Collecting Stories: A Specialist’s Eye
Founded with the principles of access and community, CURA Art utilises a broad network and expertise to support collectors with all aspects of managing their passion and investment.
Whilst many of the collectors we know and work with choose to remain private, several have generously allowed us to share their stories with you, to inspire others and encourage open discussion on the role of the collector in the 21st century. The aim of the Collecting Stories series is to de-mystify the world of collecting, but also represent the many different approaches to acquiring and patronising the arts.
Collecting is so much more than amassing beautiful or interesting works of art and objects; collectors have the opportunity to invest in the future and document the past and present – through this series we hope to bring this to light.
Arushi Kapoor is a young art dealer, gallerist, philanthropist and collector currently living in Los Angeles. Her collecting story demonstrates how many advisors also collect and support the artists that they champion.
When did your interest in art begin? Were your family collectors or art enthusiasts?
I don’t have conscious memory of when my interest in art first came to being. My mum started collecting before I was born so I was always surrounded by art and artists growing up. I always was curious of understanding the artists perspective in museums. I think my first memory is of seeing figurative marble sculptures in the V&A in London.
When and why did you start collecting?
I started collecting maybe around the age of 15 years. It was a teddy beach sculpture by the Asian artist Valay Shende. I fell in love with the piece and told my parents, who helped me acquire it.
Where do you find art?
Everywhere. Exhibitions, Dealers, ARTSY, Artnet, Instagram, Art fairs.
Do you have relationships with the artists that you collect? And if not, would you
like to?
I like to speak to almost all artists I collect. I mostly reach out to them on Instagram letting them know I have acquired a work. Surprisingly, even the top artists that you may think won’t respond, reply and are gracious.
Do you feel like a custodian for the works of art? Do you feel a responsibility towards
the artwork and the artists?
My responsibility is towards the artist and the collector. I am looking out for the best for both of them. I am merely a bridge. I am thankful to all the artists I collect and work with and the clients that entrust me with getting them the best works.
Is there a particular aesthetic that you’re drawn to?
Figurative post-war contemporary is my jam. I like black and white paperworks. I also love diasporic and aboriginal art.
What advice do you have for fellow collectors?
Get a good art dealer and build a long-term relationship. Dealers get you artworks in your aesthetic that are also good investments.
Which artists are on your wish list right now?
Robert Pokorny, Victor Ubah, Sophie Kipner, Robert Nava, Molly Green, Fika Leon, Hannah Reinhart.
Is there a work that got away? And what’s your favourite piece, and why?
Suanjaya Kencut is the work that got away. I wanted one for a while but missed the boat on primary market. I have too many favorites to list them.
Image: © Victor Ubah, The Rest, 2022, courtesy of Arushi Kapoor.
My favorite work is:
My lips are sealed.
If you could own any work of art, from any time, and irrespective of cost, what would it be?
A red Rothko.
What do you envisage or hope for with regards to the legacy for your collection?
Female and diasporic art, driven with an emphasis on supporting.