of Rat Pack performers like Frank Sinatra and Dean Martin, Sheldon Adelson,
chairman of the Venetian, seeks to establish the world’s largest resort and convention
centre under one roof. Both the Guggenheim Las Vegas (focusing on travelling
exhibitions) and the Guggenheim Hermitage Museum (in partnership with the
State Hermitage Museum in Russia) are attached to the Venetian; access is through
the Venetian
only
. Not unlike the strong architectural statements made by Frank
Lloyd Wright and Frank Gehry, Rem Koolhaas (recipient of the 2000 Pritzker
prize for architecture) was selected by the Guggenheim to create a museum
building that would not be overlooked alongside the aggressive visual congestion
of ‘The Strip’, the city’s main artery. Las Vegas continues to upgrade its image;
this transformation into a so-called ‘world class’ destination resort relies on rivalry
among the city’s elite casino owners.
In the late 1990s, Steven Wynn, chairman of the Mirage Resorts, used works of art
from his personal collection (including works by Renoir, Van Gogh, and Picasso) as
another selling point to entice ‘high limit’ gamblers (an elite consumer segment). It
was a clear example of using ‘fine art’ to enhance a casino’s brand reputation:
Any work of art ‘quoted’ by publicity serves two purposes. Art is a sign of
affluence; it belongs to the good life; it is part of the furnishing which the word
gives to the rich and beautiful.
But a work of art also suggests a cultural authority, a form of dignity, even
of wisdom, which is superior to any vulgar material interest; an oil painting
belongs to a cultural heritage; it is a reminder of what it means to be a culti-
vated European.
(Berger 1972: 135)
The Venetian experiment is grander and more ambitious than that accomplished
by Wynn. It is the only significant collaboration between an art museum and a
casino-hotel in the USA. Assumed European connotations of ‘good taste’ and ‘dis-
tinction’ are explicit: as suggested by its name, the resort–hotel–casino complex
positions itself as ‘Las Venice’ by reproducing the ‘cultural’ features (e.g. Campa-
nile di San Marco and the Rialto Bridge over Grand Canal, including gondola
rides) found in the Italian city-state. According to a spokesman for the Venetian:
Culture is here to stay. People are finding that Las Vegas reinvents itself – in
dining and in shopping and retail – it’s now gaining a worldwide reputation as
a place where you can actually seek culture, away from the typical stereotypes
that have plagued Las Vegas for a long time.
(Kurt
Ochida cited in the
Reno Gazette-Journal
, 14 July 2000)
Yet the treatment of art and culture envisioned by the Guggenheim–Venetian col-
laboration has raised concerns. For example, according to Frank Gehry, ‘I’m wor-
ried about this kind of context. There may be a way to do it, but the fear is that it
would all just become another theme, whether you like it or not’ (
IonVegas
, 20
October 2000).
Cultural entrepreneurship
41