Germany has taken first place for the number of private museums of contemporary art, according to a new report which just went live– just ahead of the United States by single digits.
The report is the brainchild of Christoph Noe, the founder of art collector data company Larry’s List, in collaboration with a team of researchers including Hong Kong-based Jamie Bennett and academic Olav Velthuis from the University of Amsterdam.
Explosive growth
The number of museums they record has increased from 317 in their previous report in 2016 to an impressive 446 this year. And the composition has also changed: in 2016, South Korea was number one, while Germany only came in third. This time, five countries dominate the list: Germany (60), the United States (59), South Korea (50), Greater China (30) and Italy (30). Interestingly, these countries are home to half of all private museums in the world – not necessarily the largest, however, but their number exceeds the other 54 countries listed.
According to Noe, collectors in these five countries are more likely to want to make their collections physically accessible to the public – and may only have a space that has been converted from an apartment. “But for China and South Korea, we’re seeing some pretty big museum developments,” he says.
82% of all existing private contemporary art museums have been founded since 2000
Asia, inevitably, takes on increasing importance in this landscape, and the report dives deep into South Korea and in particular its capital Seoul, the city with the largest number of private art museums in the world. When asked why, Noe replied, “It was in Seoul that the art market in South Korea was formed and art museums were first built, and the business presence is strong.” He adds: “Millennials [born 1981-96] and Generation Z [1997-2012] make up more than a third of Seoul’s population, and museums go the extra mile to attract young art lovers.
What is also amazing is that, according to the report, 82% of all existing private contemporary art museums have been founded since 2000, and 152 have been created in the past decade alone.
The Boros Collection, housed in a sprawling converted WWII bunker in Berlin, opened in 2008 to showcase the contemporary art collection of Karen and Christian Boros
Photo Boros Collection, Berlin, © NOSHE
Emulation
“Obviously having your own museum is about resources – you have to have a collection, money and space,” says Noe. “But it’s definitely a trend. Founders look at what others are doing and emulate them. Having your own museum is the highest possible status symbol, but it’s not just about vanity, it’s it’s also about sharing your collection with others. And, he adds: “There’s also better access for the most sought-after artists and artworks – much easier if they come into your own museum.” Finally, he notes, “Museum founders see a need to nurture and protect culture and fill a void left by the lack of public institutions – and they have the resources to do so. Thus, a collector private has developed a more public footprint in recent years.
Inevitably, the numbers aren’t entirely set in stone — definitions can be tricky — but Noe says his team has improved its data and methodology since the first report, which partly impacts its findings.
“All these private museums play an essential role in giving greater visibility to artists”
As for the effect on the art market of all these new museums, Noé is enthusiastic: “The growth in numbers is 100% good news”, he declares: “All these private museums are a source of inspiration on a global level, they play a vital role in giving artists greater visibility. And, “at a time when government support for public museums is not on the rise,” he says diplomatically, “they provide wonderful showcases for contemporary art,” which he, who is also an art adviser, does not can only applaud.
• Georgina Adam is the author of The rise and rise of the private art museum (Lund Humphries, 2021)
