were buying oils, you would be in the millions. Following that point of view, I would buy an artist’s photography no matter what they used to shoot it. It’s not about the process, it’s about the image and the thinking behind the concept. Would you buy a photograph that was atypical of an artist’s particular style? I’m always in a quandary when I see an image from a photographer that is not their typical style. Would I buy it? You want to keep the name with the image. The question is how much do I love it? If it’s Irving Penn, and it’s a different type of Irving Penn, I still love it and he still takes a beautiful photograph. Has the shift in what people consider photography now, had an impact on the way you collect photography? In my work as a designer or in the other things that I do in my life, I’ve tried to use my own
judgment. When everybody was buying a lot of contemporary photography I still stuck with what I love. I try to stick with my gut. I think the true sense of a collector is by the passion. The more passion you have, the more you believe in what you’re collecting, and whatever happens, that’s what you stay with. Do you have a favorite photographer? I love Munkacsi. It’s one of the photographers whose work I own the most of. I love a lot of the Italian Futurists as well. I love Steichen. There’s just so many… Is there any photograph you wanted in your collection that got away from you? Yes, one photograph I now have went for like three thousand dollars, and I didn’t have the money to buy it then. When I saw the image in books, it was always “the one that got away.” Six years later it came up again for auction and I was No. 2 Musée Magazine 141