Tag: 2014

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Artists of Toledo

Adam Levine’s Toledo Museum of Art

An assessment of the offerings at
Adam Levine’s Toledo Museum of Art
two years into the five-year plan

In 2021, Adam Levine, the new director of the Toledo Museum of Art, announced that he was increasing the museum’s annual budget by $2 million while reducing the draw from the Libbey Endowment. The rules of the Libbey Endowment are such that the money must be used in whole or in part for the exhibition of art, with at least 50% of every dollar spent on the purchase of works of art for the purpose of public exhibition. To draw less from the Libbey Endowment means they are free to do what ever they want. They don’t need to buy art or have great shows anymore.

Just as we had been warned, the shows since then have been sparse and less spectacular. We’ve had Matt Wedel, regional mid-career ceramicist, and his “Phenomenal Debris” filling up the Levis Gallery Nov. 5, 2022 — Apr. 2, 2023, which, as the name suggests, was a real departure for the Toledo Museum of Art, and not in a good way. Meanwhile in the Canaday Gallery, in a redo of a show from two years ago, they decked out the Canaday with artwork in need of repair and solicited donations for the restorations, for the privilege of the donor’s name being briefly associated with the “adopted artwork.” The piece used in the promotion was a 1925 glass dress, representing Libbey himself, ironically, to raise money for restoration instead of using the museum and Libbey’s money to restore the dress. So tacky of them. The show was up an extra-long time, from Sept 24, 2022 to Feb. 5, 2023.  Now they give us a show about astrology and fortune-telling curated by the two new Brian P. Kennedy Leadership Fellows (formerly known as Mellon Fellows) who drew from the museum’s own collection. Feb. 3, 2023 — Jun. 18, 2023, because that is just what they think we like, after we endured the Supernatural traveling show in 2021.

Meanwhile, as evidenced by features in the sporadically published Art Matters Magazine and nearly every press release Levine manages to put out, they go on and on about their curatorial work writing wall text and rearranging galleries, as if they are preparing us for a terrible fright. Lately, they have been moving art around in the American galleries so that the artworks will talk to each other and tell us the TRUE meaning of being an American. Because, as they tell us, being an American changes all the time, and you need to listen to the paintings, look closely and see how they interact. Do they like each other? Can they get along? If you still don’t get it, read the wall text.

But coming to Toledo this summer just in time for Juneteenth is the enthusiastically inspired traveling show called Black Orpheus: Jacob Lawrence and the Mbari Club, June 3 – Sept. 3. It is co-curated by Brooklyn Museum’s young up-and-comer Kimberli Gant, who wrote an accompanying book about the Black American artist (1917–2000) and the 1960’s Nigerian art scene. Read about Jacob Lawerence here on this unrelated time-capsule of a website from the Whitney Museum in 2002, too good not to share.

It is interesting that it is Kimberli Gant’s family who originally owned the burnt miniature American flag piece that the museum acquired last year, purchased with funds from the bequests “by exchange” of dead patrons who happened to have been veterans who fought under the American flag in World War II. Would these Toledo veterans have approved of their money being used to buy a burnt flag? I bet it would break their hearts. The burnt American flag to-date has not been displayed to the public. But the wall text has been written – with great enthusiasm.

Will the museum be showing the burnt American flag piece? Or is it reserved for their “programs,” as the museum’s curator of contemporary art mentioned on Instagram? It must be exciting for the underpaid “contracted” museum teachers (mostly women who are not given health insurance) to pull out this 8×10 burnt American flag painting mounted on a 4-ply museum board and use it to inspire both young and old people at the “outside the museum walls” art-making spaces in federally funded housing projects.

The art-making spaces are funded by a local manufacturer of fiberglas insulation and roofing materials, Owens Corning, and the program is run by the Toledo Museum of Art. Since the museum no longer has their long-time Children’s Saturday classes that took place in the basement of the museum, in a school aptly named The Toledo Museum of Art School of Design, bringing together 2,500 children from all over the city of Toledo every Saturday during the school year, not to mention the many hundreds of adults it served during the week, and now the halls are empty, Adam Levine likes to boast that they have burst “outside their walls” with this new program that serves 18,000 people in housing developments within a 2-mile radius of the museum. Whether the residents want it or need it or like it or not. Everyone else in the city is out of luck because most of their efforts are funneled into the Lucas Metropolitan Housing Authority, the President and CEO of which, Joaquin Cintron Vega, happens to be a new museum board member, along with Brian Chambers, the CEO of Owens Corning who is also on the board, sitting pretty.

And speaking of Nigerian art, I wonder if the Toledo Museum of Art will be returning their looted Benin Bronze, or are they waiting out the storm, keeping it hidden while conscientious museums across the country are returning their looted art to Africa? Adam Levine must have figured that sooner or later the reports of returned looted art will be old news and used to wrap fish.

If we can only be patient, coming next year will be a show curated by the recently retired Toledo Museum Curator of European Art, Larry Nichols.

It was good timing that Larry Nichols retired right before the $59.7 million sale of the three French Impressionist paintings, two of which were sold to one buyer under suspicious circumstances. And now he’s back on a freelance basis, with a real show to help out the museum since they have not been able to come up with a good one on their own after hiring countless curators. (It’s not that they can’t, they just haven’t wanted to.) There will be a show with not just one, or two, or three, but four Caravaggios, and they will be conversing with the wanna-be Caravaggios in the museum’s collection. How exciting! Put it on your calendar — Jan. 20 – April 14, 2024. I can’t wait!

I’m glad the museum could give our venerable old art curator an outlet during his retirement. Somehow Larry Nichols managed to persuade four museums to trust the Toledo Museum of Art, to get the museums to loan to Toledo their valuable painting. What a lucky break after the Toledo Museum of Art reneged on their promise to loan our Cezanne Avenue at Chantilly to the Art Institute of Chicago for their major Cezanne exhibition, which opened two days before our museum sold at Sotheby’s our valuable Cezanne painting, The Glade to a secret buyer for $41.7 million, the same mysterious person also buying Henri Matisse’s Fleurs ou Fleurs devant un portrait for $15.3 million. (See page in the show’s catalog, Cezanne, that was printed right before the show.)

What was the hurry to sell our paintings? Was our collection used as a catalog by a collector who made an offer that had a time limit that made Adam Levine betray his commitment to the Art Institute of Chicago? How could Adam Levine have sold our Cezanne right out from under these circumstances and break a promise to an esteemed museum? It hurt the exhibition, it hurt the public, it hurt the historic record, it hurt our institution – it hurt everyone. It is his fiduciary duty to be a good steward and to honor the reputation and legacy of the museum.

The money from the sale of the French Impressionist paintings, the Cezanne and Matisse that came from the Libbey Endowment and the Renoir that came from Mrs. McKelvy’s French Impressionist collection, should have been spent immediately on art, or else it should have gone back in the respective endowments. But instead they started an entirely new financial instrument with the proceeds of the art, making a lot of money for the bankers.

I wonder what the $2 million per year increase in the museum’s annual budget is going toward? They hired two people to be in charge of “People” and “Belonging” (a Chief People Officer and the other is the Director of Belonging.) The shows, as noted above, have been bare minimal offerings. They’ve reduced their public education to a skeletal existence. They closed the museum on Tuesday as well as Monday (except for MLK Day, a new tradition), so it is now only open five days a week. They raised their parking fee by 45%, right after they sold the museum’s three famous French Impressionist paintings. There are huge gaps in acquisition numbers for the art acquired in 2022, keeping the public from finding out what they are buying. This, after they made such a big deal about what they were going to buy. As it is a public institution formed to exhibit art to the public – the public has a right to know.

Why did the museum hire a curator of ancient art, Carlos Picon, the director of the Colnaghi art gallery in New York, who is an ancient art dealer? Isn’t that a conflict of interest? Do the objects being bought now really speak to the museum’s so-called mission of collecting art that looks like us and are they filling in cultural gaps and expanding the narrative of art history? Or is it the same old fluffy stuff?

Adam Levine said in his 2022 Forbes interview for a feature story on beauty without bias, “The superpower that an art museum has is when something goes up on the wall, it’s considered good. We set the cannon.” They’ve got the power, and they can do whatever they want with it.

In June 2021, the museum announced that a new gallery was being renovated that would be exclusively for solo shows of local artists. Then there was dead silence about it. It never materialized. After a year and no gallery, the donor himself, Bob Savage, told me that it was delayed because the museum couldn’t decide what to do. That’s how much they regard the local artist community, as if we do not “belong” or fit into their community/people/belonging plan. Then last week, on February 23, very quietly, Ohio’s Ninth Congressional District Invitational Art Competition high school art show opened the new gallery. No announcement of the gallery or the event was made to the public or to the artists of Toledo, but Ohio Congressman Marcy Kaptur, Representative of the Ninth Congressional District, was at the high school area art event named after her district thanking donors Sue and Bob Savage. So much for local adult artists as politics takes center stage at Adam Levine’s Toledo Museum of Art.

I remember writing to the museum board two years ago when their five-year plan was published in The Blade (see the first Blade article on this post). I wrote in response to the renewed community focus, and could they please bring back our 100-year old Toledo Area Artists Exhibition? The response was favorable and and Randy Oostra, the CEO arranged for me to have a meeting with Adam Levine, which took place two months later. That day, ready to give my spiel, Adam Levine surprised me with news that he said I would be the first outside of the museum to know – that they were renovating a gallery specifically for solo shows for local artists. One month later The Blade featured a news story (see above) a with a photo of Adam Levine, the donors that will pay for the renovation, and the mayor of Toledo. Then not a word was ever spoken or written about it, not on their website nor in social media, nor in their members magazine, then one mention, occurring in The Blade one year later in regard to the art making spaces in the federal housing projects, that those new art-makers may have a show at the museum gallery. Finally, nearly two years later, the gallery that was promised to professional local artists opened with a show for high school students. I feel sorry for those young artists because when they grow up, they will get no support from the museum, unless they live in the projects.

When the museum talks about community, local artists are not included. The art museum makes their own artists now.

We must trust them and believe they have our best interests at heart, Leslie Adams assured us in 2014. The former president of the Toledo Federation of Art Societies got a one-person show from the museum in 2013 as the first, and as it turned out, the only, biennial solo show prize winner ever. Other TFAS former presidents and museum insiders were also rewarded when the museum corruptly abruptly canceled our prestigious Toledo Area Artists Exhibition that we had had for nearly 100 years.

It is a tragedy for the community that the Toledo Area Artists Exhibition was ended. For nearly a century, it helped countless artists achieve their goals, including three generations of my family. Check out the significance of the show by looking at the bios, clippings and obituaries of the many historic Artists of Toledo on this website. The shows played a prominent role in the careers of nearly every successful artist in Toledo. The demise of this annual show hurts our very DNA.

Brian P. Kennedy, director from 2011 to 2019, is oddly honored. The Mellon Fellow title has been renamed to “Brian P. Kennedy Leadership Fellow.” It’s too bad that one of the first two Mellon Fellows hired by Kennedy (Halona Norton-Westbrook) was involved in the corruption of the Toledo Area Artists Exhibition in 2014. It gave the Mellon Fellowship a bad name. But with the new name, what kind of role model for leadership is Brian Kennedy after he resigned from the Toledo museum just 18 months before the end of his 10-year contract to go to the Peabody Essex Museum, then he quit that museum after only 17 months? Of his leaving the PEM, Kennedy said:

After thirty years in museum leadership on three continents, this current unprecedented period of racial, social, economic and political turmoil has given cause for serious thinking and new perspectives on the profound changes that are happening in our world and I have decided to pursue a new challenge.

Which is extremely weird.

His departure caused a great deal of damage to the Toledo Museum of Art in 2019, because the museum was not prepared with an heir apparent. It led to the unfortunate situation we are in today. The board members ended up hiring the museum’s other Mellon Fellow hired by Kennedy – Adam Levine – who had left Toledo, but then came back for this. But after just a couple of years and this track record, what is going on?

The museum has traded connoisseurship for money and politics. Art can be political, but a public art museum cannot be, because that would be divisive and polarizing. The Toledo Museum of Art was built on the principle of community.

In summary, our museum was built with wide open doors inviting everybody to walk through them. Before it was reduced to a bare minimum, the museum had the best educational system of any museum in the country, serving every person in the entire city who had a desire to learn about art. It was the hub of a robust local artist community that for many years had monthly local shows, and for 95 years had the prestigious annual juried show for local and regional artists. Not to mention the great art collection.

The art collected by the museum was chosen by art connoisseurs for its quality and encyclopedic representation of the world, as opposed to now, where it is chosen to serve a political agenda or fill a quota. From early-on and throughout the past century, our museum had been highly respected and drew great leaders such as Otto Wittmann and Adam Weinberg. The museum always had many shows going on at once and events of public interest. They published newsletters, catalogs and magazines keeping the public informed of all their goings on.

The museum’s mission was to educate and exhibit art to the public.

Today the mission seems quite vapid. That is, to get other museums to notice us and want to be like us. “THE MUSEUM SEEKS TO BECOME THE MODEL ART MUSEUM IN THE UNITED STATES FOR ITS COMMITMENT TO QUALITY AND ITS CULTURE OF BELONGING.” Yet how do we look to other museums when promises are broken? It is hypocritical to appear so “woke” while holding on to a Benin bronze looted art, not exhibiting it, not sending it back to Nigeria, and not a word about it one way or another. Their mission statement reveals their emptiness and hypocrisy, just like their new ad slogan “Art brings Toledo together,” when it’s doing quite the opposite.

The museum should be serving all the people who live here. Local artists matter. Our museum should not be used as a social experiment or as a stepping stone for the director’s next career move. But then it all seems like a smokescreen while they sell our valuable and beloved paintings, and who is profiting from that? Just look at everything that is at stake – artwork that is worth billions collected over 120 years.

With their two million dollar increase in the annual budget for the past two years, they have so much less to show for it.

It’s OUR museum. Where is the oversight?

Who gave them the right to take away the fundamental qualities of our museum, sell our art, demean our founders, kill our local traditions, invade our museum, live off our stellar reputation like blood-sucking vampires, and take our museum in a new direction all their own? Who are these people?

Categories
Artists of Toledo

Looting and the Toledo Museum of Art

Toledo Museum’s new culture of belonging does not mean they can keep looted belongings of another culture.
Photo and description from the book published in 1900, Antique Works of Art from Benin Collected By Lieutenant- General Pitt Rivers, D.C.L., F.R.S., F.S.A. Inspector of Ancient Monuments in Great Britain, &c. page 34. “Figs. 100 and 101. – Bronze cast of human head. Marked negro features, rudely formed. Three tribal marks over each eye. Peculiar pointed reticulated head-dress of coral or agate. Curious lines of incised circles above and below the eyes. Coral choker, badge of rank. Bands of coral or agate hanging down on both sides and at the back. Ears badly formed. The projecting base ornamented with a guilloche pattern of two bands with pellets.” See, Yale Library webpage here..

For a museum that vies to be a forward-thinking museum desiring to set an example for all other museums to follow, why hasn’t the Toledo Museum of Art returned the stolen Benin Bronze to Nigeria yet? It was stolen in 1897, so they’ve had plenty of time! If they want to set the example then they’ve missed the boat, since Benin Bronzes are already being returned by U.S. museums, including the Smithsonian, The Met and Boston.

It was stolen by British colonial troops who invaded Benin City in 1897. It was then sold to General Pitt Rivers, a collector, who started a museum with his new collection of looted art.

For an overview on looted art, see Hyperallergic’s October 4, 2022 story, John Oliver Roasts Western Museums in Episode on Looted Art  regarding “subjects like hesitant repatriation, antiquities looting, and the shady acquisition practices of auction … citing grisly colonial histories and contemporary looting schemes.”   View the highly entertaining youtube link where you can watch the entire 30-minute episode here.

A page from the Toledo Museum of Art publication – African Tribal Art, 1973, which commemorated the museum’s recently opened gallery, the Art of Africa. While the museum had owned examples of African art for 15 years, it had only then, in 1973, acquired enough to form a gallery solely devoted to the art of the vast continent. The Benin Bronze was one of the first African objects it acquired, in 1958.
The African Image, Toledo Museum of Art’s 1959 show of African Art, put together from the collections of 37 museums and private collectors.

Toledo’s Benin Bronze came from the Pitt-Rivers Museum in 1958, right before the museum closed. This museum was General Augustus Henry Lane-Fox Pitt-River’s personal museum at Farnham, Dorset, England bearing the same name as the museum started at Oxford University with his earlier bequeathed collection. 

Toledo’s Benin Bronze was featured in multiple African Art catalogs published by the Toledo museum in 1959, 1973 and 1998. But it’s not on display. Why not? Is it because it is so shameful to have this object, but Adam Levine can’t “pull the trigger” (as he so colorfully described his divestment of the museum’s three great French Impressionist paintings last spring for $54 million) to shoot this object back to Africa?

The Benin Bronze featured in the Toledo museum’s catalog, Facing Africa: The African Art Collection of the Toledo Museum of Art, published in 1998.

With Lenisa Kitchiner as the Toledo Museum of Art’s African art consulting curator, who also works full-time for the Smithsonian, an institution that is sending theirs back, it seems odd that Toledo’s Benin Bronze is in limbo — it’s not on display, but it’s not on a plane going back.

Toledo Museum of Art website catalog details, 2022. Not on display.
The museum says one thing but does another.

Just this summer, in the Blade’s 7-26-22 Toledo Museum of Art helps bring stolen antiquities back to owners, in regard to four objects looted from Italy in the museum’s collection, the museum told us that “the process of sending artwork to its home country and leaving the museum’s collection, or repatriation and deaccessioning, is integral to what the museum stands for.”

“The museum has a long history of helping in repatriation processes like these, including an Etruscan water jug caught up in an international trafficking scheme that was returned to Italian authorities in 2013 and a scientific instrument called an astrolabium, determined to have been stolen from Germany during World War II, that was returned to the German government in 2015.”

Toledo Museum of Art’s looted Italian kalpis, 1982 – 2013.
The 2013 repatriation of the Italian water jug

The Etruscan water jug, or kalpis, was sold to the museum for $90,000 in 1982 by Gianfranco and Rosie Becchina, who got it from the infamous Giacomo Medici. You can read about Becchina and Medici in the book, Chasing Aphrodite, an exposé of the antiquity looting at The Getty written by the journalists who had reported on it for the L.A. Times. In fact, this book describes the finding of Medici’s polaroids in 1995, one of which shows this very kalpis still covered in dirt from a recent illicit excavation. It wasn’t until 2012, the day that USA v. One Etruscan Black-Figured Kalpis, circa 510-500 BC, case No. 3:12-cv-1582 appeared online, that the Toledo Museum decided to do what they “stand for,” and send the looted antiquity back to Italy.*

Denying any other looted art in the museum besides the Nereid Sweetmeat Stand which was stolen from the Dresden museum during World War II, bought by the Toledo museum in 1956, and returned to Dresden in 2011, Director Brian Kennedy questioned, should there be an end-date to repatriations? It was his second, but he would oversee a lot more between 2015 and 2019. One was another 1982 acquisition of an Italian drinking vessel obtained from the same looters of this kalpis, Becchina and Medici.*

About the Subhash Kapoor-looted Asian antiquities
The Ganesh, Toledo Museum of Art 2006 – 2014.

The Ganesh was stolen from the Sivan Temple in Tamil Nadu India in late 2005 or early 2006. It was then sold to Toledo Museum in 2006, who returned it to India in 2014, two years after the Manhattan antiquities dealer, Subhash Kapoor, who sold it to them, was extradited to India to await trial for illegally taking antiquities out of the country. Kapoor had also given 48 free objects that the Toledo Museum listed in their 2007-2008 Annual Report as being recent additions to their collection. In this same publication, the museum thanked Kapoor on the donor page for his donation valued at more than $100,000.

Yellow highlights show the Subhash Kapoor gifts to the museum, which the museum added to their collection. The museum would claim later that it had never added most of these in its collection. See, here. Hmm. The blue brackets point out two of the purchases, including the pictured vessel which was also featured in the 2009 Toledo Museum Masterworks book.

This Subhash Kapoor episode is well-documented on the blog, Chasing Aphrodite, which is written by one of the authors of the book of the same name, mentioned above. Quote from the blog:

The Toledo Museum of Art told the New York Times that it had received a gift of 44 terracotta antiquities from Kapoor in 2007. The only object that appears in a search of the museum’s online collection is a terracotta vessel purchased in 2008. The museum published the object in 2009 in a book of the museum’s masterworks, but offers no ownership history other than saying it was created in Chandraketugarh, an archaeological site north-east of Kolkata. Where was it before Toledo? What are the ownership histories for the other 43 objects acquired from Kapoor?  –– Chasing Aphrodite

The museum replied to Chasing Aphrodite’s July 2013 inquiry with this:

“Our policy is to respond to requests about objects in the TMA collections made by official authorities such as museums, law enforcement agencies, foreign governments and those making legal claims to ownership,” spokeswoman Kelly Garrow** told me. “There have been no such inquiries to date in regard to the objects referred to in your email.” In other words, in Toledo’s view the public has no right to know the ownership history of objects in the museum’s collection, even when serious legal questions have been raised.

The museum came clean about their dealings with Kapoor in March 2014, attributing their decision to the information given to them by Chasing Aphrodite, even though the museum stonewalled their inquiries for two years and told them that they don’t have to answer to the public.

Subhash Kapoor gave a lot of free gifts to various museums, including The Met. The Met has several of these freebies listed as 20th Century. They are replicas – fakes. Kapoor would smuggle into the U.S. the real stuff packed in boxes of replicas, and the boxes would be marked, “replicas.” [see this Paul Barford blog link for that detail.] 

The true meaning of Belonging

And now we have a young new museum director with a major in anthropology, art history, and mathematics and social sciences, who did his graduate work at Oxford University – home of the Pitt Rivers Museum, albeit the first Pitt Rivers, which itself houses 327 Benin Bronzes according to Wikipedia. Our director, Adam Levine, seems to want to “contribute to the eradication of the illicit market for ancient artifacts.” He wants all museums in America to follow his good example. He’s leading a “Belonging” campaign where he endeavors to make the museum more welcoming by displaying a specially balanced world history in order that everyone will see themselves in the galleries. But this important Benin Bronze historical sculpture from Africa is not being shown in any gallery. Nor has it been returned to Nigeria. And not a peep about it.

The museum’s Belonging Plan states, “it is important to acknowledge the prior inhabitants of the land on which the Museum stands” and “The Toledo Museum of Art created a Land Acknowledgment both to honor the Indigenous peoples who resided on the land before the founding of the physical campus in the early 1900s and to demonstrate support for Indigenous communities of Ohio, celebrate their cultures, and recognize their forced removal from their lands in previous centuries.”

The hypocrites!

Since the sculpture was stolen by English colonialists in arguably the earliest episode of modern-day looting, in 1897, an ambush that captured an entire cultural heritage in artwork, shouldn’t the Toledo Museum of Art be returning this object as fast as they can – (they sure could sell three French Impressionist paintings at lightning speed) – considering the new branding and what the new 2022 Toledo Museum stands for, and to meet the museum’s goals for being totally authentic by 2026.

The Toledo Museum needs to do a survey of all of its works of art and research to find out if any had been purchased from looters or money launderers of stolen artwork, and they need to put online a database of the entire provenance of each work for the public to freely access. They need to do it with the same determination that they gave to the recent audit of their artworks, which showed that “the greatest imbalances exist across gender, sexual orientation, race and ethnicity, nationality and geography, and material/medium.”

The museum should rethink that recent survey – what is the relevance of any of that, and specifically, of the nationality and geography of an object, when so much of that relies on an illicit market, when the museum should not be stealing from other cultures. The museum is, after all, into belonging, and Nigeria should own back their heritage that was stolen by the English colonialists, because it rightly belongs to them. 

And while they are at it, the Toledo Museum of Art should stop looting the local Toledo community of its cultural traditions. They should reinstate the museum’s long tradition of children’s Saturday art classes that had always been for ANY and ALL children in Toledo (2,500 children every week), instead of just a discriminatory few children (25 at the most?) at a specific grant-written outreach after-school childcare program at a library. Return to our Toledo community the century-old Toledo Area Artists Exhibition, that the museum stole from us in 2014 under a cloud of corruption, and give us that Robert and Sue Savage Community Gallery for local artists promised to us in June 2021. The Toledo Museum of Art got Robert and Sue Savage to donate a lot of money to renovate a gallery space for one-person local artist shows 17 months ago, so where is it?

*Museum Ethics and the Toledo Museum of Art, Christos Tsirogiannis, artcrimeresearch.org  Christos Tsirogiannis is a forensic archaeologist who wrote about the kalpis and brought to light the looted Hephaistos drinking vessel in 2017, which the museum did not deal with until 2019.

**Regarding Kelly Garrow, the museum’s former Director of Communications who wrote the 2013 email to Chasing Aphrodite saying that they owed no answers to the public in regard to looted art in their collection, see this interesting 2014 message to this very artistsoftoledo.com blog (scroll down to the comments), where she was inspired to write 10 paragraphs about how the museum did not “fix” the Toledo Area Artists Exhibition of 2014 to add their own employees, and more.

Categories
Artists of Toledo

TFAS100+5 = Fraud

The Toledo Federation of Art Societies claims that the upcoming art show, TFAS100+5 is a continuation of the Toledo Area Artists Exhibition, yet it is at best a bastardization of the show, to be sure.

TFAS100+5 = fraud

The Toledo Federation of Art Societies is invoking the tradition of the Toledo Area Artists Exhibition, that of the show that they killed that was held at the Toledo Museum of Art for 95 years. They are doing the new show to increase their membership. You have to be a Federation member to enter this “reboot” show! You can only enter the show “with independent membership [of  TFAS] and a [mandatory listing, making yourself a forced member in the] TFAS artist directory”.

The show and all of its requirements are for the federation’s own corporatey benefit, to feed their own corporatey agendas, and not for the benefit of the individual artists of Northwest Ohio.  Our Northwest Ohio art and artists are secondary to the federation’s agenda.

By entering the show, you have to join their club, and you must agree to be listed on their online artist directory – free endorsements for them to build up their broken Toledo Federation of Art Societies. The TFAS deceived us, deceived our community. They were traitors to the tradition of the long-standing, oldest museum-hosted regional show in the country, the Toledo Area Artists Exhibition. The past presidents of TFAS and their friends got themselves a big payoff for killing the show, rewards of which culminated in 2014. The TFAS president at the time defended it all by saying that’s how it is – that’s the world we live in. I remember the condescending program the TFAS had concurrently to this last TAA show with all of the insiders in it — teaching the poor artists who didn’t get in how to be professional artists.

Buyer beware!

The reboot regional show is not inclusive and it does not promote equality.

Having to be a member to be in the regional art show is discriminatory.

If you have to be a member of the _ _ _ _ party (you fill in the blanks) to be in the show, that’s discrimination.

It is not a continuation of the TAA show — the TFAS killed the TAA show and we can never forget it! Eight years ago, in 2014, they put their own federation presidents into what became the last Toledo Area Artists Exhibition.

The “federation” wants to use your work to promote their agenda — it’s a requirement!

Another requirement — your work has to be for sale! You may not enter the show without your work being for sale! You must donate 30% of the proceedings — it must be donated — 10% to the Federation and 20% to a very specific University of Toledo temporary art department fund.

Preeminent Toledo artists avoided this show when the TFAS came up with it two years ago. The top Toledo artists were courted individually to partake in the new show, but most of them said no thanks.

The Toledo Federation of Art Societies has fragmented the Toledo art community.

The TFAS100+5 is a membership drive. The audacity, after the TFAS killed the 95-year old art museum show so flamboyantly in 2014, but not before they rewarded themselves.

The TFAS100+5 show is a fraud.

The TFAS should be lobbying the Toledo Museum of Art to give us our previous, prestigious, 95-year old original show back. But the TFAS doesn’t want to do that. The museum is a member, could that be it? Instead they attempt to resuscitate their moldy, corrupt organization that killed our show in 2014. They do this today by forcing artists to be a member and be listed on their online database, as if that is a normal requirement to enter a mediocre so-called regional show for all regional artists that they call a biennale. The TFAS serves their own agenda and hurts the Toledo art community by making the artists who simply submit to the so-called regional juried show become a Toledo Federation of Art Societies member. What for?

A sense of belonging – NOT

It is truly ironic that the Toledo Museum of Art’s five year plan set forth one year ago was to promote a sense of belonging — and one year into it, the museum has rediscovered its commitment to the community and seems to be finding its roots — yet the artists and art groups lassoed by the TFAS don’t bother to seize the obvious opportunity at this moment to lobby for the return of the local art community’s great Toledo Area Artists Exhibition.  The Toledo Black Artist Coalition spoke up for Black Lives Matter in 2020, and they were heard loud and clear by the Toledo Museum of Art. Look at the changes the museum has made as a result! Black artists of Toledo are highly admirable for their courageous activism. As for the rest of the art community, they have lost their vision. They are at risk of getting suckered in by the corporatey self-serving Toledo Federation of Art Societies (based on the two 19th-century single-sex male and female art “societies,” plus the art museum — rotten leftovers of the spoiled 95-year tradition of the Toledo Area Artists Exhibition at the Toledo Museum of Art, killed in 2014.)

What is going on with the historic art collection of the Toledo Area Artists Exhibition Purchase Awards?

The Federation was asked by the Toledo Museum of Art to move the collection from the museum’s storage about 20 years ago. So they moved it into a closet at the Toledo School for the Arts, in the charge of the Toledo public school system.

Perhaps the Federation could give the historical collection to the Toledo History Museum, as the collection shows how Toledo was once such a vibrant art community. The collection is an albatross on the Federation, as well as a perversion, considering their role in demise of the TAA show. The TAA purchase awards should belong to the people.

The Museum in the Seventies

Categories
Artists of Toledo

Toledo Museum of Art: Repair the Damage

Adam Weinberg in 1979. Adam was a truly great, forward thinking, community oriented Toledo Museum Fellow, and is now the Director of the Whitney Museum of American Art. I photographed him in the cornfield adjacent to his house. 

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.

Brian Kennedy’s slide presentation of the museum’s mission, at the 2011 TAA Jury Dinner. Artist Craig Fisher and his daughter in foreground.

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?

Categories
Artists of Toledo

Mary Wolfe: Artist, Art Historian, Art Collector, and Honored Patron of the Arts. (1931—2014)

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.
 
 
Categories
Artists of Toledo

Letter to the Editor of The Blade

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

Categories
Artists of Toledo

Sometimes when you look in the microscope you see the whole thing.

Photo by Steve Coffin of John Botts and his Big Peony painting. Corte Madera, California
Photo by Steve Coffin of John Botts and his Big Peony painting. Corte Madera, California

This photo came today in my email — a photo of John Botts, my painting teacher at the Toledo Museum of Art School of Design. Wow. I owe so much to John Botts — he made me see what I really was, which is a photographer. When he saw the first photographs I took, he gave me a book — the first edition of Robert Frank’s book, The Americans.

It is probably fair to say that the Toledo Area Artists Exhibition this year is the most controversial Toledo Area Artists Exhibition there has ever been, and not for the art either, because we don’t get to see the art until November.  The show is controversial this year because of the circumstances created by the Toledo Museum of Art and the questionable decisions that the museum has made that put the show and the museum in a bad light even before it opens.

excerpts from the press release about the 95th Toledo Area Artists Exhibition on Toledo Museum of Art website

Were they really? Pleased with our region? Doesn’t seem so.

Out of all those entries that they looked at — 4,175 images, 44 videos, and two audio entries, the museum curator in-house judges could barely find any Toledo artists for the show who didn’t work at the museum, or weren’t friends of theirs, etc. or weren’t the most recent presidents of the Federation of Toledo Art Societies, the group that was formed in 1918 to put on this show, to put in the show.

And then the curators had to go beyond the Toledo area to fill it in with out-of-town artists from Akron, Cleveland, Columbus, Detroit, Grand Rapids Michigan, Muncie Indiana. Our Toledo Area Artists Exhibition.

We have so many artists in the Toledo area, yet in a show that has only 28 artists this year, cut down from a show that had 76 artists last year, a show that historically ranges anywhere from 70 to 120 artists — of 90% real Toledo area artists, the museum this year  has to go 150 miles out in all directions to pick out 17 artists who live outside of the 17 counties that comprise the Toledo area – the 15 counties of NW Ohio and the two bordering counties in SE Michigan?

Then, with our show taken over by metropolitan areas that are not our own, over half of the meager remaining 11 artists chosen actually from this area, from all the 4,175 images that they got to select from, are artists within the “Museum nucleus?”

Is that okay with you?

Do we really have to drink this water?

 o

Is it fair that 435 artists paid $30 each thinking that they were entering a fair competition (435 x $30 = $13,050) when they never had a chance because the museum judged it and got to put in their employees and friends, then fill it up with a pick of artists in big metropolitan areas not our Toledo area, that the museum has the audacity to call the 95th Toledo Area Artists Exhibition?

The reason why the annual TAA show started using outside jurors after eight years into their history was so that the show could be judged fairly and without conflicts of interest.

So this year, 2014, for the 95th annual show, why did museum staff members make themselves the jurors of the 95th Annual Toledo Area Artists Exhibition? Was it so they could unfairly get to pick fellow museum employees and friends, for some unknown reason, or maybe it was because they got Christopher Knight to be the money judge and they wanted to make themselves look good?

How does that make you feel, big vibrant Toledo art community? Are you ready to trade in your chance at entering the TAA show every year, along with the chance of winning and getting recognition for your creativity at the great white marble pillared Toledo Museum of Art, for the condescendingly concurrent series of workshops run by the Federation to teach you how you can be more professional like those “full time” “professional” artists who are supposedly so much better than you, that are showing in your place, in your TAA show?

This show belongs to us, the Toledoans, to help “us all” be better artists, as well as, in return, for “all us” artists to contribute to and continue the artistic cultural history of Toledo that is and can only be us. And why don’t we clean up our water too.

Please keep the Toledo Area Artists Exhibition at the Toledo Museum of Art and for the Toledo area artists. It’s our legacy and it belongs to us. It’s our tradition.

o 

The Toledo Area Artists Exhibition for Toledo area artists is the oldest regional art competition affiliated with a museum in the United States. It gives the art community a great sense of pride to compete and get in to the prestigious museum show, that features and celebrates the talents of Northwest Ohio and Southeast Michigan. It’s 95 years old.  Must it go so soon, so young in European terms, just a baby in comparison.

Categories
Artists of Toledo

Herral Long Photographed the Pulse of Toledo for Sixty Years

Herral Long, beloved long-time Blade photographer passed away on Saturday, June 14.

He photographed every United States president since Dwight D. Eisenhower, as well as day-to-day newsworthy events in Toledo for six decades. He was forever curious and experimental as a photographer and often said that taking a great picture was like catching a butterfly.

He was an award winning photographer and named Ohio News Photographers Association’s first Photographer of the Year in 1967.

He was a free spirit and founding member of Joyce Perrin’s Any Wednesday, a gathering place for poets, artists and musicians, a Toledo art scene tradition which has been going on since 1964.

He played a dulcimer and wrote songs for his wife, Marcy, who had Alzheimer’s disease, believing that one’s sense of hearing is the last to go.

He began photographing for the Blade in 1949 and retired in 2009. Herral Long arranged the timing of his retirement so that The Blade would have to keep on a recently-hired photographer, Amy Voigt, whose position was about to be eliminated. Herral felt that she was very talented and by his stepping down, it would give her an opportunity.

In a 1969 Toledo Museum of Art Catalog for a show he was in, it is reported that he was interested in mountain climbing, sailing, photography, palm reading.

He was a wonderful, charming person and friend to all.

Categories
Artists of Toledo

Marguerite Michaels and her Art Collection

Marguerite Michaels is an awesome supporter of the arts. I met her a few years ago at Marcia Derse’s Christmas sale. She told me she had recently bought one of my Confabulations photos at the Hudson Gallery. It was the one of two women on the sidewalk. At Marcia’s, she bought my abandoned church photo from my Still Standing series — maybe it reminded her of the time that she almost became a nun (she went through everything but the final vows.) Later, she bought my Woolworth’s photo and an artist book I made of my mother, Audrey Gentieu’s movie star pastel portraits. She took great pleasure in building her art collection, which went gangbusters during the “great recession.” She bought a ton of local art, and I for one really appreciate her for that.

Marguerite is a strong and brilliant woman. After realizing that becoming a nun was not her calling, she moved to New York, where she worked for Time Magazine as a journalist, and eventually became the Bureau Chief in Nairobi.  Living in Africa, Marguerite became well-versed in African Art and collected it. She came back to Toledo around 10 years ago, for the same reason that brings many of us back — to help family. She immersed herself in collecting all kinds of art, and she brought contemporary African art to Toledo. In October 2013, Marguerite helped curate and sponsor an African Art exhibition at the Hudson Gallery. This photo above is Marguerite with artist Tunde Odunlade at the show.

Marguerite is bold and courageous. For all the things she has done in her life, she has utilized her fullest heart and soul.  She has now decided that, for whatever personal reasons, she did not need any of her collections in her life anymore and is selling everything. Just like that. No regrets, no emotion holding her back from her mission. Her latest chapter as a collector has abruptly come to an end. Her estate sale, which includes the entire contents of her house, is taking place every day this Easter week, culminating on Saturday. Her collection of Toledo artists is an eclectic snapshot of contemporary local art — work by Mr. Atomic, Willis Willis, Dave Wisnieski, Jan Dyer, Scott Hudson, Jay Bumbaugh, Lana Pendleton Hall, Richard Reed, Karl Mullens, Annie Crouter, Skot Horn, Paige Koosed, Bob Beach, Dominic Labino, Baker O’Brien, Ann Tubbs and yours truly.