art value 11
7. Jahrgang 2013
Calculation and Ignition
alongside public museums, private collections and art societies, corporate art collections are magnets in the art world. Corporations give generously and not only by awarding prestigious prizes to young artists, but also by helping enhance museum collections with their loans. Additionally, unlike most museums, they still have significant acquisitions budgets. Nonetheless, in the public eye, they have long lived a kind of shadow existence, despite such prominent examples as the collections of Frieder Burda or Marli Hoppe-Ritter and the Würth Collection.
This may well be due to reservations about anything that looks likes the integration of art and capital. Such reservations are founded on the idea that economic reason stands in contradiction to art, which, one willingly concedes, exerts its strongest effect beyond the optimization of functionality. Only those who have not yet realized that economic success is the result of a comparatively small portion of economic calculating can persist in supporting this contradiction. Rather, here, too, crucial factors to such success include an ingenious idea and its resolute implementation.
In this issue of art value, Alessa Rather, Anne-Marie Beckmann and Sarah Ludewig explore the question of what inspires corporations to collect art in the first place and the various ways they go about doing this. Thomas Wagner and Dirk Luckow analyze the tension between corporate art collections and museums. Bertold Schmidt-Thomé and Lucas Elmenhorst discuss the legal structures for corporate art collections, while Tobias Schmitz acknowledges the frame as an art historical object. Rosa Schmitt Neubauer describes the Federal Republic of Germany’s practice of buying art, and Heiko Friehe shows how companies assess their artworks.
The issue begins with an image-rich text by Maik Schlüter in which the curator introduces readers to the texture of the images of this issue’s featured artist, Andreas Schulze.
I wish you an inspiring read.
Editor in Chief
In Schlüter’s essay, the city of Los Angeles is transformed into a lyrical kaleidoscope. The smallest details unexpectedly project a whole, and immediately the entire megacity seems to be compressed into a handful of conceptual opposites. Slogans become bright lights, and, while reading, you can breathe and smell the city’s air and hear its noises, just as if you were you were right in the middle of it: a text that reads like a movie in fast motion. This is an unconventional but surprisingly accurate introduction to Andreas Schulze’s A Los Angeles Story.