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Chuck Close Was a Celebrated Art Star Until MeToo Exposed Him as Toxic Can His Supporters Stage a Posthumous Comeback?

How a Group of Midwestern Museum Docents Wound Up at the Center of a Right-Wing Media Firestorm

How the Smithsonian Institution Is Using a $25 Million Grant to Get Americans Around the Country to Talk About Racism

How the Smithsonian Institution Is Using a $25 Million Grant to Get Americans Around the Country to Talk About Racism
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As a Sotheby s auction looms, scholars protest Newark Museum of Art s plan to sell a Thomas Cole painting and other works

The Newark Museum is putting Thomas Cole s The Arch of Nero (1846) on the auction block at Sotheby s, carrying an estimate of $500,000-$700,000 An open letter signed by more than 50 art historians, curators and researchers was submitted today to the Newark Museum of Art protesting its plan to sell works from its collection, most prominently Thomas Cole’s 1846 painting The Arch of Nero, organisers say. The letter, addressed to Linda Harrison, director and chief executive of the museum, denounces the sales, known as deaccessioning, as a “senseless monetisation” of the art. Among the works being offered by the institution are examples by Albert Bierstadt, Mary Cassatt, Burgoyne Diller, Thomas Eakins, Marsden Hartley, Childe Hassam, Thomas Moran, Georgia O Keeffe, Frederic Remington and Charles Sheeler.

What s shifting at Newfields, and in museums around the world

On Feb.14, 2021, urban planner Danicia Monet posted a link to an open letter on her Facebook page, with its primary demand that Newfields CEO and president Charles Venable step down from the position he had occupied at the museum since 2012. That he ultimately did step down was certainly a dramatic development, but it may also be part of a broader shift occurring in arts institutions across the country and around the world. Monet’s letter quickly gained 2219 signatures.  Those who signed the letter insisted Venable step down because of a Newfields job posting that sought a museum director who would be responsible for attracting a “broader and more diverse audience while maintaining the museum’s “traditional, core, white audience.” The job posting was widely perceived as insensitive and racist and generated national attention inside and outside the museum community.

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