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‘I Had Never Seen Anything Like It Before’: Steve Martin on the Spark That Led Him to Become One of the Top Collectors of Australian Indigenous Art

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Steve Martin has been back in the headlines of late, thanks to his leading role in the hit Hulu comedy Only Murders in the Building. But he also has a star turn this fall at the National Arts Club in New York, which is presenting a small but striking exhibition of Indigenous Australian art from the actor’s personal collection.
Titled “Selections from Australia’s Western Desert: From the Collection of Steve Martin and Anne Stringfield,” the show features six works from among the 50 or so contemporary paintings by Indigenous Australian artists that Martin has purchased with his wife since 2015.
The couple’s passion for this still rather obscure area of contemporary art got its start at Salon 94 on the Upper East Side, which at the time was presenting the first U.S. solo show for Warlimpirrnga Tjapaltjarri. Martin read about the show in the New York Times, and was immediately intrigued. “I got on my bicycle, and I went down, and I bought one,” he told Artnet News.
Bill Whiskey Tjapaltjarri, Rockholes and Country Near the Olgas (2008). Collection of Steve Martin and Anne Stringfield.
Martin, of course, had been collecting for years, starting out with a James Gale Tyler seascape he picked up at an antique store for $500 at age 21 and still owns; today, he estimated, it has dipped in value to $300. (Martin’s next acquisition, a print by Ed Ruscha of the Hollywood sign, has probably fared better over the years.)
The love affair with Indigenous Australian art, however, was something of a slow burn for Martin and Stringfield.
“We hung it, we loved it, but we didn’t really think about it for a few years. But there is a whole culture around these paintings, and slowly, through osmosis, I began to learn more and more,” he said. “The history of Indigenous painting only goes back to about 1970—before that it was sand painting, wall painting, carving, and this was the first time these images could be set down in a permanent way.”
Making lasting, portable works that could be sold was transformative for the Indigenous art community—and brought something brand new to the art world, a movement that became known as Desert Painting.
“I think it’s such a fascinating story,” Martin said. He also appreciated collecting in an area where there wasn’t a huge amount of established scholarship.
“It’s fun to have something to study, to try to understand, to apply your critical eye to without any outside pressure,” he added. “There’s not a lot of promotion about [these] artists. You just have to find it out yourself.”
Slowly but surely, Martin began buying more and more Indigenous art, even traveling with Stringfield to Australia. (Though they didn’t make it to the Outback, they visited a center where working artists create their paintings.)
Carlene West, Tjitjitji. Collection of Steve Martin and Anne Stringfield.
They also met Indigenous artist Yukultji Napangati when she visited New York a few years ago and had her over to dinner.
“She made my daughter a family member, which was quite an honor, and I played the banjo,” Martin said. “Yukultji is quite a historical figure. She was one of the Pintupi Nine, and came in from the Outback when she was 13—had never seen a white man, had never seen a car—and then became a notable painter.”
As Martin and Stringfield’s holdings in Indigenous art grew, so too did their desire to show them to the world. To start, Martin staged a small show at the Uovo storage facility in Queens for friends and family.
Word got out. Next came an outing at Gagosian—nothing for sale, of course—that showed in both New York and Los Angeles, and an exhibition at the Australian counsel residence in New York. (That showed paired Martin’s collection with works owned by John Wilkerson, whose collection focuses on smaller, earlier works on board, before Indigenous artists got access to canvases.)
These days, Martin and Stringfield are winding down their active collecting.
“Our indigenous art collection is pretty dense—there’s not much left to acquire. Right now, we are just having fun moving works around,” Martin said. “I love to rotate things. Every time you move a picture, it’s like getting a new picture. You see it anew.”
And of course, he loves seeing his collection on the walls of the National Arts Club, which is currently presenting works by Tjapaltjarri, Bill Whiskey Tjapaltjarri, Timo Hogan, Carlene West, and Doreen Reid Nakamarra.
“It’s an unpredictable melange of pictures. There’s some later ones—Timo Hogan is very contemporary,” Martin said, adding that “in the Australian Indigenous art world, a 50 year old is considered a young painter.” Hogan is 49.
“I’d like people to be able to see the National Arts Club show because it’s very, very unusual,” he added. “And I hope they have the same experience I did—I had never seen anything like it before.”
“Selections From Australia’s Western Desert From the Collection of Steve Martin and Anne Stringfield” is on view at the National Arts Club, 15 Gramercy Park South, New York, New York, September 12–October 27, 2022. 
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    in Exhibitions

    ‘I Had Never Seen Anything Like It Before’: Steve Martin on the Spark That Led Him to Become One of the Top Collectors of Australian Indigenous Art

    Steve Martin has been back in the headlines of late, thanks to his leading role in the hit Hulu comedy Only Murders in the Building. But he also has a star turn this fall at the National Arts Club in New York, which is presenting a small but striking exhibition of Indigenous Australian art from the actor’s personal collection.
    Titled “Selections from Australia’s Western Desert: From the Collection of Steve Martin and Anne Stringfield,” the show features six works from among the 50 or so contemporary paintings by Indigenous Australian artists that Martin has purchased with his wife since 2015.
    The couple’s passion for this still rather obscure area of contemporary art got its start at Salon 94 on the Upper East Side, which at the time was presenting the first U.S. solo show for Warlimpirrnga Tjapaltjarri. Martin read about the show in the New York Times, and was immediately intrigued. “I got on my bicycle, and I went down, and I bought one,” he told Artnet News.
    Bill Whiskey Tjapaltjarri, Rockholes and Country Near the Olgas (2008). Collection of Steve Martin and Anne Stringfield.
    Martin, of course, had been collecting for years, starting out with a James Gale Tyler seascape he picked up at an antique store for $500 at age 21 and still owns; today, he estimated, it has dipped in value to $300. (Martin’s next acquisition, a print by Ed Ruscha of the Hollywood sign, has probably fared better over the years.)
    The love affair with Indigenous Australian art, however, was something of a slow burn for Martin and Stringfield.
    “We hung it, we loved it, but we didn’t really think about it for a few years. But there is a whole culture around these paintings, and slowly, through osmosis, I began to learn more and more,” he said. “The history of Indigenous painting only goes back to about 1970—before that it was sand painting, wall painting, carving, and this was the first time these images could be set down in a permanent way.”
    Making lasting, portable works that could be sold was transformative for the Indigenous art community—and brought something brand new to the art world, a movement that became known as Desert Painting.
    “I think it’s such a fascinating story,” Martin said. He also appreciated collecting in an area where there wasn’t a huge amount of established scholarship.
    “It’s fun to have something to study, to try to understand, to apply your critical eye to without any outside pressure,” he added. “There’s not a lot of promotion about [these] artists. You just have to find it out yourself.”
    Slowly but surely, Martin began buying more and more Indigenous art, even traveling with Stringfield to Australia. (Though they didn’t make it to the Outback, they visited a center where working artists create their paintings.)
    Carlene West, Tjitjitji. Collection of Steve Martin and Anne Stringfield.
    They also met Indigenous artist Yukultji Napangati when she visited New York a few years ago and had her over to dinner.
    “She made my daughter a family member, which was quite an honor, and I played the banjo,” Martin said. “Yukultji is quite a historical figure. She was one of the Pintupi Nine, and came in from the Outback when she was 13—had never seen a white man, had never seen a car—and then became a notable painter.”
    As Martin and Stringfield’s holdings in Indigenous art grew, so too did their desire to show them to the world. To start, Martin staged a small show at the Uovo storage facility in Queens for friends and family.
    Word got out. Next came an outing at Gagosian—nothing for sale, of course—that showed in both New York and Los Angeles, and an exhibition at the Australian counsel residence in New York. (That showed paired Martin’s collection with works owned by John Wilkerson, whose collection focuses on smaller, earlier works on board, before Indigenous artists got access to canvases.)
    These days, Martin and Stringfield are winding down their active collecting.
    “Our indigenous art collection is pretty dense—there’s not much left to acquire. Right now, we are just having fun moving works around,” Martin said. “I love to rotate things. Every time you move a picture, it’s like getting a new picture. You see it anew.”
    And of course, he loves seeing his collection on the walls of the National Arts Club, which is currently presenting works by Tjapaltjarri, Bill Whiskey Tjapaltjarri, Timo Hogan, Carlene West, and Doreen Reid Nakamarra.
    “It’s an unpredictable melange of pictures. There’s some later ones—Timo Hogan is very contemporary,” Martin said, adding that “in the Australian Indigenous art world, a 50 year old is considered a young painter.” Hogan is 49.
    “I’d like people to be able to see the National Arts Club show because it’s very, very unusual,” he added. “And I hope they have the same experience I did—I had never seen anything like it before.”
    “Selections From Australia’s Western Desert From the Collection of Steve Martin and Anne Stringfield” is on view at the National Arts Club, 15 Gramercy Park South, New York, New York, September 12–October 27, 2022. 
    Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

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    The Met Is Showing Incredible Ceramics by the Often Unnamed Enslaved Potters Who Worked in the American South

    The Metropolitan Museum of Art has organized an important exhibition centered around 50 ceramic objects made by enslaved African American potters who were active in westernmost South Carolina during the 19th century.
    “In the decades before the Civil War, a successful alkaline-glazed stoneware industry developed in Old Edgefield District, a clay-rich area,” the museum says in a statement. And while common depictions of slavery focus on the backbreaking labor of harvesting cash crops, the exhibition “Hear Me Now,” shows that enslaved people were also highly skilled artisans.
    “When I talk to artists about it, they’re still incredulous about the fact that these jars were made, that they survived the kiln firing,” said co-curator Adrienne Spinozzi, an assistant research curator from the Met’s American Wing, of the unique ceramic housewares, which became a lucrative cottage industry in the plantation economy.
    Face jug, by an unrecorded potter, attributed to Miles Mill Pottery (1867–85), Old Edgefield District, South Carolina, alkaline-glazed stoneware with kaolin glaze. Photo: Hudgins Family Collection, New York.
    Michigan-based historian Jason Young co-curated the exhibition, contributing years of research and writing about the region’s pottery-rich past. Young also curated a show around Theaster Gates’s engagement with this history, called “The Clay Sermon.” Ethan Lasser, from the Museum of Fine Arts, Boston (where the show travels to next), rounded out the curatorial team.
    Planning for the show started in 2017, when the Met acquired a face jug from an unrecorded Edgefield potter for their permanent collection galleries. Spinozzi saw the object as a route to have conversations about “American history and these really difficult and complex and challenging moments in our country’s past.” She then visited South Carolina to do further research.
    The exhibition opens with 12 massive jars by David Drake—perhaps the best-known potter from Edgefield. Despite social restrictions against educating enslaved communities, Drake learned to read and write, developing exquisite handwriting, and he carved a wide array of simple literature onto his works, as well as signing and dating them. One jar from June 1834 reads “concatenation,” meaning a system of interconnection. Forty of the jars in the exhibition have similar “verses” carved onto them—sometimes poetic or biblical, sometimes informative (“this jar is for pork”) or even declarative,, proclaiming “I made this.”
    Detail of work by Dave, later recorded as David Drake, American, ca. 1801–1870s.
    Nineteen regional “face jugs” follow Drake’s works. These vessels, not commercial objects, were shaped to have visages with expressions in high relief. They appeared around 1858, half a century after the transatlantic slave trade had been outlawed, but the same year a ship arrived with 400 captive Africans—100 of which went to Edgefield’s potteries. Many face jugs are believed to resemble minkisi, ritual objects hailing from West-Central African religious practices.
    “Hear Me Now” bridges that history with the present moment by including contemporary Black artists who resonate with the Edgefield story, including Simone Leigh, Adebunmi Gbadebo, Woody De Othello, Theaster Gates, and Robert Pruitt.
    Theaster Gates, Signature Study (2020). Courtesy of the artist and White Cube, LondonPhoto: © White Cube/Theo Christelis.
    “As curators, we brought a different set of questions to the material,” Lasser told Artnet News. “We were also conveners, drawing on our own networks to engage friends and colleagues in the act of interpretation.”
    Scholarship on enslaved artists from American history has been slim. A team from the Met traveled with a conservator to South Carolina in 2019 to take samples of residue from the vessels’ interiors beyond their prohibitively slender necks. They’re now working with outside experts to learn what these enigmatic face jugs actually held.
    “We’re building this database that includes photographs of the interior,” Lasser added. “We’re looking at these objects, looking at their histories, trying to see if we can trace them back to the African American community.”
    Storage jar (ca. 1845), by an unrecorded potter, Trapp & Chandler Pottery (1843–ca. 1850), Old Edgefield District, South Carolina, alkaline-glazed stoneware with iron slip. Photo: Courtesy of the Collection of C. Philip and Corbett Toussaint.
    “We want viewers to walk away with an appreciation of the full breadth and depth of this fascinating material,” Young added over email. “We want them to connect with the people who created this material, even while living under a harsh regime of American racism and slavery.”
    To further this aim, on December 3, the Met will host a public program titled “Learning from Edgefield,” which will have discussions with historians, artists, and museum leaders on the best practices around working with African American cultural heritage sites like Edgefield, and how museums collect, display, and interpret objects by enslaved makers.
    “I am most looking forward to the conversations the show opens up,” Lasser said, “about Edgefield and ceramics, enslavement and industry—perhaps even about museums and collecting today.”
    “Hear Me Now” is on view through February 5, 2023, at the Metropolitan Museum of Art in New York. It then travels to the Museum of Fine Arts, Boston (March 4–July 9, 2023), the University of Michigan Museum of Art, Ann Arbor (August 26, 2023–January 7, 2024), and the High Museum of Art, Atlanta (February 16–May 12, 2024).
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    in Exhibitions

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    Visitors attend the “Basquiat: The Retrospective” exhibition preview at Albertina on September 8, 2022 in Vienna. Photo: Heinz-Peter Bader/Getty Images.
    Visitors attend the “Basquiat: The Retrospective” exhibition preview at Albertina on September 8, 2022 in Vienna. Photo: Heinz-Peter Bader/Getty Images.
    Visitors attend the “Basquiat: The Retrospective” exhibition preview at Albertina on September 8, 2022 in Vienna. Photo: Heinz-Peter Bader/Getty Images.
    Visitors attend the “Basquiat: The Retrospective” exhibition preview at Albertina on September 8, 2022 in Vienna. Photo: Heinz-Peter Bader/Getty Images.
    Visitors attend the “Basquiat: The Retrospective” exhibition preview at Albertina on September 8, 2022 in Vienna. Photo: Heinz-Peter Bader/Getty Images.
    Visitors attend the “Basquiat: The Retrospective” exhibition preview at Albertina on September 8, 2022 in Vienna. Photo: Heinz-Peter Bader/Getty Images.
    Visitors attend the “Basquiat: The Retrospective” exhibition preview at Albertina on September 8, 2022 in Vienna. Photo: Heinz-Peter Bader/Getty Images.
    Visitors attend the “Basquiat: The Retrospective” exhibition preview at Albertina on September 8, 2022 in Vienna. Photo: Heinz-Peter Bader/Getty Images.
    Visitors attend the “Basquiat: The Retrospective” exhibition preview at Albertina on September 8, 2022 in Vienna. Photo: Heinz-Peter Bader/Getty Images.
    Untitled (1982) by Jean-Michel Basquiat. Museum Boijmans Van Beuningen, Rotterdam. Photo: Studio Tromp; © Estate of Jean-Michel Basquiat, licensed by Artesar, New York.
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    Filipino Artist Pio Abad Turns Ferdinand Marcos and Ronald Reagan’s Cozy Correspondence Into Art at the Carnegie International

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    “You can see that this wasn’t just a professional relationship,” Abad said of the communications between the two political power couples. “It was a personal one. And I think they genuinely liked each other.”
    “Dear Mr. President, I have no other recourse but to write you this letter,” Ferdinand Marcos entreated with Ronald Reagan on October 20, 1988, in a last-ditch effort to avoid racketeering charges brought by Rudy Giuliani, then-U.S. attorney for the Southern District of New York. The ousted dictator wanted the president to personally intervene in the case and allow the Marcoses to prove that the billions in cash, real estate, art, and gems they amassed during their decades in power—some of which they smuggled with them out of the Philippines—were not acquired using stolen funds.
    “Imelda sends her prayers to you and Nancy,” Marcos ended his missive. “I remain your obedient servant.”
    Pio Abad, Thoughtful Gifts (October 20, 1988) (2020).
    In his reply, penned that same day, Reagan told Marcos that “the facts and circumstances in this case left me no choice except to defer to the Attorney General. I regret very much that this has become necessary but under our system you will have every opportunity to refute these charges.” He ended they note with an assurance that “Nancy joins me in extending to you and Imelda our best wishes.”
    A day later, the Marcoses were indicted on RICO charges in New York, and although Ferdinand died just a few months later, Imelda would stand trial in 1990—and be acquitted.
    In another letter, presented by Abad as a triptych, Giuliani outlined the evidence against the Marcos family in a dispatch to the Attorney General’s office, following a search of their daughter’s home in California. Giuliani wrote that the assets federal agents seized from the property—including more than 100 works of art and antique furniture—provided “further evidence that the Marcoses have continued to commit crimes and to conceal the fruits of their racketeering enterprise since they arrived in the United States.”
    Although Imelda Marcos was acquitted of racketeering, the trove of art that authorities in the U.S. and the Philippines seized was sold at auction in New York in 1991. But hundreds of works acquired by the family using their ill-gotten gains remain unaccounted for, including a Picasso that was spotted on the wall of Imelda’s home during a visit from her son, Ferdinand Jr., after he won the Philippines presidential election earlier this year.
    “These letters become portals to the past,” Abad said of the historical documents. “They are also like a palimpsest of how these characters were viewed then and how they are now.” Ferdinand Jr.’s rise to power, for example, largely came through a whitewashing of his parents’ actions during their reign. “The way that political personalities are recycled and reinterpreted throughout history, and the fact that we’re seeing this happen within a single generation, is frightening,” Abad said.
    In a further twist of fate, the Carnegie exhibition opens almost 50 years to the day that Marcos declared martial law in the Philippines.
    Pio Abad, installation view of Distant Possessions (2022) in the 58th Carnegie International. Photo: Sean Eaton. Courtesy of the artist and Carnegie Museum of Art.
    Abad’s other work in the exhibition draws on the Carnegie Museum of Art’s own history, specifically its founding patron, Andrew Carnegie. In addition to being a philanthropist and art collector, the steel magnate was—first and foremost—an industrialist.
    “Obviously Andrew Carnegie was one of the proponents of public philanthropy instead of paying your taxes,” Abad said. Carnegie was also a vocal opponent to a proposal being floated by the U.S. government at the time to annex the Philippines, even offering to buy its independence for $20 million.
    In an essay published in 1898, Carnegie put forward his arguments for why Filipinos should be left to govern themselves. In a telling passage, Carnegie described the Philippines as a nation of “about seven and a half millions of people, composed of races bitterly hostile to one another, alien races, ignorant of our language and institutions. Americans cannot be grown there.”
    Abad has taken that last sentence and enlarged it into a wall-sized mural, painted to mimic the neoclassical letters carved on the museum’s façade. The piece is meant to show that the ideological structures that underpin these cultural infrastructures “maybe haven’t really changed,” the artist said.
    That does not mean change is impossible, however. “I think we are at a point where a lot of Americans are questioning the myths that they were brought up with,” Abad said. “Beliefs of exceptionalism are being picked apart—rightfully so.”
    What Abad wants visitors to come away with from his project is to see that “as much as it’s a geopolitical study, it’s also an obsession informed by personal history. So it’s also universal.”
    “It’s a transnational tragedy that touches all our lives, which is ultimately tied to capital or greed or impunity, and the need to transform political fact to personal myth,” Abad said. “Regardless of how distorted it becomes.”
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