Nights at the Museum: Good for Cultivating an Art Habit and Romance

When Ronald Ollie was an engineering pupil at the Missouri University of Science and Technology in the early 1970s, he would take dates to the St. Louis Art Museum. “The other engineers would say, ‘Why are you taking that woman to the art museum?”’ he recalled.

He would reply devilishly to his fraternity brothers, “You just don’t know!”

Today, Mr. Ollie, a retired mechanical engineer, and his spouse, Monique, who has a doctorate in biomedical engineering, talked about their assortment of their Newark condo, which has a spectacular view of Manhattan and partitions lined with summary work by black artists.

The gathering compulsion was a pre-existing situation when Mr. Ollie met his future spouse in 2003 at the National Black Fine Art Show. “I have picked out a few pieces, but mine are in the back,” Ms. Ollie, who’s a challenge supervisor at Johnson & Johnson, stated good-naturedly.

Mr. Ollie, who was raised in St. Louis, visited the museum as a baby along with his mom, who additionally enrolled him in artwork courses. “I had no talent for drawing figuratively,” he stated. But, as a sixth grader, he took the recommendation of a buddy in school, who leaned over and prompt he strive summary artwork. “I thought, ‘Wow, this is free!’ That’s where I gravitated.”

Last year, the Ollies gave 81 of their 225 works to the St. Louis Art Museum in honor of Mr. Ollie’s parents. The Thelma and Bert Ollie Memorial Art Collection, including pieces by Norman Lewis, William T. Williams, Sam Gilliam and Jack Whitten, will go on view there next September.

These are edited excerpts from the conversation.

I imagine when you started, these artists were pretty affordable.

RONALD OLLIE Very affordable. I started buying directly from the artists, and I could negotiate with them. Ed Clark would take me to various studios, like Stanley Whitney’s or Frank Bowling’s. I was going to buy a piece, and Frank said, “I’m going to give you my landlord’s address and I want you to pay the rent every month.” I didn’t have to pay the painting all right off and I was helping him pay his rent in Dumbo.

The relationships seem as important to you as the artworks.

MR. OLLIE These artists trusted that I could talk to them about the art they did in a critical way. Ed would say: “I’m working on a piece. Go take a look and tell me what you think.” It did something to me in terms of my confidence in developing my eye and starting to know that this is something that is real for me.

How did the gift to the museum come about?

MR. OLLIE I was interested in making a donation. The curators came and said, “If we take anything, it may just be a few pieces.” I said, “Anything you want.”

MONIQUE OLLIE The one exception was a piece by Richard Mayhew. It’s one of my favorites.

MR. OLLIE When they came back and said, “We want 81 pieces,” it was shocking, to say the least. They did not have a representative sampling of abstract art by black artists.

MS. OLLIE When we were in St. Louis and saw the art up, I just started bawling. These are pieces that now will be available to broad audiences.

Do you have a favorite piece in the apartment?

MR. OLLIE This Ed Clark was on loan to the Newark Museum when the curators came. I told them, “You missed out on a great painting.”

Are you glad it was held back?

MR. OLLIE Kind of. This is one of my favorites.

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