THE NEW YORK TIMES
By Hilarie M. Sheets
 |
| Francie Bishop Good in her living room. On wall, from left, are her own piece, “Not Raining” (2020), and “Stadium” (2010), by Elisabeth Condon. On the coffee table are, from left, the orange pot by Jay Kvapil, figures by an unknown artist from the 1920s, and a houselike sculpture by Sally Saul. Winnie Au for The New York Times |
“The work that I’m drawn to collecting seems to correlate to my own work as an artist,” Francie Bishop Good said of the collection in the Upper West Side apartment where she and her husband, David Horvitz, live when they aren’t at their home base in Fort Lauderdale, Fla. “It’s very intuitive.” She and her husband, who have two children each from their first marriages, began collecting art together in the early 1990s. Ms. Good was largely attracted to work by women and artists of color long before that kind of focus became popular. "We had a group that came to our house once in Fort Lauderdale. We have Renée Cox’s Last Supper scene [the headline-making “
Yo Mama’s Last Supper,” with a nude Ms. Cox as Jesus]. They didn’t like that." [
More]
 |
| Detail of "Yo Mama's Last Supper" by Renee Cox from the Fort Lauderdale home of Francie Bishop Good |
