How To Buy Art: Three Experts Share Their Beginner’s Cheat Sheet

It’s time to celebrate the creativity, self-expression and joy that underpins everything we do at Viva with the stories that you read the most and spent the greatest time with in 2023. The following article, which originally ran in February, was one of them.

Art collecting, like any investment, can feel like a gamble. We spoke to three experts who share their art-buying wisdom, from where to start, to what to look for and how to make your money go further.

Jhana Millers

This Wellington gallerist has a knack for discovering fresh talent and has a swathe of exciting early career artists on her books.

Find early career artists who are committed to their game

It can be more risky buying an emerging artist, so what I always look for is a sense of professionalism and commitment.

Are they applying for awards and exhibitions; or organising their own outlets to show their work? Are they consistently making new work and do they have a studio to make work? This feeds back into a feeling that they are dedicated and will continue to pursue a career as an artist against all odds.

I always view art-school graduate exhibitions and I follow what is happening at artist-run spaces and smaller publicly funded galleries, like Enjoy, Blue Oyster, The Physics Room and Art Space, who offer exhibition opportunities to young artists. Instagram is a great tool to follow artists.

Up-and-coming artists are generally more affordable, so going to grad shows, artist-run spaces and art fairs are all good options. At the Aotearoa Art Fair there are dedicated areas for early career artists on the mezzanine level, while the Projects (a forum for emerging artists) are placed throughout the ground floor.

Limited-edition prints are another affordable option, with many early prints by acclaimed New Zealand artists now selling for upwards of $10,000 each, when they might have been purchased for less than $100.

But remember although early career artists demand lower prices, the quality of the work can be of a more student level; perhaps the work isn’t framed well or they haven’t used archival materials. You also run the risk that the artist who made your work stops being an artist.

Get on good terms with a gallerist

This is particularly important when an artist’s work is highly sought after. Like many galleries, I prioritise collectors who have an existing relationship with the gallery, or if they have been supportive of the artist over their career. Visit galleries regularly, sign up to gallery mailing lists and follow artists and galleries on Instagram so you know when new works are available.

Short on upfront cash? There are solutions

Most dealer galleries will let clients pay off a work, whether it be on lay-by, or through one of the art-loan companies, like MyArt in New Zealand or Australian-based ArtMoney. I have a few collectors who have an ongoing art credit with me (where they transfer money over every fortnight, building up a sum of money they use to purchase art).

Save up and buy a work for your birthday or Christmas; ask your family and friends to chip in. Set a budget; buy what you can afford — $1500 and under is a good place to start for emerging artists’ work.

I encourage all new collectors to visit private and public galleries, art fairs and follow up these visits with information about the artist online. Most dealers have comprehensive artist pages with links to articles, videos and a back catalogue of work.

At public galleries you will get an idea of the style of work institutions are purchasing, or that they think is relevant to the contemporary discourse at the time. Whereas artist-run spaces will give you great insight into up-and-coming artists or more conceptual styles of practice.

ArtNow and Ocula are great online resources for seeing what’s on around Aotearoa at any given time. Exposure is important to build an understanding of the style of work you enjoy and will help you feel more confident with a purchase.

Buy what you love first and foremost. If you continue to collect art, it is likely your knowledge and taste will grow and change over the years, but if you have a personal connection to a work, it will stay important for a lifetime.

On displaying your art

Some artists paint the walls for their shows, although we find that unless there is a particular conceptual reason for this, the works often look better on plain white. Occasionally we find a series of works doesn’t suit our particular shade of white and in this case we have painted the walls darker to better present the piece.

In a private home, if this is of concern, I would encourage collectors to ask galleries whether they are open to letting people take works home to see how they look in a home environment. I have done this on multiple occasions; the artist might also have a wall colour suggestion for the work.

I would also encourage the use of blinds to stop direct sunlight hitting works — especially paintings and photography. However in some cases — works can look splendid with light on them — my Jaime Jenkins ceramics are glazed with light-reflecting properties and are best viewed with the sun hitting them.

Natasha Conland

The senior curator for global contemporary art at Auckland Art Gallery is well versed in curating public exhibitions for younger viewers with eclectic tastes.

Why collect art?

There are all sorts of wonderful things to collect, but art retains a special place because these objects are directly embedded with the artist’s thinking — you are collecting the ideas and perspectives of that artist and in spending time with art, we can allow that thinking to change our world, lift our thoughts and our perspective.

For ancient Western and indigenous cultures, artists have had a special status for their ability to see things that others don’t.

How do I become more art savvy in an information-saturated world?

There are some great books that help to enter the world of art without the heavy conceptual text, such as American art critic Jerry Salt’s new book How To Be An Artist, which is written in a punchy, accessible way.

A must for local audiences is the weighty book Toi Tu Toi Ora, which provides a fresh introduction to contemporary Māori art. Obviously, art is a visual language, so it pays to start looking.

Large collection overviews like those at Auckland Art Gallery are free and helpful to gain knowledge of art from today and the past, even if it’s just 20 minutes of your time.

In terms of artistic mediums, are there any safer bets for collectors?

The longevity of a medium or material is usually reflected in its price, but there is no such thing as a safe bet. Buy what you love, but there are no guarantees.

It’s a safer investment if you are buying from bonafide galleries and professionals who have a long engagement with those artists and have tracked their careers, but ultimately you are the one taking it home and only you can be confident with what it offers you.

Is the most rewarding art the most challenging?

This is a tricky one, and often relates to the collector becoming more experienced in the field of art. What we might find initially attractive, is not the same thing as something that will stimulate our interest day after day.

A viewer needs to test that the material reflects not only a beautiful scene, or a fascinating set of marks, but the work should feel embedded with ideas and, at the same time, stimulate us — this is what good art so often does.

This can be as simple as an extraordinary compositional device, a strange use of colour that activates a shape, or a mark that looks so close to a mistake, it shakes the retina.

Should I consider collecting a variety of mediums?

I don’t believe there are any real rules here. The opportunity is for growing yourself, not creating an encyclopedia. Having said that, I know many people with passions in particular areas. For example, particular mediums like sculpture, light or photograph, or forms like abstraction.

There are those who start with an artist they love and end up being drawn to a family of connections, and that becomes a point of departure and immense reward for them.

Although it may not be conscious, this is a direct reflection of their psyche and interest and the journey it takes them on.

Ben Ashley

The Ashley and Associates director, an independent art advisory firm based in Auckland, specialises in the valuation and acquisition of fine and decorative art.

“You’re drinking from the firehose when you visit an art fair,” quips Ben Ashley, who advises new collectors to spend at least a few hours laying the groundwork by getting familiar with the Aotearoa Art Fair website.

“Staying focused on what you like is important if you don’t want to become visually overwhelmed.”

Ben suggests asking yourself what visual aesthetic or style you like. Then hone in on the gallery booths that are showing that type of work.

Once you are there, strike up a conversation with the gallerist. Often, they will have more work by that artist out the back that they will replenish the walls with as the fair progresses.

“The booth is usually just a taste of what they might be holding,” says Ben.

As for budget, he suggests sticking to one, as it’s easy to get carried away when you visit an art fair. Also not being too quick to move is a good idea, even if it’s for a few hours, the gallerist may be willing to hold a work while you mull it over.

Building your knowledge of a particular artist and the art market as a whole is another vital piece of the puzzle.

“Use as many resources as you can to develop your taste — looking and learning are most crucial. Most people will say it’s a gut reaction, as in buying what you love; that’s great, but arm yourself with knowledge as you collect.

“Talk to gallerists, auction house specialists and independent art consultants for an unbiased view. Remember, building a collection is a long-term process, it’s not like other asset classes; there are no quick returns, you’ve got to be in it for the long haul. In saying that, collecting is a very gratifying process that enriches your life, so enjoy the journey.”

As for buying on the secondary market — that is at auction — Ben explains there are some aspects to consider, and Ben’s former position as head of fine art at Webb’s Auction House puts him in a knowledgeable position.

“There’s a bit more risk at auction, because it’s harder to establish the works’ provenance, as often documentation goes missing.”

Provenance refers to the documentation and history of the work — as in how it came to be there.

Ben suggests if you are buying at auction you are better off looking for works by established artists, and if that’s out of your price bracket, opt for a print of a well-known artist, for example, a Colin McCahon or Gordon Walters print would be a safe bet.

“The value of these types of prints have gone up recently,” he says.

In terms of buying an international artist versus a local artist, the advantage of a local artist is you generally have a better chance of easily selling the work here. In saying that, if it was a fairly well-established international artist, like a Banksy or Damien Hurst print, that probably wouldn’t be an issue, he points out.

“If you are interested in an international name, I’d advise going to a reputable gallery, like Gow Langsford, who have a swathe of international artists in their stable that reflect a similar style to the local artists they represent, so it’s not such a leap in that sense.”

Supply and demand have quite an impact on an artist’s price, says Ben. If an artist is in hot demand he suggests joining the representing galleries mailing list and specifically a waiting list for that artist.

“Sometimes you just have to jump when you can, even if it’s not exactly the work you were after. Emma McIntyre is a great example of an emerging artist in hot demand, when collectors are offered her work, they generally jump.”

While the gallery space isn’t the only way you can acquire the work of an artist you admire, do your research before buying a work from an artist on Instagram — unless you are able to establish what the price should equate with by contacting their representing gallery.

“Another example where you could be sucked into buying at an inflated price is buying work in tourist destinations or near shipping cruise ports where sales people inflate prices. I’ve had clients come back from holiday and have work appraised and be really disappointed to find they have paid too much.”

If the stakes are low, and it’s an unproven artist with no track record, you may never get your money back if you want to on-sell, but if you aren’t interested in doing that it’s not an issue, he says.

“Every artist has differing eras in terms of quality and value, so it’s also a good idea to do a bit of research around this — a representing gallerist is always a good sounding board here.”

As you collect, be sure to keep tabs on the documentation relating to that work — such as the artist statement and the materials used, not only is this important in establishing the work’s provenance it will be very useful for insurance purposes.

“The thing I’ve noticed is not many collectors have a system of recording the works they own. A spreadsheet at best is very helpful to note the title of the work, the materials used, the date purchased, along with pictures of the work. It really pays to take the time to keep a record, with weather events like the one we’ve just seen, should a work be damaged, you’ll find payouts will be far quicker if you have that information on hand.”

On the subject of insurance coverage, any art work over $2,000 in value should technically have an independent valuation.

“You can get specialist fine art insurance policies where all your art is itemised separately, which can be useful in preventing disputes with the insurance company,” Ben explains.

On the questions of artistic mediums, he says paper works are less robust than works on canvas, so be sure to frame these works well with museum glass to protect them from sunlight.

“Paper works will always show their age first, but also remember to have your oil paintings cleaned regularly.”

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