The Corporate Art Index

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.

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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.

Offers guidance for artists in financial planning, copyright protection, the preparation of a portfolio, and sale of works to art dealers, museums, and other markets.

This volume offers a guide to corporate collecting, examining its history, nature and importance, and the different reasons for starting and maintaining corporate collections.

Master's Thesis from the year 2015 in the subject Economics - Macro-economics, general, grade: 1,0, University of Hamburg, language: English, abstract: “When bankers get together for dinner, they discuss Art. When artists get together for dinner they discuss money.” (Oscar Wilde) Works of art are unique and highly heterogeneous but if they are traded, they share the common purpose of creating income. However, not only artists will discuss money at dinner, also bankers while they discuss art, are likely to talk about financial gains through investments in art. In economics a small group of researchers has examined whether this kind of investment is profitable or not. Although findings are not consistent, some authors conclude that art, compared to equity or bonds, does perform relatively well and offers diversification benefits in investment portfolios. Despite the inconsistency of findings, this research has led to a growing interest in art investment. Promoters of art investment like art investment funds work on a transformation of art into a new and widely accepted asset class, which they hope will prospectively be included in investment portfolios in the same way as real estate (Picinati di Torcello (2012): 15). Investment in art is determined by the expected price appreciation of art works in the future (Stein (1977): 1021). The quantity of original artworks, at least by deceased artists, cannot be augmented and the elasticity of supply is zero (Baumol (1986): 10). The future prices of art works as investment goods will thus depend on demand as well as on wealth of individuals and institutions at the sales date (Goetzmann (1993): 1371). The greater the purchasing power of prospective buyers, the more art is being bought and the higher art prices will be (Goetzmann et al. (2009): 2). Consequently art prices are expected to react to changes in economic prosperity and to fluctuate in the course of the business cycle. Business cycle research is a vital branch of macroeconomics and many theories and studies exist which examine the boom and bust periods of the economy as different phases of business cycles. Contrary there is little research which looks at “the link between the art market and the broader economy” (ibid: 4).This master thesis aims at contributing insights on this link by analysing the behavior of art prices under different macroeconomic conditions. Precisely, the objective is to assess the characteristics of art prices as business cycle indicator for the U.S. economy. [...]