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.
Founded in London in 1997, Protein is a multidisciplinary insights and creative strategy agency that has worked with some of the world’s leading brands like Nike, Google, and Anheuser-Busch. They recently released their 2017 Youth Report, exploring the ways that Generation Z perceives and relates to brands, with sometimes surprising results. This resonated with Culture™’s own interest in younger generations, particularly as they become the creators, decision-makers, and audiences of cultural collaborations. We invited Protein’s Insights Director Jamie McCracken to share a few key takeaways from this year’s study below.
Larys Frogier is a curator, critic, art historian, and director of Rockbund Art Museum (RAM) in Shanghai. Earlier in October, the exhibition of the four finalist artists for 2017’s Hugo Boss Asia Art Award opened at RAM, showcasing the third success in the partnership between the brand and the museum. Last week, Hangzhou-based video artist Li Ming was announced as the award's recipient for his immersive multi-channel narrative installation. Here, Frogier shares the history of the award and his views on the surprising prospects of corporate sponsorship for museums in Asia today.
Claire Staebler, the associate curator at the Louis Vuitton Foundation, shares her reflections on China’s private art museums after co-curating the exhibition “Bentu” with UCCA in Beijing last year. Before that, Claire worked with the Palais de Tokyo and Fondation d’entreprise Ricard on multiple exhibitions, which represented the new model of brand-involved art projects that she sees as the trend of our time.
András Szántó is a brand advisor, curator, scholar, who has helped to design and continues to advise some of the most respected brand-initiated cultural projects for over a decade. In 2016, along with two partners he launched Culture Projects, which publishes original research on art and culture trends, including a survey of international brands’ engagement with the arts. Here, Szántó shares his thoughts on the lineage of brand patronage and the artist’s relationship with patrons.
On October 26, Culture™ was honored to host a special panel discussion and workshop at the Fast Company Innovation Festival in NYC. Nearly 200 festival attendees participated in our sold-out sessions, and heard candid insights from artist Shantell Martin, NEW INC director Julia Kaganskiy, and WeTransfer president Damian Bradfield. Full video documentation will be available soon.
Earlier this year, Chinese artist Cao Fei unveiled her design for the 18th BMW Art Car, programmed with the tools of cutting-edge AR technology. Looking back at Cao' s history, collaborations with brands and manufacturing sites have always contributed to her growth as an artist. Here, Cao Fei shares her feelings on the significance of brands' support of art projects, and observations of the transformations happening in China’s factories that reverberate throughout the world.
Earlier this year Max Wolf oversaw the transition of Red Bull Studios to Red Bull Arts, where he is now Chief Curator. The exhibition program is wildly experimental and, unlike many brand-backed art foundations, embraces its freedom from the art market and collecting system, emphasizing richly ephemeral and experiential shows and events. Wolf sees corporate support as an important supplement to the art world, offering new routes for artists to realize important ideas.
Art dealer and curator Jeffrey Deitch is a true pioneer of the charged landscape where art meets commerce and pop culture. From his gallery Deitch Projects, to his provocative tenure at L.A.’s MOCA, to his new adventures (including Art For All, a recent collaboration with Uniqlo), he’s championed an entire generation of artists unafraid to blur the lines with brands, and supported new models of hybrid engagement.
Takashi Murakami may not have been the first artist to work with a brand, but he was certainly the first to integrate a luxury boutique into a museum exhibition. Looking back on that event ten years later—a decade in which he has only become more successful within the art world and more promiscuous beyond it—he reflects on the role that commercial collaborations can have within a wider artistic practice.