There must be an astronomical term for this week’s stellar array of events in New York. It’s certainly a cluster of some sort.

Once distant galaxies, the ADAA Art Fair and the Armory Show, are opening on back-to-back nights this year, forming a unified mega-event constellation. They are flanked in time and space by the Whitney Biennial and the William Kentridge juggernaut, which is merrily winding its way from the Southern Hemisphere through the top cultural institutions of Manhattan. Established events with names invoking celestial phenomena—Nova, Scope, Pulse—add to the epic convergence. Toss in the newcomers, such as the Independent art fair-exhibition hybrid, plus dozens of piggybacking gallery shows, lectures, panel discussions, and cocktail parties, and the results will overwhelm the endurance and attention spans of even the most dedicated art-world regulars.

What we are witnessing, in fact, is the Miami syndrome, transplanted to New York. Opportunistic calendaring, mixed with fear that collectors will only fly in once, has created a matrix of activity that is as impressive as it may be self-defeating. Game theorists call this the tragedy of the commons: Too many cows grazing on the too little land. We shall enjoy it while it lasts. But will quantity translate into quality, sales, and critical impact?

Three makes a trend, the adage goes. So here’s one: The upcoming Whitney Biennial, the National Academy’s Annual Invitational, and Site Santa Fe have sharply curtailed their rosters of exhibiting artists. The reason is money. The outcome is just what the art world needs.

Bloated biannials and survey shows were a boom-time phenomenon we can do without. They are self-defeating in terms of their purpose, which is to provide a point of view about what’s going on. And for better or worse, art fairs offer a more comprehensive summary of the totality of artistic activity.

Cultural bloat is an understudied phenomenon. Its effects are subtle and pernicious. On the surface, bloat entices us with more and more of a supposedly good thing: brick-size novels, three-hour movies, fancier museum buildings and cultural extravaganzas that betoken civic pride and scaling national ambitions.

Underneath all this more-ness, however, lurks the shadow of unsustainability. And that’s hardly the biggest threat. The lure of large numbers relieves the pressure to leave material on the cutting room floor. The cacophonous results mimic the quick verdicts and ceaseless profusion of the marketplace. A more restricted format, by contrast, tilts power to curators. It flushes away the fluff and injects some editorial discipline into the enterprise of art. Think of it as slow cultural food: Harder to cultivate and prepare, more satisfying to consume.

There’s been a lot of writing lately about how austerity is good for art. Much of it is sentimental bunk. Artists deserve to live well, like anyone else. But a case can be made, I believe, for trimming output and narrowing distribution channels. We may have less art to see, but more attention to lavish on it.

Depending on which papers and blogs you read, the art fair in Miami either was or was not as subdued as last year, the big fair either was or was not so huge as to be unnavigable, the parties were or were not as hedonistic as in the past, the art market was or was not back with a vengeance–and so on. On the the whole, there were many reasons to be happy and to be entertained. The truth is, Miami’s art fair week is so vast, so complex, so overwhelming and inexhaustible, that everyone’s personal experience will be different. What were your impressions?

If you’re packing your bags to Miami, let us know what you are expecting? What year will 2009 look like? Will it be like 2008, when the financial crisis cast its pall over the fair? Or will it be more like 2005 and 2006, when exuberance began to overwhelm the art? In recent days, commentaries have issued from both schools of thought.

What is for sure is that after a surprisingly robust auction season, reports of stabilization from galleries, and signals of strength from emerging markets like Abu Dhabi, an ebullient Art Basel Miami Beach would ring out the art-market season on a note of renewal. I for one am looking forward to the reunion aspect of the week, which, regardless of the business being transacted, is unsurpassed. The art world always finds confidence in numbers and tribal proximity. (Disclosure: I’m moderating an Art Basel Conversation, with five museum directors, Friday morning.)

So, what will be the surprises? Where to look for new energy? And what will it all mean? Send your thoughts.

We interrupt the summer doldrums with news that “controversial graffiti artist” Mat Benote has surreptitiously installed one of his own works in the Guggenheim Museum. This cheeky guerilla action raises anew questions about authority and power in the art world.

Benote apparently hung up his work—a kind of Russian Avant-Garde-ish abstract composition, in black and red, accompanied by a wall label—during normal business hours, unnoticed by Guggenheim security guards or patrons. The press release somewhat hyperbolically claimed, “a piece of art was added to the museum’s permanent collection in the form of a gift by the artist.”

Really? Much like the Grand Rapids ArtPrize discussed in an earlier ArtworldSalon post, the intervention brings up some interesting concerns. If a work is hung on the wall of a museum, without the sanction of curators, is it to be considered part of the museum’s art program? Can anyone bring in a picture, hang it on the wall, and thus confer upon it the status of museum piece? If so, are then random objects in visitors’ handbags also properly seen as part of the museum’s temporary exhibition programming? By extension, are the visitors themselves to be considered a kind of accidental social sculpture, by virtue of performing their pattern of human interactions inside the symbolically charged confines of the museum? Or will these visitors have to be labeled an artwork, by someone such as Benote, to be so considered?

Questions also run in the opposite direction: If an artwork looks like a run-of-he mill abstract composition, neatly applied on a two dimensional surface, installed like a precious painting inside a top-flight museum, with a wall label, is it still “graffiti”?

Perhaps the most fun question for this Salon may be: What were the Guggenheim’s esteemed curators supposed to do? Lemonade, anyone?

Catherine Spaeth writes…

For a while now, there has been a degree of discomfort with the notion of an ideal viewer. At its extremes, the dangers of such an ideal are the failure of one’s poorly aimed presumptions as to what an audience is, or the presumptuousness of constructing a subject, of producing a consumer.

Rirkrit Tiravanija’s recent contribution to “Cinema Liberte/Bar Lounge,” in collaboration with Douglas Gordon at the Guggenheim’s “theanyspacewhatever,” was - despite its generosity - a coldly sceptical response to this situation. Served Illy coffee by Illy baristas, the failure to mean was offered as a gift, and this gift in turn was a lifestyle brand. As though wishing to correct this situation of art, Michael Fried in ‘Why Photography Matters” describes work so saturated by artistic intent that the audience is shunned from the space of it.

In a July 11th discussion on “Art and Power” at The Drawing Center in New York, the artist Alexis Knowlton shifted the terms away from the ideal viewer and back towards artistic intent. She invoked a term coined by Jerrold Levinson, “hypothetical intentionalism.” Already standard jargon in the philosophy of aesthetics, these words, for better or worse, have not yet found their way into artworld discourse. In October-driven art history and criticism (inaugurated by Rosalind Krauss’s 1976 essay in Vol. 1 on Vito Acconci, “Video: The Aesthetics of Narcissicism”), the artworld has been more at home with the problem of the viewing subject.

For Knowlton, the very worst symptom of ceding artistic intent is what she refers to as SLAT: Super Lame Art Thematicization. The current Venice Bienniale, “Making Worlds” and the New Museum’s recent “Unmonumental” are, in her opinion, cases in point. Read More »

Have you ever wondered if the success of today’s visual art mega-events depends less on their content than on the expectations surrounding them? The Venice Biennial and Art Basel’s 40th edition are a case in point.

Venice is a classic example of an event that art insiders love to hate. Every two years, a superstar curator is asked to prepare a vast exhibition in a difficult and historically charged venue, with limited resources, a ridiculous timeline, Italian ineptitude, and a spaghetti bowl of national pride, politics, and pavilion positioning thrown into the mix. Then the art crowd descends and, between bouts of champagne drinking and Vaporetto riding, it delivers a categorical judgment—usually negative. The pop psychologist in me believes that some folks have so much fun in Venice that they have to declare the Biennial a failure and a bore. This is partly intended to make their expense-account journey look more like a hard-working professional chore than the sybaritic fun ride it is. (You may discern a note of envy: I wasn’t there.) After this year’s opening, the commentariat appeared to be speaking from the same talking points. The line was that while the last Biennial was awful, this one—organized by art-world wunderkind Daniel Birnbaum, who is undoubtedly one of the smartest young figures on the scene—was banal and flat. Really?

Contrast with Basel. It’s a trite metaphor, but the world’s leading art fair, which occupies the same space as Baselworld, the epic watch fair, really does run like clockwork. Read More »

I’m going to go out on a limb and say something that will probably get me branded an elitist, a staunch defender of the status quo. I don’t like this big new art prize.

I am talking about the ArtPrize [sic.], the “radically open” art competition with the greatest payout in history: $250,000 for the winner ($100,000 for the runner-up) in an American Idol-style contest based on voting by the general public. It’s being funded by a well-meaning young gentleman named Rick DeVos, who won a contest of a different sort — genetic — and leveraged his inherited fortune with entrepreneurial feats of his own. The contestants will register online, ship their work to Grand Rapids, Michigan, and the rest will be up to the good folks who happen to be in town during an exhibitionpalooza weekend event where the voting takes place.

So what’s wrong with this picture? I can think of four things.

First, I have nothing against discovering those hidden diamonds in our midst (I, too, watched the Laura Boyle video and got misty-eyed), but public polling is not the best way to reward human accomplishment. The Olympics, the Nobel, or the Pulitzer Prizes are earned in arduous, sometimes lifelong ordeals of jumping over physical and mental hurdles. Judgment by juries and peers has a lot to do with the authority of these awards. Read More »

It is useful to remember that there is a place, not far from here, which makes our Wall Street worries look like luxury problems. The average salary in Cuba is around $20 US dollars a month, which is the equivalent of a regular dinner in a tourist restaurant in Habana Vieja. Economic contrasts border on surrealism, and yet Cuban society manages somehow to survive through a system of inventive informal businesses and exchanges that involve outsmarting the government and permanently playing a game of intrigue and paranoia.

The Cuban situation in the art sphere has always been equally perplexing: Cuba doesn’t have private galleries, art magazines or independent art foundations. Internet access is heavily restricted if at all available. Only a handful of artists (who normally live outside of the country) actually get to make a profit of their art. And yet over the years Cuba produced as many or more consequential artists than other countries who may boast of far stronger infrastructure and support system for the arts. Which leads me to ask: amidst all this soul-searching after the fall of the markets, can the Cuban example help the art world re-envision itself?

In Cuba it is really hard to get quick answers to anything, though, as reality is so complex. For starters, the meeting of the art world and the Cuban reality is an awkward one. The Havana Biennial, which just opened its 10th edition last week, is an event that best exemplifies the contrasts and ironies of today’s art world. Officially entitled “Globalization and Resistance,” one could see the event as the ultimate anti-Dubai, anti-Chelsea event. Yet, there was a parallel show precisely entitled “Chelsea,” comprised of New York artists who show at Chelsea galleries. The event seemed to be quite successful, no one seemed to think it was a contradiction to the curatorial premises of the biennial, and everyone seemed happy. The biennial per se, however, as well as the theoretical forum I attended, were much more true to form. Read More »

This just in from Art Newspaper Editor, Georgina Adam.

The saga of the Chinese bronzes hammered down at auction during the Yves St Laurent sale and then not paid for, as a political gesture, raises many thorny questions.

Briefly, (and for those of you who were on Mars this week), the two Qianlong bronze heads, of a rat and a rabbit, were looted from the Yuanming Yuan Summer Palace in Beijing by Franco-British forces in 1860 during the Opium Wars. They were two of 12 heads which adorned a Zodiac fountain, five of which have never resurfaced.

The heads were offered for sale by Pierre Bergé, the late Yves St Laurent’s former lover and business partner, in Christie’s block-busting sale of their collection last week in Paris. The Chinese have been calling for the return of the heads, and a French association (AFACT) with links to China attempted to block the sale by bringing an emergency injunction in a French court shortly before the sale started. The demand was thrown out in no uncertain terms by the French “procureur” (prosecutor) for a number of reasons, some technical and others more fundamental. I was in court and subsequently at the sale when the bronzes were sold.

China was not able, legally, to claim the bronzes under international law, and does not want simply to buy them back – its position being that they were looted and should be returned. At no point did AFACT claim that Bergé was not the legal owner of the heads, and prior to the sale Bergé stated that he would be prepared to return the heads “when China respects human rights and frees Tibet”. This did nothing to improve Sino-French relations, which hit a new low after French President Nicolas Sarkozy met with the Dalai Lama last December in Poland.

At the sale, the two heads were “sold” to a bidder on the telephone, underbid by two other telephones for the first, and one for the second. The price was  £20.4m each, including premium, and contrary to usual practice no paddle number was announced – “the buyer wanted absolute discretion,” auctioneer François de Ricqlès said afterwards.

On Monday this week a Chinese collector and auction house general manager, Cai Mingchao, announced that he was the buyer and that he was refusing to pay, as a patriotic gesture.

So here are some of the questions this saga raises. Read More »

Unusually cold weather for Miami lent the opening night festivities a somewhat spooky and sinister air. “I though it was a celebrity, but then I realized it was just some people around the space heater,” said one reveler at the Art Basel opening party, at the Delano Hotel, as a group of half naked Brazilian dancers braved the chilly December winds. Then again, it could have been Antonio Banderas.

Yet despite the cold, the crowd pressed on, like a group of tourists who had booked a late season cruise and were determined to make the most of the amenities on board.

And fancy amenities were everywhere in evidence–gifts from a recent, happier past, when ambitious plans for this week were being hatched. Netjets invited people to celebrate Alex Katz at the Raleigh hotel, posting a giant Hollywood-style sign in the sand in the hotel’s garden. Not to be outdone by the Art Basel event down the street, the dancers at this party added juggled burning torches. Mini cupcakes were emblazoned with tiny marzipan Netjets logos–a sweet touch.

Earlier in the day, in the Design District, preparations were going on for the rollout of Design Miami. Under a tent that resembled a giant lace curtain, it was all business as usual. Takashi Murakami’s operation opened up a store to sell a new line of Murakami household objets, including three giant balls, the largest almost eight feet in diamater, festooned with technicolor flowers constructed out of soft and fluffy teddy bear fur. “Is it furniture or is it art?” I inquired. “It can be anything,” the friendly Japanese PR lady obliged.

Read More »

America has a new President-elect. Yesterday’s vote was not only a political event, but a cultural one. It ushers in a generational shift in American leadership as well as a deeper realignment in ideology and outlook that seems to happen every 30-40 years here. The mood and texture of the country will indelibly change. Barack Obama’s election should also ring in a new chapter in global affairs—more stability and less bellicosity; more listening and reciprocity with friends, less fear mongering and unilateralism when dealing with foes. Let’s hope so, anyway. Whatever happens, the United States, and the world along with it, is set to become a different place. So a logical question for this forum is: What will the election mean for us? Will art register the mood swings of the nation and the world? Will the art world mirror in some way the transformations about to unfold in America? Will arts policy adopt new priorities and innovative thinking? Will cultural diplomacy get a second chance? What do you hope for?

Much art of the 1990s will forever remain associated with Nicolas Bourriaud’s exhibition Traffic (1995) and the book it spurred him to write, Relational Aesthetics (1998), which put forward the terms of art we now use to identify (describe?) the offerings of artists such as Liam Gillick, Rirkrit Tiravanija, Dominique Gonzalez-Foerester and others.   Whether one was eating Thai food in a gallery, sitting and conversing on understated but stylized benches in an exhibition hall, or taking part in a seance, it was immediately apparent that something significant had happened to the way that artists were approaching the enterprise of art making, and Bourriaud gave it a name.

Now, the Guggenheim has just opened theanyspacewhatever (24 Oct. - 7 Jan.), an exhibition conceived in “collaboration” with a number of artists of the relational persuasion (Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno and Rirkrit Tiravanija), who the organizer, Chief Curator Nancy Spector, invited to “collectively formulate a scenario for an exhibition, one that will reflect and articulate the unique nature of their practices.”   In an effort to keep this self-reflexivity running in high gear, the Guggenheim, along with the School of the Arts at Columbia University, presented “Catalysts and Critics: The Art of the 1990s,” a day-long symposium designed to reconsider “relational aesthetics” a decade on.

And reconsideration, it seems, is much in demand.   Ina Blom conjectured that this work revives the concept of “style,” understood as a “style of life”–this is style not as the attributes of a thing but as its continuous relationship to itself, but one now transferred to a particular “site.”   This externalization of style Blom named (what else?) a “style site.”   Alexander Alberro drew the audience’s attention to a “different relationality” altogether, one that began in Brazil in the 60s with artists such as Lygia Clark, Helio Oiticica and Cildo Miereles.   Alberro’s otherwise excellent account of this “counter-formation” in the history of relational artistic practices was foiled only by the absence of Bourriaud himself (he was slated to attend), at whom Alberro’s talk was undeniably directed as a corrective to the Frenchman’s amnesiac theorizing.   Read More »

Now that government regulation of investments and markets is suddenly back in vogue, it’s only a matter of time until the reformers and the ethical cleansers train their sights on the least regulated market of them all–the art market. This will take time, but stay tuned. As last week’s exchanges made clear, taking a measure of post-bailout art values is also an exercise for another day. Only the November auctions will give us clear signals about the market’s health or decline.

This gives us breathing room to look further afield. What are the wider effects of the financial meltdown? To launch what might be a recurring feature about “What’s next?” let’s look at what the latest turn of events means for nonprofits. The postmortems have already begun. The Wall Street Journal and the Washington Post published articles over the past weekend about nonprofits bracing for the worst. The Journal points out that U.S. charitable donations grew a paltry 1% in 2007–that’s before the bad news hit. And although, as the Post reminds, corporate donations amounted to only 3% of the contributed income of nonprofit arts groups, some of the most generous sources of corporate giving are likely to vanish, at least for now.

So what is a nonprofit leader to do? As always, the worst-hit will be mid-size groups with high overhead and weak fundraising potential. These would do well to take a look at the astonishing flexibility that giant financial firms have shown in this crisis. If Merrill Lynch can be sold in a day, arts organizations, too, can adapt. For museums, there are undeniable threats in this new environment, including the possibility of tougher Congressional scrutiny of tax exceptions and loopholes. But there might also be a distant silver lining in the form of lower acquisition costs and more revenue from visitors–museums are an inexpensive family pastime, especially compared to a weekend in Turks and Caicos.

The real benefits of an economic downturn for nonprofits may be less obvious. The pendulum may be swinging back to a point where nonprofit art-world institutions start to matter more again. Creative Time’s current event series, Democracy in America, which culminated with the well-timed opening of a sprawling exhibit of political art at the Park Avenue Armory last weekend (see picture) may be a sign of good things to come–evidence that the art world may be ready to rejoin the “reality based community.”

The topography of Wall Street and the financial system was redrawn over the past weekend. So what’s next? And specifically, what’s next for the art market? In recent months, heightened anxiety about the credit crisis and the meltdown in global finance did not translate into a flight from art purchases. Quite the opposite. Will the current jitters cause collectors and investors to look to art as a safe haven, or will they put the breaks on a long boom that has persisted, with a brief interruption in the early 1990s, for almost a quarter century? What does it mean for nonprofit institutions which rely on donations, and for art sales that depend on loans, guarantees, and credit? Who stands to lose or gain from the next round of transformations? And on the eve of a historic single-artist sale, are we going to witness a turning point in the psychology of the art world and the art business? I invite our panel to submit educated guesses.

A side benefit of the boom has been a stream of new books on the business of art. Given the lack of independently verifiable data, especially about the gallery trade, these books usually promise more than they can deliver. Don Thompson’s The $12 Million Stuffed Shark: The Curious Economics of Art and Auction Houses (until recently available only in the U.K.) is no exception. But it qualifies as recommended reading for anyone looking for a quick overview of how the art world works.

Thompson, an economist and branding expert, undertook a yearlong “journey of discovery” for this entertaining study of the “economics and psychology of art, dealers, and auctions.” By his description, the book “explores money, lust and self aggrandizement of possession, all important elements on the world of contemporary art.” He admits “much of the anecdotal material and some of the numbers in the book are single-source stories and facts,” which are often “embellished in the retelling” and “accepted as fact because they are repeated as fact.” The candor is refreshing. And to be sure, Thompson has a keen eye for the telling statistic.

With these provisos out of the way, and no endorsement of the accuracy of what follows, here is a glossary of facts and figures from the book (all offered by the author without the benefit of direct references or footnotes):
• “Eight of ten works purchased directly from an artist and half the works purchased at auction will never again resell at their purchase price.” Read More »

With Art Basel around the corner, this just in from Lisa Ruyter in Vienna:

When I was commissioned to do the art for The Armory Show 2004 catalog, I wrote an introduction that was a rhapsody about my love of art fairs. Not so many years before that, I began showing at Art Basel with Art & Public gallery, with such clear, positive results that I decided to make my largest and most risky piece, a Stations of the Cross, for a five day exhibition at Art Unlimited, with the support of Pierre Huber. This seems like ages ago, but it really isn’t, and my changing feelings about fairs are probably mostly a reflection of my own growth rather than a reflection of trends of the marketplace.

Since then, I have continued to participate in fairs in different ways, including with my own eponymously named gallery, presenting work by other artists. I see the limitations more and more clearly. I am very aware that it gave me an opportunity to develop a broad and solid international system of support for myself as an artist, and with that, secure a large degree of freedom to live wherever I want in the world. I can put my focus on getting involved deeply in local scenes that I really love, and to take much larger risks with my artwork when I want to. It has allowed me to indulge my independence without self-destructing.

As long as these fairs continue in their current popularity and with galleries as their primary clientele, they will continue to be a measure of what makes an important gallery (and also an unimportant gallery). For example, an artist can significantly raise his or her profile by signing up with a gallery that regularly gets into Frieze or Basel, and often there is only room for one or two other fairs in the world to share that top status. To me Basel holds the top spot because it always put the artworks first. But that is another discussion. Read More »

Went along to the opening of the 5th China International Gallery Exposition (CIGE) here in Beijing on Thursday. Held at the snazzy central China World Trade Centre it gets cleaner and better organised each year. Sadly the Chinese works on display were mostly overpriced and familiar. Even when the artist and work were new. There are exceptions, of course. Urs at Urs Meile and Fabien at F2 are among those trying to build long term relationships with, and long term reputations for, the artists they represent; encouraging development of oeuvre and restraint in pricing. But this is gold rush time for China Contemporary. This sculpture (”Forged by Qin Chong”) probably best illustrates the focus of most Chinese contemporary artists these days.

I did enjoy seeing the work from other galleries around Asia. Attracted by the new deep pockets of the Northern Chinese, galleries from Tokyo, Seoul, Taipei, Kuala Lumpur, Jakarta, Manila, Singapore and Mumbai were all in evidence. Many with their artists in tow. It made for a fun cultural mix in an otherwise fairly quiet VIP evening. They also provided refreshing views, textures and subjects in a room full of yet more pink, bloated cartoonesque Chinese works.

It will be interesting to see how this Fair evolves. There are fewer exhibitors this year (81 vs 118 last year) and there has been a large churn. For example not one of the 5 French galleries that came last year returned. And the number of mainland Chinese galleries who bothered to exhibit is down sharply; 16 this year, down from 39 last year. On the other hand there was a new area upstairs for solo shows of young artists from around Asia (not just China) and a surprising number of dedicated contemporary video art rooms.

Buyers seemed in short supply, however. At least the media present knew who they were after as they hounded the minor TV celebrities that wandered, slightly bewildered, through the exhibits. One interesting thing was the presence of Phillips dePury as one of the sponsors. Not there to launch a new office in Beijing, but to promote their ConArt sale in New York at the end of May. A long way to come for customers.

Interesting times.

The opening night of this year’s Art Dubai fair culminated in a sit-down dinner for 250 VIPs under a tent at the Ritz Carlton Hotel, hosted by Canvas magazine, a glossy local art publication. The invitation called for “lounge suit/national dress.” The smell of pungent flowers from the hotel’s garden mixed with the aroma of the sea just below. The feast of yellow fin tuna and beef tenderloin was paired with generous pourings of American Zinfandel and, after dessert, sweet Tokaj wine from Hungary. It was at that point that some of the guests approached the stage to perform cover songs of Italian pop tunes from the sixties. Shortly after midnight, as the jazz band launched into a hearty rendition of “Parole, parole, parole,” it was time to go.

Read more of my report in Men’s Vogue about the immense cultural projects in the United Arab Emirates here.

A report from new AWS contributor Leif Magne Tangen

The debate about the power of the collector has been going on for some time now. An interesting project in Leipzig will certainly raise eyebrows again in this regard.

The Museum of Contemporary Art (Galerie für Zeitgenössische Kunst, or GfZK) is opening its 2008 winter season with an ambitious project: Over the next two years, the museum will invite 11 collections, collectors and galleries to display their collections of art in any way they see fit. No interference. No questions. No veto.

The title of the project says it all: Carte Blanche.

In fact, there is nothing new about collectors being given freedom to do what they want in a museum. We have a prime example only 200 km away from Leipzig, in the Hamburger Bahnhof Museum in Berlin. Parts of that public institution now house two private collections, the Sammlung Marx of Erich Marx and, since 2004, the much discussed Friedrich Christian Flick Collection.

Are museums are losing the battle for artists? Today we have more large private collections of contemporary art then ever. We have private galleries that are larger than some museums, doing blockbuster shows. Meanwhile, museums are re-selling parts of their collections and private collectors are hiring curators and consultants to “direct” their collections. Collectors are even building their own museums.

Leipzig director Barbara Steiner says in the introduction to the Carte Blanche project:
“In view of the most recent developments, the often undue influence of collectors, gallery managers and other enterprises on facilities funded by the public purse seems less of a problem than the tendency for private individuals gradually to lose interest in these museum.” She wants to find out “whether new partnerships between public bodies and private supporters can be created at all, how such an interaction might look, what the consequences of such forms of cooperation would be for the development of art and its institutions, also when considered against the background of the establishment of our institute.”

Is there an American view on this? Will private influence destroy the public sphere? Is there too much influence already from private collectors in your view?

p.s. Full disclosure (before I get hunted down by Tyler Green): one of the artists featured in the opening show and in a double solo show later this year, Mark Lombardi, is represented by Pierogi. I work as a director of Pierogi for their Leipzig gallery.