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Los Angeles museum parts ways with 'savaged' director Jeffrey Deitch Los Angeles museum parts ways with 'savaged' director Jeffrey Deitch
(2 months later)
He was an east coast gallery owner with a taste for celebrity pop art who took over an exalted but troubled west coast museum. What could possibly go wrong?He was an east coast gallery owner with a taste for celebrity pop art who took over an exalted but troubled west coast museum. What could possibly go wrong?
Quite a lot, it turns out, because Los Angeles's Museum of Contemporary Art is on Wednesday expected to announce the departure of its director, Jeffrey Deitch, after three tumultuous, bruising years.Quite a lot, it turns out, because Los Angeles's Museum of Contemporary Art is on Wednesday expected to announce the departure of its director, Jeffrey Deitch, after three tumultuous, bruising years.
The board of trustees was due to meet and confirm his exit amid a swelling chorus of criticism of Deitch and a sense of crisis at what was once considered a world leading cultural institution.The board of trustees was due to meet and confirm his exit amid a swelling chorus of criticism of Deitch and a sense of crisis at what was once considered a world leading cultural institution.
"It was never really a question of 'if' but 'when'. The arrangement was bound to fail," said the Los Angeles Times art critic, Christopher Knight."It was never really a question of 'if' but 'when'. The arrangement was bound to fail," said the Los Angeles Times art critic, Christopher Knight.
The institution had cast the outsider's appointment in June 2010 as a bold display of the risk-taking which once made MoCA famous. "In reality, though, the choice just seemed naïve," Knight said.The institution had cast the outsider's appointment in June 2010 as a bold display of the risk-taking which once made MoCA famous. "In reality, though, the choice just seemed naïve," Knight said.
Critics of Deitch, who made his name as a commercial art dealer, investment adviser and gallery owner before being unexpectedly brought to Los Angeles, said he bungled fundraising, alienated senior staff and cheapened its name with populist, flashy exhibitions.Critics of Deitch, who made his name as a commercial art dealer, investment adviser and gallery owner before being unexpectedly brought to Los Angeles, said he bungled fundraising, alienated senior staff and cheapened its name with populist, flashy exhibitions.
The museum's 2012-13 budget was just $14.3m, its smallest in absolute terms in 15 years. Deitch, who was supposed to serve at least until 2015, admitted he had struggled to raise funds.The museum's 2012-13 budget was just $14.3m, its smallest in absolute terms in 15 years. Deitch, who was supposed to serve at least until 2015, admitted he had struggled to raise funds.
The downtown institution acquired a reputation for a revolving door amid the exodus of senior staff such as Philipp Kaiser, Ann Goldstein and, most damagingly, Paul Schimmel, the chief curator, who fell out with the director.The downtown institution acquired a reputation for a revolving door amid the exodus of senior staff such as Philipp Kaiser, Ann Goldstein and, most damagingly, Paul Schimmel, the chief curator, who fell out with the director.
Deitch, who believed art culture and popular culture had merged, drew buzz and crowds with a retrospective on the art of the actor Dennis Hopper, a collaboration with the actor James Franco, and an exhibition of graffiti and street art. But sceptics called the results bland and shallow.Deitch, who believed art culture and popular culture had merged, drew buzz and crowds with a retrospective on the art of the actor Dennis Hopper, a collaboration with the actor James Franco, and an exhibition of graffiti and street art. But sceptics called the results bland and shallow.
For some, the final straws were an attempted takeover of the museum by its bigger, wealthier rival, the Los Angeles County Museum of Art, and mooted partnerships with the University of Southern California and the National Gallery of Art in Washington DC.For some, the final straws were an attempted takeover of the museum by its bigger, wealthier rival, the Los Angeles County Museum of Art, and mooted partnerships with the University of Southern California and the National Gallery of Art in Washington DC.
A group of artists called MOCA Mobilization accused Deitch and the board of imperilling independence and autonomy. "MoCA is a diminished institution. The Board of Trustees has failed a great museum," they said.A group of artists called MOCA Mobilization accused Deitch and the board of imperilling independence and autonomy. "MoCA is a diminished institution. The Board of Trustees has failed a great museum," they said.
Defenders said the New Yorker injected innovation and original vision but was let down by lack of resources and inherited dysfunction which left the museum nearly broke, demoralised and adrift when he took over.Defenders said the New Yorker injected innovation and original vision but was let down by lack of resources and inherited dysfunction which left the museum nearly broke, demoralised and adrift when he took over.
Hiring a director with no experience of running museums or in the non-profit sector – or with balancing education with culture, art and entertainment – however, proved a bad idea.Hiring a director with no experience of running museums or in the non-profit sector – or with balancing education with culture, art and entertainment – however, proved a bad idea.
"The marriage was made in hell – mainly because MoCA was in such a state of brokenness it seemed almost impossible for anyone to do the job," wrote art critic Jerry Saltz."The marriage was made in hell – mainly because MoCA was in such a state of brokenness it seemed almost impossible for anyone to do the job," wrote art critic Jerry Saltz.
Saltz said west coast bias contributed to Deitch's downfall. "LA never took to him. His powerful business sense, the very things the museum needed, scared everyone. It was thought that Deitch would show his own artists in the museum and continue dealing art on the down-low; he was too crass for LA. He was savaged from the start."Saltz said west coast bias contributed to Deitch's downfall. "LA never took to him. His powerful business sense, the very things the museum needed, scared everyone. It was thought that Deitch would show his own artists in the museum and continue dealing art on the down-low; he was too crass for LA. He was savaged from the start."
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