Category: Artists of Toledo

Categories
Artists of Toledo

Toledo Museum of Art’s Controversial Unconscionable Tragic High-Profile Deaccessions

The sacrificial Renoir painting of a nude, thrown in for good measure, even though it was worth less than 5% of the total sale,
torn from Mrs. McKelvy's collection that she curated with a female eye and gave to the museum to belong to the community.
Why did it have to go? Or was it just for show?

“These works of art were clear choices for the Museum to deaccession, due to very similar and/or higher quality works by the same artists represented in TMA’s deep European collection,” a museum representative told Hyperallergic. Hyperallergic.com, Elaine Velie, April 27, 2022

Controversial Unconscionable Deaccessions
by the Toledo Museum of Art

a timeline journal of the unconscionable deaccessions of the French Impressionist paintings, including articles in national publications, Artists of Toledo blog posts, comments and emails 

April 23, 2022

This is the story of the deaccession of three very popular paintings at the Toledo Museum of Art, and Mrs. McKelvy’s legacy. “She had the courage to acquire only works of art she liked and always considered that one day her collection would be the heritage of all of us in this community,” Director Otto Wittmann said in 1964 of the gift to the museum of her valuable French Impressionism collection, which she put together with an educated feminine eye. She was more than a collector, she supported local artists who went on to influence the very fabric of our community. For example, the great artists and teachers, LeMaxie Glover and Diana Attie. But the museum is selling her Renoir, without even a nod to her importance to our community. Maybe because she’s a woman….

Goodbye Matisse Renoir and Cézanne

Subject: The great art heist of 2022
From: penny gentieu
Date: 04/23/2022 12:01PM
To: rdurant@tps.org

Dear Dr. Durant,

Good afternoon! I wrote a new page on the website, Artists of Toledo. I would love for you to read it. It’s about the sale of our masterpieces through the perspective of one of the donors, Mrs. McKelvy, and how she helped to support talented Toledoans. We know how the Board feels, please consider how the community feels.
I would love to hear back from you. Thank you for your time.
Sincerely,
Penny Gentieu

Subject: Re: The great art heist of 2022
From: rdurant@tps.org
Date: 04/23/2022 12:12PM

Hello Mrs. Gentieu,

We appreciate this great testament of Toledo art history. I am sharing this with the TMA Education Committee and our TPS Foundation.

Thank you for sharing,
TPS/ Toledo Proud!
Sent from my iPhone

Subject: Re: The great art heist of 2022
From:Adam Levine <ALevine@toledomuseum.org>
Date: 04/24/2022 10:06AM

Thanks for sharing Dr. Durant.
Penny, as you may recall from our meeting of more than a year ago, I have an open door.  I would have been delighted to discuss our decision-making with you, including the history of Mrs. McKelvy’s collection not included in your narrative, before you published this.
Have a wonderful weekend, all.
Best,
A

April 25, 2022

The Blade’s excellent editorial today about why the Toledo Museum of Art should keep its Cézanne, Matisse, and Renoir. Bravo, Blade!

Editorial – Toledo Museum of Art should keep its top tier

The Blade, Editorial Board, April 25, 2022 

Selling off Paul Cezanne’s Clairière (The Glade); Henri Matisse’s Fleurs ou Fleurs devant un portrait; and Pierre-Auguste Renoir’s Nu s’essuyant simply makes no sense. These and other proven lasting works draw people to the museum from near and far.

Every museum director retains the right to pursue their own paths as Adam Levine is doing. Yet the museum is an integral part of Toledo’s art culture. The museum is not in a vacuum. While privately maintained, the museum does represent Toledo to the outside world.

Fund-raising campaigns are a constant in the art world and a campaign to raise funds to diversify the museum’s collection makes more sense than throwing storied works into the market to be lost forever to Toledo.

Building a better, more inclusive future for museums does not need to come at the expense of the top tier of its current collection.

April 27, 2022

Covering the director’s memo mistake. A new blog post on Artists of Toledo. Our brand new woke Toledo Museum of Art. Guess what? Your new branding is old.

Covering the director’s memo mistake

April 28, 2022

A very interesting article just published in Hyperallergic about the Toledo Museum of Art.

I remember that last year, Adam Levine was quoted as saying he wanted to better represent the population of our country, but now apparently he needs to reflect the entire world. “A collections audit indicated the greatest imbalances exist across gender, sexual orientation, race and ethnicity, nationality and geography, and material/medium,” reads TMA’s press release. “The newest additions reflect the Museum’s commitment to adding artworks of the highest quality that reflect the diversity of world history.” As if they need to impose the power that they have to influence the public about what kind of art is relatable to who.

We should do what they did when this happened in Baltimore — people made them withdraw the artwork from the auction. See the link in this article.

The Toledo Museum of Art Is Deaccessioning Impressionist Works to Diversify Its Collection The Ohio museum is planning to auction off three paintings by Cézanne, Renoir, and Matisse with the goal of “broadening the narrative of art history.”

Hyperallergic.com, Elaine Velie, April 27, 2022

April 28, 2022

Baltimore Museum of Art uses COVID as cover to sell a Warhol. Floodgates open by art critic Christopher Knight published in the Los Angeles Times nine days before the Baltimore Museum pulled their paintings from the auction block. I have similar thoughts about our deaccession, that our director’s overzealous actions are covering director’s infamous George Floyd memo mistake and I wrote this last night: https://artistsoftoledo.com/…/covering-the-directors…/
But anyway, just one little interesting tidbit from Knight’s article:
“Deaccessioning concerns have been on the rise for many years. Alarmed, the American Alliance of Museums accepted a white paper on the subject last year.
The document is clear: Deciding whether to deaccession an object should be made ‘separate from the process of deciding how to use the proceeds.'”
Toledo Museum of Art decided what they were going to do, then they decided which paintings to deaccession….
Baltimore Museum uses COVID as a cover to sell a Warhol. Floodgates open

Los Angeles Times, Christopher Knight, October 19, 2020

April 29, 2022

The museum should save our famous French Impressionist paintings from the auction block.

Open Letter to the Toledo Museum of Art Trustees

Open letter to the Toledo Museum of Art Trustees

May 1, 2022

Our famous French Impressionist paintings thrown out the door.

They are getting rid of the good art and diminishing our museum.

Here’s a link to a blog page that lists many of their diverse and contemporary acquisitions in the past 10 or so years https://artistsoftoledo.com/…/covering-the-directors…/

I think most of the people running the museum are brand new. It’s like giving the keys to a Maserati to a kid with a learner’s permit. The museum doesn’t even have a curator who is a specialist of  Impressionism. And of course nobody except for the historian really understands the depth of the art education ties to the community that made this museum so special. Nor do they understand the importance of such patrons as Mrs. McKelvy, who meant for her collection (including the Renoir they are selling) to be for the community’s benefit. She gave scholarships to many, including three artists who became beloved teachers — Sister Jane Catherine Lauer, LeMaxie Glover, and Diana Attie. McKelvy’s father was the third president of the museum, and her son Charles was a museum trustee until he died in 1999.

They love their off-site programming so much, they could take these three masterpiece paintings and put them on an art mobile that they should acquire next, from one of the many endowments they have, and they could drive it through the various neighborhoods that they so desperately want to reach out to, perhaps with some music over the loud speaker, and they could give away free ice cream as an enticement to look at the art. And that will promote equality and inclusion. Just a thought. Ha ha. I’m kidding again. P.S. These paintings could very well be lost to some rich billionaire in Russia or China, and we’ll never see them again. Maybe that’s their plan. So sad. And that’s no joke.

Why don’t they just change the name to the Promedica Museum of Mediocre Art and get it over with. Just kidding.

We have two Rembrandts, should we decide which one is better and sell the other one? Same with van Gogh — we are very rich with our two van Goghs, should we let one van Gogh go and buy an object from 12th Century Southeast Asia instead, because it’s “art without bias?” Are we too Miro-rich? I counted over 50 works by Miro.

Who gets to vote? The Cezanne painting is amazing, and the two Matisse oil paintings are equally as beautiful, in my opinion. As for the Renoir, it is important to our collection because it is the only painting we have that is representative of his late period. The removal of this painting breaks apart Mrs. McKelvy’s female-eye-curated collection of art that she gave to our community, (interesting that the Matisse they are keeping is also from her). Mrs. McKelvy was a great patron of Toledo artists, which matters very much, and to break up her collection is to break up her memory. I wonder what Diana Attie thinks, our great drawing teacher who got her start with a scholarship from Mrs. McKelvy. McKelvy’s father was President of the museum, and her son was a trustee until he died in 1999. I think this heritage means quite a lot to us as a community.

These are all highly popular valuable paintings that we should not be getting rid of, for any reason. Toledo Museum of Art is one of the most richly endowed museums in the country. The museum buys new art all of the time. They should just make do! And they should stop with the attention-getting theatrics already!

May 7, 2022

Pulitzer Prize winning art critic Christopher Knight’s commentary in the Los Angeles Times on the deaccessioning of our Matisse, Renoir and Cézanne.

Commentary: An Ohio museum is holding the biggest sale of artwork yet.
It’s unconscionable

Los Angeles Times, Christopher Knight, May 6, 2022

I know those paintings. As a graduate student in the mid-1970s, I was a fellow at the TMA. Back then, it never occurred to me that the word “permanent” in the museum’s stellar permanent collection apparently meant 67 years, max.

The marvelous Cézanne, a nearly abstract spatial structure built from flat, planar brushstrokes of green, blue and ochre, even has an irrevocable bid. An unidentified buyer has a murky financial interest in the sale and, if outbid, gets compensation from the auction house for putting up the irrevocable bid in the first place.

Coincidentally, a pivotal 1993 Kerry James Marshall painting, “Beauty Examined,” hits the auction block two days after Toledo’s pictures, consigned to Sotheby’s …… Marshall, as a Black American, insists that the legacy of white European painting is as much his as anyone’s. “Beauty Examined” seamlessly — and analytically — melds elements drawn from sources as diverse as Rembrandt, Charles White, Paul Gauguin and Yoruba court art.

Levine asserted that a Cézanne sale had been discussed internally for years, and market realities made the difference in pulling the trigger now.

The for-profit market today leads much of the nonprofit museum world around by the nose. But the core museum mission is collecting, researching and preserving great art, and a conservative strategy of privatizing irreplaceable public assets in the name of liberal progress is backward. The Toledo sale is unconscionable.

May 9, 2022

While the Art Institute of Chicago puts on a major Cézanne exhibition, our museum treats our precious art by Cézanne, Matisse, and Renoir like a stock portfolio, where the market conditions are ripe, and Adam Levine tells us it’s time to “pull the trigger.” Really insensitive considering that so many Toledo children are being murdered with guns.

Time for a new director, from Toledo this time, who cares about art and the people, and not his own personal agenda.

Paul Cézanne, a Painter’s Painter: A major exhibition of the French master explores his role in the invention of modernism

Wall Street Journal, J.S. Marcus, May 9, 2022

May 16, 2022

Thank you Jason Webber for writing about the Toledo Museum of Art deaccession tragedy again, and thank you for interviewing me and including the link to my “Open letter to the Toledo Museum of Art Trustees.” They are running the museum like a big corporate business instead of like an art museum that should be putting the art first. “This is the world we live in,” said John Stanley. It’s money, money money – we sure DO understand how it is in the world we live in – don’t we ever!

Controversy surrounds Toledo Museum of Art sale of three paintings

The Blade, Jason Webber, May 16, 2022

Diversity is achieved through addition, not through subtraction,” Mr. [Christopher] Knight said. “Removal of the works from the collection does nothing for diversity. There are ethical guidelines in the field that concern reasons for deaccession and increasing diversity is not among them. “I am a huge supporter of diversifying collections, but this is just a quick fix. It’s a high-profile fix. One could say that it’s performative rather than substantive. It looks like you’re doing something, when the question remains are you really doing something by taking great works of art out of a collection.”

Toledo artist Penny Gentieu recently posted an open letter to the TMA trustees advising them not to go through with the planned sale. In the letter, Ms. Gentieu stated she believed current museum Director Adam Levine’s emphasis on diversity was a public relations move designed as damage control to stave off criticism when the museum refused to publicly take a stance on the 2020 death of George Floyd at the hands of a Minneapolis police officer. Ms. Gentieu said she has not received a response from TMA about the letter.

“The Toledo Museum of Art has always been inclusive and diverse and free for all walks of life,” Ms. Gentieu said in an email. “The director, Adam Levine, made a colossal mistake after the George Floyd murder, telling the staff that they are remaining neutral. To cover up for his mistake, he dove headfirst into rebranding the Museum to be inclusive with diversity. So now his big plan to attract attention to himself is to sell off three great world-class paintings from our permanent collection.”

Former TMA director John Stanley, who serves on the art committee of the Museum board of trustees, said he thought the deaccession was “a brilliant idea” when it was presented by current TMA director Adam Levine.

“What’s their understanding of how these three paintings, in particular, relate to other paintings or objects by those artists in our collection,” [John Stanley] said.

“This is the world we live in,” Mr. Stanley said.

May 17, 2022

John Stanley of the Toledo Museum of Art said, to paraphrase, what do those people who oppose the deaccession of the Renoir, Cézanne and Matisse paintings know about art?

Well Mr. Stanley, we know what we like! The Metropolitan Museum in New York has a bunch of oil paintings by Renoir, Cézanne and Matisse. But they are not as cool as the Toledo Museum of Art, who now only has one of each.

And Christopher Knight, mentioned in the article, is a Pulitzer Prize winning art critic who won his prize in 2020 for his excellent criticism of the Los Angeles County Museum of Art. Google his articles — he’s a great writer with a great mind!

I guess the next thing the Toledo Museum of Art will do is divest itself of all the extra Rembrandts, van Goghs, Miros (of which they have 50 pieces alone!) etc., to make MORE big money.

When John Stanley, who was only an interim director at TMA after Director Brian Kennedy skipped out of his contract and the museum had to go looking for a new director on the quick, which turned out to be Adam Levine, was at the Whitney, how many Edward Hopper and Jasper Johns paintings did he deaccession, since they have so many?

The Tate Museum has how many Turners? They have nine rooms of them!

Saying that the TMA needed to divest themselves of multiple artworks by the same artist is a bunch of hooey! I’d like to see that in their museum guidebook! It’s merely an excuse to make a boatload of money.

“This is the world we live in,” said Mr. Stanley. Not a convincing reason to sell off major artwork. I don’t think these paintings have any bias, either. These paintings are biased, really? They certainly have beauty. But biased? Au contraire!

I just wonder who has them now, since we will probably never see them again.

Mr. Stanley said of the deaccession, what do those people who oppose the sale know about how the painting relates to the sculpture in their collection? It was a brilliant idea! “This is the world we live in.” Did they throw in the Renoir late-period nude oil painting just for show, as a symbolic gesture – the sacrificial painting? A distraction?

May 18, 2022

Wonder how it turned out that the two most valuable paintings were bought by the same buyer? Who was it? And what did they have to do with the museum before the paintings were put up for auction? A fair question. It needs to be investigated, as a matter of public trust.

 

A Marie-Therese Painting by Picasso Achieves $67.5 million at Sotheby’s

Barron’s, Abby Schultz, May 18, 2022

The Toledo Museum of Art sold three works to fund future acquisitions that realized US$59.7 million, with fees. In addition to the Cézanne, which sold just above a high estimate range, the museum sold Henri Matisse’s Fleurs ou Fleurs devant un portrait, for US$15.3 million, with fees, after a more than seven-minute bidding battle, to the same bidder who purchased the Cézanne—a collector on the phone with Helena Newman, Sotheby’s worldwide head of impressionist and modern art. 

3 Toledo Museum of Art paintings sell for $51.2 million at auction

The Blade, Jason Webber, May 18, 2022

May 25, 2022

A museum’s stellar Impressionism collection rented out to a casino!!

Is it a “brilliant idea,” as TMA John Stanley was quoted in The Blade May 16 article, Controversy surrounds Toledo Museum of Art sale of three paintings regarding the sale of our Cézanne, Matisse and Renoir, for an art museum to rent out 21 French Impressionist paintings from their stellar collection to a casino in Las Vegas? Well yes, apparently John Stanley thought that was a “brilliant idea” as he arranged it as COO at the Museum of Fine Arts Boston, in 2003. Wow. Artwork meant for the public used in a Las Vegas casino for a percentage of the admissions revenue.

Now we have the unconscionable sales of popular, valuable and famous paintings from our museum, with the Cézanne and Matisse paintings sold to the same buyer, shrouded by Sotheby’s secrecy, a broken chain of provenance, the public blindfolded as paintings are ripped from the permanent collection. Public trust flies out the window.

How do museum insiders really feel about it?

Categories
Artists of Toledo

Open letter to the Toledo Museum of Art Trustees

In 2022, our three famous French Impressionist paintings were sold for $59 Million. And that was just the beginning.
Visitor at the Toledo Museum of Art examining a sculpture by Aristide Maillol (1861-1944), Le Monument à Debussy, with Henri Matisse’s Fleurs ou Fleurs devant un portrait hanging in the background.

April 29, 2022

Dear Honorable Trustees of the Toledo Museum of Art:

What are you doing to our museum? As members and visitors, you now racially profile us by zip code and categorize us by age. Our art is profiled through subjective categorization with your study determining that “a collections audit indicated the greatest imbalances exist across gender, sexual orientation, race and ethnicity, nationality and geography, and material/medium.”

Please explain how you determine the sexual orientation of a painting? If you did another audit to look into the sexual preferences of the artists that are already in the museum, I’m sure you would find a lot of diversity.

A few decades ago, the museum stopped doing their great Saturday classes for about 2,500 Toledo public school children, a very diverse group by the way, and then wondered why young people were not coming to the museum. And so they started a 24-47 membership category. Short lived because the members got older. So they switched their focus from age to race.

So many categories, and statistics show an imbalance, so you deaccession our best paintings and use them as currency. Fast and easy money when you sell the famous ones. Why don’t you do a fundraiser instead? Or are you just trying to make a point at the expense of our valuable French Impressionist paintings?

Perhaps you don’t appreciate the gifts the museum has been given because you didn’t have to pay for them. And after a great donor and supporter of black, white, and even female local artists, such as Mrs. C. Lockhart McKelvy is dead, say 50 years or so, you don’t need to remember her, either. In fact, why bother remembering the 110th anniversary of the opening of the new building, because it fell on Dr. Martin Luther King Jr. Day this year, a day which you opened the museum on a Monday, for maybe the first time ever. The museum’s anniversary was not in the program; it was not to be remembered or embraced, it could not be part of the communal memory. It somehow was a conflict of interest, you couldn’t figure out how to honor the museum on Martin Luther King Day, as if they can’t go together. So fervent you are to push away your history, because it’s just too white, like the building that you apologize for being so off-putting.

Somehow, a press release was leaked to a TV station, who did announce the museum’s anniversary that day. But it seems you made sure that no one who worked at the museum that day knew, or let on that they knew, that little fact, in the museum’s effort to promote “diversity.” (I was there that day, and I asked about their anniversary, and nobody knew.) So our history gets pushed down the memory hole. We are told that we need a realignment. We need “unconscious bias training” and experts are brought in. We need to sell our masterpieces because, face it, they are just too white. Too French!

But isn’t all of this just overcompensation for Director Adam Levine’s infamous George Floyd memo mistake? Could it be that Levine is running amok and that we are just too nice to say, hey, stop it!  I think it’s obvious to many that this wild publicity stunt that draws world attention to Adam Levine is a stepping stone for his next position, and that we will be left with a museum collection that doesn’t actually speak to our community or reflect the museum’s own rich history.

We just had a director whose program was visual literacy — how to look at art. And now we have a director who tells us what art we should be relating to, according to our genetics and personal heritage. Wow! He’s telling us that if you are black, you shouldn’t relate to our French Impressionist paintings, since they were done by white European men. Even though the Impressionist movement was such a historical artistic break-through, and has led to other important movements, and that these paintings are so accessible and have influenced all kinds of artists regardless of the color of their skin.

Unfortunately for Levine’s attempt to imply that somehow the museum is not inclusive and diverse is the overwhelming proof of the museum’s longstanding history of inclusion and diversity.

Adam Levine is using us like an anthropology project, and he’s applying some heady mathematics. Not to mention psychology, writing this to us in his April 8 announcement of the deaccessioning:  “As Edward Drummond Libbey put it in 1912: ‘Let the multitudinous array of the mediocre be relegated to the past and in its place be found the highest quality, the best examples and the recognition of only those thoughts which will stand for all time.’”

As if our three beloved, popular, and very valuable, paintings, that until very recently hung on the walls, paintings that people came to see, are being deaccessioned because they are mediocre.  Yet they will bring $62 million.  And Toledoans are so nice, letting Adam Levine remake the museum because of ethnic and sexual orientation results from an audit (to draw attention away from his memo mistake). He conveniently erases our progressive and inclusive history, projecting a sense of shame on us for having our magnificent French Impressionist collection, which he projects on the museum itself. As if the museum cannot buy art fast enough to make up for the so-called diversity inequities. But actually that has been what the museum has been doing for the past many years, if you look at the new art and the shows. There have been ethnically diverse shows covering the world since the beginnings of the museum.

We were always taught to only buy art that we love. It takes courage, as Otto Wittmann said of Mrs. McKelvy’s collection. But today, the museum seems to have forgotten that principle. Instead, they do audits and make graphs; they profile and compartmentalize. They tell us what to like on the basis of our background or age or sexual orientation, that certain art should speak to us when other art should not. Instead of bringing us together, they pull us apart, and needless to say, love of art doesn’t have anything to do with it.

Adam Levine should not be selling off our three French Impressionist masterpieces by MATISSE, RENOIR, AND CÉZANNE to raise even more money in the name of diversity when we just had a major fundraiser in 2017 that brought in $43 million, not to mention the numerous endowments the museum already has for buying art, and the Art Ambassadors, the Georgia Welles Apollo Society, and the Libbey Circle who also buy new art.

Let’s save these three great French Impressionist paintings. Let’s not allow our great collections to be used by the director to get attention in the art world, to make his statement – all in the name of damage control. Our museum is already inclusive and diverse and it does not need to be rebranded.

Please do what the Baltimore Museum of Art Trustees did exactly 18 months ago, on October 28, 2020. Take these paintings off of the auction block.

Respectfully,

Artists of Toledo

 

Categories
Artists of Toledo

Covering the director’s memo mistake

Mary Sibande (South African, born 1982), Rubber Soul, Monument of Aspiration, 2011, Toledo Museum of Art
Gift of The Georgia Welles Apollo Society, 2013.160
Our brand new woke Toledo Museum of Art
guess what?  Your new branding is old.

“We will develop an inclusive brand voice and experience that inspires all people and awakens their connection to the deep human story we all share.” Gary Gonya, Director of “Brand Strategy”

That’s what all museums do.

From the beginning of the Toledo museum, there have been people of all ethnicities and walks of life attending art classes and participating in art shows, and shows that speak to everybody, and to act as if we haven’t been inclusive is insulting.

Toledo has always been diverse, and to imply that Toledo has not been diverse is incorrect. Adam Levine, the new director, is the one who wrote the infamous memo after the George Floyd murder stating that the museum’s position on that should be neutral. We certainly were outraged! As I venture to guess were most people in Toledo.

Adam Levine does not have to overcompensate for his mistaken memo by trying to assert that the museum members and patrons and contributors were ever the least bit not for diversity or inclusive. Our history at the museum has always encouraged diversity through their century of Saturday art classes for Toledo Public School system students and others. The TAA show has always been inclusionary since the beginning. The history of shows at the museum defies their argument that somehow the museum is not inclusive or diverse – that is completely false.

There is overwhelming proof that the museum has always been all for diversity and their free open-door policy has alway been like that. The door is open and it’s free, and it was made that way by the progressive founders in 1901, and has stayed that way for 121 years.

The museum does not need to be rebranded because of the new director’s mistaken memo, and Adam Levine should not be selling off our three French Impressionist masterpieces by MATISSE, RENOIR, AND CÉZANNE to raise even more money in the name of diversity when we just had a major fundraiser in 2017 that brought in $43 million, not to mention the numerous endowments the museum already has for buying art, and the Ambassadors, the Georgia Welles Apollo Society, and the Libbey Circle who also buy new art.

Enough already with the overcompensation for the mistake he made with his memo.  We have more than enough money to buy new diversified art, as the museum has been doing all along, (see list below showing new acquisitions in just the past eight years) without selling our French Impressionist masterpieces. Unless he’s just selling them to make a statement.

If they really want to be more inclusive and accessible, they could make their parking lot free.

Maybe we need some diversity in our directors. How about someone from Toledo? I’d even be happy with a woman.

Saint Francis of Paola (2003) by Kehinde Wiley (American, born 1977) hanging in the 2014 museum show, Speaking Visual: Learning the Language of Art. It was acquired by the museum in 2005.
Here are some of the shows from the past few years that would be considered diverse and inclusive:

2013

  • Crossing Cultures: Contemporary Aboriginal Australian Art

2014

  • INSIGHT: CONTEMPORARY SENSORY WORKS   Works of art by three major contemporary artists—Pinaree Sanpitak of Thailand, Magdalene Odundo of Kenya, and Aminah Robinson of theUnited States
  • PEOPLE GET READY: 50 YEARS OF CIVIL RIGHTS

2015

  • A COLLABORATION WITH THAI ARTIST PINAREE SANPITAK
  • Guest Artist Pavilion Project (GAPP) resident Pinaree Sanpitak, The Hammock
  • 2016  (focusing on “representation” shows)
  • Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection
  • The Rise of Sneaker Culture

2017

  • Kara Walker, Harper’s Pictorial History of the Civil War (Annotated)
  • Doreen Garner, GAPP artist

2018

  • Glorious Splendor: Treasures of Early Christian Art
  • Fired Up: Contemporary Glass by Women Artists
  • The Mummies:  From Egypt to Toledo
  • EXPANDED VIEWS: NATIVE AMERICAN ART IN FOCUS

2019

  • Global Conversations: Art in Dialogue
  • Life is a Highway: Art and the American Culture
  • Anila Quayyum Agha: Between Light and Shadow
  • Expanded Views II: Native American Art in Focus
  • Mel Chin

2020

  • Yayoi Kusama: Fireflies on the Water
  • Mirror, Mirror: The prints of Alison Saar
  • Thornton Dial: Trip to the Mountaintop
  • Picture ID: Contemporary African American American Works on Paper
New, “diverse” acquisitions include:

2013

  • Seven Sisters: Tjungkara Ken acrylic on linen

2015

  • Nam June Paik (South Korean, 1932- 2006), Beuys Voice

2016

  • Kara Walker (American, born 1969), 15 prints from the portfolio Harper’s Pictorial History of the Civil War (Annotated)
  • Alfredo Jaar (Chilean, born 1956), Be Afraid of the Enormity of the Possible
  • Silvia Levenson (Argentinian, born 1957), Strange Little Girl #7
  • Gajin Fujita (American, born 1972), Hood Rats
  • Saibai Island, Torres Strait (Northern Islands, Australia), Mask
  • Alice Neel (American, 1900–1984), Nancy and the Rubber Plant

2017

  • Ancient Roman, Season Sarcophagus. Marble, about 280–290 CE
  • Ancient Roman, Bust of a Flavian Matron. Marble, late 1st–early 2nd century CE
  • Jaume Plensa (Spanish, born 1955), Paula

2018

  • DIANA AL-HADID The Seventh Month
  • NATIVE AMERICAN ART –
  • Acoma Pueblo, Embroidered Manta
  • Santo Domingo Pueblo, Polychrome Pottery Jar
  • Cheyenne, Model Tipi Cover
  • Apsáalooke (Crow) Nation, Northern Plains, Ledger Drawing #3
  • Apsáalooke (Crow) Nation, Northern Plains, Ledger Drawing #5
  • Robert Campbell, Jr. (Indigenous Australia, 1944-1993), Killing Magpie Geese
  • Titus Kaphar (American, born 1976), Watching Tides Rise
  • Yun Fei-Ji (Chinese-American, born 1963), High Noon
  • Monir Shahroudy Farmanfarmaian (Iranian, born 1924), Aram (Convertible Series)
  • Monir Shahroudy Farmanfarmaian (Iranian, born 1924), Untitled
  • Kiki Smith (American, born 1984), Seated Nude.
  • Toots Zynsky (American, born 1951), Pienezza
  • Hiroshi Yoshida (Japanese, 1876-1950), Moonlight of Taj Mahal No. 4
  • Elias Sime (Ethiopian, born 1968), Tightrope, Zooming In
  • Sherrie Wolf (American, born 1952), Zebra with Cherry and Fava Bean
  • Beatriz Caravaggio (Spanish), Different Trains
  • Gajin Fujita (American, born 1972), Rider (benzaiten music goddess)
  • Elizabeth Murray (American, 1940–2007), Stay Awake
  • Hung Liu (American, Chinese born, born 1948), I Hear Their Gentle Voice Calling
  • Carrie Mae Weems, well-known for The Kitchen Table Series (1990), embodies the artist as activist
  • Moody Blue Girl is part of a series Weems started in 1989 called Colored People

2019

  • Saint Francis of Paola by Kehinde Wiley
  • Monir Farmanfarmaian (Iranian, 1924–2019), Untitled
  • Alison Saar (American, born 1956), Topsy and the Golden Fleece
  • Joyce Scott (American, born 1948), Nuanced Veil
  • Agus Suwage (Indonesian, born 1959), Keberangkatan
  • Wendy Red Star (American, Crow, born 1981), iilaa/ee =car (goes by itself)+ ii =by means of which+ daanniili = we parade
  • William Villalongo (Amencan, born 1975), Beautiful Boys.
  • LaToya Ruby Frazier (American, born 1982), 2 photographs from the series, Flint is Family: a. Shea at work driving bus 38, Route 45 for Flint Community Schools Transportation, First Student Co. b. Shea Zion departing Flint Ml for Mississippi at 4 a.m. on June 25th, 2016

2020:

  • Thornton Dial (American, 1928-2016), Trip to the Mountaintop
  • Martha Pettway (American, 1911-2005), “Housetop”-“Half-Log Cabin”

Adam Levine came to the museum as director in April 2020.

 

FROM THE TOLEDO MUSEUM OF ART’S MISSION STATEMENT:

COMMUNITY RELEVANCE: We will be an integral member of our community and will be responsive to issues of community concern and importance, particularly as they relate to the arts.

VALUES: As individuals, we pledge that our relationships with one another and with our audiences will be governed by: Integrity; Respect; Trust; Cooperation; Positive Approach; and Self-Discipline.

 

see also:

Open letter to the Toledo Museum of Art Trustees

https://artistsoftoledo.com/goodbye-matisse-renoir-and-cezanne/

https://artistsoftoledo.com/edward-drummond-libbey-and-martin-luther-king/

Categories
Artists of Toledo

Goodbye Matisse Renoir and Cézanne

A tribute to the Mrs. McKelvys of the Toledo Museum of Art

From the introduction of The Collection of Mrs. C. Lockhart McKelvy
Written by Otto Wittmann, Director, Toledo Museum of Art, 1964

Margaret Gosline McKelvy was one of Toledo’s great benefactors, yet she was so modest and so reticent that few knew all that she did for the community in which she lived. Her joyous and lively interest in the arts and people expressed itself in two ways that profoundly affected this community through its Art Museum. Her father, William A. Gosline, Jr., who was President of the Museum from 1934 to 1947, had taught her to love and collect art. She had the courage to acquire only works of art she liked and always considered that one day her collection would be the heritage of all of us in this community. Her acquisitions were planned to supplement the collections of the Art  Museum yet they remain a very personal expression of her strong and sure taste. Her collection will strengthen and enrich the Art Museum, giving pleasure to all who visit it.

 

Mrs. McKelvy liked young people and helped many to obtain the education necessary to pursue a useful life. In the arts she gave scholarships to promising young artists, so that they could become technically proficient.  Many became art teachers, and are now benefiting countless children through their teaching. With typical modesty, Mrs. McKelvy gave these scholarships either through the Museum, as Gosline Scholarships, honoring her father, or through the Toledo Board of Education, as Gilmartin Scholarships, honoring Elizabeth C. Gilmartin, former Supervisor of Art Education in Toledo’s public schools. Few knew the name of the donor.

 

Mrs. McKelvy was a lifelong resident of our community, served on the boards of many charitable institutions in addition to being a Trustee of this Museum. The delightful and personal collection of works of art given to the  Museum by Mrs. McKelvy is recorded in this catalogue. Her pictures and objects will give pleasure to many. Her generous and lighthearted spirit will live on in these works of art and in the hearts of all those whom she helped, and who are now helping others to learn from and enjoy the arts.

 

 

A collection of valuable French Impressionism and other French art which was made from a woman’s point of view, Mrs. McKelvy used her critical feminine eye to collect art with the intention of giving it to the Toledo Museum of Art. And now the museum is selling her Renoir.

Check out Mrs. McKelvy’s bequeathed collection that was published in this booklet by the Toledo Museum of Art in 1964:

The Collection of Mrs. C. Lockhart McKelvy

 

 

UPI article about the museum’s 1990 Impressionism show, which got the second highest attendance of any show in the history of the Toledo Museum of Art. But they are going to sell three of these most popular paintings for a 12th century object from Southeast Asia, perhaps, according to the museum’s Brand Strategy Director, Gary Gonya.
The Great Art Heist of 2022

Goodbye, Matisse, Renoir, and Cézanne. The new director of the Toledo Museum of Art, Adam Levine, tells us that you are no good for the museum anymore, that we have too many of you, that you are not even that good, that you don’t serve the community fairly, even though you are so popular, that people go to see you first when they visit the museum, and 6,700 people came to see you in the Impressionism show on the Saturday after Thanksgiving one year.

Matisse, Renoir, and Cézanne brought the community together. The Matisse, Renoir, and Cézanne are great works of art that the Toledo community loved and made us proud of our Toledo Museum of Art.  They are part of the fiber of the museum that is us, the diverse and artistic Toledo community that makes up the Toledo Museum of Art.

LeMaxie Glover at work, Blade photo, courtesy of Karen Glover

Mrs. Margaret McKelvy, LeMaxie Glover’s benefactor, bequeathed The Bather by Pierre Auguste Renoir to the Toledo Museum of Art. It was part of her curated personal collection of French art.

“She always considered that one day her collection would be the heritage of all of us in this community.”  – Otto Wittmann, Director, 1964

And now they are getting rid of a major painting from her collection under the guise of diversity.

Could it be that the new museum director is using us, making half of us feel ashamed that we have so much French and European art, and planting the seed that the other half needs to question whether or not French and European art really speaks to them, as if it should only speak to people of French and European descent? Could it be that it is the director who cannot relate to the art in our art museum, since his expertise is in ancient art, anthropology, and mathematics?

If it were not for Mrs. McKelvy’s generous support of LeMaxie Glover, our local art community would not be as diverse as it is today. Our museum has always been progressive and welcoming to every person in this community, no matter what ones’ personal heritage.

LeMaxie Glover was influenced by the impressionistic work of Renoir, as were many art students in Toledo. LeMaxie Glover learned his craft and his art at the Toledo Museum of Art School of Design, and Mrs. McKelvy gave him a scholarship to Cranbrook Academy of Art. McKelvy was an important patron of Glover’s. In return, LeMaxie Glover was not only one of Toledo’s best sculptors, but he also served unselfishly as an art teacher at Woodward and Scott High Schools for many years, helping generations of Toledo youth appreciate and create art.

Pugilist, LeMaxie Glover 1967, terra cotta. Collection of Karen Glover. Photo by Penny Gentieu

As if they need to sell our masterpieces in order to buy more art, anyway.

It makes a good story in Art News

The museum can buy more diverse art without selling their French Impressionist masterpieces, with the $4 million that they can spend on art every year from the income of the Libbey endowment alone. Many Toledoans treasure the masterpieces in our museum. Selling off these paintings to get a quick $40 million to buy “diverse” art (with their eye on a 12th century object from Southeast Asia) is foolish. They could do a fundraiser. The museum curators often add one hundred or more artworks each year. Do they really have sell our venerable, valuable French Impressionist masterpieces from important collections to buy more art?  They will be losing the support of the bequeathing community.

Perhaps in the future, donors should loan, instead of bequeath their great works of art to the museum, so when a new director comes along and wants to deaccession it, the artwork can be given to another museum that might appreciate it, without the first museum getting to cash it in. I wonder how Mrs. McKelvy’s heirs feel about the museum’s deaccessioning of her Renoir. At least if it’s going to be monetized, Mrs. McKelvy’s many descendants should benefit, not the new museum director who is actively diminishing her legacy and erasing the museum’s rich history.

In his April 8 letter to museum members about the sale of the three paintings, Adam Levine went into detail about the Libbey Endowment Fund but didn’t even mention Mrs. McKelvy, whose Renoir was given directly by her, and not bought with the funds of the Libbey Endowment, as were the other two paintings.

It must be a very touchy subject these days among Toledo’s wealthy patrons who are thinking about bequeathing art. Because the artwork is wanted today, but “get it the hell out of here” tomorrow, as their memory will be. (That is, depending on the whim of the new museum directors, who are not Toledoans, and will probably be getting the hell out of here as soon as they can, too. Lately, since 2005 or so, directors of the Toledo Museum of Art tend stay around for only seven years.)

Our lives begin to end the day we become silent about things that matter.
Dr. Martin Luther King, Jr.

See The Blade’s April 25, 2022 editorial:

Toledo museum of art should keep its top tier


see also:

Covering the director’s memo mistake

Edward Drummond Libbey and Martin Luther King

 

Categories
Artists of Toledo

Save The Children

Dedication of "Save The Children," a sculpture by Paxton Cooper, in front of the Bancroft-Kent Center, now the Wayman Palmer YMCA.
Vice President Walter Mondale, U.S. Representative Ludlow Ashley and Toledo Mayor Doug DeGood, October 25, 1979.
Where does the art begin, and the politics end? Photo @ Penny Gentieu

The Bancroft-Kent Center was a public-private urban renewal project that was built in 1978 in the Warren-Sherman neighborhood, near downtown Toledo. I was Toledo’s “city photographer” at the time, and I took these photos. I came across them recently while scanning my archive of negatives. Having totally forgotten what it was I had photographed, I managed to piece the story together, one that resonates today.

This was the ground-breaking ceremony for the Bancroft-Kent Center on October 31, 1978: community development director, Wayman Palmer on the left, Toledo city council members Sandy Isenberg in the center and Bill Copeland, second to the right.

 

My boss was Ted Reams, the city public information director, standing on the podium smoking a pipe as the city officials announce the project at the groundbreaking in 1978. Downtown Toledo is in the background.

They built the building in the middle of a residential side street, North 14th Street. The dilapidated houses on the opposite side of the street were ready to be torn down.

The next year, I was free-lancing, and Toledo Trust hired me to cover an event, with the Vice President, Walter Mondale, coming in to help commemorate. It was the dedication of the sculpture, Save The Children in front of the new Bancroft-Kent Center.

Members of the community gathered in front of the Bancroft-Kent Center at 2053 North 14th Street for the dedication of Save The Children.
That’s me on the right, taking these photos, captured in the Blade.
Dedication of Save The Children by Paxton Cooper, installation at Bancroft-Kent Center, which is now the Wayman Palmer YMCA. Vice President Walter Mondale is approaching the microphone.
From left to right: Wayman Palmer at the microphone, Vice President Walter Mondale, U.S. Representative Ludlow Ashley and Toledo Mayor Doug DeGood, two secret service agents, among the people in the back are the judges of Save The Children, I realized, with Save The Children in between.
That could be the artist, Paxton Cooper waving from behind Save The Children, whom Wayman Palmer is pointing out. Sitting just beyond Wayman Palmer is William Norris, CEO of Control Data Corporation, who saw business opportunities in social responsibility. (CDC had just won a many-million-dollar settlement from their anti-trust lawsuit against IBM.)

The judges of Save The Children lined up behind it are Robert Page, Project Architect, Samborn, Steketee, Otis & Evans (SSOE); Susan Reams, founder of the “1% For Art” program and Chairman of the Design Review Board; Roger Mandle, Director, Toledo Museum of Art; and who I believe are Richard Boers, Commissioner, Forestry & Open Space Planning, and Prudence Hicks, Representative of Warren-Sherman neighborhood. The Scott High School choir is in the background.

The Blade article on it:

The Bancroft-Kent Center was renamed the Wayman D. Palmer Community YMCA after Wayman Palmer died in 1984. A beloved community leader, see his obituary here: Palmer Wayman Toledo Blade Nov 12 1984.

Wayman D. Palmer YMCA Today

Photographed in December 2021, the front of the building faces the side street, North 14th Street, with the parking lot having to be entered one street over, on Franklin Street, through the Woodruff Village housing project on a road carved out named Wayman Palmer Court.

I drove by the building in December to see if this was the building I had photographed 42 years ago, and clearly it was, but Save The Children was gone! So I checked with the Arts Commission, the agency in charge of public art, and they kindly provided me with information.

I discovered that Save The Children was the very first “1% For Art” installation. I used to work for the Arts Commission during that time, so I vaguely remember when the program started. It was a big deal. The city passed an ordinance for the allocation of 1% of the cost of new public buildings to be used for buying and installing public art.

The sad news is that Save The Children was deaccessioned and removed in 1989. It was made of materials that did not hold up, and it fell apart.

bad feng shui

Fast forward 42 years, during which time I moved away for a photography career in New York and returned. In September 2021 a new YMCA was announced for the Warren-Sherman neighborhood. It will cost over $20 million and have a swimming pool. It’s something the community says is badly needed. It will be built this time facing the main street, Bancroft, with the parking lot approachable from Bancroft. That’s good because now you can only get to the parking lot from one street over, to the west of N. 14th street, having to enter it on a road built through a public housing project. When I was there in the middle of the day, there were only three cars in the parking lot.

Save The Children

The failure of Save The Children foretold the failure of the building itself. Perhaps the architects, art supporters, and politicians should have had a better approach, as the front entrance was tucked away on a side street and closed, limiting personal interaction with the sculpture, Save The Children, which was quietly removed after 10 years.

It’s weird to have witnessed the ground-breaking of this new community center and the fanfare of the Save The Children dedication with the Vice President of the United States being present to honor it, only to see a few decades later, the emptiness of such grand gestures, along with the emptiness of the building itself. The building is getting torn down after only 42 years. It will be replaced, they say, by a really great building, but for the generations of children that have not been saved, it’s too bad that Save The Children and the Bancroft-Kent Center could not have fulfilled that promise.

With all of the heart-breaking shootings and killings of innocent children that Toledo is experiencing, I hope the current committee of judges for the new building’s “1% For Art” will consider installing a new Save The Children, one that will persevere.

Installation of Save The Children by Paxton Cooper at the Bancroft-Kent Community Center in 1979. Please try it again.

Photo essay © Penny Gentieu 

 

Categories
Artists of Toledo

Whatever happened to Isaac Rader?

Isaac Paul Rader  (1906 – 1986)

Isaac Paul Rader, famous for his paperback cover illustrations, is “entirely a Toledo product.”

He learned his craft by taking classes at the Toledo Museum of Art; his teacher was Karl Kappes. At the tender age of 14 (he might have been 15), he won top prize in the fourth annual Toledo Area Artists Exhibit at the Toledo Museum of Art. That made him famous – his museum win was a true legend enduring all of his life and written about in his obits!

He moved to Detroit, where, in his twenties, he made a name for himself as the premiere artist for official portraits of judges.

Then he moved to New York and became a magazine illustrator. His paperback covers, created in the 1960’s, are highly collectable.

Google Images screenshot, 2022
The Toledo Blade, June 26, 1986
Detroit Free Press, June 10, 1986
Toledo Times, March 28, 1921, Isaac Rader “entirely a Toledo product.”
Toledo Blade March 1921, The Carpenter by Isaac Rader. An oil painting of his father at work, painted life-size.

The first prize going to a 15-year old caused quite a stir in Toledo — but he had to win. His stunning painting, which was painted life-size, was better than any other entry. The jury included Nina Spalding Stevens (head of the art school and wife of the museum director) and Blake-More Godwin (who would become the next museum director, in 1927.)

That was the last year the Federation did their own judging. For every Toledo area artist show after that, the Federation utilized judges from out of town (until the last two, in 2013 and 2014, which were judged by the museum director and associate director– we know what happened after that…)

 

Another reason to bring back the real Toledo Area Artists Exhibition at the Toledo Museum of Art, to help Toledo artists become famous like Isaac Paul Rader!

Subject: May Show Season
Date: 04/06/2022 11:19AM
To: ALevine@toledomuseum.org, rsewell@toledomuseum.org

Dear Adam and Rhonda,

I just posted a new-found artist, Isaac Paul Rader, on artistsoftoledo.com – I thought you might be interested. At age 14, he won top prize in the TAA show, and went on to have quite a career as an artist. Just an example of the missed opportunities for young Toledo artists without the museum’s annual area artists show. It means something to be shown at the Toledo Museum of Art – it can really change one’s life!

It’s exciting to see the changes at the museum — how is the Community Gallery coming along?

All the best,

Penny Gentieu

https://artistsoftoledo.com/goodbye-matisse-renoir-and-cezanne/

Categories
Artists of Toledo

If “Golden Rule” Jones was mayor today

Samuel “Golden Rule” Jones is ranked the fifth best mayor in the history of the United States.

If Samuel “Golden Rule” Jones (mayor of Toledo 1897-1904) was mayor today….

He would answer my emails!

But that’s not all….

For good use of the pandemic federal “rescue grant,” he would help Toledoans with their gas and electric utility bills, since the pandemic made the costs go up so high.  He would already have given us municipally-owned broadband.

He would make parks safe for children again — the same parks (and more) that he started in his first mayoral tenure.

He would do all he could to stop the spiraling high murder rate that is killing our children.

He would pronounce “Home Rule!” to Lucas County Commissioners to stop their quest on taxing 117,000 city homeowners for ditch clean up that the people of Toledo already take care of quite well without the county’s interference…

He would eschew cronyism and make sure that all construction maintenance jobs for the city are triple-bid, not issued with the routine “emergency” status that most jobs are labeled today. Sam “Golden Rule” Jones would support free enterprise and competition between contractors, without the public’s top dollar doled out to government “friends.”

If Samuel “Golden Rule” Jones were mayor today, he would govern with a conscience.

In the old days, he kept saloons open on Sundays despite pressure from the churches because he felt the working class needed a place to relax on their day off, just as the upper-class enjoyed their smoking rooms.

That didn’t make him popular with the clergy, in spite of his great moral municipal experiment.

Excerpts from Toledo mayor (1907-1912) Brand Whitlock’s memoir, Forty Years of It.

Back then, Samuel “Golden Rule” Jones occasionally sat in for judges to hear cases. He’d find any excuse to keep people out of jail, because jails were dangerous. He put an end to the incarceration of the homeless.

Prisoners were hung up in the bull-rings for thirty days, lowered to the floor only to sleep at night; “such things have gone on and they are going on today, but nobody cares.”

 

“Golden Rule” Jones was a wealthy industrialist. He gave his mayoral salary away personally each and every month to people in need.

He wasn’t popular in politics, in fact, he was a man without a party. The politicians tried their best to get rid of him, but the public loved him. When he died his untimely death, the entire city came out to mourn his loss.

“Golden Rule” Jones’ house was situated on the very site of the Peristyle Theater at the Toledo Museum of Art, the concert hall that was built in 1933. The Toledo Museum of Art shares Sam Jones’ illuminating spirit — the old museum director, George Stevens, in his own way, was quite a bit like Jones, and his spirit carries on at the art museum. To give one small example, the museum opened its doors on a traditionally closed Monday on January 17, 2022 to honor Dr. Martin Luther King, Jr.. It was a warm embrace in a cold city.

In the interest of history and synchronicity, 110 years ago on that day, on January 17, 1912, the newly built Toledo Museum of Art on Monroe Street was opened to the public. After Edward Drummond Libbey opened the doors, Jones’s successor, Mayor Brand Whitlock, presented the museum with the key to the city.

Former city councilman June Boyd with some of her great grandkids (above). June is on a mission to make Toledo safe for children. Good luck, June! Below, “Golden Rule” Jones’ house, situated where Peristyle now stands.

If Samuel “Golden Rule” Jones was mayor today, and if I sent him an email, he’d have the courage to answer it. The root word of courage is Love. What a strange concept for the government, courage is love.

But it worked before – it could work again. After all, there is a good reason why our beloved Sam Jones has gone down in history as the fifth best mayor of all time.*

*The American Mayor: The Best and the Worst Big-City Leaders, a scientifically compiled survey of mayors by a panel experts, published in 1999.

Categories
Artists of Toledo

Edward Drummond Libbey and Martin Luther King

this post was updated on April 25, 2022

Art and activism

A special day for both the museum and for the public.

On this day, January 17, in 1912, the brand new Toledo Museum of Art building was officially opened to the public. At the event, during which Edward Drummond Libbey ceremoniously opened the doors to the museum, which was also his wife, Florence Scott Libbey’s birthday, Toledo mayor Brand Whitlock presented the museum with the key to the city.

110 years later on this day, you could say that the museum returned the favor to the city of Toledo, by opening its doors on a Monday (a day it has always been closed) in honor of Dr. Martin Luther King Jr.

You could sit in the Libbey Court and watch Dr. Martin Luther King Jr.’s speech, “I Had A Dream,” under the portrait of Edward Drummond Libbey.

It was a very special day, and a lot of people came.

It’s just too damn bad that nobody who works at the museum (except for the historian) was even aware that January 17 was the museum’s anniversary. (I know because I asked several museum workers that day, including a museum Trustee, and they were totally unaware, but one called up to the historian’s office, who told them it was indeed the 110th anniversary of the opening of the building.)  That must be because they are deliberately erasing the museum history to form a new narrative — and the great museum history gets shoved down the memory hole. They hired a “brand” manager to give them a new voice.  The museum is finding itself — because they are no longer the great teaching institution that they used to be – Fellows used to teach – imagine that!  – 2,500 public school children filled classes every Saturday, and adult classes during the week! The museum used to be the hub of the art world for local artists — imagine that! The community “drew its vitality from its existence in the heart of the art world” which was the museum. There were annual juried local artist shows, and monthly individual local artist shows! All of that took considerable effort, along with having blockbuster shows, which they no longer have anymore, either. Today, in their rebranding, they apologize for being such a beautiful white marble columned building. They want everyone to think that our museum began as a stand-offish place for the Mrs. Libbeys of the world (rich white women married to rich white men who collect “art” out of boredom) when actually the museum was started by local artists, and run by a modern, progressive, liberal, inclusive, hard-working and talented husband and wife team — George and Nina Stevens.

Wiping out the museum’s history of inclusion, and then rebranding the museum to be inclusive, is an extreme insult to our community, and I mean every person who lives in Toledo – we are getting used – as well as every Mrs. Libbey or Mrs. McKelvy of Toledo who has bequeathed anything to the museum and given her time and money for our city to have better education, better music, and a strong French Impressionist collection of paintings at our museum. I think these women ought to be respected and not used to highlight differences, which is divisive. They gave our city so much. And they did — it’s always been our museum.

We the people of Toledo are getting manipulated once again by an out-of-town director who is getting a lot of publicity at our expense. Selling our masterpieces! OH!

I hope Director Adam Levine is getting the controversy he was quoted as hoping for when he announced that he was selling our great French Impressionist paintings by Matisse, Renoir, and Cézanne.  The museum recently had a fundraiser and raised $42 million to replenish their art-buying fund. That’s not enough to buy new artwork?

The museum’s trustees are apparently getting used like the rest of us, as our strong art collections get minimized, and our valuable paintings are used as currency, as if the museum is a for-profit blood-sucking corporation and not the educational non-profit institution that it was set up to be.

What affects one directly, affects all indirectly.
Dr. Martin Luther King, Jr.

Brand Whitlock, mayor of Toledo, 1906-1914 (painted by I. Abramofsky), and Sam “Golden Rule” Jones, mayor of Toledo, 1897-1904. The political progressives, like George Stevens, were similar in spirit. (Jones’ house stood where the Peristyle now stands.)

(more about Whitlock and Jones, here)

A Man and a Dream George Stevens had a dream too, and it became our magnificent Toledo Museum of Art. Nina Spalding Stevens wrote a book about it titled A Man and a Dream, see excerpts here.

Categories
Artists of Toledo

Whitlock, Jones and June Boyd

June Boyd with her great granddaughter, Leilani, photographed at the Toledo Museum of Art on October 27, 2021. “I’m a fighter and I’m looking to provide a better future not only for my family, but for all these little children I spend time with.” June Boyd, Second Wind, Interview by Rev. Donald L. Perryman, PhD, Sojourner Truth, Sept. 18, 2019 (Note that baby Leilani came along after the publication of that interview two years ago. She now has a new great granddaughter, one month old, so when June Boyd says she wants a better future for the kids, she means business!)

June Boyd

June Boyd is one sharp octogenarian. Two years ago, she ran for city council at age 84. She’s a great grandmother raising two of her great grandchildren. She’s an activist for children and is fighting the blight and violence she has seen grown out of control in Toledo.

After 60 years in politics, June Boyd is very wise. She has experienced many firsts in her long Toledo history. When she was just two years old, she moved to Toledo with her mother from Georgia to the shiny new Brand Whitlock housing project on Junction Avenue behind the Toledo Museum of Art. It was a great place to live, with all the modern appliances. The first generation growing up at Brand Whitlock reads like a who’s who in the history of Black Toledo.

June Boyd was the first African-American to graduate from St. Ursula Academy high school, in 1953. To get her enrolled in the what was then an all-white girls Catholic school, in 1948, her mother called and asked if they would take black girls. The nun answered, “I don’t see why not!” When Ned Skeldon, president of the Lucas County Board of Commissioners, put out the word in 1959 that the county board would like to hire African-Americans, she was the first to be hired, and she worked for Skeldon himself. She paved the way for many black women working in politics. In 1993, she along with Edna Brown were the first two black women elected for Toledo City Council.

She did not win the election in 2019, but still works her agenda in the community to improve conditions for children in Toledo’s central city. She writes letters and gives interviews. Lucky for us, she keeps on keeping on, and she does it for the kids.

“I recall Mayor Wade Kapszukiewicz stating it was his intention to hire 30, 40 and 50 year olds in his administration totally excluding senior citizens or anyone over 50 who just might have the wisdom and knowledge to address the foregoing,” Letter to the Editor from June Boyd, Sojourner’s Truth, Sept. 30, 2021

Toledo sadly lacks the wisdom and knowledge of what once made it great. The city eschews the hiring of senior citizens or anyone close to being a wise elder. Memory of the past is the first to go in times of corruption, and we are living in corrupt times.

The Toledo Museum of Art is built on the same ground on which Samuel “Golden Rule” Jones had once lived.
Golden Rule Jones

Who knows about Samuel “Golden Rule” Jones? He was the Mayor of Toledo from 1897 until he died in 1904.

Samuel “Golden Rule” Jones is ranked the 5th all-time best mayor in the United States. Jones built Toledo’s first city playgrounds and public swimming pools.

Jones was a millionaire who gave away his entire mayoral salary every month to needy people. He built the Golden Rule Park for his employees and gave them instruments for their newly-formed Golden Rule Band. He gave his workers 8-hour work days, paid vacations, health insurance and Christmas bonuses. He made his fortune in the oil business, a consequence of the oil monopoly that would not be broken up until five years after his death. Rich through ugly monopoly at age 43, Jones had an existential moment where he saw clearly that he had to live by the golden rule. Thus, he was elected mayor.

Samuel “Golden Rule” Jones died of a sudden illness at age 57, but he had a protege – the young lawyer and novelist, Brand Whitlock.

Brand Whitlock

Whitlock was an artist and intellectual at heart, without much interest in money. He served as Mayor of Toledo from 1906 to 1914, when President Wilson appointed him minister/ambassador to Belgium. He then served overseas throughout the Great War until 1921, when he moved to the French Rivera to write his books. He died in Cannes at the age of 65. Two years later, in 1936, Franklin D. Roosevelt named Toledo’s magnificent new housing project, the “Brand Whitlock Homes.”

Whitlock and Jones served during 15 years of the Progressive era. Their spirit was similar to that of the Toledo Museum of Art, founded in 1901, the foundation of which embraced his time and literally, his space. It was right beneath the Peristyle.

Brand Whitlock by Israel Abramofsky – a gift to the mayor from the young artist, who befriended him, and as mayor, Whitlock wrote Abramofsky a recommendation for his study in Paris.  Samuel “Golden Rule” Jones
The real deal

Golden Rule Jones made the City of Toledo livable — he sought to turn love into municipal policy, feeling that “each person could reach a kind of perfection just as plants reach perfect beauty.” By building parks, playgrounds, public swimming pools and the zoo, he helped children and families thrive.

Jones advocated for municipal ownership of utilities, to do away with the corruption of “closed backroom deals” made by city council members and their buddies. A good utilization of municipal ownership today could be city-owned broadband that would cover the entire city. Imagine the savings as well as the access. Like healthcare for all! Ha ha!

Jones and Whitlock fought for “home rule” to protect the rights of the city against the state. It’s a right we need to have our city invoke today in regard to the county’s over-reaching ditch petition, which appears more like a closed backroom deal between the city and the county, and now we the citizens of Toledo need to be protected from them!

For a while, Toledo became a better place to live, all because of the innocent, pure vision of Sam Golden Rule Jones. He was the real deal. The entire city came to his funeral, he was so loved.

Brand Whitlock Homes over the decades, torn down in 2012 and replaced by Collingwood Green, mostly senior-living.
Broken playgrounds at Gunckel Park and Ashley Park, 1978. Kids protesting, 1978. Photos © Penny Gentieu
Losing connections

Today when we hear the name, Brand Whitlock, instead of it conjuring up this great progressive mayor and novelist, we tend to think of the failed Brand Whitlock housing project instead. The Brand Whitlock Homes were once was great, then pushed down the memory hole. June Boyd remembers.

A happy childhood at the Brand Whitlock Homes is the reason why June Boyd advocates so diligently for Toledo’s youth —

“We need a total overhaul: Swayne Field could have a bowling alley; Warren Sherman could have a skating rink; there are dozens of vacant land that could be putt-putt golf and go-karts for our kids. I personally have to drive my grandchildren a long way to get the go-karts they love. Why do we not have them in the central city which would not only create employment, it would be a boost to our neighborhood, and something we could teach our young to appreciate.” Letter to the Editor from June Boyd, Sojourner’s Truth, Sept. 30, 2021

How about more police, to police the outrageous crime spiking in Toledo? How about cleaning up the central city blight? Can’t the city make parks and playgrounds safe? Why such a low percentage of police in our community compared to the 8.8 million population in New York City, a city with nearly twice as many police officers per capita than Toledo, and less per capita crime?

“There are many adults around here who graduated from school and they are illiterate, and then you wonder why they can’t get any jobs, and not to mention the drug problem, the homelessness, the abandonment and the fact that people have gotten so beat down until they don’t have any encouragement to do anything else.” June Boyd, Second Wind, Interview by Rev. Donald L. Perryman, PhD, Sojourner Truth, Sept. 18, 2019

 

Groundbreaking ceremony 43 years ago today, on October 31, 1978, for the Wayman Palmer YMCA.  Wayman Palmer, _?_, Sandy Isenberg, _?_, Bill Copeland, _?_. Photo © Penny Gentieu
The Wisdom of elders

It means a great deal to know someone as wise and experienced as June Boyd and to be able to benefit from her perspective. I asked Ms. Boyd if she could identify people in this photo I shot at this groundbreaking ceremony on October 31, 1978. She gave me three names. Who else could do that — she was there 43 year ago, and she is still here with us. Although two men, Wayman Palmer and Bill Copeland, are not. How great June Boyd is for her wisdom alone! If only she had won city council instead of her opponent who won, who actually got arrested a year later for fraud along with three other city council members — talk about corruption!

“It’s time to pay attention to the children. Teachers, ministers, grandparents, and responsible parents, notice what children are doing. If they have a gun, where did it come from? If they are neglected, they become pawns for adults who want to take advantage of them for their own profit… We must take an interest in our youth… Do something!” June Boyd, Let’s come together to save Toledo’s children, The Blade, Oct. 9, 2021

 

 

 

Categories
Artists of Toledo

Ned Skeldon, Betty Mauk, and their river legacy

Ned Skeldon, center, in Promenade Park with baby elephant, 1970's. Betty Mauk Papers, Ward M. Canaday Center for Special Collections. Photocomposition by Penny Gentieu

 

Downtown Toledo waterfront, circa 1920’s. Betty Mauk Papers, Ward M. Canaday Center for Special Collections

Two proactive Toledoans in the 1970’s
made Toledo rivers and riverfront livable.

Betty Mauk (1918 – 2012)

Betty Mauk made the downtown Toledo riverfront livable.

Betty Mauk was born in 1918. Her mother died in childbirth. Her father died when she was six months old, a victim of the 1918 Spanish Flu pandemic. Betty grew up in the Old West End, cared for by her society aunts and uncle. She married, raised a family, and lived in Ottawa Hills.

In 1964, the riverfront was a literal parking lot. But the commissioner of harbors and bridges put out park benches, then picnic tables, for the workers, who were going down to the river with their bag lunches.

Betty visited France, her great love, at least 50 times in her lifetime. When the downtown Toledo waterfront was lined with parking lots and old abandoned buildings, in the 1960’s during the time they were considering building the 475 – I-75 expressway along the river, Betty had a vision to turn the waterfront into a Parisian park, transforming the Maumee riverfront into the Seine.

Betty had the “savoir faire” and “je ne sais quoi” to turn the riverfront into a real park, giving it a French festival atmosphere, with monkeys, elephants, musicians, puppet shows and plays. Betty furnished it with an authentic French kiosk imported from Paris, and she herself operated a crepe stand. Betty and her husband bought a boat, the Arawanna II, and gave rides in their boat up and down the Maumee River.

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A nativity play at Promenade Park in the 1970’s. Ned Skeldon is the third wise man on the left. 

Imagine how our downtown riverfront would look today if a big expressway had been built over it, which might have happened if it weren’t for Betty Mauk. And that’s not all she did…

 

Ned Skeldon (1924 – 1988)

“a malodorous cesspool”

Ned Skeldon, who is the father of Tina Skeldon Wozniak, the current President of the Board of Lucas County Commissioners, made the Maumee River livable.

Ned Skeldon, city politician, Lucas County commissioner, fresh from bringing baseball back to Toledo in 1965 after a nine-year absence, was disgusted by the filthy condition of the Maumee River and Lake Erie. He warned that in 50 years, if something wasn’t done, the river and the lake would become a marsh.

Ned Skeldon had an equal amount of Betty Mauk’s “savoir faire” and “je ne sais quoi,” Midwestern style. A charismatic politician possessing much chutzpah, Ned, for the show of it, independently formed a temporary non-profit corporation, Clear Water, Inc., with five Toledo industrial leaders, to raise awareness and money to clean up the river and lake.

With such luminary partners as Steve Stranahan, Thomas Anderson of the Andersons, Charles Ballard, director of the UAW Region 2-B in NW Ohio, Dr. William T. Jerome III, president of BGSU, and John Willey, the associate publisher of the Toledo Blade, Ned Skeldon described Clear Water, Inc. to be “primarily a public relations organization,” its purpose is to alert the general public to the dangers of water pollution and prod them into action.

In 1968, Clear Water, Inc. sent a cleanup barge up Swan Creek, a river running into the Maumee in downtown Toledo, which had become a dump.

Clear Water, Inc. became a funding agency for state and federal pollution control funds. Since 1966, it has provided more than $1.75 billion in 2021 dollars for municipal and industrial pollution control facilities in the Maumee basin.

Ned Skeldon swam in the Maumee River in 1973 to symbolize the improvements made. This is the Blade photo for the article, Hundreds see Skeldon Master Muddy Maumee. “Like a bug thrashing in coffee with cream,” Ned said. The Blade, July 16, 1973.

“Every municipality of more than 5,000 population in the Maumee basin has improved sewage treatment facilities,” said Ned Skeldon in 1978. And the river was much cleaner as a result of Ned Skeldon’s grassroots efforts…

Ned Skeldon is one of the originators of the water-clean-up grant system we have today. These are some of the long-lasting accomplishments of Clear Water, Inc.:

  • helped to initiate the federal Clean Water Act.
  • and the formation of the Ohio Water Development Authority (1966) a funding agency for state and federal pollution control funds.
  • city of Toledo approved a $17 million bond issue to combat pollution by 1969, did more than other cities
  • Ohio EPA
  • Watershed Protection and Flood Prevention Act
    Ohio Water Development Commission (or Authority) — offering industries treatment facilities on a rental basis (1968) Skeldon appointed to newly created board by Governor Rhodes
  • Federal Water Pollution Control Agency, 1968
  • Ohio Water Development Authority – a funding agency for state and federal funds

Through Ned Skeldon’s efforts, many commissions and agencies came into existence that were able to get municipalities and industries to stop dumping filth and poison into the water.

Clear Water, Inc. was a “coordinating agency for citizens, local, state and national governments and other agencies interested in cleaning up the waterways in the Maumee River basin.” Lancaster Eagle Gazette, Dec 7, 1978

Ned Skeldon, in 1978, declared that he did the job he set out to do, to clean up the river and the lake, and closed Clear Water, Inc. for business. He always intended to do just that. He died in 1988.

One year after Ned Skeldon died, a Clear Water, Inc. founder granted Betty Mauk permission to start it up again, so that she could continue the Swan Creek cleanup work that Skeldon began in 1968 . . Betty Mauk worked on it throughout the 1990’s.

Clear Water gets grant, The Blade, December 19, 1990. Betty Mauk, of Clear Water, Inc. is photographed with Tom Kovacik and Peter Fraleigh (who later had a dirty, filthy Ottawa River tributary that was cleaned up, named after him.) They led a program for students to test the water of the rivers in the 1990’s. Betty Mauk Papers, Ward M. Canaday Center for Special Collections

Then many years later…

The Ottawa River is healing because of collaborations among countless agencies, groups, volunteers, and experts, Patrick Lawrence, University of Toledo geography professor involved in many of the programs and projects, told The Blade. “Toledo’s Ottawa River takes another big step in its long healing process,” The Blade, June 18, 2018

Here’s a random list of agencies, groups and projects that with the help of volunteers and experts, take care of our rivers since Ned Skeldon’s Clear Water, Inc. started it all: