ready to see her lose it all the more frequently as she directs some of her most enthusiastic Oprah interviews.
At the point when did Oprah cry on her show? There are a large number of illustrations when the normally quiet symbol loses her self-restraint, this rundown follows those minutes.
Oprah’s Heartthrob Surprise
Oprah Talks About Her Best Friend in the World
Oprah opens up to Barbara Walters about her association with Gayle King, her closest companion, and the lesbian gossipy tidbits that have surfaced irregularly consistently.
Around one moment into the clasp, Barbara requests that Oprah depict her intimate association with Gayle. Oprah takes over ten seconds to recover her poise and endeavour to answer the inquiry.
Oprah portrays Gayle as the mother she never had, the sister everyone would need, and the companion everyone merits. “I don’t have a clue about a superior individual.” She is exceptionally enthusiastic all through the clasp as she discusses Gayle.
This clasp is a capable demonstration of the actual truthfulness that has characterised Oprah’s vocation.
Oprah’s Tribute to Sophie, Her Faithful, Deceased Cocker Spaniel
Oprah commits a show to her dearest cocker spaniel, Sophie, who she had for a long time and had as of late passed.
The Oprah Winfrey Show group set up an introduction together for Oprah about Sophie and her opportunity as a significant aspect of Oprah’s family.
Oprah tells us previously she has not seen the video and is watching it out of the blue.
The video starts around thirty-five seconds in and includes some excellent photographs and video film of a delightful dark cocker spaniel going through her days with O. It proceeds until the two-moment stamp. At the point when the clasp comes back to Oprah, she is in tears with a Kleenex. She says she knew viewing the video would be hard and battles to get past her guide as she wipes her eyes. O instantly enjoys a business reprieve to get it together and “get [her]self together.”
It is reviving to see this reliable, rousing lady demonstrate a weakness for losing a cherished pet. It proves to every one of us that it’s alright to feel like the organisation we keep, human and non-human, don’t need to be blood-identified with feel like the piece of our family.
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Top 10 Quotes By Leonardio DiCaprio
Dissimilar to numerous previous youngster on-screen characters who tend to bite the dust (or blur into obscurity) in their teenager years and past, 42-year-old Academy Award victor Leonardo DiCaprio has gloated an unfaltering resume of film hits for almost two decades, from his terrible hand over 1993’s What’s Eating Gilbert Grape? To a featuring part in film industry sensation Titanic.
Notwithstanding his fantastic movie profession, Leo has utilised his Hollywood capital in various generous endeavours. He’s wind up one of the world’s best environmental change champions and backers for more stringent confinements on carbon emanations each shot he gets.
Indeed, he gave particular specify to the earth in his Oscar acknowledgement discourse for his work in The Revenant, entreating the group of onlookers to “work on the whole together and quit tarrying” when managing environmental change. These qualities are reflected in his everyday life; he drives battery-fueled vehicles and lives in a sun-based controlled home.
The following are 10 of the most motivating Leonardo DiCaprio that ought to urge you to deal with what makes you cheerful.
“Be thankful for the hard times, for they have made you” – Leonardo DiCaprio
“It’s easy to fall into the trap of believing all the hype that’s written about you… Who knows? In a couple of years, you might find me in the loony bin!” – Leonardo DiCaprio
“If you can do what you do best and be happy, you’re further along in life than most people.” – Leonardo DiCaprio
“Pay close attention to people who don’t clap when you win.” – Leonardo DiCaprio
“To believe in love, to be ready to give up anything for it, to be willing to risk your life for it, is the ultimate tragedy.” – Leonardo DiCaprio
“A wrong connection will give you shock throughout your life, but the right one will light up your life.” – Leonardo DiCaprio
“Everybody has gone through something that has changed them in a way that they could never go back to the person they once were.” – Leonardo DiCaprio
“I just really love doing what I do. I know every career is fleeting and there will be time periods when I don’t get the opportunities that I’m getting right now, so I am taking advantage of them.” – Leonardo DiCaprio
“Only you and you alone can change your situation. Don’t blame it on anything or anyone.” – Leonardo DiCaprio
“I really am motivated by being able to work with great people and create a body of work that I can look back and be proud of.” – Leonardo DiCaprio
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