How does anyone predict what might happen next when the events of just the past month have been enough to leave even the most seasoned observer scratching his head? Nevertheless, we shall endure. If the past five decades have taught me anything, it is how to adapt, occasionally kicking and screaming along the way.
In this issue, we begin with Brian Ferriso, the new director of the Dallas Museum of Art, who is now settling into his position. As I have written before, running a major art museum is an extraordinarily difficult job. Balancing trustees, donors, curators, budgets, politics, and the public requires the diplomatic skills of Henry Kissinger, the financial instincts of Warren Buffett, and the patience of a saint.
Meanwhile, the problems in France continue, and the economic pressures are spreading across Europe. We take an updated look at the art markets in Paris and Brussels, examining not only what is happening today but where these markets might be five years from now. From everything I have seen, the underlying economics appear increasingly unsustainable. The question may no longer be how these markets recover, but how many galleries will survive long enough to find out.
I have enormous respect and personal affection for Kate Fitz Gibbon, but I believe her recent argument concerning the Smithsonian and politically biased exhibitions is fundamentally wrong and potentially dangerous, regardless of which political party occupies the White House. Whether we are talking about the Smithsonian, PBS, or any other federally funded cultural institution, public money carries public responsibility. Taxpayers should not be expected to finance programming that clearly promotes one political party's ideology over another. Curatorial independence is important, but it cannot become a convenient excuse for avoiding accountability. If an institution is entirely private, it can pursue whatever lawful ideological agenda it wishes. Public funding, however, changes the equation. Along these same lines, we examine whether the November midterm elections are likely to have any meaningful impact on the American art world.
On a more practical note, we receive an extraordinary number of calls from people asking essentially the same question: "How do I get rid of all this stuff?" Whether it involves inherited collections, downsizing, estates, or simply discovering that your children have absolutely no interest in the treasures you spent a lifetime accumulating, the problem is remarkably universal. We have developed a scenario covering the principal options, pitfalls, and opportunities. Hopefully, it will save a few people time, money, and unnecessary aggravation.
Finally, I return to a subject I first raised 26 years ago while serving on the national board of the International Society of Appraisers. The personal property appraisal profession continues to face declining membership, rising costs, and increasing demands for professional education and services. Once again, I make the case for the boards of the major appraisal organizations to seriously consider consolidation, particularly a merger of ISA and AAA. Combining resources could reduce administrative expenses, strengthen educational programs, improve member services, and create a more effective professional voice. Twenty-six years is a long time to avoid asking an obvious question. Perhaps the boards might finally consider whether protecting their individual organizations is more important than protecting the future of the profession.
As always, the art world provides no shortage of material. The challenge is separating what matters from the noise, something that seems to get more difficult with every passing month. We appreciate any feedback – positive or negative.
