Building an art collection can take many forms. One option is a buying collective, a great way to share a collecting journey with other like-minded people.
Collectives vary wildly in motivation, size, formality, and financial contribution. How and how often, as well as what is bought, and for how long purchased artwork will stay with a group member, are all important things to think through. Structures are flexible, essentially you set the rules, but there needs to be some rules. Tempted to set up or join one? For the inside track I asked a newly formed group and another approaching the end of their collecting journey for some insight into the support and challenges art collecting groups offer.
CoronArt has recently emerged in the Queenstown-Lakes region. Members contribute funds quarterly and the ownership of purchased art works remains with the group. The collective choses to follow the format of another art group, a model that proved successful over a long period. Bron Anderson, part of CoronArt’s buying committee for the first year, reflected on the advantages: “It’s lovely to meet new people and great to be exposed to a variety of purchases as we all have different tastes and exposure to various art forms. One of our members wasn’t that keen on our first purchase, but since having it hanging in her house doesn’t want to see it go. With 15 of us contributing, the budget is generous, so we’re able to tap into some wonderful artworks that might not have been within individual reach.”
Art collectors know that it isn’t just about investment. It’s about connecting to, living with, and learning from art.
Auckland-based Palette Collective will wind up in 2023 after a decade of art collecting. Tracy Porteous shared their history. “Our convener nominated 16 female friends she wanted to stay connected to over the next 10 years in a cultural pursuit that would enrich everyone’s world. Most members don’t have any formal art training, but four of us do. We have a set of rules outlining key objectives, group housekeeping, and clarifying priorities for acquiring art. Our autonomous buying committee has three people who are solely in charge of purchases each year. This has meant a high degree of success in selecting and committing to buying because discussion and compromise between three subjective opinions is easier than 16. Every member has been able to have at least two experiences of being on the buying committee which has been nicely democratic.”
Sharing an image of a Yuki Kihara work purchased midway through their journey, before Kihara became New Zealand’s representative at the Venice Biennale, Tracy confessed: “This was our most expensive purchase and was a little controversial because we hadn’t worked out our end strategy for artworks, but it has already gained substantially in terms of investment. More importantly it demonstrates how the progression of artists is dynamic and exciting to support and follow.”
Across a collection that also includes works by Chris Heaphy, Jack Trolove, Richard Killeen, and John Edgar, next year the group will hold a private members auction to mark Palette Collective’s conclusion and pieces not bought will go to public auction.
Art collectors know that it isn’t just about investment. It’s about connecting to, living with, and learning from art. Collecting as part of a group offers an alternative and often richly rewarding experience. For many it’s the discussions and interactions with members and galleries, as well as changes in perspective along the way, that make it so valuable.
“The uplift that art brings is personal but also collectively experienced when you are part of something bigger than yourself, and this subtly and positively permeates your life which you may not realise until you come towards the end,” writes Palette Collective’s Tracy Porteous, beautifully capturing her experience.
Kelly Carmichael is director of Starkwhite Queenstown, and a nominator and researcher for the International Award for Public Art.
