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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Connect with Victoria here.

Having had John Wolf participate in past panels and discussions, we quickly learned that we love his philosophy on art. He believes the primary focus of a collection is the passion, intellectual curiosity, and respect for the artwork.

John specializes in taking the extra time to demystify and educate clients about all aspects of the art market. Outside of traditional art advisory & brokerage, he consults the interior design trade and curates exhibitions. We’ve always kept abreast of what he’s up to and determined it was finally time to sit down and catch up with him properly. Here’s how that went…

1AN: You’ve built your reputation on demystifying the art world for your clients. What are some of the most common misconceptions new collectors have about the art market, and how do you help them move past those? 

John Wolf: One of the most common misconceptions new collectors bring to the table is the idea that the art market functions like other asset classes—linear, logical, and price-transparent. In reality, it’s far more nuanced. Many assume there’s a fixed formula to value, or that hype equals longevity, when in fact, the true worth of a work lies at the intersection of historical context, institutional support, and cultural relevance.

Another misconception is that collecting is purely transactional, about acquiring objects, when, at its best, it’s about building a relationship with art that reflects personal identity, curiosity, and legacy. I help clients shift from a scarcity mindset (“Will I miss out?”) to one rooted in discernment and meaning.

My role is to act as a bridge: translating the opaque language of the art world into something transparent, grounded, and strategic so that collecting becomes not just informed, but deeply fulfilling.

1AN: True, informed collecting is not only important for private collectors, but also for institutions and corporations, all of whom you work with. How does your advisory process shift depending on the client’s goals?

John Wolf: While the core of my advisory process, thoughtful curation, deep market insight, and strategic foresight, remains consistent, the emphasis shifts depending on the client’s goals.

For private collectors, it’s often about alignment with personal identity, legacy, and emotional resonance. The process becomes intimate, intuitive, and deeply collaborative. We explore not just what they want to collect, but why, uncovering the values and narratives they want reflected in their collection.

For institutions, the approach is more research-driven and mission-aligned. It involves curatorial dialogue, public engagement considerations, and often navigating acquisitions with an eye toward historical significance and educational impact.

With corporations, the strategy centers on brand alignment, space activation, and stakeholder perception. Here, art becomes a vehicle for storytelling, corporate identity, and cultural investment.

Ultimately, I adapt by listening deeply and aligning with the client’s broader vision whether that’s cultural stewardship, personal enrichment, or brand elevation, while bringing access, expertise, and clarity at every step.

1AN: What’s your advice for collectors looking to build a collection that’s not only visually striking, but also deeply personal and enduring over time?  

John Wolf: First off, forget trying to impress anyone. If you’re building a collection just to look cool or check some boxes, it’s going to feel empty real fast. The best collections, the ones that actually matter, start with what moves you. Not what’s trending, not what your neighbor just bought. What hits you in the gut? What makes you stop and think, “What the hell is this… and why can’t I stop looking at it?”

Collecting art isn’t about playing it safe. It’s about taste, risk, and owning your point of view. So yeah, go for pieces that are visually powerful but also make sure they mean something to you. Not every piece needs to match the rug.

And here’s the kicker: a truly personal collection? It ages with you. It becomes this mirror of your growth, your obsessions, your evolution. That’s where the real value is, not just in resale, but in resonance.

1AN: I love that! And speaking of matching your art to the rug or not, you also frequently collaborate with interior designers. What’s your approach to ensuring that artwork complements a space without compromising its integrity as a stand-alone piece?  

John Wolf: I really lean on the experience, talent and wisdom the designer is bringing to the project while aligning my own leadership on the topic of art and how our collaborative energy can create phenomenal results.  The key is to curate with intention, not decoration. I work closely with designers to understand the spatial flow, natural light, and tonal palette, while simultaneously considering the conceptual and material weight of the artwork. Rather than matching art to a sofa, we’re looking to create moments of contrast, harmony, or dialogue, where the piece feels not just appropriate, but inevitable.

It’s about balance: honoring the autonomy of the art while allowing it to amplify the soul of the space. When done right, the artwork doesn’t blend in, it deepens the experience of being in the room.

1AN: Makes sense! And as someone active in the LA art scene and involved with LACMA, what excites you most about the role of West Coast collectors and institutions in shaping the global art conversation?  

John Wolf: What excites me most about West Coast collectors and institutions is their willingness to challenge tradition and embrace experimentation. Los Angeles, in particular, operates with a certain fluidity free from the rigid hierarchies of older art capitals which allows for more inclusive narratives, risk-taking, and cross-cultural dialogue.

Collectors here are less concerned with pedigree for its own sake and more focused on relevance, vision, and impact. There’s a generational shift happening toward collecting with conscience, curiosity, and a desire to shape culture rather than simply inherit it 

Institutions like LACMA, MOCA, and The Broad are leaning into that energy, expanding their curatorial frameworks to reflect the diversity and dynamism of the city itself. As a result, LA is no longer just responding to the global art conversation, it’s helping define it. The West Coast isn’t on the periphery; it’s becoming the pulse.

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Connect with John here.

 

Nancy Gamboa is an art advisor based in Los Angeles whose boutique advisory focuses on establishing collections with sustained cultural, critical and market significance. She is known for guiding private collectors through individual acquisitions while maintaining a larger vision for their holdings. With expertise spanning emerging to blue chip contemporary art and historic works, Nancy’s LA perspective and global outlook has established her international presence.

In this conversation, we explore her insights on the secondary art market, the cornerstones of her advisory practice, and what she believes makes for a greater cultural and philanthropic impact.

1AN: Your advisory practice focuses on collections with lasting cultural, critical, and market significance. How do you define those qualities when evaluating a potential acquisition for a client? 

Nancy Gamboa: Discernment and alignment are key in evaluating potential acquisitions. I look beyond market trends to consider how an artwork resonates culturally, in its ability to shape or reflect broader societal conversation; critically as evidenced by institutional and scholarly engagement, and in terms of market, reflected in commercial viability and long-term value retention. For each client, I align these factors with their personal tastes and collecting goals to ensure that acquisitions hold meaning both in relation to the collector and as part of the evolving discourse on art. This holistic approach maximizes the potential for each acquisition to maintain relevance on multiple levels. 

1AN: Speaking of multiple levels, you’ve cultivated deep knowledge of the Los Angeles art scene while maintaining a global reach. How does your regional insight enrich your advisory work on an international scale?

Nancy Gamboa: Living and working in Los Angeles during a critical period in its development into a globally recognized art nexus has underscored for me the importance of physical landscape, community, and ecosystem in shaping artistic production and engagement. These physical and cultural topographies, informed by the network of artists, institutions, curators, collectors, galleries, auction houses, and artist-run spaces, give a city its cultural identity. In an art world where travel is essential, attunement to place allows me to contextualize artworks within their local milieu, while offering my clients a nuanced, global perspective as they consider acquisitions across diverse geographies. 

1AN: You work with everything from site-specific sculpture to time-based media to historic objects. How do you help clients expand their comfort zones while maintaining curatorial cohesion within their collections?

Nancy Gamboa: My advising process begins with a dialogue, educating my clients about art while listening closely to what resonates with them on a personal and aesthetic level. Together, we identify a focus for their collection, which serves as a unifying framework for future acquisitions. With this foundation in place, I guide my clients toward works that not only align with their focus but also challenge and expand it, introducing new media, ideas, and historical contexts to create collections that are deeply personal and dynamic both visually and intellectually. 

1AN: You’re deeply involved in philanthropic art initiatives, including overseeing museum loans and producing limited editions with artists. How do you guide collectors in aligning their collecting with greater cultural or philanthropic impact?

Nancy Gamboa: I offer my clients opportunities for philanthropic engagement that reflect their collecting goals and values while allowing them to take the lead on what feels aligned with their interests and ability to participate. This can take the form of exhibition loans, supporting nonprofit art initiatives, joining museum acquisition committees and patron groups, or providing institutional support through gifts and financial contributions. In working with collectors and nonprofit institutions, I’ve experienced firsthand how philanthropic engagement bridges collecting with broader cultural impact. This impact can occur at multiple levels, from an emerging artist benefiting from an exhibition loan or museum gift, to improved outcomes for communities in need, to setting a new standard for civic engagement, or providing the public with the opportunity to engage with work previously available to a rarefied few. 

1AN: The secondary market is a key component of your practice. What are some of the challenges and opportunities in sourcing and placing works at this level, and how do you navigate the nuances of discretion, provenance, and timing?

Nancy Gamboa: Discretion, diligence, and an unwavering fiduciary duty to my clients are the cornerstones of my advisory practice. I leverage every available resource, including galleries, private dealers, auction houses, institutions, and artist estates, to secure exceptional works of art for my clients. The secondary market allows for greater agility in responding to market volatility, access to rare and targeted works, enhanced negotiation opportunities on behalf of my clients, and direct deaccessioning options. Confirming provenance, ensuring appropriate pricing, and assessing condition are non-negotiable baseline requirements for any acquisition. Equally, maintaining a robust network and staying deeply attuned to market conditions and timing are essential elements that enable me to optimize outcomes for my clients at every stage.

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Connect with Nancy here.

We’ve been keeping an eye on renowned art advisor Laura Solomon, a prominent figure in the New York City art scene, and were excited when she agreed to an interview. With years of experience navigating the intricate world of art acquisition and curation, Laura has established herself as a trusted expert for collectors seeking to enhance their art investments. Her keen eye for emerging talent, deep knowledge of art history, and passion for fostering meaningful connections between artists and collectors have earned her a distinguished reputation. Today, we’ll delve into her journey, insights into the role of an advisor in the art market, and advice for both aspiring collectors and seasoned enthusiasts. Read below to explore the dynamic world of art through Laura’s perspective.

1AN: You’ve had the rare opportunity to work closely with both artists, like Karel Appel, and collectors at the highest level. How has that dual perspective influenced your approach as a private advisor today?

I definitely have a well-rounded perspective having spent decades working with a handful of significant artists. For the artist and studio, knowing the collection and having a direct relationship with the collector is highly valuable. It harkens back to the days when artists were supported by wealthy patrons. The collectors I work with greatly value forging connections with artists and cheering on their successes and supporting their careers over time. On the other hand, I am keenly aware of supply and demand and how acquiring work from a particularly prolific artist has its own set of concerns. This knowledge has also given me an understanding that an artist’s practice and output is not always even and consistent. I know how to evaluate the various phases of an artist’s oeuvre and prioritize certain pieces/periods. I am confident in my ability to select the strongest work out of an exhibition or series. 

1AN: Well, your confidence is well earned with experience, considering you’ve been immersed in the art world since the early ’90s. In your view, how has the role of the art advisor evolved over the past three decades not just in terms of client expectations, but also in the broader context of market transparency, access to information, and the growing intersection between art, lifestyle and investment? 

The role of the art advisor has changed so dramatically in the past few decades as to render the early role one that barely resembles the art advisor of today. Back then, the amount of time it took to source, present and finalize an acquisition took weeks, if not months. In the early days, I would have professional transparencies taken or duplicated and a lengthy art historical write up accompanied catalogs and press packets – all messengered to client’s residences for consideration. I remember using an annual Art in America guide to track down international sources and relying on faxes. A good library was everything and I would sometimes go to Ursus Books by the Carlyle to find an obscure publication to source collectors of a coveted artist.

Being a good advisor has always required resourcefulness, diligence, thoroughness and professionalism. As the art world evolves, you need to be able to see beyond market and media hype to find quality, value and resonance, a perspective that is both macro and micro.

Today, the speed with which information and images are received and sent out is virtually instantaneous. I am checking on emails all day and night and it is often the sooner you act on an offer, the better the chances for “getting” the best work. With that dynamic, it is imperative that you figure out who your collector is and what motivates and inspires them. Then, you need to educate them on artists of interest so much so that when a work drops into their inbox that I have tentatively secured for them, they are in a position to immediately say yes. I feel extremely well-equipped to get collectors ready so that they can take advantage of the privileges that my reputation affords them. So much about being an art advisor today is about access – it helps to be a veteran and to have so many strong relationships that span decades. 

A fully transparent relationship with collectors is essential. Having a contract that delineates my role, how I am compensated and sets the expectations for our relationship is part of that transparency. My clients know that my fiduciary responsibility is to them and as their advisor and I don’t muddy those waters, ever. It also helps to have the most wonderful collectors who don’t speculate or flip and are grateful for the depth of experience and self-expression that collecting affords. I love being in a role where I can metaphorically hold their hand as they develop and introduce art to their lives.

1AN: So, for those collectors who are aiming to build a collection that holds both emotional resonance and long-term value, what guiding principles would you recommend? What role do you, as an advisor, play in helping them navigate that delicate intersection between heart and market?

An art advisor’s role is to do just that – distill the market and understand value-making while allowing the collectors to focus solely on the deep emotional connection. It goes without saying that you hire an art advisor to help you make “good” decisions because of the significant cost of acquisition. There are notable benchmarks I search for when looking at an artist’s bio that can help me find standouts from the hundreds of emails and offers I sift through in a day. The collectors I work with are thrilled when their collection has increased in value but that is not why they collect. I educate them about the market but give them the freedom and confidence to collect with all heart.

1AN: You’ve worked on residential projects at the highest level. How do you approach collaborating with interior designers to ensure the art not only complements the space but also maintains its own integrity and impact within a curated environment?

It is all about asking the right questions and with designers, it is easy to speak their language. When I am tapped by a designer to help source work for a particular project or client, I am very specific in my conversations surrounding aesthetics to be sure I know how they want the art to dialogue with the surroundings. Sometimes, designers are looking for a balanced and cohesive combination of art and interiors. Other times, they are looking for art to add another layer to a space, to find pieces with more depth that have a stronger presence than the interior. In any case, at this high level, the art is not “decoration,” I work with designers to elevate their vision through the presence of fine art.

If I am working with a collector with a major designer attached to a particular residence, I definitely like to involve the designer but at the end of the day, the collector is the one that will ultimately need to sign off on the acquisitions.  It is usually seamless and the collector has chosen to work with a designer because of their vision and execution.

In one instance, a client and a designer I work with often restored, renovated and decorated a magnificent manor house with incredible, eclectic antique furnishings. Rather than continue the trend of sourcing from the period, the collector amassed an impressive collection of challenging Contemporary Art that was impactful and daring. The result was massively successful and the juxtaposition of historical and contemporary was magical. The designer was thrilled and everyone agreed that the marriage of the two, though widely disparate, was fantastic.  

1AN: OK, but aside from residential projects, your advisory work also spans corporate and hospitality spaces. How does your curatorial strategy shift depending on the type of environment you’re sourcing art for?

When it comes to advising for a corporate or hospitality space I curate based on how the space is used. If I am selecting work for a W Hotel, for example, there is a certain level of intrigue and provocativeness that is present in my recommendations, based on the stylish brand and clientele. In contrast, if I am selecting work for a law firm, I may recommend art that is grounded, strong, contained, and current. A recent law office included some ultra-contemporary art to keep in line with their clientele that are often at the forefront of culture; portraying a vibrant firm that is up to date and “in the know”. Of course, that art wasn’t too provocative so as to incite controversy, but it wasn’t dated, for sure! Regardless of the type of environment I am sourcing for, part of being a great art advisor is knowing your client so well as to be able to interpret their personality into aesthetic choices. It is essential to have a deep understanding of the kinds of art that inspire and move them. Considering and interpreting the space where the art will hang and how that space will be used and inhabited is crucial.

Connect with Laura here.

Nina Kong-Surtees has long been a go-to when it comes to legacy preservation. But the NYC-based art advisor also specializes in collection management and cultural stewardship. As the Founder of smART Advisory, she bridges the gap between artists, collectors, and institutions—helping collectors build meaningful collections that appreciate in value while inspiring future generations.

We wanted to better understand how her strategic perspective helps collectors navigate the complexities of the art market while securing their place as cultural stewards. So, we sat down for a chat with Nina and this is what we found out.

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1AN: Building an art collection is a deeply personal journey. What advice do you give collectors who want their collection to reflect not just their tastes but also a lasting legacy for future generations?

Photo Credit: Eric Minh Swenson

Art collecting is both a mirror and a time capsule. I always encourage collectors to think of their collection as a living archive of values, interests, and stories. The most impactful collections go beyond aesthetics and financials—they carry the collector’s vision of the world they want to preserve or provoke. My advice is to start by defining what matters most: Is it cultural preservation? Social impact? Championing underrepresented voices? Once that foundation is clear, we build with intentionality. I help clients think about how their collection can serve as a bridge between generations, whether through museum donations, exhibitions, or archival storytelling. Legacy isn’t just what you leave behind—it’s what you stand for.

1AN: I love that! Many collectors focus on acquiring art, but clearly, legacy planning adds another layer of responsibility. What are some of the most overlooked aspects of maintaining and preserving an art collection for future generations?

Art isn’t static—it needs care, context, and contingency planning. One of the most overlooked aspects is documentation—provenance, condition reports, exhibition records, even artist correspondence. These are the invisible threads that hold a collection together over time. Without them, even the most significant works can lose context, value, or even visibility. 

Another critical element is succession planning. I work with collectors to develop stewardship strategies: Who will care for the collection? What are the long-term goals—public access, philanthropic giving, or continued private enjoyment? I also often advise setting up a dedicated foundation or working with estate attorneys and appraisers to ensure the collection’s financial and cultural legacy is protected. Future-proofing a collection means balancing preservation with access, and passion with planning.

1AN: “Future-proofing” a collection is not the first thing many think of! Although collectors are familiar with art advisors, fewer understand the role of an art legacy advisor. How does your approach differ, and what unique value do you bring to the collecting process?

While a traditional art advisor helps collectors acquire and manage works based on market knowledge and taste, my work as an art legacy advisor goes deeper—I help clients articulate and activate the why behind their collection. It’s a holistic approach that blends curation, collection management, and long-term visioning. I bring together the creative, financial, and archival aspects to build something enduring. Whether it’s preparing a collection for museum donation/exhibition, advising heirs on how to engage with inherited works, or mapping out cultural impact, my role is to ensure that the collection outlives trends and generations—while remaining deeply personal. Legacy is not just a final chapter; it’s a living and breathing entity.

Think of me as a cultural futurist—I help collectors shape how their art lives on in the world long after it leaves their walls.

1AN: That’s so important! Now, you’ve integrated business principles from tech, design, and beauty into the art world. How has this cross-industry experience influenced your approach to advising collectors and artists?

Innovation and storytelling are at the heart of every creative industry—and the art world is no exception. My experience in tech taught me how to scale systems and think about digital legacy: How do we preserve, catalog, and share collections in a way that transcends physical space? Design taught me the importance of cohesion, user experience, and spatial storytelling. And beauty—especially brand-building in that space—taught me how to translate emotion into identity. I bring all of these lenses to my work in art advising, helping clients not only build thoughtful collections but also communicate their values, support artists meaningfully, and create experiences that resonate. It’s not just about what you collect—it’s about how and why you show up in the art ecosystem.

1AN: As a member of multiple organizations that support women in the arts, how do you see the role of female collectors, curators, and advisors evolving in today’s market?  

We’re in a pivotal moment where women are not only shaping the narrative—they’re leading it. Female collectors are investing with conviction, supporting overlooked artists, and building more inclusive legacies. Female curators are rewriting institutional priorities. And as advisors, we’re championing transparency, collaboration, and long-term impact. I see the rise of a new kind of collector—one who is values-driven, community-minded, and fearless in forging new paths. Organizations that uplift women in the arts are essential in sustaining this momentum. I’m constantly inspired by the women I work alongside and advise—they’re redefining what power and presence look like in the art world. And we’re just getting started.

Connect with Nina Kong-Surtees here!

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 movement that 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 Museum further 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.

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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…

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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.  

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Connect with Natasha here!

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.

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 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.

 

Connect with Adam Green here!