This Week in Art (FYA)

Originally published on ForYourArt on February 5, 2009


As part of ForYouArt’s ongoing project, Is Art Important?, we are proud to begin this week’s email with a response to this complex question from novelist Frederic Tuten, who is the author of Tin-Tin in the New World. How can we reframe the debate around the value of art? Editorials from San Francisco to Boston touched on this very issue today.


When Andy Warhol was asked what was art, he said, 'Isn’t that a guy’s name?' It was an evasion, but I understand why. Almost anything you could say about art, why it is important or what it means is doomed to sounding pretentious. With that risk in mind, I say that at the least art modifies, ameliorates the hardships, the sadness of life, and at best, it gives us joy as nothing but love can. In that sense, I think love and art are akin.

—Frederic Tuten


I read this week (via Trendcentral) about a project called I Love You More Than Blank, which aims to assess how people measure love. The metrics of capitalism (money) surely don’t apply.

Many believe that the U.S. slowdown will be longer and deeper than Europe’s. Kenneth Rogoff, a Harvard University economics professor and former chief economist of the International Monetary Fund, pointed out at the World Economic Forum in Davos last week that the U.S. has structural adjustments to make.

MOCA is a microcosm of these issues. Amidst over 100,000 layoffs in the U.S. last week, the Museum announced it would cut 20% of its staff. Saturday morning, the new CEO Charles Young addressed a group of donors and stakeholders, including MOCA Mobilization co-founder Cindy Bernard, as part of his effort to restore confidence. He laid out his plan to turn the corner and add to MOCA’s endowment. He asked everyone to pull together to ensure the future of the Museum. Young was impressive, and as he talked about doing more efficiently and effectively, the message was clear – MOCA is under new leadership.

Although the number of temporary exhibitions will be reduced, the permanent collection will be on view at all times. Some were disappointed, but I think it’s critical that Angelenos have an opportunity to form relationships with works of art in their museums that are in the public trust. As the discussion turned to attracting new donors I wondered if, in an experience based on economy, perhaps giving is the new collecting.

Saturday night, during a warm gathering hosted by Catherine and Jeffrey Soros, I spoke to Creative Capital’s director, the incredible Ruby Lerner, Sean Elwood and Watts House Project’s Edgar Arceneaux about “reframing the debate” around the value of art. Lerner was in town for the Santa Monica Museum of Art’s wonderful conversation series "Collection of Ideas". Although philanthropists who prefer to see their names on buildings dominate the headlines, it is people like the Soros', whose quiet leadership and spirit (her REDCAT, him Creative Capital and MOCA) create the foundation for the future of cultural engagement and sustainability in L.A.

Stewards of cultural philanthropy are more important than ever. Edward Winkleman (via MAN) reflected on SFMOMA’s decision to attach an “unusual” wall-text to Emily Jacir’s Where We Come From: “I believe a museum should reflect the values and opinions of the people who support it and patronize it. I believe a museum should present thought-provoking exhibitions and challenge its public, but not intentionally offend it. Having said all that, however, I feel a museum owes it to the artists whose work they acquire to stand behind that work, without apology or excuse. In other words, the forum in which to ‘contextualize the piece acknowledging the sensitivities that surround it’ is before the acquisition committee, not before the public. If you decide it's right for your institution, stand behind it unequivocally.”

An essential quality that seems to be shared by effective patrons is an innate belief in the immeasurable contribution of artists and value of art. The Art Newspaper recently reported the French government has allocated an extra 100 million euros to the ministry of culture to spend on arts and museums, part of a 2.9 billion euro plan to help revive the ailing economy. The U.S. stimulus plan includes $50 million for the NEA. You do the math.