Did you try a new technique? Do you have your own emotional attachment to the piece? Write down these details as you create. How did you become an artist? How did you develop your particular style? What inspires you? A collector like this will fall in love with your artwork once they witness your genuine passion and expertise.
Many collectors simply enjoy the hustle and bustle of the art community—meeting up with friends, being seen, and keeping their collecting skills fresh. Our tip? Go where these collectors go! Keep an eye out for upcoming art fairs and gallery openings so your work can be found.
Knowing what motivates collectors can give you an edge when selling your art. A Frank Stella is worth twenty times that of an equivalent s painting. Often fine distinctions are necessary; for example a Ferus-gallery Elvis by Andy Warhol is markedly more valuable than a studio Elvis, though both were produced at the same time.
Also, the physical condition of the work is extremely important. A great deal of post-war art is made out of non-archival materials - think of the work of Damien Hirst, Anselm Kiefer, or Robert Rauschenberg.
Works by these artists in supreme condition are highly collectable, as many others will have been damaged during their years of existence. Adopt a historical perspective. For example, try to assess the collectability of an artwork seen from two hundred years in the future.
What will be the significant art of our time? What is the most challenging, confrontational, and innovative work being made today? Jeff Koons? Matthew Barney? Damien Hirst? Robert Gober? Cindy Sherman? Look for historical patterns; for example, think of the relationship between the arts-and-crafts movement and the minimalism of Donald Judd.
Jenny Saville continues and innovates within the tradition of figurative painting, building upon the lineage of British figurative painting in Spencer, Bacon, and Freud.
How valid is this? Finally, in collecting mistakes are inevitable. This need not put you off; rather you need to learn from them and keep going. For every important artwork in a major private collection, there are many, many more mistakes in storage. It is commonly known that you are not really an art collector until you have a list of regrets over missed opportunities as long as your arm. Lire la suite. Once you begin to identify the common threads, you can refine your buying to zero in on additional pieces that share those characteristics.
It's almost like putting together a mission statement or clearly and specifically defining your goals By the way, if the answers to your questions sound like these-- "I buy what my friends buy; I buy for investment; I buy only the big names; I only buy bargains"-- consider returning to square one, determining what kinds of art you really REALLY like, and then starting all over again. Another essential aspect of good collecting is documenting your art, not only for authentication and ownership purposes, but also in terms of value.
You can see best how documentation really pays off in the markets for older art. Suppose, for instance, that two 19th century landscape paintings by John Doe come up for sale at the same time.
They're virtually identical in size, quality, condition, subject matter, date painted and other details. The first is described as a "Rural Landscape," and that's it. Exhibited at the National Academy of Design in Which do you suppose will be priced higher and end up selling for more money? The second one, of course. It's like choosing between a mutt and a pedigree.
So keep good records on every single work of art you own; good documentation adds value, sometimes lots of value. An interesting aspect of the art business is that when art with little or no documentation comes up for sale, experienced sellers at least do their best to make up interesting titles for it. They know that even when little or nothing is known about art, good titles sell better than boring ones or no titles at all.
The point is that good documentation positively impacts not only dollar value, but also the ability to personally appreciate and understand a work of art. If you know nothing about painting, for instance, you can only guess why it was created, what it means, where it's been.
If you know its entire history, you can appreciate far more deeply, and on a multitude of levels in addition to the purely visual. If you're one of those collectors who thinks you'll always remember everything significant about every work of art in your collection and don't need to physically sit down and assemble or record that information, think again. At some point, your collection will become so large, there'll be simply too much to remember. Either that or time will take its toll on your memory and as the years pass, you'll likely get worse and worse at recalling every single detail about works of art you acquired years or even decades ago.
The good news is you can begin documenting at any time and even from a standing stop. Write down everything you can about the art you own, either from memory or by contacting the original sellers. Don't think you have to hide anything. Far too often, collectors throw away their original receipts or refuse to tell what they paid for their art, where they bought it, or what it's previous ownership history was. Reasons usually sound like these-- "If people know what I paid, my art will be worth less" or "If they find out where it comes from, they'll try to buy some themselves.
If you feel protective, don't tell everything to anyone who asks, but at least document and save this information for release at some later date. Don't lose it forever. Your descendants will thank you for saving it and passing it down, believe me.
Not only does good documentation tend to increase the value of art in both tangible and intangible ways, but the documents themselves can have value and that value can increase as well.
Imagine if you had an original receipt from the sale of a Van Gogh painting that changed hands in the early s, or a signed and inscribed photo of Picasso handing a collector a newly purchased painting. I'm in this end of the business and can tell you that either of these items would have significant value, likely well into the thousands of dollars.
Ask for as much of it as you can at the time of purchase. If they won't write something for you, have them tell you about the art and either write it down yourself or record or video them telling it to you. This information is easy to get, fun to get, it brings you closer to your art, and it often only takes a few moments at the point of purchase.
Over time, however, those few moments pay big dividends. Another distinguishing feature of a superior collection is that it's organized. It has a beginning, a middle, and an end-- just like any good museum exhibition. This goes back to posing the problem and then using the collection to map out the solution. Take the previous example of the "history of abstract painting in Southern California. Or you can get even more specific. Or you can narrow it further yet.
How about a collection of abstracts painted by Southern California artists that have titles relating to the ocean or coast? The possibilities for formulating and presenting a collection are limited only by your own imagination. The easiest way to get the hang of organizing is to go to museums. Here you see the work of professional organizers-- also known as curators. Museum shows always have starting points; they always have ending points. What happens in between the two is that viewers learn something about that particular type and grouping of art.
Depending on the museum or the show, you have printed, oral or recorded guided tours that explain the way each show is organized. Now you don't have to go so far as to physically re-arrange your house and print up a catalogue.
Everything can still be displayed right where it looks its best. But organize it in your mind. Be able to walk someone through and tell them the story of how and why you've come to own all this wonderful art and how it works so well together. This increases not only their enjoyment, but it also reinforces your chosen direction and your future buying.
Additional benefits to organizing your collection are that you can see where you've been, where you're going, where you have duplication, where you're weak, what you're missing, what no longer makes the grade, and what you have to do to resolve any problems.
It's not much different from your kids putting together all the baseball cards of their favorite teams to complete their collections. The final step in good collecting is not the most delightful one to talk about, but it is among the most necessary, and that is to plan for future owners-- whether they be museums, institutions, family members, friends or complete and total strangers.
You'd be surprised how many collectors never say a word to anyone and just think everyone automatically knows everything they've been doing all these years. This is never the case! Think about all the people you've met who own family heirlooms that they know little or nothing about because no one ever told them.
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