BlogBack: More on Tinterow

Responding to my posts here and here about Metropolitan Museum curator Gary Tinterow's views on collection management, Rob Krulak writes:

Beyond claiming the public's stake in the holdings of art museums as a private concern of curators, Gary Tinterow also seems to credit curators with the very creation of great public collections, as if there is an unbroken golden chain of specialist curators that stretches into the prehistory of every art museum.

That's just not how great museum collections are formed, evolve, or even come to be called great. I suppose civic entrepreneurs, private collectors (what would the Met be without Havemeyers?), journalists, academic art historians, the public, the brilliant non-specialists who created our earliest civic collections, and everyone else who contributes to the institutional and aesthetic meaning of museums were just along for the ride.

July 25, 2006 10:27 AM | | Comments (0) |

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CULTUREGRRL , aka Lee Rosenbaum, is your inside guide to the artworld, consulted daily by the most important museum directors and curators, art dealers and auctioneers, collectors, scholars, critics, journalists and art lovers.
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LEE ROSENBAUM
I'm a veteran cultural journalist who writes frequently for the Wall Street Journal's "Leisure & Arts" page. I've been a regular cultural contributor on New York Public Radio (WNYC). I've appeared as an art-market commentator on BBC-TV and have published numerous Op-Ed pieces in the New York Times and Los Angeles Times. I am author of The Complete Guide to Collecting Art (Knopf) and have lectured on cultural property issues at the New Acropolis Museum and the University of Pennsylvania, on deaccessioning at Columbia Law School, the University of Iowa and the annual conference of the Museum Association of New York, and on museum governance and cultural property issues at Seton Hall University. more

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IN THE MAINSTREAM MEDIA
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For Sale: Our Permanent Collection(museum deaccessions)
Fashion Victim (Chanel at the Met)
Destroying the Museum to Save It (Barnes Foundation)
Reassembling Sundered Antiquities (Parthenon marbles)

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Lee Krasner's "Little Image "Paintings
Ando-Designed Stone Hill Center for Conservation and Clark Exhibitions
Los Angeles' New Broad Museum of Contemporary Art
Philadelphia's New Perelman Building
The Walton Effect: Art World Is Roiled by Wal-Mart Heiress

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The Seattle Art Museum: A Work in Progress

Upside Down and Backward, Yet Tame (Boston ICA)
Edith Wharton's Library Is Now an Open Book
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This Museum's Expansion is Simply Effective (Minneapolis Institute)
Truth in Booty: Coming--and Staying--Clean (antiquities controversies)
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Whitney Museum's Expansion
Fake Coptic Art at Brooklyn Museum
Spring '08 Art Auctions
Should Veterans or Newcomers Lead Arts Organizations?
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Whitney Biennial
Guggenheim Director Steps Down
Philippe de Montebello's Retirement
Fall '07 Art Auctions
Metropolitan Museum's "Age of Rembrandt" Show
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Tour of Sculpture Gardens, with Slideshow
Audio Commentary on the Met's New Greek and Roman Galleries
Glenn Lowry's Unorthodox Compensation Package
Commentary on Fall '07 Art Market

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Philadelphia Museum's "Gross Clinic" Deaccessions
Museums' Purchase and Sale of Eakins' Works (about one-third of the way into the program)
Pennsylvania Academy of the Fine Arts' sale of Eakins' "The Cello Player"

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About this Entry

This page contains a single entry by CultureGrrl published on July 25, 2006 10:27 AM.

Museum Collections: Curatorial Privilege and the Public Interest was the previous entry in this blog.

Museum Transparency and the Tangled Web is the next entry in this blog.

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