Corporate Art Collecting

2021 ◽  
Author(s):  
Whitney Prendergast
Keyword(s):  
Art Collecting ◽  
Corporate Art

scholarly journals Cakes and Ale, Paintings and Sculptures: Directors’ Duties and Corporate Art Collecting

2020 ◽  
Vol 13 (3) ◽  
pp. 268
Author(s):  
Elizabeth Harris ◽  
Bede Harris
Keyword(s):  
Corporate Social Responsibility ◽  
Well Being ◽  
Case Law ◽  
Fiduciary Duty ◽  
Art Collecting ◽  
Improper Use ◽  
Corporate Art ◽  
Corporate Social ◽  
Art Sponsorship ◽  
Corporate Information

Corporations spend significant amounts of money on art collecting and art sponsorship, but little research has been done on the question of whether such activities are permissible in light of directors’ duties. This article addresses that issue by examining whether corporate expenditure on art collecting and sponsorship is consistent with the duty to act in the bests interests of a corporation, the duty to exercise powers for a proper purpose and the fiduciary duty not to make improper use corporate information or position. This is done first by examining the scale of corporate expenditure on art and then by analysing the case law on various directors’ duties, before discussing whether corporate art collecting is legitimate in light of those duties. The article examines the most important reasons why a corporation may collect art – as an investment, in furtherance of corporate social responsibility goals and in order to enhance the psychological well-being of employees – and concludes that while art collecting for such purposes does not amount to a breach of directors’ duties, this is subject to the requirement that a corporation put into place safeguards contained in a formalised art collecting and sponsorship policy, the key principles of which are stated at the end of the article.

4. Uses and prices of art

2020 ◽  
pp. 83-111
Author(s):  
Julian Stallabrass
Keyword(s):  
Contemporary Art ◽  
Art Market ◽  
Tax Avoidance ◽  
The State ◽  
Art World ◽  
Art Collecting ◽  
Clear View ◽  
Competing Demands ◽  
Corporate Art

‘Uses and prices of art’ details how, since the early 2000s, strong modernizing forces in the contemporary art market brought money into clear view and unabashed discussion. The prices of art and the forces that threaten art’s autonomy are all part of the story. These include the modernization of the art market, and the competing demands, promulgated by the state and business, that art should be put to use. Corporate art collecting has had a massive impact on the art world and this has been driven by the growing number of the super-rich who buy contemporary art. Ultimately, art has become a standard investment, part of the portfolio of the super-rich, used to spread risk and engage in tax avoidance.

La fiscalità del collezionista d'arte

2017 ◽  
Author(s):  
Franco Dante ◽  
Piero Gargano
Keyword(s):  
Art Collection ◽  
Corporate Art ◽  
Inter Vivos

Il crescente volume di scambi di opere d'arte, soprattutto moderna e contemporanea, e la globalizzazione del mercato hanno portato ad una più diffusa conoscenza dei fondamenti della fiscalità dell'arte non solo tra i tecnici della materia ma anche tra i collezionisti.Nel presente articolo, partendo dal presupposto che ogni collezione d'arte nasce, cresce e inevitabilmente si trasmette a terzi, si analizzano le imposte che gravano su ogni fase del collezionismo.In particolare, si evidenzia la diversa incidenza dell'IVA sugli acquisti in base alla provenienza delle opere d'arte (italiana ed estera), ci si sofferma su quando la cessione di opere è soggetta ad imposte e il cedente da collezionista diventa mercante e si analizzano le imposte dovute in caso di trasferimento gratuito mortis causa o inter vivos, evidenziando le possibili forme di pianificazione successoria.Oltre alla fiscalità del collezionista privato si esamina il trattamento contabile e fiscale delle corporate art collection, detenute da società commerciali e professionisti.Si evidenzia, infine, il ruolo dell'art advisor, che assiste il collezionista anche nella valutazione della variabile fiscale nell'investimento in arte.

scholarly journals Practice in fi eld of artistic culture

2017 ◽  
pp. 49-56
Author(s):  
N. N. Suvorov ◽  
Keyword(s):  
Art Market ◽  
Art Collecting ◽  
Works Of Art ◽  
Different Types ◽  
Relationship Of ◽  
The Relationship

Culture is considered as a set of practices whose purpose is the establishment of entity, product and percipient activities. In the artistic practices used versatile technology. They include Museum, gallery, curator, art collecting. Characteristics of different types of practices are private, but there are recurring characteristics. Discusses the relationship of artistic practices and the art market, which is one of the forms of circulation of works of art.

Art Collecting by the Galician Jewish Aristocracy: From Majer Jerachmiel von Mises to Artur Lilien-Brzozdowiecki

2020 ◽  
Vol 16 (1) ◽  
pp. 31-50
Author(s):  
Sergey R. Kravtsov
Keyword(s):  
Family Members ◽  
The Self ◽  
Art Collecting ◽  
Army Officer ◽  
The Family ◽  
Von Mises

This article discusses the construction of a Jewish aristocratic identity through art collecting and patronage, in parallel with other “aristocratic” activities and lifestyles. The focus is a particular Galican family ennobled by Franz Joseph I in 1881. The family’s ambitions and achievements are known from a memoir by Artur Lilien-Brzozdowiecki (1890, Lviv-1958, London), who was a great-great-grandson of the community head Rachmiel von Mises (1800-1891), a distant cousin of the artist Moses Ephraim Lilien (1874-1925), and a grandson of the banker Ignacy Lilien, who financed Moses Ephraim’s education. The article considers the self-construction of the family members as art connoisseurs and artists. These included the banker, industrialist, artist, and art collector Maurycy Nierenstein (1840-1917); painter Helene von Mises (1883-1942); architect Marya Lilien (1900-1998); and economist, lawyer, army officer, and collector Artur Lilien-Brzozdowiecki.

Danxia Burns a Buddha

2017 ◽  
Author(s):  
Gregory P. A. Levine
Keyword(s):  
Twentieth Century ◽  
Cultural Production ◽  
Modern World ◽  
Art Collecting ◽  
Early Twentieth Century ◽  
Photographic Reproduction ◽  
Art Canon ◽  
The Buddha ◽  
Modern Artists

Chapter 3 focuses on a medieval painting in the Zen art canon—Yintuoluo’s painting of Danxia Tianran (738/39-824), a Chinese monk said to have burned a wood statue of the Buddha—and situates it within its modern surround, particularly in relation to Zen iconoclasm, a prominent trope in postwar Zen cultural production including Jack Kerouac’s The Dharma Bums and other countercultural works. The chapter suggests how premodern representations of the Danxia tale circulated in the modern world through art collecting, photographic reproduction, translations of hagiography into modern Japanese and English for lay and non-practicing readers, and “reverse orientalist” critique of Western views of Buddhism. It notes too the tale’s representation by modern artists in Japan, including Yamamoto Shunkyo and Okamoto Ippei. Whatever the representation of Danxia burning the Buddha meant in preceding centuries, in the early twentieth century, it responded to new prospects, ambitions, and conflicts, as much geo-political as personal.

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