"Elton’s collection is experimental, cutting-edge and worldly, like his personality," says Jane Jackson, curator of the Sir Elton John Collection. "He is culturally attuned and keeps up with everything that’s current, so it is fitting that he would collect photographs, which are immediate and of the moment."

One of Elton’s greatest pleasures is living among his treasures and sharing them with others. His collection, which was the subject of a first-time exhibition at Atlanta’s High Museum of Art in 2000, is displayed throughout his four homes—in Atlanta, the south of France, London and the English countryside. In his Atlanta apartment, where he enjoys viewing his collection by candlelight, the photographs are closely hung from floor to ceiling. "Looking at art is inspirational to me," Elton says. "It regenerates me and relaxes me at the same time. With photography, there is always more to see, more to explore, more to learn, like life itself. I can’t wait until my most recent acquisition is delivered!" And how do his roles as collector and artist intersect? "I have never been afraid to take risks," he says. —Dana Micucci

ETHNOGRAPHIC: James Ross
Figurative African Tribal Art
"My first major piece was a Songye fetish," says James Ross, an eminent collector of African art and a long-time donor and trustee of the Metropolitan Museum of Art. "Not only do I still find this statue beautiful, but it is a piece you can sit and talk to." Unlike some collectors of African art concerned with how their masks and statues relate to magical or social rites, Ross values visual and tactile appeal. "It is always interesting to know how a work of art was used in ancestor worship or another ritual, but I separate that from the aesthetic enjoyment I get from the object."
 
What fascinates Ross is that even when these objects are removed from their original environment, their spiritual power continues to resonate. "I have what some might call an anti-intellectual approach to my collection," he says. "I like to think the soul of the piece is speaking to me." Formal qualities rather than symbolism and significance are Ross’s prime interest. "I don’t have a curator," says the collector, who relies primarily on reading and visiting collections to train his eye. He also says he lucked out in the early days of his collecting working with New York dealer Michael Oliver. "He gave me very good advice, as did several dealers in Belgium and France."
 
The Ross collection currently comprises about 180 objects in wood, terra cotta, metal and ivory, from West and Central Africa. The collection is strong in ritual reliquary figures. The forceful physical presence of these figures, whose original function might have been to forecast the future, placate a magical power, insure fertility or perhaps heal the sick or wounded, is riveting. Indeed, without knowing anything about their origin, it is clear they are powerful figures, capable of inspiring awe and reverence. Some reliquary figures from the Ross collection were featured in the Metropolitan Museum’s "Eternal Ancestors" show, which closes March 2. Highlights include two figures from the Kota peoples in Gabon.

Ross continues to expand his collection and is also deeply involved with educational projects. He recently contributed to the renovation of the Louis Kahn building, which is one of the Yale University Art Gallery buildings. In his honor, the Art Gallery established the Laura and James Ross Gallery of African Art. Ross also supports a Yale University Art Gallery project, known as the Ross Book Archive, an Internet-based resource of some 10,000 images of African art currently under construction. Ross has one of the most important collections of rare publications containing illustrations of African tribal sculpture, which will form the basis of the Web site.
 
Another Ross project, in collaboration with Dutch archivist Guy van Rijn (a distant relative of Rembrandt), is the creation of a second African art Web site, which Yale will also host. Currently under development, "it will feature a search engine with the capacity to help the viewer identify and learn more about African tribal sculpture," says this ardent collector, who continues to work both privately and publicly to generate a deeper respect and appreciation of African art. —Bobbie Leigh