AMP Capital: 255 George Street / Artwork Commission

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

#ART
#COMMISSION

AMP’s landmark CBD-based building, 255 George Street has been undergoing an extensive refurbishment.

One of the refurbished areas within the Lobby will be the new flexible workplace, Annexe, which will offer highly tailored workspaces that support organisations to drive productivity, innovation and growth.

As part of this specific redevelopment Catherine Asquith Art Advisory was engaged by Mostyn Copper to provide art consultancy services for the commissioning of a site-specific artwork which reflected not only the values of AMP Capital but moreover, allowed for an artwork which addressed the scale, volume and function of the space; provided a conceptual connection to the site; enhanced the visitor experience; and provided a welcoming, uplifting and complimentary aesthetic addition to the space.

From a highly competitive field of shortlisted artists, Sydney-based artist Camie Lyons was duly awarded the commission by the selection panel.

Camie’s well-researched and innovative artwork proposal, one derivative of the Australian bush, was at its essence, to “re-forest and re-energize the Annex space by bringing back the original species of trees that once stood on the site”.

AMP Capital / 255 George Street, Sydney
Artwork Commission: Camie Lyons
Project Managers: Mostyn Copper
Architects: Richards Stanisich

#art #contemporaryart #sculpture #commission #collectart #collections #artadvisor

Establishing, Developing and Maintaining a Corporate Art Collection: A 4-part series of journal articles which provides an insight into the nature of a corporate art collection.

Corporate Collection 101: Implementing Collection Management Protocols
Part 4

Image: Bresic Whitney, Sydney. Artworks Untitled #35 by Bill Henson and Staging Silence 2 (2013) by Hans op de Beeck.

Once a collection’s parameters and policy guidelines have been settled, management protocols should then be considered in tandem with the nature of the holdings.

The type of artwork, or genre, the number of works, the installation and location of pieces, and the total value will all have a bearing on the collection’s management.  However, as a general rule, most collections will consider the following attributes as informing their protocols:

Scheduled audit and valuations

Audits and valuations should be undertaken on a regular basis, generally every 2 years. The final valuation reports should then be filed for use as reference, and as ancillary to taxation and insurance matters.

Maintenance and condition reporting schedule

The scheduled audits and valuations will also avail in situ or on-site condition inspection of works in the collection.  Depending on the outcome of this report, a professional conservator or restorer may be contracted for further appraisal and reparation recommendations.  In certain cases, particularly with regard to commissioned works, the artist’s recommended maintenance guidelines will be available (with such having been provided at the completion of the commission), failing which the commissioned artist should be consulted for any type of repair.

Regular updating of artist and artwork documentation

Collating news regarding the artists in a collection is good practice, adding a further dimension to the appreciation of its holdings.  Of particular interest will be significant artist/art awards, participation in important curated public museum and gallery exhibitions, representation at prestigious international art fairs and international representation.  Alongside these primary market indicators, a collection’s art advisor or curator would also be mindful of secondary market (auction) movements, specifically auction results and market traction.

Maintenance of the Master Inventory

Updating of the master inventory should take place as a matter of course after valuations, condition assessments, acquisitions and deaccessions, art loans and commissions. 

Precedents or templates for: acquisition, deaccession, art loans etc

In order to adhere to best practice, it is recommended that a collection has in place a set of precedents or templates in respect of acquisitions, art loans, exhibitions, commissions and deaccessions.  For example, when a new work is acquired, it should be subject to a specific process or due diligence in respect of ‘entering’ the collection, i.e. inputting the correct information for the artwork, in line with museum cataloguing standards, in addition to allocation of a catalogue number, adding the artist’s CV, Artist Statement and any other available biographical details to the file, and so on.

As a collection’s inventory develops and increases it is a prudent measure to consider a digital version, i.e. a “CMS” or collection management system.  These various software and web-based systems allow for expedient and efficient management of all relevant documentation and details regarding the collection. 

Establishing, Developing and Maintaining a Corporate Art Collection, A 4-part series of journal articles which provides an insight into the nature of a corporate art collection.

Corporate Collection 101: Developing a Collection Policy
Part 3

Image: Richard Bell, “Omega (Bell’s theorem)”, 2013, acrylic on linen 180 x 480cm,The Wesfarmers Collection, Perth, ©Richard Bell, reproduced courtesy of the artist

A collection’s acquisition policy is central to its management: it prescribes its core purpose, namely the acquisition of XXX artworks for the corporate’s permanent collection, and addresses how this purpose will be pursued over the next few years and in line with the collecting objectives.  So for example, the collection may decide upon several key strategic priorities across a number of collecting areas, for example, Australian Contemporary Art, Aboriginal and Torres Strait Island Art and S.E. Asian Contemporary Art, over a designated period of time, say 5 to 10 years, acquiring 2D objects (paintings, works on paper, limited edition prints and photography) with subject matter relating to “the stories of the land and its inhabitants”.

Benchmarking with other similar corporate collections and their respective acquisitions policies, can also be undertaken to ascertain trends across the sector. Such an undertaking will additionally, ensure best practice guidelines have been adequately considered.

As part of developing the collection policy a selection criteria and procurement process should also be addressed by the corporate’s art committee.  Most common is a two-tiered process, wherein the artistic elements are considered alongside art market factors.  For example, in assessing the artwork and the artist, consideration should be given to:

• Establishment or discernment of the significance of the artist’s contribution to the development of ideas and directions in contemporary art;

• Ascertaining the significance and/or relationship of the work itself as it relates to the artist’s oeuvre; and

• Discerning the relevance and suitability of the work within the context of the collection.

Alongside these artistic criteria, assessment of the following attributes is also recommended as part of the selection process:

• Assessment of artist’s CV

• Assessment of artist’s representative gallery, i.e. its standing and reputation within the arts community, in addition to the duration of its operations;

• Assessment of market value of the proposed artwork, i.e. is it in line with the retail value of the works available on the open market and/or via another gallery; and

• Assessment of artist’s secondary market record, if available.

Some corporate collections also acquire commissioned or site-specific works.  Similarly, the same artistic criteria and market assessment should apply. 

Our final journal post in this series will look at collection management protocols.

Establishing, Developing and Maintaining a Corporate Art Collection: A 4-part series of journal articles which provides an insight into the nature of a corporate art collection.

Corporate Collection 101: Set the parameters
Part 2

Image: Sarah Morris, “UBS Wall Painting”, 2001/2019, Household gloss paint on wall, 196.5 x 536 in., 499.1 x 1361.4 cm. UBS Art Collection © Sarah Morris. Photo credit: Tom Powel Imaging

As part of the collecting strategy a collection should incorporate a set of guidelines at the outset, flexible enough to allow for expansion and development at a specific juncture, yet definitive enough to maintain the integrity of the collection. 

Broadly, a collection should consider:

• The thematic or conceptual parameters of the artwork (acquisitions) as a guiding principle for all future acquisitions;

• The content or genre(s) to comprise the collection, i.e. sculpture, paintings, works on paper, photography, established artists or emerging artists,

• The collection’s acquisitional methodology;

• The collection’s acquisitional frequency, i.e. quarterly, bi-annually or annually; and

• The collection’s allocated budget on a quarterly, bi-annually and annual basis.

Thematic

The maintenance of thematic parameters inherent to the Macquarie Group’s collection (as noted above in Part 1 of this series), over the course of several decades has provided, not only an admirable reputation, but also a consistent approach in its acquisitional policy.  This is something which a collection should consider, at least as a reference point.

The benefits to defining a collection’s parameters are:

• the collection will develop as a cohesive and succinct entity thereby enhancing its integrity and viability;

• profiling and highlighting the collection via social media channels and other publicity will allow for a consistent message;

• a continuity of vision will become easily communicated to a developing audience for the collection; and

• garnering interest from public museums and galleries will have greater potential.

Content & Genre

It is rare for a corporate collection to focus on one particular genre, for example, photography.  There can be a number of reasons for this decision, but for the most part, balancing the content of the collection, in terms of presenting a diverse and broad cross-section of genre, will ultimately allow for an enhanced longevity and enduring quality.

A collection should consider including, or that very least, consider the following attributes:

• balancing the genres to allow for acquisition of sculpture, paintings, works on paper, contemporary photography, and installation-based works;

• balance of the genders of the artists to be included in the collection; and

• balance the cultural diversity of the artists to be included in the Collection.

By incorporating the above, the collection will be provided with expanded opportunities for development and potentially, counter ‘fashionable’ moments within the market for a specific genre, all of which should in theory, lead to the foundation for a sustainable collection.

As noted in Part 1 of this series above, BHP Billiton’s collection is harnessed by cultural diversity, and focusses on “identity” to reflect its global presence.  This has been an important factor in the branding of its corporate identity of being “human, global, visionary and intelligent”. It could be beneficial for a collection to similarly, accommodate cultural diversity within its collection policy. 

Image: Doug Aitken, Native Land, 2014, Aluminum lightbox, LED lights, chromogenic transparency, acrylic, 53 x 84 ¼ x 7 ½ in., 134.6 x 214 x 17.8 cm, UBS Art Collection ©2018 Doug Aitken, courtesy 303 Gallery, New York. Photo © Kate Elliot

Acquisition Methodology, Frequency and Budget

Clearly, the nature and amount of an available budget for a collection will have a direct bearing on the frequency of artwork acquisitions.  That said, generally an established collection will have in place an allocated annual funding for artwork acquisitions, which can then be divided into quarterly amounts, with a rollover mechanism in place should funds from a specific quarter not be utilised.  This is a common model for the funding of acquisitions for both corporate and public collections.

In terms of devising an annual budget, a proactive approach should be employed at the outset, wherein a list of preferred artists (inclusive of a rationale, for example, well established, highly proficient in their chosen technique, highly regarded by the arts community) has been considered in advance; such a list can be conceived by the company’s art selection committee and /or curator. This approach will allow for a targeted acquisition methodology and adherence to the thematic parameters of the collection.

As a matter of good corporate conduct, and in the interests of transparency, some corporate collections choose to be open to submissions from the public and will take proposals directly from commercial galleries and artists’ agents and representatives.  This will be more prominent with new or developing collections.

Our next journal post will consider developing a collection policy.

Establishing, Developing & Maintaining a Corporate Art Collection : A 4-part series of journal articles which provides an insight into the nature of a corporate art collection.

Corporate Collection 101: Start with A Collection Strategy
Part 1

Deutsche Bank London’s reception features art by Anish Kapoor and Damien Hirst. Photograph: Deutsche Bank

In 1959, the youngest child of John D Rockefeller Jnr, David Rockefeller, then president of the Chase Manhattan Bank, established what was ostensibly the first corporate art collection.  Known at the time as the “Art at Work” program, David Rockefeller believed that art elevated the experience of working at and doing business with the Bank; his plan was to embrace contemporary art which aligned with the firm’s business principles and priorities: diversity, innovation, technology, sustainability, creativity, and excellence.  These collection parameters remain in place to this day.

Rockefeller’s vision has paved the way for the incarnation of corporate collections across the globe, with many utilising the fundamentals as a starting point.  In seeking to define a collection strategy for a new collection, reference can be made to several established corporate art collections and the business models which have been utilised in maintaining and developing these same collections.  The following brief overview illustrates how a collection can be used as a means of branding ; how incorporating thematic parameters can be used to guide the acquisitions, and how a collection’s infrastructure informs the promotion of that collection.

The accounting firm Deloitte is a high-profile presence in the Australian corporate sector.  Its collection has risen to prominence as a result of a craftily devised activation within its Sydney headquarters in 2004: in lieu of simply acquiring works for its boardrooms and offices, it was decided to implement a rotating exhibition program which is installed throughout the main public floors of its offices (which welcomes on average 6000 visitors per week).  This type of strategy has allowed for considerable public engagement and sets the tone for a dynamic and active corporate art collection.

The Deutsche Bank Collection, formally known as the “Deutsche Bank Global Art Program”, has been described as the largest corporate art holding in the world.  It not only collects artworks on a regular basis, it also has an online magazine, and frequently engages in dialogue with a vast and extensive global audience on contemporary art.  Such engagement clearly enhances the Bank’s global brand.  Considering its Sydney headquarters (a Norman Foster designed glass and aluminium office tower), a move towards more installation-based artwork was conceived, given the lack of wall space.  Notably 95% of the Bank’s collection (worldwide) is accessible to the public.

Corporate collections often commence with the notion of aligning its brand with art.  Macquarie Group started its collection in 1986, with this premise as its focus.  One of the most respected corporate art collections, having earned a reputation as one of Australia’s most cohesive, considered and exciting compilations of contemporary Australian talent, the bank’s sustained curatorial thematic parameters of “emerging Australian artists influenced by the Australian landscape” have clearly helped to maintain its status and prestige.  The Bank has a selection committee comprising Macquarie employees together with an external advisor, and along with regular acquisitions from artists and galleries, the Bank also embraces commissioning site-specific artworks for their headquarters in Sydney.  To maintain interest in the collection as much as to appease their shareholders, art tours are included in staff and client functions.

The corporate art collection business model adopted by Perth-based company Wesfarmers is perhaps the more traditional in its activities.  The collection, which started in 1977, has been focused on demonstrating the value of art in the workplace to its staff (and shareholders) as well as encouraging “an understanding of the importance to society of supporting creative thinking and artistic vision”.  The extensive collection of 900 artworks and objects engages in an active loan program and regularly commissions site specific temporary works for its window foyer at Wesfarmers House.  Several exhibitions curated from the collection have gone on tours, with the most recent exhibition showing at the National Art School in Sydney in February 2016.

In a similar manner to Wesfarmers, the art collection of blue-chip law firm Allens commenced acquiring artworks in the mid-1970s.  The collection’s raison d’etre was to support artists by way of purchasing works and commission site-specific temporary projects for their offices.  Interestingly, the firm’s preference has been to buy young and follow the career of their collection artists, which in art parlance is known as ‘collecting in-depth’. Moving beyond the traditional parameters of a corporate art collection, Allens also offers a month-long internship program with Sydney University post-graduate arts students, to work alongside the collection’s curators.

BHP Billiton’s art collection is one of the few corporate art collections within Australia which includes an international component.  Its primary curatorial premise has been to focus on “the issue of identity”, however, with changes in societal discourse and the political socio-economic changes on the social landscape, the collection has sought to redefine its collecting parameters, to now include a multi-cultural focus.  This diversity of artist and therefore artwork has boded well for the company’s global expansion over the years. 

Deutsche Bank

The salient points highlighted in the above collections are the variations amongst the collections, which of course, marks their point of difference:

• the rotating exhibitions program implemented by Deloitte

• the on-line magazine of Deutsche Bank

• the vigilant maintenance of Macquarie Group’s curatorial parameters, i.e. the landscape

• the inclusion of touring exhibitions of works from the collection of Wesfarmers, which are likely the result of an active loans strategy;

• the arts internship and alignment with Sydney University inherent to the collection of Allens; and

• the intentional diversity of artists and artworks of BHP Billiton’s collection.

These aspects all have merit and can be considered as part of devising a collection’s strategy.

In our next journal post we will discuss ‘setting the parameters’ for a collection.