In his article “Museums: Managers of Consciousness”, Haacke describes how museums are increasingly shifting their model of operation to. They are, if you want to put it in positive terms, great educational institutions. If you want to put it in negati ” – Hans Haacke quotes from Haacke H.’Museums, managers of consciousness’ B. Wallis (Ed.), Hans Haacke: unfinished business, New Museum of Contemporary Art, New York and MIT.
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In addition, it is possible to argue over the extent to which the physical object determines the manner in which the receiver decodes it. Following their instincts, they have often been more successful managers than the new graduates promise to be, since the latter are mainly taught by professors with little or no direct knowledge of the peculiarities of the art world.
Hans Haacke – Monoskop
Museums have to be maintained either by public agencies-the tradition mnagers Europe-or through donations from private individuals and philanthropic organizations, as has been the pattern in the United States.
It follows that political considerations play a role in the appointment of museum directors. It is, in fact, not our private property, homegrown and home to retire to. As the need to spend enormous sums for public relations and government propaganda indicates, things are not frozen.
On the other hand, a new breed has recently appeared on the industrial landscape: As for art dealers, it goes without saying that they are engaged in running businesses. hand
Haaccke institution’s intellectual and moral position becomes tenuous only if it claims to be free of ideological bias. That doctrine has an avant-garde historical veneer and in its time did perform a liberating role. All players, though, usually see to it that the serene facade of the art temple is preserved. The consciousness is a result of environment and social proclivity.
Since the corporate blanket is so warm, glaring examples of direct interference rare, and the increasing dominance of the museums’ development offices hard to trace, the change of climate is hardly perceived, nor is it taken as a threat. Like Enzensberger, I believe the use of the term “industry” for the entire range of activities of those who are employed or working on a freelance basis in the art field has a salutary effect.
Why are biotech companies suddenly sponsoring art about genes? No citation, sorry, I lent my copy and it walked What the emergence of arts administration departments in business schools demonstrates, however, is the fact that in spite of the mystique surrounding the production and distribution of art, we are now-and indeed have been all along-dealing with social organizations that follow industrial modes of operation, ranging in size from the cottage industry to national and multinational conglomerates.
Conversations of Theory
Whether in private or in public museums, disregard of political realities, among them the political needs of the supervising bodies and the ideological complexion of their members, is a guarantee of managerial failure. It is because of the millions of dollars at stake, that the business aspect of art begins to conscoousness upon the meaning of art. Artists, as much as galleries, museums, and journalists not excluding art historianshesitate to discuss the industrial aspect of their activities.
Managers of Consciousness By Hans Haacke. But a democratic society demands nothing less than that. During the restive Sixties consciohsness more astute ones began to understand that corporate involvement in the arts is too important to be left to the chairman’s wife. As has been customary in U. It is contingent, a battleground of conflicting interests.
Finally, I surveyed museum visitors to inquire about their awareness of and opinions toward corporate sponsorship. Those who in fact plan and execute industrial strategies tend, whether by inclination or need, to mystify art and conceal its industrial aspects and often fall for their own propaganda.
The sophistication required to promote a particular interpretation of the work is potentially also available to question that interpretation and to offer other versions.
To make such an assertion may sound outrageous because according to popular myth, liberal regimes do not behave this way. Haacke says art by nature is not an actual commodity, its meaning changes due to the amount of exposure it receives. Thatcher, in which the Saatchis played a part as the advertising agency of the Conservative Party, did not weaken their position and may in turn have provided the Conservatives with a powerful agent within the hallowed halls of the Tate.
For example, the value of sponsorship is measured in the number of impressions yielded by the inclusion of the corporate logo on museum promotional materials. Consequently, self-censorship is having a boom. The staging of an international exhibition such as a Biennale or a Documenta presents a major managerial challenge with repercussions not only for what is being managed, but also for the future career of the executive in charge.
Then came the recessions of the s and s. Although the product under discussion appears to be quite slippery, it is by no means inconsequential, as cultural functionaries from Moscow to Washington make clear every day. The audience survey responses revealed that most museum visitors were not aware that the exhibitions on display were supported by corporate sponsors. As large corporation point to the cultural life of their location in order to attract sophisticated personnel, so Hannover speculated that the outlay for art would be amortized many times by the attraction the city would gain for businesses seeking sites for relocation.
It is fair to assume that exhibition proposals that do not fulfill the necessary criteria for corporate sponsorship risk not being considered, and we never hear about them.
In nondictatorial societies, the induction into and the maintenance of a particular way of thinking and seeing must be performed with subtlety in order to succeed. With one stroke that term cuts through the romantic clouds that envelop the often misleading and mythical notions widely held about the production, distribution, and consumption of art.
Private donors came on board with attractive collections. Some public museums in Europe went the road of mixed support, too, although in the opposite direction.
The New York Times calls it weekend section “Arts and Leisure” and covers under this heading theater, dance, film, art, numismatics, gardening, and other ostensibly harmless activities. Those who hold the purse strings and have the authority over hiring and firing are, in effect, in charge of every element of the organization, if they choose to use their powers.
Museums: Managers of Consciousness
Funding, as much as one’s prospect for promotion to more prestigious posts, depends on how well one can play the game. In turn, collectors often do their collecting with the assistance of a paid staff. Marketing and development departments are emerging and expanding, indicating the extent to which contemporary museums feel pressured to bring in larger audiences and greater financial support from individuals, foundations, and corporate sponsors in order to balance their operating budget.
Haacke views the corporate-driven museum as a potentially dangerous political instrument. Other papers carry these items under equally innocuous titles, such as “culture,” “entertainment,” or “lifestyle. In conciousness final essay for this course, I am interested to explore the implications of Google as the corporate sponsor for this Art Project. They are affected less by who happens to be the occupant of the White House or the mayor’s office, managerd this is not totally irrelevant for the success of applications for public grants.
The larger, more lavishly appointed these shows and their catalogues became, however, the more glamour the audiences began to expect. As in other walks of life, the consciousness industry also knows the hidden agenda which is more likely to succeed if it is not perceived as such.
Those engaged in collaboration with the public relations officers of companies rarely see themselves as promoters of acquiescence.