Øystein Aasan (left) and Randi Thommessen at “la vitrine”, Paris.

This is the second part of our e-mail conversation, again, in slightly abbreviated form. For full text, please refer to: (→ link)

Why don’t you try and get us all excited about a specific artist or artwork from your collection?

This is difficult, as it is difficult to choose one artist or artwork, especially as I am as well a gallery owner, so then of course I also think as a gallerist and wishes to push my artists, so despite saying I try not to be pushy I will push one of my artists; Øystein Aasan (→ link), who just had a solo show opening at la Vitrine (→ link) in Paris. He is a really hard working dedicated artist, the first artist I invited into the gallery, I have known him since he was 19, as we went to foundation school together (my background is being an artist, with a bachelor in Fine Art from Central St Martins in London, I have however completely put to sleep the artist in me) so I have really followed his development as an artist, he has also introduced me to a lot of really great people within the art world as he moved to Berlin before he even finished his studies, and he has been a close friend of me since we first met. He is also the artist I have the most works of in my collection, as I bought works of him before he started selling through galleries and receiving scholarships, because I loved his work, but also to support him so that he could concentrate on his work.

One of those early works I bought of him is “Untitled (mirror) no1″ where he has cut a photograph of a young woman hanging up clothes to dry into rectangular squares and glued them into a grid on a board, with squares of mirror foil in between. When using this technique he spreads the image out, making it larger, but it also makes the viewer try to pin the image back together visually in order to get a sense of what the image is, it plays with proportions, details stays the same size, while other elements are enlarged, like a shirt in this image which is easily read in its expanded version, while the mirror foil takes in the surroundings and integrates it into the work. Øystein has continued working in this manner, but I have a few of his early grid works, which have a somewhat different character than his more recent grid works.

(…)

“Untitled (mirror) no1″

Can you give us three good reasons why becoming a collector is a bad idea?

It can be very expensive. And if you have a habit of impulse shopping, then this can be a financially hazardous addiction.

Space, as your collection grows, you need a place to keep the works. Preferably so that you can see the works on a daily basis, that means bigger flats or houses. Or you need to get a good storage space.

Collecting easily involves travelling to art fairs, biennials, openings etc., these events often involve a lot of partying and big amounts of champagne, thus an unhealthy lifestyle. On the other hand, travelling is so much more fun when you travel with a purpose.

Actually, there is only one reason why collecting is a bad idea, the expenses. But hopefully only the short term financial situation suffers, if you are a collector with a good flair, the value of your collection will rise quicker than the money you put into the collection. Then the question is, when the prices of an artist in your collection goes up; sell or not sell, or are you able to sell? Hopefully your income from your other activities will rise so that you can continue your habit without selling. The works you appreciate the most are likely to be the works whose value rises the most.

What’s the question you wanted me to ask, but I haven’t?

Why are women collectors and artists less noticeable than their male adversaries? Though I am glad you didn’t, as I do not have any good answers to the question.

Of course I would now like your answer or your thoughts about it and would extend it by adding: Why do you think men are more noticeable? And do you think it would be a good idea for women to be more noticeable or should the guys step back?

This is such a difficult question, and I regret I brought it to your attention. First, I do not think men should step back to give space for women, the issue is more complicated than that.

I think the reason for this unbalanced situation is mainly due to structural and historical reasons, besides women normally being the main carer for children. Having young children, especially if you have more than one child, makes it more difficult to travel to fairs, get around to do or see shows, and often a female artist with children seems to disappear for a while after they get children, which again can make it difficult to get back on the forefront of the art scene. The age one normally gets children is also the age when the career might be in its formative stage, when one is still considered young and emerging, all of this makes it difficult to combine a successful career with getting children, especially for women, men seem to get away with it more easily.

And then the majority of collectors are men, I guess partly because men still seem to earn more money than women in general, but I also think men are more likely to have a ‘collecting gene’, not only when it comes to art, it can be old weapons, cars, records, stamps. In my impression women are in general not often collectors in the same way as men can be, men more often want to own. However, I seem to be an exception to this, as I collect hats, shoes (perhaps not very unusual for women) and art.

I remember reading somewhere about women reading both male and female authors to the same extent, while men tend to prefer male authors. I think the same applies for art, men tend to be more interested in the issues male artists are concerned with, so then male artists are more likely to sell their work. And obviously, if one sells work as an artist, one can concentrate more on the studio practice, which again is the key issue for a successful career.

It does however seem to slowly change, more and more female artists are having successful careers. But there is still a long way to go before the art world gives men and women the same opportunities. It would be interesting to see how many successful male and female artists have children, how many have one child, or how many have several children.

Maybe it also has something to do with a craving for power on behalf of the male specimen? Visibility and publicity clearly is a form of power these days … we could discuss this topic at lenght, but this here blog might not be the appropriate arena.

To come to a conclusion somehow: Do you have a question for the next collector?

Why did you buy your first work of art?

Alas! The question I have tried to avoid to ask but that I was obviously interested in anyway! I was hoping that it comes up, and here it is. Thank you for taking the time to answer my questions during youir travels between Oslo/Miami/Paris!

Feel free to comment on this conversation in the comments or the discussion forum at Independent Collectors. Throw in some more questions, I will forward them to Randi every once in a while, if she doesn’t read and answer them automatically.

Picture credits: R. Thommessen

This entry was posted on Wednesday, December 23rd, 2009 at 12:16 pm and is filed under Pleased to meet you ....