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    This Year’s Met Gala Raises the Most Money in Its History

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    The Met’s annual fashion party has become a fund-raising juggernaut, but the lavish event comes with a price tag of its own. How much bang does it get for its buck?The Met Gala has outdone itself, even before it’s begun.The annual gala at the Metropolitan Museum of Art — the flashy fashion extravaganza that highlights the city’s social scene every May — raised a record $31 million this year, museum officials announced on Monday, the biggest gross in the event’s 77-year history.The money haul — and the avid interest the gala inspires — further cements its place as the pre-eminent benefit among the city’s cultural institutions, and one the world’s most sought-after tickets. The Met’s take dwarfs events like a September gala for the New York Philharmonic (which brought in nearly $4 million) and the 2024 event for the Whitney Museum of American Art, which raised some $5.2 million.The $31 million figure does not reflect the seven-figure cost of staging the gala, which will kick off on Monday evening with the procession of pop stars, fashion icons and sporting-world superstars striding the red carpet, enduring countless flashbulbs, and surrounded by a swarm of publicity and eager onlookers.The gala will act, as always, as the opening of a Costume Institute exhibition: This year’s is entitled “Superfine: Tailoring Black Style,” examining 300 years of Black fashion and the vibrant history of Black dandyism.That emphasis is a significant departure from the department’s largely monochromatic past: This is the Met’s first fashion exhibition devoted entirely to designers of color, and is being seen as part of a larger effort to diversify the collection. It is also a rarity for its focus on men’s wear.As such, it drew an array of Black celebrities to help host the event — including Colman Domingo, Lewis Hamilton, ASAP Rocky and Pharrell Williams. LeBron James, whose Los Angeles Lakers were bounced from the N.B.A. playoffs last week, is the honorary chair.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

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      These activists are ‘flooding the zone with Black history’ to protest against Trump’s attacks on DEI

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      A coalition of civil rights groups have launched a weeklong initiative to condemn Donald Trump’s attacks on Black history, including recent executive orders targeting the National Museum of African American History and Culture (NMAAHC) in Washington DC.The national Freedom to Learn campaign is being led by the African American Policy Forum (AAPF), a social justice thinktank co-founded by the law professor Kimberlé Crenshaw. Crenshaw is a leading expert on critical race theory (CRT), a framework used to analyze racism’s structural impact. She has fought against book bans, restraints on racial history teaching and other anti-DEI efforts since the beginning of the Republican-led campaign against CRT in 2020.“Our goal this week has been to flood the zone, as we call it, with Black history,” Crenshaw said about the campaign. “We have long understood that the attacks on ideas germinating from racial justice were not about the specific targets of each attack … [but are] an effort to impose a specific narrative about the United States of America, one that marginalizes, and even erases, its more difficult chapters,” she added.The weeklong campaign will conclude with a demonstration and prayer vigil in front of NMAAHC on 3 May.Leading up to the protest, AAPF, the NAACP’s Legal Defense Fund and six other advocacy groups signed onto a statement criticizing Trump’s “attempted mass erasure of Black history and culture”, according to a press release published 28 April. In March, Trump ordered an overhaul of the Smithsonian Institution, the world’s largest museum network, in order to demolish what he described as “improper, divisive or anti-American ideology”. He singled out NAAMHC, a museum that has been lauded since its opening in 2016.The coalition’s affirmation read, in part: “We affirm that Black history is American history, without which we cannot understand our country’s fight for freedom or secure a more democratic future. We must protect our history not just in books, schools, libraries, and universities, but also in museums, memorials, and remembrances that are sites of our national memory.”“I wasn’t shocked by it,” said Crenshaw of Trump’s executive order against NAAMHC. “I never did think that these attacks on civil rights, on racial equality, would find a natural limit because there is no limit.”Within this week’s movement, AAPF has led sessions to educate people on Trump’s dismantling of diversity, equity and inclusion efforts, an element of the broader campaign. About 1,500 people attended a virtual event titled Under the Black Light: Beyond the First 100 Days: Centering Racial Justice and Black History in Our Fight for Democracy. There, panelists, including civil rights leaders and academics, discussed how attendees could organize against Trump’s mounting censorship of history. Coffee meetups and a sign-making session were organized as additional parts of the campaign, providing further conversations between participants and academics about how Trump’s initial executive orders connect to a larger thread of eroding racial justice.The group has also launched a “Black history challenge” where participants are encouraged to find a historical site or artifact and “put it into memory”, or recognize it, “as part of Black history’s role in American history”. As a part of the challenge, Crenshaw posted a video on social media of Bruce’s Beach, in Manhattan Beach, California. There, in 1912, a Black couple purchased oceanfront property and built a resort for Black people. The property was later seized by the city under the auspices of eminent domain. “It’s important to tell these stories so people understand that it’s not a natural reality that many Black folks don’t have beachfront property or that we don’t have transnational hotel chains owned by Black people,” said Crenshaw. “These things are actually created by the weaponization of law to impose white, exclusive rights and privileges.”The weeklong campaign comes as the Trump administration has attempted to eliminate diversity, equity and inclusion (DEI) efforts at all levels of local and federal government since the start of his second term. Trump has threatened to withhold federal funding from any public schools that do not end their DEI programming. He later signed executive orders to crack down on diversity efforts at colleges and universities.skip past newsletter promotionafter newsletter promotionCrenshaw added: “If you want to sustain this idea of making America great again, then you’ve got to erase the ways that it wasn’t great all along. We’ve always understood that what the end game was, was the elimination of any recognition that our country has had and still has challenges with respect to racial and other forms of justice.”In response, advocacy groups have come together to channel their outrage into the collective action of the campaign and protest. “We want to be sure that we can preserve, beyond artifacts, the true experiences of those that have [undergone] the oppressive past of African Americans, and how that experience of resilience is important today,” said Reverend Shavon Arline-Bradley, president of the National Council of Negro Women (NCNW).A partnership, especially given the importance of the NMAAHC, felt like the most significant way forward, said Arline-Bradley. “This really is a collective, multiracial, multicultural, multi experience, coalition that is saying no. When you take away our history, when you take away African American history, then you really are trying to take away culture.” More

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      Art to See on Day Trips From New York City This Spring

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      Exhibitions and discoveries await in New Jersey, the Hudson Valley and the Catskills, and on the East End of Long Island.The busy calendar of fairs and auctions in May makes New York City an attractive hub of activity for the art crowd. But if a breather is needed or desired, a day trip may be in order. Here are a few art destinations worth considering.The Zimmerli Art Museum at Rutgers University, about an hour from Penn Station by train, has drawn record attendance since “Indigenous Identities: Here, Now & Always” opened in February. The show is a broad survey of 97 Indigenous artists.McKay Imaging PhotographyZimmerli Art Museum, New Brunswick, N.J.Located at Rutgers University, about an hour from Penn Station by train, the Zimmerli — with a substantial collection strong in American, European and Soviet nonconformist art — has long been overshadowed by New York City institutions. But the museum has drawn record attendance since “Indigenous Identities: Here, Now & Always” opened in February. The show is a broad survey of 97 well-established and emerging Indigenous artists including Jeffrey Gibson, Terran Last Gun, Wendy Red Star and Marie Watt. It was curated by the artist Jaune Quick-to-See Smith, who was honored with a Whitney Museum retrospective in 2023 and died at 85, a week before the Zimmerli show opened.On view through Dec. 21, it is the largest of more than 30 exhibitions that Smith organized throughout her career in the United States. “Jaune helped define Native art history based on the artists she gave a platform to over the years,” said the Zimmerli director, Maura Reilly. Rather than apply an authoritative curatorial style, Smith asked each artist “how they wanted to be represented,” Reilly said, “very different from how I’ve worked typically.” Smith called the show “a celebration of life,” Reilly recalled: “She said it was about ‘kinship, community, survivance, solidarity and resilience.’”A piece from “Emily Cole: Ceramics, Flora & Contemporary Responses,” at the Thomas Cole National Historic Site.Thomas Cole National Historic Site Thomas Cole National Historic Site, Catskill, N.Y.Two centuries ago, the artist Thomas Cole took a momentous boat ride up the Hudson River to Catskill, where the scenery inspired him to found the Hudson River School of landscape painting. He also fell in love with Maria Bartow and moved in 1836 to her family home in Catskill, painting the view from their porch of the Catskill Mountains more than any other.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

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      In Philadelphia, Art Shows by Women Teem With Eros and Audacity

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      Devotees of the human figure, Cecily Brown and Christina Ramberg turn the Benjamin Franklin Parkway into a showplace for the female gaze.Is there such a thing as being too tall to be an artist? Christina Ramberg, the subject of a long-overdue retrospective at the Philadelphia Museum of Art, stood 6-foot-1 and considered her height a liability. She grew up in the Eisenhower era, when the average American woman was 5-foot-4 and aspired to have an hourglass figure, and she sewed her own clothes, since standard sizes didn’t fit. As if wanting to somehow shrink herself, she painted images of the female body constrained by fabric — corseted, cinched, girdled and even bound.By a nice coincidence, Cecily Brown, a generation younger than Ramberg and the subject of a retrospective at the nearby Barnes Foundation, is also a devotee of the human figure — but unbound. If Ramberg’s imagery evokes a period when women were tethered to traditional roles and constricting fashions, Brown’s world is just the opposite: untethered and uninhibited.Brown is known for exuberant semi-abstractions, in which gleaming nudes in shifting gradations of salmon pink turn up in French forests and other far-flung places. The two artists could not be more different, but their work teems with eros, emotion and painterly audacity, and it has turned Philadelphia’s Benjamin Franklin Parkway, the site of both museums, into a temporary capital of the much-heralded female gaze.Christina Ramberg, “Untitled,” 1970-1971. Felt-tip pens, with graphite and colored pencil on ivory wove graph paper.via Philadelphia Museum of ArtRamberg, who died in 1995 and remains underknown, was officially a Chicago Imagist, one of a dozen or so figurative artists who defined their work in opposition to New York, the country’s No. 1 painting town. Spurning abstraction, the Chicago Imagists worked on the margins of cartooning and surrealism. They pursued the rough, often raunchy edges of American culture with a zealousness that made the art of both coasts seem relatively polite.Ramberg’s work is easy to recognize, even from the next room. She painted cropped, centered, fastidiously crafted images that isolated a female hand or a vintage hairdo against a blank ground, as if turning them into heraldic emblems. And she can fairly be called a connoisseur of undergarments. With nearly devotional detail, she captured the texture of different fabrics, contrasting the smooth, blue-black sheen of satin bands with the intricate patterns embedded in lace. Her colors, compared to the screaming hues of other Imagists, tend to be soft and muted, with an emphasis on peachy beiges and grayed lavenders reminiscent of women’s slips.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

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      Sculpture Museum in Dallas Names a New Director

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      Carlos Basualdo, a veteran curator who has spent most of his career at the Philadelphia Museum of Art, will take over the Nasher Sculpture Center next month.Carlos Basualdo visited Dallas for the first time in October with interest in seeing the Nasher Sculpture Center, a prized small museum. It mingles 20th-century European sculpture by Pablo Picasso, Constantin Brancusi and Alberto Giacometti with contemporary works by American artists like Arlene Shechet and Carol Bove.“I fell in love with the building and the garden,” said Basualdo, a veteran curator who has spent most of his career at the Philadelphia Museum of Art.He will be returning to the Nasher on May 12 with the title of director, his first time overseeing an institution.The Nasher is relatively intimate, with a collection of about 500 works and an annual operating budget of about $13 million, but it has long commanded an outsize reputation for its holdings. It is housed in a jewel of a building: a light-flooded, travertine-and-glass structure by Renzo Piano. From the museum’s entrance you can see, in a nearly seamless glance, through the interior and across the length of the sculpture garden out back.A sculpture by Otobong Nkanga at the Nasher, which has a collection of about 500 works.Nitashia Johnson for The New York Times“When I walked into the place, coming out of the street, it was super-powerful,” Basualdo said. “It’s open, it’s very present, it’s not ostentatious, it’s generous, it’s full of light.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

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      Trump will not stop until every American relic reflects his imaginary world view | Kellie Carter Jackson

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      Last week, Donald Trump issued another executive order, this one aimed directly at the Smithsonian Institution, and called for “Restoring Truth and Sanity to American History”. He contended that the Smithsonian had “come under the influence of a divisive, race-centered ideology” and that it advocates “narratives that portray American and Western values as inherently harmful and oppressive”. Specifically, the order targeted American history and art that focused on stories of race and racism.Being responsible for the distillation of the nation’s narrative is no small thing. The Smithsonian oversees 21 museums, libraries, research centers and the National zoo. Every year millions of people visit various sites that are free to the public. The collection of museums represents the pinnacle of public history and the story America tells the world about itself.But Trump’s executive order is not about restoring the truth. Quite the opposite. It creates false narratives and myths that promote the supremacy of whiteness. This executive order has the potential for harm because erasure is violence; it robs the public of the truth. Because there is no way to explain slavery and segregation as not “inherently harmful and oppressive”, Trump would rather not explain it at all.One of the most popular Smithsonian sites is the National Museum of African American History and Culture (NMAAHC), affectionately known by Black people as the “Blacksonian”. The museum was conceived of as early as 1915 by Black veterans who fought during the civil war and wanted recognition for their service and valor. These soldiers were not only left out of national memorials and ceremonies, but also faced tremendous discrimination often culminating in deadly violence when they returned home. They wanted a space and memorial that would honor their achievements and pivotal contributions.It was impossible to separate the story of Black military service and valor from racial discrimination and violence. Similarly, one cannot separate out the “good” from the “bad” in creating an honest narrative about the United States. Accordingly, the NMAAHC holds a special place in America, one where the complexity of George Washington and Thomas Jefferson are recognized as founding fathers and slaveholders. There is no abolitionist movement without slavery. There is no suffrage movement without women’s denial. There is no civil rights movement without racism and oppression. These are the facts. Museums exist to collect, preserve and exhibit the past as it happened. Archivists and curators care deeply about their mission to be accurate and authentic.An America that will re-erect statues and rename military bases after Confederate generals, while simultaneously stripping the evidence of race and racism from the Smithsonian history museums isn’t correcting the historical record. That nation is whitewashing the political record to legitimize the actions of those in power. Slavery is a fact. Jim Crow is a fact. Racist and exclusionary immigration laws are a fact. Japanese internment is a fact. Native American removal and extermination is a fact. Mexican and Mexican American expulsion is a fact. Removing them from the sight of the public doesn’t change the facts, it only changes one’s perspective on and relation to them politically.Museums offer cautionary tales, hard lessons about where the country has been and where we hope to never be again. They hold a great deal of public trust, perhaps more than schools, media, newspapers or even films. Patrons get to experience first hand documents, letters, original photographs and artefacts. Museums are public time capsules of where we have been. I will never forget seeing Emmett Till’s casket, Harriet Tubman’s shawl, Nat Turner’s Bible or an early flag of the First Republic of Haiti. These artefacts do more than defy the odds by still existing; they tell a powerful story about who people were during the times that they lived. Museums should not be party to culture wars. Our history is a collective memory whether Trump likes it or not.A nation that cannot reckon with its past, triumph and tragedy, is ultimately a weaker one; puffed up with its own delusions of grandeur. There is more power in the truth than there is in a lie. The efforts in the last 50 years to give the powerless a place politically, academically and legally is not from a revisionist view of American history, but rather a move to make all of America the democratic nation it claims to be.Moreover, key features of the NMAAHC reflect optimism, spirituality and joy because anti-Blackness is not the totality of the Black experience. The museum showcases Black food pathways, artistry, music, sports, film, ingenuity and technological advancements. It is a celebration of achievement despite the barriers and challenges racism presents. But even if museums solely focused on slavery, they still deserve a right to exist. America has been a land with enslaved people longer than it has been a county without slavery.Are museums contested spaces? Absolutely. No one space can include everything and offer an exhaustive history of a country, person or movement. But what is included or not included is painstakingly considered. Museums are bipartisan sites where everyone can grapple with the good, bad and the ugliness of nation making. But Trump will not stop until every American relic reflects his imaginary world view, a place where few can see their lived experiences on full display. More

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      As Trump rewrites even America’s history, institutions have two choices – submit or find ways to resist | Charlotte Higgins

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      It has come to this: we are now in Ministry of Truth territory. In Washington DC, the Smithsonian Institution, the US’s ensemble of 21 great national museums, last week became the subject of an executive order by President Donald Trump. “Distorted narratives” are to be rooted out. There will be no more of the “corrosive ideology” that has fostered a “sense of national shame”. The institution has, reads the order, “come under the influence of a divisive, race-centered ideology” that portrays “American and Western values as inherently harmful and oppressive”. The vice-president, JD Vance, is, by virtue of his office, on the museum’s board. He is charged by Trump to “prohibit expenditure” on programmes that “divide Americans based on race”. He is to remove “improper ideology”. The order is titled “Restoring Truth and Sanity to American History”. George Orwell lived too soon.The move is deeply shocking, but predictable. After Trump’s insertion of himself as chair of the John F Kennedy Center and his railing against the supposed wokeness of the national performing arts venue, the federally funded Smithsonian was bound to be next in line. Those who imagined the Kennedy Center was a one-off, attracting the president’s ire for personal reasons, were deluding themselves about the scale of Trump’s ideological ambition. Picked out for opprobrium in the executive order are the Smithsonian American Women’s History Museum for celebrating transgender women (the museum, it should be pointed out, has yet to be built); the National Museum of African American History and Culture; and an exhibition titled The Shape of Power: Stories of Race and American Sculpture at the American Art Museum.I visited the Museum of African American History for the first time a couple of weeks ago. It is a vast book of a museum, heavy with text. It was full, when I visited, of mostly Black families seeking out an encounter with a narrative that has long been a footnote to, or erased completely from, the main national story. You could spend days absorbing the web of stories that the museum offers, beginning in its basements with the transatlantic slave trade, where one of the most moving objects is, unexpectedly and profoundly, a piece of iron ballast that took the place of a human body after a ship’s cargo of enslaved people had been disgorged on the triangular route between Africa, the Americas and Europe. The whole strikes a fascinating balance between an unflinching gaze on systems of oppression, and a sense of Black achievement and cultural richness that has nevertheless effloresced.Lonnie Bunch, the founding director of the museum, gave a talk at the House of Lords in 2011 about the institution, which was still in the planning, and would open five years later. I can still recall how moving it was to hear about the difficulties of making a museum – a place where a story is told through objects – from communities traditionally poor in material things. The institution had put out a call for loans and donations. Precious, carefully treasured objects – a bonnet embroidered by someone’s enslaved grandmother, for example – were arriving into the new collection.Fast forward to the present, and Bunch is in charge of the entire Smithsonian Institution. This is a man who believes, as he told Queen’s University Belfast last year, that history can be used to “understand the tensions that have divided us. And those tensions are really where the learning is where the growth is, where the opportunities to transform are.” That compassionate vision of the past, as a means through which the citizens of the present can better understand each other, is completely opposed to the monolithically triumphalist spirit of Trump’s executive order, in which history is reduced to “our Nation’s unparalleled legacy of advancing liberty, individual rights, and human happiness”. How much easier it is, to sink into this pillowy, comforting notion of glorious progress than to grapple with the kind of knotty, often upsetting and confronting history that the Museum of African American History offers its visitors. But it makes me wonder: can the museum survive this government?I visited, too, the American Art Museum, whose show The Shape of Power is targeted in the executive order as emblematic of the Smithsonian’s decline into “divisive, race-centered ideology”. The exhibition, which was years in the careful making, points out what is surely obvious, once it has been given a moment’s thought: that race is not an inherent and prepolitical category, but rather a constructed set of ideologies that served (and still serve) a set of economic and political interests. (One way to tell that race is a socially constructed category, in fact, is by looking to the Greeks and the Romans – the people who established, in the minds of many on the US right, “western civilisation”. They were xenophobic in their own way, and enslavement was a fact of their societies. But as is obvious from their literature, whiteness and Blackness were for them simply not operative categories.) The exhibition is an eye- and mind-opening look at how race ideology has translated into and been reinforced, or deconstructed, by sculpture – that peculiarly lifelike and thus “truthful”-seeming artform.The catalogue quotes Toni Morrison, who once wrote that “I want to draw a map, so to speak, of a critical geography and use that map to open as much space for discovery, intellectual adventure, and close exploration as did the original charting of the New World.” Such intellectual adventuring is not what is wanted by the White House now. Trump’s world is more like Viktor Orbán’s, under whose government the school history curriculum has been rewritten to glorify Hungary, or Recep Tayyip Erdoğan’s Turkey, where the novelist Elif Shafak, as she recalled in a Guardian Live event last week, was prosecuted for “insulting Turkishness”, her lawyer obliged to defend in court the views of her fictional characters. The Smithsonian and all who work there have an unenviable choice, one that has already been put before other great or formerly great institutions such as Columbia University: to comply with Trump’s dark demands; or to find ways to defy them.

      Charlotte Higgins is the Guardian’s chief culture writer More

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      ‘It reminds you of a fascist state’: Smithsonian Institution braces for Trump rewrite of US history

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      In a brightly lit gallery, they see the 66m-year-old skeleton of a Tyrannosaurus rex. In a darkened room, they study the flag that inspired Francis Scott Key to write the national anthem. In a vast aviation hanger, they behold a space shuttle. And in a discreet corner, they file solemnly past the casket of Emmett Till, a 14-year-old Black boy lynched for allegedly whistling at a white woman in the US south.Visitors have come in their millions to the Smithsonian Institution, the world’s biggest museum, education and research complex, in Washington for the past 178 years. On Thursday, Donald Trump arrived with his cultural wrecking ball.The US president, who has sought to root out “wokeness” since returning to power in January, accused the Smithsonian of trying to rewrite history on issues of race and gender. In an executive order entitled “Restoring Truth and Sanity to American History”, he directed the removal of “improper, divisive or anti-American ideology” from its storied museums.The move was met with dismay from historians who saw it as an attempt to whitewash the past and suppress discussions of systemic racism and social justice. With Trump having also taken over the John F Kennedy Center for the Performing Arts, there are fears that, in authoritarian fashion, he is aiming to control the future by controlling the past.“It is a five-alarm fire for public history, science and education in America,” said Samuel Redman, a history professor at the University of Massachusetts Amherst. “While the Smithsonian has faced crisis moments in the past, it has not been directly attacked in quite this way by the executive branch in its long history. It’s troubling and quite scary.”View image in fullscreenThe Smithsonian was conceived in the 19th century by the British scientist James Smithson, who, despite never setting foot in the US, bequeathed his estate for the purpose of a Washington-based establishment that would help with “the increase and diffusion of knowledge”. In 1846, 17 years after Smithson’s death, then president James Polk signed legislation calling for the institution’s formation.The Smithsonian now spans 21 museums, most of them in the nation’s capital lining the national mall from the US Capitol to the Washington monument, including the National Air and Space Museum, the National Museum of American History, and the Hirshhorn Museum and Sculpture Garden. The National Portrait Gallery, which displays a photo of Trump in its presidents gallery, is in downtown Washington.The Smithsonian also encompasses the National Zoo, famed for its giant pandas, and 14 education and research centres employing thousands of scientists and scholars and offering various programmes for schools.Visitors to the National Museum of Natural History’s FossiLab can see paleobiologists chipping away at rock to uncover bones buried for hundreds of millions of years. The Smithsonian Astrophysical Observatory played a key role in the Event Horizon Telescope project, which produced the first-ever image of a black hole in 2019.View image in fullscreenAbout 60% of the Smithsonian’s funding comes from the federal government, but trust funds and private sources also provide money.The institution has known its share of controversies. In 1995, the air and space museum planned to display the Enola Gay, the B-29 Superfortress that dropped the first atomic bomb on Hiroshima, with accompanying text that critics complained was more sympathetic to Japan than the US. The exhibition was cancelled and the plane put on display with no interpretation.Trump visited the National Museum of African American History and Culture a month after taking office in 2017. His reaction to the Dutch role in the global slave trade was: “You know, they love me in the Netherlands,” according to the museum’s founding director, Lonnie Bunch, who subsequently became the first Black person to lead the Smithsonian.Trump paid little attention to the institution during the rest of his first term, although in 2019 his vice-president, Mike Pence, took part in the unveiling of Neil Armstrong’s spacesuit at the air and space museum, marking the 50th anniversary of the Apollo 11 launch.View image in fullscreenAs in so many other ways, however, Trump’s second term is a whole different beast. The president believes there has been a “concerted and widespread effort to rewrite our nation’s history, replacing objective facts with a distorted narrative driven by ideology rather than truth”, according to the White House executive order.He argues this “revisionist movement seeks to undermine the remarkable achievements of the United States by casting its founding principles and historical milestones in a negative light”. The order also asserts: “Once widely respected as a symbol of American excellence and a global icon of cultural achievement, the Smithsonian Institution has, in recent years, come under the influence of a divisive, race-centered ideology.”It cherrypicks examples, arguing that the African American museum “has proclaimed that ‘hard work,’ ‘individualism’ and ‘the nuclear family’ are aspects of ‘white culture’”. This refers to content that was on the museum’s website in 2020 and later removed after criticism.The order points to the exhibition The Shape of Power: Stories of Race and American Sculpture, currently on display at the Smithsonian American Art Museum, which states that societies including the US have used race to establish systems of power and that “race is a human invention”.It criticises a planned women’s museum for “celebrating the exploits of male athletes participating in women’s sports” and aims to ensure the museum does not “recognize men as women in any respect”.The order stipulates that the vice-president, JD Vance, a member of the Smithsonian’s board of regents, work with Congress and the office of management and budget to block programmes that “degrade shared American values, divide Americans based on race, or promote programs or ideologies inconsistent with federal law and policy”. It calls for new citizen members “committed to advancing the policy of this order”.skip past newsletter promotionafter newsletter promotionAll of this is in line with his administration’s efforts to do away with diversity, equity and inclusion (DEI) programmes in government, universities and corporations. The Smithsonian shut its diversity office soon after the president signed a January executive order banning DEI programmes at organisations that receive federal money.It is also of a piece with Trump’s longstanding demand for “patriotic” education. In February, he issued an executive order re-establishing his 1776 Commission, which was a riposte to the New York Times newspaper’s 1619 Project – and he has been a strident critic of renaming or removing Confederate statues and monuments.The order bears the hallmark of the conservative Heritage Foundation, which created the influential Project 2025. The thinktank’s website has an article that describes the 1619 project as “yet another attempt to brainwash you into believing your country is racist, evil and needs revolutionary transformation”. Another warns that the Smithsonian’s proposed Latino museum would be “a woke indoctrination factory”.But progressives say the cultural clampdown will only sow further discord. Tope Folarin, a Nigerian American writer and executive director of the Institute for Policy Studies in Washington, said in an email: “You cannot ‘foster unity’ by refusing to tell the truth about our history. Ignorance of the truth is what actually deepens societal divides.“These museums are important because they tell the full American story in an unvarnished way. We will only achieve unity when we are able to reckon with the truth about how this country was founded, and acknowledge the heroes who worked continuously to bring us together.”On Friday, the mood at the Smithsonian, which has long enjoyed positive relations with both Democratic and Republican administrations, was rife with uncertainty. Many had been bracing for this moment, but it remained unclear what impact the order will have on staffing levels or current and future exhibitions, including plans to celebrate next year’s 250th anniversary of US independence.David Blight, a historian and close friend of Bunch, the Smithsonian’s secretary, said: “I haven’t talked to him yet. I’m sure he’s trying to decide what to do. I hope he doesn’t resign but that’s probably what they want. They want the leadership of the Smithsonian, the directors of these museums, to resign so they can replace them.”Blight, who is the current president of the Organization of American Historians, was “appalled, angry, frustrated but not fully surprised”, when he read the executive order. “There have been plenty of other executive orders but this is a frontal assault,” he said. “I read it as basically a declaration of war on American historians and curators and on the Smithsonian.”The professor of history and African American studies at Yale University in New Haven, Connecticut, continued: “What’s most appalling about this is the arrogance, or worse, the audacity to assume that the executive branch of government, the presidency, can simply dictate to American historians writ large the nature of doing history and its content.“I take it as an insult, an affront and an attempt to control what we do as historians. On the one hand this kind of executive order is so absurd that a lot of people in my field laugh at it. It’s a laughable thing until you realise what their intent actually is and what they’re doing is trying to first erode and then obliterate what we’ve been writing for a century.”Trump’s previous cultural targets have included the Kennedy Center and Institute of Museum and Library Services. This week he urged congressional Republicans to defund National Public Radio (NPR) and the Public Broadcasting Service (PBS). He has also threatened to cut funding to universities refusing to bend the knee.Blight regards the moves as drawn from the authoritarian playbook: “It’s what the Nazis did. It’s what Spain did. It’s what Mussolini tried. This is like the Soviets: they revised the Soviet encyclopedia every year to update the official history. Americans don’t have an official history; at least we’ve tried never to have.”The sentiment was echoed by Raymond Arsenault, a professor of southern history at the University of South Florida, St Petersburg. He said: “What is written in that order sounds almost Orwellian in the way Trump thinks he can mandate a mythic conception of American history that’s almost Disney-esque with only happy endings, only heroic figures, no attention at all to the complexity of American history and the struggles to have a more perfect union.He added: “It’s so chilling. Everything I’ve worked on in my career is simply ruled out by this one executive order. It’s like the barbarian sack of Rome in the level of ignorance and ill-will and anti-intellectualism.”Arsenault, a biographer of John Lewis, who was instrumental in creating the African American museum, said the late congressmen would be “shocked” by Trump’s order: “It’s totalitarian. It does remind you of a fascist state and makes us a laughingstock around the western world. I have to confess in my worst nightmares I didn’t think it would proceed this far in terms of willful megalomania.” More

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      What is the Smithsonian Institution and why is it important?

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      On Thursday, President Donald Trump signed an executive order targeting the Smithsonian Institution, a behemoth of a research and museum organization that operates more than 20 museum and research centers and is visited by millions of people each year, mainly in Washington DC and New York City. The museums include the National Museum of African Art, the National Portrait Gallery, the National Museum of the American Indian and the National Museum of African American History and Culture (NMAAHC), which Trump name-checked in his executive order. Trump’s executive order instructs Vice-President JD Vance to “eliminate improper, divisive or anti-American ideology” from the Smithsonian’s museums.The Smithsonian has already come under scrutiny by Trump and his allies. Earlier this year, the institution was forced to close its diversity office and froze all federal hiring.But what is the Smithsonian Institute, and why is it important?What is the Smithsonian Institution? Envisioned in the 19th century by James Smithson, a British scientist who bequeathed his estate in hopes of establishing an institution to “the increase and diffusion of knowledge”, the Smithsonian Institution had a budget last year that exceeded $1bn. Per its website, it is the “world’s largest museum, education, and research complex”. The Smithsonian Institution’s collection holds more than 150m items, including historical artefacts, scientific specimens, fossil flora and fauna, art and other objects and materials.The institution is not a government agency, but a “trust instrumentality” of the United States, which means that it was created by Congress. It is overseen by a board of regents that includes the chief justice of the supreme court, the vice-president, three members of each house of Congress and nine appointed citizens. The order seeks to appoint new “citizen members” to the board, who are “committed to advancing the policy of this order”.What is included in the Smithsonian collection?The Smithsonian Institution’s collection is vast – less than 1% of the collection is on display at any given time, and some parts of it are available online. The Smithsonian Institution’s total collection includes works of art spanning 6,000 years and across different cultures; an oral history collection; sculptures; historical artefacts; full-size planes, missiles and spacecraft; algae, flowering plants and microscopic plants; marine animals; mammals; fossils and much more. Many of the collections are utilized solely for research purposes.Are specific Smithsonian museums under attack?Trump’s executive order specifically targets the American Women’s History Museum, which currently exists only as an online exhibition, with plans for a physical museum in the future. The order criticized the Smithsonian American Art Museum (SAAM), for its exhibit The Shape of Power: Stories of Race and American Sculpture, which “examines for the first time the ways in which sculpture has shaped and reflected attitudes and understandings about race in the United States”. The order also targets the NMAAHC, which opened in 2016 under the leadership of the historian Lonnie G Bunch III, the Smithsonian’s first Black American secretary.In 2017, Trump toured the NMAAHC and celebrated its existence.“I’m deeply proud that we now have a museum that honors the millions of African American men and women who built our national heritage, especially when it comes to faith, culture and the unbreakable American spirit,” he said. “I know President [Barack] Obama was here for the museum’s opening last fall. And I’m honored to be the second sitting president to visit this great museum.”Earlier this year, Bunch spoke about America’s upcoming 250th anniversary, and the then-upcoming Trump administration.“It’s really clear that the Smithsonian, by its very nature … is always driven by the best scholarship. But it’s important to recognize that if you explore art, history, culture, science – by definition, you’re going to deal with controversy. By definition, you’re going to deal with multiple points of view. The goal here is never, ever to create a sense of self-censorship in the Smithsonian, but to recognize that the Smithsonian has to educate a whole lot of people, some who believe exactly in the interpretations you do, others who are diametrically opposed, and you’ve got to be able to serve both.”Has the Smithsonian Institution faced censorship attempts before?In 2010, the Smithsonian’s National Portrait Gallery pulled a video called A Fire in My Belly, which was produced at the height of the Aids epidemic, after the Catholic League and some members of the House of Representatives, including John Boehner and Eric Cantor, spoke out against its inclusion.Last year, LGBTQ+ employees at the Smithsonian Institution said that the organization had canceled multiple previously planned drag shows, following a House of Representatives oversight hearing. More