Download Free Directory Of Corporate Art Collections Book in PDF and EPUB Free Download. You can read online Directory Of Corporate Art Collections and write the review.

The essential reference to art in the workplace and the corporate art world, the International Directory of Corporate Art Collections is still the only comprehensive reference for corporate art collecting around the world. In continuous publication since 1983, the newly revised and updated 2016-2017 edition features nearly 800 companies through a global tour of art in the workplace.Several million works of art are displayed in businesses and corporations around the world -- nearly as many as in city art museums! Corporations spend millions every year purchasing art, and the total value of all of the art that is on display in the workplace is worth several billion dollars. So the most important patron of the arts during the past 70 years has been ....... not private collectors, government art programs, and not even museums, but corporations. The International Directory of Corporate Art Collections describes which companies have art collections, have commissioned art, developed art education programs, and which corporations have organized or sponsored art exhibitions or loaned art works from their collections.In two sections, the International Directory of Corporate Art Collections highlights art in the workplace from 1) Europe and Asia Pacific, and 2) North and South America. The latest edition is an essential reference for artists, art collectors, museum corporate affairs officers, curators and directors, architects, art galleries, art advisors and consultants, art historians, art appraiser, and lawyers. Information provided for each program includes contact information, description, size of collection, art programs and sponsorships, status of program, and bibliography.
This new volume in the series of Handbooks in International Art Business published in association with Sotheby's Institute of Art offers a timely guide to the history, nature and importance of corporate collecting and the different reasons for starting and maintaining corporate collections, including investment, cultural cachet, and asset diversification. Based on interviews with the curators, consultants and investors who run such collections, and more extended case studies of important collections, the book concludes with an examination of when corporate collecting becomes a liability and the market-impact of deaccessioning, looking ahead to the future of corporate collecting.
Art is a prerequisite for the progress of society. Corporate Art Initiatives contribute to this progression. Based on extensive research, Viviane Mörmann presents 21 promising corporate art initiatives (CAIs). She introduces different types of art initiatives and provides a standardized scheme to evaluate them. This volume features CAIs from the classic corporate art space to the public art challenge, and the virtual museum. It draws attention to the subject of CAIs to broaden the reader's knowledge and to mediate access to current CAIs. The Corporate Art Index thus addresses art lovers, artists, curators, business and marketing professionals, architects and designers, art historians, art fair organizers and journalists.
This interdisciplinary collection of case studies rethinks corporate patronage in the United States and reveals the central role corporations have played in shaping American culture. This volume offers new methodologies and models for the subject of corporate patronage, and contains an extensive bibliography on corporate patronage, art collections and exhibitions, sponsorship, and philanthropy in the United States. The case studies herein go beyond the usual focus on corporate sponsorship and collecting to explore the complex organizational networks and motivations behind corporate commissions. Featuring chapters on Margaret Bourke-White, Julie Mehretu, Maxfield Parrish, Pablo Picasso, Diego Rivera, Eugene Savage, Millard Sheets, and Kehinde Wiley, as well as studies on Andrew Carnegie, Andrew Mellon, John D. Rockefeller Sr. and Jr., and Dorothy Shaver, and companies such as Herman Miller and Lord and Taylor, this volume looks at a wide array of works, ranging from sculpture, photography, mosaics, and murals to advertisements, department store displays, sportswear, medical schools, and public libraries.
As the widely-admired CEO of Tyco International, Dennis Kozlowski grew a little-known New Hampshire conglomerate into a global giant. In a stunning series of events, Kozlowski suddenly lost his job along with his favored public status when he was indicted by legendary Manhattan DA Robert Morgenthau—it was an inglorious end to an otherwise brilliant career. Kozlowski was the face of corporate excess in the turbulent post-Enron environment; he was pictured under headlines that read "Oink Oink," and publicly castigated for his extravagant lifestyle. "Deal-a-Day Dennis" was transformed into the "poster child for corporate greed." Kozlowski was ultimately convicted of grand larceny and other crimes that, in sum, found the former CEO guilty of wrongfully taking $100 million from Tyco. Taking Down the Lion shines a bright light on former CEO Dennis Kozlowski and the Tyco corporate scandal—it is the definitive telling of a largely misunderstood episode in U.S. business history. In an unfiltered view of corporate America, Catherine Neal pulls back the curtain to reveal a world of big business, ambition, money, and an epidemic of questionable ethics that infected not only business dealings but extended to attorneys, journalists, politicians, and the criminal justice system. When the ugly truth is told, it's clear the "good guys" were not all good and the "bad guys" not all bad. And there were absolutely no heroes.
This book evaluates investment opportunities such as life settlements, litigation funding, farmlands, royalties, weather derivatives, collectables and other unique asset classes. It provides an in-depth analysis of the returns, risks, opportunities and portfolio effects for anyone who wants to expand their investment horizons. This book is for individual investors, financial advisors, and academics who desire knowledge about investment products beyond just stocks and bonds or vanilla hedge funds, private equity and real estate investments. It provides a critical link to industry data and original research to support the case for adding exotic alternative investments to traditional portfolios.
The definitive guide to taking control of your career and making a good living in the art world. Drawing on nearly three decades of experience, Caroll Michels offers a wealth of insider's information on getting into a gallery, being your own PR agent, and negotiating prices, as well as innovative marketing, exhibition, and sales opportunities for various artistic disciplines. She has also added a new section on digital printmaking and marketing in this emerging field.
Corporate sponsorship and business involvement in the visual arts have become increasingly common features of our cultural lives. From Absolut Vodka's sponsorship of art shows to ABN-AMRO Bank's branding of Van Gogh's self-portrait to advertise its credit cards, we have borne witness to a new sort of patronage, in which the marriage of individual talent with multinational marketing is beginning to blur the comfortable old distinctions between public and private. Chin-tao Wu's book is the first concerted attempt to detail the various ways in which business values and the free-market ethos have come to permeate the sphere of the visual arts since the 1980s. Charting the various shifts in public policy which first facilitated the entry of major corporations into the cultural sphere, it analyses the roles of governments in injecting the principles of the free market into public arts agencies-in particular the Arts Council in Great Britain and the National Endowment for the Arts in the USA. It goes on to study the corporate take-over of art museums, highlighting the ways in which 'cultural capital' can be garnered by various social and business 'elites' through commercial involvement in the arts, and shows how corporations have succeeded in integrating themselves into the infrastructure of the art world itself by showcasing contemporary art in their own corporate premises. Mapping for the first time the increasingly hegemonic position that corporations and corporate elites have come to occupy in the cultural arena, this is a provocative contribution to the debate on public culture in Britain and America.