Art Business Info: NEWS
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On the 25th May 2018 - in less than 60 days - The General Data Protection Regulation comes into effect. It affects everyone and every organisation having data transactions with individuals who live/work in the European Union.
This blog post is about resources I've been trying to pull together about GDPR - for artists and art organisations - societies, charities, schools, galleries etc.
This means it INCLUDES:
NEW PAGE Today I'm launching my new resource page about General Data Protection Regulation for Artists and Art Organisations. - which is very much a work in progress. You can find it in the Office Practices section of the website. The art organisations include: art societies, art galleries, art dealers and art schools.
Previously, I've written two long blog posts on Making A Mark:
The NEW PAGE includes links to useful resources not included in the blog post and builds upon what I've previously written. I'm still looking and still finding new resources which might be helpful - but you may have to do a lot of reading.
RECOMMENDATION: Besides the links to the publications and resources produced by the Information Commission (first section), the section I'd suggest people take a look at is that relating to Issues for Art Organisations. It includes a very useful document written by The Arts Society providing guidance to its branch societies.
I'm also hoping to develop a section for "Artists as Sole Traders".
The one thing I have discovered is that more and more information is being published the closer we get to 25th May - and it's likely that a lot more will emerge as issues are tested in the courts thereafter.
Bottom line - this is a live issue for anybody who is creating transactions involving the personal data of anybody living in the EU.
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DISCLAIMER: I am NOT an expert on this topic - even if I know more than you! Like you I'm just trying to work my way through the maze of online information about GDPR. You are also not my client and I do not know your individual circumstances - meaning I have no liability to you in any circumstances should you choose to rely on any of the materials on this blog or website - although whatever is published by the ICO should be more authoritative than most!
I've always maintained that Damien Hirst's real talent lay in marketing and selling. For me he is a classic example of an artist whose ability to work out how to market his art - and to manipulate the art market for his benefit - considerably outweighed his talent as an artist.
The False Narrative of Damien Hirst's Rise and Fall
by Felix Salmon in the New Yorker (6th December 2017)
This article is a "must read" because it highlights how Hirst has fundamentally challenged the notion of:
With the 2008 auction, Hirst moved out of the world of commodities, which are bought and sold speculatively with a profit motive, and moved into the world of luxury goods, which are bought to be consumed and enjoyed. Which is exactly what art should be!
It also focuses on the fact that by moving art sales to "direct sales" between artist and art collector, a considerable amount of art market data has moved out of the reach of those who purport to know about 'value'. All they know about now is the amounts which are in the public domain because of art sold at auction. That's not always where the important sales are done any more.
After (his 2008 auction sale) Hirst started selling his work directly to collectors, at scale, and stopped playing by the established gallery-system rules. Hirst’s galleries were furious, but there was nothing they could do about it. Freed from gallery constraints, Hirst could make the work he wanted to make, and sell it at whatever price his collectors were willing to pay.
Hirst is obviously an artist operating at the very high end of the market. He's ripped up the rule book and started to reinvent the art market.
After partnering with an auction house in 2008 to create a gigantic sale of his work, in 2017 he partnered with a Francois Pinault (the French luxury goods billionaire) and took over two museums to create an enormous thematic show and made the Venice Biennale an explicit commercial venue for buying art.
Hirst says that sales from his latest show, in Venice, reached a jaw-dropping three hundred and thirty million dollars as of early November.
One has to ask to what extent artists operating further down the food chain can do the same thing:
To my mind it's perfectly possible - but only if artists hone their marketing and selling skills as well as those related to creating art and partner with the right people and platforms.
We've already seen it to some extent with the achievements of those who have created a credible art business by selling direct to collectors online.
Now we need to see whether artists start partnering with venues to sell their art in new ways - just like Damien Hirst...
Like I said - it's a recommended read for those who acknowledge that marketing has a lot to do with how value is created in the art market.
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Katherine Tyrrell writes about art, artists and the art business and has followers all over the world. She also delivers workshops for art organisations and reviews websites and career strategies for artists.
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