Back to English pages Here are their recommendations to start a collection of art contemporary.
Credit of boldness
In 1991 I answered this a journalist who questioned me about vast fact to be artist....
« An artist is a stirrer of neurones: With cubes and cylinders Picasso represented in two dimensions all faces of a face in three dimensions.
Dali with his " Paranoiac - Criticize ", combs recurrent pictures of his subconscious. Renoir expressed his sensual love of life by liberating the colour
of his dependency of the drawings. Fragonnard combed in 1772 all nuances of loving feeling in his work sensual,
gracious, jolly and always full of mind. While Ben in 1961 spat on a virgin cloth « As work of art ». And Marinades Abramovic, in 1972, in a
contemporary artistic step on borders human, physical appearances and morality, exchange with the companion of the pairs
of smacks up to the unbearable. All these artists as many others, have never wanted to take up what pleased the public but rather introduces
what "could definitely " like, intensely, or make react the public.... Even if it means putting his nerves in lively. »
« Therefore by the whole knowledge, means and methods aimed by the end, the artists, thanks to their frame of mind often confused the
conventional vision of a heap of things. They enlivened sometimes virulent debates on sense or purpose of their devices. They made
exile or love of the spectator, always with a lot of emotions. It is as to this title, that a big number writings attracted the
collectors. Some people displayed all their life same " corkscrew », others more seldom, varied their researches at the risk of
leaving sometimes, original frame of mind, which finally pleased their fan' s ».
Strong work
A strong work has my sense shine with a multitude of facets which become clearer in due time. As the colours of the sea in the course
of the day, the job of the artist approaches by the spectator, with a realization, a changeable apprehension, according to its
collected knowledge, according its curiosity, its joy, its wounds. It is therefore special instants in the life of a collector or l '
work of the artist becomes a cerebral continuation for the one who has it correctly.
Exceed the intentions of the author
In 1913 the father of contemporary art Marcel Duchamps explained: « Consequently, it is the spectator who makes l ' work ». Sometimes
even, these art collectors, by intellectual pleasure, go to the point of exceeding the intentions of the author by imagining for
instance - to think about it well that such detail in work, could result in a very original metaphysics,
pushing back much more the idea of the creator far.
A collector of art saw expression plastic as a pleasure.
This example is not me that personal: In so much qu ' artist photographer, when I accepted the couriel of a person; the husband of
which had confiscated following their divorce, whole job which I had accomplished for her, on the light of Mediterranean Sea, in the
places which she liked; that ci cried: « It stole from me the sun of my life ». As ci since the windows of its home, the mist came to
replace the clear view of the skyline. For her to live with these photographs it was to live song with, a nice landscape, a view on
the sea. They get up one morning, they listen, they see and they feel well. She spoke of it as one mental hygiene....
Aline Vidal - Gallery Aline Vidal
“ To start a collection: - Be curious - Credit of boldness - Push the doors of galleries. Search the one that invite you. Trust. - Find your guide - Settle a budget - Be wary of modes. Not be afraid of the look of others. - Buy with the eyes and not with the ears. Catherine Issert - Gallery Catherine Issert “ To make trust could be, simply, the first trump of a young person collector. Begin by showing a complete freedom of judgement, essential in the acquisition of a work of art. It is in the elaboration of his collection that the young collector will question and will deepen the reasons of his choices. In fact, to make a collection it is to construct a report between one and the world which assume a genuine cogitation, on both sides, and without deceit.
Adam Sheffer - Cheim and Read
“ It is an organic technique without definite starting point, into which they do not launch as they buy footwear. Experience shows that the best collections are obvious in one murmur and not with crash.
Patrice Cotensin - Gallery Lelong
“ The contemporary engraving is a very good means to begin a collection of writings of renowned artists at accessible prices. In the gallery Lelong in Paris, they find small lithographs for instance of Alechinsky from 250 €. But lithographs and engravings do not have to represent a resolution « in discount »: the artist often chooses the technology of the engraving for his clean plastic qualities. It is the case of the sculptor Spanish Eduardo Chillida, who cut up the copper of its engravings as steel her sculptures, or David Nash who produces his pochoirs in his workshop of the Country from Wales. The engraving is in constant evolution, it is continuously renewed in its techniques (the numerical engraving so made big progress these last years) as in her aesthetics: so the American artist Kiki Smith grants an important place in the principle of clone and numerous in the work.
Jérôme of Noirmont - Gallery Jérôme de Noirmont
" A collection, it is most often to unite a quantity of writings, of the same period, of the same artist, or the same subject. That's why they cannot act as collector but one becomes it. Then, will you tell me, how acquire writings? First be allowed to go on the ground where they are the most sensitive (epoch, style, artist), go to see exhibitions regularly monographs worldwide, the biennial, fairs and especially push the doors of the galleries who are always happy to make share and transmit their passion. It is necessary to encircle itself of advice of acknowledged professionals. The bulk is not to buy with the ears but with the eyes and the heart. It is you who will live with your acquisition and it is better to be filled up there. The acquisition of a work of art it is also a sacrifice, whatever are his means. The biggest benefit is the pleasure of eyes and mind, especially when the collection a sense has.
Kamel Mennour – Gallery Kamel Mennour
" I would say to every person liking to start a collection to listen to his feelings, to buy with the heart. What pleases me, it is to see exaggerating young collectors which acquired their first room in the gallery and who go on to thrive over the years in the installation of them collection.
Nathalie Obadia - Gallery Nathalie Obadia
" First of all to begin collecting, it is important to inquire, read the French and international magazines of art, visit museums, galleries, regularly. It is preferable to buy at the beginning exclusively in galleries where there are always "advisers", allowed time of cogitation, the possibility of agreeing on payments. Then, if they know the rules of auctions exactly, if they know exactly what they search where that they had all information on writings which they do not know, there they can buy for sale. It is necessary to always settle following question: why this artist pleases me? Settle question on its artistic course and on its price. The principal being not to buy " blows of heart ", nor to buy with his "ears" but by inquiring. They realize that taste and knowledge meet
Anne-Claudie Coric - Gallery Daniel Templon
" 1. Define an annual budget. They can begin a collection very interesting by dedicating it simply 3 000 - 5 000€ per year. 2. Develop a relation with two or three galeristes of which one like program and vision, then develop a relation with them of trust so that they help you to surround your tastes and your orientations. It is better to leave auctions to the collectors inured who know already well the artists, their quotation and the market. The galeristes which represent artists very has interest in helping starting collector. Contrary to the houses of sales or in traders of the second market, we work on long term with the artists and the collectors. We develop relations over several years. It need that five years or ten years after a sale, they can always give proof to collector that he made a good choice. It is about it that we think when we choose our artists. To our collectors who trusted in the gallery templon 20 years ago to buy Flavin or Warhol for instance, it is necessary to that one present of the artists of whom they think that they have the same potential. 3. Read and do researches on the artists whom they love: the criticisms of exhibitions, his quotation, its galleries abroad. There still do not hesitate to ask galeristes the most complete possible information, the press or catalogues. Internet is also a very good source of information.
INFORMATION ARTPRICE SOURCES & ANTLIA-ART-ASSOC.COM