The Ownership of Art and Cultural Heritage


In the last century, the idiosyncratic style and prominence of the private art museum have emerged as an alternative model to the state-run cultural institution, free of pressure. Private collectors and wealthy sponsors avoid the constraints and dependence on the government. Without the urge to please a board of trustees and uphold classical, domestic, and cultural interpretations of ‘high art,’ the landscape and definition of contemporary art and the art market's value had taken on a new shape.

The acquisition of the Codex of Leister by Bill Gates, which he purchased in 1994 for $30.8 million, has led to an increase in its value and a shift in the perception of the art market. If wealthy collectors are allowed to own ancient relics that affect public viewing, who is to stop the hoarding of international treasures and highly valued art from falling into the hands of owners with purely selfish or sinister motives? This raises the idea of cultural heritage and universal property, and many argue that the Codex represents human heritage and belongs to humanity. 

In 2022, I experienced the Kinsey Collection at the SOFI Stadium in LA. This private collection is owned by Bernard and Shirley Kinsey, who have amassed nearly one thousand artworks and collectibles related to the African American experience over the past 50 years. Since 2006, they’ve brought the collection to 39 venues, ranging from museums to airport lounges to a five-year stint at Epcot in Walt Disney World. At first, Shirley considered the idea of a show at a football stadium “over the top,” she said. “But when we think about what we’ve done in other places,”—prioritizing that the collection is accessible to broad and diverse audiences—“it makes a lot of sense.” (Art News)         
                                     
Me at the SOFI exhibit, June 2022
 


Poems on Various Subjects, Religious and Moral, 1773
Phillis Wheatley, African/American (ca. 1753-1784)



Earliest Known Black Baptism Record, 1595
St. Augustine, Florida


The assumption that a private collector will only hoard is hardly a risk compared to the institutional censorship and scandal within public art institutions. The added freedom and protection in place through the philanthropy of private collectors and museums are well recorded. Historically, many Avante Garde and international institutions got their start through private wealth, such as the Guggenheim and the Frick.

What matters is what the collector decides to do with the art. Gates acquired the Codex and digitized it, making it available worldwide. His act of narrative control promoted educational engagement and expanded intellectual access far beyond the elite. Without this commodification of a historical artifact and private ownership, only a narrow slice of the world population would ever encounter and learn about this manuscript. In keeping with the not-too-distant colonial legacy, one example of a government-led acquisition of misused public art would be the kingdom of Benin. In 1897, British Soldiers raided Benin City, looting thousands of artworks such as the Benin Bronzes, which represented Edo’s cultural heritage, their historical narrative, and a defined universal human understanding. After seizing the artifacts, the British then dispersed them to museums and collections around the world, leaving Nigeria robbed of their national treasures. The Netherlands recently returned all 119 of their Bronzes, part of the dialogue about reparations and repair. 

As the current U.S. administration continues to dismantle public arts organizations and other social services and resources while promoting white wealth and supremacy, those individuals will continue to enjoy private control and soft power (for good or bad) over culture. The dependence on private investors and collectors is increasingly relevant to the future of art, and many philanthropic efforts to democratize access to art are leading examples worldwide. The free market and vast auctioning potential are an alluring source of artistic value for one and a personal influence on art culture and global markets. Beyond the privatization factors, the post-ownership model and technological advances of democratizing art allow for a much broader and more fluid examination of art history to be made available. With more conversation, diversity, access, and knowledge of art, there is more room to continue to push boundaries and create and appreciate art, contributing to the cultural observations of our time.

References:
Tindera, M. (2021). Bill Gates Owns One Of Leonardo Da Vinci’s Manuscripts. Here’s How Much It’s Worth. Forbes.
The Kinsey Collection. https://www.thekinseycollection.com/

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