Pamela Joyner is a businesswoman and a patron of the arts. Along with her husband Fred Giuffrida, who is also an investment professional, she has focused on building a comprehensive collection of modern and contemporary work by artists of the global African Diaspora. They have a special interest in supporting acquisitions and scholarship that shed light on groundbreaking artists who have not yet been fully integrated into the broader historical canon. To further the mission of the Joyner/Giuffrida Collection, the couple inagurated an artist’s residency program based in Sonoma, California. Ms. Joyner is a Trustee of the Art Institute of Chicago, a Member of the President’s Committee on the Arts and Humanities, a Member of the International Council and the North American Acquisitions Committee of Tate Modern and a Member of the Modern and Contemporary Art Visiting Committee of the Metropolitan Museum of Art. An Emeritus Trustee of Dartmouth College, during her tenure Ms. Joyner served on the board of the Hood Museum and is a former Trustee of the Asian Art Museum of San Francisco.
Untitled (Negro Sunshine), 2004
Estimate: 50,000 - 70,000 USD
This work by Ligon is compelling. From the ’Negro Sunshine” series which began in 2005, it reflects the elegant, unfettered aesthetic that characterizes the richness of the artist’s practice. The work, with its variegated text and layered materials, has a standalone beauty. However, Ligon offers an opportunity to explore a multifaceted narrative that requires an unpacking of culture, literature and political history. Once on this path it is possible to explore any one of these tangents to a high degree. Ligon’s work is catnip for learners. The series offers an opportunity to explore new insights while adhering to a subtlety that makes the journey between the aesthetic and the intellectual a smooth one.
Billie Holiday, 1973
Estimate: 80,000 - 120,000 USD
Bearden’s “Billie Holiday” is a strong example of the collage process that defined the latter part of his career. The abstracted nature of the montaged images also nod to the artist’s earlier work in abstract paintings and drawings, while the bright colors invite questions about the history of jazz and the artists relationship to that vibrant art form. In viewing this work I am reminded that Bearden was a central figure in the Spiral collective, a group of fourteen artists who met regularly in his studio in the 1960’s. Each of these artists had distinct styles, but many pointed to jazz as a key influence. Richard Mayhew, also a member of Spiral, once told me that Bearden tried to encourage the group to make a collage together as a statement of solidarity. Most of the other artists dismissed this notion as they were skeptical about the validity of collage as an art form. In telling this story Mayhew points out the irony in the fact that Bearden went on to find a defining and unique voice in the medium of collage.
Study to Homage to the Square: May, 1956
Estimate: 120,000 - 180,000 USD
The economy of the composition and the brilliance of color make this Albers painting truly compelling. The history of his square works also prompts the viewer to contemplate how a few seemingly straightforward aesthetic precepts have had such wide reaching impact on the long and enduring arc of art history. In the context of my personal collecting interests this work evokes thoughts about artists in our collecting purview who were students of Albers at Yale University. Two artists who come to mind are Howardena Pindell and William T Williams each of whom exemplifies the iterative nature of art history in the context of the Albers legacy. While both of these artists have formulated new and innovative languages of their own, there is a clear reference back to the foundation instilled by their gifted teacher. Reflecting on the dynamic interchange of ideas between generations of artists reminds me that it is important to collect work and artists like Albers who are truly transformational.