There are many reasons why art collectors decide to sell. The “three-prong rule” often applies—death, divorce, and debt—but collectors may choose to part with works that have gained value over time simply to free up resources for the next chapter of their collecting journey. This may mean diversifying, acquiring the work of a new generation of artists, or adopting a more charitable approach by creating an infrastructure that supports artistic and cultural production, circulation and influence in the communities they care about. This is what prompted Jennifer Gilbert, a philanthropist and art collector in Detroit, to sell many of the masterpieces from her collection to Sotheby’s. Proceeds from sales will support Lumana, a new Detroit arts nonprofit scheduled to launch in 2027 that will serve as a hub for artists, designers, and cultural institutions in the Little Village on the city’s east side.
Among the ongoing works in the block are those of Joan Mitchell The second pattern (1976), was created during a prolific period when she began to incorporate the most famous and vibrant color strokes inspired by the energies and colors of the French countryside. It will appear in Evening Auction Now and Contemporary On May 14, at a cost ranging between $5 and $7 million. Also up for auction is a rare example of Kenneth Noland’s early concentric circles, circle (1958), with an estimate of $4-6 million, the highest amount ever for a work by the artist at auction. Additional works destined for the platform include a rare 1950s piece by George Rickey, Orinari (space foam theme) (1955), estimated at $50,000-70,000 in the later period Contemporary Day AuctionAn important example of Harry Bertoia’s wiring constructions, Untitled (c. 1950), estimated at $80,000-120,000, at Sotheby’s Design is important On sale June 11th. Ahead of the three sales, The Observer spoke with Gilbert about how her journey as a college educator and philanthropist led her to this decision.
For Gilbert, the desire to collect art stemmed in part from a practical motivation: she wanted to make her house feel like a home. “I wouldn’t have called myself an art collector at the time,” she recalls. “These were works that fit the space, our budget, and other things my ex-husband and I could agree on.” Soon after, it was submitted to auction houses, and in May 2013 it acquired the 1958 Kenneth Noland painting. circleWhich she describes as the “catalyst” for what is to come. That same year, it also acquired works by Mitchell and Ruth Asawa, followed shortly after by Ricky and Bertoia. “From there I was hooked.”
Initially, collecting art was about fulfilling the dream of owning works by artists I had studied in art history classes in college. “My love of art history came from my studies, and I was so grateful to be able to live with them,” she says. All works that have entered her collection over the years conjure specific feelings and memories of the moments in which they were acquired. “I really don’t have a favourite. They are all appreciated in different ways and for different reasons.” However, both the Noland and Mitchell families were early acquisitions at auctions. “The Noland piece was the first piece I ever bought at auction, and certainly the most expensive piece I had ever purchased at that point. This acquisition was a turning point for me and instilled a sense of confidence and ability to collect things that I didn’t have before.”
All businesses in the sales have lived with Gilbert in their homes since their acquisition, except for a brief interruption during renovations. Although she will miss them, she is also excited to move on with their lives and live another life with someone who will love and appreciate them. “The fact that it sold to fund opportunities for living artists makes it interesting in many ways,” she says, adding that Lumana represents an important stage in its development as a collector and patron.
When she first began collecting, although her primary goal was to decorate her home, Gilbert viewed purchases through an investment lens, which made her feel more comfortable with historical works and the secondary market. “I had to love them and want to live with them, but they also needed to have a proven track record,” she recalls. However, I soon began to engage more deeply with contemporary art and with living artists whose visions, ideas and career paths I could follow and contribute to. “Not only did I fall in love with the works themselves, I fell in love with the artists behind them. I realized that my support of their practices could make a difference far beyond myself.”
Although she loves all art, Gilbert now finds deeper meaning in the works of the artists she has been able to meet, whose processes she has learned about and whose stories she has heard. “I feel very fortunate to be able to curate these pieces of history, and I hope to have a positive impact on the artist both personally and professionally.” Until recently, she relied on a small circle of trusted friends in the art world to bring her things. Now that she has more time and freedom to travel, she is expanding her network through galleries, auction houses and consultants. “The more I discovered and learned, the more I realized there was something I could learn,” she says, adding that another motivation for founding Lumana was her desire to continue collecting art. “I don’t believe in keeping art in storage, so Lumana would be a good way to make these pieces accessible to the broader community.”
At a certain point, Gilbert found herself wondering: What’s next? “I knew I wanted to continue collecting art and spend more time in the world. It was also around the same time that I curated my first exhibition, ‘Seen/Scene,’ and I learned how much I loved sharing works with others.”
Gilbert describes Lomana as a meeting point for all of her passions: art, design, architecture, community, philanthropy, and the city of Detroit. “I believe that art can be a way to build community, find common ground with others and enrich people’s lives. To that end, Lumana – both the building and the programming within its walls – will work to remove barriers, build bridges, and provide opportunities for the entire cultural ecosystem.” Detroit already has a vibrant arts community and active museum scene, and Lumana aims to strengthen relationships and partnerships with many of its current players. The foundation’s inaugural program will be launched in partnership with the Cranbrook Museum of Art.
“Plans are still evolving daily, but the goal will still be to leverage the space and its programs to positively impact as many people as possible, in everything we do,” Gilbert says. Her hope is that Lumana will serve as a space where both seasoned market participants and the general public can connect with and enjoy art. “As an art collector and patron, I am guided by this desire to connect, and I am drawn to artists and works that bring people into dialogue,” she concludes. “Lumana will certainly remain attuned to the current and changing needs of the arts community, and our programming will evolve to support those needs.”
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