In the 1988, one year after Black Monday when Don Jones Industrial Average fell nearly 23 percent in a single day, Art & Auction the international art market journal published its annual edition with the troubling headline: “Is Corporate Collecting Dead?”. Almost 20 years later, the financial crisis made hundreds of bankers lose their jobs, and the image of people moving out their offices can still be recalled even today, and the same question aroused again. The same questions may appear again and again in the future, but as an essential part of world of art collecting, corporate collecting won’t die in the eyes of most people in the field.
The brief history of modern corporate collection
It is hard to chase back to the origin of the art patronage, since it is nearly as old as art itself, but the shift from a model dating from the Renaissance, in which leaders of industry used the fruits of their labor to purchase or commission superlative art either for their private residences or for the benefit of the public (or of God and the Church), is surprisingly recent. So it’s essential to isolate “modern” corporate collecting from other great but older tradition such as hanging decorative pieces and portraits of founders and other core members to embellish a boardroom or showcase the firm’s position or reputation.
Modern corporate collecting began in nineteenth century in the United States as a movement to preserve the records, memorabilia, and products of a company.
Upon entering the room, visitors’ eyes dart to that mysteriously empty frame centered on the opposite wall. In such a painstakingly designed museum, this frame looks out of place. On these walls hang the memoirs of revered artists, but the empty frames scattered throughout remember something more tragic: the largest property theft in world history (Menconi, 2012). Head of security at the Gardner, Anthony Amore, refers to these empty frames as “placeholders, not memorials” and urges visitors to see them as a “testament” to their belief that they will reacquire the stolen paintings someday (Menconi, 2012). Whether they do or not, the 1990 Gardner theft greatly impacted
Section 4: My most prized possession is my coin collection for a few reasons. First, it has sentimental value. It contains coins from relatives that I rarely see or are deceased. I represented this sentimental value by making some of the coins hearts. Second, my collection is valuable. This is means it can be used in an emergency situation or just to show off. I represented this in my picture by putting a gold price tag on the binder that my coins are in. The gold color represents the wealth.
By bringing unique touches to their collections, not only are they achieving their objective, but it also helps them to stand out from the rest of the High Street, which means
Another form of art portraying royalty is thrones, highly priced jewelry, and other forms of wealth and power.
This illustrates how now, people were placing an importance on what was previously discarded just because the Western thought just became open to accommodate such works in their idea of art. From this stance, art is arbitrary and suits the whims of Western art historians. The object is still the same, but now the Western world deems it to be of value, which exemplifies Dean’s argument that we are looking at pieces through our eyes and not the way it was meant to be seen. Just the idea of labeling an item of art may have interior motive-If this piece is capable of preservation, can my name be remembered for its discovery? Is there monetary gain stemming from this
Very few works of art taken by Hitler have been found, and many that are discovered reside in museums. Some have been discovered in museums or galleries in Austria, while thousands still remain lost. Recently, “a long-lost Monet and other art treasures stolen from Jews during the Holocaust have been discovered in the home of an 81-year-old German art collector,” Julian states (Julian). Cornelius Gurlitt, the art
In the early morning hours of March 18, 1990, a pair of thieves disguised as Boston police officers entered the Isabella Stewart Gardner Museum and roamed the Museum’s galleries, stealing thirteen works of art. The stolen works are valued at $500 million, which made the lottery the largest art theft in American history. There were 14 pieces of art that was stolen on the March 18, 1990. There is a reward of $5 million for information leading to the recovery of these works in good condition. No one has found out, it has been 25 years of theories as to what happened.
Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.
Chapter three presents Jessie Barker Gardner and George Gardner as twentieth century antique collectors based in Providence New England. The couple were small time, middle-class antique collectors. They were interested in the philanthropic area of collecting. The Gardner’s sought to make a connection between the collegiate space and the museum. Eventually, the Gardner’s donated many of their most prized collectables to Brown University. They implemented very crafty and effective sales techniques. Their goal was to “subvert the market and capture the antiques at bargain prices.” Though Jessie and George Gardner relished the pursuit of collecting and philanthropy, it was almost always about the profitability. This discussion offers a connection to Thomas Denenberg’s use of Wallace Nutting. Like Nutting, the Gardner’s excelled in a plethora of marketing techniques and entrepreneurship. She further links the importance of consumer culture that Denenberg alludes too.
In 1979 Lorne Michaels founded Broadway Video Entertainment, Inc. in New York City. Lorne Michaels started in the entertainment business as the creator of Saturday Night Live being hired by NBC to replace the reruns that would be airing on Saturday nights. Besides for a five year gap from 1980-1985 Michaels has been Saturday Night Live’s executive producer for the entire time that she show has been on air (Lorne Michaels). Broadway video is an entertainment and media company that works to produce and distribute different prime time and late night comedic content. Lorne Michaels is the founder and executive producer while Jack Sullivan is the Chief Executive Officer (Bloomberg.com).
For my own artist paper, I chose to study the French fashion house, Christian Dior SE. During the past seven decades, Christian Dior has transformed its brand from just another high end fashion house into a name synonymous with wealth, sophistication, power, dignity, and prestige. Christian Dior stands in a league of its own in our culture. It’s a mega brand with major influence over fashion and business. Instead of spending hours hunting down financial records and hiring practices for a smaller house, Christian Dior appealed to me because of their long history, easily accessible records, and publicly traded status meaning they would have long reports outlining all the companies numbers for a given year. Christian Dior is also the majority owner of the luxury holdings company LVMH, with a 40.9% controlling share and 100% ownership of Christian Dior Couture (CITATION).
The couple stored the collection in their home for a long period of time, the even agreed to loan two hundred pieces to a “New York Dali retrospective” before finally deciding to give the collection a permanent home. Dali encouraged the couple to build a museum in New York, although they thought this was a wonderful idea they still kept searching. One of their goals for the collection was to preserve the collections historical integrity. When word reached St. Petersburg, attorney, James W. Martin worked quickly to persuade
The 2003 Canadian film documentary, The Corporation, is about the modern-day corporation. It critiques that it is considered to be a person, but since it has so many disregards to the human well-being and only cares about making as much money as possible, if it were an actual person it would be considered a psychopath.
From its start-up until the present, Apple’s corporate structure hasn’t changed a lot. Before his death, Steve Jobs was the one to make the calls regarding all the decisions; everything had to be passed through him. The company’s decision making processes were and still are centralized, in which the CEO makes all the decisions but it is incorporating more of a collaborative approach. The company is doing so by encouraging its hardware and software teams to collaborate. This approach however, never existed when Jobs was the CEO. Apple is considered a centralized company because it makes high capital investments that encourage centralization. It is highly competitive, offers high technology products, has a homogeneous product line, low product diversification, and has a lot of experience doing international business. Furthermore, it is organized on different basis; functional, divisional and geographical. Its functional structure is that the innovations and visions essentially come from top management and flow down the organization. Top management includes the board of directors in which they oversee and ensure that shareholders’ interests are being served for a long-term. Also, its functional structure is departmentalized and includes marketing, engineering, manufacturing, financing, IT, research and development. Its divisional functions include the products the company is offering, the market it is operating in and geographical areas. Apple has four product categories; the
Throughout history, art has caused wars and forged alliances. In modern times, cultural treasures are being sorted into place after much misplacement. Restitution/repatriation, the act of returning cultural treasures to their rightful owners or nation of origin, often ensues difficult legal decisions, but remains a moral necessity. This act of returning cultural treasures, grows more common due to the media’s interest or publicized legal battles. The movie “The Woman in Gold,” involving Gustav Klimt’s painting of Adele Bloch-Bauer, is an example of the influence it has on media.