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MOCA: Eli Broad discusses ousting of Paul Schimmel

Fallout continues from the MOCA board's removal of chief curator Paul Schimmel. Eli Broad discusses it, and artists Paul McCarthy, Shepard Fairey weigh in.

July 07, 2012|By Mike Boehm, Los Angeles Times
  • The Museum of Contemporary Art's attendance rose from 149,000 the year before Jeffrey Deitch arrived to 402,000 in 2011.
The Museum of Contemporary Art's attendance rose from 149,000 the… (Brian van der Brug / Los Angeles…)

Inside the 12th floor conference room of his Broad Foundation in Westwood sat Eli Broad, the man the art world wanted to hear from after the forced resignation of Paul Schimmel, the longtime chief curator of L.A.'s Museum of Contemporary Art.

Broad, who helped found MOCA in 1979 and is now its biggest donor, didn't have an official vote in the museum board's decision to oust Schimmel — his status as a "life trustee" means he's not a voting member. But he was present for a portion of the June 25 meeting where MOCA's co-chairs, David Johnson and Maria Bell, negotiated an agreement calling for Schimmel to be paid his full salary for another year. (According to the most recent tax records, Schimmel was paid $235,000 in 2010.)

"It was no one event," Broad said of the board's action. "It was time for Paul and the museum to have a new beginning."

That new beginning is now firmly in the hands of Jeffrey Deitch, the New York art dealer brought in two years ago as MOCA's director.

Deitch's buzz-driven vision of how to run a museum collided with that of Schimmel, who was known for sweeping, meticulously researched and often expensive exhibitions that examined themes and movements in contemporary visual art. Those shows and Schimmel's acquisitions were vital to MOCA's standing as one of the world's most respected showcases for post-World War II art.

"They knew that Paul was from the old culture and was not getting along with the director," Broad said of the board's decision. "And although they had a lot of respect for his curatorial ability, they thought it was time to move on, especially some of the newer trustees."

Normally, museum directors hire and fire employees without board involvement or authorization. But, Broad said, "the leadership felt that getting Jeffrey Deitch involved would create a bad scene which wouldn't serve anybody.

"The bottom line is it was no surprise to Paul," Broad said. "He's a brilliant curator and he'll be an asset in whatever he chooses to do going forward."

How Deitch and MOCA fare going forward will depend not only on his signature presenting style, but on whether he has the fundraising clout to help pull MOCA out of the fiscal funk that has dogged it for more than 10 years.

Although the museum's attendance rose from 149,000 the year before Deitch arrived to 402,000 in 2011, its last successful fundraising campaign was in the mid-1990s, and from 2000 to 2008 it burned through most of the proceeds. In 2008, Broad stepped with $30 million to save the financially depleted museum from going under.

Even with Broad's help, MOCA is far from being out of the woods financially. The budget for the 2012-13 fiscal year that began this week is less than $15 million, according to a person knowledgeable about the museum's plans but not authorized to speak publicly, the lowest since the 1990s. MOCA last week laid off five employees besides Schimmel. According to the museum's most recent tax return, Deitch earned $648,281 in 2010.

In a departure from past practice, when MOCA would schedule shows before funding had been secured, it has adopted a policy of committing to exhibitions only after at least 80% of its projected budget has been lined up.

Deitch, who had no experience courting donors before taking over at MOCA, acknowledged in a public forum at an art fair last month that the difficulty of the task, a crucial and time-consuming one for museum directors, had come as "a rude awakening."

"People wouldn't take my phone calls because they figured, 'he's going to ask me for money,'" Deitch said, according to the online magazine Artnet. "People say it's more important to give to hospitals or needy children than the museum."

Now he'll need to overcome bitterness in local art circles over the perceived indignity of Schimmel's sudden exit.

Schimmel, 57, did not return calls, and Deitch, 59, declined to comment for this article, other than releasing a prepared statement: "I want to express my admiration for Paul and his great contributions to the art community. I am happy to participate in an interview about my plans for the museum in more detail at a later date."

When Deitch took over at MOCA in June 2010, after closing his Deitch Projects galleries in New York, acclaimed Los Angeles artist Paul McCarthy and others thought that sparks between the new director and Schimmel might kindle a stronger MOCA.

"Both have done really great shows, both have a super awareness of the art world. I thought a dialogue between the two of them could make it into a really interesting place," said McCarthy.

The hoped-for fruitful creative tension never developed.

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