GLOBAL CORPORATE COLLECTIONS by Deutsche Standards EDITIONEN

Thanks to the Advisory Board

Sincere thanks to the Advisory Board of "Global Corporate Collections" for their commitment and constructive support. Dr. Stephan Frucht Association of Arts and Culture of the German Economy at the Federation of German Industries Max Hollein Co-editor, Städel Museum, Liebieghaus Sculpture Collection, Schirn Kunsthalle Frankfurt, Director Kai Kuklinski Chief Executive Officer, AXA ART Group Dr. Florian Langenscheidt Publisher and Author Holger Liebs Editor-in-chief, Monopol Luminita Sabau Founding board member of International Association of Corporate Collections of Contemporary Art, IACCCA Marina Sitnina Executive Vice President, Gazprombank Dr. Philipp Herzog von Württemberg Chairman Europe and Managing Director Germany, Sotheby’s Dr. Lisa Zeitz Editor-in-chief, Weltkunst

Global Corporate Collections

Editors Friedrich Conzen, Max Hollein and Olaf Salié Editor-in-chief Steffen Heemann Project Management Isa Falckenberg, Fabian Westkamp Chief Copy Editor Gérard Goodrow Assistant Editors Anna Jacobsen, Jessica Knöller, Marcel Krenz Design Meiré und Meiré Typesetting and Image Processing Tim von Holst, Alex Knaack, Andrea Krause Texts by Gérard Goodrow, Marcel Krenz et al.

Contents

Editor’s Foreword ...................................................................................................................................................... 6 Foreword: Global Corporate Collections ................................................................................................................... 8 Foreword: Corporate Art Collections and the Market ............................................................................................. 10 Introduction Interview Dr. Lisa Zeitz ....................................................................................................................... 12 Interview Dr. Lisa Zeitz and Max Hollein ................................................................................................................ 14 Interview Dr. Lisa Zeitz and Lisa Erf ....................................................................................................................... 16 Interview Dr. Lisa Zeitz and Loa Haagen Pictet ...................................................................................................... 18 Interview Dr. Lisa Zeitz and Dr. Philipp Herzog von Württemberg .......................................................................... 20 Interview Dr. Lisa Zeitz and Prof. Dr. h.c. mult. Reinold Würth ............................................................................... 22 Interview Dr. Lisa Zeitz and Tobias Rehberger ........................................................................................................ 24 Corporate Art Collections ....................................................................................................................................... 26 Index of Artists ..................................................................................................................................................... 514 Index of Companies ............................................................................................................................................ 527 Addresses of Companies .................................................................................................................................... 528 Index of Countries ............................................................................................................................................... 532 Photo Credits ...................................................................................................................................................... 533 Imprint ................................................................................................................................................................ 536

Forewords

Editors’ Foreword

Dear Readers around the Globe, With Global Corporate Collections, we are very proud to be able to present a comprehensive survey of 81 of the best art and heritage collections owned by corporations, family business owners and affiliated foundations around the world. For the past year, we have been striving to compile the best and widest possible overview of global corporate collections, researching their artistic, cultural, social, economic and corporate dimensions and missions: While introducing works of art into the corporate environment almost inevitably creates interaction between the artworks and the people around them, the reasons for founding a full-fledged collection are multi-facetted. Certainly top among the motives behind corporate collections are the fostering of creativity by confronting employees with art and thereby enriching their lives and increasing productivity, as well as creating an image transfer for a brand or corporation, networking and relationship management. A further motivation is, of course, the support of artists and the art community. The kind of art each organization collects depends on its cultural environment, geographic location, corporate identity, when it started buying and how it manages the collection and outreach program. A complex and challenging international project such as this volume requires clear concepts of what qualifies as corporate, what constitutes a collection and perhaps even what art is. Measuring a contemporary art collection compiled in recent years against a collection dating back to the 19th century seems like an impossible undertaking. In order to identify potential corporate art collections for this publication, our esteemed Advisory Board initially chose 300 active corporate art collections from the vast array of roughly 600 existing collections worldwide. The expert panel then went on to narrow this down to a long list of 190 collections, focusing primarily on Modern and Contemporary Art collections, out of which 82 collections from Europe and the Americas, as well as Australia, Asia and Africa were finally chosen for inclusion here. Global Corporate Collections thus tells an insightful and comprehensive story of a broad cross-section of international corporate art collections and their strong cultural roots and economic environment.

Inevitably, there are limitations in being representative for the various types of art collections. Not included in Global Corporate Collections are, for example, product-based collections, as well as some very laudable art programs, which present exciting exhibitions and installations of contemporary art, without building up a collection of their own. Likewise, companies that donate works on a regular basis to regional or national museums, but do not collect themselves, have also not been included here. In the aftermath of the global financial crisis of 2008, an increasing number of corporate art collections have been acquired through mergers and acquisitions or have changed hands, and in some cases been de-accessioned to balance losses or to reflect strategic changes in the company. In compiling this book, we have found that companies have “subdued their communications concerning the art collection”. But as an integral part of their corporate organization, curators always had to weather different courses of a company’s development – including growth and expansion, as well as loss and remission – as natural aspects of the evolution of a collection, knowing that changing tides and shifting paradigms have always also offered a wealth of opportunities. Today, we probably find some of the most exceptional art collections within the realms of corporate art programs, as public museums around the world have to work with limited budgets. Corporate art collections have increasingly become a global cultural currency, helping to realize and overcome differences and to relate to cultural backgrounds, symbolic language and philosophies. They serve as communicators, translators and equalizers through the multi-cultural and increasingly global language of the visual arts. Global Corporate Collections paints the picture of an increasingly globalizing world, which now more than ever discovers cultural value in the artifacts of ancestors, as well as inspiration, in cutting-edge, current artistic production. Several collections featured here are considered national treasures in their home country. They find their roots in different historic, societal and artistic traditions, often influenced by religion, culture and their respective political and economic environments. This volume thus recognizes and embraces the art history and heritage forming the background of global corporate environments and strives to place the corporate art collections in front of their proper cultural background.

Historically, a fair amount of corporate art collections are found in the banking and financial industries, often serving as brand ambassadors or representing corporate values in symbolic ways. In addition to these, we are particularly proud of those collections presented here, which represent an original, innovative or even unique approach in other sectors or industries. Global Corporate Collections thus also features modern industrial and agricultural giants, international law firms as well as construction, development and real estate companies and national, pan-regional and global organizations. Particularly in Europe, we find small and medium-sized manufacturers of wine, fashion, chocolate, screws or pencils competing for the best works and artists with the attention-grabbing buying power of global luxury conglomerates or internationally operating automotive enterprises. Around the globe, entire new corporate concepts and business models are being built around an emerging collection of art, for example in the hotel and leisure industries. Holding this substantial compendium in our hands today, we are more certain than ever that art enables viewers to think beyond well-trodden paths and standard frameworks. Within the emerging multivalent nature of international and global cultural developments, even the most basic understanding of what art means to the corporate world can only be captured in investigating the individual stories of a collection’s development and placing this within an appropriate framework. On that note, a book such as Global Corporate Collections can only be a snapshot of a continuous process of change and renewal intrinsic to any survey into a dynamic corporate arts environment. It represents an exploration, examination and analysis of the best and most precise image of recent trends and new developments within art collections owned by companies around the globe, and tells a larger story than just one company’s perspective of Modern and Contemporary art’s past, present and future. Autonomy is a time-honored virtue associated with art and, in the corporate context, art refuses to be limited to a single unequivocal message. All art collections are, of course, free to choose whether they wish to be featured within this high-level and globally competitive environment and, thus, some have decided not to participate. While their reasons might be individual,

we appreciate their consideration and would like to express our gratitude, for the remarkable work of those corporate collections not included here at this time. The greatest thank you of the editors certainly has to be with the over 80 collections incorporated in Global Corporate Collections, who have taken time out of their busy schedules to contribute to this publication. It has been a great experience and inspiration to be able to work with you all! Our special thanks and compliments go first and foremost to our highly professional Advisory Board, which has proven invaluable in compiling this unusual overview of some of the most distinctive and impressive corporate collections around the globe. We would like to especially acknowledge the support and contributions of our corporate sponsors AXA ART, Sotheby’s and Art Finance Gazprombank, as well as that of our media partners Weltkunst, Monopol, Artnet and The Art Newspaper. We would also like to thank Art Basel, as well the international publisher and distributor DAAB for their kind support of this project. Together with the editors, the Deutsche Standards EDITIONEN team and the authors of the collection texts, Gérard A. Goodrow and Marcel Krenz, they have all greatly contributed to making Global Corporate Collections a sound review of some of the world’s finest corporate art collections. Global Corporate Collections thus presents art in corporate collections as an intersection between intrinsic interest in the artwork and the instrumental deployment of art for other organizational goals. This is what makes corporate collections different from private and museum collections – but is also what makes them so special. Yours FRIEDRICH CONZEN MAX HOLLEIN OLAF SALIÉ Editors

Forewords

Global Corporate Collections Kai Kuklinski, AXA ART Group, Chief Executive Officer

On the face of it, the idea defies all commercial logic. Why would a Spanish telecoms company collect around 3,000 works of cubist art and international photography? Or a US private investment management firm acquire over 1,000 works of contemporary realism? Or a German chemicals giant preside over its own museum of laquerwork? The reason why any corporate collection exists at all is, inevitably, slightly different in each case. Some collections will be the legacy of a historic passion on the part of a founding member or partner, or the accidental result of random acquisition over the years. A few, historically, may also have been created purely for investment purposes (although this model is in relative decline). By contrast, an increasing number of newer collections owe their existence to active corporate social responsibility programmes, and stem from a company’s altruistic belief in fostering creativity and nurturing emerging talent, often from within the local artistic community. From whatever perspective you view them, though, there can be no doubt on one fundamental point: corporate collections are very good for business. Aside from any other consideration, corporations today quite deliberately use art to define their identity, motivate their staff and raise their brand profile. Broadly speaking, the nature of the patronage afforded to art by both private and mercantile wealth hasn’t fundamentally changed since the height of the Medici age. That said, the popular preconception of the private collection as a nineteenth century boardroom full of Old Masters shoring up an equally antique pension fund is very much itself a thing of the past. Nowadays, a typical corporate collection is far more likely to focus on cutting-edge contemporary art; perhaps speculatively acquiring works by emerging young artists or even commissioning its own installation pieces. The principal reason (leaving aside questions of affordability) is that modern art at its bold and challenging best chimes exactly with the image that most corporations have of themselves, and wish to project both into the marketplace and to their own employees: original, progressive, creative, and above all, in tune with Now. (A pioneering global pharmaceuticals company would hardly wish to be publicly defined by its exquisite collection of 16th century Northern Mannerists, even if it could afford them – which, these days, it probably can’t.)

Whether the image always reflects the entire truth is a matter ripe for debate – but what is beyond dispute is that intelligent and arresting art in the workplace can deliver a tangible benefit, through its capacity to embody a corporation’s brand and effect a profound, positive psychological impact on employees and clients alike. To understand its force, try imagining for a moment a business world devoid of any visual creative stimulus. Most modern offices in today’s global commercial districts appear entirely interchangeable. Contemporary building design, combined with open-plan working environments and digital-age concepts such as hot-desking have fashioned interiors into largely anodyne shell-spaces, sleekly functional yet devoid of integral personality. Any opportunity for making a statement falls largely to the building exterior and to the content of any public spaces, such as atriums, reception areas and meeting rooms. This is where a company has the chance to impress its personality onto its clients, and stimulate its own employees into a mindset of heightened creativity and productivity, and this is what art does – sometimes to brilliant and startling effect. To borrow a current phrase, it’s not rocket science – if as an employee, your sense of working for a progressive and imaginative employer is constantly reinforced by your visual surroundings, then you will naturally feel empowered to be imaginative, intuitive and original yourself. This creates a virtuous cycle – an environment that encourages individual initiative in turn attracts people who thrive in an open and questioning culture. Thus, over time, does creativity truly become part of a company’s DNA. The concept of art earning its keep in a modern corporate environment has resulted in some extraordinary contemporary collections – from singular personal visions to massively impressive statements of power and prestige. Deutsche Bank famously presides over possibly one of the largest corporate collections in the world, complete with its own curatorial team, who place art on the walls of all its offices worldwide. Many companies confine their collections to business memorabilia, or evolve themed collections that in some way have a unique or personal association with either their own business activities or origins. For example, the merchant Bank Flemings has since 1968 followed its own goal of building the world’s finest private collec-

Forewords

Corporate Art Collections and the Market Dr. Philipp Herzog von Württemberg, Sotheby’s, Chairman Europe and Managing Director Germany Constantine Frangos, Sotheby’s, Senior Director, Head of Corporate Art Services, European Museums and Foundations

Rivalling the collections of major international museums in both scale and quality, in the second half of the 20th century corporate collectors have created some of the greatest art holdings of our time. Spanning every artistic genre and medium these collections give an outlet for expression, whether they are built around the taste of an individual executive or initiated for socio-cultural endeavor, to the unique corporate identity of each organization. The innovative ways in which corporations, such as those featured in this book, engage with art reveals the countless benefits that collecting can have on employees, clients, young artists and the wider community, both regionally and internationally. Today’s corporate patrons have acquired significant, well-curated collections at an unprecedented speed and in the last few decades they have also demonstrated their importance by propelling artists’ careers to new heights on the worldwide stage. Arguably amongst the most influential arbiters of Contemporary art, corporate collections have become an established constituent of the art world, and as they adapt to the increasing pace of globalization, through refining and reorienting their collections and cultural programs, their impact in both the primary and secondary markets becomes ever more apparent. Corporate interest in supporting younger artists, rather than investing in works of art by those who are more established, creates a steady demand and provides a fundamental and necessary source of support for the primary art market. Further, offering a protected environment where works can be shown without being subject to market speculation for several decades has also been hugely important to the development of emerging talent. Whether works are on display within the company or lent to cultural institutions to be included in exhibitions, during the time period from which a work of art is purchased to the time when it may enter the secondary market, a provenance is acquired, attaching to that piece of art the reputable nature of the collection in which it was held. Therefore, where short-term speculation in the market can have a negative impact on an artist’s oeuvre, the motivations behind a self-sustaining philanthropic cycle, adopted by many corporations, tends to result in a positive reception of works at auction.

Over the past three decades, Sotheby’s has worked closely with the most significant corporate collections around the world and has had the great privilege of acting as a trusted advisor. On countless occasions, Sotheby’s has been able to provide the most up-to-date information and pricing data on particular works that have accrued market value over time. This has enabled corporations to strategically offer a piece from their collections that can maximise funds, in order that they may redirect their support back to programmes for promising young artists and maintain the original objectives of their collections and broader philanthropic missions. In recent years we have experienced, first hand, the impact and real benefit that provenance from corporate collections lends to works re-entering the market. An example of this occurred in 2010 when we advised Commerzbank on their decision to offer Alberto Giacometti’s L’homme qui marche I at auction. The sculpture was acquired following the takeover of Dresdner Bank by Commerzbank AG, and offered the latter an opportunity to raise capital that would allow them to strengthen their Stiftungszentrum (Foundation center), while also endowing selected partner museums with the funds to support their educational projects and restore works of art. The reception of this sculpture at auction was unprecedented, as a result of its fresh appearance on the market and its impeccable provenance, the work sold for $104.3 million, breaking the record for the highest price ever achieved for a work of art at auction at the time. The publicity from the sale also raised the profile of Commerzbank’s cultural engagements and has associated the bank with an iconic sculpture, as well as a defining moment in the history of the art market. Another example saw the appearance at auction of Yves Klein’s 1961 painting RE49, Relief Eponge Bleu from the collection of HypoVereinsbank. Again, Sotheby’s was able to advise on the market potential of this particular painting in order for the corporate art collection to return to its long-term focus on the promotion of artists in their early stages of development, in collaboration with the cultural institutions of many of the countries in which HypoVereinsbank operates. The work raised $9.9 million for the bank and again the benefits from its sale were manifold, increasing the profile of HypoVereins-

Introduction Interview Dr. Lisa Zeitz

Dr. Lisa Zeitz WELTKUNST, Editor in Chief

As early as the Stone Age, before people could even talk to each other, they collected – and not only mushrooms and berries. Archaeological finds prove that even prehistoric people collected ammonites which were not used as tools, but were collected presumably out of pure interest in their curious shape. The history of collecting thus spans millennia, if not even millions of years. Not only individuals started collections; communities did too. It is known of various populations that they kept and honored the bones of their ancestors in order to share in something greater; just think of the tribes of Oceania or the Christian catacombs in Italy. Other collections, too, such as for example Europe’s medieval ecclesiastical treasures, were started by communities. The riches and relics served the identity of the group, its belief, its prestige and hence also its power. In a certain manner, collections today are likewise an attempt to share in something, to establish and to maintain one’s own identity and tradition. Corporate collections, a relatively young phenomenon in human history, are also cultural quests that signal, internally and externally, the values with which a group identifies. Artworks are magical objects. With them, companies attempt to show that they are more than products and profits, that they are in step with the times on a higher level, too. Artworks appeal to the intellect, they can motivate and inspire, but also disturb and question the self-concept. This makes art, unlike business, a sphere that cannot be entirely understood and grasped. Art is not efficient and straightforward – and is therefore the opposite of what one expects from corporate strategy. Art is an element that does not necessarily provide answers, but perhaps helps in maintaining a fresh outlook, especially when positions are represented that perhaps ostensibly speak against what determines a company’s everyday life. In one episode of the television series “Madmen”, two employees of a New York advertising agency around 1970 are chatting. As advertising professionals they are used to putting their own messages in a nutshell. Now they are confronted with a large, abstract painting by Mark Rothko, which is hanging on their boss’s office wall. They ask themselves, “Does it have a meaning?” One of the colleagues describes his feelings when looking at the artwork: “Maybe it doesn’t. Maybe

you’re just supposed to experience it. Because when you look at it, you do feel something, right? It’s like looking into something very deep.” One example of how a corporate collection was started as a form of workplace motivation is the famous collection of British American Tobacco in Zevenaar, the Netherlands. It was founded in the 1950s in order to sweeten factory workers’ boring work at the machines by keeping their minds alert with large-format works by Karel Appel, Corneille and many others. When the factory was closed a few years ago, no museum was able to keep the great collection together; it was auctioned and achieved record prices at Sotheby’s. Corporate collections have different beginnings and motives: they can start as a decoration for the suites of a hotel or cruise ship; sometimes it is an artminded entrepreneur who shapes an entire corporate structure with his passion, as did David Rockefeller with his soft spot for tribal arts and contemporary art at JPMorgan Chase. Sometimes a company’s identity is reflected 1:1 in the collection: Faber-Castell, worldfamous manufacturer of artists’ supplies and pencils in particular, collects pencil drawings; the collection at Ritter, famed for the square Ritter Sport chocolate, brings together high-calibre artworks which are themselves square-shaped – and the collection of the biggest Swiss private bank, Pictet, refers to its corporate history by concentrating on Swiss art since the bank’s founding in 1805. A multitude of corporate collections have developed over the last half-century or so. They confront great challenges. For example, as companies today not only have to keep an eye on their products or services, but also on their ecological and social record, not even corporate collections can be concerned these days with just decorating workplaces, which in any case are moving away from individual offices to becoming transparent open-plan offices. Collections are a cultural task – and the growing hunger of corporate collections is also influencing the international art market: More and more companies are acting as patrons for artists and as gallery customers. Professionally managed corporate collections have also become a strong factor in exhibiting, however, with their own museums such as Deutsche Bank KunstHalle in Berlin but also with loans and donations or entire exhibitions in public museums.

Interview Dr. Lisa Zeitz and Max Hollein

Max Hollein Städel Museum, Liebieghaus Sculpture Collection, Schirn Kunsthalle Frankfurt, Director

The birth of the Städel 200 years ago begins with a collection – do corporate collections today have a similar potential for the public as private collections did then? “Corporate collecting” is a relatively young but all the more significant phenomenon in our cultural landscape. In the last five decades, an impressive number of companies, notably from the financial services sector, have built up art collections fit for a museum. For me, corporate collections are the most interesting development in collections in our generation. During this period of new corporate culture, we have been seeing a veritable boom in the foundation of such collections, which are not only having considerable influence on the art market and art reception but also – taking into account the range and quality of the scientifically processed works housed in these collections – represent a reservoir of opportunities never before fully gathered together in this dimension and significance. Just like a museum collection, corporate collections are, as a rule, built up by experts specially employed for this, curators and art historians develop a congruent collection strategy in the company and in this respect they place the emphasis – unlike a private collection – less on an individual, subjective perspective than on a broad spectrum of developments. By means of the resources available – which then again vary widely from those of the public museums – it has been possible to build up quite a number of significant collections in a corporate context in the last few decades. In this respect, corporate collections today represent not only an interesting development in corporate culture, but are also a blessing for the art world and the public in quite a number of cases. Especially the next steps and stages of development for these collections harbour great potential – particularly for public use and exploitation of these considerable collection achievements. How do you assess the development of corporate collections in recent times? Most of them were built up in the 70s and 80s on the theme of “Art in the Workplace”. Now, however, many corporate collections have had to realize that they are confronted with several developmental questions – especially because the collection has become too large and too significant. At the same time, it is essential to see that – in times of the open office and the flexible

workspace – the workplace as the original location of the corporate collection is by no means as well defined as it used to be – and in open-plan offices there is considerably less hanging space. Moreover, the art in the corporate collections, if they are well run and developed, has become too valuable as a rule to simply have them hanging in the offices as corporate property. In this respect, in this mature phase after several decades of development a strategic question is posed for many corporate collections with regard to the aim: What and how much is still to be collected and who for? How can this collection achievement be made useful both for the company and the public and thus the next stage of development and presence be reached? What does this mean for society – and what does this mean particularly for museums? These collections present a big opportunity for society, provided they are meaningfully continued and made public and then again public institutions co-develop a professional, appropriate and long-term way of utilizing them. They are collections which are easier to move than private collections, in the case of which the collector has built up a close emotional relationship with every object over decades. In the case of corporate collections with continually changing management personnel and diversified ownership, the emotional ties are more limited, the links sometimes more strategic and the readiness to consider other future forms more implicitly existent – this can be positive as well as negative for the collection and its uses for society. What does “good corporate citizenship” mean to you? It is a responsible service for the public by the company, which sees itself as an active member of the social order. Here it is simply a matter of pursuing social commitment to the direct environment of corporate activity with rigor and credibility as a part of corporate culture. In your experience, what expectations does a company hold of its collection? Here there are naturally widely varying motivations and reasons behind the collection especially at the begin-

Interview Dr. Lisa Zeitz and Lisa Erf

Lisa Erf JPMorgan Chase Art Collection, Director Chief Curator of the Collection

JPMorgan Chase has one of the biggest corporate collections in the world. How did it come about? The JPMorgan Chase Art Collection began in 1959 when David Rockefeller, then president of The Chase Manhattan Bank, established the firm’s Art Program and took the lead in the field of corporate art collecting. Integrating artwork with the architecture of new buildings and incorporating an enlightened approach to acquisitions, this forerunner of corporate collections became a model for other companies worldwide. Today, with more than 30,000 objects installed in 450 office locations worldwide, it is one of the oldest and largest corporate art collections in the world, encompassing painting, sculpture, works on paper, and photography which continues to be the strength of our portfolio. This core collection is enhanced by a diverse and eclectic range of indigenous objects and artifacts from every country in which we do business, offering a unique perspective on our firm’s shared culture. Is there a mission to the collection? The JPMorgan Chase Art Collection represents key corporate values: originality, innovation, diversity and creativity. It embodies a practical function of interior enhancement as well as a poetic function of bringing human creativity into the workplace. The Collection is encyclopedic, spanning artworks from ancient times and cultures to the present day. When the collection began in 1959, the vision of the original Art Committee was to acquire contemporary art by young artists, for this reason there is a strong emphasis on modern and contemporary art. The goal of the JPMorgan Chase Art Collection is to support contemporary artists in the communities where we do business.

How is it shared with the public, and how is it shared with the employees? The JPMorgan Chase Art Collection is on view in virtually every corporate office. The Art Program runs an active art loan program for temporary museum exhibitions and examples are always on loan. There is an online presence but most often our collection is shared through illustrated publications, exhibition catalogs and short films.

In what way does it reflect the history or the values of JP Morgan Chase? The JPMorgan Chase Art Collection registry includes more than 160 nationalities, representing 8,450 artists. It reflects human creativity across time, cultures and styles. The focus has remained the same across decades: to provide visual and intellectual interest to nourish the imagination. How is the collection developing? Is there an acquisition budget? Where do you buy art? Although the JPMorgan Chase Art Collection is quite mature, new artworks continue to be acquired to represent creative production in the present day. A yearly budget is allocated to purchase art in sync with the development and growth of our businesses. The vast majority is purchased from primary galleries – or artists themselves back in the day – and JPMorgan Chase is almost always the first owner of the object. With a mandate for high quality and originality, the firm began with a strategy that is followed to this day: prescient collecting strategies that demonstrate both an understanding of the traditional and an inclination for the cutting edge. The objectives are to buy the best art possible at a reasonable price and to support under-recognized and emerging artists who are shaping the world through their creative vision. Is deaccessioning also part of the collecting practice? If so, who decides what will be sold and how? Deaccessioning is a normal part of managing a large art collection, especially in the context of a business environment. Changes in office environments or occupancy may impact an existing art installation, and issues of scale, object condition and subject matter may change over decades. JPMorgan Chase Art Program works with our local offices and their community constituents to identity appropriate museums, university galleries or community non-profits for charitable contributions of art that is under-utilized by the company. Do you have advice for firms that are planning to start a collection now? Defining the purpose of an art collection to the business entity is essential in order to establish what the

Interview Dr. Lisa Zeitz and Loa Haagen Pictet

Loa Haagen Pictet Pictet & Cie SA, Curator of Collection Pictet

You became a curator for the Collection Pictet in Geneva in 2004. What did you find when you started working there? Before 2004, when the Collection Pictet was founded, the bank had gathered several artworks of quality, primarily from the 19th century, but there was neither a proper collection strategy nor a responsible curator. Until then, artworks had been purchased to decorate offices around the world, mainly engravings and watercolours. In 2004, we decided to collect art on a longterm basis as a cultural patrimony with the focus on Swiss art from the founding year of the bank in 1805 up until the present day. Therefore, we made an assessment of what we had and kept all the most important pieces as part of our history and only years later gave access to collaborators to purchase minor works that they liked or engravings of which we had more than one sample or which simply did not meet our quality criteria. How has the collection evolved during the last few of years? Over the past ten years, we have tried to unite works by a selection of artists we consider to be of primary importance not only on a national level but on the international art scene as well. As a curator, I enjoy being able to work with both early 19th century paintings and purchasing important works by Caspar Wolf or by Alexandre Calame â&#x20AC;&#x201C; and then, of course, the challenge is to build up a body of important works from the early 20th and mid century works, as well as contemporary art. There are many highlights, starting with the neoclassical school by Jacques-Laurent Agasse, and Caspar Wolf, a pioneer of the history of mountain landscape painting. Chronologically, we move up with works by artists such as Cuno Amiet, FĂŠlix Vallotton and Ferdinand Hodler. What I enjoy tremendously is including works by those who are less well-known internationally, but actually very well-known in their times and art historically important such as Alice Bailly, and Adolf WĂślfli. We have Hans Arp and all the members of the Giacometti family, Concrete Art with Max Bill and Richard Paul Lohse, Surrealism with Meret Oppenheim and Dieter Roth. Important living artists in the collection are Franz Gertsch, Markus Raetz, by whom we have a very large

corpus of work, John Armleder, and Ugo Rondinone. Valentin Carron is among the younger ones. Pippilotti Rist is not one of them yet, because we have not found the right work of hers for our collection, but we certainly do wish to include her. We are always looking for the best works by the artists we consider of primary importance. We collect Swiss Art, but the artists do not have to be in possession of a Swiss passport nor to live or be born in Switzerland. They can be passing through, marking the culture, having an impact on art history. This counts for both the ancient and the more recent artists. How would you describe your challenges as a curator? Increasing the quality of the collection, constantly looking for and finding the best works, as well as being alert and aware of what is going on with younger artists. We do not necessarily include young artists as they just come out of school. We try to let time work for us and let them prove that they have more than one good idea, to say it roughly. The challenge is, of course, to keep the collection alive and to keep it an active part of the corporate everyday life. After more than ten years, we have a very solid interest from and connection to both the employees and clients through activities and events. Today our collection has become an integrated part of the corporate identity. My work is about basically keeping the collection alive within the company, and opening it up to new collaborations with museums. As member of IACCCA, the International Association of Corporate Collections of Contemporary Art, we also work on joint projects and common exhibition projects, as partners for museum shows. Apart from that, a curator of a corporate fine art collection has to stimulate the board of directors to stay open and to pick up new challenges, to be open for what we are yet to discover, what the future may bring. For the moment, our collection is in the bank premises all around the world. Maybe one day we can even have an individual place to show our works or to curate exhibitions. How is the art collection shared with the employees? There are works in all the publicly accessible reception areas, and also in some offices or workspaces, but not

Corporate Art Collections

ABN AMRO N.V., Amsterdam, the Netherlands

“The foundation sees the collection as part of the national heritage of the bank and endeavours to make it as accessible as possible for the general public.” Danila Cahen, AMRO Art Curator

MARLENE DUMAS The Girlfriend, 1986 Oil on canvas 260 × 159.5 cm

ABN AMRO N.V., Amsterdam, the Netherlands

Year of Foundation / 1977 Curator / Danila Cahen Locations / Headquarters on the Zuidas, Gustav Mahlerlaan 10, in Amsterdam, art works are also shown in approx. 60 offices in the Netherlands and 10 outside of the country Size of Collection / approx. 5,500 works Key Artists / DONALD JUDD, THOMAS SCHÜTTE, JOHN CHAIMBERLAIN, MARIO MERZ, ANISH KAPOOR, RYAN GANDER, JONATHAN MONK, MARLENE DUMAS, JAN DIBBETS, RENÉ DANIELS, JAN SCHOONHOVEN et al. Focus / Contemporary Art of artists who have ties to the Netherlands, some International Contemporary art, and an historical collection including art from the 17th century Website / www.abnamro.com

ABN AMRO is one of the oldest and largest banks in the Netherlands. Over the past four decades, it has amassed an impressive collection of artworks and historical objects, which are not only used to decorate the bank’s office spaces, but are also made available for numerous museum exhibitions, historical research projects and various publications. Since late 2011, the ABN AMRO Art & History Foundation, created to maintain, manage and develop the bank’s extensive and comprehensive collections, is the official owner of the ABN AMRO Collection. The foundation is chaired by Joop Wijn, member of the managing board of the bank. Both the foundation and the bank itself see the collections as part of the national heritage of the bank and endeavour to make it as accessible as possible for the general public. The collection was initiated in 1977 by the former CEO of Amro Bank, J.R.M. van den Brink, a passionate art enthusiast and amateur painter. In the early stages of the Amro Collection, the acquisition policy focussed primarily on purchasing works of graphic art in an effort to embellish the bank’s offices with contemporary art. In the early 1980s, the focus shifted to also include unique works of art. Since then, the collection has been expanded upon at an exponential rate, due not only to frequent acquisitions but also to various mergers, most notably in 1991, when Amro Bank merged with ABN to become ABN AMRO Bank, and in 2010 when Fortis Bank Nederland (FBN) merged with ABN AMRO. For the first 20 years, from 1983 through 2003, the art advisor Deborah Wolf was in charge of acquisitions. She was succeeded by Pietje Tegenbosch, who managed the collection through 2007. Since 2013, Danila Cahen has been curator of the ABN AMRO Collection, the focus of which was then once again shifted and consolidated towards high-quality unique works of art. As a result, a large number of graphic artworks were deaccessioned through auction sales. Today, the collection comprises

over 5,500 works by several hundred Modern, Post-War and Contemporary artists from the Netherlands or having some deep connection to the country, and has international accents. For the most part, works from the collection are presented in exhibitions both within and outside of the bank. In the entrance hall of the main office on the Zuidas in Amsterdam, for example, which is a semi-public space and open to the general public, top pieces from the collection are on permanent view. Among the highlights are an important painted steel “stack” piece from 1981 by the American Minimalist DONALD JUDD, a colorfully expressive wall piece comprised of car scraps by JOHN CHAMBERLAIN and a two-meter round concave mirror of stainless steel and enamel by the Indian-born British sculptor ANISH KAPOOR, as well as a monumental wall drawing by SOL LEWITT, “Loopy Doopy (Red and Blue)” from 1999. Other artists featured in the collection include the Pop Artist ANDY WARHOL, the German sculptor THOMAS SCHÜTTE, the Italian Arte Povera artist MARIO MERZ, the Dutch painter of South African origins MARLENE DUMAS, the English artist RYAN GANDER, and his British colleague JONATHAN MONK. But also Dutch artists such as Zero-artists JAN SCHOONHOVEN and HERMAN DE VRIES, conceptual artist JAN DIBBETS, as well as museum-quality works by various members of the CoBrA movement of the late 1940s and early 1950s, especially KAREL APPEL and CONSTANT. And from a younger generation works of Dutch artists SASKIA NOOR VAN IMHOFF, DANIELLE VAN ARK and ERIK VAN LIESHOUT, American artist ZACHARY FORMWALT and Greek artist ANTONIS PITTAS are featured in the collection. A small part of the bank’s historic collection consists of artworks dating as far back as the 17th century, by renowned Dutch artists such as REMBRANDT VAN RIJN (1606–1669) and GERRIT ADRIAENSZOON BERCKHEYDE (1638–1698), as well as GEORGE

DONALD JUDD Untitled, 1981 Painted steel (10 elements)

ANYA GALLACCIO Blessed (Appletree), 2000 Bronze and ceramics

ABN AMRO N.V., Amsterdam, the Netherlands

“The ABN AMRO art collection has been a source of inspiration for clients, visitors and employees for decades.” Danila Cahen,

HENDRIK BREITNER (1857–1923) and JAN SLUYTERS (1881–1957). A large part of the collection is installed in, among other places, offices, meeting rooms, corridors and staff restaurants at the headquarters in Amsterdam, as AMRO Art Curator well as at the approximately 60 main branches and private banking offices throughout the Netherlands – and also at about ten others outside the Netherlands. A number of artworks are fully integrated into various ABN AMRO buildings, such as a mural painting by the German artist GÜNTHER FÖRG and a fountain by MARIO MERZ. Works from the collection are also often lent out, temporarily or permanently, to various museums and art institutions across the globe. At least once a year, exhibitions are curated around particular themes and feature works from the collection, especially recent acquisitions. These presentations can be viewed by clients and employees of the bank, as well as by visitors on request. The art collection also reflects the bank’s social engagement. By collecting, caring for and exhibiting contemporary art, irreplaceable works of art are being preserved for future generations. What is more, ABN AMRO also endows an award for talented artists living and working in the Netherlands. The fifth edition of the ABN AMRO Art Prize was presented in 2015. With this prize, ABN AMRO underlines the importance of art and culture in society with an emphasis on the development of new talents. The ABN AMRO Art Prize consists of a cash prize of 10,000 euros, as well as a solo exhibition (including a catalog) in the Hermitage Museum in Amsterdam and the ABN AMRO headquarters on the Zuidas. What is more, a work by the winner is also acquired for the ABN AMRO Collection. Winners to date are FAHRETTIN ÖRENLI (2004), EYLEM

ALADOGAN (2005), RYAN GANDER (2006), MELISSA GORDON (2007) and, most recently, MELVIN MOTI (2015). The Art & History department also manages and cares for the bank’s heritage pieces: one of the largest, most diverse and valuable corporate collections of historical objects in the Netherlands. The historical collection includes photographs, antique maps and atlases, coins, tokens, banknotes and period furniture, office equipment and advertising material, as well as extensive company archives. The department also manages the inventory and archive of all policy documents of ABN AMRO and its most important legal predecessors. Since the founding of ABN AMRO’s oldest predecessor in 1720, the bank has accrued an impressive collection of securities. These shares, bonds and other securities are often beautifully designed and hail from all corners of the world. Together, these and the other objects in the historical and archival collections present an insightful overview of three centuries of banking, as well as of the economic history of the Netherlands. The archives are available to students, journalists and historians for research purposes.

THOMAS SCHĂ&#x153;TTE Grosser Geist Nr. 15 / Grosser Geist Nr. 17 Black patinated bronze

Adolf Würth GmbH & Co. KG, Künzelsau, Germany

“I am firmly convinced that the living and critical approach to art leads to a properly understood corporate culture. Employees in any case feel very well in this scenario.” Prof. Dr. h.c. mult. Reinhold Würth, Chairman of the Supervisory Board of the Würth Group´s Family Trusts

JAMES TURREL Blue Pearl (Skyspace), 2006 Walk of Modern Art, Salzburg, Austria

Adolf Würth GmbH & Co. KG, Künzelsau, Germany

Year of foundation / End of 1960s Curators / C. Sylvia Weber, Dr. Beate Elsen-Schwedler Locations / Kunsthalle Würth and Johanniterkirche, Schwäbisch Hall, as well as 13 other locations in Germany Size of the Collection / more than 16,000 artworks Key artists / EDVARD MUNCH, MAX BECKMANN, ERNST LUDWIG KIRCHNER, MAX ERNST, PABLO PICASSO, HENRY MOORE, ANISH KAPOOR, CHRISTO, DAVID HOCKNEY, GEORG BASELITZ, ANSELM KIEFER, JAMES TURREL, LUCAS CRANACH, HANS HOLBEIN THE YOUNGER, TILMAN RIEMENSCHNEIDER et al. Focus / International Art, from the 16th century to the present Publications / Der Mensch lebt nicht vom Brot allein: Der Unternehmer Reinhold Würth und die Kunst (2015). Old Masters In The Würth Collection (2014). Abstract Realities: Pictures and Sculptures in the Würth Collection (2003). Website / www.kunst.wuerth.com

The Würth Group is world market leader in the field of fastening and assembly technology – as well as with regard to its extraordinary corporate art collection, which comprises 16,000 works of art and heritage from more than five centuries. Adolf Würth founded the company in the small southwestern German town of Künzelsau in 1945. Barely a house built during the reconstruction of Germany – and probably ever since – is without hardware and technology by this, in the meantime globally active, family enterprise. The company is especially known for its high-quality screws, hence its logo, a stylized “W” formed by two screw heads, one cylindrical and the other round. Following the death of Adolf Würth in 1954, the company continued under the direction of his son, Reinhold – at the time, a mere 19 years of age. Starting from the early years of the company in post-war Germany, Reinhold Würth quickly transformed the former two-man business into a worldwide operating trading group. Today, the Würth Group comprises more than 400 companies in over 80 different countries across the globe and employs more than 65,000 people in Germany and abroad. It did not take Reinhold Würth very long to find a way to integrate his extraordinary passion and enthusiasm for art and heritage into the corporate structure. Here as well, the entrepreneurial ambition and finesse of this shrewd executive and fervent art enthusiast were instrumental in transforming a small but exquisite corporate collection into a thriving network of museums and other exhibition spaces. With a total of 15 venues, the most important of which are located in the company’s hometown of Künzelsau, as well as in the nearby, equally picturesque town of Schwäbisch Hall, the Würth Collection is dedicated not only to the presentation, but also to the art historical research and mediation of thousands of highest-quality works of art from 1500 to the present day. Although Reinhold Würth is without a

doubt the spiritus rector of both the company and its art collection in the truest sense of the term, he has been supported for many years now by an extraordinary team of highly recognized specialists, led by the founding director of the Museum Würth, C. Sylvia Weber, and her Associate Director Beate Elsen-Schwedler, Curator of the Würth Collection. Since 2005, an Artistic Advisory Board currently chaired by Christoph Becker, Director of the Kunsthaus Zurich, provides invaluable expertise. Other significant members of the board include Thomas W. Gaehtgens, Director of the Getty Research Institute in Los Angeles, Fabrice Hergott, Director of the Musée d’art moderne de la Ville de Paris, and Martin Roth, Director of the Victoria and Albert Museum in London, to name only a few. The Advisory Board also includes top members of the company’s management, especially Reinhold Würth’s daughter Bettina Würth, who took over the reigns of the company in 2006, when her father stepped down to become Chairman of the Supervisory Board of the Würth Group. That the collection features works since the early 16th century is no lip service. The collection of Old Masters is housed in the Johanniterhalle in Schwäbish Hall, a former church dating back to the Romanesque period. The collection is comprised of museum-quality works from the former Royal Fürstenberg Collection of Paintings in Donaueschingen, which was acquired by the Würth family in 2003. The undisputed highlight of the Old Masters collection is the so-called “Darmstadt Madonna”, painted by HANS HOLBEIN THE YOUNGER in 1526-28 – one of the most important paintings of the 16th century in Germany. Clearly influenced by Italian Renaissance religious painting, the work depicts the Mayor of Basel, Jakob Meyer zum Hasen, and his family grouped around the Madonna and the infant Jesus. The work was located in Darmstadt for many years, hence its title, and was on temporary loan to the Städelsches Kunstinstitut in Frankfurt am Main from 2004 through

HANS HOLBEIN T. Y. Madonna des Bürgermeisters Jacob Meyer zum Hasen, 1525/26 und 1528 Oil on panel 146.5 × 102 cm

MAX BECKMANN Landschaft bei Saint Cyr sur Mer, 1931 Oil on canvas 72 × 105 cm

Adolf Würth GmbH & Co. KG, Künzelsau, Germany

“I’m a businessman, and the business mind is still operating in the background when I’m collecting.” Prof. Dr. h.c. mult.

2011. In 2012, the painting moved to its new permanent home in the former Johanniterkirche in Schwäbisch Hall, where it is now on view next to significant works by, among others, the painter LUCAS CRANACH the Elder and the sculpReinhold Würth tor TILMAN RIEMENSCHNEIDER. Cranach’s phenomenal “Family of Wild People” from c. 1530 stands in strong contrast to his more religious paintings of “Saint Barbara” from c. 1525 and “Christ Blessing the Children” from c. 1546. Since 2006, a special room in the Bode Museum in Berlin has been dedicated to the so-called “Kunstkammer Würth” comprised of some 30 small-scale sculptures from the 17th and 18th centuries by artists such as ZACHARIAS HEGEWALD, JOACHIM HENNE, ADAM LENCKHARDT, PAUL EGELL and CHRISTOPH DANIEL SCHENCK, featuring an exquisite group of carved ivory works. A particular highlight in this context is the delicate ivory sculpture of the “Three Graces” from 1650 by LEONHARD KERN. The Flagship of the Würth Collection is, however, without a doubt the Kunsthalle Würth, located just a few blocks away from the Johanniterkirche in Schwäbisch Hall. At the company’s headquarters in Künzelsau is also the Museum Würth, where the collection was initiated and continuously expanded upon over the past 50 years or so. Both institutions present temporary thematic exhibitions on a regular basis – well over 200 to date, each accompanied by a fully illustrated catalog. The core collection is comprised primarily of Modern and Contemporary paintings, sculptures and works on paper from the late 19th century to the present day. Among the highlights of the Classical Modern period are important paintings by EDVARD MUNCH, MAX BECKMANN, ERNST LUDWIG

KIRCHNER, MAX ERNST and PABLO PICASSO. Post-war and contemporary art are represented by comprehensive groups of works by the likes of CHRISTO, DAVID HOCKNEY, GEORG BASELITZ and ANSELM KIEFER, including his legendary and highly controversial series of “Besetzungen” (Occupations) from 1969. These are complemented by sculptures from artists who have, each in their own way, made significant contributions to the medium, such as HENRY MOORE, ANTHONY CARO and ANISH KAPOOR. Caro’s “The Last Judgement”, a monumental, 25-part sculptural installation from 1995, is but one of many highlights. Since 2013, outdoor sculptures have also been on long-term loan to the “Walk of Modern Art” in Salzburg – a sculpture parcour joining 12 of the most beautiful public spaces in the historical Austrian city. Works by such internationally acclaimed contemporary masters as, among others, ANTHONY CRAGG, CHRISTIAN BOLTANSKI, MARIO MERZ and JAMES TURRELL illustrate the broad range of possibilities open to sculpture in the 21st century.

ANTHONY CARO The Last Judgement Sculpture, 1995 Monumental installation, 25 parts Mixed media

Aegon N.V., The Hague, the Netherlands

“You cannot function in a society without culture.” Alexander R. Wynaendts, CEO, Aegon N.V.

PETER STRUYCKEN Three-dimensional sphere structure, 1985 Colored aluminum spheres

Aegon N.V., The Hague, the Netherlands

Year of Foundation / 1991 Curator / Corrie van der Veen, Head of Aegon Art Affairs and Curator of Aegon Art Collection Locations / The Hague at Aegon’s Headquarters and Leeuwarden, both in the Netherlands Size of the Collection / 1,500 works by approx. 450 artists Key artists / SOL LEWITT, PETER STRUYCKEN, MARTIN & INGE RIEBEEK, STEPHAN BALKENHOL, FOLKERT DE JONG, EWERDT HILGEMANN, HENK VISCH, AISLING HEDGECOCK, MICHAEL RAEDECKER, ESTHER TIELEMANS, GREG COLSON, MARCEL VAN EEDEN, CAREL VISSER, ROBERT ZANDVLIET, GIJS ASSMANN, KATINKA LAMPE, ESTHER JISKOOT et al. Focus / Contemporary Art, with focus on people and nature Publications / Art for sure: Aegon Art Collection (2010) Website / www.aegon.com

Although Aegon was officially founded in 1983 as the result of the merger of the Dutch insurers AGO and Ennia, the company’s roots extend back more than 170 years to the first half of the 19th century. At that time, the predecessors of Aegon provided modest funds in the Netherlands for people to arrange burials for family members and other loved ones. Over the years, Aegon has rapidly developed into a premium life insurance company, specializing in pensions and asset management and active not only in the Netherlands, but across all of Europe, the Americas and Asia. Headquartered in The Hague, the company never loses sight of its purpose, namely to assist customers in building lasting financial security by protecting what is important to them, and by enabling them to save and invest for the future. To meet this goal, Aegon has businesses in 25 markets, employing over 28,000 staff members – 4,400 in the Netherlands alone – and serving millions of customers across the globe. The roots of the Aegon Art Collection date back to the 1950s, when its predecessor company commissioned artists to work on special pieces. This tradition was continued in 1985 with two extraordinary art commissions for Aegon’s headquarters in The Hague. The wish to start a professional collection was officially inaugurated in 1991, with Corrie van der Veen as Curator and Head of Aegon Art Affairs. The collection currently encompasses over 1,500 works of art by approximately 450 artists. Although the Aegon buildings in The Hague and Leeuwarden are not open to the general public, Van der Veen strives to make the collection available to the widest possible audience by organizing guided tours and lending numerous works of art to museums, cultural institutions and even other companies. The collection is located throughout both office buildings. Larger statues can also be found in the gardens and forecourts of the buildings. When, for example, visitors arrive at the Aegon headquarters in

The Hague, they are greeted by an intriguing large-scale sculpture of a man peering down at a boulder on the ground by the Dutch artist HENK VISCH: “There is no song about it” (2007). Two themes are particularly emphasized within the Aegon collection of contemporary art, namely “People” and “Nature”. The approach to these themes is manifold and, by focusing constantly on various aspects of the artworks – both in terms of material and thematic content – the collection proves to be versatile, yet by all means coherent. The Aegon Art Collection brings vitality to the workplace, inspiring employees and management alike and fuelling connections between the company, its staff and the outside world. “The collection underlines the great value Aegon attaches to culture in general and the fine arts in particular,” Corrie van der Veen explains, supporting this with a brief but succinct statement by the Dutch cultural philosopher Rob Riemen: “You cannot keep a society together with economics alone; it takes culture to do this.” The staff is involved in the collection and the arts program in general by meet-and-greets with artists, guided tours of the collection, lectures, panel discussions and other events, which invite employees to enter into new and often challenging dialogues with the collection – and with each other. The collection comprises a broad range of artists, both established and emerging, national and international. Following the renovation of Aegon’s headquarters, which was completed in 2011, Aegon also increased the number of three-dimensional works. Various techniques and materials are represented, ranging from traditional oil on canvas and high-tech pigmented polyurethane to roughly hewn and painted wooden sculptures. In the last few years, the collection has also been expanded to include the so-called new media, such as photography and video art. Recently, for example, Aegon commissioned a video piece by the Dutch artist

ESTHER TIELEMANS Behind the Scenery, 2005 Acrylic, epoxy on panel 115 × 155 cm

FOLKERT DE JONG The Practice ‘Take 3‘, 2008 Styrofoam, pigmented polyurethane foam, customized Euro pallet 80 × 85 × 162 cm

Aegon N.V., The Hague, the Netherlands

“Art asks of us to continuously reinterpret reality. We have to reconsider and transform what we are accustomed to, in order to determine new values.” Theodor Adorno, sociologist

couple MARTIN and INGE RIEBEEK. In this interactive installation titled “The Essential”, people from all over the world were asked to explain what is essential to their lives. The result is a series of remarkable video portraits, which provide fascinating insight into people’s lives. A number of internationally acclaimed artists were also commissioned by Aegon to integrate art in and philosopher the company’s various buildings. (1903–1969) The two most striking examples were commissioned in the 1980s. In 1985, for example, the Dutch artist PETER STRUYCKEN designed a fascinating three-dimensional structure consisting of more than 5,000 colored aluminum spheres for the atrium of the company’s headquarters. Four years later, Aegon commissioned a monumental wall piece by the American conceptual artist SOL LEWITT for its office in Leeuwarden. LEWITT’s “Walldrawing # 621” covers a surface of 12 × 35 meters, dominating the central hall of the building and literally infusing it with color. At the time, Aegon was one of the first private companies in the Netherlands to commission a work of this scope from an internationally renowned artist from abroad. Among the many fascinating artists from the Netherlands and abroad represented in the Aegon Art Collection are the Dutch painters MARCEL VAN EEDEN and MICHAEL RAEDECKER – both of whom enjoy enormous international recognition – as well as their painter colleagues ESTHER TIELEMANS, KATINKA LAMPE, ROBERT ZANDVLIET and ESTHER JISKOOT. Also included are the painter and sculptor GIJS ASSMANN, as well as the recently deceased Dutch sculptor CAREL VISSER (1928–2015), the Dutch-German artist EWERDT HILGEMANN, and GREG COLSON, an American artist

from Seattle. These are complemented by the internationally acclaimed German sculptor STEPHAN BALKENHOL – known for his painted wooden sculptures of men and women, which oscillate between Expressionism and Conceptual Art – as well as the Irish sculptress AISLING HEDGECOCK and her Dutch colleague FOLKERT DE JONG, famous for his figurative installations comprised of strangely life-like polyurethane foam sculptures. The conviction that art is “an inspiration for innovative thinking and acting” is at the core of Aegon’s motivation to collect. The company plans to continue on the marked path of enriching the collection with new artworks and aims more and more to engage employees and other target audiences.

AISLING HEDGECOCK Untitled, 2008 Polystyrene balls, PVA pigment (2 x) 27 × 72 × 68 cm (chair) 200 × 160 × 36 cm (‘painting‘)

AkzoNobel Art Foundation, Amsterdam, the Netherlands

“I always imagined AkzoNobel as this big grey conservative chemicals giant, I never knew it to be such an innovative and progressive company.” Hugo Brown, Art Collector & Managing Director, Thermal Economics Ltd.

SUSAN HILLER Homage to Marcel Duchamp: Aura (Pink Woman), 2011 Digital c-type archive, color print on dibond 188 × 127 cm

AkzoNobel Art Foundation, Amsterdam, the Netherlands

Year of Foundation / 1996 Curator / Hester Alberdingk Thijm Location / Amsterdam and Arnhem Size of the Collection / 1,750 works, 320 artists Key artists / IAN DAVENPORT, PIA FRIES, KATHARINA GROSSE, MARLENE DUMAS, SUSAN HILLER, STEPHAN BALKENHOL, MICHAEL RAEDECKER Focus / International Contemporary Art Website / www.artfoundation.akzonobel.com

True to its core business as one of the world’s leading producers of decorative paints, performance coatings and specialty chemicals, AkzoNobel places great value on providing insight into the physical and chemical properties of various media and techniques used by contemporary artists and provides brief descriptions of these on the website of its Art Foundation. Here, for example, the reader finds succinct texts on the properties of oil and acrylic paint, tempera, emulsion, alkyd, watercolour and gouache, as well as concise but detailed information on the principles and techniques of painting, sculpture, photography, mixed media and the graphic arts – all in language that can easily be understood and appreciated by experts and laymen alike. Founded in 1996 at the request of the then Chairman of the Board Kees J.A. van Lede, the AkzoNobel Art Foundation promotes and collects international contemporary art by both emerging talents and established artists. The key criterion for acquiring works by the foundation is their capacity to communicate – between the worlds of art and business, between art and society, and between the collection and the international art community. The collection as a whole can thus be seen as an interlocking web of relationships, with the main themes forming the hubs at which the threads of various sub-themes intersect. This approach enables the AkzoNobel Art Foundation to be flexible about its collection, allowing it to grow and expand organically. The major themes that form the basic structure of the collection are “Colour and Research”, “The Individual and Society”, and “Space”. As a theme, “Colour and Research” was an obvious choice for a corporate collection compiled by the world’s largest paint manufacturer: Many artists work, typically unaware, with AkzoNobel-developed materials. A key commonality between the business of AkzoNobel and the world of art, after all, is the quest to discover the properties of paint and colour. This

includes research into how paint and colour function, how colour gives life to the reality around us, as well as investigations into the physical properties of particular paint types. Threads spreading out from this theme include both “Abstraction” and “Materiality”. The choice of the theme “The Individual and Society” emerged out of the realization that art serves as a mirror of social trends and events. This being so, art can be seen as a bridge between the individual and his social surroundings. As a company at the heart of society, and whose most important asset is self-admittedly its staff, AkzoNobel is keen to preserve and reinforce this bridge through its Art Foundation. This is a theme that connects with a multitude of social issues and trends, such as the increasing fragmentation of social cohesion or issues around gender and ethnicity. The theme of “Space” in all its manifestations – from landscape via interiors to the concept of mental space – arises from the idea that physical space can stimulate and inspire mental space. Landscapes, architecture, the hinge between nature and culture, and the notion of mental space are lines transecting this theme. AkzoNobel was founded 1994 as the result of the merger of the companies AKZO and Nobel Industries, whereby the latter can be traced back to Alfred Nobel, the great 19th century inventor and founding father of the Nobel Prize, which was established in 1895. Today, AkzoNobel is a global market leader in its sector and employs approximately 50,000 people in 80 countries worldwide. Director of the company’s equally internationally-based art foundation is the art historian Hester Alberdingk Thijm, who manages and cares for a museum-quality collection of more than 1,750 artworks by approximately 320 artists. Among the highlights of the collection are abstract paintings by IAN DAVENPORT, PIA FRIES, BERNARD FRIZE, KATHARINA GROSSE, CALLUM INNES, and JERRY ZENIUK; figurative paintings by MARLENE DUMAS, ANTON HENNING,

MICHAEL RAEDECKER Cover (2), 1996 Oil paint, acrylic paint, thread on canvas 185 ×185 cm

Installation view in AkzoNobel headquarters Amsterdam ROY VILLEVOY Primaire Kleuren & Huidkleur Silk screen on aluminum, 126 × 167 cm GIJS ASSMANN Ik wil mijn bergen zien, 1997 Ceramics, 72 × 58 cm

AkzoNobel Art Foundation, Amsterdam, the Netherlands

“Inspiring to find that even in a times like these companies such as AkzoNobel understand the importance of art in our society.”

MICHAEL RAEDECKER und TANG ZHIGANG; conceptual works by MICHEL FRANÇOIS, SUSAN HILLER and LAWRENCE WIENER; sculptures by STEPHAN BALKENHOL, HANS OP DE BEECK, KEITH EDMIER and TONY MATELLI; and important photos by RINEKE DIJKSTRA, SHIRIN NESHAT and LORNA SIMPSON. The works are dispersed throughout the company’s two main Marc Noyons, Fundmanager, sites in Amsterdam and Arnhem. On Helene Kröller-Müller Fonds both locations, the collection is exhibited according to the themes that also form the basis for the Art Foundation’s collecting policy. These exhibitions are not static but change on an irregular basis. In Amsterdam, approximately 700 works of art are on display and in Arnhem approximately 1,000. The art on view is an integral part of the company’s work environment. The collection is intended to serve as a source for innovation and creative reflection, and as an expression of AkzoNobel’s corporate cultural and social responsibility. For Hester Alberdingk Thijm, “art is a stimulus and an inspiration, and is congruent with the company’s mission statements, ‘Touching peoples everyday lives’.” It is not only permanently accessible for all employees but is also open to the public by appointment. Employees and guests can apply for guided art tours and each art work is accompanied by a label with detailed information. The employees can also apply for art for their own offices and the foundation provides extensive information about the art exhibitions. The first step taken toward a professional collection policy was the conducting of extensive research, within and beyond AkzoNobel, as well as in the world of culture in the Netherlands and further afield. “Art can serve to inspire us and help us see things in relative

terms,” Alberdingk Thijm explains. “It is, so to speak, a way of bringing in the outside world to where we are. Art thus has the potential to pique our curiosity, induce us to reflect and, most importantly, entice us to shift our perspective.” Internal and external communications are high on the list of the foundation’s priorities. In this regard, the publication of the catalogue “Proof of Principle” in 2003 was a memorable milestone. Commissioning artists, setting up exhibitions on its own premises and offsite, and contributing to worthwhile external projects have been firmly-established activities undertaken by the AkzoNobel Art Foundation from the very beginning.

KEITH EDMIER Victoria Regia, 1998 Polyester resin, silicone rubber, acrylic paint, polyurethane, pollen, steel 285 Ă&#x2014; 325 Ă&#x2014; 338 cm

Index of Artists

Page numbers that are printed in bold refer to a photo.

ABAKANOVICZ, MAGDALENA .................................................................164 ABBOTT, BERENICE ............................................................................66, 504 ABOUELOUAKAR. MOHAMED ...................................................................78 ABRAMOVIC, MARINA ............................................................194, 354, 360 ACCONCI, VITO ........................................................................................318 ACKERMANN, FRANZ ...............................................................144, 145, 246 AEPPLI, EVA ..............................................................................................344 AGASSE, JACQUES-LAURENT ................................................................372 AIRES, CARLOS ..........................................................................................90 AIRÒ, MARIO ............................................................................................204 AITKEN, DOUG .........................................................................110, 126, 128 AKTEZER, MUKADDES ............................................................................108 AKYAVAŞ, EROL .......................................................................................110 ALADAĞ, NEVIN........................................................................................168 ALADOGAN, EYLEM ...................................................................................32 ALBERS, JOSEF ....................................................................... 276, 336, 337 ALBERT, YURI ....................................................................................240, 242 ALECHINSKY, PIERRE .................................................................................90 ALEXIOU, NIKOS .........................................................................................60 ALIMPIEV, VICTOR ............................................................................240, 242 ALIX, ALBERTO GARCÍA ...........................................................................312 ALJ, MERYEM EL ........................................................................................80 ALMÁRCEGUI, LARA ...............................................................................104 ALMEIDA, HELENA ..................................................................................360 ALVIANI, GETULIO ....................................................................................198 AMIET, CUNO ...........................................................................................372 ANDERSON, HURVIN ...............................................................................438 ANDRE, CARL ................................................................. 102, 105, 302, 456 AOKI, NOE ....................................................................................... 431, 432 APPEL, KAREL .................................................................... 30, 480, 491, 492 ARAKI, NOBUYOSHI .........................................................................180, 194 ARANBERRI, IBON ....................................................................................104 ARBUGAEVA, EVGENIA ...........................................................................356 ARBUS, DIANE ............................................................66, 180, 276, 278, 312 ARCHIPENKO, ALEXANDER ....................................................................312 ARENA, FRANCESCO....................................................................... 204, 203 ARK, DANIELLE VAN...................................................................................30 ARMAN .................................................................................... 228, 396, 397 ARMANDO ................................................................................................234 ARMLEDER, JOHN M. ............................ 114, 150, 156, 216, 218, 282, 284, 330, 344, 372, 374, 375, 456, 459 ARNDT, KIRSTIN .......................................................................................104 ARNOLD, URSULA ....................................................................................192 ARNOUX, HYPPOLITE .......................................................................210, 212 ARP, HANS .......................................................................................156, 480 ARP, JEAN ....................................................................................... 372, 373 ARTSCHWAGER, RICHARD ......................................................102, 104, 222 ASSMANN, GIJS ............................................................................ 42, 44, 49 ATAMAN, KUTLUĞ ...................................................................................110 ATGET, EUGÈNE .......................................................................................312 AVEDON, RICHARD ............................................................66, 192, 194, 348

514

AVERY, CHARLES .....................................................................................474 AY TJOE, CHRISTINE ....................................................................... 474, 475 BÄCHLI, SILVIA .........................................................................................374 BACKHAUS, JESSICA................................................................................180 BACON, FRANCIS ....................................................................................318 BADA .........................................................................................................366 BAEDER, JOHN ........................................................................................426 BAILLY, ALICE ...........................................................................................372 BALDESSARI, JOHN ......................................... 72, 101, 102, 104, 360, 474 BALDESSARI, R. M. .................................................................................290 BALKA, MIROSLAW .................................................................................302 BALKENHOL, STEPHAN....................................... 42, 44, 48, 50, 54, 57, 474 BALL, BARRY X .............................................................................. 317, 319 BALLA, GIACOMO ............................................................................264, 290 BALOJI, SAMMY .......................................................................................452 BALTZ, LOUIS ................................................................................... 144, 145 BANERJEE, RINA .....................................................................................330 BARCELÓ, MIQUEL ..................................................................288, 290, 302 BARILE, FABIO ..........................................................................................204 BARKS, CARL ............................................................................................228 BARNEY, MATTHEW .........................................................................132, 134 BAROCCO, FRANCESCO.................................................................. 204, 205 BARREDA, , ERNESTO ..............................................................................164 BARRY, FRANÇOIS ...........................................................................210, 212 BARRY, ROBERT ........................................................................................114 BARTHES, ROLAND ..................................................................................134 BARTHOLDI, AUGUSTE ....................................................................210, 212 BASALDELLA, AFRO ................................................................................480 BASBAUM, RICARDO ..............................................................................228 BASELITZ, GEORG ................................ 36, 38, 186, 188, 228, 300, 318, 474 BASQUIAT, JEAN-MICHEL .............................. 125, 126, 276, 278, 318, 474 BAUDEVIN, FRANCIS ...............................................................................372 BAUER, MARC ..........................................................................................150 BAUMEISTER, WILLI ................................................................................156 BAYRLE, THOMAS ........................................................................... 167, 168 BAZAINE, JEAN RENÉ .............................................................................480 BEARDEN, ROMARE ................................................................276, 278, 426 BECHER, BERND & HILLA ...................................................56, 86, 180, 194 BECKER, BORIS .....................................................................................56, 86 BECKMANN, MAX ......................................................... 36, 37, 38, 198, 468 BEDNARSKIY, JAGODA .............................................................................168 BEECK, HANS OP DE ..................................................................................50 BELKAHIA, FARID .......................................................................................78 BELL, RICHARD........................................................................................ 513 BELLAMINE, FOUAD ..................................................................................80 BELLOWS, GEORGE WESLEY .........................................................468, 470 BENBOUCHTA, AMINA ...............................................................................80 BENDER, ANDREA ....................................................................................234 BENOHOUD, HICHAM ................................................................................80 BÉRARD, EVREMOND DE .........................................................................212 BERCHÈRE, NARCISSE .....................................................................210, 212 BERCKHEYDE, GERRIT ADRIAENSZOON ...................................................30 BERGHE, FRITS VAN DEN.........................................................................290 BERLEWI, HENRYK ................................................................................. 337

BERTOIA, HARRY .............................................................................348, 504 BERTRAND, GASTON ..................................................................................86 BESHTY, WALEAD ....................................................................................474 BEUL, BERT DE ...........................................................................................90 BEUTLER, MICHAEL .........................................................................144, 146 BEUYS, JOSEPH ...................................................... 174, 192, 194, 299, 300 BGL ............................................................................................................402 BIERSTADT, ALBERT ................................................................................504 BIEWENGA, WIM ......................................................................................234 BIJL, GUILLAUME ......................................................................................90 BILL, MAX ....................................................... 154, 155, 156, 216, 372, 456 BILLINGHAM, RICHARD ..........................................................................354 BIRD, COLBY .............................................................................................194 BLACKWELL, TOM ..................................................................................426 BLAIR, STREETER .....................................................................................164 BLASS, VALÉRIE ......................................................................................402 BLAUFUKS, DANIEL .................................................................................360 BLECKNER, ROSS ....................................................................................318 BLUME, ANNA & BERNHARD .................................................................354 BOCCIONI, UMBERTO...............................................................................264 BODMER, KARL .......................................................................................504 BOETTI, ALIGHIERO E ................................................................54, 114, 336 BOFILL, RICARDO .......................................................................................84 BOLIN, LIU ............................................................................. 324, 327, 355 BOLTANSKI, CHRISTIAN .....................................................38, 258, 260, 360 BOMBERG, DAVID ...................................................................................438 BONALUMI, AGOSTINO ...........................................................................264 BONDE, PETER..........................................................................................452 BONNAT, LEON ................................................................................ 209, 212 BORES, FRANCISCO ........................................................................288, 290 BOROFSKY, JONATHAN ...................................................................102, 104 BORREMANS, MICHAËL ...................................................90, 258, 260, 474 BOSHOFF, WILLEM ..................................................................................414 BOTES, CONRAD HENDRIK .................................................................... 417 BOTHA, WIM ........................................................................................... 413 BOUCHET, MIKE ....................................................................................... 175 BOUJEMAOUI, MUSTAPHA ........................................................................80 BOULLE, ANDRÉ-CHARLES........................................................................84 BOURGEOIS, LOUISE ......................................... 72, 138, 140, 246, 248, 456 BOYCE, MARTIN ..............................................................................156, 458 BOYD, DANIEL .........................................................................................306 BRADFORD, MARK .................................................................................. 277 BRAECKMAN, DIRK ....................................................................................90 BRANDENBURG, MARC ...........................................................................228 BRANDENBURG, ULLA VON ............................................................144, 330 BRANDT, NICK ..........................................................................................324 BRATKOV, SERGEY ............................................................................240, 242 BRAVO, MONIKA ......................................................................................110 BRECHERET, VICTOR ........................................................................270, 272 BREITNER, GEORGE HENDRIK ...................................................................32 BREUER, MARCEL ...................................................................................480 BREUGHEL, JAN ........................................................................................96 BREUKEL, KOOS ..................................................................................... 357 BREUNING, OLAF ........................................................................... 284, 447

BREWER, REBECCA .................................................................................404 BRODIE, MIKE ...........................................................................................180 BROEK, ALDO VAN DEN ...........................................................................234 BROMWICH, NEIL ..................................................................................... 73 BROODTHAERS, MARCEL .........................................................................96 BROOKS, JASON...................................................................................... 277 BROOMBERG, ADAM .............................................................................. 253 BROTHERUS, ELINA .................................................................................452 BROWN, BRYCE ........................................................................................164 BROWN, CECILY .............................................................................. 252, 253 BROWN, DON ..........................................................................................258 BRUGGEMAN, FRANK .............................................................................390 BRÜNING, PETER ......................................................................................198 BRUSSELMANS, FAUVIST JEAN .............................................................290 BRUYCKERE, BERLINDE DE .................................................................90, 96 BULATOV, ERIK .................................................................................228, 240 BULLOCH, ANGELA .........................................................................330, 456 BUNDSCHUH, ROGER ............................................................................. 171 BUREN, DANIEL ................. 54, 86, 114, 117, 138, 141, 156, 498, 499, 500 BURGER, STEFAN ....................................................................................284 BURI, SAMUEL .........................................................................................282 BURKHARD, BALTHASAR .................................................................150, 282 BURRI, ALBERTO ..............................................................................264, 318 BURTYNSKY, EDWARD ............................................................................402 BURY, POL ..................................................................................................90 BUSER, RENATE ........................................................................................374 BUSH, JACK .............................................................................................402 BUSTAMANTE, JEAN-MARC ...................................................................330 BÜTTNER, ANDREA .................................................................................320 BYARS, JAMES LEE ..................................................................................132 CAFFIERI, JEAN-JACQUES .........................................................................84 CAHN, MIRIAM ....................................................................... 343, 344, 372 CAI GUO-QIANG ........................................................................................134 CALAME, ALEXANDRE .................................................................... 372, 373 CALDER, ALEXANDER ............144, 162, 164, 276, 347, 276, 278, 480, 481 CALLE, SOPHIE ........................................................................................354 CAMARGO, SERGIO .........................................................................270, 272 CAMENISCH, PAUL ...................................................................................372 CANALETTO ..............................................................................................264 CANOGAR, DANIEL...................................................................................110 CARAVAGGIO ................................................................................... 264, 267 CARDINAUX, EMILE .................................................................................504 CARJAT ......................................................................................................212 CARLINI, GIULIO ..................................................................... 210, 211, 212 CARO, ANTHONY ................................................................................. 38, 39 CARR, EMILY ............................................................................................402 CARRACCI, AGOSTINO ............................................................................468 CARTIER-BRESSON, HENRI ........................................................................66 CASTELLANI, ENRICO........................................................................ 26, 265 CATLIN, GEORGE ............................................................................ 504, 505 CATTELAN, MAURIZIO ..............................................................126, 128, 222 CAVALCANTI, EMILIANO DI ............................................................. 270, 272 CÉSAR .........................................................................................................86 CEYLAN, NURI BILGE ..............................................................................110

515

Index of Companies

ABN AMRO N.V. ..........................................................................................28 Adolf Würth GmbH& Co.KG – Museum Würth ...........................................34 Aegon N.V. ..................................................................................................40 AkzoNobel Art Foundation ..........................................................................46 Allianz Deutschland AG / Allianz SE ............................................................52 ALPHA BANK ..............................................................................................58 Arnall Golden Gregory LLP ..........................................................................64 Aspen Insurance Holdings Limited .............................................................70 ATTIJARIWAFA BANK ................................................................................76 AXA GROUP ................................................................................................82 Banque nationale de Belgique / Nationale Bank van België ........................88 Belfius Bank ................................................................................................94 BERGÉ Y CÍA ............................................................................................100 Borusan Holding .......................................................................................106 BSI SA .......................................................................................................112 Canary Wharf Group .................................................................................118 Carmignac .................................................................................................124 Cartier International ...................................................................................130 Castello di Ama .........................................................................................136 Commerzbank AG .....................................................................................142 Credit Suisse AG .......................................................................................148 Daimler AG ................................................................................................154 Deere & Co. ...............................................................................................160 DekaBank Deutsche Girozentrale ..............................................................166 Deutsche Bank AG ....................................................................................172 Deutsche Börse Group ..............................................................................178 Deutsche Bundesbank ..............................................................................184 DZ BANK ...................................................................................................190 E.ON SE ....................................................................................................196 Elica ..........................................................................................................202 ENGIE .......................................................................................................208 European Patent Office .............................................................................214 EVN AG .....................................................................................................220 Faber-Castell AG ........................................................................................226 FSGroep ....................................................................................................232 Gazprombank ............................................................................................238 Helaba Landesbank Hessen-Thüringen .....................................................244 HISCOX .....................................................................................................250 ING Bank ...................................................................................................256 Intesa Sanpaolo SpA .................................................................................262 Itaú Unibanco S.A. ....................................................................................268

JPMorgan Chase & Co. .............................................................................274 Julius Baer Group Ltd. ..............................................................................280 KBL European Private Bankers S.A. ..........................................................286 KRC Collection ..........................................................................................292 "la Caixa" Banking Foundation / Fundación Bancaria "la Caxia" ................298 Macquarie Group Limited .........................................................................304 MAPFRE ...................................................................................................310 Maramotti – Max Mara .............................................................................318 Meeschaert Group ....................................................................................322 Montblanc International ............................................................................328 Museum Ritter – The Marli Hoppe-Ritter Collection .................................334 Nationale Suisse .......................................................................................340 Neiman Marcus Group ..............................................................................346 Neuflize .....................................................................................................352 NOVO BANCO S.A. ...................................................................................358 Parkview Group .........................................................................................364 Pictet .........................................................................................................370 Progressive Corporation ...........................................................................376 Provinzial Rheinland Versicherung AG ......................................................382 Rabo Real Estate Group ............................................................................388 Renault SAS ..............................................................................................392 Royal Bank of Canada RBC .......................................................................400 Royal DSM ................................................................................................406 Sanlam Limited .........................................................................................412 Saxo Bank A/S ..........................................................................................418 Seavest Collection of Seavest Inc. ............................................................424 Shiseido Co, Ltd. .......................................................................................430 Simmons & Simmons ...............................................................................436 Societe Generale .......................................................................................442 Statoil ASA ................................................................................................448 Swiss Reinsurance Company Ltd ..............................................................454 Taikang Life Insurance co ..........................................................................460 Thrivent Financial ......................................................................................466 UBS AG .....................................................................................................472 UNESCO ...................................................................................................478 Uniplan GmbH & Co. KG ...........................................................................484 Van Lanschot NV ......................................................................................490 Vranken-Pommery Monopole ...................................................................496 Wells Fargo & Company ............................................................................502 Wesfarmers ...............................................................................................508

527

Addresses of Companies

ABN AMRO N.V. Post Office Box 283 PAC HF0010 1000 EA Amsterdam The Netherlands www.abnamro.com

Aspen Insurance Holdings Limited Plantation Place 30 Fenchurch Street London EC3M 3BD United Kingdom www.aspenart.co

Adolf Würth GmbH& Co.KG Museum Würth Reinhold-Würth-Straße 15 74653 Künzelsau Germany www.kunst.wuerth.com

ATTIJARIWAFA BANK 2 Boulevard Moulay Youssef 20000 Casablanca Morocco www.attijariwafabank.com

Aegon N.V. Aegonplein 50 2591 TV The Hague The Netherlands www.aegon.com

AXA GROUP 5 Avenue Matignon 75008 Paris France www.axa.com

AkzoNobel Art Foundation Strawinskylaan 2555 1077 ZZ Amsterdam The Netherlands www.artfoundation.akzonobel.com

Banque nationale de Belgique / Nationale Bank van België Boulevard de Berlaimont 14 1000 Brussels Belgium www.nbb.be

Allianz Deutschland AG / Allianz SE Königinstraße 28 80802 München Germany www.allianz.de

Banque Neuflize OBC 3 avenue Hoche 75008 Paris France www.neuflizeobc.fr

ALPHA BANK 40 Stadiou Street 102 52 Athens Greece www.alpha.gr

Banque Pictet & Cie SA 60 route des Acacias 1211 Genève 73 Switzerland www.pictet.com

Arnall Golden Gregory LLP 171 17th Street NW, Suite 2100 Atlanta GA 30363 USA www.agg.com

Belfius Bank Boulevard Pacheco 44 1000 Brussels Belgium www.belfius.com

528

BERGÉ Y CÍA Calle Alcalá 65 28014 Madrid Spain www.bergeycia.es

BORUSAN CONTEMPORARY Baltalimanı Hisar Cad. Perili Köşk No:5 34470 Rumeli Hisarı/Sarıyer İstanbul Turkey www.borusancontemporary.com

BSI SA via Magatti 2 6900 Lugano Switzerland www.bsibank.com

CANARY WHARF GROUP PLC One Canada Square Canary Wharf London E14 5AB United Kingdom www.canarywharf.com

CARMIGNAC GESTION FONDATION CARMIGNAC 24 Place Vendôme 75001 Paris France www.fondation-carmignac.com www.carmignac.fr

Cartier International S.A. / Fondation Cartier pour l'art contemporain Head Office Boulevard James-Fazy 8 Geneva 1201, Switzerland Fondation Cartier 261 boulevard Raspail 75014 Paris, France www.cartier.fr

Index of Countries

Australia Macquarie Group Limited Wesfarmers

Belgium Banque nationale de Belgique / Nationale Bank van België Belfius Bank

Deutsche Bank AG Deutsche Börse Group Deutsche Bundesbank DZ BANK E.ON SE European Patent Office Faber-Castell AG Helaba Landesbank Hessen-Thüringen Montblanc International Museum Ritter – The Marli Hoppe-Ritter Collection Provinzial Rheinland Versicherung AG Uniplan GmbH & Co. KG

Brazil Itaú Unibanco S.A.

Greece ALPHA BANK

Austria EVN AG

Canada RBC Royal Bank of Canada

China Hong Kong Parkview Group Taikang Life Insurance co

Italy CASTELLO DI AMA Elica Collezione Maramotti Intesa Sanpaolo SpA

Japan Shiseido Co, Ltd. Denmark Saxo Bank A/S Luxembourg KBL European Private Bankers S.A. France AXA GROUP Banque Neuflize OBC CARMIGNAC GESTION FONDATION CARMIGNAC Fondation Cartier ENGIE Meeschaert Group RENAULT SAS SOCIETE GENERALE UNESCO VRANKEN-POMMERY MONOPOLE

Germany Adolf Würth GmbH& Co.KG – Museum Würth Allianz Deutschland AG / Allianz SE Commerzbank AG Daimler Art Collection DekaBank Deutsche Girozentrale

532

Marocco ATTIJARIWAFA BANK

Spain BERGÉ Y CÍA Fundación Bancaria "la Caxia" / "la Caixa" Banking Foundation FUNDACIÓN MAPFRE

Switzerland Banque Pictet & Cie SA BSI SA Credit Suisse AG Julius Baer Group Ltd. Nationale Suisse Swiss Reinsurance Company Ltd UBS AG

The Netherlands ABN AMRO N.V. Aegon N.V. AkzoNobel Art Foundation FSGroep ING Bank KRC Collection Rabo Real Estate Group Royal DSM VAN LANSCHOT

Turkey BORUSAN CONTEMPORARY

United Kingdom Aspen Insurance Holdings Limited CANARY WHARF GROUP PLC HISCOX Simmons & Simmons

Norway Statoil ASA

Portugal NOVO BANCO S.A.

Russia Gazprombank

South Africa Sanlam Art Collection

USA Arnall Golden Gregory LLP Deere & Co. JPMorgan Chase & Co. Seavest Collection of Seavest Inc. The Neiman Marcus Group The Progressive Corporation Thrivent Financial Wells Fargo & Company

Photo Credits

The images in this book are subject to special copyright and license conditions of VG Bild-Kunst, Bonn, Germany, galleries, artists, photographers and/or the companies involved. The works may not be reproduced or used without obtaining the express permission of the rights holders. p. 28: ©Marlene Dumas. Courtesy the artist. Photo: Tom Haartsen, Ouderkerk a/d Amstel; p. 31/top: Donald Judd. Courtesy the artist; ©Art Judd Foundation. License by VAGA, NY/VG Bild-Kunst, Bonn 2015; p. 31/bottom: Anya Gallaccio. Courtesy the artist. ©VG Bild-Kunst, Bonn 2015. Photo: Tom Haartsen, Ouderkerk a/d Amstel; p. 33: Thomas Schütte. Courtesy the artist. ©VG Bild-Kunst, Bonn 2015. Photo: Peter Cox, Eindhoven; p. 34: ©James Turrel. Courtesy the artist; p. 37/bottom: Max Beckmann. ©VG Bild-Kunst, Bonn 2015; p. 39: ©Anthony Caro. Courtesy the artist; p. 40: Peter Struycken. Courtesy the artist. ©VG Bild-Kunst, Bonn 2015. Photo: Ben Verbeek; p. 43/top: ©Esther Tielemans. Courtesy the artist. Photo: Tom Haartsen; p. 43/bottom: ©Folkert de Jong. Courtesy the artist. Photo: Rob Versluys; p. 45: ©Aisling Hedgecock. Courtesy the artist. Photo: Tom Haartsen; p. 46: ©Susan Hiller. Courtesy the artist; p. 49/top: ©Michael Raedecker. Courtesy the artist; p. 49/bottom: Roy Villevoy, Gijs Assmann. Courtesy the artists; ©VG Bild-Kunst, Bonn 2015; p. 51: ©Keith Edmier. Courtesy the artist; p. 52: ©Juan Munoz. Courtesy the artist. Photo: Julia Schambeck; p. 55/top: Sigmar Polke. Courtesy the artist; ©The Estate of Sigmar Polke, Cologne/VG Bild-Kunst, Bonn 2015. Photo: Julia Schambeck; p. 55/bottom: Vollrad Kutscher. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015. Photo: Julia Schambeck; p. 57/top: Stephan Huber. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015. Photo: Julia Schambeck; p. 57/bottom: Stephan Balkenhol. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015. Photo: Julia Schambeck; p. 58: ©Yannis Moralis. Courtesy the artist. Photo: Yannis Vacharidis; p. 61/top: ©Constantinos Maleas. Courtesy the artist. Photo: Yannis Vacharidis; p. 61/bottom: ©Yiorgos Lappas. Courtesy the artist; p. 63: ©Chryssa. Courtesy the artist; p. 64: ©Andrew Moore. Courtesy the artist; p. 67/top: ©Sebastiao Salgado/ Amazonas Images/ Agentur Focus. Courtesy the artist; p. 67/bottom: Roy Lichtenstein. Courtesy the artists; ©VG Bild-Kunst, Bonn 2015; p. 69: Alex Katz. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015; ©Chuck Close. Courtesy the artist; p. 70: ©Fiona Rae. Courtesy Timothy Taylor Gallery, London; p. 73/top: ©Hope Gangloff.Courtesy the artist and Susan Inglett Gallery; p. 73/bottom: ©Zoe Walker & Neil Bromwich. Courtesy the artist. Photo: Colin Grey; p. 75: ©Kevin Landers. Courtesy the artist; p. 76: ©Melehi Mohamed. Courtesy the artist; p. 79/top: ©Gharbaoui Jilali. Courtesy the artist; p. 81/bottom: ©Chaïbia Tallal alias Chaibia. Courtesy the artist; p. 82: Adolf Luther. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015. Photo: Jacques Pépion; p. 85/top: ©Michael Craig Martin. Courtesy the artist. Photo: Jacques Pépion; p. 85/bottom: Jacob Lawrence. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015. Photo: Jacques Pépion; p. 87: Photo by Jacques Pépion; p. 88: Pieter Vermeersch. Courtesy BNB - Patrick Van Den Branden. ©VG Bild-Kunst, Bonn 2015; p. 91/top: Katrien Vermeire. Courtesy BNB - Patrick Van Den Branden; ©VG Bild-Kunst, Bonn 2015; p. 91/bottom: ©Ann Veronica Janssens. Courtesy BNB - Patrick Van Den Branden; p. 93: ©Koen Theys. Courtesy BNB - Patrick Van Den Branden; p. 94: Jan Fabre. ©Angelos bvba. Courtesy the artist; p. 97/top: Rik Wouters. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015. Photo: Frank Michta; p. 97/bottom: ©Ann Veronica Janssens. Courtesy the artist; p. 99/top: Photo by Hugo Maertens; p. 99/bottom: Photo by Hugo Maertens; p. 100: ©John Baldessari. Courtesy the artist. Photo: Óscar Monzón; p. 103/top: ©Eva Rothschild. Courtesy the artist and Galerie Eva Presenhuber, Zurich. Photo: Óscar Monzón; p. 103/bottom: ©Allan McCollum. Courtesy the artist and Petzel Gallery, New York. Photo: Óscar Monzón; p. 105/top: Carl André. Courtesy the artist. ©VG Bild-Kunst, Bonn 2015; Photo: Óscar Monzón p. 105/bottom: ©Gerhard Richter. Courtesy the artist; p. 106: Thierry Dreyfus. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015; p. 109/top: ©Ali Kazma. Courtesy the artist; p. 109/bottom: ©Ola Kolehmainen. Courtesy the artist; p. 111: ©Sol LeWitt. Courtesy the artist; p. 112: ©Tony Cragg. Courtesy Buchmann Galerie, Agra, Lugano; p. 115/top: Alex Katz. Courtesy the artist. ©VG Bild-Kunst, Bonn 2015; p. 115/bottom: Mario Merz. Courtesy the artist. ©Agostino Osio, Milan; p. 117: Daniel Buren. Courtesy the artist. ©Franco Mattei, Lugano; p. 118: ©Danny Lane. Courtesy the artist. Photo: Philip Vile; p. 121/top: ©Eilis O'Connell. Courtesy the artist. Photo: Philip Vile; p. 121/ bottom: ©Igor Mitoraj. Courtesy the artist. Photo: Philip Vile; p. 123: ©Bill Culbert. Courtesy the artist. Photo: Philip Vile; p. 124: Jean-Michel Basquiat. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015; p. 127/top: ©John Goode. Courtesy the artist; p. 127/bottom: Roy Liechtenstein. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015; p. 129: ©Gerhard Richter. Courtesy the artist; p. 130: ©Jean Nouvel/ADAGP Paris. Courtesy the artist. Photo: Luc Boegly; p. 133/ top: © Cai Guo-Qiang. Photos Courtesy Cai Studio. Photo: Luc Boegly; p. 133/bottom: ©Panamarenko. Courtesy the artist. Photo: Luc Boegly; p. 135: ©Ron Mueck. Courtesy the artist. Photo: Patrick Gries; p. 136: ©Kendell Geers. Courtesy the artis. ©VG Bild-Kunst, Bonn 2015; p. 139/top: Pascale Marthine Tayou. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015; p. 139/bottom: ©Michelangelo Pistoletto. Courtesy the artist; p. 141: Daniel Buren. Courtesy the artist. ©VG Bild-Kunst, Bonn 2015; p. 141: Carlos Garaicoa. Courtesy the artist. ©VG Bild-Kunst, Bonn 2015; p. 142: ©James Turrell. Courtesy the artist. Photo: Wolfgang Günzel, Offenbach; p. 145/top left: ©Lewis Baltz. Courtesy the artist. Photo: Wolfang Günzel, Offenbach; p. 145/top right: © 2015 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York. Photo: Wolfgang Günzel, Offenbach; p. 145/bottom: ©Martina Wolff. Courtesy the artist. Photo: Martina Wolf; p. 147: Katharina Fritsch. Courtesy the artist; ©VG Bild-Kunst, Bonn 2015. Photo: Wolfgang Günzel, Offenbach; p. 148: ©Markus Gadient. Courtesy the artist. Photo: Roger Frei, Zurich; p. 151/top: ©Claudia and Julia Müller. Courtesy the artists. Photo courtesy of the artists and Galerie Peter Kilchmann, Zurich; p. 151/bottom: ©Hadrien Dussoix. Courtesy the artist. Photo: Yves André, St. Aubin; p. 153: ©Claudia Comte. Courtesy the artist. Photo: Yves André, St. Aubin; p. 154: Max Bill. Courtesy the artist. ©VG Bild-Kunst, Bonn 2015; p. 157/top: ©Charlotte Posenenske. Courtesy the artist; p. 157/bottom: ©Andy Warhol. Courtesy the artist; p. 159: Josef Albers. Courtesy the artist; ©The Josef and Anni Albers Foundation/VG Bild-Kunst, Bonn 2015; Günter Fruhtrunk, Robert Longo, Jean Tinguely. Courtesy the artists. ©VG Bild-Kunst, Bonn 2015; ©Sylvie Fleury, Dadamaino, Charlotte Posenenske. Courtesy the artists. Photo: Denise Andrade, Sao Paulo; p. 160: ©Danilo Prete, Alejandro Obregon, Ahmed Muhammed Imamovic, Pierre Letellier. Courtesy the artists. Photo: Michael J. Newell; p. 163/top: ©Henry Moore. Courtesy the artist; p. 163/bottom: ©Alexander Girard. Courtesy the artist; p. 165: ©Grant Wood. Courtesy the artist; p. 166: ©Thomas Bayrle. Courtesy Galerie Barbara Weiss, Berlin. ©VG Bild-Kunst, Bonn 2015. Photo: Wolfgang Günzel; p. 169/top: ©Wilhelm Sasnal. Courtesy the artist. Photo: Wolfgang Günzel; p. 169/bottom: ©Tobias Zielony. Courtesy of Tobias Zielony and KOW, Berlin. Photo: Olaf Hermann; p. 171: Isa Genzken, Roger Bundschuh. Courtesy the artists and Galerie Buchholz, Cologne/ Berlin. ©VG Bild-Kunst, Bonn 2015. Photo: Wolfgang Günzel; p. 172: ©Laura Owens. Courtesy the artist; p. 175/top: ©Mike Bouchet. Courtesy the artist and Galerie

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Imprint

Global Corporate Collections Friedrich Conzen, Max Hollein, Olaf Salié (Ed.) Cologne: Deutsche Standards EDITIONEN GmbH, 2015 1st Edition © 2015 Deutsche Standards EDITIONEN GmbH, Cologne, Germany © 2015 VG Bild-Kunst, Bonn, Germany for the artists mentioned in the photo credits www.deutsche-standards.de

Distribution worldwide DAAB MEDIA GMBH Maastrichter Str. 53 50672 Cologne, Germany www.daab-media.com ISBN: 978-3-942597-39-5

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Editor-in-chief: Steffen Heemann Project Management: Isa Falckenberg, Fabian Westkamp Copy editor: Gérard Goodrow Assistant editors: Anna Jacobsen, Jessica Knöller, Marcel Krenz Design: Meiré und Meiré, Cologne, Germany Typesetting and image processing: Tim von Holst, Alex Knaack, Andrea Krause Proofreading: SIC Übersetzungsbüro Clark, Esslingen, Germany Production: Jung Produktion GmbH, Marius Zimmermann, Cologne, Germany Printed on Gardamatt 170 g/sqm, wood-free, matt coated paper

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