Tag: Lanisa Kitchiner

Categories
Artists of Toledo

Before they sold off masterpieces prominently on display

Our museum should not be a catalog for billionaires to add to their art collection at our expense.

The day I shot these photos, on October 13, 1979, I was teaching a children’s Saturday photo class. It took place under the stage of the Peristyle. We went up to the galleries, as Saturday classes often would.

This photo is of the center entrance of the museum. The first gallery a visitor would come to was that gallery in the upper left, and on view here, in the distance, is the famed Cezanne, The Glade, that Adam Levine sold at auction on May 17, 2022, touting it was necessary in order for diversity.

This is a student in my class. She’s taking her first photo — in it appears The Glade by Cezanne, which is right next to Renoir’s Bather, which was also sold off by Adam Levine.

This photo shows a diverse group of people in that very gallery — so why did Adam Levine think that the museum did not attract diversity? Is it because he was using diversity as a smokescreen for his outrageous sale of three French Impressionist paintings, two of which were bought with funds from the Edward Drummond Libbey Endowment and were Libbey’s gift to to the people of Toledo, but Adam Levine took those proceeds and funded a separate private fund devoid of public scrutiny and against the wishes of the Libbeys — in the amount equal to that of the Libbey Fund?

Right next to the Cezanne and the Renoir paintings that Adam Levine sold is Renoir’s sculpture of a bather, shown here on the left. Adam Levine considered the painting of the bather by Renoir redundant and not necessary for the museum to keep, since they had the sculpture of the bather by Renoir. He said that the museum never intended to have more than one example of any one artist so therefore they sold the Renoir painting of the bather. Note the diverse group of children drawing on the floor in this room.

After leaving the first gallery, where the Cezanne and Renoir paintings were shown prominently, a visitor would enter the next gallery, where one of the first paintings in the gallery hanging on the right would be Henri Matisse’s Fleurs ou Fleurs devant un portrait that Adam Levine also sold. Here, a visitor examines a sculpture by Aristide Maillol (1861-1944), Le Monument à Debussy, (in conversation with the Renoir sculpture in the first gallery) with the Matisse painting hanging in the background.

Important to the museum’s collection.

So that’s three very famous, highly valuable paintings that were prominently on display at the Toledo Museum of Art, showing that these were the first paintings out of hundred of works of art that a museum visitor would encounter. But in 2022, these highly valuable paintings were called redundant and mediocre by Adam Levine, and sold for “diversity,” supposedly.

Here are two young black men enjoying the museum. This was in 1979. The museum has always had a diverse audience. But now Director Adam Levine keeps careful head count, mapping and going out of his way to exploit diversity or is that just a cover for the unconscionable sales he made of the museum’s great artwork?

Here’s a shot of the photography classroom under the stage of the Peristyle. In the background, a student is drying his print on the ferrotyping drum.

Incidentally, the children’s Saturday photography classes have also disappeared.

Photography is such an interesting medium. How could I have known then, when I was taking these photographs, that they would have such meaning today?

43 years later, three important and significant paintings that were hanging in the museum’s main galleries would be shipped to Sotheby’s where the Cezanne and the Matisse would be sold to the same buyer, for $57 million, and all three, grossing $61 million, would duplicate the value of the Edward Drummond Libbey Endowment Fund, putting the money into a private fund, not subject to public scrutiny, and skirting past Libbey’s rules and wishes for the museum that the Libbeys began. Reducing the art collection and taking away Libbey’s legacy. Shame on Adam Levine and shame on each one of the museum board members and Libbey Endowment trustees for their total breach of fiduciary duty and loyalty to the Libbey Trust and to the Toledo Museum of Art.

We will never see the paintings on the museum walls again. But I have photos. And this story to tell.

(If you zoom in on the flash, you will see me there.)

I am hoping that the findings of the Charitable Law Section of the Ohio Attorney General, which has been investigating the museum and the Libbey Trust for about five months now, will be bringing justice to Libbey’s trust, to our museum, and to the people of Toledo. The Ohio Attorney General’s office has the power to find out who bought the paintings and under what circumstances. They can investigate all the inner workings of the board of directors and the trustees of the trust that let this happen. They can do a complete audit. Can Adam Levine and the trustees of the museum and the Libbey trust actually be allowed to transform Libbey’s endowment into private funds devoid of the restrictions of the Libbey Endowment?

Categories
Artists of Toledo

Museum shrinking away from founders

Founders of our so-called "Eurocentric" museum in Egypt, in Africa
The Toledo 2-Mile Radius Museum of Art

It’s Edward Drummond Libbey’s birthday today – he was born on April 17, 1854. Some people care – like the alumni of the high school named after Mr. Libbey that was torn down in 2012 and never replaced, and the runners of the “Florence Scott Libbey 419 Race” in honor of Edward Drummond Libbey’s wife. As for the Toledo Museum of Art, they stopped putting flowers on his grave, letting his memorial look terrible one week ago on Easter Sunday, a day that the museum is required to decorate the grave with flowers, as stipulated by the Florence Scott Libbey Endowment. (see my last post, No flowers for the Libbeys the year.)

Adam Levine’s recent guest editorial in The Blade

After my guest editorial in The Blade on March 18, where I showed that the museum is moving away from the wishes of the Libbeys, Adam Levine countered with his own editorial on March 26, “Museum growing on mission set by founders,” where he grasped to make connections with the founders – as if words, regardless of deeds, would make it so.

I found a lot of inconsistencies in his editorial. Here they are.

Comments on Adam Levine’s March 26, 2023 editorial

First of all, it was George Stevens’ wife, Nina Spalding Stevens, who instituted the art classes. At least give her that much credit. Nina and George ran the museum together. Yes, a woman was a partner in running our museum, way back in 1903. Imagine that.

Secondly, the adult classes back then in the beginning and through at least the 1970’s and 1980’s were quite extensive, nothing like we have now, and to say that they are “as we still know them” is just not true.

The museum let the richness of the adult art classes slip away when the university took over by hiring their own faculty in the 1990’s when moving to the new Gehry building that is attached to the museum. The adult population now has to pay a ridiculous tuition and unfair activity fees to take the university art classes. It’s a great disservice to the community. Over in the museum basement in the old school, there’s not much going on.

This is not true, I went to the University of Toledo, Toledo Museum of Art School of Design in the early 1970’s and my art classes were university credits.

My sister went to the University of Toledo, Toledo Museum of Art School of Design in the 1960’s and her art classes were university credits.

Many artists on this website had art classes at the museum that were applied to their University of Toledo BA degree, going back to the 1940’s, maybe earlier, such as Carroll Simms, LeMaxie Glover, Edith Franklin (who had her credits for her art classes in the 1940’s and 1950’s applied toward her degree in 1987, when she turned 65 and wanted to get her degree so she could teach. All she had to do was pay the extra amount to the university, as adults could take adult art classes at the museum in the past without being a university student, and it was cheaper. University students pay university tuition.)

Except that Adam Levine has shrunk it.

Again, Adam Levine invokes our great museum’s reach when he has actually shrunk the museum’s focus from a community of over a half a million down to a community of 18,000 people all within a small 2-mile radius, forsaking the larger community that is 36.111 times that in head count, from a number which reflects the museum’s local reach in their own words, noted in their 5-year strategic plan – “its 650,000-person metropolitan statistical area.” (see below)

The Libbey Endowment Trust variance

In the summer of 2020, the museum filed a petition with the Lucas County Probate Court for a temporary variance on the Edward Drummond Libbey Endowment Trust to use less than the trust-stipulated 50% of the annual draw on the purchases of art, on account of the economic hardship of the pandemic. They were granted, for two years, ending July 1, 2022, the use of $150,000 per year to be taken from the art purchase fund to be used on “direct care costs of art” instead of on buying art. And I am guessing they did the same thing with the Florence Scott Libbey Endowment Trust, as well.

So it seems contradictory that the museum was able to increase their budget by 20% during the past three years – years that they were claiming hardship and diverting art-purchase funds. And during this time they also sold three of our famous paintings for $59 million, claiming to want to spend it on new art. All it’s been spent on so far is a new financial vehicle that’s making money for financial people.

5-year plan said so

Also, this contradicts the statement in The Blade on March 9, 2021, reporting that the 5-year plan calls for decreasing the percentage the museum draws annually from the Libbey endowment —

The plan calls for financial changes that include increasing the budget from about $18 million to $20 million, and decreasing the percentage the museum draws annually from an endowment that founder Edward Drummond Libbey established for the museum upon his death in 1925.

over budget already, and it’s only been 2 years

Also, the increase in the budget two years ago was about 12%, but now he is saying the budget has increased by 20% — 8% more than the 5-year plan called for.

the remote control of the museum

Why do we have curators who live outside of Toledo? Adam Levine hired a consulting curator, Lanisa Kitchiner, for the museum’s African collection. Although the museum doesn’t mention it in their press release, she is the Chief of the African and Middle Eastern Division at the Library of Congress in Washington, D.C., with an educational background in literature, African studies and politics, not art history.

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? 

What is going on that the Toledo Museum of Art is hiring people from out of town who do not live in Toledo, or even in Ohio, to run our museum remotely?

Why “rebrand” the museum?

Adam Levine started a brand-new department, Brand Strategy, to redefine our museum, hiring Gary Gonya, who lives in Colorado, as the director of the department. First, Adam Levine painted our museum as being somehow elitist if not downright white supremacist, (see, Blade article, June 2021) when it had always been a progressive, democratic museum for all of the people.

“Art museums…Elite. Erudite…but for many, the word ‘inaccessible’ must also be included on that list.”

“…their auras of excellence can deter the average citizen from feeling they are places to frequent, enjoy, and learn from without having a gold-embossed degree in one’s back pocket.”

“the art museum really is looked at as a place for the people on the river…”

“Mayor Kapszukiewicz said there historically has been a sense that the art museum was a place for the Florence Libbeys of the world. Mrs. Libbey was a patron of art married to Edward Drummond Libbey, the owner of Libbey Glass Co. and the art museum’s president from 1901–1925.”

Then Gary Gonya came in and said, “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.” Art Matters, Winter/Spring 2022

Now Adam Levine harks back to the museum’s founders, claiming ownership of the museum’s progressive, democratic history.

It’s as if what they have done by discriminating against most of the people in the Toledo metropolitan area in favor of people who live in a small geographic area, and by selling our best paintings, isn’t actually a big break from the founding principles instead.

A new Communications Manager, a department which is now overseen by Brand Strategy, was hired at the museum who was living in Lansing Michigan. She appeared on TV saying that Toledoans want to see themselves on the walls. She wrote and edited a belated quarterly Art Matters Magazine in September 2022, and then after just a few months of museum employment, she left. There has not been another Art Matters Magazine since then.

TMA was greater when the budget was half as much

Even though they have added the Branding Department, a Chief People Officer and a Director of Belonging and Community Engagement and fully staffed these new departments, and even though they spend $3.6 million more this year than they did three years ago, the museum has not managed to continue the things that has made it great.

The School of Design made the museum great. The great Saturday Children’s Class program that was coordinated with the Board of Eduction to provide about 2,500 public school children (parochial school children too) with an extensive, full-school-year program of art classes is what made the museum great. Free at first, then nearly free.

The adult art class culture and community that the museum used to have made the museum great.

The annual Toledo Area Artists Exhibition that brought together the region’s art community, that celebrated their creativity and made everyone feel part of it and welcome made the museum great.

Selling our valuable and historic art

It is so ironic that while expanding budgets and commandeering endowment fund art allocations for other uses, that Adam Levine took away perhaps the most important thing that made our museum great.

Adam Levine sold three of our world-class famous historical French Impressionist paintings that we had in our collection for a very long time. These paintings were a substantial part of the museum’s small but strong collection of French Impressionism. These paintings meant so much to our community, and people came from near and far to see them. They were very accessible. Cezanne is considered the father of modern painting.

The museum’s great art made our museum great.

Invoking Libbey to pass off a lie

Adam Levine took our Cezanne, The Glade, right off the wall and sold it for $41.7 million. He lied to us about the reason why he was doing that, saying that the painting was mediocre and Libbey would have wanted us to get rid of it, and that the museum never meant to have two examples of any one artist.

He embarrassed us to world by promising our other Cezanne to the Art Institute of Chicago’s Cezanne Exhibition taking place concurrently, which is documented full page in the show’s catalog as being in the show. Instead he sold our other Cezanne, The Glade, right off the wall, just two days after the opening of the important Cezanne Exhibition at the Art Institute of Chicago.

Just wondering why the art acquisition numbers indicate that a lot more art was bought during that time? I saw a work with the number 2022.92. That would indicate it was the 92nd work bought in 2022. And he states here that they acquired only 75 works over 2 years. Did they buy and sell works to flip them, perhaps? Funny thought but with all the weirdness going on at the museum, I wouldn’t put it past them.

TMA has never not explored world art

The Toledo Museum of Art has always explored art of the entire world, it doesn’t need to raise budgets and hire more employees to do so. What the museum needs are art curators who are connoisseurs, not statistical survey satisfiers.

Unimpressive shows and few of them

I counted only five shows in 2022, and they were unimpressive. Two shows in the past two years were showing the restoration of artwork. The second show like this, in the fall of 2022, was used as a fundraiser to raise money for the restoration of certain pieces, which is funny because the restoration of art is what the Libbey variance of 2020 was about (“direct care of art”) – the museum received extra money for this use, yet there they are trying to get the public to pay for the restoration of the glass dress that represents the Libbeys themselves. The variance diverting Libbey’s money for the restoration of art was not even used to care for Libbey’s deeply important and meaningful legacy.

The shape of things to come

The coming show about extinct birds, Alexandra Daisy Ginsberg – Machine Auguries: Toledo is running an extra-long time for a show at a museum that claims to be working on bringing in repeat visitors – seven long months – from April 29 to Nov. 26. The show is not sponsored by the Libbey Endowment Fund. Instead, it’s sponsored by 8 different sponsors, including corporations, donors, foundations and the Ohio Arts Council: “Presenting sponsors Susan and Tom Palmer, Season sponsor ProMedica, Platinum sponsors Taylor Cadillac, the Rita B. Kern Foundation, and The Trumbull Family and Silver sponsor Dana Charitable Foundation. Additional support provided by the Ohio Arts Council and the Boeschenstein Family Foundation.” All those corporate sponsors, and still, the museum is charging $10 for non-members to see it.

Nearest neighbors being left out? a big lie

First of all, the museum is free and the doors are open. We can thank Edward Drummond Libbey and Florence Scott Libbey for that. The museum has always welcomed everyone, since Day 1.

The museum’s 2021 5-year strategic plan puts TMA’s reach at 650,000 people for the Toledo Metropolitan area. Over the decade, they report having about 380,000 visitors per year.

The 2-mile radius is 12.57 square miles and the Toledo Metropolitan area is 240 square miles. So therefore, the 2-mile radius of the museum is only 5.24% of the museum’s Toledo Metropolitan area. 8% of the museum’s attendance from the 2-mile radius neighborhood is a lot more than 5.24%, and 14% is way more. So how have the “nearest neighbors” been left out?

“An active approach to community outreach not only increases the level of offsite programming, but in so doing, it allows TMA employees to create personal relationships and invite program participants individually to visit the Museum,” the plan reads. The Blade, March 9, 2021, Museum outlines 5-year plan of growth

All this effort the museum has recently made to hire more people (raising the museum’s budget by $3.6 million with public and private grants) to befriend and make personal relationships with a select area of their total reach, and to hand-hold these neighborhood people to get more to come to the museum, and to pass out free memberships (good for free parking and special shows) at the expense of all other visitors who are not members to which they raised the parking fee by 45%, has made the statistics grow to 14% for the visitors being from the 2-mile radius – a large percentage compared to the overall population of the museum’s reach – but are they accounting for less people coming from other areas? Is reducing the attendance of the other areas part of the plan too? Because they are absolutely leaving everyone else out.

A siphon and a funnel

It’s like a siphon of most of the former efforts the museum made for the entire community being funneled into one place – the 2-mile radius.

Closing museum on a Friday to dismantle the Great Gallery for a private party for themselves and the 2-mile radius

The museum was closed on a Friday in October 2021 to put on a private concert with John Legend that was supposedly for the kids in their outreach program but ended up being a private party for adults. Using the Great Gallery, where most of the Old Master paintings are displayed including the Peter Paul Rubens, they removed the paintings from the gallery walls, risking damage to the museum’s most valuable collection, and replaced them with contemporary paintings by black artists. Information was initially released that it would be for the neighborhood kids they are doing outreach for. However, it was reported in the Sojourners Truth newspaper after the concert that only 40 children attended, who came from the seven different “communities” within the 2-mile radius of the museum. Along with 400 adults who had a party for themselves. Printing a full-page photo of their private concert in the 2021 annual report, the museum asserted that the museum would be doing more private functions like this in the future.

Not very Libbey-like

Why would the museum close its doors to the public on a busy day to have a private party with the neighborhood? Why does the museum feel that the people from the neighborhood can’t relate to the great collection that the museum presently has? Isn’t that a supreme insult to people of the neighborhood? Or is it all just a smokescreen to sell off our great paintings?

Art-making experiences for seniors in the 2-mile radius only
siphoning $9,998 per art-making session

The Toledo Museum of Art just received a grant to give art lessons/art experiences to senior citizens in senior centers. See story in M-Living here: Toledo museum program takes art to older adults

The grant, for $119,916, from Michelson Philanthropy, “a pioneer in creative aging,” will be used to give a 6-session art program at two senior centers serving seniors in the special “2-mile radius” this summer, summer of 2023. That works out to be $9,993 for each art-making session.

There are many seniors all over the city of Toledo, many of them who have never been to the Toledo Museum of Art as well, and to isolate a small section of Toledo to pour $119,916 into 2 senior centers for just 12 art making sessions this summer is divisive, strange, and unbelievable. Toledo has 14 or so Senior Centers, and most of them are out of luck. Many people in their communities are feeling unwanted, isolated, lonely, poor and miserable. Survivors of the pandemic, but for what. To emerge into a world that literally doesn’t want them anymore.

we made you but now we decided to eliminate you

The museum made note in their 5-year strategic plan that they have way too many older educated white women. They don’t like us anymore, so I guess we have to sit the rest of our lifetime out.

How could the museum have known, when we were little children, educated at the museum’s Saturday classes and also having college classes at the Toledo Museum of Art School of Design, that we would stay so interested in art when we would grow up – that we would enjoy going to the museum so much that it would make the Twenty-first Century museum director’s socio-economic and racially profiled and ageist statistics explode his mind? There are some people that don’t fit in to their new branding – also called, discrimination.

Adam Levine’s solution is to cut us out, just like he got rid of the French Impressionist paintings that skewed their art collection so male and so white.

Over the past decade the Museum has received, on average, 380,000 visits per year, which as a percentage of its 650,000-person metropolitan statistical area ranks it among the top five most visited art museums per capita, according to annual statistics from the Association of Art Museum Directors.

Though TMA can claim a history of executing on quality and community, this Museum, like so many others, has implemented its strategies in ways that have not been equally inclusive or equally accessible. Though TMA is known across the world for its outstanding collection, that collection reflects a Eurocentric view of the world. Likewise, the demographic attributes of those 380,000 annual visitors skew Caucasian, female, older, affluent, and highly educated. – TMA Strategic Plan 2021

Exactly WHAT strategies have not been inclusive or accessible? Our museum is NOT “like so many others.” Our museum has been collecting diverse art from the very beginning. For example the Henry Ossawa Tanner painting purchased in 1913, for just one example.

Nothing has ever stopped the museum from making diverse purchases. They have been buying quite a lot of non-European-type-non-white-male art for the past several decades. in fact, I made a survey of art acquired by the museum from 2017 to 2022, and it lines up pretty closely to U.S. Census statistics of nationality and race. See my survey here: The Artists of Toledo Report.

Are they going for full collection-wide parity? Are they not going to collect art by white men altogether?

Money and politics

Could it be that they are using the outreach program to politically organize the 2-mile area, using the neighborhood as a pet anthropological experiment?

Will their radicalism in our meek Midwest town that lets them do anything win them the fame they so desperately seek?

expanding? or pushing us over the edge?

The museum is leaving everyone else out. The museum has always been about art, but now it seems they have traded art for money and politics. Lots of grant money for the taking. They are doing focused outreach in this 2-mile radius area, which is what the Arts Commission had always done in the past.

The museum should be a museum. Let the arts commission be the arts commission.

Adam Levine is the steward of our museum, it is not his to remake. 

People come to the museum. It has art. It has education. It has a beautiful marble pillared building. It is a place for personal contemplation. It is not a place to be bullied. It is not a place to be beaten over the head with politics.

People who run the museum first and foremost must care for the art for future generations. They shouldn’t be selling it off. They shouldn’t be trying to make themselves famous at the expense of Toledoans. It’s ridiculous that they claim to want to remake our museum to set an example for all other museums to follow. As if to let them recreate our museum for the sake of their own notoriety among other museums would make us proud. Our museum was a great example for other museums from the beginning, but it never set out to make fame its priority. The art and the people of Toledo were always the museum’s priority, and should be now.

Our museum always used to welcome everyone and was fair to everyone. Our museum served everyone. Our museum never had to do surveys on the race or gender or income level of their visitors. Our museum never discriminated against people based on their zip code, but they love doing that now.

What George Stevens said in 1903

What would our founders think?

What do you think?

Categories
Artists of Toledo

Marcy Kaptur, politics and art museums

Cezanne's Avenue at Chantilly decorates the Lucas County Glass City Convention Center, 2023

Marcy Kaptur is right. This country is run by wealthy people on the East Coast and West Coast, and they don’t relate to the vast working-class people of the Midwest. Rep. Marcy Kaptur of Toledo, who holds the record for being the longest-serving woman in Congressional history, said the floor of Congress had always been lively with debates on the issues, but now it’s just a theater playing to the media.

You might think Ms. Kaptur was talking about the Toledo Museum of Art.

The 2022 Burns Halperin Report

The 2022 Burns Halperin Report is a survey which illustrates an extreme lack of diversity among 31 American museums, specifically, art made by Black Americans and women. The Toledo Museum participated in the survey. The survey mentioned only a couple of East Coast and West Coast museums doing a good job adding diversity to their new collections. Although the Toledo Museum of Art has a good record, it was not mentioned.

The Artists of Toledo Report

The Artists of Toledo Report is a survey of the artists whose art was acquired by the Toledo Museum of Art between 2017 and 2022. The survey shows that the Toledo Museum of Art has been almost completely balanced regarding the diversity of the artists whose work was collected during the past six years, except for a 30% imbalance between non-American women and non-American men.

Just passing through…

Mr. Levine has laid out a road map for the museum to become what he calls the “model museum in the United States,” one whose collection reflects the demographic makeup of the country, and where people feel “a sense of comfort and psychological safety in every interaction with the institution’s brand on-site and off-site,” as he put it. Itʼs About Time.ʼ Museums Make Bids for Their Communities. New York Times, May 21, 2021

The Toledo Museum has never had to try so hard to be a “model museum,” the museum has democratically served the entire community since 1901. However, certain new museum directors passing through on their upwardly mobile path in the museum world have stripped our museum of its democracy. The current director, Adam Levine, is from New York. He plays to the East Coast and West Coast media with disingenuous rhetoric, seeking publicity by exploiting the diversity issue.

Never mind that the museum’s revered public art education program and local artist shows that went on for nearly 100 years have been eliminated.

The Big Middle

The Toledo Museum of Art is in Marcy Kaptur’s district. Like Marcy Kaptur, the museum has a solid progressive democratic foundation that serves the working-class. The Toledo Museum of Art used to have a formidable public art education program. It had a local artist exhibition tradition unlike any other museum in the country. The educational program and the local art shows served multiple generations of Toledoans. These are the roots of the museum, through which the collecting of diverse art has evolved naturally.

A diverse crowd in front of the Toledo art museum, 1919.

Frederick Douglass Allen, born in 1886, is the earliest recognized black artist in Toledo. He was one of the first students of the museum’s public art classes. He showed in the first annual Toledo Area Artists Exhibition, and seven subsequent annual shows at the Toledo Museum of Art. I spoke to the Warren AME Church, where Frederick Douglass Allen was a member, about any history they knew of blacks and the Toledo artist community. I learned that the early black community had more urgent priorities to deal with when they migrated to Toledo, so the artist Frederick Douglass Allen was ahead of his time.

As for women, Nina Spalding Stevens, wife of the 1903–1926 museum director, George W. Stevens, served as the associate director of the museum. She also created the educational program. If there has ever been a bias against blacks and women at the museum, it would be difficult to find. The art classes and shows provided a level playing field for a diverse community of artists. Many scholarship recipients were blacks and women. The local solo shows have always been diverse. In the 1970’s the museum hosted two group shows for the “Black Artists of Toledo.”

In the 1990’s, with the first black Trustee appointed to the Toledo Museum of Art Board of Directors, an initiative was begun to add more diversity to the collection. To understand the museum’s collection of “diverse art,” one must first understand that “diverse art” is made by contemporary artists, and the Toledo Museum of Art barely collected contemporary art until the 1960’s. Today the museum board itself is quite diverse, with a track record for adding diversity to the museum’s acquisitions.

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.” Adam Levine quoted in Forbes, ‘Beauty Without Bias’ At The Toledo Museum Of Art, Feb. 28, 2022

In his arrogance, Adam Levine claims that museums are in the unique position to put anything on their walls and call it art, and because it’s in a museum it is considered good. How odd for the Toledo Museum director to suggest that collecting art at our fine museum could be turned into a political anthropology experiment. The connoisseurship of our curators is what has grown our collection. Our museum is about great art — not politics. It’s about skilled curation, and then letting people decide for themselves what they like. That Adam Levine brought in a Branding Department to redefine our museum, after ripping out the democratic soul of the local community from the museum, using diversity to attract the attention of other museums (and grant foundations), is such a conceit. How ironic that, with such a record for collecting diverse art in the past six years, our museum didn’t get even as much as a peep in the 2022 Burns Halperin Report. But then we are in the Big Middle, and nothing can take the museum out of it, so Adam Levine might as well be content with making our museum functional again for our own large Midwest community, as unexciting for him as that might be.

Our famous French Impressionist paintings thrown out the door.
Cannibalizing our museum

The biggest hoax on the community was Adam Levine selling our historic French Impressionist paintings while quoting Edward Drummond Libbey, “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 Libbey would approve of the selling of our major Cezanne, Matisse and Renoir paintings. Adam Levine claimed that the sale was for “diversity,” when over the past six years, the museum has meticulously added an equitable ratio of Black Americans to Women to Other American artists acquired by the museum. He lied about data. He betrayed a peer museum in Chicago by reneging on a loan of our Cezanne painting for their show. He lied about the quality of the paintings being sold, and the intentions of the museum. Two paintings were sold to the same buyer for $59 million! Eight months later the Toledo Museum of Art does not have one artwork purchased with that money to show for it.

Impressionism speaking for our community

It is sad to see the museum’s French Impressionist paintings commercialized at the brand-new Lucas County Glass City Convention Center — including our only remaining Cezanne, Avenue at Chantilly, which is featured as anonymous wallpaper framing a multi-level staircase. This is the painting that was promised to the Chicago Cezanne Exhibition. Obviously, the museum and the Lucas County government believe that Impressionism speaks for our community. They are also using an uncredited Van Gogh for their two-story escalator alcove and a uncredited Monet on a large vinyl mural to decorate the second floor hallway. According to The Blade’s news story on the new Public Art, the convention center is “showcasing the museum’s collection.” Yet just eight months ago, the museum sold three original paintings from their small and valuable Impressionist collection that people came from near and far to see. That Adam Levine chose these paintings for the convention center, out of 30,000 possible choices, right after the unpopular and controversial deaccession of the Impressionist paintings, shows a frightening lack of honesty, integrity, vision, sensitivity and leadership.

Pass the remote, please

Recently, a new communications manager was hired at the museum who lives in Lansing Michigan. Her message to the people of Toledo was that Toledoans want to see themselves on the walls. The irony of an out-of-towner telling Toledoans what they want to see at the museum! The museum has a new department — Branding — and the director of the Branding department lives in Colorado. The Curator of Antiquities, Carlos Picon, is an art dealer in New York. (no kidding!) The African Art Curator, Lanisa Kitchiner, is the Chief of African and Middle Eastern Division at the Library of Congress in Washington D.C. Why is our museum director turning the controls over to the East Coast and the West?

We can be thankful to Marcy Kaptur for working so devotedly for our Midwest community for the past 41 years. We are extremely lucky to have her fighting for us in Congress for all these decades. The Toledo Museum of Art has had seven directors during those 41 years. (If only we could have cloned Otto Wittmann, the museum’s fourth director, who grew the museum for 30 years.)

Marcy Kaptur is the real deal. With Marcy Kaptur, as with the Toledo Museum of Art, you won’t know what you are missing until it is gone.

Another “real deal” is Samuel “Golden Rule” Jones, mayor of Toledo 1897-1904, whose house stood where the Toledo Museum of Art Peristyle stands today, and who inspired Marcy Kaptur so much that she wrote her college thesis on him. See my post from 2021 to put into perspective the progressive beginnings and democratic legacy of the Toledo Museum of Art: Whitlock, Jones and June Boyd

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 Lanisa 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

The remote control of our museum culture

Culture and Community by Government Remote Control

I am interested in The Toledo Museum of Art’s use of the 57 million dollar profit from the three recently deaccessioned French Impressionist/early modern paintings which they sold to raise money for the purchase of “diverse art.”

The Toledo Museum of Art recently hired a Consulting Curator, Lanisa Kitchiner, for the museum’s African collection. Although the museum doesn’t mention it in their news release, she is the Chief of the African and Middle Eastern Division at the Library of Congress in Washington, D.C., with an educational background in literature, African studies and politics, not art history.

She will “steward a growing collection of African art at an innovative institution in the heart of the Midwest,” while “creating a collecting strategy that represents the entire community,” and “sharing untold stories and fostering widespread community belonging.” From the June 28, 2022 Toledo Museum of Art press release:

Kitchiner eagerly anticipates joining TMA at such a pivotal time as the Museum endeavors to advance a collecting strategy that represents the entire community. “The opportunity to steward a growing collection of African art at an innovative institution in the heart of the Midwest is extraordinary,” Kitchiner stated. “The Toledo Museum of Art’s commitment to sharing untold stories and fostering widespread community belonging—coupled with its impressive curatorial staff and its unmistakable impact—make it the right place through which to share my passion for the visual arts of Africa.”

I googled Lanisa Kitchiner, the new steward of African art for The Toledo Museum of Art, and discovered that she is the Chief of the African and Middle Eastern Division of the Library of Congress in Washington, D.C. (It’s a mystery as to why the museum’s press release did not mention that.) Will she be working remotely?

I was struck by her description of her favorite children’s book, which inadvertently connected me to a heretofore untold story that has deep roots in Toledo culture. I share in the spirit of contributing to an ambitious museum’s endearing transition to endeavoring the enduring, relentless sea change of advancing engagement and authentic widespread community belonging, in order to foster pivotal, vibrant, Midwest, ready-to-be-told, it’s-about-time, yes-we-did, storytelling.

The untold Midwest story of Jan Wahl and Maurice Sendak

In the September/October 2021 Library of Congress Magazine article, Lanisa Kitchiner was interviewed for being the new Chief of the African and Middle Eastern Division of the Library of Congress. She describes her favorite book as a child, Where the Wild Things Are:

I am a lifelong learner, a lover of literature and a consummate traveler. I like to blame it on Maurice Sendak’s children’s book “Where the Wild Things Are,” which indelibly influenced my imagination when I first read it at age 5. The book tells the remarkable story of a little boy who dreams of traveling to a faraway place, encountering monstrous creatures and winning their favor by performing a special magic trick that forces the creatures to suspend fear of the unknown long enough to see the boy as friend instead of foe. I did not have the words to articulate it as a child, but it was that sense of creating new connections, of overcoming fear, of embracing the unknown and of having meaningful impact that I fell in love with when I first read the book. These aspirations continue to influence my engagement in the field.

I was immediately reminded of my old friend Jan Wahl and Artist of Toledo who died in 2019 at the age of 87. A flood of new understanding of Jan Wahl’s life came over me! Looking back at his life, I can now see that, in a nutshell, Jan Wahl was that boy in the book! He traveled to far-away places, he encountered monsters, and he won them over with his creativity. I never really thought of him before as the little boy in Where the Wild Things Are.

As a child living in the Westmoreland neighborhood of Central Toledo, Jan would write to famous people and collect silent films and art prints. In college, his teacher was Vladimir Nabokov. On a Fulbright Scholarship in Denmark, he worked with the Danish director, Carl Dreyer on the making of Ordet (The Word). He then worked for the writer of African tales, Isak Dinesen, whom he didn’t like at all. “She fired me over two misspelled words, after four months of work!”

Jan Wahl was a renowned children’s book author, having published about 130 books. He wrote from the perspective of “a child trying to grasp the unfathomable adult world.” He also wrote memoirs of his silent film experience, including Dear Stinkpot: Letters from Louise Brooks; Through a Lens Darkly, and Carl Theodor Dreyer and Ordet: My Summer with the Danish Filmmaker. He collected fantastic early 16mm art films.

Jan Wahl had some wild stories – such as one about Maurice Sendak taking his idea for a book and making it into Where the Wild Things Are. Maurice Sendak was a mentor and collaborator when Jan Wahl started out. Jan had similar stories involving puppet makers, film directors, gallery owners, etc.  Jan Wahl was not confrontational; he would simply write another book, 130 in total.

Making self-deprecating jokes about these experiences was how Jan Wahl would vent. It had to have hurt, for his friend and mentor to take his story and make it his own, while leading him on, eventually throwing him a bone. I wonder if Jan had a sense that the story prophesied his life. Ironically the book became Maurice Sendak’s main legacy.

When Maurice Sendak died in 2012, Jan auctioned off his letters from 1962-1964. Maurice Sendak illustrated Jan Wahl’s first book, Pleasant Field Mouse, published in 1964, after Where the Wild Things Are was published in 1963. A mouse and a monster-tamer, at least young Jan Wahl ended up with a book. Thus, he began his life as a children’s book author, successful although not rich, considering his prolific output. “I began at the top. It didn’t stay that way. But I did have a lovely, lovely beginning with a very fine artist,” was his quote in his Blade obit, taken from a 2006 Blade interview.

Jan Wahl and the Toledo Museum of Art

During the summer of 2013, not long after Jan Wahl’s special book came out, Carl Theodor Dreyer and Ordet: My Summer with the Danish Filmmaker, The Toledo Museum of Art put on a Dreyer film series. The first one was The Passion of Joan of Arc, and my husband and I went to it. We were surprised that Jan was not a part of it. So I wrote to the museum’s Public and Glass Programs Coordinator to tell her about Jan Wahl and his book, what a great film historian he was, and how he puts on film programs, and I gave her his phone number. She replied that she knew all about Jan Wahl, he did programs with the museum in the past, and that “he was actually part of the inspiration for the series. Unfortunately special guests are not always free of charge.”

It was hard to believe that the museum couldn’t scrape together a modest honorarium for Jan Wahl, a great local author and film historian, one who actually worked with Carl Dreyer on Ordet, in order to bring him into the event that his own newly-published book had inspired. Jan Wahl would have been happy to do it for merely a ride to the museum. How bad it was for them to take his work as the inspiration for the Dreyer film series, but not include him in the program. It was nice to see that the Dreyer films in the series thereafter, including the next film shown, Ordet, were introduced by Jan Wahl.

Wahl + Museum in 2019

Thereafter, the museum did more things with Jan. The final collaboration was for the launch of his new children’s book, Hedy and Her Amazing Invention, scheduled for March 2, 2019. Unfortunately, Jan Wahl died on January 29, five weeks before the event. In his obituary on February 1, the Blade quoted the museum manager of Programs and Audience Engagement saying that the program would continue, but would become a celebration of his writing, and especially his new book. “We want to celebrate what he has given to the world.”

Two weeks later, the museum had not changed their website to pay respect to the author of the book who was the principal element of the upcoming book-signing and book-reading event, who was unfortunately dead! I felt compelled to write another letter, this time to the director, Dr. Brian Kennedy in an email which I cc’d to the CEO of the Museum Board and the Director of Education and Engagement. I received an immediate reply, not from any of them, but from the Director of Communications, thanking me for bringing it to her attention that the information was out of date. The website was promptly updated to add a mention that the event would celebrate the author’s life and his new book, along with an art demonstration, and a parade.

No doubt this last episode with the museum gave Jan Wahl great material for a new story to tell up in heaven.

Treatment of local artists
and the shift to the culture of un-belonging
Toledo Area Artists Exhibition, the 96-year old tradition

We are the hometown artists, and we’d like some respect. The museum’s new manager of communications touts the line: “We want the community to see themselves on the walls of the museum.” Artists of Toledo would like to see ourselves on the walls of the museum, too. We’d like to feel that sense of belonging again, that was taken away from us eight years ago under a cloud of corruption.

In 2014, it meant nothing to the Toledo Museum of Art to kill the 96-year old tradition of the Toledo Area Artists Exhibition by use of “curating” it themselves instead of impartial judging of the entries. They stuffed the show with insiders such as museum workers, Federation presidents and past presidents, and friends, with only two women from Toledo, while excluding people of color.

I curated a show in protest with like-minded local artists called Artists of Toledo at the Paula Brown Gallery.

The Toledo Area Artists Exhibition had been jointly presented by the Federation of Toledo Art Societies and the Toledo Museum of Art until 2011, when the museum told the Federation that they would take it over so they could do even more for Toledo artists. But in 2014, they took Toledo artists out of the show and put in their own employees, friends and previous Federation presidents, with only two local women artists, in a show of 27 artists (which had usually been 80 or more local artists, usually over half being women.) Even though local artists entered the competition as they had for 96 years, this show did not have impartial judges, as had all the shows after 1921 (when the museum caused an uproar by jurying it themselves and giving the prize to a 14-year old), instead it was “curated” by the museum’s own staff. The museum quietly stopped the Toledo Area Artists annual show, and it was okay with the Federation of Toledo Art Societies since they got a big payoff. But they should have fixed it. See, my blog post, Toledo Museum of Art: Repair the Damage.

Screen-Shot-2014-10-20-at-11.01.26-AM

So it’s weird that today they are using “community belonging” after  kicking out the local artists eight years ago. When they so want to tell our untold stories of the community, but isn’t the art that comes from the community the most authentic community story for an art museum to tell? The museum turned its back on local artists – where is the promised local art gallery for local artist shows? Promised 15 months ago! So much indecision and procrastination – they don’t know what to do, because they don’t really want to do it — they don’t like their local artists.

Narrowing the transmission

This year, the museum endeavors to engage the community by reducing the area it serves to a 2-mile radius. When they say community, they do not mean the entire Toledo area, and they certainly don’t mean the artists. They are reaching out to nearby neighborhoods who have not utilized the museum in the past. Must be the winning grant theme of the era. They are setting up “art-making stations” in federally-funded low-income housing, and they will feature these new local artists that they inspire and create, in a community gallery that they promised 15 months ago to Toledo’s local artists. They are emphasizing belonging (a membership drive, that is) by raising the parking fee to discourage visits to the museum by anyone who is not a member. Transportation for low-income housing within the 2-mile radius is provided by the museum for free.

The relentless focus

IMG_4444-highlght

the world we live in? 

In 2014, Erin the President of the Toledo Federation of Art Societies accepted the corruption of the rigged Toledo Area Artists Exhibition by saying, “I tell my students, it’s the world we live in.”

In 2022, John Stanley told the Blade in regard to the deaccessioning of the three French Impressionist paintings, “It’s the world we live in.”

Diversity – the perfect cover for selling off the good art… nobody gets to know who it is sold to! And what will be next?

Connecting with the government for political power and personal upward mobility?

Is this what it has come to?

Outsiders are telling our story, remotely, when they don’t know us.

The museum only does what looks good on the current grant application.

A museum run by remote control is bad for Toledo.

Jan Wahl’s great children’s story was appropriated, and he never forgot it. The current stewards of the great Toledo Museum of Art are deliberately erasing the real story of this community as they sell off our great art! Cézanne, Matisse and Renoir, and what is next? Rembrandt? We should not accept what is happening to the museum as if we can’t do anything about it, because we can!

Artists of Toledo

What a bunch of B.S. – telling our story! We want our museum back!

To tell the authentic story, see how the Toledo Area Artists Exhibition did it for 96 years. What’s more authentic to the community, than art that is made by community artists? There is no better way to help local artists, thus helping the community, than to bring back the annual Toledo Area Artists Exhibition at the Toledo Museum of Art.