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Archive for September, 2008
Housekeeping
When and how museums may share
A couple weeks ago I noted how gee-whiz cool it was that Lynne Cooke’s essay about Francis Alys’ Fabiola projatect was available on LACMA’s website. (The exhibition on view at LACMA.) I wondered why more museums didn’t post scholarship related to exhibitions on their websites.
Over the last couple of weeks I’ve asked several museum types about this. The answer has little-to-nothing to do with the publishers of exhibition catalogues, and everything to do with ‘that’s the way we’ve always done it.’ All a museum really needs to post essays/etc. on its exhibition website is the permission of the essay author. For example, when LACMA wanted to post Michael Govan’s Dan Flavin essay on its website, they had remarkable success in obtaining Govan’s permission. Most museums just don’t think to ask or don’t think to include the essays on their sites. They should.
Pictures/images are a little trickier. The Baltimore Museum of Art is one of many museums that has started its own Flickr stream. I asked the museum why so few of the images there were licensed under Creative Commons. The explanation: We can post images of the works, but quite often the museum doesn’t have the right to create a CC license of an image of a given artwork. (Pesky artists’ rights and all.)
All of which means that this picture of Franz West’s Dorit is completely awesome, but I can’t post it on MAN. (If I took a picture myself and posted it, that would be OK under fair-use law.) In a related story, the first American Franz West retrospective opens at Baltimore next month. It will travel to LACMA next year. Here’s hoping that LACMA and the BMA share the written content (essays and artist interview) from that catalogue online.
Tuesday links
- See the Peabody Essex Museum’s newest trustee near-orgasmically writhing in bed (while clothed).
- There are two new books out about fake Vermeers. Christopher Knight says this is the one to read.
- Some arts organizations have dedicated, tax-based sources of funding. One example: The St. Louis Art Museum (which is free to the public). Should your museum pursue same?
- The NYT’s Friday Weekend section editor is answering questions this week. Maybe she can explain to us how the Times magically arranges for arts news to always happen on Fridays, and whether Carol Vogel really does have a gavel-shaped red phone with a direct line to Christie’s.
- Five famed photographers on their favorite films. [via]
- Once upon a time, architects designed houses for people who had four-figure net worths. One of the most beloved examples is Frank Lloyd Wright’s Pope-Leighey House in northern Virginia. Wright’s client died last week, making now a good time to revisit his story.
Other blogs check in on Spiral Jetty
A couple notable blog posts on last week’s (eternal) Spiral Jetty series here on MAN:
- Greg Allen, who has ties to Utah and who has written extensively about Spiral Jetty, raises additional questions about the Jetty and stewardship;
- Kriston Capps, who has written about the Jetty for The American Prospect, asks whether groups working on Jetty preservation are as focused on land as they are on water.
If you don't do contemporary art, you don't have to do it
A food bank doesn’t plant trees in city parks. The Red Cross doesn’t build houses, Habitat for Humanity does. So why are non-contemporary art museums so intent on becoming contemporary art museums?
In recent years art museums with virtually every imaginable focus have tried to make sure it does contemporary art. Each museum has its own reasons: The Met’s confused installation of Damien Hirst’s shark looked like a lame donor-grab because it was. Sometimes museums chase audience or hipster cachet.
In the last couple weeks I’ve noticed two particularly cringe-worthy examples. First up, at the end of next month the Getty Villa is showing a series of drawings sculpture by Jim Dine, the Clive Cussler of contemporary art. If Jim Dine didn’t exist Pace Wildenstein would create him. (Oh, wait…) UPDATE: Correction here.
And over this past weekend the Phillips Collection, America’s first museum of modern art, a museum with a spectacular 1890-1940ish collection, held a symposium on painting in the 21st century, an area in which the museum has virtually no art and no curatorial expertise. (Perhaps this is why three dealers ended up on the day’s program.) I attended. Some of it.
My favorite part was a panel discussion on criticism and painting, during which Washington Post provocateur Blake Gopnik said that painters were responsible for what he considers to be the weak state of contemporary painting criticism. Call it the Gopnik Doctrine.
On its own that’s a pretty remarkable assertion, but it was flat-out amusing given the ‘keynote address’ that preceded it. The keynoter was Suzanne Hudson, who opened her talk by discussing the alleged death of painting (I could have sworn I heard Whitesnake and Richard Marx songs in the background) and then quickly moved on to painting’s alleged death within the context of today’s art market, inadvertently using ten minutes of whiplash to fuse two decades of cliches.
The best part: Under the Gopnik Doctrine, painters are to blame for Hudson’s talk.
All of which isn’t to suggest that museums shouldn’t be interested in contemporary issues, just that they should try to engage within the context of what they do best.
Weekend roundup, stoopid secrecy edition
I love it when museums think everyone else is stupid. Case in point the Seattle Art Museum, a museum that has long had, er, transparency issues.
SAM could be facing an acute financial problem as a result of the failure of Washington Mutual. Here’s why: Several years ago SAM and WaMu partnered on a new building for both the museum and the bank. As part of the deal, WaMu pays rent to SAM.
When WaMu’s troubles first made news 10 days ago, the Seattle P-I’s Regina Hackett asked SAM what could be the financial hit to the museum, that is, how much rent the bank paid to the museum each year. A museum spokesperson “declined to say” what WaMu was paying.
That was silly and unnecessary. The figure was in SAM’s tax returns, which is open to the public. So sure enough, after WaMu failed and was purchased by JPMorganChase, Hackett requested the tax filing, looked up the number and reported it on Friday: SAM received $4.6 million in rental fees from WaMu in SAM’s most recently available fiscal year. The museum has a operating expenses of $24 million.
- Wal-Martist Tara Donovan profiled by Carol Kino in the NYT. And Donovan tells W’s Diane Solway where she was (ha!) when the MacArthur genius people called her with the news.
- Christopher Knight considers why the faux-debates ignore cultural issues.
- Knight also says that the pope is concerned about Martin Kippenberger’s frog.
- Robert Pincus reports that Tijuana — a city of 1.4 million — has built its first kunsthalle. Did you know: With over five million people, metro SD-Tijuana is bigger than Miami, Phoenix, Seattle and Minneapolis-St. Paul.
- It’s nice that the LAT is proud of it’s not-exactly-local museum director, but Michael Govan is becoming known for a lot more than just a pretty face and a creative contract.
- In the midst of an NYC-based financial meltdown, Nicolai Ouroussoff channels Gordon Matta-Clark.
- Combat painter Steve Mumford’s story is well-told, which is awesome. The latest chronicler: the KC Star’s Alice Thorson on the occasion of a Mumford show in Missouri.
- Speaking of Thorson, she writes about a Nelson-Atkins show that examines artists’ take on technology and industrial progress (in the 19th century).
- After Ike, the Rothko Chapel was happy to find that its Rothkos were mold-free, says the Houston Chron’s Douglas Britt.
- The Corcoran is deaccessioning ten paintings. Missing in Jackie Trescott’s Washington Post story are curators and trustees, which makes me wonder a bit… Also lacking: Perspective from the industry.
- How lost was Holland Cotter in his review of Cathy Opie’s Guggenheim retrospective? Cotter’s second paragraph is problematic.
[Opie] is an insider and an outsider: a documentarian and a provocateur; a
classicist and a maverick; a trekker and a stay-at-home; a lesbian
feminist mother who resists the gay mainstream; an American –
birthplace: Sandusky, Ohio — who has serious arguments with her country
and culture.With
that first (cliched) phrase Cotter is setting up classic, oppositions.
Insiders can’t be outsiders, and outsiders simply can’t be insiders. A
provocateur can’t be as mundane as a stay-at-home… but Opie manages
to be both the yin and the yang. We get it.So that last one: an American — one from Sandusky, Ohio — can’t have serious arguments with her country? Please.
And
let’s not even get started on whatever Cotter was talking about
referring to “leather queens.” At least he got that opposition right.
Or wrong. Or whatever.
Spiral Jetty: Is federal protection a useful option?
MAN’s series on preserving Spiral Jetty
Part One: The future of Spiral Jetty.
Part Two: What’s happening to the Great Salt Lake?
Part Three: Spiral Jetty, the Great Salt Lake and Dia
Part Four: Dia’s ‘buffer’ approach to preserving Spiral Jetty
Part Five: The next step at GSL: Coalition-building, funding
Postscript: Spiral Jetty: Is federal protection a useful option?
I hadn’t planned on including this post in this week’s series on the future of Spiral Jetty. However during the week enough emailers asked me about federal protection that I thought I’d add it as a postscript. Non-Jetty content resumes Monday.
When I asked Friends of Great Salt Lake director Lynn de Freitas if she thought there was any kind of federal monument protection that would be help preserve Spiral Jetty, I could practically hear her wrinkle her nose at me.
“There is this funny, knee-jerk thing about Utah and the feds,” she said. “There’s this belief that we don’t need to talk to the feds.”
de Freitas remembered Utah’s reaction in 1996 when the Clinton administration effectively unilaterally created the 1.9 million-acre Grand Staircase-Escalante National Monument in southern Utah. The state didn’t like that the governor and the state’s congressional delegation were told about the new monument only 24 hours before it was created. To make matters worse, President Clinton announced the monument from Arizona.
With the exception of that kind of presidential edict, only Congress can create a new national monument. Given Utah’s experience with Grand Staircase, experts such as de Freitas and National Trust for Historic Preservation mountains/plains director Barbara Pahl aren’t enthused about that as a viable option. Besides, even you if conservationists were to push through some type of Spiral Jetty National Monument, there would be other issues. Just because an area is designated a monument doesn’t mean it’s necessarily closed to industry.
“Even if you get a bill, you’d have to [pass] a bill that has a stipulation that talks about protection,” Pahl said.
Another kind of federal recognition, placement on the National Register of Historic Places, provides virtually no protection.
All of which leaves Jetty preservationists with one clear option: Work with each other and with the state government.
The next step at GSL: Coalition-building, funding
MAN’s series on preserving Spiral Jetty
Part One: The future of Spiral Jetty.
Part Two: What’s happening to the Great Salt Lake?
Part Three: Spiral Jetty, the Great Salt Lake and Dia
Part Four: Dia’s ‘buffer’ approach to preserving Spiral Jetty
Part Five: The next step at GSL: Coalition-building, funding
Postscript: Spiral Jetty: Is federal protection a useful option?
In September, at an early meeting of Utah Gov. Jon Huntsman’s just-appointed Great Salt Lake Advisory Council, an official from the Utah Department of Natural Resources made a surprising admission: The reason that Utah, the state with the most industry-permissive extraction policies in the West, had convened a major new effort to consider how to best utilize the lake was that thousands of people from around the world had raised a stink when an oil company tried to drill near Spiral Jetty. Instead of taking a pinprick approach to conservation, the state decided to take a comprehensive approach. [Photo]
The advisory council, which includes environmental advocates such as Friends of Great Salt Lake, industry groups such as Great Salt Lake Minerals, and a range of local administrators and elected officials, is charged with ensuring the long-term viability of GSL and itsĀ ecosystem. Conspicuous by its absence on the panel is the Dia Art Foundation, which owns Robert Smithson’s Spiral Jetty. Dia is based in New York, all of the other groups are at least nominally Utah-based. (For example, Great Salt Lake Minerals is a subsidiary of a Kansas-based company.)
“The makeup of the commission was intended to represent a broad
collection of stakeholders while maintaining an effective body,” Huntsman spokesperson Lisa Roskelley told me. “Yes,
all of the representatives live in the state, though certainly anyone
from Dia who is interested would be more than welcome to attend any of
the meetings or be part of the technical committees that will be
providing information to educate and aid the process.”
(Dia said that it looks forward to making a presentation to the group.)
The council’s focus poses two challenges to Dia: First, the state of Utah is taking a holistic approach to lake management and so far this year Dia has focused on the Jetty itself but not on broader issues in the ecosystem. Next, if Dia becomes more broadly interested in working on issues relating to the GSL ecosystem, how can a New York-based non-profit, a group with responsibilities, projects and close relationships in Texas, New Mexico, and all over New York state, be effective in Utah?
One way is for Dia to be involved with state officials. For example, Dia took the lead in making sure the governor
trekked out to see Spiral Jetty. Dia officials say they will continue to work with the governor and with the Utah Department of Natural Resources.
But Dia could also be effective from a distance by forming coalitions with interested groups, a more rigorous version of its ad hoc relationship with FOGSL. Dia says that it is counting on FOGSL to help keep an eye on the Jetty through the advisory council process, but Dia has no formal connection to FOGSL. It provides FOGSL with no funding for Jetty-specific work or advocacy.
“We haven’t, to be honest with you, considered re-granting to them,” Dia deputy director Laura Raicovich told me. “That’s
not really what Dia does.”
“That’s not a bad idea,” added Dia director Philippe Vergne. “But we haven’t thought about it.”
And why should it? Dia has has little experience in participating in broad-based coalitions that work on mutual interests. (For example, FOGSL was unaware of Dia’s ‘buffer plan’ until I asked FOGSL about it.) Meanwhile environmental groups are accustomed to working in coalition with a range of allies — associations of hunters, fishermen, philanthropy, scientists and so on.
Dia’s approach isn’t surprising: Art organizations, especially art museums, typically don’t work in coalitions with other groups on issues such as this because there’s rarely a reason to. (Is there an art museum equivalent to an entire ecosystem?)
To make matters even more difficult, there is little or no philanthropy leadership around conservation issues at the Great Salt Lake, nothing remotely like the coalition-driving philanthropic partnerships that have built up around other ecosystems, such as the Hudson River. Dozens of organizations work on issues that impact the health of the Hudson. Down the Atlantic seaboard, the largest non-profit that works on Chesapeake Bay issues, the Chesapeake Bay Foundation, spends $20 million a year. FOGSL’s operating expenses last year were $57,000.
And therein lies an organizational challenge for groups with an interest in the GSL, and specifically for people with an interest in Spiral Jetty: It’s hard to blame Dia for not partnering with a non-existent coalition. It’s hard to expect FOGSL to have morphed into the Chesapeake Bay Foundation when GSL conservation issues are relatively new. It’s hard to know who would organize philanthropy around GSL issues, the kind of issues that are important to brine shrimpers, hunters and art lovers. There is an opportunity for leadership.
Vergne has been at Dia for less than two weeks, but it sounds like that’s where he wants to go.
“We are taking a very holistic view of what responsibility means,” he said. “As you know and due to the nature of the piece in both cases, Spiral Jetty and also for the Lightning Field, when we talk about the enviornment we’re talking about miles away from the piece…[The] work needs to be secure and protected so of course it’s the road and the physical nature of the Jetty but it’s also preserving the experience of the work and the experience of the work includes the way you access the work the way you experience the work on site.”
LAT launches arts blog
Check out Culture Monster, the new arts blog from the Los Angeles Times. Especially cool: A Christopher Knight post on Mark Bradford’s post-Katrina ark for New Orleans. In a related story, C-Monster throws down.
Dia's 'buffer' approach to preserving Spiral Jetty
MAN’s series on preserving Spiral Jetty
Part One: The future of Spiral Jetty.
Part Two: What’s happening to the Great Salt Lake?
Part Three: Spiral Jetty, the Great Salt Lake and Dia
Part Four: Dia’s ‘buffer’ approach to preserving Spiral Jetty
Part Five: The next step at GSL: Coalition-building, funding
Postscript: Spiral Jetty: Is federal protection a useful option?
Over the spring and summer, as Dia formulated what to do to preserve Spiral Jetty, it looked back to what it had done with other earthworks in its care, notably Walter De Maria’s Lightning Field. For decades — practically since the creation of the work — Dia has pursued a ‘buffer’ strategy by which it bought up ranchland (or conservation easements) around Lightning Field. [Photo of aerial view of Rozel Point.]
Informed by that experience, in March Dia officials approached the state of Utah with a similar plan in mind. “The first step that we asked that the state to take was that it conduct a viewshed analysis on the actual area,” Dia deputy director Laura Raicovich told me. “They’re working on that, and we should have the results of that literally any moment. Once we have that in hand, we can do an analysis on our part of both the viewshed impact and possible geophysical impact on the Jetty from oil drilling. This proposed [Pearl Montana] test-drilling sites are only, in all likelihood, the first of other attempts. It’s not just about defeating this set of proposals, but dealing with the future.”
Several potential Dia allies think it’s an idea with potential. Barbara Pahl, the mountains/plains director for the National Trust for Historic Preservation says that NTHP has worked with industry to donate leases to conservation groups. In 2002 the Anschutz Corporation donated some Montana drilling leases to the National Trust for Historic Preservation, effectively saving a canyon important to American Indians.
I asked Lynn de Freitas, the executive director of Friends of Great Salt Lake, if she thought creating a buffer around the Jetty, perhaps by Dia controlling oil leases, was an effective approach.
“Yes, it could create a precedent of sorts, if indeed [the state allows] that precedent to be created at all,” de Freitas said. “It’s a great idea. Those are the kinds of leveraging measures that can put the conservation community’s playing cards in the game. If the state really is looking for some sort of economic livelihood, and for the sake of protecting something that is really for the greater good, then why wouldn’t they take a smaller value in return for the lease potential. You’ve got a player, you’ve got an interested party that can pay and isn’t that great because it’s really a win-win.” [Photo of Great Salt Lake Minerals Co. evaporation ponds in Clyman Bay. GSLM has proposed doubling the size of these ponds. The expansion would be roughly north and east of the existing ponds.]
But would the approach go far enough toward preserving the Jetty? Buying up leases would address one issue — drilling, rigs and potential oil leaks or spills — but it doesn’t seem to address other Great Salt Lake issues that could potentially impact the Jetty, such as the GSL’s mercury level or the impact evaporation ponds could have on the ecology of Clyman Bay.
“I think that’s absolutely right,” de Freitas said. “The interesting kind of conundrum here for Dia, as I see it, is the integration of the ecosystem into the preservation plan for Spiral Jetty.”
Tomorrow: How the Pearl Montana proposal and how it might impact Spiral Jetty changed everything in the Great Salt Lake, and what that means for the future.

