nhưng hầu như luôn là một thuốc hỗ trợ cho cơ quan chính và khá hiển nhiên trong việc theo đuổi các nguồn doanh thu gia tăng. Những doanh nghiệp này hoạt động như các thực thể riêng biệt, tự chủ-nhân viên từ thế giới của tư vấn kinh doanh chứ không phải với những tài năng sáng tạo của các cơ quan. | 144 The End of Advertising . . .THE Beginning of Something New of scale for which he d been looking. Mount an exhibit in one location. Restage the exhibit at a second location for a fraction of the cost. Unfortunately the palazzo in which the Peggy Guggenheim collection was housed was much too small. So he set his sights on another location this one just across the canal the Punta della Dogana a late-seventeenth-century classical pavilion at the very end of the Grand Canal opposite St. Mark s. It took more than a decade to reach an agreement with the Comune of Venice and negotiations are still under way. Again great creative thinking applied to yet another fundamental of the museum business and a sacred one at that location. With the bid for that seventeenth-century pavilion Krens put into motion the concept that would eventually redefine the idea of art museums in the twenty-first century the concept of a Guggenheim constellation. The way Krens saw it the Guggenheim would be one museum that happens to have discontiguous gallery space placed all around the world but with one collection one programming concept and one coordinated approach to understanding and presenting culture. All of the museums would be called Guggenheim. In 1992 the Soho Guggenheim opened in New York s trendi-est neighborhood. The brand was on the move. Zero for Six In addition to a master s degree in art Krens also holds a master s in public and private management from the Yale School of Management. Perhaps that accounts for his businesslike mentality. As he says You have to see yourself as an investment banker. You develop 10 projects. You expect that your success ratio is one in five. Krens had no problem developing multiple projects simultaneously. It s just that in the early 1990s none of them were coming to fruition. A deal to open a museum in Salzburg Austria had stalled as had deals for four projects in Japan and one in Massachusetts. Little did Krens know that his next stop would be an
