Autumn 2015
reux (1939): “I always ask people if it’s a loving piece or if it’s threatening; I think it’s aggressive love.” Developing the philanthropic side of his activities, Ingram has recently collaborated with the pioneer- ing prison charity The Clink, exhibiting art created by prisoners, providing a mouthpiece for their own per- sonal expression. In a recent interview, the curator of The Ingram Collection, Jo Baring said: “Chris believes that access to art can improve outcomes for disadvan- taged groups and his collection inspires transforma- tive outreach projects for adults with learning difficul- ties, for those struggling with mental health issues and for restorative work with prisoners.” Continuing to actively buy from galleries, degree
shows and auction houses, Ingram has just acquired a William Turnbull that he describes as being reminis- cent of Alberto Giacometti. Collecting is a collabora- tive process between him and Jo Baring: “It’s a blend. I buy with my heart, but also, people point out the gaps in the collection. Jo and I work in partnership, and dealers can also advise. I often work very fast and in- stinctively. People sometimes find it quite shocking; I whizz around a show and then buy selected pieces, of- ten within minutes of having first seen them.” One sculpture in the collection necessitated a longer process of acquisition, which highlights Ingram’s perse- verance and passion. Elisabeth Frink’s Walking Madon- na (1981), of which three casts were made, was a com- mission for Salisbury Cathedral, where he had seen the work years earlier: “I just kept walking around it think- ing it’s amazing – very elegant with a harrowed face. I was knocked out. And then it came up in an auction. I was thinking, ‘I’ve got to have it, I’ve got to have it’. In those days, I bid on the phone myself and I went a hun- dred thousand pounds over my maximum. Amazingly, I still didn’t get it and I was disappointed about losing. Then the phone rang and it was Christie’s. I thought, ‘fantastic, this person hasn’t got the collateral!’ but they just said, ‘I thought you’d like to know you set a world re- cord as the under-bidder’. The Duchess of Devonshire bought it, so I was happy to lose to Chatsworth. Then the final sculpture came up at auction and I bought the work. One of the places I loaned it to was Guildford Cathedral, where she looked incredible.” The art market itself presents a point of tension for Ingram, who cannot relate to the commodity value and search for status that can sometimes accompany the “trophy market – I totally disapprove of that way of buying and collecting art, it’s not what I’m about. I’ve gotten more opinionated about what I think regarding the nonsensical aspects of the art market: a Jeff Koons is just the same as an oligarch’s yacht.” Indeed, he de- scribes how a few years ago an advisor approached him hoping to buy part of The Ingram Collection for an oligarch’s yacht – an offer that he politely declined, unsurprisingly. So what does the future hold for The Ingram Collec-
tion? Forming relationships with young contemporary artists is a new experience for Ingram, who is used to
19
Interview with a Collector
buying work by Modern British artists, most of whom are now deceased: “I don’t know if it adds anything, be- ing able to have a conversation with the artist, I’m going to find out. I don’t actually like people telling me why a piece is good; I like to look and form my own views.” Since acquiring his very first work, a large painting
by John Bellany, The Ingram Collection has developed and built momentum, evolving into a multifaceted en- tity. A number of high-profile collectors including Ani- ta Zabludowicz, Frank Cohen and David Roberts have started their own spaces for showing art: philanthrop- ic hubs that enable privately-bought works to be pub- licly accessible. “A bit of me says a second home for the collection would be good, but we’ll see how that pans out. Accessibility is the priority, physical accessibility. I would possibly open my own museum space, but it can get in the way too. Ultimately, I want other people to enjoy the collection and I want to enjoy it too.”
www.ingramcollection.com
Kenneth Armitage, R.A., Pandarus variation, 1962, bronze with a green patina, unique, 61.5cm © The Kenneth Armitage Foundation All images courtesy of the Ingram Collection
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