![]() They started off life as an LLC but are now a B-corporation. Meow Wolf offers “immersive experiences.” They currently have an installation in Santa Fe, New Mexico, and they are going to have branches in Las Vegas in 2020 and in Denver in 2021, followed, at some point, by a branch in Washington. But is it possible to create art without relying on patrons? Rachel Monroe offers an alternative in her New York Times Magazine profile, of the artists’ collective Meow Wolf. ![]() But they also say that new donor agreements will limit naming rights to 20 years. The Smithsonian, to their credit, has said they are not changing the name of the Sackler Museum because the agreement they made with Sackler said the name would be “the Sackler Museum” in perpetuity. Arthur Sackler’s widow, Dame Jillian Sackler, forcibly makes this point in this Washington Post op-ed. Part of the problem is that there are two generations of Sacklers, and patriarch Arthur Sackler, whose best-known donation is the Sackler Museum that’s part of the Smithsonian, didn’t have anything to do with Oxycontin, which was created a decade after his death in 1987. I’ve been accumulating clips about the Sacklers for some time, but there are too many developments to write about them. A minor issue has been the recent resignation of Warren Kanders, who owns companies that make tear gas and bullets, from the Whitney Museum board. ![]() Here the major issue is the donations that the Sackler family-much of whose wealth comes from Oxycontin-has made to art museums. One of the more contentious topics in philanthropy today is the relationship between donors and the arts. The Meow Wolf art collective models a new approach. Recent criticisms of major donations from donors like the Sackler family raise questions about the future of funding the arts.
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