I think it’s a blessing in the long term that LACMA and BCAM isn’t tied to Broad’s overwhelmingly conservative, blue chip collection. Even though the whole affair stinks, the outcome of BCAM may be ideal for LACMA’s future.

On the MOCA side, it’s natural for him to be involved in any actions taken to save MOCA – he was the founding chairman of the museum, and we wouldn’t have ever enjoyed MOCA had it not been for the leadership of Broad and the original board that made the museum possible. I’m usually not enamoured with Broad’s various moves, nor am I happy about LA’s complacency about having Broad as the only individual arts funder of substance, but I think he’s uniquely positioned to force MOCA to get its shit together.

That is a great idea. People who go to museums like art. I don’t know why that relationship is not fostered. I don’t think the way to go is to make the museum more people who don’t like art friendly. That is what almost killed Vegas. Think what would people who like art, like that is visual art related. I certainly don’t want a subscription to Vanity Fair. I also don’t like all of these parties with no substance. Art first, then social, not main stream appeal social first then art.

If a piece of art that I really like is within my budget (under 500) I will buy it. The economy is bad, I want to spend my money on something that I can still have in 10 years, I have little interest in going to the spa.

Also the art council meetings should be held at more reasonable times (I’m not sure what they are now, but at one point it was at some oddly early times,) maybe they are trying to appeal to the trustfund set, but I can’t be somewhere before 6pm on a weekday to volunteer or to take a class to volunteer. And the one year training, I haven’t looked into that, but can’t that be online or something. If you make it difficult for me to be a part of something and you have these big shows that seem to be more about drawing in people outside of the people who appreciate art, well what do you want. People or more willing to support something that they feel some ownership of.

And the concert atmosphere of the events, I don’t like crowds which is why I don’t go to concerts. I get pretty irritated when I go to the museum and have to stand in line with a bunch of people talking really loud about reality tv shows or the latest jack ass movie. Maybe if I had a membership I could avoid that, but I’m never going to find out, because I’m not standing in that line to see if it’s worth it. I don’t remember ever having to stand in an insane line at MOCA. I think that is called planning.

I think LACMA should look at LAPL to find out how to draw in their audience. The Central Library in downtown is great. The have great events. The volunteer opportunities seem really fun. While they do have more mainstream events they often focus on more niche events. And the events they have for the public everyone is invited. They also have a great little marketing thing going on down there. They are pulling in younger people into the more professional ranks of the library. They regularly have really nice events that even the most broke person in the LA can enjoy. And they do this all without providing alcohol, not that I am anti that, but social is secondary, quality event and getting people to love literature (not LAPL, but literature) is first.

Anyway, I agree the price of admission is a big deterrent. Maybe if cultural institutions that charge admission came up with a campaign where one affordable membership gets you into LACMA, MOCA, NHM, JANM, Autry, Hammer, etc. for one year it might entice people to visit more.

Coordinated exhibitions among all the institutions could also encourage people to visit multiple museums. Remember 2005′s “Master of American Comics” that was split between Hammer and MOCA? I’d love to see more collaborations like that. And actually, it’s going to happen in 2011.

As for blockbuster exhibitions, I don’t think they’re a horrible idea as long as they don’t become the museum’s driving force. And of course the art needs to be high quality and make sense for the institution. But if they can bring in people that might not normally visit a museum, why the heck not?

Why not build on the highly creative workforce out here by offering an affordable YP program with a stream of networking events that highlights up-and-coming artists? The point is to get them into the museum, artists can be inspired by others and might get inspiration for their project, and may return to see it on their own.