For many collectors, the art world can seem intimidating. A maze of galleries, auction houses, market trends and unwritten rules. Few people have done more to demystify that landscape than Vanita Barany. Founder of Art Room London, Vanita has spent more than a decade advising private collectors and leading interior designers on acquiring artworks that are both personally meaningful and aesthetically transformative. She has built a reputation for combining market knowledge with an approachable, highly personalised style of guidance.

In this conversation, we explore what she feels traditional advisory models are missing, and how her own practice has sought to bridge the gap between expertise and personal connection. We also discuss the role of intuition in collecting: how much of building a collection is really about developing taste, learning to look carefully, and trusting one’s own response to a work of art.

Drawing on years of experience working with collectors at every stage of their journey, Vanita offers thoughtful insights into the pleasures, challenges and enduring rewards of living with art.

___________

1AN: You founded Artroom London to make collecting feel more accessible and personal. What did you feel traditional advisory models were missing? 

Vanita Barany: When I was first approached by a client to help him build an art collection, I didn’t know any other art advisers. I was learning the market from the outside, and what struck me very quickly was how intimidating it could feel.

There was often a dismissiveness in galleries and auction spaces, a sense of superiority that made the art world feel closed off. Even to people who were highly successful and confident in every other part of their lives. I realised that many new collectors were not lacking interest or instinct; they were lacking reassurance, context and someone they trusted to guide them through the process.

That experience shaped the way I work. I wanted Artroom London to offer a complete service for people who may be completely new to collecting: from seeing a work in a catalogue or gallery, to understanding how it might sit within their home, visualising it to scale, considering framing, managing installation and dealing with the practicalities such as AML paperwork.

For me, the role of an adviser is not to make collecting feel more complicated. It is to make the process feel considered, enjoyable and personal.

1AN: I love that, although surely many new collectors assume confidence comes from market knowledge. In your experience, how much of collecting is really about developing taste and learning to trust your own response to a work?

Vanita Barany: Market knowledge is important, but it is not where confidence begins.

Confidence comes from looking, seeing as much art as possible, and from being open to works that may challenge your first idea of what you do or don’t like. Over time, a collector starts to understand their own response more clearly. That is the point at which taste starts to develop. It is not about being told what is “good art”; it is about learning to trust your own eye. Once a collector has a clearer sense of the kind of work they are drawn to, market knowledge becomes very useful. That is where I come in, to help them understand value, context and pricing, and to make sure they are buying well rather than overpaying.

1AN: And I’m sure that’s greatly appreciated! Your work spans both historical and contemporary art. When building a collection, what creates a sense of coherence beyond period, style, or market category?

Vanita Barany: What I have found from the clients I have had over the years is that they approach collecting in a very eclectic way. Things which have a familiarity from a childhood memory, sculptures which sit better in a country garden than a town house garden. Mixing the old with the new. Having a collection which looks as if it has evolved over many decades when we have curated the works over a few years. For me, the joy is in showing clients the skill, beauty and wonder across different genres of art, from ancient to contemporary, and helping them bring those worlds together in a way that feels natural.

1AN: Speaking of feeling natural, at what point does collecting move beyond acquiring individual works and begin to reflect a collector’s own perspective?

Vanita Barany: I think this happens slowly as the clients gain confidence in their art decision making: What they do and don’t like, which sounds obvious but it is a big step for an art collecting novice .

1AN: It does seem like a big step… and a personal one. When you encounter collections that remain memorable long after seeing them, what distinguishes them beyond the quality or value of the works?

Vanita Barany: The collections that stay with me are the ones that feel deeply personal.

Of course, quality matters. But what makes a collection memorable is the sense that it could only belong to that particular person. It gives you an insight into their character, their memories, their curiosities and the way they see the world.

A great collection brings individuality into a home. It gives the space atmosphere and soul. It is not about creating something that looks impressive to other people; it is about creating something that feels completely and unmistakably their own.

_______

Connect with Vanita here. 

As the art world shifts toward deeper, more intentional collecting, Lisa Anderson is helping lead the way. Through Lisa Anderson Art Advisory (LAAA), she champions artists from the African Diaspora, especially UK-based voices that are finally gaining the recognition they deserve.

Blending art advisory with curation and immersive experiences, Anderson encourages collectors to look beyond single acquisitions and instead build collections rooted in story, context, and cultural insight.

In this conversation, Anderson reflects on the growing visibility of Black British and African Diaspora artists, the role of digital platforms in reshaping discovery, and how collectors can build meaningful, culturally informed collections that resonate both personally and historically.

1AN: Lisa Anderson Art Advisory (LAAA) is dedicated to providing authentic access to art from the African Diaspora, particularly UK-based artists, a field many collectors are still discovering. For those new to this space, what foundational knowledge is essential to understanding why these works matter aesthetically, culturally and historically?

Lisa Anderson: What’s essential to understand is that art from the African diaspora is not a niche or emerging category. It is part of the cultural foundation of modern Britain and, more broadly, the contemporary world. To engage meaningfully with this work, collectors need to look beyond aesthetics alone and consider three interrelated dimensions.

Firstly, historical context. Much of this work emerges from histories that have been fragmented, overlooked or misrepresented. Artists are often working in dialogue with archives, memory, migration and identity, sometimes making visible what has previously been excluded from dominant narratives.

Secondly, cultural significance. These practices are not isolated. They sit within wider cultural movements that have shaped music, fashion, language and public life. In that sense, they are part of a broader cultural ecosystem, not separate from it.

And finally, aesthetic innovation. Many artists working across the diaspora are pushing material, conceptual and formal boundaries in ways that are deeply rigorous and highly distinctive. Understanding these three layers together allows collectors to move from simply appreciating a work to recognizing its place within a much wider cultural and historical conversation.

1AN: Perhaps this lack of understanding is one reason that Black British and African Diaspora artists have often been underrepresented in major collections. What practical steps can collectors take to engage with and integrate these artists thoughtfully, and what long-term impact can that have?

Lisa Anderson: Firstly, invest time in research and relationships. This means visiting exhibitions, attending talks, and where possible, meeting artists and curators. The art world is highly relational, and understanding grows through proximity and dialogue.

Secondly, look beyond established validation systems. Many artists from the African diaspora have historically been underrepresented in major collections, which means there is still significant opportunity to engage with important work earlier in its trajectory. 

Third, work with advisors or curators who have depth of knowledge in this area. This helps ensure that decisions are informed by cultural insight, not just market trends. 

And finally, think long-term. The impact of collecting in this space is not only financial. It contributes to: visibility, institutional recognition and the shaping of future art histories. Thoughtful collecting can play a meaningful role in shifting how value is recognized and sustained over time.

1AN: Platforms like Black British Art have helped spotlight under-recognized artists ahead of mainstream attention. How has digital curatorial practice reshaped how collectors discover and engage with emerging or overlooked artists, and what should they be paying attention to in this evolving landscape?

Lisa Anderson: Digital platforms have fundamentally reshaped how artists are discovered and how conversations around art are formed.

Platforms like @blackbritishart have played an important role in creating visibility, building networks and shaping discourse at a time when institutional recognition was more limited.

What digital curatorial practice does particularly well is: surface artists outside traditional gatekeeping structures, create direct lines of engagement between artists and audiences, and accelerate the circulation of ideas and influence. 

However, it also requires discernment. For collectors, the key is not just to follow visibility, but to understand: the depth and consistency of an artist’s practice, the contexts in which their work is being discussed, and how digital presence translates into sustained artistic development.

The most effective approach is to use digital platforms as an entry point, but to complement that with deeper forms of engagement. Studio visits, exhibitions, critical writing and trusted advisory relationships.

1AN: Speaking of engagement, LAAA is known for creating immersive experiences around art. What role does immersive engagement play in deepening a collector’s emotional and intellectual connection to the works they acquire?

Lisa Anderson: Immersive engagement is critical because it moves the experience of art beyond observation into embodied understanding. When collectors encounter work through exhibitions, studio visits, conversations with artists or curated environments, they begin to engage with it on multiple levels. Not just intellectually, but emotionally and sensorially. That kind of engagement creates a deeper connection. It allows a collector to understand how a work is made, what it’s responding to and how it sits within a wider practice.

In my curatorial work, I think a lot about how to create these conditions of encounter. How space, sequencing, context and dialogue can support a more meaningful experience of the work. Because ultimately, the more deeply someone engages with a work, the more considered and confident their decisions become as a collector.

1AN: On that note, your work goes beyond transactions into tailored consultancy and exhibition curation. How do you support collectors in moving from acquiring individual works to building a cohesive and meaningful collection narrative rooted in cultural insight?

Lisa Anderson: Moving from acquiring individual works to building a collection is really a shift in mindset. It requires thinking less about isolated objects and more about relationships between works, ideas and histories.

In my advisory work, I support collectors by helping them identify a clear line of enquiry. That might be a thematic focus, a set of questions, or a particular relationship to history, material or place. From there, we build a collection that develops over time with intention. This often involves: spending time with artists and understanding their practice in depth, situating works within broader cultural and institutional contexts, and thinking about how works speak to one another across time.

What emerges is not just a group of artworks, but a coherent narrative that reflects both the collector’s perspective and the wider cultural significance of the work. Ultimately, a strong collection is not defined by scale, but by clarity, depth and integrity of vision.

Connect with Lisa here. 

Interviewing visionary founders often reveals the quiet forces shaping creative industries and Julia Bell is one of those forces. As the founder and director of Parapluie, Bell has built a reputation for blending thoughtful design with a distinctive, forward-looking aesthetic. Her work doesn’t just follow trends. It reframes them, inviting audiences to see familiar ideas through a more intentional and imaginative lens.

In this conversation, Bell reflects on how that range of experience informs her approach to guidance, offering insight into what it means to build collections in an increasingly complex cultural landscape. She offers insight into building collections that are not only resilient, but also deeply reflective of a collector’s evolving perspective. Bell considers how the role of the advisor will continue to change and what collectors will increasingly expect from those they trust.

1AN: Drawing on three decades across public institutions, private advisory, and the market, how has that breadth of experience shaped the way you guide collectors today?

Julia Bell: Working across institutions, the market, and private advisory has given me a much wider lens on how art operates, not just culturally, but structurally, within the ecosystem.

Early in my career, I was very focused on the artist and the work itself—its context and significance. Understanding how to spot talent and nurture it through exhibitions, residencies, commissions, and collecting was central to everything I did. I was very conscious of the ingredients required for an artist not just to survive but to thrive in the art world, as well as the role one can play in sharing their work with an audience.

Through my experience in the market, I then learned how value is built, how it’s sustained, and sometimes how it’s misunderstood. Particularly after completing my appraisal training. Bringing these perspectives together means I’m not just helping collectors acquire artworks; I’m helping them understand where those works sit within a broader narrative.

I have always seen my role first and foremost as an educator. If I can help a client better understand the art world itself, and where an artist’s work sits within both the public and private sectors, then I can also help them recognize the important role they play as collectors, alongside how they can support artists through patronage and philanthropy, which many come to find deeply rewarding.

So, my client relationships are not purely transactional. I take great pleasure in giving clients the knowledge and confidence to engage with the art world I care so passionately about, in whatever way feels right for them.

1AN: That makes so much sense. When you founded Parapluie, what kind of collector were you building it for, and what were you seeing missing in the advisory landscape at the time?

Julia Bell: When I founded the advisory, I was really thinking about the role of educator and acting as a conduit between the artist and/or their commercial gallery and the client.

I knew there were people engaging with the public offer who were curious about how to buy art, but many found the market difficult to navigate. A lack of transparency is often cited, and the opaque way in which some galleries operate has deterred those who could have contributed meaningfully to the collecting field.

I also couldn’t stand the overt curatorial language often adopted to appear superior, which can make emerging collectors feel inadequate. Not to mention that much of it simply makes no sense. These are intelligent, often highly successful individuals in their own fields; they don’t appreciate being talked down to.

I made a clear decision that I would always offer straightforward, credible insight. I would ask artists and galleries the questions people genuinely want to ask but are often too nervous to voice. Buying art should be an exciting and pleasurable experience, and that has always been my approach. I am there to support, educate, and guide—always acting in the best interests of the client and what is genuinely right for them.

I never wanted to create a generic, scalable offering, because one-to-one relationships would inevitably be diluted. There are many platforms now that provide broad access to collecting and they serve an important role, but I wanted something more high-touch and personal. I am deeply interested in why and what people collect.

Now more than ever, I know our offering is boutique. My clients can call me at any time. I understand how they think and live, and that level of connection is exactly how I want to work.

1AN: It also helps that you’ve worked across emerging, post-war, and blue-chip markets. How do you help collectors understand when to take risk and when to anchor a collection with more established works?

Julia Bell: For many people, starting a collection already feels like a risk. Will that first purchase stand the test of time? Is it the right piece? Over time, as I get to know a client better, I can guide them on when it’s appropriate to take a risk and when a new acquisition should anchor what already exists.

In most cases, collecting begins with a desire to live with something meaningful day to day. Rarely do clients set out to build a large collection that immediately goes into storage. Collecting evolves as it grows from a desire to live with a few works into something more considered and expansive.

From the outset, I’m gathering insight into how clients live, what they are drawn to, and what interests them. I begin shaping a conceptual framework for a collection, often before they do, which then evolves over time. Eventually, this allows me to identify acquisitions that add depth, context, and cohesion.

Once that framework is established, I can suggest works that push those ideas further, whether by introducing emerging artists or grounding the collection with more established works that provide art historical context.

But we also need to question what we mean by “risk.” Is it the risk that a work won’t increase in financial value, or that the artist won’t secure a place within the canon? Both are valid concerns. However, if the work is strong and makes sense within a collection, then it isn’t truly a risk.

Good art is good art, regardless of whether the artist’s market or recognition grows. This links back to understanding the ecosystem. Some artists may never reach their full artistic or financial potential for reasons beyond their control, may those be geography, lack of gallery representation, or personal circumstances. That does not diminish the quality of their work.

From my experience in public institutions, I’ve seen artists collected at a moment when they had something important to say, even if their trajectory later unfolded differently than expected. Those works still hold value because they contribute meaningfully to the collection.

To me, the greatest risk lies elsewhere: in buying art driven by temporary narratives or overly thematic curatorial trends. If you remove an artwork from that context and project it thirty years into the future, can it stand on its own? Too often, I see works sustained by concepts that won’t endure. That, to me, is the real risk in collecting.

1AN: On that note, what mistakes do first-time collectors most commonly make, and how can they avoid them?

Julia Bell: Many would say moving too quickly is a common mistake, like being influenced by timing, social settings, or the fear of missing out. There is good advice suggesting that new collectors should take time, maybe six months or more, to look, learn, and refine their eye, and I agree with much of that.

However, sometimes you need a degree of decisiveness to make that first purchase. Your eye will continue to evolve far beyond those initial months. I don’t know any collector who hasn’t reassessed their early acquisitions, but they rarely regret them. Those works often represent an important stage in their journey and reflect a genuine personal connection at the time.

More practical mistakes, however, are quite common: overpaying; buying works that don’t suit a client’s lifestyle or space; or acquiring pieces with complex conservation needs that weren’t properly explained.

I also see issues with shipping and logistics: clients being overcharged for installation, or worse, paying multiple import taxes or customs duties due to a lack of specialist advice. As an advisor, I provide a full service, and all of this falls within my remit.

In fact, many new clients come to me after something has gone wrong and they realize it could have been avoided with the right guidance from the outset.

1AN: Interesting. How do you think the role of the art advisor is changing, and what will collectors increasingly expect from trusted advisors in the next decade?

Julia Bell: I believe the role is gaining credibility thanks to the work of many dedicated advisors. However, the profession is sometimes undermined by a minority who attract attention for the wrong reasons.

Going forward, collectors will increasingly demand trust and transparency from the outset of any relationship. For me, independence is key. Offering impartial advice, filtering the growing number of opportunities, and ensuring clients are exposed to the right ones while being protected from the wrong ones.

If you truly value long-term relationships with clients, that approach will always serve you well. Unlike dealers or galleries, advisors maintain ongoing, close contact with their clients, often over many years.

I take that responsibility seriously. For me, long-term relationships will always take precedence over short-term gains. Ultimately, strong relationships are the foundation of my business.

Connect with Julia here.

Meet Astrid Rosetti, the woman who knows exactly what’s happening behind the velvet ropes of the global art market.

Part high-stakes advisor and part strategic operator, Astrid works across collection building, private art investment structures, and institutional and corporate projects, while also teaching at Sotheby’s Institute of Art.

With over a decade of experience navigating the complexities of the global art market, she’s the perfect person who’s brain to pick on the long game; global opportunity; slow art; and the future priorities of collectors and advisors. Here’s what Astrid had to say.

1AN: When you founded Rosetti Firmenich Art Advisory, what gaps were you seeing in the market that collectors weren’t being adequately served by?

Astrid Rosetti: I was struck by how little truly independent advice existed in a market where significant financial and cultural decisions are made every day. Information circulates within closed networks, often benefiting those already inside the system, while collectors are expected to navigate complexity with limited transparency.

What still surprises me most is how casually advice is treated in art. People will conduct extensive due diligence when buying property or financial assets, yet routinely make six- or seven-figure art acquisitions without independent guidance. Buying art is easy, and anyone can spend money. Selling it, managing it, or building a coherent collection over time without losses or reputational risk is where it becomes far more complex.

Art advising is not about taste. It is about navigating pricing asymmetries, conflicts of interest, liquidity, and timing. I wanted to create a structure where advice is impartial, strategic, and grounded in trust while also having the freedom to choose the clients and projects I work with.

1AN: That makes sense. Clearly, there’s so much to consider. So, when assessing long-term relevance, what signals or indicators do you believe serious collectors should be paying closer attention to right now?

Astrid Rosetti: What has shifted most is the level of awareness among collectors particularly the next generation. They are informed, intentional, and far less interested in being told what matters. The role today is not to “educate,” but to challenge, refine, and position decisions within a broader, long-term context.

For more established collectors, the focus has moved toward precision. It is no longer about access to the market, but access to the right works often off-market, correctly priced, and acquired with discipline. That requires relationships, timing, and a clear understanding of where real value sits.

At the same time, not everything should be over-strategised. With emerging artists, the logic is often simpler: buy the work if you genuinely connect with it. Follow the artist, support the trajectory, and accept that not everything needs to be optimised financially.

The most common mistake remains the same, confusing visibility with value. Long-term relevance is rarely built on consensus; it is built on conviction, consistency, and context.

1AN: As the art market becomes increasingly global, how should collectors rethink geography, access, and where opportunity truly lies?

Astrid Rosetti: The market has globalised, but what we are seeing now is a correction. For years, the system was becoming increasingly homogenised with the same artists, the same conversations, the same acquisitions circulating between New York, London, Hong Kong, and beyond. You could travel across continents and encounter essentially the same market. That model is losing momentum.

Collectors are now building more complex, individual collections, and moving across geographies, categories, and narratives with far greater independence. I would not advise a client to buy the same type of work in London, Shanghai, and São Paulo simply because it is visible everywhere. That is not strategy.  That is repetition.

Opportunity today lies in context: understanding regional ecosystems, local dynamics, and under-recognized practices that sit outside the dominant circuits. The assumption that value is concentrated in a handful of global centres is being challenged and rightly so.

1AN: Interesting, but in a market often driven by speed, hype, and visibility, how do you encourage clients to slow down and collect with intention?

Astrid Rosetti: The market has already slowed and that is a necessary correction. We are seeing a shift from reactive buying to more deliberate, informed decision-making.

At the same time, platforms like Instagram have fundamentally changed how collectors discover and engage with artists. That is a positive shift. It has created a more direct, immediate relationship between artists and collectors, which did not exist in the same way before.

The issue is not access, it is interpretation. Constant visibility creates the illusion that opportunities are always disappearing, which can lead to rushed decisions. Strong collections are not built through urgency.

There is no substitute for time and exposure: seeing works in person, speaking with artists, understanding gallery dynamics, and developing a clear framework for decision-making. Yes, it is demanding. But without that, mistakes are inevitable

I often say to my clients and students: buying art is easy. Buying it for the right reasons, at the right moment, with a clear understanding of what you are engaging with, is where the work begins.

1AN: Looking ahead, how do you see sustainability, responsibility, and cultural stewardship reshaping the future priorities of collectors and advisors alike?

Astrid Rosetti: What is shifting is less about sustainability as a concept, and more about responsibility in practice – how collectors engage with artists, institutions, and the broader ecosystem.

Art still carries the perception of being reserved for a narrow, privileged group. That is both inaccurate and ultimately limiting for the market itself. You can build a serious, thoughtful collection without operating at the highest price levels. Expanding access, intellectually and financially, is essential if the ecosystem is to remain relevant.

At the same time, collectors are becoming more aware of their role beyond acquisition: supporting artists over time, engaging with institutions, and thinking about legacy in cultural, not just financial, terms.

For advisors, this raises the bar. The role is no longer to facilitate transactions. It is to provide structure, clarity, and context in a market that often lacks all three, and to ensure that collecting is approached with intention, not just capital.

Connect with Astrid here.

Miami plays by its own rules, and so do the art advisors who define its scene. This is a city where art collectors think big, move fast, and expect insight that cuts through the noise.

The advisors featured here are the ones shaping Miami’s cultural pulse: the strategists behind museum-worthy collections, the connectors who discover artists before the rest of the world catches on, and the voices who know where the market is heading next. If you want to collect with confidence and conviction, start here!

[[top5experts]]

Miami’s top art advisors prove that great collecting isn’t about luck. It’s about guidance, insight, and a trusted partner who sees the bigger picture. Whether you’re new to collecting or ready to level up your strategy, investing in the right advisory knowledge is game-changing.

For collectors ready to go deeper, ArtCollect offers expert-led lessons, insider interviews, and a framework for navigating the art world with confidence, helping you collect smarter and make your next acquisition your best yet.

For those looking to guide others, being an art advisor today is exciting but challenging. With no industry-wide standards, mentorship and best practices are essential. That’s why we created Art Advisory 101 and 201, industry-led programs that teach aspiring advisors how to navigate the art world, run a successful business, and manage client relationships with confidence.

The art world is constantly evolving, and few places capture this dynamic energy quite like Miami. Here, we sit down with Sebastien Laboureau, a seasoned art advisor who has his finger on the pulse of this vibrant scene.

Whether you’re an art enthusiast, investor, or simply curious about what’s next in the art world, Sebastien’s insights promise to offer valuable guidance and fresh ideas. Stay tuned as we explore the intersection of creativity, culture, and commerce through his expert lens.

1AN: Miami has become a major hub for collectors and cultural programming. How has the city shaped your approach as an art advisor over the past 15 years?

Sebastien Laboureau: Miami has transformed the way I see collecting. It is a city where energy, ambition, and creativity constantly collide, sometimes beautifully, sometimes chaotically. Living and working here has taught me that advising collectors is not just about finding great art, but it is about creating meaning in motion. The city forces you to stay sharp, curious, and adaptable. It is also where IntelArt.io was born: a platform built to bring knowledge and structure to an ever-changing market. In a place that celebrates glamour and spontaneity, I have learned to value clarity, context and continuity above all.

1AN: Makes sense, as often collecting in Miami intersects with the city’s vibrant events, from Art Basel to local galleries. How do you help clients navigate both the social and investment aspects of the market?

Sebastien Laboureau: Art Basel Miami Beach week is a masterclass in sensory overload: beautiful, exhausting, and at times slightly absurd. My role is to bring calm and meaning to apparent chaos. I help clients distinguish true value from fashionable noise and remind them that collecting should be guided by knowledge, not hype. The best collections are not built on social prestige but on conviction and curiosity. Investing in art should be both rational and joyful: a balanced blend of discipline and delight. If one can find serenity amid Basel’s storm, one can collect with intelligence anywhere.

1AN:  Your work spans Post-War, Contemporary, and Urban Art. How do you decide which pieces or artists to introduce to a collection, particularly in a market as dynamic as Miami’s?

Sebastien Laboureau: Choosing the right artwork is both a science and a confession. I rely on research, experience, and instinct: three voices that don’t necessarily agree, but together form a good compass. I look for works that will endure once the noise fades: a Warhol that still questions fame, a Kusama that still vibrates with obsession, or a young urban artist who transforms rebellion into poetry. BanksyExplained.com grew from this same firm belief: that knowledge turns chaos into understanding. A piece must not only please the eye but also provoke thought and reflect the collector’s own story.

1AN: You’ve curated large-scale exhibitions and programs, such as at the Sagamore Miami Beach. How does your experience with public-facing curation inform the advice you give private collectors?

Sebastien Laboureau: Curation teaches humility: it reminds you that art doesn’t exist for you; you exist to serve it, and it exists to serve everybody. Exhibiting at places like the iconic Sagamore Hotel made me understand how artworks breathe together, how context transforms meaning. When advising collectors, I bring that awareness of narrative, balance and dialogue. A collection must breathe, not just accumulate. Each acquisition should resonate within a larger symphony. Curation trained me to listen to what art does in space, how it speaks to others, and how it ages. In short, it taught me that building a collection is not assembling trophies but orchestrating a story of vision and time.

1AN: Looking ahead, what art market trends or shifts excite you most, and how do you anticipate advising collectors to adapt to them over the next decade?

Sebastien Laboureau: We are entering a new era where technology and creativity are merging faster than our ability to define them. AI will generate images by the millions, yet authenticity and expertise will become even more valuable. That is what I built IntelArt.io for: to give collectors reliable knowledge and structure. Meanwhile, artists like Banksy remind us why art still matters: because it questions, provokes, and connects us in ways algorithms can’t. My advice for the next decade is simple: collect with curiosity, think critically, and never forget that great art is not decoration, but rather resistance with style and meaning.

Connect with Sebastian here.

With more than a decade of experience at the highest levels of the fine-art world, Andrea M. Zorrilla, AAA has carved out a remarkable niche as an advisor, appraiser and scholar of Modern and Contemporary Latin American and Latinx diaspora art. Formerly Vice President and Specialist of Latin American Art at Sotheby’s in New York, she oversaw record-setting sales, curated landmark exhibitions and helped shape conversations around women’s contributions to Latin American art. Now based in Miami after years in New York, she is poised at the crossroads of art market dynamism, cultural identity and global collecting trends.

In this interview we’ll explore Andrea’s personal journey, the evolving Latin American and Latinx art market, why understanding cultural and historical context is critical, and her take on why appraisals are an important component to collection management.

1AN: You helped shape record-breaking sales for artists like Maria Martins, Olga de Amaral, Alice Rahon and Zilia Sánchez during your time at Sotheby’s. What did that experience teach you about how the market recognizes and sometimes overlooks value in Latin American and Latinx art?

Andrea Zorrilla: Directly handling the works that would ultimately achieve world auction records for each of these artists continues to be one of the greatest thrills of my career. Each of these women are seminal figures in the story of Modern and Post-War artistic production; their recognition by the market was long overdue. Most importantly, since those respective moments their markets are continuing to experience upward trajectories.

Art history is a global story shaped by vast networks of interconnected and pan-continental artistic exchange. With that said, Latin American artists, artists of the Caribbean diaspora and Latinx artists have often been omitted or briefly mentioned by name from modern Western art history and contemporary American art history. 

Visibility of these artists on global market platforms are essential to legitimizing their markets and correlated pricing to the wider collecting public: international auction, art fairs, gallery representation in addition to normalizing their presence within settings such as institutional collections, exhibitions, and critical writings of the arts.

1AN: Agreed that such visibility is essential. So, after more than a decade at one of the world’s top auction houses, you launched AMZ Art Advisory & Appraisals. How does working independently change the way you advocate for artists and guide collectors in building more intentional, globally aware collections? 

Andrea Zorrilla: The foundation of my professional ethos has not changed since forming my own independent fine art service. I continue to be driven by the belief that intentional and conscious collecting practices are essential to supporting the larger arts ecosystem. Clients come to me with the understanding that these principles are integral in driving my uniquely oriented advisory services.

In my capacity as independent advisor, I work with my clients in expanding the potential of their collections by introducing a fresh, alternative viewpoint that foregrounds the Global South and/or Latinx practitioners. Essentially, I remove categorical boundaries and ensure a historically coherent, globally attentive visual storyline.  

Collecting art should be joyful. A collector, however, should also be willing to challenge themselves by collecting outside of categorical silos and to look beyond trends and “investment return”. The more a collector is challenging themselves, the more their interests and curiosity expand, they more they engage with globally panoramic viewpoints; eventually that discovery and evolutionary process is reflected in their collections/collecting decisions.

1AN: Perhaps this is why we’ve been seeing growing institutional and market attention toward artists from Latin America and the Caribbean diaspora. From your perspective, what’s driving this renewed global interest and how does it differ from the earlier wave of “Latin American art” sales at auction?

Andrea Zorrilla: Across the last decade, a re-positioning of Latin American and Latinx artists to the international collecting public has been seismic in expanding market awareness.

First, a critical wave of new scholarship is taking on rigorous reassessments of art historical movements and is presenting alternative, untold stories that are inclusive of previously overlooked artistic practitioners.

Also, museum curators with global perspectives are reshaping institutional collections and mounting groundbreaking exhibitions. Meanwhile, museum patrons are demanding more diverse and globally tuned-in representation in both curatorial viewpoints/staff in addition to acquisitions.

And in a response to collector expectations and their evolving taste demands, the major auction houses have recalibrated their traditional, siloed categorical formula by integrating Latin American art and Latinx art into their global sales. In parallel to this, art fairs are diversifying the demographic of galleries and exhibited artists.

The above platforms have been essential in heightening the market presence of Latin American, Latinx, and Caribbean artists. Most importantly, the visibility of these artists must be ongoing and maintained.

1AN: You often emphasize “cross-category integration and contextualization” in collection planning. Can you explain what that means in practice and why understanding cultural and historical context is critical when building a meaningful collection?

Andrea Zorrilla: I typically work with a wide spectrum of clients, including private collectors, family offices, collection managers and art advisory teams, who have an interest in broadening the art historical impact of their existing and/or growing collections. 

Given my decade-plus experience as a trained specialist in both Modern and Contemporary Latin American art and Latinx art, working with clients who collect across multiple categories is second nature to me.  Identifying narrative “gaps” as a means to develop a strategic and practical roadmap that incorporates cross-category, multi-disciplinary and multi-generational artistic dialogues within a collection is the core of my advisory practice. 

Examples of these narrative threads could be placing a Wifredo Lam next to a Kerry James Marshall with an Agustín Cardenas installed alongside them; an Alejandro Puente installed next to a Frank Stella and a Fanny Sanin; an Ana Mendieta displayed alongside a Joan Jonas and a Carolee Schneemann, a Sarah Grilo hanging right next to a Jean-Michel Basquiat. The narratives are endless as is the potential to continue extending these narrative threads with deliberate and careful foresight.

Building these panoramic collections require earnest commitment from the client as well as a willingness to practice slowing down and taking a mindful approach to buying in order to maintain the integrity of their collection.

1AN: You also function as an appraiser, providing appraisal related services via your independent practice. Can you discuss why appraisals are an important component to collection management?

Andrea Zorrilla: Being an appraiser is a profession, it takes significant time and hands on, in-the-weeds experience to develop the skill set needed to perform an appraisal that maintains compliance with the Uniform Standards of Professional Appraisal Practice, while also utilizing your knowledge base in a particular area of expertise to form a competent, sophisticated and relevant value narrative.

When it comes to collection management, appraisers are equally important stakeholders in supporting the responsible stewardship of a collection. To that end, an appraisal can provide valuable insight for a collector and inform their decision-making when it comes to proper care of their collection. An art collector is ultimately a temporary keeper of an artwork with the great responsibility of ensuring the safety and legacy of that work. An example is conducting insurance appraisal updates every few years to best determine appropriate coverage on relevant works. This may avoid the risk of being underinsured in the event of damage or loss to an artwork or alternatively having an artwork overvalued thus impacting premium payments. Another example is for the purpose of legacy and estate planning. An appraisal can be a factor used to determine equitable distribution, long-term/generational maintenance, deaccession options, among other wholistic planning considerations

Connect with Andrea here.

Meet Spring McManus, a well-respected art advisor with a keen eye for emerging talent and a deep passion for supporting artists in their careers. With over two decades of experience in the art world, Spring has mastered the art of blending creativity and strategy to connect artists, collectors, galleries and institutions in unique and impactful ways.

In this exclusive interview, she shares when she advises clients to take risks, how to stay strategic in the impulsive art fair environment, common misunderstandings about blue-chip art, and more.

1AN: You’ve organized exhibitions by icons like Joan Mitchell and Frank Stella. What’s something most collectors still misunderstand about blue-chip art and how value holds, or doesn’t hold, over time?

Spring McManus: Not all Picassos are created equal… It is just as important to understand when the artwork was created, the subject and what was happening in the artist’s life during the time of production. These all play into the value of an artwork, and it all fluctuates depending on timing of current exhibitions, supply and demand, as well as cultural relevance. When an artist’s works challenge or inspire new generations, values go up. Blue-chip artists like Joan Mitchell or Frank Stella have had moments of renewed focus that reinvigorate demand, but they’ve also experienced quieter cycles.

For years, George Condo’s early works had been overlooked, which created an interesting opportunity for my clients who collect his work in depth.  The market focus had been primarily on the cubist portraits or progressions, but over the last few years, there has been a shift with more collectors paying attention to the early works. Now that there is a major retrospective at the Musee d’Art Moderne de Paris highlighting the significance of his early work, I imagine these works will have increased demand, driving prices higher. I am always looking for opportunities like this.

1AN: Well then, it’s good to have access to someone like you with your finger on the pulse! Because even seasoned collectors can fall into patterns and just buy more of the same. How do you push clients to evolve their eye or take risks while still maintaining their trust?

Spring McManus: When I am helping clients build their collections, I am always introducing them to artists that relate to those that they already collect. For example, if a collector is interested in the stars of Surrealism, like Magritte and Dali, I might introduce artworks from Remedios Varo and Valentine Hugo, or Arshile Gorky, and show how these works also connect to contemporary surrealists like Julie Curtiss and Ariana Papademetropoulos. I am always looking for the threads that rhyme visually or create conceptual or historical links.

1AN: That makes sense and I can see how that would help ease anxiety in evolving one’s tastes.  But growth in collecting often requires deeper engagement with the art world beyond transactions. Can someone build a meaningful collection today without being connected to institutions, residencies, or philanthropic networks?

Spring McManus: I encourage collectors to engage with cultural institutions because this is where we learn, discover, and understand art within context. Museums and artist residencies are where ideas are shaped, supported, and sometimes amplified, before they reach the market. This part of collecting is foundational. Supporting institutions is also integral to sustaining the ecosystem that allows artists to grow, experiment, and be seen. Part of my process as an art advisor is taking clients to studio visits, residencies and museums. These experiences deepen their connections with artists and their understanding of process.  In Miami, I support the Fountainhead Artist Residency, the International Women’s Committee of the Perez Art Museum Miami, and the Collector’s Committee at the ICA, which all foster communities of people passionate about visual arts.

1AN: That’s amazing. Speaking of Miami and looking ahead to art fair season, even the most disciplined collectors can get caught up in the frenzy. How do you help clients stay strategic in an environment designed to spark fast, emotional, sometimes impulsive decisions?

Spring McManus: Frenzy is never the right state of mind to buy art. Art fairs can be completely overwhelming and honestly just too much. But I never want to dismiss the possibility of a “love at first sight” moment because when it aligns with knowledge, research, and context, that’s where the magic happens. My role is to slow down the frenzied pace and help clarify goals and priorities before we walk into a fair together, so decisions are rooted in the larger narrative of the collection. When a new discovery happens, we note it, follow up, research, and look again.

1AN: I like this calm, yet strategic approach. The Miami fair ecosystem has exploded between Basel, Art Miami, SCOPE, Untitled, NADA, plus countless satellites. With so many options, which fairs are worth a collector’s time?

Spring McManus: There are too many fairs and too little time. It’s impossible, and unnecessary, to see everything. I guide my clients toward a few that offer the strongest balance of quality, curation, and discovery. I focus on the fairs that consistently present strong, thoughtfully curated works: Art Basel for its museum-caliber presentations and global gallery programs, Untitled and NADA for their highly-curated selection of emerging galleries and artists, and Design Miami for the cross-disciplinary dialogue. The goal isn’t to rush through every tent; otherwise, it becomes visual overload, and nothing resonates. I always encourage a slower, more intentional experience that allows space for looking, thinking, and feeling. When you take the time to truly engage with the work, the fair transforms from a whirlwind of booths into meaningful moments on the journey of buying and collecting art. 

Connect with Spring here.

Miami stands as a dynamic hub for art lovers, collectors, and creators alike. At the heart of this thriving cultural landscape is Catherine Camargo, an esteemed art advisor who agreed to sit down for a chat. She explains how, in this vibrant art scene, understanding the deeper value of art is more important than ever. In this interview, Catherine shares her insights on several compelling topics that every collector and art lover should consider.

Join us as we delve into an enlightening conversation that challenges conventional views on collecting and highlights the rich layers behind every piece of art.

1AN: Having spent years within the Margulies Collection, one of the most respected collections in the U.S., what insights do seasoned collectors have about long-term collection building that often elude newer collectors?

Catherine Camargo: It’s difficult to speak somewhat on behalf of another collector, especially one of Martin Margulies’ caliber, even after years of working closely with him. During my time at his Warehouse in Wynwood, surrounded by artworks that have defined generations of art and taste-making, I was deeply impacted not only by the collection itself but by witnessing how the simplest interactions between colleagues, collaborators, and artists can shape everything you stand for as a collector. The decisions of someone in that position can influence the trajectory of careers and, at times, entire art movements.

Beyond his discerning eye, what always struck me was his consistent presence: giving personal tours of the Warehouse, sharing lunches in our open layout office with artists he has supported for over forty years, and taking the time to explain what first drew him to a work he was considering acquiring. What has kept him so seasoned, I believe, is his lifelong curiosity for art and his genuine care for the relationships he has built with the artists and dealers who helped shape the collection as it stands today.

1AN: Sounds like a sure-fire way to assemble one of the world’s most significant collections of contemporary art! But your curatorial projects often balance minimal aesthetics with subtle political or social subversion. How can collectors identify artworks with significant cultural or conceptual weight, and why does that matter?

Catherine Camargo: I think the best way collectors, whether emerging or wise, can identify artworks with significant cultural and conceptual weight is by reflecting on their initial experience and the emotions evoked when seeing the work for the first time. There is something quite beautiful about the intangible and priceless moment of encountering a work you don’t yet understand but long for whether you long for it because it is beautiful and you want to live beside it, or because you want to hold onto the emotions it stirs in you: confusion, desire, discomfort, awe, or familiarity. 

There is, in my opinion, great significance in this initial interaction between the art and the viewer. In my experience, these moments of deep connection rarely occur when encountering visuals that are immediately familiar or easily digestible. The challenge of questioning our own capacity for what is different is important, as it defines us not only in how we respond to art but also in how we engage with others; people, cultures, and beliefs. When art expands our way of seeing, it opens a space for hope and possibility. It softens rigid perceptions, allowing empathy to grow, and reminds us that transformation often begins in the small, visceral moments when we are moved to think and feel differently. 

1AN: I love that! Nonetheless, some collections appear impressive but lack a cohesive point of view. From a curatorial perspective, what elevates a group of artworks into a meaningful collection with narrative and intention?

Catherine Camargo: This is often, unfortunately, true which is why I believe that collectors just beginning to dip their toes into buying art should enter the world with as much curiosity and openness as possible. While exploring which works they’d like to own, they should also be investigating themselves, taking the time to notice what they are consistently drawn to whether aesthetically or conceptually, subconscious or intentional. Sometimes, the narrative intention of a collection is found precisely within that personal realization. 

If one struggles to find that internal thread, they should make an effort to look outward and speak with artists, gallerists, and advisors. Ask more questions. Have your advisor, gallerist, or friend arrange studio visits with the artists you’re considering collecting. Attend local openings and group shows to see what the contemporaries of the artists you already collect are creating. Visit the humble gallery with no signage on the second floor of an old downtown Miami building (a shameless plug for QUEUE Gallery here) simply because an artist you admire recommended it. Let go of any fear of misunderstanding or not fitting in, this may be the most subjective field in the world. The more a collector develops their own language and learns to articulate their desires when acquiring art, the more intentional and cohesive their collection will become.

Personally, I take note of the collectors who have purchased several works through me, and I find it exciting to watch their eye and language evolve with each acquisition. I often joke with my closest consistent clients about what their collection retrospectives might look like fifty years from now. Will it serve as an archive of the Miami art scene as it exists today, if their current focus remains on emerging local artists? Or will it reflect the vision of someone drawn to a particular medium or philosophy, regardless of an artist’s background? Time will tell but the relationships collectors build within the arts along the way will inevitably shape the evolution of their collections. It’s human nature. That is the only way it should be.

1AN: Agreed! So, with experience spanning exhibitions, collection management, writing, poetry, and sound, is there a tendency among collectors to focus too much on objects rather than sensory, time-based, or conceptual experiences? 

Catherine Camargo: This is a question that comes up often between myself and my peers. It’s something I’ve had to confront personally in representing artists like David Correa, whose practice spans endurance-based performances, sculptures and ephemera created from their remnants, and now powerful, visually striking short films. As his gallerist, while the value of his work is clear to me, I’m constantly challenged to determine how to translate these experiences into tangible pieces that collectors and institutions can acquire. It’s difficult to sell a feeling, a reaction, or an experience.

I believe the answer lies somewhere within my previous thoughts, the importance of showing up, participating, and asking questions. Thoughtful words and reviews may hold the power to describe emotion, but nothing compares to witnessing a time-based work in person: standing among your peers in silence and awe as an artist uses their body as a tool within a performance, or sharing the stillness of a dark room as a film unfolds before you. Once you’ve felt the goosebumps of that kind of encounter, it becomes much easier to understand the value of purchasing a film edition or one of the few tangible remnants of a performance. We must keep showing up.

1AN: Speaking of showing up, how about the lack of broad gallery visibility faced by many artists from working-class or Caribbean backgrounds? What might collectors miss both culturally and financially by overlooking artists outside the traditional market system?

Catherine Camargo: The traditional market system needs a reboot. It needs to be dismantled, unlearned, and reconfigured to make room for the artists who have always existed, who have always been working, and who were rarely granted the opportunity to be discovered. And often enough, when they were historically discovered, it came with predatory consequences. Today, with social media, I believe there are very few excuses for gallerists, art fairs, and institutions to continue ignoring the talent that exists within the working-class and Caribbean diaspora.

It is the responsibility of people in positions such as my own, and anyone who holds a similar role, to make sure that artists from non-luxurious beginnings are offered a pedestal to share their work proudly and inclusively, deserving to be there rather than from a place of vulnerability or voyeurism.

There are countless reasons why collectors miss out culturally and financially by overlooking artists who fall outside the margins of the traditional market system. Culturally, collectors have the opportunity to broaden the geographical and historical reach of their collections. Decades from now, it will hold real meaning to say that the provenance of the works you own extends beyond the origin of “safe zones” of artist warehouses filled with assistants in Connecticut or Los Angeles. It will carry weight to say that a piece in your collection was created in a grandmother’s garage in Hialeah, or that its materials were sourced in Haiti, Guadeloupe, or Cuba. This is value. History is valuable, origin is valuable, and neither can be copied nor mass-produced.

Having faith in artists whose backgrounds lack a clearly defined path toward traditional success can be uncertain, even intimidating, for a collector. But it will always reveal the vision, taste, and integrity of the collector who supported the work before it was deemed desirable by market validation. For instance, imagine those who collected Miami’s iconic Purvis Young while he was still occasionally building cardboard cots to sleep on in the corners of Overtown. The pride they must carry now knowing they hold a piece of history within their living room is immeasurable. A work that may have once cost little more than the price of buying Purvis lunch for a week many moons ago has become a testament not only to his genius, but to the foresight and compassion of those who believed in him before the whole city and art world did.

Connect with Catherine here.

In the world of art and design, where creativity meets strategy, art advisor Alana Greenberg really stood out to us. With a wealth of experience guiding private collectors and developers alike, Alana has mastered the art of elevating spaces through meaningful art integration.

We sat down to chat with Alana, as she shone a light on just how vital a role art plays in built environments. She shared how she convinces developers that art transcends mere decoration, embodying long-term value and community connection. From the insights gained through high-end hospitality projects to her thoughts on the evolving role of cultural strategists in the art advisory landscape, Alana is set to challenge traditional perceptions and inspire new approaches.

Join us for an engaging conversation with someone who’s redefining the intersection of art and architecture.

1AN: You work with developers and architects at a scale most advisors never touch. What do private collectors often misunderstand about commissioning or integrating art into built environments?

Alana Greenberg: When I’m brought into a project early during the architectural or conceptual phase there’s space to create real alchemy between the art and the environment. We’re not just filling blank walls. We’re using art to shape how a place feels its energy, its rhythm, its atmosphere. That kind of integration can completely shift how people experience a space.

Private collectors may not understand that every piece I commission is made specifically for the project and nothing is off-the-shelf. It’s a conversation between the artist, the architecture, and the story behind the site. And because of that, a deeper relationship forms between the art and the space, but also between the creator of the space and the artist who’s contributing to it.

When that alignment happens, the art doesn’t just sit in the space, it activates it. It becomes part of its memory.

1AN: That makes perfect sense. Nonetheless, commercial spaces are usually designed for function first, aesthetics second. How do you convince developers that art isn’t decoration, it’s identity and long-term value?

Alana Greenberg: In my experience, the most impactful projects happen when art is part of the overall vision. Not added at the end, but considered alongside everything else that brings a space to life. It’s about collaborating with teams that understand how powerful a single piece of art can be when it’s placed with intention and aligned with the architecture.

I’ve had the privilege of working with developers who see art as just as valuable as any other element of their project and not an accessory, but part of the foundation. When the design is strong, you don’t need much. Less is often more. The right piece in the right moment can carry the emotional weight of an entire space. It’s about sensitivity, trust, and knowing when to add and when to hold back.

1AN: I’m sure that is a delicate balance. Potentially one you are dealing with now, as you launch a major public work, The Turtle Garden, on A1A in Fort Lauderdale. What does it take to get a project like this approved, built, and brought to life and why are public artworks becoming power plays for cities and brands?

Alana Greenberg: Getting a public artwork like The Turtle Garden off the ground requires patience, vision and trust. There are design reviews, permitting processes, engineering approvals, and timelines that move at a very different pace than the art world. You’re navigating city systems while also holding space for the creative process, which means staying grounded in both structure and spirit. 

I think cities and developers are aware that public art can do something traditional branding can’t. It creates connection. It brings soul to a space. When it’s done with care, a public work becomes part of the city’s identity. Something people remember, return to, and feel a relationship with.

The Turtle Garden is quiet and symbolic. It’s rooted in care for the land, for the ocean, and for the people who pass by. That kind of energy lasts. It becomes part of the landscape in a way no signage ever could.

1AN: We cannot wait to experience it for ourselves. Clearly you are an invaluable asset in transforming environments into reflections of identity and purpose. For instance, you’ve also curated at the Delano. What have luxury hotels and hospitality groups figured out about art that traditional collectors still haven’t?

Alana Greenberg: Hotels don’t just sell rooms. They sell atmosphere, memory, and feeling. The best hospitality groups understand that art is one of the most powerful ways to shape that experience. It creates mood, anchors identity, and sets the tone before a single word is spoken. It becomes part of the guest’s emotional imprint of the space.

What makes this different from traditional collecting is that it’s less about ownership and more about experience. The work must function in real time with lighting, music, architecture, scent. It’s a layered environment. And when you get the balance right, the art doesn’t just live on the wall. It holds the space.

I think hotels were ahead of the curve in realizing that art has commercial value because of its emotional impact. It turns a property into a destination. Not because someone owns it, but because people feel something when they walk through it.

1AN: You’re certainly right there… art is instrumental in creating a mood and setting a tone, just as much, if not more so, in a public setting than a private one. While most advisors work one-on-one with private clients, you operate like a cultural strategist, linking artists, developers, architects, cities, and communities. Is this the future of art advisory?

Alana Greenberg: Every client is different, and every project is its own world. That’s the beauty of this work. No two experiences are the same. Some collectors want a deeply personal, private relationship with art. Others are looking to shape public space, create legacy, or build cultural resonance on a larger scale. I move between those worlds and help translate the vision.

My role has naturally expanded over time, not because I set out to do something different, but because the projects asked for it. One day I might be walking a construction site with an architect, the next I’m in the studio with an artist talking about scale and materials. It’s less about a fixed model and more about listening to the space, to the client, to the intention behind it all. 

I’ve been lucky to find my niche in this ever-evolving industry, and I’m grateful that the art I place can be enjoyed by the people whether it’s in a private home or on a public street. That kind of connection is what keeps me inspired.

Connect with Alana here.

LA’s contemporary art scene pulses with creativity, and at its heart are the city’s most insightful art advisors. These are the people who connect collectors with the works that matter, help shape collections that turn heads, and uncover voices before the rest of the world discovers them. Whether you’re building your first collection or adding museum-grade pieces to a seasoned collection, these Los Angeles-based art advisors are the guides you want to know.

[[top5experts]]

Behind Los Angeles’ vibrant art scene are advisors like Nancy Gamboa, Annie Wharton, Victoria Burns, Barbara Guggenheim, and John Wolf, each bringing a distinctive vision to collecting. They don’t just advise, they spark discoveries, uncover emerging talent, and help collectors acquire works that are culturally meaningful, visually striking, and strategically smart.

Looking to build or refine your collection? Explore our Art Advisory 101 and 201 programs, designed to give you insider knowledge and confidence in navigating the art market. For collectors ready to take the next step, join ArtCollect, our exclusive membership program connecting you with expert advisors, events, and resources to elevate your collecting journey.

Today, we had the pleasure of speaking with Victoria Burns, a renowned art advisor with over three decades of experience in the international art market. Known for her thoughtful and strategic approach, Victoria has earned a stellar reputation for guiding both new and seasoned collectors in building art collections that reflect their personal vision. An expert in modern and contemporary art, she collaborates with leading galleries to connect clients with works ranging from historically significant blue-chip pieces to cutting-edge works by the next generation of emerging artists. Beyond her work in the market, Victoria is deeply passionate about arts institutions and the cultural fabric of Los Angeles. She is the co-founder of Angeles Art Fund, a giving circle that supports artists and arts nonprofits advancing socially impactful projects in the LA-area. We’re honored to have the opportunity to discuss her insights into the art world.

1AN: Over the course of your 30-year career, what consistent qualities have you seen in collectors who build the most meaningful and lasting collections?

Victoria Burns: Passion, curiosity, engagement, and risk taking. The collectors who build the most meaningful collections fall in love with not only the art they acquire, but also the process of looking, and remain engaged for many years. They look at being connected to art as an important part of everyday life.  Reading about it, visiting museums, galleries and even building travel around opportunities to view and learn about art. They are curious and open-minded about the many ways artists express their ideas and love being challenged by new ideas. They also must be willing to take risks.  Sometimes those risks are financial, making a quick decision under pressure to secure a piece, or paying a little more than they expected because they love the work, and sometimes the risk is installing pieces in unusual ways.

1AN: True, although sometimes taking risks is particularly difficult for new collectors entering the market today. What’s your advice to them on navigating a saturated art world while staying true to a personal vision?

Victoria Burns: For new collectors entering today’s saturated art market, my first piece of advice is simple: make time to look. Visit galleries, museums, fairs, and studios to train your eye and develop your own perspective. Over time, you’ll discover what truly resonates whether it’s a particular medium, style, or conceptual approach.

Collecting should begin with curiosity and personal engagement. There’s no substitute for seeing art in person and learning what moves you. Working with an advisor can help focus your vision, provide context, and connect you to trusted dealers, relevant artists, and movements of interest. We also maintain a robust, global artist and gallery database to help identify rising talent and guide new collectors through a focused, informed journey.

You don’t need a large budget to begin, just a commitment to acquiring the best you can afford, even if it’s one piece per year. Over time, these thoughtful purchases form a cohesive, meaningful collection.

1AN: You would know, as you work with both private and institutional clients. How does your process shift when advising a public-facing collection versus a private one?

Victoria Burns: My process differs when advising public versus private collections. With institutions, especially those with multiple decision-makers in an art committee, reaching consensus can be complex. I focus on creating educational presentations to inform them about artists and how art can engage diverse audiences, emphasizing how collections reflect culture and impact constituents rather than purely investing. With private collectors, the approach is highly personalized. I analyze their home’s design, ask questions about their interests, values, and background to understand their tastes. Some clients quickly provide feedback, allowing me to refine selections, while others need guidance to articulate what they dislike, which helps build their confidence and trust. A private collection is an extension of the individual or a couple, reflecting their passions and life story. Building long-term relationships allows me to better understand each client, resulting in more meaningful and personalized collections over time.

1AN: That makes perfect sense. You’ve developed collections in diverse cities across the U.S. from Telluride to Miami to Chicago. How do regional influences or client lifestyles shape your curatorial approach in different locations?

Victoria Burns: While I wouldn’t describe the collections I’ve developed as “regional,” a client’s location and lifestyle often inform curatorial choices in subtle but meaningful ways. I encourage collectors to think globally, but regional context can shape themes or mediums for both practical and emotional reasons. For instance, in Utah, one collection focuses on environmental and landscape themes, executed not through predictable mountain-home aesthetics, but via internationally recognized artists exploring nature, materiality, and climate in conceptually rigorous ways. This includes artists like Rose B. Simpson, Abel Rodríguez, Faith Wilding, and Brie Ruais. Practical considerations also play a role: in Los Angeles, with its intense natural light, we tend to favor paintings and sculpture to better preserve the work. In contrast, during the 1990s in Chicago, I placed a great deal of photography. Ultimately, my curatorial approach is guided by a client’s vision, the realities of their space, and a desire to engage them with thoughtful, globally relevant art.

1AN: Looking ahead, what trends or shifts in collecting are you most excited about and how are you preparing your clients to respond thoughtfully to those changes? 

Victoria Burns: Each generation brings a fresh perspective to collecting. Many are passionate about supporting contemporary artists of their time, but one on-going trend is to collect the work of women artists who tend to be undervalued in the market. In addition, I see more important art historical work coming onto the market as older generations start deaccessioning. There will be some real acquisition opportunities in the next 5-10 years which we will be sharing with our clients. A thoughtful balance between past and present strengthens a collection’s cultural and financial significance. Above all, collecting should be driven by passion, true appreciation is the foundation of lasting value.

Connect with Victoria here.