Critique this Week
Annabel Tully
Australia’s Rural Landscapes
Red Earth Grounded in Heart and Spirit of Country
Value to Australian Rural Industry Partners
Rural and Urban Headquarters
www.annabeltully.com.au

Next Week Features
Lyne Marshall
Contemporary Visions International
"Bird's Eye View" Exhibition -
Falcon, Eagle, Mythical Bird Watching
Value to International Corporations,
4-5 Star Hotel Chains
Invest Now!
Ethereal, Aesthetic, Exquisite
A New Series Emerging – Art Collectors Portfolio
Art Philosophy Books Series
Accompanies Exhibition
www.artclique.com.au

April Column Features
Des Rolph
Contemporary Artist Bridging from
Earth Focused Art to Beyond Sky Reflections
"Ride the Wind"
A Series of 10 Works Featuring the
Power of Winds of Change
that Drive Away Debris, Cleanse, and Introduce Spirit of Hope and Change
Value to International Arena Not for Profit,
Corporate, Government, University Offices
Brave Heart Takes on Global Challenges www.desrolph.com

Sponsor and Invest in these three artists
as long distance investments in
Australian spirit, insight, aspiration
as their world viewing becomes
more global in insight and commitment.

“Arts Competitions – Awards – Acquisitions” Bridging to your collectors and opportunities

“What is in a name? So many artists or would be artists give up their aspirations of achieving a career in art – visual/photography/sculpture. They have been told it takes a lifetime to build a “name” as an artist and you must enter competitions and win awards before you are considered for galleries, exhibitions and other sought after opportunities.

There may be some truth to this advice but competitions and awards are only one approach to a career and may rely on where one has a level of talent, connections with those determining that talent or definitions and interests in the style of the artist, funds to rent space and hire public relations and marketing teams, pay for ads, hire “critics”, and invite the “right people” to opening nights. Yes, the path of the artist that would be recognised and also earn a living, is not easy, may be political and even those with exceptional talent, may not get a showing.

This column encourages artists and their professional support systems to consider additional approaches to building positioning and presentation opportunities through “Gift Giving”, “Corporate Acquisitions”, “Art in Public Spaces”, commercial development and cross-industry partnerships.

Key to this column is the realization that each artist of merit establishes their own style, statement, presence, and holds integrity to that evolving process. Artists often go through stages in evolving their concepts and certainly building on their techniques.

Art as expression is not static. For this reason, artists may find many ways to share their work and professional teams may find diverse approaches to getting that work before diverse markets that view, review, acquire and share. 

Why and How to Invest or Acquire
Art for Corporate & Public Corridors

Professor Nell Arnold
Glades-Global Enterprise Innovation Pty Ltd – Australia
C&C-Global Promotions Inc – USA

Who Places Value on Such a Gift?
Only those who treasure by accepting, holding as a treasure
and eventually passing on to the next generation
of family or corporate leadership

There are many reasons to acquire art. Initially because you personally want the piece – it speaks to you. Other reasons may be because you know the artist and enjoy their story. Or in some cases you like the work because it fits in with the décor of your living or working space. It is possible someone in an art gallery has suggested or confirmed that acquisition of the art work is an investment as art does increase in value over time and specifically art from collections of known or high potential artists.

For example art I acquired some 20 years ago has increased in value 10 fold while the furniture I acquired then looks used and getting toward abused. Although the oak and maple and special wood furniture of the time has also increased in value – not 10 fold, but some of the art I acquired was unique at the time and remains unique in style and presentation of an artist now known or unknown. The work has retained its beauty, aesthetics, meaning and value. For this reason and others, the Tax Offices in many countries recognise art, if preserved and protected, can be part of an investment plan.

Investment is founded in risk, potential of increase in value but no commitment to this end. For this reason when individuals or corporations or governments acquire art for investment purposes, they seek professional advice about art investment laws governing pension plans, investment portfolio from accountants and tax agents who are governed in professional practice by the law.

Often accountants will hire the services of specialists who know the artist, the work, the style, the technique and the capacity for the work independently or because of the name of the artist to increase in value. They also contact galleries that represent artists who have achieved stature through a life of professional experience and who are recognised by awards, exhibitions and location and stature of those exhibitions

In this regard, I should ensure the reader understands a key point. Buying art of known artists is not the only point of entrance into the art investment world. Investment is just that - investing at the right time in the artist's career and in the art that will continue over time to be valued as art.

There are, however, other corridors to investing in art. Indigenous art within a country holds considerable value as individual artists, but also as artists of community. While the art world focuses on individuals, Indigenous art is often from shared expressions – family, community, and even invited externals of the clan. Is the work less valuable because others participated with the artist of renown? NO. The fact that the artist of renown involved their family, community, others in the art experience and presentation is either part of the cultural practice or ... part of a transition practice ...a moment in time to be captured, treasured, held for posterity. That moment in time will not be repeated. How does one place value on this art work, image, breath-holding moment in breaking the traditions of culture and time in the history of humanity?

Another corridor is in the exchange of art from region specific to partnering region. This exchange is meaningful to the sister cities, the sister schools, the corporations participating local to global. The artist local who lives within the landscape original to the partnership forming holds considerable value. Their artwork is from the “heart of country” local or regional sharing the images, views, values, landscapes, aspirations, dreams, insights and daily life from a location meaningful to the corporation, family, government, industry or arts world corresponding or engaging or entering into agreements political, corporate, enterprise or trade.

In which case, the art of local artists holds unique value because the local artist is a resident and expression of the local scene, the part of country which is engaging in the communication and industry/enterprise endeavour. One should never attempt to place commercial value on this gift of art and country to another country – this exchange is priceless.

For this reason, “Out of Australia” has focused this year on rural and regional industries and the artists of community. It is logical that gifts from rural industries come from artists of the land. The largest industries in Australia are rural industries and the largest corporations in the cities of Australia represent the industries housed in country and exported from country - minerals, energy, space, agriculture, aqua culture, cattle, sheep, wool, leather, the list is endless.  The economy of Australia was stabilized by the industries of country during recent economic challenge worldwide. The landscapes, industries, views and expressions of rural and regional Australia remain dynamic in a world reeling with change environmental, social, economic and technology advancements/enhancements.

How can one put a price tag on the art of heart, soul, inspiration, expression from the land of country to the land of another country. You cannot, and therefore, do not.

Evaluation of art is undertaken by one or a team of people who take into consideration the location, cultural attributes, the uniqueness of the artists approach, technique, and the evolution of their style as they expand awareness and capacity to express. I also watch the faces and expressions of people who linger over the work or ask questions of the artist and management. Each artist, as an investment, is unique and often the purpose for the acquisition is also unique and as a commemorative piece for celebrations, exchange, remembrances. The purpose of giving the art may add considerable value as a commissioned or commemorative work on a theme or expression of the spirit of a country captured uniquely and for posterity in those who are of that country. The work may also be valued as unique in style, traditional or contemporary, without theme but in recognition of the skill and advancing reputation of the artist within the world of art critiques and valuations.

Corporate Art Acquisition therefore is about local to global industry’s desire to express, to share, to engage, and to gift. The gift is from the gift of heart, inspiration, land and community. The gift is without price. In many cases, however, a price is determined for purposes of acquisition whether as a gift or as investment.

All acquisitions, commissions, consignments of art within the corporate, government or investment portfolio may be supported by Government Grants, Australian and Partnering Country Tax incentives, Pension Funds, Foundations and Initiatives independent or in cooperation with AUSTRADE and Sister Cities Exhibitions. Country to Other Country enterprise development is often confirmed in the exchange of art of commemoration of important moments and in the honouring of others with known practice through the centuries continued in trade missions, visits between leaders and between families, schools and youth who exchange through living and learning about another’s culture through Rotary, World Bank, UNESCO-UN, Chambers of Commerce and Sister City projects.

Gifting and investment in art privately or as part of significant enterprise exchange should be discussed with specialists in tax law, international trade incentive programs, corporate imaging/gifting, and arts appraisal specific to the purpose of the gift and investment as gift for posterity. Advice should also be sought from specialists who have witnessed and evaluated and can confirm the unique style of the work of the specific artist and advise on tax implications, investment, resale, and laws that government the acquisition of art for public or private collections.

The End - Nell Arnold
Refer to Nell Arnold’s “Notes on Art Critiques”

Nell Arnold's Art Critique Process

Notes and Critique Guide

Seminar 1
Art Critique

Australian Review
of
Carol McCormack
www.carol
mccormack.com.au