Buying Art Before it Soars
By Brian Kinn
Lets talk about art. In fact, lets talk about the business of art, and what it takes for an artist to become recognized. Lets also discuss how to find an artist like Vincent Van Gogh, or Salvadore Dali, before the art becomes unaffordable to most of the world.
During his/her lifetime an artist may work to produce art and develop his skills as an artist so that the world has a chance to see its universe reflected back to its citizens in a way that provides a unique and transforming experience. Artists sometimes paint for the sake of their art, sometimes for money and sometimes because they are strongly compelled. Some artists are such unique creatures that they find the only way for them to cope, or understand this experience we call life, is for them to paint, sculpt, or do whatever it is they do to express what they feel, know, understand, love, hate, and endure.
There are a limited number of artists who paint for what we might call a higher purpose. Unless one happens to actually be an artist, it may be difficult to discern the motivation behind why art is created. Often the most talented and developed artists create because they feel they must, they are bound to a need to express, and to create. These artists give everything they have for their craft, often reaching deep inside themselves to gather every part of what they are, who they are, and what they see, so that it can be reflected outward in their art. When we see work from the greatest of artists we see the very essence of what is beautiful, sometimes disturbing, and always magnificent. Such are the artists whose works become most important to the world, Artists like: Michelangelo, Salvadore Dali, Pablo Picasso, Rembrant, and one particular artist that is painting right now who is perhaps, as we say, not yet fully recognized by the mainstream of the art world.
Naturally, those who hold much of the wealth in our societies are the ones who decide which pieces of art are deemed worthy of high prices. Since it is their money that gets used to buy pricey art, this seems obvious. But as we know, many times these patrons of the arts are influenced by critics, galleries, agents, and other purveyors of art.
At one time Paris used to be considered the center of the art world. Many now feel that Manhattan is the hub of the art world, and while there are many places in the world that house dealers, critics, and galleries, it is from this city where the denizens of the art world congregate. It is usually here that these entities, the navigators of the art community, decide what should be considered good, bad, collectible, and important to the world’s collection of paintings, statues, constructs, photographs, and installations.
While appreciation of art is something that is supposed to be subjective in nature, there can be no doubt that the prices that get paid for what is considered art in our society are influenced by the people within the art communities that the world looks to for guidance. While it would be wonderful if everyone was always completely open-minded in their appraisal of both the artist and individual pieces, this is just not always the way it works. How many times has the world watched as the works from talented and significant artists like Van Gogh, Modigliani, and others were missed by the mainstream art collective during which time these artists struggled to produce what the world now sees as priceless creations?
It is a story told over many times. Masterpiece creations were overlooked perhaps because the artists and/or their work, for a myriad of reasons, did not find the approval of the mainstream. It could be that these artists did not subjugate their talent to the rulers of art commerce. Perhaps they did not paint what was considered popular during their time, or maybe they were not popular within the community afore mentioned that influences the buyers of art.
I have heard it said many times that those artists who do not “play ball” with the powers that be within the stratified world of art dealers and galleries, often are not immediately recognized. In all fairness there could be many reasons why some works are not fully recognized until after the artist has reached a ripe old age or is no longer with us including the idea that talent will usually develop over time and it often takes a lifetime for talent to reach its pinnacle. But when an artist is truly talented, when an artist’s work is staggering in form, color, construct, and message, the world will eventually see, on its own, the importance of the work.
It should be noted that galleries, art dealers, and the like will often spend a great deal of money and effort to promote good art, but many times not until such art comes into their possession or artists agree to give galleries sometimes over 50% off the price. Other times I have heard artists complain that dealers/promoters want to buy art for nothing (meaning very little money) so that they can then promote the art and sell it for high dollars once it is in their possession. Since promotion of art is the business of a gallery, and a gallery is there to make money, it could be said that there is nothing wrong with these kinds of arrangements. Of course nothing really is wrong with this dynamic as long as you are not an artist, struggling to make it on a shoestring budget while galleries and dealers seem to be making all the money. Sometimes galleries will provide artists with money so they can buy materials and pay expenses. In exchange for these finances gallery owners will often expect artists to agree not to sell art directly. I've heard one gallery owner state “Running a gallery is expensive". "Often I will give artists money to buy materials, and because of this we have an understanding that they will not have, what we call, studio sales”.
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