Construire une collection d’art commence par la curiosité

The process begins with a series of questions: How do you start, what should you buy and how do you know what is a “good” investment? While blue-chip collectors and institutions may dominate the headlines, some of the most remarkable collections have been built by individuals with no formal training, guided purely by passion and intuition. For example,Herbert and Dorothy Vogel, a postal clerk and librarian who, despite modest means, amassed a significant post-war art collection of more than 4,000 pieces by purchasing artworks catered to their taste. As Mr. and Mrs. Vogel lived in New York, the main criteria when considering a new addition to their collection was whether they could take the piece home in a taxi or on the subway. On the other side of the spectrum, Indonesian entrepreneur and philanthropistBudi Tekbuilt a collection focusing on "mega" artworks that are difficult to display while French entrepreneurJean Pigozziworked alongside French curator André Magnin to grow a collection with a focus on contemporary artists living and working in sub-Saharan Africa. Diagnosed with dyslexia, Mr. Pigozzi eschewed reading theory and history books, instead favoring gallery and museum visits to hone his eye. In 2008, he turned his attention to Japan’s contemporary art scene. Whether one is collecting art for personal enjoyment, legacy building or investment purposes, every collection is an extension of its owner’s taste and perspective. To help demystify the process, writer, editor, curator and consultantAshleigh Kane, shared her expertise from where to start to what to look for and everything in between.

For newcomers to art collecting, where’s the best place to start? Should they focus on galleries, fairs or direct relationships with artists?

Nurture your curiosity. See as much as you can — galleries, art fairs, graduate shows, artist-run spaces, open studios. Immerse yourself in the art ecosystem first. Don’t rush to buy immediately. Instead, spend time figuring out what resonates with you. What gets your senses going? For me, the art that I love always evokes a physical response. Developing direct relationships with artists is valuable, but galleries can also offer essential context, history and guidance, particularly if you’re new to the scene. A good gallerist won't push anything on you, and those are the relationships I trust the most and the ones I'm more likely to build a relationship with. The most important thing is to build confidence in your own taste before making decisions.

What are some common mistakes first-time collectors make and how can they avoid them?

As someone who buys for the love of the work, I’d say buying purely for investment or hype is a common mistake. We've seen many cases where artists have been hyped only to crash. It's not good for you and it's not good for the artist. I believe you should have a genuine connection with what you’re investing in, and then this won't matter as much. Art collecting isn’t about chasing trends; it’s about engaging with art that moves you. Another common pitfall is not considering practicalities — where you’ll store or display the work or how to insure it. Although, I have actually missed out on amazing work because I overthought this a bit much.

How do you balance personal taste with investment potential when collecting art? And what role does research play in art collecting?

For me, personal taste should always come first — if you don’t love living with the work, nothing will compensate for that. That said, understanding an artist’s trajectory — who’s exhibiting them, where their work is being collected, what kind of institutional recognition they have — is useful context. Research is essential, not just in terms of market trends but also in deepening your understanding of an artist’s work, their influences and their place within wider art histories. Get out there and have some conversations with the galleries, artists, if you can, and other like-minded folk. Try not to rush the process.

How important is provenance when acquiring a piece? What should collectors look for in terms of authenticity and documentation?

Provenance is what separates an artwork from being just an object to being a meaningful part of an artist’s history. Always ask for a certificate of authenticity and any accompanying documentation. If you’re buying from a gallery, they should provide this as standard. If you’re buying from an artist directly, ensure you have a written transaction record. For secondary market purchases, be especially thorough — ask about prior ownership and exhibition history.

How do you see the art market evolving in the next five to 10 years? Are there any shifts collectors should be aware of?

We’re already seeing shifts in how collectors engage with artists — more direct relationships, more transparency. Digital platforms have changed access, but there’s now an increasing emphasis on real-world community, and I believe many artists are looking to connect in real life and get to know their collectors more and more. I also think the traditional structures of the art market — how galleries operate and how art is valued — are being questioned more than ever and that’s an exciting space for new models to emerge.