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03763aam a2200433 i 4500 001 9725B9149A4F11EE9D2109AF26ECA4DB 003 SILO 005 20231214010155 008 210722t20222022enk b 001 0 eng 010 $a 2021035908 020 $a 1350045756 020 $a 9781350045750 020 $a 1350045764 020 $a 9781350045767 035 $a (OCoLC)1262694437 040 $a DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d UKMGB $d ERASA $d YDX $d OCLCO $d YUS $d CLO $d SILO 042 $a pcc 050 00 $a N470 $b .S53 2022 082 00 $a 708 $2 23 100 1 $a Shaked, Nizan, $e author. 245 10 $a Museums and wealth : $b the politics of contemporary art collections / $c Nizan Shaked. 264 1 $a London ; $b Bloomsbury Academic, $c 2022. 300 $a ix, 278 pages ; $c 23 cm 504 $a Includes bibliographical references and index. 505 0 $a The San Francisco Museum Of Modern Art and Economic Inequality: art and imperialism -- The substance of symbolic value: museums and private collecting -- From Medici to MOMA: collections, sovereignty, and the private/public distinction -- Blueprints for the future: demographic and economic change. 520 $a "Museums and Wealth is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in "public trust" on behalf of the nation, if not humanity. The public serves as alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. This allows for wealthy individuals at the helm to gain financial benefits from, and ideological control over, what is at its core purpose a public system. The dramatic growth of the art market and the development of financial tools based on art-collateral loans exacerbate the contradiction between the needs of museum leadership versus that of the public. Indeed, a history of private support in the US is a history of racist discrimination, and the common collections reflect this fact. This book shows why the nonprofit system, understood as third sector or "shadow state," is unfit to administer our common collections, and offers solutions for diversity reform and redistributive restructuring. A longue dureÌe history of how private collections in city and nation states were turned public, gives context. Since the late Renaissance, private collections legitimized the right of the prince to rule, and later, with the great revolutions, display consolidated national identity. But the rise of the American museum reversed this trajectory and re-privatized the public collection. A materialist description of the museum as a model institution of the liberal nation state reveals constellations of imperialist social relations."-- $c Provided by publisher. 650 0 $a Art museums $x Economic aspects. 650 0 $a Art, Modern $x Collectors and collecting. 650 0 $a Common good $x Economic aspects. 650 0 $a Public interest $x Economic aspects. 650 6 $a Bien commun $x Aspect eÌconomique. 650 6 $a InteÌreÌt public $x Aspect eÌconomique. 650 7 $a Art museums $x Economic aspects. $2 fast $0 (OCoLC)fst00815639 650 7 $a Common good $x Economic aspects. $2 fast $0 (OCoLC)fst00869785 776 08 $i Online version: $a Shaked, Nizan. $t Museums and wealth $d London, UK ; New York, NY, USA : Bloomsbury Academic, 2022 $z 9781350045774 $w (DLC) 2021035909 941 $a 1 952 $l PQAX094 $d 20231214043359.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=9725B9149A4F11EE9D2109AF26ECA4DB 994 $a Z0 $b IOWInitiate Another SILO Locator Search