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      Museum of Chinese in America Names New Leader

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      The museum, which has been the site of protests in recent years, has chosen Michael Lee as its director as it focuses on rebuilding trust.The Museum of Chinese in America in the Chinatown neighborhood of Manhattan has experienced protests and resignations, a fire and legal problems. Now, the board has chosen a new leader who wants to move the institution forward and reconnect with the local community.Michael Lee, a nonprofit executive, will be the next director, the board announced on Tuesday. In an interview, he said, “At the end of the day, I want people to know that the museum is here for four things: to preserve history, promote culture, tell our stories and celebrate our accomplishments.”In 2020, shortly before the pandemic shutdown, a fire ripped through a building housing some of the museum’s permanent collection. Staff members were sifting through the ashes — about 5 percent of the collection was destroyed — as trustees were raising money to buy the main building, at 215 Centre Street, at the same time as the landlord was planning to sell it to developers.In 2019, the city awarded the museum $35 million through a program for community projects as part of a deal for a local jail — money that allowed the museum to buy the main building. Museum officials said they have opposed the jail’s construction. But some residents have remained skeptical of the museum’s position, and maintain that in taking the money, officials betrayed the neighborhood. Artists withdrew their work from a major exhibition, leading to its cancellation, and to demonstrations by another wave of activists.The frequent protests by several groups have continued. In February, nearly a dozen picketers from Youth Against Displacement, chanting, “Chinatown is not for sale” and “Boycott MOCA,” appeared outside of the museum’s Lunar New Year celebration.Eric Lee, a museum chairman, said the new director needed to be someone who could rebuild trust with the community. So he turned to Michael Lee.Jeenah Moon for The New York TimesWe 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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      2 Charged After Pouring Red Powder Over Case Holding U.S. Constitution

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      Two activists poured the powder over the protective case at the National Archives Museum last month to call attention to climate change, prosecutors said.Two climate activists who dumped red powder over the display case that contains the U.S. Constitution at the National Archives Museum last month were charged on Thursday with destruction of government property, prosecutors said.The activists, Donald Zepeda, 35, of Maryland, and Jackson Green, 27, of Utah, poured the powder over the display case in the rotunda of the building on Feb. 14 as part of a “stunt, which was intended to draw attention to climate change,” the U.S. Attorney’s Office for the District of Columbia said in a statement on Friday.During the episode, which officials said was captured on video by supporters of Mr. Green, the two men also poured red powder over themselves and then stood before the Constitution as they called for solutions to climate change.The Constitution was not damaged, according to the National Archives Museum, which said that the powder was found to be a combination of pigment and cornstarch.“Fortunately, the four pages of the Constitution on display were not at risk for damage by this incident,” said Stephanie Hornbeck, a national preservation program officer.The rotunda was closed after the episode, which cost more than $50,000 to clean up, prosecutors said.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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      On Covering the Arts in California

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      A conversation with Robin Pogrebin, a Los Angeles-based arts writer for The New York Times.The Frieze Art Fair at Paramount Studios in 2019.Graham Walzer for The New York TimesThough New York is often thought of as the center of the art world, there’s plenty going on in California.The New York Times has been covering California’s ambitious museums, top-notch art schools and adventurous galleries for years. Some of my favorite recent articles discussed how the Los Angeles art scene is eclipsing the Bay Area’s, how old San Francisco theaters are rethinking the size of their seats and how San Diego is finally getting its answer to the Hollywood Bowl.Robin Pogrebin, a longtime arts writer for The Times, moved to Los Angeles from New York last fall to bolster the coverage, reporting on art, architecture, music, theater and cultural institutions in California.Just this week, she published an article on the Resnicks, an L.A. couple who have made big donations to cultural organizations but have come under scrutiny for their water use, and another on the increasing recognition of Asian artists at the Frieze Art Fair, which opens today in Santa Monica.I spoke to Robin about her impressions of the West Coast art scene. Here is our conversation, lightly edited:In such a big state, how do you think about what to focus on?I had always considered the West Coast an important part of our cultural coverage, given that many important museums and galleries are here and that Los Angeles has a long tradition of producing artists. Hollywood also has the potential to feed the theater and dance worlds, and classical music as well as opera have their own vibrant followings here.Now that I’m based here, I’m exploring, discovering, learning and responding to what strikes me as newsworthy or interesting. I am out for lunches and dinners every day with people who can help me understand the cultural ecosystem here, attending events almost every night in many different arts disciplines. I’m keeping track of potential trends worth noting and individual stories worth telling.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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      Jeffrey Gibson Will Bring Sculptures of Ancestral Spirits to Met Facade

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      The Met named its 2025 art commissions, which include Gibson’s facade sculptures and a roof garden installation by the soundsmith Jennie C. Jones.Last summer, Jeffrey Gibson received an honor that most artists wait for their entire lives. Would he represent the United States at the Venice Biennale, the art world’s version of the Olympics? Only a few weeks after accepting, there was another auspicious ring on the telephone.It was the curator David Breslin, wondering if Gibson would become the sixth artist to alter the Metropolitan Museum of Art’s facade with newly commissioned sculptures.“He called me from the beach,” recalled Gibson, a Choctaw-Cherokee artist known for infusing abstract works with queer and native themes.For the commission, Gibson will return to the ancestral spirit figures he started assembling in 2015. The challenge will be translating these delicate structures of beadwork, textiles and paint into four weatherproof sculptures that will gaze upon museum visitors from their plinths above Fifth Avenue. They will be on view from September 2025 through May 2026.Breslin, who leads the Met’s modern and contemporary art department, described Gibson as “one of the most incredible artists of his generation.”Gibson’s 2015 sculpture, “Can’t Take My Eyes Off of You,” an ancestral spirit figure made from glazed ceramic and repurposed tipi pole, artificial sinew and copper jingles. Gibson will explore his Indigenous heritage, abstraction and popular cultures on the Met facade.Jeffrey GibsonWe 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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      Investigators Say Chicago’s Art Institute Is Holding onto ‘Looted Art’

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      The museum asserts it is the rightful owner of an Egon Schiele drawing that New York investigators say in a new court filing was stolen by the Nazis.New York investigators trying to seize a drawing from the Art Institute of Chicago filed an exacting 160-page motion on Friday accusing the museum of blatantly ignoring evidence of an elaborate fraud undertaken to conceal that the artwork had been looted by the Nazis on the eve of World War II.While the court papers, filed by the Manhattan district attorney’s office, did not accuse the museum of being party to the fraud, they said it had applied “willful blindness” to what the investigators said were clear indications that it was acquiring stolen property.The drawing, “Russian War Prisoner,” by Egon Schiele was purchased by the Art Institute in 1966. It is one of a number of works by Schiele that ended up in the hands of museums and collectors and have been sought by the heirs of Fritz Grünbaum, a Jewish cabaret entertainer from Vienna who was murdered in a Nazi concentration camp. The institute paid about $5,500 for the drawing, which has been valued by investigators today at $1.25 million.In a statement, the Art Institute said it had good title to the work by Schiele, an Austrian Expressionist, and would fight the district attorney’s attempt to seize it.“We have done extensive research on the provenance history of this work and are confident in our lawful ownership of the piece,” the museum said, adding: “If we had this work unlawfully, we would return it, but that is not the case here.”But the investigators said in their court filing that the institute’s “failure” to vet the work properly “undercuts any arguments that AIC were truly good-faith purchasers.”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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      To Make Blockbuster Shows, Museums Are Turning to Focus Groups

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      To shape its new show about life in the Roman Army, the British Museum put questions to members of the public. Other institutions are also using the same technique.Last January, 14 members of the British public entered a wood-paneled room in the back of the British Museum for a secret presentation. They were there to learn about an exhibition still in development, which the museum wanted kept under wraps.Onscreen in a prerecorded video, the museum’s curator of Roman and Iron Age coins, Richard Addy, outlined his plans for a show about life in the Roman Empire’s army. The exhibition would take visitors from a soldier’s recruitment to his retirement, he said, and would feature hundreds of objects, including the armor that warriors wore on the battlefield and letters they wrote home to their families.When the presentation was finished, a staff member from Morris Hargreaves McIntyre, a company that runs focus groups, asked the museum goers for their thoughts on aspects of Addy’s plan, including which types of artifacts the museum should show, how they should be arranged and even how much entry should cost.Most of the participants seemed excited, according to an anonymized report for the British Museum. Several attendees said they especially liked that the exhibition would focus on the stories of individual soldiers, including everyday subjects like their food and pay.Other participants were more critical. “It comes across a little dry,” one said. “It would be quite boring for a kid,” said another.Sometimes the attendees’ feedback could be “a shock to the curatorial ego,” said Stuart Frost, the British Museum official who oversees focus groups.Andrew Testa for The New York TimesA Roman long shield, or scutum, left, and the central part from a legionary shield, right, used to protect the user’s hand and provide a punching weapon.
      Andrew Testa for The New York TimesWe 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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      Mighty Shiva Was Never Meant to Live in Manhattan

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      “What if museums give back so much art that they have nothing left to display?” As a scholar of the debates about returning cultural objects to the countries from which they were stolen, I have, over the years, heard many variations of that question. “Museums have lots and lots of stuff,” I usually answer, fighting the urge to roll my eyes. “It’s not like they’re just going to shut down.”But in December, the Metropolitan Museum of Art announced it would return a substantial proportion of its Khmer-era works to Cambodia, which is claiming still more, including nearly all the museum’s major Cambodian pieces. Last month, the American Museum of Natural History indefinitely closed two of its halls in response to new federal regulations about the display of Native American sacred and burial artifacts. Now Manhattan’s Rubin Museum of Art, which features art from the Himalayas, has announced that it will close later this year. The museum says the decision is unrelated to issues of cultural repatriation, but it comes after the museum faced many accusations of cultural theft and returned some prized pieces.Clearly, I need to change my answer.When stolen artifacts go back to their rightful owners, it is now clear, some display cases will indeed empty out, some galleries will shut their doors, and entire museums may even close. But it’s worth it. Repatriating these precious items is still the right thing to do, no matter the cost.Why? Museums are supposed to educate us about other ways of being in the world. But looted artifacts alone — removed from their original context, quarantined in an antiseptic display case — cannot do this. Unlike, say, Impressionist paintings or Pop Art sculptures, ritual objects were not meant to be seen in a gallery at a time of the viewer’s choosing. Used alongside music, scents and tastes, these holy relics are tools to help participants in rituals achieve a transcendent experience. Imagine looking at a glow stick necklace and thinking it could teach you what it’s like to greet the sunrise dancing ecstatically with hundreds of strangers.The Rubin Museum, which displays art from Tibet, Nepal and elsewhere in the Himalayan region, returned two stolen objects to Nepal in 2022 and last year surrendered another, a spectacular 16th-century mask depicting one of Shiva’s manifestations. By chance, I heard the news about the Rubin’s closing while I was looking at photographs from the mask’s homecoming ceremony.The mask was one of a nearly identical pair depicting the snarling deity with golden skulls and snakes twining through blood-red hair. For centuries, they had been featured in an annual ceremony, in which worshipers sought blessings by drinking rice beer from the masks’ lips. In the mid 1990s they were both stolen from the home of the family that was entrusted to care for them when the ceremony was not underway.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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      Amid a Fraught Process, Penn Museum Entombs Remains of 19 Black People

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      Skulls from a collection used to further racist science have been laid to rest. Questions surrounding the interment have not.There was very little that could be said about the 19 people who were eulogized on Saturday morning in a service at the University of Pennsylvania. Their names were lost, and not much about their lives was known beyond the barest facts: an old age spent in the poorhouse, a problem with cavities. They were Black people who had died in obscurity over a century ago, now known almost entirely by the skulls they left behind. Even some of these scant facts have been contested.Much more could be said about what led to the service. “This moment,” said the Rev. Jesse Wendell Mapson, a local pastor involved in planning the commemoration and interment of the 19, “has not come without some pain, discomfort and tension.”On this everyone could agree.The University of Pennsylvania Museum of Archaeology and Anthropology, like cultural and research institutions worldwide, has been grappling with a legacy of plunder, trying to decide what to do about artifacts and even human bones that were collected from people and communities against their will and often without their knowledge.Human remains, which are in the repositories of institutions all across the country, present a particularly delicate challenge. The Samuel G. Morton Cranial Collection, which has been at the Penn Museum since 1966, is an especially notorious example, with more than a thousand skulls gathered in furtherance of vile ideas about race.Drummers at the start of the commemoration service at the Penn Museum on Saturday.Kriston Jae Bethel for The New York TimesThe museum plans to repatriate hundreds of craniums from all over the world, but the process has been fraught from the beginning. Its first step — the entombment at a nearby cemetery of the skulls of Black Philadelphians found in the collection — has drawn heavy criticism, charged by activists and some experts with being rushed and opaque.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