David Roberts ART Foundation

A: Is there anything you are doing to develop new audiences?

V: We are speaking a lot with universities. But maybe I should start with what we are not doing. At the moment, we don’t have any programmes for the children, because we don’t have expertise to do that. I think it has to be done by someone who knows perfectly well what he or she is doing. We don’t have a programme for small communities or groups, as we don’t focus on specific groups. However we are speaking to different universities in London, we do some music and dance as well, so we are bringing in different audiences . Of course we want to share our activities, but on the other hand we should not compromise them: I don’t want to be populist to increase numbers. One thing to add: because we are privately funded we don’t have to justify our audience. It is then not the audience that should demonstrate the artistic project in the foundation, that is a luxury, and we should really try to keep it as it is.




A: So we may say this is the key advantage of private foundations?

V: I think it’s a huge advantage of private foundations.



A: Are there any regulations that restrict the operation of the foundation?

V: We are not commercial so we can not sell artworks. That’s one of the regulations. And then you have all the health and safety regulations. We also can’t be open all night, or have a big party downstairs (in the space). But apart from that, we are quite flexible.



H.Anthony Caro, Down centre, 1984. Steel. 119.5 x 106.5 x 81.5. Courtesy David Roberts Collection, London     H.Rita Ackermann, Fire by Days VI, 2011. Oil and spray paint on linen. 233.7 x 167.6 cm. Courtesy David Roberts Collection, London


<<< 1 2 3 4 5 6 7 >>>