Abe Ajay
Mimi Livingston’s journey as a connoisseur and collector is one rooted in heritage, passion, and a lifelong immersion in the arts. Her collection, particularly notable for its focus on modern and contemporary art, fine jewelry, and decorative objects, reflects not only her personal aesthetic but also the legacy of two families whose influence shaped her interests and values. Spanning decades and anchored by her deep knowledge of the arts, Mimi’s collection is a testament to her dedication to beauty and craftsmanship.
Spanning decades and anchored by her deep knowledge of the arts, Mimi’s collection is a testament to her dedication to beauty and craftsmanship.
Born on November 29, 1925, in New York City, Mimi Spector grew up surrounded by the elegance of her parents’ carefully curated lifestyle. Her parents, Samuel and Tess Spector, instilled in her an appreciation for fine art, jewelry, and antiques. The Spectors' New York City apartments were adorned with French-style furnishings, a mix of authentic antiques and commissioned reproductions. During their summer travels in Europe, the family expanded their collection, adding jewelry and paintings, including works attributed to Renoir and Mary Cassatt. These experiences laid the foundation for Mimi’s discerning eye and cultivated her passion for collecting.
Mimi graduated from Wellesley College in 1947 with a Bachelor of Arts degree. Shortly thereafter, in 1948, she married Richard M. Livingston and began a family in Rye, New York. By 1959, the Livingstons had relocated to Scarsdale, where Mimi’s role as a mother and community volunteer flourished. While not professionally employed during these years, Mimi pursued her creative interests by earning an interior design certification (ASID) and completing coursework at the prestigious Winterthur Museum in Delaware. She became a skilled event designer for nonprofit organizations and immersed herself in New York's vibrant arts and culture scene.
Mimi’s involvement extended to museum volunteerism, notably as a docent at the Neuberger Museum of Art at SUNY Purchase. Her expertise eventually led her to teach courses on art and collectibles at the New School in New York City, solidifying her reputation as a knowledgeable and passionate advocate for the arts.
Mimi’s collecting transitioned from antique styles reminiscent of her childhood to a more modern and contemporary aesthetic by the late 1980s. This period marked the establishment of her business, Art-In-Action/Connoisseurship with Mimi Livingston. Through this venture, she organized exclusive tours for individuals and groups, providing access to museums, galleries, private collections, and artists across New York, New England, and beyond. Her ability to connect collectors with unique artistic experiences demonstrated her deep understanding of art and her commitment to fostering appreciation among others.
Her efforts expanded to South Florida, where she curated experiences for northern museum collector groups visiting the region. Mimi became a benefactor and active member of institutions such as the Museum of Arts and Design (MAD) in New York City and the Boca Raton Museum of Art further cementing her legacy in the arts community.
Mimi Livingston’s collection transcends being a mere assortment of objects; it tells the story of a life steeped in art, family, and culture.
Mimi Livingston’s collection transcends being a mere assortment of objects; it tells the story of a life steeped in art, family, and culture. From her early exposure to French antiques to her formal education in the arts and her entrepreneurial ventures aimed at fostering appreciation for artistic expression, Mimi has made a lasting impact. Her collection not only illustrates her family’s rich artistic legacy but also establishes her own cultural imprint, inspiring future generations to cherish and celebrate the beauty and importance of art in its many forms.
Abe Ajay 1919–1998
As an artist who challenged the boundaries of mid-century modernism, Abe Ajay employed various tenets of hard-edge painting, ready-made objects, and assemblage, resulting in a precise, clean-cut and intricate art form resembling that of both sculpture and painting. Within his artwork resonates temperaments of vitality, invention, harmony, rhythm and balance. Ajay’s first solo exhibition was held in 1964 at the Rose Fried Gallery, New York, a well-known venue for supporting and introducing modernism into the American art market. It was after this debut that Ajay began seriously seeking an artistic transition which would introduce elements of painting, architecture, and sculpture into his practice. He incorporated a variety of found objects into his works, including cigar molds, knobs, dowels, geometric blocks, and transparent paper, and each combination of these elements served as a continuation of the unexpected and experience of perpetual surprise. Ten additional one-man exhibitions followed in Ajay’s career, as well as continuous coverage in art publications including Art in America, Arts Magazine and The New York Times.
His work is represented in the permanent collections of the Guggenheim, Smithsonian, Hirshhorn Museum and Sculpture Garden, the Metropolitan Museum of Art, Pennsylvania Academy of the Fine Arts and the Neuberger Museum of Art. His work is also included in the corporate collections of J. Walter Thompson Company, the U.S. Steel Corporation and Bank of America.
