The Evolution of Art Collecting: From Acquisition to Curation

Historically, building an art collection has been a gradual process, taking years, if not decades, to amass a significant array of artworks. Collectors often found themselves in a situation where their acquisitions exceeded the available wall space in their primary and secondary residences, leading to a growing need for storage.

ARTnews Top 200 Collectors List: A Snapshot of the Collecting Landscape

In 1990, ARTnews introduced its annual Top 200 Collectors list, marking a pivotal moment in the world of art collecting. The late 1980s witnessed record-breaking prices for artworks at auctions, and after the early ’90s recession, the trend gained momentum. Each year, more people worldwide enter the realm of art collection. But when do art buyers transition into collectors deserving of a spot on the Top 200 list? This question was posed to the collectors, providing a range of perspectives.

Defining Collecting: A Personal Perspective

Jarl Mohn, known for his collection featuring major works by American Light & Space artists and a focus on emerging artists in Los Angeles, emphasises the collection’s uniqueness. He believes that a truly great collection should possess a distinctive perspective, one that cannot be easily confused with another. Collecting, for Mohn, is a deeply personal and individual journey.

Anita Blanchard shares this sentiment, emphasising that collectors are free to choose their path. Whether they collect broadly, from a particular era, medium, or style, or even focus on a single artist, what truly matters is that the collection reflects the authentic journey of the collectors and tells the story of their lives in the context of the art world.

Beyond the Walls: A Holistic View of Collecting

Houston-based collector Barbara Gamson challenges the common misconception that art collecting is merely about accumulating more artworks than one can display. Gamson, like many on the Top 200 list, recognises that collecting extends far beyond personal acquisitions. It includes support for artists and institutions, stewardship of owned works, and a dedication to the art community.

Collecting with Responsibility and Purpose

While earlier collectors hesitated to sell artworks, especially those by living artists, the landscape has evolved. Pamela Joyner stresses the importance of judiciousness. To be an honorable collector involves advocacy, strategic purchasing, public exhibitions, active lending and donations, scholarship encouragement, and thoughtful deaccessioning when necessary.

Collecting in Flux: An Ever-Evolving Practice

Many collectors commit never to part with the works they own, while others view collecting as a dynamic and flexible endeavour. Grażyna Kulczyk underscores that the definition of collecting itself can change, allowing for continuous shifts and adaptations within the collecting framework.

An Aspiration for Vibrant and Ever-Evolving Collections

Badia Ofer, whose collection centres on feminist art, supporting marginalised artists, and highlighting social justice and climate change, aims to curate a collection that remains vibrant and in tune with the current zeitgeist. Her methodology is deliberate, weaving connections and contrasts, creating a collection that evolves over time.