What to Collect?

 

The visual arts world is fond of "buzzword" which, however interesting they may be, are of limited practical relevance for anyone who chooses to develop a meaningful collection of visual arts. For example, and I quote on the fly:

  • "The art collector should buy what he likes, what is a passion for him and not what is the fashion of the day";
  • "Beware the tyranny of names: all the works of an artist seen as a genius are not necessarily masterpieces";
  • "Art is not an investment";
  • Or its opposite "Art is a good investment"
  • "Focus on "quality" works!"
  • "I love art that bothers me, confronts my ideas, etc.. Aesthetics no longer exists ..."
  • Etc..

At the operational level, however, these generous statements are often quite difficult to manage if not useless.

By cons, there is other realities that the art collector must address under penalty of significant future disappointments.

For example:

  1. If the acquisition of a work of art is not in itself an investment, it is nevertheless an expense that can be considerable. And, as well as for any expenses caused by the acquisition of a good, the art collector must take into account the fact that sooner or later, he or his estate, may have to dispose of this good and will wish, if possible, to recover the amount paid at the time of acquisition.  In short, pay $15,000 for the acquisition of an artwork "without which you cannot live", without any consideration as to its eventual resale value is an act that borders on absolute recklessness, unless of course, that said money is only for you pocket money ... which is not given to all.
  2. "99% of artists do not survive their death!" This beautiful aphorism by Robert Bernier, editor of Parcours is to be remembered.  Geniuses of the day or to come (the "Next Big Thing") which require significant amounts of money for the acquisition of their works must be the object of all your caution.   What will be the value ascribed to these artists and their works in 10 or 20 years?
  3. Is the artwork you covet authentic and the provenance clearly established?

The few observations which follow are drawn from the experience of distinguished collectors and authors in visual arts.  I quote loosely from what they write, the bibliographic source is reproduced in full at the end of this article.

Statements they offer can be useful criteria to consider in the selection of works that will join your collection.  

Attention: this list of criteria applies to the collector with some experience. The novice collector could or should probably focus on a set of criteria associated with a more gradual approach, if less demanding.

  • Buy works of artists "listed".  An artist "listed" is someone whose works have been traded for many years and still traded in recognized auctions.
  • Specialists categorize the production of visual arts in three (3) tiers. Decorative arts (less than $ 2,000), works to collect ($ 2 000 to 10 000) and the works on which invest in the medium and long-term ($ 10,000 or more).  Exclude the decorative arts as options.
  • Rather acquire quality works of the second tiers instead of mediocre works of the first tiers.
  • Do your homework.  Pay a reasonable price, whatever the quality of the work and reputation of the artist.
  • Buy works of artists who have had a significant production and have been subject to major exposure during their lifetime or after their death.
  • Acquire works by artists who have started or participated in movements or schools at the forefront of their time and whose school or movement are still being sought after.
  • Choose works representative of the best period or most sought theme of the artist.
  • Choose works whose physical condition and execution are impeccable.
  • Buy works whose provenance and authenticity are clear and documented.

Sources: