http://www.guardian.co.uk/artanddesign/2006/oct/12/friezeartfair2006.friezeartfair How to collect Frieze is the biggest art fair in Britain, showcasing thousands of artists from all over the planet, from big hitters Damien Hirst and Sarah Lucas to newcomers from Lahore to Berlin. For four days, this tent in Regent's Park is the place to see - and to buy - cutting-edge art. Collecting expert Louisa Buck gives her do's and don'ts for all budgets; while, below, buyers reveal how they got the bug • The Guardian, Thursday 12 October 2006 Love the work, not its value ... a visitor at the Frieze Art Fair. Photograph: Linda Nylind Contemporary art has never enjoyed such a high profile in the UK. Anyone who wants to think of themselves as remotely on the cultural radar now needs to be as informed about the art world as they are about books, films or music. Nor is it a matter of simply knowing about art; more and more people want to own a piece of it. Along with the good-looking sofa and the elegant side lamp, there needs to be something interesting on the walls - and a framed poster of Van Gogh's Sunflowers doesn't cut it. But while the art market enjoys a purple patch, for the majority of us, its workings remain a mystery. The art boom has, if anything, made things even more confusing. Which of the thousands of galleries do you go to? What kind of art do you go for? And how will you know if it's any good? Wherever you start, buying art seems indelibly associated with scary white spaces, snooty black-suited gallery assistants and obscure jargon. But it doesn't have to be that way. While the contemporary art business is one of the last unregulated markets, and as such has its pitfalls, if you follow a few basic rules, even those on a very small budget can embark upon collecting contemporary art and find the process highly enjoyable - even addictive. Look, look, look Go to as many galleries as you can bear - and look, look, look. You wouldn't buy a car or designer suit without having narrowed down your choices, looked at what else was on offer, and checked all the available sources. Buying art is a specialist activity and it is important to do research. Look at new art, but don't shy away from the older stuff: while you don't need a degree in art history, knowing a bit won't hurt. It is not enough to declare: "I know what I like." Good collectors know why they know what they like, and the best can put this into words. Don't forget that most art dealers are in it for a love of the art itself. Even the most aloof will respond to a fellow art lover; many were once artists themselves. Find your inner squirrel Many of today's leading collectors were serial hoarders before they turned their attention to art. Charles Saatchi collected Superman comics and jukeboxes, while Manchester collector Frank Cohen, the "Saatchi of the North", had one of the biggest collections of cigarette packets in the country by the age of 11. If you already have what Miami-based collector Mera Rubell calls "the collecting gene", then you are on your way. Remember the Vogels One of America's most important art collections was built up in the 60s by Herbert and Dorothy Vogel, a postal clerk and a librarian, who filled their one-bedroom flat with 2,500 small works by some of the 20th century's biggest names: Andy Warhol, Donald Judd, Sol Lewitt. Now it's all in the Washington National Gallery of Art. The secret of the Vogels' success was knowing that, whatever your budget, you need to go after the very best. Art is a luxury, but it doesn't have to be punishingly expensive. A good collector is not necessarily a big collector. You can start small; it's the eye and the passion that count. Tracey Emin, Grayson Perry and the Chapman brothers often produce "diffusion lines" of prints, or limited editions. A more adventurous strategy is to seek out younger or less well-known figures: you might find a future major work, and feel the warm glow of having given an artist crucial support before everyone else jumped on the bandwagon. Damien Hirst is very loyal to his early collectors. The shunned and the sought-after How do you know what's good and what's not? Although many contemporary artists still paint, sculpt and draw, the more traditional standards of beauty and skill no longer necessarily apply. For example, the Scottish painter Jack Vettriano, he of the dancing couples and greetings cards, might be Britain's "most popular" artist, but he is largely shunned by the art world. The canvases of Peter Doig, on the other hand, which also feature enigmatic figures in landscapes and command awesome prices, are frantically sought after by collectors and galleries. What makes Doig more desirable? The fact that he paints to explore what painting can be made to say and do, and because his works have no single easy reading. In my view, Vettriano goes little further than the illustration of a scene and the evocation of a mood. One is intellectually challenging and unsettling, while the other is catchy and commercial. It is therefore important to park your preconceptions and prejudices. Focus on what each artist is trying to communicate. Eyes open, ears shut It's an art-world cliche that collectors should buy with their eyes, not their ears. The most fashionable art is not necessarily the best, so ignore the hype. Use your judgment. Worry about the art, not the noise surrounding it, which often just serves to inflate prices. Get web-wise Galleries represent many artists, and what's on their walls is only a fraction of what is for sale. Most good galleries and artists have websites that give a fuller picture. Art should not be bought by jpeg, but the internet is handy for research. The more research you do on a gallery or artist, the more fruitful the eventual encounter. So, any chance of a discount? The pricing of works can seem mysterious. Many dealers like to keep it this way, as it gives them room to manoeuvre. It's best to be straightforward when asking how much something costs. The issue of discounts is delicate: there is a fine line between negotiation and haggling. Many dealers believe a discount should be offered rather than requested, and then only when a relationship has been established. Love the work, not its value While a booming market means there are profits to be made, people who buy art to make money are frowned on. The art world has finely tuned antennae when it comes to those who put financial considerations before genuine enthusiasm. Even the most hard-nosed dealer resents seeing art appreciated only in terms of its value; and artists hate it when their works are sold on like commodities. Buy it because you love it. If its value grows, that's just a bonus. Explore all outlets Big fairs such as Frieze can seem daunting, and the art may not look its best crammed into booths - but it is a great opportunity to see what's on offer. It's also a chance to talk to dealers, who are normally hidden in back rooms. Don't do this in the frenzied first days of a fair when everyone is trying to snare the big collectors. Smaller fairs are also useful for scouting up-and- coming artists. Auction houses are more straightforward and unashamedly commercial than art dealers: the highest bidder gets the prize. This means it's also less personal than establishing a relationship with a gallery, the quality of work can be mixed, and emerging artists are seldom sold. Be aware that there is a buyers' premium of around 20% of the hammer price on every lot. Art school degree shows are a good way to scout new talent. Prices are much lower, but it's a bigger gamble as there's no way of knowing that these artists will continue to be artists. Buying art off the web can be risky. Stories abound of woodcuts that turned out to be photo- copies, or works that looked small turning out to be billboard-sized. Some websites produce specially commissioned projects; others function almost as art supermarkets. There is no substitute for seeing the real thing and meeting a dealer or auction house expert face to face. Bouncing balls and Perry pots David Teiger still winces when he recalls how his three-year-old daughter coloured in the Andy Warhol he bought from the artist's first exhibition. Another collector, Agnes Gund, found that her cats had used a Mary Frank sculpture as a litter tray. And writing a book about how to buy art doesn't exempt you from disaster: a Grayson Perry pot I kept on my mantelpiece recently fell victim to two bored teenagers bouncing a ball. (It's been stuck back together, but will always bear the scars of its ordeal.) So, once you've got your masterpiece home, it needs looking after. This doesn't mean turning your home into a museum, but there are a few basic, common-sense rules: don't hang photographs or works on paper in too much direct light; and keep pretty much all art except lumps of stone away from anything damp.