Lisa Fayne Cohen began her adventures in collecting with the purchase of a Fernand Léger in 2009 and devoted herself to her new passion with zeal. Along with her husband James Cohen, CEO of Hudson Newsstands, she bought a pied-à-terre corner at Park Plaza, both for its views of Central Park and its burgeoning art collection. (The couple also own homes in East Hampton, Palm Beach and New Jersey.)
Since then, she has incorporated other first-rate works by Willem de Kooning, Roy Liechtenstein, Jean Dubuffet, Hans Hofmann and Joan Mitchell into the fold. And she’s taken a contemporary spin, picking up pieces from Cecily Brown, George Condo, Mark Grotjahn, Jennifer Bartlett, Rob Wynne and Keith Haring.
This auspicious purchase of Leger also set Cohen on a journey around the world to learn the ways of collecting. She began to regularly attend Art Basel, Frieze London, FIAC in Paris and the Armory Show in New York. Zona Maco in Mexico City is the newest addition to his globetrotter; Christie’s and Sotheby’s also became favorites haunted. Cohen also launched Gallery magazine, taking on the role of editorial director and leading special events like the Creative Minds showcase.
We spoke with Fayne Cohen about her penchant for collecting.
Fernand Leger, The dancer (1931). Courtesy of Lisa Fayne Cohen.
What was your first purchase?
One of the first pieces I bought was a beautiful drawing of Fernand Leger called The dancer, from 1931. I’ve always been drawn to the modern period, and that’s what I fell in love with before I started collecting contemporary art as well. I love the way Léger portrayed the woman, capturing her form with such mastery of line.
What is a recent purchase?
A major work of Apartment George, which really started my turn to the contemporary. I came across the piece at Frieze in London, and it was an instant hit. The colors are extraordinary. I’m drawn to his so-called ‘psychological cubism’ and love how he draws on elements of modern art. It is displayed in the entrance of my pied-à-terre at the Plaza Residences in New York. You have to look closely to see the body parts, and there is discovery every time you see it. A mix of yellows and pinks, I love looking at it.
Condominium George, Transparent forms (centre) in the entrance to the collector’s Plaza Hotel pied-à-terre. Courtesy of Lisa Fayne Cohen.
Tell us about a favorite work from your collection.
I feel a lot of love right now for a strike Cecile Brown paint called affectionate ghost I acquired in 2014. I had followed his work for a few years before buying it, and it always stopped me in my tracks. His paintings intrigue me. I love how you see something else in the depths of colors and swirling lines, like a woman with long legs sticking out, and there’s always that feeling of the soul. Iit’s so wonderful to see her important exhibition at the Met right away.
What works or artists do you hope to add to your collection this year?
My wishlist includes a work by Mary Weatherford and a sculpture of Jaume Plensa. Some artists also on my radar right now are Julia Jo, Claire Tabouret, Jadé Fadojutimi, Amoako Boafo, Doron Langberg, Clotilde Jiménez, Nicole Wittenberg and Petra Cortright. Since its creation in 2016, my mission to Gallery was to shine a light on some of today’s most promising emerging artists. I’m attracted to boundary-pushing talent from around the world who can be applauded for their new takes. I gravitate towards painting, but I always look to artists who experiment with different mediums in smart and new ways.
Marc Grotjahn, Untitled (butterfly in color) (2006). Color pencil on paper. Courtesy of Lisa Fayne Cohen.
What is the most valuable work of art you own?
I can’t put a price on it, because the joy and happiness that art brings me is endless. The value is so much more than what I paid for. Plus, it doesn’t hurt to know that the value of a certain number has appreciated multiple times!
Where do you most often buy art?
I buy a lot from auction houses like Christie’s and Sotheby’s because provenance and a high level of control are important to me. Of course, it all depends on the day and if you’re lucky with your auction, and that’s part of the thrill. I really like working with the specialists there, but I also have the help of an external evaluator for the evaluations. One of my favorite ways to find new talent is at art fairs, and I travel the world looking for the next best thing. From big fairs like Frieze and Art Basel to smaller boutique editions, I find art fairs to be one of the best ways to find new talent.
Is there a work you regret buying?
I’m happy to say that I don’t regret anything I bought. I am guided by my intuition, and the work must speak to me strongly before acquiring it. I believe that artists leave a bit of their soul inside the work, and you feel like you have a soul or a presence with you. If the works weren’t there one day, I would feel pretty empty, like something was missing. They are part of your narrative and part of your life story. They become part of your world, and I couldn’t separate myself from any of them.
What work have you hung above your couch?
Back home in Palm Beach, I got Cecily Brown’s painting affectionate ghost, which hangs in the living room. I have a strong sense of spatial awareness, so when I see a work at a fair or in a gallery, I can imagine what it will look like in a space. Once I bought Cecily Brown’s painting and brought it home, it was just perfect and seemed to always belong. It also kind of reminds me of the work of Willem de Kooning, which I also collect. I like the way the works in my collection are connected to each other, even though they were created at different times.
Willem de Kooning, Woman in Landscape V, suspended above an Aldo Tura bar cabinet. Courtesy of Lisa Fayne Cohen.
And in your bathroom?
In the powder room of my East Hampton home, I have a vibrant work of Roy Lichtenstein title Sunrise, which incorporates bold lines and passes of color with its signature dots to capture the essence of the rising sun.
What’s the least practical piece of art you own?
More than ten years ago, I bought a monumental painting by Sam Francois title Japan Line, from the artist’s famous “Japan” series. It’s over 14 feet, and I knew I just didn’t have the wall space for it. I had to have it, so I ended up having a special new wall built in my house in East Hampton to display it. It covers almost every square inch of the wall, but in a way it is part of the very architecture and character of the house. It’s an incredible piece.
What work would you have liked to buy when you had the opportunity?
A few years ago I met a Joan Mitchell painting that I fell in love with, but passed on. It was filled with deep blues and magentas, and I can picture it so clearly. I still think about it all the time.
If you could steal one piece of art without getting caught, what would it be?
A Monet’s Water Lily Painting of Giverny!
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