Art Identification Standard is born, the first international consortium that brings together the best startups in the world to establish an identification standard for works of art.
Among the problems of the art world, in addition to the difficulties regarding provenance, the manipulation of prices and the lack of transparency of information on works of art, the lack of a standard in the exchange of information and documentation on the works.
In recent years, companies, galleries and institutions have developed independent standards, causing severe incompatibility problems between different platforms and systems, incomplete data and a growing information asymmetry.
This is why the Art Identification Standard (AIS) was created, the first international consortium created with the aim of developing a single protocol for exchanging information on works of art, to overcome the problems of the sector.
Attention was therefore paid to the use of new technologies to support art, including the Blockchain, to be applied for due diligence and provenance on works of art to protect artists, collectors and industry players.
A language common to the entire world of art is also of great use to the market, as it facilitates the exchange and sale of works of art, favoring the management of collections.
Among the members of the Art Identification Standard, the only Italian startup is Art Rightswhich, in line with the mission of using innovation and technology to create the “first passport of the work of art”, becomes an information exchange and verification protocol, with a single system of validation of the history of the works and the documentary kit by several professionals in favor of authenticity, provenance and due diligence.
And you, are you ready to experience the change in the world of art?
Interview with Diego Viapiana, Gallerist at Nuova Galleria Morone – ProfessioneARTE.it
Five questions to get a preview of the great art professionals, the daily challenges to be faced, the choices that have determined their path in the art system and market, the digital changes and advice for those who want to undertake the same career in collaboration withProfessioneARTE.it.
Knowing the history of the works is essential to avoid risks in the purchase of works of art.
But how is it possible to research and deepen the data and documents of a work?
The answer lies in the Due Diligence procedure, applied in the world of art by experts to reduce the risks of purchasing works with authenticity problems and affects their value, protecting the collector in case of problems after purchase.
In the Due Diligence practice, checklists are used with the indication of the elements and documents that must be examined.
Among these:
Verification of the illicit origin of a work through investigations in international databases, such as the databases of the Carabinieri Command for the Protection of Cultural Heritage and the Art Loss Register;
Verification of the attribution, studying the type of work, the name of the author, the title, the date of execution, the technique or medium, the dimensions;
Verification of the authenticity of the work by examining the Certificate of Authenticity and documentation relating to the exhibition history of the work (exhibitions and exhibitions, presence of the work in the artist’s catalog raisonné);
Verification of the conservation status of the work certified by the Condition Report drawn up by an expert Art Restorer.
To avoid all the risks following the purchase of a work of art, it is good practice that the documentation collected in these verification operations is archived together with the work.
However, Due Diligence it is a crucial procedure not only for the sale, but also for the estimate evaluation, insurance compensation, indemnities, disputes or even for art lending.
Today, new technologies support the Due Diligence processes for art, including Art Rights, a support platform for the management, certification and authentication of works of art for the protection and favor of Artists, Collectors and Industry Operators.
Art Rights has become the “passport of the work of art”, with a unique system of validation of information and documents by several professionals in favor of authenticity, provenance and due diligence, to give greater confidence to the market.
If you need support in the Due Diligence procedures before purchasing a work of art, contact the experts in the section Art Concierge of Art Rights, the largest community of art professionals.
And you, did you know the importance of the due diligence?
A key factor for the collector, not to be underestimated…
Provenance is a fundamental procedure for verifying the transfer of ownership of a work of art, carried out by professionals through an accurate historical and documentary investigation, which can sometimes last for a long time if based on few data.
Research into provenance is often meticulous and not at all simple, and not all works have a detectable provenance.
A work with a clear and traceable history of origin is one that brings with it a complete set of documents capable of bearing witness to the entire history it comprises:
The loans, evidenced by various specific documents such as the loan agreement, the letter of loan or the loan form
The exhibitions in which the work has taken part
But why is Provenance so important for a work of art?
AUTHENTICITY: verifying the provenance of a work of art for the purposes of its authenticity is one of the first motivations and is part of a research step; moreover, it is not rare that those who falsify works of art also falsify their complete documentation.
ASSESSMENT: reconstructing a complete history of provenance is one of the factors affecting the evaluation of a work of art; in fact, the absence of a well-documented provenance can create doubts about the attribution or authenticity of a work of art.
OWNERSHIP: There is an increasing need to establish the provenance of a work with the aim of validating and guaranteeing ownership when it is challenged in lawsuits, so well-documented transaction documents and transfers of ownership can help determine the legitimacy of a sale or provide a defence in repatriation and restitution claims.
Today for the creation of works of contemporary art the research by experts can be relatively easier, if the collector from the creation of his collection chooses to entrust its management to tools and solutions for the tracking of the art historian.
These include Art Rights, the first platform for the management and certification of works of art using Blockchain technology and Artificial Intelligence.
A professional tool to trace the history of a work of art, changes of ownership and all the crucial information to enhance an art collection, always to protect the privacy and security of the various users.
This is why knowing the provenance and history of a work of art protects the collector, as well as market operators, from a series of risks and future problems when buying a work of art.
Find out which professionals in the Art Concierge section of Art Rights can help you get to know the Provenance of a work of art.
Interview with Adriana Polveroni Art Writer, Curator and Professor of Contemporary Art
Five questions to know in advance the great art professionals, the daily challenges to face, the choices that have determined their path in the art system and in the art market, the digital changes and the advice for those who want to start the same career in collaboration withProfessioneARTE.it.
From the joy of art to the mysteries surrounding the Agnelli family collection
Italy has never lacked large families of collectors who, over time, have been able to collect real masterpieces and then choose to sell part of them or make them available to everyone.
Among them the lawyer Giovanni Agnelli, a key figure in contemporary Italian history and the face of FIAT, but not only, shared his passion for art with his wife Marella, building a noteworthy private collection. Over 400 works of art collected by artists such as Picasso, Freud, Gericault, but also Corot, Fontana, De Chirico, Schifano and many others for a value, according to experts, of 2.5 billion euros.
As often happens to the most passionate collectors, for the lawyer and his wife, the joy of art has been a complement to their lives that they could not do without, and then they shared it with as many people as possible: hence the desire to exhibit a small selection of their works, through a Foundation created with the aim of spreading knowledge and love for art, especially among young people.
Inaugurated in September 2002 on the roof of the Lingotto in Turin, home of the first large Fiat factory, the Pinacoteca Agnelli is a “treasure chest” of about 400 square meters created by architect Renzo Piano that houses twenty-five extraordinary masterpieces of art ranging from the eighteenth to mid-twentieth century with artists such as Matisse, Severini, Modigliani, Tiepolo, Canaletto, Picasso, Renoir and Manet.
The selection of the works was made personally by the Agnelli couple, as well as the installation inside the gallery is the result of a shared choice. According to the lawyer, the beauty of the works and the taste for art are also educated through museums, where we learn to look at and appreciate art, and where our aesthetic sense is refined. It is no coincidence that he maintained that creativity is the really relevant aspect of our existence.
After Donna Marella’s death on 23 February 2019, a large part of the Agnelli Collection was inherited by her daughter Margherita Agnelli and distributed in three Italian residences – previously located abroad in New York, St. Moritz, London, Paris, Alzi Pratu.
For the transfer of ownership a complete and detailed list of the works in the collection, including paintings, sculptures and tapestries, was drawn up in 2004, making it possible to verify the main information for a possible sale, loan and location of the works.
In fact, it is good that every collector, prepare for his collection a complete inventory, now more easily achievable thanks to the use of professional digital tools such as Art Rights.
Complete platform that allows passionate collectors to create, update and enhance their digital archive, making it easier and more immediate the management of their collection anywhere and anytime from pc, smartphone and tablet.
Even for a large collection, therefore, it is always good practice to be able to document one’s own history and one of the best ways to do this is to compile an archive in which documents and all the information about the life of the work are kept from the moment of its purchase until the moment it is sold, bequeathed or donated to a third party.
Today existing and future art collectors can take care of their works thanks not only to the support of a community of professionals, but also thanks to new technologies that, through platforms such as Art Rights, make it possible to create digital archives always ordered and updated.
Photo Credits: Alexandre Jean-Baptiste Brun, Salon Carré Louvre, 1880, Musee de Louvre.
LET’S MAKE A MUSEUM!
In the presence of a derelict building, better if of historical or cultural value, the choice of creating a museum becomes winning, transversal in consensus, accommodating, reassuring, bipartisan, in practice a downhill route.
The real problems come next, right away!!!!
That decision taken with enthusiasm, which has silenced even the doubters, can prove to be full of problems, complex, very expensive and even unsuccessful!
Often it is decided to create a museum in an architecture that should instead be “museumized“, meaning that making it a museum, adapting it, may not be the right solution, indeed harmful.
Some of these museums wait at least three or four decades before reaching a solution, others lose their original destination to become a less significant “multi-purpose space”, others get stuck on the various security clearance, CPI (fire prevention certificate), habitability, superintendence, anti-seismic regulations and more until they realize, at the end of the works, the poor supply of electricity due to the absence of a medium voltage booth at short distance.
This is as far as the technical aspects are concerned, to which are grafted those that can be defined as cultural and scientific, where there is no lack of “pointers”, sophisms, nuances of attribution and dating, afterthoughts, the selection of the most representative works, the museum order and more.
In addition, there are also the profiles of merit, ownership, rights, loan conditions, state and private property, concessions, donations, bequests with clauses attached to perpetual existence and interpretation!
All of this is not enough, if the museum wanted to host exhibitions of high value, insurance problems would arise, of policies that splash in prices, with the risk coefficients on the premises, surveillance systems, alarms, fire extinguishing, distances from rescue centres and police.
Of course, building a museum is a big problem!
Giovanni Boldini. L’amatore delle arti, 1886. Galleria Nazionale d’Arte Moderna, Roma, Italia
THE MUSEOLOGIST
All this does not mean that it is impossible to create a museum, but it does mean that a method and the participation of professional figures such as the MUSEOLOGIST, a figure partly new and with mostly unpublished tasks, is necessary.
The MUSEOLOGIST is responsible for putting everything in order and much more, while remaining in the due and absolute respect of all the other professionals who will have to intervene for the realization of a museum.
The museologist must be the coordinator of the “museum project” without replacing other professionals or the same client, in some aspects he is almost like a conductor who must “build” the work in harmony and with many protagonists and also with the “first women” who can become great interpreters of museum needs.
Dialogue as well as decision, are among the individual characteristics of a museologist, knowing that what counts is the achievement of the objectives, must therefore be able to highlight and transfer, to all those who will intervene in the work, the true intent of the museum, the mission, the philosophy, to the point of hypothesizing the life within it both operators and visitors.
BUT WHAT IS HE NOT… A MUSEOLOGIST?
The museologist is not a museum historian, but surely he must know all the main events and the historical, cultural and technical methodological excursus.
The museologist is not a designer of architecture, security, air conditioning, lighting technology, installations, but he must be able to deal with them and therefore be able to read and discuss all possible architectural, structural, plant engineering, technological projects together with metric calculations and chronoprograms.
A museologist is not an architect or engineer, but must know that a museum designed architecturally and carefully designed will bring great benefits in future management, for example in being able to clean spaces, without narrow corners or corridors, with machines that vacuum, wash and sanitize, optimizing costs. This applies to self-ventilated walls, low-emission glass, general insulation, renewable sources, microclimate.
The museologist is not the museum’s curator or specialist scientific consultant, but must be able to dialogue with experts and know the methods of research, study, communication and dissemination, in order to establish the necessary economic and technological contributions up to the final editing.
The museologist is not a computer scientist or an expert in three-dimensional modeling, but of matter and technology, he or she needs to know in depth the potential, functionality, costs and real impact for the museum. They are innovative tools of great fascination but they become obsolete or go out of “fashion” in a very short time, they are also expensive.
A museologist is not a team manager or a human resources manager, but must think about architectural spaces, technologies, logistics, functioning, quality and healthiness of life of the operators and give indications in this sense.
The museologist is not a music expert, but he can direct the museum towards music!
The museologist is not a social media manager but he or she must certainly know the potential and dynamics of its functioning, as well as the costs of organization and maintenance over time.
Giovanni Boldini. L’amatore d’arte, 1870. Bottegantica.
SAFETY AND WELL-BEING
The museologist does not take care of the security shifts in the museum, but must think about the welfare of the staff.
A security officer cannot spend too many hours in front of a surveillance monitor without a change, a diversification of work, a view of the outside sunlight, life in the museum rooms.
The image of a caretaker “anchored” to a chair or trawling through the halls, unfortunately, is still in widespread collective memory, despite the commitment of all. Perhaps an information and control station, also intended as an elegant sitting room with an illustration and in-depth desk, together with a comfortable armchair in compliance with standards, could relieve a shift and offer a better service.
The museologist is not the expert in educational and reception services, however, and once again he or she must be well acquainted with the dynamics of the services, the target audience, the methods and quantity of delivery. This is even more true for issues related to permanent disabilities as temporary, including those of staff.
THE MUSEOLOGIST, FIRST OF ALL, IS NOT!
The list could go for many other items concerning a museum, always defining the boundary of competences, roles, responsibilities, but also knowing that there is a precise direction, discussed, evaluated, verified and compared during the work, which the museologist interprets for the necessary time.
The museologist will not necessarily become the museum director, but he or she could direct the museum system if it exists, or work for the positioning of the museum in the territorial, national or international offer.
The finished museologist will leave room for the various professions of the museum, director in the lead, to face new challenges and new museums.
Interview with Massimo Paolo Maria Vecchia, Art Advisor e Art Consultant. – ProfessioneARTE.it
Five questions to know in advance the great art professionals, the daily challenges to face, the choices that have determined their path in the art system and in the art market, the digital changes and the advice for those who want to start the same career in collaboration withProfessioneARTE.it.
How Maria Grazia Chiuri revolutionized the famous fashion brand with the Art
After telling you about the link with the Art of Moncler, Gucci, Louis Vuitton and Prada, Dior is also taking part in the revolution of values that the fashion system is investing in, through contamination with art, which is becoming the conditio sine qua non of every show and collection.
Ever since she took office at the Dior fashion house in September 2016, Creative Director Maria Grazia Chiuri’s aim has been to enhance and highlight the great savoir-faire of the fashion house, injecting creativity and contemporaneity through the values of art and culture.
Today Chiuri is the creative director of Dior Haute Couture but her career began much earlier, when she was hired as a designer in 1989 by Fendi and then in 1999 by Valentino.
From the beginning Maria Grazia Chiuri shows how fashion is really an interdisciplinary subject, which cannot be limited to the simple development of technical creativity without having cultural references. For the designer, in fact, it is fundamental to have an educational background and always cultivate it. In Dior, for example, she has created a Cultural Office that supports her to do historical and artistic research that will then be a source of inspiration for her collections.
Hence the need to create a strong link between fashion and art, which the Italian Chiuri uses to give greater prominence to the enormous evocative power and attractiveness that have always distinguished the maison.
In particular, his attention is focused on female artists. The feminist theme is in fact very dear to Maria Grazia Chiuri, who since her arrival in Dior, has done a lot of talking about herself to be the first woman to run the brand after 70 years.
The relationship with female art, particularly surrealist art, is evident in Haute Couture Spring Summer 2018, inspired by the period when Christian Dior had an art gallery in Paris where he met, sponsored and collaborated with the Italian surrealist artist, Leonor Fini. Other surrealist artists highlighted by Maria Grazia Chiuri for Dior were Lee Miller, Dora Maar, Leonora Carrington and Jacqueline Lamba .
“Surrealist women are less well known than men and we often know them as muses rather than the talented artists they really were. They were very modern figures, nonconformist for the time in which they lived, and the way they expressed themselves through clothing has long been of great interest to me”.
It is no coincidence that in 2019 Dior sponsored an exhibition in Milan entitled “Il soggetto Imprevisto – 1978 Arte e Femminismo in Italia”, which offered a reflection on fashion, feminism, art, innovation and tradition.
Speaking of art and tradition, in the last two years the Creative Director of Dior, through numerous collaborations with contemporary artists, has laid the foundations of a new method to create a collection that weaves art, history and elegance.
Let’s think of Dior’s show in Marrakech for the Cruise 2020 collection: starting from Wax Fabrics (the homonymous handmade printing technique, made up of multiple steps to imprint patterns and colours on the fabrics), Chiuri entrusted to artists and designers of African origin the codes of the maison so that they could make a personal interpretation of them in a Wax key: among these we also find the artist Mickalene Thomas.
Recently Maria Grazia Chiuri enchanted the whole world with the Cruise 2021, held in Piazza Duomo in Lecce. “Strenght and Dignity”, “Strength and Dignity” could be read among the sentences written in the more than 30 thousand Led bulbs that composed the extraordinary luminous set designed for the occasion by the artist Marinella Senatore. These, in fact, are the two main characteristics of the people of Salento, in particular women, well described by the popular songs of the “pizzica” that were the background of the parade.
Maria Grazia Chiuri is therefore an artist herself who, through art, feminism and tradition, is revolutionizing the Dior maison with a cultural approach to fashion capable not only of making her way in the market but also, and above all, of orienting herself in the world.
And you, are you ready to discover the next collaborations between Art and Fashion?
After the sale of his work, an artist continues to exercise his rights, also deciding to disown his work if its physical integrity is altered from its original status.
Here are the most important, plus a recent one
Photo Credits: the “Log Cabin Facade” by the artist Cady Noland
For an artist selling a work of art is always a joy and a pain: but how does the relationship between artist and work of art change legally after the sale?
We assume that with the sale of the work, the artist does not cease to exercise rights over it.
The Law on Copyright (Law no. 633 of 22 April 1941 and subsequent amendments) guarantees the author of a work, together with the patrimonial right to exploit it, also the moral right to claim paternity, opposing modifications or interventions to the detriment of the work itself, including those that alter the way it is presented to the public, as desired and imagined by the artist.
Often the rights of artists, especially moral rights, are underestimated: over the years there has been no lack of legal disputes between collectors, gallery owners and artists who, seeing their work altered with respect to its original status, choose to sue and even disown the work.
ARTIST PAT LIPSKY
Among the most recent episodes, that of the artist Pat Lipsky who sued the Spanierman Gallery in New York and the Artspace platform, invoking the Artist Authorship Rights Act (1984) of the State of New York, which gives artists the right to claim or deny the authorship of a work and to oppose its exhibition, publication or reproduction in an altered form.
Lipsky’s protest stems from the fact that the images used to sell her painting “Bright Music II” (1969) online had been manipulated, altering the composition and light of the original to mask the damage of time and that this would have caused a sharp drop in sales of her work. The artist stated that he did not only aspire to compensation for the damage suffered, but also to denounce the behavior of online galleries, for the artist too focused on the economic result and disrespectful of the artist and the work in its essence.
But even in the past there have been other cases of artists who did not like conservation or real restoration work on their works.
THE ARTIST CADY NOLAND
We remember Cady Noland, an artist engaged in a complex dispute against a German gallery and collector Scott Mueller. The latter, after having purchased in 1990 the work “Log Cabin Facade”, a sculpture representing the façade of a chalet made of wooden logs, decided to resell the work through the German gallery after having it restored, replacing all the parts of which it was composed. Despite its loyalty to the original project, Noland did not like the operation without its consent, thus opposing the sale on the basis of the rules introduced in 1990 by the Visual Artists Right Act (VARA), which give the artist the right to renounce the authorship of the work.
There have been artists who have come to disown their work.
ARTIST GERHARD RICHTER AND OTHERS…
Among the most striking is the case of the German artist who entirely disowned all the works derived from his youth in Germany, because they were made in a style that he no longer felt was his own.
The Italian Giorgio De Chirico refused all his works from the pre-metaphysical period, therefore prior to 1939. Finally, the Scottish artist Peter Doig, in 2016, was summoned to court by the Federal Court of Chicago for refusing to issue the authentication of a work that he did not recognize as his own and denying any possibility of attribution: the court thus certified the truthfulness of Doig’s statements.
The works of art are part of the artist himself, they are his representation, so it becomes fundamental for the collector, as well as for the gallery owners, to keep faith with their own nature, respecting the creativity and inalienable rights of the artists who created them.
In order to do this, it is necessary to contact professionals in the sector who work in dialogue with the artists before carrying out any intervention on the work, whether it be digitization for online sales, or a conservation and restoration intervention, as Isabella Villafranca Soissons, Director of the Department of Conservation and Restoration of Open Care in Milan explains in this interview on the restoration of contemporary artworks.
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Per fornire le migliori esperienze, utilizziamo tecnologie come i cookie per memorizzare e/o accedere alle informazioni del dispositivo. Il consenso a queste tecnologie ci permetterà di elaborare dati come il comportamento di navigazione o ID unici su questo sito. Non acconsentire o ritirare il consenso può influire negativamente su alcune caratteristiche e funzioni.
Funzionale
Always active
L'archiviazione tecnica o l'accesso sono strettamente necessari al fine legittimo di consentire l'uso di un servizio specifico esplicitamente richiesto dall'abbonato o dall'utente, o al solo scopo di effettuare la trasmissione di una comunicazione su una rete di comunicazione elettronica.
Preferenze
L'archiviazione tecnica o l'accesso sono necessari per lo scopo legittimo di memorizzare le preferenze che non sono richieste dall'abbonato o dall'utente.
Statistiche
L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici.L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici anonimi. Senza un mandato di comparizione, una conformità volontaria da parte del vostro Fornitore di Servizi Internet, o ulteriori registrazioni da parte di terzi, le informazioni memorizzate o recuperate per questo scopo da sole non possono di solito essere utilizzate per l'identificazione.
Marketing
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