Now is the time to start your art collection
How to acquire original art on your doorstep — become a collector
It is that time again when up and down the country (in the UK at least), colleges and universities are getting ready to publicly present creative work by their students, as they come to the end of their degree studies.
There is tangible excitement, not only from the exhibiting artists, often presenting their work publicly for the first time, but also from the visiting public, who gain access to the normally hidden studios. For a few days in May and June, there is a chance to view a startling range of work in a phenomenally wide choice of media.
Support graduating artists
Not only are these events an opportunity to snoop around inside the art schools and see work exhibited in normally busy working studios, but also a chance to support graduating artists by purchasing their work.
This isn’t investment advice, although some of the work from these early career artists might increase in value over time. It is much more about beginning to collect work you connect with and, at the same time, helping artists who will be leaving their educational institution with massive debt acquired over their three years of study.
Students often ask me how to sell their work to a gallery or collector, and the answer is always the same — these mostly private individuals acquire new work because they love it. It makes their life, and the space they display it in, different. You can’t persuade someone to like what you have done — it has to happen organically. This is in stark contrast to institutional galleries and museums, who often need to acquire a specific work by a specific artist to fill gaps in their collection or enhance the curatorial policy they hold.
Buy original art
Institutions, and what their students produce, vary greatly, so visit several exhibitions to connect with the widest range of media. Some art courses have traditional approaches, teaching (and separating out) painting, drawing, printmaking and sculpture. Others offer a more expansive, cross media, approach, with students working with moving image, installation, performance, audio, text, electronics, light and VR. The medium used often dictates the ability to make things available for sale. It’s hard to purchase a light installation, but have a look round to see if that artist has sketches or artefacts which might be available.
The ability to ‘sell’ is not a prerequisite for making or showing art or the legitimacy of any particular arts course (that has been extensively discussed in other books and texts). Some courses, and the media they allow their students to work with, are more focused on the commodity of art. Others are perhaps more expansive, encouraging the development of ideas which confront the observer, rather than an accurate reproduction of the current environment.
The range and scale of studios within art colleges can dictate what you might expect to see in these ‘final’ shows. Some institutions’ studios are basically low ceiling ‘office blocks’ where you tend to find smaller scale works which respond to that environment. Other studios are more generous, with large atriums, workshops and project spaces which allow students to test out more complex works of scale.
There has been an increase in Instagram type portraits which might fly off the walls to match the sofa, but there are also gems to be found which are not part of a colour matching opportunity. One year I followed a 30s something couple as they walked around the opening night of a fine art degree show, chequebook in hand. They were collecting and decorating and did actually reject the purchase of one large painting because “…it won’t match the sofa”. They found other works which did!
There is obviously nothing wrong with acquiring original work because you feel it ‘fits’ with your furniture, but be more expansive. Take a chance. Buy something you aren’t completely sure about. Let it challenge you. Look at it every day and allow yourself to ‘wonder’. Often the work isn’t the reason for its existence — it can be much more about the question it prompts you to ask each time you see it.
Tips on selecting original works
Talk to the artists. That’s often quite difficult at the official opening, but pop back during the run of the exhibition, when they may have more time. They often have other works, not on show, which they will be happy to let you have a look at. Some students will already have studios outside their course, so arrange to visit.
Prices are often negotiable, but do this with respect and don’t try to beat them down because you think they are desperate to sell. Consider how you would like to be treated yourself in this situation. I have heard stories of obnoxious buyers attempting to humiliate exhibiting artists and making ridiculously low offers. Don’t be that person — be generous. Sometimes this isn’t about money, but more the knowledge that someone wants what you have produced in their own surroundings. Validation can be key.
You may find that practicality comes into play close to the end of the exhibition when the thought of arranging transport of large work back to the student’s home can be daunting, expensive and impractical. There are sometimes bargains to be had. However, leaving it too late can mean someone else acquires the work and you miss out. It’s a fine balance.
If you aren’t able to make a purchase at the exhibition, get the artist’s details, keep an eye on them online, follow their development and go along to other exhibitions they may have.
Start an art fund. Put a small amount of cash away each month, so when the degree shows and showcases start next year, you have liquid assets which make it easier to make those purchases. It also helps you establish a budget (and makes it a little easier to spend it!).
How to find the shows
Have a look on the website of your local university, college or art school, where they promote these end of year exhibitions. Look out for listings about degree shows, showcases or celebrations.
Keep an eye on social media — some students actively promote the development of their shows in the run-up to the opening event, which gives you a chance to see what’s involved as the working studios are transformed into exhibition spaces.
The images here are from Nottingham Trent University’s Fine Art 2023 Instagram account (www.instagram.com/ntufineart2023) which has been charting the installation of their show in the run up to their exhibition this year.
Institutions take different approaches. Years ago (when I graduated with a degree in Fine Art), they were intimate events organised by students on the course who often fundraised to cover costs of printed catalogues and opening night events. That has developed, in many institutions, to larger, more corporate events, which conform to the identity of the university/school and are carefully managed by the institutions’ marketing departments.
Fine Art courses are often at the top of the viewing hit list, but these end-of-study shows present an incredible range of disciplines including Fashion, Textiles, Product Design, Animation, Filmmaking, Theatre, Ceramics, Digital Design, Furniture, Screen Art, Architecture, Interior Design, Illustration. Not all have work for acquisition, but just seeing the variety and pioneering output of these graduating artists can be an antidote to the political undermining and dismissal of the value of the creative arts.
Purchase original art this year!
Do it now.
Images: www.instagram.com/ntufineart2023/ used with permission.
