Secrets of the art market - an art dealer lifts the veil

In this first installment of our series exploring careers in the art industry, we sit down with South African art dealer and gallery owner Choni Gavin. With years of experience and a keen eye for emerging talent, he shares his insights into the business, the artists to watch, and advice for navigating the art world as a collector. 

What’s something about art dealership that people don’t realise? 

Choni Gavin: Many people don’t realise how much art dealership is about community. As a dealer, I often work with artists from underrepresented or marginalised backgrounds, helping them navigate both local and international markets. It’s incredibly rewarding to see their voices amplified and their work appreciated on a larger scale. 

What’s the most common mistake new collectors make? 

CG: New collectors often neglect researching provenance or the artist’s background. This can lead to purchasing overvalued or even inauthentic works. South African collectors, in particular, should verify the authenticity of artworks and understand the artist’s position in the market. Working with reputable galleries or dealers and seeking expert advice can help avoid these pitfalls. 

CG: Themes like identity, environmentalism, and decolonisation are becoming increasingly prominent. I also see a rise in digital and mixed-media works, where traditional African elements are combined with modern techniques. Art that reflects socio-political narratives or promotes sustainability will continue to gain traction. 

What advice would you give to new collectors who feel overwhelmed by the art market? 

CG: Start by focusing on genres or themes that resonate with you personally. Building confidence as a collector takes time, so don’t rush. Attend exhibitions, join collector groups, and read art publications. Most importantly, find a trusted dealer or mentor who can guide you. The more you learn, the more comfortable you’ll feel navigating the market. 

How does an artwork’s story or history affect its desirability? 

CG: An artwork’s story can elevate its appeal and value significantly. For example, pieces tied to significant historical or cultural moments resonate deeply with collectors. In South Africa, works reflecting apartheid, resistance, or cultural heritage often hold both aesthetic and historical significance, making them highly desirable. Provenance—the ownership and exhibition history of an artwork—also adds to its prestige and value. 

Can you share an example of a challenging negotiation or sale you’ve handled? 

CG: A memorable one involved a collector who wanted a specific frame for a piece—one that required imported materials, which increased costs and delayed delivery. It was tricky to balance their expectations, but by sourcing an alternative locally and keeping communication open, I found a solution that worked. That client is now one of my most loyal buyers, and we’ve built a great relationship over the years. 

How do you stay updated on trends and shifts in the market? 

CG: My network is a big part of it—I’ve built relationships with collectors, galleries, and other dealers over the years. I also rely on resources like Artnet, Artsy, and social media platforms to monitor trends. Keeping a finger on the pulse of both the local and international art scenes is essential. 

What ethical considerations are important in art sales? 

CG: Ensuring authenticity and provenance is non-negotiable. Misrepresentation of an artwork can harm both the collector and the artist’s reputation. Another important consideration is managing the pricing of an artist’s work on the secondary market—it’s essential to avoid negatively impacting their primary market value. 

How do you approach art as a passion versus art as an investment? 

CG: For many collectors, the line between passion and investment is becoming blurred. They want works that resonate emotionally while also offering financial growth. Supporting local artists has become more popular, with buyers recognising both the cultural and economic potential of investing in homegrown talent. 

What advice would you give new collectors about buying art? 

CG: Start by distinguishing between decorative art and collectible art. Decorative pieces may be beautiful but lack the cultural, historical, or critical depth to hold long-term value. Collectible art, on the other hand, often reflects significant issues and is recognised by notable galleries, museums, or critics. Look for works with strong provenance, attend exhibitions, and ask plenty of questions. And don’t rush! Take the time to learn about the artist and the story behind the work.