The rise of the private art foundation: John Kaldor Art Projects 1969-2012 Rebecca Coates M.A. (Leicester), B.Litt. (Hons), B.A. (Melb) A thesis submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy. April 2013 School of Culture and Communication The University of Melbourne Produced on archival quality paper. 2 Image removed due to copyright Martin Boyce, We are shipwrecked and landlocked (2008) Left: Martin Boyce, right: John Kaldor Installation view, Old Melbourne Gaol, RMIT University, Melbourne Photo: Adam Free Forbat (ed), 40 Years, Kaldor Public Art Projects, 2009, p. 252. iii 4 Declaration This is to certify that (1) the thesis comprises only my original work towards the PhD, (2) due acknowledgement has been made in the text to all other material used, (3) the thesis is less than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Rebecca Coates ………………………… April 2013 iv Abstract What role do private foundations play in a global contemporary art world? Not-for-profit art foundations presenting site-specific temporary art installations have become established institutions in their own right. This thesis traces the development of these foundations from the 1970s, placing their role within the context of the evolution of contemporary art institutions. My research focuses on Kaldor Public Art Projects as one of the earliest exponents of this form of patronage and support for contemporary art. The thesis examines the history and impact of Kaldor Public Art Projects, from Christo and Jeanne-Claude’s Wrapped Coast (1969), to Thomas Demand’s The Dailies (2012). It explains the motivations behind collector John Kaldor’s early invitations to leading international contemporary artists to travel to Australia to present temporary art projects. The thesis traces the subsequent evolution of the Projects. The thesis argues that consistent with trends in a globalising contemporary art world, Kaldor Public Art Projects became increasingly professionalised, formed embedded relationships with public art museums and was part of the rise of international contemporary art events such as biennales. v 6 Acknowledgements A thesis is never a solitary act, though much of it is long and lonely. This thesis benefited greatly from the invaluable assistance of numerous individuals and institutions. The thesis began with my own experience attending biennales and exhibitions from the early 1990s, which played a key role in the development of my ideas. Vernissages, and professional previews, were an opportunity to talk with colleagues and artists, as a participant/observer, and ‘insider’ of the field. Work as a curator and writer within and beyond a number of institutions in Australia and in Europe and the U.K., including the Australian Centre for Contemporary Art, National Gallery of Victoria, and Museum of Modern Art, Oxford, provided the opportunity to work first hand with many artists, curators, institutions and collections and gallerists. Discussions and close working relationships with those involved in what has become a global art world during the course of my professional life were invaluable. My roots in Melbourne, Australia – not a recognized centre of the global art world – convinced me of the value of framing my research within the development of a local art history and context, as well as within the context of broader global developments. Teaching positions in the School of Culture and Communication, the University of Melbourne, provided invaluable support for this research. Sessional co-ordinating and lecturing positions at the University of Melbourne, teaching subjects in Art Curatorship and Contemporary Art, were particularly rewarding, both for insights on familiar material, and the opportunity to explore these further with students and fellow lecturers and tutors. During the course of my thesis, I received a number of grants and scholarships, for which I am most grateful. An Australian Postgraduate Award enabled me to undertake the PhD. In 2009, I was awarded the Gandioli Fumigalli Milan Internship, which enabled me to undertake research with Fondazione Nicola Trussardi in Milan. I also travelled to London, Vienna and Iceland to visit other Foundations and art projects. In 2011, I was awarded the Macgeorge Travelling Scholarship, and travelled to Japan to undertake research at the Art Site Naoshima, and the Benesse Foundation. I also received support funding from the School of Culture and Communication, and the University of Melbourne, which contributed to research trips to the Venice Biennale, Istanbul Biennale, Berlin, and conferences including One Day Sculpture. A number of people were particularly helpful in offering time and access to material for my research. I would like to thank John Kaldor, Kaldor Public Art Projects, and Naomi Milgrom; Massimiliano Gioni and Roberta Tenconi, Fondazione Nicola Trussardi; Yuji Akimoto, Director, 21st Century Museum of Contemporary Art, Knazawa, and chief curator and Director of the Art Site Naoshima (1992-2007); Mr Takafumi Shimooka, General Manager, vi Art Coordination Dept. Naoshima Fukkutake Art Museum Foundation; Johnny Walker, The A.R.T. Collection, Tokyo; Erico Osaka, Director, Yokohama Museum of Art; James Lingwood, Co-Director, and Rob Bowman, Head of Programmes and Production Artangel; Daniela Zyman, Chief Curator, Thyssen Bornimisza Art Contemporary, Vienna; Lisa Darms, Senior Archivist, The Fales Library & Special Collections, New York University; Nicholas Baume, Public Art Fund, New York; Xan Price, Sonnabend Gallery; Clare Bell, Roy Lichtenstein Foundation; Donna Brett and Nicole Kluk, Archive and Library, Art Gallery of New South Wales; Margaret Gor, Librarian, Museum of Contemporary Art; and Kelly Gellatly, National Gallery of Victoria. The thesis would not have been possible without the support and expertise of my university supervisors. I thank Associate Professor Alison Inglis for her ongoing friendship and support both before and during my PhD. Co-convening the 2010 inaugural conference for the Initiative to Establish the Australian Institute of Art History, Interrogating Art Curatorship in Australia (2010), with Alison was rewarding and fun, and offered me the opportunity to integrate my academic and professional roles. Professor Charles Green was an outstanding and inspirational colleague, supervisor, and mentor, to whom I owe enormous thanks. His demand for intellectual rigor, precise and thoughtful comments on every word I sent him, and understanding of the intricacies of moving between curatorial and academic research were invaluable. Dr Lyndell Brown followed the project keenly, and her insights and experience were always timely. Friends and fellow PhD colleagues, Patrick Pound and Helen Hughes, gave generously of their time and constructive advice, much of it over coffee at a range of venues. The Modern and Contemporary Art Reading Group, (MaCA), afforded thought- provoking discussions, and the early editorial advice from e-maj committee member, Amelia Douglas, was valuable, resulting in 'The Curator/Patron: Foundations and Contemporary Art', EMAJ online journal, issue 3, December 2008. Colleagues and friends were crucial supports, and no doubt (like me) wondered when it would ever end. I thank Max Delany, Linda Michael, Anthony Gardiner, Charlotte Day, Geraldine Barlow, Juliana Engberg, Hannah Mathews, Alexi Glass, Mikala Dwyer, Mike Nelson, Rosslynd Piggott, Tacita Dean, Susan Jacobs, Laresa Kosloff, Susan Norrie and Susan Jones, for their insights and our shared discussions about art and exhibitions in many parts of the globe. Finally, I would like to thank my family, who remained unswervingly supportive during many years of professional life and research. Clara and Vita Daley rose above a mother often thinking about something else, and don’t seem to be lastingly scarred. And to John Daley, my enduring thanks. His advice, editing skills, incisive mind, and constant support have never wavered, and he still almost believes that bellinis in Venice are just part of the job. vii 8 TABLE OF CONTENTS INTRODUCTION 1 Survey of globalization and contemporary art 1 The rise of installation art 11 Survey of foundations and patronage 24 Survey of Writing on Kaldor Public Art Projects 33 CHAPTER ONE: GLOBAL DEVELOPMENTS 43 Foundations and contemporary art 43 Biennales 77 Biennales and art foundations 83 Art foundations and destination art 88 Conclusion 93 CHAPTER TWO: THE ORIGINS OF JOHN KALDOR ART PROJECTS 95 Kaldor’s education and training 95 Kaldor’s early relationships and mentors 98 Kaldor’s early collecting 104 The Alcorso Sekers Sculpture Prize 114 International parallels 118 Conclusion 119 CHAPTER THREE: CHRISTO – KALDOR’S FIRST PROJECT (1969) 121 Meeting Christo 121 Australian context 125 Wrapped Coast impact 133 Wool Works 141 Impact of JKAP and Kaldor 145 Conclusion 148 CHAPTER FOUR: KALDOR’S EARLY PROJECTS (1971-1977) 150 Harald Szeemann 151 Gilbert & George 160 Antoni Miralda 168 Charlotte Moorman and Nam June Paik 170 Sol LeWitt and Richard Long 173 Changing cultural context 183 CHAPTER FIVE: KALDOR’S QUIET YEARS (1978-1994) 189 An Australian Accent 189 Christo and Jeanne-Claude retrospective 195 Reasons for quiet 199 CHAPTER SIX: KALDOR’S REVIVAL YEARS (1995-2004) 205 viii Jeff Koons 205 Sol LeWitt - again 212 Vanessa Beecroft 214 Ugo Rondinone 216 The Kaldor collection and Kaldor Art projects 222 CHAPTER SEVEN: KALDOR & NEW INSTITUTIONALISM (2004-2012) 225 Organisational changes 225 International