For years the debates have raged about how to argue for the arts, and never more so than now, when public money for museums is everywhere drying up. As I wrote not long ago in the Art Newspaper, a thorny problem for arts advocates is that they have boxed themselves into a corner by developing instrumental arguments for the arts. According to the now widely-used reasoning, investments in the arts are supposed to yield tangible returns — tourism dollars, construction jobs, white collar citizens, booming maths scores, etc. — which, in turn, advance cities and their inhabitants in the global economy.
The trouble is that in the meantime the art community has lost sight of what in the first instance is important and intrinsically valuable about the arts. And as far as policy arguments go, funding cultural institutions to obtain the aforementioned outputs is a rather inefficient way of going about the business of improving education, competitiveness, and neighborhood health.
Now philosopher Alain de Botton has waded into this fertile rhetorical swamp by proposing a new twist on instrumentalism. Let museums be a means to and end, he argues in a polemic published on BBC’s website. But let those ends be moral. Did anyone say moral?
Invoking the old chestnut about museums being our secular churches, de Botton argues: “I try to imagine what would happen if modern secular museums took the example of churches more seriously. What if they too decided that art had a specific purpose – to make us good and wise and kind – and tried to use the art in their collections to prompt us to be so?” He goes on to ask, “Why couldn’t art be – as it was in religious eras – more explicitly for something?”
The philosopher has pointed out a valid contradiction. While arts advocates have willingly instrumentalized their cause when arguing for subsidies, they insist on a neutral, open, cause free definition of the contributions of artists and cultural institutions. But what would museums look like in the scenario suggested by de Botton?