The Passionate Collectors: Part I

Brett Cook: commissioned painting of the collectors

Sharon Burton-Turner: the First Vice Chair of the NJ State Council on the Arts. Chairs the African American Cultural Committee at the Montclair Art Museum and is a docent as well.
Lincoln Turner: Businessman and entrepreneur.

By Nefertiti

Lincoln and Sharon Burton-Turner, an elegant unassuming couple has been gracious in allowing me into their contemporary home to interview them about their passion for collecting.   Artwork and collectibles selectively appointed every wall, and rooms resonate their personal journey around the four corners of the world with panache.

Seated in the family room with the late morning sunlight flooding into it, I proceeded to ask them the following questions.

Both started collecting while in college.
N – When did you start collecting?
LT/ST - First we strongly believe in collecting artwork from artists in New Jersey (Ben Jones, Russell Murray, Janet Taylor-Pickett, Roy Crosse etc,) as well as other established artists.
ST - I have always been a collector and started in college.  It’s been one continuum.
LT – We collect antique furniture, such as Early American Oak, African sculpture and artifacts, antique dolls, Black Memorabilia and contemporary art.

N – Who are some of the artists in your collection?
Thornton Dial, Hale Woodruff, Elizabeth Catlett, Romare Bearden, Nanette Carter, Charles Seebree Jacob Lawrence, Brett Cook- Dizney, Charles White, William Carter, Verna Winslow, etc.

Hale Woodruff

N – Do you have a favorite work?
ST - Hard to say because we love them all.  We have art and artifacts from all over the world.  Sharon continued by naming a few of the countries: Holland, South Africa, Indonesia, China, Italy, Greece, Cuba, etc…

N – How has having art transformed your life, if at all?
LT - Meeting artists and art collectors has become our extended family.
With shared affinities, communication is easily facilitated at functions.
ST – For example: our trip to Cuba, and viewing the various architecture in Santiago de Cuba and Baracoa the Eastern part of the island with Afro-Cuban culture was just wonderful.  Seeing performing artists and visual artists was awesome.  We did this with the Metropolitan Museum travel program, “Travel with the Met” and the Center for Cuban studies. Saw the Cuban Biennale in 2005 too.  Visited artists studios.  Viewed the work of Manuel Mendive at his home, perhaps the leading Afro-Cuban artist and the famous Wifredo Lam.
N -They have several Cuban works of art in their collection.

ST– We have literally seen the world through art.  Have been to Spain, Amsterdam and  Italy visiting the Picasso Museum in Barcelona, The Rijksmuseum and The Sistine Chapel.
ST – Talking about our travels and experiences makes me want to do it again
In South Africa we visited the “Bag Factory,” a non-profit residency that has permanent studios for artists, located in Johannesburg.

Montebravo

N – Do you believe that art has the power to heal?
ST - Absolutely!  Just to give you an example, I had a friend who had cancer, and when she listened to music it would sooth the pain.  Just seeing art being created is… like adding life; it extends your life.
LT – On the flip side, inappropriate art can drain your energy or spirit.

N – Do you seek any particular aesthetic when purchasing work?
LT – We are eclectic.

N – Is it important to collect African-American art?
Both gave an emphatic “yes.”
ST – Our collection is comprised 95% of the Diaspora.

N – Do you look at what you collect in general as an asset?  And if so why?
LT - Yes, it appreciates in value and gives an emotional payback everyday.  In fact, I initially saw art as an investment.

N - What are the advantages of going to an artist studio to purchase for a collection versus an art gallery?
ST - You establish a relationship with the artist.  It is an opportunity to speak directly with the artist and get their insights and sometimes it can lead to viewing a wider selection of their work without an intermediary.

Charles Seebree

N – Do you feel that an artist has a social responsibility?
LT- Artists are the vanguard of social responsibility.

N – Why do you think arts are important to a society or culture?
LT - I think that they echo what goes on in the moment.  They are the visual historians and reflect who we are at a point in time.
ST - I simply could not imagine a world without art and a house without art.

N – I assume that there is a certain amount of status or glamour to being a collector?
LT - Yes, there is glamour attending openings, art events and meeting extraordinary people, __ the best and brightest.  There is instant communication without saying anything.

N - Are African-American artists an endangered species?
ST– Yes!  I don’t think that they get the recognition, support, compensation nor appreciation.

N – How can the dynamics of African American art have a more positive prominence in American culture?
ST - Education and inclusion   …you have to start recognizing and advancing art/artists within museums/galleries, so that the glass ceiling can be broken.  Having a mentoring program (trustees mentoring new members) would make a difference. Selecting collectors who are knowledgeable and are trustees (of the institution) to the acquisition committees.

Thank you Sharon and Lincoln!