Unpublished
3rd January 1996
While almost everything Mr. Mays has written in the last fifteen years outlaws the temptation to even momentarily consider being part of his tag team, I am drawn to the growing accumulation of published letters (particularly by his art management wrestling opponents) whose limited effect is theatrically to pin Mays to the canvas over his original remarks on the Tanenbaums’ art gift to the Art Gallery of Ontario. (Dec 23rd)
Mr. Mays can hardly be accused of heresy when every museum studies student and curator cites as fact the accompanying additional public cost of storing, caring for and interpreting new acquisitions; that a public museum cannot in any sense afford to be a “community’s attic”. In the 1994 “Impact of Massive Acquisitions” conference at Montréal’s Musée d’ art contemporain, anthropology museum curator, Carol E. Mayer details how all gifts to museums prompt discussions that argue for admitting a Trojan horse. “Museums are built on ‘wooden horses’ that have been aggressively sought or passively accepted.” At the same meeting Charles C. Hill, Canadian Curator, National Gallery stated: “Abuses of the Cultural Property Review Board benefits have resulted in holdings in certain art museums of inferior works which languish in overcrowded storage areas and which, when brought out ocassionally for the public to see, do little credit to the artists.”
Thinking in terms of voracious employment needs of such artists I would argue - in this time of public defunding - for a more dynamic recyling model. If art philanthopists such as the Tanenbaums want their surplus wealth to remain circulating within an art economy (instead of being taxed for general public use), they might more usefully sell their treasures at auction thereafter donating their gains (in exchange for equal tax credits) to arts funding agencies like the Ontario Arts Council or The Canada Council who in turn can aid further art production and dissemination by living artists.
Far from insulting the Tanenbaums, the philanthropy/tax debate usefully reminds us that it is time to refill the pot. It is almost forty years since the death duties of millionaires Izaak Killam and James Dunn were used by the federal government to provide $50 million in capital funding for universities and $50 million as an endowment for the Canada Council.
This pivotal culturally and economically productive act of transfering private wealth to public trust deserves repeating. The ‘back to basics’ nineties choice (thinking of recent Canadian bank profits, or tobacco company advertising problems) for a wide range of public spending needs might be more whether corporate heads - acting on behalf of shareholders as civic subjects - decide to make voluntary acts of generous philanthropy or are taxed an equivalent amount without accumulating public goodwill.
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Unpublished
ReplyDelete3rd January 1996
Jan's response
This essay interests me for several reasons (cultural properties overload, which gifts are meaningful and who decides) but my strongest response is recalling the windfall from the Death Taxes of IWK (b.Yarmouth NS) and J.Dunn(b.NB) that were used to found the Canada Council for the Arts.
The transference of private wealth made off public resources (our forests, minerals,water) into a public trust for the benefit of all Canadians.
This interests me especially because I come from the heartland of Killam's wealth, the Mersey Paper Company.
IWK believed his money should go back to the people. Should we factor real costs into the arts funding formula like the cancers, MS and other diseases that are linked to the bleaching,spraying, smelting and tar ponds in Atlantic Canada? Especially since so little of this money came back to us. I digress.
My real point is that Izaak Killam and James Dunn did not conceal or attach strings to this money. Instead they agreed it should be used for general public good.They trusted the Canadian people to know how best to use their money. Contrary to popular opinion, it is not a miracle that their money was used to fund the arts.
Canadians believe art is important.
But "art philanthropists" by definition attach strings and that is kind of an interesting difference and paradox between IWK, J.Dunn and the Tanenbaums. Paradoxical also that you fear Tanenbaum money could be taxed for general public use, like IWK and Dunn money.
Does Tanenbaum money circulate in any way in an art economy that benefits living artists?
And would you have the Tanenbaums donate their money to the Ontario Arts Council or the Canada Council? Or is there a distinction. Certainly from here, from the heart of IWK's Mersey Paper lands, it is clear that the CC and the OAC serve the same constituents.
As for squandering the funds, James Dunn would never have intentionally squandered IWK's generosity.
Why does Toronto Ontario squander her art philanthropists? Who holds the strings if they are not attached to Tanenbaum? Gehry's new AGO project wasted a large Tanenbaum donation in a way that the public would not have.
So.
JB Mays never was relevant.