Review of The Art of the Steal (2010) by Brendan R — 23 Feb 2011

In the mood for something a little out of the way, we decided to watch the documentary (described as "gripping") about the fight over the multi-billion dollar art education institution known as the Barnes Collection. It's a fascinating tale about the way the art establishment and the politicians of Philadelphia tried to overturn a trust document to secure the art in a facility for the city, at a distinct contrast to the wishes of the original donor. A few thoughts:

* The conflict comes from Dr. Barnes' hatred of the snooty art establishment, which seemed more interested in art for the power and glamor of it than in the art itself. He created an institute for education which housed literally 20 Billion dollars' worth (by today's money) of Cezannes, Van Goghs, Matisses, and others. But these artworks were available to see only in this small building, built as a school, rarely open to the public. From the moment he died, powerful people in the Philadelphia art establishment began challenging his vision, trying to wrest the paintings out of the institute and into other venues.

* The crux of the argument the film presents is the idea that this lone visionary, who had a democratic view of art as something to be learned about and loved, should get to do what he likes with the paintings in his estate. He left them in trust with a non-profit educational institution, and specifically said they could never be loaned, sold, or moved. This is the part the forces aligned against the Barnes collection dismantled.

* At the same time, there's something interesting in saying that a secluded building, closed to most all the public, is the most democratic way to develop the art. There wasn't much in the film to say what you had to do in order to study at the Barnes Institute, but these people seem just as snooty about the art as the art establishment does. It's like Indie Record producers versus the Big Record producers. Each does something different with the art, but one could make the argument that the Big Record producers do more to get the art to lots of people (such as send the Barnes collection on tour).

* There's one moment where the Barnes Institute advocates are protesting outside the location of the new facility. One of them, holding a sign over his head, is in the middle of complaining about a black-tie party being held on the site when he stops and shouts, at the top of his lungs, "Philistines!" I thought this was immeasurably funny. Jenny did not. The same guy shouted, a bit later, "Just wait until it's your will!" And he was right. The filmmakers highlighted this later when they pointed out that another collector had left his art to the NY Met, with the stipulation that the paintings never be sold, loaned, or moved. Heh.

* I was particularly interested in the excellent way the filmmakers pushed you toward strong, strong feelings on behalf of the people defending the Barnes collection. You really come to dislike the villains of the piece by the end of the film, despite the fact that they are mostly working with good intentions. It's an artful piece of editing and storycraft.

Worth watching, certainly.