BMW Art Guide by Independent Collectors

The Crucial Role of the New

by Independent Collectors

While flipping through the BMW Art Guide by Independent Collectors you will notice that occasionally certain pages are colored differently. These are the Shorties, brief texts by our authors dealing with all aspects of collecting.

This time the focus lies on just one word. One word that holds a lot of power in the art world: new. An adjective that influences collectors, gallerists, artists and the artwork! Our author discusses where to find "the new" and how to make sure that an acquired work does not "fall off the wall".

"In 1980, the British news channel BBC aired a series entitled The Shock of the New. The eight episodes documenting the development of modern art are still praised by insiders for their quality and humor. Though the series used the words “the new” to describe the emergence of a whole new era, the little adjective “new” continues to play a crucial role in the art world to this day. In the context of collecting, "new" has multiple meanings. Buyers often eagerly await new works by their favorite artists. Gallery owners report how difficult it is to excite collectors about works of the same quality, though older. As a rule, collectors are thrilled by the encounter with a new artistic position, with works by an artist hitherto unknown. But how do art lovers make such discoveries? Where do they find what touches them? In general, the quest for art on which one is willing to actually spend money is like finding a needle in a haystack. Collectors are inspired by gallery or museum exhibitions, by books or magazines, by art fairs or advice from friends. And though the art market now sees tens of thousands of artists vying for purchase, the following still applies: Good art is rare, and good art one must own is even rarer. Seasoned art collectors thus bestow the same advice to beginners: Look at as much art as possible before your first purchase. A hastily acquired work will "fall off the wall" just as fast. Much that is new just loses its appeal once it is not longer new. A neon sculpture by the artist Maurizio Nannucci long mounted on the front of Berlin’s Altes Museum curtly illustrates the continuing need for a healthy skepticism towards the dominance of the new. It read: “All art has been contemporary."

Insiders (67)

Wilhelmina Jewell Strong - Sparks

Founder of BiTHOUSE Projects - BAAR Art Journey


Collector behind the ARNDT Collection

Sandra Guimarães

Director of Museum of Contemporary Art Helga de Alvear

Grazyna Kulczyk

Founder of Muzeum Susch


Interview with Georgie Pope and Eleonora Sutter, Co-founders

Kamiar Maleki

Director at VOLTA

Gallery Weekend Berlin 2022

Tokini Peterside

Founder and Director, ART X Lagos


Founding Director of the Athens Biennale

Boris Ondreička

Artistic Director of viennacontemporary

Maribel Lopez

Director of ARCO

David Gryn

Founder and Director of Daata

Fondation Beyeler Audiovisual Broadcast

Fondation Beyeler and Nordstern Basel present Dixon x Transmoderna

Gary Yeh

Founder of ArtDrunk and Young Collector

WATCH: The Best of the BMW Art Guide

Where will you travel next to explore art?

Maike Cruse

2020 Gallery Weekend Berlin

Touria El Glaoui

Founding Director of 1-54 Contemporary African Art Fair

Johann König

Messe in St. Agnes

PArt - Producers Art Platform

A crisis initiative to help artists directly affected by the pandemic

Barbara Moore

CEO of Biennale of Sydney

Unique Collector’s Item

by Independent Collectors

Alix Dana

Fair Director at Independent

When Collectors are Able to Commission

by Nicole Büsing and Heiko Klaas

Juliet Kothe and Julia Rust

Initiators of Collection Night, Berlin

Marie-Anne McQuay

Curator of Wales in Venice, 58th Venice Biennale 2019

Dorothy and Herb Vogel

Two extraordinary art collectors

Heather Hubbs

Director at NADA

Every Art Collection Needs Space

by Nicole Büsing and Heiko Klaas

Collecting Art with François Pinault

Rudolf Stingel at Palazzo Grassi

A Common Ground

by Silvia Anna Barrilà

Caroline Vos

Director at Amsterdam Art Weekend

Hidden Collections

by Nicole Büsing and Heiko Klaas

Nicole Berry

Executive Director of The Armory Show

Daniel Hug

Fair Director at Art Cologne

The Role of the Art Fair

by Silvia Anna Barrilà

Peter Bläuer

Director at LISTE

A Brush Against Nature

by Nicole Büsing and Heiko Klaas

Ilaria Bonacossa

Director of Artissima

Excessiveness, the Latent Danger of Collecting Art

by Independent Collectors

Jo Stella-Sawicka

Artistic Director at Frieze

Florence Bourgeois

Director at Paris Photo

Where Artists Can Work More Playfully

by Christiane Meixner

Specifically Commissioned

by Silvia Anna Barrilà

Manuela Mozo

Executive Director of UNTITLED, ART Miami and San Francisco

Important Museums and Private Collections

by Christiane Meixner

Susanna Corchia

Director of the Barcelona Gallery Weekend

Emilia van Lynden

Artistic Director at Unseen, Amsterdam

Carlos Urroz

Director at ARCOmadrid

Shoe Smudges Streaked Across the White Walls

by Christiane Meixner

Amanda Coulson

Director at VOLTA Basel

Douwe Cramer

Director at Singapore Contemporary

Art and Architecture – Attractive Allies

by Nicole Büsing and Heiko Klaas

Jo Baring

Curator of Sculpture Series, Masterpiece London

Bidders and Buyers

by Christiane Meixner

Anne Vierstraete

Managing Director at Art Brussels

Nanna Hjortenberg

Director at CHART

Makers and Believers

On Art History’s Most Famous Patrons

The Past is Back

And collectors are buying it up

Are Artists the Better Curators?

On the diminishing boundary between professions in the art world

The Digital Museum

On the importance of the museum’s web presence

The Man in the Middle

On the curator’s private and public engagements

A Private Matter?

On the importance of physical space for the value of art

Off the Wall

How museums contribute to the worth of artworks

Where to Go Next?

The fragmentation of Manhattan’s gallery scene

To Buy or Not to Buy

Collectors on their experiences of letting an artwork slip away

How to Pass On a Passion

On long-term challenges for new private museums