Marjorie Freed, Chicago - MEET THE COLLECTOR Series Part Fifty Four

Marjorie Freed, at the age of 86, no longer collects, but did collect for around forty years and has an incredible collection. She was involved in Intuit from the outset and still sits on its board today. Read on to hear from this remarkable woman in part fifty-four of my ‘Meet the Collector’ series.

Marjorie Freed, taken by Nancy Stone, Chicago Tribune (Taken from online article)

1. When did your interest in the field of outsider/folk art begin?
My interest in the field began in the early 80’s when I discovered folk art at the American Folk Art Museum in New York. I’d also encountered some as yet unnamed, but related art at the Brimfield Massachusetts Fair and in the Boston area. It was the kind of work that one would label historic these days and my interests now are more focused on its contemporary cousins.

2. When did you become a collector of this art?  How many pieces do you think are in your collection now? And do you exhibit any of it on the walls of your home or elsewhere?
I began collecting in the early 80’s. I de-accessioned most of the collection at a Christie’s sale a few years ago, so part of my thinking was definitely not to purchase more. I do have (mostly) the remnants of that collection on my walls now, but the pieces shown are a kind of amalgam of styles.

Inside Marjorie’s home. Photo by Melissa Smith

3. Can you tell us a bit about your background – I heard that you were a retail boutique owner?
Actually my store was quite separate from the field of art. Just for fun I exhibited a few pieces on the walls at the store briefly, but there was absolutely no interest in them from customers. The store specialized in off-beat gifts that couldn’t be purchased elsewhere.

4. I heard from Debra Kerr at Intuit that you used to know the artist “Kid” Mertz – I have never heard of him so can you tell us more? And are there any other artists that you knew well?
“Kid” Mertz was a man who lived in a remote rural area of Michigan. He was probably completely unaware of the field of art. He made signs mostly and I particularly liked the fact that he used “found objects” such as parts of old farm equipment for embellishment. He coupled them with sayings such as “a dime is a dollar with the tax removed. ”
He never had a wide reputation, although my grandson was and is an admirer still.

5. What style of work, if any, is of particular interest to you within this field? (for example is it embroidery, drawing, sculpture, and so on)
No particular style. I just bought what appealed to me.

Inside Marjorie’s home. Photo by Theodore Braziunas

6. A conflicted term at present, but can you tell us about your opinion of the term outsider art, how you feel about it and if there are any other words that you think we should be using instead?
Terminology is really not a concern of mine. Although the term folk art was initially used in a kind of blanket way, these days I think that term seems to imply “cute.” I definitely wouldn’t consider the art I’m interested in as at all cute.

7. Would you say you had a favourite artist or piece of work within your collection? And why?
No favorites. If I had to rank the works it would be impossible. Each stands on its own, in its very unique way.

8. Where would you say you buy most of your work from: galleries, studios, art fairs, exhibitions, auctions, or direct from artists?
I am no longer buying art. I did however, buy from the artists whenever possible and from few galleries.

Two churches by New Mexico artist Tony Anaya. Photo by Melissa Smith

9. Is there an exhibition in this field of art that you have felt has been particularly important? And why?
Any time that this kind work is exhibited in a prestigious museum or gallery it adds to the reputation of the field. I’ve heard that Bill Traylor’s work was rejected by MOMA in the 40’s. I’d bet they’ve been sorry for some time! And yet, many professionals in the field of art history are either unaware or perplexed when asked to define this particular genre. That’s okay with me because I think the work can stand on its own for those who are drawn to it.

10. Are there any people within this field that you feel have been particularly important to pave the way for where the field is at now?
Honestly I’m a bit isolated from that sort of involvement.

11. Are there any artists that you are still looking to add to your collection and what’s next for you? Would you ever do an exhibition just from your collection?
I was with a friend the other day and we were both musing about not having bought a particular artist’s work. He is now deceased and we are older ourselves, so it’s not an urgent mission.

Inside Marjorie’s home. Photo by Melissa Smith

12. You are on the board at Intuit in Chicago. When did you become a board member and what drew you to this museum?
I was a founding member of Intuit and am still on its Board. I enjoy Intuit’s exhibits, lectures and other activities. Hats off to Intuit for its long term pioneering efforts!

13. Is there anything else you would like to add?
I think art scares most people who find it intimidating. Some people react to art and some do not. That’s okay. I do think that the field of, let’s call it outsider art, is more approachable than fine art generally and it’s up to the viewer whether or not they want to engage.

Inside Marjorie’s home. Photo by Melissa Smith