Busybodies, Hoarders and Egomaniacs
The Museum of Contemporary Art (MOCA) in Los Angeles is broke, and a lot of folks are in high dudgeon.
Its profligate and irresponsible director, Jeremy Strick, classically trained and hired in 1999 out of the Art Institute of Chicago, has burned through $44 million of the museum’s endowment, leaving it with a paltry $6 million.
This is a major scandal.
Museum management is dithering over how to quickly raise the $25 million needed to keep the doors open and some of its programs going. Do they merge with another museum? Do they hit up some big donors? Do they hire Carl Bloom Associates to launch a direct mail campaign?
Uh-uh. No time.
The sentence that follows this one will be the most blasphemous concept that could ever be promulgated in the eyes of the ego-driven elitists who run art museums.
To get on its feet, MOCA needs only to sell two paintings from its permanent collection; fire the director; put some responsible, competent people on its board; suck it up and start over.
Sell two paintings out of its permanent collection?
The Worst Web Site in the World
In creating this cranky e-zine, I visit hundreds of Web sites every day. If the competence of an organization can be measured by the quality of its Web site, the Museum of Contemporary Art belongs in the Cloacus Maximus—the giant sewer that runs deep under Rome. MOCA has the worst Web site I have ever seen. Period.
How bad is it? Start with light-blue sans serif mousetype on a light-blue background.
But squinting into the computer screen, it's possible—with great difficulty—to discern that the permanent collection of the Museum of Contemporary Art contains works by Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Mark Rothko, George Segal, Julian Schnabel, Frank Stella, Cy Tombly, Alberto Giacometti, Piet Mondrian and Jackson Pollock.