A Young Collector Continues the Family Tradition in SoHo
Tiffany Zabludowicz has so much art in her two-bedroom SoHo apartment that a perfectly braided loaf of bread on her kitchen counter is immediately suspect: Is that a Claes Oldenburg-style sculpture of a challah, or the thing itself?
Turns out it’s a real loaf. But at least one of the three dozen works in her apartment is indeed food-themed, a cast-resin corncob (2015) by the collective Puppies Puppies.
Ms. Zabludowicz, 25, was born into a prominent London art-buying family. Her parents, Poju and Anita, preside over the Zabludowicz Collection, with holdings of some 4,000 works and an exhibition space in a former Methodist chapel in the Belsize Park neighborhood.
So right out of the gate, Ms. Zabludowicz was an art-world insider. The British artist Tracey Emin is “Auntie Tracey,” said Ms. Zabludowicz in a soft English accent, adding, “We have lunch a lot.”
The spacious apartment — where artists and friends often “crash,” she said — features a papier-mâché sculpture by Ms. Emin, “Concorde III” (2002); Item Idem’s inflatable, spray-painted sculpture of a hot dog “Untitled (Bond Dog),” 2016; and Josephine Meckseper’s large, mixed-media piece “SS22” (2011). Though most works are contemporary, there’s a desk by the French designer Jean Prouvé, a 21st-birthday gift from her parents.
A chairwoman of the Young Collectors Council at the Guggenheim, Ms. Zabludowicz went to Brown and favors the Lower East Side galleries. She also has a particular interest in “post-internet” art, which she defined as “not too media-specific but flowing between online and offline.” She has several works by Joel Holmberg that fit the category, including the painting “Ribbon Cable With Osmosis Template” (2014), which hangs over her bed.
Much of her energy goes into Times Square Space, a nonprofit artist residency and exhibition venue she founded. For the residency, several artists work in an office building on Broadway — in space donated by Tamares Real Estate, a Zabludowicz family company — for periods of two weeks to two months. Opening this week is a lobby installation of the artists Ed Fornieles and Dale Lewis.
Here are edited excerpts from a chat about her adventures in art.
How do you describe your collecting style?
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I do it very instinctively. It’s not always pretty; it can be aesthetically a bit strange. I also like things that are playful, but in a really smart way.
You seem to have an eye for young artists.
There’s such good energy here. I went to the School of Visual Arts M.F.A. open studios yesterday, and it was fun and bubbly, and there were a couple of really good artists. You can meet them at a point before it gets too New York and serious. It used to be that young artists weren’t being looked at until they were a bit older.
How did Times Square Space develop?
I did that as a crazy experiment and it went really well: Basically, when an office moves out, I move into spaces between rentals. It’s quite nice because you get the remnants of their presence.
Your parents are such major collectors, do you have separation between your works and theirs?
It started off with boundaries, and then it started getting confusing. I would buy something, and then my mum would want it as well, for a show. Now, if it’s purchased by me, I have authority over it, so I can say, “Oh, I don’t want it to be in that show.” But it’s still part of the larger collection.
You’re young. Has the New York art world made space for you?
I’ve made my own space, I like to think. If you come in and you’re genuinely interested, and you want to learn, usually people are welcoming — as long as you are serious about it, and willing to do the work. Because they can also be quite discerning.
What’s the difference between the London and New York art worlds?
London’s more intimate, and it feels sometimes more experimental. The spaces are more affordable. Here, there’s amazing work, but I think it can be a bit too much about the market. Maybe a difference is that there’s always six things a night here, whereas in London there would be one or two — which is maybe better. [laughs]
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