Photo by Anthea Mcgibbon
Joshua Higgins' 'African Ensemble' is typical of a work, which, although unique, bears similarities in style and subject found in works by other artists.Anthea McGibbon, Gleaner Writer
Recently, a new world-record in art history was made at Christie's Rockerfeller Galleries. According to the Art Daily News, four pieces of impressionist and modern art collectively realised an unprecedented $491,472,000, after only six days of viewing by 7,500 persons. This "almost doubled the previous record for any auction at nearly half a billion dollars", reported the Art Daily.
In Jamaica, as the interest in art piques, it is common wonder whether any gallery can garner sales of even one billion Jamaican dollars.
In accordance with the article, 'Local art, a big financial asset', published in the July 7 edition of The Gleaner, more persons rush to the newest exhibitions to secure a piece of art for more than aesthetic values. But, there are artists who still complain of little or no sales, while buyers complain of excessive costs especially by newer artists. Additionally there are a large number of 'newcomers' who seek guidance on buying/selling art.
The National Gallery offers minimal assistance. Appraisals are done by the gallery, but the thirst for guidance on buying art remains unquenched.
Career coach and artist-advocate from America, Caroll Michels, has written How to Survive and Prosper as an Artist: Selling Yourself without Selling Your Soul (New York: Henry Holt and Company), which is in its fifth edition and includes advice to help artists set prices for artwork. Michels recently revealed to theSunday Gleaner that the problem of identifying set pricing guidelines was not unique to Jamaica. According to Michels, selling art throughout the U.S.A. is "totally subjective." Each gallery (in the USA) sets prices to accommodate what they think a local market will spend, and are rarely concerned about if an artist is being fairly compensated.
Prices
"However, artists should not defer to galleries to set prices. Artists should establish prices that are in their best interests, and only work with galleries that can uphold those prices", she added.
Locally, veterans such as art educator, Cecil Cooper, warned against unwarranted prices, promoting instead a partnership of dealers and galleries with the artists in ensuring affordable prices resulting in sales.
It is recommended that artists research the needs and fascinations of potential clients.
Among the major investors in art, in Jamaica, are banks and insurance companies. Art purchased by such entities are bought as gifts or maintained in the company's asset inventory and re-used based on company needs such as office relocation.
In most instances the art is bought at the valued price by the gallery and/or the artist.
Manager of Public Relations and Corporate Affairs of National Commercial Bank Jamaica Limited, Belinda N. Williams, has been buying art for the bank for just over six years. Recently, Williams admitted that for her the artist and style are usually the primary qualities. "Secondary element would bear on social commentary depicting a certain unique feature to the locale/area, for example, Barry Watson's 'Morant Bay Rebellion' for NCB Morant Bay Branch," she noted.
As for pricing, Williams added that neither "bartering" nor
"bargain-hunting" is ruled out.
There is no right or wrong about buying art. Here are some tips compiled after discussions with internationally renowned gallery owners, investors and artists.
Firstly, there should be a love, attraction and appreciation of fine art, and a desire to collect. This was recently emphasised by Carolyn Pfeiffer Bradshaw, CEO and president of Burnt Orange Productions. The filmmaker has been collecting art by Jamaicans for some 20-odd years.
A willingness to learn a few simple techniques is also beneficial.
(1) Defining the artist could be helpful in tailoring your needs
Research, orally and written, can be advantageous when making conclusions about the artists. More respected artists usually can demand higher prices for their work.
Relevant data should include date and place of birth/death, education, memberships and awards and honours, exhibitions, collectors, publications by artists, lifestyle as priority.
Information can be sourced verbally from the person representing or selling the art and/or familiar with the artist. This may include the artist, dealer, gallery, collectors and friends. In the absence of art encyclopedias or art indexes, written information can be sourced from catalogues, resumes, and/or reviews.
Tip: The work might still be considered insignificant where the collector is unknown or himself underated. This can also be true regarding any directory listings and, it should be borne in mind that international listings carry more weight than local listings. Artist listings in non-commercial directories also are influential especially where there is substantial reference elsewhere. Accomplished artists are usually well spread.
(2) The art's relevance
Here, the emphasis is avoiding superficial spending simply because the piece looks good. Through a collector's eye, unique and impacting features such as a high level of creativity makes the art more collectible than mere imitations of other styles.
Familiarising oneself with the varied art styles and techniques especially of the preferred artist is beneficial for making comparisons. Impressive art critiques are good, but only when factual. Art dealers and galleries should at the very least be able to provide information on medium, commentary and technique of the artist.
(3) The provenance, and history of the piece is sometimes optional, but advantageous
Simply put, knowledge of who had owned the piece and where it may have travelled can be useful. Good documentation and provenance increases the collectibility, desirability, and market value of the work. Author of The Art of Smart Buying, Alan Bamberger recommends the following as being vital:
Where it's been,
What it represents,
How it came into being,
Who's owned it,
Whether it's been exhibited, won awards, or been pictured or mentioned in any books, catalogues, articles, or reviews.
Has it ever been discussed in print by experts or by the artist himself?
Does it commemorate special events either within or outside of the artist's life?
Are any interesting stories associated with it?
Commentaries offered by the piece may bear some weight.
(4) Checking on the reasonableness of the price
This is a critical question sometimes faced by buyers. Aside from the recommendations above, ensure that the work you are buying is built to last says Bamberger. Factors to consider include the condition of the front, back, sides, edges of the work, the framing and construction. Check for signatures, dates, any writing or scribblings, labels or stickers.
Find out whether the original works being offered are major or minor ones in terms of significance.
Buyers need to be aware that even in art, there are shortcuts to producing attractive products, as genuine material are substituted by inferior products and methods. Reviews and art critics are helpful, but ongoing relationships with appraisers, art educators and experienced artists are complementary.
More and more artists are opting to sell reproductions of their work (e.g. lithographs, serigraphs, colour photocopies, and gicleés), while holding on to the original. The signature being the only original aspect. On one hand this can be good for both artist and buyers economically.
But collectors often shy away from this commercialisation of the artist's soul. Copy prints are among the least important collected work of an artist, but not the worst. When preferred, ensure the copy prints are a good representation of the original.
Buying art is like buying a house. While the pieces are unique, one should be mindful that there are other pieces which are similar or comparable to it. Buying art is always a fun investment especially as it is one area that appreciates in value with time.
Hot tip: Artists usually have experimental pieces not yet shown publicly, but which sometimes are worthy of purchase by avid collectors. Have fun and know what you are getting.
Anthea McGibbon, a graduate of Edna Manley College of the Visual and Performing Arts, has over 10 years experience in the fields of visual arts and journalism. Write to islandart attack@yahoo.co.uk or
anthea.mcgibbon@gleanerjm.com
