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2019, ArtAsiaPacific
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6 pages
1 file
Recent revelations that board members of major international arts organizations own companies that are allegedly involved in the pharmaceutical opioid crisis, produce spying software or chemical weapons—while shocking—should not come as a surprise. In today’s economy, arts funding is hard to come by, and museums are hard-pressed to raise critical financing for their programs. While it would be foolish for such institutions to decline gifts from wealthy donors, these problems could perhaps have been avoided if museums had concentrated less on snagging low-hanging fruit and conducted proper due diligence of their benefactors.
This interdisciplinary conference will feature papers by emerging and established scholars from around the world whose work deals with American arts patronage from the early twentieth century to the present day. On Wednesday 26 June, from 15.00-16.30, John R. Blakinger, Terra Visiting Professor of American Art, University of Oxford, will deliver his plenary, ‘“To Remain Silent Is To Be Complicit”: Arts Funding in the Trump Era'. On Thursday 27 June, from 15.00-16.30, Mary Anne Goley, Founding Director of the Fine Arts Program of the Federal Reserve Board will deliver her plenary, ‘Playing By the Rules, How I Directed the Fine Arts Program of the Federal Reserve Board, 1975 thru 2006’.
International Journal of Nonprofit and Voluntary Sector Marketing, 2015
This paper examines the role of museums as repositories of cultural meaning and symbolic capital. As educational and cultural institutions, museums serve to legitimise works of art within the frame of an art historical context. However, our comparative case study reveals how the taken-for-granted role of the museum as an allegedly unbiased platform for disseminating the arts can be usurped for economic or political ends. Using the cultural settings of the Hong Kong Museum of Art and the Venezuelan art museum circuit, we examine via our case studies how legitimation in the arts may be jeopardised or misused if and when cultural institutions succumb to commercial and political pressures. By adopting a qualitative research design, we observe the macro-context in which institutional roles are defined and played out, and demonstrate the ideological discourses at play in the role of these cultural institutions as meaning-makers. Although they may be presented as neutral spaces, museums inadvertently serve to circulate socio-political views. How the institution manages these views and unavoidable macro-level forces will in turn influence the cultural credibility of the museum framework as a legitimising force on the cultural horizon. Attention is devoted to how these pressures can affect the production and consumption of art, offering an alternative perspective on the development of museum policies.
East of Borneo, 2020
"So Much for Philanthropy: the Marciano and 'All the Usual Suspects'," shows how the current US tax code gives philanthropists a combination of exaggerated tax subsidies and concrete control over policy and civil society, the combination of which results in an undemocratic institutional reality. When it comes to art, advantages to the wealthy are exacerbated since the status of art as an asset, or as the euphemism goes: “passion asset,” distinguishes collecting institutions (or shell institutions serving collectors), from all other types of nonprofits. Donors to hospitals, universities, think tanks, or other nonprofits providing social services, do not share financial interests in the same assets owned by the institution they serve. But Eli Broad and the Marciano brothers privately own works that can appreciate at public expense. The article further argues that philanthropy ultimately gives back the surplus it siphoned from labor and also from externalities paid for by society’s taxes.
The field of cultural economics has devoted substantial attention to the positive and normative analysis of the willingness of citizens to fund art through the public sector. But there has been little economic analysis of the efficiency properties of the various possible methods of organizing public funding of the arts. Recent work on transaction cost models of organizations and politics can be fruitfully applied to the study of publicly funded arts agencies. In particular, the brief history of the National Endowment for the Arts (NEA) provides a vivid illustration of the problem of optimal degrees of political monitoring and statutory control of agencies. The special features of the art world, in particular the status and knowledge of art experts and the lack of a clear sense of mission as to the purpose of publicly funded art, and a rapid change over the past four decades in what artists actually do, have led to changes in the statutory control of the NEA and in the way it is moni...
2002
This paper is an attempt to provide evidence on two questions: Why do companies sponsor art events, and where exactly does the money go? We analyse data collected on the revenue structure of cultural institutions in Berlin and Hamburg. This data set not only tells us where the money goes, it also allows us to draw conclusions with respect to donors' motives. We regress sponsorships received on the number of visitors and other independent variables. The results are significantly different from those which one would expect if sponsoring were merely a form of advertising.
Art History, 2008
British International Studies Association Annual Conference , 2021
Artistic activism has been explored extensively by both political theorists and art historians over the last decade. This renewed interest in artistic activism can be justified by the recent wave of boycotts, petitions, strikes, and direct actions targeting museums in a global context. Such interventions aim at holding museums and institutions accountable not only to their own mission statements, but also to the communities they claim to serve. At the same time, they allude to a broader crisis of legitimacy that major museums are faced with today. In this respect, this paper examines a series of activist interventions spearheaded by the action-oriented movement Decolonize This Place that were deployed at the Whitney Museum of American Art in 2019, culminating in the resignation of the Vice-Chairman of its Board of Trustees. It will argue that museums and institutions are permeated by inner divisions and conflicting interests, hence are ideal sites to stage antagonisms. It will show that the activist performative interventions discussed here used institutions as gateways to broader ideological struggles that exceeded the artistic realm and were crucial in activating the antagonisms that remained dormant within the institution, in mapping connections between seemingly disparate struggles, and building broader decolonial solidarities.
Within a corporate criminological framework, this paper examines the antiquities acquisition policies and activities of the J. Paul Getty Museum particularly during the curatorship of Marion True, whose indictment by the Italian government was part of a broader investigation into the trade of illicitly obtained Italian antiquities. Specifically, we employ two theoretical perspectives -that of differential association and anomie -to examine malpractice among Getty officers and suggest that both museum cultures and the psychology of collecting may in fact be criminogenic. In light of such criminological insight, we conclude the paper with suggestions for broad reforms of museum governance.
Dynamics and Developments of Social Structures and Networks in Pre- and Protohistoric Cyprus., 2024
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Turkologentag, 2023
Optics Communications, 2009
Expert Systems with Applications, 2006
International Journal of Computations, Information and Manufacturing (IJCIM), 2021
Osteoporos Int, 2010
CMAJ : Canadian Medical Association journal = journal de l'Association medicale canadienne, 2003
Journal of Materials Chemistry A, 2016
Journal of the National Medical Association, 2009
Food Control, 1996
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Plant and Soil, 1976
Physiology and Molecular Biology of Plants, 2012
Key Engineering Materials, 2009