The drummer and the expert in Old Masters paintings—who share the same name— have teamed up for an exhibition and auction.
Courtesy of Sotheby's New YorkI was when I was a kid and then I stopped. And then I went to college, and because of some silly choices I made, I thought I was going to hell.No no no, not at all, it’s kind of laughable. I went back to the church when I was at college—I remember going when everybody would congregate to watch thein my room and I'd be the only one missing because I would be at night mass actually altar serving. And then there was this beautiful moment.
What's it been like to work with Sotheby's? It seems much more bureaucratic than what you're used to. It's been eye-opening. It’s an intimidating place to walk into, and then there’s just the sheer fact that they have a whole building. But everybody has been super nice. One thing that's been most disarming is how they expect you to approach and be involved with the art. They handed me a painting from the 1400s and I held it and I felt like I had been blessed.
Do you go to auctions? Was your approach a conscious decision to break away from that type of white walled display? I don't, which I think it's key because I might have been intimidated by protocol. But these guys have been so accommodating and made me feel like I was really free to do a lot of cool things. Like the first painting that you see when you walk in—which is also another Fabrizio [the 17th-century artist Fabrizio Chiari]—is obscured by two walls. Only a sliver of it is visible.
France Dernières Nouvelles, France Actualités
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