“Art gave me something to segue into,” said Keith Rivers, a former N.F.L. linebacker, at his art-filled house in Beverly Hills. “I’ve really gotten serious as far as studying, going to shows, going to all the museums I can.”
Mr. Rivers, who is 32, is throwing himself into art and culture in a way few people can. He plans to move to Paris this summer and use it as a base of operations for an immersive year of learning that will include studying French and trying to visit every art museum in Europe. “That will be my art history,” he said.
In the meantime, for research, he has a tall stack of old art magazines and catalogs flagged with Post-its that he referred to frequently during a recent conversation about his collection.
During his rookie season with the Cincinnati Bengals in 2009, Mr. Rivers bought his first piece — an Andy Warhol Electric Chair print — after a trip to the Museum of Modern Art with a woman he had been interested in when he was studying at the University of Southern California. “She was an art history major and explained Oldenburg to me,” he said. “I got curious.” She married someone else, but the curiosity remained.
Since he retired from football in 2015, after also having played for the New York Giants and the Buffalo Bills, Mr. Rivers has deepened his pursuit of contemporary art and owns work by Rashid Johnson, Kerry James Marshall, Kara Walker, Tony Lewis, Sonia Gomes and Arjan Martins, among others.
Works with strong graphic punch dominate his walls. Raised eyebrows and furrowed foreheads peer from a large piece by John Baldessari. A text-based canvas by Barbara Kruger proclaims, “You drive a hard bargain.” Glenn Ligon’s hot pink and yellow lettering on a red canvas spells out a Richard Pryor joke. In a Cyprien Gaillard piece, the cartoon face of Chief Wahoo — the logo of the Cleveland Indians — is superimposed on a pristine American landscape.
“It calls out the paradox of rooting for this mascot, a caricature of a Native American, and how outdated caricatures live on through marketing,” Mr. Rivers said.
“So many guys get done with football, and they have nothing; that became their sole identity,” he said. Art has “given me a whole new structure.”
These are edited excerpts from the conversation.
Why did you give up football?
I’d been injured a lot. My interest was shifting toward things like art. If you’re not fully into football, it’s not the sport to play because you can really get hurt.
How did you initially get interested in art?
In high school, a girlfriend of mine was in a photography class. She’d pull me out of class sometimes to go take photos. In 2017, I was walking in Amsterdam with that same friend, who lives there, and she reminded me of that fact. I almost cried. I said, “Oh my God, you planted a seed for this passion.”
How would you define the focus of your collection?
At the moment I’m drawn toward art that has political meaning because of the times that we’re in. Issues of identity and language are highly important to me. There’s an element of race in the collection.
That [canvas spelling out the date “Mar.3.1991”] is by Juan Capistrán, who was raised in South-Central. It is done in pig’s blood and is Rodney King day.
John Edmonds does this “Hoods” series, which I just had to have. I grew up about 5 to 10 minutes away from Trayvon Martin’s murder. You can’t see anybody’s face in these photographs. With a hood, you don’t know who anyone could be from the back.
Do you do a lot of research before you buy, or do you go with your gut?
A little bit of both, depending on the price. Like the Glenn Ligon, I did extensive research for the best work that I could obtain. This is Lubaina Himid, the first black woman and the oldest person to win the Turner Prize. I had read about her in The New York Times, and then when I was at Basel [the art fair] this year, a friend came up and said, “You’ve got to come see this artist.” I was able to buy it quickly because something clicked.
Are you involved with museums in any formal role?
I’m on the executive committee for the Young Patrons Group at the Hammer Museum. It’s an opportunity to get people who are interested in art but may be intimidated. This is a great group to tear down some of those walls.B:
包五肖一百赔多少培【我】【是】【翾】【翎】【依】【一】，【一】【个】00【后】【的】【小】【萌】【新】【写】【手】。 【这】【本】【书】【开】【篇】【以】【来】，150【多】【天】，【五】【个】【多】【月】，【被】【非】【议】，【被】【吐】【槽】，【被】【嘲】【笑】，【但】【我】【还】【是】【很】【感】【谢】【有】【那】【么】【几】【个】【人】【能】【够】【一】【直】【陪】【依】【一】【走】【到】【最】【后】，【能】【有】【你】【们】，【我】【只】【想】【说】:【何】【其】【荣】【幸】，【何】【德】【何】【能】。 【选】【在】【这】【一】【天】【完】【结】，【也】【是】【为】【了】【庆】【祝】【我】【的】【祖】**【亲】，【七】【十】【华】【诞】，【生】【日】【快】【乐】♥ 【有】【些】【人】【说】【这】
【他】【这】【才】【刚】【刚】【来】【到】【狐】【狸】【洞】【没】【多】【久】，【就】【送】【出】【七】【颗】【法】【则】【果】【实】，【看】【似】【随】【意】，【但】【一】【切】【都】【在】【涂】【小】【安】【的】【计】【划】【之】【中】。 “【见】【面】【礼】？” 【狐】【帝】【跟】【一】【众】【姐】【妹】【都】【惊】【的】【宛】【如】【石】【化】，【这】【七】【颗】【法】【则】【果】【实】，【人】【手】【一】【颗】，【对】【她】【们】【来】【说】，【简】【直】【就】【是】【天】【大】【的】【恩】【赐】，【还】【仅】【仅】【只】【是】【见】【面】【礼】【啊】。 【这】【死】【而】【复】【生】【的】【蛇】【皇】【大】【人】【真】【是】【手】【笔】【越】【来】【越】【大】【了】。 【对】【于】【还】【没】【飞】【升】
【赏】【赐】【张】【昭】【是】【本】【次】【大】【朝】【会】【上】【的】【最】【后】【一】【件】【事】。【陈】【宽】【看】【到】【张】【昭】【退】【入】【武】【臣】【班】【列】【中】，【尖】【着】【嗓】【子】【道】：“【退】【朝】。” 【心】【中】【略】【有】【些】【羡】【慕】。 【他】【这】【个】【年】【纪】，【该】【有】【的】【赏】【赐】【天】【子】【早】【就】【赏】【赐】【给】【他】。【但】【张】【昭】【在】【十】【八】【岁】【的】【年】【纪】，【甚】【至】【在】【功】【劳】【还】【没】【有】【兑】【现】【时】，【天】【子】【就】【迫】【不】【及】【待】【的】【赏】【赐】【飞】【鱼】【服】，【提】【升】【其】【官】【职】。【这】【是】【何】【等】【的】【圣】【恩】？ 【飞】【鱼】【服】，【和】【我】【大】【清】【的】
“【你】……【你】【怎】【么】【知】【道】？”【马】【无】【霜】【算】【是】【间】【接】【承】【认】【了】，【但】【还】【是】【无】【法】【相】【信】【眼】【前】【这】【个】【跟】【自】【己】【年】【龄】【相】【仿】，【又】【长】【得】【如】【此】【标】【致】【的】【女】【子】，【能】【知】【道】【自】【己】【内】【心】【的】【想】【法】。 【马】【无】【霜】【甚】【至】【有】【些】【恍】【惚】，【是】【不】【是】【刚】【才】【自】【己】【和】【余】【婉】【儿】【的】【对】【话】【中】，【跟】【她】【透】【露】【过】【这】【些】，【但】【自】【己】【拼】【了】【命】【地】【回】【忆】，【也】【回】【忆】【不】【起】【来】。 “【对】【啊】，【姐】【姐】，【你】【怎】【么】【知】【道】【的】？”【陈】【心】【月】【终】包五肖一百赔多少培【弟】【子】【唐】【歌】【何】【在】？ 【我】【再】【感】【应】【一】【下】。”【唐】【歌】【欲】【抛】【剑】【上】【天】，【只】【听】【得】【孟】【七】【说】：“【不】【用】【了】。” 【她】【抬】【头】【望】【向】【周】【围】，【吸】【了】【一】【口】【气】：“【确】【实】【不】【用】【了】。” 【那】【谷】【中】【山】【边】【已】【趴】【满】【了】【小】【妖】，【虎】【视】【眈】【眈】【地】【盯】【着】【他】【们】【一】【群】 【从】【远】【处】【的】【天】【空】【往】【她】【这】【飞】【来】。 【那】【两】【道】【流】【光】【顺】【着】【山】【的】【轮】【廓】【一】【路】【低】【飞】【着】，【不】【多】【时】，【已】【来】【到】【她】【的】【面】【前】。 “【唐】【歌】
【燕】【悔】【之】【一】【行】【足】【足】【在】【秦】【书】【淮】【这】【住】【了】【三】【天】，【秦】【书】【淮】【也】【难】【得】【欢】【喜】，【每】【日】【都】【好】【酒】【好】【菜】【招】【待】。 【期】【间】【老】【道】、【邱】【大】【力】、【孟】【威】、【孟】【虎】、【赖】【三】【儿】、【李】【大】【梁】、【李】【敬】【亭】【等】【一】【帮】【和】**【并】【肩】【作】【战】【过】【的】【人】【也】【都】【来】【了】，【大】【伙】【儿】【高】【谈】【阔】【论】、【饮】【酒】【嬉】【笑】，【好】【不】【热】【闹】。 【待】【到】【第】【四】【天】，【燕】【悔】【之】【一】【行】【终】【于】【来】【辞】【行】【了】，【说】【是】【要】【回】【光】【明】【顶】【了】。 【秦】【书】【淮】【心】【里】【竟】
“【发】【妻】？” 【毕】【晟】【的】【表】【情】【有】【些】【破】【碎】，【却】【不】【似】【难】【看】，“【早】【传】【闻】【百】【里】【执】【法】【官】【已】【大】【婚】，【却】【不】【见】【身】【旁】【有】【一】【女】【子】【出】【入】，【便】【以】【为】【是】【传】【言】【不】【可】【信】，【没】【想】【到】，【竟】【然】【是】【真】【的】。” “【夫】【人】【向】【来】【深】【居】【简】【出】，【不】【问】【世】【事】。” 【既】【然】【是】【百】【里】【弑】【的】【夫】【人】，【毕】【晟】【自】【然】【没】【有】【理】【由】【动】【手】，【更】【何】【况】【他】【本】【来】【也】【就】【是】【想】【造】【就】【声】【势】【而】【已】，【现】【如】【今】… “【夫】【人】【心】
【九】【月】，【在】【夏】【想】【想】【的】【人】【生】【里】，【好】【像】【一】【直】【都】【是】【与】【众】【不】【同】【的】。 【九】【月】，【是】【她】【的】【生】【日】， 【九】【月】，【是】【她】【再】【一】【次】【去】【蓝】【江】【与】【他】【重】【逢】【的】【日】【子】， 【九】【月】，【是】【他】【们】【的】【婚】【礼】。 【没】【有】【在】【湛】【蓝】【的】【大】【海】【边】，【没】【有】【在】【浪】【漫】【的】【古】【堡】，【就】【在】【夏】【想】【想】【老】【家】【小】【城】【一】【处】【幽】【静】【的】【山】【庄】，【而】【山】【庄】【正】【好】【在】【木】【栈】【道】【的】【起】【始】【处】，【因】【为】【肖】【墨】【羡】【记】【得】，【夏】【想】【想】【说】【过】【的】【关】【于】【木】