TRIBAL People 142 saying that I usually didn’t like objects from that particular culture, but that I did indeed like his example. He replied, “Of course there were ones that were great works of art, otherwise, the people would not have made them.” I suppose that’s the piece I’m always looking for. TAM: Is there a single acquisition that has given you particular satisfaction? And is there an especially memorable piece that got away? RS: I can’t really think of a single piece that has given me so much more satisfaction than others that it stands out. Each has its own story of how I came to find it, pay for it, appreciate it, and so on. As for the ones that got away, sure, there have been many. But I always know there will be a new adventure and tend to move on quickly rather than focus on the past. TAM: To what degree does a sculpture’s original purpose affect the way you perceive it? That is, do you tend to be interested in the anthropological aspects of a given artwork, its formal aesthetics, or both? RS: I am first and foremost driven by formal aesthetics. However, I do enjoy understanding the anthropological qualities of how the objects were used and the meaning of each in the context of the society it came from. In many cases, these objects are really all that remains of so many great and interesting cultures. Also, of course, an understanding of how the objects were used can be very important in understanding the differences between an authentic object and one that was made to look original but is not. TAM: You’ve been collecting for quite a while by now. Given the way your collection has grown and the fact you’ve been able to access increasingly important pieces over the years, how has the African art market changed from your perspective? RS: The market has changed in many ways. The most notable, of course, is that the prices have dramatically increased over the decades that I have been collecting. I also think that there are many more objects being marketed as genuine that are not. I have no problem with reproductions except when they’re sold at the price of an original piece. Also, with the economic downturn of five or so years ago, the middle and lower-end objects have become much more difficult to sell. It will be interesting to see if things ever return to the way they were before that happened.
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