In this month’s Shondaland series, Art Now, we’re exploring the spectrum of artworks, creators, and galleries that are grabbing our attention (and hearts) in today’s diverse landscape.
While art is an essential part of our existence, the idea of buying and collecting artwork remains totally intimidating. From the hoity-toity paddle-waving auction scenes in movies to record-breaking sales of masterpieces in the real world, the idea of actually amassing original art still seems out of reach.
“People feel really uncomfortable in the art world,” affirms Liz Lidgett, an art adviser and gallerist who runs an eponymous brick-and-mortar gallery in downtown Des Moines, Iowa. She understands the psychological barriers that many potential buyers face. “I think people have this stereotype that they don’t belong here. Prices aren’t marked, and if you have to ask, you can’t afford it.”
Thanks to online innovations, cultural practices, and world events, the conversation about opening access to original art for new collectors is quickly evolving. “There was a time where original art was only accessible to a small group of people,” says interior designer Adair Curtis, co-founder of JSN Studio and co-star of Netflix’s Instant Dream Home. “With the emergence of institutions dedicated to fresh voices, digital platforms, and direct access to artists via their websites and social media, it’s easier to engage with original art.”
Harnessing tech has been a game changer to help democratize the art market. “It took a global pandemic for many people to start to trust the process of buying works without seeing them in person,” notes Los Angeles-based art consultant Annie Wharton, who operates Ladies’ Room, a virtual gallery specializing in female and nonbinary artists.
In Lidgett’s case, she turned a crisis into an opportunity. When her space closed during the pandemic, she ramped up her social media engagement, highlighting a new work of art every day on Instagram and ensuring that everything in stock at her gallery could be purchased online. This move helped empower her role as a champion of artists, as well as the artists themselves and her global customer base.
“The art world is for everybody,” Lidgett explains. Part of the problem has been a perception that the art world only involves blue-chip galleries and invite-only auctions in big cities. “The art world is on Etsy [and] Instagram,” she adds. “It’s artists that are working and selling work themselves or working with approachable galleries like ours. That’s what I wanted to pull back the curtain on.”
Despite a widespread perception of the art world’s elitism and exclusivity, those who desire an art-collecting journey have many options. Both Lidgett and Wharton agree that learning elements of what might feel like a new language will help demystify what’s a deeply personal and soul-satisfying pursuit.
“I think education unlocks everything in every part of the world, but definitely in the art world,” Lidgett says. If it’s geographically feasible, Wharton recommends “spending a little time visiting museums and galleries and speaking with people who understand the intentionally opaque nature of gallery systems.”
Whether you’re shopping on your own or working with an interior designer who wants to fit original art into a specific decor scheme, there’s the matter of first figuring out what you want to purchase. Lidgett’s first rule? Buy what you love. “You deserve to have beautiful artwork on your walls, no matter your price point,” Lidgett says, “and let’s support some incredible artists while we’re at it.”
For Wharton, those new to the game “may wish to ask themselves if there is a particular genre they want to focus on, like photography or abstract painting, or if they’re more interested in collecting a broader overview of their era, and then they can get more granular.”
Honesty about what you’re willing to invest is essential from the get-go. “I’m a nice Midwestern girl, so we don’t talk about what people can and can’t afford,” Lidgett says with a laugh. Whether the budget is $200 or $10,000, discussing price “is something that I’ve had to just become really comfortable with.”
Then there’s the question of value. If that piece you fall in love with happens to appreciate over the years, that’s a great perk. Realistically, however, buying original art involves a degree of financial risk. Lidgett’s team tracks the market value of the artists on the gallery’s roster. “Beyond that, you are never going to care about the investment value of a piece of artwork,” she notes, “if you love it and you’re going to want it in your life forever.”
These types of new creative pathways into the art market have opened up opportunities for female, nonbinary, queer, and BIPOC voices. Lidgett is committed to representing at least 50 percent women in her gallery, and she encourages clients to think about how to diversify their collections. It’s a question that applies to both artistic mediums — painting, sculpture, mixed media, whatever — and the lived experiences and points of view of the artists themselves.
Over time, nurturing connections with artists and their work will yield positive rewards. “I have relationships with artists that I was introduced to by gallerists and collectors that I respect,” Curtis says, “as well as some that developed organically by following each other’s work and keeping in touch.” However you feel about art or whatever you have to spend on it, those connections make it all worth it.
Jessica Ritz is a Los Angeles-based writer who has contributed to Architectural Digest, Bon Appétit, Coastal Living, Los Angeles Times, Palm Springs Life, and Los Angeles magazine. Follow her on Twitter @jessnritz.
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