Arts & International Affairs: Volume 2, Issue 1 | Page 131

Philippe Regnier, the editor of Journal Des Arts, claims that a museum is—or
should be—distinct from a commercial or corporate enterprise (in Maher
����): “The only really troubling thing in this project is that Abu Dhabi was
determined to acquire a [desirable] name—in this case that of the Louvre,
the name of the most prestigious museum in the world—and France sold
the name of the Louvre like one might sell the name of a shoe store, or a
store for ready-to-wear clothes. In other words, like a brand name […] And
with that, you get into a whole new view [of museums] that is no longer
simply artistic but is also very much commercial.”
What other attributes do museum satellites share with MNCs? MNCs expand
their reach across borders; they create subsidiaries and franchises; they
strike deals with governments. The deal between the French and Abu Dhabi
governments creates a ��-year arrangement during which time the Abu
Dhabi museum has essentially bought rights to the Louvre name. The deal
also gives the Abu Dhabi museum access to advice from a consortium of ��
French cultural entities, assembled under the title Agence France-Muséums,
as well as a commitment to organize joint exhibitions. In return, the Louvre
reportedly earns $�.�� billion (Economist), $��� million for use of the name
alone (Maher ����). At the same time, the Louvre Abi Dhabi is not a branch
of the Louvre Paris. The branch and its permanent collection are owned
by the Government of Abu Dhabi. A similar arrangement exists for the
Guggenheim. It will be involved in the programming and guide acquisitions,
but Abu Dhabi will own the building and acquire its own permanent
collection (Brake ����). All of this money changing hands in exchange for
consulting services and licensing rights resembles MNC activity.
Museum satellites, like most modern museums, have a strong consumer
orientation, leading one commentator to suggest that they are transforming
“from public educational institutions into corporate entertainment
complexes…” (Fraser ����:��). Popular culture exhibits, like the Guggenheim’s
The Art of the Motorcycle and Armani, have a wider attraction (Fraser
����:��). Museum gift shops and restaurants can also make the museum a
consumer destination that does not require a visit to the art collection. Just
as the cities and regions that partner with museums are often concerned
about their brand, so do the museums themselves engage in image or
brand control, reminding us of MNCs. Fraser (����:��) argues that “the
museum is aggressive in policing its image and has threatened unauthorized
reproductions with legal proceedings. When a local artist who runs a pasta
shop started selling dry macaroni in the shape of Gehry’s building, the
130