Focusing on female artists only, Valeria Napoleone has assembled a pioneering collection that has been growing for over 25 years, showcased in her private residencies between London, New York and in Milan.

Valeria Napoleone started collecting in 1997 in New York after a master degree in Art Gallery Administration at the Fashion Institute of Technology. The growing collection has so far accumulated nearly 500 artworks spanning all media and embracing new directions in the developing contemporary art discourses.

Collector, patron and philanthropist Valeria Napoleone has been nurturing the development of female artists’ careers since the very beginning, establishing close relationships with the artists. In 2015 she launched ValeriaNapoleoneXX, an umbrella platform for projects and initiatives that work towards increasing the representation of female artists in major public museums and institutions, only formalising her long-time commitment to female artists.

Named to highlight both collaborations and the female chromosome, the new platform has so far three ongoing initiatives: ValeriaNapoleoneXXContemporaryArtSociety in the UK, ValeriaNapoleoneXXSculptureCenter in the US and ValeriaNapoleoneXXInstituteOfFineArts at New York University.

Valeria Napoleone is the recipient of the prestigious Montblanc Art Patronage Award 2019 for the initiative ValeriaNapoleoneXX in partnership with the Contemporary Art Society in the UK.

We interviewed her in the summer of 2023 to learn more about her and her thoughts on collecting art.

IC
What constitutes an art collection?

Valeria Napoleone
An art collection is a deeply personal journey of taste and vision. It is a creative exercise, that reflects my passion and my dedication to excellence, to female artists who strongly emphasize radical discourses and innovative ideas. I like to think of it as a testament to the power and resilience of women's voices within the art world, that challenges societal norms, provokes critical thinking, and ignites conversations on gender, identity, and social constructs. My collection not only aims at celebrating female artists' immense talent and contributions but also serves as a platform to amplify their voices and narratives to discover the world from a different perspective beyond gender identity. And most importantly, the collection portrays the dialogue between artists, their works, and myself; it embodies my fascination with practices that push boundaries and embrace experimentation.

IC
How important is having the title of "collector" to you?

VN
Collecting means dedication, commitment, research and passion. A journey of a lifetime. My activity as a collector is fully linked to my journey as an art patron. I could not separate the two, they are just different sides of the same coin. Everything starts with the encounter with the artwork and then it reaches the artists and their universe. As a collector, I pursue excellence, quality, and focus on underrepresented voices and experimental practices; as a patron, I champion and advocate for female artists through supporting their projects as well as museums and institutions. These two go hand in hand and amplify each other.

IC
How has your attitude to collecting changed since you began?

VN
The contemporary art landscape has changed drastically since 1997, when I started my journey as a collector.
The contemporary art world has expanded significantly and its market with it, attracting much more money, attention, hype, speculation and greed. It has become an “industry”. My support of underrepresented talented artists and experimental small institutions has remained my focus. The art world I am part of is still struggling and overlooked.
Since the mid-90s, there has been a notable shift in the attitude towards collecting art by female and non-binary artists. There is a growing recognition of systemic biases and gender disparities within the art world, leading to a concerted effort to rectify historical imbalances. Collectors, institutions and the public are more actively seeking out and engaging with the works of female artists who challenge existing power structures and push the boundaries of artistic expression. However, real significant change takes time and needs long- term, persistent, committed effort from the art community as a whole.

IC
What has been the most challenging work of art in your collection, either for yourself or the public?

VN
I am keen on conceptually challenging practices, so majority of the art works I collect reflect this interest. Joan Wallace, Judith Bernstein, Nancy Dwyer, Margherita Manzelli, Lisa Yuskavage, Frances Stark, Lily van der Stokker, Judith Hopf, Liz Craft, are just a few, among most of the artists I collect, come to mind. My collection aims at provoking intense dialogue, exposing radical voices and exploring new visions in a bold and confrontational manner. I admire raw and unapologetic works that challenge societal norms, that force myself and the viewer to confront ingrained biases and prejudices and that propose new forms. These challenging works are vital in sparking conversations, in becoming catalyst and paving the way for a more inclusive art world. They not only present innovative positions, they offer new aesthetics and taste.

IC
What defines a great exhibition of art(works)?

VN
Great shows can reach the mind of the audience at different levels. They propose new meanings and ideas and open new formal possibilities. They disrupt established narratives and challenge norms. They should create a safe and inclusive space for discourse, encouraging dialogue and reflection on thoughts and forms they want to highlight. A great exhibition should also foster a sense of empowerment and inspire trans formative thinking and forms.

The Valeria and Gregorio Napoleone Collection is featured in the BMW ART GUIDE by INDEPENDENT COLLECTORS.

All images courtesy the Valeria Napoleone Collection.