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Martin Margulies

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Martin Margulies with his art on Grove Isle in 1982

Martin Z. Margulies is a real-estate developer and collector of contemporary art and photography.

Margulies Collection

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For many years, Margulies maintained a publicly accessible sculpture garden on Grove Isle, a small, private island with condominium towers and a hotel in Coconut Grove and historically one of the most exclusive addresses in the city.[1][2] After tensions with island management,[3] much of the collection was moved to Florida International University’s main campus in West Miami-Dade.[4][3]

In 1998, Margulies along with his longtime curator Katherine Hinds began looking for a suitable space to display the growing collection. In 1999 they set up a warehouse space in then-derelict Wynwood to show his holdings of contemporary and vintage photography, video, sculpture and installation work.[5][6] The space was expanded and now offers over 50,000 sq ft (4,600 m2) of exhibition space.[7][8] The Margulies Collection includes sculptures by the likes of Willem de Kooning, Anselm Kiefer, Olafur Eliasson, Antony Gormley, Donald Judd and Sol LeWitt.[7][6] In 2010, to coincide with Art Basel Miami Beach, the space showed both African artists and non-African artists who work in Africa: Seydou Keïta, Zwelethu Mthethwa, George Osodi, Peter Friedl and Tim Hetherington, among others.[7]

Philanthropy

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Margulies is also the benefactor and owner of the Florida International University Art Sculpture Park. In 2010, he made significant bequests of $20 million to Lotus House, a Miami homeless shelter for women and infants, and of $5 million to the New World Symphony, an orchestral academy based in Miami.[9]

Also in 2010, Margulies pledged $5 million each to the Metropolitan Museum of Art and the Whitney Museum of American Art in New York,[9] a move that underlined his very public opposition to plans to redevelop the local Miami Art Museum (MAM). At the time, MAM was struggling to raise funds for its Herzog & de Meuron-designed new building which eventually opened in 2013. Margulies even took full-page advertisements in local papers to contest the project.[7]

Controversy

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In 1982, Margulies led the opposition against a $500,000 commission to artist Beverly Pepper for a sculpture that would stand at the entrance to the seaport, citing in his complaint to the Dade County Art in Public Places program "the weak selection process" by which the Pepper work was chosen.[10] Previously, the 1980 development of Grove Isle in Miami was only possible with Margulies' involvement who crafted a landmark settlement which significantly scaled back the project after a decade of litigation and local protest.[11]

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  • Example of Martin Margulies Grove Isle Gardens sculpture
    Example of Martin Margulies Grove Isle Gardens sculpture
  • Example of Martin Margulies sculpture deck on Grove Isle
    Example of Martin Margulies sculpture deck on Grove Isle

References

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  1. ^ Harper, Paula & Katherine Jannach Hinds (1986) Contemporary Sculpture from the Martin Z. Margulies Collection - Grove Isle, Coconut Grove, Florida Published by Margulies Collection, Coconut Grove, FL.
  2. ^ "Grove Isle". Grove Isle. Retrieved 2021-07-02.
  3. ^ Ricardo Mor (December 3, 2014), On 15-year anniversary of Margulies Collection’s opening, Martin Margulies thinks legacy Miami Herald.
  4. ^ Carol Kino (February 18, 2007), Welcome to the Museum of My Stuff New York Times.
  5. ^ a b "Collector Martin Margulies: 'Today often I can't buy — the prices are truly astounding'". Financial Times. 2022-11-25. Retrieved 2022-12-08.
  6. ^ a b c d Georgina Adam (November 26, 2010), Collectors who transform Miami’s art scene Financial Times.
  7. ^ "The Margulies Collection at the Warehouse". www.margulieswarehouse.com. Retrieved 2017-03-27.
  8. ^ a b Jennifer Maloney (April 15, 2013), From Soaking Up Shows to Supporting Schoolchildren Wall Street Journal.
  9. ^ Grace Glueck (April 16, 1982), Art People New York Times.
  10. ^ Moore Parks, A. and Bennett, B. (2010) Coconut Grove, Florida: Arcadia Publishing, p. 119-122
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