One might have thought the "Sensation" sensation was laid to rest for this
list after the extensive postings it engendered.  Mr. Bing has resurrected
it in order to throw a few stones at the Brooklyn Museum of Art.

While a critically reflective assessment of the behavior of the staff and
trustees of any public institution is always in order, equally in order is
an understanding of the uses of art.  The Mayor chose to denounce the
painting without having seen it or a decent reproduction of it.  He
characterized it as the Holy Mother splattered with elephant dung.  That
the dung was carefully contained, placed and decorated, that it was
consistent with the artist's other work, and that it has procreational
meanings in other cultures was of no interest to Guliani.  To him art is
not a philosophical essay that reveals complex and subtle aspects of the
artist and his time, it is just another political tool.  The pre-prostate,
unannounced candidate for the senate was able to attack his opponent's
stance in favor of uninterrupted funding for the museum as advocating
public support for "bashing the Catholic religion."

We in the profession have the responsibility to look and listen carefully,
and try to understand the implications of the images and surrounding
situation of the works entrusted to us to care for and exhibition.  For us
the facts come first, and the first facts are the physical reality of the
object.  This does not mean that we have to like the work or consider it
good art, or display it if we deem it to be lacking in quality.  But,
dismissing an intellectually disturbing work of art as objectionable should
also be a signal to immediately instigate a reflective assessment.  Think
of early reviews of Courbet or 1930's German government labeling of
"degenerate art."

We should also try to understand that collectors and lenders are not inert
cyphers but passionate believers in the works they own, and often informed
and useful partners in the exhibition process.  The museum still retains
ultimate responsibility for its presentations, just as it does when it
hires architects and designers.

The new guidelines are welcome additions to the ethical framework that can
protect museums from inappropriate behavior.  Howling at a "violation" of
these ex post facto disclosure guides undercuts any moral compass we might
gain from them.  If tomorrow we decide that all trustees be required to
reveal all of their holdings of art and equities many museums would have a
lot of explaining to do.  Before ascribing to the Brooklyn Museum the role
of civilization's most venerable profession, consider the receptive posture
of most museums.

David Hupert



>On Thu, 3 Aug 2000 11:17:29 -0500, Julia wrote:
>
>>Not to re-open old wounds, but it was my impression that Giuliani initially
>>objected to some of the imagery in the show rather than the show's ethical
>>implications.  The ethics of the process only came in as an issue after art
>>professionals "explained" the objectionable image,
>
>        I would use the word "rationalized" in place of explained.
>
>>and after concerns about
>>Giuliani's wishing to use the show as a plank in his campaign platform came
>>to the fore.
>        Maybe, but if the Brooklyn Museum had followed the new
>guidelines, there is a good chance the objectionable art would never
>have been displayed.
>>
>>I do agree that the AAM's position on the ethics of the show is correct in
>>theory; however, since any artwork in a private collection may eventually
>>enter the market, we should take care in practice that, in the name of
>>ethics, we do not totally disregard fine private or corporate collections
>>when looking for exhibition opportunities.
>
>I suggest you read the guidelines.  They do not stop showing private
>art but they stress several conditions.  The two most important:
>        1.  That the source of ALL funding for the exhibit be made
>public. and
>        2. That the museum and not the contributor will decide  what
>art will be used and how displayed.
>        Both of these were violated at Brooklyn, and have opened it to
>being given the reputation of prostituting itself.
>
>John Bing
>Laguna Art Museum
>
>> Many of us do not have the clout
>>to borrow works from well-known museums, and private collections are a good
>>resource for us in our educational efforts.  Where should the line be drawn:
>>dollar amounts?  Value of artwork? Size of museum?
>>
>>Julia Moore
>>Director of Exhibitions and Artist Services
>>Indianapolis Art Center
>
>

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