Jane Cofer on Collecting Photography

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Corner installation with works by, left, Vivian Maier, <i>Untitled, Self Portrait</i>, n.d.; Casey McGlynn, <i>Untitled, Learning to Sit</i>, 1999; and Christine Kosiba, <i>Rabbit</i>, 2015; clay sculpture.
Corner installation with works by, left, Vivian Maier, Untitled, Self Portrait, n.d.; Casey McGlynn, Untitled, Learning to Sit, 1999; and Christine Kosiba, Rabbit, 2015; clay sculpture.

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CS: What led you to become an appraiser?
JC: After 10 years in New York, I just wanted to go home. Back in Atlanta, Jane Jackson of Jackson Fine Art told me that a woman at the High Museum was going on maternity leave and they needed someone to help with an exhibition of Elton John’s photography collection. Elton John often went  to Jane’s gallery to buy photography, so she had that connection. Seeing his collection and realizing that people collected in this capacity taught me that there was a need out there for collection management. Soon after, Anna Walker Skillman took over Jackson Fine Art, and she advised me to look into appraising. I took classes at New York University in appraisal methodology and then came back to Atlanta in 2001 and hung my shingle.
CS: Were many people doing art appraisals in Atlanta 15 years ago?
JC: At the time, I felt like I was the only person doing it—it was kind of a niche business. It has grown over the years, possibly due to TV programs like Antiques Roadshow that popularized the practice of valuation. A lot of the appraisers on that show have to vet the work before they come on; they do the research, they’re not winging it. I don’t think most people realize what a formal thing appraisal is and what goes into it. An appraisal is a legal and a fiduciary document. A lot of the work I put in has to be in accordance with compliance rules. I’m a member of the Appraisers Association of America, I pay membership dues every year, and have to take the Uniform Standards of Professional Appraisal Practice course every two years.
Cui Xiuwen, Existential Emptiness #20, 2009.
Cui Xiuwen, Existential Emptiness #20, 2009.

CS: How does being an appraiser influence you as a collector and advisor?
JC: Being an appraiser means that I’ve seen so many different and fantastic collections, from high dollar to those that aren’t. For some people, building a collection is obviously very ego-driven, but what I find so inspiring is when they buy what they love. Working with those collections inspires me a lot—probably too much! For me, the advising melds well with the appraising. I didn’t really start advising until about five years ago. At first I didn’t want to; I take collecting so personally that I didn’t know how that would translate into working with someone else. Then I realized how much fun advising is because I see a lot of art in my appraisal research, in people’s collections, and in galleries.
CS: What’s your best advice for someone who wants to start building and managing a collection?
JC: Don’t go for the trends, stick with your gut. I always say, you gotta go look at the work in person. Don’t spend a dime until you do. When I consult with clients, I start with a big presentation book, without prices, just to figure out what they find appealing and narrow it down from there. Some people like to start with something more conventional on their walls, but it’s more than trying to find a pretty picture. A prospective buyer should learn about the process of the artist, their thinking, what museum collections they are in, what is behind the image, who is behind that image.
CS: Is it important to only look at artists that are represented by galleries or museums, even for new collectors?
JC: It helps, especially if the art is an investment. You should obviously, buy an image that you love, but when someone gets to the point where they are hiring an advisor, it’s because they want to take their collecting to the next level. They do it because they want to avoid the noise, or they want to be directed to pieces that they find engaging. Of course there are no guarantees of future value—just as in  buying stock—but I am willing to dole out advice to anyone because I love it. The biggest advice is that most of all, you must go look, look, look.
CS: Where are the best places to look at work? Art fairs? Galleries? What about visiting artists at their studios?
JC: Definitely go to artists’ studios. If they’re not represented, great, go for it and buy directly from the artist. Going to a gallery to hear an artist talk about work that you already like brings another level of meaning to it, and might make you want it even more. Galleries can be great resources for someone looking for advice. Some people find a primary gallery to work with. Other people might want to know what else is out there and in that situation, an advisor can help. Here in Atlanta, the gallery I would recommend going to for photography is Jackson Fine Art. In New York City, there’s Howard GreenbergBruce Silverstein, Yossi Milo. I also go to art fairs and talk to the galleries there, to look at what they have. Galleries are so enthusiastic about their artists, they want to talk about them, and I want to listen!
CS: What’s different about going to an art fair versus a gallery?
JC: I think art fairs are a great thing for people to just go to see what’s going on, to start picking up trends and patterns. Go to an art fair and then if you feel a buzz about a particular artist you see, go to the gallery.
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