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Effects of the Great Recession on museums

From Wikipedia, the free encyclopedia

Art museums in the United States and the United Kingdom have been hit especially hard by the 2008–2012 global recession. Dwindling endowments from wealthy patrons forced some museums to make difficult and controversial decisions to deaccession artwork from their collections to gain funds, or in the case of the Rose Art Museum, to close the institution and sell the entire collection.

Such actions have prompted censure from Museum organizations such as the Museums, Libraries and Archives Council in the UK and the Association of Art Museum Directors in the US. These organizations charge that the actions of their members were in violation of not only their ethics code but also the core of their mission- to provide access to a fund of cultural heritage for future scholarship- by selling works to private buyers for purposes other than funding new acquisitions. Consideration of the dire financial state of these institutions, and the intensifying effect that any punitive action by an ethics organization will have on the finances of an individual museum, has fostered debate on the merits of deaccessioning.

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Transcription

Voiceover: What I want to do in this video is start introducing and we've already talked about him a little bit. So actually they've already been introduced, but maybe flesh out a little bit more Keynesian thinking. This right here is a picture of John Maynard Keynes and I often mispronounce him as Keynes, because that's how it's spelled, but it's John Maynard Keynes. He was an economist who did a lot of his most famous work during the Great Depression, because in his view, classical models did not seem to be of much use during the Great Depression. To understand this a little bit better, let's compare purely classical aggregate supply aggregate demand models to maybe one that's more Keynesian. Some of what we've talked about - Keynesian, I should say. I already did my first mispronunciation. One that's a little bit more Keynesian. Keynesian right over here. In some of the conversations, we've already begun to introduce a little bit of Keynesian thinking, but in this video we're going to try to show the difference between the two and it's not to say that one is right or one is wrong. In fact, Keynesian felt that in the long run, the classical model actually made sense, but he also famously said, "In the long run we are all dead." I also want to emphasize that this isn't a defense of Keynesian economics. There are some points to what he has to say, but there are other schools of thought. Unfortunately, they often get very dogmatic, but they also have some reasons to be wary of Keynesian economics and we hope to go over some of that in future videos. In this one, we just want to understand what Keynesian economics is all about and how it really was a fundamental departure from classical economics. In classical economics, I'm going to use aggregate demand and aggregate supply in both. This is classical, this is price, this right over here is real GDP and I'm going to do it for the Keynesian case, as well. This is price and this right over here is real GDP. In both views of reality, or both models, you have a downward sloping aggregate demand curve for all the reasons that we've talked about in multiple videos. That's aggregate demand right over there. We've already seen it, the classical view is that in the long run, an economy's productivity, or productive capacity, or its output shouldn't be dependent on prices. We've seen the long run aggregate supply curve something like this. This is the aggregate supply in the long run, or sometimes you'll have long run aggregate supply. Sometimes it'll be referred to that. Saying, look, all prices are, they're a way to signal what people want and demand and things like that, but at the end of the day, prices and money, they're just facilitating transactions. You go to work and you get paid and all that, but then you go and use that money to go and buy other things that the economy produces, like food and shelter and transportation. All money is is a way of facilitating the transactions, but the economy, in theory, based on how many people it has, what kind of technology it has, what kind of factories it has, what kind of natural resources it has, it's just going to produce what it's going to produce. If you were to just change aggregate demand, if the government were to print money and aggregate demand were to - and just distribute it from helicopters, in this classical model, you would just have aggregate demand shift to the right, but you have this vertical long run aggregate supply curve so the net effect is it didn't change the output in this classical model. All that happens is that the price goes from this equilibrium price to this equilibrium price over here. You have the price would go up and you would just experience inflation with no increased output and there's multiple ways you could've shifted that aggregate demand curve to the right. You could have a fiscal policy where the government, maybe it holds its tax revenue constant, but it increases spending, or it goes the other way around. It does not decrease, it doesn't change its spending, but it lowers tax revenue. Either of those, it tries to pump money into the economy and pushes that aggregate demand curve to the right. In this purely classical view, it says in the long run, that's not going to be any good, just will lead to inflation. The only way that you can increase the output of economy is by making it more productive. Maybe making some investments in technology, make the economy more efficient, maybe your population grows. The only way is to really shift this curve to the right on the supply side right over here. Keynes did not disagree with that, but he sitting here in the middle of the Great Depression, saying, "Look, all of a sudden people are poor in the 1930s. "Factories did not get blown up, people didn't disappear. "In fact, there are factories that want to run, but they are being shut down, because no one "is demanding goods from them. "There are people who want to work, but no one "is asking them to work. "They could work and produce wealth that could then "be distributed to - "But no one's demanding for them to do it." He suspected something weird was happening with aggregate demand, especially in the short run. In a very pure, very, very short run model, I know we have talked about a short run aggregate supply curve that is upward sloping. Something that might look something like that. That is actually starting to put some of the Keynesian ideas into practice. What I like to think of is something in between, but if you think in the very, very, very short term, Keynes would say prices are going to be very sticky. Especially in the short run, and I'll call it the very short run, you have, especially if the economy's producing well below its capacity, like it seemed to be doing during the Great Depression, prices are sticky. That makes intuitive sense. If the economy's trying to get overheated, people are being overworked, you want them to work more, hey, I want overtime. You want factories to operate faster, people are going to start - The utilization is high, people are going to start charging more and more, but if I'm unemployed and I'm desperate to work, I'm not going to ask for a pay raise. If my factory is at 30% utilization and someone wants to buy a little bit more, that's not the time that I'm going to say, "Hey, I'm going to raise prices on you." I'll say, "Yeah, exact same price. "You want another 5% of my factory to be utilized? "Sure, that sounds great." In the very short run, it has the opposite view of the aggregate supply curve than the classical model. It says at any level of GDP in the short run, prices won't be affected. It won't be affected. So in this model right over here, this is aggregate supply I'll call it, in the very short run. You can debate what short run or very short run means, whether we're talking about days, weeks, months, or even a few years here, but once you start looking at the world this way, then something interesting happens. In this model right over here, the only way to increase GDP was on the supply side. In this model right over here, the only way to increase GDP is on the demand side, to actually either through monetary policy, print more money, or through fiscal policy, lower taxes while holding spending constant or maybe do both, essentially deficit spending. Someway, without holding taxes constant, but the government's spending more, whatever. Shift the curve to the right and that might be a way to increase the overall output. Keynes' real realization was that, look, the classical economist would tell you if you have a free and unfettered market, the economy will just get to its natural, very efficient state. Keynes says, "Yes, that is sometimes true, "but that's sometimes not true." We'll talk about different cases. By no means do I think the Keynesian model is the ideal and I don't think even Keynes would have thought the Keynesian model describes everything. Depends on the circumstance. Keynes would say, "Look, let's think "of a very simple idea." You have person A, person B, person C, and person D. Let's say person A sells to person B, person B sells to person C, person C sells to person D, and person D sells to person A. Let's say that they're all selling two units of whatever good and service that they offer. For whatever reason, let's say C, all of a sudden, just got a little bit pessimistic, had a bad dream, woke up on the wrong side of the bed and says, "You know what? "I'm not feeling so good about the economy. "I'm going to hold off from my purchase from B. Instead of two units, I'm going to purchase one unit. Well, B says, "Well, gee, my business is bad. "Now I'm only going to purchase one unit." A does the same thing for the same reason, D does the same thing. Now it all came back to C and now C says, "Wow, I was right, that dream was predictive." It was a self-fulfilling prophecy. Now they're going to operate in this state and there might not be any natural way to get them bumped up to that state where they're all buying two units from each other without maybe some outside, especially some government act or maybe all of a sudden saying, "Hey B, if C doesn't want to buy two, I'm going "to buy two temporarily." There are dangers to this, huge dangers, and we'll talk about that in future videos, but then someone else, let's say the government, tries to shift the aggregate demand curve through fiscal policy and they say, "Hey, I'll buy one from you, B." Then B says, "Okay, now I can buy two again," and A can buy two again and then D can buy two again and then C can buy two again. Then in an ideal world, and this is the danger of the government, the government would step back and say, "Okay, everything is fine again. "I don't have to buy this." As we know, it's very hard once the government starts spending money in some way, to actually cut this spending right over here. This was the general idea behind the Keynesian versus the classical. He says, "Look, there are circumstances, "like the Great Depression, where the economy "is operating well below its potential "and in those circumstances, you need to have "a stimulus on the demand side, not just a supply side." The correct answer, as with all things, is probably something in between. A probably more accurate model is something like this. Let's draw ... This is price, this is real GDP right over here and we'll still draw our downward sloping aggregate demand curve and the more accurate thing might look something like this. Let's say that this is the absolute theoretical maximum output, if everyone in the country isn't sleeping, the factories are just being run to the ground, that's the absolute theoretical output. Let's say that this is its potential. Just a healthy state where the economy might be operating. The real medium run supply curve or short run aggregate supply curve. This is aggregate supply in the very long run. This is the long run aggregate supply. The best model would be something that's in between and might look something like this. Our aggregate supply curve might look something like - I want to do it in a different color. Let me do it in magenta. It might look something like this. For whatever reason, maybe someone has a bad dream or a bunch of people have a bad dream or something scary happens, aggregate demand - The stock market crashes, something happens, aggregate demand shifts over there. When we're out here, now all of a sudden our output is well below potential, we have a lot of excess capacity and now the Keynesian ideas seem maybe they'll make sense. Maybe there should be some outside stimulus happening. On the other side, if we're performing well at potential, then all of a sudden the government wants to do Keynesian policies and we'll see in future videos, the government will always want to do Keynesian policies, even if they're not justified. It will push aggregate demand out here and then the net effect is, especially the more vertical this is, the more this net effect will be true, that you really just get more inflation and you don't really get a lot of increase in output. It really depends on the circumstance, but an aggregate supply curve that starts flat at low levels of output and then gets higher and higher slope and becomes almost vertical in your high levels of output, this is probably a better model that takes into consideration both the classical and the Keynesian ideas.

Background

George Wesley Bellows' Men of the Docks (1912, oil on canvas) is one of several paintings that Randolph College intends to auction

Art museums have struggled to meet their operating costs for years, especially as many have "suggested donations" rather than entrance fees, or have no entrance fees whatsoever, relying on endowments and membership dues. In 2006, this began to change at many museums: on 3 June 2006, the Art Institute of Chicago announced that its suggested donation of $12 would become mandatory,[1] and in July of that year the Metropolitan Museum of Art raised its suggested admission fee from $15 to $20.[1]

On 1 October 2007, the board of Randolph College decided to auction four works from its collection in order to raise funds for the college: Peaceable Kingdom, by Edward Hicks; Men of the Docks, by George Bellows; Through the Arroyo, by Ernest Hennings; and Troubadour, by Rufino Tamayo.[2] The sale was halted in November when a court injunction against it was granted to a group of alumnae and others. When this coalition raised only half of the required one million dollar bond, the court lifted the injunction and the college proceeded to sell Troubador at Christie's in April 2008. The other paintings are currently held in a Christie's warehouse, to be sold when markets rebound.[3]

By October 2008, museum directors could clearly see that the crisis would greatly affect the operation of their museums. After Lehman Brothers, a major corporate sponsor of the MOMA, filed for bankruptcy in September 2008, MOMA director Glenn D. Lowry was quoted as saying "We know there’s a storm at sea and we know it’s going to hit land and it could get ugly".[4]

The National Academy of Design

Scene on the Magdalene (1854), by Frederic Edwin Church, oil on canvas. One of two paintings sold by the National Academy of Design

On 5 December 2008, the National Academy of Design announced that it had sold two canvases by Hudson River School painters for 13.5 million dollars in order to meet its operating costs: Mount Mansfield, Vermont, by Sanford Robinson Gifford; and Scene on the Magdalene, by Frederic Edwin Church.[5] The decision drew criticism from the Association of Art Museum Directors, who strongly oppose deaccessioning to gain funds for any purpose other than acquiring art.[5] The director of the academy, Carmine Branagan, argued that because the academy does not buy artwork but acquires pieces only through donations, the guideline should not apply.[5]

The decision was made by the board of the academy, which is composed of 16 prominent American artists such as Chuck Close, Jasper Johns, Frank Gehry, Wolf Kahn, and Helen Frankenthaler as well as 5 non-artist advisory board members.[5][6][7] Some have attributed the poor financial state of the academy to its unusual leadership, as most museums are governed by professional administrators and curators.[6]

The AAMD struck back, issuing an e-mail to its members ordering them not to loan works to the academy or to collaborate with it on exhibitions.[6] The apparent harshness of this reaction drew criticism from some quarters, such as Patty Gerstenblith, a law professor at DePaul University and author of Art, Cultural Heritage, and the Law: "If it’s a choice between selling a Rauschenberg and keeping the museum doors open, I think there’s some justification for selling the painting".[3] Others have supported the AAMD's decision, initiating a debate on the ethics of deaccessioning. According to Dan Monroe, director of the Peabody Essex Museum, "The fact is as soon as you breach this principle, everybody’s got a hardship case. It would be impossible to control the outcome."[3]

Sanford Robinson Gifford's Mount Mansfield, Vermont, 1859 (Oil on canvas) was the other painting sold by the National Academy of Design

On 9 March 2009, representatives from the academy and the AAMD met to discuss the academy's financial future. The academy agreed not to sell any more artworks, but there was no promise to lift sanctions on the part of the AAMD.[7] They also agreed to change the composition of their board of directors: the new board will consist of 11 artist members and 10 non-artist members.[7]

Legislation

On 17 March 2009, a bill that would ban museums from selling artwork to meet operating costs was proposed by Richard Brodsky in the New York State Assembly.[8] It would allow museums in New York State to use money from deaccessioned artwork only for the purposes of acquiring new art or for preserving works in the collection.

Bailout of MOCA

In December 2008 the Museum of Contemporary Art, Los Angeles reported that it had lost over $44 million of its $50 million endowment over nine years.[9] The museum considered merging with the Los Angeles County Museum of Art but was approached by the billionaire Eli Broad, whose 30 million dollar bailout offer was accepted on December 23. Museum director Jeremy Strick also announced that he would resign.[10]

Rose Art Museum

Brandeis University has drawn criticism after its 26 January 2009 surprise announcement that it would close the Rose Art Museum by the end of the summer.[11] Several of the university's large donors were reportedly particularly hard hit due to investment with Bernard Madoff.[12] Attorney general of Massachusetts Martha Coakley said that her office would conduct a detailed review of the decision.[12]

After general protest from students, faculty, and the Rose family,[13] Brandeis announced that it would indeed not close the museum immediately, but instead form an eleven-person committee to discuss the future of the museum. However, Brandeis also released a statement on its website that the fate of the museum's collection was not within the scope of the committee, and that all museum staff jobs would be terminated on 30 June 2009.[14]

As of 2011, the Rose Art Museum remains open, with a celebration of its 50-year anniversary and new renovations on October 27, 2011.[15]

Metropolitan Museum of Art

In 2008-09, the Metropolitan Museum of Art's endowment lost an estimated $800 million, representing 28 percent of its value at the time.[16] In February 2009, the museum announced that it would be freezing staff hiring, and that 15 of its 23 satellite stores nationwide would be closed.[17] In March 2009, the museum announced the elimination of another 74 jobs, with a warning that the economy would force an overall work force reduction of 10 percent before the summer.[18]

Fisk University Museum

In August 2012, Fisk University in Nashville sold a 50% interest in 101 pieces, originally donated to the historically black college in 1949 by Georgia O'Keeffe, to Crystal Bridges Museum (founded in Bentonville by Walmart heir Alice Walton) for $30 million. Each museum will display the pieces half the time.[19]

Detroit Institute of Arts

The city of Detroit filed for Chapter 9 bankruptcy on July 18, 2013, after many years of decline which included the 2009 Chapter 11 bankruptcy of GM and Chrysler. As the Detroit Institute of Arts is city-owned, state-appointed emergency manager Kevyn Orr has sought an appraisal of billions of dollars of museum artwork.[20]

In the UK

In 2006, the town council of Bury made a controversial decision to sell A Riverbank, by L. S. Lowry from the collection of the Bury Art Gallery and Museum for £1,408,000 at Christie's.[21] This resulted in the museum's loss of accreditation by the Museums, Libraries and Archives Council, which condemned the decision. The decision also brought criticism from art collectors, such as Frank Cohen, who was quoted as saying "People won't want to give things away to museums if they think they might be sold in future. If I give something away, I make it a condition that it is never sold."[22] Similarly, Northampton Museum and Art Gallery made the decision to sell an Egyptian Sekhemka statue to substantial controversy. The sale raised £16 Million for the Museum but resulted in a loss of its accreditation with the Arts Council England. See Northampton Sekhemka statue.

References

  1. ^ a b Should Art Museums Always Be Free? There’s Room for Debate. Roberta Smith, for the New York Times, 22 July, 2006. Retrieved 29 January 2009
  2. ^ A Southern College to Sell Prized Paintings, by Carol Vogel for the New York Times, 2 October 2007. Retrieved 29 January 2009
  3. ^ a b c Whose Rules Are These, Anyway?, by Jori Finkel for the New York Times, 24 December 2008. Retrieved 29 January 2009
  4. ^ Museums Fear Lean Days Ahead, by Carol Vogel for the New York Times, 19 October 2008. Retrieved 29 January 2009.
  5. ^ a b c d National Academy Sells Two Hudson River School Paintings to Bolster Its Finances, by Randy Kennedy for the New York Times, 5 December 2008. Retrieved 29 January 2009
  6. ^ a b c Branded a Pariah, the National Academy Is Struggling to Survive, by Robin Pogrebin for the New York Times, 22 December 2008. Retrieved 29 January 2009
  7. ^ a b c Censured by Museum Association, National Academy Revises its Policies, by Robin Pogrebin for the New York Times, 13 March 2009. Retrieved 26 March 2009
  8. ^ Pogrebin, Robin. Bill Seeks to Regulate Museums’ Art Sales. The New York Times, p. C1, NY edition, 18 March 2009
  9. ^ Wyatt, Edward; Jori Finkel (December 4, 2008). "Soaring in Art, Museum Trips Over Finances". The New York Times. Retrieved 2008-12-06.
  10. ^ Wyatt, Edward (December 23, 2008). "Museum of Contemporary Art Takes Broad's Lifeline, Appoints New Chief". The New York Times. Retrieved 2008-12-23.
  11. ^ Bergeron, Chris. "Brandeis to close Rose Art Museum." The Daily News Tribune, January 27, 2009. Retrieved on 2009-01-27.
  12. ^ a b Kennedy, Randy and Carol Vogel. "Outcry Over a Plan to Sell Museum’s Holdings." The New York Times, p. C1, NY edition, January 28, 2009.
  13. ^ Rose family protests 'plundering' of Mass. museum, Associated Press, 17 March 2009. Retrieved 9 April 2009
  14. ^ Staff jobs at Rose Art Museum in Waltham uncertain, Lisa Kocian for the Boston Globe, 2 April 2009. Retrieved 9 April 2009
  15. ^ "The Rose Art Museum | Brandeis University". Brandeis.edu. 2013-05-18. Retrieved 2013-09-20.
  16. ^ "The Metropolitan Museum of Art: Facing its Budget Deficit". Non Profit News | Nonprofit Quarterly. 2016-04-22. Retrieved 2023-05-09.
  17. ^ Carol Vogel, Met Museum to Close Shops, Freeze Hiring. The New York Times, 23 February 2009. Retrieved 9 April 2009
  18. ^ Kennedy, Randy (2009-03-12). "74 Are Laid Off at Met Museum; More May Follow". The New York Times. ISSN 0362-4331. Retrieved 2023-05-09.
  19. ^ "Legal Battle Over Fisk University Art Collection Ends". The New York Times. Retrieved 2013-09-20.
  20. ^ Dwoskin, Elizabeth (2013-06-04). "In Bankruptcy, Detroit Could Sell Off Its Art Collection". Businessweek. Archived from the original on June 8, 2013. Retrieved 2013-09-08.
  21. ^ Trouble Ahead For Bury Art Gallery After Council Sale of Lowry, by Graham Spicer for 24hourmuseum.org, 20 November 2006. Retrieved 30 January 2009
  22. ^ Bury Lowry sale a 'dark day' for museums says MA, on the website of the Museums Association, Unattributed. 21 November 2006. Retrieved 30 January 2009
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