Posts Tagged ‘private collectors’
Chapter 3 (Part 6): Private Collector Museum Conclusions
“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.
Written by exhibitioninquisition
May 16, 2014 at 1:37 PM
Posted in Broad Art Foundation, Chicago, Contemporary, Donors, LACMA, Los Angeles, MOCA, Permanent Collection, Private Collectors, San Francisco, SFMOMA, Starchitecture, Thesis, Urban Planning
Tagged with 1% tax for arts, Alice Walton, art museums, arts administrator, basketball stadium, BCAM, Bentonville, Beverly Hills, brand, Bunker Hill, Chicago, collection, Community Redevelopment Agency, CRA, Crissy Field, Crystal Bridges, development, donors, downtown, Ed Lee, Eli Broad, Embarcadero, fundraising, George Lucas, Golden State Warriors, Grand Avenue, Grand Avenue Project, LACMA, lease, Los Angeles, Lucas Cultural Arts Museum, MOCA, NIMBY, philanthropy, Piers 30-32, Presidio Trust, private collectors, public-private investment, redevelopment, San Francisco, Santa Monica, Seawall Lot 330, SFMOMA, Snohetta, tax revenue, the Broad, the Fishers, venture philanthropy
Chapter 3 (Part 2): Global Survey of Private Collector Museums
“In China alone over 100 museums will be built over the next decade.”[i]
What follows is a global survey of private collector museums meant to illustrate the spread of the Bilbao Bug and the various ways these public-private museum projects operate.
Let’s begin in a dark corner of the world, Tasmania: it is there eccentric collector David Walsh built the Museum of Old and New Art to house his collections of antiquities and contemporary art. MONA is the largest privately funded museum in Australia with an $8 million annual operating budget. The funding comes from Walsh and from businesses that share the sprawling Morilla estate with the museum. A winery, brewery, restaurant and sexy boutique hotel all benefit from a micro Bilbao Effect, which in turn supports MONA. Walsh does not view MONA as a philanthropic endeavor,[ii] nor does he “give a shit” about MONA’s economic impact. How little shit he gives is revealed in the museum’s design: MONA is built into the side of a tidal river and will eventually crumble away due to erosion. “In 50 years, there’s going to have to be a lot of money spent on Mona or it’s going to be underwater.”[iii]
Written by exhibitioninquisition
February 7, 2014 at 6:01 PM
Posted in Contemporary, Donors, Private Collectors, Starchitecture, Thesis, Urban Planning
Tagged with Abu Dhabi, Anupam Poddar, Beijing, Bernard Arnault, Bernardo Paz, Brazil, Budi Tek, Carlos Slim Helu, Cezanne, China, Contemporary, Dasha Zhukova, David Walsh, Devi Art Foundation, Doha, Dragon Art Museum, economic impact, Eugenio Lopez Alonso, Francois Pinault, Frank Gehry, Garage Center, Guy Ullens, Hanging Heart, Herzog & de Meuron, Indonesian Art, Inhotim, Jean Nouvel, Jeff Koons, Jumex Foundation, Kering, Kiran Nadar, Liu Yiqian, Louis Vuitton Foundation for Creativity, LVMH, Mexico City, museum, Museum of Old And New Art, National Museum of Qatar, New Holland Island, Oei Hong Djien, OHD Museum, Palazzo Grassi, philanthropy, Pinchuk Art Center, private collectors, Punta della Dogana, Qatar, Qatar Museum Authority, Roman Abramovich, Saadiyat Island, Sheikha Khalifa Al-Thani, Shen Qibin, Sothebys, Soumaya Museum, The Card Players, Ullens Center, Venice, Victor Pinchuk, Wang Wei, Yuz Art Museum, Zendai Museum