Topics

Geared towards art collectors, patrons, art professionals and those seeking the tools to appreciate and understand investment in the art world, Arnoldii Lectures provide basic inroads to understanding and appreciating complex issues surrounding the development of contemporary art, and insights into the world of collecting. The lectures are taught by individuals in the art world who have both academic understanding and professional practical experience.

The Business of Art & Art Dealing

Art Dealing & Art Business

This course, provides students with direct inside knowledge of the commercial art world, drawing upon selected case studies of notable gallerists, curators and exhibitions that have created markets for contemporary art, built artist’s careers and initiated a following of collectors and critics. Focussing on the direct experience of renowned gallerists the course presents invaluable anecdotal advice on the processes and intricacies involved in running a successful ‘Gallery Empire’. Outlining the variables which dictate the identity and success of a  commercial art business, the course addresses the use of  permanent gallery spaces versus temporary ‘pop’ up exhibitions , the importance of identifying a target audience and considers artist-gallery relationships, the dos and donts of marketing artists and the business of selling both in the gallery and on line.

Topic 1: Building a Gallery Business (High End Gallery)

Topic 2: Building a Gallery Business (Emerging Gallery)

Topic 3: The Power of on line business - building a commerical gallery on line.

Topic 4: ‘Pop Up Exhibitions’ – process, production and results.

Topic 5: Artist / Dealer relationships.

Topic 6: Print Sales: Producing and manufacturing multiples.

Topic 7: Exhibition installation and project management


 

More Info

Looking at Art: Investment & Legal Perspectives

Looking at Art: Investment & Legal Perspectives

This four class course investigates the role of the law in art, through the legal complexities of commissioning, buying, identifying  and authenticating a work of art. Students will be introduced to notable international disputes which highlight the risks, ethical issues and intricacies surrounding the identity, movement and ownership of a work of art.

The course is divided into the following topics:

Topic 1.Commissioning contemporary art: artistic, legal and ethical challenges.
Topic 2. Collecting art: risks and due diligence.
Topic 3. Is it art?
Topic 4. Law as an artistic medium? The legal moment in contemporary art.



1.Commissioning contemporary art: artistic, legal and ethical challenges.

The course addresses global practices of commissioning art through five main models; museums, private individuals/foundations, events and biennales, production agencies/not for profits and public governments. Drawing upon notable international commissioning bodies, projects and significant commission related legal disputes the course considers the complex legal and ethical issues, risks and rewards involved in commissioning contemporary artworks. The course will discuss why and how commissions are made, the relationship between artist and commissioner, notions of patronage and collection and the ‘after life’ of a commissioned artwork.

2. Collecting art: risks and due diligence.

The course focuses on risks for collectors when acquiring artworks and antiques and procedures for conducting prior due diligence and provenance research. Looking at legal risks connected to ownership; authenticity and unlawful export students are introduced to international art related laws and well-known disputes in order to address the risks to buyers; the ways in which buyers can mitigate risk and the remedies available to them. Case studies include holocaust looted artworks, stolen aboriginal remains, Cambodian antiquities and an allegedly unlawfully exported Renaissance masterpiece. Issues concerning fakes, misattributions and the loss of certificates of authenticity are also addressed.  

 

Is it art?

This course will look at legal cases and trials where the question of whether an artwork is actually an artwork has been in dispute. In particular, it will consider the iconic trial of Brancusi v United States customs (1928) consider the recent tax trial of Haunch of Venison v HMRC (2008) a successful case brought by the gallery against UK customs, because it refused to recognise installation works by Dan Flavin and Bill Viola as being works of sculpture and therefore entitled to beneficial tax and customs duty treatment upon importation.



4. Law as an artistic medium? The legal moment in contemporary art.

The course considers the use of law as a creative medium by artists and curators to create and exhibit artworks from the early 20th century artworks to artists today. The course introduces contemporary artists who have used contracts and financial instruments to create performative works which reflect on the social, economic and legal conditions of a work of art and the institutional power structures of the art world.  The course will examine key art works that use contracts as well as looking at contemporary artists who consciously challenge copyright law and notions of ‘original’ authorship and authenticity from the 1960s to the present day.

 

 

More Info

Southeast Asian Contemporary Art

Southeast Asian Contemporary Art

Investigates the origin of Southeast Asian contemporary art and examine its position today in Singapore and on the international stage, and be equipped with essential historical references with which to comprehend, appreciate and debate contemporary art trends. Addressing the complexities of socio-political influence on contemporary art and the power of art to promote change, Ho will examine the significant role of the Abstract Art movement in Southeast Asia during the twentieth century and consider global influences on regional art today.

 

HISTORY OF SOUTHEAST ASIAN CONTEMPORARY ART


This three class course investigates the origin of Southeast Asian contemporary art and examines its position today both in Singapore and on the international stage. The course provides students with an essential historical reference with which to comprehend and appreciate contemporary art trends. Addressing the complexities of socio-polotical influence on contemporary art and the power of art to promote change, the course will also investigate the significant role of the Abstract Art movement in South East Asia during the 20th Century and considers global influences on regional art today.

 

Topic 1: PRE-CONTEMPORARY VISIONS: RETHINKING THE NANYANG SCHOOL

Topic 2: CONTEMPORARY ART IN SINGAPORE

Topic 3: ABSTRACTION IN SOUTHEAST ASIA

 

------------------------------------------------------------------------------------------------------

PRE-CONTEMPORARY VISIONS: RETHINKING THE NANYANG SCHOOL

The Nanyang School has long been enshrined as a founding moment in the narrative of local art history – a uniquely Southeast Asian hybrid of East and West, an early example of what we dub the ‘glocal’ today. Yet, viewed from the vantage point of the present, it seems as if the time is ripe to take a second look at this particular formulation: the concerns and the iconography of the Nanyang School painters betray a certain romantic, essentialist approach to the portrayal of life in the so-called South Seas region, especially in a period of tempestuous, often acrimonious decolonization, and all its attendant socio-political issues.

 

CONTEMPORARY ART IN SINGAPORE I

What does contemporary Singapore art look like? In an era of globalization and digital connectivity, with a prodigious expansion of the visual arts infrastructure (the Art Stage fair, the Gillman Barracks, the upcoming National Art Gallery etc.), how is artistic practice here both co-opted by and resistant of broader currents of internationalism and control? This lecture examines specific objects, and forms of display, in the little red dot in the twenty-first century: both large-scale and small-, commercial and un-commodifiable, socially-conscious and otherwise; from painting to photography to installation, from conceptualism to performance to relational, participatory projects.

 

CONTEMPORARY ART IN SINGAPORE II

What does contemporary Singapore art look like? In an era of globalization and digital connectivity, with a prodigious expansion of the visual arts infrastructure (the Art Stage fair, the Gillman Barracks, the upcoming National Art Gallery etc.), how is artistic practice here both co-opted by and resistant of broader currents of internationalism and control? This lecture examines specific objects, and forms of display, in the little red dot in the twenty-first century: both large-scale and small-, commercial and un-commodifiable, socially-conscious and otherwise; from painting to photography to installation, from conceptualism to performance to relational, participatory projects.

 

ABSTRACTION IN SOUTHEAST ASIA

In the twentieth century, abstract art has been the subject of more than merely formalist or aesthetic considerations. Its trajectories in Southeast Asia, for one, have been tied to projects of modernism and nation-building, often framed within binaries of abstraction vs. realism, Western values vs. traditional ones, the new vs. the old. This talk focuses on the development of abstract art in Southeast Asia at the point of its emergence from the colonial past into independence – i.e. the turbulent decades of the 1950s through the ‘70s, with a particular focus on Singapore, Malaysia and the Philippines

 

 

 

   
     
     
     
     
     

More Info

Insights and Overviews: The Practice of a Professional Artist

Insights and Overviews: The Practice of a Professional Artist

 

INSIGHTS AND OVERVIEWS: THE PRACTICE OF A PROFESSIONAL ARTIST  is conducted in association with the Arnoldii Design Commission programme. The courses under this section will explore the practicalities of art production and fine art techniques from the perspective of an artist. The courses follow the journey from art concept to production and presentation allowing participants direct personal contact with the artist and artworks. The course will also explore the role of research, history and socio-political influence in art making and will provide participants with knowledge to identify and comprehend techniques and materials used in selected fine art objects including works on paper, prints and photography.

More Info

Collecting & Investing in Art

Collecting & Investing in Art

Discussion on the ‘mysteries’ surrounding collecting fine art, and address the use of art as a potential investment vehicle. Participants will gain a better understanding of market mechanisms and research avenues in order to refine buying and collecting strategies. These courses also introduce key concerns when building an art collection and provide guidance towards developing a focused and meaningful collection.

 

Lecture 1: Collecting & Investing in Fine Art (Part 1) - 1.5 hours

Lecture 2: Collecting & Investing in Fine Art (Part 2) -1. 5hours

Lecture 3: Making Sense of Available Market Information - 1.5 hours

Lecture 4:  Making Sense of Available Market Information (Part 2) - 1 hour

More Info

Contemporary Chinese Art

Contemporary Chinese Art

Featuring Conversations with Curators and Collectors

Explore the identity of Chinese contemporary art and the history of its origin and development and gain the tools to appreciate and critically respond to works of art and forms of presentation and display. Drawing upon references to leading artists and works within each chronological period in the historical development of Chinese art, Xue will share personal experiences of critical appreciation and advice on fine art valuation.

This two class course explores the identity of Chinese contemporary art and the history of its origin and development. Students will be given the tools with which to appreciate Chinese contemporary works and to develop a critical response to works of art and forms of presentation and display.  The classes will draw upon references to leading artists and works of art within each period in the historical development of Chinese art and will share personal experiences of critical appreciation.  Students will also be provided with advice on valuation. The course is conducted over two sessions, which are offered in either English or Chinese.

Lecture topics include:

  • A Brief History of Contemporary Chinese Art since 1979
  • Opening the Eyes to the Western Art World
  • From Dialogue with Western Art to Own Discourse

More Info