Art Fair in San Diego Offers Collectors a Virtual Viewing Room

For my Creatives at Work blog, I am always on the lookout for news about new ways for artists to exhibit and sell their work. In the process, I often discover resources that can help educate collectors as well.

For example, last year I published a news item about the virtual viewing room being planned to extend the reach of a four-day contemporary art fair in San Diego. Since then, I contacted the fair’s director Ann Berchtold to ask a few follow-up questions about the fair’s resources for collectors.  I have published her responses below (after the introduction about the fair and viewing room).   

    

About the Fair and the Viewing Room

Founded in 2009, Art San Diego (ASD) is a four-day art fair that features San Diego’s most talented artists alongside the world’s leading contemporary art galleries. The event attracts both national and international attendees and was designed as a catalyst to promote the collecting of investment-grade art.

When the Art San Diego contemporary art fair returns to Balboa Park for its fifth edition November 7-10, 2013, it will offer a unique digital experience -- a virtual viewing room called ARTSD ONLINE.  Their partner in establishing this virtual viewing room is Collectrium, a company that is focused on revolutionizing the art world by creating a global platform for managing, discovering, sharing, and trading art and high-end collectibles.

Through the virtual viewing room, collectors will be able to browse works by over 60 ASD exhibitors and purchase directly from the dealers. The site will also include a list of resources for new collectors. 

“The fair provides not only a vibrant forum to purchase great works but also the opportunity to meet and forge relationships with gallery dealers and artists that match the sensibility of the collector,” explained Ann Berchtold, founder and director of Art San Diego. “This new online forum provides an ideal mechanism to maintain and continue to build on those relationships, and a vehicle to introduce new works throughout the year not previously shown.”

“Art San Diego attracts savvy collectors from around the world with art works from elite galleries and unparalleled creative programming. Now patrons will be able to access Art San Diego and its exhibiting galleries anytime, from anywhere in the world!" said Boris Pevzner, president and founder of Collectrium. "Having worked with Art San Diego to produce their iPhone and iPad apps, we are pleased to expand our partnership by introducing the new Art San Diego Virtual Viewing Room.”

The theme of Art San Diego 2013 is [COLLIDE].  Exhibits will explore various types of creative intersections (cross-disciplinary, cross-national, art and film, rural and urban) and how they manifest in both visual and social settings.

Questions for Ann Berchtold

What is your Collectors Resource Group? Is it an online advisory group? Or is it a group that holds face-to-face meetings?

AB: The Art San Diego Collector Resources Group (CRG) includes numerous art-service professionals who are able to assist collectors on questions about everything from insurance and appraisals to framing and shipping. We provide contact information through our website, and CRG members are at the Collector Concierge desk at the fair and at events such as our “Art Collectors Breakfast.” Each year, we produce a series of talks about collecting, and members of the CRG are included in those panel discussions.

In your news release, you say that Art San Diego acts as a catalyst “to encourage and promote the collecting of investment-grade art.” How do you define “investment-grade” art?

AB: We encourage the collecting of all art, but for “investment-grade” art we work to provide resources (such as the CRG) to those who are interested in collecting works for long-term financial benefit, or as part of an investment portfolio.

Experts would define “investment-grade” art as art that is authentic, with a proven provenance and history of exhibition. The artist should be well-known on an international level, with work that has been included in museums or important private collections. The work should have an established track record at auctions, and most importantly have a strong allure to the buyer.

I recently read an e-book by Brad Wajnman entitled: “Picture Perfect Profits: The Definitive Guide to Buying and Investing in Art.” He categorizes “art collectors” into three groups:

• art collectors place a higher value on the art itself, rather than the profit potential.
• art investors are willing to invest at least $10,000 in art that might appreciate over a long period of time (at least five to ten years).
• art speculators are like stock speculators and are intent on banking short-terms gains from selling art. 

Would you agree with these categories?

AB: I think that is a good, broad summary. I think very few people would elect to call themselves “art investors.” The art market is so speculative – it is never a sure thing at the lower price points. You have to either invest large amounts on “proven” masters –or love what you are buying in the hopes that everyone else will, too.

What types of collectors could benefit from the resources that will be posted in your Virtual Viewing Room?

AB: At Art San Diego, we create a forum for both buying art, and expanding your experience and education as a collector. The goal with Art SD Online is to continue this experience past the four-day physical life of the fair into a virtual world that continues year round.

The site will feature monthly exhibitions that include select works from our participating exhibitors. We will also include articles about collecting, and news about things that are happening in the art world. Hopefully, over time, this site will become an educational resource for new collectors and a resource for collectors who want to follow a particular gallery they may have met at the fair.

LINKS

Collectrium

ARTSD ONLINE

Collectors Resource Group

BOOK

Picture-Perfect Profits: The Definitive Guide to Buying and Investing in Art

A Fresh Take on Buying Art Photography

Peter Johnson is the long-time art collector who created the online photography gallery Captured Global (capturedglobal.com). For beginning to emerging collectors, Captured Global sells intelligent, culturally relevant, collectible work by acclaimed photographers working across all genres of photography.

As a gallery owner, Johnson is challenging the multiple size, multiple price, multiple edition model used by other sellers of fine photography. Each photograph is offered only in the size originally envisioned by the artist. And edition sizes are not limited in an attempt to arbitrarily create “value.”

For my recent article on art collecting, I asked Peter to tell me more about Captured Global.

Tell me more about Captured Global's approach to selling art photography.

PJ: Our goal is to create the "go to" portal for extraordinary photography at a great price, to inspire a new generation of collector, and to help propel the careers of our artists. We currently offer the work of photographers from around the world. Some show exclusively with us while others may have other work represented elsewhere. The size and price of each image we offer however, is exclusive. 

I dig deep to find intelligent and culturally relevant work worthy of private and public collections.

Captured Global: Simon Vahala, Tourists, Alhambra, Spain, 40 x 40 in. 

You'll find the work of young emerging photographers side by side with established masters whose work is found in private and public collections around the world including SFMOMA, The Getty Museum, the Scottish Museum and National Gallery in Prague among others. At Captured Global, the images, the artists and the story are our centerpiece and we deliver great value for nearly anyone's pocketbook.

Are you a photographer yourself?

PJ: Yes, I'm a photographer who aspires to the level of talent of those we represent!

Photographs are telling of our time and the vernacular in which our photographers interpret the world is incredibly rich, diverse, compelling and exciting.

One reason interest in art photography is so high is because it is the only art form created by millions of people every day. All around the world, people are capturing, manipulating and sharing images instantaneously.

Now that everyone is a photographer, our job is to advance the art of collecting by sharing the work of our artists in ways that are fresh, exciting and culturally relevant. 

What kind of feedback have you been getting from photographers and collectors since the site was launched?

PJ: Since our approach is a bit contrary to the status quo, it's been an enlightening conversation with both photographers and collectors.

For many artists, it's difficult to break into the gallery scene, so we present a very intriguing option to the typically higher priced, limited editions that galleries establish in an effort to create and control demand. For the one photographer picked up by a gallery, there are hundreds of others producing extraordinary, collectible images.

Do most photographers support open editions?

PJ: Yes, because they want as many people as possible to enjoy their work. And it's interesting, because as a collector, I have never thought "Oh, I love that piece because it's one of only five in the world." Let alone 50, 100, 250, 500, 1000 or even more, which some editions are! When you think about it, it shouldn't matter how many prints are in circulation, because you should be buying work because you love it and will enjoy it every day.

While limited editions were created as a means to establish urgency and "future value," the strategy only works if the edition sells out and returns as a resale on the secondary market. But take a look around at gallery sites on the web and you'll find limited editions all over the place, of images dating back 10, 20, 30 years - and they're still not sold out! 

In fact many famous photographers like Ansel Adams, Henri Cartier-Bresson and Julius Shulman offered images as open editions, many of which holding tremendous monetary value today. 

As a collector, would you be more motivated to buy a one-of-a-kind print?

PJ: Not necessarily. If it's a one of a kind that I love and can afford, then sure I would consider buying it. At Captured Global, we're all about getting as many images as possible into the hands of as many collectors as possible. It's a win-win for both artists and collectors. When you buy an open edition, you have no idea how many prints of that image are actually in circulation - it could be five or 5,000. But that should have have no bearing on "future value" because it's highly unlikely that prints priced between $50 and $1,500 are going to come onto the secondary market anyway, regardless of how many are out there.

What comes with the purchase of an open edition, potentially with many other collectors, is the knowledge that you're really helping an artist grow their business. 

And that's good. Volume sales at say $350 as an open edition is much more sensible than few, if any, sales at say $1,500 as a limited edition that may never sell out - a scenario that happens more often than a gallery may like to admit. This certainly doesn't help the artist.

That said, nothing replaces the relationship between artists working at the very highest levels and their top-tier galleries. They establish the benchmarks in the marketplace and cater to a clientele more inclined toward "investment" purchases.

Captured Global: Norbert Hayo, Charles Baudelaire, 20 x 24 inches

It is with great pleasure that we've been given the opportunity to work with such talented artists, whose belief in our unconventional approach to the value of photography as a collectible art form, has together, made us agents of change.on sizes are not limited in an attempt to arbitrarily create “value.”

What does the future hold for Captured Global?

PJ: While Captured Global is an online experience, so to is our commitment to bringing the Captured Live! experience to cities around the world, propelling the art of photography in a connected world. We will be integrating technology as a complement to viewing original photographs in person. 

As the world becomes more dependent on connectivity, we never want to lose site of the innate value of the printed image.

LINK

Captured Global

RELATED POST

Good Advice from a Long-Time Collector

The Art Market Is Being Transformed

Technology is changing how art is bought, sold, and valued. Just as the Internet has transformed the publishing, music, and retailing businesses, it is changing the art market as well.

The Internet is giving people around the world easy access to a growing volume and diversity of affordable, contemporary art.  Because a massive, global audience can now engage in collecting, some long-established “rules” of the art world are being reconsidered. For example, here are just a few of the ways the art market is being democratized.

Online galleries and “virtual” art fairs have grown in acceptance now that people feel comfortable buying almost everything online. Selling art online frees gallery owners and art fair organizers from the limitations of geographical boundaries, retail display space, and operating hours. Today sellers of art can represent more artists and market their work to potential buyers year round.

Growing economies in China, Russia, Brazil, and India have created a broader pool of collectors with the affluence to buy art. Collectors who can’t spare the time to repeatedly visit galleries in New York or London have made the Internet an acceptable method of searching for artists to collect.

The art world has become more inclusive, welcoming artists from new geographic, social classes, and cultural territories. Artists don’t have to live in a big city or an industrialized nation to get exposure for their work.

The Internet and online galleries are providing more transparency in pricing. The Internet has also made it much easier for art lovers to educate themselves about genres, artists, and what an artist’s sales record.    

The sheer volume of available work is making a lot of art more affordable. People such as retiring Baby Boomers and under-employed college graduates have the time, desire, and tools to express themselves artistically. Many talented people who never expected to build full-time art careers are thrilled to simply earn some income from their art.

Many galleries and art fairs have become more welcoming to new collectors, with special events and activities geared toward art education and networking with artists. There is an expectation that over time, many new collectors will become art connoisseurs.

The Affordable Art Fair offers a welcoming environrment to learn about art. 

Entrepreneurs and technology firms have started to “re-imagine” ways for art to be displayed, bought, and sold. For example, instead of buying art, you can choose to purchase art on a subscription basis. Or you can buy art in digital forms to display on your high-resolution monitors in your home or office. These types of business models let you change out of the art in your home, without investing a lot of money in acquiring, storing and preserving a big collection of art.

Social media has made it possible for artists to interact directly with their collectors. This wasn’t possible when artists relied exclusively on galleries to sell their work. The ease with which artists can sell directly to buyers is causing some turbulence in the traditional artist-gallery-buyer business model, particularly when it comes to how art is priced and how an artist’s work has traditionally increased in value over time. Still, many people like buying art from people they know, and social media is making it possible for more people to "know" artists.

Can you think of any other ways that the art market is being transformed? If so, I would love to hear from you!

TurningArt Memberships Offer No-RIsk Way to Find Art You Love

With so much art to choose from, it can be really difficult to commit to buying that single perfect piece to display in a prominent space in your home or office. The art enthusiasts who founded TurningArt understand that dilemma. So they came up with a fun, affordable, risk-free way for newcomers to art collecting to discover, experience, and buy art from talented artists across the country.  

As a Turning Art member, you can display a rotating selection of museum-quality prints in your home or office. For just $10 a month, you can choose to display a different art print as often as you like.  For every dollar you spend on your TurningArt membership, you will bank an Art Credit that can be used to purchase the print or the original of any art that you like to keep. 

Until you feel ready to buy art for permanent display or to start a collection, you can fill a blank wall with works of different types, genres, and artists.

TurningArt offers thousands of pieces from hundreds of independent artists, with new works added daily.  Every piece you bring into your home earns money for the artist. As a TurningArt member, you can give your favorite artists the exposure they deserve, and help them find new audiences.

If you fall in love with a specific piece of work, you can use your TurningArt Art Credits to purchase the print from TurningArt or buy the original from the artist.

For original works, your Art Credits can be used for up to 50 percent of the price that the artist has set. (The originals typically are priced between $300 and $5,000.)

Prints are available in two sizes. The 16 x 20 inch prints sells for $65 unframed, and $140 framed. The 24 x 30-inch prints cost $105 unframed and $260 framed. A 6- or 12-month TurningArt membership provides enough ArtCredits to buy an unframed print.

The Story Behind TurningArt

TurningArt was started by Jason Gracilieri, an art lover in Boston who was finding it difficult to fill an empty wall in his home: “I was trying to find something that I really loved. Something that had meaning for me and just fit perfectly. While I searched in the little free time that I had, that empty wall stayed empty for a very long time. I thought there had to be a better way.”

How It Works

When you sign up for a membership, your first print will arrive framed and ready-to-hang. Each piece is printed on a high-quality material that displays rich, vibrant colors, captures subtle detail, and remains crinkle-free. The black frame is made of a natural, recycled material that won’t warp or dent. When you want to return your first piece, and exchange it for something new, shipping is always free.

Gift Service

Although art can be a welcome gift, choosing the right piece can be a challenge. So, TurningArt offers three types of gift memberships: 3 months ($30), 6 months ($60), and 12 months ($120).  The TurningArt membership can be particularly well-suited for wedding gifts.

"Couples starting out may not have the money or the inclination to purchase art, especially if they're renting or haven't developed their personal style as a couple," said Gracilieri. "Gifting a TurningArt membership will help create that special home environment, and allow them to discover the art they love."

Gift-givers can select the first print or email the recipient a TurningArt gift notification with instructions on how to select their first piece.

LINKS

TurningArt

Good Advice from a Long-Time Collector

Peter Johnson is a long-time art collector who created the online photography gallery Captured Global (capturedglobal.com). For beginning to emerging collectors, Captured Global sells intelligent, culturally relevant, collectible work by acclaimed photographers.

Captured Global: Michael Hall, Untitled, 30 x 40 in.

In another post ("A Fresh Take on Buying Art Photography"), Johnson explains why he is challenging the multiple size, multiple price, multiple edition model used by other sellers of fine photography. Primarily, it's because he believes that art is about the expression of ideas, not a component in an investment portfolio.“We believe that true value is created by the singular power of the piece and what it means to you.”

Below are some details about his background as a collector and advice for beginning collectors.

What type of art do you collect? 

PJ: We have quite an eclectic collection - from the Taos Modernists to graffiti artists - works on paper, paintings, photography and sculpture

Do you remember the first piece of original art you bought? 

PJ: I do - Evangelina by R.C. Gorman - which we still have.

How has art collecting changed over the past 30 years? Over the past 10 years? 

PJ: Collecting is an entirely personal experience. Whether you're buying direct from the artist, through a gallery, or online, you should approach the process with the same level of passion. Buy what you like, trust your instincts, and love what you own every day.

The Internet has changed the game, making great art more accessible to more and more collectors who are placing their trust in online galleries and the secure purchase process.

How do you envision art collecting changing over the next five years?

PJ: Art is becoming more integrated with an interconnected world.

Interest in photography will continue to be high because it is the only art form created by millions of people every day. All around the world, people are capturing, manipulating and sharing images instantaneously. Now that everyone is a photographer, our job is to advance the art of collecting by sharing the work of our artists in ways that are fresh, exciting and culturally relevant.

While Captured Global is an online experience, so to is our commitment to bringing the Captured Live! experience to cities around the world, propelling the art of photography in a connected world. We will be integrating technology as a complement to viewing original photographs in person.

As the world becomes more dependent on connectivity, we never want to lose site of the innate value of the printed image.

Is there a point at which new collectors should stop collecting for fun and be more deliberate in acquiring works that might increase in value?

PJ: Collecting should always be fun. It's an exciting, personal and very rewarding journey. But I don't think one becomes more deliberate, rather more informed.

The more you develop an eye for great work, the more sophisticated your collection becomes. Over time, the work you collect will naturally evolve to include more "important" work that may see stronger appreciation over time. But the personal value of collecting should not be confused with the potential monetary value of collecting.

Other than "buy what you love," what other piece of advice would you give to someone looking to buy his or her first piece of original art? 

PJ: Ask questions. Get to know the medium in which you're interested. Visit galleries and bookstores, make studio visits and talk to artists and collectors. Across all creative arts, a fine line exists between good and great —decorative and collectible if you will. You want to develop an eye for defining that line.

What is the biggest mistake novice collectors make when starting a collection? 

PJ: Buying "decorative" work or approaching the process from a "by size," "by price," "by color," "by theme," or any other "by" prompt.

You're not shopping, you're collecting! When you find something you that resonates with you and you can work it into your budget, then buy it.

At Captured Global, we don't sell work in five different sizes at five different prices in five different editions. When the true essence of a 16 x 20-inch photograph is offered as an 8 x 10 inch print to fit someone's budget for example, then the integrity of the image has been compromised.

If you're going to collect, collect with conviction. Take it seriously and enjoy the process.

LINK

Captured Global

RELATED POST

A Fresh Take on Buying Art Photography

Interview with Founder of 5 Pieces Gallery

5piecesgallery.com is an online art gallery that offers original contemporary artworks and small editions from young, established artists and leading art galleries from around the world. Collectors can choose from paintings, drawings, mixed-media works, prints, and photographs priced from $50 to $20,000.

Currently  the site offers more than 1,000 original artworks and 400 small print editions from more than 134 artists in more than 38 countries.

Most artists on 5 Pieces Gallery are under 40, but have already had exhibitions at well-known museums and galleries such as the MoMA, PS1, ICP, MOCA, CO2, and the Saatchi Gallery. Some artists in 5 Pieces Gallery have been featured in the ABSOLUT Blank series, an art project that collaborated with artists such as Andy Warhol, Keith Haring and Damien Hirst in their early days.

Entrepreneur and collector Dennis Ammann of Bern, Switzerland, founded 5 Pieces Gallery in January, 2011 because he felt an online gallery could unite artists and collectors around the globe. He noticed that many art buyers were emerging from Asia, Russia, and the Middle East at a time when some renowned contemporary artists were from regions that the art market has overlooked for decades.

5 Pieces Gallery. By Kevin A. Rausch, "Walk On," mixed-media paper on wood, 40 x 30 cm, 2012

Ammann wants the gallery to be a place where art collectors can find the “next big thing,” but also be affordable enough to encourage a new generation of collectors. Most of the artwork can be purchased securely online with a PayPal account or credit card and safely delivered to more than 40 countries. Collectors can keep up to date with new releases and happenings by subscribing to the 5 Pieces Gallery newsletter and RSS feeds or following the gallery on Facebook, Twitter and YouTube.

In this interview, Dennis Ammann explains how the Internet is changing the art market, creating a new breed of collector, and empowering artists and collectors alike.

How has the Internet changed the art market?

DA: The Internet has been a facilitator in creating an art scene that acts and appeals globally. It has opened doors for thousands of potential art enthusiasts and promoted more transparency in pricing. For the first time in history, a mass audience can engage in collecting.

People who previously have never felt comfortable walking into an art gallery and asking about art, now have no problem doing so because they can do it online.

The Internet definitely creates a new kind of art collector. It all feels less elitist now and people are buying what they like, not what they are told to like.

I think the Internet has also been an amazing tool and catalyst in the development and communication of contemporary art. The speed of creative exchange and conversation is very radical. Because I think art should be about debate and discussion, I find this to be a very good thing.

Plus, the Internet has given emerging artists a shot at building an audience and consumers a chance to buy quality art at a reasonable price. Name Banksy, an artist who spotted the democratic and commercial potential of the Internet, has priced his canvases for $600 online, but ended up selling them for more than $1.8 million USD at auctions.

For galleries, it is becoming increasingly necessary to be accessible online. The Internet has broken down borders, allowing easy communication with people all around the world. The Internet gives gallery owners access to a wider group of artists and clients. Some days we have more than 3000 visitors, which is much more than we could expect in a static space.

One important aspect of the Internet is that it promotes transparency in pricing. It makes collectors feel safer about acquiring pieces. Through the Internet, there are so many artists we all look at, but just a few who earn big money. With some of these artists, though, the high prices are not accurately representative of their work. It is really up to the next generation to decide what is still relevant in the future.

The most important aspect is that art can now be accessible and not elitist. This speaks to me because I try not to get caught up with status, rank, and categorization.

How is your gallery responding to changes in the art market?

DA: In a world in which the people either do not have the money to go to commercial galleries in New York or London, and or the time to search for artists to collect, it is our aim to take the guesswork our of collecting, and offer easy access to the backrooms of the galleries of this world.

Due to the Internet, the contemporary art scene is on steroids. Everything is happening faster, especially when it comes to prices. The prices for some artists’ works are rising at unprecedented rates. As a result, works by younger artists are being considered  by more established art collectors.

On the other hand, the art we are showing has enormous crossover potential with young collectors. Many of today’s collectors of contemporary art are looking for artists and works that speak to their generation. So, the affordable prices allow us to cultivate a younger collector base as well.

Without the Internet, it would have not been possible to establish our gallery so quickly as an international meeting place for artists and collectors. We already have  happy clients in more than 50 countries around the world.

On your website, you say 5 Pieces Gallery is empowering artists and collectors. How are you empowering collectors?

DA: By showing nearly all the prices on the website, we approach the process of purchasing art in a way that makes it as easy and transparent as possible for everyone. Our goal is to offer fair prices while still respecting the value of the quality in the artwork. We can offer outstanding prices on high quality art because we make great efforts to reduce our fixed costs.

How are you empowering artists?

DA: Our relationship with the artists is very unique. Being an artist is a very hard job- there is no security in an artist’s life, especially in that of a young one. So, we try to promote our artists to the best of our ability. We want to see artists grow, give them faith, and provide them with an opportunity to expand. We feel strongly about giving back as much as possible and lending support to younger artists. For this reason, we send our artists much more than the usual 50-50 split in the case of a sale.

It means a lot to our audience that the artists benefit directly from any purchase. Because our clients more directly support the artist, they become patrons. Through our social-media channels, such as a special Twitter list and YouTube channel, clients can take a look into the vibrant lives of our artists at any time. Our artists are so accessible that you can become a part of their lives and feel that you play a role in their success.

5 Pieces Gallery: By Matko Vekic, "The Inner Place," oil and varnish on canvas,  200 x 160 cm

What else makes your gallery unique?

DA: First of all, we are very global in our outlook. It is important to us to support young contemporary artists from all corners of the world to show different perspectives on life and society, and provide diversity in content, comment, and style.

The gallery has a strong desire to challenge the viewers, social norms, and our own values and beliefs. So, it is not only about technique, beauty, or understanding of light and figure. It is more about how well the art mirrors our society. Artists from a variety of countries and culture join our group and give life a greater meaning in this context, and together create a visual opera of our time: pure passion, edge, and undeniable beauty. This all comes together on our site, yet we still distinguish the creative process of each artist. It is a really enriching experience to visit our website and group shows.

What steps to do take to educate novice collectors? 

DA: At 5 Pieces Gallery, our mission is to help every client discover, learn about, and collect the most exciting works of art available. It is important to us to show the client from the beginning how honestly we work and how much we have to offer. Thus, we are supportive rather than prescriptive in our approach.

Because most of our clients do not have time to waste, it is important for us to provide them with all the information they need as quickly and professionally as possible.

Also, to showcase the very best artistic talent the world has to offer, we work with art curators and experts around the world who have a lifetime of experience.Together, we put a lot of effort and time into the search for new talent. We hand select every artwork with the utmost care to ensure that every collector can find the best contemporary art available at affordable prices. Novice collectors can be confident that they are getting a good deal when they buy from us.

Are most of your clients experienced collectors, or new collectors?

DA: Our clients range from some of the strongest collectors in the world who are building very powerful collections for museums and foundations, to some of the poorest. All in all, I would say that it’s about a 50-50 split between more experienced collectors and new collectors.

Do your clients buy purely for the pleasure of owning original art that they love, or are they buying art as an investment?

DA: Collecting is a very personal experience for everyone. What is most important is that you find artists whose work speaks to you in a unique way. We only represent the artwork of artists who have the potential to become household names and are worth every dollar you spend.

Even though the value for the works of most 5 Pieces Gallery artists generally do increase as their careers advance and as there is more demand for their work, we hope our collectors purchase art at 5 Pieces Gallery as a personal investment—because it moves them on an aesthetic, emotional, and intellectual level.

Although many of our collectors enjoy purchasing art as an investment, we advocate buying art primarly for the enjoyment you get from the work. After that, the investment potential becomes incidental and merely a potential bonus to your overall enjoyment of the work.

What criteria do you look for when choosing which artists to feature?

DA: First and foremost, the artist and the work itself must appeal to us personally. We look for artists who are unique in their approach.

I believe that if young artists are consistent with their work and ideas, and if greatness, passion, and endurance are there, then the work will take its proper place no matter what type of art it is.

Important artworks are most often an individual’s uncompromising vision. They’re often found to be different and radical or are misunderstood at the time, only to be recognized later as having something valuable to offer.

So overall we are looking for artists who have a solid vision and original style. You’ll find emerging and established names on our roster, but all of our artists have a thread and synergy that run through their work. It’s the energy and life in the work we look for.

Good art stands out on its own merits. We like to believe that this still reigns supreme. We ignore and avoid the hype. We judge the work with our eyes and hearts and not our ears.

At the end of the day, we do not care about trends in the market. We believe that popularity should not be confused with importance. We would offer the same pieces whether they sold or not. Fortunately, though, there are a lot of people out there who like the same stuff we like. It is great to go with your gut instinct and go with something because you love it.

Do clients have any hesitation about buying an original work from an online gallery? 

DA: We haven’t yet had a client who was hesitant about buy original art online. We are a trusted source in the business and have built a good reputation. Anything ordered from us arrives quickly and safely.

Customer care is a crucial factor in our business. Once we receive an order, the artwork is packed by our sales team or the artist directly and then is sent to the client usually within three days along with a certificate of authenticity signed and numbered by the artist.

We are very experienced in packing art with the utmost care and provide numerous, credible professional services. Our customer care team is here to answer any specific questions a client might have. We also offer a money-back guarantee, if the work should arrive damaged or be unsatisfactory in any way.

Other than "buy art that you love," what single piece of advice do you typically give to someone who may be purchasing original art for the first time?

DA: Although many of our collectors enjoy purchasing art as an investment, we advocate buying art primarily for the enjoyment you get from the work. After that, the investment potential becomes incidental and merely a potential bonus to your overall enjoyment of the work.

If increasing the value of your investment is a consideration, then I would recommend purchasing original paintings.

However from my point of view, collecting is a very personal experience, and what is most important is that you find artists whose work speaks to you in a unique way. I like helping people to build up strong, personal, cohesive collections they and their families enjoy every day.

We hope our collectors purchase art at 5 Pieces Gallery as a personal investment- because it moves them on an aesthetic, emotional, and intellectual level.

What does the future hold for the online art market? 

DA: The Internet has definitely made access to contemporary art more democratic. We are developing a kind of universal culture of art, which of course is a fantastic way to unite and promote the best in human nature. But I’m curious to see how the Internet will ultimately affect individuality and the development of art in general.

LINKS

5 Pieces Gallery

Facebook: 5 Pieces Gallery

Who's Running The Online Art Gallery?

If you plan to buy original art through an online gallery, try to learn more about the credentials and expertise of the people running it. Not all galleries are run by professionals experienced in the art market.

In fact, some online art platforms operate without much human oversight at all, which can be risky to both artists and buyers. For example, if the online gallery is run by someone who hasn’t seen the actual art and built a relationship with the artist, can the buyer have faith that the art is accurately priced, archivally sound, and offers investment potential?

Saray Ryan, curator and founder of New Blood Art in the U.K. doesn’t think so. She works with new and emerging artists to ensure that their works are realistically priced and released in a carefully managed way.

Untitled II by Emma Devane, mixed media on canvas, 175 x 175 cm

Ryan started New Blood Art in 2004 because she recognized that selling art online “offered an economically viable way of selling truly affordable artwork by talented young artists without being crippled by the overhead of a physical gallery space.”

The staff at New Blood Art visits all of the UK graduate art shows to find the best new talent. The site currently offers more than 2,000 pieces at prices as low as ₤50.00.

“Over the last nine years, we have built good relationships with both the clients we serve and the artists that we represent. We have a good track record for identifying artists that have gone on to do very well and whose work has increased in value over time,” says Ryan.  “As a gallerist, it is vital to get to know artists personally over time, assessing their commitment to their practice and the quality of the work they produce.
This insight is critical when determining investment potential for clients.”

Ryan not only gets to know the artists whose work appears in her online gallery, she also interacts with art buyers: “I do interact with personally with our clients and often meet with them and speak on the telephone. Without this interaction, I’m not sure we would have the same loyalty.”

LINKS

New Blood Art

Subscription Art Site Lets You Hang New Art Each Month

Anyone who begins an art collection today should be aware that how we “collect” art might be radically different five to ten years from now.

Like the fields of music and publishing, the field of art is being re-imagined to reduce costs and make more works available to more people. Some new business models for selling art are being designed to appeal to younger generations of buyers who may prefer to live an “asset-light” lifestyle. Instead of accumulating, owing, and storing physical stuff, people might prefer acquiring assets in digital form so they can be viewed on-screen without maintenance and storage costs.  On the other hand, the more we engage with multiple “screens” on a daily basis, the more we tend to value the beauty of physical objects.

So I was interested to learn about GetArtUp — a new subscription art service through which you can hang a different piece of locally made, contemporary original art on your wall each month. Right now, the service is only available to residents of the San Francisco Bay Area. But because so many people throughout the U.S. have expressed interest in the concept, it could be available in other cities in the near future.

GetArtUp's online marketplace allows you to browse a diverse gallery of art just as you would on a shopping site. You can search the art by size, type, artist, and color. Along with the monthly rental cost, you can see how much it would cost to buy the piece outright.

All subscription plans include insurance so the art is protected from general damage while it’s in your Professional art handlers will deliver and install the art on location. The service also includes free advice from GetArtUp’s professional curators.

GetArtUp was founded by entrepreneur Tricia Rampe who was trained at Sotheby’s in London and  earned a graduate degree in Fine and Decorative Art. Rampe believes that most people don’t realize what an impact their visual surroundings have on productivity or state of mind. She says that “Whether it's a print, sculpture, or oil painting, art has the ability to magically transform a space."

“The feedback to  GetArtUp has been tremendous,” Rampe says, “Customers have been most excited about the idea that for a fraction of what a high-end picture costs to buy, they can have it hanging on their wall. If they want to purchase the work that is always an option.”

She says artists are enthusiastic about the possibility of earning income from their work while still retaining ownership. This business model can be especially beneficial to artists who are just starting out and try to market their work without a gallery.”

“As I see it, technology can enhance the art world and encourage one’s ability to participate in it. Technology allows for new experiences, pricing models, and modes for the dissemination of art,” adds Rample. “Our service is a wonderful way for new collectors to experience art and try it on the wall before they buy.”

LINK

GetArtUp

Ardent Collector Says Buy What You Love

While reading articles about how the Internet has democratized the art market, I ran across a blog post about art-collecting on a website called Junkyard Arts.  The post was written by the editor-in-chief of the website Lauren Pazzaneze, who has a Masters in Arts Administration, a BFA in Media and Performance, and years of Art History under her belt.

What I love about Junkyard Arts is that it is striving to advance art education and art appreciation by breaking down some of the convoluted “art-speak” that so many of us find so annoying.

Junkyard Arts defines their mission as bringing “the ever-exclusive world of the arts to the masses through criticism of current art culture, emergent artist interviews, museum and gallery exhibit reviews, and opinion pieces about affordable fine art.

When I contacted Lauren for a magazine piece I was writing about art collecting, she was gracious enough to answer my questions at length. Of course I was unable to include all of her insights in the 1,000-word article I submitted, so I am sharing some of her responses below.

As a collector of art, would you agree that owning original art that you love can bring you joy?

LP: Yes, I absolutely believe that owning art brings joy into our lives! Art is a means of communication and expression and can often say things visually that we are unable to articulate ourselves. And you know, sometimes art is there just as something nice to look at.

No matter why we own a piece of original art, it's the personal connection that draws us to it. Art will continue to bring joy into the owner's life because it touches on something purely internal.

Often times we cannot explain why we love a work of art. The best part of starting your own collection is: You don't need a reason and you don't need to explain it to anyone else.

What type of works do you collect?

LP: I collect a wide variety of art (it's an ongoing issue finding room for it all!). I tend not to purchase reproductions unless they are editioned and signed, or the work is something very small from a local artist at a craft fair or something of the like (usually under $50).

My collection ranges from limited edition screen prints signed by the artist, to antique posters, to framing letterpress cards and swatches of fabric.

I have a personal distaste for framing posters of famous artworks. This may seem snobby, but generally, we are all aware that you are not housing a real Van Gogh and it's OK to not be able to afford that. Most of us can't.

Framing a print of an oil painting takes the textural elements from oils and eliminates them. It removes the smell, the scale and really, the excitement out of seeing a real masterpiece in a museum. While we all may love a particular painting or photograph, I do not advise framing a poster of it. Pay homage by seeing it in person and remembering the experience forever.

How long have you been buying art?

LP: I have been buying art since my college years when I would grab works from fellow artists for trade or a pittance, really.

I seriously began collecting once I had a stable job and could afford to invest in pieces and when I could expand my resources through online sellers and traveling to antique shops. And while I started seriously collecting 10 years ago or so, my love of owning art and being surrounded by it has always been part of who I am.

Where do you buy most of your work?

LP: Most recently I have been antiquing.. Fairs and antique shops are great places to go when you don't know what you are looking for. I love the basement of the Witch City Consignment and Thrift Shop in Salem, Massachusetts. While it is hit or miss, you can often find fantastic pieces for pennies.

I bought two gorgeous French circus prints, framed, around 18 x 24 inches, for $22 total. It was an unbelievable deal.  The frames are a bit beat up but the prints are in great condition. I still have to get them appraised and I am sure monetarily they won't be worth a whole lot since they are reproductions. But I am so in love with them it doesn't really matter. They hang alone on a large wall in my dining room and continue to be a conversation piece.

Do you usually know the artists behind the works you collect?

LP: I definitely advocate getting to know the artists you buy from. I think it adds so much more to the work and the story is something you can continue to share through the years. Often times a work can be so subjective you aren't even interested in it until you know the story behind it, and through the story you create a connection with the piece and the artist.

I have a few artists that I know well enough that I continue to collect not only because I love their work, but because I want to continue to support their careers.

Have you bought any art through an online gallery?

LP: I have not bought through traditional online galleries but this could be due to my personal taste. I generally lean towards screen prints from artists like John Dyer Baizley or Aaron Horkey which are beautifully intricate with powerful imagery, but the subtext or even subject matter does not hold mainstream appeal.

I believe that Etsy offers the best of both worlds in a few ways. You have independent artists offering a variety of work online and you often can interact directly with the artists through messages. It offers affordability and ease.

I love OMGPosters.com. They do a great job of consolidating a huge variety of artists and informing collectors of sales and special events. Another bonus: Most of these works are highly affordable and offer great investment opportunities for amateur collectors. And while the works are affordable, they can often be extremely hard to get your hands on: Limited editions sell fast , so being in the know and following your favorite artists through their social outlets is important as well.

While buying art online is appealing, I find that buying in person offers many more positives: meeting the artist in person and getting to really see the quality of the work up close are two that come right to mind.

Would you agree that many people are intimidated by the art-buying process?

LP: I absolutely think many people do not collect art because they are intimidated by the process and can feel alienated from the art world. This is why I created my website and why I strive to offer access to the art world through education, communication and humor.

For so long the art world has been exclusionary - you only get access when you know a guy who knows a guy. And art historically has been a source of bragging rights for the elite. Many people may not even enjoy the works they own, but only house them for the tax write-offs and investment opportunities.

Another issue is the art market deciding what is valuable and what is not. Often times what the art world sees as worthy of esteem leaves the rest of us shaking our heads in confusion.

The intentionally uncultivated communication between the art community and society has led to the average person thinking art is just not for them. Some have even railed against the art world, leading to the de-funding of cultural institutions and programs in our country.

I believe this is all a result of lack of understanding and communication that continues to be unresolved on both sides. It is a shame.

Luckily we are seeing a resurgence in the craft movement, of community art walks and city-wide art fairs that are helping bridge the gap. Public art, free museum days and a larger cooperation between art universities and their communities have done wonders for educating the mainstream in a fun and engaging way.

Even if you collect art for the fun of it, would you agree that it's a good idea to document the "story" behind each piece you buy?

LP: I always love knowing the story behind a work. I think it adds to the longevity of the buyer’s connection to a piece and is something great to pass down through the generations. Certainly it's not necessary and some works speak for themselves (or don't speak at all and are just great to look at). But when there is a story to be told, I'm there to listen.

In addition to the tips you presented in your blog post "How to Build an Art Collection," do you have any other advice for novice collectors?

LP: Just have fun with it. Some of the work I love the most can be totally unpalatable to friends and family. Some of the work I love is boring to some, but totally enthralling to me. You must buy for yourself. As I say in the piece, you are the one that has to look at this work hanging on your wall day in and day out, no one else. So it better be something you love!

And never worry about having 'too much' art. I have stacks and stack of framed works, and tubes of prints I have yet to frame. I constantly move work around my house because it gives the room a new life, and the piece a new meaning!

Sometimes having a stash of work available to you offers a host of new design opportunities without having to buy a single thing. Art can chronicle important moments or places we have been in our lives, and we can give new life to a work by allowing it to breathe in new spaces.

Finally, buying a work of art that you love is never a bad investment.

LINKS

Junkyard Arts

How to Build an Art Collection