The Grammar of Art Collecting by Fundacja Artystyczna Podróż Hestii

The Grammar of Art Collecting Anna Theiss, Beata Niemczuk, Magdalena KÄ&#x2026;kolewska

The Grammar of Art Collecting Anna Theiss, Beata Niemczuk, Magdalena Kąkolewska

The Practical, Financial and Cultural Aspects of Collecting Art 2018 English edition 2020

CONTENTS Introduction

Added value: Collections

Factors to consider

post-criticism

Beyond paintings, drawings

Legal and financial issues

media, cross-media art and

THE BENEFITS

the challenges of thinking

OF COLLECTING The collector as

THINKING LIKE

a personal brand

A COLLECTOR

Patronage today: How

What is a collector?

field of art

How strict should you be?

Cultural capital

100

Parting with artworks: How to

104

collection criteria

put items back on the market. What else to do with your

and formal aspects

collection. Building value:

The life of a collection:

Highlights and workhorses

by emerging artists

Private and corporate

What to look for in

high-value works by early-career artists How to build value:

What to look for when

CHECKLISTS 114

Next steps

118

THE COLLECTOR’S

An intermediate checklist

122

MILIEU

An advanced checklist

126

A checklist for people thrown

130

Conventional institutions

Pieces by top artists

Exhibiting, depositing,

Getting started

collections

Art by early-career artists

108

and development

high-value works How to build value:

The sense of reward

publishing

Exhibition, organization, 20

Subject matter and other What makes a good artwork?

What to look for in

collectors influence the

Analyzing theme, technique 16

in terms of value

STORING VALUE

Emerging art

and photographs: New

CREATING AND

How to build value:

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Other sources of information: Collectors in the age of

that work for their contents

in the deep end (heirs,

of the art market: Galleries,

new managers, and buyers

auction houses, and fairs.

of entire collections)

How to use them, and what

acquiring pieces by

to look out for

top artists for your

Co-op galleries

collection

Networking for collectors

EDITORIAL PAGE About APH

132

Introduction

INTRODUCTION “I don’t ‘get’ art.” “Art? How can I invest my time and money in something I know nothing about?” “Art collecting is an elite hobby, a caprice of the wealthy.” We often hear statements like these from our clients. But the truth is, it doesn’t have to be that way. By learning just a handful of timeless, universal rules, you too can embark on a voyage into the world of art.

fot. Wunsche&Samsel

We wrote The Grammar of Art Collecting for a range of readers: from people just dipping their toes into the art world, to seasoned art veterans. Step by step, we analyze the basic and advanced aspects of art collecting that you will draw on as you become a conscious collector. This book isn’t a catalog of photos and hashtags: it contains hard knowledge and a set of practical tools.

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“Instagram is custom-made for the art world: you get a quick flash of an image with virtually no text or explanation. There’s no need to read. It’s perfect for people with zero attention span, zero education and zero interest in learning about anything—perfect in other words, for the art collectors of today,” claims Adam Lindemann, the American art collector and columnist for The New York Observer. We would add: This book is not written for the

Introduction

Instagram crowd. We explain the rules, we introduce the reader to basic principles, and we teach the vocabulary of collecting — words you can then use to create your own, personal statement. Some people collect art for pleasure, while others do it for prestige, to emphasize their social status, or as an investment. Another important motivation is the desire to uphold the tradition of art patronage, that is, to financially support the arts and artists, for example by purchasing artworks. Each of us has a different reason for collecting art. What matters isn’t the theory, but the passion and practice involved with the art world in the broadest sense. Come along, and discover just how wide and beautiful this world can be.

We wish to thank Magdalena Kąkolewska of the Hestia Artistic Journey Foundation for sharing with us her passion for art and educational methods she uses to make art a part of everyday life. The Grammar of Art Collecting is a result of that passion — one that we fully share. We also wish to express our utmost admiration for the accomplishments of the founder of Hestia Artistic Journey, ERGO Hestia. We admire all the work the company has done over the years to nurture young Polish artists: scouting the greatest new talent, helping their careers blossom, and bolstering their international presence. We’ve illustrated this book with a selection of outstanding artworks by winners and finalists of the Hestia Artistic Journey Competition (HAJC). It is our hope that these pieces will help you practice the concepts and analytical categories presented in The Grammar of Art Collecting, as visual aids or as additions to your future collections. Needless to say they are set in the Polish context, but an overall conclusions and piece of advice on art collecting that we aim to share with you are universal, not limited to a specified country or region. Beata Niemczuk, Anna Theiss

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Introduction

INTRODUCTION If we were to carefully trace the practice of accumulating artworks throughout history, we would surely concluded that collecting is simply a natural and obvious stage in our discovery of art. The involvement of history’s most famous collectors and patrons clearly shows that this process not only changes how we participate in art, it also creates new opportunities for us to communicate with our direct and distant surroundings. The decision to start your own collection is one that requires a lot of thought. This aspect might even matter more than your familiarity with the art market or how well you understand the principles of investing. The value of your collection is determined by how consistently you build it, from the very first item, and is affected by such factors as your personal tastes, emotions, and interests. Artists may employ a broad range of media, forms, and content, but art itself invariably inhabits a universal plane. It addresses themes and deals with problems that are most urgent and relevant to the social, artistic, and philosophical discourse of the times. Particularly interesting in this regard are the artworks from the winners and finalists of the Hestia Artistic Journey Competition. Throughout its seventeen annual editions, this project has introduced general audiences to its participants’ most noteworthy creative accomplishments, showcasing pieces selected through a careful, artystycznapodrozhestii.pl

Introduction

non-academic evaluation process by a panel of judges. The jury favors pieces that display unconventional approaches to art, a great breadth of reference, interesting angles on the subject matter, novel formal solutions, and, most importantly, promising creative approaches. In result, the winners and finalists of the HAJC competition in a sense become representatives of the views, experiences, and attitudes of today’s younger generation. We hope this book will serve not just as a useful tool, but as an inspiring guide to your solo journey through the vast realm of art. Magdalena Kąkolewska Hestia Artistic Journey Foundation

MICHAŁ SIAREK, ALEXANDER, PHOTOGRAPH, 2013-2016.

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MICHAŁ SIAREK, ALEXANDER, PHOTOGRAPH, 2013-2016.

CREA TING &

STO RING VALUE

creating and storing value

OW TO BUILD VALUE: H EMERGING ART

The dollar price of an artwork is a function of its symbolic value, produced through interactions with institutions, curators, and galleries. artystycznapodrozhestii.pl

How to build value: Emerging art

Young artists entering the art market will find their early artistic practices — be they pursued individually or at art academies — put to the test. This is also when the artist’s work begins to accrue value. How do we observe this process? When does new art begin to stand out and acquire value? To answer the question: “What makes art valuable?”, we must start from the assumption that the dollar price of an artwork is a function of its symbolic value, produced through interactions with institutions, curators, and galleries. How often does the artist in question work with respected galleries? What group exhibitions have featured their work? How do they develop each new project? All of the questions above need to be addressed when we analyze the potential of an artwork and its prospective value. How does this work in practice? Let’s look at the example of Katarzyna Szymkiewicz, an artist whose work straddles the boundary of painting and sculpture. Her art interacts with its surroundings: the artist chooses a different arrangement for her three-dimensional objects at every exhibition and in every new interior (this includes a collector’s private space!). The spatial composition is part of the artwork. Szymkiewicz’s pieces contain echoes of American minimalism. This unique approach to art in the context of changes and surroundings caught the attention of Krakow’s Henryk

How to build value: Emerging art

creating and storing value

Gallery, which enlisted Szymkiewicz while she was still in her fourth year of studies at the Academy of Fine Arts in Krakow. “You Want a Piece of Me?”, her first solo exhibition at Henryk, coincided with her receipt of the 2017 Hestia Artistic Journey prize, which came with an artist’s residence in New York. Then came a group exhibition at BWA Warsaw and a solo show at BWA Katowice. Another example is the artistic practice of Marcin Janusz, a 2017 and 2018 Hestia Artistic Journey finalist, whose original technique combines oil and spray paint. The three-dimensional objects and canvases become foundations for colonies of pastel-colored crystals. Are these still painting-objects, or are they sculptures? These are just a few of the questions that one might ask Marcin Janusz’s artworks.

NATALIA BAŻOWSKA, HE’S WATCHING, ACRYLIC ON CANVAS, 2012.

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creating and storing value

What to look for in high-value works by emerging artists

HAT TO LOOK FOR IN W HIGH-VALUE WORKS BY EMERGING ARTISTS

Think about the theme. What

How well does the artist

is the artist “trying to say”? The

network? Consider exhibi-

more coherent and sensible the

tions, competition awards,

answer you find (in curatorial

published work, shows in rep-

statements and elsewhere), and

utable institutions, galleries,

the more wide-ranging the art-

and independent venues.

1. Does the artist stand out in

work is, the better.

their medium and approach

the discipline differently than their contemporaries? Pay particular attention to experimenters who work at the

intersection of different media: painting, sculpture, perfor-

Is the artist aware of what

mance art, and photography.

has been done before,

and can they establish a dialog with the past? Start by reading curatorial statements and listen to the artist’s own comments.

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There are a few lenses, or analytical dimensions, that will help you observe the work of emerging artists.

creating and storing value

KRZYSZTOF MANIAK, UNTITLED (TIME AND SPACE), VIDEO, 2013.

What to look for in high-value works by emerging artists

creating and storing value

How to build value: Art by early-career artists

OW TO BUILD VALUE: H ART BY EARLY-CAREER ARTISTS

For an artist, getting and keeping a foothold in the art world, and constantly proving their ability to create fresh work, is no easy task. For the collector, analyzing the creative output of artists who have already achieved some acclaim isn’t easy, either. How do you spot value in art that already has a presence in the market, but has yet to become a “modern classic”? What should you look out for? As a collector observing emerging art that has already earned recognition in the art market, the two key words to keep in mind are “consistency” and “growth.” A valuable artwork is one that can be placed within the artist’s biography and timeline of development—now, or perhaps in a decade. In other words, the artist’s own path needs to be consistent and forward-looking. What do we mean by that? Think about whether the artist addresses a connected set of themes, be they formal, theoretical, or conceptual. Ideally, the artist should consistently pose similar questions in her

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art or explore in greater depth issues hinted at in earlier works. At the same time, it’s worth observing whether the answers to these questions — that is, the paintings, sculptures, and photographs — are increasingly interesting, and don’t just rehash the same solutions. Consider, for example, the work of the 2015 Hestia Artistic Journey finalist Karolina Bielawska. Primarily a painter, she often exhibits her pieces in the form of objects or installations. The main themes of her work include home spaces, the urban aesthetic, and architecture. Bielawska’s oeuvre includes pieces painted on drywall, fashioned out of cement, and shaped into forms that emphasize the edges of ceilings and floors. Each new series of works by the artist “meshes” with the previous. Even if they are visually distinct from one another, they reveal similarities in the way she experiments with the foundation or replaces paint with other substances. This is an example of an artist consistently building a personal artistic idiom. Bielawska is represented by the Wschód Gallery in Warsaw, and has exhibited at the Spectra Art Space, among others.

creating and storing value

Much the same can be said about the work of Izabela Chamczyk, a finalist of the 2009 edition of Hestia Artistic Journey. Chamczyk’s practice centers on performance art, that is, an artistic gesture that is performed in a specific place and time. Performance is also a keyword that describes the artist’s spontaneous, rapid painting method, which often involves physical intervention in the canvas itself. Her pieces evoke physical sensations: the canvases are richly textured and smeared, often resembling flattened sculptures. While the artists works in a variety of media, there is a clearly visible thread that runs through the entirety of her work. Chamczyk’s pieces have been exhibited at several acclaimed shows at the Stefan Gierowski Foundation and the Labirynt Gallery in Lublin, among others.

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How to build value: Art by early-career artists

A valuable artwork is one that can be placed within the artist’s biography and timeline of development—now, or perhaps in a decade.

creating and storing value

What to look for in high-value works by early-career artists

HAT TO LOOK FOR IN HIGH-VALUE W WORKS BY EARLY-CAREER ARTISTS 3. Notice where the artist exhibits their work. A few years after a successful debut, the artist should have a noteworthy list of exhibitions at private galleries and public institutions.

1. When you look at a piece, try to keep in mind the artist’s earlier work. An item should be part

of the artist’s natural creative progression. Seen in

4. A history of international exhibitions is a definite plus. This increases the artist’s public profile.

retrospect, it will resemble a brick used by the artist to pave his artistic path. Does the piece mark a breakthrough in the artist’s oeuvre? This is one of the factors that will determine its future value.

5. Note who’s buying the artist’s work and especially whether the art is ending up in institutional collections or is being purchased by private collectors who actively promote their collections.

2. Choose the best pieces in a given series. Look out for artworks that clearly stand out, as well as ones that are instantly associated with a particular artist. In art dealer jargon, the latter are known as “classics” (using our previous examples: a “classic Bielawska” or “classic Chamczyk”). These piece have a much greater chance of keeping or increasing their value.

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creating and storing value

What to look for in high-value works by early-career artists

KRZYSZTOF MANIAK, DIFFICULT TERRAIN, PHOTOGRAPH, 2016.

creating and storing value

OW TO BUILD VALUE: H PIECES BY TOP ARTISTS It’s not at all quiet at the top. Artists who have reached the apex of the art world are widely discussed and debated. We’re talking about famous artists whose personal brands have become household names. Note that it’s a slow climb to the highest echelons of contemporary art, but it’s all too easy to fall off. What’s the path to the top like, and how do we appraise the value of pieces by artists who have made it?

How to build value: Pieces by top artists

greatly influences how an artist’s work is discussed and interpreted. When looking for pieces by top-shelf artists, consider whether the person has the backing of such individuals, and what results that collaboration brings.

Ewa Juszkiewicz, winner of the 2009 Hestia Artistic Journey com-

petition, can be described as the leader of a new, intriguing wave of Polish Post-Surrealists. The main subject of her artwork is the female portrait. Juszkiewicz experiments with classic and abstract paint-

Artists who have reached the top can be recognized by their efforts to reformulate the language of contemporary art. Consider whether they have contributed to a new visual idiom that has been adopted (at least symbolically, or with an original twist) by other artists? Fruitful trailblazing of this sort is always rewarded with greater interest from curators and the art market, and, in the long run, higher values of individual artworks.

ing. Her work has been exhibited to acclaim at Frieze New York and Artissima in Turin. Cyryl Polaczek won the Hestia Artistic Journey competition in 2012.

He takes inspiration from grand painterly themes, nudes, and museum displays. He’s fascinated with art that’s full of contradictions, and his pieces often combine realistic elements with incompleteness and abstraction. His breakthrough came with the critically acclaimed exhibition „Potencja” at Warsaw’s Raster Gallery, where his canvases were featured as examples of a new, emerging painterly idiom. In 2017 the

Top artists are also ones whose career is built on profound thought: not just their own, but also that of gallery owners and curators. It is exceedingly rare for a top artist to work “off the grid,” in isolation from the thriving art industry that artystycznapodrozhestii.pl

artist exhibited his work at Schwarz Contemporary in Berlin.

What to look for when acquiring pieces by top artists for your collection

creating and storing value

HAT TO LOOK FOR WHEN W ACQUIRING PIECES BY TOP ARTISTS FOR YOUR COLLECTION 1. Look for pieces that

3. Don’t buy mediocre

have paved the way

work just “for the

for other artists, i.e.,

name.” The second-

a given artist’s most

ary market doesn’t

iconic works that show-

value thematically or

case how he or she has

technically sub-par

influenced art.

pieces, making them hard to sell in the

When selecting high-class art, be sure to consider its broader context.

2. Consider various

future. It’s also likely

media. The best

that you’ll soon be

pie c es by t op ar t-

bored of them and look

ists are often quickly

to remove them from

4. Analyze the price.

5. Look for interna-

snatched up, leaving

your collection as your

The priciest pieces

tional success. If an

you with slim pickings.

tastes develop.

don’t necessarily hold

artist is not appreciated

In the case of a famous

their value. It’s better

or even present in the

painter, for example,

to focus on items that

international art mar-

c o n s i d e r p u rc h a s -

are unique in terms of

ket, it could be a sign

ing a piece on paper.

form or theme.

that his position (and

This is one method of

the value of his pieces)

acquiring interesting

is waning, or was over-

collector’s items.

rated to begin with.

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Added value: Collections that work for their contents

creating and storing value MARCIN JANUSZ, DOCUMENTATION OF THE EXHIBITION 90% JUICE, 10% SUGAR AT LABIRYNT GALLERY, PHOTO: WOJCIECH PACEWICZ, 2018.

DDED VALUE: COLLECTIONS A THAT WORK FOR THEIR CONTENTS

The value of an individual artwork isn’t just a function of the artist’s creative path, his personal brand, and the events surrounding his body of work. Other crucial factors that make a piece valuable are the collections (private, public, or corporate) that house or housed it. How exactly does this mechanism work?

A good collection doesn’t just boost its owner’s brand, it also broadens the audience’s knowledge and cultural competencies.

creating and storing value

Factors to consider

FACTORS TO CONSIDER 3. The artworks in a collection interact. with each other. 1.

The “meaning” of a piece by a contemporary artist, placed in a collection of pre-modern art, is different than when it is

The fact that an artwork belongs to a particular collection

displayed among the work of his peers. In the former case,

means that its acquisition was the result of a deliberate and

it will offer variety, serving as a unique element and com-

careful decision; the collector conducted meticulous market

mentary on the other works; in the latter, it will be an equal

research, consulted with independent experts, and selected

building block of a larger whole.

the most unique, interesting, and desirable work. 4. 2. Artworks generate more buzz in the secondary market when A good collection doesn’t just boost its owner’s brand,

they come from specific collections, which builds prove-

it also broadens the audience’s knowledge and cul-

nance, or history. Simply put, a piece with an interesting

tural competencies. In practice, this means that collections

history will fetch a higher price.

are often shown to the general public, observed by outside curators and critics, and are the subject of critical reviews.

What does this mean, exactly? If you’re analyzing the growth

While this boosts the public profile of individual pieces, the

potential of your art and the reasons behind it, you should

“outside expert perspective” also influences the symbolic

also consider the context of your collection as a whole.

capital of a given artwork. When it belongs to a collection,

Creating a responsible, cohesive, and public-facing collec-

it is regarded as the sum of interpretations, meanings, and

tion will increase the value the individual artworks found in it.

contexts in which it is displayed.

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creating and storing value

EYOND PAINTINGS, DRAWINGS AND B PHOTOGRAPHS: NEW MEDIA, CROSSMEDIA ART AND THE CHALLENGES OF THINKING IN TERMS OF VALUE

The value of the materials used to create an artwork doesn’t necessarily translate into the value of the piece itself. This is a loose paraphrase of the Latin saying stating that art (and the artist’s craft) is worth more than precious stones and metals (a motto popularized in Poland by Prof. Jan Białostocki and his book “Art More Precious than Gold”). It’s worth adopting this way of thinking when considering the least tangible works: video art, new media, and experimental forms used in spatial interventions. Such art poses an inevitable challenge to the collector, for reasons that include the difficulty involved in determining what the artwork actually is: is part of a sculpture, a video recording of a performance piece, or photographic documentation? Some artworks may even be impossible to place in a collection.

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Beyond paintings, drwaings and photographs

It’s worth remembering that “what the artwork is” is a matter decided by the artists together with the gallery. Many pieces created using new media exist as editions, meaning they have more than one original copy (each numbered 1/10, 2/20, etc.). Example of this include some of the artworks by Zuzanna Golińska and Piotr Urbaniec, both finalists of the Hestia Artistic Journey Competition (Urbaniec also won the award in 2016). In the case of pieces involving new media, particular care must be taken to preserve the original medium and maintain access to the devices necessary to replay it (this is the case with works recorded on VHS tape, for instance). Though the future value of such media can be hard to predict, this segment of the art market remains relatively unexplored, making it an option worth considering. It offers collectors a simple way to lay early claim to having discovered an artist, and a chance to acquire impressive and valuable art.

THINK ING LIKE

A COL LECTOR

thinking like a collector

What is a collector?

WHAT IS A COLLECTOR?

A collector is someone who shares a close bond with his or her collection. The trajectories of this bond may vary: it could be said that it is not the collector who owns the artworks, but the collection that “has a collector.” It is a dynamic relationship driven by both sides. Collectors furnish their collections with their own acquisitions, while collections inspire, influence, and educate their collectors.

Consideration, meaning

Continuity, or consistence.

constant reflection on our

You can’t be a collector with-

own acquisition practices.

out expanding your art collec-

This is undoubtedly a core

tion. It’s a good idea to decide

quality of every collector. Why

at an early stage how fre-

do we buy a particular piece?

quently you intend to acquire

What does it contribute to our

pieces. The continuity of your

collection as a whole? Where

purchases will enable you

do I see it within the artist’s

to assess the progress of your

body of work, and why do

competencies. As collectors,

I desire to own a specimen

we sense that each choice we

of that particular segment

make broadens our criteria,

of his oeuvre?

deepens our knowledge, and make us more discerning judges of an artwork’s potential. For the collector, continuity also involves amassing

What’s the difference between an art buyer and a collector? We can answer this question by distinguishing several conditions that make us collectors, and a couple of elements that, while not mandatory, are among the collector’s generally accepted duties or are inevitably attributed to collectors in public discussions.

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more and more knowledge: following the development of selected artists, paying attention to art appraisals, and observing events in the secondary market.

What is a collector?

thinking like a collector

E x pa n s i o n /r e b u i l d i n g .

System, or concept. A collec-

to one increasingly popular

Consideration and continu-

tor is someone who knows how

view, an art collection can be

ity will sometimes throw cold

to build a collection based on

totally heterogeneous; the con-

water on your plans: you might

an assumed set of criteria. In

cept, then, is that all patterns

discover that some of your

other words, he or she starts

are ignored. However, a col-

expansion plans are actually

by painstakingly weaving a net

lector in the traditional sense

dead ends. Or what seemed

that will catch suitable items

approaches collection building

like an intriguing acquisition

and reject pieces that donâ&#x20AC;&#x2122;t fit

in a systematic manner.

idea a few year ago has turned

the scope of the collection. The

out to be a misguided decision

concept can be based on sub-

bordering on the clichĂŠd. A good

ject matter (what the painting,

collector is someone who knows

sculpture, or video art depicts),

how to transform his or her col-

form (how the artwork is

lection quickly and efficiently

painted, sculpted, or recorded),

by selling off or depositing

or some other criterion (you

artworks, or simply by adopt-

might be interested, for exam-

ing a completely new concept

ple, in a certain category of art-

when selecting future items.

ists or works created in a particular time period). According

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A good collector starts by painstakingly weaving a net that will catch suitable items.

thinking like a collector

What is a collector?

Art collecting is increasingly regarded as an occupation that should not be pursued solely for one’s own benefit. The practice of collecting unique works of high artistic and financial value, it is argued, should be considered in a broader, community-oriented context. Hence the idea that the public display of a private collection ought to be part and part and parcel of collector culture. Indeed, depositing artworks, collaborating with museums, and exhibiting art on one’s own are some of the options available to people who collect artworks. The idea of an artwork as a long-term investment only emerged in the 17th century — rather recently, considering the fact that art has been collected since pre-antiquity. For centuries, collectors were primarily driven by their admiration for the artwork itself. Today, most collector’s guides recommend that acquisitions — especially those made by novices — be guided by aesthetic preferences (an approach that limits the risk of disappointment if an artwork fails to appreciate in value). It should be noted, however, that a good collector can attempt to estimate the appreciation of an item and take this aspect into account as one of several criteria.

ŁUKASZ PATELCZYK, KWIECIEŃ, OIL ON CANVAS, 2015.

thinking like a collector

OW STRICT SHOULD YOU BE? H SUBJECT MATTER AND OTHER COLLECTION CRITERIA

The difference between a collection and a random set of artworks is the concept that guides the collector’s choices. Collections are often built around a theme in which the collector has achieved proficiency. This theme can be understood as the subject matter (that is, “what is depicted by the canvas/photograph/video”) or such criteria as form, time period, or biography. Common organizing themes for collections include the country of origin, medium, or even the age of the artists. Note that a good collection is one that approaches its theme as precisely that: a central idea, not dogma. A collection of this type is the sum effect of its creator’s tastes, growing knowledge, and expertise, and reflects the collector’s shifting interests. As a result, there is a degree of diversity in most good collections.

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How strict should you be? Subject matter and other collection criteria

Some experts claim that art collections can be either horizontal or vertical. Horizontal collections showcase a particular artistic phenomenon in context, while vertical collections delve deep into a single theme. For example, a collection that features contemporary canvases by young artist alongside a handful of pieces by modern classics and sketches on paper will, from this perspective, be a horizontal one. A collection comprising post-2005 video art, on the other hand, would be considered vertical. This classification is a matter of convention, of course, but it nevertheless illustrates the various approaches to making choices as a collector.

Collections are often built around a theme in which the collector has achieved proficiency.

thinking like a collector

What makes a good artwork? Analyzing theme, technique and formal aspects

HAT MAKES A GOOD ARTWORK? W ANALYZING THEME, TECHNIQUE AND FORMAL ASPECTS

Theme. Geometric abstraction, landscapes, portraits, or per-

haps something else altogether? When assessing a particular item, we must first examine what the piece is “about”—that is, what it depicts. Artists often treat themes as mere springboards for further artistic explorations, which may include

Among the most important tasks facing the collector is choosing specific artworks to purchase for their collection. Rarely does one acquire more than one or two items at a time. Collector’s portfolios and series of artworks on paper or other media traditionally considered to be cheaper are two exceptions to this rule. The challenge is to wisely and competently select one or two “best” pieces from the body of work under consideration, and to reject the “mediocre” ones; to being with a shortlist of options and end up with a specific acquisition. But how do we determine whether a particular canvas, drawing, or sculpture is the “best?” Gallery owners, critics, and connoisseurs typically consider three categories when recommending artworks.

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allusions to older artistic practices or erudite interplay with contemporary or historical contexts. Still, many art critics believe that a good artwork must have a theme, however symbolic or deconstructed it may be; otherwise it can easily be dismissed as trite, untalented, or lacking a powerful message. Another approach to analyzing the theme involves considering whether a given piece is thematically consistent with the artist’s body of work. Pay particular attention to pieces that respond to themes that the artist addressed or addresses systemically and repeatedly. Note: works that contrast thematically with an artist’s oeuvre may also be considered outstanding if they are somehow different, interesting, or visually striking.

thinking like a collector

What makes a good artwork? Analyzing theme, technique and formal aspects

technique. A good artwork, it is believed, is one that reflects

the artist’s mastery of a particular painting or drawing technique, etc. The key elements of a given technique — ground, varnish, egg tempera layering, paint strokes — should be discernible in the piece. Naturally, this is not to say that artists should treat techniques as an immutable canon and only apply them in the traditional manner. Any original solutions that build upon classic techniques make the item more appealing. However, when considering an artwork, be certain that the artist has mastered the technique in question, or that

Formal value. The most challenging aspect of assessing

they have an impeccable command of the technique they

an artwork involves its formal value. It is here that such fac-

have chosen to deconstruct, develop, or transgress.

tors as the rhythm, composition, and organization of the piece become relevant. To start, look at the artwork and ask yourself a few useful questions: Is the composition based on a geometric figure (a circle, triangle, or square)? Does it contain any repetitive motifs that create a rhythm? Is the composition open? Are the edges of the piece used to build the middle of the canvas or sheet of paper? The more of these you answer in the affirmative, the closer you come to concluding that the work employs interesting solutions. The good news is that practice and experience are very helpful in analyzing the formal value of an artwork. Each piece you look at look at consciously and deliberately will expand your knowledge and increase your ability to accurately and precisely appraise a piece’s formal value.

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thinking like a collector

What makes a good artwork? Analyzing theme, technique and formal aspects

KAROLINA BIELAWSKA, COMPLEX, INSTALLATION AT THE BRANICKI PALACE IN BIAŁYSTOK, ARSENAL GALLERY, 2017.

thinking like a collector

The life of a collection: Exhibition, organization, and development

HE LIFE OF A COLLECTION: T EXHIBITION, ORGANIZATION, AND DEVELOPMENT

It is said that an art collection is never complete, but is constantly evolving. The “open format” reveals an analogy to collectors themselves, in that they are constantly exploring, expanding their competencies, and tuning or focusing their field of acquisitions. In this sense, a dynamic, ever changing collection mirrors the development of the person behind it. The dynamic of an art collection is governed by a certain order. The first rule is that collections should be developed around selected concepts, issues, or formal themes. It is a good idea to explore each theme (early 20th-century photography, geometric abstraction, or watercolor paintings, to name a few examples) with at least two or three acquisitions; only then will you be able gauge to its potential within your growing collection. Another rule is that you should periodically observe the evolving shape of the collection. Borrowing a term from the field of project

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management, we might say that collections are built iteratively. In other words, we must regularly revisit questions such as: “Does this collection make sense?” and “Does this collection make its intended artistic statement?” If the answer is no, the collector needs to make adjustments, narrowing down a particular theme or cutting it off entirely.

The first rule is that collections should be developed around selected concepts, issues, or formal themes.

thinking like a collector

The life of a collection: Exhibition, organization, and development

A third rule, one that sets the collection in motion, states that every collection needs an audience, if only occasionally. This can be the general public or just the collector herself. Viewers are the ones who encounter the exhibited artworks, the ones who see, name, and interpret the interactions that take place between the items. In other words, they “read and write the story told by the collection.” Beauty — the nineteenth-century British proverb goes — is in the eye of the beholder. That’s why it’s so important to display the contents of a collection, especially to wider audiences. Every exhibition plants the seeds of a collection’s further development into interesting avenues and new forms. Every public show — especially one involving curatorial work, press coverage, and reviews — also raises the collection’s material value.

KAMILA MODEL, FORTUNATELY, OIL AND ACRYLIC ON CANVAS, 2014.

thinking like a collector

HIGHLIGHTS AND WORKHORSES

Consider retaining a few of the pieces that once struck you as highly promising, but have since fallen short of your expectations: let them be witnesses to your former way of thinking and to the knowledge you have accumulated in the meantime. artystycznapodrozhestii.pl

Highlights and workhorses

A good collection doesn’t have to be perfectly balanced. It’s a good idea to recognize at the outset that some artworks are going to play first fiddle, while others will form a solid “second rank.” At the core of your collection will be a group of high-value pieces, ones that are particularly remarkable in terms of theme, technique, and form. Some collectors refer to this group as the highlights. It is that spark that ignites the rest of the collection, inspiring and conditioning further acquisitions, and guiding the collector towards new themes. These artworks will garner the most attention at public exhibitions. A collection is an entity that develops over time, meaning that you will eventually reassess whether certain pieces still belong to the group of highlights and reconsider how they influence your decision to purchase new and interesting items. Some of our deeply held beliefs about a particular work—one we consider “outstanding,” objectively fascinating, and likely to stand the test of time and the development of our own competencies as collectors—will not find confirmation in reality. Consider retaining a few of the pieces that once struck you as highly promising, but have since fallen short of your expectations: let them be witnesses to your former way of thinking and to the knowledge you have accumulated in the meantime.

thinking like a collector

Private and corporate collections

RIVATE AND CORPORATE P COLLECTIONS

3. Corporate collections

4. Corporate collections

are assembled by many

are more often viewed by

people, and should there-

people taking their first

fore have a specific theme

steps in art. Bear in mind,

and a detailed plan for how

therefore, that such col-

to convey the brand’s story.

lections will require addi-

In the future, this will pro-

tional explanations if they

vide a clear justification

are to be comprehensi-

for choices and decisions

ble to anyone besides

made in creating the col-

the artists and the deci-

lection. An impor t ant

sion-makers who created

aspect of a corporate col-

them. Audiences won’t

lection is that of corporate

always have the luxury of

culture responsibility. It is

a guided tour, hence the

all the more essential for

need to compile catalogs,

1. P r i vat e c o l l e c t i o n s

corporate collectors to con-

films, and captions for self-

respond quicker to changes

sider the market segment

guided viewers.

(in the market, in popular-

whose development they

It may seem as if private collections and ones that companies own as a way of building their brand have nothing in common. In fact, both types of collections are often considered in very similar terms today. First, they are seen as a means of crafting an engaging visual narrative (a story about a given collector’s personal passions or about a particular brand, respectively). Second, they are both treated as investments— not just in the financial sense, but also as a contribution to the development of the arts and academia.

ity, and in interest), and are

2. P rivate collections

wish to stimulate through

5. A Corporate collections

more heterogeneous. These

more often feature a decora-

their choices (and financial

is a dialog established by

are “more personal stories.”

tive aspect: such collectors

contributions).

a company’s management

artystycznapodrozhestii.pl

also think about artworks

with its employees, clients,

as objects that can be hung

and business partners.

on walls, are best suited for

Unless we make sure this

particular rooms, and can

message is clear and com-

complement or decorate an

prehensible, we risk evok-

architectural design.

ing critical responses.

THE COLLE

CTORâ&#x20AC;&#x2122;S MILIEU

the collector’s milieu

Conventional institutions of the art market: Galleries, auction houses, and fairs.

ONVENTIONAL INSTITUTIONS OF THE C ART MARKET: GALLERIES, AUCTION HOUSES, AND FAIRS. HOW TO USE THEM, AND WHAT TO LOOK OUT FOR

How to use them, and what to look out for

Galleries operate on the primary market, meaning that when you purchase an artwork from a gallery, you usually become its first owner. The great benefit of buying art from a gallery is that you can speak directly to the gallerist and acquire reliable information about a given artist’s creative plans, while also viewing a few artworks at your leisure.

The art market, in the conventional sense of the term, can be described as a web of interconnected entities and institutions that facilitate the circulation of artworks. This process almost invariably involves a change in the value of items in question, and often a change in ownership, as well.

Auction houses, on the other hand, are companies that

sell pre-owned artworks. They’re in the business of ferreting out worthwhile items in lots sold by collectors, meticulously appraising the artworks, and then promoting and selling them. One significant benefit of purchasing art from an auc-

Galleries are most often private companies that exhibit

tion house is that it offers a kind of certification: the outcome

and sell art. In practice, each gallery works with a “stable”

of the auction is public information, and is registered by

of several to a dozen or so artists, staging their exhibitions,

international websites that collect such data. When buying

publishing books about their bodies of work, initiating shows

from an auction house, you receive a proof of purchase, and

at public museums and galleries, and selling their pieces

the provenance of the artwork is recorded.

to collectors. In this context, the advice of gallery owners bears a strong creative influence on artworks; gallerists not only guide their artists through the minefield that is the art

Art fairs are local or international events where leading

market, they also inspire them, steering them towards new

galleries showcase their best stocks. This system of double

artistic themes and directions.

sieves allows collectors to peruse a range of exceptional artworks while gaining a wider view of the primary market. Art fairs are also opportunities to expand your knowledge and share experiences. They typically feature a long list of

artystycznapodrozhestii.pl

the collector’s milieu

Conventional institutions of the art market: Galleries, auction houses, and fairs.

How to use them, and what to look out for.

Also worth mentioning here are public institutions, that is, museums, public galleries, and collections. Because they do facilitate any sales, they are not links in the art market in the traditional sense. However, they are inextricably linked to this market as places where art is exhibited and interside events designed to enhance the competencies of bud-

preted, thus creating substantial and curatorial value. In

ding and experienced collectors alike. Art fairs also serve as

the briefest terms possible, the more frequently particular

a kind of litmus test: regular attendance at international art

artworks or artists are displayed, the greater financial value

fairs is one sign of a good gallery.

can be attributed to them. It is quite common for gallery staff, when commenting on the price of a piece, to cite an artist’s recent exhibition in a prominent public institution.

Foundations can follow one of several models. Generally

speaking, every foundation focuses on a set of goals clearly specified in its charter, which usually calls for the creation

Collectors and collections publicly verify and contribute

of social and cultural value. The Hestia Artistic Journey

to the art market. The “circulation of art” would not be pos-

Foundation, for example, works to promote debut artists

sible without them. It’s worth noting that when an artwork

and helps emerging artists gain a foothold in the market.

joins an important collection, be it private or public, its value

Another model is one that combines cultural values with

increases, as does the public profile of the artist.

sales. Such foundations typically oversee the creative output of a single artist or group of artists. In practice, these institutions are very often stewards of an estate bequeathed by its heirs. Foundations mostly work to popularize and promote their art, with sales constituting only a minor portion of their activities. This is unsurprising, considering that — in principle — the items under their management are rare and precious.

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the collector’s milieu

Conventionalinstitutionsoftheartmarket:Galleries,auctionhouses,andfairs.Howtousethem,andwhattolookoutfor

PAWEŁ FRANIK, ON HIS OWN, PHOTOGRAPH, 2015.

the collector’s milieu

Co-op galleries

CO-OP GALLERIES

The canons governing the art market have loosened up in recent years. Its traditional institutions and entities have been joined by new venues and practices, ones that cannot be overlooked when analyzing the puzzle pieces that come together to form the overall picture of the art market. Co-op galleries are cooperative venues typically estab-

lished by emerging artists who aspire to bring new value to the art market. Institutions like these challenge the traditional binary opposition between the gallerist (boss) and artist, and are managed by collectives of people who make art, or—less commonly—by a single person developing their own artistic practice. For collectors looking to purchase artworks by the youngest generation of artists, co-op galleries can be a source of interesting items. In time, many co-ops are absorbed by more established art market entities.

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Collectors and collections publicly verify and contribute to the art market. The “circulation of art” would not be possible without them.

the collector’s milieu

Co-op galleries

Self-publishing and self-management are two terms

that require some explanation. As recently as a decade and a half ago, artists who managed their own careers were not considered serious players in the art market. We have since witnessed a significant shift away from this mindset. With today’s easily accessible avenues for publishing and promotion, and with a limited number of galleries at their disposal, a growing number of artists are opting for “self-determination”. Even without the support of gallerists, these individuals have managed to draw the attention of collectors. It’s a good idea to keep an eye on such efforts and remember that artists who operate as “free electrons” also have a lot to offer. In this case, it’s worth conducting a meticulous investigation of the

Special auctions, include charity auctions or ones held

artist’s shows at major institutions and noting whether his

by foundations in fulfillment of their charters. Such events

or her pieces have ended up in good collections.

are not held at auction houses, but may be organized in cooperation with them. Buyers usually do not incur auction fees, making this an advantageous opportunity to purchase artworks. One interesting aspect of special auctions is their screening function; some of the world’s most prestigious charity auctions define the canon of renowned and promising art. One noteworthy example is the auction of artwork by the winners and finalists of the Hestia Artistic Journey, which gives collectors the opportunity to purchase emerging artwork that has already caught the attention of connoisseurs and experts.

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the collector’s milieu

Networking for collectors

NETWORKING FOR COLLECTORS

To greatly simplify an observation by the anthropologist Margaret Mead, people like us can teach us just as much as the experts can. When it comes to art collection, this method of acquiring knowledge works best. Collectors gain information and draw inspiration from other collectors. In this sense, collecting is a very democratic practice. It’s not just the small fries who learn from the big fish: major players also take inspiration from collectors who operate on a smaller scale. In a sense, every collector has something to share with everyone else: a unique point of view, a wider perspective on a particular phenomenon, or erudite knowledge of a particular detail known only to those who specialize in a certain narrow art niche. Many art collectors’ clubs and associations operate with this very idea in mind. Such organizations give their members the opportunity to network with other collectors, participate in panel discussions, and often display their own artworks. Independent Collectors, GAAB Collectors, and the Art Society in Belgium are just a few noteworthy examples of networking organizations. It’s a good idea to follow artystycznapodrozhestii.pl

their activities, even if only online. Some of them hold local meetings and publish country-level reports and recommendations. It’s worth noting that networking organizations for art collectors often focus on particular regions of the world, bringing together individuals with interests in East Asian or New World art, for example. Art fairs are another platform that facilitates networking. These events feature collectors programs from practically every relevant market player, with dinners, special exhibitions, and discussions. Art Basel hosts an interesting roster of events, as does London’s Frieze, Fiac in Paris, and Artissima in Turin. If you want to be added to the list of collectors with access to special events at a particular art fair, see a gallerist from whom you have purchased artworks or talk to fellow art advisors. Major art events such as biennales (including the flagship Venice Biennale) operate on a similar basis, as do city-wide gallery weekends. It bears repeating that collectors of all experience levels are welcome at fairs and biennales, whose organizers see beginners as interesting partners that encourage meaningful discussion and the sharing of insight.

the collectorâ&#x20AC;&#x2122;s milieu

KRZYSZTOF MANIAK, UNTITLED, PHOTOGRAPH, 2015.

Networking for collectors

the collector’s milieu

Other sources of information: Collectors in the age of post-criticism

THER SOURCES OF INFORMATION: O COLLECTORS IN THE AGE OF POST-CRITICISM The (art) world used to be somewhat easier to understand. Print newspapers ran matter-of-fact reviews penned by competent critics, who trained their quick and discerning eyes on new and notable artworks, or offered critiques of current pieces by established artists. Their analyses themselves contributed to the value of the art in question — in the purely financial sense, as well. Today, art criticism has largely moved online, while full-time critics that are neither curators nor businessmen, and are unaffiliated with any gallery, have all but disappeared. On the other hand, there is now a large, vocal and opinionated audience. It’s sign of the times. How, in this digital age, are we to figure out whose opinion can influence an artist’s career trajectory? How do we learn about the contexts and meanings of art?

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Today, art criticism has largely moved online, while full-time critics that are neither curators nor businessmen, and are unaffiliated with any gallery, have all but disappeared.

the collector’s milieu

Other sources of information: Collectors in the age of post-criticism

Power 100 is interesting in that it encompasses non-artists associated with the art world, from gallerists and critics to philosoInstagram feeds of other collectors or art advisors.

phers. It’s a good idea to research what the ranked individuals

More than just shots of art collections, these feeds often

have written, or at least look them up on Instagram.

feature coverage of gallery tours and visits to artists’ studios. While you browse through photos of art, keep an eye out for other, incidental elements of the images. Collector’s

Reports are balanced and certified sources of information

Instagram feeds can be a source of tips for how to frame,

that deal primarily with the investment dimension of art.

light, and display artworks. Claus Busch Risvig’s edgy feed is

The annual Art Basel and UBS Global Art Market Report is

worth viewing, as are the Instagram profiles of the British art

the foremost source of expertise in this field. Also notewor-

consultant Nick Campbell and Alexander Jackert of Berlin.

thy is the Knight Frank Wealth Report on commercial and

And those are just the tip of the iceberg.

residential properties, and KMPG’s Luxury Goods Market in Poland report (which does not yet cover the topic of art). The 2018 report on the Polish art market by Artinfo.pl is extraordinarily interesting.

Art rankings. Print newspapers and magazines continue

to publish year-end lists — vestiges of the past in a world of “post-paper criticism”. One noteworthy international ranking is “ArtReview’s” annual Power100; in Poland, there is Kompas Sztuki (Art Compass) by the daily paper “Rzeczpospolita”. In both cases, the applied methodology and means of quantifying artistic phenomena is fundamentally debatable, but it’s nevertheless worth noting how these lists change from year to year. Rises, falls, and transpositions are all factors to which the aspiring collector should pay particularly close attention.

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the collector’s milieu

Legal and financial issues

LEGAL AND FINANCIAL ISSUES

If your collection is to be a successful investment, it must be subject to specific formal requirements. These include securing the title of ownership and certificate of authenticity, and skillfully using the financial instruments available to the collector. Let’s start with the financial aspect. When you purchase an artwork from a major gallery, you will usually be quoted the net price. The final price will include VAT, which differs from country to country and depends on the mode of sale (for example, at an art fair abroad). Smaller galleries are often subject to VAT margin schemes, which means that VAT will not be listed as a separate item on the bill of sale. Under the Polish tax system, VAT on art investments is non-deductible. If you buy a piece directly from the artist, be sure to sign a purchase and sale agreement that does not create a tax liability for the buyer.

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Be aware that some art brokers provide leasing services, which are particularly relevant when it comes to antiques and pre-modern art. The mirror image of the title of ownership — that is, the VAT invoice, the VAT margin invoice, or the purchase and sale agreement — is the artwork’s certificate of authenticity. In the Polish system, certificates differ depending on whether the work in question was created before or after 2000. In the case of newer pieces, the dealer or artist issues a certificate authenticated by his or her own signature. Every market entity has its own version of this certificate, but the standard format includes a photograph and detailed description of the artwork (including the technique, format, and medium). If in the future you decide to resell the piece, you will be asked to produce a certificate. The inability to do so will not preclude the sale, naturally, but it may make the transaction more difficult. In the case of older artworks, particularly ones created prior to 1989, you will need a certificate issued by the artist’s heirs and a broker, and often another certificate provided by an expert, affirming the authenticity of the piece. It is best if the latter is drawn up based the results of a laboratory analysis.

Legal and financial issues

the collectorâ&#x20AC;&#x2122;s milieu

Regardless whether the artwork is contemporary or older, the certificate should ideally document its provenance, which provides information about the exhibitions at which the piece has been shown and the collections to which it has belonged. Provenance contributes to the value of an item while minimizing the risk that a pre-modern artwork is a forgery. The formalities involved in exporting a work of art may prove problematic. This issue is currently regulated by the Law of July 23, 2003, on the Protection and Preservation of Objects of Historical Value, as amended, and the Ordinance of the Minister of Culture and National Heritage of April 18, 2011, on the export of objects of historical value. Among the relevant criteria is the age of the work. As a rule, the export of artworks older than 50 years is prohibited. It is recommended that you consult an art lawyer before you ship a piece abroad.

CYRYL POLACZEK, COIL, OIL ON CANVAS, 2017.

artystycznapodrozhestii.pl

THE BENE FITS

OF COLLE CTING

the benefits of collecting

HE COLLECTOR AS T A PERSONAL BRAND

As collections grow, so do the artistic careers of the featured artists, generating more buzz around particular currents in art. An art collection can also influence its owner’s public perception. In other words, a collection actively works to build the collector’s personal brand. Nowadays, we think of a personal brand as a set of notions, interpretations, motivations, and capabilities ascribed to us by society. It is a category that encompasses other people’s readings of us as well as the practical personal and professional benefits that can stem from this resource. In order for a personal brand to work, it must be strong and cohesive, and has to be accompanied by personal development, education, and the acquisition of new competencies. It must also be anchored in values — not just the professed variety, but ones that the individual actually pursues in real life. The role of the collector is much more profound than

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The collector as a personal brand

rattling off the list of artists whose works grace his walls. There are numerous decisions to be made: how the artworks are displayed and cataloged, how they live within the collection, and what their ultimate destination is (in the collector’s own lifetime and afterwards). It is possible to combine a passion for collecting with a calculated assumption that the emerging collection will shape or boost a person’s own image in the social or professional circles they frequent. There’s nothing wrong with that. How then, do we rise to the upper levels of collecting? One way is to imitate art’s greatest admirers and boast about your acquisitions on social media, attend openings and collectors’ events, and talk to other collectors. When it comes to launching a new collection and taking your first steps in building your image as a collector, “Fake it till you make it” is a viable strategy.

the benefits of collecting

The collector as a personal brand

NATALIA BAÅ»OWSKA, ON THE BEACH, ACRYLIC ON CANVAS, 2013.

the benefits of collecting

Patronage today: How collectors influence the field of art

ATRONAGE TODAY: HOW COLLECTORS P INFLUENCE THE FIELD OF ART We may be ages away from fifteenth-century Florence, but today’s collectors are just as active in creating the social, economic, and symbolic reality of the world around us. The term “patron of the arts” seems an entirely appropriate label for those who collect art, even if only on a small scale. Their choices and investments shape the field of art and have an indirect influence on myriad other phenomena.

Shaping artistic careers

This is a simple and often-overlooked aspect of collecting and art patronage. When you decide to establish a new collection, you release capital that, in the long term, will enable artists to pursue fulfilling creative careers without having to juggle other duties. Simply put, without collectors, there would be no artists. In this sense, the very act of acquiring an artwork actively contributes to the circulation of art and

Artworks appreciate in value

ongoing artistic production. Collections, by virtue of their

When a piece by a particular artist is acquired by an import-

existence, allow art to blossom.

ant collection or, more commonly, by several significant collections in short succession, this translates into growing interest among the broader community of collectors. This

Increasing the strength of galleries

may prompt a rapid and lasting increase in the value of the

Just as an acquisition supports the career of the artist, galler-

artist or artist’s work.

ies grow in strength with every purchase made by a collector. This isn’t just financial strength, but also the ability to stage new and interesting exhibitions, to invest in art fairs, and to build an international presence. In this sense, collectors/ patrons contribute to the budding of new curatorial ideas, new exhibition trends, and new gallery phenomena.

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the benefits of collecting

Patronage today: How collectors influence the field of art

100

Increasing public appreciation of art

Collectors who promote their collections by publishing, exhibiting, and hosting public events actively shape people’s ability to view art and expand their audience’s understanding of art.

EMPLOYER BRANDING

The term “patron of the arts” seems an entirely appropriate label for those who collect art, even if only on a small

One particularly interesting dimension of art patronage is associated with corporate collections. When companies invest in art to build their brands, they typically choose particular ways of talking about these acquisitions with their employees. These can often be extraordinarily interesting and visionary educational activities that draw new audiences into the field of art, while giving employees the tangible benefit of acquiring new cultural competencies.

Building a canon

Finally, a word borrowed from the poetics of fifteenth-century Florence. The items we find today in private collections of contemporary art will one day be bestowed upon future generations as a record of the sum artistic accomplishments and potential of our times. In this sense, every acquisition of an artwork is a step towards defining what is considered relevant in art today.

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the benefits of collecting

Cultural capital

102

CULTURAL CAPITAL Collecting is often discussed in terms of capital: its accumulation, storage, and—in the case of unsound investments—its loss. But an art collection is also a tool for creating cultural capital, and no responsible collector should overlook this dimension of the return on investment—especially considering its potential immensity.

What is cultural capital? It is the sum of a person’s com-

petencies, conscious experiences, tastes, and familiarity with convention, which can be expressed, among other ways, in

The production of cultural capital is conditioned upon interaction.

the cultural goods owned by the individual. Collectors accrue cultural capital when they welcome the knowledge offered by experts, gallerists, and artists. The production of cultural

acquisition: interacting with art on a daily basis, displaying

capital is conditioned upon interaction. The capital is itself

artworks to the public, and expanding our knowledge of

encapsulated within the items added to the collection. In

selected areas of art.

this view, the artwork is a sort of vehicle for capital, but the truly significant elements actually precede the decision to purchase the piece: gaining the necessary competen-

The production of cultural capital is conditioned upon

cies, comprehending the language of art, gaining the ability

interaction. Sociologists have employed the term “cultural

to talk about art. Then there are aspects that follow the

capital” since the 1980s to emphasize the fact that certain values or sets of competencies are created and transferred as a result of social interaction (for example, among like-minded connoisseurs or by way of intergenerational transfer). This capital operates as a sort of privilege, a social distinction, or, when consumed, a ticket into an exclusive, elite circle.

artystycznapodrozhestii.pl

the benefits of collecting

Cultural capital

MARCIN ZAWICKI, UNTITLED, OIL ON CANVAS, 2018.

the benefits of collecting

ARTING WITH ARTWORKS: HOW P TO PUT ITEMS BACK ON THE MARKET. THE SENSE OF REWARD

Parting with artworks: How to put items back on the market. The sense of reward

106

Auction houses. Using the services of an auction house is

the most transparent way of deaccessioning an artwork, but it also comes with the most uncertainty. You present the piece to the auction house, which appraises the item, giving a pricerange estimate. The bidding starts below the estimate price,

Having made the decision to narrow down your collection and part with selected pieces, how do you go about selling them? How do you transfer them to other collectors or entities in the art market? Itâ&#x20AC;&#x2122;s a good idea to think about this process as a space within which to verify your expectations about an artwork, and an opportunity to assess whether it has fulfilled the hopes you once placed in it. The returns on your investment, be they financial profits or symbolic, long-term rewards, will differ depending on the method of deaccessioning you choose.

as an enticement to potential buyers. The seller has the option of setting a reserve price. In practice, it is very hard to predict the price range a piece will achieve and whether it will actually draw high bids. The auction house charges a premium of approximately ten to twenty percent.

Brokers. Like gallerists, art brokers are often in the know and

will have a good idea of who might be interested in acquiring a particular artwork. A good broker will make efforts to find buyers who are interested in purchasing the piece for the their collections (rather than for immediate resale), and

Returning a piece to the gallery. If you want to return

is responsible for the security of the transaction. Brokersâ&#x20AC;&#x2122;

an artwork you bought directly from a gallery, it is a good

premiums start at a ten percent of the value of the artwork.

practice to inquire at the same location about the conditions of resale. Gallerists are often very well informed and will know which collectors were close to buying a specific item, and who among their clients is in the market for a particular artwork. They will offer a fair valuation of the piece and may broker a sale, taking care, if possible, to fetch a higher price than was originally paid.

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the benefits of collecting

108

Exchange between collectors. One particularly common

option, particularly when it comes to works that are part of an edition (such as prints or photographs) and on paper, is to trade them with another collector, thus parting with pieces that no longer fit the profile of your collection and acquiring selected works of a similar value, without exchanging cash. This method has the added value of strengthening the community of collectors, facilitating a meeting of peers, and creating the opportunity to reevaluate, through the eyes of the other person, the artworks and items that had thus far been part of your collection.

An entirely different solution â&#x20AC;&#x201D; one that is neither commercial nor associated with the art market, but remains within the bounds of the art world â&#x20AC;&#x201D; is to donate the work to a cultural institution. This practice is only beginning to take root in Poland, where it remains hindered by numerous legal and formal hurdles. Nevertheless, if your goal is to increase your profile as an art patron, it is worth considering this method of deaccessioning pieces from your collection. Approach a few selected institutions and inquire whether they would be interested in taking the items in question into their collections.

EWA JUSZKIEWICZ, UNTITLED, OIL ON CANVAS, 2018.

artystycznapodrozhestii.pl

the benefits of collecting

HAT ELSE TO DO WITH YOUR COLLECTION. W BUILDING VALUE: EXHIBITING, DEPOSITING, PUBLISHING

The value of a collection — in economic and, more broadly, in cultural terms — increases when it remains in motion and its contents are associated with particular actions on the part of the collector. Think of these efforts as an additional investment that will pay off in the future.

The value of a collection increases when it remains in motion. artystycznapodrozhestii.pl

What else to do with your collection. Building value: Exhibiting, depositing, publishing

110

The first and most basic endeavor of this type encompasses all forms of exhibitions—from monographic shows of the collection to loaning out individual artworks for exhibitions that feature pieces from a number of different collections. Each public show of this type will boost the public profile of the piece and contribute to its history, directly affecting, in turn, its appraised value. When a work is put on display, the exhibitor typically credits the private collection from which it has been borrowed, thus strengthening the brand of the entire collection. In other words, every viewer will see the collector’s name on the caption accompanying the artwork. This is also the case with deposits, in which a work is lent to an institution for an extended period of time. Another way to build the value of your collection involves public outreach, often in combination with broader educational projects: talks, discussion panels, and studio visits. In the short term, these sorts of actions require additional investments and significant efforts, but are well worth considering as a means of boosting the value of your collection.

CHECK LISTS

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checklists

— GETTING STARTED

— AN INTERMEDIATE CHECKLIST

View art

Assess the profile of your collection

Think of a concept

Diversify your collection

Set a budget

Appraise the artwork

Identify potential acquisitions

Consider your options on the secondary market

Choose a piece and buy it

Educate yourself and network with others

Listen to your collection

— NEXT STEPS

— AN ADVANCED CHECKLIST

Choose a space

The duties of a mature collector

Conservation

Popularization

Certificates and other documents

Old/new art

— A CHECKLIST FOR PEOPLE THROWN IN THE DEEP END (HEIRS, NEW MANAGERS, AND BUYERS OF ENTIRE COLLECTIONS)

Decipher the meaning

Map out the potential

3. Remember that a good collection is never really complete

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Getting started

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116

GETTING STARTED

As they say: First things first. Building a collection is one of the most difficult and exhilarating steps in your journey through art. Here are a few rules that will help you focus on the important decisions ahead, prioritize your goals, and steer clear of common pitfalls.

1. View art. Before you con-

2. Think of a concept. Will

3. S et a budget. Think about

sider buying a particular

you be collecting work on

how much you want to and can

artwork, be sure to view

paper or new media? Is

afford to spend. It’s a good idea

art in a broader context .

there a theme you enjoy

to start by planning an annual

Give yourself some time

in particular (such as geo-

budget and decide how fre-

to observe the goings-on in

metric abstraction or por-

quently you plan to make acqui-

the art world: pay attention

traiture)? It’s a good idea

sitions (on a quarterly basis,

to new exhibitions open-

to start with a concept that

for example). This may not be

ing in commercial galleries

will guide your first acqui-

good news, but the magic of

and museums. Two or three

sitions. Even if you end up

collecting is born out of regu-

months should be enough

adhering to it less strictly in

lar purchases. Each acquisition

to start. After this period, if

the future, it will help you

of a new piece will lead to an

you are a keen observer, you

narrow down your search

increased sense of awareness

should be able to pick out

and deepen your analysis

and, in turn, a reassessment of

certain patterns—especially

in the early stages. This is

the validity of a given purchase.

in your own perception of

not the time to be distracted.

You’ll also witness progressive

art. This may be a time when

You’ll do better to choose one

growth in your ability to view

you discover your first favor-

segment of the art field and

art, expressed in the answers

ites or gain a clear picture

study it thoroughly.

to questions such as: Is this

of what you definitely do not

piece the artist’s best work? Is

want to collect.

it likely to be as captivating in ten years as it is today?

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Getting started

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118

4. I dentify potential acquisitions. Before you decide to purchase a particular artwork, make a shortlist of three to five candidates. Be sure to view each work in person at a presale exhibition, a gallery, or an art advisor’s office.

5. C hoose a piece and buy it

6. Listen to your collection

Think about whether the

Once you’ve made 3–4 pur-

works you are considering:

chases, step back and take a bird’s-eye view of your

— stand a chance of break-

budding collection. Display

ing into the wider art cir-

your acquisitions side by

cuit (is the artist currently

side and think about the

or soon to be on display in

relationships that are form-

reputable galleries and arts

ing among them: What do

institutions?)

they have in common, what sets them apart, and which

— stand out among the artist’s other artworks

of the pieces do you consider your best choice? These reflections will come

— and whether you won’t soon grow bored of them.

in handy in the future and will help you rise to higher levels as a collector.

Don’t consider the possible financial returns at this stage. The time for that will come.

artystycznapodrozhestii.pl

MAREK RACHWALIK, LOGO AND MASCOTS OF A VILLAGE NU-METAL BAND WITH A YOUNG GIRL ON VOCALS, OIL ON CANVAS, 2017.

checklists

Next steps

NEXT STEPS

2. C onservation Once your

involved in such losses. All of

collection has grown into an

the artworks in your collec-

actual collection spanning

tion should be appropriately

a few or a dozen pieces,

secured, framed, and pack-

1. Choose a space. Your wall

some of which are kept in

aged. The winter heating

isn’t always an ideal place

storage (even if it is in your

season can warp artworks

to display art . The man-

home), and the rest are on

on paper or leave canvases

ner in which an artwork is

display (on your walls, for

loose on their stretcher bars.

presented depends on the

example), you’ll start to real-

If you have any doubts regard-

medium and its physical

ize that art objects are more

ing the proper conservation of

limitations. If you collect art

than just visual narratives,

your art, consult the gallery or

on paper, consider display-

elements of an artist’s oeu-

the artist. They’ll tell you how

ing it in a space that is either

vre, or investments, they

to re-tension a painting with

shielded from daylight or

are also just that: objects.

canvas keys or take other

entirely dark. Another prob-

They are matter that ages

steps to preserve your pieces.

lem, one that might initially

and is subject to damage.

seem completely hypothet-

It’s a good idea to preemp-

ical, will become apparent

tively minimize the risk

Now that you’ve made a few purchases, it’s time to reflect on your collection and take further steps to develop your practice. Here are a few rules to help guide your efforts at this stage.

120

once you’ve purchased a few or a dozen items: Where do you store your collection? If it has ballooned to the point where you are no lon-

3. Certificates and other documents. The value of an artwork is

ger able to exhibit it, look

determined, among other factors, by its provenance. Make sure you

into renting a storage space

do not lose any of the certificates you receive when you purchase

and display your artwork on

a piece. It is also wise to store the receipts and other proof of sale.

a rotating basis.

If you loan a piece out for an exhibition, be sure to place a copy of the documentation in your records.

artystycznapodrozhestii.pl

Next steps

NATALIA BAÅ»OWSKA, THOUGHTS, ACRYLIC ON CANVAS 2015.

122

checklists

An intermediate checklist

AN INTERMEDIATE CHECKLIST

Try to identify any clear outliers

2. Diversify your collection.

in your collection: any artworks

Few interesting collections

that are weaker, less interest-

focus strictly on a single

ing, or simply different — the-

theme or medium. That’s

matically mismatched, for

why, at this stage in the pro-

example — and start coming

cess, it’s good to consider

to terms with the idea of sell-

branching out in new direc-

ing them in the future. It can be

tions or creating a few the-

a good idea, however, to keep

matic sub-collections, espe-

one or two early acquisitions,

cially ones that overlap. For

even less-than-stellar works,

example, if you collect experi-

1. A ssess the profile of your

as souvenirs of your previous

mental photography from the

collection. Take a critical

mind-set and taste. Paired with

1970s, you might be inter-

look at your collection, recall-

your latest purchases, these

esting in contemporaneous

ing your early motivations

items will serve as indicators

tapestries that employ similar

and your initial ideas about

of your progress as a collector.

formal techniques based on

As you become established as a collector, you’ll enter an interesting period. On the one hand, you’ll enjoy greater knowledge, competence, and confidence in what you’re doing. On the other hand, it’s easy to fall into a rut. Here are a few more guidelines to keep you on course.

how to shape it. Now, having made several dozen acquisitions, your view of the collection is probably different than it was in the beginning. This is a good time to consider whether the artworks you chose have lived up to their promises. Do they form a cohesive narrative? Do you have an emotional connection to each piece? artystycznapodrozhestii.pl

124

contrast and visual solutions.

checklists

An intermediate checklist

126

3. A ppraise the artwork

5. E ducate yourself and

and Frieze), meet up with

Estimating the value of

network with others.

other collectors, and talk

pieces that you plan to deac-

No collector is an island;

to art advisors, whose job it

cession isn’t easy, but before

we all operate in a com-

is observe the world of art

yo u en l i s t t h e h e l p o f

munity of collectors. What

collecting. These types of

a professional appraiser, try

is more, the notion of good

encounters are the perfect

to handle the task yourself.

practices and what they

sources of inspiration and

Browse through the auction

entail is produced by a net-

a treasure trove of informa-

results of works by the same

4. C onsider your options

work of people. That’s why

tion. Access to truly interest-

artist and search for apprais-

on the secondary mar-

it’s also important to share

ing offers and expert analy-

als of comparable items,

ket. Think about how you

your experiences with other

ses of the market can often

such ones belonging to the

want to sell the works that

professionals. It ’s defi-

only be gained through such

same exhibition or series.

no longer match your col-

nitely a good idea to join

face-to-face meetings.

lection. As a rule, the auc-

a collectors’ organization

tion market seems to work

(Independent Collectors is

better for older artworks. If

one example), take part in

you purchased the pieces in

events (such as the ones

a gallery, it’s a good prac-

held as part of Art Basel

tice to approach the gallerist first. Tell him or her that you want to part with a piece, and ask if another collector would be interested in buying it.

artystycznapodrozhestii.pl

checklists

An advanced checklist

AN ADVANCED CHECKLIST

2. Popularization. An inter-

experts, including other collec-

esting and well-developed

tors, who may offer a fresh per-

collection contains plenty of

spective that can extract new

stories that can be conveyed

content and meanings from

not just through exhibitions,

your collection.

Being a top art collector comes with its share of responsibilities, not the least of which is to continue working and developing your competencies in the field of art. What’s equally important, though, is that you share your accomplishments with others.

but through a broad repertoire of means: print publications, video content, studio visits — 1. T he duties of a mature

all of these will increase your

collector. A good collec-

collection’s public profile. It’s

tion remains in movement

a good idea to invite outside

and at work. This means, among other things, that it should be on display. Membership in the upper echelons of the world of art

3. o ld/new art. Even if your collection has a specific profile (con-

collectors is practically syn-

centrating on pre-modern art, for example), it’s worth opening it up

onymous with having your

to new voices. A good collector has the skill to discern emerging

own program for exhibiting

artists that deserve encouragement from the art market. Keep in

your collection. It’s more

mind that your interest in such artists will trigger an avalanche of

than just a duty to the arts:

inquiries, prompting other collectors to purchase their work. When

each successive, well-orga-

you acquire emerging or current art, you don’t just diversify your

nized show boosts the mon-

collection: you also gain real influence over what will one day be

etary value of your collection,

regarded as the canon of our times.

increases its credibility, and establishes its provenance in the public consciousness.

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128

checklists

An advanced checklist

130

KAROLINA BIELAWSKA, DRIFT, VIEW OF AN EXHIBITION AT WIZYTUJĄCA GALLERY IN WARSAW, PHOTO: MICHAŁ MATEJKO, 2017.

132

checklists

A checklist for people thrown in the deep end (heirs, new managers, and buyers of entire collections)

A CHECKLIST FOR PEOPLE THROWN IN THE DEEP END (HEIRS, NEW MANAGERS, AND BUYERS OF ENTIRE COLLECTIONS)

2. M ap out the potential.

3. R emember that a good

Your next step is to apply

collection is never

u p -t o - da t e kn ow l e d g e

really complete. One

to what you’ve learned

temptation that may arise

about the collection. One of

when you deal with a “com-

the pieces may be revealed

plete collection” is to treat

to have a much greater sym-

it as a finished whole. In

bolic or monetary value than

reality, incompleteness is

it did when it was acquired.

a central feature of every

1. D ecipher the meaning.

Consider developing the

collection. A compelling,

Your first assignment is

collection in a direction that

well-crafted collection can

to conduct a meticulous

would showcase that partic-

be arbitrarily reshaped,

investigation of the pur-

ular artwork by purchasing

structured, and reproblema-

pose behind each individ-

formally or thematically

tized. It is like a box of toy

ual acquisition. Analyze

related artworks.

bricks or a kaleidoscope.

Anyone who inherits a collection, is tasked with managing one, or invests in a “complete collection” faces a daunting challenge.

each artwork along with the

Consider how you can rotate

accompanying paperwork:

it and make it even more

certificates, sales docu-

interesting and valuable.

ments, and catalogs. Identify the time and sequence in which the pieces were added to the collection. This will bring you closer to understanding the motivations and aspirations that guided the collection’s creation. artystycznapodrozhestii.pl

checklists

The Hestia Artistic Journey is a multifaceted art-branding project that has been part of the Polish and international art market since 2002. The idea behind the Hestia Artistic Journey is manifested in an annual art competition open to fourth and fifth-year students of art schools across the country. This undertaking plays a central role in the entire structure of the project and its field of operations. The HAJC competition is more than just a means of discovering promising artists in a professional, non-academic setting. It also features a wide-ranging program of public appearances, providing a space in which artists and audiences can engage in dialog, and in which the art world’s various circles can meet. What sets the Hestia Artistic Journey apart from other art competitions is its focus on young artists who have yet to emerge from the halls of academia. Each of the final exhibitions showcases current issues and themes of relevance to the latest generation of artists. By adopting the perspective of young artists, audiences are inspired to pursue their own explorations. In 2014 the Hestia Artistic Journey Foundation was established to organize the competition and carry out an educational program with the goal of popularizing contemporary art among a range of social groups and audiences. artystycznapodrozhestii.pl

A checklist for people thrown in the deep end (heirs, new managers, and buyers of entire collections) 134

The HAJC Foundation’s “traveling collection” is another contribution to the goal of broadening the creative space and encouraging deeper reflection. Each edition of the competition adds new work by its winners and finalists to the Hestia Artistic Journey’s art collection, creating an extraordinary record of topical social and cultural content that is at once relevant in a universal context. Instead of leaving the collection to cool in climate-controlled storage, the foundation dispatches the art on periodic tours throughout the country, with stops at galleries and museums in Polish cities large and small. It’s not just the talented students that head out into the world—their art gets to travel, as well. And the audiences embark on a “journey” of their own as they encounter the work of an emerging generation of artists. But the most important quality of the artworks on display is their diversity, in terms of both form and content. The Hestia Artistic Journey responds to the needs of today’s audiences and collectors, while giving young artists the opportunity to share their work with the Polish and international art scene and inspiring them to continue growing. These efforts also help popularize the concept of art patronage in which art is perceived as a brand. The project pursues a confrontation of art and reality, and conducts educational projects targeting a range of audiences, from the art scene to business circles.

The Grammar of Art Collecting Authors: Anna Theiss, Beata Niemczuk, Magdalena Kąkolewska Translation: Arthur Barys Visual design and typesetting: Marta Podogrocka, Edgar Bąk Studio

This book showcases work by finalists of the Hestia Artistic Journey Foundation’s art competition for art students. Photographs were provided by the foundation’s archives and the artists. To find out more about the competition, visit: www.artystycznapodrozhestii.pl.

Author contact information: Anna Theiss, anna.theiss@wp.pl Beata Niemczuk, beata.niemczuk@gmail.com Magdalena Kąkolewska, Hestia Artistic Journey Foundation, magdalena.kakolewska@ergohestia.pl

All rights reserved. No reproduction, copying with the use of data processing equipment, reconstruction, or use in public performances is permitted without the expressed written consent of the copyright holder.

ISBN 978-83-953475-5-9

The Practical, Financial and Cultural Aspects of Collecting Art 2018 English edition 2020