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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On the contrary, they are usually convinced that their activities are in the best interests of art.

As long as an institution is not squeamish about company involvement in press releases, posters, advertisements, and its exhibition catalogue, its grant proposal for such an extravaganza is likely to be examined with sympathy. Private donors came on board with attractive collections.

Hans Haacke

The products of the means of production, like those means themselves, are not neutral. Using these methods, I found that the language that museums hhans to attract corporate sponsors mirrors that of advertising sales managers.

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. 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.

Their stance and what is crafted under its auspices have not only theoretical but also definite social implications. It takes stealth, intelligence, determination-and some luck.

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While the rule of the boards of trustees of museums in the United States is generally uncontested, the supervisory bodies of public institutions elsewhere have to contend much more with public opinion and the prevailing political climate. The sophistication required to promote a particular interpretation of the work is potentially also available to question that interpretation and to offer other versions.

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Such a well-intentioned delusion can survive only as long as art is perceived as a mythical entity above mundane interests and ideological conflict. It would be wrong, however, to assume that the objective and the mentality of every art executive are or should be at consxiousness with those on whose support his organization depends.

And it is, of course, this misunderstanding of the role that products of the consciousness industry play which constitutes the indispensable base for all corporate strategies of persuasion.

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 a claim that coercion of the same viciousness is practiced elsewhere as well.

Some companies are happy to underwrite publicity for the event which usually includes the company logoat a rate almost matching the funds they cinsciousness available for the exhibition itself. Currently museusm are witnessing a great retreat to the private cocoon. Haacke believes this could turn problematic for artists and the arts in general. Some public museums in Europe went the road of mixed support, too, although in the opposite direction. Haacke exclaims that artist can take back the power of art by using alternative showing spaces.

Haacke goes on to suggest that the art world is more business than pleasure or romance.

Conversations of Theory

They also happen to be more interested in culture than other groups on the political spectrum. Most shows in haaacke New York museums are now sponsored by corporations.

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The consciousness is a result of environment and social proclivity. That it is not a physical product and its worth or meaning can change depending on the spotlight it receives.

conzciousness But a democratic society demands nothing less than that. A theoretical prop for this worthy but untenable position is the nineteenth-century doctrine of art for art’s sake. Then came the recessions of the s and s.

It is, in fact, not our private property, homegrown and home to retire to. Executives with a longer vision also saw that the association of their company and, by implication, of business miseums general with the high prestige of art was a subtle but effective means for lobbying in the haace of government. Nor are we dealing with a universally accepted body of knowledge or beliefs.

Consequently, the present director of the Museum of Modern Art in New York has a management background, and the boards of trustees of other U.

Given current financial problems, they try to streamline their operation. Haacke denounces this, and asserts it becomes similar to the way dictatorships and totalitarian governments publicize government propaganda.

Some of the more successful artists employ their own business managers.

The institutional function is a great case to study. The New York Times calls it weekend section o and Leisure” and covers under this heading theater, dance, film, art, numismatics, gardening, and other ostensibly harmless activities. They are affected less by who happens to be the occupant of the White House or the mayor’s office, although this is not totally irrelevant for the success of applications for public grants.