Collecting

Our Head of Content, Chelsea Selvan, sat down with Japan-based curator and collector Dexter Wimberly to discuss The Shape of Things to Come — his Dubai exhibition bringing together African and diasporic artists exploring transformation, resilience, and renewal.

The accessibility of art has been a perennial topic of discussion in art circles. While art galleries and museums are theoretically open to all, social, economic, educational, cultural, class, and racial barriers often complicate access in practice.

We dig into how Millennials and Gen Z are redefining collecting: preferring more accessible price points, buying through auctions, supporting newer galleries, and leaning into art fairs not just for browsing but for community, identity, and story.

Gabrielle Kannemeyer’s debut solo exhibition re-examines the horse cultures of the Western Cape. Transforming a symbol once tied to colonial power, her photographs foreground kinship, dignity and belonging, situating these communities within a broader conversation about memory, identity, and reclamation.

What does building energy ecosystems across Africa have in common with collecting contemporary art?

In a year marked by reflection, stillness, and an enduring curiosity about what it means to be present, Naledi Maifala’s quietly powerful practice has risen to the surface, and captured the hearts of the ANNA Award judges.

The phrase “affordable art” has a complex history within the art market. Local and international art fairs that have, at various times, attached "affordable" to their events have sometimes drawn the ire of art dealers and confused or alienated collectors.

Latitudes has always aimed to be an accessible art space. That means making it easier to collect — and more sustainable for artists to create. That’s why we’ve partnered with Africa Collect, offering automated instalment payments from R1,000 to R50,000 ex. VAT over up to 12 months. 

Bella Knemeyer merges her background in sculpture and landscape architecture to explore urban narratives and material flows.

In some way, the presence of a painting on every wall — from the pristine white finish of a gallery to the prehistoric archive of a cave — can be somewhat overwhelming. How has the language of paint transcended race, time, geography and cultural context?

As someone who comes from a creative industry you would think that I would have always been drawn into the art space, but like many others I have always found galleries, let alone art collecting, to be a space which intimidated me greatly.

In this exclusive interview, collector Annicia Manyaapelo shares her journey through the art world, as well as invaluable advice on collecting.

As art fairs tend to be staged inside convention centres it is rare to encounter works that are fitting to the environment – unless they happen to offer a wry commentary on art fair culture. This is what is special about Shepstone Gardens and this fair – the myriad of buildings and spaces lend themselves to particular works being shown in them.

As gifting season hurtles towards us, Mary Corrigall asks the question – is it possible to buy art that you love, and is also a good investment? Whether you're shopping for yourself or for a loved one, Corrigall gives key advice on how to go about choosing a work, and offers up a holiday wish list of her own.

We've taken a moment to interview Sera Holland, diving deep into her practice as an independent artist.

The contemporary condition is such that there are no longer any art movements – even if there are discernible aesthetic or conceptual qualities characterising the art finding favour.

Capital Art is an art collection management service and the first focusing on empowering collectors of modern and contemporary African art.

You have to resist the urge to neatly locate Nada Baraka’s art in an Egyptian context. The thirty-three-year-old artist was born in, lives and practices in Cairo, and indeed the sense of chaos that defines the compositions of her abstract paintings could represent the city's erosion of democratic values, political order and worsening social conditions.

Latitudes sits down with collector Namita Singh Thakur, founder of Art Curio - a not-for-profit foundation that is deeply involved in collecting works of emerging artists, women artists and artists from underrepresented backgrounds.