Buy direct 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 collector risks falling into an awkward situation

It would seem that what is there to think? "Neobstrelyannyh" collectors think that the best place to buy work directly from the artist. In fact, why pay all these dealers, galleries and other intermediaries, if it is possible to buy "for producer prices"? Also visit the shop - it's dive into the magic of the artist, a pleasant feeling that money just came to the author's confidence in the authenticity of the acquired operations. For the novice collector of each of the reason to more than convincing.

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 poses many pitfalls. Those who bought in the shops, they know that unaccounted complexity of a psychological nature there 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 can arise when self-purchasing in the shop.

1. Collector came into the shop and choose from what is not . Nothing special: an artist at the moment may be "empty" (work went to an exhibition or sold) or drastically changed the style (a new series you like, dislike). Anyway, you came to buy, buy and got sick. And what about you? Out of politeness to fly is certainly not it? 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 may well doubt the soundness of your the collecting. But you will pursue an uneasy feeling and not likely to be a desire to repeat the visit. But for the dealer, this situation - working: he's probably in plain English will complain to the paucity of choice, promising to come next time and really come.

2. The artist announces a high price that does not meet the market . Of course, not out of malice or greed, but simply an internal sense of self. The dealer in this situation and do not blink an eye - will begin 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 his eyes, and you do not like . 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 his abstractions. But the artist is in this figurative liter of blood poured ... and what to do? Share your thoughts with him about the power of a particular thing? Hardly. Most will start to move away from a conversation unintelligible, can not make an informed decision - and leave an impression of yourself in the best case a complete layman in the arts. This stems from the same all over again, role conflict, from the collector waiting for approval and understanding, not 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, from harm's way, all criticism. Talk, as we know, can not eat.

4. You want to see more jobs and opportunities to show them there. Workshop - it's not showroom . Opportunity to demonstrate there are severely limited. Earlier things, as often happens, may be retracted away on the mezzanine, are removed from stretchers. Rigging A buyer in the presence of the artist is unlikely to be addressed. As a result, collectors look for certain is that close, but the most important and desirable things for themselves at risk simply does not see.

5. About your "sales visit" to the artist found out his gallery owner . The situation will be 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 deal 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, must regularly receive positive signals in the form of at least some sales. If there is a movement for 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 (enthusiast in you feels right, the collector system), he can ask his gallerist make you a substantial discount. Let it be a transaction carried out through the gallery - that you render good service to the artist. To the west is part of a civilized practice. This means that in our part of the ever 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, watching the creative, take the best work wholesale, weed out "surplus stock". They communicate with the artist, understand it. And these mediators are engaged in constant, rather than in their free time. As a result, as a rule, they are able to accumulate the best things at the expense of healthy relationships pragmatists.

For savvy collector, this is only one argument in favor of the dealer would be decisive. But in the rest of his interaction with intermediaries is not without peculiar charm. Since brokers can bargain 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 resentment. And with them you can "compare notes" the investment prospects of your purchases, to feel where the wind blows.

general advice in this situation if caught in a masterpiece of a mediator - making a commercial. And not a teshte hopes: that's somehow going to become an artist in the shop and buy there work is not worse and cheaper. Cheaper - maybe, but otherwise - as would not have to bite your elbows. Stand things not normally 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 painter 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 mediators prefer to control the process itself). In short, if there is no contract with the artist 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 split hairs?

Vladimir Bogdanov, AI




  • 13.06.2019 Works of artificial intelligence on display in the Hermitage Peter brought artworks created using artificial intelligence. Among the participants — French art-группа OBVIOUS, which was able to effectively monetize this work
  • 11.06.2019 Collection of the Foundation Louis Vuitton brought in Pushkin In the Gallery of art of Europe and America XIX–XX centuries. from June 19 you will see the selected works by A. Giacometti, I. Klein, Basquiat, Warhol E., G. Richter, Z. Polke, M. Cattelan, A. Gursky and others from the collection of the Fondation Louis Vuitton, Paris
  • 11.06.2019 "Shchukin. Biography collections" in the Pushkin Museum From 19 June to 15 September in the Main building of the Pushkin Museum on Volhonka, 12, of a queue for the exhibition of about 150 works from the collection of Sergei Shchukin — paintings of Monet, Picasso, Gauguin, Derain, Matisse and others from the collections of the Pushkin Museum. Pushkin, the Hermitage, Museum of East and others.
  • 11.06.2019 A retrospective of Natalia Goncharova in the Tate Modern In London, the exhibition brought some 170 works of Goncharova's works from museums and collections from around the world, including Russia
  • 07.06.2019 Konstantin Batynkov: "life is Everywhere" In Tsereteli Gallery on Prechistenka until the end of June held a major solo exhibition by Konstantin A. Batynkov, which celebrates this year its 60-летие
Auction
database sales

Login for subscribers

Индексы арт-рынка ARTIMX
Индекс
Дата
Знач.
Изм.
ARTIMX
13/07
1502.83
+4,31%
ARTIMX-RUS
13/07
1502.83
+4,31%
Show:

Top 21

This site uses cookies, it can collect data about IP addresses and users. N 152-FZ «On Personal Data» and continue working with this site, you confirm your consent to the processing of personal data in accordance with the law N 152-FZ «On Personal Data» and «The policy of LTD «ArtIn» with regard to the processing of personal data».
Back to Top