Blog

Collecting art is a thrilling adventure — one filled with beauty, the excitement of a great find, and the triumph of a profitable sale. But breaking in can be difficult. While the art world can seem cold and uninviting, all you need is a little guidance.

Below, we’ll outline some key tips to getting started. There is no reason why you can’t become an art collector, as long as you know how to begin.

Where to Start: Learn What You Like

Collecting art begins with knowing what you like. The art world is massive, involving countless artists working in hundreds of mediums in thousands of schools, movements, and styles. When you aren’t putting down any money, it seems so easy to say whether or not something looks good — but once you are looking to buy, it gets a lot more difficult.

And remember: always buy art you actually enjoy. Life is too short to waste time and money on work that you think others like or will make a profit later on. The truth is, even the shrewdest, best educated art collectors can’t predict what will make big returns 100% of the time. And since you will be investing money in these pieces, you should enjoy them while they hang on your wall.

Luckily, educating yourself on the art world is one of the best parts of being a collector — it means you get to look at a lot of art.

Art Sharing Websites
Platforms like Pinterest, Instagram, and Tumblr are made for sharing images. Searching for pieces you already know you like will lead you to new pieces you’ve never seen. Pretty soon you’ll be falling down a rabbit hole of intriguing work.

Other art focused websites, like artnet and Artsy, have information and articles on the art world. These websites can bring you in touch with art you might not have found on your own, expanding you horizons.

Museums, Local Galleries and Art Fairs
Nothing beats seeing art in person. Well curated museums will often include educational information about certain schools or movements that you respond to. Local galleries are usually run by people happy to share their experience and knowledge, and guide both new and experienced collectors to help them make informed purchasing decisions.

Art fairs are fantastic places to discover artists and meet like minded art lovers. Walking around and seeing everything that’s available gives you lots of new experiences to consider.

Whether online or offline, you will also end up making friendships with other art lovers. These are great resources for discussion and inspiration.

What to Buy: Find Great Art for Great Prices

Beginning your art collection means finding the right piece, getting it for a fair price, and taking care of your purchase.

Understand Your Needs
When buying art, remember that it will most likely stay in your home or office. Keep in mind the places you’ll put the work: above the staircase landing, by the desk, or in the kitchen. Note the dimensions of the space and colors.

You’ll also need to finance the endeavor. This is worth taking very seriously. Art is seen as a great investment because it can appreciate in value over time, but you cannot quickly sell your collection if you get in a fiscal pinch. For budgeting purposes, each purchase should be seen as final.

On top of the price of a piece of art, remember that you might also face other costs such as shipping, insurance, taxes, and other fees.

Go Where the Artists Are
Once you know what you need, it’s time to find the art you are actually going to buy. An exciting step! Let’s keep in mind that you are starting your collection and not ready to bid a million dollars at a Christie’s auction. Today, the best places to find art for great prices are (in no particular order):

• Instagram
• Art shows and fairs
• Graduates from art school
• Art auctions

Instagram makes following artists easy. Through their accounts, you can effortlessly connect to related artists. With a little bit of scrolling and tapping, you’ll have your finger on the pulse of your favorite corner of the art world. Many artists are now selling directly through Instagram and advertising where you can find and purchase their work. Buying from the artist will almost always get you the lowest price possible.

Art shows and fairs are another great place to look. If you live in or near a city of almost any size, there are events going on all the time. You just need to be on the lookout. Here you can hold face-to-face conversations with artists and other collectors — two groups you’ll be buying from in the future. As an added bonus, there is nothing quite like the energy of an art show — the free wine and cheese are great, too.

If you research the graduates coming out of art school programs, you’re likely to find some of tomorrow’s big names. They cannot all become major successes, even when they make great work, but because they are starting out in their careers, you can generally purchase their work for a low price. A few smart choices and a little bit of luck will make for big gains later on.

Art auctions are still another way to find art at good prices. There are a number of ways to attend one, both online and off, and there are plenty of resources to understand what is available to buy.

How to Spend Less Money
The main way collectors can avoid overspending is by focusing on:

• Works on paper
• Prints

Works on paper are typically not very expensive, seen as below the mighty canvas or even board. These can still be striking in their beauty and, with the right signature, gain in value over time.

Many artists will sell prints of their work for low prices, and new collectors are always interested in that. These can be smart buys, but it is important to know exactly what you’re getting.

Fine art prints are replications of works that cost less than the original. If you are buying with no intent to sell later on, buy any print that suits your tastes. However, if you are treating the purchase as an investment, make sure to purchase limited edition prints.

Limited edition prints are created in small batches. They are numbered and signed, ensuring that they hold more value and have the ability to appreciate over time. While they won’t bring the same kinds of returns as original artworks, they often cost significantly less, allowing you to buy (and enjoy) more artwork.

How to Handle and Frame

A work of art, handled correctly, is a solid investment and will provide joy and aesthetic value for a lifetime. If handled incorrectly, it’s an easy way to waste your money.

It is always important to make sure you know how to handle and store your pieces correctly. If you can, ask the artist or dealer that you are buying from. Never be afraid to ask!

With two dimensional art, you will always want the work framed. Find a framer you can trust and have it done right the first time. Of course, you want the frame to look good — but just as important is its ability to protect your piece from moisture and UV light, among other concerns.

Getting into art collecting can be a daunting task, but you only need to take the steps one at a time. Start small and get your bearings. Soon enough, you’ll be surrounded by great art.

To start, we confess that because we have so much to discuss with Justin, we deviated from our usual 5-question format and added a 6th question here. Oh, and full disclosure: we also snuck in an additional bonus question!

That being said, we are thrilled to chat with Justin Anthony, co-founder of Artwork Archive, an innovative art business management software brand based in Denver, CO. Launched in 2010, they were one of the first cloud-based art inventory systems. Let’s find out why that’s important!

What motivated you to found Artwork Archive?

There’s actually two parts to that story and I’ll try to give the cliff’s notes version.

John, one of the founders, originally created Artwork Archive for his mother who is an oil painter out of Colorado Springs, CO. She had a hard drive crash and lost years of information about her art career. This was over a decade ago and all the solutions out there were basically glorified spreadsheets that were vulnerable and limiting. John set out to create something that would truly fit the needs of a modern-day artist and worked with his mother and other artists around the country to help create the first cloud-based solution of its kind for artists.

The collection management side of the company was also created to address a personal need. I am a collector (and the other founder of Artwork Archive). My basement flooded and a number of works were damaged. I was unable to find the receipts and documentation for the works which made things incredibly difficult with the insurance company. When I looked for a collection management solution to help avoid this issue in the future, I discovered overly complex, overpriced and often antiquated solutions out there. John and I worked together to create a collection management solution focused on accessibility (ease of use, ease of collaboration, affordable price point) with an intention of disrupting the market. The platform is now used by artists, collectors and organizations in over 130 countries.

Is Artwork Archive for established collectors with expansive collections only? Or would emerging collectors benefit from this tool as well? If so, how?

We actually have a really diverse collector base using the platform.

For emerging collectors, it’s great to have a tool that can help you build and catalog your collection thoughtfully as your collection grows. It’s never too early to digitize and track your collection details like purchase prices, provenance documents and artist information. Plus, it’s a lot easier to do it from the beginning rather than going back retroactively.

For established collectors, you have all the tools to simplify things like insuring your collection, accounting, and estate planning. Plus, established collectors have the more personal benefit of being able to fall in love with and appreciate their collection again. They have access to images and details anywhere.

While the desire to get the collection organized is typically the initial draw, no matter the stage the collector is in, there are a wide variety of features that benefit the collector throughout their lifetime and the evolution of their collection.

What’s the benefit of a cloud-based art inventory system?

Accessibility is definitely one of the biggest benefits. Being able to add to, update, share, and access your collection from anywhere on any device is essential. Many of our clients have art in multiple places and they have other people, professionals and institutions that they need to collaborate or share with. The Cloud simplifies those things.

And, by leveraging data security best practices, we can provide our clients with the peace of mind that comes with knowing their data is safe and secure which is a challenge with traditional “download only” solutions. It’s one of the biggest reasons why we exist. Almost everyone on our team has lost important data from computer crashes.

Lastly, the Cloud gives us the ability to seamlessly deliver product improvements and new features to our clients. This is something that just doesn’t exist with traditional solutions.

How do you help artists become entrepreneurs?

When we started Artwork Archive ten years ago, our main goal was to help artists make a living doing what they love. And, while the company has evolved over the years and has solutions for collectors and art professionals, that original mission remains a core driving force.

Whether you like the label or not, if you are an artist, you are an entrepreneur. You are a small business owner and creativity alone is seldom enough to drive success. You have to wear a lot of hats—maker, sales person, marketer, customer support, etc.. To help artists focus on what they love doing (making art), we offer business solutions that cut back the administration time. Our features include sales and invoicing, expense tracking, report generation (like inventory sheets and consignment reports), contact management and a Public Profile that can be embedded on their website.

In addition to constantly working with our artist clients to provide the tools needed to help them manage and grow their businesses, we also spend a great deal of time providing educational content to help them thrive. Our blog, artworkarchive.com/blog, has become one of the go-to resources for both emerging and professional artists alike and focuses on all aspects of the entrepreneurial journey. It’s also a great resource for collectors!

And how can Artwork Archive support artists in a way that a gallery or an art agent can’t?

I don’t think they are mutually exclusive. We have never looked to step into the roles of a gallery or agent and see ourselves as a platform that can complement both or neither.

We have an equal mix of artists with and without representation and in both cases, the tools we provide are equally beneficial. We have even built specific features to help simplify and improve the interaction between our artists and the third parties they choose to work with. For instance, we have a Discovery platform where artists share their portfolio and the compelling story of who they are as an artist. It’s a great opportunity to expand the artist’s network. We’ve seen interior designers, collectors and curators search the Discovery platform by location, medium, price, etc.. Digital platforms can break down geographical barriers and help share artwork in a more accessible way. But, we are just the platform for those connections. The communication and relationship building stems from and continues with the artists and buyers.

With the art market moving online more and more, how do you see the art market changing in the next 5 years?

The art industry has traditionally lagged behind other industries when it comes to technological innovation. The current pandemic has done more to accelerate the move online and we’ve seen a dramatic change in the market. Artists who relied on galleries, art fairs, exhibitions and other in-person experiences are all of a sudden finding themselves without those outlets and are racing to find alternatives to showcase their work and share who they are as an artist.

Dealers, galleries and art institutions around the world are also facing similar challenges and are trying to find the most effective ways to get their art in front of their respective audiences. We’ve seen a lot of exhibitions and showcases moving online while doors are closed, and social distancing restricts access.

Those of us that have focused on online solutions are well positioned for this change. But there are countless solutions in the space that aren’t pivoting and we’re already seeing some of the consequences as clients seek alternatives. For instance, we’ve had many art consultants, collectors and collecting institutions come to us because they need a system that is accessible anywhere and enables collaboration as people adjust to their new normal of remote working.

Art market services are forced to focus on innovating to meet the needs of modern times. I believe this will drive some of the most impactful technological advancements the art world has seen in decades.

All of that said, I don’t believe we will see a significant change in the average price point for works sold online. Yes, there will be an initial bump up as there is little alternative for sales (not to mention more auction houses going to online transactions and artificially inflating the numbers). I still believe that art over the $1000 price point will still be mostly purchased through more traditional/personal means.

While I have confidence that we’ll see some major technical advancements, it’s hard to imagine that in five years we’ll have a widely adopted means of replicating the experience that comes with seeing a work of art in person, not to mention the chance to personally interact with the artist.

BONUS QUESTION: What international art destination do you want to visit most?

Paris remains one of my favorite art destinations. The access to classics combined with the raw street art and off-the-beaten-path galleries is a powerful lure. And, the wine and food doesn’t hurt the experience.

1AN members receive 20% off their first year subscription to Artwork Archive! Get your discount here!

NOTE: Please be sure to check out Artwork Archive’s webinar, which launches on October 12^th, 2020: COLLECTION CERTAINTY DURING UNCERTAIN TIMES.

This course will give you the tools and information needed to protect and preserve your art collection.

Millennials are doing things their own way. Their passage into adulthood has seen sweeping changes to the way business is done in so many fields, and art is no different.

This group is young, the oldest are only now pushing 40. Millennials are people born somewhere between 1980 and 1997 — give or take a few years, definitions vary. This is the first generation considered digital natives, meaning they grew up knowing about and using computers. Their childhood saw the rise of the internet, cellphones, and everything that came along with those innovations.

Understanding how millennials are changing the art world is crucial as the generation matures and becomes the main art buying segment, which could happen within the next decade.

What’s more, these changes are likely to last. Gen Z, who are born after the year 2000, are digital natives as well, and they will likely continue in the shoes of their millennial older siblings — with their own quirks, no doubt.

Small Budgets Make Big Changes

The first item on this list affects all the others. Millennials tend to have much smaller budgets for collecting, and there are many factors contributing to this. The most obvious cause of smaller budgets is age. Younger people tend to earn less, being at the beginning of their careers.

But as a generation, millennials also face much more dire economic opportunities than previous generations. Young people today came of age in a financial crisis and emerged from college with high debt burdens and poor job prospects. Of course, millennials might catch up with older generations in the future, but that is yet to be seen.

In the meantime, millennials are dealing with smaller budgets for buying art. Many collections are being started with pieces on the less expensive side — think $5,000 or less. As millennials gradually make up a larger share of total art purchases, this could create a great opportunity for artists working in that price range.

The Tastes of a Generation

Millennials tend toward buying newer pieces, and they’re much more adventurous. Traditional wisdom has always leaned toward collectors staying in a realm of expertise, cultivating a collection with an ever growing understanding of the style and medium they buy in.

Young collectors are not so cautious. They are more likely to switch up what they are buying, as long as it’s new. While lower budgets could explain some of the preference for contemporary art, tastes are also a factor.

Learning through Social Media

Like all things millennial, social media platforms are a major way young art buyers are learning about what they like, what others like, and what’s available in the first place. Social media allows art collectors to have direct contact with artists and fellow enthusiasts, filling their feed with new work all the time.

That changes the way millennials are feeling out the art market. Gone are the days of major institutions dictating trends. Similarly, social media is de-emphasizing the canon in favor of newer work.

Buying Art Online

As a generation, millennials are buying much more of their art online, as opposed to traditional channels like galleries and live auctions. These online purchases include direct purchases from artists themselves.

The downside of this trend is the hit to galleries. Gallery owners are no doubt saddened by this, but art communities are hurt as well — galleries often serve as cultural centers. But dealers are adapting with online art stores and sophisticated target marketing.

Direct online sales can benefit artists just starting out, if they are able to entice young collectors through online engagement. Their lower price tag often matches the millennial art buyer’s budget, and as newer artists are typically millennials themselves, they have an easier time servicing the tastes of their cohort.

Flipping Art for Quick Returns

Art serves many purposes. And a higher percentage of young collectors see art as an investment opportunity than older generations. When the Hiscox Art Report pollsters asked millennials what motivated them to buy art, return on investment was second only to emotional benefit.

This perspective changes the kinds of pieces and artists that millennial collectors are looking for, but it also means that they are much more likely to sell pieces in the near term. That quick turnover in a collection requires a lot of activity and reinvestment in art.

Identity Over Big Name Value

A major trend across the culture in the past decade has been a focus on identity, this is especially true for art. Millennials are seeking out specific voices — discovering talent with backgrounds that have tended to be dismissed by institutions in the past.

Artists of color and women artists are seeing increased success and a market more open to their contributions, largely thanks to millennial collectors. In fact, millennial collectors are more likely to be women and people of color themselves.

This trend has also seen an increased appreciation for work about the artist’s identity. Pieces that stimulate these kinds of discussions are much more likely to get the attention of a millennial collector.

The Takeaway

It is clear that millennials are changing art collecting, a change that will make its presence felt more with every passing year. Sure, some of these trends might reverse course. For instance, millennials might begin favoring more classic fare, if they start earning more and changing taste with age. Then again, maybe not.

What isn’t going to change is the importance of digital platforms for communicating with and selling to collectors.

Every generation has their own unique experiences and drives, their own economic reality. Millennials are no different in this regard. And as a group, they are driving the art world to new frontiers, whether artists and dealers are prepared or not.

If you don’t know of Pi-eX by now, you certainly should. Why? Well, Pi‐eX Ltd is a London based, FCA regulated, financial broker dealer, focusing on Fine Art market research and Fine Art‐based financial instruments. Christine Bourron, the Founder and CEO of Pi‐eX, took time to explain the company’s mission and discuss the current status of the art market among the corona virus pandemic.
She also recently delivered an engaging webinar for 1AN: WHAT DATA TELLS US ABOUT THE IMPACT OF COVID-19 ON THE ART MARKET, in which she examines what trade data is available in the art market and, accordingly, what’s next.

Why did you start Pi-eX and what’s your mission?

I started Pi-eX in 2014 with the mission to provide all art market stakeholders, from art collectors, passionate amateurs to professional dealers and investors, with the same level of information, transparency, regulation and financial insurances they can expect when buying or investing in any other asset class.

Pi-eX Research services provide transparent information and non-biased analysis based on our proprietary database of public auction sales. The data on which we base our reports is systematically cleaned and we make sure it is not only correct but also exhaustive. Our methodology is standardized, systematic and granular, which allows for a true picture of the art market without any bias.

Pi-eX is an FCA regulated company and our clients can trust that we provide a fair and accurate view on historic and ongoing trends in the fine art market.

What do you see as the number one differentiator of the art market PRE-coronavirus and MID-coronavirus?

I think a key differentiator during and after this crisis will be the combined receptiveness and responsiveness of art stakeholders. The coronavirus pandemic is shaking the core foundations of the art market and this is not only affecting the market today, but it will also have consequences on the art market of tomorrow.

With this in mind, I think the ones who will rebound and thrive in the future are the ones who are able to understand and adapt to the new reality early enough so that they can, not only survive the challenging times, but also be in an even better position to grow when the pandemic is behind us.

On the opposite, the ones who will be most impacted by the pandemic are the ones who fail to recognize early enough that Covid-19 will have a long-lasting impact on the art market.

In light of the times, online sales are playing an increasingly important role at auction and it certainly seems that now is the time to embrace digital strategies. But is this just a trend or will it persist well into the future, after the current pandemic?

Online sales indeed are playing a critical role in the art market today. As outlined by Pi-eX research, March 2020 was the first month when online sales at Christie’s, Sotheby’s and Phillips represented the majority of auctions arranged by the auction houses (60%).

This was followed by online sales representing 100% of auctions arranged in April 2020. While this clearly outlines the key role online auctions are playing during this pandemic, one should not forget that the main reason for this is that auction houses are prohibited from arranging live auctions.

In the future, after the pandemic, I am convinced that auction houses will hurry up to reintroduce live sales. Surely, online sales will still be available for those who prefer to buy via their computer, but there is no doubt in my mind that the focus will switch back to live day and, especially, live evening sales.

Based on performance in the past month or two, can you imagine a world where all auctions turn to online and generate enough revenue to sustain the auction business?

If anything, I think the past few months have confirmed so far that there is no way auction houses can rely entirely on online auctions as opposed to live auctions. Pi-eX Research already showed that online auctions were far from being able to generate as much revenue as live auctions. Our standard annual report for the year 2019 outlined that online auctions at the top three auction houses generated on average US$1 million per auction for that year. This was much less than live day auctions which generated on average over the same period about US$9 million, and this was clearly much less than live evening auctions which generated on average US$49 million.

At the beginning of May, Sotheby’s CEO reported that Sotheby’s had held 37 online auctions totaling nearly US$70m. This means that Sotheby’s online auctions brought in on average US$1.9m per auction. This is almost double the average revenue generated by online auctions at the top 3 auction houses over the past 3 years as shown above. While this is an impressive result in this time of crisis, it certainly shows that online auctions are still far from being able to replace Live auctions.

Any predictions for the market POST-coronavirus?

During the coronavirus pandemic and in its aftermath, I think the art market will suffer from an accentuated liquidity issue. In other words, I think it is going to be quite challenging for sellers to obtain the prices they want for their artworks.

The art market is already not the most liquid market as opportunities to sell, especially high-end art, only come through at particular times and particular places. A few of these have already been missed as live auctions around the world were cancelled due to the pandemic. This was the case for example with key sales as the Paris March Impressionist sales, the Spring Hong Kong sales or the New York May evening sales.
Some of these sales will be held at a later time, but one can wonder how much art the market can take if all these sales happen within a short period of time.

As we enter these times of uncertainty, I think we will see some works offered at lower estimates at auctions as well as more works sold through private sales. In such unchartered territory, I believe that ongoing reliable information on the state of the art market will play a crucial role in aligning expectations between buyers and sellers.

Watch as Pi-eX analyses historical auction sales trends to understand the impact Covid-19 is having on the art market as of end of March 2020. Watch now and read more about Pi-eX here.

This month, our featured member is a Generalist. In other words, she knows a wide variety of cultures and art, with a major interest in Oceanic and African art. Jessica works with collectors on displaying their formed collections and consults on collection management, whether it be acquiring or deaccessioning privately, by auction, or donation.

She has also accessed and handled the most unique and obscure artefacts from Egyptian mummies to special FX movie memorabilia, contemporary artworks, and photography. Let’s put it this way: If you are looking for something unique, she either has it or she can locate it for you.

Do you have a routine when visiting a museum/gallery?
For art galleries, I begin where my eyes take me. Whichever piece grabs me first, I start there. If there is an artist statement, I enjoy reading it after I have digested the first artwork that drew me in. I like to begin with my own point of view and fresh eyes, then look at the work as the artist intended.

When I visit museums, I begin either at the special exhibition if I am there to view it. Afterwards, I start from the very top floor and move my way down. There are certain museums where I visit specific works; when at the AGO, it’s the portrait of the Marchesa Louisa Casati by Augustus John, the Frum African art collection, and the Henry Moore room. At the MET, I always visit the head of Nectanebo I or II. We sold it at Christies back in 2007. Jeff Koons purchased it and donated it soon afterwards. I also visit the Rarotonga God Staff that we sold through Sotheby’s. They are not only two of the most memorable deals I have ever worked on, but also special moments of my past life.

Tell us about the most recent piece you acquired?
I just bought a 6-foot baleen sled from Alaska through a Belgian Auction House. It has a beautiful black gleaming patina and many scratches showing use. I’m excited to see what the old collection tag says, as it wasn’t listed in the description. Baleen is the keratin fibre from whales commonly used for basketry and sleds in the arctic as there was a major lack of trees to use. I believe that it is mid to late 19th century but will not know until it arrives.

What’s your art world pet-peeve?
People thinking, they “can’t afford art”. There are many reasons to buy art, and there is a major difference in buying for love and investment, although if you are buying for an investment, I suggest love is also involved. Some people are born collectors. Others buy to decorate, others buy to keep up with the Joneses, and some folks have a grocery list of the best.

I also despise when people judge and jump to negative assumption in collecting ethnographic art. Education and research are major pillars of this field and is also responsible for many of the modern greats we praise. We are merely care takers for the art that comes into our lives.

What international art destination do you want to visit most?
Italy. All of Italy. And the South of France. I always attend Parcours des Mondes in Paris, France every September. It is THE place to be for Ethnographic Art.

If you could have dinner with three artists from the past, who would they be?
Pierre Soulage, Pablo Picasso, and Jack Bush.

And this is why we love our “Get to Know Our Members” feature… we have so many inspirational members, whom we are so proud of, just like Jessica! Please read more about her adventures here.

While most artists would want their pieces to end up taking a share of that $64 billion art market, the reality is that they may end up selling only a few paintings — with the majority of their work having to go into storage for a few weeks, months or even years.

Some pieces may not be good enough to capture the eyes of art enthusiasts, while others have so much sentimental value attached to them that you choose to hold on to them forever. However, if you want to maintain the quality and value of your artworks, dumping them in a closet, storage unit, or corners of your studio just won’t cut it. Whether it’s your child’s crayon doodles that always give you a warm feeling in your heart or it’s a masterpiece you’ve worked on for years, art needs to be stored in a certain way to ensure that the paint, frame, and canvas aren’t damaged.

Preparing Your Art for Storage
Depending on the size of your artwork, type of paint, and whether or not it is framed, there are various things you must do to prepare it for storage. Before you touch any art, make sure that you’re wearing latex gloves to prevent damaging hypersensitive art materials if you touch them during the process. The next step is using a dry microfiber cloth to gently remove dust from all surfaces with particular attention to any fabric or paint components.

If your art is framed, wrap acid-free tissue around it to protect it while giving it breathing room and roll it into a bubble wrap or felt padding to protect the frame. If your art is unframed, carefully wrap it in glassine and position it between two pieces of foam board, plywood or cardboard that are slightly larger than the artwork, and secure it with tape. Place each wrapped artwork into a sturdy, appropriately sized box.

Choosing an Ideal Storage Location
Art requires special conditions to maintain its quality, and not just any room will do. First of all, the room should be as dark as possible; light can cause all kinds of damage to your art, so choose a windowless room like a study, the basement, or attic.

Once you have an ideal location, you must ensure that it stays at a constant temperature of 70 degrees Fahrenheit and humidity of 50 percent. Fluctuations in temperature and humidity can cause changes in the size and shape of your artwork, yellowing of paper, fading of dyes, and the growth of mold. If you are storing your art at home, you’ll need a humidifier and thermostat to keep the temperature and humidity at ideal levels. If not, look for temperature-controlled storage units in your area or ask an art gallery near you for recommended storage services.

Moving Your Art into Storage
After finding an ideal location and preparing your art for storage, the final step is moving your art into the storage unit. When doing so, handle your art carefully and try moving slowly, handling only one piece at a time. Even when properly wrapped, you don’t want your artwork touching the floor of the storage room. Instead, elevate your pieces on racks or risers. To avoid putting too much pressure on your artworks, stand them on their sides like books on a bookshelf instead of stacking them flat on top of each other. Don’t forget to label and keep records of each stored piece. And if in doubt, leave it to the pros like Cargo Cabbie.

All artwork, loose or framed, must be kept in a safe environment free from dust, insects, air pollutants, sunlight, and mold. But, even when you’ve stored it in a perfect environment, it’s important to check on your stored artwork periodically to ensure that it’s performing well and to catch problems or subtle changes early.

Access Free Videos on Protecting and Maintaining Your Artworks. View Now

Author: Katlyn Bennett

Home with Your Kids? Here’s Why They Should Engage in The Arts At Least Once A Day!
Creating art at any level is a powerful way to boost mental health – according to a study by researchers at Drexel University. Whether your child is a mini Da Vinci or they love drawing their favorite cartoon characters, art can make a big difference to their lives, above all due to its ability to lower stress levels. If you have a homeschooled child whose hobbies lie in creative spheres, then you may have already been blown over by their beautiful creations. Art can be a particularly powerful outlet during COVID-19, when many children have more time than ever to unleash their creativity. Even if they have never taken pen to paper, igniting their passion for art is easier than you think. Try following these tips:

Creating a Homeschooling Art Schedule
If this is the first time you have homeschooled your child, you may find creating a schedule useful. This will ensure that you cover all subjects – including math, science, English, and other core subjects – as well as creative pursuits. Try to include at least one creative activity a day. When it comes to fine art, alternate between drawing, painting, sculpting, and any other art form your child is interested in. Art has been found to reduce stress, so it should be given prime importance during a time in which anxiety and worry can be high. Join your kids so you, too, can benefit from the creation of art at home.

Focusing on Subjects They Love
Children feel strongly about the things they love – be they cartoon characters, food, or toys. Start out by pulling out a paper, pencil and eraser and try to draw just one item that means something to them. Many children are fascinated with natural life forms – including plants, flowers, and insects like ladybugs and dragonflies. Head out into your garden and identify potential subjects you would like to draw together. A dragonfly is easy to sketch. Teach your child to draw the long abdomen (a long, narrow oblong shape) and connect it up to a short oblong (the thorax) and finally, draw a circle for the head. Next comes two sets of wings and finally, the tiny details that make this insect so beautiful -its bright colors, the veining in its wings, and its six jointed legs. For something even easier, draw a ladybug; it is spherical and its beauty lies more in the way it is colored. Don’t stick to red; let your children draw fantastically hued versions if they wish.

Expanding Your Collection of Materials
For children who prefer to create impressionistic or even abstract works, having access to a wide range of materials can be motivational indeed. Surprise your child with cartulina in various colors, colored pens, wax crayons, and paints. Encourage them to embellish a few of their drawings with these materials, and consider buying a frame to immortalize some of their best work. Right now all stores are closed but you can still access material for your homeschooled child online.

Finding Inspiration in Great Artists
Once your children hone aspects such as proportion, shade and light, and perspective, invite them to try out a variety of styles. If you are fascinated by Cubism, for instance, center an entire homeschooling study session on the origins of Cubism. Show them a few famous works from that period. Ask them to convert a photograph or previous drawing into a Cubist work. Picasso, Jackson Pollock, Van Gogh, and Klimt are just a few artists children tend to love owing to the explosion of color and originality in their works.

Visiting Galleries Virtually
Right now, most galleries are closed so a visit is impossible. However, many galleries are offering virtual tours so art lovers can stay inspired during home confinement. The Getty Museum recently posted a fun activity asking children to recreate artworks at home with the use of everyday materials. Children across the globe were using old clothing and even painting their faces to look like some of the most iconic characters in art history.

Most children will be happy to put pen to paper (or finger to paints) if they are invited to create artworks of subjects they love. Teach your kids simple techniques followed by more complex and detailed ones. Ensure they have a wide range of materials so they can make their creations as colorful as they like.

And as an art-lover yourself, for a trusted source for art education and art market news, trends and events, please visit www.OneArtNation.com. If your collection includes pieces by those other than your little artist, you can access a portfolio of tools to build, maintain and protect your art collection HERE.

Author: Katlyn Bennett

There’s a new trend of food as art, ever since a banana taped to a wall with duct tape sold at Art Basel Miami for $120,000. The artwork was by Maurizio Cattelan and it was titled “Comedian.” The billionaire Miami couple that bought it stated that they thought Comedian might become significant in art history. Sure enough, it started a movement. A month later, the Whitney Museum of American Art in New York opened a curated exhibit titled “Fruit and Vegetable Salad.” The exhibit was organized by the museum’s senior curatorial assistant and consists of about a dozen single fruit and vegetables -each displayed on its own pedestal. During the course of each day, the fruit and vegetables are chopped into a bowl and served to attendees and the pedestals replenished. It’s evident that art consisting of real fruit and vegetables is popular. Therefore, let’s look at the best practices for collecting and maintaining perishable art.

Which fruit or vegetable is more valuable?
The banana was the first to sell so it’s the most iconic. It’s like when we think of ready-made art, we think of a toilet. The colour yellow is a very positive colour; we’re reminded of looking at the sun, or LOLing at a smiley emoji -hence the title Comedian, which might have also come from the Watchmen graphic novel, film, and show. Bananas are also slippery and funny. Many a clown has stepped and slid on a banana, falling hard on his tuchus. The banana is iconic, as opposed to celery, broccoli, or okra which never made anyone laugh ever. Fruits in general are better because they are sweeter. On the whole, more people have a sweet tooth than a bland one. Plus, bananas are high in potassium and that’s pretty cool.

What’s the shelf-life?
Buying a green banana as opposed to a brown banana all depends on how soon you want to resell. When you buy it green, you have more time to enjoy it. You also might get it at a discount. Green bananas are not as attractive, nor as recognizable. If you see one on display, jump on it. You might get it at a reduced price if you argue with the gallerist that you suspect it’s a plantain. And come on, no-one wants a plantain in their house when you could have a banana. You have about five days with a banana before it goes bad and most fruit is about the same. If your banana’s hanging up at home and it has brown spots on it, it’s time to think about selling. It becomes embarrassing. You may appear needy to your friends, clinging too long to an over-ripe work of art. Essentially, in a five day cycle, it’s best to buy your perishable art on day one while it’s still green and fresh off the boat. Enjoy it for two days and sell it by midnight on the third. Whoever buys it, that’s their problem. They could eat it for all you care.

Should you eat it?
A performance artist named David Datuna actually ate one of the instances of the Comedian banana at a Basel and captured it on film. The nearby female gallerist stopped him half-way through and called security. She thought about pressing charges. Then she realized it was only a banana and let the guy go. They taped another fresh banana to the wall and no-one was the wiser. This begs the question: If you own a perishable piece, should you eat it? After all, it’s your money your art. People have paid far less for intimate encounters with humans, no less fruit. Therefore, you should be allowed to do whatever you like with your highly-valued and delicious purchase. Anything not lewd, of course. Just take it home first and close the blinds. One person’s art is another one’s fetish.

Even if it’s real, could it be fake?
Already there are copycat artists creating variant exhibits in high profile spaces, such as the perishables at the Whitney. If you see fruit on display in a similar fashion, you have to do your homework before you buy it. Make sure it’s a real Cattelan. He’s the originator so his bananas are more enticing. If you can, buy it directly from him and get a hand-signed certificate of authenticity. Better yet: Have him sign the banana with a Sharpie. Don’t just buy anything off the back of a truck. Don’t be fooled by what you see in the produce section of your local Whole Foods. Their receipts are worthless, to a real collector. A grocer will always be a grocer, while an agent will always be much more.

Is it a good investment?
Billy and Beatrice Cox bought the Comedian just for a laugh. After selling their shares in Dow Jones & Company (publishers of the Wall Street Journal) to Rupert Murdoch’s News Corp for over $1.2 billion in 2007, what’s a measly $120,000 to these happy Floridians? It’s just a nice day at the fair. They bought the piece because it made a stir among the crowd and it tickled their fancy. They obviously didn’t need the publicity, unlike the performance artist that ate one. Moreover, out of a slew of statistics, over 84% of Americans admit to making impulsive purchases. Art speaks in many ways. If you love something, put some money on it. Just make sure that love is true. You don’t want to be living with buyer’s regret staring at a drooping overripe banana staining your wall.

Is it art or is it produce?
It’s clearly produce, from a practical standpoint. However, to the eye of the collector, it’s a lot more. Anything has meaning. Perhaps it was the Russian novelist Leo Tolstoy that first associate art with being subjective, when he wrote that “Art is the uniting of the subjective with the objective, of nature with reason, of the unconscious with the conscious, and therefore art is the highest means of knowledge.” In the end, the Comedian is an intellectual statement and a joke. The joke is based on us imagining a clown taping a banana to the wall so he would never slip on it again. What’s more brilliant than that?

Contemporary art is less about the technicality and more about the way it makes us feel. As long as you like it, if it’s within your budget, and it makes you feel good, even makes you laugh, there’s no reason why you shouldn’t buy it. Just be smart about it, if you want to be taken seriously as a collector. Remember to do your due diligence. Ask your local grocer for advice. Most importantly, to safeguard your perishable art collection, make sure to refrigerate fruit and vegetables! (Except bananas. They get mushy when refrigerated.)

Cristian S. Aluas

Is an artist and writer living in Manhattan. He’s the author of a new book titled IT’S A LIVING: Surviving as a Freelancer in the 21st Century, The Ultimate Guide to Success for Artists and Creative Professionals.

Readers can follow Cristian on Instagram and Twitter @bigbosscomic.

For the last 5 years, Pablo del Val has been leading Art Dubai’s artistic direction, and works to develop and bolster relationships with galleries, artists and curators around the globe. His directorship at Art Dubai further cements the fair’s commitment to cultivating a culture of discovery, education and thought leadership. Find out why Art Dubai is major catalyst in the activation of art and culture from the MENASA region.

As Art Dubai’s Artistic Director, what’s involved in bringing this event to fruition?
Planning and preparing for the fair is a year-round process. Much of the process includes cultivating and developing relationships with art galleries and ironing out details to ensure they get the best of their experience at the fair. This entire process begins with these conversations and eventually translates into galleries presenting at the fair, and this happens over years. The process also involves assisting and advising galleries in what might do best at the fair and will be well-received in our market.

When it comes to the actual design of the art fair, we work to ensure that the gallery halls are placed in a meaningful and inter-connected way so visitors have a more seamless experience when walking through the fair. It is a matter of fostering an atmosphere of trust; building trust with the galleries as well as the collectors. It’s maintaining a balance between helping the galleries in what to bring but also helping the collectors get what they are looking for.

How is Art Dubai helping put the UAE and the surrounding Gulf region on the global map? Are there particular showcases for emerging artists coming out of the Gulf region?
Over the past 14 years, Art Dubai has cemented its role as a major catalyst in the activation of art and culture from the MENASA region. The fair’s international scope is uniquely positioned to offer exciting new global perspectives and broaden conversations about art from diverse geographies across what is known as “The Global South”. Very much like its host city, Art Dubai brings together and represents a divergent scope of art for an international audience.

Key features of the extended Art Dubai programming are initiatives focused solely on recognising and providing emerging artists with a platform, further broadening conversations in the region. The year-round residency programme, Campus Art Dubai works with UAE-based artists to create works around a given theme, unveiled as a group show at the fair.

The curated segment Gulf Now also provides a space for impressive artist-run collectives to showcase their projects. Curated by UAE-based curator Munira Al Sayegh, these platforms serve as a lens to explore the breadth and diversity of creativity happening in the region on a non-commercial scale, with representations from Bahrain, Kuwait, Oman, the Kingdom of Saudi Arabia, and the United Arab Emirates.

Also part of the programme and held in collaboration with King Abdul Aziz Center for World Culture, The Ithra Art Prize is awarded to emerging Saudi and Saudi-based talents to create pieces of work. The winner of the third iteration, Fahad bin Naif, will unveil his proposed commission Rakhm at Art Dubai 2020, before it becomes part of the Ithra permanent collection.

Lawrie Shabibi (Dubai), Art Dubai Contemporary, Art Dubai 2019, Courtesy of Photo Solutions

What makes Art Dubai truly a global event?
Art Dubai is one of the leading international art fairs because it plays an essential role as a meeting point for an entire region — that not only includes the Middle East but also the entire Global South. At Art Dubai, galleries find the possibility of exhibiting and getting in touch with collectors and institutions from geographies that, generally, doesn’t happen in the main western centers. Dubai is the window to new markets and encourages a world of discovery. Due to its size, the fair allows for meaningful conversations and quality time. It’s a platform for participating galleries to achieve their goals in many different ways.

We have 7 international guest curators from India, France, Germany, USA, Africa, Greece and the UAE working across the different sections of the programme. This further brings fresh new perspectives and shows the scope of diversity that Art Dubai has to offer.

Jerry B. Martin (Colombia) Represented by Galeria Revolver (Lima , Buenos Aires), Art Dubai Residents, Art Dubai 2019, Courtesy of Photo Solut

Education, mentorship and thought leadership have a large focus at Art Dubai. What can we expect at this year’s fair?
An essential part of Art Dubai’s mission extends to cultivating an ecosystem of not only art, but also education, mentorship and thought leadership, through programmes such as the celebrated transdisciplinary conference The Global Art Forum, which returns for its 14th edition under the title “Do you Story?”; Modern Talks, focused on narratives around Modernist Masters from the MENASA, and the unique mentorship platform Campus Art Dubai.

Through one-of-a-kind professional platforms such as the International Curators Programme, we aim to foster cross-continental dialogue and exchange, enhancing the international curatorial landscape.

If a fairgoer is visiting Art Dubai for the first time, what tips can you offer on how best to navigate the art fair?
The beauty of Art Dubai is that there is something for everyone. Since the activations and gallery halls are spread across the Madinat Jumeirah conference center and Mina Salam, we offer all visitors a complimentary fair map and fair guide that lists the schedule for the week and details on the different activations throughout. Whilst Gallery Hall 1 and 2 focus on contemporary and modern works, Gallery Hall 3 (Mina Salam) will focus on grassroots platforms and work produced specifically for the fair by our Campus Art Dubai and Residents artists.

Learn more about and register for Art Dubai here!

Today we chat with Ralph Ziman, the mastermind behind The Casspir Project, an unprecedented and multifaceted undertaking comprised of installation, photography, oral history, and documentary. We had the absolute pleasure of seeing the restored Casspir vehicle firsthand at Pulse Art Fair 2019 in Miami. Its surface is fully covered in elaborate, brightly colored panels of glass beadwork, arranged in traditional patterns. At first glance, it makes your heart skip a beat. But once you hear the sentiment behind it – the mark of the heavy hand of apartheid oppression turned joyful symbol of reconciliation – it fosters a much deeper dialogue of where we are going and what kind of world we want to live in. Meeting Ralph was a highlight for us on that trip to Miami, so we wanted to take this opportunity to introduce him here, to all of you. We sat down for a chat with the South African artist, photographer, filmmaker, and advocate who now calls Los Angeles home.

“A Lone Woman Protests As Soldiers In Armored Vehicles Enter Her Township”. C-print on Kodak Endura Paper. 44 x 115 inches, Edition of 5, Courtesy of Ralph Ziman

Your work is known to bear upon a sense of social responsibility toward global politics. What human rights issues does The Casspir Project address?

The Casspir Project speaks to the militarization of police forces around the world. The Casspir was designed by and for the South African Police for quelling civil unrest and policing urban populations. It begs the question, “Why does policing in the West today resemble apartheid policing in 1977?”

Ralph Ziman, SPOEK 1, Installed at PULSE Art Fair, December 2019

How many South African artists worked on this Casspir and for how long? How did you recruit them?
There were about a hundred local artists and craftsmen and women who collaborated on the Casspir, which took nearly 3 years to complete. It was an organic process. We brought in more people as we needed them and their skills. The collaborations began when I met a group of Zimbabwean street vendors who at the time were making small beaded animal sculptures out of beads and wire. They eventually introduced me to Thenjiwe, an artisan from the Ndebele tribe of South African’s Mpumalanga province who specialized in needlework, and our team continued to grow from there.

Interior of SPOEK 1

How are you challenging the viewer with this brightly coloured, exuberant installation?
I am trying to get people to look at familiar objects with a new perspective. The Casspir was feared and hated in the townships of South Africa, its shape familiar like that of a cobra snake or a black widow spider. After it was covered in beads, people felt that it was not a threat and that they could approach it, touch it, and talk about their memories of the vehicle and apartheid. There is a belief in African culture that when you touch something, you take away its power.

It was a process of healing. For me, for the artisans, and for the people we spoke to.

Ralph Ziman, SPOEK 1, Installed at The Rendon Gallery, February 2019

How is the project received in America compared to in South Africa?
I have been amazed by how well it has been received wherever it has gone. There is a story to tell beyond the beauty of the beads and the bright colors. It is the story of how this vehicle, this symbol of oppression invented in apartheid South Africa made its way to the USA and how they are still being used today to police urban communities in America. People want to hear this story and ask questions about what is behind the project.

Is the colourful Casspir street-legal? In other words, could you drive it to the store to pick up eggs?
Technically it is street legal. Everything works, and the engine is remanufactured to factory specifications. The headlights are clear glass beads, the break lights clear red glass beads. We have driven it across Johannesburg, about 15 miles. That said, it is not legal to drive an unlicensed military vehicle on the streets. As for the eggs, it is a little bumpy so I would suggest they are hard boiled.

Detail of SPOEK 1

Please read more about Ralph and his work here.

The art world has a reputation as being closed and dynamic so it’s no wonder starting an art collection can be intimidating. If you don’t come from a family of art collectors and have no prior experience collecting art, where do you start?

The thrill of the hunt drives most collectors to buy art and there is no shortage of it. From different art movements to different mediums, there is something for everyone. But how do you navigate this unpredictable and vast market to grow an art collection you can be proud of?

It’s true, you will not like everything you see. Since you are going to live with this piece of art in your home, it’s best to buy what you love first and foremost. That said, don’t be surprised if your tastes change over time. Most collectors radically change up their art collection throughout their lifetime.

There’s no better time to buy art so to get going, get familiar with the art world, figure out what art speaks to you and start making connections….and purchases. Is it possible to buy art on a tight budget? Of course! Some of the most serious art collectors started their collections with $1,000 or less so it’s surprising that collecting art isn’t more main stream. You don’t need to spend millions to make an impact and a great way to begin is to invest in lesser known artists just coming to market.

Graduate shows for MFA programs are ideal to suss out and support young artists fresh from school. Ask the instructors or students who they feel was the top student in the class. The answers might be just the direction you require. Investing in young artists is not only affordable, but hopefully, your supporting an artist grow a viable and successful career, which will only benefit you in the long run. Here are two rising stars that came out of programs like these, Steve Driscoll and Matt Bahen, talking about their process.

Buying art just to flip it in hopes of a profit isn’t an advisable tactic. While buying art can be seen as an investment, it is always advised to buy what speaks to you. Buying art can be one on the most rewarding ways to spend your money and if you end up with a gem at a stellar deal, great! Art should be something you enjoy on a daily basis and if it appreciates in value, that’s an added bonus.

Like any purchasing decision, take the time to do your research. Go to art fairs, openings, and exhibitions and become familiar with different art movements and trends. Don’t be afraid to ask questions and it’s perfectly acceptable to try and negotiate the price if a particular piece of art you’re after isn’t within your budget.

Kids in a candy store is the perfect comparison for an art collector in an art fair. There is so much to choose from it’s hard to know where to start. Smaller satellite fairs have popped up all over the globe that offer more affordable options for collectors such as prints and editions. Learn why the emergence of art fairs now represents one of the key institutions in the global art market.

Instagram has also grown in to be a fabulous tool for anyone collecting art, especially if you are on a budget. Artists are now selling art through the platform and will accept payment via secured payment gateways like PayPal. You can browse thousands of artists all over the world and connect with them directly through DM. It doesn’t get much better than that.

Finally, we leave off with art galleries and auction houses. Attend exhibition openings and auction previews as much as you can. The more art you see, the more you’ll know what you like. Sign up to newsletters to keep up to date with what’s going on. If you’d like more information on art collecting talks, art conferences, latest news and market trends, current and upcoming events, become a part of our community.

One Art Nation is committed to demystifying the process of buying art from start to finish. Access free videos to learn from prominent art experts as they address topics from building, maintaining and protecting an art collection, to tax and financial aspects of owning art. Watch Now.

Today we chat with Crispian Riley-Smith, Co-Founding Director of Masters Drawings New York (MDNY), coming up January 25 – February 1, 2020. Crispian has over three decades of experience in the art market, he has worked for the four main auction houses in London and is the founding director of London Art Week and co-founder of Master Drawings New York. He has worked as an independent dealer in drawings for over 20 years and now focuses on art valuations and consultancy in all areas of the market. So, we are excited to see what he’s up to!

Why did you start MDNY in 2006 and how has it grown and transformed over the years?
The motivation was to encourage and grow the market for works on paper and engage with buyers and those with a similar passion in the arts. When I co-founded it with Margot Gordon, the aim was very similar to the sister event I formed in 2001 called ‘Master Drawings London’, now ‘London Art Week’. Simply to promote the expertise of dealers; promote their stock; get the public to come into the galleries and provide an educational element.

The event has grown now to include paintings and sculpture dealers. Also, the event has grown since the appointment of Allison Wucher as a Director. She has been instrumental in growing the cultural links within the city of New York and with the key stake holders, from museums to auction houses to cultural societies such as ‘Drawing New York’ and the wider cultural environment in the US. Now, we have a symposium every year with ‘Master Drawings Journal’, and this year also sees the second event held at ‘The Met’. In addition, we have our third museum loan exhibition, and this year it is from Bowdoin College of Art. This is very exciting since it is one of the earliest collections of drawings formed in the US.

What else will be showcased at MDNY besides old masters through to contemporary drawings?
Paintings and sculpture throughout the ages from antiquity to modern masters. In 2018, we decided to broaden the event to include these key disciplines for a number of reasons. Firstly, there were already some dealers also showing these objects in the city and it made sense to connect the dots. Secondly, the auction houses and also ‘The Winter Show’ were exhibiting these works. Thirdly, many collectors and museum curators cross collect.

However, the branding for ‘Master Drawings New York’ was one all our exhibitors wanted to keep since this is the best event focused on this discipline in the US. It became clear that the model for drawings could be applied to other areas of the market, and this is illustrated by the growth of MDNY and London Art Week.

Is there a particular theme or focus this year?
Yes, it was not really deliberate, but the focus is women as artists, collectors, dealers and academics. It has sort of developed into this theme for 2020.
For ‘Women as Artists’ we have an event at The New York Historical Society called, ‘Artist in Exile: The Visual Diary of Baroness Hyde de Neuville’, in addition we have carefully selected for the cover of the Master Drawings New York 2020 Brochure ‘Blue Morning Glory’, a beautiful drawing in gouache by Barbara Regina Dietzsch; For ‘Women as Collectors and Dealers’ we have an event held with ‘The Society for the History of Collecting’, interviewing four women collectors and dealers; and ‘Women as Academics’ we have the symposium in partnership with the Master Drawings Journal where the editor, Jane Turner, is focusing on Felice Stampfle, who was the journals founding editor – the journal is now in its 58th year.

When it comes to collecting art, there is such a variety of media, styles and classifications. If a collector is looking to purchase drawings for the first time, what should they know?

There is no substitute for looking. We all have to start somewhere – it requires going to museums, exhibitions, art fairs and dealers. Absorbing oneself in the subject and just reading and looking. Buying a drawing, or any object, requires a connection with the object, and that is usually immediate. The buying component sometimes takes time and research.

Can buying a drawing be a good investment? If so, what should a buyer consider?
Interesting question. The simple answer is yes and no.

I would advise buyers to buy what they really like, and what they can afford to buy, and also take a long-term view on their purchase. The idea of ‘flipping’ the purchase in a year or two is not something I would recommend. That is what dealers do and spend all their energy doing. That is not to say it is not possible to make good purchases. The opportunity for collectors is enormous. I would say that if a collector chooses an area to focus on, and I mean really focus on, whether it be illuminated manuscripts or French 18 century drawings, take two random subjects. If they become THE collector in that field, over time they will find that dealers offer them the first and sometimes best buys. Also, the collector is able to make discoveries of their own. It is an endless field and full of exciting buys. As a dealer, I am never bored by what is appearing new on the market.

Read more about and register for Masters Drawings New York (MDNY) here!

Jacqueline Towers-Perkins, Senior Specialist, Head of Sale, Post-War & Contemporary Art at Bonhams and course instructor in our Art Advisory 201 Program, discusses the key points an advisor should consider when helping clients with sales and transactions.

What are the key points to consider for an art advisor’s clients before helping them to sell a work of art?
The following should definitely be considered:

• Does your client have title to the work?
• Do they have the right to sell it?
• What are their expectations from the sale?
• Do you have the expertise to sell this work?

What is the difference between international and regional auction houses, and how does this affect an art advisor’s advice?
The main differences between international and regional auction houses, are their client reach, costs and location. It is best to understand the market for the item you are selling to have the best idea of where to place it and to understand which business will best serve your client.

At the end of your presentation, you mention the importance of paperwork in art transactions. Could you expand on why that is important?
It is important to keep records of all transactions to maintain and uphold the agreement between you and your client and to ensure that they are receiving the services you obtained for them from either an auction house or gallery. This information may also be required for tax, resale or provenance purposes later on.

Find out more about The Sales Process in Detail with Jacqueline Towers-Perkins. Enroll in our Art Advisory 201 Program today!

Well, there are serious art collectors and then there are trend-followers. Where do you fall? There’s also a big difference between building an art collection and buying a piece of art. Creating an art collection takes skills, passion and dedication to develop personal tastes, industry relationships and buyer confidence.

Having a good sense of instinct and intuition will help you on your way, but for most successful art collectors, having a strategic process for buying art is required. The art market is a tricky terrain to navigate as trends change and artists come in and out of favour. Every collector has their own method they follow, but most start out with a well thought out plan to build their art collection.

Think of buying art like a journey, which you can make as simple or complex as you like depending on your objectives. As you test out strategies, don’t be afraid to ask questions and get opinions from others more experienced than you. If your goal is to become a knowledgeable and confident art collector, you’ll have to master a few skills and understand your options as seen here in our video Demystifying Art Collecting.

You’ll need to invest time in learning, advancing your skills and building relationships or consider investing in the services of a qualified and reputable art advisor. An art advisor should be knowledgeable about the art market and specifically about the historical genre and medium you gravitate to. Finding the right art advisor can be a challenge on its own as anyone can call themselves an art advisor, hence why we created our online Art Advisory 101 and 201 professional programs to help set a benchmark in the industry. If this is a route you wish to explore, make sure your art advisor is experienced, established, reputable, and you know their fees upfront.

Art collectors to some extent tend to initially collect what they are familiar with and buy art from certain artists, time periods and mediums. It pays to keep an open mind and investigate emerging artists and new mediums like performance, digital or video art. Consider getting involved in your local art community to meet collectors with similar interests and look for more experienced collectors that can mentor you along the way.

Visit museums, galleries and art fairs and browse gallery sites, art auctions, industry reports and market news to boost your knowledge and confidence. Make art galleries part of your routine to build relationships with dealers and artists as well as see art in the flesh as oppose to online. Learn about what new artists are coming on the market and what the industry trends are.

While buying directly from the artist is typically the less expensive option, galleries have been known to offer discounts to first time buyers, as well as flexible financing options. When it comes to medium, don’t be afraid to look at works with multiple editions like photography and prints that usually have a lower price point.

Art auctions can be intimidating, but if you understand how they work, they can be a unique experience and lot of fun! You can find an auction house in pretty much every major city and once you’ve participated once or twice, you’ll get the hang of it. Auctions can also be very affordable and with a bit of luck, you might pick up a gem for a steal.

You don’t need to be a millionaire to be a successful art collector. Figure out what your budget is and be sure to take into consideration extra costs for framing, shipping, insurance, auction buyer’s premiums and other bits and bobs that come with owning art such as regular maintenance and care. Whether you are buying out of personal passion or as a financial investment, it is also important to ask the right questions to the right people, at the right time as seen in our video The Habits of Successful Collectors.

Now, if your buying art simply as investment, we advise you to think again. Art can bring more joy than stocks and bonds, as you can hang the asset on your wall, so first buy what you love. Spotting rising stars is a challenge for even the most experienced art advisors and dealers. It is very hard to truly predict if an artist will actually achieve fame in their career. Factors such rarity, provenance, medium, period, market trends, condition and the artist’s reputation can all impact the future value.

Once you’ve fallen in love, done your research, sought opinions of experts and you’re ready to put down your money, make sure you receive the certificates of authenticity and provenance. These documents will be crucial in establishing authenticity and value.

One Art Nation is committed to demystifying the process of buying art from start to finish. Access free videos to learn from prominent art experts as they address topics from building, maintaining and protecting an art collection, to tax and financial aspects of owning art. Watch Now

Today we chat with Juliet Helmke, the Senior Editor of Arts and Culture at Observer who helped design the agenda for the upcoming Business of Art Observed coming up on November 12th in NYC.

Prior to joining Observer, Juliet was an editor at Modern Painters magazine, and before that she gained experience both in book publishing and communications. Her interest in covering the arts lies in how such a seemingly specific field puts one in contact with so many issues and avenues for discovery—from art made about social upheaval to works that introduce you an influential figure, a little known historical event, a new species, and beyond.

Observer has been offering an original take on the latest in news, culture, politics and luxury since its inception in 1987, and you come from an arts background. How have you seen the art market change over the years?
The biggest change I see is the host of new technologies coming to the market that disrupt how we buy, protect, and trace the provenance of fine art. Their potential to take the world by storm is immense. Just recently, we’ve looked at a social media platform connecting artists and encouraging a collaborative model for monetization, numerous entities trying to harness blockchain to protect against theft and forgery, and startups changing the way people with an interest in art become collectors. Tech has certainly unsettled the industry, but I, for one, am excited!

Earlier this year, Observer hosted its inaugural Business of Art Conference in New York City. What was the main highlight for you?
Personally, a highlight was having the opportunity to speak with Sean Kelly, who delivered a riveting fireside chat that candidly covered issues many dealers are facing, like how to put artists ahead of profits, why gallerists are feeling the push to expand to different territories, and how art fairs are affecting brick and mortar businesses. Beyond that, being able to network with a number of former colleagues and peers all in one space made for great opportunity for connection, and I came away from our panel on art and digital technology with a hunger to learn more about that burgeoning field—it really is the future, and we should prepare for it now.

What are you doing differently in the Business of Art Observed Conference this fall?
We’re digging deeper. The last iteration served as a great jumping off point for bringing our colleagues in the arts together to hear what challenges they are facing. Now, we’re taking all that we’ve heard and tailoring it so that attendees can feel like they’re walking away with some ideas for solutions. For example, we’re going to host a talk about art fairs that I hope will help honestly tackle how they’ve drastically changed the industry. We’ll be looking at the great positives of having so many debut in the last few years, but also the ways in which we can mitigate the strain that the pressure to participate puts on some gallerists.

The conference discusses important trends and challenges affecting the art world at large. More specifically, what topics will you be addressing?
Beyond the fairs panel, we will be looking at the antiquities trade, asking not only how laws should change, but what moral obligations museums and collectors have in contributing to the ethical handling of cultural property and patrimony. We’ll also be delving into the way that blockchain technologies can specifically address the issue of authentication, and in a panel featuring some of the greatest minds working at prominent auction houses, we’ll be tracking millennial buying trends.

Why are these topics important when it comes to the evolution of the art market?
It’s not just technological advances, our attitudes towards social and moral questions have been rapidly developing with the help of an interconnected global village. When should art be repatriated to a country from which it was removed? Is there a price simply too high to justify spending on any one work of art? How do we support artists and advocate for the arts in a world with so many pressing needs? None of these questions have simple answers, and they’re just a few of the many issues confronting arts professionals around the world. The health of the art market depends on having frank conversations that allow us to address these concerns.

Annelien Bruins, independent Chief Marketing Officer, former CEO of Tang Art Advisory, course leader and instructor in our Art Advisory 201 Program, discusses the importance of a strong brand for an art advisory business.

What does marketing mean for art advisors?
Art advisors often operate as single-owner-businesses and therefore have limited resources available in terms of money and staff to assist with marketing. Therefore, it’s important to use marketing strategies that are appropriate for your company: a service business that is focused on an affluent, educated clientele. In Module 3 of this course I will discuss the two most effective marketing strategies for art advisors in more detail.

Why is the sales funnel so important in marketing?
The sales funnel is an important concept in marketing and for good reason. It explains how a customer (i.e., your potential client) makes the decision to engage you. Understanding this process means that you’ll be more effective in selling your services because you know what message to send out at what stage of the sales funnel.

The art market is based on personal relationships. What does that mean for marketing an art advisory business?
The art world is a small world based on personal relationships and as such, trust is an important factor. A collector is less likely to engage your services if they don’t trust you or know you, or if you haven’t been recommended to them by someone they trust. This means that your marketing has to focus on helping you establish that trust with potential clients and referral sources.

Why is it important to have a strong online presence?
The way in which we buy services and goods has changed tremendously in every industry. Even if you don’t get your clients through your online presence but rather through personal recommendations, prospective clients are likely to research your company online before they commit to engaging you and they’ll most likely also research the competition. Showcasing your expertise through thought leadership in your niche helps to nurture your personal brand which in turn will help you to establish trust with your clients and referral sources.

Find out more about Effective Marketing Strategies for Art Advisors with Annelien Bruins. Enroll in our Art Advisory 201 Program today!

Katherine Wilson-Milne and Steven Schindler, Partners at Schindler Cohen & Hochman LLP and course instructors in our Art Advisory 201 Program, discuss common conflicts and explain how the art market has changed from a legal perspective.

What are the most common sources of conflict that you come across in your work as art attorneys and how could those conflicts be prevented?
By far most of the conflicts stem from not having written agreements between artists and galleries, collectors and dealers or between other collaborators. Parties often think they are on the same page, but writing business and relationship terms down really helps to make sure all parties are really clear on their respective responsibilities.

How do you feel the art market has changed over the past 20 years from a legal perspective?
The higher price and profile of art, especially with respect to contemporary art and cultural property/appropriation issues, has made the risks for art market players much greater. The potential liability with respect to one work of art can easily be millions of dollars. That risk makes parties more inclined to document transactions, engage in better due diligence and have written agreements. The art world is not fully professionalized in this way, but it is moving in that direction due to market realities.

What would your number one piece of advice be for new art advisors starting their own business?
Do not handle your client’s money. Of course, some advisors are also dealers, but those roles are distinct. If you feel like you may have a conflict of interest, you should consult an attorney and make sure any dealings with your client are well documented.

What is the difference between a fiduciary and an agent?
An agent is someone who may legally bind her principal (i.e., sell a work of art on the principal’s behalf), because the principal has given her that authority. Examples of agents are gallerists with respect to artists they represent, dealers with respect to their consignors and money managers or financial advisors with respect to those on whose behalf they are investing. Agents always owe fiduciary duties to their principals, which means that they must act in the best interests of the principal. There are other types of fiduciary relationships (e.g., attorney-client). If you are providing specialized advice to a client and they are relying on your advice with respect to spending money or selling art, you should assume you have fiduciary obligations to that client.

Find out more about Business and Legal Issues for Art Advisors with Katherine Wilson-Milne and Steven Schindler. Enroll in our Art Advisory 201 Program today!

Note: This interview is not intended to be a source of legal advice for any purpose. Always seek the legal advice of competent counsel in the relevant jurisdiction.

Annelien Bruins, independent Chief Marketing Officer, former CEO of Tang Art Advisory, course leader and instructor in our Art Advisory 201 Program, discusses how the art advisor’s role has changed over the past decade.

Why did you develop this course with 1AN?
Before my career switch to luxury marketing I was an art advisor for 20 years. I know from experience that there is very little support available for art advisors in terms of how to set up your business, how to come up with an appropriate fee structure and how to understand the legal ramifications of operating as an art advisor. With the Art Advisory 101 (geared towards aspiring art advisors) and Art Advisory 201 (focused on art advisors with some experience) courses we hope to address that gap in the market.

How has the role of art advisors changed over the last 10 years?
Art advisory used to be a fairly informal occupation. In other words, it was not considered a real profession. Times have changed, however. These days, with through-the-roof art values and more complex art transactions, an art advisor is expected to be a well-rounded professional with a working knowledge of not just art but also areas such as taxes, art law and conservation so that they know when to call in the experts in these respective areas. An art advisor really is, or should be, a collector’s quarterback at all times.

Can an art advisor do other things, like running a gallery?
Many art professionals take on a couple of different roles in the art market: appraisers who advise on art transactions; gallery owners who provide art advisory services. Aside from any legal restrictions that may apply to each of these professions (i.e., the USPAP standard for appraisers), I personally don’t see why you wouldn’t be able to fulfill more than one role, as long as you are completely transparent with your clients and charge them appropriately. Needless to say, when in doubt, always ask an experienced art attorney about the legal ramifications of your particular business model.

Find out more about Understanding Best Practice in Art Advisory with Annelien Bruins. Enroll in our Art Advisory 201 Program today!

Today we chat with Mary von Aue, Editorial Director of Observer and host of the inaugural Business of Art Observed.

Mary joined Observer from the start-up publishing world, where she built editorial strategies and new outlets in the media landscape. She has a master’s degree from Columbia University that focused on Arabic literature and for years covered contemporary art and literature from the Middle East. Today, she continues to focus her editorial lens on the ways in which the arts intersect with current events and the business world.

Observer is known for bringing the latest in news, culture, and luxury. Why are you putting more attention back on art specifically?
We have a long history of covering art at Observer, but this year I wanted to take the conversation to the next level and explore the industry in a specific Observer way: that is, looking at the power players that are influencing the industry. I think that at this moment, Observer is best equipped to cover the shapeshifting art world and the innovation that is transforming it. Thanks to a team of writers and experts who cover both the cultural and business beats, we’re able to approach the industry holistically and capture the ecosystem from different angles. That tends to yield more nuanced, cross-sectional reporting, and for an industry that is changing as rapidly as the art world, it’s needed.

You hosted your inaugural Business of Art conference in New York on May 21. What was the reason for bringing this format of conversation to the market?
I think it was long overdue. When you’ve got an industry that has seen several disruptions in the last decade, being able to measure that impact is imperative. We wanted to bring all different players from the art world to an interactive platform not only for discussion and debate, but to ask what’s next. It’s not easy to stay ahead of innovation or point to the next big disruptor, but these conversations can help the art community build better businesses.

What topics did you address and why do you feel they are important?
What didn’t we cover!? Observer’s online strategy has always been to understand industries through their players, technologies and diverse influences as a way of capturing the zeitgeist. I think this event was a clear reflection of that strategy, as evident in our far-reaching topics. We looked at how the rules are changing for everyone in the business of making, buying, selling or displaying art, how regulation is impacting the market and how technology solutions can drive the industry forward.

We tackled everything from art fairs to risk management, and yet this is just the tip of the iceberg. I walked away with a wealth of new insights from our panelists, but also with a sense of excitement because there’s still so much more to discuss. That’s why we’re hosting another Business of Art Observed on November 12, this time as a full day event, with more opportunities for the art community to share insight and collaborate.

Educating the industry to create greater transparency and standards is something we are passionate about. What art business professionals do you feel would benefit most from attending this conference?
It’s tough to point to just one professional who would benefit most, as our last event created a welcome space for artists, gallery owners, auctioneers, lawyers, private collectors and beyond. Again, I feel these events are a clear reflection of Observer’s editorial brand, which offers our readers rare access to industry news from a nuanced perspective. If you work in the art world and you’re looking to share your knowledge, experience or challenges with the community, we’ve created a space for exactly that kind of discourse.

How important is it for a professional to stay up to date on trends and issues to advance their career?
To be honest, I can’t imagine professional success in any industry without that kind of participation. Just in the last few weeks, Observer has discussed how artificial intelligence is affecting art collectors and curators, how policy is changing the international art market, how blockchain is altering the process of art dealing. We wanted to host this conference to give people an opportunity to acknowledge these ripple effects and discuss ways in which they can navigate the challenges as a community.

View recordings from the inaugural Business of Art Observed Symposium as leading figures from the art industry share their experience. WATCH NOW!

Women artists—from old masters to those just out of art school—have slowly gained traction in museums and on the art market for years. If you’re thinking of collecting art by women, now is the time.

This year appears to be a watershed. “Hilma af Klint: Paintings for the Future,” an exhibition of work by the Swedish modernist that closed in April, shattered records at the Guggenheim, pulling in 600,000 viewers.

In January, Victoria Beckham joined forces with Sotheby’s during Masters Week to spotlight 21 works by 14 women in a show called “The Female Triumphant,” including gold-standard artists such as Artemisia Gentileschi and Elisabeth-Louise Vigée Le Brun. Sales exceeded estimates, realizing $14.6 million.

The 2018 U.S. Trust Insights on Wealth and Worth survey conducted by Bank of America found that the proportion of its clientele of highnet worth women investing in art more than doubled from the previous year—from 16 percent to 36 percent.

Collecting art takes passion, and it takes work. If you’re put off by the head-scratching research, the hushed austerity of white cube galleries, the competitive bustle of art fairs or the prospect of competitive bidding at auction, Julia Wehkamp of One Art Nation recommends hiring an art advisor. Read more about investing in female artists here!

For many collectors, their interest in acquiring art is a passion. People spend their entire life time building their collection and it can make up a substantial part of their net worth. But, unlike the thoughtful planning that is often intrinsic to other assets, the majority of collectors have not crafted a plan of action for their art collection.

Should the unlikely happen and you are no longer here tomorrow, what would become of your collection? Have you communicated with your family and friends about your works and their value? Have you laid out a comprehensive plan so your collection can go from one generation to the next or to the greater community to enjoy?

So how do you prepare for the inevitable? Read More Here.