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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It is the result of a collective historical endeavor, embedded in and reflecting particular value system, aspiration, and goals. The resulting box-office pressure made the museums still more dependent on corporate funding. It is widely believed that the motive behind his buying a large chunk of government-sanctioned Museeums art xonsciousness displaying it in “his” museums was to open the Soviet market for his chocolate company.
To compound the financial problems, many governments, facing huge deficits-often due to sizable expansion of military budgets-cut their support for social services as well as their arts funding. As for art dealers, it goes without saying that they are engaged in running businesses. Trained by prestigious business schools, they are convinced that art can and should be managed like the production and marketing of other goods. Thatcher encouraged the so-called private sector to pick up the slack in financial support.
The conzciousness of the institution and personal careers are often at stake. Traditionally, the boards of trustees of U. Why are biotech companies suddenly sponsoring art about genes? Like their peers in other industries, they prepare budgets and development plans and present them for approval to their respective public supervising bodies and funding agencies.
The sophistication required to promote a particular interpretation of the work is potentially also available to question that interpretation and to offer other versions. It is not uncommon that messages are received in a garbled, distorted form; they may even relay the opposite of what was intended not to mention the kinds of creative confusion and muddle-headedness that can accompany the art work’s production.
Theorists like Bourdieu, Debray, and Latour are good at repositioning the questions in institutional and symbolic value contexts.
How far the Saatchis in London will get in dominating the Tate Gallery’s Patrons of New Art-and thereby the museum’s policies for contemporary art-is currently watched with the same fascination and nervousness as developments in the Kremlin. 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.
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Obviously they are mistaken in their assumption that products of consciousness can be created in isolation. 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.
It is usually required that, at least to the public, institutions appear nonpartisan. But it is important to recognize that the codes employed by artists are often not as clear and unambiguous as those in other fields of communication.
It is, in fact, not our private property, homegrown and home to retire to. In other countries the consciouzness of elections can have a direct bearing on museum policies. In effect, they are unwitting sponsors of private corporate policies, which in many cases, are detrimental to their health and safety, the general welfare, and in conflict with their personal ethics.
Other papers carry these items under equally innocuous titles, conscipusness as “culture,” “entertainment,” or “lifestyle.
Newer Post Older Post Home. Mznagers the intricacies of labor relation and the ways in which interpersonal issues might affect the organization are part of their curriculum.
Hans Haacke – Monoskop
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. Elsewhere, city governments have recognized the importance of the art industry. By funding the arts, corporations bring notoriety to their business, they use it as a way of marketing and bringing their name to the public at large, as well as large tax relief in which tax payers become the grunt of corporate profit.
In turn, collectors often do their collecting with the assistance of a paid staff. I think they do so for good reason. Correspondingly, the products of consciousness represent interests and interpretation of the world that are potentially at odds with each other.
This does not exclude the sub rosa promotion of the interests of the ultimate boss. One of the most spectacular recent examples has been the de facto takeover of museums among others, museums in Cologne, Vienna, and Aachen that received or believed they would receive gifts from the German collector Peter Ludwig. It is contingent, a battleground of conflicting interests. Many individual donors could no longer contribute at the accustomed rate, and inflation eroded the purchasing power of funds.
Ambitious exhibition programs that could not be financed through traditional sources led museums to turn to corporations for support. Although he did not specifically elaborate on the art world, his article did refer to it in passing.
Depending on circumstances, these contributions are tax-deductible as a business expense or a charitable contribution. The presence of the names and logos of corporate sponsors invaded the physical space of the museum as well, appearing on the wall plaques at the entrance to the gallery. It would be wrong, however, to assume that the objective and the mentality of every art executive are or should be at odds with those on whose support his organization depends.
A public relations executive of Mobil in New York aptly called the company’s art support a “good will umbrella,” and his colleague from Exxon referred to it as a “social lubricant. The debate often centers merely on which of the two executives should and will in fact have the last word. Whether museums contend with governments, power-trips of individuals, or the corporate steamroller, they are in the business of molding and channeling consciousness.
You need theory that is heuristic, managgers to open up new discoveries. New York’s Soho district is a striking example. The hesitancy to use industrial concepts and language can probably also be attributed to our lingering idealist tradition, which associates such work with the “spirit,” a term with religious overtones and one that indicates the avoidance of mundane considerations.
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. But in non-dictatorial societies, the means of the production of consciousness are not all in one hand. Haacke says art by nature is not an actual commodity, its meaning changes due to the amount of exposure it receives. Their stance and what is crafted under its auspices have not majagers theoretical but also definite social implications.
Every museum is perforce a political institution, no matter whether it is privately run or maintained and supervised by governmental agencies. All players, though, usually see to it that the serene facade of the art temple is preserved. Keep going, good work so far!