Tim Headington

DALLAS, TEXAS–Billionaire Tim Headington wears a lot of hats — entrepreneur, real estate developer, film producer, hotelier, philanthropist, art collector. By the time The Joule was under construction, “I began shaping a collection that I thought our visitors would enjoy, with pieces by Richard Phillips, Tony Cragg, and Andy Warhol.” In fact, his sculpture Tony Tasset’s Eye is a popular tourist destination. He shares that in recent years, he “really woke up to the concept of pursuing under-recognized artists, minority artists. I now have an extensive collection of minority artists and elder or deceased female artists that struggled to get recognition. It pleases me that these artists are finally enjoying the recognition they deserved all along.”

ART:

Richard Phillips, Tony Cragg, Andy Warhol, Sam Gilliam, Nicolas Deshayes, Roger Hiorns, Leandro Erlich, Adam Fuss, Noam Rappaport, Wayne Gonzales, Tomory Dodge, William Daniels, Ellsworth Kelly, Barry Flanagan, Arturo Herrera, Frank Thiel, Julian Stanczak, Andrew Kuo, Dan Rees, Callum Innes, Saint Clair Cemin, John Holt Smith, Rosana Castrillo Díaz, Rainer Judd, David Levinthal, Los Carpinteros, David Maisel, Anthony Pearson, Eileen Quinlan, Jessica Rath, Joseph Stashkevetch, Haegue Yang, Erika Verzutti, Brian Calvin, Scott Reeder, Millard Sheets, Tony Tasset’s monumental sculpture Eye.

CV:

Initially, Headington focused on collecting art for the public spaces of his downtown Dallas developments, including The Joule hotel, but now shares that he “really woke up to the concept of pursuing under-recognized artists, minority artists … It pleases me that many of these artists are finally enjoying the recognition they deserved all along.”

Q&A: 

When you started collecting — and why.

First, it was music that I found so transportive, but then the more I started looking at art, the more it too moved me in that same way. By the time The Joule was under construction in downtown Dallas, I’d developed an even deeper appreciation for art and collecting, so shaping a collection that I thought our visitors would enjoy — pieces by Richard Phillips, Tony Cragg, Roger Hirons, Andy Warhol and more — was really the catalyst for collecting with the intent to share works. No matter where the pieces end up, I truly appreciate them — it’s not just a transaction for me, but rather a decision out of an emotional response.

How you would describe your collection.

I have acquired many works by young artists over the years. One of my favorite paintings is by a figurative painter, Derek Fordjour, but most of the collection consists of non-objective paintings, sculptures, and works on paper by historical artists. I have always admired the artists from the New York School and the Washington Color School. I own some nice examples by artists from that period. I am also proud of the preservation part of my collection, including the Millard Sheets mosaics I had the opportunity to salvage and restore.

How your collecting journey has changed in recent years.

About 15 years ago I discovered a named Norman Lewis painting from 1947, A+ works were available to acquire dating back to the ’40s and ’50s. That really woke me up to the concept of pursuing under-recognized artists, minority artists. I now have an extensive collection of minority artists and elder or deceased female artists that struggled to get recognition because of their gender and/or race. It pleases me to know that many of these artists are finally enjoying the recognition they deserved all along.

Artworks that are particularly emblematic of your collection.

I have assembled a pretty deep collection of works by the 89-year-old Sam Gilliam (ranging from 1965-2021). He was in Washington in the 1960s making radical work, deconstructing the painting by hanging unstretched “drapes” or beveling the edges of the stretcher.  He was a conceptual disruptor when color field painting was expected to fit nicely over a sofa. Great early examples of his works were available for the longest time, but not so much anymore.

Arts nonprofits in Texas you support whose mission resonates with you.

I have supported most of the arts organizations in Dallas in some shape or form over the years, Dallas Art Fair certainly being one of the more long-standing and collaborative relationships thanks to John Sughrue and our shared interests in downtown Dallas. I’ve also had the pleasure of serving on the board of the Dallas Museum of Art. Some time ago, I noticed that the DMA did not include a Sam Gilliam piece in the collection. I’d gotten to know Sam and knew that he desired his 1970 “drape” painting titled Leaf to go to an institution one day and the museum accepted my donation in 2016. It was a proud moment when I hosted Sam in Dallas to witness his masterpiece installed in the museum amongst artists of his generation.