“If you look at history, too many great collections ended up in storage and not being shown.”[i] – Eli Broad
Eli Broad, like Alice Walton, the Fishers and George Lucas, has a long history with the city in which he practices his “venture philanthropy.” Broad was not born in Los Angeles, but like the Fishers in San Francisco, he has a long involved history with existing arts and cultural institutions. He has sat and currently sits on the boards of many art museums. Like the Fishers, Lucas and Walton, his decision to build a museum to house his art collection is motivated (partially) by his commitment to his city. But Broad is also doing something in addition to what the Fishers, Lucas and Walton did with their museums; he is utilizing his museum project as leverage for further economic growth. Sure Walton sees Crystal Bridges as having a positive economic effect on Bentonville, but there is nothing in Bentonville: Crystal Bridges is the local economy. Broad is building his museum, not in a rural city, but in the second-most highly populated city in America. Los Angeles already has the strongest brand of any city in the world, and an existing diversified economy. Sure, part of Los Angeles’ economy depend on arts and culture, but it arguably has plenty of existing organizations and venues. If Eli Broad had attempted to build his museum in a place like San Francisco, he might have come up against more public opposition as did the Fishers and Lucas.
“I thought a museum was a concept that people already bought into about 200 years ago. They’re having us do as much work as we can hoping that we will give up. [...] They hate us.” – George Lucas
Like the Fishers, filmmaker George Lucas wanted to build a museum in San Francisco’s Presidio. Lucas wanted to bring his Lucas Cultural Arts Museum to Crissy Field – a beach-front portion of the Presidio National Park with killer views of the Golden Gate, Alcatraz, and the Bay. Lucas must be reading Eli Broad’s museum-building playbook: After Lucas’s proposal was rejected he threatened to take his museum and collection to another city. Will billionaire Lucas get what he wants by leveraging cities against one another? Remember those sweet deals Santa Monica and Beverly Hills offered Eli Broad when he was “considering” them instead of Downtown for his museum? We know how that turned out.
Lucas was making plans for his museum in 2009, but didn’t make a formal proposal until the Presidio Trust, which oversees and maintains the Presidio, sent out an RFP for the Crissy Field location. By March of 2013 16 proposals had been submitted, and by September those had been narrowed to three including Lucas’s museum. Lucas’s proposal was for a new Beaux-Arts-style museum to house his collections of illustration (lot of Norman Rockwell) and film ephemera (heard of Star Wars?). Lucas was willing to spend $700million: $300M for construction and $400M to endow it–he was good for it too, having sold the Star Wars franchise and Lucasfilm to Disney in 2012 for $4.05 BILLION dollars… Read the rest of this entry »
Alice Walton is the youngest daughter of Sam Walton, founder of Wal-Mart. She was raised in Bentonville, Arkansas—also the location of the first Wal-Mart, and where Wal-Mart corporate headquarters is located. In the past decade Walton has been on a shopping spree of American art, from colonial to contemporary.[ii] The spree was fueled by her philanthropic project, the Crystal Bridges Museum of American Art (she chose the name), also in Bentonville, a city with a population of 35,000. The cost for the project is unknown, but art blogger Lee Rosenbaum (CultureGrrl) investigated the museum’s 990s and revealed that between 2005 and 2010, the museum spent $508.57 million in “expenses for charitable activities”[iii]—an intentionally vague category. These activities most like are the acquisition of art but also the design and construction of the museum by architect Moshe Safdie.
LA, or certain people who write about the art scene in LA, or people who get quoted about the art scene in LA, seems to have an inferiority complex. Everything that happens in the arts (a new exhibition, a new art fair, a new museum director…) is deemed the thing that will finally turn LA into an/the art capitol. William Poundstone did a survey of this decades-long mentality[ii] this week inspired by an article in The Economist titled, “2014 may prove a turning point for art museums in Los Angeles.”[iii] But come on – LA, people who write about the art scene in LA, people who get quoted about the art scene in LA, and the people of LA have nothing to prove. The Getty squashed that issue a few years ago, didn’t it?
Back in 2011, the Getty’s ten-years-in-the-making endeavor, Pacific Standard Time (or PST as it has come to be known) opened. Over 60 institutions across Southern California presented exhibitions focused on the region’s art scene between the years of 1945 and 1980. The Getty’s goal was to record, preserve, and present the many contributions Southern Californian artists and arts organizations made to contemporary art during the time period. Initial grants were given to arts organizations to catalogue archives from the period, followed by exhibition grants. Some of these exhibitions traveled to other venues in the country and some traveled internationally. Catalogues from these exhibitions were published and quickly integrated into university curriculums. Besides this trove of scholarship, another goal of PST was to present Los Angeles as an artistic capital.
When I read the news this week that LACMA is bringing back its legendary Art and Technology Program, I basically freaked out. But before I get into the new program I wanted to re-explore the original program. (I knew this grad school paper would come in useful for something.) I gleefully just re-read the program’s catalogue: A Report on the Art and Technology program of the Los Angeles County Museum of Art. Long title, amaaaaazing read.
ART AND TECHNOLOGY PROGRAM, 1967 – 1971
In 1967, the five-year-old Los Angeles County Museum of Art began a multi-year project called The Art & Technology Program. The Program placed artists into residencies within technology companies with the intention that these corporations facilitate and/or fabricate the creation of new works, which would be shown in a culminating exhibition at the museum. The Art and Technology Program was the brainchild of LACMA’s curator of Modern Art, Maurice Tuchman. Read the rest of this entry »