Romina Polley: Collecting Conceptual Art
Curated Selection
Romina Polley: Collecting
Conceptual Art

Cologne-based Romina Polley is a German lawyer who still harbours a tingle of regret over her decision to forgo studying art in favour of competition law.

Her method of compensation has been to immerse herself in building a collection of contemporary art. Polley welcomes the tension between these two worlds she inhabits, and her choices of artworks here reflect a diverse taste, encompassing conceptual, political, and humorous work.

On her passion for Land Art pioneers Richard Long and Hamish Fulton, Polley mentions that it is the 'peaceful and meditative quality that appeals, particularly during this time'. She goes on to reveal how she discovered Land Art through the work of Walter De Maria during a visit to Dia Beacon when she lived in New York.

Perhaps her time spent in the U.S.A. also drew her to the work of Chilean-born artist Alfredo Jaar, who examines the battleground of cultural identity politics in the U.S.A. from the perception of an outsider, albeit one who has now lived in New York for many years.

Work by Mary Heilmann reveals Polley's fondness for colour and a lightness of touch, while Frances Stark and Jonathan Monk are clearly admired for their humour. 'I love Jonathan Monk's work, especially how he makes fun of the commercial aspect of the art world, and I always remember his parody and comic tone. Lisson Gallery, who represent Monk, is also my favourite gallery in London'.

Korean artist Lee Ufan is another choice, particularly for the 'meditative sensibility and pursuit of excellence' present in his work—qualities she similarly admires in the work of On Kawara.

Polley's intellectual curiosity coupled with an engaging sense of humour have clearly led her to discover artists far beyond obvious market trends and to form a collection that elucidates her deep understanding of conceptual art in its varying forms.

Main image: Courtesy Romina Polley.


A Logo for America by Alfredo Jaar contemporary artwork
Alfredo JaarA Logo for America, 1987/2014Five black and white pigment prints
91.4 x 91.4 cm
Galerie Lelong & Co. New York
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Exhibit Model Detail With Additional Information VII by Jonathan Monk contemporary artwork
Jonathan MonkExhibit Model Detail With Additional Information VII, 2020Inkjet print on aludibond in grey shadowbox frame with objects
113.7 x 162.7 x 19 cm
Lisson Gallery
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This Is Not Land Art. Alaska USA 2004 by Hamish Fulton contemporary artwork
Hamish FultonThis Is Not Land Art. Alaska USA 2004, 2004Wall paint and vinyl
Galerie Thomas Schulte
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Miss Hunter by Mary Heilmann contemporary artwork
Mary HeilmannMiss Hunter, 1989Oil and acrylic on canvas
147.3 x 99.1 x 3.8 cm
Hauser & Wirth
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Dishonest but Appealing, 2013 (For Parkett 93) by Frances Stark contemporary artwork
Frances StarkDishonest but Appealing, 2013 (For Parkett 93), 2013Book with safe, paper pages, hand bound hardcover with embossed printing, red cloth, silk ribbon
11.5 x 8.5 x 2.25 inches
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I tempi doppi by Tatiana Trouvé contemporary artwork
Tatiana TrouvéI tempi doppi, 2014Copper-plated metal, paint, patinated bronze, lightbulb
123 x 160 x 80 cm
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Endnote, yellow (model) by Ian Kiaer contemporary artwork
Ian KiaerEndnote, yellow (model), 2020Acrylic, pencil, oil pastel and varnish on paper, plexiglass
183.5 x 126 cm
Barbara Wien
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Untitled (Mud Drawing) by Richard Long contemporary artwork
Richard LongUntitled (Mud Drawing), 1992River Avon mud on Japanese paper
41 x 48 cm
Offer Waterman
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From Line No. 78149 by Lee Ufan contemporary artwork
Lee UfanFrom Line No. 78149, 1978Oil on canvas
116.68 x 90.81 cm
Blum & Poe
Françoise Sagan “Bonjour Tristesse” by Hans-Peter Feldmann contemporary artwork
Hans-Peter FeldmannFrançoise Sagan “Bonjour Tristesse”, 201383 colour photographs, originals, loose (each 12.5 x 19 cm), installation / overall dimensions variable
Barbara Wien
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