“I didn’t know anybody who was focusing on female artists, but my collecting them was not a strategy,” Valeria Napoleone says. “It occurred organically because I was excited about the art.” Keep reading, here:
, 2016, and Rebecca Morris’sNapoleone bubbles with enthusiasm. When I met her in New York last spring, at her recently acquired, still devoid of artwork full-floor apartment in a building designed by Robert A.M. Stern, she was wearing a plum-colored Issey Miyake blouse; custom-tailored, leopard skin–patterned, scallop-edged pants; white Prada flats with metal studs and perforations; and a silver Nike baseball cap. I expressed admiration for her clothing, and she beamed.
, by Judith Bernstein, which is painted in fluorescent colors on a huge piece of unstretched canvas. “This is a penis elephant,” Napoleone said, showing me the work. “And this is a giant vagina—very angry.” As the gallerist Francesca Kaufmann of Kaufmann Repetto remarked, “Not all the people who come to the house are art people. And the kids—let’s think of the friends of the kids. It is a commitment for everyone to have a mother who is devoted to women artists.
She prefers to buy work from artists for whom that support will make a difference. “I started out collecting young artists or artists of my generation, and artists who were overlooked,” she explained. At first, she limited her expenditure to $40,000 for a work. It is now about twice that amount, which is still a relatively small sum in today’s overheated art market. “I don’t want to navigate fashions or trends or speculation,” she said. Her collection has grown to comprise about 450 pieces.
In London, Napoleone is a longtime supporter of Studio Voltaire, an experimental arts organization located in a former chapel on the South Bank. She discovered it serendipitously about 15 years ago, while she was in the neighborhood. “Nobody knew about Studio Voltaire,” she said. “I took my friends there. For many years, my birthday party was in their garden.
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