Seminars ARTinvestment.RU for investors and art dealers

[Самвел]

Сообщение от Jasmin

Извените, there are objections:
1. no profession is not worth that because it hurt
2. artist - not so much a profession as a vocation, as well as a state of mind

No need to understand everything literally, I figuratively.

[dedulya37]

Сообщение от Samvel

Not always, the artists worked, because they enjoy their work, traveled around the Soviet Union, in Russia, by inserting early in the morning, something would have time during, or even spend the night at the place you like to stand and capture it all on different days, at different times, in the fog, rain, vobschem it was an exciting game, I think so.

  They are rarely what they sold, they have been exhibited in prestigious museums in the country, and the council took away their work, did not pay them, because they are happy when their works fall into the Tretyakovskuyu gallery, or to the Russian Museum, but in any museum. Only those artists are the future, the artists who are sick of his profession.

C first half agree, but with second to none.
Artists, for whom this is a profession, always selling the work. Council selected the works and distributed them to the proposals in the Federal Ministry or Republican, who in turn distribute the work to museums. Therefore, at each major exhibition was a lot of art from various museums, which made the application from its museums to certain artists. These critics, incidentally, were professionals, because from one year to trace the work of any artist put up. Artists were pleased to exhibit at any show, because solo exhibitions have been a problem - or a serious or a posthumous birthday (alas).
Aerobatics could get to the Tretyakov Gallery or the National Museum (for the RSFSR - RM).
Artists (Union members) always paid the money for his work trapped in a museum, who's going to work for free?

[Konstantin]

It has been a regular seminar № 3. "Promotion of the artist at art-market».
Most claimed, to repeat it in September is already full record - 24 people. About how.
Impressions from yesterday in one word - cool. Information was so much that my words: "in this place on a plan to take a break, those present unanimously protested, saying do not, sorry for the time. This despite the fact that our chefs have been in good form, cakes and buns were successful, and there was an idea whether you want to say something else. After a 22-00 start the fun, hour-plus were the questions, stories about themselves and their problems. The questions skhodu there were two topics for future seminars. We'll upload the photo essay and I will make the most interesting, there is something to discuss.

[Grigory]

1-2. Egor Molchanov performed the first
3-4. Constantine Babulin
5-6. Vladimir Bogdanov finishing seminar program
7-9. The most interesting - the answers to questions
10. And what about without them?

[Konstantin]

Yes, and reporting. A distinctive feature of this seminar is that the three men spoke, which naturally gave liveliness, questions and answers on the part of looked - cool. We lined up in front of seminarians and only had time to answer, know how to training in Western companies, which throws the ball to each other.
The questions were all about (literally).

Here is an interesting and complex:
- Should the museum to pay a portion of the money from the sale of tickets to the exhibition of paintings to the heirs involved in the exhibition?

Law

4 part GKRF

Chapter 70. Copyright

Article 1281. Validity of the exclusive right to work

    

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1. The exclusive right to a work force throughout the life of the author and seventy years, counting from 1 January following the year of death of the author. The exclusive right to a work of joint authorship shall have effect throughout the life of the author's surviving co, and seventy years from 1 January following the year of his death.
     2. At work, issued anonymously or under a pseudonym, the term of the exclusive rights expire over seventy years, counting from 1 January following the year of its lawful publication. If during this period, the author works promulgated anonymously or under pseudonym reveals his identity or his identity is no longer in doubt, the exclusive right to act within the period specified in paragraph 1 of this article.
     3. The exclusive right to work, made public after his death, shall be valid for seventy years after the publication of the work as from 1 January following the year of its publication, provided that the product was made public within seventy years after his death.
     4. If the author of the work was subjected to repression and rehabilitated posthumously, the validity of the exclusive right is extended and seventy years are calculated from 1 January following the year of rehabilitation works of the author.
     5. If the author worked during the Great Patriotic War, or participated in it, the term of the exclusive right given by this Article shall be increased by four years.

The law I am perplexed by paragraphs 3 and 4. For example, if brought to the point of the third point - on the seventieth year after the death of the author's work is made public and then another 70 years it (the law) is valid, ie the sum of 140 years?
Well, in paragraph 4 of rehabilitation - what here? And if not rehabilitated?

[K-Maler]

Сообщение от Konstantin

It has been a regular seminar number 3. "Promotion of the artist in an art market."
Most claimed, to repeat it in September is already full record - 24 people. About how.

This topic should be further discussed at the forum. Perhaps these visitors will take part. And can be discussed and failed strategies, the negative experience, also experience. It would be the artists shared their experiences: when and in what situation could sell, and what - no, that is, there is thus no question about the quality of the work for which you can write off the failure ...

[Pavel]

Сообщение от K-Maler

You have unwittingly identified a major problem - the mediator, who is also between the artist and audience. Previously it was "directly." Art - good piece, it requires awareness and understanding of the cases. Discussing, we do not mean "artisans" and believe that the mediator can assess "who is who." We're just trying to understand why "not working". The artist has already "invested". The modern situation is that the ability to act as a businessman he has not. So - through intermediaries. And then the question - how competent this intermediary ...

It's not even in the competence and the honesty and integrity and is a very large deficit now, and even before it was just those whom the system had made the conditions of work more or less honest, Now pretend that they know something unknown artists and beyond their understanding. The essence of the same in order to lure the artists paintings.
Low cult engaged in pushing his understanding of art or groups of pleasing artists. In museums get those who need.
As a result, everything was sold out of what had been achieved. Therefore, in the Tretyakov Gallery and the CHA hardly walk, and a picture of the money is not invested.
The way out is to abandon the middlemen and go directly to the buyer, throughout the world for this purpose there is an auction. we do not. Because everything is so bad and prices are so low.

[Евгений]

Сообщение от K-Maler

It would be good artists shared experience:

It's interesting, I suggest the theme for artists: "Sale of paintings from the artist's studio."

[Pavel]

Сообщение от Eugene

It is interesting, I suggest the theme for artists: "Sale of paintings from the artist's studio".

Sell their first and then share your experiences.

[Евгений]

Сообщение от Pavel

The way out is to abandon the middlemen and go directly to the buyer

Podelitess his rich experience, as you go directly to the buyer .. interesting.

Сообщение от Pavel

The point is that in order to lure the artists paintings.

Why do they draw out, Paul? What happened to them then to do?

Сообщение от Pavel

The way out is to abandon the mediators

What's the problem, give up ..