The Human Condition: The Stephen and Pamela Hootkin Collection Sept. 2014 | Page 46

what the glaze mixture of a particular piece was. We
never were going to be ceramicists in that sense, but we
did appreciate the creativity and skill that went into the
fabrication of a piece and were amazed at how objects
that entered a kiln at well over a thousand degrees
Cindy Kolodziejski, Stop and Go Tea Set, ca. 1990.

could survive and emerge as fabulous works of art. Our
conversations with Garth, Mark, Don, Jorge, and others

metal work. The Garth Clark Gallery on 57th Street

were all about the art. That was how we began to evolve

was a mainstream gallery specializing in contemporary

our consciousness of what was happening in the field.

ceramics. Garth Clark was considered—and still
is—the expert in contemporary ceramics. He has a

RP: Between those first acquisitions in the early eighties and

comprehensive knowledge of the field and has authored

now thirty years later, your collection stands at over three

countless books on the subject. At some point, we

hundred objects. How have your thoughts about what you

decided to go visit the gallery to see what was there.
I believe the show that we saw on that first visit was a

PH: They evolved organically. We moved from a focus

Susanne Stephenson show. Again a vessel show; very

on the vessel, then to figurative work, and, later to more

interesting, very different from either Olga Bravo’s or

challenging figurative work. We never consciously decided

Bruce Lenore’s work. We saw a piece we liked and we

to “get tougher.” The evolution happened however it

purchased it. This began a conversation that continues

happened; we both grew in the field the same way and

to this day, with Garth and his partner Mark Del

at the same time.

Vecchio, about ceramics and the art world. Again, it just
happened. We became very close to Garth and Mark
as friends and also continued to frequent the gallery.

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collect evolved over the long run?

SH: Our approach has changed considerably. In the

early to mid-eighties when we first started visiting the
Garth Clark Gallery and Convergence, both galleries

Our conversations with Garth and Mark, as well as with

were interested in vessel-oriented pieces and that’s what

Don and Jorge from Convergence, continued to fuel our

we started buying. In the early years we did rely on the

interest and educate us about the field of contemporary

dealers’ opinions, but that has changed dramatically.

ceramics. Our conversations were about the work, about

As we gained experience and broadened our personal

the artist and the artist’s vision. We weren’t particularly

exploration and knowledge of the field we began to rely

interested in the technical aspects of ceramics like at

more and more on our own judgment. But when we were

what temperature a ceramic piece had been fired or

just beginning, if a dealer we respected said, “Interesting