The Joy of Col­lect­ing

American Fine Art Magazine - - Editor’s Letter - Sin­cerely, Joshua Rose

As we all know, so­cial me­dia and other dig­i­tal plat­forms have in­creased the amount of art that is be­ing bought online these days. Ea­ger col­lec­tors scour the dig­i­tal ver­sion of our mag­a­zine, gallery web­sites and other sim­i­lar vir­tual spa­ces to find the new­est art be­ing of­fered each month from top gal­leries across the coun­try.to us, all art sales are good things, so this is very pos­i­tive.

How­ever, we will al­ways be fans of brick and mor­tar gal­leries. Gal­leries found in places like New York City, Bos­ton, Philadelphia, Santa Fe, San Fran­cisco, Los An­ge­les, Scotts­dale or wher­ever else one may find a clus­ter of such spa­ces these days.the art mar­ket needs gal­leries in or­der to sur­vive and thrive. It is gal­leries in these cities where col­lec­tors wan­der into and ex­plore, visit old tal­ents and hap­pily dis­cover fresh ones. As we all know, it is dif­fi­cult to just look un­en­cum­bered at things online; online ac­tiv­i­ties are de­signed to get in and get busi­ness done and get right back out, and there is lit­tle room for dis­cov­ery or spon­tane­ity.we all know the feel­ing we get when we walk into a brand-new gallery space, take in the art on the walls, the new show, the fresh work, turn the cor­ner and see some­thing that we’ve never seen be­fore that just speaks to you and touches you in the way that only fine art can and that you have to ac­quire.these are the ex­pe­ri­ences that come from buy­ing art in gal­leries and nowhere else.and, as far as I’m con­cerned, it’s one of the ma­jor rea­sons why we all do this in the first place.

Art me­dia out­lets—not ours of course—have been quick to try to an­nounce the death of the gallery. But it didn’t just take David Zwirner’s new $50 mil­lion Renzo Pi­ano de­signed mono­lith to let us know that ac­tu­ally the op­po­site is true. Gal­leries are flour­ish­ing right now, and they will con­tinue to flour­ish be­cause they hu­man­ize the art buy­ing process, they re­mind us what it is about col­lect­ing art that brings us so much joy and hap­pi­ness, and they are al­ways out there, look­ing for new artists, cu­rat­ing shows, par­tic­i­pat­ing in art fairs and just gen­er­ally do­ing all they can to pro­mote the idea that noth­ing makes a home more than a home than one-of-a-kind orig­i­nal art on the walls—cho­sen by you, found and dis­cov­ered in per­son and brought into our lives to live with in per­pe­tu­ity.

Lately, I have mod­er­ated sev­eral panel dis­cus­sions on this process, pan­els made up of col­lec­tors, art deal­ers, auc­tion pro­fes­sion­als and mu­seum cu­ra­tors. What ev­ery­one seems to agree on is that buy­ing art is a per­sonal ex­pe­ri­ence that is made better when a collector has some­one like a gallery owner or art dealer to of­fer ad­vice, find new artists and show col­lec­tors how to sup­port an artist through­out the du­ra­tion of their art ca­reers.

P.S. Are you a collector of his­toric Amer­i­can art and would like us to fea­ture your home on the pages of this mag­a­zine? Then email me at editor@amer­i­can­fin­eart­magazine.com and let me know!

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