the latin lebanese g a r y n a d e r 46 He may have been born in the Dominican Republic, but Gary Nader has key Lebanese characteristics – he is a shrewd businessman, a keen collector and a family man. Amassing one of the world’s largest collections of Latin American art, Nader sets his sights ardently on the Middle East. Not that they were never there in the first place. artpatron T E X T BY M Y R N A AYA D P H O T O G R A P H Y by R E Y N A L D O A L E S A N D co u rtesy of gary nader fine art he manner in which Gary Nader delicately handles and suddenly he pointed to the screen and said, ‘Papi, painting after painting can only be described as the Botero!’” Indeed, Fernando Botero would have been proud. gesture of a man who knows his trade all too well. He shuffles After all, Lebanese-born Nader owns one of the world’s largest back and forth, all the while knowing exactly where to put collection of works by the famed Colombian artist. Somewhere the pieces that the workmen have brought to his residence. in the frenzy of lights, cameras and artworks, two-year-old Lola Over 20 artworks from Nader’s personal collection have been waddles in and Nader’s face breaks into a great big grin. “Una brought from his Miami-based gallery, Gary Nader Fine Art, beso para el papi,” (one kiss for daddy) he says elatedly, leaving for this Canvas shoot. It is the first time any form of press has his pose beside an artwork by Wilfredo Lam and swinging been allowed to enter his home. Nader is a collector through Lola up in the air in fits of giggles. The children are ushered and through – besides showing his personal collection at his away and Nader resumes his pose for the camera, halting in gallery, he donates artworks to colleges, small institutions and between to tell me, “The most important thing you can do for over 30 museums. “A collection is not only for you. It should your children is bring them up around art. I guarantee they will also be for the community and art lovers,” he stresses. have a better life. You enhance their souls and give them the “Daddy, are you changing the paintings again?” asks his six year old, Milla. I can only wonder what creative impact Previous pages: Gary Nader amongst some pieces from his collection. From left to right: Armando Morales. Nature Morte: Pommes, Pobres, Olives. 1984. Oil on canvas. 55 x 46 cm; Fernando Botero. it would have for a child to literally live in a home-cum-gallery. The Beach. 2005. Oil on canvas. 115.8 x 184.8 cm; Joaquin Torres-Garcia. Grafismo Magico (Magic Graphism). 1938. Oil on cardboard. 100 x 87 cm; Roberto Matta. Untitled. 1950. Oil on canvas. 198.1 x 208.3 cm; Fernando Botero. Leda et le Cygne. 1997. Bronze. 29.2 x 57.2 x 25.4 cm. Nader beams, “I remember when Noah [Nader’s son] was Above: Wifredo Lam. Figure. 1949. Oil on canvas. 105 x 80 cm. almost two. He was sitting on my lap while I was at the computer 48 Above: Angel Acosta Leon. La Grua. 1961. Oil on board. 47 1/8 x 95 ½ inches Below: Fernando Botero. Cavallo Medio Tirato. 2000. Bronze. 102.9 x 94.6 x 49.9 cm. Signed and numbered Botero 4/6. 33 (Detail) Fernando Botero. Cavallo Medio Tirato. 2000. Bronze. 102.9 x 94.6 x 49.9 cm. Signed and numbered Botero 4/6. 35 “A collection is not only for you. It should also be for the community and art lovers.” artpatron opportunity to appreciate beauty.” He says this out of a deep grandparents are Lebanese; “we have no other blood, we conviction, having been brought up in an extended family of were never mixed,” he stresses, adding that his grandparents’ art aficionados. “I am living proof,” he admits, as he takes a immigration to the Dominican Republic did not dampen sip of his espresso, thanks the cameraman and workmen and his and his siblings’ Lebanese upbringing in any way. “We says he must leave. “What about the rest of the interview?” I were raised, fed and educated as Lebanese,” he says of his ask, almost panicking. “Oh, don’t worry about that, we’ll finish childhood spent with Lebanese and Palestinian friends. “You it in the car,” he answers casually. The car turns out to be a have to understand one thing,” underlines Nader, “you are loud sports car, but Nader assures me that he will tone it down Middle Eastern no matter where you live and what you do.” as much as possible. Having been to Lebanon a number of times, Nader is keen on reconnecting with his roots, so much so, that his visits to the The Making of Latin-Lebanese Middle East are driven by a want to show his collection in the Born and raised in the Dominican Republic, it was Haitian art, region and represent more Middle Eastern artists at his gallery strongly supported by a gallerist uncle, that intrigued the young – he currently represents his niece Soraya Abu Naba’a and Nader. In the 1940s the American artist DeWitt Peters opened an Iranian Iran Issa Khan. A museum of Latin American art and a arts centre, Le Centre d’Art, in the heart of Port Au Prince offering sculpture park are also among his ambitions in the region. “I painting classes to artists from all walks of life. The late 1940s, love Lebanon. It is a gorgeous country with beautiful people also known as the ‘Haitian Renaissance’, cultivated a stream of and the best food in the world,” he says, “If I knew Lebanon notable artists, namely Philomé Obin who, along with his peers, would be in peace, I would have a summer house there.” implemented the ‘naïve’ style that was to classify Haitian art. The 1960s witnessed an incredible level of tourism Viva South America in Port Au Prince, with sophisticated European travellers and In 1984, he moved to Miami to seek medical treatment for his major museums purchasing works by Haitian greats like Hector firstborn daughter from a previous marriage and opened the Hyppolite, Rigaud Benoit and Obin. The attraction spread Nader Art Gallery in Miami’s Coconut Grove neighbourhood. across the Caribbean and in the early 1970s, Nader’s parents “The art world in Miami was practically non-existent then,” opened a gallery in the Dominican Republic. “We took a huge says Nader, who closed the gallery five years later and chose space in the colonial city of Santo Domingo and that space to work as an art dealer – a profession that enabled him to became the meeting point of culture and personalities and tour the world in his quest to further his art knowledge. “I everybody who was somebody. Every president, artist, singer, spent months in Paris, Madrid, every major museum in the prime minister – you name it – the government would send USA and Latin America. I remember spending 17 days at the them to the gallery,” recalls Nader. Encouraged to work at the Louvre from 10 am until they closed, reading everything. I did gallery at least once a week, the young Nader took an instant the same at the Musée d’Orsay, Centre Pompidou and Museo liking to art and the art world, making his first sale at 12, his first Reina Sofia.” A passionate admirer of Chilean artist Roberto purchase at 13 and assuming the role of gallery director at 18. Matta and Cuban Wilfredo Lam, Nader had read that they lived For four years, from 10 am to 6 pm, Nader worked at the gallery in Paris, and so began his hunt through every Parisian gallery and afterwards attended classes until 10 pm. in search of their works. After buying everything he found by Facing page: “So, how Middle Eastern are you?” I ask. two of the most important artists of the Surrealismo movement Fernando Botero. Le Déjeuner Sur L'Herbe. 1969. Oil on canvas. The sports car slows down and Nader says to of the 1940s and 1950s, “the two most international artists 180 x 190.3 cm. me with all seriousness, “100 percent.” His four of Latin America and two of my favourites,” Nader returned 49 Left: Julio Larraz. The Narrows at Point Loup. 2003. Oil on canvas. 182.9 x 152.4 cm. Right: Walter Goldfarb. A Passion in the Lysergic Garden I. 2006. Fusian, lacquer, acrylic and aniline on raw canvas. 194 x 495 cm. 50 52 From left to right: Carlos Alfonso. God in Studio. 1989. Oil on canvas. 213.4 x 213.4 cm; Jose Bedia. Tronco Ceiba. 1998. Oil on canvas. 249.2 x 176.5 cm; Fernando Botero. Cavallo Medio Tirato. 2000. Bronze. 102.9 x 94.6 x 49.9 cm. Signed and numbered Botero 4/6. “The most important thing you can do for your children is bring them up around art. I guarantee they will have a better life. You enhance their souls and give them the opportunity to appreciate beauty.” artpatron to Miami, opened a larger gallery – the largest in the world thing for a collector is to meet the artists,” he says. Nader at a staggering 5100 square metres – in Coral Gables and first encountered Iranian artist Shirin Neshat at a Documenta did a show for each. In fact, to date, Nader has held over 40 show and her works have since become part of his private exhibitions for Latin American artists. collection. “I got goose bumps when I saw one of her And what of Botero? “You have to understand that 22 videos. It’s as though she told the story of the Middle East years ago, the average age of buyers at auctions was 65 or 75, in that video,” says Nader, who met Neshat at the Abu Dhabi so when this gorgeous girl passed by, we all turned to look.” Collectors Programme in November 2008. He admits he is The gorgeous girl was Botero’s daughter Lina, who is married still educating himself on Middle Eastern artists, preferring to a friend of Nader. At the time, Nader had been selling not to make the same mistakes he made when he first began works by Botero, and managed to pull together a fantastic collecting. Training the eye is fundamental to Nader. “The eye show with works from private collections in the early 1990s. is knowledge and education. It’s like people who don’t know “Even then, Botero was famous all over the world. From the how to dress – you can give them clothes but can they dress guy who delivered flowers to the guy who cleaned the floors – elegantly? It’s exactly the same with the eye, you’ve got to everyone identified a work by Botero!” laughs Nader. A while educate it,” he asserts. later, a Colombian man sold 10 Botero drawings to Nader, Education is something Nader is terribly passionate who contacted the artist for verification. Initially, he was told about and is also a primary concern of his with regard to the they might be fake, so he hopped on a plane to see Botero Middle East’s cultural initiatives. The lack of regulation in the in New York, where he was reassured that they were originals region's cultural industry alarmed him. “A lot of people who and promptly asked to represent the artist. Botero told Nader have no knowledge of art have opened galleries and misled that he did not sell on consignment but gave him a few pieces. collectors, which has naturally created a lot of problems. You “I sold them the day they arrived at the gallery,” says Nader, can’t be a gallerist the day you open a gallery!” he insists. With who flew to Paris a month later to bring some more works, the creation of numerous cultural events and activities now and so began his representation of Botero. Among Nader’s taking place across the region, Nader emphasises the need stable of Western artists are Frank Stella, Picasso, Jean- for Middle Eastern protagonists to achieve a well-rounded, Michel Basquiat, Sam Francis, Henri Matisse, Damien Hirst quality-trained education in the West. “This is why I went to and Robert Rauschenberg. The Latin American art collection, the Middle East; not to sell because I only sell to buy more, but however, is what he is best known for, boasting names like because the Middle East has to understand that managing a Agustin Cardenas, Jesus Rafael Soto, Rufino Tamayo, Walter collection, museum or art in public spaces needs education.” Goldfarb and Guillermo Kuitca. “Know this,” he says, “the easiest customer is the educated customer. It’s not the one who doesn’t know; it’s the Marhaba Middle East one who knows.” So, how does one know? Nader’s number Having been to Lebanon, Jordan, Egypt, Qatar and the UAE, one rule is to love what you buy, regardless of its price, its value Nader is “dying” to go to Iran for the “great, great artists” he as a long-term investment or how ‘hot’ it may be. Enjoying art has seen emerging from this culturally rich nation. “There is defines the whole purpose behind buying art for Nader, while so much history in Iran. I want to go and see the the artist or artwork’s success is secondary. “If you really enjoy Facing page: young artists, ask them how they feel, what they a piece of art, can you put a price on it?” he asks, as his hand Ignacio Iturria. Untitled. 1991. Oil on canvas. can and cannot do and what their expectations rests on a rare marble Botero sculpture in his office. No, there 130.24 x 97.8 cm. are, because after all, the most fascinating can be no price on something you love. 55
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