Consider this beautiful and useful end of year gift for your best clients and art-loving friends:
Announcing the 2014 Publication
of the new book on
Corporate Art Programmes Around the World :
A Celebration of Corporate Art Programmes Worldwide
The book offers a fascinating look behind the scenes into the world of corporate art. Celebrating progress in the field of corporate art programmes and illustrating examples of best practice, the book explores the involvement of business in promoting and supporting museums and artists through art programmes. It documents the work of well over 100 companies worldwide – from major blue chip corpations, to hospitals, hotels, airports, factories and transit systems.
Authors Peter Harris and Shirley Reiff Howarth have researched the facets of many different corporate art programmes from companies spannng five continents.
Estimated to be worth billions, some of the many treasures to be found in this fascinating book have been seen in public, on loan to a variety of museums in travelling exhibitions, and a very few have never been seen in public before.
The reasons for corporate art collecting are many and various, some philanthropic, to help young artists and to support the world of culture, in other cases it has been a work of love by Directors who were collectors themselves, and in many cases the motivation was to project the company's image to its shareholders, staff, clients, and general public.
While investing time and funds into an art programme can seem to be outside the range of a corporation’s normal business activities, there are definite benefits to a company.
To use business jargon, corporate art is a ‘win-win-win’ activity:
- The company wins because it forges links with its surroundings, and because having art in the workplace boosts staff morale and creativity. Art helps a company project its corporate identity, and the acquisition of good-quality work establishes the company as a prestigious organisation with a dynamic approach to business.
- The community wins – both locally and nationally – because it has a large local champion endorsing the region and its cultural life.
- The artists win because they establish a new audience for their work.
Publisher: Wapping Arts Trust
320 colour illus, 296 pages
Publication Date: 2014Binding: Hardbound
Format: 30 x 23 cm
This book looks at why many companies have been assembling art collections, the art programmes they have developed as a result, and how these have benefited the companies, their clients and their communities.
It focuses on current practices and looks at trends that affect what could happen in the future. It is the first attempt to look at corporate art programmes as a global phenomenon, and it is the result of more than 30 years’ experience of the authors, and their in-depth research into more than 300 major companies during the past three years.
The emphasis throughout the book is on the visual, and wherever possible we have provided examples that illustrate the points being discussed. In many cases the examples of programmes could appear under several different headings; in such cases we have selected and placed them under the most relevant categories.
Nearly all of the companies included in the book have art collections that are the all-important core and driving force for a much more comprehensive – and often community-oriented – series of art programmes, sponsorships,
art competitions and events.
art competitions and events.
Chapter Two therefore gives an outline of the salient features of art collections. The book takes as its remit activities in companies where the art is owned by the company, as opposed to an individual. Professional groups that own the artworks jointly – in a partnership, for example – are included, but the collections that are owned by private individuals are not included, such as Charles Saatchi, Donald Fisher, the founder of Gap, or Kerry Stokes of Channel 7.
Chapter Three looks at the myriad different corporate art programmes designed to achieve the benefits discussed in Chapter One, using many examples from companies from all over the world.
Chapter Four looks towards the future with some of the latest examples of exciting new developments, and the final chapter showcases our selection of the finest corporate art collections and programmes in the world, encompassing Europe, Asia, North and South America, the Pacific and Africa. These companies have consistently engaged in the highest standards of practice in selecting, caring for and exhibiting the artworks under their protection, and incorporating art programmes into their corporate activities. For each company we have highlighted the activities that make it exceptional and that distinguish it from other organisations.
The information is presented through 320 images of artworks and references for further information. Website references are also included and a bibliography at the end of the book. Not all of the companies with excellent corporate art programmes are included in the book, as a few preferred not to publicise their activities in the current economic climate. However, most are mentioned and are examples of best practice; and for these programmes the website information is included in the endnotes and the bibliography.
We hope that this book will stimulate and inform those with an interest in corporate art and that it will encourage those with other experience in the field to contact us so that we can regularly update the information.
Shirley Reiff Howarth
Shirley Reiff Howarth