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New Art Collectors by
Patricia Frischer An art collector has the ability to
select a work of art and get an emotional or intellectual kick from that
work. The collector has to own the work, not just observe it. The
collector compiles works of art and describes why they all belong
together. He or she makes order from the chaos of their buying. To do
this a collector decides to give time and money. But more than all of
the above, the collector has the conviction that the collection is
“meaningful, justified, even requisite to the improvement of
mankind.” The first-time buyer of an artwork is dipping a toe into
this fascinating and compelling world. A collection is great when it opens our
eyes to a world around us that is complex, unpredictable and rich. A collection of art can create an
alternate universe. Where in real life the collector can feel trapped,
alien, alone, the collection can create an atmosphere of escape where
things are familiar and comforting like belonging to a club. Jim Dax of Coldwell Banker in San Diego
buys works to which he can perennially relate. His extensive collection
of California impressionist paintings contains landscape scenes with
which he is familiar. He uses his art to draw himself out of himself and
chooses work not for the money involved, but because of his passion for
the art itself. When the real world is constantly changing, uncertain
and uncontrollable, a collection can give a sense of stability and
control. Mark Lugo is building a collection of
mini masterpieces and feels he owns a cultural treasure that will one
day be passed on for the enjoyment of society as a whole. As Visual Arts
Event Coordinator at the Earl and Birdie Taylor Library in Pacific
Beach, his job allows him to “get inside the artist’s head in a
meaningful and profound way.” He often discovers that artists are more
multifaceted than he suspected as they reveal preliminary drawings and
secret series of work. Whereas reality is transient, a collection is
permanent and can even create a safe port which soothes and reassures.
When life is boring and passive, the collecting can create an active and
rewarding activity. Collections can be started simply from
the need to fill blank walls. The first work purchased might be by an
artist who intrigues the collector. After this small beginning, the
reasons for collecting start to reveal themselves. A very small
financial outlay can create a very large aesthetic currency. The works
soon become good friends who surround you with love and care. Art like
love is “fulfilling, stimulating and rewarding and demands to be
shared.” There are buyers who collect as a nesting instinct, as a
reflection and continuation of their interests and hobbies, as an
investment, as a tax deduction, as an escape into a different community
of people who care about different things, as a substitute for family or
friends, as legacy for one’s heirs, as a way to establish their place
in history, and even as a whim or an uncontrollable passion. Ellen Phelan, is an art educator and
activist who has an extensive and important collection. She believes
that, “Any person can collect works of art which will always add to
the pleasures and enrichments of daily living. I don’t buy things, but
things do accumulate. The only thing I do collect, is art.” She has
made and encourages others to make a commitment at a level one can
afford and to buy art regularly. She agrees with mainline thinking that
regional art is the next important area of collecting and San Diego has
enough good regional art to be taken seriously. Doug Simay, co-founder of Arts College
International, has played a large part in the health of the social
community of our local artists. He, like Mark Lugo, believes that there
is art in San Diego of a very high quality. “There are art masters
that live in our neighborhood…in 45 years my collection will take my
breath away.” He buys the best pieces of art available and
“…sometimes that means having to stretch a wee bit over what I
thought I could afford.” For Armin Callo art collecting has been
an educational process for self-improvement. His mother gave him
permission to buy his first masterpiece and set him free. With each new
acquisitions he begins a journey, researching the artist, style, period.
He sold one of his works to help pay for law school and got all the
pleasure of owning and researching the art and then the bonus of having
the work help him at a time of need. Compare this to Martin Slattery,
whose widow Claire says that Martin a very interesting man. It was his
firm belief that the gathering and enjoyment of paintings and objects
played a large part in making him interesting. He liked things that were
old and had character and a story and didn’t mind if they were less
than perfect. There seem to be as many reasons to collect as strokes of
paint on a Monet. Walter Pomeroy tries hard to meet all the
artist whose work he has collected. His collection is 90% local art. He
wants to see the artist’s point of view and often collects one work
from each of a continuing series by the artist. His social life has been
greatly expanded by this contact with artists and he regrets little that
he has bought, rather those things he didn’t buy. Walter’s tip for
new collectors with limited funds is to ask the artist to do a piece
which is affordable or hunt one out of his or her collection. A
surprising number of artists are open to the barter system and will
exchange work for everything from computer time to a koi pond. Bargains
can sometimes be found at art auctions and artists do have fire sales in
their studios to help move older work to make room for the new. Many
galleries and artists will arrange layaway plans for when you fall in
love with a piece and want to pay for it over time. Debby and Larry
Kline encourage us to buy works from art students: “This can make the
difference between that student staying in the arts or giving up.” And
the Klines buy art for each other as gifts instead of chocolates or
flowers for many occasions. In fact, they now realize that gifts have
been purchased through to Hanukkah 2004. Another art-collecting couple in our
community is Debra and Larry Poteet. They have built their collection
mainly through art dealers, one of which was a mentor to them when they
started collecting in their early 30’s. The personnel in a reputable
gallery can make a huge difference. Larry says, “They should have a
passion for art and not just a passion for money.” The Poteets had no
art background and are self-educated in the arts. Their business fields
are law and investments but art has opened up a whole other side to
their lives and they count those in the art community as their most
interesting friends. Where Debra is drawn to figurative work with a
compelling personal message, rich and mystical, Larry looks for work
which is edgy and slaps you in the face with commentary or symbolism.
They have him, her and us pieces in their collection. First
time buyers Yes, first time buyers of art do have
fears. They might not know what they like. If they know what they like,
how can they tell if it is good art. What if they buy a fake. They often
feel uncomfortable when they go into a sales gallery or a prestigious
museum to look at art. Sometimes the galleries and museums are designed
to make you feel that way. We have been taught as a society that great
artist are genius, celebrities and madmen. Museums are like cathedrals
and promise secular immortality. Hugh Davies director of the Museum of
Contemporary Art, San Diego, in a recent lecture on his involvement with
the Whitney Biennial in New York expressed the belief that one of the
roles of the museum is to buy and support artist who can’t sell to
individuals. A first time buyer has to develop an eye.
This means that you have to look and look and look. You form judgements
as you look and your opinions change and grow. Even making a wrong
choice means you have discovered what is incorrect. Don’t try to spend
more than an hour or two at first, as you eyes get exhausted. Look at
the object first, then it’s label. Look at the parts and the whole.
Look fast and come back to what attracts you. Stop looking when you are
full. Look
at Art Ellen Speert, registered and
board-certified art therapist and collector, believes there should be
“…a personal response that can be felt by the viewer. This is not an
intellectual response or process.” This experience with the artwork
should be one that the viewer wants to continue to feel. Buying the work
makes that possible. So trust yourself. Knowledge comes with time and
your taste will become defined. You can add to your knowledge by going
on docent tours, taking the tape tours, reading books and art magazines,
going to adult education classes, visiting many museums, galleries,
artist studios, auction previews and using the Internet . Mark Quint,
director of one of San Diego's leading sales galleries, Quint
Contemporary Art in La Jolla, advises collectors not to rush in but to
“…dig a little deeper before they buy.” Buy what you love and can
afford and are certain is not an imitation by using a reputable gallery
before you buy a “name” artist. The good news is that emerging
artist both young and old are affordable and never faked. When the
national economy is good, collectors are more daring and new works of
art can soar in value. When times are hard, conservative and safe works
go up in value. And as Debby Kline of the Museum, California Center for
the Arts, points out, “When the stock market takes a dive, people
invest in art instead.” But don’t start buying to make money. Advice
from Armin Callo is “Buy what speaks to you and not what is pushed at
you.” Ralyn and Nate Wolfstein who have made
possible the Wolfstein Sculpture Park at Scripps Memorial Hospital, La
Jolla, say they love sharing the joys of art and the fun of
participation in a large project with the on-going discussion and debate
which is endlessly stimulating. But most of all they love the chance to
meet the artists. You don’t have to endow an art foundation to do
that. Start buying because art is not separate from everyday life. Buy
art and enjoy it and your appreciation of all that is around you grows. Patricia
Frischer is a full time artist. She has also been director of a sales
gallery and head of an art department in London, written a book of
advice for artist about the marketplace and was an assistant professor
at Humboldt State University in Arcata, California. She is a freelance
lecturer and creativity consultant and is on the board of directors of
COVA. Bibliography: Buck,
Louisa, and Dodd, Phillip, Relative Values, BBC Publications, London,
April 1994 Cumming,
Robert, Christie’s Guide to Collecting, Oxford Phaidon Christie’s,
Oxford, 1984 Elsner,
John and Cardinal, Roger, The Culture of Collection, Havard University
Press, Boston, 1994 Frank,
Jeanne, Discovering Art, Thundermouth Press, New York, 1997 Mallalieu,
Huon, How to Buy Pictures, Oxford Phaidon, Oxford, 1984 Pearce,
Susan M., Collecting in Contemporary Practice. Sage Publication, 1998 Tuchman,
Mitch and Brenner, Peter, Magnificent Obsessions, San Francisco
Chronicles Books, San Francisco, 1994 |
