Abuses of power and money, decisions made by self serving Philistines, the infuriatingly short sighted policies that have ramifications way beyond the bounds of the elite board room—nothing new in any of these themes. But the stories that touch my interest, art, still stick in the caw and won’t dislodge that easily. I am forced to ask the existential question of how should we respond to these flagrant travesties, especially given how many of them take place under wraps and are never really exposed?
My friend (and favorite curator) Carl Belz recently published an account that looks back to a Frank Stella acquisition that never happened during his last few months at the Rose Art Museum. (His account is here on the blog Left Bank.) His story will infuriate you if having access to works by an important artist within reach of Boston matters to you. The bad spin around Brandeis and the Rose (Battle of the Roses?) continues and Belz’s account is just one more peek into the complexity of doing the right thing in any environment—art, academia or politics—where doing good work and operating with high minded intentions are rarely rewarded.
Watching The Art of the Steal, the recently released documentary about the highly controversial move of the Barnes Foundation art collection into Philadelphia, is yet another example. Yes, critics of the film have pointed to its highly biased telling of a complex and extremely arcane tale that tracks the fate of an art collection valued at billions of dollars. But the villainy is profligate and plentiful no matter how much you skew for bias. When there is that much money at stake, you can’t keep treacherous vultures away for long.
The stoic’s stance. Is that the optimal response for any of us to take in the face of shenanigans this large in scope? Both of these accounts make me hot under the collar, but it is a heat that has nowhere to go and nothing meaningful to do.
OK. That’s my rant. I’ll move on to something more positive tomorrow, I promise.