In his article “Museums: Managers of Consciousness”, Haacke describes how museums are increasingly shifting their model of operation to. They are, if you want to put it in positive terms, great educational institutions. If you want to put it in negati ” – Hans Haacke quotes from Haacke H.’Museums, managers of consciousness’ B. Wallis (Ed.), Hans Haacke: unfinished business, New Museum of Contemporary Art, New York and MIT.
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Many individual donors could no longer contribute at the accustomed rate, and inflation eroded the purchasing power of funds.
As a matter of fact, I have serious reservations about their training, the mentality it fosters, and the consequences it will have. It is perhaps not surprising that many museums indignantly reject the notion that they provide a biased view of the works in their custody. New York’s Soho district is a striking example. You have the start of an inside view of the challenges museum professional face when dealing with these macro cultural and institutional problems.
Irrespective of their own love for or indifference towards art, they recognized that a company’s association with art could yield benefits far out of proportion to a specific financial investment.
The product of the consciousness industry, however, is not only elusive because of its seemingly nonsecular nature and its aspects of intangibility. Consequently, self-censorship is having a boom.
As has been mkseums out and not only by Marxists social scientists and psychologistsconsciousness is not a pure, independent, value-free entity, evolving according to internal, self-sufficient, and universal rules. Arts administrators do not exaggerate when they defend their claims for public support by pointing to the number of jobs that are affected not only in their own institutions, but also in communications and, particularly, in the hotel and restaurant industries.
No citation, sorry, I lent my copy and it walked Although he umseums not specifically elaborate on the art world, his article did refer to it in passing.
Museums: Managers of Consciousness
Private donors came on board with attractive collections. Generally, such companies museims for events that are “exciting,” a word that pops up in museum press releases and catalogue prefaces more often than any other. During the past twenty years, the power relations between art institutions and their sources of funding have become more complex.
With so many variables, there is ample room for exegesis and a livelihood is thus guaranteed for many workers in the consciousness industry. A recent, much-noticed instance of Saatchi influence was the Tate’s Schnabel show, which consisted almost entirely of works from the Saatchis’ collection.
Hans Haacke – Monoskop
On the other hand, a new breed has recently appeared on the industrial landscape: An institution’s intellectual and moral position becomes tenuous only if it claims to be free of ideological bias. Once they are in office and have civil service status with tenure, such officials often enjoy more independence than their colleagues in the United States, who can be dismissed from one day to the next, as occurred with Bates Lowry and John Hightower at the Museum of Modern Art within a few years time.
Such a well-intentioned delusion can survive only as long as art is perceived as a mythical entity above mundane interests and ideological conflict. With one stroke that term cuts through the romantic clouds that envelop the often misleading and mythical notions widely held about the production, distribution, and consumption of art. From experience they know that artists unwittingly open these areas for gentrification and lucrative development.
That there is a lot of money riding throughout the art world and most of it runs counter productive to the entire meaning of art and what art is suppose to represent, but not recognized.
Certainly, shows that could promote critical awareness, present products of consciousness dialectically and in relation to the social world, or mangaers relations of power have a slim chance of being approved-not only because they are unlikely to attract corporate funding, but also because they could sour relations with potential sponsors for other shows.
American formalism updated the doctrine and associated it with the political concepts of the “free world” and individualism.
They have understood, sometimes better than the people who work in the leisure suits of culture, that the term “culture” camouflages the social and political consequences resulting from the industrial distribution of consciousness. The producer and the distributor must then weigh the impact. Following their own ideological inclinations and making them national policy, President Reagan and Mrs.
Consequently, the present director of the Museum of Modern Art in New York has a management background, and the boards of trustees of other U.
The gospel of art for art’s sake isolates art and postulates its self-sufficiency, as if art had or followed rules which are impervious to the social environment. Most shows in large New York museums are now sponsored by corporations.
They do not blush in assessing the receptivity and potential development of an audience for their product. Thatcher encouraged the so-called private sector to pick up the slack in financial support. How far the Saatchis in London will get in dominating the Tate Gallery’s Patrons of New Art-and thereby the museum’s policies for contemporary art-is currently watched with the same fascination and nervousness as developments in the Kremlin. Instead of enrolling in arts administration courses taught according to the Harvard Business School’s case method, they have learned their skills on the job.
To make such an assertion may sound outrageous because according to popular myth, liberal regimes do not behave this way.
Conversations of Theory
Since the corporate blanket is so warm, glaring examples of direct interference rare, and the increasing dominance of the museeums development offices hard to trace, the change of climate is hardly perceived, nor is it taken as a threat.
It is, in fact, not our private property, homegrown and home to retire to. Some of the more successful artists employ their own business managers.