구매 옵션을 사용하여 Jay Chung 의 ’ Code Red Series No.06 ’ 작품 임대
Jay Chung 의 회화 은 구매 옵션으로 임대 가능합니다.
월별 지불액을 선택하세요:
임대정보요청 "Code Red Series No.06"
저희에게 연락하세요., 금융 전문가가 24시간 이내에 연락을 드릴 것입니다.:
자주 묻는 질문
What are the advantages of leasing works of art?
- Financial Flexibility: You can enjoy exceptional, high-value works of art without a large initial investment.
- Tax Benefits: Receive potential tax benefits as rents can be deducted as a business expense.
How are the prices of monthly payments for leasing works of art set?
- The costs depend on the value of the work, the duration of the leasing contract, and any services included such as installation.
Can we buy the work after the leasing period?
- Yes, on ArtMajeur leasing contracts offer a purchase option at the end of the contract, allowing customers to acquire the work at a determined price (residual value).
How are the safety and insurance of works managed?
- Insurance during the duration of the rental contract is the responsibility of the customer. It is therefore important to check the details of your insurance contract to be sure that your leased works are covered in the event of damage.
What are the conditions for terminating the leasing contract before its end?
- Unless there are specific conditions, leasing contracts for works of art commit the client to payment of the entire price of the work; payments are therefore due until the end of the lease.
작가에 관하여
South Korean, b. 1986 —
Jay Chung was born in 1986 and grew up in Seoul, Korea. After receiving my BA in Architect Engineering and working several years at an architecture & design firm as an advisor, I came to Boston, BFA to pursue my dream as a visual artist. I received my BFA & BA Psychology degree from Tufts University & School of the Museum of Fine Arts (SMFA) in 2016.
Jay Chung is a Korean artist, based in Dallas, whose figurative paintings explore the complex interplay of physical realities and interior states of being.
In his latest body of work, he takes as his subject the human figure, and eschewing conventional representation, seeks to present an “alternative” which expresses “our conscious and unconscious experience of being in the world.”
What appears on the canvas is often a roiling blur of feeling-made-manifest—set on a ground or suspended in space—representing dreamlike states and the imagined contents of our “psychological, societal, and imaginative” lives.
