& MUSEUM ART Winter Issue 2017

The Arctic Melt Images of a Disappearing Landscape

Our Event Partners CONTENTS

04

Deloitte Report Deloitte Art and Finance Conference 2018_ Report 18

ROLLS-ROYCE Partnership with the National 08 YoungArts Foundation

The Arctic Melt CEO & Editor Siruli Studio WELCOME Images of a Disappearing Landscape

ART & MUSEUM the most significant finance, banking and MAGAZINE Family Office Events around the World. Welcome to Art & Museum Magazine, a Our Media Kit is worth a look. www. supplement for Family Office Magazine, a ourmediakit.co.uk premier publication dedicated to the Family Office space. We have a readership of over 56,000 We recently formed several strategic comprising of some of the wealthiest people in partnerships with organisations including the world and their advisors. Many have a keen numerous Art and Finance Conferences, interest in the arts, some are connoisseurs while Museum Connections 18, The British Art others are investors. Fair and Russian Art Week and many more. We also attend and cover many other Many people do not understand the role of a international art fairs and exhibitions. Family Office. A brief explanation of a family office is a private wealth management office We are very receptive to new ideas for that handles the investments, governance and stories and editorials. We understand legal regulation of a wealthy family, typically that one person’s art is another person’s 20 with over £100m + in assets. poison, and this is one of the many ideas we will explore within ‘Art & Museum’ 22 Art & Museum is distributed within Family Magazine. www.familyofficemag.com Collecting Office Magazine and also appear at many of www.art-museum.com Global Fine Art Awards Australian Indigenous Art Ceremony and Gala

Art Education Human Rights Foundation 30 For family offices Interview with Holly Baxter

42 02 www.magazine-art.com 03 such as how to handle a long- moments of the conference came term loan to an institution and from Massimo Penco, a lawyer DELOITTE 10TH to educate them as to how the and collector, made the critical impact on society will be assessed. observation that without culture For this, one needs a deep you have no market, no value and understanding of their goals and no price. Culture is the cornerstone ART & FINANCE passions as a collector; do they, for of wealth in fine art and without instance, want a dialogue with an passion, there is no investment. artist? To what extent is collecting CONFERENCE a psychoanalytical journey? Do So, today’s wealth managers now they realise that the collection will have a roadmap in front of them represent an evolving portrait of illustrating some of the pitfalls. the family? One of the biggest issues today MILAN 2017 was subsequently illustrated in the Indeed, just as each family will second panel of the conference by: Pandora Mather-Lees have its idiosyncrasies, so can exploring Trust, Transparency and The magnificent Palazzo Mezzanotte, Italy’s stock origins of which date back to Classical Antiquity and the each country. Domenico Filipponi, globalisation in the Art Market. exchange, was the home of this November’s 10th Deloitte Renaissance. Whilst Italian heritage is widely recognised, capital without reflecting on the true value Head of Art Advisory at Italian The first topic was regulation. Art & Finance Conference in Milan. Why would 414 of the Italy today is way down the pecking order of commercial of the portfolio. bank Unicredit suggested that According to Deloitte’s latest world’s top financiers and art experts converge from their art market territories, all of which underwent a marked dip Italians differ to other nations. Art & Finance report, 77% of seemingly disparate worlds to debate the future of art in 2016. Understandably, some will prefer to sell They become passionate as they art professionals are in favour wealth management services and its interaction with the either all or part of a collection where it work over a number of years to of self-regulation. The expert commercial art market and cultural sector? Across the world, the art market generally recovered in does not suit their own taste. Melanie build up a portfolio and this can panel concurred. Using cultural 2017. As Tagliaferri explained, financial institutions are not Damani of Edmond De Rothchild bank speed the collecting process. heritage Codes of Ethics and Quite simply to better advise their clients by learning first- always prepared for managing clients’ art portfolios as they suggested that one should consider an For Filipponi, the process should industry association membership hand about new strategies, initiatives and to portend the grow. Expertise in alternative assets such as works of art individual’s preferences and not force be about both love of a piece as guidelines and enforcement of future. Not least of these speculations was the search can help a company to reinforce its brand and strengthen the taste of the older generation on the well as the investment potential. those guidelines is preferable to for that holy grail - the quest for the algorithms and relations with government, universities, clients and other younger. The second generation should be Education was a continuing thread government regulation which mechanisms which seamlessly track performance, evaluate stakeholders. Ms Tagliaferri described how Deloitte has free to explore new fields and new areas of throughout the conference; when is unlikely to accommodate the and value works of art. Given the unique characteristics done just that by bringing together art and finance and collecting. Thus, we witness the evolution Unicredit started to provide art peculiarities of the art market. of every single piece of art, turning it into a commodity advancing the preservation of public and private spaces of the family story. What was deemed services, this was first on the with indices sufficiently robust to comfort the world’s top through the Deloitte Foundation. crucial is to teach sound values, genuine agenda. Some countries have lobbied wealth managers seems a tough call. Nevertheless, it was curiosity (not easy) and to provide offspring government to relax draconian a challenge fully relished by both delegates and panellists, Private spaces are important; 3% of global wealth is in with an eye for new art forms. As always, According to Dave Wolf, director laws. In Italy for example, there the sheer number attending being testament to the crucial family offices and these art collections reflect the intrinsic good Family Office governance is vital to of life insurance provider, Clarity has been a four-year process, nature of this topic. characteristics of the principals. It is surprising then that facilitate a successful transfer. Life, to assist clients, you need approved on August 2nd by the such lovingly acquired treasures are often an intangible to educate them on more than Italian parliament to liberalise age- Co-organised by the Deloitte offices in Luxembourg and aspect of a family’s wealth. A panel devoted to the role So how should investments in collectables just the art. The tax implications old controls on the circulation of Italy with support from the Borsa Italiana, this year’s of the wealth manager in supporting family offices in be best managed? Panellist and Legal of a family which typically has cultural goods. Anything below conference was opened by Adriano Picinati di Torcello, maintaining and building value was well received. Counsel Alessia Zorloni suggested that members all over the world are not €13,500 is not subject to control, pioneer of global art and finance at Deloitte. Its focus was preservation of value is the main driver for just those of passing ownership nor is anything younger than 70 Family and Corporate Collections Managing Private Art Speaking on behalf of the Italian Family Office Association, collectors and for this to happen families of art on to the next generation, years. Equally, India has abolished Collections & Corporate Collections of Family Businesses. Patrizia Misciattelli proposed that through art, it is possible must invest in ongoing research, good but that of moving pieces across VAT between states helping for the family to form a bridge between generations. She advice and sustained support of the artists frontiers, something that cannot free movement of goods, while Key themes this year included the regulatory environment, argued that it is more than money and power; it is about they collect and patronise. merely be achieved with a Germany has imposed recent laws the evolving role of the wealth manager and the art values and passion. Art & collectables have a special role, structure. This can happen for where none previously existed. advisor, the future impact of technology to support better according to Misciatelli, who draws on a career in banking. The primary vehicle to maintain wealth will many reasons, especially where methodologies for valuations and transactions. She realises that as well as protecting wealth and managing often be to set up a foundation to create children migrate and wish to have Unfortunately, despite risk, the art advisor should guide the family in leveraging art an identity for the family. Collectors need something transferred to their harmonisation attempts within An opening address from Barbara Tagliaferri, Deloitte’s Art to enhance its reputation and educate future generations. experts who can offer specialist advice on own country. the EU, all member countries can & Finance Co-ordinator in Italy, discussed the undeniable She lamented that second and third generations too often aspects such as the most appropriate legal continue to enforce their own rules influence of Italy’s cultural heritage on its economy, the seek fast performance and focus their minds on venture structure, but also on art-related matters One of the most insightful and, worse still, these can be open

04 www.magazine-art.com 05 5th Art & Finance report, Key Findings Transparency: almost 75% of both the art and wealth management markets believe that more transparency, The highlight of the conference was a presentation from regulation and assistance in the due diligence process will Adriano Picinati di Torcello and Anders Peterson of art be necessary to enable an efficient and profitable growth market analysis firm Art Tactic. These two have worked in the future, and this with self-regulation at its heart. A tirelessly to research and publish a 272-page report - the very high percentage is concerned with forgery in the wake definitive body of knowledge on art and finance. of scandals hitting the press. Due diligence companies and processes will play a significant role in building trust and This year’s report is built on survey results encompassing confidence in the market. around 350 survey respondents, including 69 private banks, 27 family offices, 155 art professionals and 107 art Education: information and knowledge sharing must collectors. Moreover, 42 experts representing different improve both for those in the industry and the collectors/ aspects of the art or finance worlds have shared their investors they serve. insights through articles and interviews. The result is a comprehensive report which illustrates the trends and Conclusion: developments in the art and finance industry and the global art market in general. Quite simply, as the very rich compound their wealth, their appetite for luxury investments is growing at a similar rate. to misinterpretation in enforcement. Some Italian export art business conferences all over the world. Due diligence Key findings from this are summarised as follows: The number of UHNWs is predicted to increase by 43% in offices are not picking up on new legislation and continue initiatives exist in the ADDG and RAM in the UK and the next ten years and escalating prices and higher stakes to demand licenses! Switzerland respectively. The role of Compliance Directors Valuations: now becoming offered as standard alongside in the art industry has forced financiers to get to grips with in Wealth Management firms needs to evolve so they can art-related services. Private banks are focusing on advisory the market. Wealth managers are now embarking on the Self-regulation needs to be credible. Trust in the art establish a recognised standard of effective due diligence. services and commissioning valuations. Finding the right next step, to offer holistic management for their clients market is damaged by conflict of interest. This occurs expertise is a challenge. Art collections management rather than advising on individual investments. There is where dealers self-authenticate artworks, auctioneers vet Given how popular contemporary art collections remain, systems and wealth reporting systems are converging a marked shift from the view of fine art as the outsider their own works or engage in practices such as chandelier getting the buying side right is a must. Insurance giant to support estate planning and to monitor value and alternative asset to be replaced by the need to stay on top bidding. Self-regulation only works if you set the right AXA ART undertook an academic study which seeks to condition. of the game across all alternative assets and to integrate parameters and enforce them - a point made by Anastasia understand how contemporary art is evaluated, what tools fine art collectables into standard strategy and reporting. Tennant, Policy Advisor at the Arts Council which controls are used and the purchase criteria. Philanthropy: in art-related areas is growing. This area and assists international trade in cultural property. could grow to offer better undertakings with more lateral With the current focus still very much on contemporary Explaining how online data supports the process, Professor thinking about the opportunities. art and the market picking up after a dull 2016, the US Another obstacle is art crime. Shockingly for Family Offices H Dieter Dahlhoff of Kassel University stated that the is bullish, the EU market is primed to increase, and the and others, it is generally accepted that the majority of research findings corroborated what everyone in the art Investment tools: price databases, forecasting data, market Middle Eastern, Chinese contemporary and the auctions crimes are perpetrated by insiders. Indeed, a figure from ex market inherently knows – collecting is about so much performance indices, innovations such as blockchain and markets are growing or recovering. FBI agent Laura Patten, now advisor at Deloitte, suggested more than buyers and sellers. The criteria are presented as tagging technology, due diligence and reporting tools, risk this was as high as 87%. One investigation showed that a Venn diagram of Price: Market Value, Quality: Aesthetic management tools with an emphasis on data analytics. In his conclusion of the conference, Adriano cited Deloitte’s 80% of frauds included non-disclosure agreements (NDAs) Value and Reputational: Brand Value. Effectively the report Much exists, more is deemed necessary, and energy will perception of the ecosystem which is the convergence of so confidentiality contracts are not a deterrent. Patten recognises that it is nigh on impossible to make investment be focused on increasing accuracy and pulling in subjective finance, culture & business. applauded initiatives like Smart Water and lauded the decisions based on indices, algorithms or any form of along with objective information. AI may also have a role Carabinieri’s stolen objects database as the best in Europe. data interrogation alone. Value is not about price. Artist to play here and specifically: For the conference, it has been a long 10-year journey from prominence, emotional bond and reputation cannot be uncertain origins in Luxembourg. Today, the conference Proof of authenticity is now paramount in the wake of overestimated. 57% of survey respondents cited quality as ArtTech: start-ups abound, some will succeed, and goes from strength to strength with the report, now in its recent news items, and the role of investigative journalism the most important factor, following their own experience others will fail as online continues to develop. Blockchain 5th year representing the nexus of information for what is is important in bringing fraud to light. Journalist Maria and instinct to determine what good quality is. Purchases (Maecenas exhibited at the conference) is hailed as the now a 24-country strong initiative throughout Deloitte. Adelaide Marchesoni reminded the audience that apart in contemporary art are ‘shrouded in secrecy’ and are the ultimate in efficient and credible transacting in years to from public sales in auctions a large part of the market is eccentric journey of the investor/collector. Nevertheless, come. Axa-Art: Evaluating Contemporary art is available here: completely dark and registers of objects which could assist all and sundry seek the ultimate quality evaluation tool https://axa-art.cdn.axa-contento-118412.eu/axa- will not be popular for reasons of privacy. in the hope of justifying an investment which for one Art-Secured Lending: a key development is that credit loss art%2F7c7b18bd-03a1-472b-bee5-a7f8bb4d9ef9_axa+art_ piece alone can be more than a London property. Too provisions are moving from loss incurred to a loss expected survey_2017_final.pdf Katya Hills of the Art Loss Register raised the question as few respondents however actually use purchasing tools model. This will of course impact the way that financial to how well-versed art collectors are in conducting due available to them and most cited the internet as their main advisors model risk management for secured lending. New Deloitte 5th Art & Finance Report is available here: diligence and what role can intermediaries and advisors source of information. ways of keeping art in situ with the collector in Europe are https://www2.deloitte.com/lu/en/pages/art-finance/ play in supporting them. This question is raised regularly at emerging and will support business growth. articles/art-finance-report.html

06 www.magazine-art.com 07 third earliest to ever reach the Pole and the only vessel to arrive during summer solstice. With a balmy temperature The Arctic Melt of 32 degrees Fahrenheit, the ice at the North Pole was too thin to disembark. It took several hours to find an ice Images of a floe that could support the weight of our group. While this was an amazing experience, it disturbed me to know that my trip through the Arctic Ocean was only Disappearing possible because of the Arctic Ocean’s ice melt. Landscape by Diane Tuft The Arctic Melt, Greenland Sea, Arctic Ocean, 4:48 PM, 79 degrees N

The Arctic is melting faster than any other place in the world. located in the middle of the Arctic Ocean, it would be the This melt will cause ocean rise that will be influenced by perfect location to photograph global warming’s effect on three factors: the melting of mountain glaciers, the thermal its mountain glaciers. expansion of the ocean and the melting of the Greenland Ice Sheet. I was compelled to photograph the Arctic before the After great difficulty arranging to rent the one of the only effects of global warming cause this landscape to disappear. helicopters in Svalbard and securing a permit, I was able In order to document these areas of the Arctic, I travelled to access the region’s mountain glaciers and surrounding to the mountain glaciers of Svalbard, Norway, through the waters. Circling the Konglomeratfjellet, a mountain in Arctic Ocean to the North Pole and to the icebergs and ice Wedel Jarlsberg Land that towers above the almost ten-mile Themes and Variations, Arctic Ocean, 84 degrees N sheet of Greenland. Recherchebreen glacier, I became mesmerized by the strong ultraviolet shadows cast by the low sun. Through my camera I began my Arctic exploration on June 4, 2015, at 78 degrees lens, the glacier’s pristine snowdrifts became soft, gentle North in Svalbard, an archipelago in the Arctic Ocean forms. The turquoise blue meltwater ponds were evidence Blood River I, Woodfjorddalen, Svalbard, Norway located halfway between mainland Norway and the North of the melt that was occurring in this northern mountain Pole. Most of Svalbard’s twenty-three thousand square glacier. The ice floes in Isfjorden became patterns of cracked I knew that the majesty of Svalbard would change, but miles remains untouched by civilization, and the majority ice due to the warming of the ocean. Rivers were created I wondered if its mountain glaciers would exist by the of its twenty-six hundred inhabitants live in Longyearbyen, throughout the glaciers as the melt washed terracotta end of the century. the world’s northernmost settlement. Since Svalbard is Devonian sandstone down the sides of the mountains. In order to experience first-hand the melt of the Arctic Sea Ice, I travelled in a Russian nuclear-powered icebreaker through the Arctic Ocean to the North Pole. Once again I was mesmerized by the Arctic’s splendor but surprised at how much open water existed. As we travelled through the Arctic Ocean, large blue-green blocks of ice lifted out of the ocean and fell back on The North Pole, Arctic Ocean, 90 degrees N, 32 degrees F themselves. Signs of melt were everywhere. Areas of open water were studded with ice paddies that would be used as stepping-stones for the occasional polar bear. When I embarked on my journey, I thought that I would see several polar bears… but during my two- week trip, I encountered only three adults and three Shadow’s Edge, Recherchebreen, Wedel cubs. The sporadic snow paddies were a clue to the Jarlsberg Land, Svalbard, Norway difficulty the bears have in living and navigating the Arctic waters.

Ice Fold, Recherchebreen, Wedel Meltwater Ponds, For thousands of years, the sea ice during the Arctic Jarlsberg Land, Svalbard, Norway Wahlenbergbreen, Spitsbergen, winters through the month of June was always too Norway thick for surface vessels to access the North Pole. But Which way? now, because of climate change, our vessel was the Franz Josef Land, Arctic Ocean

08 www.magazine-art.com 09 In 2007 I had photographed icebergs, glaciers, and the ice Will the Arctic ice become a “new wonder” of the world—a My photographs serve as documentation of the expansive sheet in the Ilulissat area. Nearly a decade later, I decided natural phenomenon that existed for a short period of beauty of the Arctic now and the dire situation that it to return so that I could visually record the difference in time, and then finally disappeared? continues to face if we do not provide a sustainable the landscape and document the impact climate change environment for the future of our planet. has had on the area. I think about the different forms of ice within the Arctic Ocean. If you would like to link to Diane Tuft’s website and social During my first visit to Ilulissat, the temperature was 30 I think about the soft, subtle folds in the snow within the media profiles, they can be found here: degrees Fahrenheit, and Disko Bay was spotted with Svalbard glaciers. colossal snow covered icebergs that had calved from I think about the towering icebergs that I saw in 2007 that Website: http://dianetuft.com the Jakobshavn and surrounding glaciers. The ice sheet are now half the size. www.facebook.com/diane.tuft.photography was blanketed with fluffy snow studded with cryoconite I think about the glistening blue meltwater ponds now Instagram: https://www.instagram.com/dianetuft/ holes—cylindrical depressions caused by solar radiation studding the glaciers. Twitter: https://twitter.com/dianetuft being absorbed by sediment that has landed on the ice surface. When I returned to Ilulissat in 2016, the Jakobshavn Greenland Ice Sheet – 2016 glacier was calving at such a rapid rate that the entire inlet was filled with small icebergs that continually emptied into Disko Bay. They were in a constant state of melt: waterfalls tumbling from their tops and rivulets raining t: +44 1223 881691 e: [email protected] www.1066pianos.com from their interiors. Icebergs cracked, split, and fell into the bay daily.

The majestic Eqi glacier that I had photographed in 2007 had retreated so much that it was now almost entirely on bedrock. The constant calving no longer produced icebergs; but instead, it released small sediment-coloured pieces of snow. Taking the same aerial flight over the ice sheet that I took in 2007, I now saw rough peaks of snow and silt that were studded with hundreds of meltwater ponds, some so large that they could be considered lakes. Greenland’s Icebergs – 2007 The meltwater ponds would eventually empty into deep moulins, which became streams that drain into the waters surrounding Greenland.

The temperature in Ilulissat just nine years later was 65 degrees Fahrenheit.

I N T E R N A T I O N A L D E L I V E R Y

Greenland’s Icebergs – 2016 S E L F P L AY I N G S Y S T E M S AVA I L A B L E

Scientists predict that the sea level could rise three to six PLEASE CONTACT US FOR FURTHER DETAILS ON THESE EXCEPTIONAL INSTRUMENTS FROM THE 1066 PIANO COLLECTION feet or more by the end of the century, inundating coastal areas worldwide and displacing tens of millions of people. If we continue to burn fossil fuels that release Methane and CO2 into the atmosphere this prediction will happen Greenland Ice Sheet – 2007 sooner.

10 www.magazine-art.com 11 Larry’s List Museum Report Introduction by Christoph Noe, Co-Founder and Director of Larry’s List

Larry’s List is honored to present the PRIVATE ART of PUMA and founder of the Zeitz Sculpture Garden, owing not only to its historical importance in regard Regarding the second topic, as Patrizia Sandretto Re MUSEUM REPORT, the first study on the global or Fondazione Prada, which was founded by Miuccia to private collections, but also to the rich museum Rebaudengo mentioned, private museums often fill a setting of privately founded contemporary art Prada in Italy. landscape counting nearly twenty private museums gap, particularly in countries with limited institutional museums. The report draws on the largest private today. China has obviously been selected due to an infrastructures. Furthermore, we believe that even with contemporary art collector database in the world, Despite the increase in private museums, the surge of upsurge of the number of museums in recent years, a full-fledged institutional structure in place, private created by Larry’s List, and an additional survey press headlines regarding these new buildings—such as totaling twenty-six in all, and the size of the museums museums still greatly impact the cultural landscape. conducted with the participation of over 166 private art “China is building thousands of new museums”1 or “A opened. The analysis is complemented by interviews An example is the Neue Galerie in New York. Owned museums worldwide, jointly executed with AMMA (Art museum in every mall?”2—and eye-catching news of with museum founders in their respective regions. by Ronald S. Lauder, the museum presents artists Market Monitor of Artron), the foremost art-market prominent collectors celebrating opening parties, our such as Egon Schiele or Gustav Klimt, which fills a gap intelligence in China. intention is to conduct research on a more academic and Sixthly, the research investigates architecture’s crucial that even the Museum of Modern Art (MoMA) cannot. investigative level. Therefore, this report aims to fill a role for museum founders. Four cases look into the Additionally, despite the fact that many collectors The PRIVATE ART MUSEUM REPORT investigates a gap in this vital area of knowledge about the art market remodeling of existing buildings versus the setup of new own private museums, this does not signify that they particular group of contemporary private art collectors: by asking questions such as: How many museums are museums illustrating the different ways architecture fail to engage or collaborate with public museums and collectors who have decided to make their collection there? Where are these private art museums located? interacts with the art collection. institutions. We see many examples where private publicly and physically accessible. They are collectors Who are the founders behind these museums? How do and public efforts go hand in hand and where private with financial means and an unquenchable thirst for the museums operate? Subsequently, the report will draw on historical and museum founders often compensate for the lack of art who have established a space or a private museum regional comparisons by mapping out the private public funding. to show their collection to the public, often with the Firstly, the report investigates the global private museum structure in Rome in the eighteenth century goal of promoting art appreciation. Exhibitions in these museum landscape. It analyzes private museums and today, while also comparing it to the private Many private collectors take their commitment as museums present the founder’s collection (or parts of throughout the world by continent, country, and city. It museum landscape of Berlin and Seoul in the year 2015. philanthropists very seriously by actively lending and it) through permanent and rotating shows. shows historical development in regard to the founding The last chapter of the study analyzes the challenges donating artworks to museums as the founder of the dates. Additionally, the private art collection, being the faced by private museums today as well as noticeable Lyon Housemuseum, Corbett Lyon, lines out: “… if we The importance and influence of private art museums backbone of a private museum, will be examined. regional differences. have a request for a loan, we are very pleased to make in the global art landscape is undeniable. The quality Secondly, the study looks into the legal setup and the these available to other public art museums, both in of artworks displayed and the shows curated rival or operation of these museums. It delivers insight into the In the course of this research, we have identified two Australia and overseas.”3 Many museums would not be even surpass institutional exhibitions, often being size and area of the museums and adjunct offerings such profound issues. able to provide high-quality exhibitions without private recognized not only locally but also on an international as shop outlets. Connected to that, it analyzes opening Firstly, we noticed certain distinctions between how collectors’ patronage and donations, be it in the form art level, especially in the field of contemporary art. times, visitor attendance and entrance fees. From a a private museum can be defined and differentiated of a single artwork, an entire collection, or financial The number of visitors attending private museums programming point of view, the number of exhibitions in terms of how collectors run their space / museums. support. The Association of Art Museum Directors often equals public institutions. Private museums are per year is examined. Moreover, the human resource Secondly, we noticed different perceptions, interactions estimates that more than 90% of art collections held running, in a number of cases, full-fledged academic setup and the activation of freelance staff, particularly and also conflicts due to the nature of private museums in public trust by American museums were donated by programs, launching publications, and offering artist- curators, are investigated. Also, private art museums’ rivaling with public museums. private individuals.4 in-residencies. communication tools and social media strategies are put under the microscope to uncover how these Regarding the first topic. While it is important to first We are fascinated by the role and responsibility The impressive appearance of these museums, institutions cope under society’s fast-growing need for present a methodology in order to understand the attributed to art collectors, particularly museum in combination with their wide-ranging activities, immediacy. definition of a private contemporary art museum, the founders, thus rendering them as one of the most certainly impacts a museum founder’s visibility in the underlying principle of this study is to include museums important players in the art market. In many cases, they art world. Conversely, often the private museum’s Thirdly, the report looks into the collectors behind the rather then to exclude them. It is intended to show the invest major resources and personal financial support authority is supported by the collector’s own status museums, by exploring who those founders are and full variety of different museum operations. Since the to share their experiences, promote contemporary owing to their celebrity circles, their ranking on a what motivates them to make their collections publicly research offers a global perspective and the analysis of art, and enable public access. Our current study pays wealth list, or by their standing as owner or founder of accessible. museum setups differs according to the region, we thus tribute to this by mapping out the private museum a widely known brand, enterprise, or family business. tried to avoid a Western perspective, or any other for landscape, reporting about collectors’ motivations, and Such examples include Dasha Zhukova, Founder of the In the fourth and fifth chapters, the study delves into that matter, and also to avoid being too exclusive. The by shedding light on their engagement in the art world. Garage Museum in Moscow, Jochen Zeitz, former CEO the regions of Italy and China. Italy has been selected full methodology can be found in the appendix. www.larryslist.com

12 www.magazine-art.com 13 ART BASEL, MIAMI ART WEEK Miami’s December Gift by Kristie L Smith Nikitin

When the gloom and grey of and everything in between, the rings, bracelets — as much art as December settles across the galleries were showing Warhol, they are fashion. Design Miami globe, the art world shines a Chihuly and those we haven’t showcased tomorrow’s antiques warm, bright spotlight on Miami, heard of … yet. The UK’s Lévy today — a must-visit for anyone Florida, USA. Art Basel founded Gorvy and Galerie Thaddaeus with an eye for design or a her sister show on the shores Ropac, Madrid’s Parra & Romero, penchant for decorating. of the Atlantic, and for a week Tokyo’s SCAI The Bathhouse, the city puts on an unmatched Beirut’s Sfeir-Semler, and Moving on from the gated spectacle. In 2002, Switzerland’s Chicago, Illinois, USA’s Patron, communities and hurricane premier event for modern and among others, had wares on toppled palm trees of South contemporary art began a parade. According to Art Basel Beach, two more international satellite exhibition in Miami. sponsor, UBS, seven-figure sales art shows were on the other side Image courtesy of Art Basel Fifteen years later, satellites were up this year over 2016 and of the MacArthur Causeway. Past crafted from everyday items like cigarette butts in a row. According to Kris, “Attendees, collectors are orbiting the satellite and some, including Patron, sold enormous cruise ships and angry and recycled computer keys littered among mixed- are energized with shows like Spectrum/Red Dot Miami boasts more than two their entire booth. waves in the bay, lay Miami’s media, metals and stone. Galleries to roam and that feature new artists and cutting-edge work.” He dozen destinations to celebrate Downtown district. Beyond the artists to meet at every turn. They were accessible, followed up with “[they] repeatedly remarked how creativity. Beyond the 200 An easy walk from the convention Italian food truck in yet another approachable and talked about their motivation, sick and tired they are of having Warhols shoved galleries at Art Basel, additional centre was an industrial- commercial tent, was Red Dot their inspiration and what makes the perspiration down their throats.” vendors and artists were sized tent that housed nearly and Spectrum. One entrance when they create, stage and sell a piece. represented at 2017’s Design everything needed to layout a and one ticket for both shows. The hustle and bustle of this large city with spirited Miami, Spectrum, and Red Dot. well-appointed home. This is Approaching the gate, dozens Red Dot artist Chuck Marksberry, of the Charles drivers and transplanted residents from everywhere THE venue for contemporary, of roses and baby’s breath Harold Company, said, “If it’s good, it’s good add to the sensory perception of Art Basel, Design In South Beach, at the Miami traditional and kitsch from the dangled upside down from the because it’s good for you.” Marksberry, both artist Miami, Spectrum and Red Dot. A true vacation at Beach Convention Center, Art four corners of the earth. The ceiling. The pungent aroma of and gallery owner, represents himself, his two the beginning throes of winter, Miami is a warm Basel was a dizzying array of latest in interior fashions from drying flowers filled the air and sons and both of his daughters-in-law. His advice destination, with a thriving art and entertainment lights, sounds, colour and people. London, Paris, New York, Milan patrons wandered back and forth to those on the hunt for a particular piece was to scene. These international art events add a layer of Chatter wafted from booth and Chicago were on display. between Red Dot and Spectrum. “Look, look, look!” Patrons were encouraged to cosmopolitan flair to the city. With restaurants too to booth — French, Russian, Exhibits were showing furniture, take photos, walk the hall and circle back to the numerous to count, this culinary paradise, seaside Spanish, English, English with over-head lighting, wall coverings Much of Red Dot felt familiar, pieces they really enjoyed. Bloomington, Indiana, getaway and cultural mecca gives the creative an accent, this was truly the and hangings, not to mention comfortable and traditional. USA’s husband and wife team, Kris and Angela world the ultimate December gift. epicentre of the universe. From vases, lamps, dust collectors, and Spectrum, on the other hand, Gebhardt exhibited at Spectrum for the fifth year the whimsical to the political jewelry—watches, necklaces, had performance art, and pieces

14 www.magazine-art.com 15 17&18 JAN. 2018 The international place for museum businesses, in Paris, Hall 2.1 - Porte de Versailles, France. 300 4 000 EXHIBITORS PROFESSIONAL GUESTS Audience reception and management working in executive positions, in museum shops, at Cultural branded products ticket offices and at the audience, communications & Communications partnership, digital and conservation departments... Management of points of sale Development & Strategy

Order now your e-badge online for free with the following code : museumco2018 www.museumconnections.com (register tab)

CONTACT Milena Levent, Director Tel : +33 (0)1 49 52 14 39 [email protected]

FOR MORE INFORMATION, VISIT WWW.MUSEUMCONNECTIONS.COM

#museumco // @museumconnections 16 www.magazine-art.com 17 and artistic reflection. The work was of Ecstasy, the ornament that adorns inspired by a passage from a letter taken the bonnet of each Rolls-Royce motor from the anthology Stones Against car. As if sleepwalking, Myrie takes the Diamonds, written by the seminal viewer on a mesmerising journey across modernist architect and designer, the a symbolic landscape of glaciers, rocks THE NORTH AMERICAN Italian-born Brazilian Lina Bo Bardi. and black volcanic sands, all glistening Julien’s work of the same name explores like diamonds. Julien uses this to remind PREMIERE OF themes within this text where Bo Bardi us not only of the earth’s fragility – the admires the beauty of natural elements melting of the glacier which carves out over precious stones, believing them to these caves – but also that some of the ISAAC JULIEN’S be more beautiful, and describing how most beautiful objects are the least collecting semi-precious stones helped precious in a conventional sense. COMMISSION FOR THE inspire the architect and designer to rethink design in a most remarkable way. The work will be shown within the Signature elements of Bo Bardi’s work landmark Jewel Box at the National ROLLS-ROYCE ART have left a lasting impression on both YoungArts Foundation campus in Miami. international architects and designers. The Jewel Box, designed by Ignacio PROGRAMME TO BE SHOWN Julien’s film installation incorporates her Carrera-Justiz in 1973, features an exterior famed spiral staircase at Solar do Unhão in covered in thick hammered stained glass Bahia, Brazil; the first stage meticulously ‘tapestries,’ and is based on an abstract DURING ART BASEL IN built on set in sub-zero temperatures, painting by German artist Johannes Dietz. later continued and then merged using MIAMI BEACH CGI post-production. Furthering the The National YoungArts Foundation, Isaac Julien parallels, Julien includes Bo Bardi’s identifies and supports the next Rolls-Royce Motor Cars, in partnership with the National artists. His work draws from and comments on a range of Contemporary Artist signature easels which are made of glass generation of artists in the visual, literary, YoungArts Foundation, will present the North American debut disciplines and practices, uniting them to create powerful and and concrete, two elements present in the design and performing arts; assists them of Isaac Julien’s work Stones Against Diamonds (Ice Cave) entrancing works of art, in this case, a dramatic audio-visual majority of her practice. Julien references at critical junctures in their educational during Art Basel in Miami Beach 2015. The work by the Turner film installation for Rolls-Royce,” commented Torsten Müller- these in both the film itself and in the and professional development; and raises Prize nominated artist, commissioned as part of the Rolls Royce Ötvös, Chief Executive Officer, Rolls-Royce Motor Cars. “The presentation of his work, where the film appreciation for the arts in American Art Programme, will be shown from 1-5 December 2015 at the origins of our motor cars, commissioned in the same vein, share is shown on flat screens and supported by society. YoungArts has been a partner of National YoungArts Foundation ¬– located at the nexus of this spirit. An amalgamation of creativity, skill and the world’s concrete blocks. Rolls-Royce NA since 2014. Miami’s Wynwood Arts District, Arts and Entertainment District most beautiful natural materials unite to form a timeless piece and Edgewater. The video installation will fill the interior of the of automotive art.” Vanessa Myrie, an actress and performer Originally shown as a preview during the magnificent YoungArts Jewel Box across 15 screens, the largest who has worked on several of Julien’s 56th edition of La Biennale di Venezia, and most impressive presentation of the work to date. Isaac Julien, artist commented, “On visiting the Home of previous projects such as True North the film installation had its public debut Rolls-Royce last year, I observed an authentic connection (2004) and Western Union: Small Boats during Art Basel in Basel 2015 before Isaac Julien is one of Britain’s most important and influential between crafting a Rolls-Royce car and creating an artwork. (2007), appears within the piece as a ‘spirit being shown at The Home of Rolls-Royce artists. His work is the latest compelling addition to the Rolls- Both call for highly developed technology and techniques, guide’, making reference to the Spirit in Goodwood, England. Royce Art Programme, founded in celebration of the marque’s extreme attention to detail, design and, of course, concept.” commitment to creating unique, rare and aesthetically He continued, “The creation of this film echoes the endeavour powerful motor cars, which transcend the world of conveyance of crafting a perfect motor car. Indeed, my work unfolds as a to become works of art themselves. The programme seeks to sort of craftsmanship, in the sense that I am concerned with draw together the handcrafted elegance of the marque’s motor reaching a level of skillfulness that aspires to represent the cars with contemporary artists around the world, including century-long traditions of handicraft expertise.” internationally acclaimed artists Ugo Rondinone, Erwin Wurm, Regina Silveira, Will Cotton, Angela Bulloch and Morgan Wong. To create the Rolls-Royce commission, Isaac Julien took a film Julien’s commission extends his ongoing relationship with the crew of 50 to the wilderness of Iceland, where they filmed for marque following an ‘artist talk’ that he gave as part of the five days in isolated glacial ice caves in the South East region of Rolls-Royce Art Programme during Frieze Art Fair London in Vatnajökull. The artist interpreted this remote landscape as a 2012. metaphor of the unconscious, a place of rich beauty but difficult “Isaac Julien is one of Britain’s foremost contemporary to access other than through the processes of psychoanalysis

18 www.magazine-art.com 19 Australian Aboriginal art is a truly unique movement, paintings from many regions of Aboriginal Australia and Collecting totally at ease on the international stage of produced the exhibition and catalogue, Twentieth Century contemporary art, yet based on one of the world’s Aboriginal Art: A Myriad Of Dreaming. Australian oldest continuous cultural traditions. A growing investment in the international art market, some This exhibition featured the first painting that I had bought for of the most significant collections in the world myself. It wasn’t that I had embarked on a personal collection Indigenous Art feature Aboriginal art, including important private of Indigenous art, but rather it was a painting that talked to me by Ruth Lovell collections and major public institutions. and which I brought into my general personal collection, Molly Martin Napurrula’s Bush Potato Dreaming, a Warlpiri woman International recognition continues with the from Yuendumu, north-west of Alice Springs.” exhibition The Sources of Aborigine Painting, Australia-Tjukurrtjanu at Quai Branly Museum in A Myriad of Dreaming (1989) was a significant and broad survey Paris in 2012 – 13; Our Land Our Body, toured China exhibition of Indigenous Art with scholarly contributions from Genevieve Loy to great success in 2011; One Road: Aboriginal Art leading experts in the field and at public institutions. The of Utopia (a remote desert area around 300 km from Australia’s Deserts toured a series of Japanese exhibition included ochres on barks, early Papunya paintings north-east of Alice Springs), whose most famous galleries in 2016 and Everywhen: The Eternal Present on board, watercolours by Albert Namatjira, brightly coloured proponent was the internationally celebrated in Indigenous Art from Australia was held at the canvases from the desert and refined ochres from The Emily Kam Kngwarray. The paintings of artists Harvard Art Museum in 2016. Kimberley. The Myriad catalogue was used in Melbourne’s from Utopia are elegant abstractions reflecting lobbying bid for the Olympic Games in 2000. the rich colour of the region, with sweeping blue The thread uniting the work by artists from various skies contrasting with the red earth and rocks, the regions around Australia is the depiction of the artists’ Since that early exhibition, the popularity of Indigenous art and white of the ghost gum trees and the greenery and landscape and their inextricable relationship with the relationship between the artists, art centres, art galleries Rover Thomas c.1926- 1998 Jabanunga 1996 natural earth pigments coloured flowers that flourish seasonally. and binder on linen 180 x 270 cm the land. The paintings tell the stories of creation, of and clients has undergone a shift as the market became aware journeys, of the totemic flora and fauna belonging to of the importance of sourcing artworks from reputable dealers The Gallery continues to exhibit a range of the land; passed down over the generations through to ensure that the artist has been fairly compensated and that Indigenous art including Earth’s Creations: The oral tradition, markings in the sand and ceremonial the artwork was true to its description. Lauraine is a member Paintings of Emily Kngwarray; Telling the Stories: rites and now translated through western materials of the Indigenous Code of Conduct and has been a board Barks from the Kimberley to Yirrkala and The into extraordinary, fresh and powerful paintings, member of the Aboriginal Art Association of Australia. Next Generation: Lorraine Kabbindi White and simultaneously narrative and abstract, for the Genevieve Kemarr Loy, featuring two young contemporary art market. To assist with an understanding of the complexity and artists following in the footsteps of their artistic great variety of Indigenous art, Lauraine has developed an grandparents, a fitting tribute to the ongoing Lauraine Diggins is a leading art dealer in Australia educational focus through her website www.diggins.com.au flourishing of this exciting art movement. and Director of Lauraine Diggins Fine Art, a private with a particular focus on area close to her heart – the art gallery space in a quiet residential street where she exhibits Australian art from colonial times; the Australian Impressionists; Australian Moderns, Emily Kam Kngwarray c.1910 – 1996 Bush Potato Dreaming 1991 including Sydney Nolan and Arthur Boyd, and a synthetic polymer on canvas 130 x 90 cm selection of contemporary artists. Over the past thirty-five years, she has held many exhibitions at her Melbourne Gallery and shown Australian Indigenous Art internationally.

Lauraine recalls, “In the early 1980s I became attracted to Indigenous art, knew nothing about it and found myself somewhat uncomfortable regarding my lack of knowledge. It was somewhat like being in a foreign country and not being able to communicate. By 1983 I had somewhat conquered the beginning of an understanding of Papunya painting and had introduced these works in my Moderns Exhibition of that year.

Genevieve Kemarr Loy 1982 – Akwerlkerrmwerlkerr 2017 Lauraine Diggins Fine Art – Gallery synthetic polymer on inen 200 x 122 cm By 1989 I had collected a substantial amount of

20 www.magazine-art.com 21 Global Fine Art Awards Ceremony and Gala

As a precursor to the Award Ceremony and Gala to be represented by Marlborough Gallery in New York; Ruya held next March 8, at 583 Park Avenue in New York, the Foundation’s Directors and Co-Curators of the Iraq Pavilion Global Fine Art Awards program (GFAA) announced their from the Venice Biennale, Tamara Chalabi and Paolo Nominees for 2017 this past October. Many Nominees, Columbo; Baiqu Gonkar, Director of Art Represent; Daniel Gallerists, Foundation and Museum Directors joined Robbins and Peter Trippi (also GFAA Executive Committee members of the GFAA Advisory Board to celebrate the member), Co-Curators of the Alma-Tadema exhibition news at the exquisite Leighton House Museum in London. installed at the Leighton House Museum. Gallery partners The event was generously underwritten by Lead Sponsor, Hauser & Wirth for Philip Guston and Lygia Pape, Alison Crowell & Moring LLP International Law Firm, represented Jacques and Galerie LeLong for Ana Mendieta, Jaume by partners Simon Evers, Michelle Linderman and Mark Plensa and Andy Goldsworthy acknowledged their artists Meyer. represented in this year’s Nominees. A personal letter written by Andy Goldsworthy, nominated for his lifetime Guests present included Andrew Wilson, Curator at Tate body of work for this year’s premier Global Planet Award, Britain, nominated for the David Hockney exhibition. He was read aloud to conclude the remarks by GFAA President, was accompanied by Richard Benefield, Director of the Judy Holm. Hockney Foundation, and prior GFAA Youniversal Winner for the Hockney exhibition staged at the de Young, Fine Tickets are now available now for purchase for the black- Arts Museums of San Francisco. Also in attendance were tie Award Ceremony – where guests will be the first to Nominees Erland Hoyersten, Director and Curator from discover this year’s award winners at the sumptuous and ARos Aarhus Kunstmuseum and Communications Director historic New York red carpet event. More information is Anne Riis; Catherine Whistler, Curator from the Ashmolean available on the website: globalfineartawards.org. Museum at Oxford University; Diane Tuft, photographer

Lawrence M. Shindell, GFAA Advisory Board Chair, Ekaterina Luki, GFAA Art Liaison Richard Benefield, Executive Director, Committee Chair, Ty Murphy, GFAA UK Chair, Alfredo González Cánovas, GFAA David Hockney Foundation and Finance Committee. Judy Holm, Founder and President, Global Fine Art Awards

22 www.magazine-art.com 23 also for those that legal advice is thought to be irrelevant (e.g.: cataloguing) but may involve risks previously not contemplated. Crucially, an RBA allows museums to adopt a flexible set of measures in order to effectively target their resources and apply preventive measures commensurate to the nature of risks.

Further, by knowing what type of legal risk a museum runs and taking steps to mitigate those can, not only protect the museum from liability but also unlock value by allowing it to engage in business opportunities that were unknown or Managing Legal Risks in previously considered too risky. For example, clearing intellectual property rights for images of by Phoebe Kouvelas, LL.M. works belonging to the museum not only protects Museums and Large Collections: it from liability arising from unauthorized use but also provides tools for promotion and income is subjective, at best. This lack of deeper, factual generation. This is so since, as the visibility A Call for a Risk-Based Approach knowledge in relation to legal risks leads to loss of artworks increases (not only through the of value whether due to the materialization of a museum’s website but also through social media risk which has not been identified (resulting in etc.), so does the originating institution’s; a costly remedial action/ reputation damage) or positive correlation has been found between from ineffective resource allocation. online exposure of collections and increased on- site museum visits. What is lacking is a top-down assessment of legal risks in order to identify hidden risks threatening Importantly, by running a legal risk assessment Museums are multifaceted institutions reaching across all a collection’s value, life and status, assess their and incorporating the proposed control activities disciplines and fraught with legal concerns as they launch into potential impact and understand if and how to all museum processes, legal risks are minimized the 21st century. From returning a Constable painting accepted they are being mitigated and monitored. What without relying on continuous and costly legal as a gift in good faith, to paying breach of copyright damages is in fact needed is the adoption of processes, advice. for publishing an image in an exhibition catalogue, or loaning procedures and controls based on the type and artworks to a prominent institution only to have them seized, level of risk associated with each activity - a risk- ARTSECURE museums can’t be careful enough when it comes to legal and based approach (RBA). ArtSecure’s Legal Risk Assessment (LRA) model reputational risks. is an industry-first, sophisticated LRA designed WHY for museums and large private collections Despite that, the current approach to managing them is arguably The deep knowledge and understanding of legal by combining expert knowledge from three inadequate. Most museums have a view on what their principal risks achieved through a risk assessment allow knowledge domains: risk management, art law legal risks are; nevertheless, those are addressed through the not only for resources to be allocated more and collections management. use of empirical checklists designed to avoid pitfalls or after a effectively but for risks that would otherwise go triggering event. The problem with such approach is multifaceted. unnoticed to be mitigated as well. WHO CAN BENEFIT Where a collection is the subject of sale, purchase, Firstly, the museum does not have a clear view of the legal risks Without a legal risk assessment which will cross-border loan, asset-based lending against it runs for all its processes and cannot, therefore, act pro-actively reveal the type and level of risk associated with art, auction house guarantee and insurance, to mitigate them; rather, it may end up finding out that it ran a each collections management activity, valuable ArtSecure’s LRA becomes a valuable exercise that risk after a triggering event has occurred, which may be too late. resources cannot be put to optimal use. Legal the main stakeholders will increasingly demand. Secondly, lack of knowledge in relation to risk often leads to advice and action may be sought where the risk ineffective resource allocation; the museum will tend to allocate is minimal and may lack where it is more severe. Phoebe Kouvelas is a lawyer specializing in art, IP resources more heavily to some activities for which risk is thought To the contrary, a legal risk assessment indicates and cultural property matters. She is the founder to be high and less so in areas where risk is perceived to be lower. actions which will mitigate legal risks not only for of ArtSecure, a law firm offering legal services for the collection management areas where legal the art world. Nevertheless, this perception of risk is not derived from a support is typically sought (e.g.: purchases) but www.artsecure.gr factual assessment but rather from random experience, which

24 www.magazine-art.com 25 more beyond. Inspired by the built environment, natural or man-made, Tofer embraces architecture as part of a full range of artistic methodology. His investigation produces images as minimalist forms with the aim to merge the objective and subjective, and present a particularly honed vision that ‘shifts’ a person’s point of view. Each work adheres to a formulaic expression that successfully presents a A CONFLUENCE window into the psychological space within the viewer. OF ART AND Vesna Petresin is a time architect, space composer and performer. Her practice utilizes the alchemy of media and senses (sound, film, space, interaction, Opening No.1; Opening No.2; Opening No. 3 and performance) to take art out of the white cube Triptych -72 x 60 inches – each, Acrylic on canvas SCIENCE Collection Exelon Corporation Headquarters, Baltimore and bring it into an immersive experience. The their position and in this way describes the present. by Bonnie Hall key concept is transformation - of the material, the immaterial and the self. Vesna seeks elements The function of time comes from this formation of Art is ineffable. Characterized by a particular mimesis, Through technological advancements, new patterns that link cultures rather than separate them and consciousness – as a series of bursts or emergent art is often defined as the creative and imaginative of identity have developed in this modern age. pays attention to archetypal formal constants and flow of variables – producing the separation between skill communicating an idea, an emotion or a patterns that exist both in nature, human perception a past, present and the future. narrative. No matter how ineffectually we attempt Over the past decade, people have gained and the creative process. Her work in immersive light to describe art as something with a higher power immediate entry into the sphere of public discourse, is ground-breaking. All in all, art is subjective. It cannot be right or wrong or special ability, the focus on cleverness is only whether from the comfort of their home or on the like science. Aesthetic objects created by dynamic part of the story. The larger factor is the emotional go through mobile applications. Consumed by Tofer Chin and Vesna Petresin are engaged in and experimental coding practices are instructing influence art activates that is not always conscious technology and images, 3-D printing, algorithms, the process of inventing things which display a new transitive phenomenon; a distinctive space or perceptible. Emotion is the synergy which best and computer coding further elucidates the role of new organisation, form and function. They are or medium where human initiative and algorithmic conveys the nature of art across all disciplines. science as a prevalent trend overlapping with art. constructing wholes around their forms, through bits supposition are no longer separate. While there are considerable differences between of repetition and pattern that play an integral part of We are in the age of creativity, a word thrown around the disciplines, what is clear is that both science and a spontaneous structure. Whether intended or not, Whether employing the materiality of form as in a lot which means different things to different art investigate new relationships. Innovation may the emotional impact of their art empowers our own the practice of Tofer Chin or drawing a trajectory people. As one of the most defining trends of the 21st provide the foresight of what the public wants, but it communication as we view the work. of sound to elucidate a dance between composer Century, creativity has emerged across our society as also increases a kind of universal power that impacts and computer realized by Vesna Petresin, it is our an interdisciplinary dialogue. At the core intersect our fundamental values, and yet the emergent aura This exchange brings the full creative imagination emotional response to this hyper-reality that is between fields, this crossover zone attempts to of art to which we react with awe still surpasses into play, making it possible to discover new concepts the true power of art, which is destined to remain transcend disciplinary boundaries and is rooted in technicality. For artists, ingenuity becomes a kind and translate new thoughts into form. As a means for mysterious. the exploration of relationships. Albert Einstein once of cosmic pantheism that proposes a merging of describing the world, it tells us how things vary about wrote, “The most beautiful thing we can experience identity with the infinite, resulting in immortality. is the mysterious. It is the source of all true art and all science. So the unknown, the mysterious, is where Two emerging artists who explore the multiple art and science meet.” layers of self to transform a public paradigm are Tofer Chin and Vesna Petresin. At the centre of their Art challenges much of our deepest assumptions art is a cross-disciplinary conversation with the goal by sparking and eliciting new actions. Art has the to shift mood and perception. Each is called upon capability to directly transform and bypass the to build form adapted to its context, and describe realm of thought. Subsequently, artists play an the present. They are aiming at a target that is just important role in shifting the conversation, which around the corner. in turn becomes a means for affecting deep and lasting social change. Globalization, new technology In his practice, Tofer Chin activates a process in the and a culture that connects and simultaneously viewer’s mind to further an understanding of their disconnects us present another array of shifting surroundings and challenge their perception through challenges. In context with all these shifts, there is conventional concepts of form, colour and scale. Each Vesna Petresin Tofer Chin - White Staglamites (sculpture), 3ft, 5ft, and 7ft. an aim to explore new ideas and new ways of seeing work opens the door to greater possibilities, seeing IWASI, 2013 – print on light box, 120 x 96cm. Immersion as Overlay No.1 and No. 2 Acrylic on canvas, 48 x 34 inches each things that add value to move mankind forward. only a portion of something while knowing there is ‘Embodied Illusion Beyond’ In the collection of Cyrus Chan, Hong Kong

26 www.magazine-art.com 27 Private loans of fine cultural objects to museums - why do it and how to mitigate the risks

Fred Clark Tim Maxwell In the UK, the key question is from seizure will generally only be it goes through the journey from Assets and Advice: Reasons to tread carefully: seized by the authorities after a whether it is protected whilst in situ available if galleries have conducted private hands, to the exhibition and Advisors in the family office and Many assets will be incomparable Swiss import and export business under the Government Indemnity adequate due diligence into the back again. There are decisions to be private client sphere are used to to the owner for a number of obtained a judgment to freeze the Scheme (GIS) as set out in section 16 asset. The agreement should cover made (and effectively documented) advising clients in relation to their different reasons. For example, assets claiming it was owed several of the National Heritage Act 1980. liability if the gallery has fallen below concerning copyright, intellectual assets. But what should an advisor or it could genuinely be priceless in million dollars by the Russian This should, provided the museum the requisite standards. property rights and the reproduction their client think about when asked value, irreplaceable or a one of a Government. Another example was has conducted adequate due of images of the asset. Also, finally, by a museum or cultural institution kind object, such as a painting by the seizure of the Portrait of Wally diligence and complied with certain Environmental Conditions confidentiality should be dealt with. to lend their work towards an Rembrandt or a rare Ferrari built by Schiele, which had been in the requirements, provide an indemnity A condition report and valuation of If an individual wants to remain upcoming exhibition? This is not a in the 60s. Or, it could be a family collection of Rudolf Leopold, and for any loss or damage to the asset. the asset should be obtained before private, for example, it should be in normal request, and bespoke advice heirloom that has been passed was seized in New York whilst on the loan and afterwards. This may writing the museum may only refer is often required. on through the generations and loan to the Museum of Modern Art Arrangements must be made to be done in conjunction with the to the asset as coming from a ‘private which has significant emotional due to the well-founded allegations insure the work separately when it is valuation required when insuring it collection’. Clearly, the incentive for collectors of significance to the current owner. (as it turned out after the conclusion in transit to and from the museum, as discussed above. The condition lending fine art, classic cars and rare Because the object will generally of a long Court battle) that the as the GIS only provides cover reports will be important in assessing The last crucial point to make is that objects to an institution is having the also be worth a considerable amount painting was a piece of Nazi-looted for the assets whilst it is on the whether there has been any damage the advice and documentation must satisfaction of enabling the public financially, owners will want to tread art from World War II and capable of relevant museum’s premises. Also, to the asset. Also, thought should be be specific to the asset in question. to view something special that carefully and take sage advice when restitution to the heirs of the original a recent, non-debatable valuation given to the temperature, relative A loan involving a work of art will, by ordinarily would be in private hands giving up an object from their control owner. and appraisal of the asset should be humidity and air quality that the necessity, be markedly different to a behind closed doors. For example, for an exhibition. obtained to ensure any insurances asset should be kept in, as well as loan involving a classic car. a work of art by an Old Master artist The points to be considered are wide- cover up to an appropriate value. dealing with security arrangements that may not have been available Lending to museums does, and ranging, and it is important that all and other display requirements that by Fred Clark (Associate) and Tim to see for a number of years would has, gone wrong. The assets are at risks are appropriately covered off in Immunity from Seizure: pertain to the asset. Maxwell (Partner), lawyers from bring joy to art enthusiasts who risk of being damaged, destroyed the loan documentation. In the UK, many institutions have London based private client firm would get a rare opportunity to and stolen. Taking two obscure obtained immunity from seizure for Other Considerations Boodle Hatfield LLP. Both Fred and see it. Also, another benefit for the examples, in 2005, 54 paintings, The paperwork - what needs to works lent to them from abroad. Other considerations would be the Tim are part of the Art Law & More owner is creating an interesting including works by Van Gogh, be covered off?: Although non- This is prescribed by part 6 of the standard terms of the agreement team. exhibition history for an asset that Monet, Renoir and Picasso were lent exhaustive, some of the key areas Tribunals, Courts and Enforcement dealing with the length of the loan, www.boodlehatfield.com increases its value. by the Pushkin Museum in Russia to consider when agreeing to loan Act 2007 and must be applied for the conditions attached to it and www.artlawandmore.com Would you lend your classic car to an to the Pierre Gianadda Foundation objects to a museum are: by the institutions. The immunity who is responsible for the asset as exhibition? in Switzerland. The paintings were Insurance:

28 www.magazine-art.com 29 Instruction also needs to be available in the right the world for office and concierge staff, yacht crew, location to suit the office and the family. When it lifestyle managers and family working for UHNW comes to the art collector and their families, the individuals. majority pass through London on a regular basis and look to attend museums, galleries or the opening of The course, consisting of several flexible modules art fairs such as the much-admired Masterpiece and to fit audience requirements was developed after Frieze art fairs or PAD London and Lapada for design in-depth consultation with industry professionals, and antiques respectively. London offers some of conservators and training experts in the yachting the best opportunities for education due to the high and luxury hospitality sector. Creator Pandora concentration of experts and art historians ready Mather-Lees feels it is important to teach art market to share their knowledge. Private Art Education is values and art history before delivering the practical a very desirable option, particularly as it addresses side. “All too often, damage and deterioration many of the needs mentioned above. occur for valuable objects because staff simply don’t realise what they are dealing with. In some cases, Recently launched by Hanna Yakoleva, a Sotheby’s you might as well stand in front of a painting and Institute graduate, this is a highly flexible and tear up £100 notes if you aren’t going to take care scalable programme. Hanna and her team offer of it properly” she says. Stories of valuable design museum tours from medieval to modern for small objects broken by throwing cushions off a yacht’s groups based on a lively and friendly rotating deck area or chandeliers crashing to the ground schedule. Tours visit both permanent collections or beautiful sculptures degraded by inappropriate by Wendy Zieger and travelling exhibitions in the London area. PAE cleaning are presented to delegates in a vibrant ART EDUCATION FOR is flexible in that tours can be booked on a one-off session of do’s and don’ts in an interactive learning basis, or one can join as a member. Family members environment. Modules include an overview of the and advisors can join the VIP member programme art market, general art history, the cleaning and FAMILY OFFICES on three levels. In addition to art education, they placement of art on superyachts, fakes, forgeries, provide guest passes at various London clubs and insurance, logistics, packing, handling, cataloguing VIP entry to the most sought-after art fairs. At a and storage. Courses are offered by advance As family offices grow and their remit widens, they and recommend excellent educational resources lofty £3,000 annual fee, the Platinum membership arrangement as well as throughout the year at are increasingly involved in the investment and to their families. is an investment but well worth having the ‘full various international boating events. management of fine art. Monty’ set up for the year alongside one’s social There are art history degrees and diplomas, but calendar. It provides wonderful opportunities Planned educational events can also be a great Families who collect fine art may or may not these require a considerable commitment of time to meet museum directors, critics and industry opportunity for learning about art. A day-long have expertise in art-related matters, many often and funds. In recent years, open online courses leaders, making it a rich experience. With their symposium will take place on March 1, 2018, relying on other experts to guide them towards (edX and Coursera to name two), have become ‘meet the expert’ £300 Option PAE also offers covering the many implications of carrying art certain purchases. Having a general understanding more widely available, with some being offered by bespoke tuition in any subject taught by renowned and valuables in international waters. Specifically of art history, the art market and how to care for very reputable universities like Harvard University. experts in individualized fields. directed for art collections at sea, the symposium and manage valuable objects is advantageous for However, most of these are self-paced and require a is hosted by National Maritime Museum Greenwich family office personnel. Indeed, the recent 5th discipline to plod through a sometimes uninspiring The big question remains as to how art collectors which now offers further accredited courses on Deloitte Art & Finance Report highlighted the need online lesson. and family offices educate the people that work for detailed aspects of conservation in a working for more education in collecting, understanding them in their homes and at sea. How does one train maritime environment and superyachts. of fine art and the mechanics of the art world for Christie’s and Sotheby’s also offer education those that handle and care for their collections? All those working in the sector. programmes and while most are not appropriate too often one hears of disaster stories occurring. With so much at stake in art investments, family because of the time commitment, they do run Lack of knowledge can be expensive -whether it be office advisors and their clients now have a range Stonehage Fleming is one example where a evening or very short courses for those advisors who a fist inadvertently thrust through the Rembrandt of flexible resources to hand. A basic understanding dedicated art department exists, but most will be time poor. For a fee some of these courses or the Pop Art Sculpture that was nearly trashed as of art history and the art market together with working in this sector have entered from different provide college credits or certificates. However, unsuspecting crew dumped it in the waste bin when knowledge of how to handle and care for objects disciplines, namely investment, finance, law, they do not compare to expert instruction in a prepping up a superyacht for ‘guest mode’. is a way to impress your client, avoid costly accountancy and so on. Not only do family office personalized setting. Intensive, short and flexible mistakes and acquire a useful and valuable career staff and advisors need to develop a sharp learning sessions, tailored to a particular collection or area “The Art World Revealed” presented by Pandora Art competence. curve for themselves, they need to be able to guide of interest are best for advisors and their families. Services, is a one or two-day course offered around

30 www.magazine-art.com 31 Protecting Your Private Art Collection by Linda Sandell When Hurricanes Harvey and Irma techniques such as freeze drying. party under its insurance policy. It is struck Houston and Florida, and fires The artwork in harm’s way may also important to review the borrower’s ravaged northern California, private be moved to an emergency storage coverage to make sure it is adequate art collectors turned to their insurance location. and also to make sure that your company and its fine art adjusters to interests are properly represented protect their treasures. In advance Determining the Collector’s Risk and protected in the loan agreement. of approaching inclement weather, Profile It is advisable to maintain your annual these speciality adjusters can get In determining risk, underwriters first policy coverage as a backup to protect art moved quickly and securely to a want to know who is the insured. Is against deficiencies in the borrower’s climate-controlled storage unit. The the owner a serious collector with insurance, especially if it is a short- adjuster also provides access to the a passion for art or does the owner term loan. right conservators and appraisers make purchases as buy and hold to get the best results after loss or investments? Is the owner actively If a lender is concerned about a damage. involved in the local arts community? borrower having an adequate limit of insurance, the lender might request a While smaller collections may Next, the underwriter wants to separate policy for their item or items. be adequately covered under ascertain that the collection is held It is best that the lender know their homeowners insurance, a dedicated in a properly protected and secure borrower and have a comfort level fine art policy offers important environment. What is the construction with them. advantages. In addition to access to quality of the building or buildings fine arts adjusters, these speciality housing the art? Is there proper Keep Appraisals Up to Date insurance policies provide: climate control, fire protection and Huntington T. Block recommends that security? Are fragile items properly appraisals be obtained every three Higher coverage limits. It’s possible secured and protected against to five years and more often if there to purchase insurance for amounts breakage? Are paintings properly and are major changes in the art market higher than $1 billion because professionally installed, mitigating or with a particular artist or genre. companies share the risk through the risk that they may fall off the wall? For instance, a particular genre may participation. The number of become popular, or an artist may pass collectors who have holdings of this Underwriters also focus on location away, causing prices to spike. Yes, size is increasing every day. and values at risk. Many private value is subjective, but the appraisal Specialty expertise. Working with collectors live in states where extreme process works because societies of individuals who understand art and weather events, earthquakes and appraisers back up their conclusions how fine art insurance works is a clear terrorism occur. What protective with recent sales figures for similar advantage. They can better discuss measures has the collector taken to pieces. the terms of coverage, the way art mitigate the risk and what plans are is valued, and how it is transported in place to move or protect the art in It is very important for collectors to and protected. These individuals case of emergency? Is the plan viable maintain complete inventories of also review loan agreements and and achievable? What are the values their artwork along with an electronic contracts. at risk at any one location? What backup. They must also track the Knowledge and experience. Private is the probable maximum loss at a values in their collections so that collectors appreciate the level of single location? they maintain adequate limits of knowledge and experience that coverage. Policyholders must be able accompanies a fine arts policy. Each All Risk Policy vs Individual Policy to demonstrate their loss to an insurer art object is unique and, in most An “all risk” policy covers losses from in the event of a catastrophe. cases, irreplaceable. The majority of all types of risk, including damage damaged artwork can be restored, that occurs when the art is being Linda Sandell is senior vice president but that must be done by qualified transported for public exhibition. and chief underwriting officer in professionals with highly specialized Any time art is being loaned to a third Huntington T. Block’s Washington DC skills and knowledge. For instance, party, it is best, if possible, to transfer office. artwork is sometimes conserved using the risk of insurance to that third

32 www.magazine-art.com 33 What price? The future of the art market in Mayfair? by Charis Tyndall, Director, Charles Ede Ancient Art Dealers, London

Walk down Bond Street in Mayfair these days, and you are of economic pressure remains to be seen; balancing the by moving upstairs to the first and second floors on Dover enthusiasm rubbing shoulders in such a small area, and that more likely to see frocks, rocks and fragrance than fine art competing demands of preservation and commerce is an Street and Bond Street, while other have shifted a little is at risk. and antiques. Sotheby’s and Bonhams maintain a strong extraordinarily hard thing to do. further off, to what they hope will become new dealer presence – the latter enhanced by its £30 million rebuild four enclaves. Philip Mould quit Dover Street for Pall Mall, where As the art critic Andrew Lambirth has written: “Art needs years ago – and traditional dealers like Richard Green and The However, special pleading is not the way to get ahead in other galleries are already established, while the silver to be seen in the flesh: the primary experience is between Fine Art Society have held on to their premises. But times business and, as Charles Ede has shown, sound strategic dealer Daniel Bexfield, whose rather heroic campaign to spectator and work of art, and there is no substitute for that. are changing and others, like Mallett and Partridge, have planning means you can stay in the area under the right protect the art and antiques community within Burlington gone, along with denizens of nearby roads like Cork Street circumstances, improving your lot in the process. We moved Arcade led to a falling-out with the owners, moved to Cecil “The nation’s museums can only show a tithe of what’s that have constituted the world’s most significant art market to King’s Yard off Davies Street from Brook Street three years Court between Charing Cross Road and St Martin’s Lane, available, and for decades now commercial galleries enclave for the past 150 years. ago. This gave us a chance to remain in the heart of the premier home to antiquarian print and books dealers. Now others have helped to give a more rounded view of the art being retail district in the world while significantly upgrading have followed suit, with Panter & Hall, the contemporary produced in this country.” It’s not all over by any means, but art dealers are rethinking our gallery facilities, which now include a fantastic display art dealers, opening a branch there. their business strategy in the face of soaring rents as luxury space, library and state-of-the-art technology. Our managing Viewing art in the flesh is also a great pleasure and one that goods brands move in and the ability to take a more flexible director, Martin Clist, has a background in Contemporary art John Martin, who founded the Art Dubai Fair – the first the wealthy continue to value. It is this that gives me great approach to marketing thanks to the Internet and the rise of and so brings the best of that world to the field of antiquities contemporary art fair in the Middle East – still has his hope for the art market in Mayfair and St James’s. fairs. in developing the way we present what we sell. contemporary art gallery in Albemarle Street, but has also set out to create a new 35,000 sq ft arts hub for 30 galleries Charles Ede made the headlines earlier this year when, The luxury brands generally do not need to make a profit from The development of the Internet has also started to change in Cromwell Place, South Kensington near the V&A. following detective work by a consultant, they were able to their stores, which they treat as loss-leading brand markers, the landscape. Many dealers have left their galleries to reunite fragments of a 3000-year-old Egyptian masterpiece giving them an address in the world’s premier shopping operate online and at fairs on an international basis instead. The changing face of the art market means that the strong with the original. The two fragments from the highly streets. Such has been the problem that Westminster This helps cut costs and makes them more flexible because links with Mayfair will simply weaken over time as a result decorative c.1400 BC perfume box, a treasure of Pharaoh Council gave five areas, including Mayfair and St James’s, they are not tied to opening times. of all of this, but it would be a shame, because we would all Amenhotep II, sold to the National Museums Scotland. Special Policy status in November 2016 to help them retain be the poorer for it, and not just in financial terms. A unique Their discovery helped revise scholarship surrounding the their historic identity. How realistic this policy is in the face Some dealers have answered the challenge of higher rents cultural energy arises from having so much expertise and box.

34 www.magazine-art.com 35 The Art Market for Art Lovers and investors

bought for a relatively affordable sum. We can supply The term “Art Market” is in danger of being simplistically an unsigned Original Picasso Lithograph, for example, considered. There are many disparate markets, and for under £300-00. these are right now in a state of considerable change. Market forces and economic considerations are by Niall Fairhead To successfully invest in Art it is necessary to have an creating opportunities and pitfalls which have not understanding of what the marketplace is and where it been seen in recent times before. It is a commonly is going. It is also useful to have an awareness as to what believed fallacy that the value of art has risen, is rising is “hot”, what is “cool” and where the “smart money” and will continue to rise. Most art will constantly fall in is being placed. Long term and short-term trends need value and be an extremely bad investment. Some art to be carefully analysed and a proper “entry” and “exit” will make an excellent Short Term Investment but, in strategy considered. The connoisseurship strategy too the long term, perform badly. Let the buyer beware. needs attention: which items and why are they being bought? An interesting case study is the collection of the celebrated Economist John Maynard Keynes who is An example of how not to approach this question best known for his analysis of the theories moderating happened recently. I viewed a collection of Modern the swings of business cycles laying the foundation of British Art collected over many years by a wealthy modern macroeconomics. Keynes had a collection of lawyer. Certainly, he had spent a lot of money in 135 works, acquired in the early years of the century, acquiring his treasures but, as I passed by his canvases, which ultimately came into the collection of the I was struck by a certain feeling of mediocrity. This Fitzwilliam Museum in Cambridge. He had paid for wealthy lawyer had bought only what he considered £13,000 for his collection, and by 2013 the holding was bargains on each and every occasion. There were no valued at over £70 Million representing an annualised “jewels in the crown”. There were no “bright shining return of about 4.2% over the previous half-century lights”. Perhaps the “entry strategy” had been badly which virtually matched the increase in the equities Not all works of art by famous artists need money is ever present. Many will buy Art considered. The collector could have easily afforded market over the same period. Interestingly some 80% to be hugely expensive. Illustrated is a pen having no cultural or aesthetic interest but to pay a great deal more for individual treasures and of the purchase price was spent on just ten key works and ink drawing by the notable Impressionist being attracted solely by the probability of had a great deal more personal satisfaction from his which, in 2013, were estimated to be worth some 91% artist, Pierre Auguste Renoir which we are financial gain. pursuit. A consistent need to get a bargain got in the of the entire portfolios value. In today’s marketplace, currently offering for sale. It will be included way of such a pleasure. many of the Keynes purchases were undoubtedly long- in the forthcoming Catalogue Raisonne Speculating in the Art Market is not something term bad buys. An analysis perhaps might show that by Wildenstein, Paris. Such works can be new. The ancient Romans bought, sold and A friend of many years was a great connoisseur and some of those “bad buys”, until recent falls in now acquired for about the cost of a family car commissioned masterpieces realising their collector of Byzantine bronze weights. For many years less favoured artists, had been “good buys”. Careful today and are likely to prove to be good long- financial worth. Renaissance Princes, British he bought the very best that came up for sale. Many consideration of the exit strategy is vital. term investments. Monarchs, American Industrialists and Greek thought him crazy for paying these super high auction Oligarchs have since continued this tradition. prices, but he loved what he bought and, in the end, There are great rewards in investing in art and Buying Art can be described as an occupation Today the market has opened considerably had the finest collection in the world. considerable pitfalls too. Having dealt in Art for over of Passion. It is something we do because so that people of different social and financial 30 years, I would say that without the “passion” it we have an inherent love of things beautiful, positions can become involved in it. Humble When the time came for him to sell two major UK becomes a much less meaningful exercise. I get a thrill historic and cultural. It is something inside artisans and Billionaires can be connoisseurs Museum buyers emerged. They wanted the chance when seeing a beautiful and rare work and the people the cultivated civilised man or woman which and collectors of Fine Art. The creation of to acquire such superlative works, and there was who do this entirely for the money have, somehow, gives joy and pleasure. All connoisseurs of art the artists multiple (Mainly Original Limited nowhere else where they could be found. He proved missed much of the point. Art raises the spirit and say one thing: buy what you like. This mantra Edition prints) has created democratisation: his detractors wrong and made a great deal of money excites the soul. Even without a financial gain, it is is true now as it always has been. However, with a comparatively small amount of money on the disposal of the collection. worth pursuing in its own right. in today’s marketplace the thorny issue of signed works by great artists can often be

36 www.magazine-art.com 37 His latest work, however, is taking his protest public. front lines protesting injustice in the world of big galler- “We are going for the jugular,” Cenedella, a teacher at ies, and even bigger institutions. Early in his career, as the Art Students League of New York and former pro- Pop Art was going mainstream, Cenedella took a shot tégé of famed German Modernist George Grosz, says of at the flashy playboys and models who had transformed his latest piece. “It should be hung in every museum in the art scene into one big party for the beautiful people America. This should be there for everyone to see be- — something rather divorced from what he considered fore they walk into a contemporary art exhibition.” “art.”

That sounds rather high-toned until you realize that it His 1965 show “Yes Art!” at the Fitzgerald Gallery on is a piece of word art — a disclaimer intended for the Madison Avenue satirized Andy Warhol and his ilk, and nation’s premier institutions. The piece, also entitled featured a “Brillo Mondrian,” “Brillo Descending a Stair- “DISCLAIMER,” begins: case” and “Souperman” — Warhol-esque soup cans fea- turing the man of steel. “While it is the intent of this MUSEUM (business) to present WORKS of “ART” of the HIGHEST QUALITY, That same year, his painting “Southern Dogs” depicted selected by our HIRED STAFF of “professionals,” WE as a black man being attacked by dogs that have the fac- a MUSEUM Can Not Claim that the WORKS we display es of policemen and policemen with the faces of dogs. are necessarily GREAT WORKS OF ART…” It was a reaction to the civil rights demonstrations in Selma, Alabama. The “DISCLAIMER” compares the evaluation of art to stock speculations and points to the museums’ complic- Shortly after, he mimicked Robert Indiana’s iconic typo- ity in that speculation. graphical sculpture “LOVE,” replacing the letters, so it spelt “SHIT.” “And in fact WORKS rejected may be of GREATER QUALITY than those SHOWN…” the piece concludes. Later in 1988, Cenedella lambasted the commerciali- sation of Christmas with a painting of a crucified Santa “When I was growing up, I went to museums, and I Claus, called “The Presence of Man,” which Saatchi & learned. I saw political art,” Cenedella says, adding that Saatchi removed from its own show of sensational art his stepfather, who worked as a radio writer for actress after public outcry. Helen Hayes and was blacklisted in the McCarthy era, taught him to think about the big issues. In 2016, a documentary titled “Art Bastard” was released about his life and career. “I saw people like Thomas Hart Benton and Reginald Robert Cenedella Marsh. My heroes were all painting about breadlines, “I paint what is around me. I am not just a political paint- and about the Depression and lynching,” he says. er. Here in Maine, I paint landscapes all the time,” he says of the primitive island where he summers. “But the The “Art Bastard” Today, he sees Jeff Koons, Cenedella laments. city is where you are inundated with the news media.”

by Edward Harrington “Money rules, period,” he regretfully admits. “You Now, Cenedella is focused on challenging the art world would think that art would be the one area that would and hopes his latest piece, “DISCLAIMER,” will force be a little bit above the gutter, but the art world has museums to disclose and examine the criteria used to For more than five decades, New York artist Robert Cenedella has thumbed his nose at the succumbed, maybe even more so. It is the last unreg- select works for display. He wants to push institutions art establishment. It’s earned him headlines in virtually every publication of note, from the ulated big business in America. If someone thinks that to acknowledge their dual roles as public authorities on New Yorker to the New York Post. Nevertheless, his provocative paintings of political figures Wall Street is corrupt, it is nothing compared to the art art and makers of fortunes in the multi-billion-dollar art — most recently Donald Trump — and his unwillingness to work through what he considers world. If it were regulated and you wouldn’t be able to auction market. to be a corrupt gallery system, have kept him, more or less, out of the mainstream. For fix prices, and you wouldn’t be able to have chandelier more than five decades, New York artist Robert Cenedella has thumbed his nose at the art bidding. Artists like Jeff Koons — who doesn’t even cre- “It holds you back,” Cenedella says of speaking out establishment. It’s earned him headlines in virtually every publication of note, from the New ate, but rather dictates nonsense to people — would against the art world. “I am the most widely written Yorker to the New York Post. Nevertheless, his provocative paintings of political figures — stop working.” about unknown American artist. I don’t worry about the most recently Donald Trump — and his unwillingness to work through what he considers to government censoring my work because galleries and be a corrupt gallery system, have kept him, more or less, out of the mainstream. His latest work is the culmination of years spent on the museums do it for them.”

38 www.magazine-art.com 39 Whatever you need to move...

HEDLEY’S FINE ART LOGISTICS International shipping, art handling and installation, storage, bonded warehousing, packing, crating and case making +44 20 8965 8733 . [email protected] . www.hedleysfineart.com

LONDON . PARIS . NEW YORK . AVIGNON . CÔTE D’AZUR 40 www.magazine-art.com 41 HB: We have been thrilled to work with a talented pool of individuals representing countries from all over the world. Our artists include Afghan graffiti artist Shamsia Hassani, North Korean painter Song Byeok, Italian-Venezuelan artist Rodrigo Figueredo, and Cuban graffiti artist Danilo “El Sexto” Maldonado, to name a few. THE HUMAN Since the launch of the program this spring, we have exhibited the work of artists at three separate exhibits. The first was an exhibit in San Francisco titled Angels and Demons, which recreated the prison conditions El Sexto RIGHTS faced in maximum security detention at the infamous Cuban. He participated in a three-day hunger strike, and visitors could watch him from outside in his cell. Meanwhile, he created a stunning series of paintings drawing attention FOUNDATION to the Cuban regime’s abuses of human rights. Subsequently, we also featured our artists’ work at the outdoor exhibition space that was part of the Oslo Freedom Interview with Holly Baxter Forum, our flagship conference in Oslo, Norway. Hundreds of passersby in central Oslo interacted with the exhibit as they walked through Spikersuppa square, a major gathering The Human Rights Foundation the program you’ve created? and Chiguire Bipolar, a Venezuelan point for the city. Most recently, we held an exhibition at an (HRF) is a nonpartisan, nonprofit HB: First of all, thank you so much satirical media project. This year HRF independent art gallery in Chelsea in conjunction with the organisation that promotes and for giving us a platform to explain launched the Art in Protest program, Oslo Freedom Forum in New York, a one-day satellite event protects human rights globally, with why supporting these artists is so which aims to support professional modelled after the annual forum in Norway. We were able to a focus on closed societies. HRF important. I think this is an area in artists who are using their work to showcase the incredible work of these artists in the heart of unites people in the common cause human rights promotion that does protest repression. This is a unique New York City, an international capital of art and culture. It of defending human rights and not receive enough attention. Art is program; no other human rights was an unprecedented opportunity to turn the spotlight on promoting liberal democracy. a deeply personal and forceful tool to organization is providing these types brave individuals who are not only extraordinarily creative inspire change, capturing elements of services. Art in Protest showcases but are also making a real difference in their countries. Their mission is to ensure that of the human experience that elude artists’ work at international freedom is both preserved and other forms of advocacy. This is exhibitions, provides them with Art & Museum: Thank you for sharing this and it sounds like promoted around the world. Their why authoritarians are so intent on financial resources and publicity and a program with great potential to help deserving artists. Can programs include a broad range stifling creative expression; they draws them into a network of like- you tell our readers how they can support Art in Protest as of initiatives, such as successful recognize the immense power of art minded creatives. it grows? campaigns to free political prisoners; to transform societies. on-the-ground education in closed As the program grows, we hope to HB: Absolutely. As HRF’s Executive Director, I oversee societies; individual rights seminars Recognizing this, the Human Rights expand these offerings to include all aspects of the program and am happy to answer any from Silicon Valley to Capitol Hill; Foundation has been at the forefront an artist residency program, writing inquiries about how individuals can get involved. I can be production of popular films and of advancing art as a way to fight and cataloguing services, and more. reached at [email protected]. We have various opportunities for videos; scholarly legal research; back against authoritarianism. In I would like to emphasize that these providing support, from purchasing artwork at our exhibits strategic litigation before human 2012, HRF established the Vaclav are not just activists using art as a one- (all proceeds go to HRF’s programs) to direct donations. rights bodies; high-impact media Havel International Prize for Creative time form of protest. The artists we efforts; and the production of our Dissent in honour of the late poet, support have made this their career, To stay up-to-date on upcoming exhibits and other events, flagship annual conference, the Oslo playwright, and statesman. The award so, by investing in their development, anyone interested should visit www.hrf.org Freedom Forum. celebrates artists who challenge we are giving them the foundation for dictatorship by shedding light on the a lifetime of creative dissent. Holly Baxter Once again, I would like to highlight the importance of Art & Museum: I am so glad to have truth, often at great personal risk. This Art & Museum: That is very inspiring. The Human Rights Foundation (HRF) supporting artists in the mission to advance freedom and you here to learn more about the year, our diverse group of laureates democracy. We hope that this message resonates with work the Human Rights Foundation included Silvanos Mudzvova, a Art & Museum: What artists have the everyone who cares about human rights and encourages is doing to advance dissident artists. Zimbabwean playwright and actor; program worked with so far, and how them to get involved in any way they can. We truly Can you tell our readers more about Aayat Alqormozi, a Bahraini poet; has it supported their work? appreciate everyone who dedicates their time, resources, and expertise to this program.

42 www.magazine-art.com 43 CLOCKS A MUST HAVE BUT HOW TO FIND ONE THAT SUITS

Go to a recognised expert specialist dealer who has plinth or table, while the equally varied smaller mantel a wide range of stock and who has spent decades or carriage clocks - gilt, brass or wooden veneered cases building up a collection of the best timepieces available. with timepiece (i.e. no chimes) or striking movements Preferably a BADA or LAPADA member who is bound mostly dating from the 19th century and either English by a code of practice for everything he or she sells or French, can make an interesting embellishment of a and offers a mechanical guarantee and a guarantee of shallow mantelpiece. authenticity. Or for the wall and hall – what about a stunningly Firstly, the buyer must decide whether he/she wants a decorative big 18th-century Tavern or Act of Parliament freestanding grandfather clock, a spring driven table or wall clock with its long drop trunk case and chinoiserie mantel clock or a beautiful clock to hang on the wall. decoration. Or a classic mahogany veneered example with a big white face made by a fine London maker. For English grandfather clocks come in very varied styles - those with less space, a small 12 or 14-inch diameter depending on their period they can have brass, silvered round dial timepiece can grace a wall in either a modern or painted dials or faces; month, 8-day or 30-hour or period kitchen or hallway. duration movements; and cases in walnut, mahogany, oak or chinoiserie lacquer. And lastly, there are 17th or 18th-century weight driven Rarity, quality and originality are key determinants of gilt metal lantern clocks. These charming early clocks value and investment potential. can tick away atmospherically in either an old cottage or country house or equally can stand out alone on a The clock you buy needs to fit the space it is going high wall in a modern loft setting. to inhabit – grand 17th / 18th-century weight driven walnut or marquetry longcase clocks as stand-alone Choose a clock that ticks all of the above by following pieces for a tall-ceilinged period house or modern loft the advice of a specialist you trust who can offer good space. Alternatively, small early walnut, marquetry or value for money, expert knowledge and pieces which simpler oak longcases for period houses and modern has been sympathetically restored. apartments with lower ceilings. 2018 is a great time to be looking at investing in antique Period spring driven table or mantel clocks also come in clocks – it is very much a buyer’s market and prices of very varied shapes, materials and sizes. most English antique clocks are more reasonable than a few years ago before the 2008 financial crisis. Big bold striking table clocks in walnut, mahogany or black cases often with hour or quarter chiming Howard Walwyn Limited movements, can make an attractive statement on a Tel: 020 7938 1100

44 www.magazine-art.com 45 diverse positions and situations. They are typically alone. crossroads where all these ideas, practices and aesthetics Even when they are in pairs, or in groups, they seem isolated, meet. In Bomb in a Baby Carriage, for instance, you might Beneath as if the artist does not quite believe in the possibility of find echoes of the American installation artist, Edward reaching beyond our selves. Each is representing both itself Keinholz, African woodcarving, William Morris, the blues, and all of us. And yet, these pieces are also deeply personal. Graham Greene and even Mary Poppins, in restless dialogue the They speak of lived moments and echo powerful feelings with a composition and ideas unique to the artist. the artist has known and been marked by. Surface Bill Ming has suffered from some condescending and It is also significant—and challenging to a European art world ignorant reactions to his work: ‘A black man carving wood By François Matarasso whose ideas of human beauty were shaped by Classical figures? Ethnic craft at best—and you can get the real stuff Greece—that these figures are clearly not modelled on cheaper from any market in Nairobi’. But his use of wood, Anyone who approaches Bill Ming’s work white Caucasians. Although their formal aesthetic is closer among other materials, is a respectful acknowledgement with open eyes, with an open heart and to Expressionism than Realism, it is evident that they are of aesthetic and cultural practices often disregarded by mind, will encounter a gifted, original and from the Global South: Africans, Americans or islanders the West except when ‘discovered’ by an accepted genius deeply serious artist. The work is unusual perhaps. Their complex colouring evokes both the troubles like Picasso. Bill makes wood speak for the peoples whose amongst today’s contemporary art for its that visualising race has brought the modern world and roots he acknowledges in his own identity and adds to that ideas, aesthetics, techniques and, not least, the pride that those oppressed by it have found in the very tradition with an intercultural dialogue that could not have its approachability. ideas used to stigmatise them. Unlike metal, this wood is been made a moment earlier than now. soft and warm to the touch. It bruises and burns; it can be Keep looking, though, and layers emerge cut. It also glows with every colour of blackness. Significant Bill’s work is also in an intriguing dialogue with itself. beneath the engaging surfaces. There are among the standing figures is a series that were first Sculptures that stay in his studio too long are liable to be visual and intellectual connections within exhibited at Islington Art Factory in London in 1996. Mostly reworked into something else or cut up altogether to each piece, to other works of art—his own solitary, these lean figures are cut and scarred, their wounds become part of a new piece. For some artists, the whole and others; to history, faith and politics; to sometimes stitched with rows of tiny nails that bring to mind body of their work becomes a coherent artwork in itself. old films, songs and world myths; to our the loading plans of 18th-century slavers’ ships. Around their Each piece is like a short story in a collection that traces fundamental human experiences of love, fear, feet are pebbles, stones, sand. They stare ahead like ghosts, a complete human life. There is exceptional consistency loneliness, hope and suffering. All life is here; making no eye contact. They summon up the Africans who in Bill Ming’s art, which is one reason why elements of an it seems, with all its colours and complexity. had died on the Middle Passage of the Slave Trade and been old sculpture can be successfully reworked into a new one. And, on each return the meanings of these flung overboard unceremoniously, as perished cargo. There is also great diversity in Bill’s work, as well intellectual sculptures and collages reform themselves, and aesthetic development, but it is always anchored in the enriching and challenging the encounter. These histories and their contemporary consequences artist’s singular and compelling vision. It is deeply rewarding: resonate throughout Bill Ming’s work, which is, in the best funny, beautiful, humane, angry, clever, ambiguous, However, the qualities that make Bill Ming’s sense, profoundly moral. It’s worth making a distinction here instructive—the list really could go on. He has not won the work both approachable and rewarding between politics and morality. Where politics is concerned Turner Prize, but he sees that as a badge of honour. He has are not very fashionable in today’s art with current, transitory issues, morality looks further, to the won the admiration of thousands of people, of all cultures, world. Accessibility, humour, political and unchanging laws that (should) guide human beings in their colours and ages. That too is a badge of honour. moral complexity. Visual appeal, respect conduct and relationships. Politics decides how much the for traditions, humble materials, lack of strong can get away with. Morality questions the legitimacy François Matarasso is a freelance writer, community pretension and craft. All are often found out of of their strength. Bill’s work does not shy away from politics artist and researcher. Bill Ming created a series of collages but always approaches it from the deeper, more complex specifically for his book, Bread and Salt, Stories of Artists and favour. Art doesn’t have to be approachable, Figurehead Memorial, For Those Lost at Sea, Bermuda of course. Bill’s work does reward time and and more important perspective on morality and ethics. Migration, published by Vrede van Utrecht (Netherlands) in patience, but it is usually welcoming at first June 2013. sight. It does not show off; it says hello. Stop The people in Bill Ming’s work are from the wrong side of the a minute. What are you thinking? It is often tracks. It’s never Captain Ahab: it’s the sailors shipwrecked humorous, or strange. A grown man in a high by his mad pursuit of Moby Dick. It’s not the famous chair. A couple of boys on a delivery bicycle, figurehead; it’s the forgotten fallen. Is that a vulture which propped on its stand. But the wit is never is perching on the drowning sailor’s map-paper hat, waiting cruel, and when there is irony, it is because for the end? Or an imperial eagle? the artist has seen it in the paradoxes of experience. It is art that invites dialogue. The work draws inspiration from and refers to the classical Western canon, the black American artists he encountered The human figure is central to Bill Ming’s as a young man, the diverse African and Native American sculptures. Over decades he has produced artistic traditions he has discovered since and last, but by a series of thin, not quite life-size figures, in no means least, the hybridity of the Atlantic and Caribbean

46 www.magazine-art.com 47 A Review of the second edition of “The Scientist and the Forger” a book by Jehane Ragai

I enjoyed very much reading Jehane Ragai’s first shower one morning when he heard his wife Among other noteworthy news in the new book “The Scientist and the Forger “ which in a scream.” edition, a possible solution to the long- scholarly but at the same time most entertaining, standing enigma of La Bella Principessa seductive way brought me into the world of Or the following opening of a chapter on can be mentioned. art forgery (new to me) and modern forensic Authentication: “A cruel lover, a terrible father, technology (where I am as a physical chemist a reckless gambler, a control freak and a loner I enjoyed reading as a non-expert by more at home) with numerous exciting details who hated the intrusion of people: Lucien pure delight, but I can see that “The about how each mystery was solved and the Freud - grandson of famous psycho-analyst Scientist and the Forger“ has an important culprit eventually brought to justice. Art forgery Sigmund Freud - was considered to embody all educational role in the professional has simply so many fascinating facets, all from of these traits but also, to be one of the greatest authentication of art – the book includes a the various cultural and social perspectives of art portraitists of the 20thcentury.” discussion of the most pressing problems and those artists who are considered artists and today and indicates a possible future those who are considered forgers, with all the Or the beginning of Part II, The Court, and the development. thrilling aspects of the criminal act and how to virtual plot against art expert Elena Basner: dupe an ignorant society but sometimes also the “Could Basner have been the victim of a I cannot help thinking that a similar experts. The consequences of the forgery, once fabricated plot that led to her being arrested insightful broad approach – including the it is revealed, are also interesting: the complex in January 2014 and charged with fraud and psychological analysis - would have been cataract of reactions, economical, professional duplicity? Did unidentified enemies wish to see handy to have in many contexts where (expert reputation), legal consequences and so her disappear behind prison bars and shield her we today have to deal with increasing on. access to an emerging panoply of forgeries?” number of unethical behaviour, cheating in research etc. and where both sides Professor Ragai’s second book - which I was very As those who are more initiated in the field, (culprits and law) are racing to keep up eager and curious to read as I anticipated that no doubt will notice there are noteworthy new with rapid technical escalation. interesting things might be imparted – indeed developments that have taken place in relation was not a disappointment - as, in her hands, the to forgery and authentication cases since the I can warmly recommend the second topic has exploded like an expanding universe. first edition. The psychological dimension is edition of “The Scientist and the Forger“ The focus is the same as of the first book, on the particularly interesting – it is, of course, relevant which is a great book. act of art forgery and how it is detected using in any criminal context, and in all camps: Bengt Norden various state-of-the-art technology, but there criminals, victims, witnesses, judges etc., but (Professor; Chemistry and Chemical is a richness in details from a selection of cases, Jehane Ragai draws her own conclusions in a few Engineering, Physical Chemistry) and the author a good storyteller. Who could particular cases, her own original interpretation Member of the Royal Swedish Academy stop reading after the following two sentences: of the psychological behaviour of Ann Freedman, of Sciences. “All of this came to an abrupt end in late 2011. the gallery president in the Knoelder Gallery Domenico de Sole had just finished taking his scandal, will probably win general acceptance.

48 www.magazine-art.com 49 THE PICASSO GURU

SPECIALISTS IN THE ART OF PABLO PICASSO

Sales | Acquisitions | Auction Representation | Provenance Research Authentication | Forensic Analyses | Conservation | Shipping | Insurance

Tel: +44 (0) 20 7193 8870 | [email protected] | www.picasso.guru