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Photo by Jeff Watts The Katzens live in a world where the art never seems to end. That passion for art is now reflected in the Katzen Arts Center, where it can ripple out to all of the nation’s capital. Rasmussen: I’m curious about what has motivated your selection of objects. What were you looking for and focusing on initially? Cy: Many times I collected art because I related to the paintings. I have one, done by an artist by the name of [Albert] Alcalay, of Times Square. When I saw it, I had to buy it, because there’s a sign in it that says ‘No Left Turn,’ and I’m the only one that made a left turn at Times Square and lived. A policeman [saw me and] got off his horse, eight feet tall, and he said, ‘Did you see that sign?’ I said, ‘No, I didn’t. My wife saw it.’ He said, ‘Then you should let your wife drive.’ So later, I saw this painting, and I had to get it. Myrtle: When I look at a painting, I look at it differently than Cy. I look at space, the shapes, how the artist painted, how the painting moves, how he put it all together, and why he did it there. Cy: We have a very eclectic collection—folk art, glass art, contemporary art. I love the folk art. And the glass work. I’m always amazed how some artists can do glass work and do such intricate detail. That is amazing—the technique. Rasmussen: Your Nancy Graves [pieces] are also in the opening exhibit—I could see where they would satisfy both of you. There’s a sense of fun, and there’s a sense of craftsmanship. Myrtle: We were in New York when we bought our first Nancy Graves. We bought a painting and loved that, then bought another of hers, then we loved her sculpture so we purchased that. This is a very important sculpture, it was in a garden in Monaco. It needs a lot of space. We had to take the window out and get a crane to get it in here [their apartment], and there was a group of swimmers at the pool, and they all stopped swimming and exercising to watch the crane that had this large—they didn’t know what we were carrying up here. It’s sort of filled up in here, but we always find room. I say to Cy, ‘Why buy that? Where are we going to put it?’ He says, ‘Don’t worry.’ And do you know, we always find room. I can’t understand it. You can see it’s filled up. Rasmussen: Well, we’re going to give you some more room. Myrtle: A lot of people say to me, ‘Aren’t you going to feel terrible not having those beautiful things to look at in your home?’ I say, ‘No, we’re older now, I’m glad somebody else can enjoy them.’ Rasmussen: I sat in when the Voice of America-Russia interviewed you, and they were fascinated by the concept of philanthropy and what motivates somebody to give the way you’ve given. I also wonder about all the different reasons you’re doing this for AU and Washington. Myrtle: Cy is very generous. Cy doesn’t do things for himself, but he wants everybody else to be happy. It’s just wonderful. It’s in him. And I like to give because I liked AU. It was good to me, it helped me throughout my life, taught me about art, taught me to see things differently. I can look at this room and make an abstract of everything—the table, the shapes. When I look at somebody’s face, I’ll stare at them, and I can just see how to paint them. AU taught me to see. Most of us, when we look, we really don’t see. You have to be an artist to see. Do you think I’m right, Jack? Rasmussen: I think everyone has the aptitude to see, but not everyone exercises that part of their brain. An artist does. Myrtle: AU taught me that. When I take a ride in the car, I look at the sky, the shapes of trees, and I figure, ‘How can I make that a painting? It’s so beautiful.’ Cy: That’s the difference between my wife and myself. When I went to Georgetown, I looked at women, not at the sky. Of course, it was an all-boy school then. Myrtle: We both have a different idea! But yes, we both like the same things. We’re a pair. top |
