{"id":34276,"date":"2025-07-03T03:28:16","date_gmt":"2025-07-03T03:28:16","guid":{"rendered":"https:\/\/www.europesays.com\/us\/34276\/"},"modified":"2025-07-03T03:28:16","modified_gmt":"2025-07-03T03:28:16","slug":"10-young-art-collectors-on-their-advice-for-new-buyers","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/34276\/","title":{"rendered":"10 Young Art Collectors on Their Advice for New Buyers"},"content":{"rendered":"

Art Market<\/p>\n

<\/p>\n

Vittoria Benzine<\/p>\n

<\/a><\/p>\n

The art world is the ultimate choose-your-own adventure. But for scores of prospective art buyers, it can be difficult to know where to start. <\/p>\n

Between charting the contemporary art world, learning the protocols for purchasing, and connecting with key players, starting one\u2019s art buying journey can prove quite an intimidating endeavor. <\/p>\n

But few things are as rewarding as owning art. Artsy asked ten rising art collectors aged 35 and under from around the globe what advice they\u2019d give a friend interested in buying art. Traditional notions that art collections must be academic and encyclopedic are falling by the wayside: Each of the rising collectors featured here espoused some version of \u2018buy from the heart.\u2019 <\/p>\n

Their stories, however, contained deeper, more varied insights about the many paths available to budding art lovers.<\/p>\n

Jack SiebertFounder, JACK SIEBERT PROJECTS, Los Angeles<\/p>\n

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Portrait of Jack Siebert. Courtesy of Jack Siebert.<\/p>\n

Sophia Loeb, O Miste\u0301rio que eu procuro, eu sou (The Mystery I seek, I am), 2023. Courtesy of Jack Siebert. <\/p>\n

Jack Siebert had the world at his fingertips, and chose art\u2014after attending his first Art Basel Miami Beach in 2015.<\/p>\n

Abstractions by Cecily Brown<\/a> and Mary Weatherford<\/a> struck Siebert and his mother from the walls of Miami\u2019s pioneering Rubell Museum that week. Siebert, ignited, changed his major to art history, helped his mom start collecting female artists, and began his own \u201cmore instinctual\u201d collection of punchy young painters like Emma McIntyre<\/a>. In 2023, Siebert started curating pop-up shows in art capitals like New York and Paris. \u201cThey inform each other, in both directions,\u201d he observed of his two complementary roles. <\/p>\n

Siebert advises new art buyers to start building their network by meeting artists and galleries. \u201cI think relationships are the most meaningful way to navigate the art world,\u201d he said. <\/p>\n

\u201cWhen a gallery doesn\u2019t know you, there’s no level of trust there,\u201d Siebert noted. \u201cBuilding a relationship is step one, but it\u2019s not always the easiest.\u201d Lack of connections can present a barrier to entry. That\u2019s why there are small art fairs\u2014like Siebert\u2019s favorite, NADA\u2014where galleries \u201care way more open to meeting new people than someone stepping into their intimidating white box in Chelsea.\u201d <\/p>\n

Sandile XayiyaBusiness executive, Johannesburg<\/p>\n

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Portrait of Sandile Xayiya. Courtesy of Sandile Xayiya. <\/p>\n

Installation view of a painting by Dr.Esther Mahlangu and a sculpture by an unnamed artist. Courtesy of Sandile Xayiya. <\/p>\n

Sandile Xayiya\u2019s parents started collecting African art after joining the fight against apartheid, and the incipient aficionado grew up surrounded by masterpieces from all over the continent. <\/p>\n

In 2019, Xayiya began contributing to his family\u2019s 300-work collection, which includes among the world\u2019s largest caches of legends such as Gerard Sekoto<\/a> and George Pemba<\/a>. Xayiya works for one of his family\u2019s companies and increasingly stewards their collection, opening their home to guests from the local RMB Latitudes Art Fair last month.<\/p>\n

While he\u2019s always bought from his gut, Xayiya is growing to understand the importance of knowledge and context when it comes to appreciating art. He advises new art buyers to take their time when it comes to learning about the works they\u2019re drawn to. \u201cIt’s not about rushing yourself,\u201d he said. <\/p>\n

Xayiya also advises those interested in buying art to see as much of the stuff as possible. \u201cEvery email invitation I get, I\u2019ll always do my best to attend,\u201d he said. Fledgling collectors in particular should keep an open mind. \u201cGo to as many fairs as possible,\u201d Xayiya urged. \u201cAnything that has to do with art, no matter how big or small.\u201d<\/p>\n

Delora Xuanqiao Che Founder, MACA Art Center, Jakarta<\/p>\n

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Potrait of Delora Xuanqiao Che. Courtesy of Delora Xuanqiao Che.<\/p>\n

In 2014, Delora Xuanqiao Che started interning at her father\u2019s furniture company, Red Star Macalline. Her first project was co-curating an exhibition alongside China\u2019s UCCA Center for Contemporary Art. Che got hooked on viewing art\u2014then, on purchasing it. <\/p>\n

She founded Beijing\u2019s Macalline Art Center in 2022 with support from Red Star Macalline. The institution aims to support China\u2019s experimental art scene, showing international artists like Patty Chang<\/a> alongside homegrown talents like Liao Wen<\/a>. Che\u2019s since changed the institution\u2019s name to MACA Art Center, and last year, she took over its funding and started a patronage program.<\/p>\n

Che herself collects boundary-pushing international artists like Kasia Fudakowski<\/a> and David Douard<\/a>. Part of being a wizened buyer, she said, is knowing that \u201cpeople always want to sell you stuff.\u201d Che\u2019s not immune\u2014she just scooped works by Emma McIntyre and sculptor Thea Djordjadze<\/a> during Art Basel Hong Kong.<\/p>\n

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Thea Djordjadze, Untitled, 2021. Courtesy of Delora Xuanqiao Che.<\/p>\n

With so much art to consume, her advice for collectors sifting through seas of information is simple: \u201cTo be a good collector, you need to become [like] a good artist,\u201d she said, explaining how the approach can help one intuit an artwork\u2019s quality. \u201cDon\u2019t buy things that lower your standards,\u201d she noted. <\/p>\n

She\u2019s learned to step into an artist\u2019s shoes by witnessing the creative process firsthand\u2014commissioning new video works by Tao Hui<\/a> and Chen Tianzhuo<\/a> for MACA Art Center, and even making her own films. <\/p>\n

Gabrielle LevittPsychology student, New York<\/p>\n

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Portrait of Gabrielle Levitt. Courtesy of Gabrielle Levitt. <\/p>\n

Buying art can make moving to a new city feel like home. After her father\u2019s passing in 2022, Gabrielle Levitt and her mother moved to New York. She bought her first work, Kylie Manning<\/a>\u2019s A Leavetaking (2024), last December. It hasn\u2019t taken long for Levitt\u2019s new home to fill up with pensive, powerful art exploring memory and materiality by the likes of Amie Dicke<\/a> and Isabella Ducrot<\/a>.<\/p>\n

For those contemplating their first purchase, like Levitt was mere months ago, she notes that the art world is \u201cnot as intimidating as you think.\u201d Emerging art\u2014works by artists at the start of their careers\u2014can prove to be a helpful starting point. <\/p>\n

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Installation view of Jonathan Wateridge, Open House (2023). Courtesy of Gabrielle Levitt. <\/p>\n

\u201cI really started looking with emerging artists,\u201d Levitt said, rather than courting expensive, established names, \u201cbuilding knowledge and awareness\u2014and then bringing in other people.\u201d<\/p>\n

Finding the right art advisor is also worthwhile, but it can be as arduous as finding a therapist, and potentially as rewarding. Levitt works with Kate Robinson, who exposes her to new artists without being pushy. Levitt balances \u201cprioritizing your own wants and needs,\u201d she said, \u201cbut also pulling in that expert knowledge, because the art world is so vast.\u201d<\/p>\n

Geetanjali JoshiAssociate director, Art Mumbai, Mumbai<\/p>\n

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Portrait of Geetanjali Joshi. Courtesy of Geetanjali Joshi. <\/p>\n

Deepak Kumar, Untitled, 2023. Courtesy of the artist and Exhibit 320.<\/p>\n

Geetanjali Joshi had been a dispute resolution lawyer for nine years when COVID\u2019s many Zoom gallery hops and art collective auctions inspired her to start collecting and working in art. <\/p>\n

In 2023, she started managing India Art Fair\u2019s Young Collector Programme, providing entertainment and education during the fast-growing art fair. Later that year, Joshi joined exhibitor and VIP relations at ART MUMBAI, a new fair launched in 2023. \u201cMy exposure is widely different from what it was three years ago,\u201d she said. <\/p>\n

In India, the domestic art market is continuing its upward swing. \u201cWe\u2019re not seeing as much of a slowdown as there has been in the West,\u201d Joshi observed. She personally favors TARQ gallery in Mumbai and Exhibit 320<\/a> in New Delhi, and follows their lead on artists to support.<\/p>\n

While auctions may seem like a big first step for a new art buyer, Joshi advises collectors to keep an eye on the activity at the houses. Because sales are listed publicly on auction house websites, they can offer a clear view of the artists and themes capturing the art market\u2019s attention<\/a>. Joshi herself doesn\u2019t bid at auctions yet, but she still attends and advises new collectors to do the same. \u201cSee how it works,\u201d she said. \u201cBecause eventually, if you continue on this collection journey, you\u2019ll end up there.\u201d <\/p>\n

\u201cIt\u2019s important to follow those trends,\u201d Joshi said. \u201cIt\u2019s also really fun and interesting.\u201d <\/p>\n

Lorenzo Perini NataliPresident, PROGETTO LUDOVICO, Milan<\/p>\n

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Portrait of Lorenzo Perini Natali. Courtesy of Lorenzo Perini Natali.<\/p>\n

Emma Adler, Softshell (02.101), 2023. Courtesy of Cob Gallery. Copyright Emma Adler.<\/p>\n

Lorenzo Perini Natali shares a lineage with Amedeo Modigliani<\/a>, but only discovered art while visiting his cousin in New York in his early 20s. He\u2019d started working for his family\u2019s companies by then but pivoted, studying visual arts and contemporary markets before joining Sotheby\u2019s Milan.<\/p>\n

Some 11 years later, Perini Natali has amassed a collection of 100 artworks and has started PROGETTO LUDOVICO\u2014a nomadic nonprofit facilitating exhibitions, residencies, and research. He\u2019s evolved from collecting young Italian artists like Marco Pariani<\/a> and Linda Carrara<\/a> to farther-flung industrial artists like Marie Matusz<\/a> and David Ostrowski<\/a>.<\/p>\n

Perini Natali is proud to have honed his taste through education and visiting artists in their studios. \u201cYou can tell that all the works were bought by the same person,\u201d he observed of his collection. \u201cIt\u2019s a bit of an artwork, the collection itself.\u201d<\/p>\n

Though he\u2019s cherished direct relationships with artists since starting his studies, Perini Natali makes sure to buy through galleries\u2014and advises new art buyers to do the same. <\/p>\n

\u201cThat\u2019s what some people do, and it’s not right, because you’re not supporting the system,\u201d he said. He also resists seeing his collection as a financial asset. \u201cI don\u2019t sell,\u201d he said. \u201cIf I do, it\u2019s to buy something else, but it\u2019s very rare.\u201d<\/p>\n

Jessica Luciano CinelStudio manager, S\u00e3o Paulo<\/p>\n

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Portrait of Jessica Luciano Cinel, standing before an artwork by Davi de Jesus do Nascimento. Photo by Ding Musa. Courtesy of Jessica Luciano Cinel. <\/p>\n

Gustavo Silvamaral, Sem Ti\u0301tulo (Untitled), 2025. Photo by Yehudi Hollander-Pappi and the artist. Courtesy of Jessica Luciano Cinel. <\/p>\n

In 2016, while earning her master\u2019s at London\u2019s Sotheby\u2019s Institute, Jessica Luciano Cinel sashayed onto the art scene as a young collector with style<\/a>. <\/p>\n

A decade later, she\u2019s stopped traveling as frequently for art world events. \u201cI don\u2019t like a lot of art fairs,\u201d Luciano Cinel said. She disagrees with the \u2018first-look\u2019 FOMO mentality some galleries foster to stoke sales at the events. <\/p>\n

Luciano Cinel started advising artists like T\u00e1dask\u00eda<\/a> and Luana Vitra<\/a> in 2023, after leading S\u00e3o Paulo\u2019s Museu Brasileiro da Escultura e Ecologia for two years. Collecting is a \u201cconsequence\u201d of her artistic research now, conducted through dealers like S\u00e3o Paulo\u2019s Mitre Gallery and Yehudi Hollander-Pappi gallery. From Japanese sculptor Kishio Suga<\/a> to Brazilian painter O Bastardo<\/a>, Luciano Cinel considers borders and limits her collection\u2019s conceptual centerpiece.<\/p>\n

Prioritizing boundaries also constitutes the crux of her advice. When friends ask Luciano Cinel about collecting, she typically says, \u201cjust go slow.\u201d <\/p>\n

It\u2019s easy to get wrapped up in your emotions and the speed of things, but limits matter in this fast-paced, relationship-driven art world.<\/p>\n

Felix Xu Tech CEO, Singapore<\/p>\n

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Portrait of Felix Xu, next to Robert Motherwell, Lyric Suite, 1965. Courtesy of Felix Xu. <\/p>\n

Naomi Okubo, Living in the closely glazed space #2, 2024. Courtesy of Felix Xu. <\/p>\n

At the end of 2022, Beijing-born blockchain firm founder Felix Xu attended his first art fair and became a poster child<\/a> for a new generation of NFT collectors engaging in fine art, like Justin Sun<\/a>, the buyer of Maurizio Cattelan<\/a>\u2019s Comedian (2019). He\u2019s since visited Frieze Seoul, Frieze London, and Art Basel Hong Kong, and has hosted parties for ART SG<\/a> in Singapore.<\/p>\n

Xu\u2019s also tapped researcher and gallerist Echo Yu He to help grow his art collection, titled \u201cWind,\u201d which bridges celebrated sculptor Huma Bhaba<\/a> and VR pioneer Rachel Rossin<\/a> with emergent names like textile artist Akea Brionne<\/a> and painter Xingzi Gu<\/a>. <\/p>\n

Coming from a business background, Xu called art \u201cthe most opaque industry that I have ever encountered.\u201d As a result, he advises new buyers to research as much as possible by consuming as much information about the art they\u2019re interested in as they have an appetite for. This can include everything from reading magazines, to visiting galleries, to keeping a log of what you like. Indeed, he and Yu He have built their own resource\u2014a database of 150 artists and counting, tracking metrics like auction prices, institutional acquisitions, residencies, and more.<\/p>\n

Chibundu Onuzo Author, London<\/p>\n

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Portrait of Chibundu Onuzo. Photo by Charlie Thornton. Courtesy of Chibundu Onuzo. <\/p>\n

Growing up, Chibundu Onuzo\u2019s parents knew of Nigerian masters like Ben Enwonwu<\/a>, but they certainly weren\u2019t collectors. Buying art only occurred to her in 2017, after an artist friend started taking her out to shows. Onuzo saw a Marcellina Akpotojor<\/a> textile that the London and Lagos gallery Rele<\/a> shared on social media around that time. Smitten, Onuzo approached the gallery about the work and got it.<\/p>\n

Since then, Onuzo has learned to identify potential on her own, and comes across new artists by seeing as much as what\u2019s out there and trusting her gut. She acquired a work by the fast-rising abstract painter Pam Evelyn<\/a>, for instance, before the artist was working with a gallery.<\/p>\n

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Installation view of Pam Evelyn, Motion on Wall, 2020. Photo by Osagie Omokhodion. Courtesy of Chibundu Onuzo.<\/p>\n

When Onuzo started collecting, she kicked herself for not knowing about certain artists sooner, or before prices for their artworks rocketed upwards.<\/p>\n

\u201cI could have bought very established artists for not a lot of money,\u201d she said. Or, she could\u2019ve been bolder, buying more of Akpotojor\u2019s early works. Fortunately, as Onuzo assures the new collectors she actively recruits, \u201cyou haven\u2019t missed the boat.\u201d Every year, a new crop of artists emerges onto the scene, ready to be discovered. <\/p>\n

Lateefa Bin HamoodahCultural strategist, Abu Dhabi<\/p>\n

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Portrait of Lateefa Bin Hamoodah. Courtesy of Lateefa Bin Hamoodah. <\/p>\n

Lateefa Bin Hamoodah\u2019s passion for art began while traveling with family, and grew at Abu Dhabi\u2019s Sorbonne, where she realized that studying art can teach you about everything.<\/p>\n

She started buying photographs and prints around 2016, because they were easy to transport. Now, Bin Hamoodah has filled her family\u2019s home to the point that her mother advised sending some of her holdings to Munich. Alas, Bin Hamoodah has \u201cattachment issues\u201d and likes sharing her art with peers from the Dubai Collection, the city\u2019s first institutional collection, at a moment\u2019s notice.<\/p>\n

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Sara Al Ahbabi, Untitled (Time Line Electricals), 2024. Courtesy of Lateefa Bin Hamoodah.<\/p>\n

During COVID-19, Bin Hamoodah mostly collected Emirati artists. But she\u2019s since become enamored with international conceptual artists garnering institutional over commercial acclaim, like Agnes Questionmark<\/a>. \u201cIt\u2019s cool to be able to transcend a painting,\u201d Bin Hamoodah reflected.<\/p>\n

Sometimes with buying art, the best reward doesn\u2019t live in the home, but in the heart. If you truly believe in an artist\u2019s work, supporting their practice and building a relationship is priceless, and Bin Hamoodah advises new buyers to think about how buying artworks also helps to support the artists behind them. <\/p>\n

\u201cAn art collector or patron should really disconnect from their self,\u201d Bin Hamoodah stated, \u201cand think of how to be giving.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"Art Market Vittoria Benzine The art world is the ultimate choose-your-own adventure. But for scores of prospective art…\n","protected":false},"author":3,"featured_media":34277,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[32],"tags":[648,1032,28372,1033,171,67,132,68],"class_list":{"0":"post-34276","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-collector-profiles","11":"tag-design","12":"tag-entertainment","13":"tag-united-states","14":"tag-unitedstates","15":"tag-us"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/114787182463876453","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/34276","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=34276"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/34276\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/34277"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=34276"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=34276"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=34276"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}