Born to Austrian and Ugandan parents in Seattle, Isolde Brielmaier always had a strong understanding of various cultures. First falling in love with dance and attending a public school where the arts were heavily integrated into the everyday curriculum, she got the artistic bug early. “I danced very seriously through my early 20s,†Brielmaier says, “and always tried to balance that with being a good student.†But while attending high school in Germany, the long-term performer decided she no longer had an interest in pursuing dance full-time. Instead, she chose to become a full-time student of history and sociology at New York’s Columbia University and spent her spare time at the Dance Theater of Harlem and Alvin Ailey’s dance studio. However, it was her courses in art history that would become a major component in her life and career.
Curating small exhibitions in the SoHo section of New York, Brielmaier was eventually asked to teach at Vassar University. What was supposed to be a one-time thing turned into a five-year career as a visiting professor. In the past, Brielmaier advised athletes and entertainers in purchasing contemporary art, but she now operates as the as the chief curator of SCAD (Savannah College of Art and Design). Today she also curates international art exhibitions in the SCAD community and beyond. BlackEnterprise.com sat down with the art guru who broke down the top five things to consider when looking to break into the world of art.
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Support What You Love: Black Culture
Understanding the importance of artistic expression in the Black community, Brielmaier describes the No. 1 way people of color to invest in and give back to the arts is by supporting the culture. “[SCAD] does a lot of outreach not only to our own students, but to the broader community living in classes that might not have full-blown art programs and access to the kind of work we have,†she says. “We have the Walter O. Evans [collection]; it’s one of the top African-American art collections in the country. I’ve come in on my weekends to take students through. You’re building little art enthusiasts in a way.â€
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Don’t Just Buy, Give Back
Noting that museums are not the only place where art lives, Brielmaier explains the importance of understanding the impact of art institutions, and the to support both monetarily and physically–just as anyone would do with their alma mater. “Institutions are not getting the financial support that they were getting [before] the economy [was] really rough,†she says. “And by that, I mean support our cultural institutions. If you have the means and the time, join a board, and if not, go to an institution and inquire if they have a
young contemporaries group or a young collectors group. It’s a great way to meet people; to build a community in the arts; and really get in on the backend and see behind-the-scenes. I think is key. It’s a great way to start moving into other realms of art if you’re interested in investing.â€Click here to continue reading…
Get to Know Experts in the Art World
Driving home the relevance of getting involved with an institution or art group, Brielmaier reiterates the need to know an institution and the benefits offered when doing so. “When you’re just starting out, joining a museum or a young collectors group is one of the best ways to go: A) You get invited to all their events, including their exhibitions and all of their openings and B) You’re also in the mix with people of like mind where information starts getting exchanged,†she says. “You also get to go to events and exhibitions where artists attend. You can work with an art advisor or art consultant, and they can open up their Rolodex and take you to galleries and set up appointments and they will assist you with successfully purchasing the work. And they’ll buy the work for you with your money.â€
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Only Buy What You Love
There’s a big difference between a piece that’s worth $400 and $40,000
besides the price, but that can be hard to determine for a novice. That’s why Brielmaier stresses the importance of being knowledgeable about what you’re buying and why. “If you spend a lot of time collecting, it’s really nice if you like the work,†she says. “That’s hard for [people] in business to wrap their head around because they want to know, ‘Well, what’s the return on the dollar here,’ and oftentimes if you’re talking about a blue chip artist like an Andy Warhol, you don’t know, especially with some of these younger contemporary artists.†Brielmaier suggests researching an artist from exhibition history to where he/she went to school before making a purchase. But ultimately, “Go with what you like. It has to have that appeal to you, particularly because it’s going on your wall.â€Click here to continue reading…
Know a Bad Investment When You See One
Brielmaier notes that it would be hard for any one person to say one art purchase is worse than another because all purchases are not based on ROI (return on investment). “I don’t want to say what’s a bad investment,†she says, “but what I would not recommend is jumping blindly into something, particularly if you’re talking about purchasing a work that’s very valuable.†Hesitant to ever tell anybody what not to buy, Brielmaier continues, “If it’s $400, to some people that’s a lot of [money] but when you start getting into really high [numbers] ask around. Look at the work, don’t just look at that work by the artist but look at the range of work to see if there’s some kind of continuity. And think about buying from a reputable gallery or someone who’s reputable–it could be an individual–but someone who has a history and relationship and has a reputation. Cover as many bases as you can before you take the plunge.â€