"Think about the 250th. A lot's going to happen this summer on the Mall. But come the end of the year, what's still going to still be on the Mall? The bronze bison."

From "Smithsonian brings bison back to the National Mall with gigantic statues" (WaPo)(gift link, because this is all about the photographs).

"I don’t like introspection. There’s something not right, not in my life, not in my existence. I try to avoid it."

Said Werner Herzog, on the Freakonomics podcast, right after he denied that his childhood was traumatic, even though he went hungry in the post-WWII years. He continues:

This is why I believe that psychoanalysis is one of the great mistakes of the 20th century.... I think it is not good if you illuminate all the dark recesses of the human soul. It’s good that we can forget and that we forget traumas. We do not have to unearth them and articulate them in endless sessions with a psychiatrist. And the 20th century is full of very, very deep mistakes. Psychoanalysis is only one. But because of all these monstrous mistakes of this century, I do believe that the 20th century in its entirety was a mistake....

I was also interested in his opinion of art museums:

The news of authenticity.

1. "Museum of Authenticity Annex Closes, Exhibits Feature is Expanded in Original Location" (Ark Valley Voice): "The Museum of Authenticity has offered unique, curated exhibits of art and utilitarian artifacts in Salida for years. While the larger annex off of F Street has closed, the museum itself has not gone anywhere...." 

2. "Time To Get Serious About Workplace Authenticity" (Forbes): "Think of your favorite leaders, whether political icons, sports captains, or CEOs. How would you objectively measure their authenticity? There is no baseline. No benchmark. If you find Trump authentic you probably adhere with his values; same goes for Obama. By the same token, not many Trump fans would find Obama authentic, and vice-versa."

3. "The authenticity double standard is negatively impacting female leaders/We tell brands that humanity drives commercial success, so why do we still advise women leaders to suppress theirs?" (MarketingWeek):

"What about the recent theft from the Louvre, the 2,000 items stolen from the British Museum last year, or environmental activists pouring oil on Egyptian artefacts in Germany?"

Said Monica Hanna, dean of Egypt’s Arab Academy for Science and Technology, addressing the argument that "Western museums" offer better security.

Quoted in "Now give us back Rosetta Stone and other treasures, Egyptians demand/Campaigners say the Grand Egyptian Museum opening strengthens the country’s moves to have ancient looted artefacts returned" (London Times).

What's up with the British spelling "artefact"? The Latin root is "artēfactum," just combines "skill" and "thing" to mean "thing made," and the French word was "artefact." The American spelling — "artifact" — reflects the thinking of Noah Webster, who scorned spelling based on etymology and foreign languages — especially French.

As for the Rosetta Stone: Make 10 replicas and place them in 10 museums, including the British Museum and the Grand Egyptian Museum, and hide the real thing in a vault somewhere.

"It was cool, though, I mean, pshhwww, it's terrible...."

 Said George Clooney, making some funny faces, about the Louvre heist.

"Priceless crown of Empress Eugénie with 1,354 diamonds and 56 emeralds found broken in Paris."

Imagine a theft so big that you drop a thing like this in the getaway:

I'm reading "Louvre Museum Robbery: Priceless crown of Empress Eugénie with 1,354 diamonds and 56 emeralds found broken in Paris" (Economic Times).

Here in America, on the same day, we were disparaging royalty at our "No Kings" rallies. Many of the home-made signs relied on crown iconography....

So how do we feel about royalty these days? If you accept your little daughter in a getup like this....

... is it like letting your little son sport a swastika armband?

"But what if there was a missing layer, a lost generation of artists whose work ran hot-to-feverish in temperature and was driven by a Whitmanesque love of the human body and its longings?"

"This is the question raised with appropriate hippie optimism in 'Sixties Surreal,' an ambitiously revisionist exhibition opening on Sept. 24 at the Whitney Museum of American Art. It brings together about 150 works by 111 painters, sculptors, photographers, collagists, cartoonists, junk assemblage-ists, and at least one Kabballah-ist, most of whom were pushed to the sidelines of the ’60s art scene for various unkind reasons...."

From "Roll Over, Warhol: Taking the ’60s Beyond Pop Art/A thrillingly revisionist history of the era at the Whitney Museum uncovers a current of art that sprang from eros and the uncensored minds of R. Crumb, Martha Edelheit and others" (NYT).

"Of the 111 artists in the show, 47 are women... On a recent afternoon, I visited the studio of Martha Edelheit, a little-known, twice-widowed Manhattanite, now 94, who is about to make her Whitney debut.... She was part of a generation of proto-feminists who painted explicit nudes. In 1965, she recalled, she had a show at the Byron Gallery in Manhattan. The New York Times critic John Canaday came in to look, only to politely explain to the gallery owner that he couldn’t review 'that obscene woman.' Stretching 16 feet wide, across three panels, ['Flesh Wall With Table' (1965)']... embeds a group of female nudes in the space surrounding her drawing table. Languid bodies sprawl from edge to edge of the canvas, snoozing comfortably, their flesh graced with a rainbow of color that progresses from delicate ivories and pinks to dense ceruleans and purples."

Suggestive!

"The White House published a list of Smithsonian exhibits, programming and artwork it considered objectionable..."

"... on Thursday, one week after announcing that eight of the institution’s museums must submit their current wall text and future exhibition plans for a comprehensive review. The list borrows heavily from a recent article in The Federalist that objected to portrayals at several museums. It argued that the National Museum of American History promoted homosexuality by hanging a pride flag; overemphasized Benjamin Franklin’s relationship to slavery in its programming; and supported open borders by depicting migrants watching fireworks 'through an opening in the U.S.-Mexico border wall.'...:

I'm reading "White House Lists Smithsonian Exhibits It Finds Objectionable/The Trump administration highlighted material dealing with topics like sexuality, slavery and immigration" (NYT).

Here's that official list put out by The White House.

Most striking item on the list: "The National Museum of African Art displayed an exhibit on 'works of speculative fiction that bring to life an immersive, feminist and sacred aquatopia inspired by the legend of Drexciya,' an 'underwater kingdom populated by the children of pregnant women who had been thrown overboard or jumped into the ocean during the Middle Passage.'"

Notably out of context item on the list: "An American History Museum exhibit features a depiction of the Statue of Liberty 'holding a tomato in her right hand instead of a torch, and a basket of tomatoes in her left hand instead of a tablet.'" There's an image of it, and it looks like really bad art — amateurish junk. But here's the Smithsonian's description of the object and why it is in the collection:

"The world’s first modern art museum celebrating migration opens on Thursday in the Dutch port of Rotterdam...."

"Dominated by a giant, futuristic, silver staircase at its centre — to symbolise movement — the Fenix museum is in the eye of a political storm and a populist backlash against mass immigration in Europe and across the Atlantic in the US. The museum is housed in what was once the world’s biggest warehouse next to the port’s famous 'Holland-Amerika' pier, where millions of European migrants left Europe for America in the 19th and 20th centuries.... 'These docks witness the departures of millions, including among them iconic figures like Albert Einstein, the actor Johnny Weissmuller and artists Willem de Kooning and Max Beckmann — and welcomed just as many arrivals, shaping the vibrant, multicultural city that is Rotterdam today,' [said Anne Kremers, the museum’s director]."

From "Tornado-shaped museum invites political storm with art of migration/As Geert Wilders’ government clamps down on immigration, the Fenix museum in Rotterdam aims to show that the movement of people ‘has always been there’" (London Times).

You can see some pictures of the architecture here (at Archipanic). It's ugly from some angles, kind of cool from others, but doesn't seem to relate to the desperation of mass migration. It's coldly abstract and design-y. You may like it if you're the sort of person who wishes Frank Lloyd Wright's Guggenheim Museum had been built out of stainless steel.

It's kind of funny to see Johnny Weissmuller extolled alongside Albert Einstein and Willem de Kooning, but I am not the arbiter of icons, and I wandered off into the Wikipedia article on Weissmuller:

"Ex beauty pageant competitor wants to decide what is and isn’t appropriate for the Smithsonian."

"Great — if the administration is going to embrace stupid, it might as well go all the way. Just another incompetent boob doing a job they aren’t qualified for and they’ve no business doing. There are some parts of American history I don’t like — that doesn’t mean I get to pretend they didn’t happen or demand they be stricken from museums and textbooks. It’s how most of us learn. And if we actually learn the lessons our ancestors taught us, we don’t do those things again. Unless you are a Republican — then you embrace the wrongs of the past. And btw — art can make people feel uncomfortable sometimes — it’s supposed to evoke feeling!"

A comment, over at The Washington Post, on an article titled "She told Trump the Smithsonian needs changing. He’s ordered her to do it. Who is Lindsey Halligan, the attorney assigned to help remove 'improper ideology' from a major cultural institution?" (free-access link).

"Museums, monuments, and public institutions should be spaces where these stories are held with care, not suppressed for political convenience."

"When we interrogate systems of power and challenge historical narratives that center whiteness and colonial dominance, we do not divide, we restore balance."

Said Nicholas Galanin, a sculptor of "Indigenous heritage" who produced a work called "The Imaginary Indian (Totem Pole)" ("a wooden totem disappearing into floral wallpaper" (image here)).

From "Taking Aim at Smithsonian, Trump Wades Into Race and Biology/His executive order faulted an exhibit which 'promotes the view that race is not a biological reality but a social construct,' a widely held position in the scientific community'" (NYT).

What are you holding with care and not suppressing? What are you interrogating and centering?

Was sculpture disappearing into the floral wallpaper of academic jargon?

Trump seeks to excise "divisive" ideology from the Smithsonian Institution.

Read the text of his "Fact Sheet: President Donald J. Trump Restores Truth and Sanity to American History."  Excerpts:

The Order directs the Vice President, who is a member of the Smithsonian Board of Regents, to work to eliminate improper, divisive, or anti-American ideology from the Smithsonian and its museums, education and research centers, and the National Zoo.

What was happening at the zoo?! 

More generally, how do you decide what is "improper, divisive, or anti-American"? I'm sure some will say that it's improper, divisive, and anti-American to sanitize race out of the presentation of our history and culture.

Does the order step down from that abstraction and get specific as it discusses enforcement of the Trumpian vision?

"It is more difficult than ever for a theoretical Van Gogh to become an actual Van Gogh, a familiar reality for collectors of star 20th-century artists."

"More than a decade ago, foundations for Andy Warhol and Keith Haring, and the estate of Jean-Michel Basquiat, got out of the authentication business altogether. Keeping fakes from circulating is an important task but led to lawsuits that threatened their broader work."

From "Van Gogh or Faux? Weeding Out Fakes Is Starting to Take a Toll. Attributing a work to the artist generally requires authentication by the Van Gogh Museum, but lawsuits and an influx of requests have made it reassess that role" (NYT).

I like the idea of a "theoretical Van Gogh." (It makes me want to craft a joke about a vincentretical Van Gogh.) You can imagine how many people have tried to paint like van Gogh — either to pull off a fraud or just because they love Van Gogh. And here's this guy suing over something he bought cheap that would be worth many millions if it were a real Van Gogh.

He says: "I am sure that my painting is a real Van Gogh. The entire painting radiates van Gogh. Everyone who sees it only thinks of Van Gogh." But that would be the mark of a fake Van Gogh! How would you fake Van Gogh? You'd try to make the entire painting radiate Van Gogh. The curly colorful strokes, the petals and tree trunks, the little man in the field. Everyone who sees it would only think of Van Gogh!

Proposed museum installation: Loop this clip and project it endlessly onto each of the 4 walls of a darkened room.

I watched it 10 times and felt quite mesmerized:

Defund NPR. It should survive on its own.

pic.twitter.com/dtm5qbbxix

— Elon Musk (@elonmusk) February 4, 2025

"There’ll always be people who say, 'Why can’t the Museum of American History tell everybody’s story?'"

"But the truth of the matter is, America’s history is too big for one building. I really think that what we did with the African American museum—which has become one of the most diversely visited museums in the world—is the right model. This is a two-sided coin. One side is about a community, about identity. But the other side is 'How does that identity shape all of us?'"

Said Lonnie G. Bunch III, quoted in "How Lonnie G. Bunch III Is Renovating the 'Nation’s Attic'/The Smithsonian’s dynamic leader is dredging up slave ships, fending off culture warriors in Congress, and building two new museums on the National Mall" (The New Yorker).

"[I]f you’re not completely sympathetic to its pro forma progressivism, you may come away... alienated by its relentlessly right-on wall labels."

"These seem to have been generated from a dutiful checklist of issues that includes Indigenous rights, race, abortion, disabilities, ecological destruction, gentrification and gender fluidity. The issues are important.... But their articulation in the work is, in most cases, feeble, perfunctory and completely illegible without the accompaniment of convoluted, brain-draining texts. Some of these veer into self-parody. Carolyn Lazard’s medicine cabinets filled with Vaseline, we’re told, are the products of an 'artistic practice [that] traces everyday encounters of Blackness, disability, and opacity, focusing on the daily acts of maintenance we hold in common, in and against the privatization of life itself.'..."

Writes Sebastian Smee, in "A superb Whitney Biennial, marred by flimsy politics/The 81st edition of this closely watched survey of contemporary art is the best in a decade" (WaPo)(free access link).

"[T]he Ladies Lounge of Australia’s Museum of Old and New Art... a conceptual artwork, is decorated with Picassos and other expensive adornments..."

"... and is separated from the rest of the museum with opulent green curtains. A staff member is posted outside to prevent the entry of any visitor who does not identify as a woman, and guests can indulge in a $325 high tea service featuring fancy finger food.... The American artist behind the lounge, Kirsha Kaechele, who is married to the private museum’s owner, told the tribunal that the practice of requiring women to drink in ladies lounges rather than public bars only ended in parts of Australia in 1970 and that in practice, exclusion of women in public spaces continues.... But she said she 'got a rise' out of the discrimination complaint and was 'pretty excited' when she learned it had been filed over her work. 'It carries it out of the museum and into the real world.'... Kaechele attended the tribunal Tuesday flanked by 25 female supporters dressed in pointedly court-appropriate attire — think pearls, suits and stockings...."

From "She made an artwork that excluded men. A man sued for discrimination" (WaPo).

Here's the museum's website for the artwork. Sample text: "The lounge is a tremendously lavish space in our museum in which women can indulge in decadent nibbles, fancy tipples, and other ladylike pleasures.... [Y]ou are a participant in... the art itself, part of a living installation."

I wonder if the lawsuit, too, is part of the art itself, the living installation. 

You'd think just having a $325 high tea service would be enough to keep the men out. The product itself is exclusionary — exclusionary of everyone who doesn't love stuff like that. But they had a guard to actively exclude any man, and that made a point: See how you feel when the tables are turned? But the point is only made at the men who are not stereotypical men, the men not put off by the service of $325 high tea.

"At one feast, he had several of his guests lashed to a water-wheel, which turned slowly and drowned them as their horrified fellow diners looked on."

"In another... he released dozens of leopards and lions among his guests once they had finished eating. On one occasion, he let poisonous snakes loose among the crowds at the gladiatorial games, causing widespread death and injury.... Elagabalus was also known to dress entirely in precious silks and draped himself with gems.... Elagabalus was rumoured to have consulted his physicians about an early version of a sex-change operation, and he took a series of male lovers. He was said to have spent his days in the company of women in his palace, singing, dancing, weaving and wearing a hairnet, eye make-up and rouge. 'The soldiers were revolted at the sight of him,' wrote one ancient historian. 'With his face made up more elaborately than a modest woman, he was effeminately dressed up in golden necklaces and soft clothes, dancing for everyone to see in this state.'"

From "Cross-dressing Roman Emperor was transgender, woke Hertfordshire museum declares: Elagabalus, the savage teenage hedonist who once set leopards and snakes on dinner guests for a prank, 'must be referred to as she'/The North Hertfordshire Museum refers to the 3rd-century AD ruler as 'she'" (Daily Mail).

Which group wants to have this sadistic torturer identified as one of them? This "woke" museum isn't doing the group it is trying to favor any favor. Quite the opposite. 

"Perhaps the portrayal of Black idleness will always be, if not haunted, then framed by a broader context that makes it seem like an act of resistance rather than a simple fact of life."

"'When we talk about Black people and time,' [one curator] says, 'we’re talking about stolen labor, stolen time—and each of these images steals it back.'... [The curators] show that Black people around the world have been reposing, alone and in each other’s arms, for a long time...."

Writes Emily Lordi, in "The Visual Power of Black Rest/Black people are generally pictured as doing anything but relaxing—as being attacked, or agitating, or performing. The Black Rest Project aims to widen the lens" (The New Yorker).

"The show is part of a broader initiative called the Black Rest Project... [which] will explore the complexities of rest for Black people, and challenge the binary assumption that one can either slow down or make a living, can either struggle or sleep (a myth encoded in the activist mandate to 'stay woke')."

"Human remains collections were made possible by extreme imbalances of power."

"Moreover, many researchers in the 19th and 20th centuries then used such collections to advance deeply flawed scientific agendas rooted in white supremacy — namely the identification of physical differences that could reinforce models of racial hierarchy."

 
Said Sean M. Decatur, president of The American Museum of Natural History, quoted in "Facing Scrutiny, a Museum That Holds 12,000 Human Remains Changes Course/The American Museum of Natural History said it would address its collecting of remains, which stretched into the 1940s and included practices now viewed as abusive and racist " (NYT).