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

The Great Tactician.

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.

Advertisements

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]

So this is going to be washed away by the river in a few hundred years.