“IT was an honest gesture at the moment Kris gave it to me, so I feel the ring is mine,” said Kim Kardashian, or anyway Metisha Larocca, who happened at that particular moment to be channeling the tabloid staple at an art party staged by MoMA P.S. 1 in the waning hours of Art Basel Miami Beach, the art world’s version of a reality television show....
Jorge Pérez has made what appears to be a generous gift to the Miami Art Museum, an act that has been billed as one of the most generous in the city’s philanthropic history. In return, the museum sold him its name. Before we break out the Champagne, let’s do the math on this gift.
The headline gift totals $35 million: $20 million in cash and $15 million in art from his collection. Let’s start with the cash, because that’s what the museum needs immediately to fund construction of its new building. When the project began in 2005, Mr. Pérez made a $5 million pledge, which remains part of the $10 million cash gift he proposes to pay by 2012. He also proposes to pay another $10 million in 2022, 10 years from now, so let’s say the present value is $5 million. That’s a cash total of $15 million. This compares to Miami-Dade giving $100 million of its citizens’ money and the city giving land worth $50 million for a total of $150 million. Mr. Pérez’ gift amounts to 10 percent of Miami’s gift and he gets the name of the museum. And this doesn’t consider the risk of a substantial loss of funding from existing and future donors. Something doesn’t compute.
The $15 million worth of art was added to bring the headline gift to a level commensurate with the Frosts’ and Adrienne Arsht’s recent cash gifts. Until now, MAM’s capital campaign policy was “cash only.” Any professional fund raiser will tell you that a gift of art (which the museum can’t sell for ethical reasons) doesn’t pay for construction costs and doesn’t count towards naming rights.
When the MAM board approved the renaming there was no discussion of the longterm implications of the name change. No one mentioned that the American Association of Museum Directors, which accredits MAM, cannot find a single instance of a civic art museum selling its name to a donor, for any amount of money.
MAM’s leadership and Mr. Pérez have turned a deaf ear to the outpouring of negative responses to the name change, ignoring the constituency they ostensibly serve. The citizens of this great community paid for the museum and it should bear their name. How about a wing, Mr. Pérez? That would compute.
Howard S. Frank, Miami
But not everyone is happy that the institution, now known as the Miami Art Museum, will be recast as the Jorge M. Pérez Art Museum of Miami-Dade County to recognize Mr. Pérez’s $35 million gift in cash and art.
Four board members have resigned in protest. Several are threatening to rescind their contributions. Protest e-mails to museum officials have complained that an institution being built on public land and largely financed by taxpayers should not be named for an individual, no matter how generous.
“Name a plaza or a wing or the building,” said Rubén A. Rodríguez, one of the trustees who resigned, “but not the institution.”
The naming and renaming of institutions, arenas, even bridges, after people, to raise money or recognize civic contributions, typically engender little fuss. (Think of the Guggenheim or the Getty, not the former Brendan Byrne Arena.) There was hardly a peep when the New York State Theater at Lincoln Center became the David H. Koch Theater in 2008, after Mr. Koch’s pledge of $100 million.
But in an era when the need for cultural largesse by the wealthy is only expanding, there has been an unusual level of opposition here to the idea of renaming a community resource after an individual patron of the arts.
Is it the timing? The size of the gift? Mr. Pérez’s career as a major developer here? Or perhaps jealousy on the part of others whose own major contributions to the arts have never secured such a high-profile designation?
Museum officials say they’ve been surprised by the community reaction to the name change, though they caution against exaggerating the response. The change, after all, they said, was approved last week by a vote of the museum board; of the 35 members present, only 4 voted against, with 1 abstention.
Thomas Collins, the museum’s director, said the institution was fortunate that Mr. Pérez, a trustee, stepped up to take a lead role in its $220 million capital campaign to bolster its endowment and construct the new building, to be completed in 2013. Mr. Pérez’s $35 million gift includes a pledge of $20 million, along with $15 million worth of Latin American art, which he collects avidly.
“He has been part of the governance and leadership of the institution,” Mr. Collins said. “He has made a major commitment of fine art to the museum. Institutions have been named for people who’ve done just one of those things.”
Many institutions have taken to naming just about anything — hallways, lobbies, staircases — to raise money. In Miami naming has become something of a rage. In 2008 the Carnival Center for the Performing Arts — named for the cruise line — was renamed for the businesswoman and philanthropist Adrienne Arsht after her $30 million gift. When the Miami Science Museum opens its new building in 2014, it will be renamed the Patricia and Phillip Frost Museum of Science. There is also the Frost School of Music at the University of Miami and the Frost Museum of Art at Florida International University.
Naming is often a prickly issue for an institution, since it links it to a person in the public’s mind.
Michael Kaiser, president of the John F. Kennedy Center for the Performing Arts in Washington, said that institutions have to be careful about whom they agree to be associated with. “I’m not sure anyone would want to have the Bonnie and Clyde Opera Company,” he said.
Sometimes property has to be unnamed. The Vilar Grand Tier at the Metropolitan Opera House, for example, went back to being just the Grand Tier after its benefactor, Alberto W. Vilar, failed to come through on his financial commitments.
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Image: Maya Lin's plan model for Queen Anne Square in Newport, R.I.
You may have missed it during Art Basel. Interesting article. Old vs. New...
"Doris Duke Memorial Plan by Maya Lin Splits Newport"
By RANDY KENNEDY
Published: November 28, 2011
NEWPORT, R.I. — When Doris Duke was clearing a patch of derelict buildings here in the late 1970s to create a modest patch of open space known as Queen Anne Square, she was sometimes spotted personally directing the backhoe drivers at dusk, acting as both foreman and steward of the enormous fortune that she lavished on such restoration projects.
The same kind of New England pluck and perspicacity is now stoking an unusual battle, 18 years after Ms. Duke’s death, over a plan to create a permanent, minimalist art installation in honor of her legacy on this swath of green that she left behind in a former commercial area near the harbor...
"And whether you want to be occupied by Art Basel or Occupy it, you can’t deny the event’s role in revitalizing Miami culture over the past 10 years. (Both the Miami Art Museum and MoCA North Miami have new buildings in the works, and the Wynwood district is chockablock with galleries, studios and street art.)"
By Jordan Levin
jlevin@MiamiHerald.com
The King of Pop is back. No, not Michael Jackson — Andy Warhol. The white-wigged godfather of pop art and celebrity culture, who passed away in 1987, is the subject of three exhibits and an influence on two others at various events around Art Basel Miami Beach.
On tap this week is a screening of San Diego Surf, a-never-before-released film shot by Warhol and Paul Morrissey in 1968, at a VIP party at The Standard Spa on Thursday, sponsored by Interview Magazine, the publication launched by Warhol.