Design of art collections

Natalia Levanova LEVANOVA DESIGN, self-employed designer-curator, PhD in Law. Moscow, Russia. www.levanovadesign.com levanovadesign@gmail.com +7 (985)211-40-50

The author examines the essence, principles and main problems of collecting as a type of social activity that helps improve the emotional, intellectual and financial standard of human life. Practical problems in the design of art collections are highlighted, related to the issues of collectibles and the process of their acquisition, as well as the storage and display of works of art in a private collection. The main conclusion is that collecting should be considered as a socially significant type of social activity that influences the culture of individuals and society as a whole.

Key words: collecting, collection, art, contemporary art, collection design, principles of collecting, art market, buying art, art community, art market participants, collection budgeting.

"Design is activity, aimed at solving problems. It gives an opportunity to clarify, synthesize and strengthen the meaning of word, image, product or event". Paul Rand

Introduction
The subject of this study is collecting as an emotional and intellectual activity. The article is an attempt to present this problem as a complex issue that requires practical analysis and theoretical study.

Purpose of the study
As the purpose of the study, the author puts forward coverage of the main issues of the collecting process and analysis of participants in the art market.

Research methods
The following methods were used in the research process: the system method, which underlies any fundamental research and makes it possible to present a particular phenomenon in inextricable connection with other elements of the system being studied; analytical method necessary to clarify individual facts and summarize information from literary sources; the method of diachronic and synchronous examination of the material and the descriptive method, which were used for the structural analysis of the material.

Research results and discussion
It is perhaps rare to meet a person who does not collect something or at the very least did not use to collect something in their childhood. Psychologists who study collecting as a phenomenon believe that it is based on two instincts: the hunting instinct and the instinct of self-preservation. The former is born out of fervor and includes all the usual phases: searching for something, tracking it, pursuing it, fighting for it, gaining hold of it, using it and, finally as a rule, losing interest - and then the cycle begins anew. The latter can be seen in the collector’s attempts to create a whole out of disparate elements. He acquires an object of art for the sake of perceiving it in the context of other works. “The best collections of art are, in fact, independent works of art in their own right, clearly irreducible to the sum of their parts. When a collection is the result of the individual creative efforts of a particular owner, it often makes a more favorable impression than a random accumulation of valuable exhibits in a museum" [1, p. 334].

Anything can be a collectible. However, the results of collecting are not always collections in the true meaning of the word. So how does true collecting differ from simply collecting stuff? Having studied numerous works on the subject and having analyzed the experience of famous collectors (those who have become household names in the world of collecting), we set out to outline the basic principles of collecting as a type of social activity that helps improve a person’s emotional and intellectual state as well as their financial status.

Any serious collecting has its own purpose, which determines the strategy and instills a feeling of great satisfaction in the collector when the object in question has been located, then acquired and has finally become part of the collection. Having a clear goal helps us understand where to move next; it guides the search for the new acquisitions, and makes the collection consistent and well-structured. Setting a specific goal means knowing why and for what purpose a collection is created. And if the answer to the question “WHY do we collect?” lies in our subconscious, our genes, upbringing, education and even, according to some psychologists, depends on our ethnicity, then we have to find a clear answer to the question “WHAT FOR do I collect?” as early as possible. Our collecting strategy will depend on the answer. The most common purposes of collecting are: investment, philanthropy and, of course, personal pleasure. Even if there are several goals, one of them will ultimately prevail, and serve as the underlying principle of our collection.

A collection is not just the sum total of the objects; it possesses a character of its own, it is something integral and consistent. In other words, a real collection is always based on some concept. Sometimes this concept is hard to define at the very outset, but it will emerge later, when, for example, the common theme of the acquired works or their origin (i.e. belonging to a certain artistic movement or group) have transpired and manifested themselves. Collectibles can include watercolors, graphics, sketches, collages, book illustrations, posters or small sculptures among other things. The themes can also be varied - nature, family, eroticism, death, and so on and so forth. The collection can include several related sub- topics, making it more diverse. For example, if you are into author’s prints or other types of print, you can, for example, collect only the works that come under the exact same number in each issue or, say, the works with numbers like 50/100, 100/100 etc. This is especially interesting if you collect the works of one artist. In any case, having a clear concept helps transform haphazard collecting into building a serious collection.

If we talk about contemporary art, world-famous collectors use the so-called vertical and horizontal approaches. Horizontal means the purchase of various works by one artist whereas vertical means the purchase of the most significant works of different artists. Top collectors tend to combine both approaches. The horizontal approach may give the artist a good career, but oversaturate the secondary market with his works and thus devaluing his art to some extent. Of course, collectors with more modest means can hardly afford to apply such approaches, but finding the principle underlying one’s collection remains pertinent for them as well. While random spontaneous purchases may have their uses, one should still consider the future of the collection and focus on its concept.

While collecting, you obviously face the problem of who to buy from and at what price. Careful budgeting means, first of all, deciding on the price segment you can afford. After all, an object of art doesn’t have to cost a lot to have great art value, while overly expensive artefacts don’t necessarily possess high artistic merit. The cost of anything is influenced by many factors. Even fashion is the result of well thought-out marketing decisions, to say nothing of the way the art market operates. In this regard, when drawing up a budget for the purchase of art objects, you need to take into account a number of mandatory expenses associated, for example, with framing the work. The cost of a frame can vary greatly and it depends not only on the size, but also on the material and the intricacy. Commissions when buying at auction, import duties when buying abroad, transport costs and the costs of possible examination - all this must be taken into account when budgeting for a collection.

There is also the practice of mandatory royalties to artists for sales on the secondary market. In Europe, for example, it is 4% of the sales price between 1,000 and 50,000 euros; interestingly, in the USA the law does not provide for such a practice. Some European countries offer interest-free loans for the purchase of contemporary art (England, France and The Netherlands). Thus, for example, in the UK you can borrow up to 2,000 pounds for 10 months with no interest paid. This is made possible by the participation of galleries. If you happen to have established a good relationship with a dealer or gallery, you can arrange for a deferred payment purchase. Sometimes friends or neighbours pull together to purchase one piece of art and then take turns exhibiting it in their homes over a period of time. This provides an opportunity to live with a particular work, hone your taste for art and perhaps change it.

Another widespread practice are art clubs, when for certain membership fee collectors get the opportunity to borrow objects of art for a period of time, usually up to a year. Among other things, these clubs employ curators who are looking for objects with high collection potential. In any case, you need to understand how much money per year you can afford to spend on the development of the collection, and make purchases based on this decision. This could be just one large purchase or several smaller ones - it all depends on what price range you have set for the collection. This may change over time, but one thing is certain - the financial aspect of collecting should be carefully thought out well in advance.

As for the principle of consistency, in the field of collecting it manifests itself in two ways. Firstly, a collection itself is an integral system based on a specific concept. And in this sense, it consists of integrated subsystems such as themes, styles, performance techniques, etc. Secondly, collecting as an activity is systemic at its core - that is, the process of building a collection is a never ending one. It includes regular purchases, not just acquiring pieces of art on occasion, as well as engaging in activities aimed at developing the collection, from collecting information about collectibles and their authors to participating in exhibitions, public discussions and other events that might increase the value of the collection.

By immersing ourselves in the world of art and becoming familiar with its features, we not only get to know it better, but also become more confident in choosing what objects to purchase, both for personal pleasure and for the purpose of financial investment. One grows as a collector not just by reading books on art or visiting exhibitions, museums and crafts fairs. This also includes participation in or at least presence at auctions, browsing specialised social networks, websites and generally doing anything that puts you on the map in the art community. You need to listen to what is said about artists, trends, styles and directions; you should keep up with the current trends at exhibitions and monitor what is in at auctions and galleries. Remember that public museums and galleries exhibit works by established artists, making their exhibitions a must-see. State-owned national museums and galleries house the works by the biggest names in the industry. The art world speaks the language of these artists, and you must be fluent in it in order to become a full-fledged participant in this community.

As we said earlier, before you think about where and how to buy art, you need to decide what to collect. Of course, there are many things that you can spend money on, but art is not only something to decorate your apartment with. Without a doubt, buying and collecting art is a fascinating process in itself, but when it comes to contemporary art, it is also a reflection of what is happening to us here and now. “Unlike our grandparents, we live in a world that we created ourselves. Just some fifty years ago, the key to understanding art was to appreciate still-life paintings looking at the pictures of nature... We are force-fed a multitude of various signals, like some broiler chickens in cage batteries, and it is no longer the quality or meaning of messages that matters, but rather their abundance. This abundance has affected art, too ... The problem of art thus became the question of survival, looking for ways of adapting to a new environment...” [2, p. 340].

The essence of contemporary art is defined in different ways by a host of institutions. For example, Britain's Tate Modern collection of contemporary art is described as "the art of today and the relatively recent past." As a rule, the works housed at Tate’s date back thirty to fifty years. Some auctions feature both contemporary and post-war art without differentiating between the dead and the living artists. Meanwhile, the Getty Museum in Los Angeles defines contemporary art as art created by artists who are living today. It is believed that the main difference between modern art and the art of living artists who work in the traditional manner is that the former is defined by the avant-garde approach, the concept, the artist’s unique view; thus there are no authorities who establish what art is good and what is bad. It is the absence of such rules and universally acknowledged style requirements that makes it possible to buy and collect contemporary art at different levels. Few people can afford to purchase large-format and expensive objects, but this does not mean that others cannot collect such art.

One way to acquire affordable contemporary art is by purchasing artists’ prints. Many art galleries, in collaboration with artists, create limited selections of such prints in very high quality. This is a great way to buy a work of art for reasonable money from a trusted source, as well as to get acquainted with new artists, styles or genres. Among other things, in this case, you acquire not only a limited print of an expensive original artwork, but also the opportunity to explore your interest in it, which, in turn, may result in possible changes in your preferences and forming a new view of the collection as a whole. Limited edition prints must be numbered indicating the issue number and quantity (e.g. 1/100). Sometimes, the price of the prints increases when a series sells out. The pre-sale price, sale price and after-sale price of the series may also differ.

The fewer prints in a series, the more exclusive they are, and the higher their price. On the one hand, a large number of prints in one issue divests them of their uniqueness, which means that the cost of each is unlikely to increase even if the issue has been completely sold out. On the other hand, the lack of exclusivity makes prints affordable for a more general audience, which is more democratic. In addition, the value may grow if the release is very popular or the artist's reputation has become more established - for example, if the original work ends up in a museum or world famous collection, or the artist has received wide recognition by getting an award or winning a competition. Another issue to consider when purchasing artists’ prints is to check for the presence of the author's signature and the certificate of authenticity which lists the characteristics of the work: its title, size, technique and date of issue, the number of works in the issue. Obtaining a confirmation that the number of works in the series will not be increased (meaning that all the materials for creating prints have been destroyed after the release of the series) is also highly recommended.

Another opportunity to collect contemporary art is to purchase so-called “young art,” which is created by budding artists who nevertheless have every chance of reaching career heights. This term is often used to refer to absolutely everyone who chooses to list themselves among artists, regardless of their actual creative potential. The defining factor in this case is the name of the dealer, gallery or other authorities in the art world. It has to be noted, however, that there are no clear-cut answers here, since even a professional opinion about the possible success of this or that budding artist is only an opinion, and not a final judgement. After all, success is akin to a winning ticket - an artist must be fortunate enough to be noticed by the right people at the right time and in the right place.

Buying “young art” can be a good investment if you take it responsibly and seriously. To do this, you need to carefully monitor those artists who participate in group exhibitions and competitions, those chosen by curators and gallerists, and who critics and fellow artists talk about. Local competitions held in minor cities or even art schools are also worth keeping an eye on in addition to international and national awards. The most respected Russian awards today are the Kandinsky Prize, the Kuryokhin Prize, the Innovation and ArtNewspaper Russia. Unfinished drawings and sketches can also be collectibles. They can be done in pencil, pastel, ink, watercolor or any other technique. These drafts can capture the spirit of the work for which they were created, and may prove to be a good investment as the work of an established artist.

When it comes to alternative art, collectibles may include naive art and art brut, kinetic and digital art, graffiti and media art. These forms of art are often treated with a certain degree of mistrust, but we should remember that photography, for example, was not immediately recognised as an independent form of art - in fact, it was viewed as the “death of painting”. Similarly, graffiti has only become acknowledged as a form of art fairly recently when it got official recognition from galleries and art fairs, despite its being anarchic by nature and breaking out of the traditional perception of art. In addition, many street artists work under an alias, which, however, does not prevent them from gaining recognition from the audience and the art world. For example, Banksy's works are sold by galleries and auctions at truly impressive prices. So, purchasing alternative art - art that provokes and challenges the norm - can be a very good investment.

As for digital art, it is gaining popularity as technology advances and is increasingly used to create art. “Since David Hockney created his first work on an iPad and released it as a limited edition print, the possibilities of digital art have expanded to include things like Tracey Emin's self-presentation in the form of a photo diary at Blackbury. It was sold in 2010 at Christie's for almost £5,000" [3, p. 47]. Just like with artist's prints, you need to be careful when purchasing digital art and check that the edition is limited and the original digital file has been removed, as it is the only thing that has investment potential.

Photography as an art form can be perceived in a number of ways depending on how it was captured (digital or film), whether it is color or black and white, what paper it is on and how it is printed (laser or computer technology, Polaroid or darkroom), as well as the time limits of its creation (modern or vintage). All this affects the quality and durability of the photography and the visual effect it produces. Some, for example, believe that inkjet printing is largely an interior printing method, since the image is produced by a printer that is configured via a computer, which practically excludes any human involvement. Also, many artists prefer to work in specific techniques using specific media, and the collector should be informed in such matters because this information helps to understand what constitutes the value of the work.

A sculpture, as a collectible object, can be anything created by using the chisel to create a form from marble or wood, alabaster or limestone, or granite etc.; modeling pliant materials such as clay or wax; creating moldings using plastic, metal or clay. Another form of sculpture are assemblages that are created from a variety of miscellaneous objects assembled to form a single work of art. A common misconception is to think that sculpture is always extremely expensive to purchase and cumbersome to install. Naturally, traditional bronze or marble sculptures can be expensive, due to both the cost of materials and the effort it takes to create the work, which is particularly true in the case of casting a sculpture at a foundry. However, sculptures can be produced in series or made from more affordable materials, such as ceramics, wood, plastic or glass, which reduces their cost. Designer jewelry can also be considered as minor forms of sculpture.

The term “craft objects” refers to a truly wide range of objects created in different techniques and from different materials - from ceramics to patchwork. It is somewhat unclear whether these can be classified as true art. “Most traditional artisans, quite justifiably, do not view themselves as true artists, whereas some still consider themselves as avant-garde artists, for example, Tracey Emin with her patchwork quilts or Grayson Perry with his clay pots and tapestries. By and large, craft objects are seldom considered to be true art, which is mostly due to their utilitarian and functional purpose, although there are no strict rules in this regard. In general, when it comes to collecting these objects, one should look beyond their functionality and choose the ones that are exhibited as contemporary art as they provoke and inspire, and invite the viewer to start a dialogue" [4, p. 53].

Buying a piece of art is more than just closing a financial deal. It involves engaging in an emotionally loaded relationship between the artist, dealer and collector - one that serves to develop the latter’s artistic taste and interest in art. The process of purchasing art is quite intimate: negotiating and then setting the final price is never easy. Then, when the deal is closed, the art object has to be transported, framed, exhibited, etc. However, all this is an integral part of the process that makes it truly unique and interesting. Sometimes, purchasing an original piece of art results in building a life-long relationship between the artist, or dealer, and the collector.

Purchasing and collecting art requires a certain amount of confidence that comes from understanding how the art community functions. The collector is a full-fledged member of the community, regardless of his or her assets. Art advisor and curator of the world's best corporate collection, Alistair Hicks, writes: “Most collectors do not have to coordinate their purchases with anyone other than their family members, while the Deutsche Bank art team needs to get approval from the central and regional management, to explain the need for a particular purchase to the managers and, most importantly, according to the Bank policy, to the employees" [5, p. 12]. Meanwhile, it is the collector him- or herself who gets to decide what art to buy, which galleries to trust and which artists to prefer.

To do this, a collector needs to constantly develop and analyze their artistic taste, to keep track of what is happening in the art world, what to look out for and how much to pay. Affordable art does not always mean cheap and bad, but then a collector must be certain that the money spent was not spent in vain. You can get a really great work of art at a fantastic price if you know what to look for. When it comes to contemporary art, value judgments such as “cute”, “nice” and even “beautiful” are not enough to rely on when choosing a work of art. A collector should first and foremost focus on the works that provoke, rather than the ones that “please” one’s sense of beauty. A relationship one builds with a particular piece of art is a long-standing one, built on intricate interaction. The reactions experienced by the viewer are subjective, as they are based on personal taste, sensitivity to art and emotional intelligence.

The best way to purchase contemporary art is to purchase directly from the artist. This is a person who is well versed in the art world and obviously has a keen interest in it. The artist constantly analyzes art, experiments with various techniques and materials and creates new works. You can buy a work directly from its author not only at a fair or exhibition, but on his website or even in his workshop. If the latter is the case, the process of acquiring a work of art becomes a very personal, sometimes unforgettable experience. In doing so you not only learn first-hand how the work was created, but also get a chance to delve into the creative process, while getting to know the artist as a person.

If one purchases an object of art directly from a gallery, dealer or artist, they should carefully consider the contract formalizing the transaction. The subject of the contract is the art object itself complete with a detailed description. The latter must by all means include the full name of the author and the title of the work. It might be a good idea to add the date when it was created and a photograph of the object. It is also necessary to indicate whether the work is in fact genuine, especially when purchasing the works by deceased authors. The task of establishing authenticity is undoubtedly an exacting one as the most effective way to do it is to have your potential purchase examined by experts. In the case of, for example, a painting, the process might take up to a month. The more valuable the work is, the more important it is to involve several experts. It should be noted that carrying out an expert evaluation to prove the authenticity of an art object created by a contemporary artist might prove highly problematic when there are no other works by him or her available for examination in the country. Among other issues to consider if the seller and buyer have agreed to conduct an examination is firstly, to reach agreement about who will pay for it, secondly, which experts will be involved, and lastly, what steps are to be taken should the work of art turn out to be forged.

When concluding a purchase-sale contract, it is vital to ensure that the seller is authorized to be part of the deal. There are two aspects to take into account: first, to establish whether the seller has rights to the work as well as the provenance of the work (the history of ownership of the object might be difficult to check) and second, to verify the power and the scope of authority in case the seller is represented by a third party. It is in many ways more about the buyer executing due diligence than about the seller’s liability. After all, defending your rights in court if the painting was purchased by verbal agreement and no proof of payment is available might be a trying experience. In Europe, for example, when purchasing a piece of art, sellers must disclose receipt of all payments as well as the source of funds if the deal is worth more than €10,000. Unfortunately, there are no similar legal requirements in Russia. Finally, if, for some reasons, the examination and/or verification procedures cannot be carried out, it is prudent to include some legal guarantee from the seller. If it turns out to be false, the buyer will be able to claim damages. It is advisable as well to obtain guarantees of the rights to the painting, the absence of encumbrances (pledge, seizure), as well as its authenticity.

According to Russian legislation, when purchasing an original work of art from the author or his heirs, the exclusive right to the work remains with the author, unless the contract specifies otherwise. This means that the buyer has the right to display the work and reproduce it in catalogs, but cannot make commercial use of the image; in other words, to make money from it. When purchasing an original work of art from a person who has the exclusive right to it, but is not its author (for example, from a gallery), the exclusive right to the work passes to the buyer, unless otherwise specified in the contract. If commercial use of the object is intended, a pertinent provision should be included in the contract to avoid the risk of violating the rights of the author.

When it comes to the price of a work of art, what should be taken into account is that there is no direct correlation between its price and its cost of making. In most cases, the time spent creating the work has little or no bearing on the price either regardless of whether it may have taken three hours or three months to complete it. Since assessing the quality of work may be difficult, size is often a factor taken into consideration. Should the works of the same size created by a mature artist differ in price, it can be accounted for by the difference in the artistic value and the complexity of the work. In general, art objects are assessed, bought and sold in an ever-changing market situation. A great number of factors, such as economic, political, emotional and even psychological ones contribute to these fluctuations. Prices are influenced by the marketing strategies of auction houses and dealers, the preferences of collectors and critics; by what is currently exhibited in museums or shown in television programs; by the aspirations of artists.

In fact, “in a market where the object of exchange are creative efforts, there currently is no clear pricing methodology and it is unlikely to appear; therefore, additional knowledge, expert assessment, and sometimes information that is not pertinent to art play a crucial role” [6, p. 108]. What really affects the financial value of an art piece is how it is valued by art market participants. The higher their social status and the stronger their authority in the art world, the more expensive the work of art is. In the twentieth century, “dealers, like artists, became a brand. The collector pays for the brand and at the same time for the fact that society is highly likely to recognize the value (both artistic and commercial) of the acquired work” [7, p. 23].

It is special institutions and different social statuses that make the artist and his works expensive and sought-after. These include both the personal characteristics of the artist himself, such as his professionalism and reputation, the awards he or she received, the exhibitions, fairs, auctions and international biennials he or she participated in. The way galleries and museums perceive the artist is of importance as well. “The art market evaluates the work of artists partly by the collections in which they are represented. And here a standard hierarchy applies: legitimate museums come first, then it is branded collectors, and only then it comes to collectors who have known the artist and collected their works for a long time” [8, p. 127]. In other words, the price of a piece of art primarily speaks of the artist’s standing, the dealer’s reputation and the buyer’s status.

Professional education plays an important role in the artist’s performance and serves to improve the quality of his works, and therefore their value, in a positive way. At the very least, it guarantees a certain level of expertise, which is an important point. High-quality art schools conduct a strict selection of applicants and, in the process of training, prepare highly qualified professionals.This, of course, does not in itself make them an expensive artist, but it does guarantee the technical quality of their work. The second important factor in pricing in the field of art is the artist’s reputation, which consists of various factors, including the opinions of critics, gallery owners and collectors about both the artist and his works. Professional awards, including nominations, and prizes also add value to the work.

Despite the fact that in the age of the Internet, artists can interact with buyers independently and without intermediaries, the role of dealers, galleries and auctions in determining the value of their works remains significant. It is especially true if these are intermediaries who have a worldwide reputation, which, in turn, adds more weight to the artist’s reputation, raising the price of the latter’s works into six-figures. Galleries are the first big step towards gaining recognition in the art community. By exhibiting a new artist, the gallery sends out a message to the art world: he or she can be viewed as one on a par with those who have already made a name for themselves. Of course, having one’s works exhibited in a gallery does not guarantee success, but it is an important step in one’s artistic career. Being on display in a gallery, a work of art shows its professional strength and therefore its value grows. A good gallery strives to increase the popularity and value of the works of the artists it represents by organizing various events and newsworthy activities. The more events and news a gallery produces, the more popular and expensive its artists become.

As for art fairs, they are a very important component in the contemporary art market, bringing together the works of different artists under one roof for several days with the main purpose of selling them. There are two types of art fairs: those that exhibit galleries, and those that exhibit artists. International fairs are a great opportunity to find out what is happening at the forefront of contemporary art. The most prominent art fairs are those with the largest number of international players, super stars and brand galleries from all over the world. They are visited by the world's leading collectors, and the works are sold for hundreds of thousands and sometimes millions of dollars.

The top-tier art fairs include Art Basel, Art Basel Miami, The Armory Show and Frieze. For most collectors, such events are, of course, not merely places to buy art, but rather a way to “refresh your taste” and to keep abreast of what is happening in the world of contemporary art: the main trends, the rising stars and, of course, the artists who caused a lot of uproar. “The most successful art fairs create an atmosphere of eager anticipation among collectors. Potential buyers make the most of their own reputation and funds in order to gain access to the tantalising brand new objects of art that they have not seen before” [9, p. 415-416].

Talking about storing and preserving the collection, one should bear in mind several basic rules. For example, works made on paper should never be exposed to direct sunlight, or kept in damp places, such as bathrooms or uninsulated external walls. Radiators, open fires, freshly painted walls and even new curtains can damage the works, too. One way to protect a piece of art is to use a frame, since it not only serves aesthetic purposes, but also possesses a great transformative power: a frame can completely change a work of art by highlighting or hiding certain characteristics. Proper framing can add considerable value to a work and increase its price. Some works, however, do not need any frames as they should be on display without such.

Frames can be made of wood, plastic or metal. Whatever the case, the materials must receive special treatment - molding, texturing, dyeing and finishing - so that they not only have a certain shape but also possess the necessary qualities. The finished frame for paintings is checked for compliance with environmental standards and, in Russia, with the All-Union Trade Standard, or GOST. Only after this does it become a frame for a work of art. Baguettes for frames are divided into several types according to their shape. For example, a classic baguette has a high outer edge. The flat one has equal sides, and is made of solid boards. A reverse baguette is a frame that has a high point on the edge; it gives the image volume, as if pushing it towards the observer. In addition to those mentioned, there is also a cassette baguette. Its distinctive feature is the high inner and outer edges, which are also equal in size. The central part of such a frame is embedded and flat.

To protect the work when it is transported or frequently moved, plexiglass with UV filters is used, which is lighter than ordinary glass and will not cause significant damage to the work if it cracks. Non-reflective glass produces no glare and feels almost completely invisible. It is recommended for use in brightly lit rooms. Some materials (such as chalk, charcoal or pastels) and their pigments can create static charge. For this kind of works using laminated glass is the best option. When used for framing photographs, using a pass-partout is required so that the work is not rigidly fixed and can “breathe”, since the slightest changes in temperature or humidity might make it warped.

A frame or glass is not always used for protective purposes; sometimes it is enough to cover the surface of the picture with a special varnish. To protect the work, varnishes with UV filters are used, which protect the paint surface from fading, tarnishing and yellowing by 80-90%. This practice works well in brightly lit rooms, since decay is often barely noticeable at first, but can be irreversible. Using MDF frames is unadvisable as they contain chemicals that can penetrate the paint layer and change the color of the work. Under no circumstances should Glue should never be used to fix the work, as it can cause damage and thus reduce its value.

Sometimes collectors decide to sell this or that work. It can be prompted by different factors: from a change in personal taste to financial problems. However, when considering the more practical aspects of the deal, one should take into account the bitter words spoken by one of the famous brand collectors of the twentieth century, Peggy Guggenheim: “I experienced financial difficulties, trying to simultaneously support Pollock and manage the gallery, and I often had to sell works of the “Old Masters”, as I called them. Ok, I was forced to part with a beautiful painting by Delaunay from 1912 called “Discs”, which I bought from him in Grenoble, where he had fled from occupied Paris. This painting later ended up in the Museum of Modern Art. Its loss is one of the seven greatest losses in my life as a collector.”[10, p. 334].

Conclusions
In the 21st century, the art of design has gone far beyond the design of things or spaces. In the epoch of overproduction it is the design of events and processes that comes to the fore. Collecting is a creative process, a type of socially significant activity that helps improve a person’s life emotionally, intellectually and financially. It is not only the collector himself who takes part in this process, but a large number of people and institutions as well. The acquisition of art objects affects the most important areas of human life: from psychological to financial ones. The collection itself is not a simple sum total of its objects; it functions as an independent object of art. By creating a collection a person not only realizes their creative potential but also makes a significant contribution to both their own development and the development of the culture of society as a whole.

The design of art collections implies following certain principles, knowing the art scene: its participants and its laws. Sadly, the art market in Russia is now best described as underdeveloped: neither ethical nor legislative regulation in our country today follow best practices or tie in with the Russian rich history of collecting. After all, private collections made the existence of The Pushkin State Museum of Fine Arts, The State Russian, or The Tretyakov Gallery and many other public art collections possible. It indicates the importance of state support for collecting art in general, and contemporary art, in particular. This support helps build and maintain the image of an enlightened and highly cultured state.

References
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https://obe.ru/journal/vypusk-2024-g-1-33-mart/levanova-n-a-dizajn-hudozhestvennyh-kollektsij/