A MUSEUM WITHOUT STUFF?: NON-COLLECTING MUSEUMS

Collections Corner | Jaime Meier 

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It is safe to say that collections are a major part of museums and their adjacent institutions. While collections can serve as a cultural cornerstone of museums and galleries - defining their mission and values - there has been a unique departure in many contemporary art institutions. Many modern and contemporary art galleries have defined themselves as non-collecting institutions, meaning that they have no permanent collection. Contemporary art appears to find itself at uncommon intersection, it is deemed important for institutions to make available but not important enough to own. But, the issue is more complex than that.

Yayoi Kusama's work is beautiful but if we focus on finding its specific meaning, it can be hard to decipher. (Source)

Contemporary art easily confounds and intimidates the public (myself included), it should be of some consolation that it also intimidates collectors. All of us have seen an abstract contemporary art form, whether it be a Warhol or Pollock, and know it has immense monetary value and yet the reason completely escapes us. Contemporary art can be experimental and strange, that deciding on the value can be nearly impossible. If an institutions invests in an artwork too early and risk never seeing the money pay off or wait too long and have the art become too expensive to purchase. The premise behind non-collecting for contemporary art emerged for these fears coupled with the desire to promote and raise awareness of challenging and evolving art practices.

With a non-collecting museum, ownership is de-centered as the foundation of the museum structure, allowing for cultural exchange to occur in other forms. Documentation fills the gap of collecting by recording visual or written information about the context, concept, and process of the art and exhibition. Instead of physically collecting and item, interaction and mediation is preserved. The lack of collections also means precious money is saved by not employing conservators and collections staff. Processes such as accessioning, deaccessioning, and repatriation become a non-issue. The lack of funds being spent on collections can be redirected into high quality public programming, outreach, and education.

The Power Plant Contemporary Art Gallery, Toronto. (Source)

While there are many benefits  surrounding the collection of contemporary art, it brings up important concerns surrounding the livelihoods of artists. It is impossible to have a functional and thriving art community without providing monetary support to the artists. The Power Plant in Toronto has become a place, that despite its lack of collecting, provides a beneficial relation to artists. Their strategic plan for 2019-2022 outlines their mission to commission new works of art, therefore not collecting but still funding important projects. As a part of their 2018-2019 programming schedule, they also provided portfolio nights and other events for their artist members.

Non-collecting museums and institutions are almost exclusively found in the contemporary art sector. While this allows for more money to go into public engagement and projects, money is not always being used to directly support artists. I am curious to see if this model will continue and the longterm role it will play in the expansion or depreciation of contemporary art.