HOW TO COLLECT ART-THE MOST EXPENSIVE LIVING ARTIST !!!

big part of the pleasure in collecting art has been the educational process and the gradual development of greater self confidence. Lucian Freud is a British Painter type: Contemporary Art, is said to be the "most expensive living artist at auction of the 21st Century "...,with a "Big Sue"painting.The painting called: " Benefits Supervisor Sleeping" sold for $ 33.6 million or �17.2 million at Christies in May 2009.The Sitter is (Sue Tilley ) and she sat for Freud over a four year period.The London based Russian oil billionaire Roman Abramovich is said the buyer of Lucian Freud's Big Sue and Francis Bacon's triptych which sold for $ 86.3 Million or �43 million. Trust your instinct especially if you want to collect art meaningfully. Meet someone who will take the time to educate you more to have confidence in your tastes and if you are a couple,you both try to get there together;Learn about different artists and have different pieces in a collection,your appreciation grows the more you look at art. Collecting is not just buying art,it is really spiritual which you have to have a 'passion' for. Is esthetics, rather than economics,is the guiding principle when assembling a great collection?However,in the late 90s,new art collectors face a bewildering array of choices. Not only they have to choose a focus -which medium,which period,which artists-in the increasing diversity of fine art but must also make decisions about budget and value in an ever-fluctuating market. I know of a budding art collector ,who saw a painting by a Jamaican master painter and paid down monthly until she finished,so, one doesn't have to have a lot of money to start collect; I say to anyone in terms of collecting an artist,it is important to collect works from different time/period as the artist progresses;



HOW SHOULD A COLLECTOR BEGIN?' spend a lot of time looking'.'Go slow,ask questions and be sure you can't live with out it; 'look at lots of different work,visit galleries,museums etc.'Build your visual vocabulary';'Visual literacy takes time';Icons like Picasso, Von Gogh etc, you just have to look at or you may buy prints of their works. As you learn more,you learn to get comfortable with different kinds of images.

MEET EXPERIENCED COLLECTORS ,an interview by ARTnews around the world for the tenth annual ARTnews summer issued 2000, THE WORLD'S TOP 200 COLLECTORS (and its Top Ten),the list of the world's most active collectors. It should be pointed out that not everyone agrees completely with the philosophy of Crosby Kemper,one of the top 200.THE TOP TEN: Debbie and Leon Black, Edythe L. and Eli Broad, Doris and Donald Fisher,David Geffen, Ronnie and samuel Heyman, Marie-Josee and Henry R. Kravis, Ronald S. Lauder, Francois Pinault, Charles Saatchi, Helen and Charles Schwab. It's the "wow" factor .That's what determines whether Crosby Kemper, a Kansas City banker,buys a work of art.Kemper,who collects Old Masters as well as modern and contemporary art,had this revelation in a talk with art historian Irving Sandler,for the catalogue of "The Collector as Patron in the Twentieth Century". Kemper and many other collectors are being wowed quete a bit.(quote), "This art market is the most active and serious market we' very ever seen",says one dealer( end quote) .It can be an artist or anyone but it should be one who relate how his first encounter with a work(s),it doesn't have to be a professional adviser but one who has started and can't stop,who lives art; Even when you listen to people,you have to "LISTEN"to "YOU". Some collectors don't take nor ask for advise,they collect from the soul,the work has to touch their soul,like love,love don't ask for advise to love,its how it makes you feel,if its real,its true; Museums are making themselves accessible,willing to talk to new collectors so, you can join their mailing list.Talk about art in your own language and even when you would have learnt other language(s),there is no "The" way to talk "ART" so,dont be shy when you meet the art connoisseurs.Some times i hear people say,i dont know nothing about art,you know about art what you know,so,talk what you know,in your own language. Read about art/art history and the different art periods,style,movements, concepts in art and compare them.The more you study the history of art,its the more you get a sense of continiuty, meaning,the history of art continues with time.I advise collectors to seek out an art appraiser with expertise; It is said "the best collectors are knowledgeable" ,that's relitive...?However,what makes a collector knowledgeable?One who collects none stop...;Get update on art research,what could be worse, if you find out that the artwork you just bought is stolen or fake?'Not finding out until you try to sell it or your children finds out when they inherit it'.An art researcher works on monographs in which they have to prove whether or not an artist did a certain work.When you can't get a straight answer about a purchase you made or are about to make,"that could be the first clue something's wrong".Be wary of the so-called incredible deal/bargain."Train your eyes for the possibility to avoid these situations." Take a art history/looking at art course if you have the time but i think you should have time because serious collecting takes time,even though collecting for years is like,taking an actual course...? Buy books on art of different period; Find out how museums collect the cutting edge and why?

WHO CAN YOU TRUST? "One way to find a dealer to trust,is a dealer who makes himself available.Someone who will help you to build a collection with 'significance', who will work with you and teach you to trust yourself". A dealer "should point collectors toward the best pieces" because as a new collector you may respond out of emotion. A trusted dealer makes sure you take the pieces that evoke a resonance that will always be evident each time you gazed at it. As an artist,I find the best dealers are good counselors and it will take time to find same. There will be exhibitions that asyou enter the door unless you are prepared to spend huge cash but get comfortable,you are in for a few of those shows. Approach the process of collecting with out unduly influence by a dealer but you should be seen and felt in what you collect."The more you be yourself and know less,it is a matter of trust".

WHEN TO RUN ? Never chase a dealer to get something to buy. Find a dealer who at least gives a level of respect and some dealers never make eye contact.

TO SPOT A "HARD SELL"." Watch out for those dealers who are sales people trying to sell a commodity they know nothing about", salability is not the goal and trust comes from believing in the artwork". "A dealer who trust their own choices doesn't justify the work by the resale market but by art history ". Certain hard-sell tactics,such as "the last great bargain" syndrome. " Never buy simply because the dealer says this is the last or the prices are going up.Prices may or may not increase but in either case,that never means anything." Take counsel new collectors,never buy simply because you are told that something will increase in value." You will only get a record of what other people thought was going to go up in value."

WHAT TO BUY FIRST? " Start with drawings to develop an understanding of the artist's process." Get posters and postcards.Put postcards all over the walls of your home or office. It trains you to look. You can learn even from a poster whether (a work) is the kind of thing you must have. You learn what you love and what is forgettable." "If you look at the great collections of the world ,they never spent more than several thousand dollars to start". "It's an evolutionary process." A young aspiring collector said, and i quote "I started fresh from college on the way to medical school and dealers were willing to work with me,with payment schedules and for smaller works." "I didn't have much money when i started but i was not shy asking about having three months to pay,"says Hall. "I couldn't do it but i recommend starting with a focus, such as photography,then broadening gradually," end quote. "If you look at it as investment of time,not money,you can find great works in artists' studios or at charity auctions." "People who race around and expect to get a masterpiece in a minute don't understand...; " There's the initial impact when you look at a work for the first time. But then you have to consider, does it endure? In a lot of cases, it doesn't. After awhile,you might say, 'Nah, it wasn't that great.' " Nah, but greatness is what's selling particularly well these days. "Great works of art are going for great prices and mediocre works are going for mediocre prices." "That was not the case during the boom of the 1980s,which proves that people know what they' re buying. It's a high-quality market,with lots of new collectors who have a lot of money. "The market is very much dominated by Americans. What's especially healthy is that the whole speculative element of the '80s is gone. Now the buyers want to keep the works.They're not going into bank vaults." A trend watcher has this to add: (quote), "The big highlights of the recent auctions were the contemporary sales,when records were set for 26 contemporary artists in 2000. The contemporary market is very volatile,of course. It can change quickly. But it's really in,which it hasn't been for quite awhile. Some folks are saying that they' re seeing an upsurge of realistic and representational art. It's a new kind of representation-it has twists and there is confusion in the imagery,as opposed to the old-fashioned representation. And,keep in mind, not all the action is at auctions. An increasing number of important sales are being made privately, at the galleries." The trend watcher is not a dealer,end quote. Another interview,i (quote) So,how much longer will it last? "We very seen many cycles," says another trend watcher,who is a dealer and has spent millions of dollars on art for clients in 2007. " There will be a down cycle. I don't see the end but i hope it slows down a little." end quote;

HOW TO GET THE RIGHT PRICE? "Look at what things have been selling for at auctions or at past shows." Advise from a collector and (i quote) " When i first started collecting, i was buying Pop artists (from) the Pop period. This was a big mistake. I wasn't getting the art i wanted,I was just getting the names i wanted," recalls Gelb, end quote." "Everyone wants to own a piece of a famous artist but the right way to collect is to buy the best piece by an artist at the best time". " No one wants to lose money, so talk to the dealer and ask if you can exchange the work in the future,or if they will be able to resell it if you later want to buy something else or something better by the artist." I was asked to resell five of (my own early works) by an art collector, who wanted some money and i did sold them, to other collectors and one piece to a major institution,bank of Jamaica (BOJ);

START A RELATIONSHIP WITH THE AUCTION HOUSE? "Introduce yourself to the representatives in your field of interest. " "You should know the people at the auction house as well as you know your favorite dealer." It is recommended that to new collectors: " Auctions are not the best way to get started because the beginning collector doesn't have expertise and experience to separate the wheat from the chaff. After you have seen several hundred works of art and having looked at all the material before the auction,you can try. But personally, i would recommend the new collector to observe,listen,learn,ask questions,especially if he wants to go into it for investment reason. Otherwise you can collect by saying,"WOW" and listen to nobody ,just "collect"; Start by visiting an artist of your choice,charity auctions etc...; Certainly one who buys at auctions without looking at condition (of the work) and talking to the dealer who handles the artist,or even as simple as taking a piece off the wall to look at the back of the work is not ready because a work of art is not about (face value) but a wholistical look; Look at the structure a work was done on,asked the dealer or artist on what ground it was done on; One of the best ground/medium is "Gesso...",for paintings; Get into the habit of questioning the artist,whose work you intend to invest in,you can't get into the spirit of the artist but deep information you wont get from anyone else; As an art creator,one of the first books i bought was a (Dictionary of Art Terms),of course i have an (Art history book;) A collector should be as passionate as the artist who is serious and collect books of art to read on: Styles Techniques, Periods/movements etc...;

HIDDEN COSTS OF ASSEMBLING AN ART COLLECTION : "The costs of restoration and framing is another real financial problem and insurance is vital. "If you are buying works on paper, no direct sunlight. Not even indirect sunlight", If the works are going to be on a wall, it needs to be glazed according to museum standards with acid-free matting and ultraviolet light-resistance glass. If the work is more than ten years old, you should have an art conservator look at it before it is being framed." "One of the things you should realize as a first time collector is that you are buying objects that have a life of their own." Maintain them and you may have to loan them to artists and museum. You may find yourself calling museums to collect large pieces futuristically. " Conservation of works (is the greatest hidden cost ). It is imperative to do your home work ." "You have to be keen enough to spend money to get advise on keeping your collection. You will need to think about , how you are going to deal with contemporary art,what is going to happen to them over time,if you want to keep them.

THE BIGGEST MISTAKES A COLLECTOR CAN MAKE: " If you are not informed enough,you buy something that doesn't posses the depth a work of art should evoke." " Most mistakes have been being too conservative," "Sometimes you pass on something and later you realize you should have gotten it.But it alwayscomes back (on the market) later. It is better to take chances. If you are a person who buys art like commodities,you will wind up with stocks of certificates on your walls. You will have things you can't live with. " Buy what evoke your imagination, that has life's energy. Valuation of Art works requires a thorough knowledge of the art in your country. A history of the art market and an up to date knowledge of the current market; It is the way anyone who deals in Art should study world Art market to know who and what is doing what, who is selling for what, who's upcoming, who to watch; Be a member of an Art Dealers Association of your country. When you buy a work of Art, you are going to be living with it or them for the rest of your life,possible; Each work is like a child,it asked questions;

Welcome to the Wilderness

It is not just visual artists. In many ways, these days we are all wanderers in the wilderness. That is, if the wilderness can be described as being in a place unfamiliar to us. I am not talking about healthcare, global warming, housing or the economy here. There are plenty of sources for information on those topics. I am specifically discussing how getting your art to market is different and more unfamiliar these days.

Can there be artist reading this post who has not changed up what they are doing in an effort to stimulate sales? This is not completely new. Smart marketing artists have always looked for new ways to create selling opportunities. What is different now is the old ways of doing things have become less reliable than in the past.

Tradeshows such as ArtExpo New York and Decor Expo Atlanta are a shell of their former glorious selves. The sister magazines that serve the same audience of art dealers and galleries, notably Art Business News, Art World News and Decor are slimmed down versions of their peak years.



In the case of Art World News, it reportedly has not published an issue since February 2009. In addition, Decor Expo Atlanta 2009 was cancelled to give the new owners time to regroup before attempting a show there in 2010. It is hard to believe that only a few years ago Decor Expo Atlanta was one of the 100 largest among the many thousands of annual tradeshows in the U.S.

If you follow my www.ArtPrintIssues.com blog, you may have read about the recent announcement that ArtExpo, Decor Expo, Art Business News and Decor magazine have new owners. After 10 long years of investment management ownership, these once venerable products were sold to employees. ArtExpo was sold to a group headed by Eric Smith, former VP of the Art Group for Summit Business Media LLC. The remaining properties were sold to a group led by Kim Feager. She is has been the publisher of both magazines for several years.

While change and new ownership during the past decade have been problematic on many levels, this change is a positive one. For the first time in a decade, there are owners with a real stake in the industry as much as they have in their new investments. I hope there is enough life left in these properties so the new owners can restore them to some semblance of their former glorious selves. I wish Kim and Eric well and send best wishes for the sake of all parties with a stake in the future of these companies that they prosper. It will be a serious blow to this segment of the art industry should they fail.

It is more than changes to industry trade magazines and shows that have stymied artists seeking to utilize these vehicles to create a recognized name and dealer/collector following. The galleries they rely on them to help them make informed decisions about operating their businesses are dwindling in numbers as well.

The Internet has forever changed consumer habits. Consumer art shows have slowed or disappeared. Moreover, the growth of Chinese oil paintings has taken market share and flattened prices in some markets. The style of building in new homes and offices is for more glass and architectural features that offer fewer opportunities to place 2-dimensional art.

Given the situation as described above, what artist would not feel at least somewhat bewildered about how to get their work to market. I previously have blogged about, with apologies to Charles Dickens, this being the best of times and the worst of times for visual artists. It is the best of times because the tools to create and market art have never been better. In addition, the ability for individual artists to carve out a career on their own terms is unequalled. It simply is a great time to be an artist.

It is the worst of times because we find ourselves with a fragile global economy suffering from the nastiest financial conditions most have experienced in a lifetime. With deflated investment portfolios and real estate equity, all but the wealthiest have taken a decided downturn on disposable income expenditures. The result is while artists have more freedom and tools to seize opportunity; leveraging those tools is trickier and harder than ever.

The question artists rightfully are asking is what do I do? What are the best ways to get to market? How much importance should I place on the Internet versus gallery representation versus consumer shows and alternative space marketing? Has email completely eclipsed postcard or brochure marketing? Is the clamor over social media, especially Facebook and Twitter a trend I can afford to ignore? Alternatively, do I need to be onboard now to avoid unrecoverable opportunities?

Should I have a blog and a Web site? Should I sell direct from my Web site and how do I avoid conflict with my galleries if I do? Should I be investigating the licensing markets and specialty markets such as healthcare fine art? Is this the right time to start leasing my art? What other ways can I use to get my work to market? How do I keep my exposure high and liability for losses low when investing in any of these ventures?

The thing is for visual artists, attaining great success has never been easy. Ask anyone who built a national following by using trade advertising, tradeshows, direct mail and reps on the road. While having the confidence that using those means would bring success was comforting, there was never a guarantee going through the motions would ensure success. It took visionary thoughts at the easel; marketing smarts on the business portion, and attention to detail on both sides and adequate seed money to make certain the artist and the public were connecting in a way that created steady sales.

Please read the last sentence in the paragraph above again. That is because there is nothing about it that has changed in today’s uncertain market. No matter what the conditions are, one has to grasp the fundamentals, create and skillfully execute a plan to get results.

What is happening now is that amid the plethora of opportunities, there equally are as many money pits, time-sucks and other potholes to avoid. The fixtures of the past that were as good a sure bet as one can place are not so sure now. It is enough to make all but the most determined think about getting a decent job with good benefits and letting the boss worry about all these things. The reality is that is not a bad choice right now. If you can find a job that allows you the freedom to work on your art and build your clientele on a less demanding pace, it is a viable option.

With the ability to market one’s work with the tools available on the Internet, I think it is possible, even laudable, to work at a steady job while building towards making art a full-time endeavor. Certainly, history shows innumerable cases where successful artists worked for decades as teachers, illustrators and other occupations while honing their skills and biding their time. Following suit in this economy makes for a strong argument today.

For those who cannot or will not wait, you can take some of the money you might have put into a tradeshow budget and create an alternative space marketing program. You can seek you hook up with fellow artists, not necessarily visual artists, to collaborate on mutually beneficial marketing projects. You can join a local co-op and push to elevate its standards to that of the best galleries in your area.

The gallery system is far from defunct. It is true there are fewer of them than before. Those who are hanging in there are to be applauded for their determined verve and undaunted optimism that the best of times will eventually turn true in their tills. Consider taking some of that tradeshow or advertising money and approaching your favorite gallery to ask how you can work with them to create a unique collector experience.

You can breakdown the steps to success. It is quantifiable. I have said many times that one-by-one is how a successful art career is built. That is, one collector at a time, one dealer or gallery at a time. If you consider how many originals you make in a year and consider how many years you might actively participate in marketing your work, you have a good idea of the size of your body of work.

Visual artists more than nearly any other type of artist need fewer loyal patrons than any other art form to enjoy a successful career. If you can make 100 pieces in a year and have a span of three decades to do it, you will create about 3,000 originals. Obviously, you will adjust to your own speed of creation here, but this is a reasonable number for many full-time professional artists.

Once you have a number, you can break it down further. What means are you using to get these pieces to market? If it is a gallery network, you arguably need between 10 to 20 galleries to move that much inventory for you. If you have successfully setup an e-commerce solution for yourself, you can adjust the number of galleries you need. Should you participate in consumer shows, you already have an idea how many pieces on average you can move through them. The point is, you have the ability to define and control your distribution by whatever means best suits you. I have kept the examples here on originals, but the same logic applies to artists in the print market.

Getting as much control of as much distribution regarding how your art gets to market is paramount today. If you control it, you can invest to pump it up if necessary, or ratchet it down if other venues are carrying the load. Since we are in what appears to be a deep trough with only guesses when we will see real appreciation in real estate, jobs and other key factors that trickle down to the art market, it is imperative for artists to take control now. Once you do, do not let go or let up on anything you find working for you.

How you gain control is up to you. If you can muster retail sales through your own location, or in concert with a formal co-op or loosely collaborated occasional means do it. If you can create a steady sales stream by having a Web site that draws in visitors and gives you the ability to make the transaction do it. If you can create show with other local artists that you control, then you are not at the mercy of the show producer’s decisions.

I am not advocating abandoning traditional marketing. If you have galleries that generate steady income for you, treat them like they are your family. If you can see how ArtExpo or Decor Expo can further your cause, get involved. If you can see how a consistent consumer or trade advertising schedule will pay off for you, stick with it. These things will work for you. The media and show owners are eager to help you. They fully understand their future is tied to your success. Look for ways to take advantage of their eagerness in a mutually beneficial way.

However, do not let anything get in the way of you creating sales direct to your customers if you have the means to make that happen. Begin now to start amassing the email and snail mail addresses of every potential customer and collector. Learn how to make the distinction between collectors and customers pay off for you. Customers buy on price because the piece fits an immediate need. The aesthetics and the back-story are far less important to them. Collectors have an affinity for your work and likely for you. They generally are less price sensitive and much more conducive to being given all the details about the artist and the work. They want to knowledgably be able to share that information with others.

Segregate your list so you make the right kind of offer to each market segment. An interior designer is like a customer. They have an immediate need to fill now that is as much design/decor driven as anything but price in the consideration. They are great when they need you, but not great to try and make a career serving. Most are not busy enough to feed you steady orders. Customers are great because they are like found money. You cannot anticipate what their needs are anymore than you can that of a designer. It is just good to have enough that some are in the pipeline all the time.

Collectors and stocking galleries are for most artists the bread and butter of their business. They are the ones that can be counted on to repeat buy and pick up new pieces as they are created. A Main Street Scottsdale gallery where I once worked had a list for each artist it represented. There gallery had several artists whose new work rarely went on public display. Five pieces might come in and three, four, or all were pre-sold. Many were sold on spec to repeat buying collectors who gave deposits based on works in progress photos they saw.

Granted, that kind of thing happened in much different economic times than we have now. Nevertheless, don’t you know the gallery did back flips for the artist and the artist always gave the gallery first shot at new pieces. Who wouldn’t want that deal?

All I’m saying is if you have a winner in terms of getting your art to market, take the best of care of it, respect it and don’t abuse it. At the same time, don’t be complacent, keep working the angles looking for new ways to create collectors. If you do, you may find yourself anything but bewildered and wandering in the wilderness. I wish you the best of times today.

Vienna: Enchanted Journey

For many years I had both devoured and savored books and images of Vienna's art: the works of Josef Hoffmann, Otto Wagner, Gustav Klimt, Koloman Moser and other aesthetic geniuses. However, I was not prepared for the breathtaking assault the reality brings to the dream. In October I journeyed to Vienna expecting all of the enchantment that I have read about to come alive. My highest expectations were surpassed.

My first night in Vienna I go to the Secession. The visual impact of its filigree golden dome lighting up the cold, black sky is dazzling. The building and Klimt's murals encapsulate a driving force of art and architecture that took hold of Vienna in the early 1900's. Evidences of the Secession Movement and its legacy can be seen all around the Vienna. Ten stories down, the vista outside of my hotel room window affords one of the elaborate train stations designed by Otto Wagner. It is the egress to a fabulous park that is filled with ornate and refined statuary, archways, bridges and a canal. At dawn, the view astounds.

Chicago Art

Well, another Art Chicago has come and gone and I'm glad that I attended again this year. I'm tempted to say that Art Chicago is the best art fair that I visit all year, but I won't go that far. However, it's very well executed, the people are nice and of course, the art is great. From the moment you approach the elevators in the Merchandise Mart, security guards guide you on your trip to the 12th floor. Also the gallery layout plan is easy to follow and I never get lost when I'm there, which is way more than I can say for some other top international art fairs. On the downside, Art Chicago tends to be more conservative; less risky. I didn't see anything this year that challenged me. I'm not talking about "shock value." I was looking for something that "pushed the envelope" or pushed art forward. I didn't see it. Believe me ... I combed every aisle and every gallery. I also didn't see it downstairs on the 7th floor at the Next Art Fair for emerging artists. Next tends to be sophomoric and "art school confidential," if you will. Obviously, the work of these up and coming artists isn't as polished as their counterparts upstairs, but the energy and optimism is undeniable. However, I must say that I think Next needs to be tightened up a bit. I love the fact that Next is very approachable and the intimidation factor is indeed five notches lower than the lofty Art Chicago. However, Next needs to remind the students that it's an important venue and presentation and professionalism are just as important as the art itself. Trust me, I attend these fairs every year and I see how they work. Ultimately, I think it's important that people attend. They're trade shows for living art. They give people a chance to see the wide variety of talent and price points out there. Also, a few dealers told me that sales are picking up. That's good news for the economy, but they say this coming summer will be the true test. In short, if you love art, you shouldn't miss Art Chicago. Next!

Trip to the Netherlands

 

just came back from my 10 day trip to the Netherlands. These trips are always loads of fun and exhausting because every single person you know wants to meet up and spend some time, preferably in the evenings because naturally they have to work. So our days and nights were spent driving around the country visiting friends and family and we even managed to have a few hours to ourselves so we took a nice stroll down the beach and did some shopping, we always want to bring a couple of Dutch things home that we just can't get over here. Things like salty licorice, Dutch cheese and speculaas. On Friday we spent the day at a spa with friends, something we try to do every time we visit.