上周，我們推出了一篇《在藝術(shù)市場賠錢的九個方法》（見7月21號新聞），希望能給大家一些建議。當(dāng)然，在藝術(shù)市場也是可以賺錢的。首先，對藝術(shù)真正的熱愛是十分重要的，它可以幫助你培養(yǎng)良好的判斷力，并且經(jīng)得起時間的考驗(yàn)——保留15至20年是最佳時間。底線是，賣出的時候不要太貪婪。Lord Rothschild介紹成功經(jīng)驗(yàn)時說：“我總是賣的太快了。”
1. 買一組作品。
假如，你從丹尼爾溫伯格畫廊（Daniel Weinberg Gallery）80年代末在洛杉磯的每一次展覽中都買進(jìn)一幅畫，那么你將會有一幅Robert Gober, 一幅John Chamberlain, 一幅Eric Fischl, 和一幅Robert Ryman。對于想要挑選過去時代作品的經(jīng)銷商，比如他想要Paula Cooper，或者時間更近一點(diǎn)的David Zwirner, James Cohan, Adam Baumgold 和Zach Feuer，那么你的藝術(shù)家代表作品選輯將會價格飆升。
2. 犧牲你的卒，去得到一個后。
通常情況下，為了達(dá)到最高目標(biāo)，收藏家不得不去畫廊里買一些不太受好評的作品。許多年前，一些人就相信，想在馬里布恩畫廊（Mary Boone Gallery）買到Fischl或Schnabel的作品，你就得先去買Gary Stephen或Michael McClard。
3. 從一位藝術(shù)家的財產(chǎn)中購買。
對于收藏家和經(jīng)銷商來說，能夠接近薩姆弗朗西斯或者安迪沃霍爾的財產(chǎn)，并從中挑選有價值的作品是一件多么幸運(yùn)的事。由于各種原因，這些財產(chǎn)的賣價往往低于市場價格，其中之一就是為了避免投機(jī)。他們希望能把這些作品賣給真正的收藏家，而不是轉(zhuǎn)手放到拍賣行去再次拍賣。如果你能獲得這樣的機(jī)會，務(wù)必要好好把握。
4. 購買新的印刷品。
即使印刷品的價格不太可能超過繪畫作品，但是它們還是有一定升值空間的。對于印刷品來說，出版發(fā)行機(jī)構(gòu)很重要。通過訂閱ULAE, 或者Gemini和Crown Point Press，確保你能以IPO（首次公布）(initial public offering)的價格買到一些印刷品。一旦這些作品賣出，出版商會馬上提高它們的價格。
5. 購買拍賣會上流拍的作品。
這是一項(xiàng)高風(fēng)險和高利潤并存的決定。如果一件作品流拍了，任何人都可以事后跟拍賣商聯(lián)系去購買它。消極的一面是，大家都知道它流拍的事實(shí)，并且下意識的將它歸為低一等的藝術(shù)品之列。但是拋開這些看法，如果你認(rèn)定這是一件好東西，你完全能夠借此機(jī)會討價還價，以非常便宜的價格將它買下。等到再要賣出的時候，你的決定將會被證明是十分正確的。
6. 直接從藝術(shù)家的工作室購買。
有些藝術(shù)家完全遵守和經(jīng)銷商的合作關(guān)系，有些卻不，他們希望撈到一筆吃喝游玩的費(fèi)用。當(dāng)然，大多數(shù)情況下他們都要求現(xiàn)金支付。我們并不是要鼓勵你做違法的事，你要知道，這對藝術(shù)家或經(jīng)銷商來說都不是什么尷尬事。有時候，經(jīng)銷商會樂于看到藝術(shù)家以別的方式賣出自己的作品，例如安迪沃霍爾與卡斯泰利達(dá)成了協(xié)議。
7. 在回顧展之前購買作品。
如果你發(fā)現(xiàn)一位藝術(shù)界的重要人物將舉辦作品回顧展，這正是出手的好時機(jī)。展出之后，價格將隨之上漲。如果你有這位藝術(shù)家的作品，想盡一切辦法讓它在展覽中露面，這將會使它大大增值。
8. 買一位準(zhǔn)備換畫廊的藝術(shù)家的作品。
如果有機(jī)會在更好的畫廊展出自己的作品，藝術(shù)家通常是不會拒絕的。盡可能在換畫廊之前買到他的作品，因?yàn)樵诼曌u(yù)更好的畫廊展出后，藝術(shù)家的聲譽(yù)和作品價格將會隨之增長。
9. 購買博物館委托人收購的作品
如果你想大量投資，去看看當(dāng)?shù)夭┪镳^委托人最近正在收購什么作品。你會發(fā)現(xiàn)在特定博物館的特定藝術(shù)家展出之后，增值將會緊隨而來。
（來源：Artnet，點(diǎn)擊參看原文）
【編輯：張明湖】
NINE WAYS TO MAKE MONEY IN THE ART MARKET
by Richard Polsky
Last week, we looked at the many ways that careless collectors can lose money when they buy and sell works of art [see "Nine Ways to Lose Money in the Art Market," July 16, 2009]. Of course, money can also be made in the art market. It goes without saying that a true passion for art is the first requirement. That love of art helps you believe that you possess the sound judgment to pick good artists, and gives you the discipline to hang on to them -- 15 to 20 years being optimum. The bottom line is not to be greedy when it’s time to sell. Remember the sage advice supposedly given by Lord Rothschild when asked the secret of his success: "I always sold too soon."
1. Buy the program. Imagine if you had bought one work from every show at the Daniel Weinberg Gallery in Los Angeles during the late 1980s. You would have ended up with a Robert Gober (and a sink, no less), a John Chamberlain, an Eric Fischl, and a Robert Ryman. Ingratiate yourself with a dealer who has picked winners in past eras, such as Paula Cooper, or more recently David Zwirner, James Cohan, Adam Baumgold and Zach Feuer, and watch your art portfolio soar.
2. Sacrifice your pawn (to get to the queen). Often, to make the above strategy viable, a collector finds him- or herself having to buy a work or two by a gallery’s less celebrated artists. Many years ago, some believed that a good way to approach the Mary Boone Gallery to obtain a work by Fischl or Schnabel was to offer to buy a Gary Stephen or a Michael McClard. Even the great Leo Castelli smiled upon those seeking a Lichtenstein, Johns or Stella if they asked to buy a Cletus Boyer, Mia Westerlund Roosen or even a Keith Sonnier.
3. Buy from an artist’s estate. Be it Sam Francis or Andy Warhol, lucky are the collectors and dealers who can get close to an artist’s estate, and be able to cherry pick from the trove of paintings the artist has left behind. Estates often sell work below market for several reasons, including to avoid speculation. Their strategy is to place pictures with bona fide collectors who will hold onto the work rather than ship it off to auction. If you are lucky enough to be able to acquire pictures from an estate, handle your opportunity responsibly -- there are no second chances.
4. Buy new release prints. Even though prints are less likely to jump in value than paintings, they do offer opportunities for appreciation. And when it comes to prints it’s all about the publisher. Having a subscription to ULAE, or to a lesser extent to Gemini and Crown Point Press, insures you of the opportunity of buying prints at their IPO (initial public offering) price. Once the edition sells out, the publisher automatically raises the price.
5. Buy items that pass at auction. Risky business but highly lucrative when it works. When an artwork fails to make its reserve, anyone can approach the auction house with an offer to buy it after the sale. On the negative side, the whole art world is aware the thing didn’t sell and hangs the scarlet letter "B" (for Burned) on it, claiming it was either inferior, grossly over-estimated, had dubious title or some other defect. Think independently. If you decide that it’s a quality work, go for it and make the auction house a lowball offer. If the firm accepts, not only will you have gotten a bargain, but no one will know what you paid for it. When you go to sell someday, that will prove extremely beneficial.
6. Buy directly from an artist’s studio. Some artists are extremely loyal to their dealers. Then there are those. . . . If you choose to work with an artist who sells direct, be aware that most of them like to be paid in cash. You’d be shocked at some of the big names who will bend the rules to pick up spending money for vacations, greens fees and fancy restaurants. Remember, I’m not advocating that you do anything illegal. Just be cool about it so neither the artist or his dealer are embarrassed. Under certain circumstances, some dealers are willing to look the other way when an artist makes deals on the side, such as Andy Warhol’s arrangement with Leo Castelli.
7. Buy pre-retrospective. If you discover that a major art world figure is about to receive a full-dress retrospective, it’s time to spring into action. There’s nothing like anticipation of a major show to put an individual artist’s work in play -- the price of a work of art always goes up on the come. If you already own a painting by the artist about to be canonized, do everything in your power to lend your work to that show -- all the better to have your painting documented, which increases its value.
8. Buy an artist who is switching galleries. Artists are human. When an opportunity to exhibit at a more important gallery comes their way, chances are they’re going to take it. Try and buy a painting before the changeover becomes official. In one recent example, Robert Bechtle jettisoned a 30-year relationship with O.K. Harris for greener pastures at Gladstone Gallery. By exhibiting at a gallery with a stronger reputation, Bechtle’s work was seen in a fresh context, which helped his prestige, to say nothing of his prices.
9. Piggyback a purchase on a museum trustee. If you want to make a sharp investment, just find out which artist your local museum’s trustees are currently acquiring for their personal collections. You will find that even though it’s a conflict of interest, a "value-increasing" show of that particular painter, at that particular museum, is rarely far behind. Years ago, the San Francisco Museum of Modern Art held a large survey of Sigmar Polke’s recent work. While reading the wall labels, I noticed that a good proportion of the show was owned by members of the board. What a surprise.
（來源：Artnet，點(diǎn)擊參看譯文）
