ART COLLECTION PROJECT

ART COLLECTION PROJECT

Order Description

MASC01 NAVIGATING THE ART WORLD UNIT ASSIGNMENT:
ART COLLECTION PROJECT (85% of the total project mark)
4,000 words (maximum) plus catalogue entries.
The assignment must be submitted electronically to Canvas by The assignment
must be submitted electronically to Canvas by 23:59pm on Wednesday 13th
December.
All information relating to this assignment is posted under the MAAB Programme
Unit on Canvas.
COLLECTION CONCEPT
Every good art collection has a mission, theme, idea or aesthetic that holds all
of its component art objects together. Your collection can be based on any
theme which interests you (and your benefactor). It can consist of any type of
fine or decorative/design art objects. These can be narrowly grouped into a
single homogeneous collection, or the collection can be mixed in terms of both
period and media. It can be an indoor/outdoor collection. Possible themes
include:
Genre – e.g. still life, landscape, portraiture, history, the nude…
Medium – e.g. the recent Bronze exhibition at the RA in London, ceramics,
contemporary time?based media…
Period – e.g. ancient, medieval, renaissance, or perhaps one of the ‘?isms’,
such as Neo?Classicism, Realism, Impressionism, Minimalism…
You will be asked to include a narrative describing the mission, purpose and
design of your collection. You will explain the curatorial drive and rationale
behind the collection – is it a corporate collection, a foundation, a memorial to
a deceased famous collector or collecting family, or an educational collection?
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BRIEF
A benefactor has asked you to create and curate a private collection of twelve
art objects to be based within a fictional space in London. Although the
collection itself is virtual, its art objects are actual and are to be sourced in real
time from galleries (both virtual and online), art fairs, or auctions (both live and
online). All contextual aspects affecting the collection, such as budgetary,
display, conservation and transport and insurance issues are also actual. All art
objects purchased must have been publically available on the market between
March 1st, 2017 and December 6th, 2017, one week prior to the assignment
submission date of December 13th, 2017. You may only purchase a maximum
of 6 works from the period March 1st, 2017 to September 20th, 2017. This is to
encourage you to purchase ‘live’ in auctions, commercial galleries, art fairs and
online.
BUDGET
Your benefactor has limited you to the budget band as given in
COLLECTION PROJECT BUDGETS ON CANVAS:
https://online.sothebysinstitute.com/courses/1124/groups#tab?393
Each band assumes an average of 1 unit for purchase of each art object, plus
an extra 3 units for overall associated costs necessary to maintain the
collection for three years. However, it is your decision how you allocate these
funds, so long as you rationalise your budgetary decisions. NB For confidential
reasons, your benefactor requires that you spend all available monies in your
budget, within parameters of +/? 10%.
As you “acquire,” you should assess typical price bands for each art object by
using market databases, and ensure that the prices you are paying fall within
these bands so that you are not being overcharged. If a work is purchased for
an atypical price, this must be explained in your budgetary account. You
should source related materials including JPEGs, and artist’s biographies, etc.
Like any collector or collector’s agent, you will want to obtain as much
information about the individual pieces as possible, including provenance,
exhibition and conservation history, medium, editions, related literature and
correspondence, etc. Also take note of incidental expenses that you might
incur such as buyer’s commission, taxes, import and export duties, shipping,
conservation/restoration costs, framing, installation and insurance. All related
research should be noted within the project.
Take this opportunity to explore in depth areas of the art market that interest
you.
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PURCHASE STRATEGY
If possible, avoid buying your 12 works from one single type of source. Prefer a
range of sales locations including auctions, galleries and online. If you must buy
from one type of source this must be rationalised.
PURCHASE ETHICS
Remember that this is a fictional academic exercise. You must not mislead a
dealer into believing that you are a real?life buyer. Be open from the start that
this is an academic project, and that you would like an approximate price
quoted for the work if it is not openly available, for example on the label, or on
a price list provided by the gallery upon request. You must not approach any
art market player with questions by e?mail. Remember that they are
businesses and it is unethical to waste their time with academic questions.
You will not receive any grading credit for this kind of information. Likewise,
your grade will be penalised if it is discovered that you have approached
dealers or other art market professionals in an unethical manner.
SUBMISSION AND FORMAT
Your Art Collection Project should be submitted on Wednesday 13th December
by 2359. It must be uploaded onto Canvas electronically as a single document.
Text should be double?spaced. The text is to be broken down into four
sections. Each section and sub?section should be clearly titled. Your project will
include the following:
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PART I – COLLECTION CONCEPT
Every good collection has a mission, theme, idea or aesthetic that holds the
collection together. Is your collection focused on a particular region? Genre?
Mission? Period? Medium? Some combination thereof? How do the parts
relate to – and create – the whole? In no more than 1500 words write a
narrative that describes the purpose and design of your collection. Be sure to
explain the nature of your benefactor: is this a corporate collection,
foundation, museum, etc.? You should give the collection a name, which may
reflect the nature of the collection, its benefactor etc.
PART II – COLLECTION CATALOGUE
Your collection includes an illustrated catalogue. Once you have completed
your catalogue, you will need to produce the following for submission:
Individual Object Reports – For each individual object in your collection,
include a detailed catalogue entry which includes all information relating to
each piece, including a catalogue note which relates each object to the
main theme as well as cross?refers to other objects in the collection. The
catalogue words are not counted in the 4,000 limit, but please do not write
too little or too much for each object – one page per object is usually
sufficient: you should bear in mind that the catalogue note directs the
visitor to ways of interpreting the object and the theme. It should not be
purely descriptive. Factual details (title, dimensions, provenance etc.) can
be copied from e.g. a published auction catalogue, but the more subjective
and ‘creative’ catalogue note should be your own work ? if you copy
material from another catalogue, it should be referenced. NB Artists’
biographies should only be included if relevant to your collection theme.
You may use JPEGS obtained from vendors or your own digital photographs for
your catalogue. Include detail shots of damage, signature, exhibition labels,
inventory stickers, etc. where relevant. You may also want to investigate using
collections management software, some of which is available as a free
download.
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PART III – COLLECTION DISPLAY AND EXPLANATORY TEXT
Using either grid paper or the more three?dimensional google sketchup (or
other architectural software), create a display plan: you may use a combination
of these if you prefer, and will be marked according to the clarity of your plan,
not whether you use the traditional grid plan or the more modern software.
You have been provided, free of charge, with a single floor of 375 square
metres of floor space (e.g. 25 x 15 metres, or whichever configuration you
prefer). The walls are a maximum of 4 metres in height. You might prefer to
use open space, or a mixture of closed and open, if your objects warrant this.
In no more than 1000 words, you should explain the rationale of your
display.
PART IV – COLLECTION EXPENSES/BUDGET WITH EXPLANATORY TEXT
Your own personal fee and expenses are provided by your client for the
duration of the period it takes to create the collection, followed by the first
three years of the collection’s active life. The budget (capital provided by your
benefactor) must cover the following costs, which should be computed and
reported using Excel:
? Total market value of works of art;
? Associated expenses (e.g., insurance, shipping, framing, installation,
taxes, customs, repairs, art consultant fees);
? For transportation costs, use Fedex online (Sotheby’s preferred carrier)
? Insurance costs should be based on the following premium scales as
recommended by Andy Mitchell of Hiscox art insurance:
‘As a very rough ballpark:
0.25% of total value for a collection up to GBP 5,000,000;
0.15% from GBP 5m to GBP 10m;
0.1% or slightly lower in excess of this amount.’
This is assuming 2 dimensional art of conventional size.’
‘Therefore, assuming 2D works:
GBP 12k ? premium GBP 250 (effectively a minimum premium)
GBP 120k ? premium GBP 750
GBP 1.2m ? premium GBP 2,250
GBP 1.5m ? premium GBP 2,500
Those figures assume static only cover (ie no transits) and are exclusive
of insurance premium tax at 6%.’
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‘3?D works: This will depend on medium and location.
Indoor bronze ? 0.25% of value
Outdoor bronze ? 0.5% of value
Indoor fragile ? 0.35% of value
Outdoor fragile ? not really applicable’
? Import/export duties. Percentage costs can be found in the smallprint at
the back of any recent Sotheby’s auction catalogue, along with other
duties such as resale royalty rights for work by modern/contemporary
artists from certain countries.
? Annual Maintenance Budget (including insurance, climate control,
conservation, etc.) for the duration of three years.
EXPLANATORY TEXT
Your budget section should also include a text (1500 words max) explaining
the rationale of your expenses. It is also important to note the sources of any
rates quoted and explain why they were chosen.
GRADING CRITERIA
Grades will be based on a combination of the following factors:
• strength of collection concept and rationale;
• depth of research and collecting efforts;
• thoroughness, detail and objectivity of cataloguing (unacknowledged
copying of earlier catalogues will be penalised);
? rationale of display and use of gallery space;
• accuracy and logic of budgeting;
• overall written presentation (neatness, organization, spelling and
grammar).