Phil and Kat Taylor are husband and wife art collectors. They live just outside Toronto, Canada which is a cool art city. One day, out of the blue, Phil emailed me and we started chatting about our common interest. I thought that he would make a great interview subject. He has a forthright, down to earth, yet very polite air about him. To me, this makes him “Clearly Canadian.” Read on and you’ll see.
MICHAEL: Hi Phil. Thanks for talking with me. You and your wife Kat (Katherine) are collectors. What got you into collecting? How did you begin?
PHIL: Well, my parents were both professional actors in Canada, so I grew up in an arts saturated environment – literature, music, acting, and of course visual arts. My early passion was photography since I could not draw very well, but I was always drawn to the fine arts of painting and sculpting. As a young adult I started to buy prints of popular master works though I always kept an eye on the contemporary scene as well. But it took many years to figure out what I really liked. We are bombarded with so many opinions and views on art that it can be very confusing. And when you start to buy original art, you really want to be sure of yourself, because it usually costs quite a bit more to buy good originals, even from unknown artists. And about 10 years ago I bought my first quality original by a fine Quebec artist named Louise Dandurand. The art dealer knew it was my first buy and could see I was nervous. When we completed the deal he said “I know it’s a bit scary buying your first original, but it gets easier.” He was right. I married my wife a few years after that and found that we have similar taste in art, and we have been buying new works from living artists ever since.
MICHAEL: Phil, I’m so glad that you got over your fear about how did Kat become a collector? Kat, are you there?
KAT: Hi Mike, this is Kat. Phil does most of the heavy lifting when it comes to our art … but here is a bit about myself. I am a professional singer/actor, and I have been active in the arts generally throughout my life. During my undergrad degrees at Queen’s University in Kingston Ontario. I studied in Europe … “Music History and Performance Practice”. One summer the course was offered in Venice and the next it was in Vienna. During this time I saw a tremendous number of masterpieces. Certainly I never imagined that I would live in a ‘gallery’ of original art! Phil’s enthusiasm has made this possible for me.
MICHAEL: Phil, it seems that your enthusiasm has conquered your early fear of art. I think that fear is the number one thing that keeps people from even visiting art galleries let alone becoming art collectors. Much of society has been brainwashed into believing that art is so far above their comprehension that they dare not aspire. What do you think?
PHIL: I agree with you Michael, but it’s more than just fear. Many people are turned off by art today because they simply don’t like what they see. I am speaking of course about much of the art created since the beginning of the 20th century. And it certainly doesn’t help that the larger art establishment swoons over work that leaves the average person scratching their head. And I have to confess right up front that I am pretty average too. The vast majority of art I see today seems amateurish or uninteresting. The truth is that I have to force myself to go into galleries. I know that most of what I see will not interest me in the slightest, but I do it because I never know when and where I might find a gem. It doesn’t surprise me at all that many people don’t even make an effort. But for me its like a treasure hunt.
MICHAEL: Art is a treasure hunt for me as well. The last time that I went gallery hopping in Chelsea (New York City), I was stunned by some of the crap that I saw! You don’t have to be an “expert” to recognize junk. Fortunately, Chelsea has more than 200 galleries, so there was also some truly fantastic work to see. What really bothers me is when it appears that the artist/curator isn’t interested in trying to engage or inspire us. Not long ago, I visited a new contemporary art museum that staged a BIG exhibition, but I felt that the curators intentionally made it the opposite of what had been promoted. I think it was their way of saying, “We’re beyond caring what you think because we’ll never allow you into our club!” Such a disservice.
PHIL: Well it’s hard to know exactly what many curators, gallery owners, art critics and artists themselves, are really thinking about the average person. But sometimes they let their guard down. I read an interview with a gallery owner who said she only shows art she really hates. I wonder if she tells prospective buyers in her gallery how much she hates the work she is trying to sell them? Fact is I stopped caring what the art establishment was saying or doing, years ago. I keep my eye on the ball – the ball being new art. I make my own judgments and keep moving forward. And you hit the nail on the head. I look for art that inspires and engages me.
MICHAEL: So, what kind of art do you and Kat collect? How would you describe your collection? Is there a common thread?
PHIL; Well Michael, I thought you would never ask. Our taste is quite eclectic in that we do not look for a particular style or theme. Most of the work is two dimensional and all of it is by living, working artists. They are mostly Canadian, but we have also bought pieces from American, French, and Chinese artists. There are four essential elements we consider when buying art, and in no particular order they are:
1. Technical mastery by the artist in his chosen medium. As you know the importance of mastery has taken a beating in the last century or so. The message is all important now, but there are still artists who strive for the kind of excellence that we saw during the Renaissance for example. And mastery takes years, so most of our artists are in their 40s and 50s. We keep an eye on promising young artists,
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Created by Michael Corbin On 07/06/09 At 12:31 PM
A new kind of exhibition opened on Friday the 28th of November of this year: the CAPC museum of contemporary art of Bordeaux has decided to become psychedelic for the next few months. The majestic nave of the building is punctuated with visual and sound archives linked to the psychedelic movement, from its beginnings in the 1960’s to its current version and by-products. Every corner of the nave is used to accentuate the psychedelic experience, whilst however managing to remain minimalist in its contents; slideshows are projected onto different wall spaces, emblematic and bizarre sculptures and installations appear as if from nowhere, imposing walls have been set up, with on one side archives linked to the psychedelic thought (records, posters, books, etc.) and on the other a huge mirror that allows you to lose yourself in your vision, posters are laid out on the floor, for anyone interested to take, or simply to look at.
