Posts Tagged ‘LA Times’
Eli Broad’s power is tolerated because it remains remarkably unchallenged. This seemingly monopoly of philanthropic power led Christopher Knight to compare Broad to another infamous, Los Angeles art patron:
[Norton] Simon’s flirtations with giving [his] collection away (at least seven institutions); distrust of traditional museum management; engineering of a bailout of an artistically adventuresome but financially faltering institution (the old Pasadena Museum for Simon, MOCA for Broad); later deciding to open his own museum, and more…[ii]
Another similarity to Broad: Before Norton Simon’s takeover of the Pasadena Art Museum, Simon had intended to establish his collection as a lending organization. Taking control of the Pasadena Art Museum proved irresistible to Simon, and today the Norton Simon Museum rarely loans works. I seriously doubt unfounded rumors that Broad has some kind of evil master plan to takeover or somehow combine his collections with MOCA.
Broad can also be measured to his contemporaries. Los Angeles is not actually a one-philanthropist town. “Pomegranate Queen” Lynda Resnick is an easy comparison. Like Broad, Resnick is a long-time donor and trustee of LACMA. Like Broad, she and her husband provided funds ($54 million) for a Renzo-Piano-designed building at LACMA. The Lynda and Stuart Resnick Pavilion was part of Phase 2 of LACMA’s Transformation and sits directly north of BCAM. When the pavilion opened in October of 2010, one of three inaugural shows was gleaned from the Resnick’s private collection.
Within just a few months of BCAM’s opening at LACMA, rumors began to circulate Eli Broad had been less than forthcoming about his true intentions. Contrary to his initial denial of it, at the end of 2008 local newspapers began reporting Broad intended to build a new museum for his collections in Beverly Hills.[ii] The City of Beverly Hills quickly identified a prominent parcel of land at the intersections of Wilshire and Santa Monica Boulevards for the project. An architectural competition was announced, a short list determined (Thom Mayne, Jean Nouvel, Shigeru Ban, Rafl Viñoly and Christian Portzamparc), and schematic renderings of the site plan were even published. [iii] If this speedy development seemed too good to be true, it’s because it was.
By the end of 2009, Broad announced there were actually multi cities vying for his collections and a new museum building to house them. Beverly Hills, previously unchallenged was suddenly competing with the City of Santa Monica, and Broad’s foundation announced there was also a third, unnamed city in the running.[iv] This of course turned out to be the City of Los Angeles. Broad said he wasn’t, “trying to play the two [three] municipalities against each other […] he hope[d] that by talking to several different cities he c[ould] accelerate the process of building.”[v] But play them against each other he did, for six months, trying to secure the best deal.
When I began writing this update to my previous post, I thought a list of bullets with links to the LA Times would suffice, but then I realized a crazy amount of MOCA drama has occurred in just over a year. At least Vanity Fair journalists who love to write about the LA art scene have plenty of material.
It’s easy to make accusations about MOCA’s obsession with celebrity considering the museum’s galas. Following Francesco Vezzoli‘s Lady Gaga gala in 2009, the museum hosted a gala directed by Marina Abramovic in 2011. The Abramovic gala drew the ire of some for being exploitative of performers who served as live centerpieces… Debbie Harry also performed, and the whole shebang culminated in Harry and Abramovic hacking into cake-effigies of themselves… Last this year’s gala happened on 4-20, and was themed appropriately – Cheech Marin attended and guests wore Hawaiian leis for some reason.
Photographs of Los Angeles from fifty years ago capture an unfamiliar city. In the 1960s, downtown’s Bunker Hill was still occupied by a row of quiet Victorian houses. Since then, the Victorians have been cleared away and the city has experienced a population boom often illustrated as a mushroom cloud-shaped diagram, and now boasts a population of 9.86 million.[ii] While established in many ways, Los Angeles’s philanthropic culture is still in its infancy. Despite ranking the second most populous city in America, the quantity of powerful philanthropists is insignificant at best. Those who are active give to educational, environmental, health, and political causes.
It may seem unconventional to begin a thesis in arts administration discussing a football stadium. This thesis is an exploration of urban planning in Los Angeles involving large-scale, public-private development. In the following chapters, I document how philanthropist Eli Broad’s under-construction contemporary art museum, The Broad, is being utilized to stimulate further redevelopment of an area of downtown Los Angeles called Bunker Hill. The Broad museum and the larger, coinciding Grand Avenue Project has engendered some conversation about the investment associated with public-private development projects, and the resulting public and private benefits. he amount of dialogue investment and return benefit involved with the Broad museum and Grand Avenue is minimal in comparison to another large-scale, public-private development proposal less than two miles away: Farmer’s Field. The proposed downtown National Football League stadium has garnered substantial, well-publicized and in-depth political, social, and economic debate about investments and benefits. For this reason, I believe reflecting on some of the lively discussions circulating abound Farmer’s Field can be useful in introducing similar questions and concerns, which may not have addressed or considered, or worse ignored, in the planning process of The Broad museum.
FIELD OF SCHEMES? – PUBLIC-PRIVATE INVESTMENT & BENEFIT
“We’ve built more arenas and stadiums than anyone in the world, ever–including the Romans!”[i]
– Tim Leiweke, President and C.E.O., Anschutz Entertainment Group
It is a plotline ripped from the popular television show Entourage (season 7 to be specific). Big-time developer Anschutz Entertainment Group (AEG) wants to bring the NFL back to Los Angeles. AEG’s tactic to lure a franchise to the city is to build a brand new 1.3 billion stadium in downtown. The new stadium, which AEG has already sold naming rights to will be called Farmers Field, after the insurance company. AEG plans to squeeze the 72,000-seat stadium into the already dense LA Live—an entertainment and sports cluster, which AEG has spent more than a decade developing between the Figueroa corridor and the 110 Freeway. LA Live includes the Staples Center (home to both the Lakers and Clippers NBA franchises), Nokia Theaters, Regal Cinemas, JW Marriott and Ritz Carlton, and Grammy Museum. AEG has appealed for both public and government support of the project by communicating its record of success and by touting a lengthy list of impressive economic benefits, AEG claims, the city would should the NFL return: tens of thousands of jobs, construction of nearby hotels, a revived Convention Center, and hundreds of millions of dollars in increased economic activity.[ii] The economic influence seems incalculable and the project non-negotiable.
There have been a lot of announcements from on high lately. The critics have begun to weigh-in on the recent appointment of Timothy Potts as the new director of the J. Paul Getty Museum. The Getty also disclosed a list of its highest paid personnel. Here’s an infographic to help make things easier.
NOTICE: This is the last week to see Paris: Life and Luxury, at the Getty Center. I’ve seen it twice, and am going back a third time this weekend. There is a lot to see; there is also a lot to read, lots of walltext, and a lot of it is hilarious. Beginning with the intro walltext, which explains why most people are unfamiliar with French decorative art from this period:
Largely unfamiliar and underappreciated today, over shadowed as they are by the tumultuous social and political events of the French revolution of 1789.
Oh my god, this stuff is so underappreciated! Who doesn’t love Rococo? If an 18th century French peasant saw all the wealth/golden filth in this exhibition, the Revolution would have happened a WHOLE lot sooner. Read the rest of this entry »