Friday, July 20, 2012

artlibor happens when art profit accumulation takes precedence over the interests of the public

atRifF

before there was libor. now, there's artlibor.

it has to be a mea$ure, that is to say, a perception of a perception (never mind redundancy at this point).

of what? the art newspaper gives us a hand:
Before the global economic crisis, the art world saw a number of high-profile defections from non-profit to the commercial sector, including Amin Jaffer, who left the Victoria and Albert Museum, London, to become Christie’s international director of Asian art; Lisa Dennison, who, after 29 years at New York’s Solomon R. Guggenheim Museum (including two years as director), resigned to become executive vice president of Sotheby’s North America, and Emma Dexter, who gave up being the senior curator at Tate Modern to become director of exhibitions at London’s Timothy Taylor Gallery.
what happens when high-profile non-profit art personalities rush to the profit sector? profit and profit-accumulation becomes more important than benefiting the public.

we call this perception of art profit accumulation over the interests of the public artliboring.*

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* artlibor presents an interesting, if perversely unyielding characteristic: the more one hides it, the more it manifests itself.