What Art Investors Can Learn from Gold Investors Pt. 5 – artmarketblog.com

The reason that I finished my last post with a description of a possible economic and financial doomsday l What Art Investors Can Learn from Gold Investors Pt. 5 – artmarketblog.comike scenario is because such an event would really expose how secure and how safe the various different methods of wealth creation and wealth preservation are. A large majority of the vehicles of wealth creation that we choose to invest our money are dependent on the continued stability of the cultural, social, monetary and economic systems that are currently in place (ie. share market, money market, bond market, currency market etc.). One of the most vulnerable stores of wealth that pretty much everyone has positions in is fiat currency, better known as money. The definition of a fiat currency is: state-issued money which is neither legally convertible to any other thing, nor fixed in value in terms of any objective standard. These days most national currencies are fiat currencies including the US dollar, the Euro and the UK Pound, which makes the currency of most countries very vulnerable. Not only would a currency collapse have a devastating effect on the price of goods, it would also cause any positions in an investment vehicle that is only redeemable in a fiat currency, and is not a tradeable commodity (ie. stock market, bond market etc.), to essentially become as valueless as the currency that the investment relies on. The 0nly way to protect one’s self from total devastation in the event of a currency collapse is to have physical positions in a tradeable commodity such as gold. Gold is an asset with inherent value that is also a tradeable commodity. According to an article in Time magazine: “Gold, then, can be considered a currency, unique in that it is not directly tied to any country’s economy. With a global recession that is bound to continue to shake up the purchasing power of all foreign currencies, gold is safer from political and economic instability than cash.”

So where does art fit in to all this?. As we all know, a major financial or economic crisis (or even a little one for that matter) can have a major negative effect on the art market, especially the speculative contemporary art market. Because the perceived investment potential of contemporary art relies heavily on the progression of the artist’s career, which in turn relies on the continued stability of the cultural, social, monetary and economic systems that are currently in place (like the share market), contemporary art is likely to be devalued to a much greater extent in the event of a major economic than the work of the old masters or the impressionists. According to Jim Morris of art and antiques firm Corfield Morris: ‘buyers of contemporary art may be disappointed with returns. He defines contemporary art as works produced by artists who are still alive. “The problem with buying contemporary works is that many of the artists don’t have track records,” said Morris. “I’m afraid an awful lot of it is not going to stand the test of time.”’ Contemporary art is therefore a very risky investment and is not a good store of wealth; contemporary art is essentially the fiat currency of the art world. The work of the Old Masters, the Impressionists and many of the modern masters are, however, a different story. As well as already having a market track record and an already established legacy, the work of the Old Masters, the Impressionists and many of the modern masters have the benefit of having been endowed with some or all of the inherent characteristics that have a quantifiable and qualifiable intrinsic value such as subject matter, style, technical complexity, historical documentation, artistic proficiency, etc. Although some people may disagree that art can have intrinsic value, I believe that the work of certain movements or periods can. Regardless of whether or not you agree that art can have inherent properties of intrinsic value, the fact remains that if the work of the Old Masters did not have intrinsic value, then the art objects would not have any value independent of any and all other factors, which they do. If a work of art in the style of an old master were to be sold as the work of an unknown artist from an unknown period and without any provenance, the art object would still have value even without all other associations and therefore must have intrinsic value. The reason that these inherent properties have a quantifiable and qualifiable value in the case of the work of the Old masters, the Impressionists and many of the modern masters is that there are usually other similar works with which one can make comparisons and judgements and thus determine the value of these inherent properties in relation to another similar work. Particularly in the case of the Old Masters there are often artistic and technical standards that can also assist in the valuation of the inherent physical characteristics of a work.

To be continued…….

Part 4:

http://artmarketblog.com/2010/05/31/what-art-investors-can-learn-from-gold-investors-pt-4-artmarketblog-com/

Part 3:

http://artmarketblog.com/2010/05/18/what-art-investors-can-learn-from-gold-investors-pt-3/

Part 2:

http://artmarketblog.com/2010/05/07/what-art-investors-can-learn-from-gold-investors-part-2-artmarketblog-com/

Part 1:

http://artmarketblog.com/2010/04/30/what-art-investors-can-learn-from-gold-investors-artmarketblog-com/

 What Art Investors Can Learn from Gold Investors Pt. 5 – artmarketblog.com**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications

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