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Buying directly from the artist: "for" and "against"
ARTinvestment.RU 12 августа 2011
What a bargain in the shop rather an element of luck, and not a result. Novice collectors at risk to get into an awkward situation
It would seem that what is there to think? "Neobstrelyannyh" collectors think that it is best to buy work directly from the artist. In fact, why pay all these dealers, galleries and other intermediaries, if you can buy "for producer prices"? Also visit the shop - it's dive into the magic of the artist, a pleasant feeling that the money just came to the author's confidence in the authenticity of the acquired operations. For the novice collector, each of these compelling reason to more than.
But if the visit to the author - is the shortest way to the coveted job, then "why do we need a blacksmith," that is the dealer? However, this approach carries a lot of pitfalls. Those who bought in the shops, you know that psychological complexity unaccounted they can quickly develop into a commercial issue - and then discovered that the mediators did not knowingly eat their own bread. Do not believe me? So try to try on a number of situations that may arise in the self-purchase in the shop.
1. Collector came into the shop and choose from what is not . Nothing special: the artist at the moment may be "empty" (work went to an exhibition or sold) or drastically changed the manner of (a new series you like, dislike). Anyway, you came to buy, and buying got sick. And what about you? Out of politeness is certainly not something to buy? Or lie, that "we need time to think," and move back to the door? You can come up with an excuse and poizyaschnee, but essentially it will not change. The artist, it is quite possible doubt in the collecting of your solvency. But you will pursue self-consciousness and not likely to be a desire to repeat the visit. But for the dealer, this situation - working, he is likely to blunt complain to the paucity of choice, will promise to come next time and really come.
2. Artist announces a high price does not correspond to the market . Of course, not out of malice or greed, but simply on the internal sense of self. The dealer in this situation and do not blink an eye - start to bargain. As part of its role, without conflict, in working order. And so, too, the artist does not hurt. He can always tell yourself that it is trading in general, "huckster," "middleman." But you, dear collector, what will appeal? To shine in front of an artist of his awareness on the part of gallery prices and auction results? That is what is called, and talked ...
3. The artist is proud to offer the most successful from his point of view thing, looks into the eyes, and you do not like it . Because love is another. The same thing everyday. Quite often, artists and collectors differ in their understanding of the value of one or another direction. For example, the author considers it more important to their figurative things, but you only affect the power of its abstractions. But the artist in this figurative liter of blood poured ... and what to do? Share your thoughts with him about the power of a particular thing? I doubt it. Rather, begin to move away from a conversation unintelligible, will not be able to make an informed decision - and to leave a mark in the best complete layman in art. This stems from the same all over again, role conflict, from a collector waiting understanding and approval, rather than criticism. And the dealer waiting for money, so he goes to the issue pragmatically: take away the most valuable commercially successful, "illiquid" will not take, and the debate about quality of harm's way, will give the critics. Conversation, as we know, can not eat.
4. Do you want to see more jobs and opportunities to show them there. Workshop - this is not showroom . Opportunity to demonstrate there are severely limited. Earlier things, as often happens, may be retracted away on the mezzanine, shot with stretchers. A Rigging in the presence of the buyer is unlikely to be an artist to do. As a result, the collector certainly looks that close, but the most important and desirable things for themselves at risk simply can not see.
5. About your "sales visit" to the artist found out his gallery owner . The situation is awkward. Collector like and does not have to delve into the specifics of their relationship - sort out themselves. But there is more important than another. Provoking the artist's direct sales, you do not make it art gallery history. Frankly, it just mess up - even if the transaction was kept secret from everyone. Gallery owner who invests in the career development of the artist - makes the exhibition, includes directories, and provides financial predictability, should regularly receive positive signals in the form of at least some sales. If there is a movement on a particular artist, it increases the motivation to promote it more actively. Let no windfall profits, but the gallery owner or dealer is important to feel the dynamics of growth - the number of sales, interest from buyers. Theoretically, if you sympathize with the artist (in the sense you are an enthusiastic regular, systematic collector), he can ask his gallerist make you a substantial discount. Let it be a transaction carried out through a gallery - that you render good service to the artist. To the west is part of the civilized practice. This means that in our area someday settle down.
As we see in technology purchase a professional intermediary (dealer, gallery, etc.) hamming novice collector on all fronts. These people regularly attend workshops, and has watched things, monitor the creation, take the best work wholesale, weed out "surplus stock". They communicate with the artist, understand it. And these mediators are engaged constantly, and not in his spare time. As a result, as a rule, they are able to accumulate the best things at the expense of a healthy pragmatic relations.
for savvy collectors, this is only one argument in favor of the dealer would be decisive. But in the rest of his interaction with the mediators is not devoid of distinctive charm. Since brokers can negotiate until they were hoarse, wrinkle his brows over the shortcomings of a "material" to argue about the quality, long and juicy choose, do not hesitate to call a spade a spade. And most importantly - all in a businesslike manner, without insults. And they can be "synchronize watches" your investment prospects of acquisitions, to feel where the wind blows.
general advice in this situation: if the broker has got a masterpiece - join the auction. And not a teshte hopes: that's somehow going to become an artist in the shop and buy there work as good and cheaper. Cheaper - maybe, but otherwise - as would not have had to bite his elbows. Stand things, as a rule, do not lie around and order are made. A good artist is not the same, and his visit was at the peak of creativity, when he gets just everything - it's incredible luck.
It would be foolish to argue that buying directly from the artist - it is always wrong and he is ill. Much depends on the specific people and specific circumstances. For example, a young artist has not got the support of gallery and master, however, does not care about building a personal art gallery strategy (no matter whether he cheats or brokers prefer to control the process itself). In short, if the artist is no contractual or galleries they have, but to interact with them for one reason or another, it is difficult (and such exotic occurs), then what is there to hide the icon?
Vladimir Bogdanov, AI
https://artinvestment.ru/en/invest/ideas/20110812__why_buy.html
https://artinvestment.ru/invest/ideas/20110812__why_buy.html
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- Нас покидают...
- Guide to photo reports from exhibitions
- Икона “Господь Вседержитель”, серебро, эмаль.
- Икона “Господь Вседержитель” , оклад,эмаль.
- ASSESSMENT ON Internet (Information database for 5000 artists)
- Still Life Flowers Eugene Lang
- Автопортрет художника. 1930-е.г. Атрибуция.
- Положение во гроб Иисуса Христа оценка
- Bronze. E.Lancere.
- collages on the theme of the war in Ukraine