There are many reasons art collectors decide to sell. The “rule of three Ds”—death, divorce, debt—often applies, but collectors may choose to part with activities that have gained value over time just to free up resources for the next chapter of their collecting journey. That may mean diversifying, gaining work through a new generation of artists or adopting a philanthropic approach by building infrastructure that supports art and culture's production, dissemination and impact on the communities they care about. That's what inspired Detroit philanthropist and art collector Jennifer Gilbert to sell several works of art from her collection to Sotheby's. Proceeds from the sale will support Lumana, a new nonprofit arts organization in Detroit that will launch in 2027 and serve as a hub for artists, designers and cultural centers in Little Village on the city's east side.
Among the works in progress on this block is Joan Mitchell's The Loom II (1976), created during the period of excitement when he first composed his sweeping, bold strokes of color inspired by the energy and colors of the French countryside. It will appear at The Now and Contemporary Evening Auction on May 14 with an estimate of $5-7 million. Also up for sale is a rare copy of Kenneth Noland's early Circles, The circle (1958), with an estimate of $4-6 million—the artist's highest ever auction price. Additional works directed at the rostrum include a rare 1950s piece by George Rickey, Orenary (Space Churn Theme) (1955), estimated at $50,000-70,000, at the subsequent Contemporary Day Auction, and an important example of Harry Bertoia's string construction, It has no title (c. 1950), estimate $80,000-120,000, at Sotheby's Essential Design sale on June 11. Ahead of the three sales, the Observer spoke with Gilbert about how his journey as a collector and philanthropist led him to this decision.
For Gilbert, the desire to collect art stemmed in part from a practical impulse: he wanted to make his house feel like home. He recalls: “I wouldn't call myself a collector at the time. Soon after, he was introduced to auction houses, and in May 2013 he acquired a 1958 Kenneth Noland painting. The circlewhich he described as a “motive” for what was to come. That same year, he also acquired the works of Mitchell and Ruth Asawa, and Rickey and Bertoia followed soon after. “From there I just fell in love.”
At first, collecting was about living out the dream of owning the works of artists he studied in college art history classes. “I found my love of art history in my studies, and I was very happy to be able to live with them,” he said. All the works that have entered his collection over the years embody certain feelings and memories of the times when they were discovered. “I don't really have a favorite. They are all appreciated in different ways and for different reasons.” But both Noland and Mitchell were early and described the acquisition of the auction. “The Noland was the first piece I ever bought at auction, and certainly the most expensive I've ever bought at the time. That acquisition marked a turning point for me and instilled a sense of confidence and practicality in the collection that I didn't have before.”
All the works in the sale have remained with Gilbert in his houses since their purchase, without interruption for a while during the renovation. Although he will miss them, he is happy that they will continue to live another life with someone who will love and appreciate them. “The fact that they are being sold to support the opportunities of living artists is satisfying in many ways,” he said, adding that Lumana represented an important stage in his evolution as a collector and patron.
When he began collecting, although his primary goal was to decorate his home, Gilbert considered buying through an investment lens, which made him more comfortable with historic works and the secondary market. “I had to like them and want to be with them, but they also had to have a proven track record,” he recalls. However he soon became deeply involved in contemporary art and living artists whose views, ideas and career paths he could follow and contribute to. “Not only did I like the works themselves, but also the artists behind them, I realized that my support of their work could make a bigger difference than me.”
Although he loves all art, Gilbert now finds deep meaning in the works of artists he has met, their processes he has learned about and their stories he has heard. “I feel fortunate to be able to handle these pieces of history, and I hope to have a positive impact on the artist both on a personal and professional level.” Until recently, he relied on a small circle of trusted friends in the art world to bring things to him. Now that he has more time and freedom to travel, he expands his network to all galleries, auction houses and consultants. He says: “The more I find and learn, the more I realize that I have to learn,” adding that another reason for establishing Lumana is his desire to continue collecting. “I don't believe that art stays in storage, so Lumana will be a great way to make these pieces accessible to the public.”
At one point, Gilbert found himself asking: what's next? I knew I wanted to continue collecting and spend more time in that world. It was also around the same time that I did my first exhibition, “Visual/Scene,” and I learned how much I loved sharing works with others.”
Gilbert describes Lumana as the intersection of all his passions: art, design, architecture, community, philanthropy and the city of Detroit. “I believe that art can be a tool to build community, find common ground and enrich people's lives.” To achieve this, Lumana—both the building and the programs within its walls—will remove barriers, build bridges and provide opportunities for all cultures.” Detroit already has a vibrant arts community and an active museum scene, and Lumana aims to foster relationships and partnerships with its many existing players. The foundation's first program will be launched in partnership with the Cranbrook Art Museum.
“Programs are still emerging every day, but the goal is to continue to grow the space and its program to have a positive impact on more people, in whatever we do,” said Gilbert. His hope is that Lumana will serve as a place where both seasoned market participants and the general public can connect and enjoy art. “As a collector and sponsor, I am guided by this desire to communicate and I am attracted to artists and works that make people talk,” he concluded. “Lumana will certainly remain relevant to the current and changing needs of the arts community, and our programs will evolve to support those.”
Many discussions of art collectors
