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Chapter 129 Consignments of Works of Fine Art
1 Updated 97−98 Wis. Stats. Database CONSIGNMENTS OF WORKS OF FINE ART 129.08 CHAPTER 129 CONSIGNMENTS OF WORKS OF FINE ART 129.01 Definitions. 129.05 Art dealer required to obtain written contract. 129.02 Art dealer and artist; relationship. 129.06 Art dealer; duties. 129.03 Trust property. 129.07 Waiver voided. 129.04 Trust property, art dealer’s creditors. 129.08 Penalty. 129.01 Definitions. In this chapter: ceeds of the resale are trust funds in the hands of the art dealer for (1) “Art dealer” means a person engaged in the business of sel- the benefit of the artist to the extent necessary to pay any balance ling works of fine art, other than a person exclusively engaged in still due to the artist. The trusteeship of the proceeds continues the business of selling goods at public auction. until the fiduciary obligation of the art dealer with respect to the (2) “Artist” means the creator of a work of fine art. transaction is discharged in full. History: 1979 c. 61. (3) “On consignment” means delivered to an art dealer for the purpose of sale or exhibition, or both, to the public by the art dealer 129.04 Trust property, art dealer's creditors. No prop- other than at a public auction. erty which is trust property under s. 129.02 or 129.03 is subject to (4) “Work of fine art” means an original art work which is: the claims, liens or security interests of the creditors of the art (a) A visual rendition including, but not limited to, a painting, dealer, notwithstanding chs. -
Kayaks Quyanaasinaq
FREE ADMISSION November 25 – December 23 Looking for something to do with your friends and family this holiday season? If you’re a current member, you already enjoy free admission to the Alutiiq Museum. Now, thanks to the generous support of KeyBank, everyone gets in for free between November 25 and December 23! Add a little local culture to your holidays with a visit to the Alutiiq Museum, a gift to our community from KeyBank. The Quarterly Newsletter of the Alutiiq Museum Volume 20, Issue 4 | Spring 2016 New Exhibit Features Qayat - Kayaks rom driftwood, animal skins, tendon and baleen, Alutiiq people Ethnology the boat is a rare, complete example of the graceful, light, Fcreated qayat that were expertly designed for Kodiak’s notoriously and flexible Alutiiq qayaq. windy waters. Working with stone and bone tools, and using the Adjacent to the historic vessel is a qayaq frame. Carved by Alfred proportions of the human body as a measuring guide, men built boats Naumoff in 2014, this piece illustrates the internal framework of that permitted swift, secure travel through ocean waters. For the traditional boats. Pieces of a qayaq were never nailed together, but Alutiiq, qayat were a lifeline. They allowed people to harvest fish and carefully lashed to allow the boat to bend in the waves. Naumoff is sea mammals from the ocean, to travel and trade over great distances, one of just a handful of contemporary Alutiiq kayak builders, and his and to carry supplies home. In coastal Alaska, the qayaq remains a knowledge has been informed by studies of historic boats. -
Private Sales
2 Private Sales n recent years, the commercial fragility of what were perceived to be preeminent New York art galleries was laid bare in newspaper head- lines and lawsuits that highlighted the financial woes of the hap- less collectors who consigned art to be sold, and the art purchasers Iwho acquired more (or less) than they bargained for. That fragility renders art transactions commercially unique when it is combined with the in- trinsic properties of fine art. The artwork, for one thing, is often singular and ir- replaceable. Moreover, its value, which largely depends on the artist’s reputation at the time of the sale, may fluctuate extensively because an artist’s reputation is largely subject to public whim. And artwork is frequently purchased on impulse by a shockingly uninformed buyer: The buyer often turns a blind eye to securing a written purchase contract (let alone to having the contract reviewed by legal counsel), neglects to have the property physically inspected or professionally ap- praised, fails to do a title search, and, if the work is a fine-art multiple, makes no inquiry about the technique of production. Defects abound in artwork as frequently as in other property. Accordingly, the art buyer should observe the same precautions ordinarily used by the prudent buyer in other commercial transactions of like value. Those precautions are ad- dressed at length throughout the three main sections of this chapter: Sales by Dealers, Sales by Collectors, and Secured Transactions. SALES BY DEALERS Whether the dealer is a private dealer, a single commercial gallery, or a gallery with numerous branches or franchised outlets, the dealer’s art sales are governed by principles of contract and tort law, by federal and state penal statutes, and in certain jurisdictions by specific legislation regulating sales of art. -
The German/American Exchange on Nazi-Era Art Provenance Research
2017 PREP Exchanges The Metropolitan Museum of Art, New York (February 5–10) Stiftung Preußischer Kulturbesitz, Staatliche Museen zu Berlin (September 24–29) 2018 PREP Exchanges The Getty Research Institute, Los Angeles (February 25–March 2) Zentralinstitut für Kunstgeschichte, Munich (October 8–12) 2019 PREP Exchanges Staatliche Kunstsammlungen Dresden (Spring) Smithsonian Institution, Provenance Research Initiative, Washington, D.C. (Fall) Major support for the German/American Provenance Research Exchange Program comes from The German Program for Transatlantic Encounters, financed by the European Recovery Program through Germany's Federal Ministry for Economic Affairs and Energy, and its Commissioner for Culture and the Media Additional funding comes from the PREP Partner Institutions, The German/American Exchange on the Smithsonian Women's Committee, James P. Hayes, Nazi-Era Art Provenance Research Suzanne and Norman Cohn, and the Ferdinand-Möller-Stiftung, Berlin 3RD PREP Exchange in Los Angeles February 25 — March 2, 2018 Front cover: Photos and auction catalogs from the 1910s in the Getty Research Institute’s provenance research holdings The Getty Research Institute 1200 Getty Center Drive Los Angeles, CA 90049 © 2018Paul J.Getty Trust ORGANIZING PARTNERS Smithsonian Provenance Research Initiative, Smithsonian Institution Washington, D.C. Stiftung Preußischer Kulturbesitz—Staatliche Museen zu Berlin (Prussian Cultural Heritage Foundation—National Museums in Berlin) PARTNERS The Metropolitan Museum of Art, New York The Getty Research -
Market Evolution of Art Dealers
Market Evolution of Art Dealers Dakshina G. De Silva Marina Gertsberg Rachel A. J. Pownall Lancaster University∗ Maastricht Universityy Maastricht Universityz October 31, 2017 Abstract Using a unique historical data set, we show the value of expertise and reputation during the evolution of the art market. First, we illustrate how market dynamics encourage entry of dealers with heterogeneous characteristics. Second, our results provide evidence that relatively larger dealers pay about 21% more for an artwork of the same quality than smaller dealers as a result of their accumulated experience and reputation. Third, our results indicate that larger dealers are more likely to survive in the market. Our evidence outlines the importance of accumulation of market power in an emerging market characterized by uncertainty and heterogeneity. Keywords: Auctions, Art Dealers, Market Evolution, Reputation, Experts JEL Codes: L11, D44, Z11, D47 ∗Dakshina G. De Silva, Lancaster University, Lancaster LA1 4YX, The UK; Email: [email protected] yMarina Gertsberg, Maastricht University, P.O. Box 616, 6200 MD Maastricht, The Netherlands; Email: m. [email protected] zRachel A. J. Pownall, Maastricht University, P.O. Box 616, 6200 MD Maastricht, The Netherlands; Email: r. [email protected] 1 Introduction In this study, we use a rare London-based fine art auction data set with buyer and seller identities, which provides us with a unique opportunity to examine a market evolution, where value is created through the accumulation of market share resulting in a better reputation and more expertise. Tracking the evolution of the market, we observe dealers' entry, bidding, and survival patterns from 1800 to 1913. -
The Art of Resilience Acknowledgments
The Art of 2019 Catalog Disclaimer All images of the artworks in this publication are the property of the respective artists. On the cover (clockwise from top left) Yky, Shakes p. 12 Justin Wood, March Towards Extinction p. 6 Pitsho Mafolo, Redefining Life p. 2 Adrien Segal, Trends in Water Use p. 19 The Art of The World Bank Group, Washington, DC, October 29, 2019–January 19, 2020 The ArtScience Museum and Singapore Expo Center, Singapore, May 16, 2020–May 24, 2020 artofresilience.art Table of Contents Acknowledgments p. iii Foreword p. iv Introduction p. vi Overview p. vi Why Art? p. vi The Process p. vii The Artwork p. viii Our Hope p. x Art as a Call to Action p. 1 Art-Science Collaboration as a Resource for Innovation p. 17 Engaging Communities Through Public and Participatory Arts p. 25 Guidance for Practitioners p. 33 ii :: The Art of Resilience Acknowledgments Contributors JD Talasek, Director of Cultural Programs, The Art of Resilience was conceived by the National Academy of Sciences Global Facility for Disaster Reduction and Emma Phillips Solomon, Sr. Disaster Risk Recovery (GFDRR) Labs team and the World Management Specialist, GFDRR Labs Bank Group Art Program. The exhibition Robert Soden, Sr. Disaster Risk Management features artists selected through a competitive Consultant, GFDRR Labs process. Participation was open to any emerging or established artist using his, her, Research and Catalogue Entries or their art to help build society’s resilience to Juliana Biondo, Assistant Curator and Project natural hazards. Artworks of any medium were Manager, World Bank Group Art Program accepted, and artists included any person Editorial Coordination engaged in creative endeavors. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Natalia Goncharova's Canonization in Europe After 1945
Natalia Goncharova’s canonization in Europe after 1945 Elena Korowin Introduction The Russian avant-garde artist Natalia Sergeevna Goncharova (1881-1962) is considered to be one of the major female artists of the early twentieth century. Of all female artists internationally, her works are now among the most expensive; however, the canonization process of her work was quite sluggish. The aim of this paper is to trace the way Goncharova entered the canon of modern art in Europe. In doing so, it will show how differently the canonization processes of male and female as well as exile and non-exile artists from Russia developed in the twentieth century. Therefore, it is important to mark the milestones in Goncharova’s case of canonization: 1. The first acquisitions of her works by Musée National d’Art Moderne in 1950 and by the Tate in 1952. 2. Her recognition within the feminist context in the 1970s, which started with the exhibition Woman Artists 1550-1950. 3. Goncharova’s rising prices on the art market in the 2000s. To understand these three turns it is necessary to observe the cultural-political situation after 1945 in order to contextualize the reception of Russian avant-garde in the West and to answer the following questions: Why was Goncharova ‘discovered’ so late compared to other artists, particularly male artists of the Russian avant-garde; in other words, how does Goncharova’s canonization relate to the canonization of Malevich, Tatlin and especially of Mikhail Larionov? Who were the main actors in promoting her work? This analysis will provide a detailed understanding of the way early Russian art was promoted in Germany, France and England in the post-war period and how it became a part of the modernist canon in art history. -
Annual Report 2012
BOARD OF TRUSTEES 4 LETTER FROM THE CHAIR 6 A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Teaching and Learning 30 Connecting and Collaborating 38 Building 44 Conserving 50 Supporting 54 Staffing and Volunteering 62 CALENDAR OF EXHIBITIONS AND EVENTS 68 FINANCIAL StATEMENTS 72 COMMIttEES OF THE BOARD OF TRUSTEES 78 SUPPORT GROUPS 80 VOLUNTEERS 83 MUSEUM StAFF 86 A REPORT LIKE THIS IS, IN ESSENCE, A SNAPSHOT. Like a snapshot it captures a moment in time, one that tells a compelling story that is rich in detail and resonates with meaning about the subject it represents. With this analogy in mind, we hope that as you read this account of our operations during fiscal year 2012 you will not only appreciate all that has been accomplished at the Philadelphia Museum of Art, but also see how this work has served to fulfill the mission of this institution through the continued development and care of our collection, the presentation of a broad range of exhibitions and programs, and the strengthening of our relationship to the com- munity through education and outreach. In this regard, continuity is vitally important. In other words, what the Museum was founded to do in 1876 is as essential today as it was then. Fostering the understanding and appreciation of the work of great artists and nurturing the spirit of creativity in all of us are enduring values without which we, individually and collectively, would be greatly diminished. If continuity—the responsibility for sustaining the things that we value most—is impor- tant, then so, too, is a commitment to change. -
Fort Worth Master Plan Update
2017 Fort Worth Public Art Master Plan update Adopted by Fort Worth City Council 10.17.17 Barbara Goldstein and Associates with Cusick Consulting Ammonite Intervention, 2015 Lars Stanley Painted steel Riverside Bridge over Fossil Creek Image courtesy of the artist Public Art Master Plan Update Fort Worth Contents I. Executive Summary 5 II. Introduction 9 III. Development of the Public Art Plan Update 11 IV. Key Findings 15 V. Vision and Goals 19 VI. Recommendations 21 VII. Implementation 32 VIII. Appendicies 35 Front Cover Intimate Apparel and Pearl Earrings, 2005 Donald Lipski Mixed media Fort Worth Convention Center Image by Ralph Lauer Back Cover Legacy of the Land (detail), 2009 Steve Teeters Rodeo Plaza, Historic Stockyards I Executive Summary 4 As one of the nation’s fastest growing cities, we are continually investing in infrastructure and facilities to serve our residents. It is important that we engage the talents of artists to enhance our built environment and give it that human touch. Not only does it contribute to our residents’ quality of life, public art also attracts economic investments and tourism. —Mayor Betsy Price Tabachin Ribbon, 2010 Yvonne Domenge Painted steel Fort Worth Municipal Court Building Public Art Master Plan Update Fort Worth I Executive Summary 5 Background In October 2016, the City’s public art program, Fort Worth Public Art (FWPA), marked an important milestone— fifteen years of working with artists and communities to create distinct and memorable places. Much like Fort Worth, the public art program has matured and evolved in the years since its establishment. The fifteen-year mark offers the perfect opportunity to review the 2003 master plan, and assess the program along with the ensuing collection. -
Contemporary Art
Art & Lifestyle Evaluating Contemporary Art Information Sources & Strategies Results of an international empirical study AXA ART Survey 2017 AXA ART Survey 2017 Evaluating Contemporary Art Foreword “For many, price is key – the more expensive, Even to the specialist eye, the workings of the contemporary art market are the more important. I try to advise all young artists not to offer shrouded in mystery. At any given time, the value of any piece appears to be based on a complex interaction of intangible factors – from the subjective their works at low prices, for then they will have no value. judgments of influential tastemakers to the current brand-recognition For collectors, price is just an indication of what they might factor of the artist concerned. Aesthetic quality – normally a touchstone for have to spend, or where they can start to bargain - in order to get measuring value – often trails in last in a capricious evaluation process. the best deal for an object they’ve already decided to buy.” For collectors and art market professionals alike, this stubborn lack of transparency presents a serious problem. Without any reliable guidance, how Auction House Representative is it possible to invest in the contemporary art market with any confidence? What is anything ever really worth, and why? It’s a critical question for us at AXA ART as much as it is for our clients and partners. So to shed some light on the issue, we commissioned a new study in collaboration with the University of Kassel. Following on from the acclaimed AXA ART Collectors’ Survey, the results – drawn from an international survey of art experts –represent the first serious academic analysis of the inner workings of the global contemporary art market. -
Ideally Reality: Alignment of Deaccession Policy and Emerging Practice in History Museums
Ideally Reality: Alignment of Deaccession Policy and Emerging Practice in History Museums Tomasina de Vitis A thesis Submitted in partial fulfillment of the Requirements for the degree of Master of Arts University of Washington 2012 Committee: Wilson O’Donnell Sarah Samson Program Authorized to Offer Degree: Museology i Ideally Reality: Alignment of Deaccession Policy and Emerging Practice in History Museums Tomasina de Vitis Abstract Deaccessioning artifacts from museums has become a widely accepted practice as a tool for responsible and sustainable collections management. Standard deaccession policies have been developed to govern the ethical practices, and are valuable tools for accountability. However, there is a lack of research into practical application of deaccession policies in museums. This study is designed to explore the alignment of current best practices found in policies with the emerging application within history museums. The research relies on the analysis of written policies from museums and discussions regarding their deaccession projects for consistencies, and the prevalent practices as they coincide with the policies. The purpose of this study is to determine which parts of the ideal process of deaccessioning represented by policy are manifest when applied to the wide variety of material found in history museum collections. Nine museums from across the country were selected to participate in the study. Eight submitted a copy of the deaccession policy used in their institution, and staff from each museum participated in a semi-structured interview to discuss their deaccessioning practices. The results of this research show that although transferring objects is the advocated preference for the majority of museums, in practice the disposal methods chosen rely heavily on the object’s physical and historical integrity.