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Category: Artists of Toledo
Categories
LeMaxie Glover’s Crucifix
LeMaxie Glover, 1916 – 1984
Le Maxie Glover was born in Macon, Georgia in 1916. He received a MFA at Cranbrook Academy of Art in Bloomfield Hills, Michigan.
He showed at the Toledo Museum of Art in the Toledo Area Artists Exhibitions from 1956 to 1964, and the Black Artists of Toledo Exhibitions in 1973 and 1974. He had a one-man show at the Toledo Museum of Art in 1970.
He showed in the Michigan Area Artists Show in 1957, Ohio Sculptors Show in 1962; the John Herron Art Institute in Indianapolis, 1963; Contemporary Sculptors Show at the Cincinnati Art Museum in 1963. He had numerous one man shows.
He is in the collections of the Williston, N.D. Museum of Art; the Besser Museum of Art, Alpina, Michigan; and in numerous Toledo area institutions.
see more on his artistoftoledo page: LeMaxie Glover, 1916 – 1984
LeMaxie Glover’s sculpted terra cotta portraits
A critique on the museum’s 5-year plan for growth
as reported by The Blade
In the spirit of community involvement, I’m compelled to offer some feedback on the recent article in The Blade about the museum’s future. But first a discussion about the last paragraph in the article, “The Toledo Museum of Art was founded in 1901 by Mr. Libbey and his wife, Florence Scott Libbey.” That’s incorrect – The Toledo Museum of Art was founded by a group of artists.
Don’t get me wrong – I don’t mean to say that Libbey was not important in the establishment of the museum – he was by far the chief benefactor in establishing the Toledo Museum of Art. But to say that he and his wife founded it is like throwing the museum’s populist history down the memory hole.
There are many near-contemporaneous accounts of how the Toledo Museum of Art was founded by a group of artists.
In the book, Memoirs of Lucas County and the City of Toledo from the earliest times down to the present Vol. II, published in 1910, which includes biographical sketches of prominent Toledo men, there is no mention of Libbey founding the museum, but there is mention of Edmund Henry Osthaus being “one of the founders and incorporators” of the museum.
This is how Osthaus is described in the Toledo Museum of Art’s own collection:
The Blade, September 30, 1922: “Museum Idea Takes Form” In 1893, the painter, Thomas Parkhurst formed the Tile Club, a group consisting of artists and architects in 1893. In 1900 the club had its first exhibition at Parkhurst’s store on Superior St. Out of that event grew a movement. After the exhibition, the group of artists and architects was so enthused and fired up with the idea of establishing a home for art in Toledo that they got together with George Stevens as the leader, and talked art museum day and night. Robinson Locke, son of David R. Locke of Petroleum V. Nasby letters fame, helped through The Blade. Finally, George Stevens, “in an inspired moment” elicited the co-operation of Edward Drummond Libbey, who gave them the use of an old building on Madison Ave. and 12th Street to use for the museum, but they needed money…
Edward Drummond Libbey was the biggest benefactor, and he encouraged community involvement because everyone wanted a museum that belonged to the people. Libbey matched donations, and children collected pennies to contribute to the building fund.
The Toledo Museum of Art was always OUR museum….
By the Seventies, the museum was in high gear: it was a leading teaching museum, providing annually about eight Educational Fellowships, training museum professionals from all over the country, who also helped with the free children’s Saturday classes that drew around 2,000 children per week. The Toledo Museum of Art ranked in the top 10 American art museums for popularity and assets. It was the center of the community art scene, with not only Saturday classes for grade school and high school students, but for its small but superior college art program in the basement of the museum, the Toledo Museum of Art School of Design, which extended to adult classes. That really brought in the community.
The museum also had monthly shows featuring local artists from 1933 to 1970, 540 in total, for both men and women artists. Beginning in 1918 it hosted the annual Toledo Area Artists Exhibition, celebrating the local art community. The museum was alive with community involvement.
In the 1990’s, the museum’s School of Design and much of the adult education ended when the Frank Gehry building was built, which was connected to the east side of the museum. The University of Toledo’s School of Visual Arts occupies the space, taking over for the museum’s School of Design. The extensive children’s Saturday class program slipped away. The Saturday class program that had served the community for many decades became a sorry shadow of what it used to be.
What have they done to OUR museum?
In 2014, under the new director Brian Kennedy’s watch, the venerable, 95-year old tradition of the Toledo Area Artists Exhibition came to a shameful demise when the Toledo Museum of Art opened the show to entries from Detroit, Cleveland and Columbus, populations nine times the size of the Toledo region, while simultaneously limiting the show to only 27 artists. To add insult to injury, they stuffed it with Toledo Museum of Art insiders, mostly men. Additionally, the show was totally devoid of diversity, the absence of which is not the norm and has never been the norm for our TAA show. See a full account of the 2014 show on this website, in the tag cloud in the footer of this page.
In 2011, Brian Kennedy presented his five-year strategic plan. I remember him saying that if art classes were available at one place in town, they were not necessary in two places because that’s redundant, we should save resources. Kennedy’s “basic principles” projected on the screen contradicted what he was saying there, as would his subsequent actions to what was projected on the screen.
In 2015, a few months after the 2014 TAA show debacle, I was at the museum attending the senior curator Larry Nichol’s gallery talk about a particular painting we were sitting on front of in the gallery, when at the end, he asked the small group of people before him, mostly age 45 and up, how to bring younger people in. I raised my hand and said, bring your children’s classes back. Bring the TAA show back. Bring the monthly local shows back. He said, “noted.”
What did they expect would happen to attendance at the museum, when they take everything away that enlivened the art community, from classes for children and adults to lending a wall for a local art show?
The exclusive, discriminatory “Circle 2445” membership effort designed to bring in the museum’s desired younger members was short-lived. The overt ageist discrimination insulted many people.
In other ways too, the Museum became unresponsive to the Toledo community. For example, here’s a story having to do with Toledo’s first artist, William H. Machen, who died in 1911. Over the years, his descendants have approached the museum for advice, once in 1941 and again in 2015 — see the contrast in responses between the third museum director, Blake-More Godwin and the ninth director, Brian Kennedy…
In 2019, Brian Kennedy resigned after only eight years to become the director of the Peabody Essex Museum in Salem, Massachusetts. (Which might be a fine historical museum that is owned by Harvard University, but it doesn’t hold a candle to the great Toledo Museum of Art.)
Now then, back to the subject of this post, a critique of the new 5-year plan as outlined in the above screen-shotted March 9, 2021 Blade article…
the new 5-year strategic plan
- to continue to build on its diverse collection... Well that’s good, because Edward Drummond Libbey’s bequest stipulates that half of the money taken from the fund in any given year must go to buying new art.
- working more closely with local artists through a more active outreach and engagement strategy… Does this mean they will bring our Toledo Area Artists Exhibition back? Have they forgotten the relationship they used to have with local artists? I hope they will read my blog post, it’s outlined above!
- becoming an employer of choice through support and retention policies… Hasn’t the Toledo Museum of Art ALWAYS been an employer of choice? Or are they talking about the museum guards, whom for many years were hired from our community of senior citizens, but about 10 years ago the museum started replacing senior citizens with young people, who just aren’t sticking with the job like the seniors did, because being a long-time museum guard is a dead-end job… Are they using young people for their ageist young image?
- creating a platform for operational excellence through the upgrade of visitor amenities, making museum access a priority, growing the museum’s financial base and becoming more efficient…
Culture of Belonging
and Authentic Integration
of great art and everyday community
As if words, regardless of deeds, will make it so.
That’s exactly what the Toledo Museum of Art used to do. The Toledo Museum of Art didn’t have to try to be authentic — the Museum oozed with authenticity and community involvement. That’s because it was our museum – it belonged to the people of Toledo – it was Edward Drummond Libbey and the artist founders’ intention – funded in part with the pennies of the children who have since become our forefathers.
Will the Toledo Museum of Art bring back our venerable, prestigious Toledo Area Artists Exhibition? Will they bring our classes back? Will the Museum ever be the center of the working artist community again? Or will it continue to be a place for yoga on the front steps for the 24-45 crowd, and “baby and me” looking-at-art classes in the galleries for bored (but sufficiently young) parents?
The artists of Toledo can’t wait to find out.
James Machen died on November 7, 2020 at the age of 91. Thanks to James Machen, a member of one of the oldest families in Toledo, we have paintings showing how Toledo looked at the very beginning. His great uncle, William H. Machen was Toledo’s earliest known artist, who migrated from Holland to Toledo in 1848. James Machen actively preserved his ancestor’s artwork and history. In doing so, he greatly honored his family, while also greatly honoring his community.
James Machen’s family history going back to the twelfth century:
The authoritative, comprehensive random sampling survey of late-seventies iconic world-of-advertising and subjective definitive targeting, as I knew it, with some art thrown in.
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Mike Zapiecki
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Tom Pfahlert
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Jim Savage
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Mike
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Bob Beach
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Joyce
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July 1980 Larry
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July 1980 John Gauthier
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August 22, 1980
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July 23, 1980
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July 23, 1980
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July 23, 1980
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July 23, 1980 Lee Comer
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October 27, 1979
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June 6, 1981
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October 21, 1979 Bob Cairl
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Sept 1978
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May 23, 1979
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July 1980
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September 4, 1979
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Diana Attie, September 26, 1979
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April 19, 1979
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1979
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In 1917, the Toledo Federation of Art Societies (TFAS) was established by the joining together of the Tile Club, Athenas Society, Artklan and the Toledo Museum of Art to create an annual local exhibition of Toledo artists at the Toledo Museum of Art.
In 2014, the Toledo Federation of Art Societies conspired with the Toledo Museum of Art to kill the local annual museum show, just four years shy of the 100th anniversary, by extending the region to a 150 mile radius, slashing the number of artists accepted, using museum employees to judge and curate the show, and putting in their own people, including two museum employees, an ex-employee, the husband of an employee, a close friend of the director, and two Toledo Federation of Art Societies past presidents. (Another past president, Leslie Adams, had been awarded with a museum solo show, just the year before.) The president of the Federation at the time shrugged off the suggestion of impropriety and corruption by saying with misguided sophistication, “It’s the world we live in.”
With the demise of the prestigious Toledo Area Artists Exhibition, gone was the important center of the Toledo artist community — the museum — along with valuable opportunities for the local community of artists, including 14 monetary awards that had been awarded annually:
- Israel Abramofsky Award of the Temple-Congregation Shomer Emunim
- Molly Morpeth Canaday Award
- University of Toledo Award
- Toledo Federation of Art Societies Purchase Award
- Roulet Medal Award
- Arts Commission of Greater Toledo Purchase Award for the City of Toledo’s
- Art in Public Places Program
- Athena Art Society Award
- Toledo Friends of Photography Award
- Toledo Area Sculpture Guild Rose M. Reder Memorial Award
- Bob Martin Memorial Award
- Edith Franklin Memorial Award
- Lourdes University Art Department Award
- Toledo Potter’s Guild Award
- Toledo Area Artists Solo Exhibition Award
This month, on April 28, 2018, the Toledo Federation of Art Societies and the Toledo Museum of Art present a 100th anniversary show celebrating the Toledo Federation of Art Societies itself, as if the Federation is anything to celebrate. After devouring their baby — what the Federation was formed to make — the annual Toledo Area Artists Exhibition that they cared for, for 97 years, the oldest local art show in the country and a prestigious one at that – how ironic that they now celebrate themselves by showing the Federation collection of purchase awards from the historic, venerable, prestigious, but dead Toledo Area Artists Exhibition, killed by their own device.
No mention of the Toledo Area Artists Exhibition, pushing it down the memory hole, as if what they did will ever stop stinking.
With this show, called, “Decades in the Making,” the Toledo Museum of Art makes what should have been the 100th anniversary of theToledo Area Artists Exhibition into a 100-year celebration of the lousy caretaker the Federation has been to the culture, history, and potential of the Toledo artist community.
Categories
The Museum in the Seventies
Welcome back to Roger Mandle, the fifth Director of the Toledo Museum of Art, from 1977 to 1988. He spoke at the museum’s Little Theater on June 8. It was a wonderful talk, about working with Otto Wittmann, the 4th museum director of the museum, and then as the assistant director at the National Museum of Art in Washington, DC, and then as president of Rhode Island School of Design from 1993 to 2008, and then how he helped develop two new museums in Qatar. Now he is starting a new museum for art and technology in New Bedford, Massachusetts.
It was a great era when Mandle was at the Toledo Museum of Art, because the museum had meaningful art community involvement. The museum was built on meaningful art community involvement, in fact it was built by artists. Beginning in 1916, the museum offered grade school through high school classes, then university classes, and always adult art classes. Local artists had monthly shows at the museum. The museum hosted the Toledo Area Artists Exhibition (TAA). Who would have thought that the TAA Show would have been extinguished, just four years short of its 100th year celebration next year, what was the oldest, most venerable exhibition of its kind in the entire United States.
I benefited from the classes at the museum from age 9 to 21. I taught the first kids photography class that the museum offered, in 1979, with the darkroom right below the Peristyle stage. I exhibited in a few TAA shows, and in 2013, my daughter’s photography career received a huge boost, perhaps even a complete launch, as a result of her prize-winning entry in what was to become the final local Toledo Area Artists Exhibition. This year, four years later, my daughter is showing her photographs in Venice, Italy in a show at the European Cultural Center in the context of the 57th Venice Biennale.
My daughter spent the summer of 2006 at Rhode Island School of Design in a high school program, and that’s where she fell in love with photography. Because I knew Roger Mandle from the museum, we sent him the photos she shot that summer. He was sincerely impressed and without our even asking, sent her photos to the admissions department with a strong recommendation. To be encouraged by such a knowledgeable and important person so early on was a great formative experience.
Kids classes as well as adult classes have nearly disappeared at the Toledo Museum of Art. The local art community is no longer tied to the museum that the artist-forefathers of Toledo had so progressively formed. It used to be our museum and everybody understood that — it belonged to the community of Toledo — but today for the first time suddenly it is no longer our museum.
Today it’s all about the grants. A Mellon grant brought down the TAA show, along with a bamboozling by the museum to the Toledo artist community, as if our community artists would benefit by expanding our local art show 10-fold to 13 million people and a 300 mile diameter. At least it looked good on the grant application. That was three years ago, and it was the last show. Judged by Halona Norton-Westbrook, a Mellon Fellow employed at the museum, the eleven local artists who were accepted into the show happened to be closely associated with the museum (including two employees, the husband of an employee, a past employee, and two past presidents of the Federation.) Only two of the Toledoans were women.
Our current director, Brian Kennedy, tells people openly that Toledo artists are not good enough to show at the museum in any show, even our annual, 100-year old show that’s always been at the museum. So unbecoming of our museum, which had such a progressive, community oriented beginning!
Rejecting local artists is an elitist spin on Toledo’s communal inferiority complex and famously poor self-image. Museum supporters don’t care. They buy their art in New York. Thus, the ax has come down on this fine opportunity and tradition for artists in Toledo. Our deceased museum directors must be rolling in their graves.
It is a shame that the artist community that was once centered around the museum has disappeared and opportunities no longer exist at our most magnificent and inspiring cultural center, the Toledo Museum of Art, that was built by artists, educated artists, and for many years, was led by artists (including Roger Mandle.)
Roger Mandle and the museum directors who preceded him kept the local art community alive and well at the Toledo Museum of Art for more than eight decades. And while accommodating the community, they had blockbuster shows, bigger and better than we see today.
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Brian Kennedy tells people that Toledo area artists aren’t good enough for the museum to continue hosting the annual Toledo Area Artists Exhibition, an important, century old tradition started by the museum with the Federation formed for that purpose. Leslie Adams, past president of the Federation, tells Toledo area artists to trust that with the change in the show, that the museum has their best interests at heart.
The museum gave Adams a one-person show in 2012 as a new Toledo Area Artists Exhibition award in 2011 (the first and only recipient of that award) and the museum even acquired three of her pieces in 2015.
You just have to wonder when they kill our show and profess that no local artist’s work can ever be good enough to show at the museum, but they buy Leslie Adam’s work.
Leslie Adams in the collection of the Toledo Museum of Art, acquired in 2015
Toledo Museum of Art, repair the damage you have done to the community of artists.
In 2010, perhaps when the museum was between directors, the acting director and Amy Gilman of the museum made a proposal to the Federation, that they would get great jurors with their museum connections and make Toledo artists famous. Maybe not in those exact words, but that’s what the Federation heard. Whatever the exact words were, the museum’s “intention” of commandeering the show was to help the community by making a better Toledo Area Artists show by getting more prestigious jurors, an intention reported in The Blade in 2010 and 2011.
The museum judged it themselves the first year, in 2011, saying that they were introducing the new director, Brian Kennedy, to the community. They used a Mellon Fellow and New York artist and writer Joe Fig the second year.
This year, instead of making the show for the community, the museum extended it to cover a population 15 times greater than the population of the Toledo area. They had their Mellon Fellow, Halona Norton-Westbrook, judge it all by herself. She put in only 11 Toledo area artists, including two museum employees, the husband of a museum employee, one former employee with former contentious museum relationship, the two most recent past presidents of the Federation, the group that had charge of the show when the museum took it over in 2011. Hence, most of the Toledo area artists chosen by the museum were insiders. 17 other artists were from other cities.
The population of Greater Detroit alone is 5 times that of the Toledo metro area. So you can see that a show that was highly competitive in our local area, has become instantly 10-15 times more competitive by adding a 150 mile radius encompassing 4 cities much larger than Toledo, plus several other cities with more advantage than Toledo, such as Ann Arbor and Grand Rapids, Michigan. And why is this good for our community? For countless area artists like my daughter, the odds are they will never have a chance.
Toledo Museum of Art, is it necessary to take our community show away from us to get a grant? Get Fellows at our museum like Adam Weinberg, the current Director of the Whitney Museum of American Art. He was a very charismatic, community oriented Fellow, who worked at the Toledo Museum of Art in the late 1970’s, and I had the honor of working with him when I was a teacher of photography at the museum. Put an incredible, dynamic community-respecting Fellow, like Adam Weinberg, in charge of the TAA show, with supervision, so he gains professional museum experience. Make the jurying process fair again with objective, outside jurors having no connections to the community. The Adam Weinberg-like Fellow can appoint whatever community committee he needs or wants to work with if he thinks it’s helpful. Make it professional, and make it for Toledo area artists, because that is the legacy of Edward Drummond Libbey, and that is the legacy of the Toledo Museum of Art.
Break it off completely with the Federation. Most of the artists groups dropped out of the Federation after the museum took over the show in 2011, leaving mainly universities and college groups. The Federation has no resemblance now to what it was when it was formed. It used to be composed of groups of artists, not schools, and we don’t need to debate to know that educational institutions do not serve the interests of individual artists — they serve their own institutional interests, and so these institutions do not deserve a seat at this table.
For the previous 94 years, the Toledo area artists have been good enough to be in their own namesake Toledo Area Artists art show. Look at what you are doing to our community! Respectfully, please understand that even though some people may appreciate your leadership contributions to our museum, we all know, you are not from around here, and it is likely that your time at the Toledo Museum of Art will be temporary. Don’t mess with our traditions as if they have no value. It’s like poisoning our water and then skedaddling.
The Toledo Museum of Art was voted the most beloved museum by its community recently. People today donate to the Toledo Museum of Art believing in a community memory of a community oriented museum. How can the museum literally nurture so many artists within its mission and its history, then just hang us out to dry, replaced by artists from other cities? Our area has so much potential for the growth of the art economy in this area. We don’t mean Cleveland or Detroit or Columbus, we mean Toledo! Yet the museum is communally dumbing us down by taking this great opportunity away from the majority of Toledo area artists and handing it over to anybody else in the 150 mile radius, for what, for a more impressive population “line item” on a grant application?
Toledo area artists have always been good enough for the show for the past 95 years. This year the museum throws us under the bus. For a shallow, very shallow, empty purpose. As if to say we are not as good artists as other artists living 150 miles away. Reconsider saving the Toledo Area Artists Exhibition for Toledo area artists. It’s good for us, and as you know, as the museum made it its motto, “art matters” to us.
Give us another Adam Weinberg. He would never have thrown Toledo artists under the bus.
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.
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STRATIGIC OBJECTIVES — Working with artists. Work with us. We are your offspring! The Toledo Museum of Art made us! Aren’t we good enough for The Toledo Museum of Art, Papa?
Another suggestion is to make the gallery off of the Community Gallery for Toledo artists, instead of for babies. Up until 1970, Toledo area artists used to get monthly one-person shows. Now they have a gallery for baby art. Literally. (Toledo Area Lil’ Artists Exhibition — gee thanks, TMA, adding insult to injury.) This nicely lit gallery at the back entrance to the museum. For babies? Seriously, you can do better for us, can’t you, Toledo Museum of Art?
Mary Wolfe and art: “This is what I imagine heaven will be like.”
Mary Wolfe died last Thursday. At 82, she still seemed to be in her prime. What a magnificent woman. She was extraordinarily bright, both in her intellect and aura. She will keep shining through the many gifts she and her husband, Frederic (Fritz), have bestowed upon the community.
She was an art history teacher at Bowling Green State University from 1968 to 1976. She always opened her house to students and artists, said her student Kathy Sobb, an accomplished New York City graphic designer. She then became the exhibitions director of the BGSU McFall Center Gallery through the mid-eighties. Relevant to this website, artistsoftoledo.com, Mary Wolfe showed the work of glass art pioneer Dominick Labino. She also put on the largest exhibition of Edmund H. Osthaus ever assembled. Osthaus (1858—1928), famous for his dog paintings and branding of the Du Pont Powder Company (see my blog post, Edmund H. Osthaus and my giant Pierre Project), was one of the founding artists of the Toledo Museum of Art.
The couple donated $1 million to Wilberforce University for a new administration building in 1993. (Another artistsoftoledo connection: one of the few known paintings by Frederick Douglass Allen and one that I have been trying to track down was of the 1934 president of Wilberforce.)
Mary Wolfe is well-known for the very generous contribution she and Fritz made that started the Wolfe Center for the Arts at BGSU. We can also thank the Wolfes for interesting architecture of the building, since they encouraged BGSU to hire the architecture firm, Snohetta, of Norway. The Wolfe Center opened in December 2011. Six months later, at the Toledo Museum of Art, the Wolfe Gallery for Contemporary Art opened, thanks to the Wolfes’ $2 million donation to the Museum for the renovation of the old glass gallery behind the Egyptian gallery that had not been used for 15 years.
For interesting accounts of the many roles she played throughout her life, see these two tributes to Mary Wolfe that were published shortly after her death by The Blade and Bowling Green State University.
I love the quote that was in the earlier, Blade breaking news report, taken from a 2011 Blade interview in regard to her art patronage. Mary Wolfe said, “It’s made life so much more interesting and wonderful for us. It gives you a great feeling.” How lovely to know this, how the Wolfes felt about art collecting and their kind act of supporting the arts, since what they have given us has truly made the lives of an entire community much more wonderful and interesting and gives us a great feeling.
I am grateful to have known her. She and Fritz came to my daughter, Anna Friemoth’s opening at the Paula Brown Gallery last year and bought her work. It means so much, since I know they have such exquisite and discerning taste in art.
Two years ago, my husband and I were invited to a small studio tour of Austrian LED light artist Erwin Redl, currently living in Bowling Green, with Mary & Fritz Wolfe and two of their three daughters and a mutual friend. Erwin Redl’s studio is in a huge warehouse, divided into several rooms. Erwin creates conceptual light installations for international museums. The experience of the work in each room of his studio tour became progressively grander and more energetic. It was pretty special to be experiencing this tour with the Wolfes and I could see that Mary Wolfe was inspired. Later, her daughter Lisa told me that her mother was absolutely taken by the installations, and especially the last room, that had streams of red lights and blue lights speeding rhythmically from wall to wall close to the ceiling. Mary remarked about the last room, “This is what I imagine heaven will be like!”
I was just getting ready to send Mary Wolfe a card for my upcoming show, Artists of Toledo at the Paula Brown Gallery, that opens November 13. I printed some snapshots from that night at Erwin’s, together with a note. I had them out on my table waiting to find the right sized envelope when I read the Blade report that she died. I had just been with Lisa two days before at Bowling Green State University and later I sat in the theatre in the Wolfe Art Center for a scholarly talk on animal vision. It was a celebrated event and the audience included many VIPs but Mary Wolfe wasn’t there as I thought she might have been. She had a stroke that evening and died the next day, surrounded by loved ones.
Our prayers go out to Mary’s family, her many friends, and to our entire community. We lost someone pretty wonderful. We will always remember her because she brought so much art to life.
In the October 15, 2014 Toledo Blade is my Letter to the Editor:
The upcoming Toledo Area Artists Exhibition, Nov. 21 through Jan. 4 at the Toledo Museum of Art, will have only 11 artists from the Toledo area. The previous exhibition had 64 local artists.
Seventeen artists outside of our 17-county regional area got into the TAA show from as far as Cleveland, Columbus, Grand Rapids, Mich., and Muncie, Ind.
I am a member of the local art community and operate a Web site that details Toledo’s art history (artistsoftoledo.com). I applied for the exhibition but wasn’t accepted.
Of the 11 Toledo area artists who were chosen, most have inside connections to the art museum, which gained control of the exhibition from the Toledo Federation of Art Societies in 2011. I question whether the jurying was ethical.
It is unacceptable that only 11 Toledo area artists were picked out of 462 total entrants. The museum should not be entitled to use the TAA name because it is a misrepresentation.
TAA is the oldest regional art competition affiliated with a museum in the country. Obviously, the museum has no respect for Toledo’s traditions or its artists. Toledoans donate to the museum, believing it is community oriented. Donors may want to rethink donating to a museum that treats the present-day community this way.
Penny Gentieu