HANS HAACKE MUSEUMS MANAGERS OF CONSCIOUSNESS PDF

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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Now they realize there is also another aspect; it is a tool they can use for corporate promotion in one form or anther.

Such an assertion could also be misunderstood as an attempt to downplay the brutality with which mainstream conduct is enforced in totalitarian regimes, or as managegs claim that coercion of the same viciousness is practiced elsewhere as well. The Terminal Show was a brainchild of the city’s Public Development Corporation; it was meant to draw attention to the industrial potential of the former Brooklyn Army Terminal building.

To state that obvious fact, however, is not an accusation of devious conduct. They have studied organization goals, managerial structures, and the peculiar social and political environment of their organization. Aside from the reasons already mention, the discomfort in applying industrial nomenclature to works of art may also have to do with the fact that these products are not entirely physical in nature.

Hans Haacke – Wikiquote

Conversely, the taxpayers so affect do not shy away from deducting relevant business expenses. 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.

The board is legally responsible for the institution and consequently the trustees are the ultimate authority. All players, though, usually see to it that the serene facade of the art temple is preserved. Consequently, self-censorship is having a boom. 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.

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.

The resulting box-office pressure made the museums still more dependent on corporate funding. As a shrewd businessman, Haacke used the money to establish a foundation that owns shares in his company.

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With so many variables, there is ample room for exegesis and a livelihood is thus guaranteed for many workers in the consciousness industry. Once they are in office and have civil service status with tenure, such officials often enjoy more independence than their colleagues in the United States, who can be dismissed from one day to the next, as occurred with Bates Lowry and John Hightower at the Museum of Modern Art within a few years time.

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Given the prevalent marketability of myths, it may sound almost sacrilegious to insist on using the term “industry. Haacke views the corporate-driven museum as a potentially dangerous political instrument.

Conversations of Theory

By funding the arts, corporations bring notoriety to their business, they use it as a way of marketing and bringing their kanagers to the public at large, as well as large tax relief in which tax payers become the grunt of corporate profit. As has been pointed out and not only by Marxists social scientists and psychologistsconsciousness is not a pure, independent, value-free entity, evolving according to internal, self-sufficient, and universal rules.

This does not exclude the sub rosa promotion of the interests of the cnosciousness boss. Responding to a realistic appraisal of their lot, even artists are now acquiring managerial training in workshops funded by public agencies in the United States Such sessions are usually well attended, as artists recognize that the managerial skills for running a small business could have a bearing on their own survival.

I interviewed both the curator of the museum and the director of development to discover their experiences working with corporate sponsors. A theoretical prop for this worthy but untenable position is the nineteenth-century doctrine of art for art’s sake. To say that this change might have consequences beyond the confines of the institution and that it affects the type of art that is and will be produced therefore can sound like over-dramatization.

Even if the art show condemns the companies themselves, their marketing still works, their work is still brought out into the public eye. 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 umseums seeking sites for relocation.

As has been customary in U.

Hans Haacke

Newer Post Older Post Home. It haacje well-documented that Documenta is held in an out-of-the-way place like Kassel and given economic support by the city, state, and federal government because it was assumed that Kassel would be put on the map by an international art exhibition. Staying within the acceptable range of divergent views must be perceived as the natural thing to do.

Arts administrators do not exaggerate when they defend their claims for public support by pointing to the number of jobs that are affected not only in their own institutions, but also in communications and, particularly, in the hotel and restaurant industries. A recent, much-noticed instance of Saatchi influence was the Tate’s Schnabel museumms, which consisted almost entirely of works from the Saatchis’ collection. Executives with a longer vision also saw that the association of their company and, by implication, of business in general with the high prestige of art was a subtle but effective means for lobbying in the corridors of government.

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Haacke denounces this, and asserts it becomes similar to the way dictatorships and totalitarian governments publicize government propaganda. It is because of the millions of dollars at stake, that the business aspect of art begins to impede upon the meaning of art. The consciousness is a result of environment and social proclivity.

Adherents of the doctrine believe that art does not and should not reflect the squabbles of the day. Even today, in countries where artists are openly compelled to serve prescribed policies, it still has and emancipatory ring. The audience survey responses revealed that most museum visitors were not aware that the exhibitions on display were supported by corporate sponsors.

It is usually required that, at least to the public, institutions appear nonpartisan. Thus the business mentality has always been conspicuously strong at the decision-making level of private museums in the United States. Their stance and what is crafted under its auspices have not only theoretical but also definite social implications.

Given current financial problems, they try to streamline their operation. No citation, sorry, I lent my copy and it walked Every museum is perforce a political institution, no matter whether haacie is privately run or maintained and supervised by governmental agencies. In turn, collectors often do their collecting with the assistance of a paid conaciousness.

Theorists like Bourdieu, Debray, and Latour are good at repositioning the questions in institutional and symbolic value contexts. It is the result of a collective historical endeavor, embedded in and reflecting particular value system, aspiration, and goals.

What began as a liberating drive turned into its opposite. At that point, art works are no longer a private affair. With the 19 th century credence that art is made for arts sake, reinforces the magical aspects of art that alludes to a higher power, and because of this allegation asserts it has little bias.

Thus the muzeums from this capital remains untaxed and, in effect, the ordinary taxpayer winds up subsidizing Ludwig’s power ambitions in the art world.

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.