What Even Is a Collector These Days?: An Introduction to the 2023 Edition of the ARTnews Top 200 Collectors List
Historically, building an art collection was a gradual process that took years, if not decades, in which a collector one day realized her holdings exceeded what she could hang on the walls of her primary residence, and likely, her secondary homes in far-flung locales—and that often led to a need for storage.
When ARTnews began publishing its annual Top 200 Collectors list in 1990, the art world was at an inflection point for collecting. The late ’80s saw record-breaking prices for artworks at auction and, after the recession of the early ’90s, the trend accelerated. Each year, more and more people around the world have been buying art. So when exactly is it that these buyers become collectors, and ones that merit inclusion in the Top 200?
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We posed that question directly to our Top 200 collectors, who would know the answer better than anyone. We were surprised by how enthusiastically they responded, with varied and distinctive points of view. In the pages that follow, you’ll find many of their answers. But to whet your appetite, here’s a sampling of some of their thoughts.
[Explore the 2023 edition of the ARTnews Top 200 Collectors list.]
“There are as many definitions of collectors as there are collectors,” said Jarl Mohn, whose collection is known for its major works by American Light & Space artists, combined with a focus on emerging artists in Los Angeles. For him, a group of artworks becomes a collection when it reflects a unique perspective: “A truly great collection should not be able to be confused with another collection. I recognize [that] very few others subscribe to this point of view, but it is mine.”
Anita Blanchard echoed that sentiment, saying, “Some collect broad surveys of work. Some collect from a particular era, medium, or style. Some focus even on a single artist. All that matters is that the collection ultimately reflects the collectors’ authentic journey such that the story of their lives, as they interface with the art world, can be told through the work that they own.”
“I think a common misconception of an ‘art collector’ is a person that keeps buying, even when they run out of walls,” Houston-based Barbara Gamson said. “It’s really so much more than that.” She echoes common sentiments among collectors on our list that include support for artists and institutions as well as a dedication to stewardship of the works they own.
Back when ARTnews started this list, the idea of collectors selling artworks—especially those by living artists—was far more taboo than it is today. For Pamela Joyner, the key is to be judicious. “To be a collector in the fullest and most honorable sense,” she said, “includes advocacy, purchasing works at critical times, exhibiting works to key segments of the public, active lending and donating, encouraging scholarship, and, of course, being sensitive about the how and when of deaccessioning any pieces.”
Many vow never to sell the works they own, while others see the endeavor of collecting as more dynamic and flexible—open to taking risks on untested artists and developing practices. “Recognizing that collections are entities that evolve over time, the very definition of collecting itself is subject to change, allowing for ongoing shifts and adaptations within its framework,” Grażyna Kulczyk said.
“My collection methodology is deliberate, intentionally weaving connections and contrasts,” said Badia Ofer, whose collecting focuses on feminist art, supporting artists from marginalized communities,
and highlighting social justice and climate change issues. “It is my aspiration to maintain a collection that remains vibrant, ever-evolving, and attuned to the current zeitgeist.”
At the top of many collectors’ list of must-see exhibitions were contemporary-focused shows like this year’s Bienal de São Paulo, the Made in L.A. biennial, and the 2024 Venice Biennale, as well as historical surveys like the “Manet/Degas” show that traveled from the Musée d’Orsay in Paris to the Metropolitan Museum of Art. Others cited artists’ gallery exhibitions on their radar and retrospectives for Ed Ruscha and Isa Genzken. And then, of course, there are the artworks they’ve been adding to their holdings: see what the ARTnews Top 200 have been up to over the past 12 months.
A version of this article appears in the 2023 ARTnews Top 200 Collectors issue.
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