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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In addition, it is possible to argue over the extent to which the physical object determines the manner in which the receiver decodes it.

Hans Haacke | CCTP Topics in CCT

The debate often centers merely on which of the two executives should and will in fact have the last word. The newer models are more network and systems theoric, looking at complexity and distributed agency. As large corporation point to the cultural life of their location in order to attract sophisticated personnel, so Hannover speculated that consciousnesss outlay for art would be amortized many times by the attraction the city would gain for businesses seeking sites for relocation.

On the contrary, they are usually convinced that their activities are in the best interests of art. Finally, I surveyed museum visitors to inquire about their awareness of and opinions toward corporate sponsorship. The presence of the names and logos of corporate sponsors invaded the physical space of the museum as well, appearing on the wall plaques at the entrance to the gallery.

It was never easy for fo to preserve or regain a degree of maneuverability and intellectual integrity. Given current financial problems, they try to streamline their operation. It is not uncommon that messages are received in conscioushess garbled, distorted form; they may even relay the opposite of what was intended not to mention the kinds of creative confusion and muddle-headedness that can accompany the art work’s production. Whether such neutralizing is performed with deliberation or merely out of habit or lack of resources is irrelevant: 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.

Managers of Consciousness

They make no apologies and have few romantic hang-ups. Posted kuseums Brosia at 2: Marketing and development departments are emerging and expanding, indicating the extent to which contemporary museums feel pressured to bring in larger audiences and greater financial support from individuals, foundations, and corporate sponsors in order to balance their operating budget.

Managers of Consciousness By Hans Haacke. Obviously they are mistaken in their assumption that products of consciousness can be created in isolation. What the emergence of arts administration departments in business schools demonstrates, however, is the fact that in spite of the mystique surrounding the production and distribution of art, we are now-and indeed have been all along-dealing with social organizations that follow industrial modes of operation, ranging in size from the cottage musdums to national and multinational conglomerates.


The producer and the distributor must then weigh the impact.

Museums: Managers of Consciousness

Following their own ideological inclinations and making them national policy, President Reagan and Mrs. We see a lot of noncommittal, sometimes cynical playing on naively perceived social forces, along with other forms of contemporary dandyism and updated versions of gaacke for art’s sake.

This is a really good survey of issues, problems, and questions. To compound the financial problems, many governments, facing managegs deficits-often due to sizable expansion of military budgets-cut their support for social services as well as their arts funding.

The adjustments that museums make in the selection and promotion of works for exhibition and in the way they present them create a climate that supports prevailing distribution of power and capital and persuades the populace that the status quo is the natural and best order of things.

It is contingent, a battleground of conflicting interests. They also happen to be more interested in culture than other groups on the political spectrum. It is, in fact, not our private property, homegrown and home to retire to. As the museum becomes increasingly subject to corporate influence, it is likely that the consciousness created by museums through programs and exhibitions will confirm rather than challenge the dominant ideology within our culture; this could mean the continued exclusion of racial minorities, the perpetuation of cultural stereotypes and gender roles, and the objectification of women as sexualized commodities.

But a democratic society demands nothing less than that. As they were shaped by their respective environments and social relation, so do they in turn influence our view of the human condition. Although the product under discussion appears to be quite slippery, it is by no means inconsequential, as cultural functionaries from Moscow to Washington make clear every day.

It is recognized in both capitals that not only the mass media deserve monitoring, but also those activities which are normally relegated to special sections at the back of newspapers.

Mayor Koch, always a friend to the realtors who stuff his campaign chest, tried recently to plant artists into particular streets on the Lower East Side to accomplish what is euphemistically called the “rehabilitation” of a neighborhood, but what in fact means squeezing out an indigenous poor population in order to attract developers of high-rent housing.

It is the result of a collective historical endeavor, embedded in and reflecting particular value system, aspiration, and goals. 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.


The city of Hannover in West Germany, for example, sponsored several widely publicized art events in an attempt to improve its dull image. Haacke believes that by doing this art can remain democratic as it was intended to be. And they also know that they have to keep their institution in the limelight.

Museum leadership, once the sole realm of the curator, is now being divided into artistic directors and operations officers. That there is a lot of money riding throughout the art world and most of it runs counter productive to the entire meaning of art and what art is suppose to represent, but not recognized.

Being trained primarily as technocrats, they are less likely to have an emotional attachment to the peculiar nature of the product they are promoting. The artistic staff is not exempt from the strain of the bottom-line; as curators decide which works of art to include in an exhibition, they must keep in mind what artists and artworks will attract the largest crowds and which ones might offend or deter board members, donors, and corporate sponsors.

How far the Saatchis in London will get in dominating the Tate Gallery’s Patrons of New Art-and thereby the museum’s policies for contemporary art-is currently watched with the same fascination and nervousness as developments in the Kremlin.

If such collectors seem to be acting primarily in their own self-interest and to be building pyramids to themselves when they attempt to impose their will on “chosen” institutions, their moves are in fact less troublesome in the long run than the disconcerting arrival on the scene of corporate funding for the arts-even though the latter at first appears to be more innocuous.

The success of their enterprises and the future of the artists in their stables obviously depend a great deal on their managerial skills. The gospel of art for art’s sake isolates art and postulates its self-sufficiency, as if art had or followed rules which are impervious to the social environment. To say that this change might have consequences beyond the confines of the institution and that it affects the type of art that is and will be produced therefore can sound like over-dramatization.

Funding, as much as one’s prospect for promotion to more prestigious posts, depends on how well one can play the game.

But in non-dictatorial societies, the means of the production of consciousness are not all in one hand. Trained by prestigious business schools, they are convinced that art can and should be managed like the production and marketing of other goods. Consequently, self-censorship is having a boom.