Art in the collective property

[Nora]

Britain shows the world a new way of collecting: people gather in groups, monthly dues-paying, together decide what to invest jointly organize exhibitions and events, both in their homes periodically updated exhibition of artists of global significance. And how much can cost a collection in which more than fifty works, among the latest acquisitions - four winning Turner Prize, a few stars of the YBA, such as Tracey Emin, Wolfgang Tilemans, Peter Doig, Chris Ofili and Martin Creed?

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Each group of co-owners - it is usually very good friends who love contemporary art, but can not afford to buy the entire collection on their own. Besides, in The Collective is the principle of "nepotism" - purchased art must necessarily be in their homes and become part of life for all family members.

Each month members of the association is added to the total cash contributions, and when the desired amount will be typed, one of the families have the right to choose and purchase any product. This right is enjoyed by all family members in turn. Reviewed annually in contributions, usually from 60 to 500 pounds a month, but for members it is important that each new participant, The Collective, art was accessible. Accordingly, the number of families allocated to the collection into seven equal parts which are in each family. Every six months or a year families gather at someone's home, arrange a special dinner, share artistic experiences and decide in whose abode is moved to the next part of the collection. Robert Lee notes that such meetings usually are very interesting and fun, for seven years, only once had to resort to a vote, when one job had a few contenders.
The main thing for The Collective - is to participate in contemporary art. Co-owners are deeply believe that contemporary art plays a significant role in the world. For the artist it is vital to present their work and have a chance to speak.

Collective collecting violates some of the barriers on the market that is increasingly prone to elitism and transcendental names, for which you can not hear no less talented, but less well known. Co-owners often consult with the experts - the taste of gallery owners in the formation of the collection is heavy, because of their knowledge and taste depends on the development of the artist and his investment history. For example, at one time The Collective works acquired by Simon Keller, and now his name has a worthy place in the collection of Charles Saatchi. And indeed, the collective collectors mainly relies on the young but promising artists. Buying their art, they thereby support both beginners and pave the bridge by a young artist to the collector.

Full article with pictures http://www.artukraine.com.ua/articles/470.html

[Fed]

I somehow closer to the Swiss approach, where this team is a city and people consciously decide whether or not to buy the collection for his museum .
So you can buy the real masterpieces , and everybody feels involved and responsibility .
 
And a drag from the apartments in an apartment gives more snobbery and investment club . Although, as a hobby - assembled company, drink , discuss- what to buy , like and not bad for fun .

[artcol]

Everything is fine, but you need to take into account that the West considers himself a collector of anyone who has at least one subscription processing.

[Fed]

On the other hand, the missing and those who have dozens of famous names - prices there are adequate, and incomes are much higher.
Yes, and with the customs delusions do not reach.

There is where collectors roam.

[artcol]

Сообщение от Fed

On the other hand, the missing and those who have dozens of famous names - prices there are adequate, and incomes are much higher.
Yes, and with the customs delusions do not reach.

There is where collectors roam.

Yes, collectors, there is a good walk around there - the consumer society.