Frank Cohen

A Converted Convent | Puglia | Italy

Frank Cohen was born and raised in Manchester where he worked on a number of his own businesses before building up a home improvement superstore empire. In 1972, he bought his first work of art – The Family by L.S. Lowry. Throughout the 70s and 80s he continued to collect works by leading modern British artists including Eduardo Paolozzi, William Turnbull, and William Roberts. In 1988, the ‘Freeze’ exhibition co-curated by Damien Hirst fuelled his passion for contemporary art from all over the world.

Since 1997, Cohen’s collection has become his full-time occupation, and he has become one of Britain’s leading collectors of contemporary art, having been dubbed the ‘Saatchi of the North’.

In 2003, he was a judge on the Turner Prize panel. He has loaned works to major museums around the world including Tate, the Guggenheim in New York, the Art Institute of Chicago and The National Portrait Gallery, London.

In 2007, Cohen opened Initial Access as a space to present exhibitions from the collection of over 1,000 works he owns. Sited on the outskirts of the millennium city of Wolverhampton in two refurbished warehouses that provide 10,000 sq feet of exhibition space, Initial Access shows different aspects of the collection in a series of exhibitions. The programme is designed to mount shows of new acquisitions to the collection and to give the public an opportunity to see world-class art.

There have been nine shows at Initial Access, these include Design for Living, Time Difference, Unholy Truths, Passage to India, Parts One and Two, Lightness of Being, Minimal Means, Attitude and Painting Is A Painting Is A Painting.

Among his most important works are pieces by Richard Prince, L.S. Lowry, William Roberts, Edward Burra, George Condo, Adrian Ghenie, David Salle, Paula Rego, Bridget Riley, Georg Baselitz.

In autumn 2008, works from Cohen’s collection took over four rooms of the Royal Academy of Arts in London, and the Manchester Art Gallery is showing Facing East: Recent works from China, India, and Japan from the Frank Cohen Collection from 4 February to 11 April 2010.

In 2009, Frank Cohen took part in the BBC programme School of Saatchi.

He founded the Dairy Art Centre in Bloomsbury in 2013, a contemporary art gallery, with shows Quicksand 2013, Island 2013, Every Angel Has A Dark Side 2014, Smoking Kills 2014, Greetings From A Place In My Heart 2014.

In March 2012, Frank and Cherryl Cohen exhibited some of their Modern British collection at Chatsworth House in Derbyshire.

On 13 September 2016, Fortnum and Mason opened "Fortnum X Frank – FXF16,” an installation throughout the store of more than 60 Modern British and Contemporary works loaned from Cohen's collection, and “Fortnum X Frank - FXF17,” a show with John Bellany followed in Sept 2017.

In 2018, Cohen appeared in Sky Arts – The Art of Collecting, National Treasures. (Season 1 Episode 4)

Frank Cohen is widely known as one of the most influential collectors of international contemporary art, with a reputation for staying ahead of the trends in the contemporary art market. He has been collecting contemporary British art for over 30 years and has been in the forefront of collecting painting and sculpture from Asia, particularly where artists from China and India are concerned.

For more information, please visit www.initialaccess.co.uk.


Image 0
Architectural model of the project

Chair - Pierre Jeanneret PJ-SI-28, 1955

Image 1
Image 2
Maison De Vacances: We talked about several locations before you finally settled on Puglia. How did you come to that decision? What factors played a significant role in your choice?

Frank: Many years ago, I stayed in the Convento di Santa Maria di Costantinopoli in Marittima in Puglia. This was when it was still Alistair and Athena McAlpine's private home. Together, they converted this over-half-millennium-old, ex-Franciscan monastery into a home for themselves and their collection.

I don't know why, but when we started talking about an ideal home - I really thought about the time I spent there. It could also be from this little piece that I added by Norman Blamey. I can't explain it, but I like these sorts of religious pictures. It is quite Stanley Spencer-esque, isn't it? Stanley Spencer did all of those things with crosses. Everyone did in this period of British art. There are a lot of figurative and ecclesiastical subjects, and I like the idea of them being in a really simple, almost brutalist-converted convent in the South of Italy.

Maison De Vacances: Yes, I noticed your penchant for simplicity and almost brutal efficiency in your surroundings pretty early! I remember we sent you a draft with curtains and a lot of soft furniture, and you immediately rejected it. Did you feel it was distracting from the art and the setting?

Frank: I don't like too much faf! I didn't want too much furniture or disorder. I'm actually quite minimalist. I like the simplicity of Le Corbusier, Mies van der Rohe, and the Bauhaus. No clutter. My wife is very, very good at architecture. She designed the house we live in now with the architect Richard Found (Found Associates), which is a testament to simplicity. We wanted a clean, functional space with a nod to iconic design influences but nothing extra!

I used to buy and collect all of those sorts of design pieces, like Ron Arad and Thomas Heatherwick. The trouble is with it, you need the space to fit that stuff. More recently, I favour having much less. Mostly, I stick to the classics, Mies van der Rohe and Le Corbusier etc. Actually, I like Eileen Gray. She was very ahead of her time and produced now classic pieces - just as good as those other two!

Maison De Vacances: We had a similar discussion about Alan Davie. You added that wonderful diptych from the 1950's. It's a fantastic piece. Like Eileen Grey, he really was a great British pioneer and is often overlooked...

Frank: Well, that Davie is fantastic. To look at it, you would think it was a Jackson Pollock or something like that. In the fifties, he was just up there with all the American abstract painters. In fact, he was better than some of them, and this piece is really a masterpiece.

The only thing was, over the years, the Abstract Expressionists in America went from strength to strength, and many British abstract painters sort of faded away, if you know what I mean.

That has changed the way history has remembered them and the significance that we should attach to some of those names.

Which is a shame; there were a lot of them and I have collected many of them over the years. Edward Burra, Alan Davie. A lot of great work.

Maison de Vacances: There are a couple of newer artists in here, too, though. I'm curious about your approach to discovering new works. What do you look for?

Frank: I always keep my nose in the water with all these young artists. But I'm not buying as many as I used to! I added two works by Leilah Babirye, a new discovery, and there are always a couple more - I just purchased a piece from Christina Banban which I added in also.

It is just about what catches my eye, to be honest with you. I don't get myself moving like I used to, going to all the galleries and art fairs.

I used to, but these days, I rely on the internet, a couple of fairs like the Frieze, Art Basel and one or two galleries that I trust worldwide.

Even now, I buy lots of different things, but my focus is Modern British.

I've bought dozens and dozens of Modern British Artists: Edward Burra, Lowry and Reginald Brill. But I sometimes like to purchase other American or International Artists from the same period as almost a comparison to the British folks.

But sometimes, it's hard to make these comparisons.

I have a British artist that I like, but I need to figure out where to place him. Whether or not to consider him as a contemporary or a modern British, because he's only young. He's only 40-odd, he's called Stuart Pearson Wright.

He's a portrait painter and has done great things at the National Portrait Gallery and other institutions. I've got about half a dozen of his early works. Works from about 2000. He must have been about 20 when he did them. These early works are really very good; they have the same expressive qualities as Lucian Freud or John Currin.

I love figurative work, especially in the context of this kind of architectural style.

Maison de Vacances This brings us nicely to Huma Bhabha's sculpture. Tell me about this piece. It's very large, right? Nearly 3 meters?

Frank: Well, it's in the garden. It's an external piece. I bought it when it was exhibited at the Yorkshire Sculpture Park and loaned it back to them. At one point, I had a lot of her work inside in cork. I was always worried that it would deteriorate in the heat and go dry, but I kept this piece, which is entitled Receiver.

I mean, she has done particularly well over the last couple of years. I think she's here to stay. She is very good, and after that commission at the Metropolitan, she is really established.

Maison de Vacances Did you ever collect any of the works on paper, or was it always the sculptures?

Frank: No, I was only really drawn to the sculptures. I think the works on paper are almost preparatory works for the sculptures, and they just don't quite have the same power.

Image 1
BESbswy