{"id":399535,"date":"2022-08-15T15:48:00","date_gmt":"2022-08-15T19:48:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=399535"},"modified":"2022-09-08T12:04:41","modified_gmt":"2022-09-08T16:04:41","slug":"reasons-to-collect-art","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/reasons-to-collect-art\/","title":{"rendered":"5 Reasons to Collect Art"},"content":{"rendered":"\r\n
\"A<\/a>\r\n
An art collector’s home in London<\/a> designed by Studio Ashby. Photo by Phillip Durrant<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Buying art and design<\/a> is one thing. Collecting it is quite another.<\/p>\r\n\r\n\r\n\r\n

Collecting has purpose and savvy behind it<\/a> \u2014 but that does not mean it is difficult or complicated to do. With the right motivation, it happens naturally.<\/p>\r\n\r\n\r\n\r\n

So, what gets someone to the place where they are ready to make that informed purchase and own the results of true creativity and polished craftsmanship?<\/p>\r\n\r\n\r\n\r\n

We can think of a lot<\/em> of good reasons, but here are the top five, according to some of the smartest people in the game.<\/p>\r\n\r\n\r\n

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Enter a New<\/strong> Realm<\/h2>\r\n\r\n\r\n\r\n
\"An<\/a>\r\n
An NFT from Anna Condo<\/a>‘s \u201cTulip 1637\u201d series is displayed on a digital canvas in her Manhattan home. Photo by Anna Condo<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Some think it is a whole new medium, others a technique. Either way, it is clear that NFT art is the newest and hottest thing<\/a> in town.<\/p>\r\n\r\n\r\n\r\n

These digital works \u2014 associated with certificates of authenticity<\/a> that are known as non-fungible tokens, or NFTs<\/a>, and built with blockchain technology<\/a> \u2014 have been gaining steam in the art world<\/a> for more than a decade. The pandemic era, however, seems to have accelerated interest in them, with 2021 seeing a series of record prices.<\/p>\r\n\r\n\r\n\r\n

\u201cWe live in a world where we\u2019re surrounded by screens,\u201d says the New York photographer, filmmaker and curator Anna Condo. \u201cI firmly believe this is the Glass Age.\u201d The enjoyments offered by this era are exemplified in Condo\u2019s own NFT art, like her lush 2022 Peonies<\/em><\/a>, an extension of her photographic still lifes<\/a>.<\/p>\r\n\r\n\r\n\r\n

The works are fun to experience \u2014 many involve movement that recalls something between a video and a GIF. But \u201cthe benefits of NFTs go beyond aesthetics,\u201d says Condo, who curated 1stDibs’ massive floral-themed NFT exhibition “Flower Gang<\/a>” earlier this summer and currently has a piece in “Splash<\/a>,” our NFT platform’s one-year anniversary show. One benefit: Since every NFT is unique and encoded with its provenance, the worries about fakes and overly editioned works endemic to the rest of the art world are moot.<\/p>\r\n\r\n\r\n\r\n

And the fact that the pieces are made on computers means that artists can create and sell their work without having to leap the usual hurdles, like finding large studio space or gallery representation. \u201cArtists are not at the mercy of gatekeepers. It makes you very independent,\u201d says Condo. \u201cIt brought me back to why I love art: It\u2019s a means of expression. It opens a whole new world to everyone, not just the same 15 art world darlings.\u201d<\/p>\r\n\r\n\r\n

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Make a Statement<\/h2>\r\n\r\n\r\n\r\n
\"Plage\r\n
Plage des Catalans<\/em>, 2017, by Massimo Vitali,<\/a> offered by Edition EKTAlux<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Go big, or go home. That\u2019s the advice of Julia Spiess, founder of EKTAlux<\/a>, a San Francisco\u2013based gallery specializing in large-format photography by European masters like Massimo Vitali<\/a>, Mona Kuhn<\/a> and Christian Stoll<\/a>. \u201cWhen you stand in front of a beautiful large scene, it\u2019s imposing and galvanizing,\u201d says Spiess, citing such a work’s \u201cboldness, the way it takes over the space<\/a>.\u201d<\/p>\r\n\r\n\r\n\r\n

She points out that large photographs \u2014 like Vitali\u2019s nearly seven-foot-wide 2017 Plage des Catalans<\/em><\/a> \u2014 can work even in smaller homes. \u201cI\u2019ve seen huge works in modest-size apartments, and it\u2019s great, as long as it\u2019s not competing with other artworks,\u201d she says. \u201cIt\u2019s about the balance.\u201d<\/p>\r\n\r\n\r\n\r\n

Spiess, who previously lived in D\u00fcsseldorf, Germany, a hotbed of photographic experimentation in the late 20th century, got to know some of the best large-scale lensmen during her time there, in the 1990s.<\/p>\r\n\r\n\r\n\r\n

Although NFTs get more attention, the photos Spiess favors likewise resulted from a recent technological innovation, in this case, one that made large-scale printing possible. \u201cIt has enabled these artists to deliver impact and emotion,\u201d she says.<\/p>\r\n\r\n\r\n\r\n

The works\u2019 ability to draw the viewer in may be their best quality, partly because of a two-for-one effect. \u201cPhotographs, being realistic, mean that you may see a beach depicted, but it\u2019s a moment frozen in time,\u201d Spiess says. \u201cThat\u2019s if you step back. But you can also lean in and look at how different the image is up close. You\u2019re in control as the viewer.\u201d<\/p>\r\n\r\n\r\n

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The Thrill of the (Treasure) Hunt<\/h2>\r\n\r\n\r\n\r\n
\"Still-life\r\n
Still-life oil painting, ca. 1650, by an unknown artist<\/a>, offered at auction by Wallector<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Auctions<\/a> make life interesting for the collector. \u201cThis way of buying is fun<\/em>,\u201d says Matt Rubinger, 1stDibs’ chief commercial officer. \u201cIt gets your blood pumping to compete.\u201d<\/p>\r\n\r\n\r\n\r\n

Rubinger notes that buying at auction<\/a> is a two-part process. The \u201cbrowsing, indulge your curiosity\u201d stage comes first. This is a time to relax and assess your options \u2014 and, for a beginner, a stressless way to ease into the process. It\u2019s free to look! Of course, the high-quality items come in such numbers that \u201cif you log on, you\u2019ll find something you like,\u201d Rubinger says. You have been warned.<\/p>\r\n\r\n\r\n\r\n

That leads to phase two: the \u201cattempted transaction\u201d stage, when bids are placed. These won\u2019t all work out. But don\u2019t be discouraged. It\u2019s a question of balance. On the one hand, Rubinger advises, \u201cdon\u2019t spread yourself too thin\u201d \u2014 draw up a slate of possible purchases beforehand and focus on those items. On the other, don\u2019t make your focus too narrow. \u201cIf you\u2019re only interested in one item, that\u2019s a recipe for heartbreak,\u201d he says.<\/p>\r\n\r\n\r\n\r\n

\"Indian\r\n
Indian Giant Squirrel<\/em>, 1854, by Paul Gervais<\/a>, offered at auction by Wallector<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Rubinger’s top secret tip? \u201cBid late. You have more information later in the process.\u201d As other people make offers, you can get the lay of the land. There\u2019s always another item coming down the pike.<\/p>\r\n\r\n\r\n\r\n

The London- and Rome-based 1stDibs seller Alessandro Giovannini, who runs Wallector<\/a>, was among the first dealers to participate in 1stDibs auctions, and he puts between 5 and 15 modern and contemporary design objects up for bid every day.<\/p>\r\n\r\n\r\n\r\n

\u201cPeople want to get something at a good price. That\u2019s very attractive,\u201d he says, referring to the other key appeal of auctions: the possibility of getting a bargain. \u201cSometimes, there\u2019s no reserve price\u201d \u2014 meaning a minimum bid \u2014 \u201cand people are thrilled with that.\u201d<\/p>\r\n\r\n\r\n

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Turn a House into a Home<\/h2>\r\n\r\n\r\n\r\n
\"Art-filled<\/a>\r\n
The living room of an art-filled apartment<\/a> in the United Kingdom designed by Studio Ashby. Photo by Studio Ashby<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

A meaningful collection of art should help a residence feel more like itself. \u201cArt plays such an important function in the home<\/a>,\u201d says Sophie Ashby<\/a>, who founded her eponymous interior design studio in London in 2014. \u201cOut of everything in a space, it has the most power.\u201d<\/p>\r\n\r\n\r\n\r\n

Still, harnessing that power by narrowing things down is useful. \u201cIt\u2019s important to have something to focus on, especially if you\u2019re beginning collecting,\u201d says Ashby. \u201cYou can\u2019t cover all the bases. Educate yourself on one particular area.\u201d<\/p>\r\n\r\n\r\n\r\n

Although Ashby is known for a nimble eclecticism, she frequently relies on the more traditional art categories, particularly landscapes<\/a> and portraits<\/a>, and nothing makes a house feel cozier. When it comes to arranging these works<\/a>, she keeps it fresh. \u201cThe landscape over a sofa is standard, but two portraits or portrait-shaped pieces are better,\u201d she says. \u201cIt feels more elegant, and it gives height to a room<\/a>.\u201d<\/p>\r\n\r\n\r\n\r\n

\"Studio\r\n
Another view of the apartment reveals the depth of the collection. Photo by Studio Ashby<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

And don\u2019t forget to go beyond the wall \u2014 sculptures<\/a> are impactful. \u201cBe bold with three-dimensional objects,\u201d Ashby says. \u201cGo with something butch and strong. Make an impression on the space.\u201d<\/p>\r\n\r\n\r\n\r\n

Ashby finds that in displaying their pieces, collectors sometimes isolate them rather than contextualize them with items that round things out. \u201cA white gallery-like space with a few interesting works doesn\u2019t feel homey. You need to layer it with books, textiles, ceramics,\u201d she says. \u201cThese small touches just humanize the artwork.\u201d<\/p>\r\n\r\n\r\n\r\n

Most important, however, is that your collection, however exhibited, speaks of and to you. \u201cFollowing your gut is key,\u201d Ashby says. \u201cIf it has power over you, go for it. Don\u2019t sit around and wait for a feeling.\u201d<\/p>\r\n\r\n\r\n

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Support Emerging Artists<\/h2>\r\n\r\n\r\n\r\n
\"Dwelling<\/a>\r\n
Dwelling #12, 2019<\/em>, 2020, by Matthew Cronin<\/a><\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Buying pieces by artists who have not yet made it big is a good idea for a few reasons. Affordability is certainly one, as well as the fact that they may appreciate in value over time. It is worth taking a flyer and seeing how it works out.<\/p>\r\n\r\n\r\n\r\n

But collectors may also want to support the artistic community in a holistic way. New York\u2013based creator Matthew Cronin<\/a>, 31, works with appropriated photography, often blending existing images through montage, collage and multiple exposures. His 1stDibs storefront brings him fresh buyers regularly.<\/p>\r\n\r\n\r\n\r\n

\u201cI\u2019m trying to support myself through my practice,\u201d Cronin says. \u201cGetting more people to see it is really important. Each time I make a sale, it gets me closer to the next one. It\u2019s cumulative.\u201d<\/p>\r\n\r\n\r\n\r\n

\"Distance\/\/Direction,<\/a>\r\n
Distance\/\/Direction<\/em>, 2022, by Cronin<\/a><\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

His visibility is boosted by Instagram. \u201cSocial media is huge for my engagement,\u201d he says. \u201cNew collectors should follow people whose work they find interesting, regardless of the stage of their careers.\u201d<\/p>\r\n\r\n\r\n\r\n

Cronin suggests making contact in the real world, a type of interaction whose value many of us forgot during the pandemic. \u201cI often meet my collectors,\u201d he notes. \u201cMeet the artist in person for coffee, and see if there\u2019s a connection.\u201d<\/p>\r\n\r\n\r\n\r\n

Cronin was sponsored for a time by a Texan benefactor who covered the artist\u2019s living expenses in exchange for works he created, an old-fashioned arrangement that may have new relevance now. \u201cYou can always adopt an artist,\u201d he says. \u201cThat support means so much.\u201d<\/p>\r\n\r\n\r\n\t

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