https://amgreatness.com/2022/12/03/art-museums-and-impermanence/
The biggest story as I write revolves around Elon Musk’s decision to reveal the truth about how Twitter, largely at the behest of Democrats, intervened in the 2020 presidential campaign to quash damaging news about Joe Biden and thus influence the course of the election. Twitter wasn’t the only entity to put its finger on the electoral scale, but it was a very prominent one. Remember, Twitter shut down the account of Donald Trump, a sitting president of the United States, as part of the media frenzy in the aftermath of the January 6 protests at the Capitol. Twitter shut down the accounts of many other prominent conservatives around the same time. The company also went to extraordinary lengths, ahead of the election, to bury the story, first aired by the New York Post, about Hunter Biden’s laptop.
As I say, this whole story is the hottest thing going right now, and for those interested in pursuing it I recommend James Woods’ interview with Tucker Carlson and the long thread that the journalist Matt Taibbi has begun to publish at the request of Elon Musk. If prior to this you thought that the 2020 election was on the up-and-up, these revelations might well change your mind.
But I am not going to say another word about that sordid subject today. Instead, I thought I would step back and consider a different sort of scandalous story, one that involves the fate of the art museum in an age of identity politics.
I was recently asked to contribute an introduction to “The Museum of Art: Challenge and Response,” a conversation in Melbourne, Australia, between Gerard Vaughan, former Director of the National Gallery of Victoria, and David Bomford, former curator at several museums and now a Trustee of the Victoria and Albert in London. What follows is an adaptation of that introduction.
Every age, I noted, has its architectural master projects, those programs that not only attract the signal architectural talent of the time but also, in the reach of their tentacles, seem to epitomize the civilizational ambitions of a culture. At one time in the West, that node of interest centered around the Church, at another the palace, at another the town square and attendant civil structures.
Today, there is a good argument to be made that for some time now the apogee of architectural ambition has centered around the art museum.