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The Private Collector's Impact on Museum THE PRIVATE COLLECTOR‘S IMPACT ON MUSEUM COLLECTIONS BY KAITLIN BECK DREXEL UNIVERSITY ARTS ADMINISTRATION THESIS DECEMBER 8, 2014 THE PRIVATE COLLECTOR’S IMPACT ON MUSEUM COLLECTIONS A Thesis Submitted to the Faculty of Drexel University by Kaitlin Beck in partial fulfillment of the requirements for the degree of Master of Science in Arts Administration December 2014 i TABLE OF CONTENTS ABSTRACT .................................................................................................................................................. ii PURPOSE/PROBLEM STATEMENT, RESEARCH METHODOLOGY, RESEARCH QUESTION & HYPOTHESIS .............................................................................................................................................. 1 LITERATURE REVIEW ............................................................................................................................. 5 JAMES A. MICHENER ART MUSEUM ORIGINAL CASE RESEARCH ............................................ 32 CONCLUSION ........................................................................................................................................... 50 APPENDIX ................................................................................................................................................. 52 BIBLIOGRAPHY ....................................................................................................................................... 53 ii ABSTRACT This thesis examines the relationship between private collectors and nonprofit organizations to understand how private collectors impact museum collections. The paper includes a case study on The James A. Michener Art Museum, and specifically the groundbreaking 1999 bequest of 59 paintings to the museum, by Marguerite and Gerry Lenfest. The discussion concludes with recommendations based on the research findings including how museums, like the Michener Museum, can make efforts to maintain clear communication with donors as well as adapt to the ever evolving art world while following the standards and best practices of the field. 1 PURPOSE/ PROBLEM STATEMENT, RESEARCH METHODOLOGY, RESEARCH QUESTION & HYPOTHESIS The purpose of this research is to examine the relationship between private collectors and nonprofit organizations to understand how private collectors impact museum collections. How are they an asset or a liability? How do private collectors become major art donors? How do they compete for the same artwork? What are the current trends in this area? What are the most common concerns? How can the relationship between the two groups be strengthened? How can art organizations increase quality donations? This research answers these questions and can provide museums insight into how they can work with private collectors to build stronger, more permanent collections for public benefit. Organizations will benefit from a strengthened understanding of the issues that are outlined in this thesis. It is important, in any field, to take a step back and examine the dynamics of different groups individually and in relation to one another. This can help reinforce networks. For the arts administration field, private collectors and museums have a long history of interaction. It is essential that the relationship between the two be studied in order for museums to benefit even more from the connection to this important donor group. For this thesis, I utilized several different research methods. I conducted original interviews, a case study, and academic article research, as well as the examined recent news stories related to the topic. My interviews were conducted with several key individuals at the James A. Michener Art Museum, including the Senior Director of Advancement Laurie McGahey and Curator of Collections Connie Kimmerle, who have had experience working with private collectors in the museum setting. I also conducted a survey that allowed Michener 2 docents to provide insight into their unique relationship and interaction with museum visitors. I wanted to better understand, from the perspective of all of these individuals, how they perceive the current relationship between private collectors and museums. What are the challenges? Have they seen trends emerge and change over time? Do they have examples of successes? I also interviewed a private collector, as I wanted to learn about his interests, thoughts, and perspective. What motivates them? What do they look for when building their private collection? What, if any, is their individual relationship with museums? How do they envision their legacy and their long-term impact on the arts community? Additionally, I interviewed a contemporary artist, who has artwork in the Michener‘s permanent collection. The diversity of the interviewees proved to be useful when I analyzed all of the information gathered. I also incorporated an important case study about the Marguerite & Gerry Lenfest donation of 59 paintings to the James A. Michener Art Museum, in the year 2000. This was an example of a major donation from a private art collection to a permanent, privately run, public collection. I wanted to examine the facts of the case. How did the relationship form? Who initiated the donation? Why was this donation successful? What, if any can be determined, were the effects of this donation to the Michener or to the field in general? Was there any controversy? How did this influence other donors? Several of my original interviews and research opportunities related to this case study, including individuals who worked at the Michener during this time. The Lenfests, who are major Philadelphia area philanthropists, have long supported the Michener and other arts organizations within the community. For this research, I examined their position in the Philadelphia arts community and their private collection in relation to their legacy of charitable giving. 3 My original interviews, archival research, and the examination of several current cases provided an overall, well-rounded perspective of the relationship between the two groups. These research methods helped build my case and show that multiple sources are acknowledging similarities regarding this relationship dynamic. I was able to evaluate what strengths and limitations museums currently have when working with private collectors and identify unrecognized trends that may be beneficial when working together in the future. Private collectors are an essential donor group that must be maintained to ensure the continued success of any arts organization with a permanent collection. Gathering and appropriately analyzing my data sources was essential for this project. My original interviews were recorded and/or transcribed (with the permission from the interviewees). While collecting data, natural trends emerged. I looked for these trends and considered several questions. What stood out? What did I see mentioned over and over? Was there something I was looking for that was not being mentioned? I continued to ask these questions and refined my analysis throughout the process. While I feel that my research will provide valuable insight into the relationship between these two major groups, there were some limitations. My research was limited to fine art permanent collections. I did not examine collections that include, for example, natural history, medical history, libraries and ephemera, coins, and other collectibles. Additionally, I did not examine corporate art collections and monetary donations by private collectors (unless they were in direct correlation with a specific case I analyzed and were noted, such as Leonard A. Lauder‘s 2013 gift to the Metropolitan Museum of Art) (―Collection Will Transform‖ 2013). Short-term art loans, for special exhibits, were also not included in my discussion (again, unless they were directly correlated to a specific permanent donor case that was referenced). I feel that by 4 narrowing my research, I was able to better identify important trends that emerged and strengthen the focus for this specific field. Today, more than ever, organizations need to establish and maintain a close connection with donors. It is the only way they can ensure continued success. By far, private individuals account for the largest group of donors to nonprofit organizations (more than corporations and foundations) (―Charitable Giving‖ n.d.; Giving USA Foundation 2013). According to national data (that included all types of nonprofits) in 2012, for example, 72% of charitable giving was contributed by private individuals (―Charitable Giving‖ n.d.; Giving USA Foundation 2013). Many tangible object donations come with monetary gifts. I believe that recognizing this will help organizations to develop strategies to connect with private collectors and, in turn, strengthen their permanent collections. By establishing clearer communication and discussing expectations, visions, and values of both parties, the donor - institution relationship can be strengthened. This will help to ensure that museum collections are developed, improved, and enhanced, with the support of private collectors, over time, so that they can be enjoyed for generations to come. It is time for organizations to capitalize on one of their greatest assets for growth and evolution: the private collector. 5 LITERATURE REVIEW In order to understand the issues that museums face today, examining the historical context of the relationship between private collectors and institutions is essential. From the late 19th century
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