Art advisory
Independent authority on institutional collection building.
This is not a sales practice. The work is analysis — of how institutional relevance forms, how it consolidates into legitimacy, and how collections are built to remain historically coherent decades after they are assembled. Advisory follows from that analysis. It does not precede it.
In The Canon Index: How Art Becomes Valuable, Jorg Rozier argues that an artist's standing in the art world is not a matter of taste, but of position — a measurable outcome of the network in which an artist operates. Gallery representation, institutional validation, market activity and production output all leave a trace, and together they reveal how firmly an artist is anchored within the international system of museums, biennials and leading galleries. The book formalises this into the Canon Index, a score that captures an artist's network position independent of price.
Collecting art
The core of the practice is collection building over the long term: developing a coherent, historically defensible position across acquisitions made over years, not single transactions evaluated in isolation. A collection built this way is legible as an argument — about which institutional developments mattered, and why — rather than a sequence of unrelated purchases that happen to share an owner.
Acquisition advice sits inside that larger frame, not apart from it. Any individual recommendation — to buy, to wait, or to decline — is made by asking how a specific work would function within the collection being built, not by asking whether the work is currently in demand.
This work is available to family offices building a cultural asset base, private collectors developing a serious personal collection, and museums or institutions assessing acquisitions against their own historical mandate.
Methodology
Recommendations are grounded in the Canon Framework — a structured analysis of how institutional relevance develops, consolidates, and, in rare cases, becomes historically transmitted. The framework distinguishes explicitly between artistic quality, institutional relevance, and market price, treating each as a separate, independently checkable dimension rather than assuming one predicts the others.
Where useful, this includes the Canon Index, an instrument for mapping an artist's documented institutional history — museum acquisitions, biennial selections, scholarly attention, gallery representation — against the patterns that distinguish durable institutional position from temporary visibility. The Index does not measure artistic quality, and it does not predict future prices. It maps institutional position, on the basis of institutional evidence, and nothing else.
The methodology is published, not proprietary. It is available in full for review, alongside the case research it is built on, to anyone considering working with this practice.
From our collection:
Takesada Matsutani
Untitled, 1978
signed and dated 78
graphite and turpentine on paper
65.3 x 50.3 cm.
25 11/16 x 19 13/16 in.
Provenance
Vente : Auktionhaus Quentin, Berlin, Kunst & Antiquitäten, 22 avril 2023, lot 123
Acquis lors de cette vente par le propriétaire actuel
From our collection:
Barnaby Furnas
Suicide no.6, 2002
signed, titled, dated and located '''SUICIDE #6" 11/02 NYC Barnaby Furnas' (on the reverse)
urethane on canvas
60 x 417⁄8 in.
Executed in 2002.
Provenance
Boesky Gallery, New York
Collection privée, Italie (acquis auprès de celle-ci en 2002)
Galerie Perrotin
From our collection:
Josh Smith
Untitled (4), 2006
Silk screen print and oil paint on canvas
152 x 122 x 3.6 cm 59 13/16 x 48 1/16 x 1 6/16 ins
Unique
Provenance
STANDARD, Oslo
Exhibited:
JOSH SMITH
" STANDARD NORWEGIAN SHOW"
04.05.-04.06.2006 / PREVIEW: THURSDAY 04.05.2006 / 19.00-21.00
From our collection:
Pamela Rosenkranz
Spill, 2008-2009
Four Works: (i) Spill (Tussan); (ii) Spill (Rennie!); (iii) Spill (Thomapyrin); (iv) Spill (Modasomil)
(i) signed, titled and dated 'Spill (Tussan) Pamela Rosenkranz 08' on the backing board
(ii) signed, titled and dated 'Spill (Rennie!) 09 Pamela Rosenkranz' on the backing board
(iii) signed, titled and dated '09 Spill (Thomapyrin) Pamela Rosenkranz' on the backing board
(iv) signed, titled and dated 'Pamela Rosenkranz Spill (Modasomil) 2009' on the backing board
each photogram, in artist's frame
each 31.4 x 24.9 cm (12 3/8 x 9 3/4 in.)
(i) Executed in 2008.
(ii-iv) Executed in 2009.
Provenance: Karma International, Zurich
Galerie Andrea Caratsch, St. Moritz
Exhibited: (ii) Zurich, Karma International, Prose Pour Des Esseintes, 5 March - 11 April 2009
From our collection:
Marcel Dzama
untitled
Technique: ink and watercolor on light cardboard.
Dimensions: 32 x 25.5cm. Notation: Signed lower right: Marcel Dzama. Frame/base: frame (46 x 39.5cm).
Provenance: Gallery Sies + Höke, Dusseldorf
From our collection:
Jean Pierre Raynaud
Tableau Barré, 1984
India ink on canvas in artist's frame
24 3/4 × 24 1/2 × 2 3/4 in | 62.9 × 62.2 × 7 cm
Provanance: Galerie Daniel Varenne, Geneva | Acquired from the previous in 1985, Private Collection | Freeman's | Hindman, Chicago Art + Design, 18 July 2024, Lot 267 | Important Private Collection, California
Exhibited: Jean Pierre Raynaud, November 1984, Forum Internationale Kunstmesse, Galerie Daniel Varenne, Zurich
Literature: Jean Pierre Raynaud - Catalog Raisonne, Volume 2, 1974-1997, Durand-Ruel, pg. 87, no. 665, archive no. 3017 J.P. Raynaud, Fabre and Duby, pg. 14
From our collection:
Darren Almond
Study XII
Provenance White Cube London, 1998
Mallin Collection at Sothebys, New York 2024
Exhibited Kunsthalle Zurich, 2001
Collected by a major museum
National Gallery of Art, Washington, D.C., Tate, Art Institute of Chicago, The Metropolitan Museum of Art, Hirshhorn Museum and Sculpture Garden, Louisiana Museum of Modern Art, and The Museum of Modern Art
From our collection:
Richard Serra, Venice Notebook 2002, #17 (G. 1926, B.-W. 161)
High auction record US$4.3m, Christie's, 2013
Blue-chip Represented by internationally recognized galleries.
Collected by a major museum
Museum of Modern Art (MoMA)|Centre Pompidou|Tate|Solomon R. Guggenheim Museum|Whitney Museum of American Art|The Metropolitan Museum of Art|Leeum - Samsung Museum of Art|National Gallery of Art, Washington, D.C.|Guggenheim Museum Bilbao|Louisiana Museum of Art|San Francisco Museum of Modern Art (SFMOMA)|Hirshhorn Museum and Sculpture Garden|Museum of Contemporary Art, Los Angeles (MOCA)|Museu d'Art Contemporani de Barcelona (MACBA)|Dallas Museum of Art|Museo Reina Sofia|Art Institute of Chicago|Nasher Sculpture Center|MCA Chicago|Moderna Museet, Stockholm
From our collection:
Antony Gormley | Clearing II, 2007 | Framed
High auction record £5.3m, Christie's, 2017
Blue-chip Represented by internationally recognized galleries.
Collected by a major museum
Centre Pompidou|Tate|Louisiana Museum of Art|San Francisco Museum of Modern Art (SFMOMA)|Hirshhorn Museum and Sculpture Garden|Museum of Contemporary Art, Los Angeles (MOCA)|Nasher Sculpture Center|Moderna Museet, Stockholm
From our collection:
Carlos Cruz Diez | Caura 5, 2015 | Framed
High auction record US$879.0k, Sotheby's, 2018
Blue-chip Represented by internationally recognized galleries.
Collected by a major museum:
Museum of Modern Art (MoMA) | Centre Pompidou | Tate | Louisiana Museum of Art | Hirshhorn Museum and Sculpture Garden | Museum of Contemporary Art, Los Angeles (MOCA)| Moderna Museet, Stockholm
