WHAT TO COLLECT # 143. Khairullah Rahim

I would like to share with you today, an artwork by emerging Artist Khairullah Rahim. I stopped by the booth at Untitled art fair Miami this year because of captured his wall sculptures. I have been attracted by the pastel color pallet and nonstandard urban materials he used. I love urbanism in art because it helps us to think about our place in the world and look individually at the space where people live and work. I feel that with this type of art we can try to change modern space, make it brighter, creative and more comfortable. KR_Best-Supporting-Actor-2018-115-x-65cm
Khairullah Rahim practice explores stories that are concerned with experiences of oppression and prejudice against communities whose identities do not fit. In response, strategies for surviving and flourishing have emerged as recurring points of discussion and consideration throughout his works. While Rahim’s works may evoke a distinctive joyful demeanor, they loaded with stories of loss and marginalization. Artist blends unconventional, readymade materials to express his creative ideas in art production.
Objects and materials in his sculptures having metaphoric meanings that go deeper than the surface appearance of its particular original landscape. The artworks highlight colorism of specific female duties and shows, that visual perception just a passive observation and has nothing common with the particular cleaning process.
Artist also has a very collection of paintings and been showcased in numerous exhibitions and art fairs abroad, such as in Singapore, Hong Kong, Japan, Taiwan, Turkey, and the USA.
You can find more of Khairullah Rahim’s works on his Instagram. https://www.instagram.com/khairullahrahim/?hl=en

assemblage-flamingo-2_originstallation-view-1_1_origWe Met, and yes, we had a sex

Images source

All rights to shared artworks remain with the artist and can be removed on request at any time.

What to collect #142. GISELA COLON

GISELA COLON (Canada, b. 1966) lives and works in Los Angeles, California.

Colon is an American contemporary artist who has developed a unique vocabulary of “organic minimalism,” breathing life-like qualities into reductive forms. Colon’s oeuvre encompasses several distinct sculptural forms: Pods, Slabs, Monoliths, and Portals. The through-line in all of Colon’s work is the concept of the “mutable object;” the sculptures are conceived as variable objects that transmute their physical qualities through fluctuating movement, varied lighting, changing environmental conditions, and the passage of time.

The Pods are created through a proprietary fabrication method of blow-molding and layering various acrylic materials, producing transformational objects that emanate light and color from within. 

Biography and images via https://www.giselacolon.com/

Copyright © GISELA COLON

* All rights to shared artworks remain with the artist and can be removed on request by email@artcuratoronline.com

5 Things You Must Know Before You Invest in Art

5 Things You Must Know Before You Invest in Art

Investing in art may seem en vogue or even financially advantageous. But what do art investing novices need to know before diving into this market?
Investing in art may seem en vogue or even financially advantageous. But what do art investing novices need to know before diving into this market?
By – DECEMBER 13, 2018

From “Nu couché (sur le côté gauche)” to “Salvator Mundi”, expensive works of art have been in the news for fetching sale prices of hundreds of millions of dollars. This may intrigue wealthy individuals and lead them to consider adding artwork to their own portfolio of assets. Some may even consider art to be an exciting investment vehicle. In fact, a survey by Deloitte suggests that 76% of art collectors consider their collections as investments, up from 53% in 2012. However, there are several essential considerations for amateur art investors to consider before making their first acquisition.

Value of Global Art Market (billions)

Being an Art Investor Takes Expertise

The first hurdle for investors seeking to get involved with investing in artwork is to develop an understanding of artistic theories and valuation techniques. Unlike investing in public companies or real estate, artwork does not lend itself to traditional investing valuation methods.

Therefore, prudent investors will need to put in a significant amount of effort to learn about artistic methods, art history, specific markets and pricing trends before getting into the action themselves. Fortunately for those that have some type of analytical experience, there are a few helpful data sources available. For example, investors can use the Blouin Art Sales Index to analyse trends in the art market. The platform has an extensive database which allows investors to analyse various artists’ sales records, estimate price bands and locate auctions. Additionally, for those that have a particularly keen interest in learning more about these topics, there are many online and in-person courses offered by Universities and organisations such as Sotheby’s Institute of Art that provide training to understand the fundamentals of art theory, collecting and investing.

Be Aware of the Hidden Costs

In addition the high sticker prices of artwork, investors must be aware of the costs associated with buying and selling these assets. First, in order to ensure that your purchase is valuable, it is crucial to determine that you are purchasing an original work. Therefore, you may want to hire an art inspector if you are relatively new to art investing or purchasing a very expensive piece. Once you have purchased a piece of artwork, you will also have to consider the costs of storing, cleaning and maintaining the piece. This varies greatly based on the age and type artwork (e.g. painting, sculpture, etc.).

Next, unlike stocks or bonds, paintings, sculptures and other types of art are more difficult to sell. In fact, some experts estimate that a mere 0.5% of paintings purchased are ever resold. For this reason, and to ensure that they receive the highest possible price, many individuals elect to sell their pieces through galleries or art dealers. The fee structure of these agents varies, but is typically charged based on a rather high percentage of the sale price. Those confident in their own ability to sell their artwork may be able to dodge fees by selling through online auctions.

Cost of Selling Art

You Don’t Need to Travel to London or New York to Buy Art

While about 60% of global art sales take place in the United States and United Kingdom, art markets elsewhere are growing. For instance, in 2008 China accounted for just 9% of global art sales, but now represents about 20%. Furthermore, major auction houses such as Christie’s, Sotheby’s and Bonhams have locations in Singapore. Additionally, the online art market has grown rapidly, with total online sales up 76% since 2013. These factors indicate that investing in art is increasingly accessible for Singaporeans, who no longer have to travel far to participate in art auctions.

Global Online Art & Antiques Sales by Year

Art Versus Other Investments

While a study Stanford found that artwork investments averaged annual returns of about 6.5% from 1972 to 2010, individuals may find even better returns from more traditional investments such as mutual funds or index funds. For example, the S&P 500 has historically averaged annual returns of about 7% to 10%. For this reason, individuals that view their artwork as simply an investment vehicle may be better off choosing to invest in property or securities. In order to ensure that you maximise your returns, be sure to compare fee structures across brokerage platforms as these fees can eat into your total return. On the other hand, if you enjoy physical ownership of artworks you may be willing to accept the potential of smaller returns from an art investment in comparison to stocks or property. Additionally, some analysts believe that art can be a safer investment as it is less tied to financial markets than stocks or properties. However, it is important to keep in mind that the art market is subject to its own volatility as tastes in artwork can also change over time.

S&P 500 Index

You Don’t Have to Buy a Famous Painting to Invest in Art

If reading more about the reality of art investing has discouraged you from purchasing artwork yourself, there is good news. Through investment funds, it is possible to invest in funds managed by professional art investment managers who have trained expertise in the field. For their services, these funds tend to charge fees of 1% to 5%. While these fees can be more expensive that other types of investment funds, art funds provide access to an exciting area of investing for individuals that are unable to dedicate large amounts of funds to purchasing individual pieces of art. Additionally, seasoned art investors tend to seek out up-and-coming artists in order to purchase potentially valuable art before it garners a reputation and high price tag. You can try finding some of these new artists through websites such as Artsy or Instagram. Furthermore, with enough expertise, you might be able to spot valuable but unrecognised pieces of artwork at the oddest places while travelling.

Originally published on https://www.valuechampion.sg/5-things-you-must-know-you-invest-art-0

William Hofmann

William is a Senior Research Analyst at ValueChampion Singapore, focusing on banking and SMEs. He previously was an Economic Consultant at Industrial Economics Inc

Myths that stop people from buying art by Goda Smilingyte

I have decided to break some myths today. I realised, that very often people do not have any art at home just because they are not confident enough about buying art. The art market has been always surrounded by mysteries, stereotypes and myths, but it is not as complicated as it seems. I believe everyone deserves living in beautiful and inspiring environment. So let’s begin the myth breaking!

1. Art is for rich people

Rich people can afford very expensive artworks created by famous artists. Yes, their budgets empower them to buy most expensive paintings at prestigious art fairs or place high bids at the auctions, but that does not mean that only people with very high income have the privilege to surround themselves with art. I think this myth is quite strong because every time someone acquires the work created by Warhol, Hirst, Basquiat or other celebrity, it hits the headlines. However, there are a lot of good artists who’s names are not in the media all the time and they still create very powerful pieces. I think that artists are driven by the creative process. Of course they need recognition, but they don’t have any assumptions about who should own their art and do not care about the art lover’s income.

2. Only art experts know what good art is

Collecting art as an investment requires the knowledge of art history and market. However, I dare to argue that most people buy art (whatever their level of income is) because they like it. They feel connected with the artwork, they find it interesting, vibrant, maybe even shocking, but they want to own it. They like it for whatever emotion it arises. I like comparing visual arts to music. You hear a song and you either like it or not. The same criteria applies to visual art — if you like it, it is good and it does not matter that someone else hates it. There is no need to be a certified expert to understand what is it you like. We are all different, we have different tastes and so there is plenty of different art for everyone.

3. You must have a certain status to enter an art gallery

I don’t know why entering a gallery always feels a bit uncomfortable. I visit a lot of exhibitions regularly, but I always have this awkward feeling stepping in. I cannot explain where does it come from, the silence, white walls or the absence of people. Whatever the psychological reason is, it should not stop us. People who work at the galleries are usually very nice. They can tell you a lot of interesting facts about the exhibiting artist and will not judge you in any way. The purpose of the gallery is to exhibit art and promote the artists, so the more visitors a gallery has, the happier is the gallery owner!

4. Art requires a lot of space

Yes and no. Large canvas demands a large wall, but smaller canvases also exist. Just as large and small sculptures. Every apartment and every house has walls, shelfs and corners that can be decorated with art. When you start collecting art the result is quite unexpected — the more art you have, the more pleasant is your space!

5. It is difficult to match art with interior

Absolutely not. If you acquire an artwork you like, it will always fit. You will always find the right place for the art that brings joy to your eyes. There are no rules and everyone is free to experiment. It is easy to move the artworks around and change the lightning. We are the creators of our environment and we can do anything we like. The most important criteria is that we are happy with what we see.

Originally published by Goda Smilingyte on https://www.artgoda.ch/single-post/2017/11/12/5-MYTHS-THAT-STOP-PEOPLE-FROM-BUYING-ART

Link to share: Myths that stop people from buying art https://www.artgoda.ch/single-post/2017/11/12/5-MYTHS-THAT-STOP-PEOPLE-FROM-BUYING-ART

WHAT TO COLLECT # 135. NINA RODER

Nina Röder

born in 1983 in Germany and graduated with a Master of Fine Arts from Bauhaus University Weimar with the focus on staged photography. Next, to her artistic activities, she is a Ph.D. candidate with the research topic about performative strategies in contemporary photography.

Nina’s photographic work is exposing hidden structures of biographical stories in which she is combining aspects of the theatre, performance, and stage with the time-based image space of photography. Her photographs have been shown in international exhibitions and photo festivals such as Voicees Off Festival in Arles, the European Month of Photography in Berlin or the Goa Photo Festival in India.

Nina lives and works in Berlin.

grandma's_furkitchennachtkittel

Title of the photography series  by Artist:

WENN DU GEHEN MUST WILLS DU DOCH AUCH BLEIBEN

My grandparents Franz & Theresia Protschka have been expelled after the Second World war from Bohemia and lost everything they had. Therefore it was almost impossible for them to throw anything away when they built up a new life in Germany.

They were both around 90 years old when they died last year. Unfortunately, we had to sell the house both have lived in for more than 60 years. This house in the Franconian province in Germany had been the center for our family.

These pictures were taken in this house when my mother Dagmar, my cousin Laura and me had to clear and clean the house before we sold it. So the photographs had been realized during the decision process of keeping or giving away all the objects.

One way not being too sad about losing this house with all the memories in it, was to do absurd things in the photographs.

In these pictures, you can see my mother Dagmar, my cousin Laura and my brother Heiko wearing old clothes of our grandparents.

The title is a quote of my 9-year-old nephew Luis.

How Much Is Your Object Worth? – Researching Your Art

Reposted from https://americanart.si.edu/research/my-art/object-worth

It is hard to establish fixed values for antiques, artworks, and other collectible items. The amount asked or offered is determined by many factors, including the condition of the object, personal interests of both the seller and the purchaser, and trends in the market. According to Smithsonian Institution policy, no staff member may offer monetary evaluations. However, the following guidelines should help you find an approximate value for your artwork.

First, consult price guides to determine current sale and auction prices. Some price guides are available on the Internet, but most come in books or offline formats. Specialized university or art museum libraries and larger public libraries often carry these guides. Price indexes are usually published annually and cover international auctions and galleries.

PRICE GUIDES

ADEC: International Art Prices
Art Sales Index
Davenport’s Art Reference & Price Guide
International Auction Records
Leonard’s Annual Price Index of Art Auctions

For prints, check the following resources:

Gordon’s Print Price Annual
Contemporary Print Portfolio
Lawrence’s Dealer Print Prices International

ONLINE PRICING RESOURCES

invaluable.com

artprice.com

artnet.com

AskArt.com

FindArtinfo.com

MutualArt.com

APPRAISALS & APPRAISERS

Consider finding an appraiser to determine the value of your artwork. Appraisers are trained specialists who work for a fee. They evaluate your piece and give you a written statement of its value. Although the following organizations do not provide appraisals themselves, they each publish a directory of their members. Always seek an appraiser with an expertise in the type of artwork you own.

American Society of Appraisers
11107 Sunset Hills Road, Suite 310
Reston, VA 20190
(703) 478-2228 or 1-800-ASA-VALU
www.appraisers.org

Appraisers Association of America
212 West 35th Street, 11th Floor South
New York, NY 10001
(212) 889-5404
www.appraisersassoc.org

International Society of Appraisers
303 West Madison Street, Suite 2650
Chicago, IL 60606
(312) 981-6778
www.isa-appraisers.org

AUCTION HOUSES

Some auction houses host free “open house” days where visitors can bring in their artworks and have auction-house staff members share their expertise. Other houses allow owners to mail their information with a photograph, and their experts will respond. To find an auction house in your area, search online for “fine art auction houses.”

Originally published on https://americanart.si.edu/research/my-art/object-worth

WHAT TO COLLECT # 134. SIMONE LEIGH

SIMONE LEIGH

(b. 1967, Chicago)

lives and works in Brooklyn. Solo presentations of Leigh’s work have been hosted by the Hammer Museum, Los Angeles; Studio Museum in Harlem (Marcus Garvey Park), New York; New Museum, New York (all 2016); Atlanta Contemporary Art Center; Creative Time, New York (both 2014); and The Kitchen, New York (2012). The artist’s work has also been featured in numerous group exhibitions including the Berlin Biennial (2018); Trigger: Gender as a Tool and a Weapon, New Museum, New York (2017); Unconventional Clay: Engaged in Change, The Nelson-Atkins Museum of Art, Kansas City, Mo.; Greater New York, MoMA PS1, Long Island City (both 2016); The Dakar Biennial (2014); Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum Houston (traveled to Grey Art Gallery, New York; Studio Museum in Harlem, New York; Walker Art Center, Minneapolis; and Yerba Buena Center for the Arts, San Francisco [2012–15]); The Whitney Biennial, New York (2012); 30 Seconds off an Inch, Studio Museum in Harlem, New York (2009); The Future As Disruption, The Kitchen, New York (2008); and Intersections: Defensive Mechanisms, Abrons Art Center, New York (2008). Her work has been recognized with awards and honors from the Foundation for Contemporary Arts, New York (2018); Studio Museum in Harlem, New York (2017); A Blade of Grass, New York (2016); John Simon Guggenheim Memorial Foundation, New York (both 2016); Creative Capital, New York (2012); and the Joan Mitchell Foundation (2011).

https://www.simoneleigh.com/

On image: Exhibition | Simone Leigh: Haunting Race and Gender at Jack Tilton, New York

What’s Her Face Series, “Beaded Head”. 2012. Simone Leigh. Sculpture.

On image: Simone Leigh’s impactful show of new work at the Hammer Museum.

 

***All rights to shared artworks remain with the artist and can be removed on request at any time.