Comments on: The Continuing Saga of the Thomas Eakins Gross Clinic Art-as-Commodity Scandal http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/ Thu, 20 Nov 2008 15:38:45 +0000 http://wordpress.org/?v=2.5.1 By: Daniel van Benthuysen http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23476 Daniel van Benthuysen Wed, 07 Feb 2007 23:14:48 +0000 http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23476 It might be useful to remember that long before Alice Walton there were collectors like Henry Clay Frick who brought over entire rooms full of murals by European artists to fill up his Manhattan mansion. And centuries before Frick, the Archduke Leopold brought cartloads of Italian paintings to Antwerp in the early 1600s. Every generation has its super-rich who import what cultural masterpieces they can to wherever they like. Centuries later the Greeks want the Elgin marbles back and the Italians are banging at the door of the Getty. This has always gone on, Alice Walton is not some villainess born of this century and neither is she a hero preserving cultural masterpieces that would otherwise disappear. I do think that the art and museum world is in danger of succumbing to a kind of political correctness that is unwarranted. At the risk of being shouted off the web I'll offer the opinion that even if BOTH the Cello Player and the Gross clinic left Philadelphia, the city would remain the one pilgrimage of choice for any Eakins fan, with far more masterpieces by him than anywhere else. And let's not confuse Jefferson College with a museum. Their mission is not the same and even our greatest museums "deaccession" great works all the time just to keep going. It might be useful to remember that long before Alice Walton there were collectors like Henry Clay Frick who brought over entire rooms full of murals by European artists to fill up his Manhattan mansion. And centuries before Frick, the Archduke Leopold brought cartloads of Italian paintings to Antwerp in the early 1600s. Every generation has its super-rich who import what cultural masterpieces they can to wherever they like. Centuries later the Greeks want the Elgin marbles back and the Italians are banging at the door of the Getty. This has always gone on, Alice Walton is not some villainess born of this century and neither is she a hero preserving cultural masterpieces that would otherwise disappear. I do think that the art and museum world is in danger of succumbing to a kind of political correctness that is unwarranted. At the risk of being shouted off the web I’ll offer the opinion that even if BOTH the Cello Player and the Gross clinic left Philadelphia, the city would remain the one pilgrimage of choice for any Eakins fan, with far more masterpieces by him than anywhere else. And let’s not confuse Jefferson College with a museum. Their mission is not the same and even our greatest museums “deaccession” great works all the time just to keep going.

]]> By: Li-An http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23361 Li-An Tue, 06 Feb 2007 22:14:48 +0000 http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23361 Interesting because we have some debats in France on similar problems. Interesting because we have some debats in France on similar problems.

]]> By: sara http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23360 sara Tue, 06 Feb 2007 22:14:34 +0000 http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23360 I've been to Arkansas a number of times, lived for 20 years in Oklahoma and am a native Texan. I took no offense in your comments because I understood exactly your objection to Alice Walton and her "corporate raider" style of Kulture gettin'. I would simply add that this is another example of the "Wal-mart-ification" of the world: Make boatloads of money by exploiting the poor, use that money as leverage to arrange the world into your own personal idea of nirvana and take no thought as to how your actions further deprive others of their freedoms, blessings and opportunities. The people of Philidelphia --nay-- the public at large have every right to be incensed at the actions of this individual. I’ve been to Arkansas a number of times, lived for 20 years in Oklahoma and am a native Texan. I took no offense in your comments because I understood exactly your objection to Alice Walton and her “corporate raider” style of Kulture gettin’.
I would simply add that this is another example of the “Wal-mart-ification” of the world: Make boatloads of money by exploiting the poor, use that money as leverage to arrange the world into your own personal idea of nirvana and take no thought as to how your actions further deprive others of their freedoms, blessings and opportunities.
The people of Philidelphia –nay– the public at large have every right to be incensed at the actions of this individual.

]]> By: Charley Parker http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23277 Charley Parker Tue, 06 Feb 2007 03:48:11 +0000 http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23277 Karen, I'm sorry you interpreted my comments that way. My vitriol is aimed directly at Walton, not at Arkansas. I'm not one of those East coast snobs who feels that culture can't exist in the central states. Though I've never been to Arkansas, I lived in Texas for a while, (and liked it very much) and I know that the museums in Houston and Dallas house some great works. Nor am I a snob regarding large museums; I am, in fact a great fan of small museums, and constantly extol the virtues of the one I grew up visiting in Delaware. My comment about "...her artificial island of culture in Arkansas...", refers to the fact that Walton is attempting to build a cultural edifice out of thin air, rather than allowing one to grow naturally out of years of careful collecting in the more traditional manner. The reference to Arkansas was just incidental information about where her little artifice is located. Even the intention to build a museum out of nothing is not what I object to so much, because it is theoretically possible to do that without engaging in the kind of practices that Walton is using. What I <em>do</em> object to, passionately, is the attitude of Walton, and other spoiled, privileged scions of wealthy families, who think they can "get me sum Kulture" (with a capital "K") by using corporate raider tactics to strip other institutions of their works instead of devoting the time, energy and cultured study necessary to become a true collector. It's the brute force application of her wealth (which I consider ill-earned because of Wal-mart's reprehensible business practices) that I object to; not the location of her museum. So please don't think I'm denigrating Arkansas or the midwest. On the other hand, if you in any way, shape or form admire Alice Walton or other corporate raider style art vultures, or the predatory anti-small business practices of Wal-Mart, you can feel entirely justified in being as pissed off at me as you like. Karen,

I’m sorry you interpreted my comments that way. My vitriol is aimed directly at Walton, not at Arkansas. I’m not one of those East coast snobs who feels that culture can’t exist in the central states.

Though I’ve never been to Arkansas, I lived in Texas for a while, (and liked it very much) and I know that the museums in Houston and Dallas house some great works. Nor am I a snob regarding large museums; I am, in fact a great fan of small museums, and constantly extol the virtues of the one I grew up visiting in Delaware.

My comment about “…her artificial island of culture in Arkansas…”, refers to the fact that Walton is attempting to build a cultural edifice out of thin air, rather than allowing one to grow naturally out of years of careful collecting in the more traditional manner. The reference to Arkansas was just incidental information about where her little artifice is located.

Even the intention to build a museum out of nothing is not what I object to so much, because it is theoretically possible to do that without engaging in the kind of practices that Walton is using.

What I do object to, passionately, is the attitude of Walton, and other spoiled, privileged scions of wealthy families, who think they can “get me sum Kulture” (with a capital “K”) by using corporate raider tactics to strip other institutions of their works instead of devoting the time, energy and cultured study necessary to become a true collector. It’s the brute force application of her wealth (which I consider ill-earned because of Wal-mart’s reprehensible business practices) that I object to; not the location of her museum. So please don’t think I’m denigrating Arkansas or the midwest.

On the other hand, if you in any way, shape or form admire Alice Walton or other corporate raider style art vultures, or the predatory anti-small business practices of Wal-Mart, you can feel entirely justified in being as pissed off at me as you like.

]]> By: Karen http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23266 Karen Tue, 06 Feb 2007 02:51:35 +0000 http://www.linesandcolors.com/2007/02/05/the-continuing-saga-of-the-thomas-eakins-gross-clinic-art-as-commodity-scandal/#comment-23266 I'm from "buy me sum culture northwest arkansas" and I resent the attitude. Maybe Alice Walton has helped the Philadelphia public realize what they value? If they let treasures slip away to us, we will have a beautiful museum they can visit. I’m from “buy me sum culture northwest arkansas” and I resent the attitude. Maybe Alice Walton has helped the Philadelphia public realize what they value? If they let treasures slip away to us, we will have a beautiful museum they can visit.

]]>