the most effective way to curate data
associated with an individual artist’s work and
release sustainable information for those who need it

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with well-documented research readily at hand
scholars are able to address the challenges of the past
while illuminating a path to the future

 

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usable information may be shared online,

it can be published,

it may be put to work to curate exhibitions,

it can be employed to create teaching tools and interactive displays,

it is indispensable in assembling an authoritative catalogue raisonné,

 and it helps to preserve and protect the legacy of an artist.

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reliable information is in constant demand for:

appraisals
art experts and the courts
art insurance
auction sales
authority to sell (title)
bankruptcy, creditors’ rights, and security interests in works of art
catalogues raisonnés
collateralization of art
consignment agreements
copyrights in works of art and reproductions of works of art
cultural patrimony laws
curating exhibitions
customs service regulations concerning the import and export of art
defamation concerning works of art and their provenance
divorce and other family disputes
droit moral and the Visual Artists Rights Act
exhibition agreements
donor restrictions on use or display of donated works
import and export of art
International cultural treaties
Internet sites concerning art and art sales
investment management and financial planning
joint ownership of works of art
legal disputes over responsibility and ownership
loans for art buyers and dealers
loans and gifts of artwork to museums
looted and confiscated works of art from the Nazi era
lost and stolen works of art
misappropriation of artwork and design
monographs
Native American Graves Protection and Repatriation Act
private dealer sales
Presidential Commission on Holocaust Assets in the US

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Top of page from left to right in descending order: Paul Cézanne (1839–1906) Still Life with Apples 1895-98, The Museum of Modern Art: Lillie P. Bliss Collection (22.1934); László Moholy-Nagy (1895–1946) Head (Lucia Moholy), c. 1926 The Museum of Modern Art: Anonymous gift (505.1939). © 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn; Kay Sage (1898–1963) The Great Impossible 1961, The Museum of Modern Art: Kay Sage Tanguy Bequest (1132.1964); Sam Francis (1923–94) in front of Turquoise and Pink at Galerie Nina Dausset, Paris, 1952; Arshile Gorky (1904-48), Study for Mother and Son, c. 1936. Whitney Museum of American Art: Purchased with funds from The Lauder Foundation, Evelyn and Leonard Lauder Fund and the Drawing Committee (99.49a-b) © Artist’s estate; Larry Bell (1939– ) Standing Walls (detail, from 6 X 6 an improvisation). Photo © Alex Marks, courtesy The Chinati Foundation, Marfa, TX; Fitz Henry Lane (1804–65) Lighthouse at Camden, Maine 1851. Yale University Art Gallery, New Haven, Conn., Gift of the Teresa and H. John Heinz III Foundation (1992.122.1). Photo: Yale University Art Gallery; Roy Lichtenstein (1923–97) Girl with Ball, 1961. The Museum of Modern Art: Gift of Philip Johnson. (421.1981); John Singer Sargent (1856–1925) The Daughters of Edward Darley Boit, 1882. Museum of Fine Arts, Boston: Gift of Mary Louisa Boit, Julia Overing Boit, Jane Hubbard Boit, and Florence D. Boit in memory of their father, Edward Darley Boit. Photo: Museum of Fine Arts, Boston.