Everyone is entitled to his own opinion, but not his own facts. Founded by Mark Kleiman (1951-2019)
Bad for art
What can it mean that a pastel drawing sells for $120m?Â Â The economic function of this object is to create value inside the head of people looking at it; if it’s bought on speculation for resale, that function has to be anticipated for a subsequent buyer someday. It’s not copyrighted, so the value has to be the excess of value over that created by a good reproduction, of which there are lots in circulation.Â At 5%, it has to be $6m per year to justify this price, or $684/hour working 24/7, four times that 9-5 weekdays. The odds that it will be on display anywhere on any terms every hour of every day forever are pretty slim, so let’s go with 2200 museum hours at $3K/hr.
How many people can be really looking at this piece at once; it’s not very big.Â Maybe four, each of whom has to find it worth more than $10/min.Â Â There are certainly people who would pay that, but if they are spending two minutes each, we need 120 of them every working hour, or a quarter million a year, again forever.Â No, it’s not the greatest work of art ever made, whatever that could mean, and not in the top thousand despite its poster appeal and legs as a meme.
This transaction is completely ludicrous.Â It properly exposes the whole culture of fine arts to ridicule as a game of poseurs, ignorant speculators, and predators that has nothing whatever to do with what paintings are about, or what art does for us, and that it should be a front page story as a serious eventÂ does a little bit to damage the quality of everyone’s engagement with art.
Author: Michael O'Hare
Professor of Public Policy at the Goldman School of Public Policy, University of California, Berkeley, Michael O'Hare was raised in New York City and trained at Harvard as an architect and structural engineer. Diverted from an honest career designing buildings by the offer of a job in which he could think about anything he wanted to and spend his time with very smart and curious young people, he fell among economists and such like, and continues to benefit from their generosity with on-the-job social science training.
He has followed the process and principles of design into "nonphysical environments" such as production processes in organizations, regulation, and information management and published a variety of research in environmental policy, government policy towards the arts, and management, with special interests in energy, facility siting, information and perceptions in public choice and work environments, and policy design. His current research is focused on transportation biofuels and their effects on global land use, food security, and international trade; regulatory policy in the face of scientific uncertainty; and, after a three-decade hiatus, on NIMBY conflicts afflicting high speed rail right-of-way and nuclear waste disposal sites. He is also a regular writer on pedagogy, especially teaching in professional education, and co-edited the "Curriculum and Case Notes" section of the Journal of Policy Analysis and Management.
Between faculty appointments at the MIT Department of Urban Studies and Planning and the John F. Kennedy School of Government at Harvard, he was director of policy analysis at the Massachusetts Executive Office of Environmental Affairs. He has had visiting appointments at UniversitÃ Bocconi in Milan and the National University of Singapore and teaches regularly in the Goldman School's executive (mid-career) programs.
At GSPP, O'Hare has taught a studio course in Program and Policy Design, Arts and Cultural Policy, Public Management, the pedagogy course for graduate student instructors, Quantitative Methods, Environmental Policy, and the introduction to public policy for its undergraduate minor, which he supervises. Generally, he considers himself the school's resident expert in any subject in which there is no such thing as real expertise (a recent project concerned the governance and design of California county fairs), but is secure in the distinction of being the only faculty member with a metal lathe in his basement and a 4Ã—5 Ebony view camera. At the moment, he would rather be making something with his hands than writing this blurb.
View all posts by Michael O'Hare
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