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Today, we bring you another focus challenge, in which we invite you to spend uninterrupted time looking at one piece of art. This painting, by the Impressionist master Claude Monet, takes us to Venice in 1908, in front of the Palazzo Ducale — “The Doge’s Palace.” (These challenges are published on the first Monday of […] More
In a letter sent to Smithsonian secretary, Lonnie G Bunch III, on 12 August, the Trump administration announced its plan to replace all Smithsonian exhibits deemed as “divisive” or “ideological” with descriptions deemed as “historical” and “constructive”. On 21 August, just nine days later, the White House published a list of said offending fixtures – the majority of which include exhibits, programming and artwork that highlight the Black, Latino and LGBTQ+ perspectives on the American project. Included in his bill of particulars was an exhibit that rightly depicts Benjamin Franklin as an enslaver, an art installation that acknowledges race as a social construct and a display that highlights racist voter suppression measures, among others.The assault on the Smithsonian comes wrapped, as it were, as part of a broader attack on democracy, scenes of which we see playing out every day. The federal occupation of Washington DC, the crackdown on free speech on campus, the targeting of Trump’s political opponents, the gerrymandering of democracy – these are interwoven elements of the same structural assault. So with many fires burning across the nation, concerned citizens who are answering the call to fight the destruction of democracy may regard his attack on history and memory as a mere skirmish, a distraction from the herculean struggle against fascism unfolding in the US. But this is a mistake. Trump’s attack on American museums, education and memory, along with his weaponization of racialized resentment to package his authoritarian sympathies as mere patriotism, is a critical dimension of his fascist aims. The fight for democracy cannot avoid it, nor its racial conditions of possibility.Fascism always has a central cultural component, because it relies on the construction of a mythic past. The mythic past is central to fascism because it enables and empowers a sense of grievance by a dominant racial or ethnic group whose consent is crucial to the sustainability of the project. In Maga world, the mythic past was pure, innocent and unsullied by women or Black leaders. In this kind of politics, the nation was once great, a byproduct of the great achievements of the men in the dominant racial group. In short, the assault on the Smithsonian and, more broadly, against truthful history and critical reflection is part of the broader fascist attack on democracy.From this vantage point, racial equality is a threat to the story of the nation’s greatness because only the men of the dominant group can be great. To represent the nation’s founding figures as flawed, as any accurate history would do, is perceived, in this politics, as a kind of treason.The success of the fascist dismantling of democracy is predicated on the widespread systematic failure to see the larger picture. The anti-woke assault that is a key pillar of Trumpism is part of that failure, partly due to the racial blinders and enduring ambivalence of too many in positions of leadership in the media and elsewhere. Those who sign on to the attack on “wokeness” but regard themselves as opponents of the other elements of the fascist assault are under the mistaken assumption that these projects can be disaggregated. In fact, the dismantling of democracy and of racial justice are symbiotically entangled. To support one is to give cover for the others.It is clear that the Trump administration understands this relationship and fully weaponizes racist appeals as a foundational piece of its fascist agenda. And if this was once the quiet part, it is now pronounced out loud in official government documents. In an executive order issued on 27 March 2025 titled “Restoring Truth and Sanity to American History”, Trump reveals that his mandate to ban “improper ideologies” targets core commitments repudiating a scientific racism that historically naturalized racial hierarchy thereby neutralizing resistance. According to Trump, the problem with the Smithsonian American Art Museum’s exhibit The Shape of Power: Stories of Race and American Sculpture was that it promoted the idea that “race is a human invention”.The understanding that race is a social construct as opposed to a biological fact is perhaps the most fundamental advance in repudiating enslavement, genocide and segregation. Rejecting the idea that racial inequality is natural or pre-ordained – a claim that grounded enslavement and dispossession in America – forms the cornerstone of the modern commitment to a fully inclusive democracy. Trump’s declaration that this cornerstone is “improper” is an effort to turn the clock back, upending the entire American postwar project. It is no coincidence that this “proper” ideology Trump exposes is constitutive of a more well-known strand of fascism – nazism. How else can we understand why Maya Angelou was purged from the Naval Academy library while Adolf Hitler remains?The fight against fascism in the US must be as robust in its embrace of racial equality as Trump’s embrace of outdated ideas about race and racism. The defense of memory, of truthful history, of telling the whole American story rather than ascribing agency in history to the deeds of “great men” is vital to the American democratic project. A pro-democratic education fosters the agency of its citizens by teaching about social movements that overturned entrenched hierarchies which blocked democratic equality and imposed racial tyranny. The story of how ordinary Americans lived and struggled and remade America is essential knowledge in developing and sustaining a multiracial democracy. The Smithsonian has been a vital institution in making this knowledge accessible to the masses. The National Museum of the American Latino and the National Museum of the American Indian, for example, provide artifacts and perspectives about the nation’s westward expansion that challenge the myth of unoccupied territory and manifest destiny. The National Museum of African American History and Culture brings forward the global scale of enslavement as well as its infusion across national institutions, culture and politics.skip past newsletter promotionafter newsletter promotionMuseums allow us to reckon with the brutality of the American legacy as well as expose our citizens to the people, institutions and strategies that charted a different course towards becoming a “more perfect” union. Fascist erasures like Trump’s hide behind the claim that truthful encounters with the past inflame and divide. This instinct is the opposite of the truth. A functioning democracy does not restrict perspectives to those of the dominant group, much less make it illegal to teach alternative ones.A people who cannot remember their past are a people who cannot resist a fascist future. Knowing our history can give us the weapons and wherewithal to battle Trump’s efforts to catapult us back to a time when the majority of Americans lacked both the civic and economic power that we have now. The fight for our museums and for our memory is a critical bulwark against the unraveling of American democracy. It is vital that we fight to protect our repositories before it’s too late.
Kimberlé Crenshaw is an American civil rights advocate and a scholar of critical race theory. She is a professor at the UCLA School of Law and Columbia Law School, where she specializes in race and gender issues
Jason Stanley is the Bissell-Heyd Chair in American Studies in the Munk School of Global Affairs & Public Policy at the University of Toronto and the author of Erasing History: How Fascists Rewrite the Past to Control the Future More
In Morgan Weistling’s oil painting A Prayer for a New Life, a young, white pioneer couple sit inside a covered wagon, sharing a quiet moment with their swaddled newborn as prairie stretches out behind them. The work could be interpreted as a western take on the birth of Jesus; Mary and Joseph on the Oregon trail. One might imagine it decorating the oak-walled office of an oil executive in a Yellowstone spin-off show – though it is probably too schmaltzy even for that.Last week, Weistling’s painting took on a darker meaning when the Department of Homeland Security (DHS)’s official X account posted, to the artist’s consternation, an image of the painting with the caption: “Remember your Homeland’s Heritage.”To some, the post seemed like authoritarian propaganda, similar to what was put out by Joseph Goebbels about Aryan motherhood in 1930s Nazi Germany. “In case you had any doubts about the white supremacist thing,” one X user responded to the post.Others nakedly applauded its perceived subtext, a celebration of the right’s vision for America, in which families of strong men and maternal women usher in a pronatalist baby boom. “Our people. Our place,” responded Andrew Torba, CEO of Gab, a social network popular among alt-right, neo-Nazi and white nationalist users.Under Trump’s second administration, the DHS has orchestrated sweeping immigration raids across the US, and Ice is reportedly detaining a record number of migrants. A scroll through the department’s X account shows videos of families torn apart by immigration officers, and then this post, which seems to say: we’re fine with migration and movement – so long as the families doing it are white.View image in fullscreenExperts say the benign look on the couple’s faces and the presence of an innocent newborn distract from the real problem: what’s not in the painting’s frame.“The main stories that are told through art of the American west tend to focus on white settlers, which omits the suppression of other populations,” said Emily C Burns, director of the Charles M Russell center for the study of art of the American west and an associate professor of art history at the University of Oklahoma. “It’s challenging when a single image of something that is incredibly complicated is placed in the foreground. What stories are lost in that?”Those stories include the US government’s violent expulsion and genocide of Indigenous people to clear land for settlers, and the Black cowboys, many of them formerly enslaved or one generation removed from slavery, who went west on horseback and helped develop the country’s nascent ranching industry. Also omitted are the Chinese immigrants who built the west’s railroads and worked its goldmines and factories, and who, due to the Chinese Exclusion Act of 1882, could not legally gain US citizenship.Adam Klein, associate professor at Pace University, studies how extremist movements infiltrate American media and politics. “The [Weistling] painting isn’t violent at all,” he said. “On the surface, it’s a beautiful image. But when you look at where it’s coming from, with [DHS using] language like ‘homeland’ and ‘heritage’, that’s really evocative of anti-immigrant sentiment.”Klein said the post brought to mind similar themes used by VDare, a far-right, anti-immigration website that launched in 1999 and suspended operations last year. VDare was named after Virginia Dare, the first child born to European settlers in the “new world”. Since the 1800s, white supremacists have glorified her memory, though all we know of her is her birthdate and the fact that she disappeared as part of the “lost colony” of Roanoke. Dare’s image and disappearance are ripe for racist projections, including the conspiracy theory of a “white genocide” perpetrated by non-white immigrants.In 2018, the VDare founder Peter Brimelow told the Washington Post that he chose the name “to focus attention on the very specific cultural origins of America, at a time when mass nontraditional immigration is threatening to swamp it”.Klein also noted that the DHS’s post seemed like “an attempt to stir the pot and be divisive”.Under the leadership of Kristi Noem, the DHS has taken up Donald Trump’s orders for mass deportation with militant aplomb and an all-out publicity blitz. Noem looked glamorous as she livestreamed pre-dawn Ice raids in New York and toured the southern border on horseback. Meanwhile, the department shares mugshots of migrants and reminders from Uncle Sam to “REPORT ALL FOREIGN INVADERS.” Last month, it posted AI-rendered art hyping Alligator Alcatraz, thumbing its nose at critics horrified by the detention center’s reported conditions.View image in fullscreenOn a less aggressive artistic note, it also shared the late artist Thomas Kinkade’s Morning Pledge, a pastoral painting showing two boys walking to their small-town schoolhouse underneath a fluttering American flag. “Protect the Homeland,” the DHS captioned this post.Both Kinkade’s perfectly manicured Americana and Weistling’s “manifest destiny” daydream belie the chaos DHS has sown through its often violent immigration crackdown. But they do align with the retrograde America Trump 2.0 desires, and is ordering US universities, museums and national parks to teach.Weistling, who did not respond to a request for comment, wrote on his website that DHS used his 2020 painting without permission. He described the work as two parents with their baby, “depicted here praying to God for his fragile life on their perilous journey”. His style often canonizes traditional domestic roles: girls and young women cook and clean, while men ride on horseback and build things.When asked about its social media strategy, including the use of Weistling’s work, a DHS spokesperson wrote via email: “If the media needs a history lesson on the brave men and women who blazed the trails, forded the rivers, and forged this Republic from the sweat of their brow, we are happy to send them a history textbook. This administration is unapologetically proud of American history and American heritage. Get used to it.”Renee Hobbs, a professor of communication studies at the University of Rhode Island and founder of the Media Education Lab, says that she teaches her students “the four pillars of propaganda”: activating strong emotions; simplifying information and ideas; appealing to people’s deepest hopes, fears and dreams; and attacking opponents. The DHS’s post hits all of these pillars.“This could be an image from a children’s book,” Hobbs said. “It’s a vision of America that was sold to generations. I’m a boomer, and I read these kinds of stories as a child. Now I have a critical perspective on manifest destiny, but this taps into my memory, which can bypass critical thinking.”Those feelings, good or bad, are the whole point: “DHS is looking for engagement, and the use of emotional imagery gets people to react, whether they love it or hate it,” Hobbs said. “So from a PR strategy, these posts are actually working quite well.” More
After nearly half a decade, Vinnie Bagwell, a self-taught sculptor-artist, is still waiting for the million dollars that the New York City department of cultural affairs promised for her to work on monument Victory Beyond Sims, after winning the artist competition to replace the monument of Dr J Marion Sims in 2020.“It just requires a lot of diligence and perseverance,” she said to the Guardian. “A lot of times, people don’t realize how important and impactful art in public places is until they see it.”Sims was a 19th-century gynecologist known for experimenting on 12 enslaved and poor immigrant women without consent. City officials removed his monument in April 2018 after a unanimous vote by the Public Design Commission.Bagwell will be the first Black woman to have a memorial on Fifth Avenue. Bagwell began sculpting in 1993 and created the First Lady of Jazz in Yonkers, the first public artwork made by a contemporary African American woman commissioned by a municipality in the United States.Her 9ft (2.7-meter) monument is of a Black woman with 14ft wings, only the second Black Angel statue to be visible publicly in the US.The shape of Africa cut away from the woman’s heart symbolizes the enslavement of 12 million people over hundreds of years. On her right side the braille will read “My Soul looks back and wonders how I got over!” and on the left it will read “Primum non nocere!” (First do no harm).View image in fullscreenTo honor the suffering of Sims’s victims, whose anguish brought advancement to the field of gynecology, there will be 12 women silhouetted on her back. A slave ship is also depicted on the back to illustrate the inhumanity of slavery. The names of the survivors we know will be emblazoned into the helm of the garment.Bagwell hopes that the monument, which will be across the street from the New York Academy of Medicine, will function as a vehicle of change for the community. “Women are more under fire now than we were before. So many of us women have lost a lot of the right to control our bodies. New York is still safe, but [women in] Arkansas aren’t,” she says. “When you look at some of the things that this particular administration is talking about, they’re talking about going backward; that is still something to be concerned about.”Bagwell’s situation is not unique, with many other cities also stalling progress to replace Confederate statues and symbols. However, Vinnie has encountered many obstacles.First, a committee chose artist Simone Leigh as the winner, even though community members had voted for Bagwell. After a heated debate, the city ultimately reversed its decision. Then, the city attempted to cut $250,000 from its budget but failed. Bagwell has been waiting longer than the typical 90 days after signing her contract to receive the money.In a statement to the Guardian, the department stated its excitement about the project moving forward. “New York City has taken bold steps in the effort to foster a collection of public artworks that better reflect who we are as a city, including this project – long called for by the local community – to commission a new monument for this site in East Harlem,” they note.“This administration remains committed to fostering a diverse, vibrant public art collection that more fully represents the vast range of stories, experiences, and backgrounds that define New Yorkers. We’re excited for the Victory project to move ahead.”View image in fullscreenOn 23 June, the design commission voted unanimously to approve Bagwell’s designs, and she can now begin work.Bagwell’s situation reflects a broader failure to follow through on legislation and promises made following the 2020 racial justice protests, where Americans dismantled statues of Confederate soldiers that stood in their communities after the killing of George Floyd, an unarmed Black man.In 2021, Joe Biden passed legislation to replace the monument of Roger Taney, a pro-slavery chief justice who served on the court from 1836 until 1864, with one of Thurgood Marshall, the first African American supreme court justice, in the United States Capitol. The intended deadline for the building of the statute was December 2024, but that month, a source familiar with the matter said the joint committee on the library had only just signed off on a memorandum to begin the process.Now, a 2025 executive order signed by Donald Trump mandating that the secretary of the interior restore monuments removed in the last five years puts in jeopardy the already fragile progress made by past laws to diversify the public landscape in the US.Jamaican sculptor Basil Watson said that it’s “very possible” that more people are now in support of removing objects that help tell Black stories. “It’s the risk we take that is part of the struggle,” he said. Watson worked to replace a Confederate monument with a John Lewis memorial in Decatur, Georgia. “It would be a tragedy if it were to be removed, but then we’ll just have to do it again,” he said. “The journey cannot be stopped.”In 2017, Trump tweeted: “the beauty [Confederate monuments] that is being taken out of our cities, towns and parks will be greatly missed and never able to be comparably replaced!”This debate on the rise and fall of monuments dates back to the 1870s. In 1876, Frederick Douglass called into question the making of the Emancipation Memorial, built by artist Thomas Bell in Washington DC. The creation of the statute was funded using donations from recently freed people.View image in fullscreenWhile the city created the monument to honor emancipation, it depicted a white man holding out his hand over a chained kneeling Black man, a design Douglass found problematic. “What I want to see before I die is a monument representing the Negro, not couched on his knees like a four-footed animal, but erect on his feet like a man,” he said. DC officials removed the statute in 2021, and advocates are still discussing its replacement.Nearly 150 years after Douglass’s speech, only 10% of the top 50 national monuments are of Black and Indigenous people, according to an audit completed by the Monument Lab, a non-profit public art and history studio.“The story of this continent is not reflected in our monument landscape in full,” said Paul Farber, the director and co-founder of the Monument Lab. “The monuments we have tell a partial story. Adding a monument or the selective removal of a monument can have a profound effect for a city or town. If we don’t respond to the erasures, the lies by design we will be doomed to repeat. Our audit also showed that 99.4% of monuments were not taken down in 2021 or 2022.”The Trump administration’s influence has now rolled back even that little bit of progress. This year, Pete Hegseth rolled back the names of two military forts to their namesakes of confederate soldiers. Following pressure from Republicans, Washington DC’s mayor, Muriel Bowser, also ordered the destruction of the Black Lives Matter plaza in front of the White House.Trump has proposed reviving his controversial National Garden of American Heroes, using money cut from the National Endowment for the Humanities, which ended hundreds of grants for libraries, museums and archives. The garden would include George Washington and Christopher Columbus statues alongside Martin Luther King Jr, Kobe Bryant and Whitney Houston.“When you look at some of the things that this particular administration is talking about, they’re talking about going backward,” Bagwell says. “That is still something to be concerned about.”View image in fullscreenNationally, Republicans have been mixed on the issue of inclusion in public spaces. A Kentucky state senator, Chris McDaniel, is still advocating for the replacement of a Confederate statue. In 2020, he pre-filed a bill that would replace Jefferson Davis in the Capitol Rotunda with Carl Brashear, the first African American US navy master diver born in Tonieville, Kentucky.“His story is inspirational,” he says. “That’s what monuments are supposed to be about. It’s supposed to be able to point to people and say: ‘This is somebody you can look up to.’”McDaniel’s bill to replace Davis in the Capitol is at a standstill as the Kentucky Capitol Arts Advisory Committee and other legislators must weigh in on who they believe deserves to be honored.Mississippi’s Republican governor, Tate Reeves, has shown mixed messages about Confederate symbols in his state. During the 2020 election, almost 73% of people in Mississippi voted to remove the Confederate flag with a new state’s flag. “This is not a political moment to me but a solemn occasion to lead our Mississippi family to come together, to be reconciled and to move on,” Reeves said after the vote and before it was eventually replaced.In the same year, Reeves simultaneously opposed the removal of Confederate monuments. “I reject the mobs tearing down statues of our history, north and south, Union and Confederate, founding fathers and veterans,” he says. “I reject the chaos and lawlessness, and I am proud it has not happened in our state.” Bryan Stevenson, the founder of the Equal Justice Initiative who led the building of Legacy Sites in Montgomery, Alabama, a civil rights museum that works to reshape the racist narratives about African Americans in Alabama, explains Reeves’s messaging.“I think it’s a struggle, a competing narrative, and sometimes they give away a little something by holding on to something that makes what they’re giving away feel acceptable,” he tells the Guardian. Stevenson says it “is about power, because most of the people who are kind of in control of these things [are] aligned, in my view, with this problematic history. We can’t accept just what [they’re] gonna give” us.Some artists who have worked to replace Confederate monuments with ones that honor Black history have succeeded and received praise despite government resistance. In Roanoke, Virginia, the city sculptor commissioned Lawrence Bechtel to replace a statue of Confederate general Robert E Lee with one of Henrietta Lacks.View image in fullscreenLacks’ cells, now called HeLa, were taken without her knowledge in 1951 and have now become vital to medical research; they have been used to develop polio and Covid-19 vaccines. It took about four years for the city to raise the money for the statue and a year from the contract being signed for Bechtel to build the monument.“I had bought a veil to cover it over, and everyone was invited to come close as the veil was pulled off, and people just mobbed it. It was fantastic,” he says. “It was just wonderful. It was very uplifting.” Bechtel said he has yet to receive a negative email.Watson, who built a monument of John Lewis to replace a memorial put in place by the United Daughters of the Confederacy, recalls the community’s excitement about the monument before he even finished. “The idea of putting up John Lewis in its place was quite exciting for the community, and since it has been up, I have had nothing but positive responses,” he says.Watson remains steadfast in his belief that the inclusivity of public art is crucial. “I think we artists need to represent our community; we need to have our values represented in our environment,” he says. “I think it’s important that we do have art in our community that represents the truth, represents our values, represents our history, and points our way forward.”Stevenson, a civil rights lawyer, believes that reclaiming the narrative in public spaces can challenge the racist narratives embedded into some Americans’ mindset.When he first started working in public art, there were 59 markers and monuments honoring the Confederacy in his state yet none paid tribute to Alabama’s history of being the state with one of the largest slave populations, so he and his team worked to create plaques in public spaces that honored those who were enslaved.View image in fullscreenHe refers to the process of reframing public conversation as narrative work, responding to the racist views long perpetuated by institutions. With the building and taking down of monuments, he suggests that we need a new framework to tell the full story of American history as a nation.“I think we have to find a better way to help people in this country recognize that there’s a place for people of African descent in this country and that our stories can’t be denied any longer,” Stevenson says.Bagwell also emphasizes the importance of honoring African Americans’ vital contributions to American society through public art. “It’s just stunning that we have made so much out of so little,” she says. “The contributions we’ve made to this country are phenomenal, and they should be remembered because we are very much a part of what made America great in the first place.” More
He was best known for his success in business, notably the international beauty company he built with his mother, Estée Lauder. But he was also an influential art patron.Leonard A. Lauder, the art patron and philanthropist who with his mother, Estée Lauder, built a family cosmetics business into a worldwide juggernaut that supplied generations of women with the creams, colors and scents of eternal youth, died on Saturday at his home on the Upper East Side of Manhattan. He was 92.The death was announced by the Estée Lauder Companies.While best known for his business enterprises, Mr. Lauder was also one of America’s most influential philanthropists and art patrons. He gave hundreds of millions to museums, medical institutions, and breast cancer and Alzheimer’s research, as well as to other cultural, scientific and social causes. His art collections ranged from postcards to Picassos.In 2013, he pledged the most significant gift in the history of the Metropolitan Museum of Art, a trove of nearly 80 Cubist paintings, drawings and sculptures by Picasso, Braque, Léger and Gris. Scholars put the value of the gift at $1 billion and said its quality rivaled or surpassed that of the collections of the Museum of Modern Art in New York, the State Hermitage Museum in St. Petersburg, Russia, and the Pompidou Center in Paris.After the gift was announced, he added another dozen major Cubist works, The New York Times reported in a profile of Mr. Lauder last year.The eldest son of Estée Lauder, who in 1946 founded the company that bears her name, Mr. Lauder was for decades a senior executive and the marketing expert and corporate strategist behind his mother, the flamboyant public face of the Lauder empire, who pitched its lipsticks, bath oils, face powders and anti-wrinkle creams with almost messianic zeal.In a business reliant on imagery and mythmaking, his mother, the daughter of a Queens merchant, had created a genteel Hungarian aristocratic past for herself and a name to go with it. Josephine Esther Lauter, the wife of a luncheonette owner, thus became the glamorous Estée Lauder.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
His stick-figure sculptures conveyed a surprising depth of emotion, hinting at the threat of imbalance. He also produced more than 30 large-scale commissions.Joel Shapiro, a celebrated American sculptor who sought to challenge the constraints of Minimalism in works that imbued life-size stick figures with a surprising depth of feeling, died on Saturday in Manhattan. He was 83.His daughter, Ivy Shapiro, said the cause of his death, in a hospital, was acute myeloid leukemia.Mr. Shapiro’s best-known sculptures are easy to recognize. Constructed from wooden beams jutting in different directions, they typically suggest a human figure with outstretched arms, a blocky head and a torso shaped like a cereal box.Often the figures appear to be walking or paused in midstep; it’s not clear if they are coming toward you or moving away. They look sturdy and almost athletic compared with the gaunt walking men of the Swiss sculptor Alberto Giacometti, who was one of Mr. Shapiro’s heroes.A sculpture by Mr. Shapiro was unveiled at the Kennedy Center in Washington in 2019.Bill O’Leary/The Washington Post, via Getty ImagesDespite their narrow formal vocabulary and building-block-like clunkiness, Mr. Shapiro’s sculptures convey an uncanny range of emotion and movement. From one piece to the next, his figures variously leap with apparent joy, dance balletically, fall backward, twist in existential pain, topple onto their heads or collapse onto the floor in a tangle of arms and legs. Their subject, in the end, is balance, or rather imbalance — of both the spatial and mental sort.“Every form is loaded with the psychology of its maker,” Mr. Shapiro said in an interview for this obituary in 2024.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
The director of the National Portrait Gallery, Kim Sajet, has resigned just two weeks after Donald Trump attempted to fire her and accused her of being “highly partisan and a strong supporter of DEI”.“We thank Kim for her service. Her decision to put the museum first is to be applauded and appreciated. I know this was not an easy decision. She put the needs of the Institution above her own, and for that we thank her,” Lonnie Bunch, the Smithsonian secretary, wrote in a Friday internal email that was obtained by multiple outlets.“We are grateful to Kim for leading the National Portrait Gallery with passion and creativity for 12 years. Throughout her tenure, she has reimagined and reshaped the impact and storytelling of portraiture.”The announcement comes after the Smithsonian Institution earlier this week rebuffed Trump’s attempt to fire Sajet, with the museum’s governing board asserting its independence and turning away the president’s claim of authority over the institution’s staffing.Trump announced on 30 May that he had fired Sajet, calling her a “highly partisan person, and a strong supporter of DEI, which is totally inappropriate for her position”.His attack focused, among other reasons, on her Democratic political donations and her rejection of a pro-Trump painting by artist Julian Raven. Sajet reportedly told Raven his artwork was “too pro-Trump” and “too political” for the gallery, the artist told the Washingtonian in 2019.In a statement on Monday, the Smithsonian’s board of regents declared that “all personnel decisions are made by and subject to the direction of the secretary, with oversight by the board”. The statement did not name Sajet or mention the Trump administration directly.Following Trump’s announcement, Sajet continued reporting to work throughout early June, creating a direct confrontation between the White House and the Smithsonian Institution – the country’s flagship cultural institution that has a 178-year-old governance structure built against political interference.Appointed in 2013, Sajet became the National Portrait Gallery’s first female director. Kevin Gover, undersecretary for museums and culture, has replaced her as acting director of the museum.In a statement shared by the internal memo on Friday, Sajet said it had been “the honor of a lifetime to lead the Smithsonian’s National Portrait Gallery”.“This was not an easy decision, but I believe it is the right one,” she wrote. “From the very beginning, my guiding principle has been to put the museum first. Today, I believe that stepping aside is the best way to serve the institution I hold so deeply in my heart.“The role of a museum director has never been about one individual – it is a shared mission, driven by the passion, creativity, and dedication of an extraordinary team.”A statement from a White House spokesperson, David Ingle, reads: “On day one, President Trump made clear that there is no place for dangerous anti-American ideology in our government and institutions.“In align with this objective, he ordered the termination of Kim Sajet. The Trump Administration is committed to restoring American greatness and celebrating our nation’s proud history.” More
Though the Sackler name was tarnished over Purdue Pharma’s role in the opioid crisis, Arthur Sackler’s should not be, she insisted; a company founder, he died well before the trouble began.Jillian Sackler, an arts philanthropist who struggled to preserve the reputation of her husband, Arthur, by distinguishing him from his two younger Sackler brothers and their descendants, whose aggressive marketing and false advertising on behalf of their pharmaceutical company, Purdue Pharma, triggered the opioid epidemic, died on May 20 in Manhattan. She was 84.Her death, in a hospital, was from esophageal cancer, said Miguel Benavides, her health proxy.Dr. Arthur Sackler, a psychiatrist and researcher who became a pioneer in medical marketing, bought Purdue Frederick, originally based in New York City, in the 1950s and gave each of his brothers a one-third share. They incorporated the company as Purdue Pharma in 1991. (Its headquarters are now in Stamford, Conn.)Dr. Sackler died in 1987 — nine years before the opioid OxyContin was marketed by the company as a powerful painkiller. Shortly after his death, his estate sold his share of the company to his billionaire brothers, Raymond and Mortimer, for $22.4 million.The company’s misleading advertising claim that OxyContin was nonaddictive prompted doctors to overprescribe it beginning in the 1990s. The proliferation of the medication ruined countless lives of people who became dependent on it.Ms. Sackler in 2012. She spent decades defending her husband, who died nine years before the opioid crisis.Fairchild Archive/Penske Media, via Getty ImagesIn 2021, the company proposed a bankruptcy settlement in which members of the Sackler family agreed to pay $4.2 billion over nine years to resolve civil claims related to the opioid crisis. In return, they sought immunity from future lawsuits.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
In a small but haunting survey at the Met, a celebrated conceptual artist shifts gears, with meteoric results.Some of our most interesting artists have one thing in common. They do outstanding work early on, then, rather than coasting by recycling that success, they complicate it, even change gears.The artist Lorna Simpson is one these restless souls, and she has the technical and imaginative chops to make major changes work, as is evident in a corner-turning retrospective of paintings, “Source Notes,” now at the Metropolitan Museum of Art.In the late 1980s and 1990s, Simpson gained a strong reputation as a standout among a new generation of conceptual photographers and artists who — following “Pictures Generation” progenitors like Cindy Sherman a decade earlier — used photographic techniques somewhat the way painters used paint. Through a traditionally point-and-shoot, ostensibly reality-capturing medium, they created entirely fictional images.Simpson began as a straight-up picture-taker. A native New Yorker — born in Brooklyn in 1960, and raised in Queens — she studied photography at the School of Visual Arts and initially identified her work with the genre of “street photography.” Graduate school at the University of California, San Diego, where Conceptualism was the reigning mode, added a new dimension to that early impulse. So was the perception that her career opportunities in the field were limited: “Being a Black woman photographer was like being nobody,” as she has put it. So she saw no reason not to experiment both with her medium and with the subjects that interested her, namely the politics of gender and race.To that end she developed a studio-based style that combined staged images, notably shots of unnamed Black women posing in plain white shifts against a neutral backdrop, their faces turned away from the camera or out of its range, with results that evoke voyeuristic 19th-century ethnological documents, mug shots, and performance art stills. Most of these images have incorporated short texts that hint at explanatory narratives, some violent, without actually providing anything explicit.Detail of “5 Properties,” 2018. Ebony and Jet magazines, poly sleeves, bronze, plaster, glass.Dana Golan for The New York TimesCreating on aura of mystery has been her generative M.O., one she has applied to film and installation work as well as to still photography. What has changed in the past decade is her primary medium. Around 2014, she began, for the first time since her pre-art-school years, to focus on painting, and the Met exhibition is a tight but monumental survey of this new work.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
