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Corporate involvement in the acquisition and display of fine art has expanded from a relatively unknown practice undertaken by a few businesses, to a common activity involving hundreds of firms. This study presents the results of a survey of 450 corporations (with 130 respondents) aimed at measuring the motivations behind the creation of corporate collections. Such collections may be held to improve employee morale and retention, to enhance the public image of the corporation, or to bolster the bottom‐line. In addition, a number of non‐monetary reasons are frequently cited. Corporations may be hesitant to reveal their true motives for holding art, since such a revelation may undo the very reasons for acquiring such a collection (enlightenment becomes simple self‐interest). Unlike previous studies of this kind, the questions are designed to determine the motivating factors behind these collections, without relying solely on the firms to reveal those motives. The results indicate that although a variety of motives, both pecuniary and non‐pecuniary, underlie these acquisitions, the former tend to dominate.

The purpose of this paper is to describe the creation of a catalogue of museum objects associated with two media art collections. The proposal was formulated under the Voremetur Project “Vocabularios para una Red de Archivos y Colecciones de Media Art y sus efectos: metaliteracy y turismo de conocimiento” (thesauri for networked media art archives and collections and their effects: metaliteracy and knowledge tourism) (HAR2016-75949-C2-1-R). Collection characteristics and typologies are discussed along with the difficulties encountered and the interoperability of the platform chosen with other Web resources that foster visibility.

This paper describes a case study and a review of the protocols and standards used to catalogue media art collections. Digitised descriptions were processed with Omeka software in conjunction with the expanded Dublin Core metadata schema. This paper also reviews the literature on the conceptualisation of these collections and the challenges involved in their conservation and management.

The result was the creation of a digital repository for two media art collections: one linked to Espacio P; and the other the outcome of digitising part of the MIDECIANT collection (Archivo Media ART AEMA).

The methodology innovates the description and analysis of museum objects on media art in Spain. The proposed cataloguing method can be replicated and used to describe similar collections and lays the grounds for creating a Spanish network of media art archives and collections.

The purpose of this paper is to critically examine the claim that artworks and corporate art collections contribute a qualitative dimension to corporate identity by satisfying aesthetic, social and cultural standards.

To explore the qualitative research purpose, the theoretical framework is supplemented with in-depth interview data from five European banks.

The findings show that corporate art achieves synergies between culture and capital, internal and external communication and thus offers significant opportunities for innovative marketing communication and identity-building strategies.

The paper provides insights into how the arts interface with branding-related innovations, assisting managers in long-term decisions on value-based branding and identity construction.

Increased arts engagement by corporations creates new synergies between cultural institutions and corporations through partnerships and philanthropic initiatives.

The originality of the paper is twofold. It thematically explores the under-researched field of art in marketing scholarship. From a methodological point of view, the research design is multidisciplinary and thus delineates new avenues for marketing practice and scholarship.

THE wealth of special and general libraries in Great Britain justifies the assertion that there are few serious inquiries which cannot be answered satisfactorily by one or other of them. In the field of fine arts Britain is especially strong and, although the majority of the great collections on this subject are concentrated in London, the existence of important art libraries—particularly on the subjects of textiles and ceramics—in the provinces must not be overlooked. Moreover, the sources of information on the fine arts comprise not only the special libraries and the appropriate departments of the university libraries but also the special departments of several great public libraries—such as the Hornby Collection at Liverpool—the private collections of experts such as the Raymond Mander and Joe Mitchenson Theatre Research Collection, and the information bureaux such as those maintained by trade organizations and by various foreign governments.

The purpose of this paper is to investigate the organization and design of a real-life digital collection for the field of Book Arts. This paper also examines the challenges in building digital libraries for visual domains with specialized user pools.

A qualitative study was conducted. An online survey asked participants from the field of Book Arts to provide free-text descriptions of randomized visual representatives taken from the collection using open-ended question and answer boxes. Themes extracted from the survey were coded and presented using basic statistical measures.

The results of this study identified a set of specialized access points for items that were selected as being significant for Book Arts and perhaps other areas in the Fine Arts. Results informed retrieval of visual information for this domain along with user interface design and evaluation strategies. In addition, the survey used in this study demonstrated the ability to collect longer, more in-depth answers and category terms alike from the participants.

This study was necessary for the practical purpose of organizing a digital collection of the Book Arts, a unique collection. While similar studies have been conducted, even for collections deemed to be from the “Fine Arts”, previous studies do not agree on what is important for organizing digital collections including varying opinions of certain bibliographic access points and visual representation.

This paper aims to explore the impact that employees and board members of an organization believe the art in their workplace has on their experience at work and identify the exhibition’s features salient to their experience of the art.

Semi-structured interviews were conducted with 19 affiliates of an Australian organization with an institutional art collection. The interview data were transcribed and analyzed using thematic analysis by two researchers, with a final inter-rater reliability of 0.96.

The results showed that respondents believe there are five main ways they are impacted by the art in their workplace: the art promotes social interactions, elicits emotional responses, facilitates personal connection-making, generally enhances the workplace environment and fosters learning. Participants indicated the salient features of the collection are its changing nature, creativity, diversity, quality and connection to the organization’s mission.

The findings suggest that there may be a number of positive impacts on employees and other affiliates when art is present in the workplace, including interpersonal learning and mission-related content learning. The findings suggest that art connected to the organization’s mission, rotating exhibitions and diverse collections are valued by workplace viewers.

The study highlights the importance of the aesthetic environment in the workplace and is one of the first to examine artworks in the work setting.

The purpose of this article is to explore some of the biases that affect the classification of Welsh art materials and to examine how they are being perpetuated both in library classification systems and beyond.

A discourse analysis, in the loosest sense, was used to explore the research topic. Using a hermeneutic and interpretative approach facilitated an examination of some of the tacit assumptions and conceptions that shape the way in which Welsh art is spoken about, thought about, and generally represented.

The paper explores biases in the classification of Welsh art in relation to the analytical categories of dispersion, dilettantism, and depreciation. Evidence is drawn from three examples of discursive practice: the application of Library of Congress subject headings in the library in Howard Gardens; the Salisbury Collection classification scheme at Cardiff University; and the descriptive text taken from the web site of the National Museum, Cardiff. The paper concludes with a discussion of the nature of classification, and the role of the information professional as active player in the practice of representation in and through various methods of classification.

The paper contributes to the literature of classification bias. The focus on the specific rather than the more general biases both adds to Olsen and Schlegl's work and reflects a sensitivity to the subject matter itself. The paper also contributes to the literature at a methodological level in its use of a hermeneutic and interpretative analytical framework to explore representation in classification.

The purpose of this paper is to observe the nature of documentation and the description used in object biographies by an auction house catalogue and an online museum collection database in relation opera costumes. This research aims to discuss the issues of cultural and economic value in relation to objects in the art world, and examine examples of object biographies for opera costumes that are sold at an auction and exhibited in a museum.

The object biographies are compared from an auction house catalogue and the online museum collection database, based on two factors: costumes worn by a famous singer and costumes designed by a famous designer.

This study identified the valuation methods of auction houses and museums, including accounting for the market value and fair value, as well as social and cultural values. The nature of the documentation also clearly shows the different purpose of the object biographies. For auction houses the biography needs to be short and specific as it provides sufficient information and is read out at the auction, while art catalogues can also be used by experts as part of the conversation to understanding heritage value, and will also be viewed and used by researchers, investors, other auction house specialists and art world professionals.

By comparing two institutions, auction houses and museums, this study has shown that the information that is documented and how it is presented in object biographies is determined by the goals of the institutions. These goals may vary or overlap in providing information, demonstrating cultural importance, to be spoken allowed to an audience and make sales, or to educate, conserve and preserve.

This study shows that to some extent museum online databases display their collection removed from cultural context, with an isolated image of the item, and in an organised, digitally accessible manner. A potential implication is that museums should not only digitally catalogue an item, but also provide discussion and the cultural background and significance of the item.

Auction catalogues are written for a specific event (the auction), while the online museum collection database is meant to be a permanent record, which aims to digitally preserve objects and provide access to images and information to a general audience, and further could be edited with amendments or new information when future research or events lead to potential updates.

This study adds to the discourse on approaches to the understanding of costumes as an art object of significance and their potential cultural, economic and heritage value, particularly as represented in the documentation of object biographies.

Based on the highlights of The Metropolitan Museum of Art's collection, the purpose of this paper is to examine the similarities and differences between the subject keywords tags assigned by the museum and those produced by three computer vision systems.

This paper uses computer vision tools to generate the data and the Getty Research Institute's Art and Architecture Thesaurus (AAT) to compare the subject keyword tags.

This paper finds that there are clear opportunities to use computer vision technologies to automatically generate tags that expand the terms used by the museum. This brings a new perspective to the collection that is different from the traditional art historical one. However, the study also surfaces challenges about the accuracy and lack of context within the computer vision results.

This finding has important implications on how these machine-generated tags complement the current taxonomies and vocabularies inputted in the collection database. In consequence, the museum needs to consider the selection process for choosing which computer vision system to apply to their collection. Furthermore, they also need to think critically about the kind of tags they wish to use, such as colors, materials or objects.

The study results add to the rapidly evolving field of computer vision within the art information context and provide recommendations of aspects to consider before selecting and implementing these technologies.