We recognized that there was an opportunity for the cultural sector to specialize its fundraising. The sports industry has been so successful at generating income from sponsorship, and I thought that by using the techniques and the approach that the sports industry has used, we can help museums and other organizations maximize their income streams. The cultural sector is hugely undervalued by potential sponsors.
Each year, the longstanding champagne house Ruinart commissions an artist to engage with the brand and its history, presenting the work first in Paris, before it tours to some 31 art fairs around the world. We met Frédéric Dufour, president of Ruinart, before the opening of Art Basel in Hong Kong, the first stop on this extensive circuit. He spoke of art, champagne, and emotion.
Above the Fold: MaxMara announced both the winner of the Art Prize for Women and a Salon de Mobile commission last month.
Collectively, that's a lot of corporate energy and trust being funnelled into art. The MaxMara Art Prize for Women went to Helen Cammock, whose multimedia work composes narratives of marginalized voices and the black experience.
In museum stores around the world recently we have begun to see these “Museum League” scarves. Can you introduce the project and how you came to the idea? What makes the museum store an interesting space to intervene in for you?
It all started from the consideration that museums are becoming places where the sense of community, the process of identification, passion and faith take place.
BMW has been inviting artists since 1975 to create its Art Cars. What were the brand's motivations in starting the Art Journey in 2015?
We asked ourselves if we could make a difference with cultural engagement and not add to the “bling bling” and exuberance of the 60 billion dollar art market. BMW has been a partner of the arts for half a century - without any vested interest in the field or our own corporate art collection.
Above the Fold: From Department Store to Art Production House
The New York Times spent some time in Paris this week (downtime from the runway shows, no doubt) visiting the construction site that will soon become Lafayette Anticipations, a new space for the Fondation Galeries Lafayette.
"If street art could now reach both high and mass culture alike, then brands could calibrate these flexible associations to fit with their messages and needs. More collaborations ensued with “art world-approved” street artists: MOCA x Levi’s featuring Kenny Scharf and KR, Hennessy and Nike with Os Gemeos, Louis Vuitton with Banksy."
K11 Art Foundation, the non-profit organization founded by Adrian Cheng, has been promoting Chinese contemporary artists and curators through collaborations with leading institutions such as the Pompidou, MoMA PS1, the Royal Academy, and Palais de Tokyo. Here Adrian talks about art and branding in the development of K11 Art Malls and C Ventures, his new fund focusing on tech-driven brands.
Los Angeles-based artist Carter Mull creates multi-media images by re-photographing and altering existing pictures. His works are in numerous museum collections including the Museum of Contemporary Art, LACMA and Hammer Museums in Los Angeles. Recently, Mull was approached by GUESS through his project Eye Eye Productions, which functions as both a photography bureau and a brand collaborator. Here the artist shares how this new collaboration is related to his previous art practices, and his reflections on the interrelationships between urban culture and fashion.
Amalia Ulman is an Argentinian-born, Spanish-raised artist based in Los Angeles whose works explore contemporary desire and anxiety, often utilizing social networks as a medium. Her performances, videos, and photography have been shown at the New Museum, the Tate Modern, and the Rockbund Museum, among others. Her series “Excellences and Perfections” has been called “the first Instagram masterpiece” and will be the subject of a new book forthcoming from Prestel in spring 2018. Here, she shares her candid perspectives on the brand-artist relationship, including her 2015 collaboration with Gucci during her performance “Privilege.”
Simon Denny, the representative artist of New Zealand at the 56th Venice Biennial, is known for his research-based projects and exhibitions which look into the condition and production of knowledge through imagery used by institutions and corporate. In 2017, the artist showed his works at Hammer Museum, L.A. and OCAT, Shenzhen. Here Simon explains how brands and logos serve as visual documentation of today’s commercial culture and how they are re-contextualized in his art projects. He also shares his view on the difference between private and public sponsorship.
With over 30 years of a genuine relationship with the global artistic community, Absolut Art has been evolving through new initiatives like the Absolut Art Award, the Art Bars that pops up around the world and various artist collaborations. Saskia Neuman, Global Art Manager at Absolut and the director of the award, shares the brand’s goals with art engagement.
UBS holds one of the most distinguished corporate art collections around the globe, and recently presented The Art Market 2017 annual report with Art Basel in Miami. In our post Art Basel Miami report, Deborah Ehrlich, the Regional Manager APAC for the UBS Art Collection shares her view on how the collection is related to the functions and corporate culture of the bank.