Over five days, Aotearoa Art Fair brings together 40 galleries from across New Zealand and Australia. It’s the biggest contemporary art event in the country, with 10,000 people expected to attend, and featuring works by more than 180 artists.

You don’t have to be a serious buyer to enjoy the ticketed fair – there is plenty to do besides buying art (and taking in the view) including workshops and artists talks, plus there’s an on-site bookshop, cafe and bar.

But for the newbie art fan who’s keen to get a collection started, gallerists Jhana Millers and Dan du Bern have tips. Millers owns Wellington’s Jhana Millers Gallery, and du Bern has Tauranga gallery Sumer. Both represent a range of artists, from those in their early careers to well-known names from Aotearoa and Australia.

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Here’s their guide to getting onto the art collecting ladder.

Where do I start? (And which questions do I ask?)
Du Bern and Millers say exposure is key, so it’s good to make a habit of going to galleries and museums. Whether it’s buying and reading art books, following galleries on Instagram, signing up to mailing lists, or attending openings and art fairs, the aim of the game is to “lean in” to your new passion.

Visiting public galleries will give you an idea of what style of works larger institutions are purchasing, Millers says. This often reveals broader ideas around the current cultural zeitgeist, whereas artist-run spaces will give you a great insight into new, rising artists or more conceptual styles of practice.

Even if it seems intimidating, Millers says you should not be afraid to ask for advice from dealers and gallery assistants when visiting commercial galleries. “Ask us to tell you a bit more about the show, about that work in the stockroom, or about the artists we represent. All dealer galleries love having new collectors visit and [love] to speak with people about the artists we represent and the work they make.”

And don’t be afraid to ask for prices, says du Bern. “Good galleries will be discreet with pricing information as a rule, but they won’t assume that you can’t afford it, or conversely, they shouldn’t make you feel uncomfortable if it is outside of your price range.”

Most people visiting galleries seldom buy artworks, so galleries tend to avoid assuming you’re there to drop cash, he says. Instead, it’s good to ask about the artist’s achievements, and why their works command the prices they do.

For Millers, it’s also integral that you buy what you love – that’s vital.

How much do you need?
Such is life – the more money to play with, the better. But that’s not to say you need wads of cash to build a great collection, du Bern says.

“Like lots of my friends, I started collecting when I was still in university [by] buying small artists’ editions and larger pieces by younger artists.” It’s important for new collectors to consider that artworks are generally one-offs or produced in extremely low numbers. It’s one of the reasons they’re very expensive, he says – but don’t assume you can’t afford something, just because there’s no price listed.

It’s also good to get ‘em while they’re young; buying works from emerging artists will be cheaper. If you buy strategically, prices may increase over time, which is an added bonus, says du Bern. (But don’t buy something assuming its market value will balloon – often, it won’t.)

Millers says $1500 and under is a good place to start for emerging artists’ work. You can purchase from graduate exhibitions or artist-run spaces, but if you want slightly more assurance that the artist will continue their practice, it’s best to approach a dealer gallery, she says.

“Many arts graduates will find paths other than continuing with making artwork, so purchasing work of this type is exciting, and your purchase might just be the incentive they need to carry on with their arts career.”

These days many galleries offer lay-by, or interest-free art loan services such as Art Money and/or My Art. This can help you acquire works at that higher price point by paying the piece off over time.

What not to do
Keep “your hands in your pockets for a little bit and watch and listen,” says du Bern. “Be wary of anyone who tells you that something is a fantastic investment. The art world is populated by dreamers and grifters – you want to find the former not the latter.”

But don’t go at a snail’s pace, he says. “I always recommend that collectors set themselves a reasonable budget and buy as regularly as they can afford. Often some of the best works will come and go quickly, so it pays to be present and to jump at things when the opportunity presents itself.”

When buying from the secondary market, or at auction from an established collection, be considered and careful. “Even though you can find some great bargains, it doesn’t necessarily mean you will. Often, we see new collectors paying way too much for something that is certainly recognisable, but to a more experienced collector it can seem very run-of-the-mill.” The condition may be poor too, so read the fine print and if you can, visit the work in person.

What’s the end goal?
Good collections are brave, astute and as unique as the works themselves, du Bern says. If you’re just starting out but have a decent amount of money to spend, du Bern says it pays to engage art consultants to outsource the artistic heavy lifting. “The best collections are often built by people directly involved in the industry.”

For Millers, the aim is for collectors to have a personal connection, or affinity with, the purchased works or the artist – or a story to tell around the reason behind the selection.

“I would always recommend buying what you love, first and foremost. If you continue with collecting art, it’s likely your knowledge and taste will grow and change over the years, but if you have a personal connection with a work then its importance will stand the test of time.”

Jhana Millers and Sumer, as well as 39 other galleries, will be at Aotearoa Art Fair 2022, from November 16-20 at The Cloud, 89 Quay Street, Auckland CBD. Tickets here.

artfair.co.nz