The story of how works of art and design are created and the collection of them is fascinating. In recent months, we have been thinking about the ways in which people look at objects, the aesthetic experience this brings and what draws someone to become a collector. Is it the symbolic value of the object or the significance within the designer’s or artist’s oeuvre that evokes one’s reaction; or is it simply the combination of materials and the design itself that is most captivating? Every collection is distinctive and a reflection of the collector’s identity. Still, new experiences are provoked when objects are presented in different contexts, settings, and within different groupings.
We are privileged to be part of both the creators’ and the collectors’ stories, through our scholarship and promotion of French post-war design and through our exhibitions and advisory that can guide and influence a collector’s choice. As storytellers and discoverers, we are always intrigued by the objects that narrate history. It’s the historical references that do (and should) shape our current view of design and taste.
For many years, we have shared the history and narrative of designers and the reasons why particular works that we show are important. This year, we want to share with you the stories of how collections are made— stories of obsession, research, personal preferences and stories about the many influences, including condition, that make a great collection.
In 2019, we will present a number of exhibitions centered on this theme, starting with The Voice of Things, and in February, we will host a series of discussions entitled The Making of a Collection. Guest speakers will share their personal stories and studied perspectives on the process of collecting as they consider the rewards and challenges one faces along the way.
To contextualize the artists and designers we represent, we are also completing a series of interactive maps that explain the multitude of ways in which these figures were associated with one another in post-war France until the 1970s.
This spring, Demisch Danant’s made in France program will launch on our website, providing a continual source for archival images of interiors, exhibitions, graphics, behind-the-scenes, and a myriad of additional resources related to this important period of the French 1950s through 1970s.
Please visit our website regularly for updates about new acquisitions, exhibitions and art fairs, along with publications and events: www.demischdanant.com
We hope to see you soon.
Suzanne and Stephane