This thought in from Steven Kaplan in Manhattan
Thomas Krens will step down after nearly twenty years as director of the Solomon R. Guggenheim Foundation, and the search for his successor has officially begun. This announcement is barely two days old, but the art pundits are already circling like hawks high above the Frank Lloyd Wright rotunda, gliding over the thermal gradients for indications of future trends, while also hunting smaller anecdotal tidbits to feast upon.
If the age of Krens is soon to recede in our collective rear view mirror, how will it be remembered? As a period when the establishment of a coherent aesthetic identity for the museum took a back seat to the art of the deal? When international franchising and corporate sponsorship became overriding determinants of exhibition content? When fashion, architecture and other borrowed interests reigned at the expense of the art itself? Or did Krens manage to create a system of patronage and power that will endure? Was he in fact a visionary, an advocate of his own peculiar manifest destiny: always expanding, always seeking out new funding, always ready to open his doors if the price was right, while placing greater and greater financial demands upon his board of trustees, who perhaps finally had
no choice but to mutiny?
Part of the answer will be determined by the policies and personae of his successors. In particular there remains the legacy of the Guggenheim Abu Dhabi, the jewel of his franchising effort, “35 percent larger than Bilbao”. A major mission for Krens (and starchitect Frank Gehry) is the completion of this monolith in the desert. It is the fulfillment of his expansionist dream and his ultimate expression of museum realpolitik. Because when domestic benefactors such as Peter B. Lewis balked at the huge cost of funding the satellite projects, Krens did an end run and appealed directly to the oil-rich sheiks — in much the same way that the banks have recently looked to UAE money to bail them out of the mortgage crisis.
The Guggenheim is presently committed to building their satellite in Abu Dhabi. But as the museum reassesses its priorities, considers its post-Krens identity, and examines its finite resources, one can imagine a revision of this decision. Especially in light of the Emirates’ policies of not allowing entry to Israeli passport-holders and their censorship of gay content and nudity in the art to be exhibited.
The final decision of whether or not to proceed is reserved to the museum’s board of trustees. But I would pose the following questions to ArtWorld Salon readers: Should institutional initiatives be reconsidered in light of new economic realities and new leadership? Should the leftover projects of an old regime be cleared out, to allow the new director a “clean slate”? And might the fate of the Guggenheim Abu Dhabi give us some indication of how museums will operate in a post-Krens era?