Portrait of Abigail Crompton.
Courtesy of Abigail Crompton.
Australian collector Abigail Crompton is adamant that art should be a part of everyone's life. As the founder of The Melbourne company Third Drawer Down, she has been working with artists since 2003 to produce limited edition items such as housewares and accessories. Over the years, Crampton has collaborated with renowned artists including Louise Bourgeois, David Shrigley and Yayoi Kusama to produce multiple editions, and her company's collections can be found in museum gift shops around the world. Crumpton is also the author of the 2020 book Truth Bomb: Inspiration from the Mouths and Minds of Women Artists.
Crampton's strong art collection is home to works by Australian contemporary artists such as Tony Albert, Kaylene Whiskey, Tiger Yaltangki and Vincent Namatjira. In addition, works by international artists such as Mickalene Thomas, Chris Ofili, Douglas Gordon and Nathalie du Pasquier are also part of the collection.
We recently interviewed her: as we took a step further into her collection and appreciated her love of prints and limited editions, Artsy learned that she was planning to open her private collection to the public.
Can you sum up your collection in one sentence or a few words?
The art of vocalization.
When did you start collecting art, and for what?
My collection began in the early 2000s as a primer on limited editions and works on paper. My collection at that time mainly depended on the size of my apartment and the size of my budget. I started collecting because I had fun with it. I chose the collection that was easily accessible and affordable.
As capital increases, so does my collection and the reasons for my drive. But one thing hasn't changed – I only buy what I like, the art that's meaningful to me. In this way, even if the value of the collection does not increase, I will not be disappointed.
The art I'm looking for has a high female voice, a different interpretation, either a critique of society or a interpretation of a particular moment.
Paul Yore, Never Be Enough, 2021
Courtesy of the artist and STATION.
Is there any piece in your collection that people flock to or ask about a lot?
I have a piece that everyone wants to know the story behind it. I was visiting the Yvon Lambert Gallery in Paris and found a photographic collage by Douglas Gordon and Anna Gaskell, Louise Duchamp et Marcel Bourgeois.
Because I had the legacy of Louise Bourgeois, Douglas Gordon and Marcel Duchamp, I made up my mind that I would have to buy it. It was a consignment work owned by a collector and artist; it cost more than I had budgeted.
I did a little research with the collector and found out what he might want in my collection. Unsurprisingly, I exchanged several pieces of my own collection for this piece. Both sides ended up happy, and I left Paris with Louise, Marcel, Douglas and Anna.
Can you talk to us about one or two artists discovered through Artsy?
Artsy excites me, it's great, it's an art world at your fingertips. It's no exaggeration to say I'm addicted to Artsy. My latest discovery was by the artist Allison Zuckerman. Arguably, she met almost all of my points, reinventing the image of a woman with humor, enthusiasm and joy. She's so wonderful.
Douglas Gordon & Anna Gaskell, Louise Duchamp & Marcel Bourgeois, 2002.
Courtesy of the artists.
Can you talk about the work you recently bought at Artsy?
I just bought a work by Tony Albert. I would like to thank Artsy from the bottom of my heart for accompanying me through the lockdown days. Bringing Tony into the collection was a big decision, or a pivotal "click of a button." Tony Albert's work is absolutely stunning and expressive on multiple levels. I want to buy more of his work and build a large collection. It is exciting to place his work in the collection with the works of Kelen Wissky, Tiger Yartangi and Vincent Namatjira. The work of this group of contemporary Australian Aboriginal artists is compelling and vocal, and has begun to garner global acclaim.
What is your collecting process like?
I've been looking for it — right now, I'm particularly fascinated by the art of vocalizing. I'm looking for feeling and meaning through art, and when I see and feel both, I ecstatic.
Tony Albert
Mid Century Modern – Return to Innisfail, 2016
Sullivan+Strumpf
AU$8,800
Tiger Yaltangki, HIGH VOLTAGE, 2021. ? Tiger Yaltangki. Courtesy of the artist; Iwantja Arts; and Alcaston Gallery.
What are the biggest challenges you face as an art collector? How do you overcome it?
The challenge is that institutions often "get started" and snap up the collection I'm trying to buy. It's good for artists and the value of the artwork, but it's not always something to be happy with for me. I collect out of love, not for money. So, on the one hand, I was very relieved to see that the institution could beat me to get the collection; on the other hand, I had to admit that it was not easy to accept the fact of frustration—especially when I wanted to include it in my personal collection and juxtapose it with the artist's previous work.
It all comes back to my love of limited editions. I like to link a complete collection of an artist's work to show the evolution of his art and the transformation of his perspective; I like to present the story on a timeline. Arguably, these institutions have left loopholes in my narrative of artists....lol, I'm joking. What I've always sought is access to art, and these art institutions do exactly that.
My solution is: if you can't beat them, join them. But seriously, I've spent my whole life trying to expose people to art through Third Drawer Down. For me, the natural next step was to open my collection to the public. Right now, I'm trying to build an art space.
How do you connect with galleries?
Building a good relationship with the gallery is a pleasure for both parties. Because I devote my time to research, I don't waste my time in the gallery. I would list the reasons in writing and persuade the gallery to have the artist sell the work to my collection. No matter how long I've known someone or a certain gallery, I don't waste their time because I'm fully prepared every time.
It is important that I always show respect for the individual. It's a two-way street for me: no matter how much I want to get that work, I don't favor a gallery that's difficult to deal with, rude, or self-styled elite. In my opinion, the most important thing about art collecting is to feel good. No one can steal my happiness.
Tom Polo, First time face away, 2015. Courtesy of the artist and STATION.
Maja Djordjevic
SAVE ME LOVE ME, 2021
Dio Horia
Sold
What trends have you noticed in the art market?
NFT。 Damien Hirst has just exploded in the market, and Takashi Murakami is about to launch a new work. The NFT is strong.
When you're thinking about whether or not to buy an artist's work, what's the key to helping you make the final decision?
First question: Am I in love with this piece? Based on what I know about artists, I'll start a research journey to validate the justification of the purchase in my own mind.
I then ask myself: What is the history of artists? What kind of person is it? Who else has a collection of this artist's work? How difficult is it to transport the works? How likely is appreciation?
What do you enjoy the most as a collector?
Visual pleasure is the highlight; every wall, every space, everywhere around me is art. I see art as food for survival—both spiritually and realistically.
(Article from Artsy)