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A critical analysis of contemporary art collections and the value
form, this book shows why the nonprofit system is unfit to
administer our common collections, and offers solutions for
diversity reform and redistributive restructuring. In the United
States, institutions administered by the nonprofit system have an
ambiguous status as they are neither entirely private nor fully
public. Among nonprofits, the museum is unique as it is the only
institution where trustees tend to collect the same objects they
hold in "public trust" on behalf of the nation, if not humanity.
The public serves as alibi for establishing the symbolic value of
art, which sustains its monetary value and its markets. This
structure allows for wealthy individuals at the helm to gain
financial benefits from, and ideological control over, what is at
its core purpose a public system. The dramatic growth of the art
market and the development of financial tools based on
art-collateral loans exacerbate the contradiction between the needs
of museum leadership versus that of the public. Indeed, a history
of private support in the US is a history of racist discrimination,
and the common collections reflect this fact. A history of how
private collections were turned public gives context. Since the
late Renaissance, private collections legitimized the prince's
right to rule, and later, with the great revolutions, display
consolidated national identity. But the rise of the American museum
reversed this and re-privatized the public collection. A
materialist description of the museum as a model institution of the
liberal nation state reveals constellations of imperialist social
relations.
The synthetic proposition examines the impact of Civil Rights,
Black Power, the student, feminist and sexual-liberty movements on
conceptualism and its legacies in the United States between the
late 1960s and the 1990s. It focuses on the turn to political
reference in practices originally concerned with abstract ideas, as
articulated by Joseph Kosuth, and traces key strategies in
contemporary art to the reciprocal influences of conceptualism and
identity politics: movements that have so far been historicised as
mutually exclusive. The book demonstrates that while identity-based
strategies were particular, their impact spread far beyond the
individuals or communities that originated them. It offers a study
of Adrian Piper, David Hammons, Renee Green, Mary Kelly, Martha
Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson,
Hans Haacke, Andrea Fraser and Charles Gaines. By turning to social
issues, these artists analysed the conventions of language,
photography, moving image, installation and display. -- .
A critical analysis of contemporary art collections and the value
form, this book shows why the nonprofit system is unfit to
administer our common collections, and offers solutions for
diversity reform and redistributive restructuring. In the United
States, institutions administered by the nonprofit system have an
ambiguous status as they are neither entirely private nor fully
public. Among nonprofits, the museum is unique as it is the only
institution where trustees tend to collect the same objects they
hold in “public trust” on behalf of the nation, if not
humanity. The public serves as alibi for establishing the symbolic
value of art, which sustains its monetary value and its markets.
This structure allows for wealthy individuals at the helm to gain
financial benefits from, and ideological control over, what is at
its core purpose a public system. The dramatic growth of the art
market and the development of financial tools based on
art-collateral loans exacerbate the contradiction between the needs
of museum leadership versus that of the public. Indeed, a history
of private support in the US is a history of racist discrimination,
and the common collections reflect this fact. A history of how
private collections were turned public gives context. Since the
late Renaissance, private collections legitimized the prince's
right to rule, and later, with the great revolutions, display
consolidated national identity. But the rise of the American museum
reversed this and re-privatized the public collection. A
materialist description of the museum as a model institution of the
liberal nation state reveals constellations of imperialist social
relations.
The synthetic proposition examines the impact of Civil Rights,
Black Power, the student, feminist and sexual-liberty movements on
conceptualism and its legacies in the United States between the
late 1960s and the 1990s. It focuses on the turn to political
reference in practices originally concerned with abstract ideas, as
articulated by Joseph Kosuth, and traces key strategies in
contemporary art to the reciprocal influences of conceptualism and
identity politics: movements that have so far been historicised as
mutually exclusive. The book demonstrates that while identity-based
strategies were particular, their impact spread far beyond the
individuals or communities that originated them. It offers a study
of Adrian Piper, David Hammons, Renee Green, Mary Kelly, Martha
Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson,
Hans Haacke, Andrea Fraser and Charles Gaines. By turning to social
issues, these artists analysed the conventions of language,
photography, moving image, installation and display. -- .
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