When last we convened, dear reader, you were kind enough to read a brief assessment of my progress of the past year, followed by a rather more lengthy list of goals. In ”The 11 month plan, “Kondoing” the studio, and Festina Lente,” you might recall how one of my goals for this year is to become more active in my artistic community, and also that it important to break down large goals such as these into more digestible, bite- sized chunks - or, as I like to say, the “Cheetos” of achievement.
I took my first bite out of the “artistic community” bag last Thursday evening, when I attended the “Connect + Collect” event at the Motor House in the Station North Arts District. Created by BmoreArt Founding Editor Cara Ober, and artist and curator Jeffrey Kent, Collect + Connect is “a new initiative designed to create awareness and momentum among new and experienced art collectors, and to promote a culture of collecting in Baltimore.”
The event was the first of six planned evenings, in which influential collectors and art patrons would speak frankly about their experiences acquiring art. Following the discussion, the audience members would have a chance to ask questions and network in the Motor House bar and lobby areas. As an artist, I thought this evening would be an interesting opportunity to see what it is like from the perspective of the art buyer, and possibly learn a few things about how to better present myself and my work.
I arrived early at the Motor House through the famed “Grafitti Alley” entrance, and found the gleaming white and modern space inside already packed. (Clearly, I was not the only one who thought the evening's billing intriguing!) Greeting everyone were the newest additions to the BmoreArt team, managing editor Rebekah Kirkman, and Director of Distribution and Marketing, Suzy Kopf. I sat in one of the remaining seats in the front row, where I met a woman who said she was new to collecting, and wanted to find out how to begin. “Are you a collector?” she asked.
At first I said no, that I am an artist, but I realized over the course of our conversation that I have been a collector as well. While I certainly don't fit the stereotype of the well heeled “patron” I do have quite a few works by living artists in my home. Some have been given to me as gifts or as payment, some in trade, and a few as commissions.
Then Jeffrey Kent welcomed the crowd. Cara Ober introduced the evening's speakers: influential collector and art consultant Schwanda Rountree, and Guggenheim award winning painter, Mequitta Ahuja. Cara Ober started off the conversation by asking Ms. Rountree how she began collecting. As Ms. Rountree spoke about all of the research and time she devotes to studying artists and their work, I couldn't help but realize that (at least for her) the process of collecting very much mirrored the artistic process - one that I might go through while creating a sculpture. The works she is interested in relate in some way to her central theme of exploring the black body in art, and especially black women's bodies. Next she selects works that she responds to either aesthetically or emotionally. She explained that she will at times have a “gut feeling” about an artist's work, but that there are visual qualities of the works that she looks for as well. Much like a collage maker, the varying pieces she selects either reinforce or reference her central theme, and have visual and emotional qualities that resonate with her. Up until then I had never thought about collecting by itself as an artistic process. Or that one could build a collection of pieces that related to each other around a theme, whether it was personal, political, aesthetic, or emotional. That the collection could be a statement of purpose - and a reminder to the collector of her identity and intent in the world.
Next Ms Ober asked Mequitta Ahuja how she came to be a Guggenheim award winning artist. Ms. Ahuja began by saying that she had a good deal of luck in getting where she is today. When there were a few chuckles from the audience, she said that she would not be here if she would not have been able to study with her mentor. And that she would not even have applied to study with her mentor if it weren't for an academic advisor who suggested it. Humility is a trait not often lauded in our times-where the brash and self serving are rewarded with likes and followers, and we have the “humble-brag” in both noun and verb forms. Ms. Ahuja's was not a false humility, but an honest acknowledgement of the people she credited and the actions she took to get to where she is today- a powerhouse of a painter, with a career any artist would envy. She then spoke about her experiences with patrons visiting her studio. Without mentioning names (or numbers) she spoke candidly about the process of collecting money for her pieces from her patrons, sometimes on payment plans. It takes a forthright person to “pull back the curtain” on the inscrutable and often inaccessible world of the fine art market. I admire her sincerity and generosity.
For the next hour, both Ms. Rountree and Ms. Ahuja discussed a number of topics, including researching artists, making studio visits, and building productive relationships between artists and collectors. Following the discussion, Jeffrey Kent waded through the crowd to deliver the microphone to audience members who had questions for Ms. Rountree and Ms. Ahuja. One audience member, who identified himself as a collector, asked if it was important that an artist’s entire body of work have a uniform style, or look. Ms. Rountree answered that this can be helpful, but not necessary, as long as a thread can be traced from one group of works to the next. Ms. Ahuja answered that, as an artist, change is always welcome because it means growth.
At the end of the question and answer session, attendees were invited to stay and have a drink in the Motor House’s spacious and stylish bar. Included in my $10 admission to the event was an “adult beverage.” The bartender offered several rather elaborate cocktail options for the evening’s party, to which I replied whichever one has the most whiskey. Delicious drink in hand, I made my way through the crowd...
That evening I had the pleasure of meeting several of the Baltimore art scene’s “movers and shakers,” as well as reconnecting with a few old friends. Overall, I felt the evening was very well spent. I learned more about collectors and collecting in this one evening than in the past decade of selling my work. I’m also intrigued by the idea of seeing collectors as potential collaborators in exploring big ideas and themes that are important to me. This represents a shift in my thinking- from seeing a collector as a “customer” to seeing how our artist- collector relationship could strengthen and advance both of our ideas about art and life.
The next Connect+ Collect event is February 28th at the Motor House. I am looking forward to attending- hope to see you there!
Click here to hear audio of the event, as well as to see Jill Fannon’s photo essay and article