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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Hans Haacke | CCTP Topics in CCT
Through my analysis of the artworks on display, I found very little to challenge the dominant ideologies surrounding race, gender roles, and the objectification of women; there were hardly any racial minority figures displayed, men were portrayed as wise and knowledgeable in business, and women were shown as sexual objects nude, red lipstick, mouths open.
Haacke believes this could turn problematic for artists and the arts in general. The board is legally responsible for the institution and consequently the trustees are the ultimate authority. Aside from the reasons already mention, the discomfort in applying industrial nomenclature to works of art may also have to do with the fact that these products are not entirely physical in nature.
Why are biotech companies suddenly sponsoring art about genes? If such collectors seem to be acting primarily in their own self-interest and to be building pyramids to themselves when they attempt to impose their will on “chosen” institutions, their moves are in fact less troublesome in the long run than the disconcerting arrival on the scene of corporate funding for the arts-even though the latter at first appears to be more innocuous.
The survival of the institution and personal careers are often at stake. In turn, collectors often do their collecting with the assistance of a paid staff. Some of the more successful artists employ their own business managers.
The Terminal Show was a brainchild of the city’s Public Development Corporation; it was meant to draw attention to the industrial potential of the former Brooklyn Army Terminal building.
These Art Managers care more about the branding, production and marketing of art, than arts nature. And they also know that they have to keep their institution in the limelight. Their stance and what is crafted under its auspices have not only theoretical but also definite social implications.
Hans Haacke – Monoskop
Private donors came on board with attractive collections. Haacke exclaims that artist can take back the power of art by using alternative showing spaces. Why have hacke executives been receptive to the museums’ pleas for money? 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.
An unequivocal acknowledgment might endanger the cherished romantic ideas with which most art world participants enter the field, and which still sustain them emotionally today.
It is the board member and top executives with business backgrounds that have the ultimate say in what gets shown and what gets dismissed. It is, in fact, not our private property, homegrown and home to retire to.
Controlled ambiguity may, in fact, be one of the characteristics of mussums Western art since the Renaissance.
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In accepting public grants, however, they became accountable-even if in practice only to a limited degree-to government agencies. Haacke goes on to suggest that the art world is more business than pleasure or romance. The artistic staff is not exempt from the strain of hacke bottom-line; as curators decide which works of art to comsciousness in an exhibition, they must keep in mind what artists and artworks will attract the largest crowds and which ones might offend or deter board members, donors, and corporate sponsors.
With the 19 th century credence that art is made for arts sake, reinforces the magical aspects of art that alludes to a higher power, and because of this allegation asserts it has little bias.
We see a lot of noncommittal, sometimes cynical playing on naively perceived social forces, along with other forms of contemporary dandyism and updated versions of art for art’s sake. It was hoped that the event would revitalize the economically depressed region close to the German border and that it would prop up the local tourist industry.
They do not blush in assessing the receptivity and potential development of an audience for their product.
Ambitious exhibition programs that could not be financed through traditional sources led museums to turn to corporations for support. Posted by Brosia at 2: Even today, in countries where artists are openly compelled to serve prescribed policies, it still has and emancipatory ring. Mayor Koch, always a friend to the realtors who hanss his campaign chest, tried recently to plant artists into particular streets on the Lower East Side to accomplish what is euphemistically called the “rehabilitation” of a neighborhood, but what in fact means squeezing out an indigenous poor population in order to attract developers of high-rent housing.
It has established branches-almost literally a merger-on the premises of two companies. Following their instincts, they haaxke often consxiousness more successful managers than the new graduates museuns to be, since the latter are mainly taught by professors with little or no direct knowledge of the peculiarities of the art world.
Those who hold the purse strings and have the authority over hiring and firing are, in effect, in charge of every element of the organization, if they choose to use their powers.
You need theory that is heuristic, able to open up new discoveries. Generally, such companies look for events that are “exciting,” a word that pops up in museum press releases and catalogue prefaces more often than any other. Such interpretive work is in turn a product of consciousness, performed gratis by each viewer but potentially salable if undertaken by curators, historians, critics, appraisers, teachers, etc. Those engaged in collaboration with the public relations officers of companies rarely see themselves as promoters of acquiescence.
Funding, as much as one’s prospect for promotion to more prestigious posts, depends on how well one can play the game.
Museums: Managers of Consciousness
A theoretical prop for this worthy but untenable position is the nineteenth-century doctrine of art for art’s sake. The newer og are more network and systems theoric, looking at complexity and distributed agency.
Other papers carry these items under equally innocuous titles, such as “culture,” “entertainment,” or “lifestyle. Museum managers have learned, of course, what kind of shows are likely to attract corporate funding.
As a matter of fact, I have serious reservations about their training, the mentality it fosters, and the consequences it will have.