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What’s This Business about Culture Part5
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Public vs. Private
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Far from being a matter of concern only to museum directors, anxieties about the corporatization of culture have also been raised by academics and cultural commentators. In the book Culture Incorporated: Museums, Artists and Corporate Sponsorships (University of Minnesota Press, 2002), Mark Rectanus examines the way commerce shapes the cultural experiences that are available to us. His conclusion, broadly speaking, is that cultural institutions ought to make full disclosure of their commercial interests. Rectanus’s position is fairly moderate, and extremely so if compared to that of New Left Review contributor Chin-Tao Wu. Wu’s data-rich volume Privatising Culture: Corporate Art Intervention Since the 1980s (Verso, 2000) asserts that all links between commerce and culture, disclosed or not, are pernicious, and her standpoint begs the question of whether there has ever been an entirely uncompromised system of funding the arts.
Certainly in Britain the notion that public money promotes free and unhindered cultural expression is not one that those responsible for filling in Arts Council forms would recognise. The emphasis on accountability within funding bodies of this kind often creates an untenable burden on the artist or curator, suffocating worthwhile projects at the outset. Even more worrying than stultifying British bureaucracy, however, is the idea that arts spending might become subject to suspect political motives. Certainly many arts institutions in Austria felt uncomfortable receiving money from a government led by Joerg Heider’s ultra-right-wing Freedom Party.
All in all, it seems unlikely that there ever was or ever will be a time when public money did not arrive with some political strings attached. It may even be the case that private sponsorship allows for more artistic and curatorial freedom than its state run equivalent. The benefits that corporations receive from their association with cultural activity are often fairly nebulous and it is not usually in their interest to attempt to dictate the activities of artists and curators. Of course, there is the Guggenheim’s Armani incident, and highly controlling sponsors who attempt to use the arts as a means of inflecting their image in a very particular fashion do exist, but private money in itself is not evidence of inappropriate input from the commercial sector.
A Third Way
Miguel Zugaza, Director of the Prado Museum in Madrid, is exploring new avenues for the funding of building work and exhibitions. Where formerly the Prado was almost entirely maintained by the Spanish government, Zugaza has begun to bring in sponsors to support its higher profile activities. Fully aware that these moves could be controversial, he is very specific (in the interview that appears in this book) about the Museum’s priorities: a curatorial programme based on scholarship and expertise first, and fund-raising second. Zugaza emphasizes that the most important elements of the Prado’s identity are its astonishing permanent collection and its eighteenth-century building. Viewing the issue from a particularly national standpoint, he points out that museums have become an important element of national and civic identity in post-Franco Spain.
The other interviewees in this book with also promote what could be described as Zugaza’s public/private middle way. American graphic designer Michael Rock questions whether there was ever a time when funding for cultural institutions was ‘pure’. In spite of their apparent ties to corporate or private money, he praises American arts institutions for being some of the last remaining places where Americans can enjoy a relatively non¬commercial experience. Michael Craig-Martin concurs, welcoming the new audience that has been brought to contemporary art. Tate Modern has had a strong curatorial programme since it opened in 2000, but it is undeniable that the crowds have been encouraged by the museum’s very visible identity and its active marketing campaign. Craig-Martin admits that traditionalists may complain about the manner in which these new visitors engage with art, but as far as he is concerned this criticism is somewhat surly. It seems there is a consensus in the interviews that arts institutions must, to some extent, behave like corporations. The purpose of this book is to explore how corporate practices, specifically the practice of identity design, can best be tailored to meet their needs.
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