Far from being secondary, the decorative arts, ceramics, textiles, woodwork, and furniture, were once considered among the most prestigious forms of artistic expression. As Natasha Schlesinger, art historian, curator, and advisor, notes “before the Industrial Revolution, decorative arts had comparable or even higher value than paintings and sculptures.”
Examples of this abound, from the exquisite intarsia work of the 15th-century Gubbio Studiolo, commissioned by Duke Federico da Montefeltro and now housed in the Met, to the richly woven tapestries that outvalued all other art forms during the Medieval and Renaissance periods. In 17th- and 18th-century France, entire royal workshops like the Gobelins Manufactory were established to produce furniture and tapestries for the monarchy, and famed painters like François Boucher lent their talents to designing upholstery and porcelain for Madame de Pompadour and the Sèvres Manufactory. German cabinetmakers such as Georges Jacob and Adam Weisweiler crafted exquisite lacquer- and porcelain-adorned furniture for Queen Marie Antoinette, works that were as treasured as any painting.
It wasn’t until the 19th century, with the rise of industrial manufacturing and the dissolution of the French guild system, that the value of these art forms began to decline. “Furniture, textile, and ceramic arts diminished in value and quality,” Schlesinger explains, “elevating the status of painters and sculptors above the makers of other disciplines.” This shift marked the beginning of a long-standing division between so-called “fine” and “decorative” arts, which continued through much of the 20th century, with brief exceptions such as the Bauhaus movementthat sought to bridge the gap.
Today, however, that divide is breaking down. In the 21st century, artists, collectors, and institutions are once again embracing materials and practices long relegated to the margins. “We can, in fact, see a blurring of the boundaries between fine and decorative arts,” Schlesinger observes, “and the return to materials like ceramics, fiber, and wood to the mainstream of art.”
This renewed appreciation is reshaping how we define artistic value and cultural significance. Museum exhibitions and private collections alike are re-evaluating the role of functional art, placing craftsmanship, materiality, and design at the forefront of artistic discourse. What was once dismissed as ornamental or utilitarian is now commanding center stage and rightfully so.
The Contemporary Shift: Breaking Down Artistic Barriers
In recent decades, contemporary artists, curators, and collectors have begun dismantling the barriers between fine and decorative arts. Textile arts, ceramics, and furniture design are viewed as integral components of the broader artistic landscape. Several key trends have contributed to this shift:
1. The Elevation of Textile and Fiber Arts
Major institutions like MoMA, Tate Modern, and the Whitney Museum have hosted exhibitions showcasing fiber artists, and contemporary creators such as Sheila Hicks, Faith Ringgold, and El Anatsui are celebrated for their innovative use of textiles.
Collectors and museums are increasingly valuing textile works for their material complexity and cultural narratives. Quilts, tapestries, and woven installations now command attention in auction houses like Sotheby’s and Christie’s,
2. The Resurgence of Ceramic and Functional Art
Ceramics are a powerful and expressive medium at the forefront of contemporary artistic practice. Clay has become a site of innovation, storytelling, and cultural commentary. Artists such as Edmund de Waal, Takuro Kuwata, and Magdalene Odundo are redefining the potential of ceramics, creating sculptural works that engage with form, materiality, and narrative on a conceptual level.
Major galleries and international art fairs including Art Basel and Frieze are increasingly showcasing ceramic works alongside painting, photography, and sculpture, affirming their place in the broader art discourse. Collectors, too, are embracing the medium’s unique ability to bridge functionality with high aesthetic value.
Natasha Schlesinger points to a pivotal moment in this cultural shift. “One of the most important moments for ceramics that has emerged to solidify its standing in contemporary art was the nomination of the ceramicist Simone Leigh to represent the USA in the 2022 Venice Biennale.” Leigh’s groundbreaking work brought unprecedented visibility to ceramics as a central mode of artistic expression on the world stage.
A new generation of ceramic artists is also capturing the attention of museums, curators, and collectors alike. Standouts include Woody De Othello, Stephanie Temma Hier, Jessica Stoller, Rose B. Simpson, and Brie Ruais, each using clay to explore identity, body, history, and space in bold, compelling ways. Together, their work underscores a larger transformation: ceramics are reshaping the future of contemporary art.
3. The Influence of Cross-Disciplinary Artists
Today’s creative landscape is increasingly shaped by artists who defy the traditional boundaries between fine and decorative arts. These practitioners operate across disciplines, blending sculpture with furniture, craft with conceptualism, utility with symbolism, challenging conventional classifications and redefining what art can be.
Designers such as Kelly Wearstler and India Mahdavi seamlessly merge function and form, producing interiors and objects that occupy the space between art and design. Meanwhile, artists like Olafur Eliasson and Ai Weiwei regularly incorporate traditional craft techniques, glass-blowing, basket weaving, porcelain, in their large-scale installations, elevating material processes into the realm of high contemporary art.
“The artistic value of an object is no longer determined by whether it is functional or ornamental,” Natasha Schlesinger notes. “It’s about the ideas, materials, and craftsmanship behind it.”
She also highlights artist Rashid Johnson as a particularly compelling example of this boundary-blurring approach. Known for his richly layered work across painting, sculpture, ceramics, video, and installation, Johnson embodies the multidisciplinary spirit of contemporary practice. His upcoming retrospective at the Guggenheim Museumfurther cements his status as a major voice in the evolution of cross-medium artistic expression.
The Role of Museums and Exhibitions in Redefining Art Categories
As the divide between fine and decorative arts continues to dissolve, museums and galleries are rethinking how they present and contextualize art. Leading institutions such as the Metropolitan Museum of Art, the Victoria & Albert Museum, and the Getty are increasingly spotlighting decorative and textile arts—not as peripheral, but as central to major exhibitions.
One striking example is the Monstrous Beauty: A Feminist Revision of Chinoiserie, a newly opened exhibition at the Metropolitan Museum of Art. As Natasha Schlesinger points out, the show “focuses on porcelain and its history, pairing historic pieces with works by contemporary artists,” offering a critical lens on both decorative art traditions and the colonial narratives often embedded within them. It’s a vivid illustration of how curators are using decorative media not just to celebrate beauty, but to interrogate power, identity, and history.
This institutional reframing is echoed in the commercial sphere, where the worlds of luxury design and contemporary art continue to intersect. High-profile collaborations such as Louis Vuitton’s partnerships with Yayoi Kusama and Jeff Koons challenge rigid definitions of fine versus decorative art. These projects position artist-designed fashion and accessories as legitimate cultural production, blurring the lines between wearable design, collectable object, and artistic statement.
Together, these shifts reflect a cultural realignment, one that values the tactile, the crafted, and the ornamental as integral to the future of art.
The Market Impact: Growing Interest in Decorative and Textile Arts
The growing visibility of decorative and textile arts in museums and galleries is mirrored by a major shift in the art market. Auction houses like Sotheby’s and Christie’s have expanded their offerings to include fiber arts, ceramics, and contemporary furniture design, categories once considered secondary. These mediums are achieving record-breaking sales, signaling a surge in collector interest and an overdue reassessment of their cultural and financial value.
Textile-based works and ceramic sculptures are no longer niche acquisitions. They are commanding serious attention and investment. Artists such as Sheila Hicks, Olga de Amaral, Barbara Chase-Riboud, Judy Chicago, and Faith Ringgold have seen their works fetch impressive prices at auction, with collectors and institutions competing for pieces that blend historical resonance, technical mastery, and material innovation.
This momentum reflects a broader shift in the market, one that acknowledges the artistic significance of non-traditional materials and the conceptual depth of mediums like fiber, clay, and wood. Collectors are increasingly drawn to artists whose practices span fine and decorative arts, recognizing the richness and relevance of works.
What This Means for Collectors and Art Enthusiasts
For collectors, the breakdown of material boundaries offers exciting opportunities to build more dynamic and diverse collections. Instead of focusing solely on paintings or sculptures, collectors can explore textile arts, ceramics, and contemporary design objects that offer equal artistic merit.
When collecting decorative and textile arts, consider the following:
Provenance and Artist Recognition – Look for works by artists with strong reputations in both fine and decorative art circles.
Material Innovation – Many contemporary artists experiment with materials, pushing the boundaries of traditional mediums.
Historical and Cultural Significance – Textile and decorative arts often carry deep historical and cultural narratives, making them compelling additions to a collection.
Curatorial Integration – Think about how these pieces interact with existing fine art pieces in a collection. Mixing mediums can create a more engaging and layered aesthetic.
Conclusion: A Future Without Boundaries
The blurring of boundaries between fine and decorative arts is reshaping the art world and expanding our understanding of artistic value. As textile arts, ceramics, and design objects gain recognition in fine art spaces, collectors, curators, and artists alike are embracing a more inclusive, multidisciplinary approach to creativity.
In this evolving landscape, the question is no longer whether an object is fine or decorative, but rather how it engages with viewers, materials, and artistic expression. The future of art lies in its ability to transcend labels, proving that beauty, craftsmanship, and concept can exist seamlessly across all mediums.
Looking to invest in textile or decorative arts? Explore upcoming auctions, museum exhibitions, and contemporary artists pushing the boundaries of fine and applied arts.
Our radar is always open for professional women in leadership positions in the visual arts. So, it’s no wonder Natasha Schlesinger landed on it. She is an award-winning art historian, art advisor and curator with a start in working at art galleries in New York and London. She continued as a specialist at Christie’s auction house in New York and has since lectured both at Christie’s and Sotheby’s.
Natasha founded Artmuse to provide art guidance, curation and advisory services to private and corporate clients as well as collaborations with brands. She has served as the Art Curator of The Surrey Hotel where she was instrumental in conceiving and curating successful exhibitions connecting The Surrey’s own permanent art collection to the most relevant themes in contemporary art. And having worked in the art field for over 25 years, naturally, we determined there’s so much yet to know about Natasha. Here’s what we found out…
1AN: Let’s start from the beginning. Your career began in European furniture and decorative arts before transitioning into contemporary art advisory and curation. How has your background in historical art forms influenced your approach to contemporary collecting and curation?
Even though I would never have devised a plan for myself to study pre-20th century art forms and history only to go on to become a contemporary art advisor and curator, my background has given me the kind of depth of knowledge that is impossible to obtain if only focusing on modern and contemporary art. In addition, contemporary art today is in a very dynamic conversation with the masters of the past and it is imperative for an art advisor to understand that and to educate the general public and collectors alike so that their collecting choices become more interesting and mindful.
1AN: Speaking of interesting and mindful collections, you are co-curating an exhibition this summer at the Southampton Arts Center, featuring Christine Mack’s private collection. How do you approach curating a private collection for public viewing, and what excites you most about this particular project?
This is a first time that I will be able to partake in presenting a collection I helped to build to the public and it is indeed a very exciting prospect. But, as with any public curation, this is not just about putting as many artworks on display as possible, it is about telling a story, a point of view that best reflects and represents the collector who inspired the exhibition. I am working with the South Hamptons Arts Center curator and with Christine Mack to come up with the best way to lay out the art, to create groupings that speak to one another and reinforce each other. Because the collection is so focused on emerging artists and, in particular, on women artists, we will of course emphasize that. It is a very exciting project. It is also wonderful, because we begin with Christine’s mother-in-law Phyllis Mack, who began collecting in the 80s and has directly inspired Christine’s own collecting passion.
1AN: So, how do you balance your curatorial projects with your work as an advisor to private and corporate collectors? Do you find that these roles influence and enrich one another?
Being an advisor is also being a curator of sorts to each and every client. It is always about building a story through art, responding to each individual collector’s taste, budget, space aesthetic and other factors. I love that each project offers a new and unique approach for my advisory and that is where my curatorial experience and expertise comes in handy. I also have a guidance program, where I take collector groups around to galleries and museums so there is an educational component that also comes to play a role for what I do. All of these facets intertwine to give me a broader and more enriched perspective of contemporary art and of my clients.
1AN: You are currently producing ArtMuse the Series with your husband, filmmaker Adam Schlesinger. How has this project allowed you to explore your expertise from a fresh perspective, and what do you hope audiences will take away from the series?
Yes, this is my newest project and I am so excited about it! I have conceived and am now in the midst of producing this new Art series with my husband, who is an award-winning documentary filmmaker. We have filmed at artists’ studios and galleries. It’s a behind-the-scenes look at the artists’ creative process and an informal, unscripted opportunity to take viewers through current art shows at galleries in New York. We would like to keep developing the concept further and hope that viewers who cannot visit galleries or artists’ studios in person will tune in and follow us and enjoy the viewing experience. We would love for it to be picked up by a larger program and to develop it further.
1AN: We would love to see that too! With over 25 years in the art world, what emerging trends excite you the most in terms of collecting, curation, and the broader evolution of the art market?
There are so many exciting trends going on right now and for the past 5-10 years. I will try and name just two that I am interested in and am encouraging others to reflect upon. One, of course, is the role of women artists in the contemporary art world. Women artists now make up an ever-growing percentage on the contemporary arena. From young, emerging women artists to re-assessed or re-discovered women artists overlooked in their own time, the time is ripe for women artists to be seen on par with their male counterparts, for their prices to equal those of the men and for a much deeper representation of women artists at institutions not just private collections. Another welcome evolution of the contemporary art world has been the blurring of any material boundaries separating the fine from the decorative fields. It is notable that even the most blue-chip mega galleries now represent artists working across many disciplines and mediums that now include ceramics, textiles, and glass.
As fans of the ArtTactic Podcast, we figured it was finally time to get to know the man behind all those interviews. Aside from hosting the Podcast, we also know him as the founder of Adam Green Art Advisory, offering comprehensive, tailored services to support collectors at every stage of their journey. But with more than 15 years of experience in the art world, there is surely so much more to learn about Adam.
So now, after years of listening to him interview influential art market figures on everything from general topics about the global art industry to art investing, it’s his turn to be interviewed.
1AN: Your career began at Christie’s before launching your own advisory firm. What insights from your time at the auction house have shaped your approach to advising collectors today?
Adam Green: My time at Christie’s was foundational in shaping how I approach art advising today. Working at one of the world’s leading auction houses for nearly a decade provided an unparalleled education. I gained firsthand experience analyzing market trends and navigating the complexities of pricing, demand, and collector behavior. Being immersed in this environment sharpened my ability to assess market conditions, identify opportunities, and strategically guide acquisitions and sales.
One of the most valuable aspects of my time at Christie’s was learning how to operate within the art market in a professional and ethical way. The art market is largely unregulated, which means that standards and best practices can vary widely. However, at Christie’s, I was trained to prioritize transparency, due diligence, and integrity. This foundation has been invaluable in my own advisory practice, ensuring that my clients acquire great works with confidence and clarity. If any potential issues arise, I am able to identify and address them before they become a problem.
Another crucial aspect of working at an auction house was the opportunity to build relationships with a vast network of individuals across the industry. An auction house is one of the largest employers in the art world, and many of my former colleagues have since gone on to make significant contributions across the industry. Because of this, I now have an extensive network that keeps me deeply connected within the art market. These relationships are essential in my role as an advisor, whether I am sourcing works for clients, conducting due diligence, or staying ahead of market trends.
Ultimately, my experience at Christie’s gave me both the market expertise and the ethical framework to operate at the highest level. I take pride in working hard, being strategic, and advising clients in a way that aligns with their goals while upholding the standards I learned at one of the most respected institutions in the industry.
1AN: Speaking of aligning clients with their collecting goals, you specialize in sourcing investment-quality post-war and contemporary art. How do you guide collectors in striking the right balance between acquiring works for financial appreciation versus personal passion?
Adam Green: I help clients acquire artworks for their collections in three key ways. First, I facilitate acquisitions on the primary market, leveraging my relationships with galleries to secure high-quality examples by artists we are interested in. Second, I broker private transactions, utilizing my network to identify and secure examples that are not publicly available for sale. Third, I assist clients in acquiring works at auction, advising them on bidding strategies, valuations, and how to approach competitive sales effectively. In each case, I work collaboratively with my clients, evaluating the quality of each work within the artist’s practice and considering how it fits within their collection.
When it comes to balancing personal passion with investment potential, all of my clients care about both. Given the financial scale of these acquisitions, it is important to ensure that the work holds real value. This involves assessing demand, understanding the trajectory of the artist’s career, and ensuring that their market is supported by strong institutional and collector interest. I consider several factors, including whether museum curators are engaged with the artist’s work, whether the artist’s gallery is managing their career effectively to ensure long-term success, and whether respected collectors are invested in their market.
At the same time, my clients collect because they are passionate about art. They enjoy living with the works they acquire and many of my clients take great pleasure in engaging with the artists they collect, supporting their careers, and building meaningful relationships with galleries. They also appreciate the experience of attending openings, fairs, and museum exhibitions. Collecting is not just a financial endeavor for them, but rather a deeply rewarding experience that allows them to participate in and contribute to the cultural conversation. My role is to help them navigate this world with confidence, ensuring that they acquire works that align with their collecting goals while also making informed and strategic decisions.
1AN: Makes perfect sense! And how about this shift with growing access to online platforms and direct sales from artists? How has this affected the value of an art advisor, if at all? If your role has evolved as a result, please explain how.
Adam Green: The rise of online platforms, including social media like Instagram and various ecommerce websites, has been beneficial to the art world. Historically, the art market has been opaque and difficult to access. Now, with so much visibility online, the market has become far more accessible, particularly for newer collectors. Also, collectors are able to educate themselves more easily by engaging with a vast amount of art digitally. While nothing compares to the experience of seeing art in person, the ability to discover and follow artists, track trends, and engage with artists from anywhere in the world has transformed how people collect.
As an advisor, this shift has enhanced my role rather than diminished its value. My process with my clients is very collaborative and with collectors having greater exposure to art through social media and online platforms, many of my clients share discoveries with me, whether it is an artist they came across or a work they find compelling. My role has evolved to help filter and contextualize this wealth of information, ensuring that my clients focus on the right opportunities, assess quality effectively, and acquire works that align with their collections.
Regarding direct acquisitions from artists, I typically do not acquire works directly from artists. While there are occasional exceptions, such as working with artists who are not yet represented or who are in transition between representation, the vast majority of the artists I pursue work with one or, in many cases, multiple galleries. These artists rely on their galleries to manage their sales, relationships with collectors, and long-term career development.
1AN: OK, I also wanted to ask you about the ArtTactic Podcast. As the host, you’ve had in-depth conversations with key players across the industry. What are the most compelling trends shaping the post-war and contemporary art market right now?
Adam Green: I have been hosting the ArtTactic Podcast since 2009, making it one of the longest-running podcasts dedicated to the art market. My interest in podcasts began while I was studying at the Sotheby’s Institute of Art in London in 2007. Living abroad, I relied on podcasts to stay updated on American sports. When I entered the art market professionally in 2008, in the midst of a recession, I wanted deeper conversations with industry professionals, beyond the short, self-serving quotes often found in news articles. This led me to launch the ArtTactic Podcast, where I have since interviewed thousands of figures across the art world, including gallerists, artists, curators, and auction house executives.
One of the most significant trends shaping the market today is the impact of online platforms, particularly Instagram. Social media has made the art world more accessible, transforming how collectors discover and engage with art while also influencing how artists present themselves and their work. Another major conversation in the industry is the debate around art fairs. The growing number of fairs has led to increasing discussions about their necessity and sustainability. While fairs remain critical for galleries to connect with collectors, the financial and logistical burdens have caused galleries to be more selective about which fairs they participate in. Another trend over the past several years is the art market’s expanding geographic reach. New markets in India, China, Japan, Saudi Arabia, and others are emerging as key players. These regions are investing heavily in museums, biennials, and fairs, attracting international galleries and collectors while strengthening their own local art scenes.
1AN: Clearly, you’ve built ArtTactic into a leading platform for art market discussions. How has hosting the podcast influenced your work as an advisor, and what have been some of the most surprising insights from your interviews?
Adam Green: Hosting the ArtTactic Podcast has had a profound impact on my work as an art advisor. Over the years, I have developed relationships with a wide range of people in the art world, both through my guests and listeners. My guests, including gallerists, artists, curators, collectors, and auction house executives, have provided valuable insights that inform how I help my clients navigate the market. Beyond my guests, the podcast has allowed me to connect with listeners from around the world, including collectors, industry professionals, artists, and enthusiasts.
Additionally, hosting the podcast has helped establish me as a knowledgeable voice in the art market. While that was never my original intent, these conversations have contributed to my visibility as an advisor and strengthened my brand. The podcast has allowed me to engage with the broader art community and build trust with collectors and industry professionals who value expertise and transparency.
One of the most surprising insights I have taken away from these conversations is how much the art market is still built on relationships. Despite advances in technology and data, personal connections and trust remain at the core of how the industry operates. Ultimately, hosting the podcast has reinforced the importance of staying engaged with the broader art ecosystem. It has allowed me to maintain strong relationships, stay ahead of market developments, and ensure that I bring both expertise and a broad perspective to my clients.
The global art market is no longer dominated solely by traditional power centers like New York, London, and Paris. New regions including India, China, Japan, Saudi Arabia, and others are stepping onto the world stage as major players, thanks to significant investment in cultural infrastructure. These countries are building museums, launching biennials, and expanding art fairs that draw international galleries and collectors, while fostering robust local art scenes.
The Rise of Asia in the Global Art Market
Asia’s presence in the art world has surged over the past decade. Economic growth, combined with national pride and global ambitions, has motivated countries like China and Japan to heavily invest in the arts. As a result, these countries are becoming cultural destinations in their own right.
China’s Cultural Renaissance
China leads the way with a thriving art ecosystem. Cities like Beijing and Shanghai are now home to world-class institutions, including the Ullens Center for Contemporary Art and the Power Station of Art. With the government’s focus on building cultural “soft power,” China has consistently ranked as one of the top three global art markets. Its auction houses, such as China Guardian and Poly Auction, are now direct competitors to Western institutions.
Japan’s Art Market Resurgence
Japan’s art market has made a notable comeback, growing 11% since 2019, outpacing global averages. This resurgence is fueled by contemporary artists like Yayoi Kusama and the success of events like Art Fair Tokyo. Japan is also benefiting from a shift in regional buying power, with more Asian collectors investing in domestic and international art.
India’s Emerging Art Scene
India’s modern and contemporary art scene is expanding rapidly. Initiatives like the India Art Fair and the Kochi-Muziris Biennale are not only attracting international attention but also helping Indian collectors and artists gain a stronger foothold on the world stage. Indian modernists such as M.F. Husain and contemporary talents like Bharti Kher are fetching increasing sums at auctions.
Saudi Arabia’s Bold Cultural Vision
Saudi Arabia is making headlines with its ambitious Vision 2030 plan, which includes investing billions into arts and culture. The Kingdom has already launched the Jeddah Islamic Arts Biennale and Desert X AlUla, attracting global institutions like Christie’s and Sotheby’s to the region. Saudi’s push to become a cultural hub is driving collector interest and reshaping the Middle Eastern art market.
The Proliferation of Biennials, Art Fairs & International Galleries
Biennials and art fairs act as cultural and economic catalysts. Events like the Gwangju Biennale (South Korea), Art Basel Hong Kong, and Abu Dhabi Art Fair bring together international curators, galleries, and collectors. These platforms have helped local artists from emerging markets access global networks and buyers.
Major Western galleries like Gagosian and Pace are setting up outposts in cities such as Seoul and Hong Kong. This trend not only validates the importance of these markets but also fosters collaboration between international dealers and local artists.
Public-private partnerships are driving much of this growth. Governments are building museums and public art programs, while private collectors are establishing foundations and exhibition spaces that elevate their country’s cultural profile.
Shifting Collector Demographics
Emerging markets are fueling the rise of a dynamic and diverse new wave of collectors. Many of these individuals come from younger generations, Millennials and Gen Z, who are tech-savvy, entrepreneurial, and globally connected. Unlike traditional collectors who often focus on blue-chip or historical works, these new buyers are more inclined to support contemporary, experimental, and digital art, including NFTs and other blockchain-based works.
In countries like China, India, and Saudi Arabia, a growing middle and upper-middle class is channeling newfound wealth into art acquisition. These collectors often use online platforms and social media to discover and purchase artworks, giving rise to a more democratized and borderless art market. Their influence is shaping both global trends and local markets, pushing galleries and auction houses to diversify their offerings and marketing strategies.
Additionally, these collectors are increasingly conscious of social, political, and environmental issues, favoring works that align with their values and cultural identity. This demographic shift is fostering a demand for artists who tackle topics like sustainability, identity, and social justice, further broadening the scope of what is considered desirable and valuable in the global art market.
Final Thoughts
The globalization of the art market is redefining where cultural influence resides. Emerging regions are not just following trends, they’re setting them. As art collectors and professionals look to navigate these shifts, staying informed about developments in Asia and the Middle East is crucial.
Art has long been celebrated for its aesthetic and emotional impact. In dental and medical offices, art serves more than a decorative role. It fosters healing, reduces anxiety, and enhances the patient experience. This transformative power is rooted in how art interacts with human psychology, contributing to a calming and supportive environment.
Why Art Matters in Dental & Medical Settings
The sterile and clinical nature of healthcare environments can increase patient stress. Introducing art into these spaces creates a welcoming atmosphere and can alleviate patient anxiety. Joanne Cohen, a dedicated arts advocate, curator, collector, advisor, and former executive director of the Art Program at Cleveland Clinic and a key member of Museum Exchange, emphasizes the profound impact of art in medical settings.
“Various studies have shown that art in the healthcare setting has a positive impact on mood, stress, and comfort levels,” says Cohen. “At Cleveland Clinic, my colleagues in the Art Program authored a study published in the HERD Journal, demonstrating that art significantly improved patient experiences.”
The Psychological Benefits of Art
Anxiety is common among patients. Visual stimuli such as calming landscapes, abstract designs, or nature photography can help reduce fear and stress. Art encourages positive emotional responses, fostering a tranquil setting that supports both mental and physical well-being.
According to Cohen, “In the study conducted at Cleveland Clinic with 826 qualified respondents, 72% of respondents reported that their mood was somewhat or significantly improved by the art collection. Patients staying for two to three days reported even higher levels of improvement, reaching 91%.”
Art in dental and medical spaces offers numerous advantages:
Positive Distractions: Art diverts attention from medical procedures.
Staff Well-being: Aesthetically pleasing spaces boost morale and productivity among healthcare professionals.
Cohen further explains that specific patient groups, including those with PTSD, Generalized Anxiety, and Breast Cancer, found art especially beneficial. “The highest positive response came from the PTSD group, where 81% reported improvements in mood, stress, and comfort levels due to the art collection.”
How Art Enhances Healing Environments
Research indicates that art can influence healing by reducing cortisol levels and improving mood. Patients surrounded by comforting visuals often report faster recovery rates and lower pain perception. Art engages the mind, offering mental escapes during stressful dental and medical visits and stays.
“Of the qualified respondents at Cleveland Clinic, 39% said that the art affected their comfort or pain level, with the highest positive responses among those with PTSD, Osteoarthritis, and Generalized Anxiety,” Cohen notes. Additionally, 78% of all respondents stated that their overall impression of the clinic was positively impacted by the presence of art.
When selecting art for healthcare environments, consider pieces that evoke calmness and positivity. Nature-themed artwork, abstract designs with gentle colors, and culturally sensitive pieces are ideal. Avoid chaotic or overly stimulating visuals that might provoke discomfort.
Art Styles That Work Well in Dental & Medical Settings
Nature Landscapes: Forests, oceans, and serene outdoor scenes promote relaxation.
Abstract Art: Soft color palettes and fluid shapes encourage a peaceful mindset.
Photography: High-quality images of nature or urban tranquility can be soothing.
Local Art: Featuring local artists fosters community connection and cultural relevance.
Many healthcare facilities report positive outcomes from art integration. For example, pediatric clinics featuring colorful murals experience reduced anxiety in young patients. Dental offices with serene landscape photography see improved patient feedback on comfort levels.
The Role of Color Psychology in Healthcare Art
Blues and Greens: Promote calmness and reduce stress.
Warm Neutrals: Create a cozy, welcoming environment.
Soft Yellows: Uplift moods without overwhelming the senses.
Choosing the right color palette enhances the therapeutic effect of the artwork.
Art as a Conversation Starter
Artwork in healthcare offices and facilities often sparks conversations, helping build rapport between healthcare providers and patients. This humanizes the clinical experience, creating connections that contribute to patient trust and comfort.
Investing in art can also have economic benefits. Enhanced patient satisfaction can lead to positive reviews and increased referrals. A well-designed space reflects professionalism, potentially attracting more clientele and boosting retention rates.
Future Trends: Digital and Interactive Art in Healthcare Offices
Emerging trends include digital art installations and interactive pieces. Digital screens can display rotating art collections, while interactive elements engage patients, especially in pediatric settings. This dynamic approach keeps environments stimulating and modern.
Art as a Healing Partner
Art is more than decoration; it’s a vital element in healthcare environments. Its ability to comfort, inspire, and heal makes it an essential consideration for medical and dental offices aiming to enhance patient care. Thoughtful art integration transforms clinical spaces into welcoming sanctuaries that support well-being for both patients and staff.
“61% of all respondents in our study said that viewing the art collection at Cleveland Clinic improved their overall satisfaction with their experience,” Cohen highlights. “For those with PTSD and Generalized Anxiety, that number rose to about 90%.”
By embracing the power of art, healthcare providers can create environments that nurture the mind and body, proving that art truly is a powerful partner in the journey toward health and healing.
Toronto’s art scene is thriving, and its thanks in no small part to art advisors like Kelly Juhasz, Sharon London Liss, Marla Wasser, Laura Mann and Katlin Rogers. Whether you’re a seasoned collector looking to refine your collection, a first-time buyer dipping your toes into the market, or someone planning the legacy of an art estate, these five Toronto art advisors are the ones you want by your side!
Their expertise doesn’t just stop at market knowledge. It’s their passion for connecting people with meaningful works of art, their dedication to preserving cultural legacies and their ability to guide collectors with both care and confidence. If you’re lucky enough to work with one of them, you’ll quickly understand why they’re trusted by collectors, estates and institutions alike.
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Step Into the Art World with Confidence
Aspiring art advisors and collectors seeking expert guidance can look to these professionals, who exemplify the knowledge, passion, and dedication that define excellence in the field. At One Art Nation, we’re committed to nurturing the next generation of art advisors and connecting collectors with trusted experts. Explore our Art Advisory programs to gain the skills you need to thrive in this dynamic industry—or to find the perfect advisor to help you navigate the art world with confidence and creativity. The art world is waiting, and we’re here to help you step into it.
The Devastation of Wildfires on the Art World in Los Angeles
Wildfires have once again swept through Los Angeles, leaving a trail of destruction in their wake. This time, the damage extends beyond homes and natural landscapes, touching the art world in deeply unsettling ways. Galleries, museums, and private collectors have all been affected, raising urgent questions about how to protect cherished artworks in the face of such unpredictable disasters.
How Are Art Museums and Galleries Coping with Wildfires?
Institutions in Los Angeles, home to world-renowned museums and galleries, have not been spared. Some have faced temporary closures due to smoke damage and power outages. Others have had to evacuate priceless collections to safer locations—a monumental task requiring coordination, expertise, and immense care. For instance, The Getty Center, known for its fire-resistant architecture, became a focal point of attention, showcasing how design can protect cultural assets.
Why Wildfires Are a Wake-Up Call for Collectors
For private collectors, these events serve as a wake-up call. Many are now re-evaluating their preparedness:
Storage Conditions: Are your pieces stored in a fire-resistant environment?
Insurance Coverage: Does your policy adequately reflect the value of your collection?
Emergency Plans: Do you have a strategy to quickly move or protect your artworks?
These are questions that every collector should be asking, not just in wildfire-prone areas but anywhere climate-related disasters could strike.
Art in the Crosshairs of Climate Disasters
The recent wildfires have reminded us that art, while timeless in spirit, is often fragile in form. For collectors, these fires are a stark reminder of the vulnerability of their pieces. From paintings and sculptures to rare artifacts, the risk is real and growing. Beyond the physical damage, there is also the emotional toll—seeing a treasured collection reduced to ash is heartbreaking.
The Emotional Toll of on Art Lovers
Art often holds deep personal meaning. It’s not just about the monetary value; it’s about the memories, stories, and emotions tied to each piece. The loss of art in a wildfire can feel like losing a part of oneself. This emotional impact is something we must acknowledge as we discuss the practical steps to safeguard collections.
What Can Be Done to Protect Art Against Wildfires?
While no plan is foolproof, there are ways to mitigate the risks:
Invest in Fire-Resistant Storage: Fireproof safes or climate-controlled vaults are essential for safeguarding smaller and more fragile pieces.
Upgrade Security Systems: Advanced systems can monitor for smoke, temperature changes, and other early warning signs.
Digital Backups: Document your collection thoroughly. High-resolution photographs, receipts, and detailed records can be invaluable for insurance claims or restoration efforts.
Work With Experts: Consult art preservationists, climate risk consultants, and insurance specialists to develop a comprehensive protection plan.
Real Stories: Lessons From Past Disasters
The art world has faced similar challenges before. During Hurricane Sandy, for example, many galleries in New York’s Chelsea district experienced devastating flooding. Some institutions learned the hard way about the importance of elevated storage and digital backups. These lessons are now shaping how galleries and collectors respond to future disasters, including wildfires.
The Role of Community Support
One silver lining in these difficult times has been the outpouring of support from the art community. Galleries have offered temporary storage to at-risk collections, while organizations like CERF+ (Craft Emergency Relief Fund) have stepped in to provide financial and logistical assistance. These efforts show the strength and solidarity of the art world in the face of adversity.
Long-Term Solutions for Art Protection
The wildfires in Los Angeles have highlighted a broader trend: the intersection of art and climate change. To protect art in the long term, both collectors and institutions need to think beyond immediate measures:
Invest in Resilient Infrastructure: Fire-resistant materials, better ventilation systems, and sustainable energy sources can mitigate risks.
Develop Collaborative Networks: Regional coalitions of galleries and collectors can pool resources for emergency response.
Support Research and Advocacy: Funding research into climate-resilient preservation techniques will benefit the entire art community.
Art as a Beacon of Hope
As we process the impact of the recent wildfires, it’s important to approach the situation with both compassion and action. For those directly affected, the path to recovery will take time and support. For the broader community, now is the time to reflect, learn, and prepare.
Even in the aftermath of devastation, art continues to inspire and unite us. It’s a testament to human creativity and resilience. By taking steps to protect our collections and supporting those affected, we ensure that art remains a vital part of our lives—a beacon of hope in even the darkest times.
For over 40 years, Sharon London Liss has been a trusted advisor in the art world, bridging the gap between collectors, institutions, and the evolving art market. As the founder of Sharon London Liss Inc., her work encompasses an impressive spectrum—helping private collectors refine their collections, advising corporate and institutional clients, and facilitating significant acquisitions and sales.
In this conversation, we delve into Sharon’s approach to client relationships, her perspective on balancing investment potential with personal taste, and her insights on the evolving role of Canadian art on the global stage. With a deep commitment to integrity and a career marked by unforgettable milestones, Sharon’s expertise continues to resonate across the art world.
1AN: With such a wide range of clients, from corporate collections to museums, how do you tailor your advisory services to meet the unique needs of each?
Sharon London Liss: Every client – whether private, corporate, institutional, or legal – has my undivided attention. Sharon London Liss Inc offers a broad range of advisory services. What may begin as a single purchase can evolve over the years to expanded acquisitions, insurance appraisals, estate planning, or determining the best manner in which to sell/donate. When I undertake a client it is with the understanding that this will become a long-term relationship, built on mutual trust and integrity.
1AN: I’m sure that’s very much appreciated. So, how do you advise collectors who are looking to invest in art while also building a collection that reflects their personal taste and identity?
Sharon London Liss: I always tell a client who is looking to “invest” that there is no crystal ball. I thoroughly research an artist and their market, and it is armed with the best information at the time that I will encourage a purchase. However, I always ensure that the piece is something that the client truly enjoys, because nobody can predict the future.
Knowing that a piece may have been purchased with an eye to investment, I continue to monitor the artist’s market. At an appropriate time, I advise the client regarding propitious timing to sell.
1AN: What’s been one of your favorite sales or acquisitions, and what made it particularly memorable for you?
Sharon London Liss: A client was referred to me by one of Canada’s major institutions. They owned a painting, received by descent, that somebody thought might be significant. I was asked to assess value and authenticity. Within a very short time, I determined that the piece was both enormously valuable and included in the artist’s archive. The owner asked me to sell this on their behalf. I identified the best options and, together, we made the decision to sell the piece privately. The sale was life-changing for the owner! I continue to receive thank you notes.
This was particularly memorable but there have been many similar events over the course of my 40-year career!
1AN: What a feeling! I know you work with both Canadian and international art, but I’d love to know how you see Canadian art evolving on the global stage.
Sharon London Liss: The primary art market in Canada is quite regional, apart from well-established artists who may have galleries across the country representing them. There are very few Canadian galleries that exhibit at international art fairs which would give artists a global introduction. The major auction houses in Canada have worldwide presence on the internet. Apparently, buyers from around the world are now scouting these websites and purchasing Canadian art. However, this does not add to an artist’s income as these are secondary market sales.
The Canadian Pavilion at the Venice Biennale regularly garners positive international recognition. Of course, the artist selected to represent the country already has an illustrious career in Canada. This is an incredible opportunity for worldwide exposure.
1AN: No doubt it is. How do you balance the historical significance of 20th-century art with the growing demand for contemporary and emerging artists in today’s market?
Sharon London Liss: Like many things, I find that the art market is cyclical. This can happen for so many reasons – economic stability, political correctness, and publicity campaigns to mention a few. For example, the market for Impressionism is soft at the moment. This does not mean that there is no market for it. These artists have significant history in secondary market sales and institutional/private collections. The market for contemporary and emerging artists is being made by dealers. This is not necessarily a predictor of what future value may be.
I always tell a client to set a threshold: below, they can purchase if it reflects their personal taste or strategy; above, we need to establish what the artist’s trajectory is.
We are thrilled to have had a chance to sit down and chat with Laura Mann, a dedicated art advisor based in Toronto. Laura has a remarkable talent for connecting with both emerging and established artists and guiding her clients in building collections that reflect their individual tastes and stories. We took the opportunity to discuss her insights into the art world and her approach to helping clients discover meaningful artworks.
1AN: Laura, with over a decade of experience in the Canadian contemporary art world, how do you approach discovering new Canadian artists and selecting pieces that resonate with your clients?
Laura Mann: Our approach is driven by the notion of connection and the goal of introducing clients to artists and artworks that they wouldn’t have discovered on their own. When it comes to discovering new Canadian artists, the relationships we have built with a range of galleries across the country keep us on top of artists who are just beginning their careers, or more established artists who are innovating in their practice. It’s important to us to regularly see artworks in person, through gallery visits and art fairs (in Toronto, Art Toronto and The Artist Project are two fairs that we always attend), as well as international fairs to broaden our exposure.
When sourcing art for our clients, we tailor the process to their individual interests, providing exposure to concepts behind an artist’s work that connect to our clients in a meaningful way. We also have the added layer of considering the placement of artworks into our clients’ homes – we work within the context of their space and design so that there is cohesion in how all the elements come together.
1AN: Yes, that cohesion between space and design. You certainly seem to have a unique ability to blend contemporary art with architecture and design. How do you help clients create a visual story in their spaces through the art they collect?
Laura Mann: I love architecture and interior design and have felt for a long time that there is a disconnect between these creative worlds and contemporary art. I never advocate for matching art to the furniture, but I believe that a design ethos can connect thoughtfully to the art and artists that are showcased in a home. Especially when it comes to contemporary design, there is a real opportunity for art to add to the heart, soul and warmth of a home.
It’s important to us that our clients live with and enjoy art in their daily lives. On a practical level, we start each project with a detailed analysis of the home and the locations that are suitable for artworks. Before we begin sourcing, we often collaborate with architects and interior designers to understand the vision and ethos they have developed with the clients.
1AN: Makes sense, but what do you enjoy most about guiding clients through the process of discovering art that not only fits their space but also offers them a new perspective on what art can mean?
Laura Mann: Most of my clients don’t see themselves as art collectors (especially at the beginning!), but through the process, they learn to navigate the world of collecting in a manageable and un-intimidating way. I enjoy seeing the evolution of their collecting habits and how much more comfortable our clients become with making decisions. This level of comfort often comes with the appreciation of living with meaningful artworks and the concept that goes behind the work. We share details and information about each artist’s background, practice and materials so that our clients are not just evaluating the work in front of them, but gaining an understanding of why and how the work was made.
1AN: I love that! Your background in Art History and Art Business gives you a strong foundation in the art world. How do you combine this academic knowledge with your personal passion for connecting people to contemporary art in meaningful ways?
Laura Mann: Art History is foundational and is the critical context for understanding contemporary art. I didn’t really discover my love for contemporary art until I was completing my MA and had exposure to the art market in London, UK. My undergrad experience was so historical that it took a while for me to fully appreciate the importance of artists alive today, working and contributing to the culture that surrounds us. For me, I took the foundation of Art History, the practical tools from my MA and then immersed myself in experiences that would give me as much exposure to emerging and established artists. I started by focusing on Toronto as that is where I am based, but over time cultivated a knowledge base that extends throughout the country, and also into the US. It’s not as simple as having a database, but I gather images constantly and I am always discovering new artists and galleries.
1AN: The Canadian contemporary art scene is constantly evolving. What exciting trends or emerging artists are you seeing right now that you think collectors should keep an eye on?
Laura Mann: I don’t see the contemporary art scene as having trends – instead I think galleries create well-rounded programs, often balancing the type of artists they are working with and diversifying their roster. I then see my role as curating and selecting from galleries to bring together unique pairings and collections that suit my clients’ collecting objectives and the context of their space.
Art fairs have always been a cornerstone of the art world, offering collectors a chance to discover exceptional works, connect with artists and galleries, and stay informed about market trends. But in 2024, the role of art fairs is evolving like never before. From integrating digital platforms to prioritizing inclusivity, art fairs are adapting to meet the needs of a changing world. Here’s an in-depth look at these exciting developments and how collectors can navigate this dynamic landscape.
Hybrid Models: Bridging the Gap Between Physical and Digital
The rise of hybrid models is one of the most significant shifts in the art fair world. These models combine the best of both worlds—physical fairs with digital platforms. Online previews and programming allow collectors to learn about, explore and purchase artworks from anywhere in the world.
For instance, One Art Nation in partnership with Redwood Art Group fairs launched ArtCollectto educate collectors on the practicalities of buying art, and Art Baselintroduced its Online Viewing Rooms, giving collectors access to exclusive pieces. Similarly, smaller fairs have embraced hybrid approaches, offering both in-person events and virtual exhibitions. This blend of physical and digital experiences expands accessibility and allows galleries to reach a global audience.
For collectors, this means greater convenience and broader exposure to artists. However, it also requires a strategic approach. Virtual previews are an excellent way to shortlist artworks before attending a fair, while online programming provide insights from industry leaders.
Art Fairs as Cultural Hubs
Art fairs are no longer just about buying and selling; they’re vibrant cultural hubs. Many fairs now offer programming that goes beyond the marketplace, including panel discussions, artist talks, and interactive installations.
For example, this year, SCOPE Art Show delves into the theme of interdependence and the strength found in collaboration. Its large-scale installations will center on art that examines the bonds between individuals, communities, and the global landscape.
As a collector, attending an art fair can enrich your understanding of the art world. Large-scale installations often serve as immersive experiences, showcasing innovative approaches and providing a deeper context for the works on display. Attending an artist talk might give you a personal connection to a piece, while panel discussions can offer insights into market trends or artistic movements.
Regional vs. International Fairs
When deciding which art fairs to attend, collectors face a key choice: regional or international? Both have unique advantages. Regional fairs, such as Art Santa Fe or Art Toronto, often showcase local talent and provide an intimate atmosphere. They’re a great way to discover emerging artists and connect with regional galleries. On the other hand, international fairs like Art Basel and Frieze offer access to globally renowned artists and galleries, often setting market trends on a larger scale.
As a collector, consider your goals. If you’re looking to diversify your collection with emerging artists, regional fairs are a valuable resource. However, if your focus is on blue-chip artworks or gaining a broader perspective on the market, international fairs are essential.
Art Fairs as Market Trendsetters
Art fairs are influential in shaping market trends. They’re often the first place where collectors encounter emerging movements, media, or artists. For instance, the growing interest in digital art and NFTs has been fueled in part by their presence at major fairs. Similarly, trends in materials—like a resurgence in textiles or ceramics—often gain traction through art fair exhibitions.
Collectors should view these events as a barometer for market dynamics. Observing which artists or styles gain attention can provide valuable insights into potential investments.
Navigating Art Fairs as a Collector
For first-time attendees, art fairs can feel overwhelming. However, with some preparation, they can be an invaluable experience. Start by researching the fair’s exhibitor list and identifying galleries or artists that interest you. Many fairs now offer online previews, allowing you to plan your visit in advance. Once at the fair, don’t hesitate to ask questions—gallery representatives are there to help.
Another tip is to work with an art advisor like the ones found on One Art Nation. Advisors can help you navigate the fair, identify opportunities, and negotiate purchases, ensuring you make informed decisions.
Accessibility and Inclusion at Art Fairs
The art world has long faced criticism for its lack of inclusivity, but art fairs are working to change that. Many fairs are now highlighting underrepresented artists and fostering diversity in their programming.
For example, fairs like 1-54 Contemporary African Art Fair focus on showcasing African and African diaspora artists, while initiatives at larger fairs aim to increase visibility for women and minority artists. By supporting these efforts, collectors play a role in shaping a more inclusive art world. Purchasing works from underrepresented artists not only diversifies your collection but also supports meaningful change.
Networking Opportunities for Professionals
Art fairs are more than just marketplaces—they’re also powerful networking hubs. For collectors, they offer a chance to build relationships with artists, gallery owners, and fellow collectors. Networking can lead to exclusive opportunities, such as access to off-market pieces or invitations to private events. It’s also an excellent way to stay informed about upcoming trends and exhibitions.
Make the most of these opportunities by attending VIP previews, joining panel discussions and tours, or simply engaging in conversations. Building connections is one of the most rewarding aspects of attending an art fair.
Post-Fair Market Trends
The impact of art fairs extends beyond their closing dates. Sales made during these events often influence secondary market activity and shape collecting trends. Record-breaking sales can create a ripple effect, increasing demand for similar works on the market. By tracking these trends, collectors can make informed decisions about future acquisitions. Post-fair analysis also helps collectors evaluate their purchases. Understanding how a piece fits within broader market dynamics adds depth to your collection.
Art Fairs: A Dynamic Gateway for Collectors
The evolving role of art fairs reflects the dynamic nature of the art world itself. For collectors, this means new opportunities to discover, connect, and engage. Whether you’re navigating a hybrid fair, supporting sustainability, or exploring regional talent, these events remain an essential part of the collecting journey.
By staying informed and embracing these changes, you can make the most of your art fair experience—deepening your knowledge, expanding your collection, and forging meaningful connections along the way.
Art Advisor and Appraiser Katlin Rogers joins us to share her thoughts and approach to helping clients build collections. Previously a Canadian Art Specialist at a top auction house and a Senior Art Consultant, Katlin brings an impressive depth of market knowledge, particularly in blue-chip Canadian Fine Art. Her work is informed by extensive research and experience, from appraisals to market data analysis, as well as strong partnerships with industry stakeholders. We were excited for the opportunity to discuss with Katlin her unique approach to art advisory, her insights into the Canadian art market, and her passion for helping clients build and protect their collections.
1AN: With your experience in both art consulting and the auction industry, how do you approach advising clients who are new to art collecting?
Katlin Rogers: When working with new collectors, my approach emphasizes education, strategy, and personalized guidance. Whether they’re drawn to specific styles, historical periods, or investment potential, it’s essential to get a clear sense of their vision and long-term goals. I always recommend visiting galleries and auction previews to see as much art as possible to identify what a collector is drawn to. Some may gravitate to conceptual minimalism and others may lean more historical.
The art market can be complex and feel intimidating to navigate, so I prioritize demystifying it for new collectors. I share insights from my auction and consulting experience, explaining how factors like provenance, artist trajectories and market demand influence value. We discuss the benefits of established versus emerging artists, considerations for resale value, and potential acquisition channels such as galleries, fairs, private sale, and auctions. Part of these conversations also include the practical aspects of collecting, like provenance research, artwork condition and conservation needs.
Through each step, I aim to foster a passion for art in my clients, empowering them to become informed collectors who understand both the market and history behind each piece they acquire. I personally love making meaningful connections between Historical, Post-War and Contemporary art to help clients build a rich and diverse collection.
1AN: You’ve worked extensively with both private and corporate clients. Could you share how your approach differs when advising private collectors versus corporate clients?
Katlin Rogers: In either case, I firmly believe that a collection is a reflection and extension of the collector or company. For private clients, a collection often reflects personal passion, legacy, or specific investment goals, so we tailor strategies to build a collection that resonates with their identity and interests. This may involve sourcing unique, high-quality pieces and guiding them through long-term collection planning.
For corporate clients, the approach is centered around brand alignment and enhancing corporate spaces. The focus is on building collections that support the company’s identity, values, and corporate image while fostering an inspiring environment for employees and visitors. Corporate collections may also prioritize works that reflect social responsibility or community engagement, aligning with broader business objectives. There can also be unique challenges to navigate like elevator space to bring works in, coffee splash risks and architectural elements that can offer creative activation opportunities.
In either case, collaboration with the collector or corporate art committee and finding creative solutions for a meaningful program is integral to my approach.
1AN: Collection management can be a complex part of art advisory. How do you help clients care for and manage their collections?
Katlin Rogers: My approach includes comprehensive cataloguing to ensure every piece is documented accurately, from provenance and acquisition details to condition reports. With my experience working in auction houses and the close relationship we developed with leading conservators, institutions and framers, among others, helped me hone my knowledge on the finer points of an artwork. When examining an artwork, I can help identify what may be actual condition issues to address and others that may be stable and commensurate with age and materials. From these assessments, I assist with proper storage and display solutions that align with each work’s needs, safeguarding against environmental damage.
I use a cloud-based collections management software to securely house all images, cataloguing details and paperwork pertaining to a client’s artwork and objects. From invoices to loan agreements, this agile system allows for real-time updates. My goal as an advisor is to support clients in enjoying their collections while preserving their legacy and value for the future.
1AN: With the art market constantly evolving, how do you stay informed about changes and developments that might impact your clients’ collection strategies?
Katlin Rogers: It can feel overwhelming to keep up with a constantly shifting market but keeping up with global and national art market reports like the Art Basel and UBS Art Market Report, regularly engaging with industry experts, attending key exhibitions, art fairs and panel discussions, and participating in professional networks, allows me to stay ahead of the evolving art landscape. Keeping up with publications like The Art Newspaper and Artnet News, ARTnews and Art Forum helps keep me updated with global art news and trends and often includes highlights from the Canadian market. And not to forget the impact of social media! Following artists, galleries, and art market stakeholders offers a direct line of information to keep updated on new projects, exhibitions and sale opportunities.
Additionally, I regularly attend professional development conferences, tours, and courses to stay informed about best practices and trends. Staying informed about these developments ensures clients receive collection and appraisal guidance rooted in the latest insights and standards.
1AN: As someone who specializes in blue-chip Canadian Fine Art, what current trends or emerging artists do you feel collectors should keep an eye on in the Canadian market?
Katlin Rogers: Certainly, an interest in BIPOC artists has been a prominent growing development in the contemporary Canadian art market. Artists, genres, mediums and subject matter that have historically been underrepresented in the art historical canon are gaining momentum. There’s a growing recognition of Indigenous Canadian artists, who are gaining visibility both domestically and internationally. Artists like Kent Monkman, who explores complex narratives around Indigenous history, and Meryl McMaster, known for her striking photographic works, are increasingly sought after.
In the Post-War and Historical Canadian art world, a reexamination of women artists in particular has been a growing point of interest in museum exhibitions, art writing and prices realized. The women of the Beaver Hall Group and Marcelle Ferron of Les Automatistes for example, have experienced marked collector and institutional interest in recent years.
At the moment, the volume of quality artworks on the market, both through galleries and auction, is unparalleled. With generational shifts, there has been an influx of incredible examples of artist’s work come to the secondary market. Now is an excellent time to not only collect historically important works but to also emerging powerhouses to diversify a collection.
We had the pleasure of chatting with Marla Wasser, founder of Pursuits Inc. Marla is a highly respected art advisor with over three decades of experience in the art world. Here we share what we learned when we delved into Marla’s unique approach to art advisory, her insights on the future of art collecting, and how she connects her clients with exclusive opportunities from around the world.
1AN: With over 30 years of experience and a deep understanding of the art world, how do you guide your private clients in building art collections that are both personally meaningful and aligned with broader art market trends?
Marla Wasser: Collecting art is very personal, and we build collections that are tailored to our client’s unique interests and lifestyle. As an extension of their vision, I am the eyes and ears behind the scenes, with highly covetable international relationships that have been developed over many years. As my clients’ facilitator, connector, and bridge builder out to the global art world, I work with them to develop their dream collections–finding the art they love in a highly personal and confidential manner. As the art world has exhibited exponential growth over the last decade, an advisor is now considered an important part of a client’s trusted circle of experts, along with their lawyers and financial advisors. I work with my clients to demystify the art world and engage with them in real life experiences, such as visiting artist studios, art fairs, galleries, auction houses and museums, which ultimately helps shape and educate their future art collecting.
When looking at different artist opportunities with clients, and as part of the educational process, I share in-depth market research by meticulously analyzing auction databases, monitoring market trends, and consulting a wide range of private sector sales. This is critical because when you are looking at art market trends as part of the acquisition process, establishing market value is essential for our clients to understand their financial commitment, investment and risk. This pertains to middle-market, blue chip and the riskier emerging artists (5-10 years into their career).
1AN: Ah yes, the tricky task of monitoring art market trends. It would be interesting to share how market trends have evolved over the last two years and the resulting negative impact on the prospects of artists and collectors effected by the recent art market slowdown.
Marla Wasser: Well, for example, works created by ultra-contemporary artists (referred to as “wet paint”) that were sold through the primary and secondary markets multiple times have seen their market values escalate to 10 times their established values in an unprecedented short period of time. This past year, the market did not support these overvalued prices, and many saw their market value collapse. This created a difficult situation for both the artists and collectors. The downturn of the “wet paint” market demonstrated that unguided collectors who stepped into an overhyped market trend may unknowingly have become a victim of art market manipulation with potential high-risk investment losses.
Pursuits, is an agency that specifically does not follow fads or short lived market trends, but is passionate about supporting mid-career artists at an established value with a proven multi-year record in the secondary market (auction house sales). We also believe in the potential and talent of emerging artists, whose works reflect the zeitgeist of our time. And we always reflect back to the question – who is going to be around in 30 years – as a historical way of looking at art and assessing value and longevity.
Throughout history, important art is not defined by trends, but the values and meanings embodied by it. By connecting their works to the vision and interests of a client, we can create a meaningful relationship to the art world with a much deeper vision around storytelling and ultimately creating value.
Image credit: Private collection featured in DesignScapes, BB Publications (London/Dubai) featuring artists Tom Wesselmann (left); Yves Klein (center); and Maurizio Cattelan & Pier Paolo Ferrari (right).
1AN: That makes sense. In fact, your advisory firm has a reputation for providing access to significant works through your connections with international galleries and institutions. How do you leverage these relationships to secure unique opportunities for your clients?
Marla Wasser: Access is essential to sourcing high quality artworks but in addition to that, navigating such a vast, globalized art world successfully only comes with experience. To be a successful art advisor is to be a connector and bridge builder. We truly care about our clients and prioritize building meaningful relationships at every stage of their art collecting experience. By engaging and celebrating art in the real world with our collectors, we alert them to upcoming exhibitions in cities they’re travelling to, connect them with gallery owners abroad, and introduce them to artists that open the door for inspiring and meaningful studio visits.
These highly coveted personal relationships that are the foundation of my art business, allow for our clients to fully engage with many interesting people. They can ask questions and educate themselves; this organically creates a deeper level of knowledge and insights within their art focus. This education and outreach within the global art world nurtures and supports any future transaction allowing for our clients to make exciting and purposeful collecting decisions.
A key understanding that is deeply ingrained in our advisory’s practice is that art is meant to be shared, and it is important for our clients to feel the same way. We are all committed to supporting the artists in their collections. The relationships we have cultivated over the years with galleries and institutions enable us to extend our support of the artists and their programming by loaning artworks to major museum exhibitions. This is a crucial practice that is appreciated by both galleries and institutions as it enriches the variety of art being shown and shared with the public.
Image credit: Private collection featured in DesignScapes, BB Publications (London/Dubai) featuring artists Richard Pettibone (left); Tim Noble & Sue Webster (center); and Tom Wesselmann (right).
1AN: “Art is meant to be shared.” How true! With the expansion of Pursuits into web3 and digital art through The Pursuits Beyond, Art Agency, how are you advising clients who are interested in exploring and collecting new media and digital art forms?
Marla Wasser: As an art advisory founded more than 17 years ago, we build exciting and relevant art collections consisting of works created by artists like Andy Warhol, and digital art pieces exhibiting them side by side. There are so many similarities between Pop art and digital art that are on the rise now. Pop artists like Warhol embraced and used popular culture as his inspirational content, be it painting, print or sculpture. Digital art today is its own ‘Pop Art‘ force – it is created using the technology of this generation celebrating the new way of expression using computer software, AI, XR and NFTs.
Digital art has established itself in today’s tech driven world as a medium comparable to any, an exciting realm enabled by the many new tools technologies offer to artists. We see in digital art, artists pushing boundaries of these technologies, and utilizing their tools in new, experimental and impactful ways.
These new technologies have created new styles of collecting – whether it’s purchasing online, visiting a virtual viewing space, or acquisitions on blockchains as NFTS. New systems are also offering ways to step in, buy and collect at more affordable entry levels. Digital art is such an exciting new realm that is developing and gaining its foothold. We understand that with new tech-driven art collecting opportunities, we must bring a robust research-backed approach introducing and educating our clients on all the risks and rewards of stepping into digital art.
1AN: Clearly, your expertise spans both traditional and cutting-edge art practices. How do you approach educating clients who are new to art collecting, especially when introducing them to such diverse genres and mediums?
Marla Wasser: It’s all about nurturing our relationships through education and outreach, having transparent communication through each part of a transaction process, and gaining our client’s trust. We love to share news and intrigue with our clients. We bring them artist introduction packages, art books, and recommend art tours locally as well as internationally. We prefer to take our time getting to know the interests of a new collector, and demonstrating a wide variety of works as they begin to develop their own preferences and tastes.
A new collector has so much to learn. Introducing a new collector to the global art industry, major galleries, the fairs, and the nuances within gives them the confidence they need to step into their first art transaction.
1AN: True, those informed purchasing decisions are key. But how do you help clients strike a balance between acquiring established works and investing in emerging artists, especially given the evolving nature of the art market?
Marla Wasser: Within our special relationships with our clients, the building of the art collection is not so much about creating a balance but more about creating a collection that is unique and reflects the client’s personality and life interests, always keeping in mind budget and artistic focus. Photography, painting, sculpture, media art, digital art – all mediums and approaches are integrated as we work with clients to develop a story – their personal story that extends to the artists/artworks they are bringing into their home. The art market is always evolving, so embracing all art from emerging to established artists is at the core of what we do.
We believe in creating collections that have personality and diversity, a mix of historically important works alongside emerging contemporary moments that speak to the ‘now’ we are in. A mix of artists, styles and mediums evolve as a collection that encompasses a breadth of significance.
As a diverse team located in Toronto, LA and NYC, we bring decades of dedicated professional histories of working across the fine art + technology industries, building robust private collections and curating institutional exhibitions. We are a team of passionate art lovers, dedicated to art and culture and elevating the experiences of our clients.
In today’s evolving art market, art is no longer simply a matter of personal taste or aesthetic enjoyment—it’s increasingly recognized as a valuable asset, capable of generating financial returns, preserving cultural heritage, and contributing to legacy building. With art collecting becoming more complex, the role of the art advisor has gained new significance, providing collectors with strategic insights and guidance to navigate this multifaceted industry. Whether you’re an art collector seeking to make thoughtful acquisitions or an aspiring advisor wanting to build a meaningful career, understanding the role of art advisory is essential.
Further to our article on the important role an art advisor plays, we explore the importance of art advisory, the skills needed to excel in the field, and how One Art Nation can help both collectors and professionals make informed choices.
The Growing Complexity of the Art World
The global art market has evolved substantially in recent years, moving beyond gallery walls and auction houses to digital platforms, investment funds, and even blockchain. Collectors now have access to a wider variety of artworks and markets, including contemporary works, blue-chip investments, and even digital assets like NFTs. However, this expanded access comes with its own set of challenges: navigating provenance, understanding market value, identifying trustworthy sellers, and staying informed about art market trends.
For collectors, this complexity can be overwhelming. The potential pitfalls of art investing—counterfeit works, overvaluation, poor conservation practices, and shifting market trends—are real concerns. Art advisors act as guides through this labyrinth, helping collectors make strategic, informed choices that go beyond mere acquisition.
Art advisors like the ones found on Association of Professional Art Advisors’ website have become trusted partners for collectors, offering expertise that spans market analysis, collection management, and even tax and legacy planning. By working with a professional advisor, collectors can focus on their passion for art while ensuring that their investments are sound, strategically selected, and aligned with long-term goals.
The Art Advisor’s Role: A Holistic Approach to Collection Building
An experienced art advisor can bring immense value to a collector, serving as an objective third party who provides insights tailored to the collector’s goals and interests. Advisors curate collections that reflect the collector’s unique vision, while also advising on how each piece aligns with broader market trends. They manage details such as:
Provenance and Authenticity: Ensuring the authenticity and history of a piece is crucial, as provenance issues can dramatically affect value.
Market Research and Timing: Advisors know when to enter or exit specific markets, optimizing investments.
Conservation and Restoration: Proper care and conservation are essential to preserving the value of a collection.
Legal and Tax Considerations: High-value collections often require careful management to ensure compliance with tax and legal requirements.
Legacy Planning: Advisors assist in planning for the future, ensuring that collections are protected and well-maintained for future generations.
As trusted advisors, they help collectors approach their collections strategically, ensuring each piece contributes to a cohesive, well-curated whole.
Art Advisors Enhance Your Collecting Experience
Collectors stand to benefit immensely from the expertise of an art advisor. As the art market expands and diversifies, advisors help collectors avoid costly mistakes and make educated decisions that align with both their aesthetic preferences and investment goals. With a comprehensive understanding of market trends, advisors can guide collectors toward pieces with strong growth potential or works that contribute to a balanced, culturally significant collection.
Moreover, as art becomes a larger part of financial portfolios, advisors play a crucial role in risk management, helping collectors diversify and protect their assets. Advisors not only have a finger on the pulse of the market but also have the knowledge and networks to ensure that collections are insured, stored, and cared for according to best practices.
Elevate Your Approach to Art Collecting and Advisory
In an increasingly intricate art world, the role of the art advisor has never been more essential. Collectors are recognizing the value of expert guidance in making strategic decisions that go beyond aesthetics, ensuring that each acquisition contributes meaningfully to a well-rounded, valuable collection. And for art professionals, the demand for skilled advisors is on the rise.
To support collectors and professionals,One Art Nation’s Art Advisory coursesoffer a comprehensive framework for understanding the modern art world. Whether you’re a seasoned collector or an aspiring advisor, our Art Advisory 101, Art Advisory 201 and ArtCollect courses offer a comprehensive path to navigating today’s art world. And with our upcoming feature on Toronto’s top art advisors, we’re spotlighting how these experts are navigating the challenges of today’s market starting with art advisor Kelly Juhasz.
Kelly Juhasz’s name kept popping up in conversations in and around the local art scene. So, we decided it was finally time to sit down and get to know her better.
As the principal of Fine Art Appraisal + Services, an art advisory and appraisal consultancy offering a range of services for fine art, Kelly serves clients throughout North America. Her appraisal knowledge for personal property is recognized by government agencies, legal firms and cultural institutions throughout North America.
Kelly’s clients are collectors, estate planners, executors and heirs, private owners; insurance professionals, lawyers, wealth advisors and managers; and government agencies, foundations, museums, archives and trusts. And as if that’s not enough to keep her busy, Kelly is also active with legacy services for artist’s estates, provenance research and acts as an expert witness. So, we wanted to know how she does it…
1AN: First and foremost, as an art advisor, how do you help new collectors balance buying what they love with making smart, strategic investments?
Kelly Juhasz: There is a real excitement and enthusiasm that builds when I’m working with new collectors. But there may also be some fear and perceived barriers. Many people wanting to learn more about collecting may be intimidated by the jargon and scholarship associated with fine art. They may be afraid that they’ll come across as uneducated and uncultured. It’s important not to let these fears prevent anyone from seeing the world in a different way and experiencing the joy that living with fine art provides.
I try to steer clear of the pretentiousness in the art world. One of the art world secrets I share with new collectors is that all they need to have is curiosity and time. It’s important to look at art as much as possible and make real a commitment to do so.
I take collectors to museum exhibitions and art fairs. Another art world secret is to join galleries like the Art Gallery of Ontario here in Toronto for the best opportunities to learn and experience an exhibition with guided tours and lectures.
The deeper one’s knowledge, the further the visual impact and confidence to buy strategically. This will help new collectors decipher between buying what they like and buying what they love and making smart financial decisions at the same time.
1AN: Makes sense! And speaking of new collectors, for someone just starting their art collection, what’s the biggest mistake to avoid when buying their first few pieces?
Kelly Juhasz: All new collectors will make mistakes. Perhaps the decision to buy was rushed or you spent more than you planned or were able to spend. You feel unsure if you like the work or it doesn’t excite you now that you have it in your own personal space. You might suffer from buyer’s remorse.
Before you buy, ask yourself the following questions:
Am I feeling pressure to buy from the artist, dealer, family or friends?
Am I caught up in the moment’s hype surrounding this artist or buying art right now because my friends are all buying art?
Have I spent enough time learning more about this artist and/or their gallery or dealer, or the characteristics of how this art might gain value over time?
Do I really love it?
Accept that your tastes may change. As you develop your eye, you may find that what you love ten years down the road might not be anything like what is drawing your attention right now. You’ll see a natural evolution in your collecting habits over time as you narrow or expand what you love in art and how it affects your environment. You’ll make decisions faster and you’ll come to better understand the art, artists and the market.
1AN: I love that check list of questions. Probably helpful to consider not only for emerging collectors, but experienced ones alike. You work with a lot of high-net-worth and developed collectors. What’s one thing people might be surprised to learn about how they approach collecting art?
Kelly Juhasz: Art, for a private collector, is firstly an emotional experience. I find it exciting to work with prominent collectors because they are so passionate about their collections.
Secondly, experienced collectors are extremely knowledgeable about the art market and the artist’s they collect. I enjoying working with collectors who trust their instincts and do not follow what everyone else is doing. Others try to follow what they are doing so I also appreciate their privacy and quietness in their collecting endeavours.
Most art collectors who have the means to buy art have a lot of choice and multiple collection avenues they can take. They are not afraid to ask questions and take risks on emerging artists while at the same time, continue to acquire the work of established artists that fit into their collection goals.
1AN: You’ve been recognized with multiple awards. What moment in your career made you think, ‘Wow, I’ve really made an impact in the art world’?
Kelly Juhasz: I don’t think that I’ve made an impact in the art world. It’s more like, the art world has made an impact on me. I feel lucky to have found and honed a profession that is vibrant and continuously evolving. I learn new things every day and what I learn builds upon a body of knowledge that is always in practice. So, there isn’t one moment in my career that I can pinpoint. It’s every moment in my career as an appraiser and advisor that makes an impact.
For all fine art professionals, the continuous pursuit of connoisseurship is a way of life. It’s all our time, training, and experience coming together. It’s about our ability to distinguish quality from quantity, as well as our intuitive response based upon pattern recognition and ongoing work in providing meaning to both enthusiasts and collectors through exhibitions, market awareness and building collections.
Each work of art requires my undivided attention. As a result, all of my clients receive that undivided attention as well. They rely upon me to provide a valuation or advice that is top-tier and so, I allow myself to get lost in the details.
1AN: With Toronto’s art scene constantly evolving, how do you stay ahead of market trends to offer the best advice to your clients?
Kelly Juhasz: Like the diverse cultural makeup of Toronto, the local and national art market has certainly widened its scope in offering a selection of fine art available to collectors. With art-centred fairs and festivals, that include Art Toronto and the Toronto Biennial of Art, and commercial galleries offering art by new and established artists, I look at what is being shown. I pay close attention to what the museums are presenting and how they are building their collections.
My work is international. I’ve developed a network of highly trained and experienced advisors, appraisers, dealers and curators here in Toronto and across the country but also within the United States, particularly in New York and Los Angeles. I get involved with other professional service organizations to allow me to stay on top of what the trends and issues are in insurance, charitable giving and estate planning.
I stay informed and connected by developing my knowledge and skills by taking a wide range of professional development courses offered by reputable institutions and associations. Luckily, a lot of learning can occur online and if I’m taking a course from London, then I’m up and online at 4 or 5 am. For art, of course, seeing it in person is always the best so travel is certainly an important aspect of my life.
Because I am also involved in the sale of fine art and represent my clients at the most appropriate market levels depending on the artists involved, I’m constantly watching what’s being offered for sale and the results at all the major auction houses.
I guess you could say that I’m not a bystander or a spectator, but someone who is actively engaged in the fine art market from every angle and level. I love sharing what I learn and know with my clients.
As climate change continues to make its mark on our planet, the art world is beginning to feel the ripple effects. Unpredictable weather patterns, intense heat waves, and mega storms are creating fresh challenges for art storage and logistics, and for art collectors and institutions alike. With these shifting weather conditions, safeguarding art collections has never been more important. Let’s delve into how collectors can protect their prized pieces from the effects of extreme weather and what new strategies are emerging for safe art storage and logistics. We’ve also provided expert tips from Oliver Stebich, Owner of SRI Fine Art Services!
The Impact of Heat Waves on Art Storage
Heat waves, now more frequent and intense due to climate change, pose significant threats to art collections. Elevated humidity levels and temperatures can accelerate the deterioration of materials like canvas, wood, and metal. Paintings may crack, while sculptures and other delicate objects can be prone to structural changes. Prolonged exposure to high temperatures can also cause fading, discoloration, and brittleness.
Oliver’s Tip: Temperature controlled rooms either in your home or an art storage facility are the best defense against heat. For fragile materials, regulating humidity as well is an additional preservation strategy. Our climate-controlled facilities are kept to the industry standards of 70 degrees Fahrenheit and 50% relative humidity. Above all you really want to avoid rapid changes in temperature and humidity. Over time materials can adjust to changes, but organic materials like wood can crack and warp when their environment changes quickly.
Mega Storms and the Threat of Flooding
Alongside heat waves, mega storms have become more frequent and destructive. Hurricanes, typhoons, and flash floods are no longer rare events but recurring challenges for art collectors and galleries. Hurricanes have been devastated parts of the U.S., with significant losses faced due to water damage and power outages. The growing intensity of these storms puts valuable collections at risk of flooding, mold growth, and even total destruction. The art community is becoming increasingly aware of the urgent need to prepare for potential disasters as seen here in The Art Newspaper.
Oliver’s Tip: Do your homework: the best protection against flooding is to know your flood zone. If you live in an area that is prone to flooding, keep your artwork at least 4 inches off the floor, and never keep artworks in your home basement. If you have your artwork in an art storage facility, ask for their elevation map. Insurance companies require storage facilities to store all works 4 inches off the floor in all circumstances.
When you speak with your art storage company, you should also ask them if their facility is well insulated, the age of their climate systems, and if they have backup systems to protect your collection in terms of security and climate should there be a prolonged loss of power. You should also ask for a record of their average daily temperatures and humidity; the most reputable companies will be able to readily provide this information.
Adapting Art Logistics to Changing Weather Patterns
Not only are heat waves and storms affecting the storage of art, but they’re also creating new challenges for art transportation and logistics. Art collectors often need to move pieces across cities, countries, or continents, and unpredictable weather can throw a wrench in these plans.
Additionally, the transport of art through storm-prone regions is becoming more complex. Roads may be impassable, airports shut down, and shipping schedules disrupted by extreme weather events. Art logistics companies are now factoring climate into their planning, offering more flexible and secure transportation options to safeguard artworks in transit.
Oliver’s Tip: In all cases, you want to protect the artwork by limiting its exposure to extremes. We have a fleet of climate-controlled trucks that limit that regulate temperature in transit. In addition, we take extreme weather, such as snowstorms, extreme rain/flooding, and high wind situations seriously. We stay ahead of heavy weather patterns and are in communication with clients when we feel it’s not safe. We always want to work; so if we advise it’s not safe, it’s best to listen to the professionals!
Insurance and Risk Management for Art Collectors
In light of these new challenges, insurance has become an even more critical component of art collection management. As the Observerhighlights, as the frequency of natural disasters driven by climate change increases, securing insurance for private art collections is becoming both more complex and more costly.
It’s also worth considering disaster recovery plans, which can help minimize loss and damage in the aftermath of a storm or heatwave. This might include strategies for emergency transportation, temporary storage in a secure location, or a partnership with an art restoration expert to address any damage that occurs.
Oliver’s Tip: I would encourage collectors to be in communication with their insurance representative. They will want to know where your collection actually is – at your home vs. an art storage facility. You may want to separate your collection from your homeowners policy – you may want to consult with an insurance agent who specializes in art.
The Importance of Climate-Conscious Art Handling
In addition to storage and logistics, climate change is forcing a rethinking of how we handle art on a day-to-day basis. From the moment a piece enters a gallery or private collection, steps need to be taken to protect it from fluctuating environmental conditions.
Oliver’s Tip: Direct sunlight is a real threat to artworks especially as temperatures get warmer. I would recommend keeping valued items away from direct sunlight and/or installing light-blocking shades to windows to protect works from the damaging effects of the sun. You may want to consider speaking with your framer about UV protections for your artwork.
Adapting to a Changing Climate
The art world is not immune to the effects of climate change, and collectors need to be proactive in protecting their investments. By choosing climate-controlled storage, partnering with experienced logistics providers, and securing comprehensive insurance, collectors can safeguard their pieces from the growing threats posed by heat waves and mega storms. In a world where weather patterns are shifting rapidly, staying informed and prepared is key.
The global art market has seen significant shifts in recent years, influenced by broader economic instability, the rise of digital art, and the evolving priorities of art collectors. Notably, the decline in indiscriminate art collecting has changed the market in profound ways. The era of accumulating art for the sake of accumulation seems to be waning. This shift has prompted both seasoned and emerging art collectors to reassess their approach, emphasizing the experience of art and its personal, emotional, and cultural relevance over sheer volume. But what does this mean for the future of the art world?
The Shift from Accumulation to Curated Collections
In the past, many collectors embraced a mindset of accumulation, purchasing art with the aim of expanding their collections as much as possible, often viewing it as a symbol of status or a safe financial investment. However, the speculative art-buying boom that characterized the early pandemic period has largely subsided. During this period, opportunistic art collectors flooded the market, eager to invest in artworks at rising prices, with little concern for the emotional or cultural significance of the works themselves.
As of 2024, art professionals are witnessing a critical shift in the way art collectors approach acquisitions. It’s no longer just about owning pieces for investment or bragging rights. According to Artnet News’ Intelligence Report, today’s collectors are taking a more thoughtful, selective approach, focusing on meaningful and personal connections with the artworks they acquire. The emphasis has shifted to curating a collection that resonates on a deeper level, rather than accumulating for the sake of volume.
Market Adjustments and the Exit of Speculators
The retreat of speculators, who were highly active during the pandemic-fueled market surge, has had a considerable effect on the overall art market. These investors are now offloading works they purchased at peak prices, often at significant losses. Collectors and investors who hoped to capitalize on the growing market have found that the speculative frenzy was unsustainable. This cooling has made the market more approachable for serious collectors interested in art for its cultural or emotional value, rather than as a quick financial return.
This exodus of speculators has also led to an increase in inventory for galleries and auction houses. With an oversupply of works on the market, there is more room for negotiation, and prices for certain types of art, especially speculative works from the pandemic era, have decreased. For collectors with a long-term focus, this presents an opportunity to purchase high-quality works at a more reasonable price, often with the assistance of art advisors and gallery professionals who can guide thoughtful acquisitions.
The Role of Experience in Modern Collecting
A major element driving the change in art collecting is the rise of what some are calling “the experience economy.” Collectors are increasingly placing value on the experience of engaging with art rather than just the ownership of it. Whether it’s visiting galleries, attending art fairs, or participating in virtual exhibitions, the way collectors engage with art is evolving. The shift toward experiential engagement also reflects a broader cultural move away from materialism and towards meaningful, thoughtful interactions with the art world.
As collectors become more experience-focused, their buying habits have changed. Many now prefer to invest in pieces that evoke strong personal connections or align with their values, such as sustainability, social justice, or diversity in the art world. This emotional and experiential connection to art is taking precedence over the desire to simply own prestigious works, reflecting a broader trend of “thoughtful collecting.”
Decline of Trophy Collecting
The decline of “trophy collecting”—where collectors compete to own famous or high-priced artworks—has shifted the trajectory of the art market. This phenomenon was often driven by the pursuit of prestige or as an investment strategy. With economic uncertainty and shifts in cultural values, now they are showing more interest in works by underrepresented artists or pieces that offer deeper emotional or intellectual satisfaction.
Quality Over Quantity: The New Collecting Mantra
Art advisors and gallerists have been quick to adapt to this change in mindset. Many report that clients are now asking more in-depth questions about the cultural significance of their work. Collectors want to build meaningful collections that not only reflect their personal tastes but also contribute to important conversations in the art world.
According to Art Basel and UBS’s global art market report, the number of collectors focusing on fewer, but more significant acquisitions is on the rise. This new approach means collectors are spending more time researching artists and their work, often relying on the expertise of curators, art advisors, and gallery professionals to guide their selections.
A Sustainable Future for Collecting?
Another factor reshaping the art market is the growing awareness of sustainability. Collectors are showing a stronger interest in supporting artists and galleries that are committed to environmentally responsible practices. Whether it’s choosing works created with sustainable materials or supporting galleries that practice eco-friendly shipping and exhibition methods, collectors are looking to make more ethical choices in their acquisitions. Art professionals, in turn, are increasingly aligning themselves with this new focus, making it a win-win for both collectors and creators.
A Thoughtful Future for Art Collectors
As we move further into 2024, it’s clear that the world of art collecting is undergoing a significant transformation. The days of indiscriminate buying are giving way to a more thoughtful, curated approach. For today’s collectors, art is no longer just an investment or a status symbol—it’s a personal, emotional, and often philosophical endeavor.
The decline in speculative buying and the increased focus on experience, sustainability, and quality over quantity is reshaping the market for the better. Art professionals—whether they are guiding collectors through this new landscape, helping them build collections that reflect their values and passions. As we witness this shift, the art world stands at the brink of a new era where collecting is not about the chase, but about the connection.
Breaking into the art world can be as challenging as it is rewarding. From education and hands-on experience to mentorship and networking, establishing a thriving career as an art professional requires a combination of knowledge, perseverance, and passion. Whether you are an aspiring curator, gallery owner, or an artist looking to build connections, understanding the critical factors for success in this field is essential.
Formal Education: The Foundation for Understanding Art
A strong academic background in art history or fine arts is often a stepping stone for those looking to make a name in the art world. While it’s not a strict requirement, a degree in these fields can equip you with the critical thinking and analytical skills necessary to understand the deeper context of art movements, trends, and methodologies. For those inclined towards the business side of art, programs like the Sotheby’s Institute of Art and Christie’s Education offer specialized degrees in art business, equipping students with market knowledge, auction practices, and collection management.
Building Experience: Internships, Exhibitions, and Residencies
One of the most important ways to gain experience in the art world is through hands-on work. Whether it’s interning at a museum, assisting at a gallery, or volunteering at an art fair, being on the frontlines of art handling and curation provides an invaluable perspective. As you immerse yourself in these environments, you’ll learn how exhibitions are curated, how artists are represented, and how the art market operates.
Mentorship: Learning from the Pioneers
Mentorship plays an integral role in shaping one’s career in the art world. Whether it’s a seasoned artist guiding a younger talent, a curator advising an art historian, or a gallery director sharing insights into how exhibitions are mounted, learning from those who have walked the path can be invaluable. Seek out mentors who not only share your artistic sensibilities but can also provide constructive feedback and introduce you to their professional networks.
Networking: The Power of Building Relationships
In the art world, success often hinges on who you know as much as what you know. Regularly attending art fairs, gallery openings, and industry events is a crucial aspect of building your professional network. Conferences like Art Basel, Frieze Art Fair, and The Armory Show are some of the most influential gatherings of art professionals worldwide.
Establishing and maintaining relationships with artists, curators, collectors, and gallery owners can open doors to new opportunities, exhibitions, and collaborations. Social media platforms, especially Instagram, also play an increasingly vital role in art networking, offering a virtual gallery space where professionals and enthusiasts can connect directly.
Art Business Acumen: Understanding the Market
Navigating the art world is not just about creating or curating; understanding the business side is equally important. From pricing works, negotiating sales, and managing a gallery to understanding art law and artist representation, the business aspects can make or break a career.
If you’re an artist, work closely with galleries or agents who can help guide you in setting appropriate prices and negotiating commissions. For those on the curatorial or administrative side, knowledge of art valuation, contracts, and legal frameworks will be essential. Programs like One Art Nation’s ArtCollect, Art Advisory 101 and 201and Art Wealth Managementare great for providing the fundamentals of the art market.
Establishing an Online Presence: The Digital Shift
In the contemporary art world, an online presence is non-negotiable. Artists and art professionals alike must maintain a website or online portfolio that is accessible and regularly updated. Social media platforms, especially visual-heavy ones like Instagram and Pinterest, serve as tools not just for showcasing your work but for engaging directly with followers, collectors, and potential buyers.
Continued Learning: Staying Ahead of the Trends
The art world is ever-evolving, and continuous learning is essential. Stay informed about the latest trends, movements, and technologies by reading industry journals, attending art talks, and participating in online courses. Institutions like One Art Nation provide opportunities to learn from experts on topics such as collecting, art fairs, and market trends. Digital innovation, including AI and NFTs, has introduced a new dimension to the art market, and keeping up with these advancements can position you as a forward-thinking professional.
Resilience and Adaptability: Thriving Amid Challenges
Making it in the art world requires resilience, as rejection and criticism are inevitable. Artists may face years of working without recognition, while gallerists and curators may deal with fluctuating market trends or difficulties securing exhibitions. What defines those who succeed is the ability to persevere, adapt, and evolve with the ever-changing landscape. Whether it’s honing your craft, expanding your network, or finding new ways to reach collectors, flexibility and endurance are critical to long-term success in the art world.
A Multi-Faceted Approach to Success
The path to success in the art world is multifaceted, requiring a blend of formal education, practical experience, strong mentorship, and keen business sense. It’s a long and often challenging journey, but for those who remain dedicated, the rewards are immeasurable. By staying connected to the art community, continually refining your skills, and staying open to new opportunities, you can carve out a meaningful and successful career in this dynamic industry.
Did you know there are currently 200 Biennales around the globe? Notwithstanding, the Venice Biennale is the “mother of all” Arte Biennale, and, thus, a most prestigious event for nation-states and artists, is to take center stage here. It is incredibly significant that the Biennale governance has selected as the artistic director, the self-described first queer curator and first curator from the global south, Adriano Pedroso, who in his turn, has invited more than 330 artists, almost 400 considering collectives, to participate for the time in the Biennale curated exhibitions at the Giardini and Arsenale. A place at the table for those artists with different origin theories, world views, and theories of human beings’ relationships to nature, time, and history promotes a dialogue to transcend colonial hegemony and dominance of the current art world’s structure. If only for the fleeting period from April 13 through November 24, 2024, the closing date of the Biennale. Artists evoke our collective histories in the present to imagine a future which transcends colonial hegemony and anti-western sentiment. If we only listen, learn and respect the “other”, we may collectively preserve our planet for future generations (and on a more micro scale, the art world and biennales, of course).
The task of writing about this event, the collateral events, and other exhibitions is daunting. I cannot and do not think it is within my expertise or interest to do yet another art critic’s journalistic review of everything. There is a value, too, in not doing the scoop and, or the frontline coverage. This Biennale and its official collateral events are filled with complex and layered artistic expression and meaning. I find myself continuing to turn over the pavilions I visited, and the artists and their work encountered in the Arsenale, Giardini, and other curated events. My present memory and understanding of the historical moment and meaning continue turning and churning as I see new threads and connections relevant to my objective as an art lawyer and cultural critic of art and politics as it relates to structures of law, politics, and art.
More in-depth review of exhibitions, cultural events, politics and art law can be found at my Art Lawyer’s Diary. Join my email list on my website to receive future issues and read past editions.
The artists in the curated exhibition and the pavilions challenge contemporary Western philosophy. In particular, Foreigners Everywhere can be seen from the vantage point of the colonized, the indigenous inhabitants of the land with a rich culture and civilization destroyed or reinvented by the colonizer. Notions of time, space, and relation to the land, our ancestors, and the universe are challenged, as well as ways of seeing and being.
In PART I, I discussed the Australian Pavilion, Kith and Kin. The sentiments of these quotes from the indigenous artists Archie Moore and Ellie Buttrose, curators of Kith and Kin, find expression and voice in other artists. Archie notes that in indigenous culture, there are several people you call mother and father, brother, and sister. “The family tree shows a 65,000-year scope of time…I wanted to show how long aboriginal cultures have existed, and despite invasion, massacres, and systemic incarceration, continue to exist now”…In the First Nation, the notion of kinship and time, the present, past, and future, share the same space here and now. The curator states that “by placing 65,000 years of family on a single continuum, kith, and kin immerses audiences in the co-presence of ancestors and time and by doing so, Archie enfolds each of us into the everywhere.
The Egyptian pavilion, featuring Wael Shawky’s Drama 1872 (one of my favorites), similarly criticizes the revisionist histories told by colonial occupiers. Time and history do not begin with the “foreigner”. Shawky and other artists reflect, if not absorb, the philosophy of Edward Said, a Palestinian professor at Columbia, who challenged Western views of history, particularly of Asia and the Middle East. Edward Said’s 1978 publication Orientalism, which I read as a student, exposed European fantasies denigrating colonial subjects in a constant barrage of fetishization and “othering” across Asia and the Middle East. Andrea Villani, in an essay in the catalog for the Egyptian Pavilion, states: “The events of 1879-1882 in which past and present, facts and imagination, history and its fabrication, being a citizen or a foreigner, a hero or a traitor, become entangled.” In looking backward and, at the same time, forwards, we could, therefore, ask ourselves: Can we ever be or go back to beings who are fair towards each other and our fellow species? Or could colonialism or rather “coloniality”, the persistent dark side of European and Western modernity, the echo of an ancestral separation between hegemonic and subaltern mentalities and behaviors, which do not allow colonialism to end, the analog of the flood and fires of the ancient myths? Are we cursed by our own stories?”
Alternatively, might we, one day, be freed, thanks to them? Is this not also the underlying question posed by the Nigerian pavilion and its consideration of the past to find the solidarity and vision to imagine a brighter future? There are no bright lines or set boundaries here. The German pavilion artists pose the reality of the present as Thresholds.
In the British pavilion, Sir John Akomfrah’s Listening All Night to the Rain alludes to the final ensemble of installations – “Iterations of acoustemology” – detours back to questioning the architectonics of the present and the specters of the past, with the idea of listening to the activism of the mind “Sir John states,” I sense that one can know the world-that you can find a name, “an identity, and a sense of belonging- via the sonic.”
These issues and questions, in my view, are best presented by the pavilions and the artists discussed below, while not excluding others that are too numerous to mention here.
Egypt – Wael Shawky; Drama 1882
I was introduced to Wael Shawky at MOMA PS1. His first solo exhibition there, Cabaret Crusaders, tells the story of the crusades, through Arab eyes, using marionettes for actors. In his new theatrical film, Drama 1882, Shawky continues his ongoing practice of historical renditions transforming the Egyptian Pavilion into the center-stage for a timely and critical conversation around the necessity of revisionist histories and the futility of war.
Shawky has created Drama 1882, a musical play about Egypt’s nationalist Urabi revolution against imperial influence (1879-82). The year 1882 was the year this revolt was crushed by the British, who then went on to occupy Egypt until 1956. Shawky says:
“There was a revolt led by the Egyptian Colonel Ahmed Urabi and his army against the Egyptian monarch, calling him a traitor because he fell prey to the British and French. The interesting thing about this discourse Is the idea of the foreigners – what does it mean to be foreigners? Who were they? They were the occupiers – it was not the idea of immigrants that we have today.”
Wael Shawky, Drama 1872, The Egyptian Pavilion, Photo by Author
In an essay on Shawky, the distinguished Egyptian critic and author Yasmine El Rashidi writes that Shawky’s practice is rooted in his deep relationship to the history and cultural heritage of the Arab world. His work adheres to the premise that history is a record of subjectively depicted sequences rather than indisputable facts, which he posits to create elaborately choreographed re-stagings and interpretations of historical events. By meticulously blurring lines of recorded fact and possible fiction, and studiously interweaving into his narratives the spiritual and whimsy, Shawky’s work offers poetically alternate prisms with which to consider pivotal moments in history.
Wael Shawky, Drama 1872, The Egyptian Pavilion, Photo by Author
Wael Shawky, Drama 1872, The Egyptian Pavilion, Photo by Author
Wael Shawky, Drama 1872, The Egyptian Pavilion, Photo by Author
Nigeria – Nigeria Imaginary
The press information states “Nigeria Imaginary explores the role of both great moments in Nigeria’s history – moments of optimism – and the Nigeria of the mind—a Nigeria that could be and is yet to be. Presenting different perspectives and constructed ideas, memories, and nostalgias of Nigeria, Nigeria Imaginary leverages an intergenerational and diasporic lens to imagine Nigeria for the future. These voices are articulated via diverse mediums, from painting, photography, and sculpture to AR, sound, and film.”
Yinka Shonibare, Nigeria Imaginary, Photo by Author
“Yinka Shonibare CBE RA explores the Benin Expedition of 1897 and presents a new way to understand the looted objects. In contrast, Toyin Ojih Odutola reimagines a new world centered around the Mbari House. Onyeka Igwe and Abraham O. Oghobase explores the colonial hangover and questions the future of this legacy…”
Tunji Adeniyi-Jones, above, looks to the history of Nigerian modernism to evoke an alternative art-historical future.
Ndidi Dike presents several artworks: In a powerful work, she assesses the intersection between the 2020 EndSARS protests in Nigeria and the global movement of Black Lives Matter. In the image below, she is pictured with her work commemorating young individuals who have died from police brutality: the police stick represents the symbol of brutal, lawless violence, while the tags record the name of a person murdered by the police in a demonstration.
Precious Okoyomon, a child of Nigerian immigrants who grew up in the US, is interviewed by me about her work. She invites us into a dream state, placing us into the minds and perspectives of contemporary Nigerians so we can reimagine Nigeria with them.
Precious Okoyomon and Mother, Nigerian Pavillion, Photo by Author
Precious Okoyomon, Nigerian Pavillion, Photo by Author
British Pavilion – Sir John Akomfrah; Listening all Night to the Rain Listening All Night to the Rain weaves together newly filmed material, archive video footage, and still images with audio and text from international archives and libraries. The catalog states “The exhibition tells global stories through the “memories” of people representing migrant communities in Britain. Each gallery space layers together a specific color field influenced by the paintings of American artist Mark Rothko, to highlight how abstraction can represent the fundamental nature of human drama…
The exhibition positions various theories of acoustemology: the study of how the sonic experience mirrors and shapes our cultural realities. Akomfrah draws on an acute acoustic sensitivity influenced by various formative experiences, from protests to club culture in 1970s-80s London. Akomfrah’s “cantos” are accompanied by a specific soundtrack, which layers archival material with field recordings, speeches, and popular and devotional music. Extending the sense of hybridity in the filmic collages, Akomfrah’s use of sound encourages us to consider the breadth of cultural identity in Britain more broadly.”
The complexity of the pavilion and its narrative are mind-boggling. It was and is not unusual for viewers to stay intently seizing upon the multiple benchmarks and references for hours. A timeline of events evidences the in-depth research of Akomfrah to document the historic events shaping memory and narrative. The only other artist of whom I am personally aware that mines historic archives, including music, to create a sonic and visual experience, as part of his artwork and exhibition design, is Adam Pendelton, as in the MOMA exhibition Who is Queen 2022. In a recent conversation at Pace, the curator of Pendelton’s first European solo exhibition at mumok – Museum moderner Kunst Stiftuna Ludwig Wien, mumok Curator Marianne Dobner, remarked how Austrians were drawn to the soundtrack of the exhibition and Pendelton’s use of Bach as random counterpoint to the digital repetition of historic texts.
I was amazed to find that the film of the founder of a UK charitable trust, the Tairona Heritage Trust, on whose board I sit, served as reference for Canto VII. The film is a message from “the Kogi, an indigenous group in Columbia, who warned the world of the first signs of environmental collapse in the BBC documentary “From the Heart of The World”, found here. Akomfrah credited only the BBC as source and failed to include the name of the documentary filmmaker Alan Eriera – indeed a serious oversight by a fellow filmmaker. Eireira, at the request of the Kogi, made a second film under their guidance. The Tairona Heritage Trust continues its work to advance the message of the Koji for the betterment of the world.
Sir John Akomfrah, Listening all Night to the Rain, Photo by Author
Sir John Akomfrah, Listening all Night to the Rain, Photo by Author
Sir John Akomfrah, Listening all Night to the Rain, Photo by Author
Germany – Thresholds and Echoes; On Migrant Listening, Ersan Mondtag, Yael Bartana, Ersan Mondtag, Louis Chude-Sokei (Giardini)
“Thresholds is about space, moving through a house, a building but also encountering the world through it. It is about passages, tunnels, and about how space gives rise meanings, particularly from culture to culture, ethnic group to ethnic group, and how communities in motion make home within spaces that are often inhospitable, and often incarcerate or expel them. After all, to speak of space is to speak also of borders.”
– Louis Chude-Sokei, Thresholds and Echoes: On Migrant Listening
Michael Akstaller, Yael Bartana, Robert Lippok, Ersan Mondtag, Nicole L’Huillier, and Jan St. Werner to navigate the verge, the gradation, the boundary under the title of Thresholds. Proceeding from alternative readings of history and the future, the contribution extrapolates realms of experience from the liminal.
Ersan Mondtag and five performers bring biographical fragments to life: workplace, factory, living quarters, and public space. His reference point is the life of his grandfather Hasan Aygiin, who came to West Berlin from Central Anatolia in the 1960s, made a living by working in the Eternit asbestos factories, and died due to this work. On a parquet floor transferred to Venice from an abandoned Brandenburg arts center, Mondtag crosses post-migrant history with forgotten biographies of the work-oriented society of the GDR. Through placing motifs from migrant and East German biographies at the center of the pavilion, Mondtag raises questions about post heroic historiography, representation, and narrative at the threshold of a post-industrial landscape.
Ersan Mondtag, German Pavilion, Photo by Author
Ersan Mondtag, German Pavilion, Photo by Author
“With her ongoing work Light to the Nations, Yael Bartana approaches a threshold in time and space: the present reality of planet Earth on the brink of environmental and political destruction. In an act of salvation, a spaceship, envisioned by the artist and named after a passage in the Book of Isaiah, carries multiple generations of humans toward unknown galaxies.”
Yael Bartanau, Light to the Nations, Photo by Author
Arsenale – Three artists who stand out, Santiago Yahuarcani, Rember Yahuarcani, and Dalton Paula
Going through the Giardini/Central Pavillion and the Arsenale, I wandered without a programmed agenda. The quality of the exhibitions and the selection of artists engaged me. I followed my eyes. Notwithstanding that these encounters were “subjective,” I share my “chance encounters.”
Coincidentally, the three artists who stand out in the Arsenale are from Brazil.
Dalton Paula is a multifaceted artist who lives in Brazil and is from Goiana. The image below is from the 16 Full Body Portraits (2023-2024) series of historical figures of African descent involved in or who lead anti-slavery movements in Brazil in the late 19th or early 20th century.
Dalton Paulo Arsenale, Chico Rei, Photo by Author
Dalton Paula
I was privileged enough to hear Santiago talk about his work, influenced by his spiritual practices, his ancestors and medicinal plants. He paints on canvas produced from palm bark by his wife, pictured below, a reminder that for indigenous people, finding art supplies and the cost of production require resources, which are often scarce.
Santiago Yahuarcani stresses how the climate catastrophe is not a recent event but part of a long history of colonial dispossession that begins with the eradication of the spiritual world and the powers that emanate from a close relationship with the land. Rember Yahuarcani belongs to the same white clan of the Ulitoto nation from the northern Amazon as Santiago. He invites us to immerse ourselves in the belief systems of another world with characters perpetually in motion to escape the narratives of the Western world and cultural eradication.
Santiago Yahuarcani and this wife, el Hacedor del sonido, Photo by Author
Rember Yahuarcani and this wife, El Río, Photo by Author
Santiago Yahuarcani and this wife, el Hacedor del sonido, Photo by Author
Not surprisingly, I also would be remiss not to mention or suggest a stop at the Pavillion of Brazil – renamed the Hãhãwpuá Pavilion (ancestral territory)– in the Giardini, on your way to visit the Egyptian Pavillion. The Pavillion brings together the Tupinambá Community and artists coming from the coastal peoples — the first to be transformed into foreigners in their own Hãhãw (ancestral territory) — in order to express a different perspective on the vast territory where more than three hundred indigenous peoples live (Hãhãwpuá). “The Hãhãwpuá Pavilion tells a story of indigenous resistance in Brazil, the strength of the body present in the retaking of territory and adaptation to climatic emergencies,” say the curators, adding,”The Tupinambá were considered extinct until 2001, when the Brazilian State finally recognized that not only had they never been exterminated, but that they were actively fighting to reclaim their territory and part of their culture, taken away by colonization”. This parallels the narrative and historical mythology used by the Australian government with respect to the aboriginal population until about the same time.
The Takeaways
This Biennale confirms the relevance of the Venice Biennale for art world citizens and the broader population. The dialogue and conversation of both the curated exhibitions and the National Pavillions is not always linear, often multilayered, and often full of contradictions. Others have found much to criticize. This is not the first international exhibition to make the case for an expanded vision of what is art and the global artworld.
Okwui Enzor’s 2002 Documenta, which is the international exhibition which occurs every five years in Kassel, was a milestone, in enlarging art world horizons and positioning artists of the 20th century avant-garde as just a few actors in a vast ebb and flow of world civilization. Though earlier shows like “Magiciens de la Terre” (Paris, 1989) expanded the canon to include non-western art, Enwezor featured 117 artists, where Europeans, Americans, Africans, Latin Americans, and Asian artists all had equal exposure. Enwezor offered a critique of the territorial approach to the Biennale represented by Venice to tackle the art world’s persistent Euro- and Western-centrism. He argued that the art world must expand its horizon to see and understand non western art in part, by juxtaposing the work under-appreciated artists of the Western canon with non-Western counterparts, highlighting affinities and contrasts to establish a dialogue and conversation which permitted the viewer to see the familiar in a new light. Okwui went on to curate the Venice Biennale and was the inspiration for the Sharjah Biennale, Thinking Historically in the Present (see my review of the Sharjah Biennale).
Adriano Pedrosa continues the call for inclusiveness and in a sense updates the art world to what has been occurring in the global economic and forum fuelled by the increasing and critical situation of climate change and out of control migrations. The art world cannot be a bubble. We require dialogue between the Global South and the Western world: listening, respecting, learning. Only then can we develop the sense of community and interconnectedness of our actions to create a sustainable future, participating, and acting as a global community. Some people have commented to me that this was a biennale too linked with commerce. Of course, one could mention the native American dance companies, who distributed cards for future performances, the sponsorships and financing of collateral events as well as pavilions by commercial galleries, including creating pavilions with globally marketed artists, to sustain the introduction of artists who seek global recognition We do see for years the porous boundaries and criteria between the art fair and the biennale. Is this good? Is this negative? Is it a problem for the Congolese critic of the capitalist society, to use art sales to finance land purchases in the Congo and use “the white box” to do so? Probably, but so what? Let’s discuss this. Can this Biennale and the current art world go beyond identity politics to look at the art and revise the western canon or to understand as Canadian philosopher Marshall McLuhan famously observed “the medium is the message” (the “message” of any medium or technology is the change of scale or pace or pattern that it introduces into human affairs. 1964).
At the end of the day, if we look and listen, there is much in this Biennale, which touches the soul and resonates as a memory, again and again. For those who seek to judge or ask if this is art, I submit that is a starting point.
And If You Have Time
For those with time, there are several terrific off-site exhibitions in conjunction with the Biennale, some of which are housed in Palazzo and other historic structures. I highly recommend exploring the following works:
1. Willem de Kooning – Gallerie dell’Accademia
Willem de Kooning , Gallerie dell’Accademia, Photo by Author
2. Shahzia Sikander – Palazzo Soranzo Van Axel, Collective Behavior
Shahzia Sikander, Palazzo Soranzo Van Axel, Collective Behavior, Photo by Author
3. Lee Bae – Wilmotte Foundation, La Maison de la Lune Brûlée
Lee Bae – Wilmotte Foundation, La Maison de la Lune Brûlée, Photo by Author
4. Zeng Fanzhi – Scuola Grande della Misericordia di Venezia, Near and Far, Now and Then
Zeng Fanzhi – Scuola Grande della Misericordia di Venezia, Near and Far, Now and Then
5. Jean Cocteau – The Gugenheim
Jean Cocteau, The Gugenheim, Photo by Author
6. Dread Scott – All African Peoples Consulate. See New York Times here.
7. Wael Shakey’s video with puppets – I am Hymn of the New Temples; Texas artist and activist Rick Lowe’s solo exhibition – The Arch within the Arc
Both artists can be seen at Pallazo Grimani. Rick Lowe’s urban abstractions are a revelation and stunning success for those of us who hear more about his preservation and community efforts. Plus, several Titan portraits to see for those who have had it with contemporary art.
OK, we’re back! Now we want to chat with Bianca with a little more focus on art auctions themselves and her experience in this area…
It’s no news that art auctions can be an intimidating space to step into for the first time. How would you explain to potential young collectors the benefits of participating in an auction?
Auctions are the best way to start buying something you desire, since it gives you the opportunity to purchase it at a better price than you usually could. Also, and foremost, auctions are an extremely regulated marketplace, so you know that everything you buy or make an offer on has already been cleared by several experts. Most often, these pieces have good provenance. And of course, the thrill of bidding is an unbeatable feeling! Beware: Once you’ve experienced the rush of bidding, you will want to do it more.
How do you build and maintain relationships with clients, collectors, and industry professionals?
I believe the best way to maintain any relationship is to be cordial and respectful. With colleagues and peers, we have to be nice and get along, working together as a team. With clients I have a similar approach, but I also think my outgoing personality makes it a little easier for me. Respect is key though.
Surely, some clients have made the experience easier than others! Who is your ideal client?
My ideal seller is the one that trusts us on the process and knows that we will do our best to make their work sell as best as possible. Now, my ideal buyer is the one that bids with an open mind and a set budget. But all clients are ideal, to be honest, and as our clients, we will fight for them and make sure they are treated well.
Tell us about your most recent career highlights as a senior specialist.
I wear a lot of hats being the Senior Latin American Specialist, but one of the proudest moments of my career has been consigning an amazing work by Doris Salcedo, a Colombian artist who had a solo room at Fondation Bayeler in Germany. Another highlight so far has been showcasing important Latin American artists at our private sale exhibitions, like Julio Le Parc and Pablo Atchugarry.
What is the most memorable auction you have curated and what challenges did you encounter in the process?
We as a team curate these auctions together, always helping our heads of sale, and I think the biggest challenge we have is adjusting the price estimates with the expectation of the sellers. Having that said, I’d think that one of the most memorable auctions I have worked was the Barbara Walters single owner sale.
And here’s a BONUS question, just to fulfill my own curiosity: Can you share an example of a challenging auction situation you’ve faced and how you resolved it?
Once, I was faced with a client who yelled at me for not agreeing to sell one of his works. I kept my cool, did not engage and reported him afterwards. But there are so many challenging situations we encounter at auction. A piece that might not sell. A client that does not pick up the phone. Sometimes buyers might take too long to pay, while the seller is expecting payment.
I think the best way to solve any of these problems is to always remain calm and work together. We are all extremely well-trained to handle all sorts of challenges, and as a team we think better. I am very fortunate to have great colleagues and to have a great Head of Department, who knows all about dealing with adversities and challenges with a smile on his face.
Find out more about Bianca here and read PART 1 of this interview here. You can also learn more from Bianca who contributed to our ArtCollect program.
When you begin to collect art, you are embarking on the journey of a lifetime. You will meet wonderful people, discover amazing artists, and fill your home with beauty. But if you are like most people, you will also make mistakes! We are going to present you with our top 10 things to avoid while collecting art.
What Not to Do When Collecting Art
Don’t Rush: Starting an art collection takes patience. Remember, this isn’t a race, and often feeling pressure to do things quickly will result in making foolish decisions. When you are searching for a work of art, you will often have to wait for the right piece to come available. Or you might simply not be able to find something that fits your needs. That’s okay! There is no reason to buy something that’s available right now but not perfect. Rushing the process also takes away so much of the fun you can have while finding and collecting great artwork.
Don’t Buy Just for the Investment: While art can be a great investment, it offers you so much more than a simple return. But if you end up buying a work of art just to profit later, you won’t be able to enjoy it while you have it. What’s worse, no investment is foolproof. You might end up losing money on the deal — a lose-lose situation. It is a smart idea to consider the long term investment value of artwork you buy, but it should never be the only factor in your decision. No one can predict the future 100% of the time, but if you love a work of art, you know for certain that it will give you joy.
Don’t Ignore Your Budget: When we fall in love with a work of art, it can be tempting to splurge. That makes keeping to the budget you set difficult — but not impossible! Disregarding your budget has long term consequences for your collection. For one, it makes the entire thing much less financially sustainable. It also puts unnecessary strain on the art to make a return in the future, skewing your decision making process.
Don’t Skip the Research: Make sure you always do your homework about the artist, the pieces provenance, and the seller — whether you are buying from an individual, gallery, or auction house. Sometimes, collectors get so excited about a piece that they want to jump right to acquiring the work of art, but that can be a mistake. No matter how good a deal “feels,” you want to make sure you are buying the real deal. And there is no alternative to simply doing the research. (Artnet and Artsy are great resources to begin finding the right information.)
Don’t Neglect the Condition of the Artwork: Collectors need to be certain about the condition of a work of art before they buy it. Damage can affect the resale value, and in some cases it can make the piece break down much faster over time — leading to much more money and effort spent on preservation. Even minor flaws can seriously curtail the value of a work of art. While you may be forgiving of a tiny scratch or dent, future buyers might not be.
Don’t Overlook Emerging Artists: It’s easy to get swept away by big names. But you’ll find that emerging artists are often the best way to get incredible artwork for a great price. That doesn’t mean you should look at these creators as bargains. If you do your research, you can find artists who are going to be tomorrow’s blue chippers. Buying from emerging artists also helps support young careers — leading to a more robust art scene in the future.
Don’t Disregard Your Own Taste: Even if a piece is expected to appreciate in value or is by a well-known artist, if it doesn’t resonate with you, it’s not worth the purchase. Your collection should reflect your personal taste. After all, you are the one who is going to be spending time with the art! You’ll have a much better experience if you buy things you actually love.
Don’t Neglect Proper Care: Once your collection is under way, you’ll need to stay on top of keeping your artwork safe. This includes proper framing, storage, and cleaning. Different mediums will have different best practices, and you should make it your responsibility to know what those are. If you fail to care for your artwork, it will rapidly lose value and diminish in beauty.
Don’t Forget About the Space: Building an art collection is not a purely abstract activity. The artwork needs to go somewhere. So you’ll need to take into account the place you are putting it. What is the right size for a work of art there? What about style? You will also want to keep an eye out for the right medium. For instance, there might be a place in your home or office that’s perfect for a work of art, but it is drenched in sunlight most of the day. You’ll want something that can hold up under those conditions.
Don’t Go It Alone: If you are uncertain about how to get started collecting, don’t worry! There are many people you can turn to for help. Of your many options, some are more expensive than others. On the free side, you can go to galleries and art fairs with a friend who knows about the art market. Even if they don’t have much expertise, sometimes having a second opinion can help. And if you feel really stuck, you can always hire an art advisor.
Guidelines for Successful Art Collecting
Starting out as an art collector is such an exciting time. You will learn learn so much, and you’ll soon be surrounded by stunning works of art.
But to do it right means navigating the complex world of art — which always comes with its own set of challenges. Avoiding the pitfalls listed above, you can make informed decisions, get more joy from your collection, and become the savvy art collector you were always meant to be!
Our team of experienced experts from all areas of the art world will provide you with the knowledge and skills you need to confidently and adeptly collect art. Through our comprehensive guidance, you’ll be empowered to create a collection that is not only meaningful but truly enjoyable to curate. By enrolling in the ArtCollect course, you’ll have the tools to become an informed and confident art collector with a remarkable collection to be proud of. Let us help you on your journey towards building the art collection of your dreams – enroll now!
Without having paid much attention to the origin of the theme and title of the 60th Biennale, I assumed it to be a response to the movements to the far right in Europe and the United States stoked by fear of the “other,” the “different”. Thus, I anticipated a Biennale focused on a selection of artists who oppose the negative notions associated with the “other” in their work, including the economic and power structures that have created the current problems of migration fueled by poverty and war. For those unfamiliar with the Venice Biennale, the title and theme are set by the selected curator as the basis for the curatorial agenda and selection of artists in the curated exhibitions at the Giardini (321 in this Biennale) and the Arsenale and the 86 National Participations in the historic pavilions at the Giardini, the Arsenale, and city center of Venice and its surroundings. The term “foreigners everywhere” seemed to focus on the viewpoint of the observer rather than on the subject, the “foreigner.” Which accepts the indigenous or “other” as the foreigner.
However, after three days of exploring the national pavilions, the curated exhibitions, and the collateral events, I was stunned by the rich tapestry of imagination, ideas, intellectual musings, and multiple worldviews colliding to envision new futures to resolve the current global crisis. As John Akomfrah, the artist commissioned by the British Council, noted, in the final ensemble of installations in the pavilion of Great Britain, “Listening to the Rain,” iterations of acoustemology, which look at meaning and memorial from a different vantage point questioning the architectonics of the present and the specters of the past with the idea of listening and activism in mind, “I sense that one can know the world that you can find the name, and identity and a sense of belonging in this sonic.
In the same vein of optimism, the artists in the Nigerian pavilion express this sentiment: Nigeria Imaginary, the Nigerian Pavilion, explores the role of both great moments in Nigeria’s history – moments of optimism – and the Nigeria of the mind — a Nigeria that could be and is yet to be. Presenting different perspectives and constructed ideas, memories, and nostalgias of Nigeria, Nigeria Imaginary leverages an intergenerational and diasporic lens to imagine Nigeria for the future. These voices are articulated via diverse mediums, from painting, photography, and sculpture to AR, sound, and film.
This year’s Biennale was curated by Adriano Pedrosa of Brazil, the first curator from the Southern Hemisphere. Like his processor of two years ago, the theme finds inspiration in a work of creativity. In this instance, the title “is drawn from a series of works made by the Paris-born and Palermo-based collective Claire Fontaine since 2004”. The works are neon sculptures in different colors, each rendering the expression “Foreigners Everywhere” in a growing number of languages. The expression was, in turn, appropriated from the name of a collective from Turin that, in the early 2000s, fought racism and xenophobia in Italy: Stranieri Ovunque.
As Pedrosa stated, “The backdrop for the work is a world rife with multifarious crises concerning the movement and existence of people across countries, nations, territories, and borders. These crises reflect the perils and pitfalls of language, translation, and nationality, in turn highlighting differences and disparities conditioned by identity, nationality, race, gender, sexuality, freedom, and wealth. In this panorama, the expression “Foreigners Everywhere” has several meanings. First of all, it means that wherever you go and wherever you are, you will always encounter foreigners-they/we are everywhere. Second, it means that no matter where you find yourself, you are always truly, and deep down inside, a foreigner.
“In Venice, foreigners are everywhere. Yet, one may also think of the expression as a motto, a slogan, a call to action, a cry of excitement, joy, or fear: Foreigners everywhere! More importantly, today, it assumes a critical signification in Europe, around the Mediterranean, and in the world, especially when the number of forcibly displaced people hit the highest in 2022, at 108.4 million, according to the United Nations High Commissioner for Refugees, and is expected to have grown even more in 2023.”
What differentiates this Biennale Arte 2024 is Pedrosa’s focus on artists who are themselves foreigners, immigrants, expatriates, diasporics, émigrés, exiled, or refugees-particularly those who have moved between the Global South and the Global North. Thus, he states, “Migration and decolonization are key themes here”. Pedrosa does not stop here, however, and uses “straniere,” another term in Italian for foreigners, to explore a second meaning, strange which then leads to queer.
Pedrosa further explains and justifies that “According to the American Heritage and the Oxford English dictionaries, the first meaning of the word “queer” is “strange,” and thus the exhibition unfolds and focuses on the production of other related subjects: the queer artist, who has moved within different sexualities and genders, often being persecuted or outlawed. Queer artists appear throughout the Exhibition and are also the subject of a large section in the Corderie.
The outsider artist, who is located at the margins of the art world, much like the self-taught artist, the folk artist, and the artista popular; and the Indigenous artist, who is frequently treated as a foreigner in their own land. The work of these four subjects is the focus of this Biennale Arte.”
Something else is also going on in the Biennale that apparently is a sea change in perception of the art world. I talked to many artists who traveled for the first time, indigenous artists from the Amazon who proudly spoke of a different worldview and aesthetic of equal value to solve our current crisis if “the other” would hear the message. In the past, Biennales focused on indigenous issues and brought forth voices not often heard by filmmakers and other artists; however, this Biennale presents the art of the “foreigner” as “art.”
Perhaps it is not surprising that the Biennale’s top prizes for the best artists participation in the curated exhibition went to the Mataaho Collective, which consists of four Māori women artists: Bridget Reweti, Erena Baker, Sarah Hudson, and Terri Te Tau. The Maori Mataaho Collective has created a luminous woven structure of straps that poetically crisscross the gallery space. Referring to matrilinear traditions of textiles with its womb-like cradle, the installation is both a cosmology and a shelter. Its impressive scale is a feat of engineering that was only made possible by the collective strength and creativity of the group. The dazzling pattern of shadows cast on the walls and floor harks back to ancestral techniques and gestures to future uses of such techniques.
As a First Nation artist of Australia, Archie Moore won the Golden Lion prize for the best national pavilion for Kith and Kin. Although Moore is not the first First Nation artist to represent Australia, this is the first time Australia has won the Golden Lion. Moore created a genealogical chart with chalk on black walls tracing his British ancestors going back 65,000 years. In speaking of the work, Moore said, “Aboriginal kinship systems include all living things from the environment and a larger patchwork of relations. The land itself can be a mentor; we are all one and share a responsibility of care to all living things now and into the future”. While Moore’s thought represented and found expression in the world view of many of the Biennale artists, the judges seemed impressed by his technique of working in charcoal and the simple and elegant structure of the installation.
In selecting this quietly powerful pavilion, Archie Moore worked for months to hand-draw a monumental First Nations family tree with chalk. Thus, 65,000 years of history (both recorded and lost) are inscribed on the dark walls, as well as on the ceiling, asking viewers to fill in blanks and take in the inherent fragility of this mournful archive. Floating in a moat of water are redacted official State records, reflecting Moore’s intense research as well as the high rates of incarceration of First Nations people. This installation stands out for its strong aesthetic, lyricism, and invocation of shared loss for occluded pasts. With his inventory of thousands of names, Moore also offers a glimmer of possibility for recuperation.
The art press has been diverse in its response to this Biennale. I refer to one specific critic, who largely seems to have raced through the Arsenale and largely thought the medium was the message. I refer to Arsenal Review: ‘Foreigners Everywhere’ Treads Familiar Ground, Freize April 182024 by Cloe Stead, who describes the Arsenale as “A textile and painting-heavy edition of the Venice Biennale” and further argues that the “Venice Biennale follows a tried and tested method of curation…” With ‘Foreigners Everywhere’ unquestionably the most diverse biennial to date, I remain hopeful that, two years from now, we’ll get an exhibition that includes all these nationalities under a theme that doesn’t reduce them to the languages they speak, and the places they were born or moved to. Other more reflective and observant critics collectively state that “there has never been a Biennale like this.”
There is much to learn here, and there is no one-size-fits-all beyond the general themes stated above. For me, it is perhaps the first Biennale to be in tune not only with artists expressing the critical issues of their time, rather than the latest in marketable contemporary art aesthetics, but also deeply held values and world views that seek to use the lessons of the past, whether ancestors, a negative colonial experience or a religious world view and cosmology, to address a more positive future.
There is pride, not pessimism, and a recognition, too, of the contradictions inherent in the criticism of the global capitalist north. At the same time, there is pride in joining the “white box,” as expressed most strongly by the occupiers of the Dutch Pavilion, the Congolese Artist Collective Cercle d’Art des Travailleurs de Plantation Congolese (CATPC).
The sculptures exhibited are made of clay from the remaining growths of old forests and are recast in cocoa and palm oil in Amsterdam. The collective stated, “Each sculpture will mark the passage from a painful and dark past to an ecological tomorrow, a future in which the Sacred Forest will flow through the pavilion.”
For the readers of One Art Nation, professionals in the art world, and collectors, the importance of the messages of this Biennale cannot be overlooked. Many artists, if not the majority, are exhibiting in Venice for the first time. The importance of the historic moment for the pavilions and the artist cannot be overstated. I was so moved to hear Jeffrey Gibson of the US express his emotions about being the first native American to represent the United States and the importance to his people and Native Americans to represent a country that by law had tried to eliminate them as a people and culture.
Julian Creuzet, a French artist from Martinique, is also the first from a French former colony to represent France. Both Creuset and Gibson are established artists with successful careers. Creuset, who was commissioned for the Performa 2023 Biennale in New York, asks, “What does the center mean when you are French? What is the meaning of the French pavilion in Venice and national representation? How do you construe all of that when they call you an overseas citizen, someone aware of being a part of a much more complex French story?”. Creuzet decided immediately on leaning his selection to make openness, joy, hospitality, and dialogue a key element of the pavilion experience, characteristics of his life in Martinique (6) Creuzet.
This Biennale informs not only about new artistic trends in art making but it links the art world to legal and global changes in the international area regarding traditional knowledge, climate change, migration, and other areas in which developments are largely unknown to the insular art world. For example, the UN’s goals for sustainable development reflect a new emphasis on culture as a fourth pillar of sustainable development.
In a recent presentation I made on behalf of ICOMOS at a preparatory conference to the G2 Cultural minister meeting in Brazil, I stated that the following principles guide G20 policy:
Acknowledge the rights of Indigenous Peoples as established under the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP 2007)
Affirm that Indigenous Peoples have rights over their traditional knowledge, traditional cultural expressions, genetic resources, and associated intellectual property rights. (Article 31 of the UN Declaration on the Rights of Indigenous Peoples).
Recognize and incorporate Indigenous heritage action in the face of widespread climate change, which includes working, where appropriate and feasible, with Indigenous communities to anticipate, assess, and help manage worsening and future climate impacts on their heritage
Embrace the principle of free, prior, and informed consent of Indigenous communities before adopting measures concerning their cultural heritage. (ICOMOS Buenos Aires Declaration 2018).
Acknowledge the rights of Indigenous Peoples to maintain, control, protect, and develop their cultural heritage and to define and implement the best methods to conserve heritage of significance to their culture.
Recognize that cultural and natural values are inseparably interwoven for Indigenous Peoples and should be managed and protected holistically.
Recognize Indigenous sovereignty and control over their land and knowledge when seeking to use Indigenous knowledge as part of effective climate responses and initiatives.
Promote the need for culturally appropriate Intellectual Property clauses when engaging with and sharing Indigenous Knowledge or TK.
My Brazilian colleagues further urged that any declaration of the G20 to issue from this year’s conference in Brazil address the following;
Consider the deep interconnection between indigenous peoples’ tangible and intangible culture, in the ongoing digital planning and information processes to which these communities have been passively added.
Value the heritage of Afro-descendants and their knowledge, memories, and places as cultural heritage, including Quilombola communities, ensuring the rights of these peoples.
Valorization of forms of popular expression recognized as national heritage, such as music and dances (samba, choro, frevo, etc.) and gastronomy (artisan cheese, acarajé, etc.) operate consistently with the protection of traditional cultural expressions and expressions of folklore, respecting that for many traditional communities, their knowledge and cultural expressions form an indivisible part of their holistic identity. See the presentation by ICOMOS at the G20 Culture Working Group: Culture, Digital Environment, and Copyright.
UNESCO adopted the World Heritage Convention in 1972, which links culture and nature. Organizations like ICAMOS have recently included principles of indigenous people’s rights and values in designating world heritage sites of importance to humanity.
In 1970, the United Nations Education and Social and Cultural Organization (UNESCO) adopted the “Convention on the Means of Prohibiting and Preventing Illicit Activities”, which deals with the obligation of signatories to return illicitly obtained art and cultural heritage.
The latter, the 1970 convention, deals with the obligations of signatories to return illicitly obtained objects and cultural heritage. The Dutch Pavilion, “The International Celebration of Blasphemy and the Sacred”, and Yinka Shonibare of the Nigerian Pavilion deal with this principle and the complexity involved in returning cultural heritage. Yinka Shonibare’s installation at the Nigerian Pavilion, as shown below, deals with the complexities of the return of cultural heritage work.
This Biennale is an example that all our worlds have porous boundaries: Ideas and change migrate as do people, even in spite of physical boundaries, whether between nations, institutions, or areas of practice. Can the art world be a model for correcting social injustice, climate action, and fostering global peace for a sustainable future when political institutions are failing?
Indeed, given the situation of the United States’ inability to engage in conversation, and given the situation at the level of academics in the United States, the Biennale represents the most positive steps forward in the art world’s ability to engage in positive dialogue and discussion.
Stay tuned; In the June issue, I will discuss my selections of several of the most interesting national pavilions, to include, Great Britain, Egypt, Nigeria, Germany, Brazil, France, Netherlands and Mongolia, with interviews from some of the artists both in the pavilions and the Arsenale, my preferred of the two curated exhibitions. Of course, as is my practice, look for practical tips to enjoy Venice including collateral exhibitions and restaurants.
We were thrilled when Bianca enthusiastically agreed to contribute to our latest ArtCollect program. And here’s why. She has such a diverse work experience in the fields of art and culture – having held roles in many different aspects of the industry on three different continents. So, we knew she had a lot to bring to the table.
Before joining Bonhams in 2022, Bianca founded the international art advisory firm Arte Fundamental with a gallery in Miami, exhibiting American and Latin American artists as well as NFTs and digital art. And many of you have read her pieces on the art market that Bianca has written for Robb Report Brazil, Forbes, Vogue, and other major publications.
But we still had so many questions to ask her. So, we did…
Currently, you source artworks and assist clients with their collecting decisions. So, we’d love to know, in your opinion, what makes a great art collection?
A great art collection always consists of pieces the owners love and cannot live without once they are made aware of its’ existence. I have seen collectors sigh when looking at their pieces. Any art collection, or any collection for that matter, must fit the budget of its owner, and it evolves with time and is adapted to the reality of the current moment. It can also be perceived as an investment and, as such, it must start at the financial planning to achieve a goal. Basically, a great art collection is formed out of love with a goal that fits your pocket.
Having worked in different realms of the industry, starting as an artist, then becoming an advisor, a gallerist and now a specialist at auction, where do you most prefer to buy art: galleries, online platforms, art fairs, or auctions?
I believe we can buy art at those four places, plus I will add a fifth option. Galleries are the seal of approval that shows an artist is consistent enough with their work, while also caring for the artist’s career, which I appreciate as a former artist myself and as a former gallerist as well. Online platforms are a great way of comparing different artists with different mediums and at different galleries, which comes back again to the seal of approval and even curatorship. Art fairs, on the other hand, are the best way to interact with the galleries and maybe even the artists and, again, compare. These 3 first options are all primary market ways of buying.
Auctions, however, are the big opportunity gateway to start understanding the market as a whole and make more educated purchases. I personally started selling and buying at auctions and have not stopped since.
Now, the fifth option is buying directly from artists, and while it can be risky (knowing that the artist may not thrive professionally) it can also be fun, and they might end up being a tremendous success with a gallery to back them up, eventually.
How do you stay up-to-date with market trends and item valuations?
I study a lot and keep myself updated with the art portals which provide current sales results. It is so important to know what happens year after year, season after season, and how trends are affected. I personally love going to gallery openings and museums, and I love reading art publications. I watch live auctions almost as much as Netflix!
Now that’s the “real” reality TV! Let’s see if I can challenge your memory here, considering you’ve attended endless shows and auctions over the years. Which was the first that blew your mind?
So many exhibitions and art shows have blown my mind, as well as live auctions that were historical, such as the Leonardo da Vinci, which sold at Christie’s for $450,000,000. When I was around 12 years old, I went to a photographic exhibition in Brazil by Sebastião Salgado and I got emotional, then learning that when you get that reaction you have something called Stendhal Syndrome, which makes you cry at the sight of something beautiful. It has happened to me a few times since. I ugly cried when I saw a show by Group Zero at the Sakip Sabanci Museum in Istanbul in 2016. They are my personal favorite artists collective of all times.
Now, the first time I was on the phone tables at auction making a sale was very impactful for me too, and my first ever piece sold was a work by Brazilian artist Adriana Varejão (as a Brazilian myself, it was a total coincidence).
Love that! OK, you’re contributing to the recently released ArtCollect online program! Can you provide a quick synopsis of what participants can expect to learn in your module?
In this module, participants can learn how auctions work from the most basic perspective to the highest level of bidding, while navigating real stories and the excitement of building a collection as an investment or as a business. The regulations that suit and surround the auction world make it the most interesting part of the industry in my opinion, and people can expect emotion at every step of the process.
Find out more about Bianca here and keep an eye out for Part 2 of this interview!
Alaina Simone is the owner and founder of Alaina Simone Inc.. But that’s just the start. She’s also an art consultant, gallerist, curator, and artist liaison focused on internationally recognized interdisciplinary emerging and established artists, collections, and institutions. And if that’s not enough, she runs Alaina Simone Productions LLC, a production company specializing in creative partnerships between luxury brands, cultural influencers, and contemporary artists actively working across disciplines, practices, and fields.
She has also produced and curated internationally recognized exhibitions with corresponding educational programming. So with this background to share, we were thrilled that she agreed to join our ArtCollect program, as a co-presenter of Module 1: Building Your Art Collection and were eager to learn more about Alaina. Here’s what we found out:
Eve Bailey, “A Cage went in Search of a Bird (F. Kafka) Gesture 6560, 6319 and 6420”, 2010, graphite on paper with Selected Indigenous Art from Allan Stone’s Collection, Pende Helmet Mask (Democratic Republic of the Congo), Dan Zoomorphic Mask (Ivory Coast), Cameroon Figure, Ogoni Mask (Nigeria), Sepik River Mask, Nigerian Shoulder Mask, Bamana Mask (Mali), Yoruba Eshu Figure (Nigeria) and Ijaw Pangolin Headdress (Nigeria) and “Arco Iris”, oil on canvas by Joan Thorne, Simpson & Stone exhibition, collaboration with the Estates of Merton Simpson and Allan Stone, curated by Alaina Simone, 2014. Image courtesy of Alaina Simone Inc.
OK, with so much experience under your belt, we’d love to know what, in your opinion, makes up a great collection.
An Art collection should be invariant and naturally reflect the collector’s or institution’s interests. The works should all be “Museum Quality” and professionally installed or stored. It is best when the overall integrity and theme of the collection match the Artist’s intention. I love it when collectors develop a theme for their collections. I also love when collectors have outlandish collections based on their sheer emotions.
“Touch Has a Memory” exhibition by Kharis Kennedy at Caribbean Museum of Contemporary Art (St. Croix, USVI) curated by Monica Marin and Carla Acevedo-Yates, produced by Alaina Simone Inc., for TAKE 5 in St. Croix, 2016. Image by Wyatt Gallery courtesy of Alaina Simone Inc.
We know that you value being able to share ideas and work with artists, collectors, and institutions from around the world. So, do you have any advice for people who are looking to buy their first piece of artwork?
Buy what you love. Working with a consultant to build your collection is a good idea.
Advisors and consultants provide background information on the artwork and Artist. The buyer should buy art that inspires them and that they want to live with and interact with daily.
Makes perfect sense. Tell us a little bit about how you have made it your mission to elevate Black voices in the art world. How are you fulfilling this important goal?
I am fortunate to work with amazing and talented Artists, foundations, estates, and institutions.
Recently, I wrote an essay for an exhibition, “Black Artists in America: From Civil Rights to the Bicentennial,” curated by Dr. Earnestine Jenkins and published by Yale Press and Dixon Galleries in Memphis, Tennessee. This is the second iteration of a three-part traveling exhibition series. The exhibition is on view until May 19, 2024, at Crocker Art Museum in Sacramento, California.
“MVP: Sculptures by Melvin Van Peebles” at Sugar Hill Children’s Museum of Art & Story telling (New York, NY), curated by Damien Davis and Alaina Simone, 2022-2023. Image courtesy of Alaina Simone Inc.
Love that! Although I’m not sure where you find the time, being an art consultant, gallerist, curator, and Artist Liaison all at once. So many hats! What does a day look like for you?
I’m a forever gallerist and a dealer, which means I’m constantly liaising between the Artists and the public. Artists are always the most integral part of the equation for me, so working closely with them has always been the center.
Everything spreads out from there, including conceptualizing and curating an exhibition while simultaneously working with collectors and institutions.
“Green How I Want You Green” Performance by David Antonio Cruz, curated by Monica Marin and Carla Acevedo-Yates, produced by Alaina Simone Inc at Estate Whim Sugar Mill, (St. Croix, USVI), Take 5 in St. Croix, 2016. Image by Wyatt Gallery courtesy of Alaina Simone Inc.
Speaking of curating exhibitions, what was the first show that blew your mind?
That’s a tough question. My mind is constantly blown.
The King Tut exhibition that came to Memphis when I was a child changed my life. I never saw anything like it. My brother Ainsley screamed, “They Black, Momma.” Our eyes lit up, and it was exciting to see our reflection in the Art and history of this supreme ancient civilization.
Imagine my enthusiasm after discovering that my DNA has a percentage from Egypt. In a way, all these different African, Indigenous, Native and European cultures reflected in my bloodline personally make this journey with Art even more meaningful and impactful.
Everywhere you turn, there is more news about artificial intelligence (AI). From terrifying tales of robots taking jobs to strange stories about people falling in love with ChatGPT, AI seems to be everywhere. The art world is no exception.
In fact, as we move into this new frontier, we find that AI can serve us in the creation, curation, and sale of art. As the market evolvesto take on the new opportunities and challenges this technology presents us, both collectors and creators will have to reckon with the changes. Let’s dive into the top five ways AI is changing art.
5 Ways AI Is Changing Art
1. AI Art Generation
This is probably the first thing that jumps in your head when you think about the connection between AI and the art world. Beginning around the second half of 2022, headlines were taken up by the shockingly high quality images AI programs could spit out. But the art world has really been dealing with this phenomenon for much longer than that. In 2018, Christie’s auctioned off an AI-generated artwork for $432,500.
To make this artwork, Generative Adversarial Networks (GANs) are trained on enormous datasets of existing artworks. The AI then reverse engineers the images, making the program able to reproduce parts of them to satisfy the user’s prompts. This has sparked a lot of controversy, as visual artists claim that the AI is essentially plagiarizing their work — all without the original artists being compensated for their contribution.
Some artists are now using AI in the studio — not as a replacement but as an assistant. There are a wide range of tools that can help. Pre-visualization and drafting can now be easily iterated using AI art generators. This allows artists to rapidly produce and cycle through ideas, augmenting their creative process.
There are also now a wide range of tools that use AI to change images that you give it. For instance, Infinite Patternscreates new, unending patterns by morphing your input. Tools like this change the relationship between artist and AI tool in an important way, emphasizing collaboration between the two.
There are even algorithms that can mimic specific artistic styles. This means artists have the ability to immerse their work in the aesthetic of another era or artist without extensive study or training in that particular style. For instance, tools like DeepArt or DeepDreamcan transform a simple sketch or image into a piece reminiscent of Van Gogh or Picasso.
3. AI Art Curation
The 2021 Whitney Biennial hosted 64 curatorial statements and artist lists that were all curated by an AI program. Called The Next Biennial Should be Curated by a Machine, the resulting internet-based work of art created waves.
But two years out, and AI is only more capable of taking up curatorial responsibilities. Earlier this year, The Algorithmic Pedestalbrought together an exhibit curated by a human and one curated by an AI. This made a clear comparison, and it also highlighted key questions about how this new technology is shaping our visual culture.
On a more individual level, AI can also help create recommendations and so curate private collections. It’s kind of like the art world version of Spotify’s AI DJ. But it can help you collect art instead of discover new tracks. This last application is especially useful on online platforms for buying artwork, where there are simply too many options for a single user to sift through. AI, however, can look through the immense amount of artwork and suggest items that match the user’s taste.
4. Restoration and Preservation
One of the most optimistic uses for AI in the art world is centered on restoration and preservation. Here, these new tools are allowing us to better predict how artworks would have looked originally, helping to guide our decisions in their restoration.
The most direct way we can use this technology is in analysis. We have many techniques to peer under the layers of a painting to see into the process of Old Masters. But the more refined our imaging becomes, the more information it produces. That can lead to a confusing glut, where even experts have a hard time piecing together all the data available to them. But that’s not a limiting factor for machine learning algorithms.
They can also be used to digitally restore images. Cambridge’s MACH laboratory does this by finding spots where damage is likely and then recreating those sections. This was famously used to bring a Rembrandt painting back to its original size. In 2021, the Dutch master’s painting The Night Watch (1642) returned to its full size thanks to AI. It had been trimmed in 1715, but now we can see an approximation of what was lost.
5. Interactive Art
Creating fully immersive, interactive art experiences is now made much easier thanks to AI tools. These machine learning algorithms can be used to make installations more responsive to visitors.
An excellent example of this is teamLab’s Borderless exhibition. teamLab is a collective of artists, programmers, engineers, CG animators, mathematicians, and architects that create immersive digital art installations. Many of their works use AI to change and evolve based on viewers’ movements and interactions, creating a unique and dynamic experience for each visitor.
These projects can also help build massive collaboration between audience members, as in Es Devlin’s Poem Portraits. This installation invites participants to contribute a single word to a collective poem. An algorithm, trained on 25 million words of 19th-century poetry, then generates a unique poem for each participant, which is projected onto their face and added to the collective poem. This work combines machine learning and participatory art to create a shared experience that is simultaneously personal and communal.
The New World of Art and AI
The intersection between technology and art has always been a place of controversy and innovation. Right now, that means AI is at the forefront of the conversation. As we’ve seen above, it is reshaping so much of how we make, view, and buy art.
The next few years will reveal even more changes as we all try to navigate through our rapidly changing world.
