Feb 27, 2012 at 04:24 PM
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Corporate Protesters Target Whitney Museum Partners With Fake Press Release

Under the heading MUSEUM BREAKS WITH TWO CORPORATE SPONSORS, APOLOGIZES TO PARTICIPATING ARTISTS, factions of the anti-Wall Street crowd it seems this morning issued a fake press with Whitney letterhead, correct press contacts and all. The presser said that the museum had decided to return money provided by two major sponsors of this week's Whitney Biennial—Sotheby’s and Deutsche Bank—saying that recent corporate conduct has made it impossible for the Museum to maintain a partnership with them. ArtInfo.com and GalleristNY.com have the whole story, but to make a long story short museum officials say the press release that went out (pasted below) was a prank. This is a pretty elaborate sabotage as the press release even links to a fake Whitney Museum website called whitney2012.org. The Whitney's real website is whitney.org. Here's the fake release..

NEW YORK, February 27, 2012 – Sculpture, painting, installations, and photography—as well as dance, theater, music, and film—will fill the galleries of the Whitney Museum of American Art in the latest edition of the Whitney Biennial. With a roster of artists at all points in their careers the Biennial provides a look at the current state of contemporary art in America. This is the seventy-sixth in the ongoing series of Biennials and Annuals presented by the Whitney since 1932, two years after the Museum was founded.

The Biennial will open on March 1 despite the Whitney’s recent action to return money provided by two major sponsors of the Biennial—Sotheby’s and Deutsche Bank—whose recent corporate conduct has made it impossible for the Museum to maintain a partnership with them.

About Our Sponsors

The Whitney will find a way to open the 2012 Biennial in spite of the Museum’s difficult decision to break with the two major corporate sponsors of the Biennial. Regretfully, the Whitney entered into a sponsor agreement with Sotheby’s before the auction house locked out forty-three of its unionized art handlers once their contract expired in July 2011. Last year saw record-breaking sales with profits over $100 million for Sotheby’s; the pay of the CEO alone doubled to $6 million. Yet Sotheby’s has sought to break organized labor by starving their workers into submission—locked out of their jobs and without wages since August, these workers and their families lost their health care benefits at the end of 2011.

The Whitney recognizes that the financial speculation on art taking place in secondary sales of works benefits wealthy investors far more than the artists who created the works, let alone the workers who craft, move, install, maintain, or guard them. The Museum understands the importance of providing working people—including artists who must work second jobs to support their careers—with the livable wages and healthcare for which the Sotheby’s art handlers are fighting. Sotheby’s actions are a direct attack on the Museum’s mission to support and collect the work of living artists. For these reasons, the Whitney cannot allow Sotheby’s to tarnish the image of the Biennial any longer.

The Whitney also announces its break with major sponsor Deutsche Bank, which is facing numerous lawsuits and accusations of fraud from both investors and the U.S. government. Deutsche Bank and its subsidiary Mortgage IT profited from selling and insuring mortgages, and are currently in litigation with the U.S. government over a $1 billion claim for fraudulently obtained federal mortgage insurance; because of their dealings in mortgage-based collateralized debt obligations, they have also been sued by the Federal Housing Finance Agency, and the Teachers Insurance and Annuity Association. The reckless and even fraudulent financial speculation by banks like Deutsche Bank has created enormous social costs in terms of lost jobs, savings, and homes. The Whitney does not want the bank’s sponsorship of the Biennial to distract from these serious matters or to reflect poorly on the Museum, and so must end the sponsorship agreement.

An Apology to the Participating Artists

The Whitney is proud to be able to redistribute resources from major corporate donors and super-wealthy individuals to deserving artists, especially within a political and economic system that concentrates wealth for a tiny minority while the majority grows poorer, suffers without healthcare, is forced from their homes, or goes without food. However, the Whitney also recognizes that some donors and sponsors may seek to use their partnership with the Museum to whitewash their image and to hide the social costs of unchecked capital accumulation behind a façade of charity. These sponsors seek to capitalize on the creativity, intelligence, and culture brought into the world by contemporary artists even as the sponsors make that world unlivable. The Whitney recognizes that many emerging artists cannot refuse to participate in a major museum show without endangering their careers, and so apologizes deeply to the participating artists for allowing them to be exploited by the former sponsors in this manner. The Museum hopes the participating artists will join us in denouncing the wrongs committed by our former sponsors and trusts the artists will use the resources provided to them to foster a more vibrant, livable, just, and sustainable world.

Tickets & Membership

Tickets for the Biennial go on sale February 10 and may be purchased viawhitney.org or in person at the Whitney, Wednesday through Sunday during gallery hours. All Biennial performances are free with Museum admission. Note: The Sarah Michelson and Michael Clark performances require special entry tickets (advance ticket booking is strongly suggested); all other events are first-come, first-served. Whitney members receive unlimited express admission to the Museum’s galleries and film programs. To become a member, visit whitney.org/membership or call (212) 570-3641.

For a closer look, see whitney2012.org, with information on what the Biennial artists are presenting, as well as dates and times of residencies, performances, screenings, and events.