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Additional info for Civilizing Rituals: Inside Public Art Museums (Re Visions : Critical Studies in the History and Theory of Art)

Example text

More recently, having put together what was the world's largest trust - the U S Steel Corporation - his reputation as the mightiest of the lords of finance had reached its zenith. Morgan, who had already taught fellow capitalists the advantages of cooperation in controlling industry and commerce, would now teach many of the same men the social and ideological advantages of class solidarity in the public display of art. In short, Morgan, the master trust-builder, would now "trustify" the Met. A member of the Met's board for some fifteen years, Morgan had been one of the museum's more forward-looking trustees.

But when exhibited together with art-historically unrelated objects for the sole reason that a particular individual owned it all, or when they are kept in a ballroom because that is where he kept them, their value as objects of aesthetic or 60 61 out of favor, helped legitimate American museums. 43 Such legitimation, however, brought new difficulties. The more art museums achieved credibility as public spaces, the more attractive they became to collectors seeking personal and family memorials.

58 Chinese, Japanese, Islamic, American, Primitive, Modern, and other new sections and wings have been fitted around this canonical core. But not all of the Met's galleries would be brought into this educational scenario. Pulling the museum in quite another direction were donors in search of personal and family memorials. Their interest created a kind of fault Jine between the museum's art-historical installations and its decorative arts galleries. Like other American museums, the Met was deeply committed to the decorative arts.

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