Anne Colenbrander with work by: Top row, from left to right: Anton Corbijn (2x), Marlene Dumas, Malick Sidibé, August Sander. Middle row, from left to right: Sanne Peper, Marietta Rust, Luke Stephenson (2x), Laura el-Tantawy, Odilon Redon, Hishaam Eldewieh (2x). Bottom row, from left to right: Viviane Sassen, Daniëlle van Ark, Kim Boske, Thirza Schaap, Hanane el Ouardani, Philippe Vogelenzang, Anuschka Blommers & Niels Schumm. Photo by: Fiona Makkink.
In this section we let a selection of art lovers – from occasional buyers to art professionals – talk about their perception of art and preferences: where do they want to see art? Where do they purchase art, and above all: from which artists do they buy? Below, an interview with Anne Colenbrander (Programming & Project Director in the international cultural and not-for-profit sector, age 40)
What does art mean to you?
Art is an inseparable part of my life. It is also a way for me to express myself and understand the world around me. Art lends lustre to life, because it inspires, moves or can be confronting.
Scheltens & Abbenes, Trailer #5: Yellow Rosa, 2016, The Ravestijn Gallery.
Were you exposed to art while growing up?
My parents thought it was important to stimulate our creative development, so I have had all kinds of different hobbies, from music and drama to dancing and photography. From an early age, my parents took my brother and me to galleries and museums, and at home we had a lot of art: paintings and graphics by artists such as Armando, Ger Lataster, Pieter Defesche, Klaas Gubbels and A.R. Penck.
Where do you read about the latest developments in the art world?
Through my work I have built up a large network in the art and photography world, so that is an important source of information for me. I also read many newspapers and follow various publications, institutions and initiatives online.
Michael Wolf, Tokyo Compression # 103, 2010, Galerie Wouter van Leeuwen.
Where do you prefer to look at art?
Online is a great way to get inspired, but nothing beats seeing the actual work in person; standing right in front of Van Gogh's impasto brushstrokes, Tracey Emin's unmade bed or Olafur Eliasson's "The Weather Project" at Tate Modern - you really need to see them to experience their power.
Ruth van Beek, Untitled (Figure 67), 2020, The Ravestijn Gallery.
How often do you buy art each year?
I actually always buy editioned prints. This is mainly for practical reasons; I have a limited budget and unique works generally fall into a segment that I cannot yet afford.
In addition, I find it important that works are well framed - so when purchasing a work I also take into account any additional budget for framing.
Where do you do your buying: in a gallery, at an art fair, at an auction or online?
I mainly collect photography, and generally I buy in a gallery, although I have also bought something at a fair. Earlier this year I bought work online for the first time.
Daniëlle van Ark, Share Moments, Share Life, tegenboschvanvreden.
Is it important that you and your partner always agree on a purchase?
I started collecting long before I met my partner; I already owned the vast majority of my collection before he came into my life. Buying and collecting work really is a part of who I am and he leaves me free to choose whether or not to buy something.
Do you have a special relationship with any one gallery?
I worked at Foam for a long time and my collection started there, so I will always keep a special bond with Foam Editions.
Popel Coumou, 9. Collage, 2020, TORCH Gallery.
If you had an unlimited budget, who would you buy a work from?
That list ranges from the early work of Ryan McGinley to Gregory Crewdson and from Diane Arbus through Henri Cartier-Bresson to Edward Hopper and Wassily Kandinsky. I realize that these works will remain out of my reach, but of course I can always dream!
Who are your favourite artists?
Over the years, the nature of Daniëlle van Ark’s has changed dramatically; it has shifted from photography to more graphic work, in which she manages to combine all kinds of techniques in an interesting way.
The work of Scheltens & Abbenes is clean, well thought out and executed with great attention to detail. Their images radiate an almost detached perfection.
Ruth van Beek's abstract, collage-like work makes me very happy, to me it expresses lightness, humour and originality.
Misha de Ridder, Falaise IV, 2016, Albada Jelgersma Gallery.