The Hype Behind NFTs and Cryptocurrency in the Art World

It is not new that in the last couple of months, the Art World was been taken by storm – to say the least. If back in January no one in the Art World was aware of NFTs or crypto art, now, a couple of months later, we might as well consider it a miracle if we hear anyone important in the industry talk about anything else.
But, what exactly are NFTs? And for how much NFTs are currently being sold for? Is crypto art a new market or only a quick viral trend?

What are NFTs?

NFT is short for Non-Fungible Token which means the registration of ownership of a digital object. So, this can be any type of media including but not limited to art, videos, music, gifs, games, text and even memes. If in the past artists might have been provided with an authentic signature or their representative gallery has passed some sort of certificate to authenticate an artwork, NFTs work the same but only work in digital format. So, essentially, NFT’s work as digital Certificates of authenticity that helps to prove the authenticity and ownership of virtual goods.

How do NFT’s work?

In 2008 Satoshi Nakamoto, the creator of bitcoin – introduced a new method of verification and product authenticity, now known as the blockchain. Blockchains were historically used to record financial transactions, but they’re pretty malleable. These days, you can find everything from collectable games to new methods of finance – all living on blockchains.

The most important feature of blockchain used in Art is that blockchains are impossible to change. An artist can provide proof authenticating an artwork that can never be altered. This proof can then be sold at auction passing it from artist to collector, making blockchain art highly liquid.

Why pay money for NFT’s if I can consume media for free?

As an art advisor, this question pops out a lot lately. Well, you can also look at Picasso’s work for free, in a museum, gallery or even online, however that won’t make you the owner. You can even own the best replica ever of that same painting but you won’t be able to sell it as the real owner. In the end, the CoA counts more than the work itself so paying money for an NFT is the same as buying an original painting with its original certificate.

Do people really think this will become a form of art collecting?

Yes, some people are getting interested in NFTs and how that can turn newbies into becoming art collectors or regular individuals can just be interested in a new way of starting an investment. Nevertheless, in this particular case, what collectors buy are “non-fungible” tokens. Non-fungible means either one of or a limited edition that is made once. NFT tokens cannot be replicated. In some cases, the art or these media objects will be stored on the blockchain, but more commonly the NFT will reference an external artwork. While many people might not consider this “owning art”, it’s clear that many collectors do. The implication is NFT artworks are scarce and therefore highly valuable.

Are NFTs just a hyped-up trend?

This growth has led to concerns of an NFT balloon, – one that may explode when the world emerges from massive global pandemic-era restrictions…
While collector Rodriguez-Fraile thinks that “NFTs are here to stay,” he accepted that “we might be going through a period of hype… and I think the general ecosystem might slow down a bit when it comes to pricing.”
For Cock Foster – founder of Nifty Gateway, however, the return to normality offers opportunities rather than threats: Not limited to but because galleries can propose ways to experience digital art beyond a computer screen.
“Digital art is very, very immersive,” Foster said while adding that displaying art is still important to online collectors. “So, I think we can build some really cool physical experiences.”

Future Forcasts

Nifty Gateway may be a long-distance from its goal of 1 billion collectors, but the platform’s growth nevertheless reveals an overwhelming interest in crypto art. In March 2020, the site recorded monthly transactions of $30,000; last month, this number was up to $75 million, according to Cock Foster.
This big jump coincides with the biggest casualty in the art world: Covid-19. With galleries and auction houses shuttered around the world, and people spending more time browsing the web and shopping online,- NFTs have opened up a new outlet for art enthusiasts and collectors.

NFTs and the Art Market

Christie’s is no stranger to new technology. The company has hosted regular Art+Tech Summits since 2018. Back then, Christie’s proudly announced it was “the first auction house to offer a work of art created by an algorithm”, with the sale of the AI-generated painting Portrait of Edmond Belamy for more than 40 times its estimate.
At the same time, Christie’s upcoming auction is only the tip of the NFT collecting iceberg. Industry publication Coindesk, estimates the total value of the NFT market to be US$250 million. Platforms such as Opensea, Nifty Gateway and SuperRare host a rapidly expanding range of digital collectables to buy and sell by a growing community of collectors.

NFTs are useful in the digital art market because they enable claims to authenticity and scarcity, despite the ease with which digital works can ordinarily be copied. Artists and galleries have tried to create scarcity via limited-edition works and to assure authenticity with certificates, but NFTs seek to automate this process. NFTs document and register ownership on a blockchain, which is a decentralised alternative to a central database. Built through cryptography and niche community networks, blockchains are resistant to plagiarism and hacking, which makes them useful for storing important records.

So, when selling Beeple’s “Everydays” as “the first purely digital work” to be offered by a major auction house, Christie’s is reinforcing its self-described “position at the forefront of innovation in the art world”… Quite a statement, right?

Auction houses are trying to jump on the trend as quickly as possible. Sotheby’s has alreay launched its first NFT auction, a three-day sale of works by the anonymous crypto artist Pak. On day one it raised almost $10 million. Phillips will sell its first NFTs later on.

Nft’s and the Museum Industry

In light of these headlines and hype, today there are more questions and concerns than there are answers about how NFTs may impact museums. While recent news has started to illuminate the potential applications of NFTs in arts and culture, this technology also comes with some environmental repercussions and other obstacles that must be considered. So here are the 3 main issues:

The environmental cost of NFTs

Environmental concerns are top of mind. “The escalation of resources to create the idea of scarcity makes it hard for museums to get into and though there’s a buzz about clean, green NFTs, we are far away and it would be wise for museums to pause before jumping in.” — Holly Shen, Former Deputy Director at San Jose Museum of Art.

Minting of Museums

The idea of museums minting works came from earlier this year when a group called Global Art Museum started listing NFTs from open access collections, such as those of the Rijksmuseum and the Art Institute of Chicago, using it as a social experiment. As slow-moving, non-profit institutions, museums aren’t to be expected to launch into NFT marketplaces, however, there are certain areas of potential revenue income. Collaborating with artists on charity NFTs, in the same way, artists produce limited release prints or collectables around an exhibition, is one option. Simpler and easier still would be opening a cryptocurrency wallet and allowing people to donate (as many prominent charities already do)…

Will NFTs create more opportunities?

Limitations regarding accessibility and inclusion carried over from traditional to digital art first emerged in the 1960s. Practices and cultural behaviours mirrored as institutions belatedly began collecting digital work. Similar issues of diversity and representation are still present in the NFT sector, nevertheless, the removal of establishment gatekeepers is creating a more welcoming environment for artists and collectors that are still alive.

Galleries and Digital Art

Artists who have never worked with NFTs are starting to do so, – not through galleries, which have little access to the crypto community, but through NFT specialists. The CEO of the NFT platform MakersPlace, Daniel Chu foretells that companies like his will, over time, dismantle traditional institutions. “If there’s any indication from past examples,” he says, “things that are taken over by a digital movement tend to not exist anymore.”

But that won’t happen anytime soon… NFT platforms still struggle to curate and promote auction pieces, craft galleries and auction houses have mastered as a way to drive up value. The art market’s central idea is that the object itself is less of a determinant in price than the story you tell about it. But anybody can put an NFT up for sale on these sites, and visiting one is to wade through an undifferentiated mass of images.

Yet, there are signs that the NFT world is catching up. In March, Casey Reas, an artist and curator in Los Angeles, launched a new venture called Feral File. Reas selects small groups of NFT artists working with similar themes and presents their work in an online exhibition, selling limited editions of their pieces. It is a middle ground between NFT platforms and galleries, adopting the technology and economics of the former and the rigour of the latter.

Increasingly and surprisingly, more artists are turning to traditional auction houses to sell new work. Institutions like Christie’s and Sotheby’s take smaller commissions than the major galleries that ordinarily handle the primary market, and their brands carry more cultural capital. They are also experts at generating buzz around their events. “There’s less of a tradeoff to working with an auction house,” says Robert Alice, Christie’s first NFT artist. “It’s becoming obvious that if you want exposure that Auction Houses can be much better than galleries.”

Is Digital Art worth more than Traditional Art?

In response to the lockdown and the absence of offline, in-person consumption of art in the form of ownership or experiences, a different mode of consuming art has become ascendant: that of liquid consumption, which supersedes the solid consumption of material objects. The concept of liquid consumption emphasizes the dematerialization of goods and experiences.

However, the idea that big-money collectors are paying huge money for works that can often be seen and shared digitally for free is not that simple… Some digital-art collectors said they’re paying not just for the pixels but also for the digital artists’ labour to make that piece. And of course, for the scarcity they implied. Still, a valid concern arouses that those evaluations have become artificially inflated. Some non-believers said that just as bitcoin has proven to be a volatile asset, NFT prices are likely to swing down. In my opinion, this current version of non-fungible tokens will continue to evolve into bigger and broader use cases.

Are NFTs a good thing for artists?

Many digital artists, after being fed up for years for producing content that generates visits and engagement on big social media platforms like Facebook and Instagram, while getting almost nothing in return, have jumped recklessly into the trend. Artists of all kinds—designers, musicians, filmmakers, – envision a future in which NFTs reconstruct both their creative process and how the world regards art, now that it’s possible to actually “own” and sell digital art for the first time. “You will have so many people from different backgrounds and genres coming in to share their art, connect with people and potentially build a career,” Boykins says. “Artists put so much of their time—and themselves—into their work. To see them compensated on an appropriate scale, it’s really comforting.”

The NFT market just works differently… Its artists, usually immersed in the world of blockchains and cryptocurrency, use social media to build their audience in that community, and then sell their work directly to crypto collectors through specialist online platforms like MakersPlace and Nifty Gateway. These platforms take a roughly 10% commission on each sale and offer artists automated resale royalties at rates set by the artists themselves. According to a British crypto artist who goes by the name Robert Alice, “sometimes, after three or four weeks, you are making more money from the resale than you are from the initial value of the drop.”

The Overall Potential of NFTs

NFTs create possibilities for new business models that didn’t exist before. Artists can attach conditions to an NFT that assures they get some of the proceeds every time it gets resold, meaning they benefit if their work increases in value. Admittedly, football teams have been using alike contractual clauses when selling on players for a while, but NFTs remove the need to track an asset’s progress and enforce such entitlements on each sale.

New art platforms, such as Niio Art, can demonstrate in a really simple way that they own digital works. When customers borrow or buy art from the platform, they can display it on a screen in the knowledge that there is no issue with copyright or originality because the NFT and blockchain guarantees that ownership is authentic.

Also, NFTs gives musicians the potential to provide enhanced media and special perks to their fans. And with sports memorabilia, between 50% and 80% of items are thought to be fake. Putting these pieces into NFTs with a clear transaction history back to the creator could overcome this counterfeiting problem.
But beyond these fields, the potential of NFTs goes much further because they completely change the rules of ownership. Transactions in which ownership of something changes hands have usually depended on layers of middlemen to establish trust in the transaction, exchange contracts and ensure that money changes hands.

There will be many other improvements in this decentralized economy that have yet to be imagined. It will be a much more transparent and straightforward type of market than what we are used to.

How to Buy NFTs

There are a variety of marketplaces on which to buy and sell NFT’s: Nifty GatewayMakersPlaceOpenSea and Rarible are just a few of many platforms dedicated to purchasing and selling these types of media. For those who might be interested in NBA and Sports related highlight collectables, check out NBA Top Shot—where $230 million(!) has already been spent just by trading tokens, or “legendary moments”… Crazy, right?

How to Make and Sell NFTs

If you’re an artist, a designer or any other type of creator, you could make and turn anything you do into an NFT. So, let’s say you have a meme you want to turn into an NFT, or, an image or a video or any other visual like media: the so famous Nyan Cat, you know that cat…? That animated cat that flies off in space with a Rainbow trail behind him… Yes, Nyan Cat was sold as an NFT for almost $600,000, and you only have to register on one of those websites and you are, pretty much, all set and good to go. The process differs from site to site obviously, but you can start on platforms like Nifty Gateway, where basically you just have to apply to create a project so it can be sold as an NFT on its marketplace.

Conclusion

  • In retrospective, NFTs are essentially digital visual media you can claim ownership over.
  • NFTs are an easier way to sell and purchase authenticated work off of the internet. NFTs allow anyone to own a piece of digital content as well as facilitate sellers and creators to sell their work through a safe and regulated environment, making it easy for anyone interested in investing or simply just interested in collecting artworks.
  • NFTs are useful in the digital art market because they enable claims to authenticity and scarcity.
  • NFTs reconstruct both the artist’s creative process and how the world regards art, now that it’s possible to actually “own” and sell digital art for the first time, artists can benefit from selling their own work.
  • NFTs create possibilities for new business models that didn’t exist before. Artists can attach conditions to an NFT that assures they get some of the proceeds every time it gets resold, meaning they benefit if their work increases in value.
  • NFTs can be highly valuable depending on how trending and viral a piece of content is.
  • Due to its “virality” and “trendiness”, it makes sense hopping on this hot new trend as fast as you can, otherwise, due to market and financial fluctuations, you might lose momento and value over the piece of content you might be interested in.

How Much Money Do Art Dealers Actually Earn?

Art dealers can be rather intimidating. They are popular for selling really expensive artworks, ( yes, I’m speaking about millions ) dressing and partying like James Bond, with a deep commercial and intellectual knowledge of art history. They seem to have it all. Money, nice clothes, a nice and wealthy group of friends, and of course nice artworks.But how much money do art dealers actually earn? And how they make money selling artworks?

Well, for start not all art dealers actually sell a million dollars piece of art, and even the ones that do, once upon a time they were just like any other normal young adult. Some did unpaid internships, some struggled a lot , and all of them, literally made mistakes. So, we’re going to be reviewing all the important topics in order to deeply explain how art dealers do money.

art collector how much money do art dealers actually earn
Udo

The Different types of art dealers

Not all art dealers sell the same. Imagine the art sector as the fashion one. While Chanel and Christian Dior are haute couture, Balenciaga and Vetements are ready to wear / street style. As in fashion the art market can be divided in Old Masters, Modernism and Contemporary Art. Therefore, this division is rather light. If we have a look at the Sotheby’s departments we can see that. We have Asian Art, American Art, African Art, Canadian Art, Indian Art, Russian Art, Impressionists etc etc.

This division is important in order to understand why not all art dealers are the same. Art dealers usually specialise themselves in one or two categories. Some focus in modern and contemporary art while others are focused just in contemporary art. Some are experts in Russian art, while others are masters of the Asian Art. Each art dealer has a niche, if they don’t then I wouldn’t advise you to work with them. Imagine one of your favorite restaurants, usually the best restaurants are focused in a type of food. Can be Indian food, Portuguese food, steakhouse or fish place, it doesn’t matter in what they are specialised in, therefore they are. Have you ever been in a restaurant that offers a mix and match of dishes ? Probably yeah, therefore the quality of their dishes is not their focus. Quantity over quality is not a must in this business.

The Primary and Secondary Market

This division is one of the must know in the art world. It will help you to understand not just the different types of art dealers but is impressive how a little point can open your mind and knowledge of the art world.

Primary Market

art basel 2011 how much money do art dealers actually earn
Caroline Claisse – Art Basel

The primary art market refers to an artwork that comes to the market for the first time. That can be at a gallery, art exhibition or when it’s sold from the artist studio to the purchaser, whether a collector, a business, a foundation or a dealer. This is also the time when the price for the artwork is established for the first time. The primary market usually has the Emerging and Established artists. Prices here range from hundreds to some thousands.

Some art dealers work only in the primary market. Moreover this sector is rather complicated. Majority of art collectors don’t feel “safe” buying new artists. “What will happen if one day she or he stop painting?” This is n recurrent question from art collectors. It can be risky to only work with new artists and is even more complicated to convince art collectors to invest deep in this area. No one likes to burn money, and when we are speaking about fine art where the prices aren’t affordable to everybody, usually people think twice before showing the wallet.

Art dealers who only work in the primary market must have a really good business and marketing plan in order to survive in the market. Moreover there are some art dealers who work in both markets. Is not unusual to see art dealers who invest deeply in new talent but use the cashflow from their secondary market sales.

Secondary Market

christies auction 2011 how much money do art dealers actually earn
Caroline Claisse – Christies Auction 2011 Post War

Once the artwork is purchased on the primary market and the purchaser, decides to sell it, it goes into the secondary market. For example, most artworks at an auction house are part of the secondary market. Some people compare the secondary market to the second-hand market. Even if I I’m not a big fan of such comparation, it’s an easy tip to understand.

Dealers who only work on the secondary market usually work with wealthy art collectors that know what they want. They can also work as advisors to art funds that are more occupied with doing a profit from the art market than getting something to hang in their walls. Usually those dealers are already in the market for a long period and have a good contact list of collectors who are already in the market for a while as well.

How art dealers make money

Art dealers make money from the sell of artworks. Usually art dealers get a commission of the sell. The commission can range from 30 to 60% in the primary market. The secondary market is rather different, usually commissions here start at 5% for artworks over a million and can scale to 20% for art works under $100,000.

Some art dealers also work as art advisors, and that way they can apart from the commissions (usually lower) get a retainer from the client. The retainer varies according with the clients needs and desires. While some want small advises about shipping and reselling, others want to build entire art collections from scratch.

How much money do art dealers do

It’s difficult to say what an average income for an art dealer is. Some dealers specialise in blue-chip works that can range from mid five-figure prices up to millions of dollars. On the other end of the scale, a dealer showing emerging and “unknown” established artists may deal in prices ranging from a few hundred to a few thousand per art work. When dealing with the higher end of the price range, it’s not uncommon to go for weeks or even months without a sale before hitting a big one.

What makes art dealers successful

What makes any art dealer successful is the combination of a sales person drive with a deep knowledge of the art market. It is necessary to have clients but more important than that is the capacity to keep them continuously happy. In order to achieve that, art dealers must understand deeply each client. Their likes, dislikes, their personality, their goals, their mood … literally everything in order to understand what they really want.

Being Informed

Any successful art dealer is deeply informed about the art market in order to inform their clients. The last lots sold on auction, the artists increasing and decreasing in value, the trends, the new galleries, everything must be known. The best art dealers and advisors are specialized at one maximum two art segment. Being focused is the key here, and art dealers know that. This focus and deep knowledge in one area of the market will make possible for them to be the best at it.

Originality

If artists must surprise the market with new ideas, no less is expected from art dealers. Art dealers are expected to have an original taste and are the responsible to discover new artists and put them in the market. They must be originals and don’t ever copy ideas from others already successful dealers. Originality is really important in all segments of this market. A copy will always be a copy, it doesn’t matter if it is a copy of a painting or a copy of ideas from another art dealer. Copying is a dead sentence in this field. Have in mind that any successful art dealer had and has to stand out from the crowd.

Good in business

It is true that any art dealer must really love art and know a lot about it. Therefore if an art dealer has no vision or talent for business, the chances of success are quite low. Any art dealer needs to know how to sell their product. Loving art and know a lot about it is nice, therefore in the end of the day the most important thing here is to sell art.

Knowing upfront their costs

Being an art dealer with a great reputation for sales and placing artwork with significant collections is important. Equally important is understanding their costs . How do they calculate taxes ? Do they include the rent cost in the artwork final price?

I know a lot of art dealers that get surprised when they need to pay more tax than expected. Art dealing has costs. Rent, employees, water, electricity, exhibitions costs, art openings costs, tax etc etc. Some art dealers calculate and price their artworks in order to cover all their costs, other don’t. A successful art dealer must have all cover and know upfront how much has to spend each month in order to keep the business alive.

Network and contacts

I can’t emphasise this enough. Art dealers have to network A LOT in order to do nice contacts. By nice contacts I mean people who actually want to buy and invest in art. Let’s be honest, no one “needs” art. Art doesn’t feed anybody or protects any human from cold for example. Art can be “the food of the soul” but music or theatre can too. There is a small group of people in this world that is interested in visual arts. In order to meet who is who in this area art dealers have to network in art galleries openings, museus, charity events etc etc. Moreover don’t forget that if making contacts is 50% of the business, the other 50% are only possible if the art dealer can keep the client over and over again.

Conclusion

  • Not all art dealers sell the same
  • Art dealers usually specialise themselves in one or two categories
  • The primary art market refers to an artwork that comes to the market for the first time
  • The secondary market refers to an artwork that had been sold before coming to the market again
  • Usually art dealers get a commission of the sell. The commission can range from 30 to 60% in the primary market and from 5 to 20% in the secondary one.
  • Some dealers specialise in blue-chip works that can range from mid five-figure prices up to millions of dollars
  • A dealer showing emerging and “unknown” established artists may deal in prices ranging from a few hundred to a few thousand per art work
  • What makes any art dealer successful is the combination of a sales person drive with a deep knowledge of the art market

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The art collector’s mind: What are they looking for?

Art collector’s are much more than art buyers. They are actually the ones who with museums dictate the art world trends. Fuelled by passion, consumerism, aesthetic passion and investment, art collectors’ power can be easily recognized and ‘categorised’ in different categories. So, what do art collectors look for?

Different collectors look for different things. As example a contemporary art collector won’t look after old masters artworks. A pop art art collector won’t research about conceptual art. Therefore, there are some mutual aspects that allow them to be art collectors. A desire to live with art, a passion for artists and their stories, art-world validation, art investment, among others.

What do art collectors look for?

geraldbrazell

Unlike simple art assemblages, art collections are meticulously well-planned projects. The art collectors submerge themselves deep into the subject of their interest and spend years and years looking for very particular art pieces that can bring the entire narrative together.So, what are the Collectors’ top motivations for purchasing art?

Aesthetics

All art collectors were once people who lived without art. If Rome wasn’t built in a day, no art collection can. The interesting fact is that majority of art collectors when they first started as outsiders they bought they first art piece in order to decorate their homes. The love to collect started after.

Another interesting fact is that more than 50% of art collectors who buy even to investment, cares deeply about aesthetics in order to purchase.

Art as an investment

Sometimes I get sad when artists complain that art is sold to investment purposes. I’m not saying that all art should be sold for the sake of profit, therefore the art market is a market, and should be taken care as such.

Not all art collectors buy art as an investment, therefore I don’t know any who said that an artwork appreciating in value overtime is not welcome. For whom is interested in art purely for investment purposes there are Art Investment Funds which are dedicated to the generation of a profitable return by acquiring and disposing of various works of art. Those funds are managed by a professional art investment management or art advisory firm who has expertise in the field. Having art as an investment asset in a portfolio doesn’t make it’s investor an art collector.

Passion for artists personalities and their stories

Artists are really interesting human beings, if they would not be “different” they would not be artists. They all have different personalities therefore there are mutual traces that make them artists. Art collectors are usually people more involved somehow in business, and even if not, knowing one or various artists is like getting into a different world. The way how artists see and perceive things are usually different, and art collectors like to understand why.

It’s interesting that some of the art collectors that I know wanted to be artists themselves. Once that achievement wasn’t possible, usually due to parents not approval, it’s like if they try to somehow get into the art world differently.

Art-world validation

A collector’s net worth is obviously correlated with their propensity to conspicuous consumption. Newbies to the market want and need a certain validation not just by other collectors but by museums, auction houses, collectors, artists and galleries. Some art collectors care about the art-world validation, while others prefer don’t even been seen in.

Higher status collectors reinforce status hierarchies through their privileged access to resources for displaying aesthetic confidence and their policing of lower status collectors’ claims. Performances of aesthetic confidence are both influenced by status and necessary for displaying status

The Different types of art Collectors

According with Artsy, there are ” Four Tribes of Art Collectors “. Let’s have a look.

In order to understand what each collector is looking for, once collectors for same category look for similar things. Let’s start by The Trophy Hunter:

The Trophy Hunter

danielguidoc guidoc – Christies Auction

You know, Leonardo da Vinci’s Salvator Mundi (Savior of the World), sold for $450 million at Christies in 2017 to Saudi Prince Bader bin Abdullah …

For this “tribe” money is not a problem, for them is on what they spend their money that counts. They are rich enough to have more power over art trends than museums. This allows them to ignore the social structure of the art world.

Those collectors are the ones that can buy a Willem de Kooning for 62 millions or a Jeff Koons Rabbit for 91 millions without the need of thinking twice. Trophy Hunter Collectors are another level inside the art world. If this is the jungle those are the lions of the kingdom of art collecting.

For them Art delivers two types of pleasures: the joy of looking and the adrenaline of procuring. For Thorstein Veblen, those people are the ones who represent his theory of the ” conspicuous consumption “. Referring to consumers who buy expensive items to display wealth and income rather than to cover the real needs of the consumer.

When describing the art in their collection, they often don’t talk about the art itself but more about how they managed to buy the painting and how much they bought it for.

If you are not a famous artist already, whose paintings are worth millions, it is unlikely that you’re ever going to sell one of your artworks to a trophy hunter. Even if you are a successful artist, you may never come across this group as they predominantly purchase at auctions. The thrill of the chase is what drives them most.

What do they look for:

  • Trophy Art
  • Famous Names

The Aesthete

Kristine – Yves Saint Laurent

Introverted and not much self-conscious about the fact that they are art collectors, the Aesthete character is interesting. With some genius in this group, who left amazing art collections ( as example Yves Saint Laurent and his partner Pierre Bergé ) the Aesthete collectors are driven by a visceral response to the object. They’re often aware of what is fashionable, but almost never buy on the cutting edge of fashion.

Driven more by gut instinct, aesthetes collect vividly in the moment, but with a grand vision that unites disparate objects.

What do they look for:

  • Aesthetic beauty
  • Eccentric art

The Enterprising Collector

roberta fallon – Damien Hirst | Away from the Flock | 1994

Gossip, lawsuits information, misinformation, fads, and rumors of the contemporary art market. Dynamic and real people make the Enterprising Collector tribe who is rather Extroverted and loves to have fun.

Enterprise collectors are wide open to the new and experimental. “Typically first-generation entrepreneurs, often from market-driven professions like finance and real estate, they view art as an asset class, but rarely as a pure investment (although most maintain lines of credit against their collections).” Artsy

These collectors are engaged in a kind of ethical combat to identify and elevate the art that will matter. Priced out of trophy hunting and too financially driven for the connoisseurs, their goal is to destabilize the market, in order to define and redefine art history through collecting.

While their ambition often exceeds their ability, a few—names such as Robert Scull, Charles Saatchi, and Guy Ullens—cut through the hype and help canonize the art of their time.

But despite an openness to new ideas, this is not an open society. Beneath the charm and flattery exists an intense competition for access: to top pictures, the right dinners, the most exclusive parties, the most prestigious museum boards. For this tribe, owning the right painting delivers a jolt of status more effectively than the efforts of the best PR firm.

What do they look for:

  • New Talent
  • Experimental artworks are welcome
  • Extroverted gatherings

The Connoisseur

René – Herzog Anton Ulrich Museum – Braunschweig

Connoisseurs are the academics of the art market. They buy methodically and rarely as an investment. They force us to stop and appreciate.

Independent, and unaffected by accepted taste , they are almost like the new avant-garde. They are, however, deeply invested in the opinions of a select few once expert opinion often matters more than fact. They socialize selectively, often excluding the art newbies who will eventually miss the subtle essentials.

I usually find those collectors in the old masters sector. They are introverted art collectors, some really wealthy therefore, they prefer to keep themselves behind the scenes.

What do they look for:

  • Art with academic meaning
  • Introverted art

Conclusion

  • Different collectors look for different things
  • A desire to live with art, a passion for artists and their stories, art-world validation and art investment are the top key factors drivin art collectors.
  • There are different types of art collectors
  • The Trophy Hunter looks for trophy art
  • The Aesthete looks for something eccentric
  • The Enterprising Collector cares more about new talent
  • The Connoisseur prefers the intellectual side of the art
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