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The Main Categories of Art Collection in Finland

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The Main Categories of Art Collection in Finland NORDISK MUSEOLOGI 1998•1, S . 67-82 PUBLIC AND PRIVAT-E: THE MAIN CATEGORIES OF ART COLLECTION IN FINLAND Susanna Pettersson The following article addresses a paradox that lies at the heart ofevery public art collection. The public nature ofthe institution leads one to assume that collections are compiled on what might be called «public principles.» Thus the selection process is sup­ posed to be «objective,» while also being guided by «good taste.» The expectation of objectivity stems from In this article, I hope to shed light on the public art collection's role as a custo­ the compilation of a public art collection dian of the nation's memory. There is a from three different angles. I will analyse, desire to read history - in the present firstly, the special character of art within instance, art history - as one monolithic the field of collecting; secondly, the truth, not as an illustrated narrative recor­ demarcation of boundaries between the ding personal choices made by individu­ public art collection and the private col­ als. I would contend, however, that the lection; and thirdly, the classification of public institution and the private collec­ different types of collection. The classifi­ tion cannot be compared as such, because cation I propose is based on Finnish art a public institution is not analogous to an museums and their institutional history. individual agent. The content of every public art collecti­ MEANINGFUL DISTINCTIONS: on has its roots in privacy and private ART COLLECTING AS A FIELD choices. Every art museum in Finland has a thin public facade, beneath which we The private collector can only survive this coopera­ discover the private taste of one or several tion [between the museum and the private collec­ individuals. 1 In other words, the compila­ tor] if the museum refrains from devouring the pri­ tion of a public art collection can only be vate collection by incorporating it into itself. discussed in relation to individual decisi­ Where the private collection is thus incorporated, ons. My argument partly disagrees with the private collection simultaneously perishes, inso­ views put forward in collection studies far as its most important distinguishing element is concerning private and public collecting. 2 precisely the subject collecting and controlling it. SUSANNA PET TE R SSON 68 Conremporary incarnations of Benjamin's collector boundaries - whether collectors like it or as positive anti-type can only survive as long as they not. keep their distance from the museum. The death of Poyhtari's outlook is collector-centred. such a type is, however, unlikely in the extreme: no Susan M. Pearce, on the other hand, has museum has the imagination or the resources to approached the field of potentially collec­ cover all the forms of collecting that private indivi­ tible objects from a market perspective. duals have embraced over and over again.3 She illustrates the relation between object valuation and market exchange by divi­ These are the words of the Finnish scholar ding the field into four sectors. The high­ Ari Poyhtii.ri, whose study of collecting, est level is intellectual material - a-market. published two years ago, explored sociolo­ The second level is art - art market, the gical and philosophical perspectives. third is Mdinmy shopping and the fourth is Poyhtari's discussion of private collecting the spurious collecting market. The oppo­ rests on the assumption that the museum site poles of the qualitative continuum are as public collector and the individual as «the museum» and «rubbish.» 5 Actors in private collector are, by definition, polar the field, whether they represent themsel­ opposites. ves or an institution, navigate within this Poyhtari juxtaposes the institution (an market, making choices. «The museum» is inactive subject) with the individual (an an institution that finally houses the items active subject). He uses the image of an chosen by the actors. «unimaginative institution» as a foil, so as Thus the art collector and the object to valorise private collectors. However, the collector operate in markets that are quite comparison is unsound: private collectors different. When it comes to art, there are have their counterpart, not in the institu­ no «general stores» where a collector tion itself, but in the individual collectors might find collectibles that no one else within it. had thought of. There are simply two Poyhtari's examples are mainly drawn types of work: those that belong within from object collections in museums and in and those that belong outside the art insti­ private hands, and his arguments, such as tution. Regardless of their quality, all the the following, are not directly applicable works inside the art world are art, whereas to the art world: the works that are left outside belong to the world of objects.6 The museum lacks the power, peculiar to the priva­ The art market also comprises several te collector, of finding meaning in what most peo­ different sectors. In the model I have out­ ple regard as mere junk.' lined, the higher category of so-called institutional art falls into three parts: (I) museum art, (2) trend art, and (3) debu­ In the art world, the field of collecting is tante or «newcomer» art. Collectors who circumscribed (and curtailed) differently confine themselves to this higher sector compared with the world of objects. Not are on safe ground. The artists in question everything is possible in the art world, have either already made a «name» for because the art institution draws its own themselves or are about to do so, and all P UB LI C AN D PRIVA TE - ART CO LL ECT I ON I N FI N L AND the collector has to do is to sift the strong­ In the art world, the ability to make 69 er works from the less strong. The lower meaningful distinctions entails an ability to category includes (4) marginal art (risks, evaluate, trust in one's judgement, an abi­ borderline cases, anti-art), (5) commerci­ lity to react, and sheer daring. In the last al/popular art, and (6) non-art. With the two areas, the private collector is often exception of the last heading, these lower more agile compared with the representa­ forms of art also belong to the art world, tive acting on behalf of a public collec­ although the artists and works in question tion. Private collectors also have the right are not «endorsed» by the art world. freely to delimit the range of object(s) in Members of the art world are interested the collection, and they enjoy free discre­ not just in institutional art but also in the tion to alter their acquisition policy. margins: collectors can enhance their own Collectors working for a public institution standing by discovering or raising the sta­ face a different situation: they operate be­ tus of a new artist or work of art. In other tween the current market and the existing words, the market is open to control and collection, which is of a permanent nature manipulation: the representatives of art - what is already there cannot be altered. museums and galleries can alter the classi­ Nevertheless, in both cases, the choice of fication of risky or borderline cases and works to be acquired is a personal one. even elevate them to the highest status. 6.NQN-flflT The art market comprises several different sectors. SU SAN N A PETT E R SS ON 70 THE PUBLIC ART COLLECTION: before the nineteenth century that it has MAIN TYPES ACCORDING TO not been possible to establish numerous CONTENT comprehensive collections of old art. The nineteenth-century collections also often The public art collection is always and include foreign works, sometimes from without exception the sum of individual earlier centuries. choices. Finnish art museums are closely General collections such as the Finnish bound up with private collecting: it is to National Gallery cover all the above-men­ private collectors that we owe the number tioned areas, from old art to modern and and quality of the country's art museums. contemporary art. Other combinations are Accordingly, the «public» nature of the also possible - in fact, they are very com­ collections can be seen as a thin facade; mon. Thus the average type in Finland is the term mainly refers to the manner in a twentieth-century collection with an which the collections are funded and dis­ emphasis on contemporary art, possibly played. including a few historical sample works. To penetrate beneath this facade, public Such collections come under the category collections can be divided into main types «various combinations.» according to content and origin. Why is it that mixed collections domi­ Collections can be divided into five nate the art museum field in Finland? The main categories on the basis of content: main reason is that even today, acquisition - collections of contemporary art policy is rarely subjected to open definition - collections of modern art and analysis. 8 There is a sense that demar­ - collections of old art cating specific boundaries would obstruct - general art collections creative thought and intuitive action. The and people in charge claim an indispensable - various combinations of the above. right to freedom and refuse to spell out the motives for their acquisitions. In the Contemporary art collections focus on the long term, however, a loose acquisition art of the present day, and mainly acquire policy leads to a situation where the col­ current Finnish and foreign art. However, lection piles up aimlessly, instead of in time, contemporary art settles into the expanding coherendy. 9 Where this hap­ historical context provided by the collec­ pens, the collector has in effect relinquish­ tion.7 ed responsibility for the task at hand.
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