guitarbeard
New Member
Posts โข 37
Likes โข 25
January 2019
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Building a collection, by guitarbeard on Jan 26, 2019 21:56:48 GMT 1, Interesting comments regarding buy more books than art. Very much based on buying with the head - but sometimes the heart takes over - kerching, another piece
Interesting comments regarding buy more books than art. Very much based on buying with the head - but sometimes the heart takes over - kerching, another piece
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d.r. perseus
Junior Member
Posts โข 1,569
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December 2014
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Building a collection, by d.r. perseus on Jan 26, 2019 22:28:33 GMT 1, Buy everything regret it later
Buy everything regret it later
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cashewman
New Member
Posts โข 184
Likes โข 255
September 2013
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Building a collection, by cashewman on Jan 28, 2019 15:33:18 GMT 1, (edited for clarity and to add a couple things)
I'm about... 30 or 40 pieces and something like 6 years in. I'm thinking about my mistakes, and trying to be specific. So this is mostly thoughts from somebody who's early in their collecting life, but not right at the beginning.
- Gain a wide exposure to new artists, and particularly those related to your current targets. I used to love eBay for this (surprisingly). I had several saved searches up for my favorite artists, and so would be alerted whenever something new was posted. What I found was that was also a great way to discover adjacent artists, because people will post "like X, Y, Z" in a listing. Right now I find these boards are fine (although once you know the 30 artists we talk about, that's kind of it...), and Avant Arte's instagram is the best. I've also figured out which types of galleries and museums I like, and I don't miss a chance to visit some when in a new city.
- Use a 'tight aggressive' approach. I always like this poker philosophy - to play few hands, but be really assertive/confident when you do. In collecting, this probably means watching works from a new (to you) artist for awhile before purchasing. But it also means pushing harder than comfortable when you really know. This has served me well not only in avoiding some bad purchases, but also in making some that felt uncomfortable at the time, but turned out to be great investments, financially and for pleasure. (To clarify after a comment...) I don't mean being aggressive with people. I mean see a lot of art and think about a lot of purchases relative to the number you actually buy. And when you do buy, have conviction, and be comfortable with the cost. Retna has always been this way for me (although I've thinned my collection since he's such an asshole). He and El Mac were the first artists I loved, because of their murals. My first purchase was a Retna print, at the time $1400 (a ton for me as my first purchase). I had another when I bought Eastern Realm right after launch, sucking up a price increase due to the secondary sale. Both were steep prices for me at the time, but I'd seen/thought so much about his work, and new how important it was to me, that I was comfortable paying an assertive price and getting the pieces I loved (to this day I've sold a few off, but still own a couple that I'll never sell).
- Find some favorite galleries, and start to watch/trust them. For me, those are the galleries that have solid taste that overlaps with mine, and are extremely professional to deal with. Top of my list is LSC in Detroit/LA, and also Avant Arte, Louis Buhl, though there are certainly other good ones.
- Make cheap mistakes. I look back on some of my purchases, and realize that they've been sitting in storage since purchase, and that they'll never make it on the wall. Oftentimes, it's the pieces that I was interested in as I explored my interests and was early on the discovery path. (i.e. I feel some of them are overly simplistic, and my taste was a little immature). I'm glad most of those purchases were prints from source, not originals, and that many found a new home without me taking a large hit.
- (Linked with above...) Observe your trajectory over time. Look back and understand what you no longer like, and try to understand the commonalities and themes you're developing in your collection. A certain repeated subject matter? A period in a certain style? An aesthetic theme? Doesn't really matter, but later on it really helps to feel confident/decisive, and discover new artists. For me, originally I wondered whether I had a theme of sharks (they popped up in my interests). Then I noticed I loved type and calligraphy, and more abstract offshoots of that (Retna - Eine - Victor Reyes, now to the wilder Jonone stuff, for example). Now I'm really understanding that abstract is key, I love strong cutting lines and colors, and am bleeding a lot into abstract and modern art (Hayuk - Fridriks - Shiraga - to Richter - Guyton - Lewitt, etc.). To me, these paths make sense, and it's fun to see where you end up. I don't think I care much about sharks anymore.
- Figure out who has a real, distinct style that they've gained comfort and confidence with. I've recently come to love JR, Paul Kremer, etc and one of the things I really appreciate about them is that they seem so comfortable in their artistic skin. They know their lane, and they're exploring it as fully as they can.
- Similarly, I've noticed that with some artists, only one or a few pieces (if collecting editions - different for originals) matter in the end. For example, that seems to be Fall to Arms for Charming Baker, Very X for Maya Hayuk, or NEISBAW from Eelus seem to be prized far above much of the rest of their work. My main mistake (compounded since it was more a financial purchase than one for love) was buying something else by Eelus just to have an Eelus, without thinking very hard about whether it was a special piece of work for him. It wasn't, and I ultimately sold it off after a few years because I didn't care about it.
- Sort out your framing options. Find a solid value framer. Buy a mat cutter. Whatever. But it gets those pieces on the wall where they belong. I'm not a fan of finding the fanciest framer you can. I'm a fan of understanding exactly what matters in framing (for me, minimum level of aesthetic showcasing, and then glass-protected and reversibly framed), and then finding a place that can do that in a trustworthy and affordable way.
- To me, not every artist that does murals translates well to editions or originals. This is a matter of opinion, but I love El Mac's public work, and find it very inspiring. I find it a little hard to feel as excited about his editions, since they seem to lack the importance. Just a personal opinion that I hesitate to share, because I want him to do very well. But when I don't consider the difference between the two media, I sometimes miss the mark.
- Rotate your pieces. Not for everyone. But I've found that if I rotate my framed pieces in and out of storage and through my ~10 main locations, they're fresh again, and I notice and enjoy them on the wall.
- Seek input. This again is counter to some of the advice on this board. But both my mother (who's an artist) and my girlfriend have great taste. So I love putting art in front of them to seek their thoughts. It's not a veto, but it does help me see something new, or test my conviction (for strong or weak).
That's all I can think of for now. I'll edit if I come up with anything else. Enjoy that feeling of receiving and unveiling a new purchase. So exciting.
B
(edited for clarity and to add a couple things)
I'm about... 30 or 40 pieces and something like 6 years in. I'm thinking about my mistakes, and trying to be specific. So this is mostly thoughts from somebody who's early in their collecting life, but not right at the beginning.
- Gain a wide exposure to new artists, and particularly those related to your current targets. I used to love eBay for this (surprisingly). I had several saved searches up for my favorite artists, and so would be alerted whenever something new was posted. What I found was that was also a great way to discover adjacent artists, because people will post "like X, Y, Z" in a listing. Right now I find these boards are fine (although once you know the 30 artists we talk about, that's kind of it...), and Avant Arte's instagram is the best. I've also figured out which types of galleries and museums I like, and I don't miss a chance to visit some when in a new city.
- Use a 'tight aggressive' approach. I always like this poker philosophy - to play few hands, but be really assertive/confident when you do. In collecting, this probably means watching works from a new (to you) artist for awhile before purchasing. But it also means pushing harder than comfortable when you really know. This has served me well not only in avoiding some bad purchases, but also in making some that felt uncomfortable at the time, but turned out to be great investments, financially and for pleasure. (To clarify after a comment...) I don't mean being aggressive with people. I mean see a lot of art and think about a lot of purchases relative to the number you actually buy. And when you do buy, have conviction, and be comfortable with the cost. Retna has always been this way for me (although I've thinned my collection since he's such an asshole). He and El Mac were the first artists I loved, because of their murals. My first purchase was a Retna print, at the time $1400 (a ton for me as my first purchase). I had another when I bought Eastern Realm right after launch, sucking up a price increase due to the secondary sale. Both were steep prices for me at the time, but I'd seen/thought so much about his work, and new how important it was to me, that I was comfortable paying an assertive price and getting the pieces I loved (to this day I've sold a few off, but still own a couple that I'll never sell).
- Find some favorite galleries, and start to watch/trust them. For me, those are the galleries that have solid taste that overlaps with mine, and are extremely professional to deal with. Top of my list is LSC in Detroit/LA, and also Avant Arte, Louis Buhl, though there are certainly other good ones.
- Make cheap mistakes. I look back on some of my purchases, and realize that they've been sitting in storage since purchase, and that they'll never make it on the wall. Oftentimes, it's the pieces that I was interested in as I explored my interests and was early on the discovery path. (i.e. I feel some of them are overly simplistic, and my taste was a little immature). I'm glad most of those purchases were prints from source, not originals, and that many found a new home without me taking a large hit.
- (Linked with above...) Observe your trajectory over time. Look back and understand what you no longer like, and try to understand the commonalities and themes you're developing in your collection. A certain repeated subject matter? A period in a certain style? An aesthetic theme? Doesn't really matter, but later on it really helps to feel confident/decisive, and discover new artists. For me, originally I wondered whether I had a theme of sharks (they popped up in my interests). Then I noticed I loved type and calligraphy, and more abstract offshoots of that (Retna - Eine - Victor Reyes, now to the wilder Jonone stuff, for example). Now I'm really understanding that abstract is key, I love strong cutting lines and colors, and am bleeding a lot into abstract and modern art (Hayuk - Fridriks - Shiraga - to Richter - Guyton - Lewitt, etc.). To me, these paths make sense, and it's fun to see where you end up. I don't think I care much about sharks anymore.
- Figure out who has a real, distinct style that they've gained comfort and confidence with. I've recently come to love JR, Paul Kremer, etc and one of the things I really appreciate about them is that they seem so comfortable in their artistic skin. They know their lane, and they're exploring it as fully as they can.
- Similarly, I've noticed that with some artists, only one or a few pieces (if collecting editions - different for originals) matter in the end. For example, that seems to be Fall to Arms for Charming Baker, Very X for Maya Hayuk, or NEISBAW from Eelus seem to be prized far above much of the rest of their work. My main mistake (compounded since it was more a financial purchase than one for love) was buying something else by Eelus just to have an Eelus, without thinking very hard about whether it was a special piece of work for him. It wasn't, and I ultimately sold it off after a few years because I didn't care about it.
- Sort out your framing options. Find a solid value framer. Buy a mat cutter. Whatever. But it gets those pieces on the wall where they belong. I'm not a fan of finding the fanciest framer you can. I'm a fan of understanding exactly what matters in framing (for me, minimum level of aesthetic showcasing, and then glass-protected and reversibly framed), and then finding a place that can do that in a trustworthy and affordable way.
- To me, not every artist that does murals translates well to editions or originals. This is a matter of opinion, but I love El Mac's public work, and find it very inspiring. I find it a little hard to feel as excited about his editions, since they seem to lack the importance. Just a personal opinion that I hesitate to share, because I want him to do very well. But when I don't consider the difference between the two media, I sometimes miss the mark.
- Rotate your pieces. Not for everyone. But I've found that if I rotate my framed pieces in and out of storage and through my ~10 main locations, they're fresh again, and I notice and enjoy them on the wall.
- Seek input. This again is counter to some of the advice on this board. But both my mother (who's an artist) and my girlfriend have great taste. So I love putting art in front of them to seek their thoughts. It's not a veto, but it does help me see something new, or test my conviction (for strong or weak).
That's all I can think of for now. I'll edit if I come up with anything else. Enjoy that feeling of receiving and unveiling a new purchase. So exciting.
B
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Building a collection, by Coach on Jan 28, 2019 15:51:59 GMT 1, I'm about... 25 or 30 pieces and something like 6 years in. I'm thinking about my mistakes, and trying to be specific. So this is mostly thoughts from somebody who's early in their collecting life, but not right at the beginning. - Gain a wide exposure to new artists, and particularly those related to your current targets. I used to love eBay for this (surprisingly). I had several saved searches up for my favorite artists, and so would be alerted whenever something new was posted. What I found was that was also a great way to discover adjacent artists, because people will post "like X, Y, Z" in a listing. Right now I find these boards are fine (although once you know the 30 artists we talk about, that's kind of it...), and Avant Arte's instagram is the best.ย - Use a 'tight aggressive' approach. I always like this poker philosophy - to play few hands, but be really assertive when you do. In collecting, this probably means watching works from a new (to you) artist for awhile before purchasing. But it also means pushing harder than comfortable when you really know. This has served me well not only in avoiding some bad purchases, but also in making some that felt uncomfortable at the time, but turned out to be great investments, financially and for pleasure.ย - Find some favorite galleries, and start to watch/trust them. For me, those are the galleries that have solid taste that overlaps with mine, and are extremely professional to deal with. Top of my list is LSC/Louis Buhl in Detroit/LA, and also Avant Arte, though there are certainly other good ones.ย - Make cheap mistakes. I look back on some of my purchases, and realize that they've been sitting in storage since purchase, and that they'll never make it on the wall. Oftentimes, it's the pieces that I was interested in as I explored my interests and was early on the discovery path. (i.e. I feel some of them are overly simplistic, and my taste was a little immature). I'm glad most of those purchases were prints from source, not originals, and that many found a new home without me taking a large hit.ย - (Linked with above...) Observe your trajectory over time. Look back and understand what you no longer like, and try to understand the commonalities and themes you're developing in your collection. A certain repeated subject matter? A period in a certain style? An aesthetic theme? Doesn't really matter, but later on it really helps to feel confident/decisive, and discover new artists.ย - Sort out your framing options. Find a solid value framer. Buy a mat cutter. Whatever. But it gets those pieces on the wall where they belong. - Rotate your pieces. Not for everyone. But I've found that if I rotate my framed pieces in and out of storage and through my ~10 main locations, they're fresh again, and I notice and enjoy them on the wall.ย - Seek input. This again is counter to some of the advice on this board. But both my mother (who's an artist) and my girlfriend have great taste. So I love putting art in front of them to seek their thoughts. It's not a veto, but it does help me see something new, or test my conviction (for strong or weak).ย That's all I can think of for now. I'll edit if I come up with anything else. Enjoy that feeling of receiving and unveiling a new purchase. So exciting. B
Interesting read, thank you. We have a very different approach in many aspects. The one comment that stood out for me, though, was the use of a tight aggressive approach; a phrase Iโm unfamiliar with. Are you referring to interaction with galleries or with artists? If the later, how does that impact on your relationship with the artists? Over the years I have become friends with many artists that I have collected. I canโt imagine that this would be so if I had been aggressive with them. Perhaps I donโt understand the phrase well enough, and Iโm intrigued to understand your approach more.
I'm about... 25 or 30 pieces and something like 6 years in. I'm thinking about my mistakes, and trying to be specific. So this is mostly thoughts from somebody who's early in their collecting life, but not right at the beginning. - Gain a wide exposure to new artists, and particularly those related to your current targets. I used to love eBay for this (surprisingly). I had several saved searches up for my favorite artists, and so would be alerted whenever something new was posted. What I found was that was also a great way to discover adjacent artists, because people will post "like X, Y, Z" in a listing. Right now I find these boards are fine (although once you know the 30 artists we talk about, that's kind of it...), and Avant Arte's instagram is the best.ย - Use a 'tight aggressive' approach. I always like this poker philosophy - to play few hands, but be really assertive when you do. In collecting, this probably means watching works from a new (to you) artist for awhile before purchasing. But it also means pushing harder than comfortable when you really know. This has served me well not only in avoiding some bad purchases, but also in making some that felt uncomfortable at the time, but turned out to be great investments, financially and for pleasure.ย - Find some favorite galleries, and start to watch/trust them. For me, those are the galleries that have solid taste that overlaps with mine, and are extremely professional to deal with. Top of my list is LSC/Louis Buhl in Detroit/LA, and also Avant Arte, though there are certainly other good ones.ย - Make cheap mistakes. I look back on some of my purchases, and realize that they've been sitting in storage since purchase, and that they'll never make it on the wall. Oftentimes, it's the pieces that I was interested in as I explored my interests and was early on the discovery path. (i.e. I feel some of them are overly simplistic, and my taste was a little immature). I'm glad most of those purchases were prints from source, not originals, and that many found a new home without me taking a large hit.ย - (Linked with above...) Observe your trajectory over time. Look back and understand what you no longer like, and try to understand the commonalities and themes you're developing in your collection. A certain repeated subject matter? A period in a certain style? An aesthetic theme? Doesn't really matter, but later on it really helps to feel confident/decisive, and discover new artists.ย - Sort out your framing options. Find a solid value framer. Buy a mat cutter. Whatever. But it gets those pieces on the wall where they belong. - Rotate your pieces. Not for everyone. But I've found that if I rotate my framed pieces in and out of storage and through my ~10 main locations, they're fresh again, and I notice and enjoy them on the wall.ย - Seek input. This again is counter to some of the advice on this board. But both my mother (who's an artist) and my girlfriend have great taste. So I love putting art in front of them to seek their thoughts. It's not a veto, but it does help me see something new, or test my conviction (for strong or weak).ย That's all I can think of for now. I'll edit if I come up with anything else. Enjoy that feeling of receiving and unveiling a new purchase. So exciting. B Interesting read, thank you. We have a very different approach in many aspects. The one comment that stood out for me, though, was the use of a tight aggressive approach; a phrase Iโm unfamiliar with. Are you referring to interaction with galleries or with artists? If the later, how does that impact on your relationship with the artists? Over the years I have become friends with many artists that I have collected. I canโt imagine that this would be so if I had been aggressive with them. Perhaps I donโt understand the phrase well enough, and Iโm intrigued to understand your approach more.
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mojo
Junior Member
Posts โข 2,030
Likes โข 3,312
May 2014
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Building a collection, by mojo on Jan 28, 2019 17:19:27 GMT 1, Generally if I like something and I've got the money I buy it. If I don't like something, even if it appears everyone else does, and I have the money I still wouldn't buy it since I don't like it. Then of course there are times when I really like something but haven't got the money so I can't buy it. Where possible I buy direct from artists before anyone's ever heard of them so as to try and help them out, but only if I like it. For me building portfolios and buying for investment purposes sucks all the fun out of it. Sorry for sounding so jaded only I watched, The Price of Everything last night and cringed at how fickle it all is and how little the actual artists get out of it, although I did find the Russian women that became so emotional she started balling each time she looked at her massive Damien Hirst canvas with dead butterflies stuck all over it rather amusing, poor dear.
Generally if I like something and I've got the money I buy it. If I don't like something, even if it appears everyone else does, and I have the money I still wouldn't buy it since I don't like it. Then of course there are times when I really like something but haven't got the money so I can't buy it. Where possible I buy direct from artists before anyone's ever heard of them so as to try and help them out, but only if I like it. For me building portfolios and buying for investment purposes sucks all the fun out of it. Sorry for sounding so jaded only I watched, The Price of Everything last night and cringed at how fickle it all is and how little the actual artists get out of it, although I did find the Russian women that became so emotional she started balling each time she looked at her massive Damien Hirst canvas with dead butterflies stuck all over it rather amusing, poor dear.
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cashewman
New Member
Posts โข 184
Likes โข 255
September 2013
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Building a collection, by cashewman on Jan 28, 2019 18:35:16 GMT 1, Interesting read, thank you. We have a very different approach in many aspects. The one comment that stood out for me, though, was the use of a tight aggressive approach; a phrase Iโm unfamiliar with. Are you referring to interaction with galleries or with artists? If the later, how does that impact on your relationship with the artists? Over the years I have become friends with many artists that I have collected. I canโt imagine that this would be so if I had been aggressive with them. Perhaps I donโt understand the phrase well enough, and Iโm intrigued to understand your approach more. Hey Coach. I've long appreciated your leadership around here.
I've clarified the paragraph above as well, but I certainly don't mean be aggressive with people. I feel strongly that individuals should be treated with respect, and particularly artists, since they give so much to us.
I more mean make purchase decisions sparingly, but be confident and assertive in making those purchase decisions when it feels right. Work to get, and then trust conviction.
I'm curious - what are the main differences you take with your approach?
B
Interesting read, thank you. We have a very different approach in many aspects. The one comment that stood out for me, though, was the use of a tight aggressive approach; a phrase Iโm unfamiliar with. Are you referring to interaction with galleries or with artists? If the later, how does that impact on your relationship with the artists? Over the years I have become friends with many artists that I have collected. I canโt imagine that this would be so if I had been aggressive with them. Perhaps I donโt understand the phrase well enough, and Iโm intrigued to understand your approach more. Hey Coach. I've long appreciated your leadership around here. I've clarified the paragraph above as well, but I certainly don't mean be aggressive with people. I feel strongly that individuals should be treated with respect, and particularly artists, since they give so much to us. I more mean make purchase decisions sparingly, but be confident and assertive in making those purchase decisions when it feels right. Work to get, and then trust conviction. I'm curious - what are the main differences you take with your approach? B
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Building a collection, by Coach on Jan 28, 2019 20:04:49 GMT 1, Interesting read, thank you. We have a very different approach in many aspects. The one comment that stood out for me, though, was the use of a tight aggressive approach; a phrase Iโm unfamiliar with. Are you referring to interaction with galleries or with artists? If the later, how does that impact on your relationship with the artists? Over the years I have become friends with many artists that I have collected. I canโt imagine that this would be so if I had been aggressive with them. Perhaps I donโt understand the phrase well enough, and Iโm intrigued to understand your approach more. Hey Coach. I've long appreciated your leadership around here.ย I've clarified the paragraph above as well, but I certainly don't mean be aggressive with people. I feel strongly that individuals should be treated with respect, and particularly artists, since they give so much to us. I more mean make purchase decisions sparingly, but be confident and assertive in making those purchase decisions when it feels right. Work to get, and then trust conviction.ย I'm curious - what are the main differences you take with your approach? B
Thank you. I think I understand now. Itโs more about being aggressive with oneself? That makes sense and is no doubt sensible. I do like your attitude towards artists. I think respect for artists is hugely underestimated! I am in awe at the ability of so many artists, and have genuinely felt star struck on occasion! Differences? Well, I donโt think I am as strict on myself as you are. When I have some money, I buy without any care for where I might hang a piece or if I have the room for it. I never move my pieces around. They are all crammed into my little house, that to move one piece would mean moving them all. I show none of the restraint that you do. If Iโm feeling a little flush, I could easily buy 30 pieces in a year, and since Iโve been collecting art for several decades, this can be problematic. I have not made an effort to build a relationships with galleries; I try to buy from artists direct when they are unrepresented (I have nothing against galleries). In short, I exhibit none of the restraint that you advocate. My only restraint is financial - I donโt buy when Iโm skint. Iโm not for one second suggesting my way of collecting is better. In fact Iโm almost certain that the opposite is true. Oh, and I have a problem with art books too!
Interesting read, thank you. We have a very different approach in many aspects. The one comment that stood out for me, though, was the use of a tight aggressive approach; a phrase Iโm unfamiliar with. Are you referring to interaction with galleries or with artists? If the later, how does that impact on your relationship with the artists? Over the years I have become friends with many artists that I have collected. I canโt imagine that this would be so if I had been aggressive with them. Perhaps I donโt understand the phrase well enough, and Iโm intrigued to understand your approach more. Hey Coach. I've long appreciated your leadership around here.ย I've clarified the paragraph above as well, but I certainly don't mean be aggressive with people. I feel strongly that individuals should be treated with respect, and particularly artists, since they give so much to us. I more mean make purchase decisions sparingly, but be confident and assertive in making those purchase decisions when it feels right. Work to get, and then trust conviction.ย I'm curious - what are the main differences you take with your approach? B Thank you. I think I understand now. Itโs more about being aggressive with oneself? That makes sense and is no doubt sensible. I do like your attitude towards artists. I think respect for artists is hugely underestimated! I am in awe at the ability of so many artists, and have genuinely felt star struck on occasion! Differences? Well, I donโt think I am as strict on myself as you are. When I have some money, I buy without any care for where I might hang a piece or if I have the room for it. I never move my pieces around. They are all crammed into my little house, that to move one piece would mean moving them all. I show none of the restraint that you do. If Iโm feeling a little flush, I could easily buy 30 pieces in a year, and since Iโve been collecting art for several decades, this can be problematic. I have not made an effort to build a relationships with galleries; I try to buy from artists direct when they are unrepresented (I have nothing against galleries). In short, I exhibit none of the restraint that you advocate. My only restraint is financial - I donโt buy when Iโm skint. Iโm not for one second suggesting my way of collecting is better. In fact Iโm almost certain that the opposite is true. Oh, and I have a problem with art books too!
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wrigs
New Member
Posts โข 497
Likes โข 417
July 2017
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Building a collection, by wrigs on Jan 28, 2019 22:59:53 GMT 1, Generally if I like something and I've got the money I buy it.ย If I don't like something, even if it appears everyone else does, and I have the money I still wouldn't buy it since I don't like it.ย Then of course there are times when I really like something but haven't got the money so I can't buy it.ย Where possible I buy direct from artists before anyone's ever heard of them so as to try and help them out, but only if I like it.ย For me building portfolios and buying for investment purposes sucks all the fun out of it.ย Sorry for sounding so jaded only I watched, The Price of Everything last night and cringed at how fickle it all is and how little the actual artists get out of it, although I did find the Russian women that became so emotional she started balling each time she looked at her massive Damien Hirst canvas with dead butterflies stuck all over it rather amusing, poor dear.ย
Just watching this now, god thereโs some dreadful people featured! Not really sure what to say about Koons glazing ball paintings ๐ค
Generally if I like something and I've got the money I buy it.ย If I don't like something, even if it appears everyone else does, and I have the money I still wouldn't buy it since I don't like it.ย Then of course there are times when I really like something but haven't got the money so I can't buy it.ย Where possible I buy direct from artists before anyone's ever heard of them so as to try and help them out, but only if I like it.ย For me building portfolios and buying for investment purposes sucks all the fun out of it.ย Sorry for sounding so jaded only I watched, The Price of Everything last night and cringed at how fickle it all is and how little the actual artists get out of it, although I did find the Russian women that became so emotional she started balling each time she looked at her massive Damien Hirst canvas with dead butterflies stuck all over it rather amusing, poor dear.ย Just watching this now, god thereโs some dreadful people featured! Not really sure what to say about Koons glazing ball paintings ๐ค
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rebate
Junior Member
Posts โข 1,050
Likes โข 961
January 2018
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Building a collection, by rebate on Feb 1, 2019 11:50:31 GMT 1, Pretty sure the rules would have stopped me getting these, Dont like rules, DO like these!
RUN / Giamcomo Bufarini
Pretty sure the rules would have stopped me getting these, Dont like rules, DO like these! RUN / Giamcomo Bufarini
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wrigs
New Member
Posts โข 497
Likes โข 417
July 2017
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Building a collection, by wrigs on Feb 3, 2019 21:11:33 GMT 1, Question for those in the know. So far most of what I have purchased has been prints. As much as I would love to have the cash to buy originals most at present are slightly out of reach. For those with collections do many galleries allow payment plans or anything similar?
Question for those in the know. So far most of what I have purchased has been prints. As much as I would love to have the cash to buy originals most at present are slightly out of reach. For those with collections do many galleries allow payment plans or anything similar?
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Gard
Junior Member
Posts โข 1,604
Likes โข 1,243
June 2012
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Building a collection, by Gard on Feb 3, 2019 21:41:14 GMT 1, I run a gallery and we have several clients with a payme plan.
I run a gallery and we have several clients with a payme plan.
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corbu
New Member
Posts โข 193
Likes โข 234
June 2018
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Building a collection, by corbu on Feb 4, 2019 22:03:08 GMT 1, Question for those in the know. So far most of what I have purchased has been prints. As much as I would love to have the cash to buy originals most at present are slightly out of reach. For those with collections do many galleries allow payment plans or anything similar? If you are UK based, there is the ownart scheme. Havent used it so not sure how it works.
Question for those in the know. So far most of what I have purchased has been prints. As much as I would love to have the cash to buy originals most at present are slightly out of reach. For those with collections do many galleries allow payment plans or anything similar? If you are UK based, there is the ownart scheme. Havent used it so not sure how it works.
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Building a collection, by Coach on Feb 4, 2019 22:41:59 GMT 1, Question for those in the know. So far most of what I have purchased has been prints. As much as I would love to have the cash to buy originals most at present are slightly out of reach. For those with collections do many galleries allow payment plans or anything similar?
Lots of members here start colllecting prints, and move on to collect originals. Those with plenty of cash buy expensive originals by artists that others collect prints by. Those with less means buy originals by artists that are not so well known. This is just as rewarding. There are plenty of affordable originals available by superb artists costing less than many on here spend on prints. If you deal with the artist direct you build a rapour with the artist that can be an enjoyable experience, adding to your fondness for the piece of art - not something that I would associate with print collecting.
Question for those in the know. So far most of what I have purchased has been prints. As much as I would love to have the cash to buy originals most at present are slightly out of reach. For those with collections do many galleries allow payment plans or anything similar? Lots of members here start colllecting prints, and move on to collect originals. Those with plenty of cash buy expensive originals by artists that others collect prints by. Those with less means buy originals by artists that are not so well known. This is just as rewarding. There are plenty of affordable originals available by superb artists costing less than many on here spend on prints. If you deal with the artist direct you build a rapour with the artist that can be an enjoyable experience, adding to your fondness for the piece of art - not something that I would associate with print collecting.
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wrigs
New Member
Posts โข 497
Likes โข 417
July 2017
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Building a collection, by wrigs on Feb 4, 2019 22:49:25 GMT 1, Question for those in the know. So far most of what I have purchased has been prints. As much as I would love to have the cash to buy originals most at present are slightly out of reach. For those with collections do many galleries allow payment plans or anything similar? Lots of members here start colllecting prints, and move on to collect originals. Those with plenty of cash buy expensive originals by artists that others collect prints by. Those with less means buy originals by artists that are not so well known. This is just as rewarding. There are plenty of affordable originals available by superb artists costing less than many on here spend on prints. If you deal with the artist direct you build a rapour with the artist that can be an enjoyable experience, adding to your fondness for the piece of art - not something that I would associate with print collecting.
Yeah currently hunting round Instagram trying to find new artists as missed the boat on a number now realistically
Question for those in the know. So far most of what I have purchased has been prints. As much as I would love to have the cash to buy originals most at present are slightly out of reach. For those with collections do many galleries allow payment plans or anything similar? Lots of members here start colllecting prints, and move on to collect originals. Those with plenty of cash buy expensive originals by artists that others collect prints by. Those with less means buy originals by artists that are not so well known. This is just as rewarding. There are plenty of affordable originals available by superb artists costing less than many on here spend on prints. If you deal with the artist direct you build a rapour with the artist that can be an enjoyable experience, adding to your fondness for the piece of art - not something that I would associate with print collecting. Yeah currently hunting round Instagram trying to find new artists as missed the boat on a number now realistically
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irl1
Full Member
Posts โข 9,274
Likes โข 9,380
December 2017
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Building a collection, by irl1 on Feb 4, 2019 23:02:59 GMT 1, Lots of members here start colllecting prints, and move on to collect originals. Those with plenty of cash buy expensive originals by artists that others collect prints by. Those with less means buy originals by artists that are not so well known. This is just as rewarding. There are plenty of affordable originals available by superb artists costing less than many on here spend on prints. If you deal with the artist direct you build a rapour with the artist that can be an enjoyable experience, adding to your fondness for the piece of art - not something that I would associate with print collecting. Yeah currently hunting round Instagram trying to find new artists as missed the boat on a number now realistically Art supply shops, framers, pubs, restaurants, small Galleries e.t.c.
You would be amazed where artists put their work on a sale or return basis.
Get out in the fresh air and hunt around on your feet.
Don't worry about missing the boat as i bet a few sank. Plenty more boats in the sea
Lots of members here start colllecting prints, and move on to collect originals. Those with plenty of cash buy expensive originals by artists that others collect prints by. Those with less means buy originals by artists that are not so well known. This is just as rewarding. There are plenty of affordable originals available by superb artists costing less than many on here spend on prints. If you deal with the artist direct you build a rapour with the artist that can be an enjoyable experience, adding to your fondness for the piece of art - not something that I would associate with print collecting. Yeah currently hunting round Instagram trying to find new artists as missed the boat on a number now realistically Art supply shops, framers, pubs, restaurants, small Galleries e.t.c. You would be amazed where artists put their work on a sale or return basis. Get out in the fresh air and hunt around on your feet. Don't worry about missing the boat as i bet a few sank. Plenty more boats in the sea
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maven
New Member
Posts โข 589
Likes โข 746
November 2017
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Building a collection, by maven on Feb 26, 2019 18:55:29 GMT 1, Interesting. The Banker's Guide to Art. Documentary exploring the high-stakes, and sometimes murky, world of art collecting. The value of London's art market has reached unprecedented heights. www.bbc.co.uk/programmes/b07kd109
Interesting. The Banker's Guide to Art. Documentary exploring the high-stakes, and sometimes murky, world of art collecting. The value of London's art market has reached unprecedented heights. www.bbc.co.uk/programmes/b07kd109
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moron
Junior Member
Posts โข 2,711
Likes โข 1,050
September 2017
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Building a collection, by moron on Feb 28, 2019 23:03:35 GMT 1, Buy what you like
Buy what you like
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Deleted
Posts โข 0
Likes โข
January 1970
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Building a collection, by Deleted on Feb 28, 2019 23:05:53 GMT 1,
noooo, buy what we like
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moron
Junior Member
Posts โข 2,711
Likes โข 1,050
September 2017
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Building a collection, by moron on Feb 28, 2019 23:11:34 GMT 1, I used to collect Hot Wheels
I used to collect Hot Wheels
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moron
Junior Member
Posts โข 2,711
Likes โข 1,050
September 2017
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Building a collection, by moron on Mar 11, 2019 0:40:52 GMT 1, People tend to want to make a huge profit without working for it.
If the rules on this forum were changed to. Not being allowed to flip art (mainly prints) on this forum untill three or six months after the release and sale date. People would build their collections more wisely.
People tend to want to make a huge profit without working for it.
If the rules on this forum were changed to. Not being allowed to flip art (mainly prints) on this forum untill three or six months after the release and sale date. People would build their collections more wisely.
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moron
Junior Member
Posts โข 2,711
Likes โข 1,050
September 2017
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Pawel
Junior Member
Posts โข 3,734
Likes โข 3,221
June 2015
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Building a collection, by Pawel on Mar 12, 2019 0:26:27 GMT 1,
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Express Post
Junior Member
Posts โข 3,330
Likes โข 2,479
January 2008
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Building a collection, by Express Post on Mar 12, 2019 1:16:49 GMT 1, Bit more back story, this painting was purchased on the secondary before it's fall. The primary was below 20k, so the gallery had priced them right.
This could only to buyers of hyped artists paying resale. Ahem Pejac.
Bit more back story, this painting was purchased on the secondary before it's fall. The primary was below 20k, so the gallery had priced them right. This could only to buyers of hyped artists paying resale. Ahem Pejac.
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moron
Junior Member
Posts โข 2,711
Likes โข 1,050
September 2017
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Building a collection, by moron on Mar 12, 2019 14:20:22 GMT 1, Bit more back story, this painting was purchased on the secondary before it's fall. The primary was below 20k, so the gallery had priced them right. This could only to buyers of hyped artists paying resale. Ahem Pejac.
Who did he buy it from and considering he is a dealer, how come he didn't just buy from the gallery at 20K ?
Bit more back story, this painting was purchased on the secondary before it's fall. The primary was below 20k, so the gallery had priced them right. This could only to buyers of hyped artists paying resale. Ahem Pejac. Who did he buy it from and considering he is a dealer, how come he didn't just buy from the gallery at 20K ?
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