Essays on art, markets, and the trained eye — from the desk of Derek Burton Collins.
What's good for art is good for business. Professor Collins on the city's rise as a world capital of art and culture — and the opportunity it opens for collectors, corporates, and finance.
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With a living artist, a price can't sit still. Why scarcity depends on how the hand works — and why proximity to the studio is a collector's real edge.
Three reasons a gallery won't sell you its best work — the third the one that matters. On relationships, resale, and building something that lasts.
Contemporary art is conceptual — what you see is never what it means. The three things Derek looks for before he buys, and the one that matters most.
The tells a forgery cannot hide — weight, wear, and the small dishonesties of a hand in a hurry.
Canton, 1757 — where the Western appetite for Chinese things first learned its manners.
Chinese painting and the Western eye, reconsidered — and the century that still refuses to end.
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