Marilyn Hallam

Other Things, Oil on canvas, 137 x 114cm

I began working as an art advisor just over three years ago, following twenty years as an artist and Fine Art lecturer. I have loved the work, whether it be working with international galleries or visiting artist's studios. Spending my days looking at the best contemporary art is always a pleasure, but the clichéd dream is to walk into the studio of an overlooked artist and discover a treasure trove of work.

After the lockdown lifted a little I managed to spend an incredible day in Marilyn Hallam’s studio in Deptford. I was blown away by the inventiveness and quality of the work.  After hours sorting through the racks and documenting as much as I could, I’m now really excited to show this work.

Please email me for a pdf detailing a broad selection of work from the last forty years.

The Telegraph - Are there fine art bargains to be had in lockdown?

Are there fine art bargains to be had in lockdown?

Everything you need to know if you're considering investing in art right now - and why it's not as clear cut as it seems

ByGreg Rook4 May 2020 • 7:00am

The arrival of this pandemic has seen the art world scramble to both survive and respond. We have seen schemes supporting health workers, and others focused on preserving the art world. But how about investing? Is this the time to snap up a bargain? The various offers differ wildly in terms of financial attractiveness…

Several auction houses and galleries have set up charity sales. These have tended to be fairly populist in content – as they probably should be in that they’re trying to attract the widest possible charitable audience. 

As a result, many of the lots are offered up by celebrities and more accessible artists like Noel Fielding at Maddox Gallery or Antony Gormley at Bonhams. As investments, we know that most work bought at charity sales will sell for more than its actual worth. 

Print editions by the relatively obscure graphic artists Sara Pope and Bambi sold at the recent Bonhams Blue charity auction for many times the value at which other works from the same edition sold only months ago. And that’s as it should be - the point is the gift to charity.

As a donation to worthy causes, these works are worth buying, but as an investment, as a canny purchase, they just don’t add up. Other galleries have launched Covid-19-related sales offering healthy discounts. 

On the whole, though, it seems to me they are simply works that would have always been quietly discounted and they will never repay the investment. Combine this with the fact that there will probably be a realignment and reassessment after all the pandemic is put to bed and the prices are even higher than the real worth.

As the cliché tells us, you should buy what you love and not think of the investment. Perhaps when you buy art for charity, you should think of the charity and not worry about the art. It seems difficult to imagine that anything made with reference to Covid will benefit in value from that association. 

Of course, we don’t know how or when this period will end. We don’t know if things will get significantly worse or soon be over, but I don’t believe that a painting celebrating the efforts of the NHS will be worth more because of that association. 

I can’t see even the limited edition prints of Damian Hirst’s butterfly posters being worth much in the future as they’re not great examples of the artist’s work and time will judge them accordingly. Neither are Hockney’s iPad drawings which are interesting explorations of new technology but are not as accomplished as his paintings. 

At some point, our future selves will value the aesthetic interest of the work over the reminder of this strange period. That said, though I’m not at all cynical about Hirst’s motives, the floating of his butterfly motif throughout British culture might be beneficial in the long term to the value of his more serious butterfly works.

However, beyond giving generously through direct donations or by buying work at fundraising art sales, it is also important to try and support the UK’s fine art ecosystem. It seems to me that there is an unprecedented opportunity for new collectors and old to step in, help the artists survive and collect some really credible art at ridiculous prices. This is as strange a time in the art world as everywhere else, but it seems like decades of art market distortion are beginning to be realigned.

Over the last few decades the international art world has essentially consisted of 300 billionaires buying the work of 300 hundred artists like Yayoi Kusama, Gerhard Richter and Peter Doig. The balance has needed to be redressed for a while and there is some hope that one small benefit of this destructive pandemic is that there will be that much-needed realignment. 

There are genuinely talented artists at the top end of the firmament who will see their prices remain strong, but many will fall by the wayside – they will be re-evaluated and found wanting, or not worth saving. And that is not really their fault - it is the fault of a rapacious market that has thrown them forward and raised their prices beyond all justification.

Collectors are all waiting for the prices of established artists like Kaws and Jeff Koons to drop, and it hasn’t happened yet. I have quietly had individual pieces offered to me for much less than would have been asked for the same items just a month ago, but this is more to do with particular works from particular dealers being used to fill particular financial holes. 

Across the board, or across any individual artist’s output, prices are yet to be reassessed. Some will crash when no one buys the work, some will just drop 10, then 20, then 30%. In the last analysis, at the higher end of the market, we really can’t expect prices to go up in the near future. Contemporary art just cannot be more expensive at the end of this.

Money has been far too powerful in contemporary art - and art and money are not good bedfellows. The pressures of the market, the idiosyncrasies of collector’s tastes and the pull of more accessible work, has led artists to make pieces they otherwise wouldn't have and to an unnatural focus on whichever artist is currently the market darling. 

Certainly, artists need financial support in order to continue to work and sales do provide that, but ultimately the feverish demands of the market have distorted the work that is made. After the credit crunch there were many artists like Richard Prince who saw their prices fall substantially, and though this sorting of artists happens continuously, these broader shocks quicken the process and make it more apparent. 

Nearly every artist will see their stocks rise and fall, their work move in and out of fashion, their prospects of making a living come and go. Ask a group of artists to play one-downmanship and you’ll hear a litany of horror stories of cancelled shows and lost opportunities.

But, over the last few weeks we have seen a steep rise in artist-led initiatives. Throughout the last decade we have seen the majority of artists post their work on Instagram – marketing themselves and finding sales through the platform. 

We have also seen artists setting up their own websites and curating their own shows, beginning to cut out the galleries as a middle man. The galleries have now had to move online only and so now the artist who doesn’t have a gallery and is simply selling via social media is closer to being on a level playing field with the one who’s represented by a big behemoth gallery. 

What artists really needed galleries for in the past was access to clients and a physical exhibition space. The lockdown has seen the creeping online move of the art world fast forward decades in days.

The good news is that at the emerging end of the market there are some incredible deals to be had on brilliant work. Look at Phil King and Joana Galego’s work, amongst others, in the ‘Help Fight Covid-19’ sale at Aleph Contemporary. 

We are seeing a burst of creativity from isolating artists. Locked in and without their normal space and materials, artists are rethinking and re-tuning - creatively re-imagining what they do in these new physically restricted circumstances. 

The drawings of Kiera Bennett at Charlie Smith Gallery are beautiful examples of fresh lockdown work that is really affordable at the prices offered. And there is the Instagram hashtag #artistsupportpledge, an initiative set up by the artist Matthew Burrows, allowing artists to support one another by buying each other’s work - all priced at under £200. 

As buying is open to non-artists too, there is some amazing work to be had as artists offer work they’re prepared to sell for under £200 – usually which would have previously sold for many multiples of that price. Not all the work is of great quality, but there are dozens of really exciting emerging artists on there - try the intriguing plaques by @frances_drayson or the beautiful abstract paintings of @andrewgraves67 - you can find them from their Instagram handles or if you search the hashtag #artistsupportpledge.

The world’s focus is, rightly, currently on carers, nurses and doctors, but studies have estimated that under 10% of artists make a living from their work. There are signs that this period will lead to a broadening out and instead of the spoils going to a few hundred artists, there will be many more making a living. In the meantime, there are opportunities out there for artists and collectors alike.

Greg Rook Advisory

Incredible collecting opportunities

More than 70,000 works have now been uploaded to #artistsupportpledge Here is another selection of artists who have posted work that I covet. If what they have posted is sold then you can DM them to see what else is available.

@jost_munster @martyncross @leejohnsonstudio @thebarongilvan @pascalrousson @burn_adebt @geraldineswayne @philallen33 @valerie.savchits @jasimpsonart @guy_allott @daisyparris @lena_brazin @alicerbrowne

And copied here is my previous post and suggestions again:

It's such a good opportunity to buy great work from credible emerging artists at ridiculously low prices that I thought I had to post again. This initiative, set up by the artist Matthew Burrows, has encouraged artists to dig out old work, reassess current work and make new work – all available for £200 or less. There are some incredible deals to be had – it feels wrong that artists are letting work go for such low prices, but then as they sell more and more, they are being sustained. And every time an artist reaches £1000 in sales they pledge to buy the work of another artist for £200. This creates a small but dynamic market where all can contribute whatever their level of success. Please, for your own sakes, go onto Instagram and search for #artistsupportpledge There is now a lot of work on there, so as a start I’d recommend the accounts of:

@frances_drayson @markus_vater @russel_heron_art @mrdavidlock @andrewjgraves67 @benjaminrisk @hannahlknox @gordondalton666 @freyadouglasmorris @scott_mccracken_ @florencebh @daniel_maccarthy @rebeccaharperartist_ @jakeclark_artist @caterina_lewis

The #artistsupportpledge

It's such a good opportunity to buy great work from credible emerging artists at ridiculously low prices that I thought I had to post. The initiative, set up by the artist Matthew Burrows, has encouraged artists to dig out old work, reassess current work and make new work – all available for £200 or less. There are some incredible deals to be had – it feels wrong that artists are letting work go for such low prices, but then as they sell more and more, they are being sustained. And every time an artist reaches £1000 in sales they pledge to buy the work of another artist for £200. This creates a small but dynamic market where all can contribute whatever their level of success. Please, for your own sakes, go to Instagram and search for #artistsupportpledge

There is now a lot of work on there, so as a start I’d recommend the accounts of:

@frances_drayson @markus_vater @russel_heron_art @mrdavidlock @andrewjgraves67 @benjaminrisk @hannahlknox @gordondalton666 @freyadouglasmorris @scott_mccracken_ @florencebh @danielmaccarthy @jakeclarkartist @rebeccaharperartist_

#supportartists #art #culture #kunst #generosity #artists #artworld #artcommunities #artistcommunities #painting #paint #painters #contemporaryart #contemporarypainting #contemporarybritishpainting #buyart #buyartonline #artcollection

How to value art in a gallery

A new piece written for the Telegraph:

The art market is not as transparent as most – you can’t see an artist’s share price rise and fall in the same way as stocks and you can’t tally the price by looking at materials and labour.

First World Problems is a new column by Telegraph Luxury in which our experts advise readers on their lifestyle dilemmas, on subjects from jewellery to dining. It is published every Tuesday at 7am

Greg Rook, art advisor

14 JANUARY 2020 • 7:00AM

“My wife really likes a painting at a prestigious local gallery, but I think it seems much too expensive. What am I actually paying for? What does the artist get and who pockets the rest? How do I know it’s worth what they’re asking for? JK, Oxon."

Earlier this year a client asked me to look at a painting that was being sold at his prestigious local gallery. I went to see the work and couldn’t recommend it. It was being sold by the kind of chain gallery that you find in Mayfair, Marlow and Tunbridge Wells. The kind of gallery that caters for wealthy customers with walls to fill, and the work they sell is more luxury good than fine art. The gallery’s focus is the sale rather than the quality of the art they sell.

To some extent the value of a work of art is what someone is willing to pay for it, but for a more objective measure we can start by looking at the gallery selling the work. Some are reliable sources of interesting art, but there are hundreds of galleries, of all size and status, that offer work that is essentially just furniture or decoration. 

They pretend the work is more significant than it is and make fantastic claims, but the artists will never be seen in a museum, or receive critical acclaim, or be an investment. No matter how impressive the gallery space, or how well turned out the staff, the work is not good and time will bear this out. You’d be spending a fortune on the fine art equivalent of fast food. 

So if you can find them, what are you paying for in credible galleries? What is surprising to many is that even the best will take 50% of the sale price. This seems like an enormous share - after all it is the artist who has made the work, but speaking as a poacher turned gamekeeper, as an artist for 20 years, I’ve always been happy with this split. 

A good gallery will put on month long shows for each of their artists and will take them to expensive art fairs, presenting their work to museums and institutions. They have to rent a space and pay staff and transport and marketing. 

The life of a gallerist is hard – most have a financial backer as even the 50% of any possible sales is unlikely to cover all the bills. And, of course, without the gallery’s contacts, there is often no sale – for an artist, 50% of something is better than 100% of nothing.

So in buying from a gallery, you are paying for the work, some of the gallery costs, and the artist’s costs – a studio, materials and weeks, months or even years of time. But the question remains, is the piece worth the price? The art market is not as transparent as most – you can’t see an artist’s share price rise and fall in the same way as stocks and you can’t tally the price by looking at materials and labour.

You can look at auction prices to judge whether an artist is currently in favour, but there are so few who sell on that level that not featuring doesn’t mean the work is not a good buy. You can look at the artist’s CV to gauge where they’re at in their career, but deciphering an art CV is like reading a medical chart – it’s pretty much indecipherable to most. Unless you know which collections, galleries and institutions featured on the CV are significant, it means nothing.

There are many galleries who represent good artists and buying from these is a great first step, but you need to know which they are. And if you don’t want your collection to be beholden to the taste of particular galleries then you need to research yourself or find an advisor. 

The problem is that there is a threshold of knowledge you need to reach in order to feel comfortable. You don’t expect to be able to speak another language or master an instrument without years of practice, and you can’t expect to be able to judge where to find great art without some guidance and education.

In this particular instance, I’d suggest you and your wife place a reserve on the painting and then take some time to assess the artist and the gallery. Time and knowledge is required to be an astute collector. It is easy to make mistakes when there is so much art about and so many unscrupulous galleries pushing their wares.

The good news is that those who are willing to be guided and learn and take those first steps into the art world as collectors and investors find it an endlessly fascinating and rewarding place.

Intelligent collecting

Extolling the virtues of contemporary art in the local press.

A new advice column in The Telegraph

I'm new to art collecting. Should I buy a Banksy?'

Greg Rook, art adviser

5 NOVEMBER 2019 • 7:00AM

First World Problems is a new column by Telegraph Luxury in which our experts advise readers on their lifestyle dilemmas, on subjects from jewellery to dining. It is published every Tuesday at 7am

“Should I buy a Banksy? I’m a new collector and am only just beginning to invest in art. I’ve noticed that his works are relatively well-priced, yet his profile seems to have remained high for many years - and unlike some other ‘affordable’ artists, all my friends have heard of him. The art itself doesn’t excite me, but perhaps that doesn’t matter. Please advise! ” J M-C, London

The traditional reply is that you should buy what you like, but I think this needs to be qualified. Buying art is a very particular kind of financial, emotional and public investment - the work will live with you for years and you shouldn’t settle when you can take some time to learn or be guided towards work that will really reward in all sorts of ways. 

We accept that taste evolves when it comes to food and films, but there is a reluctance to accept this when it comes to art. People don’t appreciate having their taste questioned, but ideas around contemporary art have been developing for decades and you need time to catch up.

You don’t want to collect for your friends. We all understand the impulse to own art that they recognise, that validates our taste, but is taste really displayed by having the same art as everyone else? 

I’m not suggesting you become one of those who only sees worth in niche interests, but it is better to search out what you genuinely respond to. I don’t think that loving a piece is always enough to suggest you buy it, but I certainly think that if you don’t find it engaging, you shouldn’t buy it. 

If your intention is to collect purely for investment, then, though Banksy’s profile fluctuates, it is true that his auction results have stayed strong – perhaps he has done enough to secure his place in living memory. But I don’t think a future financial return should ever be your sole motivation. Even if it is, there is work out there that will excite you and might also be an excellent investment.

So what about Banksy? I have to admit, when I hear his name I sigh a little inside. He has become one of the acceptable, though anonymous, faces of contemporary art. Those who are beginning to think about collecting often gravitate towards his multiples for their affordable prices and their sanitized edginess. 

They seem to promise that a little bit of street culture, and politics, and ‘sticking it to the man’ will be bestowed upon their owners. To me this looks as convincing as the wannabe punks who wander down Carnaby Street with their floppy hair sprayed red from a can bought in Boots.

There is value in Banksy’s work - the stencils and stunts are accessible and engaging, but his painted footprint in the common consciousness is way too big. We need a greater awareness of all the other artists who successfully tackle contemporary ideas. 

Finding that work on your own is difficult - you don’t need to kiss a lot of frogs, but you do need to go and see them. Fortunately there are gallerists and advisors who have a genuine understanding of what is out there and who can offer you a short cut to the best available work. 

Take your time, talk to people, see some shows, do your research and beware of the charlatans.

If you have a question for any of our Telegraph Luxury experts, on any topic, please email firstworldproblems@telegraph.co.uk

Clearing up some misunderstandings

I think there is a general misunderstanding as to how the art world works and about where good art can be found. There are several art worlds... or perhaps a Venn diagram of art worlds - in some circles you find good work and in others you find the rest. There are hundreds of galleries, of all size and status, that are engaged in offering work which is essentially just furniture or decoration. Sadly these galleries often pretend the work is more significant than it is and so these poor offerings are frequently very expensive. The galleries make fantastic claims as to the quality, but the artists will never be seen in a museum, or receive critical acclaim, or be an investment. No matter how impressive the gallery space, or how well turned out the staff, the work is not good and time will bear this out.

People buying this work are essentially spending a fortune on the fine art equivalent of Jive Bunny or Milli Vanilli. They are being duped into confusing fine art with high end baubles, or at the very least confusing good art for derivative journeyman creations.  They’re being duped because contemporary art is a specialist area - one that requires years of looking and learning to understand and fully assess. If you want to ensure that you are not being duped you need to do that work, or get someone to help - at least to begin with.

That is something I can do. I can listen to your requirements and explain where you should look. I don’t represent any artists and so have no agenda in pushing one rather than another. Instead I purely present to potential collectors those artists who I believe to be making good work, who I believe are credible and valuable in every sense. They might be blue chip, emerging or completely unknown, but they all share the fact that I know, after over twenty years of making and lecturing about contemporary art, that they are some of the artists who are currently worth attending to. I want to help make the best work seen and available to more people.

If you wish to be added to my collector list and receive my recommendations, with no charge or obligation, then please email me at info@gregrookadvisory.com

Willard Boepple