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Kniha: Mezinárodní oceňovací standardy 2017 - International Valuation Standards 2017 - Europe ASA

Mezinárodní oceňovací standardy 2017 - International Valuation Standards 2017
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Kniha: Mezinárodní oceňovací standardy 2017 - International Valuation Standards 2017
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Kvalitní oceňovací standardy slouží veřejnému zájmu, podporují stabilitu a věrohodnost finančních trhů a zvyšují důvěru v oceňovací profesi. Mezinárodní oceňovací standardy ... (celý popis)
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Specifikace
Nakladatelství: » Ekopress
Médium / forma: Tištěná kniha
Rok vydání: 18.06.2018
Počet stran: 238
Rozměr: 148x210
Úprava: 237 stran
Spolupracovali: zpracovatel překladu do českého jazyka: ASA Europe, z.s.
Jazyk: česky
ISBN: 978-80-87865-44-6
EAN: 9788087865446
Ukázka: » zobrazit ukázku
Popis

Kvalitní oceňovací standardy slouží veřejnému zájmu, podporují stabilitu a věrohodnost finančních trhů a zvyšují důvěru v oceňovací profesi. Mezinárodní oceňovací standardy vycházejí z nejlepší mezinárodní praxe, stanovují širší rámec pro oceňování a podporují komplexní, úplný, vnitřně konzistentní, nezávislý a nestranný přístup k oceňování široké škály aktiv. Předmětné standardy jsou ze strany profesionálních oceňovatelů používány ve více než 90 zemích světa a jsou podporovány vedoucími představiteli oceňovací praxe ve světě i v České republice.
Ocenění nacházejí široké využití a uplatnění na finančních i dalších trzích, ať už jako součást účetních závěrek, kvůli souladu s regulatorními požadavky, nebo na podporu zajištěného financování a transakčních aktivit. Mezinárodní oceňovací standardy (IVS) jsou standardy pro provádění oceňovacích úkolů s využitím obecně uznávaných konceptů a principů, které podporují transparentnost a konzistentnost v oceňovací praxi. IVSC také propaguje nejlepší praktické přístupy pro jednání a kvalifikaci profesionálních oceňovatelů.
Mezinárodní oceňovací standardy - vzhledem ke své dlouhé historii, pravidelným aktualizacím, mezinárodnímu charakteru, jednoznačné nezávislosti a vysoké kvalitativní úrovni - poslouží jako vítaný opěrný pilíř pro autory a uživatele ocenění i v České republice.
Jedná se o praktickou dvojjazyčnou (anglicko-českou) formu textu, která výrazně zvyšuje užitečnost knihy.

Předmětná hesla
movitosti
Nemovitosti
Oceňování majetku
mezinárodní standardizace a normalizace
Kniha je zařazena v kategoriích
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Ukázka / obsah
Přepis ukázky

Kniha „Síla komunikace a umělecká galerie“ se zabývá tématy a

náměty, které dosud nebyly dostatečně studovány a popsány.

Autoři zde specificky aplikují multidisciplinární zaměření na

vazbu mezi marketingem a výtvarným uměním. Tento přístup je

vzácný, ale důležitý a relevantní.

Kniha mě zaujala jako umělce, ředitele Neiman Center for Print

Studies i přednášejícího na univerzitě. Velmi zajímavá, cenná a

poutavá četba nabízí nejen užitečné informace, ale i originální

umění současných českých výtvarníků, na němž byl založen

publikovaný výzkum.

Tomas Vu, BFA, MFA;

the LeRoy Neiman Professor of Visual Arts

PREFACE

Art is communication. It makes thought visible to us. It slows us

down. It makes us pause, look, consider, and ask questions. It

requires us to be active participants in the reading of the work,

asking questions about ourselves, the nature of what it is we’re

looking at, and the nature of its relationship to us.

It’s informed by real experience and a connectedness to the

world, and an ability to bring significance to the particular and

the moment. As the critic John Berger observed, “a drawing of a

tree shows not a tree, but a tree being-looked-at”. Art has

never been interested in imitation of the already known, but

aspires to operate in the space between the individual and the

perceived reality. It is where, one could argue, the artist’s

content is found. Pre-dating written communication, the visual

language of the artist has proven itself inexhaustible over the

centuries with its ability to continuously reinvent itself. As each


new idea is filtered through the unique sensibilities of the

individual, the artist acts as a conduit for a dialogue between

sight and touch, logic and intuition, substance and phenomena.

Taking risks and reveling in the unknown, art doesn’t come into

existence easily and the creative process for the artist is rarely

linear. Artists like making things but it’s not a practical endeavor

as nothing could be less utilitarian. But it is necessary for the

artist and historically, the best work usually reflects this

urgency.

The gallery plays a valuable role in our relationship with art. It

gives us a chance to exist in the same shared space as the work

and gain access to it, measuring it against ourselves and

providing the type of physical relationship necessary for us to

understand the work beyond the mere superficialities of

appearance. Just as important, it allows us to understand and

appreciate the skill, intelligence, and work necessary for an idea

to become a reality, vicariously giving us insight into the

creative endeavor.

For the artist, gallery exposure has always been important.

Exhibiting in a gallery allows the artist to put their art out in the

world without apology, and also, without guarantees. Removed

from the studio, it tests the work. It is often the first time

individual pieces are seen simultaneously as a group by the

artist, and the first chance to see if the body of work can be

understood as a cogent and cohesive whole.

Almost always the culmination of a sustained period of work in

the studio, unfairly or not, the response to the artist’s work in a

gallery is often looked at as a measure of its worth. It’s not easy


nor is it always accurate but it’s understood as a necessary

aspect of the business of being an artist.

“Seeing is not as easy as it looks”, the artist Ad Reinhardt once

quipped, and one could easily argue that much of the public’s

judgment or even indifference to art is often a reflection of

their inability to see and understand artwork on its own terms.

For better or worse, seeing is a learned activity and taste aside,

the general public seldom brings the background or experience

necessary to move beyond the superficial qualities of a work of

art, especially contemporary work. Often, they are only able to

see what a piece of art looks like, but not necessarily what it is.

Acting as a bridge between the artist and the public, the gallery

typically provides the first articulation of the work a visitor

encounters when seeing an exhibition, introducing an

important educational dynamic to the gallery and advocacy for

the artist.

In this book, the authors examine the complex relationship and

history of the artist, the gallery, and the collector, and the

difficult task of understanding the confluence of forces that

deliver the work of the artist to the marketplace, and for better

or worse, the complicated matter of how content of art is

translated into commodity. Like most things, it’s always about

economics and the arts are no exception. Although it may be

not why the vast majority of artists make art, but as objects that

are valued, it’s perhaps unavoidable that money has always

been intrinsic to our concept of it. This has never been truer

than today, or more problematic. From businessman,

entrepreneur, and manufacturer of culture, over the centuries,

many artists have understood the need to organize and manage


their career, seeking out opportunities for patronage and

support in order to have their work recognized. Today though,

this relationship between art and money is at a precarious

crossroads as the distinction between aesthetic value and

monetary worth has been blurred - nowhere more evident than

the escalating prices of recent auctions.

Still, for many artists, the artist-gallery working relationship

remains the most effectual means for bringing their work to the

public for critical consideration.

The gallery contextualizes the artist’s ideas, initiating

communication and allowing the work to be understood as part

of a larger discourse. In addition to traditional commercial

gallery spaces, there are educational institutions,nonrofit

alternative spaces, and artist co-ops, each playing considerable

and equally important roles of bringing the work and ideas of

the artist into the world for the larger public.

With mass culture being rapidly driven and formed through the

prevailing means of electronic communication, the slower

corporeal and analytical connection necessary to understand

substantial and complex artwork is not accordant with the

widespread cultural sensibility of easy diversions and fast

fulfillment. Neither is it understood as a necessity by many, as

art doesn’t have the material usefulness that other common

goods possess. Still, there appears to be no slowing down to the

arts or its relevance. Compelling, honest, and reflective of who

we are, it stubbornly occupies a unique place in our culture, and

a significant portion of the public still understands the aesthetic

experience of art as indispensable. Inevitably, it seems that the

desire to experience art remains as strong as the need of


individuals to continue to make it and in that regard, the role of

the gallery will continue to be critical to the arts.

Stephen Misho

(Jazyk publikace - angličtina)




       
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