[ART in BRANDING] 4. The Bottom Line & the Ultimate State

"Corporate support for artists is essential" - this common refrain deserves scrutiny. A page from history offers a sobering perspective:

When John Adams visited Paris as America's future second president, he wrote to his wife Abigail about the city's magnificent artistic heritage. Rather than simply admiring the grandeur of the Tuileries Gardens and the Louvre, he offered a profound reflection that resonates even today:

"To take a Walk in the Gardens of the Palace of the Tuilleries, and describe the Statues there, all in marble, in which the ancient Divinities and Heroes are represented with exquisite Art, would be a very pleasant Amusement, and instructive Entertainment... But to observe these Objects with Taste and describe them so as to be understood, would require more time and thought than I can possibly Spare. It is not indeed the fine Arts, which our Country requires. The Usefull, the mechanic Arts, are those which We have occasion for in a young Country, as yet simple and not far advanced in Luxury, although perhaps much too far for her Age and Character...I could fill Volumes with Descriptions of Temples and Palaces, Paintings, Sculptures, Tapestry, Porcelaine, -- if I could have time. But I could not do this without neglecting my duty. The Science of Government it is my Duty to study, more than all other Sciences: the Art of Legislation and Administration and Negotiation, ought to take Place, indeed to exclude in a manner all other Arts. I must study Politicks and War that my sons may have liberty to study Mathematicks and Philosophy. My sons ought to study Mathematicks and Philosophy, Geography, natural History, Naval Architecture, navigation, Commerce and Agriculture, in order to give their Children a right to study Painting, Poetry, Musick, Architecture, Statuary, Tapestry and Porcelaine." (Letter from John Adams to Abigail Adams, post 12 May 1780 | Source: National Archives Founders Online founders.archives.gov)

Adams articulated a crucial understanding: foundational elements must be established before a society can enable its future generations to pursue artistic and intellectual activities without constraints. This principle applies equally to corporations. To engage meaningfully and sustainably with art, companies must establish solid business fundamentals: product quality, safety and environmental standards, production infrastructure, human resource management, sales, distribution, cash flow, and research and development.

Not an obligation but a choice

Building on strong fundamentals, corporate engagement with the arts remains a choice and matter of priority, not an obligation. A company's reason for existence isn't to patronize individual or institutional members of the art world; it's to pursue excellence in the products and services it provides to markets and society, creating new value and employment opportunities. During economic downturns or periods of intensified competition when fundamentals require even greater attention, functions considered 'non-essential' are the first to face budget cuts. Responsible prioritization in budget allocation is part of a company's responsibility to its shareholders and employees.

The recent case of Meta's (formerly Facebook) Open Arts program illustrates this reality. In November 2022, Meta disbanded its Open Arts program as part of a major restructuring. Since 2010, this program had collaborated with artists to install artworks in Meta's offices and campuses, conducting art workshops for employees among various other activities. However, faced with business pressures, the program was deprioritized. This case demonstrates how corporate art support is intrinsically tied to business conditions.

For brand marketers fortunate enough to work at companies that combine strong fundamentals with sustained commitment to cultural engagement, three key strategic aspects should guide their approach to art initiatives:

Strategic Considerations for Brands' Art Engagement

1. Relevance

The alignment between brand and cultural projects is crucial. Rather than simply sponsoring popular artists or trending projects, companies should seek activities that naturally connect with their brand identity and values. This relevance must be evaluated from both perspectives - just as brand marketers must ask whether certain artists align with their brand, artists and cultural institutions should consider whether a brand shares their values and vision. This mutual consideration of relevance ensures that collaborations emerge from genuine alignment rather than mere opportunity. When a technology company engages with digital artists, or when a sustainability-focused brand supports environmental art projects, the connection feels natural and inevitable rather than forced.

2. Contemporaneity

Projects should reflect current societal and cultural contexts, demonstrating the brand's understanding of contemporary discourse and its ability to participate in meaningful conversations of our time. This might involve engaging with living artists, emerging technologies, or current societal topics. Through such engagement, brands can establish themselves as forward-thinking and culturally aware entities. The emphasis on contemporaneity helps brands avoid becoming mere patrons and instead positions them as active participants in shaping cultural narratives. This approach particularly resonates with younger audiences who expect brands to engage with current social and cultural dynamics.

3. Mutual Growth

When designed well, cultural engagement can transcend one-sided giving to create value for both the brand and the art world. While brands can build positive associations and reach new audiences, artists and cultural institutions can benefit from not just financial support but also access to corporate platforms, proprietary technologies, and networks. This collaboration must maintain a delicate balance where art is respected as intellectual property rather than treated as a mere marketing tool. Ethical considerations in this relationship are crucial for maintaining the integrity of both the artistic practice and the brand's engagement with culture.

Internalizing Creativity: The Ultimate Level of Corporate Art Engagement

The highest level a company can achieve in its relationship with art goes beyond licensing or patronage – it's the internalization of creativity. This represents a state where artistic thinking and creative processes become deeply integrated into the company's identity and organizational culture.

At this stage, companies don't simply import art from outside; they fuse creative approaches into their DNA, applying them to product development, problem-solving, and customer experience creation. This internalization infuses every department with creative thinking and the courage to challenge conventions. Especially for companies creating products, environments, or experiences, internalizing creativity and aesthetic sensibility is crucial in establishing and maintaining a unique market position.

Consider these exemplary cases:

ALESSI transformed everyday kitchen items into functional art pieces by making artistic sensibility a core design principle rather than just collaborating with artists. GENTLE MONSTER elevated eyewear retail into total brand experiences through integrated artistic innovation, treating everything from glasses to installations as their own creations rather than separating commercial and artistic elements.

Gentle Monster stores, products, and campaigns | Source: gentlemonster.com

The merits of such internalization extend beyond niche brands. Apple integrated Zen aesthetic principles into product design and user interfaces, helping drive its rise to become the world's leading brand. Their minimalist approach, removing unnecessary elements to focus on core functionality, redefined user experience fundamentally. But it goes beyond aesthetics – artists' observant and compassionate eye, their willingness to explore uncharted territory, and their ability to deliver meaning in emotionally resonant ways are critical skills for companies aspiring to create products and services that delight customers.

Aesthetic expressions borrowed from external collaborators remain tied to marketing budgets. When internalized as aesthetic intelligence, however, it becomes a corporate cultural asset driving unique business value. This state of internalized creativity is perhaps what Andy Warhol meant when he said, "Being good in business is the most fascinating kind of art."

Therefore, art's greatest implication to business lies in the internalization of creativity -- not as an external element to be borrowed for advertising, but as an integral part of how a brand thinks, creates, and exists in the world.

Closing: Art+Branding =Cultural

Examining art through the lens of branding offers a unique perspective through which we can read the changing values of societies through time. This narrative becomes, in essence, a cultural history. 

As we look to the future, one thing remains clear: the relationship between art and branding will continue evolving, shaped by societal change, technological advancement, and shifting centers of influence. Yet the fundamental power of artistic expression to connect, inspire, and transform will endure, making it an invaluable tool for brands seeking to create meaningful connections in an increasingly complex world.

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This is the final article in the ART IN BRANDING series by Seol Park examining the relationship between visual arts and branding throughout history.