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Art Talk

Collecting Black Art

There is little question about the central place of art in our lives and of its importance to our well-being. Civilizations throughout the ages have venerated art whether for its form, its function or its spiritual significance.
Modern art movements have swept over the landscape, and the primary role of art in our lives has shifted away from being one of function. Yet the relevance of art and the richness that art brings to our existence is stronger today than it ever was. And so artists continue to create and the rest of us continue to seek out art.

Today we are faced with a breathtaking array of artistic expression - from literal, realistic renderings, to abstraction; from the legacies of early art movements to the highly personal and individualistic styles, subjects and techniques of contemporary and cutting edge artists. A feast, and also quite a job for the viewer. Knowing about art now seems to be a skill requiring specially gained expertise, or at least a great deal of exposure. And if we add to this diversity of artistic expression, the dynamics of the modern marketplace and all its inherent subterfuges we can see why buying and collecting art can indeed be a daunting task.

Every one of us can participate in the pleasure, the beauty, the stimulation, the inspiration, and even the profit of viewing, buying and collecting art. And for many of us, there is so much more to gain from mining the rich depths of an artistic tradition that has for so long been overlooked.

To begin our journey toward meaningful encounters with art, and to acquire the skills for collecting, require first and foremost an open and curious mind. We might seek out more frequent intersections between art and ourselves - visit galleries, museums, artists’ studios and auctions. We can also learn from those who are experts on the subject - dealers, art educators, artists, books on art.
 

Starting a Collection

(This section is reprinted from “A Guide to the Collecting and Care of Original Prints”, a publication of the Print Council of America.)

How should a beginner proceed to collect? It is a question often asked. The voice of experience would probably answer as follows: It is best to adopt an experimental attitude. Start with something that appeals to you for any reason whatever, as, for instance, because you have read about it or seen it at a friend’s house. Look at it, study it, and learn what you can about it and the artist who made it. Then go on to buy others in the same way. Have the courage of your own taste. You will make mistakes – everyone does at first – but mistakes are expendable. Only by daring to make mistakes will you learn from your collecting. You will find that some prints, like old friends, wear well, whereas in others the emotive potential is soon exhausted. The latter will become the mistake for you, and can be eliminated.
When confronted with something new, do not make a snap judgement; give it the benefit of the benefit of the doubt. Try to find out what the artist intended. Remember, it may have taken the artist twenty years to arrive at a mode of expression: you cannot dispose of it in twenty seconds. On the other hand, you are not compelled to like it just because it is new or because some critic told you to. There are so many works of art in the world that you cannot possibly respond to them all. No one could.
It is fortunate that we do not all like the same thing! You are having a personal experience; you are cultivating your own taste; you are building up your own collection for pleasure and enlightenment. Some people combine business with pleasure. Do not collect art with an eye to profit. Rather, let your investment be in pure and disinterested enjoyment. It sometimes happens that art appreciate in monetary value. If you own such art, accept the fact gladly as unanticipated increment, but do not base your strategy of collecting on that factor. Art is literally priceless – that is to say, without price or beyond price.

- “A Guide to the Collecting and Care of Original Prints”
 

What to look for in a Work of Art

The emotional connection that you make with a work of art is the first signal you should heed. Although we are often influenced by notions of appreciation and status when we make our art buying decisions, the overriding factor should be because we like it.
However, there are other issues to consider if your ultimate aim is to build a collection that will hold its value over time.

REPUTATION OF THE ARTIST Consider the artist’s training, career trajectory, and popularity. But of greater importance than where the artist was schooled or has exhibited is evidence of a unique vision, original thinking, intelligence, and a deep sense of the human spirit and condition. In a young, emerging artist, for example, those are the very qualities that could make him or her great artist.

AUTHENTICITY No one wants to buy a fake. Know your source if you are buying original art from anyone other than the artist. A reputable dealer will know the work he or she sells, and often has the information to authenticate works by popular artists.

QUALITY  Generally buy the best you can afford. The most effective way to develop an eye for quality is to look at art. If you are not skilled at assessing the aesthetic value of a work of art, rely on an experienced dealer. After all, who looks at more art than an experienced dealer?

RARITY Although there are exceptions, rarity tends to enhance value. Here again, you may have to rely for guidance on a professional art dealer who tracks the market and who has some knowledge of the availability of works on the market.

CONDITION  The condition of a work is important. As far as is practical, look for defects or damage that would detract from the value of a work.

PROVENANCE While this issue is not of great relevance to most beginning collectors, the issue of provenance (who has owned the work and where it has been) can influence the value of a work of art. If a work has been in prominent collections or has been included in significant exhibitions, it adds to the pedigree of the work.

VALUE  The idea of art as an investment is held by some and even promoted by less than scrupulous dealers. While some artists’ work has appreciated considerably over time, there is no safe way to predict future gains, and collectors should be wary of any such promises. Besides, collections built purely with profit in mind tend to be mediocre collections. It is collections formed with passion and intelligence that stand the test of time, both aesthetically and monetarily.

Acquiring the Skills for Collecting

• Educate yourself about art. Read books on art, subscribe to art periodicals, newsletters, etc. When possible, purchase exhibition catalogs.
   
• Visit galleries and Museums.
   
• Make connections with other collectors.
   
• Seek professional advice from someone trained in art and who has knowledge of the specific area of art that you are buying into, especially if you have a large budget.
   
• If you are a beginner, it is critical that you deal with a reputable dealer who you find
  understanding and approachable.
   
• Begin by collecting less expensive works like works on paper, drawings and original prints
  until you feel comfortable enough to buy a more expensive work.
  
  
   

Collecting Original Prints

Original prints can offer an affordable way to get our feet wet. Their relative low cost enables many people of moderate means to own and cherish genuine works of art. Indeed, prints and perhaps drawings are about the only bona fide works by the masters that most of us can ever hope to obtain. One-of-a-kind original works by the masters are generally in museums, collections of wealthy collectors, or in high priced galleries. A Romare Bearden one-of-a-kind original, for example, cannot be found for under, $30,000 - $40,000, but an original lithograph by him may still be found for $3,000.
There are other advantages, besides price, to collecting original prints. Some forms of original prints, for example etching and woodcuts, tend to be small in scale and can be easily accommodated in small living spaces. They can be easily stored when not on display. They tend not to demand heavy, expensive frames and special lighting.
The beginning art collector could do well starting with original prints. In addition to the having the satisfaction of owning original works of art, we can live with and try out various kinds and styles of art without making too great an investment.
 

What are Original Prints?

For hundreds of years, printmaking has been a medium of expression for many of the world’s great artists who approached printmaking as a challenging art form equal in significance to, but different in approach from painting and drawing. Today printmaking has evolved into a complex art form but harkens back to a traditional concept of art as a populist and communal form of expression. Printmaking can make a piece of original art available to many people, and for a fraction of the cost of a painting.
In today’s art market the word “print” is loosely used to refer to many different types of work on paper, including offset reproductions (offset refers to the mechanical method of printing commonly used to reproduce art).
In the fine arts, when we talk about prints we are in the broadest sense talking about works that have been made with a master plate of the artist’s own design and with a press and under the direct control of the artist. In terms of a definition, we could say original prints are nearly identical multiple originals of a specific image or work of art. Each print is individually hand pulled from a plate, block, stone, screen or other medium which was created by or under the direction of the artist.

The easiest way to understanding the basis of fine art printmaking is to recall a childhood pastime. Most of us have cut a potato in half and carved an image into its surface. We then dipped that surface in ink or watercolors and pressed it against paper leaving a reversed impression of the carving. The point of potato printing is much the same as the more technically complicated printmaking. Most fine art original prints are done in limited editions and each one is hand signed by the artist (usually in pencil because it is more permanent than ink). Also handwritten on each original print is the number of pieces in the edition together with the sequence number of the original piece.
The most popular forms of original prints are LITHOGRAPHS, SERIGRAPHS, ETCHINGS, WOODCUTS, ENGRAVINGS and AQUATINTS.
Each of these is done utilizing a different technique. Each medium has a specific identifiable quality, but they all involve the artist’s direct hand in drawing, brushing or cutting an image area on the printing vehicle.
 

Forms of Printmaking

LITHOGRAPHS  The lithographic process is based on the chemical principle that oil (or grease) does not mix with water. The design or image is drawn with a greasy crayon, or brushed with a greasy ink, directly onto the smooth-grained surface of a stone or metal plate. The plate is then dampened with water, and inked. The ink clings only to the greasy crayon marks. When a sheet of paper is pressed, thus forming the image.

SERIGRAPHS A serigraph is produced by screen printing. The process has been popularly known as silkscreen printing since screens were first made of silk. Today, however, screens can be made of paper, metal or plastics. The screen is tightly stretched across a frame. The design is made by blocking out the entire screen, except for the area to be printed.
Paper is placed under the screen, ink is then pressed over the screen through the open or unblocked areas onto the paper below, thereby creating the original art image. Whenever a serigraph is printed in more than one color, a separate screen must be made for each color. Each color is applied separately through a screen blocked out to allow the color to fall only where wanted on the design.

ETCHINGS A metal plate is coated with an acid-resisting material called the “ground”. The artist draws his design on the plate with a sharp needle which removes the ground wherever the needle touches it. When the plate is put in an acid bath, the exposed parts are etched (or eaten away). This produces sunken lines that receive or hold the ink for printing. The plate, in contact with dampened paper, is passed through a roller press. This forces paper into the sunken areas to receive the ink, thereby forming the art image on the paper.

WOODCUTS (and Linocuts)  This is the oldest known printing method. The design is drawn on a flat block of smooth hardwood. The surface around the lines or areas of the design is then chiseled away, leaving the design in high relief. The block is inked and the paper is placed under it and rubbed, transferring the image to the paper. A separate block is used for each color. A linocut is made the same way except that linoleum is substituted for the wood.

ENGRAVINGS In engraving, the artist cuts the design into a copper plate with a steel “burrin” or “Graver”. The surface of the plate is then cleaned and polished, and ink is rubbed into the incised lines. A dampened sheet of paper is placed over the plate and together they are run through a roller press. The ink leaves the impression on the paper resulting in what is called a copper plate engraving.
 

The Language of Original Prints

It is important to have an understanding of the terminology in general use in the field of original prints. Below are some of the more common terms:

Artist’s Monogram: A monogram bearing the artist’s initial or personal sign, either stamped or drawn on the print. At times the monogram is drawn on the stone or inscribed on the plate.

Artist’s Proof: A print not part of the regular edition. After a limited edition is run and signed, the artist is usually allotted a certain number of prints for his or her personal use. These prints are identified by one of the following markings: A/P for Artist’s Proof or H.C. for the French Hors Commerce which literally means Out of Trade.

Cancelled Plate: After an edition is run off, the plate is frequently pierced or scratched or otherwise defaced in order to prevent further printings.

Hand Signing and Numbering: A print does not have to be signed and numbered to be an original. Signing and numbering prints is a relatively modern practice. The most common method used today is to record on the left side of the print the size of the edition and the number of that particular piece. For example, 11/150 means that there were 150 impressions in the edition of which this is number 11. The signature usually appears near or at the right margin of the print.
 

Framing and Hanging Original Prints and Works on Paper

Professional conservation framing is recommended fro all original works of art. It is costly but it will bring a special blend of craftsmanship and creativity, skill and patience which will bring out the best in your print. You will also have the reassurance of having the finest quality conservation material to preserve you print and works on paper.

When having your print framed, the following points should be considered. Be sure to talk about them with your framer.

• Never cut the margins of the print or fold the edges of the paper. Have it framed as it is.
• The print should never be permanently mounted. Acid free hinges should be used to secure the print against 100% acid free rag board (ordinary wood pulp backing material contains acid which will stain the print over time). Acid free linen tape or rice paper may be used for hinging.
• Glass or another form of transparent sheeting should be used to protect the face of the artwork from dust, moisture, insects etc. The artwork should not touch the surface of the glass, however, since moisture condensation inside can stain the artwork or cause mold growth. Separate the artwork from glass by rag board mat or some other form of separation such as a liner.
• A dust cover attached to the back of the frame is necessary to protect the print from pollution and to keep it clean. Kraft paper provides a suitable dust cover.
• When your print is framed, hang it with pride but be careful to keep it healthy. Avoid hanging it in direct sunlight or over a radiator or fireplace.
• Finally a good idea may be to check your print every three to five years, especially if it is an important piece. Have the artwork taken out of the frame and examined for any damage due to light, mold growth, insects, loose hinges etc.

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