The Top Collections from 250 Collectors
March 2008
CONTEMPORARY AND MODERN ART: Beth Rudin DeWoody
Eye Impact
"Eclectic" is the word Beth Rudin deWoody uses to describe her collection of modern and contemporary art. "I collect a lot of young artists, but on the other hand, I do collect a lot of early art: abstraction from the 1920s and ’30s, 1960s Op Art, vintage photography—whatever strikes me."
Rather than collect according to a theme or style, deWoody chooses work for its visual impact and does not shy away from art that is controversial or difficult. Strategically placed throughout her various homes, the works confound and intrigue this generous hostess’ many guests. "Sometimes you can’t tell what is the art or what’s some weird antique that I bought or a piece of decorative art. Everything blends into each other."
The president of the Rudin family’s foundation, deWoody is known as an inveterate philanthropist who vigorously fosters the people and projects she believes in. Within the visual arts, she serves on the boards of established organizations like the Whitney Museum and Creative Time, which will honor her at their Gala Benefit this spring for her visionary leadership and her belief in transforming public space through the power of art.
At the same time, she has worked directly with artists to help them find their first gallery representation. "It’s always wonderful to support living artists, getting to know them and helping them with their careers," she says. "I also like discovering artists from the past who are new to me but older, underappreciated. I like to mix and match all of that."
With great passion and seemingly endless energy, she constantly combs galleries, art fairs and artists’ studios for new work. Her breadth of knowledge and well-trained eye are known to commercial galleries, who have even asked her to curate exhibitions. "One of the things that happens when you have a collection is that you see patterns in your collecting or you see patterns in the way artists are producing things," she explains.
DeWoody’s next project, which is tentatively titled "I Won’t Grow Up," was conceived during a visit to the studio of artist Donald Baechler, who is co-curating the show with her. It opens in June at the Cheim & Read gallery in New York. —Rebecca Dimling Cochran
Eye Impact
"Eclectic" is the word Beth Rudin deWoody uses to describe her collection of modern and contemporary art. "I collect a lot of young artists, but on the other hand, I do collect a lot of early art: abstraction from the 1920s and ’30s, 1960s Op Art, vintage photography—whatever strikes me."
Rather than collect according to a theme or style, deWoody chooses work for its visual impact and does not shy away from art that is controversial or difficult. Strategically placed throughout her various homes, the works confound and intrigue this generous hostess’ many guests. "Sometimes you can’t tell what is the art or what’s some weird antique that I bought or a piece of decorative art. Everything blends into each other."
The president of the Rudin family’s foundation, deWoody is known as an inveterate philanthropist who vigorously fosters the people and projects she believes in. Within the visual arts, she serves on the boards of established organizations like the Whitney Museum and Creative Time, which will honor her at their Gala Benefit this spring for her visionary leadership and her belief in transforming public space through the power of art.
At the same time, she has worked directly with artists to help them find their first gallery representation. "It’s always wonderful to support living artists, getting to know them and helping them with their careers," she says. "I also like discovering artists from the past who are new to me but older, underappreciated. I like to mix and match all of that."
With great passion and seemingly endless energy, she constantly combs galleries, art fairs and artists’ studios for new work. Her breadth of knowledge and well-trained eye are known to commercial galleries, who have even asked her to curate exhibitions. "One of the things that happens when you have a collection is that you see patterns in your collecting or you see patterns in the way artists are producing things," she explains.
DeWoody’s next project, which is tentatively titled "I Won’t Grow Up," was conceived during a visit to the studio of artist Donald Baechler, who is co-curating the show with her. It opens in June at the Cheim & Read gallery in New York. —Rebecca Dimling Cochran
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