Support art in public and private levels in 2019 — with numbers and comments

• Gaius Cilnius Maecenas (C. 70-8 BC), one of the first patrons of art. Bust by an unknown author, coole Park, Ireland
  Author: Cgheyne
  Source: en.wikipedia.org

Until recently, the TEFAF fair has released its own annual report on the art market, similar to Art Basel & UBS, which led to misinterpretation of numbers and confusion in the minds of readers. In 2017, the largest analysts have agreed among themselves: Art Basel has become a "supplier" of the main indicators of art-рынка, as TEFAF has focused on the study of individual segments — for example, investment in collectibles (2018) or the Chinese art market (2019). March 10, 2020 released a new the report TEFAF Art Market Report, entitled Art Patronage in the 21st Century — "Philanthropy in the twenty-first century." The collection and analysis of information was carried out by Anders Peterson, head of the British company ArtTactic, known for his work with Deloitte over reports Deloitte Art & Finance. The most interesting numbers we offer.

table 1. Public and private support for the arts in 2019 by regions

Region	the State financing of culture, $ billion	the Share of GDP, %	Private donations to the arts, $ billion	the Share of private donations to the arts from government funding of culture, %
Africa	1,90	0,16	1,00	53
Latin America	of 0.75	0,06	1,10	147
Middle East	2,10	0,29	7,60	362
Asia	of 25.63	0,14	18,80	73
Europe	56,01	0,39	48,20	86
United States	of 1.34	0,01	of 75.00	5585

Comment AI. It should be noted that the "financing of culture" in the budgets of most countries includes cinema, theatre, library, and more. The report, unfortunately, does not take into account. However, given the data interesting for analysis. In-первых, it concerns US and them approach to state subsidies. Attempt to go to public funding of culture in the first and last times was made in 1936 (the so-called "Reform Speak"). Only one of the following 1937-quality art on the allowance of the state has fallen so that the government abandoned this idea. Since 1937 and until now almost all cultural institutions operate on the principle of self-sufficiency, which increases competition and makes a cultural product of higher quality. But — critical addition! — almost immediately, the United States adopted the first law on patronage. Here we see in the United States five thousand exceeding in the percent of private donations to the arts over the state.

the Reader will ask: what about Russia? It was not mentioned in the report on a separate line, so we present data of Rosstat: the average spending on culture in European countries in the amount of 0.39% of GDP (France — 0.35 percent, Germany — 0,37 %) Russia past 10 years holds of 0.5–0.6 % of GDP (the total amount of the Federal and consolidated budgets). Another thing is that comparison in the figures with the European countries are not in favor of Russia: gross domestic product is measured in rubles, and its rate against the Euro in recent years, much decreased.

table 2. art and collectibles in private ownership, and philanthropic activity across regions

Region	the Value of art and collectibles privately owned super-rich people, $ billion	the Share of private donations to the arts in a year of the total collections, %
Africa	of 13.03	of 7.67
Latin America	79,29	1,39
The Middle East	92,73	8,20
Asia	370,11	5,08
Europe	403,42	11,95
USA	630,50	11,90

Comment AI. In short, in Latin America the collectors more like themselves in Africa —, their environment (present and future). Compared to other regions the most wasteful patrons are Europeans, and the US charity, mainly connected with optimization of taxation.

table 3. support Objects among the patrons of the arts in Asia and Europe

the object of the support	Asia, %	Europe, %
Museums	73	90
Nonprofit organizations	91	80
Art school	42	37
Artists	92	70

Comment AI. The report shows that the arts support 88% of all those who ever engaged in private subsidies in Asia, 78 % — in Europe. Asian "professional" patrons less support museums, than their European counterparts, understanding that this is primarily a concern of the state. But non-profit organizations and (especially) the artists get from the Asian patrons more attention — then you don't have to ask why the Chinese contemporary artists are so popular on the international stage. With regard to Russia, the comparison would be even more rigid: in China, the junk art objects given to the processing for making new canvases for the art-школ, Russia — give to museums to replenish the vaults.

in Addition to the General data, based on reports Deloitte and Capgemini, ArtTactic conducted its own survey among the defendants in the art market in terms of their involvement in the charity: we surveyed a total of 541 respondents, including the author of this material. The obtained results are of great interest and can be used by those who are planning to apply for support without leaving the world of art, — i.e. the direct participants in art-рынка.

About 80% of the figures of the art market — art-дилеров, analysts, consultants, employees of auction houses, art-фондов, managers, collections, etc. —, supports the nonprofit sector of the arts or financial services on a Pro Bono basis. This was stated by 77 % of "Millennials" (aged up to 35 years), 78% of respondents "generation X" (age 35-55 years) and 85% of "baby-бумеров" (55 years and above). 51 % of respondents support the arts on an annual basis, 28 % — on a monthly basis and 5% contribute to the non-profit sector on a weekly basis. We emphasize volunteering, highlighted the report in a separate class of charity, which is especially popular among the younger generation. Under the "volunteering" ArtTactic understands allthat does not apply to donations of money, however, you may be charged: 67% of respondents regularly offer their time, experience and advice to non-profit organizations, education and personally to the artists.

table 4. the Objects of support among the international patrons of the arts to ages

the Object of support and the age of the patron	To 35, %	35-55 years %	Over 55, %
Museums	90	86	89
Nonprofit organizations	79	82	85
Artists	71	84	77
Charity art-проекты	53	70	86
Art school	39	41	44

Comment AI. Young people do not believe in charity art-проекты — this phrase could be limited to the description of the table. With one important caveat: the younger generation are sickened by the atmosphere of charity, implying private events and applause. In the era of globalization the more you want it to maintain museums that are open to all, and support anonymously. Similarly, today's youth, understanding the importance of self-education, less support artists in the formative stage and art-школы, believing that the rescue of drowning — the work of their own hands.

table 5. the Sources of information that prompted the patrons to make payments in favour of the arts in 2019

№ p/p	information Source	the Proportion of patrons, motivated them %
1	email	43
2	online fundraising	27
3	Personal written appeal	23
4	Charity offline-мероприятие	21
5	Crowdfunding campaign	20
6	Charity lottery	6
7	SMS-обращение	6
8	Walking home	5
9	other channels	4
10	an Independent decision	27

Comment AI. From a practical point of view it is very significant. First and foremost struck by the fact that the sum of the numbers exceeds 100 % — therefore, at least half of the respondents responded positively two or more information channels. The first position with the gap held by e-mail, should not confuse: this is the most commonly used tool of asylum (hence frequency response). Rest of the dynamics is explained: the preference is given to those support objects that are accompanied by social events, be it a charity auction or online-сборы in any form. In other words, the ideal path for those wishing to target non-refundable financing — to make the transfer occurred in men and with maximum publicity to the name of the patron. Note that a third of philanthropists is guided by its own considerations for the choice of the object and determining the amount of the subsidies.

Denys Belkevych, AI