Alice Black, one of the new generation of art advisors and gallerists is bringing a fresh perspective to the concept of art collecting and the role of collector at this point in time. We frequently work with artists, artists' estates and collectors around issues of legacy, acquisition, and custodianship - coming from a parallel but different tangent to the role that Alice plays in her work with collectors and artists. The considerations aren't always apparent and as discussed the position is ever involving.
Partner in Mishcon Private, Amanda Gray, caught up with Alice to get her insights on the changing landscape of art collecting, the emergence of new gallery models and the importance of building sustainable, collaborative networks within the art ecosystem.
Who are the new collectors? What do they want from their connection to the art world and art (and is it different)?
The art world is undergoing a generational and cultural shift. In the wake of a market correction that has cooled the speculative frenzy of the last decade, a new kind of collector is emerging - one driven less by pure investment potential and more by meaningful engagement. These collectors are aligning themselves with values-based practices and platforms, and see themselves not just as buyers, but as participants in a broader cultural ecosystem. For them, collecting is a form of connection: to artists, to ideas, and to a sense of community. This stands in contrast to the more commercialised, opaque systems of recent years, where collectors often played a more passive, transactional role.
What are the expectations of the artist, artist estates and collectors you work with?
Artists, estates, and collectors alike are seeking support structures that prioritise long-term growth and sustainability. For many, the market boom of recent decades disconnected art from its source, divorcing it from its creative origins. Today, there’s a growing desire to nurture the art world in its fuller, more holistic sense – beyond the mechanisms of the market.
The realities for many artists working today are stark. In major cities, rising studio rents and living costs are forcing artists to look beyond traditional models. There are certain foundational conditions required for a creative practice to thrive: time, space, and materials; opportunities to exhibit; engaged collectors and patrons; and a sense of belonging within a broader creative dialogue. Increasingly, artists are looking to new ways to centre these needs.
Artist estates, often stewarded by family members, are motivated by a desire to see their loved ones remembered and recognised in ways that feel true to their life and work. Many artists gain recognition only after years, sometimes decades, of working in quiet obscurity. For their families, preserving that legacy is both a personal mission and a cultural act.
Collectors, too, are evolving. For many, the desire goes beyond ownership. They’re seeking proximity to the creative process, meaningful relationships, and exposure to new ideas. Increasingly, collectors are embracing a patronage mindset - supporting artists not just by acquiring work, but by funding production, covering studio costs, or backing new projects.
How do you as an art adviser, curator and gallerist adapt?
Adaptation begins with listening, reflection, and a willingness to not have all the answers. Often, it takes reaching an inflection point for real change to occur. Adaptation isn’t easy - it demands courage, openness, and dialogue. One key way forward is partnership. We will be far more resilient and effective as an industry if we embrace a network-oriented approach. As advisers, curators, and gallerists, we are uniquely positioned between artists and collectors. We operate as mediators - bridging the creative and commercial worlds - and with that comes responsibility. Our role is not just to represent or facilitate, but to actively foster dialogue, deeper understanding and shared connection. In doing so, we can begin to dissolve some of the arbitrary boundaries that no longer serve us.
This philosophy is at the heart of Black+Cheneviere, the new-generation art advisory practice I co-founded with fellow gallerist Tatiana Cheneviere. Distinguished by its commitment to cultivating a vibrant network of exchange and engagement, Black+Cheneviere aims to foster a more active form of collector participation, beyond the traditional market system. One way this commitment to connection will be embodied is in Art+Aperitivo, a new monthly event series launching this September in London. Featuring curated gallery tours and studio visits alongside informal salon-style gatherings, these events offer existing and prospective collectors an accessible introduction to the London art scene and a chance to engage more deeply with the art and ideas of our time. [ www.blackandcheneviere.com ]
What changes have you seen over the last five years?
The previous five years saw the market reach the peak of its boom. The art world had become very transactional and, in many ways, became a victim of its own success. Without adequate support structures it inflated a bubble that left many - especially emerging artists and young galleries - without the resources to thrive. The art market is still wrestling itself out of a two-year correction due to a range of factors - economic, geo-political and cultural. Now, we’re witnessing a pendulum swing - a market correction that opens space for a new kind of art participant.
What are your predictions for the next five years?
The next five years will be defined by a gradual reshaping of the cultural landscape - one that places renewed emphasis on the importance of a robust cultural infrastructure. This foundation has long been integral to British life and a powerful engine for our economy, yet in recent times it has come under increasing threat. We will see a clear move away from homogenised collecting habits and a return to intentional, values-driven engagement. Collectors will increasingly seek out work that resonates with their beliefs and desire to contribute to a broader cultural conversation. Just as importantly, we will witness the re-emergence of the patron in the truest sense: individuals and corporations who are not only asking what they can gain from their relationship with the art world, but what they can contribute.
What will be the new gallery model?
New possibilities are opening up for those willing to embrace more open, collaborative models. The new gallery model will be relational, experiential, and human centred. It will restore the direct connection between artist, artwork, and collector. It will bring people closer to the creative process and help foster a deeper form of engagement that is slower and more thoughtful. This new model is not a rejection of the market, but a much-needed rebalancing - one that aims to rebuild the ecosystem on firmer, more sustainable ground. To achieve this, we must co-create an ecosystem driven by active, interconnected participants at every level, who are united by a sense of agency and purpose and driven to contribute to our shared art historical legacy and to shaping the cultural identity of the 21st century.
Photo © Alice Black. All Rights Reserved.