For those seeking expert guidance in the world of art, it may seem unconventional to think of a bank as a first point of contact. Yet, financial institutions today occupy a surprising role within the contemporary art ecosystem. Citigroup, Bank of America, Morgan Stanley, and UBS have all recognized that affluent clients increasingly view art not only as an aesthetic pursuit but also as an intricate asset class requiring informed stewardship. At Citi, one of the leading global banks, Rebekah Bowling serves as an art advisor for ultra-high-net-worth individuals within Citi Wealth. Her mission extends far beyond mere acquisition; she helps clients understand, navigate, and strategically build collections that reflect both personal taste and long-term value. Having spent ten years at the prestigious global auction house Phillips, where she oversaw midseason and day sales, Bowling accumulated a deep understanding of the complex interplay between artistic merit, market timing, and client relationships. After relocating to Los Angeles, she further honed her expertise in client development before joining Citi in July.
Bowling’s daily responsibilities encompass a blend of research, consultation, and relationship management. On any given day, she might brief collectors on upcoming auctions that align with their interests, research artists whose work complements existing collections or interiors, and coordinate bespoke events designed to connect clients with artists and gallerists. Her approach is grounded in the belief that collecting should begin with genuine appreciation — that emotional connection is as crucial as financial consideration. As she puts it, purchasing a work of art that one does not truly enjoy almost inevitably leads to disappointment, no matter how promising the investment potential. Nevertheless, she remains aware that many collectors, even those passionately engaged, look for pieces representing sound value or promising future appreciation.
For newcomers eager to enter the art world, Bowling advocates an inclusive and exploratory approach. She recommends beginning with galleries that champion emerging artists, particularly those gaining recognition for the first time after years of underrepresentation. Recent market shifts have brought increased visibility to artists who previously existed outside the mainstream, including women, artists of color, and those working in mediums once undervalued by institutions. This movement mirrors a broader cultural reevaluation within the art world itself, where overlooked voices are being integrated into the canon.
According to data drawn from the 2025 Survey of Global Collecting by Art Basel and UBS, the appetite for discovery is strong among high-net-worth individuals. Sixty-six percent of these collectors reported purchasing works by artists they had not known previously during 2024 or 2025, marking an 8% increase from the prior year. The broader art market, however, has been less buoyant; overall global sales declined by 12% year-over-year, as documented in the 2025 Global Art Market report. Despite this downturn, smaller dealers—often representing emerging or niche artists—have found reason for optimism, achieving a 17% rise in annual sales. This pattern suggests that while established segments of the market may contract under pressure, agile galleries catering to new interest areas have managed to thrive.
Bowling observes that the convergence of fine art and craft has become one of the most exciting frontiers of institutional and collector support. Artists who blend traditional craftsmanship with contemporary artistic expression are commanding significant attention and high auction results. Among these, sculptor Ruth Asawa and textile artist Olga de Amaral exemplify the movement’s momentum. De Amaral’s intricate woven creations, for instance, resonate with both the tactile beauty of craft and the intellectual depth of fine art. In September, one of her works achieved approximately $1.14 million at auction — nearly triple the low-end estimate, according to Christie’s data. Similarly, Asawa, long celebrated for her intricately woven wire sculptures, has seen renewed institutional recognition, culminating in a major retrospective at the Museum of Modern Art in New York.
While Asawa’s legacy now occupies a secure place in public consciousness, Bowling draws attention to Kay Sekimachi, a fiber artist and close friend of Asawa who remains less widely known but embodies a similar creative philosophy. Currently exhibited at a Manhattan gallery, Sekimachi’s work explores texture and structure in subtle, meditative forms. Although the gallery’s site does not list prices, recent auction data reveals that a set of three woven bowls by Sekimachi realized $3,800 at a California auction—surpassing its high-end estimate, according to the fine art marketplace Invaluable. Such results, though modest compared with top-tier sales, underscore the growing appreciation for artists whose mastery bridges ornament and innovation.
Despite these intersecting narratives of taste, craftsmanship, and financial potential, Bowling insists that passion must remain the collector’s guiding principle. The acquisition of art, she reiterates, should never be driven solely by speculative motives. Instead, collectors are encouraged to engage with art in a way that enriches their daily lives—surrounding themselves with pieces that provoke thought, inspire emotion, and provide enduring satisfaction. As she succinctly articulates, from an investment standpoint as well as a personal one, purchasing art that you do not truly love is rarely a wise decision, no matter how promising the market may seem.
Sourse: https://www.businessinsider.com/art-advisor-citi-bank-wealthy-clients-market-value-2025-10
