Secrets of Art Magazine - Winter 2019-2020 by Secrets of Art Magazine

Winter 2019-2020

Love and passion, the driving source of Philipp Frank Capturing the spirit of nature and bringing its magic to the world by transforming it into light and colours. It is a love for all that surrounds us.

A physical and virtual space, bridging art and people The development of technologies such as augmented and virtual reality have brought a new perspective to experiencing art.

â&#x20AC;&#x153;Can you name 5 women artists?â&#x20AC;? a world wide campaign The National Museum of Women in the Arts sees as its mission to champion and promote women artists, by addressing gender imbalance issues.

„

„Artists are valuable to public discussion: they show the correlation between doing and thinking.“ — Olafur Eliasson Danish-Icelandic artist

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Dear Reader, In the times that we are living, the role of art is more than ever to move people, to bring them new perspectives, to make them stop for a minute in their busy every day lives and to give them space to breath. Bringing people closer to art has been the theme for this winter edition. Whether it is through technology, new materials and tools, interesting books and platforms bringing people from varied background together, the vision is to spread the message that art is meant and available for everyone. The featured articles in this edition come back to this main message. We found people who are passionate in their aims like the artist who creates in and with nature bringing it back to people to be inspired by their beauty; we came upon examples where technology can add to the value of art and can make it possible that old masterpieces are available to enjoy for more people around the world without having to travel; we sought out people who love researching and writing about the power of colours and are passionate to make others realize them in their every day lives; we also sought out people who have the courage and strength to spread and work for campaigns to break hundreds of years of rigid belief around women and arts and we talked with people who are building places where artists can have legal support. Only by looking beyond all that is given can we fully embrace the message of what true art has to communicate. Only by daring to go beyond that which we know, do we find that art surrounds us everywhere. I invite you to this seeking and discovery through the following pages! With sincere regards,

Dorottya Novak Chief Editor

TABLE OF CONTENTS

THE ARTIST “Work is love made visible”

WOMEN IN THE ART WORLD Being seen and appreciated - finding their way again after 100 years

WHERE BUSINESS CROSSES ART Freeport for artworks, a tool to avoid tax duties might come to an end

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IN FOCUS A physical and virtual space, bridging art and people

KNOW YOUR RIGHTS Helping artists to navigate legal waters

ART ADVOCATES From a question “Can you name 5 women artists?” to a world wide campaign

ART IN EVERY DAYS Living colours

THE ARTIST

“Work is love made visible” Capturing the spirit of nature and bringing its magic to the world by transforming it into light and colours. For Philipp Frank, love and passion is the driving source of his artistic process. His reflections, observations and artistic work is done with the utmost respect and love for all that surrounds us.

Seeing Philipp Frank’s videos, whether it is a dance of flames, water elements, textures of plants or colours reflected back on nature, brings us memories of a world, when we humans still lived in harmony and respect with the natural world that surrounds us. The artist becomes the healer, acting as a medium between the visible and the spirit world. And as a healer, Frank connects us through the blend of spirit and technology, to nature and all its creation with his own creative spirit. Frank’s artistic expression developed from as early on as his childhood. He got to know the very first computers and videocameras through his father. During this period of the ‘80s and ‘90s this was considered as something very special. These first glimpses into technology and digital tools that he later used in his creative processes, influenced him a lot. Already at an early age and up until today, he spends a lot of time in the nature, in forests, among trees and rivers. He observes and plays with the natural surroundings. “Some years ago I started to paint graphic pattern on dead tree trunks. This was the analog beginning of this project. Later, I discovered projection mapping as a wonderful technique. Real magic created with light on objects in front of your eyes. Nature itself is just the greatest artist of all times. All those beautiful landscapes, organic shapes and colors. Just made sense to combine all of this” describes Frank.

The tools that Frank uses for his art are innovative and used by many other artists and those working in the creative field. What sets Frank apart from other creative minds is his deep love and passion for everything he does, which is translated into a unique visual beauty. His visions reflect Khalil Gibran’s quote: “Work is love made visible”. “I am a reflective person, who likes to observe and listen. Almost everything around inspires me. I love the beauty in the details and discovering the macrocosmos in the microcosmos. My visible work is the essence of those feelings and processes, which I share with the public” Frank explains his process in detail. Art plays a huge part in Frank’s life. It is his calling, the one that permeates his moments, without putting limits between artistic and other areas of his life. Just as during all journeys, the artistic one brought often challenges for Frank, which however added to his own growth. One of such challenges was being able to focus, especially when there was a creative overflow of ideas and possibilities. Frank describes it as a phase when he wanted to realize everything at the same time, blocking him from creating. Sometimes this blockage made him end up doing nothing at all. Many creative people, artists experience such phases of blockages, when the overflow of impressions actually create the opposite effect of not being able to realize anything. Perfectionism has been another challenge for Frank, limiting him in his creative processes and in developing his visions.

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Keeping the balance and the focus on the creative flow can be disrupted by many distractions. One of these distractions is the need to promote oneself. The line between creating and making oneâ&#x20AC;&#x2122;s work seen and heard is quite thin, and it takes an inner learning to find the right balance for all those who aim at both.

â&#x20AC;&#x153;Over the years my attitude changed. Learning again from nature, where everything is perfect and balanced as it is. Nowadays I trust more in life and the decisions I take. The right things will happen at the right time. Do it with love and passion and it will be successful sooner or later. Life is so simpleâ&#x20AC;? says Frank with a deep knowing.

Overcoming these challenges was possible for Frank by being guided by his inner wisdom and observing nature.

THE ARTIST

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Frank’s artworks are public, to be felt and to have an impact directly, which brings his message instantly to those viewing it. When asked about what motivates him to bring art closer to people, Frank reminds us with the saying: “Earth without ‘art’ is just ‘eh’” followed by his question: “What would human life be without artworks touching our hearts and souls?”. In his view, art was and is an essential part of our society. It is beautiful, inspiring and has transformative powers. Therefore, it should happen in public, be free and accessible for everybody.

“My motivation are people’s reactions and the influence my art might have on them. Also, I love the process of transforming existing objects by adding a new layer. Probably an influence of all the years as a graffiti writer. In the “Elements” series for example, I record nature related footage to create artistic video animations out of it. Then I project them back with light (beamer) onto other nature elements. Creating a temporary artwork of something real, that becomes digital and then real again. A Real Virtuality if you want” puts Frank into words his motivations.

THE ARTIST

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THE ARTIST

Talking about the future and how he sees it, Frank gives an insight into his own future work. He envisions to further combine art, technology and spirituality. His dream is to continue “creating transformative artworks and spaces that will hopefully inspire, empower and calm people. Supporting a reconnection towards our true selves and this beautiful planet. I think this kind of work is needed in those busy and ephemeral times...”

Frank’s art and his process of creation is an authentic example of the transformative power of art. He shows us a way by which blending artistic expression with digital tools, can create something beautiful and yet allows us to stay humble in front of the grandeur of mother nature with the utmost respect towards it.

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THE ARTIST

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THE ARTIST

„What would human life be without artworks touching our hearts and souls?“ — Philipp Frank Visual artist

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„I am a reflective person, who likes to observe and listen. Almost everything around inspires me. I love the beauty in the details and discovering the macrocosmos in the microcosmos. My visible work is the essence of those feelings and processes, which I share with the public.“ — Philipp Frank Visual artist

THE ARTIST

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All images by ÂŠ Philipp Frank 19

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Being seen and appreciated - finding their way again after 100 years As more museums start to focus on showcasing women artists, the more women artists of the past are reappearing, with a story to tell behind the painting or the sculpture. One of these museums with a rare exhibition entitled “Fighting for visibility”, grants visibility exactly after 100 years that the first women were allowed to begin to study art at the Art Academy in Berlin.

The originality of the exhibition at the Nationalgalerie in Berlin, Germany lies in the fact that not only a huge collection of artworks is displayed (60 pieces by 33 women painters and 10 women sculptors), but that it showcases a story of fight for expression of each one of the artist. The fight goes much beyond their visibility as artists. It reflects their individual voices as women at their time, who wanted to follow their passion, who strived to be accepted as equal counterparts to their male colleagues, keen on studying art and being acknowledged as professional artists. The exhibition shows the different ways that women artists faced the challenges of their time and of making it into the art world before 1919, achieving to have their artworks in the collection of the Nationalgalerie. What strikes as a unique fact is that despite the increase of research on women artists worldwide, it is not possible to determine exactly how much have women artists contributed to the artistic contribution of the 19th century. “Many women artists are known only by name; their biographies have fallen into obscurity and their works have been lost. Even today, many questions remain unanswered” states the exhibition’s wall texts at the Nationalgalerie. The loss of artworks were due mainly to the wartime circumstances during the Second World War and because of systematic confiscations due to the “Degenerate Art” campaign by the Nazis. Through the

years many artworks created by women artists were lost and then slowly forgotten. It is only thanks to others, such as patrons and generous gifts and donations that slowly artworks could be discovered afterwards. By discovering the past artworks, interesting stories appeared that show that there were various supporters of women artists even before 1919. Often women artists supported the younger generation of women, who were at the beginning of their artistic paths. The support at times also came in the form of financial sponsorship as well as donations. Interestingly, there were even men who acted as advocates for women artists and their careers. The exhibition and its title “Fight for Visibility” gives light to the question as to why it is so important that artworks of more women artists are shown. “It becomes clear in this debate that exhibitions have a prominent significance in the fight for visibility, for they often entail prestigious purchases by the exhibiting institutions, thus increasing the public visibility of the artistic oeuvre“ can be read in the exhibition supported catalogue ‘Fighting for Visibility: Women Artists in the Nationalgalerie Before 1919’. The showing of artworks continues to be a key role today too, it reflects the appreciation of the arts and gives opportunity to be viewed and eventually to be purchased. The journey of the artist and artwork is in essence still the same today. 21

WOMEN IN THE ART WORLD

Sabine Lepsius, Selbstbildnis, 1885 © Staatliche Museen zu Berlin, Nationalgalerie / Jörg P. Anders

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Reading through the exhibition catalogue, it is worthwhile to mention the surprising fact of how many women artists of the nineteenth century were represented at Berlin’s “academic” exhibitions. “Alone in the years from 1893 up to and including 1918, over 920 different women artists took part in the Große Berliner Kunstausstellungen. This is an average of over ninety women artists annually!” states the catalogue.

„Many women artists are known only by name; their biographies have fallen into obscurity and their works have been lost. Even today, many questions remain unanswered.“ — exhibition wall texts Nationalgalerie in Berlin, Germany

These numbers are astounding because they show how women were not prohibited from building their career as artists. However, they had to go through it through challenges and had a much harder path to make themselves seen and visible. The present exhibition at the Nationalgalerie focusing on women artists, is not the first one. The very first

Dora Hitz, Kirschenernte, vor 1905 © Staatliche Museen zu Berlin, Nationalgalerie / Reinhard Saczewski

WOMEN IN THE ART WORLD

Ausstellungsansicht: Kampf um Sichtbarkeit. KĂźnstlerinnen der Nationalgalerie vor 1919 Alte Nationalgalerie, Berlin 2019 ÂŠ Staatliche Museen zu Berlin, Nationalgalerie / Foto: Andres Kilger

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show ever organized around women artists by a museum was in 1975, in East Berlin at the Nationalgalerie. Its title was “German Visual Women Artists from the Age of Goethe to the Present”. During that time it was not much noticed because of the political circumstances, but it was still a big step and achievement.

Furthermore, such shows at more traditional and solid institutions like at museums, can actually open up more doors and possibilities. Especially, since they provide a doorway to the younger generations too, who can take in more from these places, since rarely do educational sources focus specifically on women artists.

The questions that these and similar exhibitions raise, is whether focusing on only women artists create further separation, distinguishing between the genders and representing them in a different light. On the other hand where there is still a gender gap in gallery representation, exhibition, sales and actual prices, such exhibitions in museums can provide clarity and light to the issue itself.

The number of such exhibitions make a difference, not only for the showcasing of the artworks itself but mostly revealing the stories that lie behind each one of them. The stories tell us about the individual artist and their journeys, their motivations and intentions. They also provide examples for other public institutions to follow, which the art world is in real need of.

Paula Modersohn-Becker, Mädchen mit Blütenkranz im Haar, um 1901 © Staatliche Museen zu Berlin, Nationalgalerie / Jörg P. Anders

WOMEN IN THE ART WORLD

Käthe Kollwitz, Liebespaar II, 1913 © Staatliche Museen zu Berlin, Nationalgalerie / Roland März

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RenĂŠe Sintenis, Kleines Selbstbildnis, 1916/1917, ÂŠ Staatliche Museen zu Berlin, Nationalgalerie / Bernd Sinterhauf / VG Bild-Kunst, Bonn 2019

WOMEN IN THE ART WORLD

In a recent article, Stefan Heidenreich and Magnus Resch appealed to the opening up of the art world and making public art institutions more democratic. “We now inhabit a world where virtually limitless tailored content is available, yet we have completely overlooked a stubbornly unchanging part of cultural life. The art world hasn’t changed. Curators still decide what will be shown in exhibitions while museums, at best, count the visitors” declare the two authors.

They continue their call to museums: “Museums: Reinvigorate your empty, white cubes! Be brave: That new audience you’ve been seeking for years is on your doorstep. Museums can collaborate to create not just an environment, but a new experience in which the viewers give meaning to art: You just have to allow them to participate. Unaccountable art history graduates working in a self-referential industry have defined what art is for too long. It’s the choice of the many voices that matters. Listen to them! Give them a space!” As the fight for visibility continues, so does the way we see artists who are still underrepresented. The appearance of exhibitions that focus on them will hopefully create new perceptions, bringing more people closer to art and more art closer to people.

Maria von Parmentier, Der Hafen von Dieppe, vor 1878 © Staatliche Museen zu Berlin, Nationalgalerie / Andres Kilger

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Freeport for artworks, a tool to avoid tax duties might come to an end In many cases collecting art is about money and not about the appreciation of the artwork itself. Freeports are the secrecy jurisdictions of the art world, where art collectors and art dealers can park their speculative art purchases in complete anonymity, while being invisible to tax authorities and foreign governments. Most of the countries have similar legal frameworks for regulating the import and export of works of art, which in most cases involves paying customs duties. However, art collectors and art dealers can always find a way to avoid it and gain temporary exemption of tax duties. This is true especially when art market speculations are going on.

„When art is purchased for investment, one automatically creates an art speculation, where the aim is to keep costs and tax duties low.“

One could assume that in general, art collectors are enjoying their beloved collections, seeing them on the walls of their homes or yachts. The truth is that a major part of art collectors are buying artworks only as part of their investment portfolios.

makes it possible to store or sell works of arts without incurring duties and taxes. Most of the freeports are located in a strategical place, close to important international airports, helping the transportation of the assets between the other freeports.

When art is purchased for investment, one automatically creates an art speculation, where the aim is to keep costs and tax duties low.

What makes a freeport truly exceptional and attractive to the art collectors is the fact that the contents of freeports are invisible to tax authorities and foreign governments. Complete anonymity is guaranteed and art collections in freeports cannot be traced to the original owners and no government can tax these assets.

Switzerland was among the very first countries coming up with the idea of “freeports”, a no-man’s land, which is a perfect place to park speculative art purchases. Originally created in 1888, for many decades the Geneva Freeport was officially not even part of Switzerland. The purpose of a freeport warehouse is to make it possible to store works of art, items from collections, antiques and jewellery without incurring duties and taxes. In short, a freeport is a storage facility that exists formally outside of the territorial jurisdiction of any country. In general, we can say that in their dynamic cultural contexts, countries offering freeports aim to promote and develop their art market. The freeport warehouse

Utilising this massive advantage, the number of freeports is expanding. Freeports exist all around the world in major cities, such as Geneva, Zurich, Monte-Carlo, Beijing, Luxembourg, Delaware and many other locations around the globe. According to Deloitte and ArtTactic, “28% of both the art collectors and art professionals surveyed said they had already used or had a relationship with a Freeport provider, and 43% of the art professionals said that their clients were likely to use a Freeport facility in the future, versus 42% of the art collectors, who said they were likely to use such a facility”.

WHERE BUSINESS CROSSES ART

â&#x20AC;&#x17E;28% of both the art collectors and art professionals surveyed said they had already used or had a relationship with a Freeport provider, and 43% of the art professionals said that their clients were likely to use a Freeport facility in the future, versus 42% of the art collectors, who said they were likely to use such a facility.â&#x20AC;&#x153; â&#x20AC;&#x201D; According to Deloitte and ArtTactic

However, the story has a negative side as well, since freeports reflect a dark side to the art world. The majority of the cases in the global art trading involves the crossing of borders of old masters and contemporary masterpieces. By offering complete anonymity and not disclosing the owners of the artworks, freeports make it an increasingly harder process to prove and complete the provenance of the artworks. Because of this, the concept of freeports forms the main reason why art is among the most unregulated industries in the world.

On the other hand, the wind of change is coming on its way. During the past 20 years more than 4,000 stolen artworks and historic facts were recovered only from the Geneva Freeport. Led by international police raids, legal cases and criminal probe by Geneva prosecutors, the Swiss authorities also started taking an interest in the art trade for the first time, because of the risk of money laundering and tax evasion or avoidance.

Another dark side of freeports, is that the hidden artworks slow down the recovery of stolen and looted assets.

Subsequently, customs agents in Geneva now require customers to submit a list of artworks stored in the freeport, and they perform random checks as well. As a result of this, art collectors began to pull their collections from the Geneva Freeport facility.

The legal loophole that many make use of is simple. In legal terms, if one stores an artwork in a freeport it is not considered as export, therefore no duties are needed to be paid and no laws are actually broken.

Governments and law enforcement are searching for the best strategies to address money laundering and terrorism financing vulnerabilities when dealing with cultural goods.

Put in a clear way, tax evasion is a crime in many countries, however tax avoidance is not.

In Luxembourg, the licensed operators of the Luxembourg Freeport already are subject to anti-money laundering provisions since the law of 24 July, 2015.

Talking about numbers, the Geneva Freeport itself has an estimated art collection value of $100 billion. Tax avoidance means that it is within ones rights to pay only the amounts required by law and nothing more, and this is where freeports excel. In the world of freeports, art is not about appreciation anymore.

In Switzerland, the responsible art market initiative and the appointment of service providers to monitor antiquities entering the Geneva Freeport from September 2016, are part of the response.

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Learning from these steps, on 26 March 2019, the European Parliament adopted the final report of the Special Committee on Financial Crimes, Tax Evasion and Tax Avoidance (TAX3), which the committee had adopted on 27 February 2019. The report stressed that freeports provide "a safe and widely disregarded storage space, where trade can be conducted untaxed and ownership be concealed”, which has led to the call for freeports to be scrapped across the European Union in order to fight tax evasion and money laundering.

The original purpose of the artworks, to bring inspiration, awe, magic, artistic values to as many people as possible is thus overshadowed by self centered and manipulative reasons of a few. Artworks disappear every year in these secret storages and so do their purposes and values for the future generations. With more focus and talking about this issue, it is most likely that there will be more changes and enforcements in all parts of the world, that will look foremost at the protection of artworks as symbols of the journey of humanity.

Looking from the perspective of protecting the cultural heritage of humanity, freeports make it possible that artworks remain hidden for hundreds of years in hidden storages, vaults, instead of being shown and displayed.

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Issue 01/2019

Issue 02/2019

Winter 2019-2020

In focus

Advices, Best Practices

Where Business Crosses Art

A unique example in Japan showing how art has the power to transform and elevate a once forgotten and remote, industrial area.

Rebecca Wilson, chief curator and vice president of Art Advisory at Saatchi Art, shares her advices to both artists and art lovers.

BMW Art Journey, a collaboration with Art Basel. What really counts is the journey that the artist takes through the different steps.

Do you know someone PASSIONATE ABOUT ART? Let them discover exceptional people who are committed to change, advocates of art and artists. Surprise them with an annual subscription.

Women in the art world

Art collectors

Art & Finance

Differentiating women artists after pregnancy seems to be a past issue now that so many opportunities exist to make choices from.

Art collectors or investors, passion or pure investment? Interview with German art collector, Stefan Buder and H.E. Dr. Mustapha Adib, Lebanon’s Ambassador to Germany.

Art and finance, art and money are seemingly contrasting issues, lying quite far from each other. Interview with Adriano Picinati di Torcello, Director at Deloitte Luxembourg.

A physical and virtual space, bridging art and people The development of technologies such as augmented and virtual reality have brought a new perspective to experiencing art.

Go to “Can you name 5 women artists?” a world wide campaign The National Museum of Women in the Arts sees as its mission to champion and promote women artists, by addressing gender imbalance issues.

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A physical and virtual space, bridging art and people The development of technologies, such as augmented and virtual reality, has brought a new perspective to experiencing art. It is becoming more and more widespread also in traditional places such as museums, which are motivated more to open their doors. Experiencing art, going to museums is moving away from being a privileged and niche activity to something that is possible in a fun and innovative way.

One of such a courageous and innovative leap of faith was taken by the Kremer Museum. This privately owned museum opened its doors wide open by taking a huge step ahead, building a bridge between visitors and their collection of 17th century Dutch and Flemish art. The innovative step the msueum and its team took, was that they made not only one piece or exhibition fully immersive through VR technology, but they created a complete VR environment for the whole museum with all its 74 masterpieces. What makes this museum so special that it blends the physical space with the virtual sphere, bringing about the best from both realities. One can experience the VR museum from anywhere in the world - with the help of a VR headset - and not only the artworks themselves, but the whole physical museum space as well. This also makes it possible to experience all artworks in their full details, from all angles possible, creating an intimate relationship between the viewer and the artwork, as well as the artist who created it. But apart from the great technological leap, the further effects are that the museum opens the doors to all those who cannot afford a trip and ticket to the Louvre or to other famous museums. Students and people from diverse cultures can also learn about the artworks, the artists and their historical context when they were created. The artworks are suspended away from the walls, which makes it possible for the visitors to go around them and see them in all their parts.

“Viewing the back of these old paintings is like looking into its passport where one discovers its journey through marks over time, personal notes, stamps, or even scars. It's a very intimate experience that would get you in trouble at the Louvre” describes the effect Johan van Lierop, the architectural designer of the vision. Knowing that this step of innovation would bring about many challenges and changes, it is worthwhile to know how the idea to implement VR into the collection of old masters came about. Joel Kremer, the director of the Kremer Collection, had a great chance to combine his passion and professional experience by combining his own IT background working at Google, with his bond to art through his parents’ private collection. “I first had the idea whilst reading about Facebook's acquisition of a kickstarter project (online crowdfunding), called Oculus. They had bought this company and were about to release a newly developed headset for consumers called the Rift. As I follow these things quite closely since my work period at Google, I saw a pattern; all of a sudden all the big tech companies were getting into 3D projects via VR and AR (augmented reality). My frustration with the internet with regards to our collection had always been that all these fantastic models to reach people would cost money and would bring our online visitor to our website or a mobile application. Even though our site is great

IN FOCUS

for art enthusiasts, because it has a lot of information and imagery, for most people it's still a flat online experience. With VR coming to the consumer, would it be possible to create an art experience, much like a museum, that felt real and enabled you to see the art up close within that experience?” describes Kremer the background and motivation of the vision. He brought the idea up to his parents and started to look for companies who had the same vision. Eventually it was Moyosa Media from Holland with whom their visions came together, and they started to develop the ideas in a collaboration. Moyosa Media presented a proof of concept within only 3 months and the complete built of the museum as it is today, took them to realize 11 months from start to finish. The design was done by Johan van Lierop, architect and designer.

As with all new out of the box innovations, there were plenty of challenges on the way from vision to realization. The major challenges in developing had a lot to do with shooting the images for the museum. “We used a technique called photogrammetry, which basically means you take thousands of pictures from different angles to try and create a 3D model of the painting. In total we took around 80,000 pictures in 3 weeks of shooting. The challenge came when we saw that the flash batteries were overheating from all those pictures. So I bought industrial sized bags of ice cubes online and we put the batteries in double garbage bags, into the ice to keep them cool and we could continue shooting. Those are great stories to think back to!” tells us Kremer.

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Â© Kremer Museum 37

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„Anyone with their AR enabled iPhones, iPads and Android devices will be able to walk through the museum, using their device as a magic see-through window into the digital experience...pretty cool.“ — Joel Kremer Director of the Kremer Collection

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Â© Kremer Museum 39

IN FOCUS

Another technological challenge was to make the user experience as flawless as possible, while processing a lot of data into a commercial phone or headset, which has limited storage and processing power. To achieve an experience close to reality, the colouring was also a huge focus for the project. “At the end, our art is about visuals and colours and the magic these masters produced with that” says Kremer. This unique example of opening up and creating bridges, brings with itself lots of new opportunities and changes in the way art is experienced and made available to many more people around the world. When asked why is it worth to discuss and develop more technologies to be included in the art world as well, Kremer highlights how the online experience often can teach more than real life.

“You can take your time, zoom in, look again and discuss a piece whenever you feel like it, whereas the traditional model requires you to travel to the museum, possibly buy a scheduled ticket, and spend some time with the art piece, but chances are that with the more popular pieces, you will be disturbed by other visitors. That's of course not to say that a digital experience is better than an offline one; it's just very often more accessible and flexible” explains Kremer. The Internet has made the world a smaller place in terms of spreading information. From an art lover’s point of view getting closer and learning more about the art that one is interested in, gains more meaning since the information is anyway out there. From websites and mobile apps, to initiatives such as the Google Art Project and now the newest technologies (AR, VR, AI), which are used to show and create art, more and more people can become experts by just reading and looking at art online.

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According to Kremer, from the museum and collector’s point of view, today more than ever before, they should think in terms of a global audience instead of sticking too much to their location based visitors, who are of course a fraction of their potential. The online visitor will give them more information, is more reachable and often more engaged, and probably returns more often. This gives unprecedented opportunities for marketing, community building, education and of course also revenue. The future of art is forever changing and so does the way we see and experience it. In Kremer’s point of view, it is through technology that every aspect of art is already and will continue to change in the future. “From research and preservation, to exhibitions online and offline. It will enable us to learn more about art pieces and experience art in a much richer way than ever before by enriched storytelling both on- and offline” describes it Kremer.

The art and artworks will remain the center point, he continues around this cycle of thought, but technology will tell the story in much more visual ways. The ways and options of using technology are many, and are continuously developed further from interactive apps on our mobile phones, digital layers viewed through screens and glasses and many more. The building of bridges between culture, art and people continues at the Kremer Museum, it does not stop with the VR technology. The next leap of faith is to release the museum experience into a mobile phone and tablet experience. “Anyone with their AR enabled iPhones, iPads and Android devices will be able to walk through the museum using their device as a magic see-through window into the digital experience...pretty cool” concludes enthusiastically Kremer.

KNOW YOUR RIGHTS

Helping artists to navigate legal waters Where does one start when they want to help artists in legal matters, and where does one start as an artist to find legal help? These are the questions that moved Irina Tarsis to initiate a center focusing on legal issues that serves artists and students, academics and legal practitioners, collectors and dealers, government officials and professionals in related fields around the world, called today the Center for Art Law.

As described by Tarsis, the Center for Art Law was founded in response to the void in the United States for a centralized resource, accessible to all members of the general public with questions and interest in legal aspects of the art world. The readers and members of the center include attorneys and artists, collectors and gallerists, auction houses and museum staffers, art historians, art movers and many others who care about legal issues in the art world. Specific as it is, Tarsis’s decision to attend law school was motivated by a specific goal to train and practice art law. Unlike many colleagues, who accidentally “fell into” this line of work, she wanted to go directly into this area and help members of the arts community. “At the time of graduation, I realized there were many people like me sharing interests in questions of authenticity, ownership and restitution and no guidance or map on how to break into the field. Where does one start if they want to help artists navigate the legal waters? Today, the Center receives students with that same yearning and we are proud to be guiding them to the path of becoming art lawyers” explains Tarsis. Since then, the center has developed and is acting as a nonprofit, dedicated to all that is art law. It is a unique and valuable place bridging a gap between law and the arts, and bringing together legal experts and members of the art world. Not only does the center collect resources but also organizes educational and cultural events. Its team members, committed to the center’s mission, follow developments in the field, amalgamate valuable resources and develop workshops on a variety of topics, all intended to provide guidance to the art world. 42

Irina Tarsis © Center for Art Law

With 10 years of being active and having had a broad view into the main legal challenges, Tarsis sees as a recurring problem the lack of contracts between artists and galleries. This one issue can effect largely the artists’ careers as well as their personal and artistic growth.

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„Law has become an integral part of art creation as well as for emerging artists, and today art students are more likely to think about their copyrights than those who came before. Artists should not hesitate to consult attorneys and accountants when starting their careers.“ — Irina Tarsis Founder of the Center for Art Law

“Other regular legal challenges include production and sale of forgeries by those who seek to capitalize on the demand for certain artists in the art market. Also, frequently artists forget or do not realize that they can protect their works through copyright registration. We are working on workshops to bring awareness to artists about their legal rights” describes further Tarsis. Since technology as a tool is used more and more in the art world, for example by artists just as by museums, it serves well to know how the legal part related to it has changed too. According to Tarsis, the emerging technologies are both helping and complicating the artistic process. On one hand, digital art is easier to disseminate and artists can sell licenses instead of selling physical copies of their work in the primary market. On the other hand, the likelihood of copyright infringement is on the rise. Again Tarsis strengthens the point of how important it is, more than ever, to seek clarity in the relationship between artists and their gallerists, as well as collectors, especially in relation with contracts. “Contracts offer a protection to artists, whether they are operating in the traditional realm or in digital art, using new technologies such as AI. Artists need to keep track of the art they produce, which circulate in the market. One way to ensure this, is to use blockchain technology to record ownership of a work. Another is to prepare contemporaneous records, in anticipation of writing a catalogue raisonné, cataloging the oeuvre of any particular artist” advices Tarsis.

An interesting example is Ed Rusha, who is working on a catalogue raisonné of his works, even though he continues to create new art. His website lists dozens of work, which he is unable to locate and have been sold from his studio or via his dealers without good business records. Working on a contemporaneous catalogue raisonné or fingerprinting of art will go a long way to help protect the integrity of the living artists in the future. When it comes to legal matters and systems, there is a huge difference between the US and the European one. It is the same when it comes to the arts. Thinking about the differences and what frameworks of protection exist in the two continents, Tarsis holds the opinion that the European legal system offers more protections to artists and to the integrity of artworks. What she sees as a big difference between the two legal systems is the treatment of resale royalty rights. “In Europe, most countries have laws in place, which allow living artists or estates to benefit from the rising prices of artworks circulating in the secondary market. Such a resale royalty right has been discussed and considered in the US for decades, but it never reached the federal level and the only state law to this effect was found unconstitutional” describes Tarsis the difference. There is a new step that is going to take effect from January 2020 onwards within the European Union. This step is going to bring about changes for art collectors, being advantageous mostly to the issue of transparency.

KNOW YOUR RIGHTS

The European legal system will be integrating a recent European Union Directive, the so called 5th Directive, that will obligate art dealers to conduct investigation into their clients’ financial sources and identity, before selling works of art for more than 10,000 euros.

“Law has become an integral part of art creation as well as for emerging artists, and today art students are more likely to think about their copyrights than those who came before. Artists should not hesitate to consult attorneys and accountants when starting their careers” points out Tarsis.

“The duties imposed by the 5th Directive, while criticized for being unduly onerous on the art trade, should offer more transparency into the operations of the art market” clarifies Tarsis.

There are more places, sources, organizations and people than in the past, who provide help and offer a wide range of informations. The Center for Art Law, and many other nonprofit organizations, brings together different players of the art world offering workshops, trainings, guest lectures to members of the artistic communities to explain legal basics for artists. In the United States many states have organizations like the Volunteer Lawyers for the Arts, which attempt to introduce attorneys and artists and offer pro bono or reduced rate representation to painters, dancers, film makers and other creatives with legal needs.

Artists of today, who come out from their schools and are just starting to build their careers are more conscious than those just 10 years ago, in terms of getting to know more their rights as artists and being more informed.

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â&#x20AC;&#x17E;In Europe, most countries have laws in place, which allow living artists or estates to benefit from the rising prices of artworks circulating in the secondary market. Such a resale royalty right has been discussed and considered in the US for decades, but it never reached the federal level and the only state law to this effect was found unconstitutional.â&#x20AC;&#x153; â&#x20AC;&#x201D; Irina Tarsis Founder of the Center for Art Law

KNOW YOUR RIGHTS

Beyond that, the Center aims to aggregate these resources and preserve the knowledge that is available in different locations, an aim that goes beyond pure information and advice giving. “We began by hosting ‘art law mixers’ in galleries in NY, Boston, Washington DC and even in London to encourage a friendly dialogue between members of the legal and members of the artistic communities. Under the leadership of our Executive Director, Louise Carron, in 2019, the Center offered multiple modules on business law and the arts, hosted by organizations such as the Pratt Institute and UrbanGlass Studio. We are looking to expand this training program in 2020 and to reach students in different studio arts programs as well as in artists’ communities” reveals further plans Tarsis.

Graduate programs are increasingly paying attention to law and the arts. For example, Columbia University's Teachers College includes two mandatory classes on law and the arts for its graduate program students. This and many other non-law schools realize the value added of educating their students on relevant legislation and best practices. Having been in contact with many types of players in the art world, and having had deeper understanding of their needs for growth, Tarsis does not see the role of art and artists as changing drastically in the future. In her opinion, there will always be human creative minds and hearts behind the creating of art, even though “computer created” art is not unusual anymore. “What I do anticipate seeing more in the future, is the freedom emerging technologies will offer to people to express themselves. In addition to work in traditional media, artists increasingly seek expression in the digital and the experiential realm. Museums, fairs and collectors are becoming increasingly interested in innovation in the arts, and many artists are inspired to find new ways or to put new spins on old ways of expressing themselves. Some artists are actually inspired by laws and make art which integrates or comments on different regulations in place” envisages Tarsis. Although in the past, art and law might have seemed very far apart, whereby artists had no opportunities or even awareness of the legal aspects their work process had, today this approach is changing into a much more accepted notion of freedom of information and knowing. What art lawyers can do is to continue protecting artists’ rights and encourage transparent and fair interaction between the different players in the art world.

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ART ADVOCATES

From a question “Can you name 5 women artists?” to a world wide campaign It was the question that was first asked by Wilhelmina Cole Holladay, who in the 1970s set out to collect artworks exclusively by women, and is the co-founder of the only museum in the world solely dedicated to advocating women in the arts. The answer to this question still poses difficulties to most people, which this unique private museum, the National Museum of Women in the Arts is committed to change.

The National Museum of Women in the Arts sees as its mission to champion and promote women artists by addressing gender imbalance issues, educating the public and initiating campaigns such as the one called #5WomenArtists. In the 1970s the opening of such a museum raised several questions and doubts. “When asked why women artists need their own museum, Wilhelmina Cole Holladay would ask ‘Can you name 5 women artists?‘ most couldn’t” says NMWA’s communications manager, Emma Filar. NMWA is more than a museum, its purpose extends way beyond the art it showcases on its walls. Frequently held lectures, readings, films celebrate women in all art forms. “I truly feel that the arts are meant to be shared,” says Holladay. “You can buy art, you can hang it on your wall... but great art has a life of its own. There is a longevity of great art that has very little to do with the individuals who for a time during their life possessed it.” Today, the museum continues to grow. The collection includes works by more than 1,000 women artists. The museum has presented more than 300 exhibitions, showcasing the contributions of women artists from around the world. Educational programs for all age groups and many varied outreach programs are held each year. NMWA has 22 committees in the United States and around the world spreading its mission.

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The museum’s Library and Research Center continues to be the world’s information leader on female artists with 18,500 books and print resources. Changing awareness takes time but the approach has changed since its beginning, especially in view of the rise of social media, gaining access to much more people in a direct way. It is a time of rising awareness and during this time, there is also an increased interest in the museum and its activities, especially since its aim is to be the leader in the issue of parity in the arts. The #5WomenArtists campaign started off during the Women’s History Month in March, when the museum had a great opportunity to celebrate women artists. Bringing it to social media has transformed it to a movement that has been growing ever since.

“We wanted to capitalize on this attention to advance our mission in a fun and engaging way… without a dedicated budget. So, we decided to use social media to pose the founder’s question to our growing followers, and encourage them to challenge others in a way that would also bring awareness to the fact that the question isn’t as easy to answer as it seems” explains Filar. The #5WomenArtists campaign has reached many parts of the world, and has seen since its launch a worldwide participation. Over the past four years there have been organizations from more than 50 countries participating in it. It shows how many organizations are actually aware of the issue and the problems related to it, and are taking actual steps to address it.

ART ADVOCATES

„The National Museum of Women in the Arts sees as its mission to champion and promote women artists, by addressing gender imbalance issues, educating the public and initiating campaigns such as the one called #5WomenArtists.“ — NMWA

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ÂŠ National Museum of Women in the Arts 51

ART ADVOCATES

“In fact, for the 2019 #5WomenArtists campaign, we moved from awareness to action, asking participating organizations to take pledges to implement real change to address gender inequity in their institutions” reveals more about the campaign Filar. Getting to know some of the highlights around the world affirms how the campaign of awareness is moving into the direction of action in also previously inactive and traditional museums of the world. The Jewish Museum for example pledged to organize a Wikipedia edit-a-thon to improve the representation of women artists on Wikipedia, to highlight women artists on its social media channels and Medium stories, and to highlight products by women artists in the Jewish Museum shop.

Other examples are the Museo Guggenheim Bilbao, which pledged to acquire a new work by a woman artist for its collection. The National Gallery, London, pledged to highlight the work of Artemisia Gentileschi with a major exhibition on the artist in 2020, the first ever in the United Kingdom. The New-York Historical Society’s Center for Women’s History pledged to explore the vital role of women in shaping the American story through four exhibitions of work by women artists in 2019. The North Carolina Museum of Art pledged to feature programming about women artists and add women artists to the museum’s permanent collection as part of its Matrons of the Arts initiative. The Tate pledged that 95% of the work featured on its social channels during Women’s History Month, will be by women artists.

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Furthermore, le Gallerie degli Uffizi pledged to highlight more women artists on its social media channels, to create dedicated Instagram posts throughout the year and to publish articles on its website about women artists. In addition, it is dedicating special exhibitions to women artists and feminists around the turn of the 19th and 20th centuries and a monographic exhibition of Kiki Smith. Another campaign that was influenced by NMWA’s work is the National Gallery of Australia’s #KnowHerName campaign, which has led to a major initiative to address gender imbalance in Australian museums. According to Filar, the trend of increasing visibility for women artists is encouraging.

“To sustain this overall upward trend, it will take dedication by all corners of the art world: teachers, galleries, patrons, museums and curators” continues Filar. The source of challenges and obstacles that women artists still face is the continuity of deep-rooted beliefs, limitations and patterns that continue to support the existing environment in all fields and parts of the world.

ART ADVOCATES

„I truly feel that the arts are meant to be shared. You can buy art, you can hang it on your wall... but great art has a life of its own. There is a longevity of great art that has very little to do with the individuals who for a time during their life possessed it.“ — Wilhelmina Cole Holladay Art collector & co-founder of NMWA

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“Womens’ lives are complicated by an inherently patriarchal system. This can be seen in the unequal pay they receive for the same work, the lack of paid maternity leave, lack of organized support for child-rearing, and the perception that women aren’t ‘as good’ as men at certain professions – including art” describes it more in detail Filar.

Beliefs that were thought to be stone hard and unbreakable can however change. Interestingly, the NMWA is situated in a former National Masonic Temple in the the middle of Washington D.C., in the very place where at one time women were not allowed to enter. Today, its aims, views and activities are like the water of river, carving a way to build routes for change.

ART ADVOCATES

„Womens’ lives are complicated by an inherently patriarchal system. This can be seen in the unequal pay they receive for the same work, the lack of paid maternity leave, lack of organized support for child-rearing, and the perception that women aren’t ‘as good’ as men at certain professions – including art.“ — Emma Filar Communications Manager at NMWA

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ART IN EVERY DAYS

Living colours One does not have to be an artist or to have artistic talents in order to notice the variety of colours and shades that surround us. Many of us do not give much importance to colours, we hardly even notice they form our moods, they are part of the ever changing nature, they have symbolical meanings, they are sources of inspiration, feelings, thoughts, memories, choices. In her book, “The Secret Lives of Colour”, Kassia St Claire takes us on a trip in time from past to present, through many centuries ranging from different cultures and societies, to make us see colours more colourfully, bringing life to them.

Kassia St Claire is a writer, speaker and advocate of all that is related to colours, design and culture. When I first saw her book “The Secret Lives of Colour”, I thought it would be a description of the variety of colours with some historical background and other basic information. As I started reading it, I realized how much I was fascinated and could not put the book down. Each colour appeared livelier and with a life story of its own. They were not anymore just colours with long, hardly pronounceable names but were personified with the story of their birth and deaths, through their transformations. I also began to understand more about the way classical artworks have been created and why their colours were so different than the ones we see in contemporary artworks. Through the pages I started to see how the different colours have influenced what artists created, and how it formed the way people dressed and saw each other. I was so fascinated by the book, that I wondered about how the author got involved into researching colours and what motivated her to go so much in depth. St Claire chose the path of colours influenced mainly by her childhood. “My mother was a florist, so some of my earliest memories are of being surrounded by lots of outrageous colour combinations (it was the 1980s after all!) in her flower shop” she remembers back. 58

Later, she studied History at Bristol and Oxford, and became interested in the way the language of colour had shifted over time from the 18th century to today. Her fascination for colours and its deeper meanings is an eye opener, since it makes us realize how, over the centuries, colours have formed our beliefs, traditions, culture. Today, the selection and range of colours, shades and hues not only for artists, is so wide that it is often taken for granted. Based on St Claire’s experience, the main motivators behind the choices of colours that people make is the source of much debate, but she believes so much of our preferences are cultural and contextual. “We all help to create, and then draw upon, broad stories about different hues, shades and tints, which then inform our choices. Shades that are fashionable, for example, or associated with a political movement, or royalty, and so on. A classic recent illustration of this was the move by the British government to force cigarette manufacturers to make their packaging “ugly” so consumers would be less likely to buy them. To do this they did research to try and find the “ugliest” colour, a dull green as it turned out. But this shade can be beautiful in a different context, as a rich wool coat, for example or maybe as a velvet. In fact, olive colours are often used in other contexts to signal good taste” she explains.

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Kassia St Claire ÂŠ Kassia St Claire 59

ART IN EVERY DAYS

„All colours are friends of their neighbours and the lovers of their opposites.“ — Marc Chagall Artist

Colours define our perceptions in our every day life and they give us emotions, feelings, thoughts, memories, they uplift and inspire us. They change as our beliefs change too through our lives. Newborns do not see yet, they still live in the ‘angel universe’ but later children start having a favourite colour, which define their clothes, toys they have and their world evolves around these preferences. Teenagers are often associated with dark, black colours when they start discovering their souls’ depth, seeking their true selves. Later, colours become important again but they are more subtle. Some colours are of course symbols too. They can mean very different things in different cultures, like for example the colour of grief in our western societies is dark, in the Far East it is white or even colourful since it is associated with transformation, the eternal cycle of life rather than of loss and sadness. We do not have to be artists to see more colourfully in our every day lives. According to St Claire, we already see very colourfully, so much more than our ancestors.

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“We see adverts, colourful images on screens, on Instagram and so on. I think a greater challenge is to help people appreciate the colour around them, perhaps by rationing colour in our surroundings in some way so that we stop to appreciate the newness and excitement of a colour when we see one, rather than being bombarded and overwhelmed” describes St Claire more about this subject.

We only need to imagine the rainbow with its beautiful, glowing colours or the rosy cheeks of a laughing child.

It is worthwhile thinking about how colours are part of our lives. The colours that we choose for our life surroundings, like our clothes, cars, walls in our living areas, etc., all define and mirror our inner selves. It is the way we assert ourselves and “communicate” to the world.

She believes virtual reality will change our and artists’ perceptions of art and the way of creating.

Authenticity is about owning the way we feel and reflecting the way we truly are, without wanting to blend in with everyone else and wanting to be the same as everyone. In the western cultures it is often believed that one is “free” in expressing him or herself through the way we dress, our choices of colours that we surround ourselves with, the thoughts we attach to them, etc. But how much is this freedom coming from outside through external influencing factors, collective “pressures” to conform and how much is it a true inner expression, coming from who we really are, without being scared of what others will say or think of us? There is much to take in and be motivated by artists in this respect. Many artists choose colours intuitively, knowing inherently which one to use and work with. There are plenty of ways to get friendly with colours and one can also learn the “correct” way from various books about which colours are to be used together and which not, which ones complement each other while others do not. Nevertheless, the most striking and magical colourful combinations are those that happen spontaneously in nature, in the phenomenal world.

St Claire sees the colours as always evolving, just as they have in the past. Especially so, since paint manufacturers are constantly working to make new formulas that will be longer lasting, less toxic and cheaper.

“One frontier is in digital colour creation, so people won't be limited by colours that we can actually produce. This is something we're already seeing with the making of virtual clothes in finishes and textures that could never be physically made or worn, but exist only online to be worn by avatars or in social media posts. I also think, as interest in and concern for environmental issues deepens, we're likely to see this impact our colour choices. We may come to appreciate more mottled or mixed colours, which are more obviously the result of recycling or natural, water-conserving dye processes for example” explains St Claire in depth. Whether we deliberately choose colours for our appearances or not, by noticing them around us they become alive and can have positive effects within us. Noticing the shades of colours of the sky as the seasons change, looking into another person’s eyes, discovering a variety of colours in a photo can uplift and encourage us to “colourize” our lives. Marc Chagall once wrote: “All colours are friends of their neighbours and the lovers of their opposites.” Discovering and opening ourselves more to the world of colours, will make us realize not only the colours themselves, but also how similar and unique we all are.

The colours of our universe are full of creativity, imagination and uniqueness, not following certain pre-defined patterns, but a way of their own.

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„Art is standing with one hand extended into the universe and one hand extended into the world, and letting ourselves be a conduit for passing energy.“ — Albert Einstein Theoretical physicist

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