Date of Award

2026

Document Type

Thesis - Open Access

Degree Name

Master of Arts (MA)

Department

Art Business

First Advisor

Betsy Thomas

Second Advisor

Noah Kupferman

Abstract

This thesis elucidates the changing reasons for collection in recent years and focuses on three generations of collectors: those born before 1950; those born between 1951-1980; and those born after 1981. It commences with a literature review of the initial collecting motivations and challenges, motives based on socio-cultural, economic and technological advancements which foster the importance and reasons for collections. To make this investigation tangible, a quantitative survey was adopted. Forty-five participants, each ranking their levels of agreement from one to five based on an assessment of eight statements based on five motives: economic, normative, uniqueness, hedonic and intellectual. Descriptive statistics and one-way ANOVA tests were used to assess responses and determine how reasons change from generation to generation. Results conclude that there is a substantial difference to how people perceive collection. The most generationally disparate results received the highest and lowest response ratings were for economic, normative and unique drives. Younger collectors seem to prioritise financial economic incentive, seek non-collectors' socio recognition instead of social boasting for money purposes. Yet hedonic and intellectual drives remain high across the three generations of collectors meaning that the collector, regardless of age, must still be interested and enjoy the process and the object. Ultimately these findings support that collection, for the time being, is no longer for cultural stewardship or expertise as it's expanded to an enjoyably broader practice that uses effective motives for self-discovery and exhibition value. This research supplements current understanding of how nuances of collections transcend figurative arts and mirror socio-cultural developments, economic standings and identity factors, especially in terms of generational differences and opens the avenue for subsequent studies in 21st century collections in modern art.

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