Black Lives Matter
Museums take action against racial injustice and inequality declaring that #BlackLivesMatter On May 25 George Floyd, an African American was murdered by police in Minneapolis. Protesters across the US, and soon after in many cities around the world took to the streets in the wake of his death to demand an end to police brutality and systemic racism. I compiled this page in order to take a snapshopt of a moment in time where people voiced their anger; focusing on those voices that came from museum communities around the world who felt they couldnt stay silent at this time.Why focus on the museum? My sense is that museums, with their institutional responsibilities to inclusion, diversity and their comitment to good practice in the curatorship of multiple narratives, together with many other agencies have a critical role to play in addressing systematic racism, xenophobia, and intolerance. George Floyd's funeral was held on June 9 where he was buried beside his mother in his hometown of Houston.
My hope is that the heart-probing conversation will continue. Feel free to read, and share these statements. While all statements are linked to their sources, with the passage of time these voices might fade away and this is my way of freezing these 2 weeks for future research.
Dr. Susan Hazan, Jerusalem, June 10, 2020
They came first for the Communists, and I didn't speak up because I wasn't a Communist.
Then they came for the Jews, and I didn't speak up because I wasn't a Jew. Then they came for the trade unionists, and I didn't speak up because I wasn't a trade unionist. Then they came for the Catholics, and I didn't speak up because I was a Protestant. Then they came for me, and by that time no one was left to speak up. First they came ..." is the poetic form of a prosepost-war confession first made in German in 1946 by the German Lutheran pastor Martin Niemöller (1892–1984). It is about the cowardice of German intellectuals and certain clergy (including, by his own admission, Niemöller himself) following the Nazis' rise to power and subsequent incremental purging of their chosen targets, group after group (Wikipedia).
Museum Statements From Art News June 2, 2020 Art Institute of Chicago: “The museum cannot divorce itself from the struggle. We stand in solidarity with the black community, and we recognize—and are committed to engaging in—the tremendous amount of work to be done to build true equity and fight systemic racism, in both our institution and our city.” Brooklyn Museum, New York: “We stand against police brutality and institutional and structural racism.” California African American Museum, Los Angeles: “Museums are institutions, but they are made up of people. We are here with you navigating our anger and collective heartbreak, tending to loved ones and our communities and showing up every day to do the work.” Denver Art Museum, Colorado: “The Denver Art Museum shares in the outpouring of grief and anger at the senseless loss of Black American lives, including those of George Floyd, Ahmaud Arbery, and Breonna Taylor.” Detroit Institute of Arts: “We stand in solidarity with the people of Detroit and those around the world appealing for an end to racism, inequality, brutality and fear. The Detroit Institute of Arts commits to serving as a place of inclusion, diversity & equity for everyone in our community and beyond.” Getty Museum, Los Angeles: “We share the anger and anguish of everyone in Los Angeles and the nation over yet another life senselessly taken. The Getty community is grieving; our hearts are broken. Guggenheim Museum, New York: “The Guggenheim was founded on a belief in the transformative power of art. For our community, staff, members, and visitors, we want you to know we are listening, we are grieving with you, and we support collective action in calling for social justice.” Hammer Museum, Los Angeles: “We stand in solidarity with #BlackLivesMatter and protesters around the nation. We mourn the losses of George Floyd, Breonna Taylor, Ahmaud Arbery, and so many others who have lost their lives to police violence.” High Museum of Art, Atlanta: “For our city and nation, this moment is distinctly about the fact that black lives matter. Because Atlanta is our city; it is the birthplace of the Civil Rights Movement; and because as your art museum we draw inspiration from the bravery, candor, and commitment of those who have built this community of progress with their actions; we despair at the senseless violence and loss of life that continues to threaten members of the African-American community….” Leslie-Lohman Museum, New York: “We are heartbroken, we are angry, and we are forever an institution that is committed to anti-racism. Yet, in spite of the radical and beautiful histories of the Museum, we, like all other museums, are plagued by the very same inequities and blind spots that are being protested on the streets today.” Los Angeles County Museum of Art: “We stand with our community in rejecting racism, in mourning, and in demanding justice for the deaths of countless African Americans who continue to be targeted by systematic violence. We recognize that museums cannot claim neutrality in addressing the horrific issues that have plagued our society for centuries.” Metropolitan Museum of Art, New York: “As we mourn the murder of George Floyd, and hear the pain of so many who have suffered because of systemic racism, injustice, and violence, we turn first to our colleagues in The Met community to listen, learn, and move forward together.” Museum of Fine Arts, Boston: “The last days in Minneapolis, in Boston, and across the United States have been devastating. The killing of George Floyd, and many others before him, is intolerable. It is unjust.” Museum of Modern Art, New York: “We grieve with the families of George Floyd, Breonna Taylor, Ahmaud Arbery, David McAtee and Tony McDade—and with so many others in America’s black communities—who have suffered appalling losses and live in fear because of racism, abuse, violence and injustice.” National Gallery of Art statement from director Kaywin Feldman: “These are dark and difficult days for our nation. I mourn for George Floyd, Ahmaud Arbery, Breonna Taylor, Tony McDade, their families, and my former community in Minneapolis. A more just and equitable future is possible.” Nelson-Atkins Museum of Art, Kansas City: “[The museum] joins in solidarity in the pain and outrage over the murder of George Floyd. The museum stands solidly behind Kansas City’s pursuit of social justice and champions human expression.” Portland Art Museum: “We stand in solidarity with our community, staff, and partners demanding racial justice…We also recognize our own museum’s role in supporting systems of oppression and inequity over a 127-year history, and pledge to continue our commitment to listen…to learn…to be accountable to our shared humanity.…” Smithsonian Institution statement from Secretary Lonnie G. Bunch: “Not only have we been forced to grapple with the impact of a global pandemic, we have been forced to confront the reality that, despite gains made in the past fifty years, we are still a nation riven by inequality and racial division. The state of our democracy feels fragile and precarious.” Studio Museum in Harlem, New York: “Since its founding, the Studio Museum has exhibited work by black artists committed to bearing witness to acts of protest. The act of protest is a loud cry for justice, one that demands to be heard and felt.” Whitney Museum: “The Whitney stands in solidarity with our community—staff, artists, neighbors, supporters, and visitors—and with protestors nationwide in denouncing racism and police brutality.” Black Lives Matter: Race and Equality at the V&A June 4, 2020 Art news Over the past ten days, we have all watched the sickening footage of George Floyd being murdered by a Minneapolis policeman in horror. In that scene was written an awful display of race, power and the abuse of process which brought to the fore such terrifying echoes of America’s racist heritage – and has, understandably, produced outrage across US cities over the last week, and in the capital yesterday, when thousands of Londoners marched from Hyde Park to the US embassy. The brutal racism it exposed has resonated powerfully across British communities and served to resurface a long litany of trauma, inequality and violence that people of colour have suffered. In the UK, we have our own ugly history of racial discrimination stretching back many centuries which, in recent years, has been seen to flare up at its most extreme in the murder of Anthony Walker in Liverpool and Stephen Lawrence in London. And any number of reports have pointed to the stark levels of inequality, absence of diversity and everyday racism faced by BAME workers. Read More Tristram Hunt Director of the Victoria and Albert Museum Bruce Museum Greenwich, CT Black Lives Matter Statement We write to you, our friends, the Bruce Museum Community, with sadness, frustration, and outrage. Museums are devoted to collecting and showing the good and the best, to eternal values. We highlight those in our galleries as role models—and that is why we believe we are also called on, as an institution, to be an advocate and model for the good and the best in our Nation and in our one people. We hear the voices of the Black Community calling out across the nation. We share your pain and grief at the deaths of George Floyd, Breonna Taylor, Ahmaud Arbery, Tony McDade and others before. We share your indignation at the racism, overt and systemic, that divides our country and denies equal opportunity and equal safety to all Americans. With you, we ask: how many Black lives must be lost before we make change? How can a nation founded on principles of equality for all tolerate deep systemic inequities? How can we not protect an equal chance at life, liberty, freedom from fear in the streets, and the pursuit of happiness in safety for all Americans? The Bruce Museum exists and serves to promote the understanding and appreciation of Art and Science to enrich the lives of all people. That is our mission statement—but at the Bruce Museum it is also our passionate vow to share what we have, and have been so richly given, with all people equally. We renew that vow to our Community. We promise to redouble our efforts to engage all people fairly, equitably, with love and enthusiasm; we invite diverse voices right into the heart of the museum, and we will make sure those voices are represented in our exhibitions, programs, and in our public voice. The Bruce Museum’s family is diverse, but united by these shared values: We are a community of the curious. We believe in the power of science. We see the life-changing impact of art, and we witness daily the force of our educational programs. We know that openness, understanding, and appreciation are keys to changing the world. We question, and we learn, for it is only by learning and empathy that we change. Sincerely, James B. Lockhart III Board Chair Robert Wolterstorff The Susan E. Lynch Executive Director African American Museum of Iowa Statement Dear Iowans, The African American Museum of Iowa team and board have been deeply saddened and outraged by continued injustices against black people in our country. In recent days, the Museum has been the focus of an outpouring of support, with offers of individual, community, and organizational collaboration. This is a clear message that what we do matters to communities across the state. The Museum is uniquely poised to serve as a resource for many seeking historical perspectives, real answers, and social justice platforms. There are many people who were taken off guard by the most recent and traumatizing murders of black people by law enforcement. These instances of police brutality are only more examples of centuries of oppression. There has been a collective gasp of pain and outrage as yet another video has become the witness for the unheard in our society. The exhaustive list of black men, women, and children who have been victimized throughout the history of this country is not new but now being seen through a new lens – one of authenticity and truth. The mission of the Museum is to preserve, exhibit, and teach the African American heritage of Iowa. Teaching includes exposing the past and recent injustices to impact the strides we can make today and tomorrow. We are weeks away from our annual Juneteenth celebration, which will take on added meaning this year. This year, we won’t just be celebrating, but launching renewed efforts in the fight toward real justice and equality, armed with allies and voices that need to be heard. There has been a unified awakening of many Americans and global citizens to the atrocities faced by black people today and over the last 400 years. History has demonstrated the injustices are many and the time of action long overdue. I am heartbroken but not hopeless. I pray for peace and justice in our land. We must demand it for the sake of all our children and their children. Whether you march, implore your legislature, kneel, or stand up to lawlessness, please do consider your own personal responsibility toward ensuring all people are treated with dignity and humanity. All lives don’t matter until Black lives matter! Sincerely, LaNisha Cassell Executive Director Greenwich, CT A Statement from the MIT Museum Last Friday, May 29, MIT President Rafael Reif interrupted his preparations for Commencement, traditionally the happiest day of MIT’s year, to lament the death of George Floyd in Minneapolis and “the tragic persistence of racism and systemic injustice in the United States.” The MIT Museum stands with the MIT community, and with all who condemn the obvious injustices that are perpetrated so regularly against people of color in this country. We cannot claim to have realized the values we say we stand for – sympathy, humility, decency, respect and kindness – when so many black and brown people do not experience anything like this day-to-day. We cannot proclaim our freedoms, when so many marginalized people fear for their very lives in public places. As a nation, as a community, and, yes, as a museum we can, we must, and we will do better. We are not perfect – far from it. But, with all our imperfections, we strive to work towards a better world. We commit to standing against racism and systematic injustice wherever we find them, and we commit to standing alongside those who are victims of prejudice wherever we can. Black lives matter. MIT Museum National Museum Wales Our statement on the Black Lives Matter movement June 3, 2020 Partners, staff and volunteers in the fight against racial injustice and inequality, declaring that #BlackLivesMatter. Museum collections are often rooted in colonialism and racism. Amgueddfa Cymru – National Museum Wales is no different. We support all efforts to build a museum sector that stands up for human rights and anti-racism. We have a role to play in driving change, working with the communities of Wales to be actively anti-racist in all that we do. We have a long way to go, but together with our community partners and Youth Heritage Leaders, we are diversifying our collections, increasing representation, and contributing to conversations that highlight decolonisation, inequality and racism. Our commitment will continue beyond the current situation, as understanding the challenges faced in the past can empower people to confront today’s issues together. Hunter Museum June 5, 2020 STANDING IN SOLIDARITY We are standing with Black Lives Matter and the fight for equality and justice for all who have been marginalized. Explore works by African American artists from our collection, a catalog of in-gallery talks, and performances by Black community leaders and Black artists, and a list of Black-owned businesses in our community. Hunter Museum CHATTANOOGA, TN San Diego African American Museum of Fine Art Statement Dear America, As we witness Blacks and others taking to the streets to protest the murder of yet another unarmed black man, we must stop to ask ourselves how do we fit into all of this? The San Diego African American Museum of Fine Art (SDAAMFA) is compelled to join this conversation that has gone for too long with no sustained change. Some may ask, how do the arts fit in? For Blacks, art has been the eyes and ears of the movement. Painters, sculptors, musicians, poets, and photographers have historically used their time and talents to document and affect change. This continues in 2020. Today SDAAMFA asks that you join us in the fight for change. Join us as we thank . . . · the peaceful protestors who have taken to America's Streets. · Mr. Kaepernick and others in the NFL for "taking a knee". · the Black Lives Matter movement. · the Civil Rights activists for leading the way. · the artists novelists, poets, musicians as they integrate elements of the struggle in their work · the non blacks who sincerely want to see this nation change it’s narrative. We need . . . · to extend condolences to the hundreds of families who have loss loved ones at the hands of the police. · Americans to listen, so you can learn and acknowledge that we are all human with different levels of privilege. · the police, to listen first, so that they can respect and serve ALL of us! · to continue to protest and support those that do. · to vote for those who demonstrate a true willingness to work for change. · our federal, state and local legislators to be courageous in their leadership as the entire world watches. The San Diego African American Museum is dedicated to work for lasting change in America. We invite you to join us. With optimism, Gaidi Finnie Executive Director, SDAAMFA Children’s Museum of Pittsburgh and Museum Lab Statement On Racism June 4, 2020 Children's Museum of Pittsburgh and MuseumLab condemn the intolerable killing of George Floyd and countless Black people through the years as a result of racial injustice. As a cultural institution that is entrusted with the education and development of children in our community, we have a responsibility to fight racial and social injustice at all levels. The killing of innocent Black people must be stopped. Institutional racism and prejudice must be eradicated. We cannot remain silent – and we have been quiet for too long. Black Lives Matter. We support all efforts to defeat racism and stop the senseless and unnecessary killing of Black men, women and children. Our staff stands in solidarity with the Black community, and with individuals across the country and the world demanding justice, and denouncing racism and police brutality. Unless we face and address the racial injustices, systemic oppression and violence of the past and today, we cannot change the future. There is work to do to become the institution to which we aspire. This includes listening, learning, engaging and partnering. We must start by educating ourselves on these topics to become the organization we want to be. The killing of George Floyd and resulting events impacting our city, region, nation, and beyond is out of our control, but how we react, show support, and create change is within our control. These tragic issues around race and equality – paired with the COVID-19 pandemic – are having an impact on the lives of children, in ways we can see and in ways we cannot see. Younger kids may not know how to talk about what they see in the media or fully grasp the conversations adults are having. Youth and teens need an opportunity and the space to express their feelings and opinions about the world around them. We want our work to encourage children and families to speak and ask questions, understand and learn. Our mission calls on us to inspire joy, creativity, and curiosity, and to be a partner and resource for those who work with or on behalf of children, youth and families. To better achieve that goal, we are compiling resources for helping parents talk to their children about race and equality (available at https://pittsburghkids.org/education/learning-resources/talking-to-children-about-tragic-events). This is only the beginning of this conversation at our organization. We need to improve who we are, what we do, and how we affect change. We will ask for help, and learn from and partner with others in the fight for equity. We must continue to diversify the audiences we serve and make our facility a place where Black people, people of color, and minorities feel safe and welcome. There is more to do, and it will be as difficult as it is necessary. We must do better as an organization. Museums must do better as an industry. And together we must all do better to stop racism and prejudice. Pittsburgh, PA 15212 Field Museum stands in support of Black Lives Matter Statement June 3, 2020 As an institution whose mission is to enable a brighter future rich in nature and culture, we cannot remain silent about the killing of George Floyd and so many other Black people in our Chicago community and our country. We stand in solidarity with the Black community and against the centuries of violence they’ve been subjected to, and continue being subjected to today. The use of excessive force by official representatives of the State cannot be viewed as the actions of a few rogue officers or “bad apples,” but must be understood as part of a systemic structure of violence encoded in laws, policies, and norms. Our society is built in a way that harms communities of color, or allows harm to come to them through inaction and inequity. We see this in lots of ways, including the ways that communities of color are being affected by COVID-19. The disproportionate rates of sickness and fatalities suffered by communities of color is evidence of the accumulated harm of institutional racism and persistent neglect of people who ironically are being held up as “heroes” for their essential work and yet continue to suffer. As a natural history museum, we know what happens when societies are unequal: they fall apart. Our scientists study civilizations throughout history all over the world, and this is a common thread. The greater the inequality, the more unstable the society becomes. Societal vulnerability is rooted in racial and economic inequality, which must be addressed if we are to overcome the crises facing us. We also, as a natural history museum, are aware of how museums have helped contribute to this inequality. Museums like ours have perpetuated structural racism through questionable collecting practices, misguided portrayals of Black and Brown people, and by denying people of color a chance to decide how their stories are told. We have only recently begun to address this legacy and make necessary changes. We have a long way to go. As the city of Chicago experiences this moment, there has never been a time when the need for kindness, generosity of spirit, and respect for humanity in all its richness has been more urgent. These qualities will continue to be essential for the work and mission of the Field Museum. We are inspired by the many ways that Chicagoans have demonstrated their capacity to act together, whether it is through taking care of each other, creating solidarity networks, or marching together to demand change in racist policies. Let’s resolve together to continue to uphold the values that bridge divides and work to expunge the racism and injustice that continues to harm—even kill—us. The members of our family who are feeling unsafe, who are feeling angry and alone must know that they are part of a community that supports them and is present for them. Every single one of us bears responsibility for the world we are creating for the next generation. The museum can do its part by continuing to be a place of education for the public at large. We stand with the Black community, including our colleagues. Your voices are heard. #BlackLivesMatter The Museum of Jewish Heritage - A Living Memorial to the Holocaust June 3, 2020 CIG Statement on Racism and Institutional Accountability The Museum is one of 34 New York City institutions that comprise the Cultural Institutions Group (CIG), a public partnership with the City of New York. On June 3, the CIG released a statement: The 34 organizations that comprise the Cultural Institutions Group (CIG) reside in and serve diverse audiences across New York City and provide access to nearly 19 million New Yorkers and tourists annually. We acknowledge that the recent acts of violence and senseless deaths of George Floyd, Breonna Taylor, Ahmaud Arbery and the many other victims of racism and injustice that go unrecognized have been felt profoundly by all of our member organizations, their staff and boards. As a collective group, we are deeply concerned for the well-being and safety of our colleagues and the New York City community. Black Lives Matter. As we watch the acts of violence and calls for action unfold around us, we hold ourselves accountable to be a source of support by continuing to inform, educate, and bring pressing issues to light for students, teachers, and audiences from around the world through our experiences, exhibitions, programs, collections, and digital content. Not only do we hold ourselves accountable for our public-facing work, but will also continue our own Diversity, Equity, Accessibility, and Inclusion efforts within our own organizations. As movements continue to evolve around bringing awareness and action for those who are disenfranchised and marginalized, we stand with and support these communities and encourage everyone to join us. There is no right one-size fits all approach on how to enact change, but daily individual actions will result in a better future. We stand together with our colleagues, fellow members, community, and the world’s citizens calling for and demanding a more peaceful, equitable, and just world for all. Liverpool International Slavery Museum, UK Statement @SlaveryMuseum It has been quite a 24 hours, where we saw historical scenes in Bristol last night. Here are our thoughts on this moment - and why we need to teach this painful past, and not just forget about it Museum of Colour – Statement It has taken us a minute to gather our thoughts and articulate our feelings at what is happening in the world right now. The murder of George Floyd has unleashed a wave of outrage and protest globally as it should. Black Lives Matter and Black Lives have always Mattered. It was an individual who murdered George Floyd, but institutional and systemic racism gave that individual the authority and power to be able to do so. We are mourning the murder of George Floyd, Breonna Taylor, Ahmaud Arberry during this moment, as well as the deaths at the hands of the police in the UK including Mark Duggan, Rashan Charles and Roger Sylvester. But we have been living through a series of moments for a long time now. These three most recent deaths are the latest in a long and horrible trail of racism but they will certainly not be the last. The dehumanisation of black people that started with displaying black bodies as zoological and anthropological curiosities in natural history museums and not history museums has created a society in which it is acceptable to not only kill with little to no impunity, but to also share images of black bodies being murdered in a manner that is not permissible for white bodies, or even animals. The representation of our contribution to society is our way of making our voice heard. We feel uncomfortable using this moment and this murder to promote the museum. We could not have known our COVID-19 exhibition campaign would be happening at a time of uprising. But we cannot escape the fact that the museum exists because of the same reason the murder happened; racism in institutional settings and structures, both overt and subtle. Simply posting Black Lives Matter without an action plan is empty and meaningless, the antithesis to the apathy that this movement was set up to contradict. As always we have to look to history in order to guide us about where we are heading. If you do not know where you have been then you can’t know where you’re going. In a time where people of African, Afro-Caribbean and Asian descent are dying at disproportionately high rate due to COVID-19, it has never been more necessary to look at the history we have at our disposal and make sure we learn from it while we can. We want to create a gallery called Respect Due for our elders who are at an increased risk of dying and capture their words for future generations. Such artists are largely invisible from the nation’s permanent collections, and their stories are heritage that is at risk. Help us to create this resource by giving here. For more information About People’s Palace Projects People’s Palace Projects was set up in 1996 when Paul Heritage came to Queen Mary, University of London to establish a new Drama Department. Having previously founded the Theatre in Prison and Probation (TiPP) Centre at Manchester University with colleague James Thompson, Paul set out to create an independent arts charity based in East London. Interested in exploring the ways in which the arts can respond to urgent social crises, Paul’s vision for People’s Palace Projects was supported by QMUL and the organisation was incorporated as a charity in 1998. Since 2007, it has been a full charitable subsidiary of the University. BLM-Articles Historic moment' Shed to collect artefacts from protest that toppled Colston statue Museums Association Museum and heritage professionals have been reacting to the statue of slave trader Edward Colston being pulled down and thrown into the harbour during an anti-racism protest in Bristol this weekend. Campaigners have been calling for the removal of the statue for many years. Colston is believed to have helped oversee the transportation into slavery of an estimated 84,000 Africans between 1672 and 1689. The 5.5-metre bronze statue had stood on Colston Avenue since 1895. Art News Read Statements from Major U.S. Museums About the George Floyd Protests June 2, 2020 https://www.artnews.com/art-news/news/museums-statements-george-floyd-protests-1202689578/ After the killing of George Floyd while in police custody generated protests across the United Sates, major museums across the country issued statements in support of the Black Lives Matter movement. The statements have not been free of controversy—some have alleged that museums did not act fast enough to issue them, and others have claimed that institutions have not been direct enough while discussing Black Lives Matter. Below is a roundup of some museums’ statements. Art Institute of Chicago: “The museum cannot divorce itself from the struggle. We stand in solidarity with the black community, and we recognize—and are committed to engaging in—the tremendous amount of work to be done to build true equity and fight systemic racism, in both our institution and our city.” Brooklyn Museum, New York: “We stand against police brutality and institutional and structural racism.” California African American Museum, Los Angeles: “Museums are institutions, but they are made up of people. We are here with you navigating our anger and collective heartbreak, tending to loved ones and our communities and showing up every day to do the work.” Denver Art Museum, Colorado: “The Denver Art Museum shares in the outpouring of grief and anger at the senseless loss of Black American lives, including those of George Floyd, Ahmaud Arbery, and Breonna Taylor.” Detroit Institute of Arts: “We stand in solidarity with the people of Detroit and those around the world appealing for an end to racism, inequality, brutality and fear. The Detroit Institute of Arts commits to serving as a place of inclusion, diversity & equity for everyone in our community and beyond.” Getty Museum, Los Angeles: “We share the anger and anguish of everyone in Los Angeles and the nation over yet another life senselessly taken. The Getty community is grieving; our hearts are broken. Guggenheim Museum, New York: “The Guggenheim was founded on a belief in the transformative power of art. For our community, staff, members, and visitors, we want you to know we are listening, we are grieving with you, and we support collective action in calling for social justice.” Hammer Museum, Los Angeles: “We stand in solidarity with #BlackLivesMatter and protesters around the nation. We mourn the losses of George Floyd, Breonna Taylor, Ahmaud Arbery, and so many others who have lost their lives to police violence.” High Museum of Art, Atlanta: “For our city and nation, this moment is distinctly about the fact that black lives matter. Because Atlanta is our city; it is the birthplace of the Civil Rights Movement; and because as your art museum we draw inspiration from the bravery, candor, and commitment of those who have built this community of progress with their actions; we despair at the senseless violence and loss of life that continues to threaten members of the African-American community….” Leslie-Lohman Museum, New York: “We are heartbroken, we are angry, and we are forever an institution that is committed to anti-racism. Yet, in spite of the radical and beautiful histories of the Museum, we, like all other museums, are plagued by the very same inequities and blind spots that are being protested on the streets today.” Los Angeles County Museum of Art: “We stand with our community in rejecting racism, in mourning, and in demanding justice for the deaths of countless African Americans who continue to be targeted by systematic violence. We recognize that museums cannot claim neutrality in addressing the horrific issues that have plagued our society for centuries.” Metropolitan Museum of Art, New York: “As we mourn the murder of George Floyd, and hear the pain of so many who have suffered because of systemic racism, injustice, and violence, we turn first to our colleagues in The Met community to listen, learn, and move forward together.” Museum of Fine Arts, Boston: “The last days in Minneapolis, in Boston, and across the United States have been devastating. The killing of George Floyd, and many others before him, is intolerable. It is unjust.” Museum of Modern Art, New York: “We grieve with the families of George Floyd, Breonna Taylor, Ahmaud Arbery, David McAtee and Tony McDade—and with so many others in America’s black communities—who have suffered appalling losses and live in fear because of racism, abuse, violence and injustice.” National Gallery of Art statement from director Kaywin Feldman: “These are dark and difficult days for our nation. I mourn for George Floyd, Ahmaud Arbery, Breonna Taylor, Tony McDade, their families, and my former community in Minneapolis. A more just and equitable future is possible.” Nelson-Atkins Museum of Art, Kansas City: “[The museum] joins in solidarity in the pain and outrage over the murder of George Floyd. The museum stands solidly behind Kansas City’s pursuit of social justice and champions human expression.” Art News Controversy Over Museums’ Black Lives Matter Statements Continues as Critics Pillory British Institutions June 8 https://www.artnews.com/art-news/news/british-museums-black-lives-matter-statements-controversy-1202690203/ As museums in the United States released statements last week about their stance on the protests surrounding the killing of George Floyd by Minneapolis police, few escaped criticism for their words on the tragedy. Detractors called out institutions for not responding fast enough to protests or, when they did, for not having mentioned Floyd’s name or the Black Lives Matter movement in their statements. Now, similar controversy has crossed the Atlantic to impact institutions in England. London’s British Museum is among those savaged for its statement issued in response to Black Lives Matter protests in England, which this weekend saw the dismantling of a monument to a 17th-century slave trader in Bristol. On Friday, the institution’s director, Hartwig Fischer, posted a lengthy blog post on the British Museum website that was accompanied by an artwork by Glenn Ligon in which text from Ralph Ellison’s novel Invisible Man fades into a field of black. (The image was used with the artist’s permission, unlike another one of a Ligon work used for similar purposes in a letter issued by the Metropolitan Museum of Art. Max Hollein, the director of the Met, later issued an apology for his missive, which Ligon protested on Instagram.) In his statement, which mentioned Black Lives Matter and Floyd, Fischer wrote, “The British Museum stands in solidarity with the British Black community, with the African American community, with the Black community throughout the world. We are aligned with the spirit and soul of Black Lives Matter everywhere.” He continued, “I hope that we will find the right ways to allow the museum to better reflect our societies and our complex, contentious and blended histories, and become more than ever a theater of human connection.” The response did not satisfy many critics who allege that the British Museum still has not contended with its lengthy history of controversy over its holdings, which are believed to include a number of plundered objects. Benin has since 2012 been attempting to get the British Museum to return metal plaques and sculptures stolen from a temple in modern-day Nigeria, and the Elgin Marbles, which were taken from the Parthenon in Athens, are a perennial source of scandal. Historian Geoffrey Robertson, one of the British Museum’s most outspoken critics, once told the Guardian, “The trustees of the British Museum have become the world’s largest receivers of stolen property, and the great majority of their loot is not even on public display.” Commentators said that the museum’s recent statement was at odds with this history. Dan Hicks, an archaeologist who teaches at the University of Oxford, called the statement “hollow” on Twitter and wrote, “Some parts of the BM displays and collections are monuments to white supremacy, which need to be dismantled like Confederate statues.” Writer Zoé Samudzi said the museum “does not exist without colonial plunder: it is a trophy case for it.” And artist Lawrence Abu Hamdan wrote on Instagram, “Reparations are due. And until [the works] are returned they must change the labels and descriptive texts to truthfully describe the violent force of whiteness by which these objects were stolen.” On Thursday, the V&A museum in London issued a statement with its director, Tristram Hunt, writing, “The V&A exists to champion stories of creativity across cultures, communities and histories and we have a responsibility to our black employees, members, visitors, artistic community and followers to better showcase their perspectives. We stand in solidarity with all those rejecting racism, social injustice and violence—and need to work harder to use our platform to amplify black and minority voices.” The National Gallery in London issued a much less lengthy statement on June 5, after it had been the site of a Black Lives Matter protest. “Given our location in London and our role as a global institution, we must take this moment to listen, pose important questions and reflect on how our museum can play a role in making our society more just, tolerant and inclusive,” the museum wrote. It did not address Black Lives Matter or Floyd’s death outright. The Tate museum network was among the first art institutions to address the Black Lives Matter explicitly, in an Instagram post that included a Chris Ofili work from its collection that addresses the killing of Stephen Lawrence, a Black teenager who was stabbed by white youths. “We have a platform, a voice, and a duty to our members, employees, artists, visitors and followers to speak up and stand for human rights and anti-racism,” Tate wrote. “Nobody should have to live in fear because of the colour of their skin.” Critics noted that Tate’s statement belied a lack of diversity that exists behind the scenes at the museum network. Unlike many institutions, Tate has released data on the demographics of its workers. According to a 2018 report, just 13 percent of Tate’s employees are Black, Asian, or minority ethnic. Art Forum June 03, 2020 https://www.artforum.com/news/black-lives-matter-industry-leaders-urge-museums-to-do-more-83173 “WE CAN DO BETTER,” CLAIM US MUSEUMS CRITICIZED FOR HOLLOW SIGNS OF BLM SOLIDARITY As the ongoing protests over George Floyd’s death, police brutality, and racism roil the United States, museums across the country are being called out for not doing more to condemn racist policing and to show their solidarity with the Black Lives Matter movement. Many art institutions have issued statements about racial injustice that have been criticized as “vague” or “throwaway” comments, and have been slow to directly confront the May 25 killing of Floyd by white Minneapolis officer Derek Chauvin. Among the museums that faced backlash was the Getty Museum in Los Angeles, which apologized for its first statement in response to the nationwide uprisings. On Twitter, Getty president Jim Cuno wrote: “We heard you. Thank you. We learned that we can do much better expressing our Getty values than we did yesterday.” It continued: “We are outraged at the horrific death of George Floyd at the hands of the Minneapolis police, and at the violent deaths of far too many more Black Americans. We share the anger and anguish of everyone in Los Angeles and the nation over yet another life senselessly taken.” Another California museum, the San Francisco Museum of Modern Art, also came under scrutiny after it attempted to hide a critical comment on its Instagram post showing a Glenn Ligon artwork. Rather than mention the current unrest or Floyd’s death, the museum featured a quote by the artist: “Why do we need to raise our hands in that symbolic space again and again and again to be present in this country?” It has since apologized, and echoing the Getty, said, “we can do better.” For some, the statement rang hollow: What does “doing better” really mean? “Maybe start by admitting you deleted a comment by a Black employee, for no reason other than that you didn’t like it,” one person commented on the apology. Another asked the museum to hire more people of color for board and leadership positions, and a third commenter argued the museum should demonstrate its commitment to using its platform to “impact change” by protecting the jobs of employees of color during the pandemic. In New York, the Whitney Museum of American Art once again found itself at the center of the ongoing debate about the role of museums during these turbulent times. Images of tear gas canisters made by Safariland and used by the authorities against protesters in Minneapolis have been circulating on social media. The museum’s former board vice chair Warren B. Kanders, the CEO of the defense company, was only forced out of his position at the institution last summer, after months of protests over his ties to arms manufacturing. “Black lives matter,” the museum wrote on Twitter on Monday. “The Whitney stands in solidarity with our community—staff, artists, neighbors, supporters, and visitors—and with protesters nationwide in denouncing racism and police brutality. . . . The past is here with us, and it’s a past filled with racist violence, aggression, intimidation, and discrimination. Unless we face and address the past, there can be no future for any of us.” People have also aired doubts about whether social media users and institutions embraced posting a black square for Blackout Tuesday, on June 2, because it was “trendy.” Chaédria LaBouvier, who organized a solo exhibition at the Solomon R. Guggenheim Museum in New York last year, called out the museum for sharing such a post. On Twitter, she wrote: “Get the entire fuck out of here. I am Chaédria LaBouvier, the first Black curator in your 80 year history & you refused to acknowledge that while also allowing Nancy Spector to host a panel about my work w/o inviting me. Erase this shit.” LaBouvier was referring to a panel discussion on the exhibition “Basquiat’s ‘Defacement’: The Untold Story” (2019), which she was excluded from. The show was centered around Jean-Michel Basquiat’s painting The Death of Michael Stewart, which commemorates a young black artist who was killed by New York City Transit Police in 1983. In a letter published by the Association of Art Museum Directors (AAMD), executive director Chris Anagnos wrote: “During this moment when the deep wounds of racism are again laid bare, it is hard not to be reminded of how many issues in our society are unresolved and unattended. And likewise it reminds me how much work we all need to do to heal these divisions. As a community, I do not think art museums have done enough. We have dabbled around the edges of the work, but in our place of privilege we will never live up to the statement that ‘museums are for everyone’ unless we begin to confront, examine, and dismantle the various structures that brought us to this point.” As institutions scramble to respond to recent events—and as some rethink statements—others acted through programming. The National Museum of African American History and Culture, of which Smithsonian secretary Lonnie G. Bunch served as founding director, rolled out a new, free, digital program, “Talking About Race,” comprising interviews and videos with activists and role-playing exercises on race, racial identity, bias, community building, and systems of oppression. The only US institution to take direct action amid the unrest has been Minneapolis’s Walker Art Center. The institution declared on Wednesday that it would no longer contract the Minneapolis Police Department for events until it “implements meaningful change by demilitarizing training programs, holding officers accountable for excessive use of force, and treating communities of color with respect.” Many are now wondering if the move will have a ripple effect. “This is a start,” one person commented on the center’s Instagram. “Keep going.” Museums Preserve History, But During “Black Lives Matter” Protests Can Help Healing Today June 8, 2020 https://wdet.org/posts/2020/06/08/89696-museums-preserve-history-but-during-black-lives-matter-protests-can-help-healing-today/ Amid a global health pandemic, protests are taking place in Detroit and across the globe to combat racial injustice and police brutality targeted at the African American community. “We’ve seen plans of diversity and inclusion before, but we haven’t seen a lot of change and that’s what this moment certainly brings to mind for me – how little has changed.” — Neil A. Barclay, Charles H. Wright Museum of African American History “Black Lives Matter” chants and signs bearing the names of George Floyd, Breonna Taylor and the lengthy list of African Americans who have lost their lives to police brutality and discrimination are bringing a much broader awareness to the history of systemic racism. Museums and art galleries are the places we preserve and analyze events that shaped and shifted society. But though we look to history to inform us about the present and future, today’s civil uprising asks these institutions to consider what can be done now as history is being made. “What’s become clear to me is the need to move beyond protest to where people can understand not just the emotion of the moment and what is being said, but where that comes from,” says Neil A. Barclay, President and CEO of the Charles H. Wright Museum of African American History. “I think we have a critical role to play [and] I’ll be working with my staff to put some more tools and information about how do we move beyond this moment. We’ve seen plans of diversity and inclusion before, but we haven’t seen a lot of change and that’s what this moment certainly brings to mind for me – how little has changed.” “This moment allows us opportunity to be even more helpful by [providing resources] that could really help people to heal and offer a deeper understanding of where some of these issues come from.” On behalf of the museum, Barclay released a statement Friday afternoon stating their solidarity with peaceful protestors exercising their fifth amendments rights. “As this nation makes another attempt at putting in place progressive actions, it is my hope that the commitment is sincere and sustained,” the statement reads. “The Charles H. Wright museum stands as a beacon of hope for those who have passed as well as those who will carry the torch into the future.” While plans are being devised to articulate the root and weight of what’s happening socially, culturally and politically, the Wright Museum is also working through the after effects of a worldwide shutdown due to COVID-19. Since the pandemic, the institution continues to cultivate community and tell stories of African American culture with their digital programming series, ‘Wright Now’ – a selection of multimedia content designed to entertain, educate and inspire. “This moment allows us not to just shift online, but now it seems like there’s opportunity for us to be even more helpful in this moment by [providing resources] that could really help people to heal and offer a deeper understanding of where some of these issues come from,” Barclay says. “For the Wright, at least it’s not a question of going away or closing our doors. It’s really a question of focusing the resources that we have to be as impactful as we can in the present moment.” Charles H. Wright Museum President and CEO, Neil A. Barclay discusses the role of cultural institutions in a time of socio-political unrest and how the museum plans to move forward amid the coronavirus. The Art Newspaper's statement on the Black Lives Matter movement We will redouble our efforts to shine a light on prejudice, injustice, tokenism and hypocrisy, to call for real diversity in the workforce, including our own team of writers and staff THE ART NEWSPAPER 5th June 2020 https://www.theartnewspaper.com/comment/the-art-newspaper-s-statement All of us here at The Art Newspaper have been thinking about the best way to express our support for the Black Lives Matter movement at this critical time in the US, and in the wider world, following the devastating killing of George Floyd and the global shock-waves that are following in its wake. The cause’s central assertion that every black life is precious is vital to how we think and behave as a team—which encompasses our 30 plus reporters worldwide—and as a newspaper group that represents the art industry internationally. We address racism and inequality in our independent reporting, and we are committed to championing a brilliant new generation of black artists and black leaders, in what is still a woefully predominantly white industry. But we know that this is not enough. We will redouble our efforts to shine a light on prejudice, injustice, tokenism and hypocrisy, to call for real diversity in the workforce, including our own team of writers and staff. We hope our reporting can contribute to much needed change and reforms in the way the art world operates, celebrates, and goes about its business. As a starting point, we openly invite writers and journalists of colour who would like to contribute to our coverage to get in touch with us at news@theartnewspaper.com. We also encourage our readers to let us know what they would like to see more of. And alongside our ongoing stories on the rapidly changing situation in the US, we are compiling a list of educational and practical resources, which we will publish over the coming week. Expressions of empathy are not enough – it’s time for US museums to act Maxwell L. Anderson https://www.apollo-magazine.com/expressions-of-empathy-are-not-enough-its-time-for-us-museums-to-act/ Maxwell L. Anderson June 4, 2020 During the last few years, American art museums have sought to address racial inequalities, through exhibiting works by artists of colour more widely, appointing African-American leaders, from curators to the Secretary of the Smithsonian, and making high-profile acquisitions, if on a limited scale. These steps, halting as they have been, have reflected a stated quest for greater equality and social inclusion. The murder of George Floyd in Minneapolis and the unrest that has followed have made the ‘social distancing’ required by Covid-19 feel like a secondary concern. Just a few weeks ago, the first reaction to the pandemic by many museum leaders was to fire front-line staff (often the most economically vulnerable employees and contractors – and often people of colour), in a bid to stem financial reversals. The privileging of endowment balances before the pandemic seems to many a short-sighted goal, resulting, as it did, in knee-jerk layoffs. These now feel, a scant few weeks later, like evidence of a quest for the status quo. In the wake of widespread disaffection in every American state, the question for museums is: what purpose do they serve? Instagram posts of artworks by artists of colour are welcome, but don’t address the gap between the largely commercial concerns of the art world and the realities faced by black and brown Americans. Nor is it sufficient to offer space for contemplation, ‘thoughts and prayers’, or sentiments of ‘now more than ever’. Many museums long ago escorted contemplation out the door and invited in expansion for its own sake, commercially-minded blockbusters, frothy, social media-worthy installations, glamorous fundraisers, and non-educational merchandising. It’s a hollow claim that art museums are first and foremost places of reflection and healing when their calendars, budgets, and priorities frequently indicate otherwise. An American public beset by a deadly virus, massive unemployment, police violence, and the conspiracy theories coming out of the Oval Office is in no mood for contemplation. It is looking for authenticity, empathy, and action. If art museums simply seek a return to normal, they aren’t reading the room. Art museums have a long checklist to consider, beginning with their avowed purpose. Collecting and preserving cultural heritage is a worthy goal, but many of the largest museums have chosen to focus on attracting crowds to prove their relevance. With Covid-19 detonating that objective, museums are left with an existential problem. If crowds are not returning any time soon, what should museums be aiming at instead? Sixteen years ago the Getty Trust commissioned me to write an essay titled ‘Metrics of Success in Art Museums’, in which I challenged the quest for blockbusters, attendance, and membership, proposing instead that museums focus on their core values and mission, enriching the visitor’s experience, promoting educational advancement, and using other metrics, such as the calibre and diversity of staff and standards of governance. Instead of trying simply to restart an engine built for bygone days, museums should look to artists past and present for what to show and what to do. Artists have always responded to social unrest, from depictions of strife in antiquity to the proselytising paintings of the Protestant Reformation and the Counter-Reformation that followed, to more recent meditations on intolerance. Among the 160 artists from the American South represented in the collection of the Souls Grown Deep Foundation (of which I am the president) are many whose social commentary is especially resonant today. Thornton Dial’s vivid assemblages conjure the scourge of lynching; the abstract meditations of the quiltmakers of Gee’s Bend include faded work clothes worn through in the cotton fields of Alabama, and Purvis Young’s collages and paintings are elegies to the plight of African Americans trapped in a racist system. All have lessons to impart about the convergence of art and the quest for social justice. Beyond mining their collections to create fresh perspectives and a new sense of tolerance, museums should conduct their invisible business in daylight. The billions of dollars in their portfolios can be cleansed of controversial investments without losing returns. Impact-investing is pointing the way towards a more just and progressive economy, and should govern choices about how funds in museum endowments are deployed. An empathetic response from museums – in hiring and retaining a diverse and representative staff, collecting and presenting art that is not a mirror of art market fashion, and using financial resources in ways consistent with their stated values – is what is needed most urgently. Growth for its own sake and the chasing of crowds are obsolete objectives. As well as protecting visitors from infection, museums must also welcome dissent and dialogue, give artists the voice they deserve, and rebuild a business model based not on commercial relevance but on deserving generosity from donors and the public at large. Maxwell L. Anderson is president of the Souls Grown Deep Foundation and Community Partnership and host of the podcast Art Scoping. Museum of Art director faces controversy for initial statement over racial unrest June 6, 2020 https://www.toledoblade.com/local/city/2020/06/05/toledo-museum-of-art-director-faces-controversy-for-initial-statement-over-racial-unrest/stories/20200605128 Less than two months into his tenure as new director of the Toledo Museum of Art, Adam Levine is facing controversy over a public letter to his staff that responds to the ongoing protesting and community unrest in the wake of George Floyd’s death. The letter, released Tuesday on the museum page, took on a life of its own in the last couple of days on social media by people who condemned the institution for not taking a stronger stance on the social injustices against the black community. Local printmaker and educator Ian Welch said perhaps art museums aren’t seen as political, but art is. He felt statements in the letter were “using academia as a shield.” “Artists serve as conduits for both personal and communal experiences, and to ignore the channels in which art is created demonstrates a complete disconnect between the work you exhibit and the people who made that work,” Mr. Welch said. “ … to think you can exist in a bubble as an institution is counterintuitive to everything you should stand for.” Mr. Levine said the internal letter for staff was released publicly as part of the museum’s efforts to be transparent, and was not an official statement from the museum, which was released separately Friday afternoon. “The waters were muddied and the communications could have been better executed, and that is something we own,” Mr. Levine said. “To put it simply, we rushed to speak when we should have paused to listen.” Mr. Levine, who started at his post at the end of April in the middle of the coronavirus quarantine, has consistently stated that his first 100 days as director would be dedicated to listening to community members. This week gave him plenty to work with, as commenters took to social media to respond to the initial letter, in which he tells staff that the museum must be for ‘all of Toledo.’ “Let me re-emphasize this point: The Toledo Museum of Art does not have a political stance. We exist to provide access to the highest quality works of art from across time and space to anyone, regardless of their beliefs or their appearance. These are not empty words; this nonpartisan and disinterested approach is baked into our institutional DNA,” Levine wrote in the letter. Commenters took several different issues in the letter to task, including that the museum lacks diversity among its staff, and a statement that looting is illegal. “Looting is wrong...where did you get all your artifacts??? You literally have a dead body in your museum, STOLEN from its grave. #BLACKLIVESMATTER,” said one commenter on the museum’s Facebook page, referencing the museum’s ownership of two mummies brought to Toledo from Egypt in the early 1900s. “Management will formalize changes to our recruitment practices to ensure more diversity in our applicant pools. PLEASE make this priority #1. There cannot - and will not - be real change without it,” wrote local gallery owner Paula Baldoni. A few commenters posted they would not return to the museum anytime soon, or that they would be canceling memberships. In a second response Mr. Levine wrote to staff that he publicly released Friday, he said the museum was poised to prioritize “action over words,” and listed steps the museum was taking to foster conversation and inclusion. That included hanging a banner Friday of an image of the piece High Yella Blue, by Alison Saar, a biracial artist whose work is featured in a solo exhibition by the museum when it opens back up after quarantine in the next few weeks. “These are things that we are building off the work that has already been done in the museum, but DEAI [Diversity, Equity, Accessibility and Inclusion] is an express concern of this institution going forward and none of that is work that was not already under way [before this week’s letters],” Mr. Levine said. The list also included implementing bias training for staff, creating the DEAI plan in the next year, prioritizing outreach to black community leaders, and making changes to the museum’s recruitment policies to ensure more diversity in its applicants. The museum’s much more succinct official statement, reads, in part: “The Toledo Museum of Art is committed to amplifying Black voices and Black art through the works we acquire, the exhibitions we present, and the programs we organize. The Museum is a place to convene conversations that contribute to creating a more equitable society. Our collections and galleries, for many, can provide comfort, respite and healing. We also must work to formalize our commitment to diversity, equity, inclusion and accessibility.” Mr. Levine said the museum’s true feelings would be expressed in the actions and programming. “The thing we would ask the community is to judge us by what we do over the next year, three years, and five years. Because the commitment is real in spite of the conversation, and we have real lessons learned from this on how to move forward collectively,” he said. “Watch us create a more equitable museum and a more equitable Toledo, and that will be the mark that we are serious about this.” Ruth Leonard, 33, a local educator in Toledo, said she thinks the museum missed the mark with its attempt to hang a conversation piece in front of the museum. “I get the desire to use art as a way to get the message out, but right now the biggest piece of art we could see at the museum would be a banner that stretches just as long if not more, that says Black Lives Matter,” Ms. Leonard said. “I think that would be a much more honest moment in history.” A Framework for Action in Response to Moments of Outrage & Crisis — OF_BY_FOR ALL June 2, 2020 You may be asking what your organization can do to take meaningful action in response to this moment of uprising against racist violence and white supremacy. We've been asking that too. Our team came together to write this blog post with a framework for specific actions you might consider taking as an organization. This framework can help you map out immediate and longer-term actions, both externally with your community and internally with your team. https://www.ofbyforall.org/updates-feed/2020/6/2/taking-action-or-not-in-moments-of-national-outrage I want to especially appreciate the leadership and labor of Black people and people of color on our Programs team. At a time of intense trauma, Raquel Thompson, Mateo Mossey, and Lauren Benetua brought deep knowledge, experience, and energy to drive development of this framework. It is my privilege to work alongside them and to contribute in a small way with this email. We’re using this framework ourselves at OF/BY/FOR ALL even as we’re developing it. For us, immediate action looks like holding space for each other, making a public statement, creating this new content, holding workshops on it with our members, pausing other projects, and giving staff members of color additional paid days off. And we’re holding ourselves accountable to deeper work in the future as well. Whatever you do next, we hope you do something. Immediate response and longer-term actions reinforce each other. If you’re feeling unsure about what to do, lean into your discomfort, listen to your colleagues of color, and take action that feels authentic to you. Don’t worry about “missing the moment.” It’s never too late to start dismantling white supremacy. Looking forward, Nina CreativeMornings https://www.creativemornings.com/blog/black-lives-matter June 04, 2020 Black Lives Matter. To the Black members of our global community: We see you. We hear you. We stand with you. We recognize the pain and trauma that recent events — the murders of George Floyd, Breonna Taylor, Ahmaud Arbery — are causing, and that this pain and trauma has systemically been inflicted upon Black communities for generations. We are heartbroken and angry by the treatment of Black people and People of Color in America and around the globe. We will make it clear with our actions moving forward that there is no grey area when it comes to racism, violence, and injustice — and we will not tolerate it. To the activists in our community, who have long been working to address equity, speaking out about racism, and helping all of us to understand and act in a way that brings justice: We recognize that this acknowledgement is long overdue. Everyone is welcome. As a global, American-based organization, we own that there is power in our platform and that we have work to do. We realize that saying “everyone is welcome” in our manifesto is not the same as intentionally designing an inclusive space that is welcoming for all people. We want to do better. We are working on a plan as an organization and as a team to engage in the work it takes to exist as an anti-racist organization, and furthering the work that our community is already doing. Our commitment is not just for this moment, but for the long term and as an ongoing practice. We admit upfront that we do not have all the answers and might get things wrong in the process. We admit that we do not know the best way to embark on this journey and are learning. Most of all, we admit and see that we have been silent for too long and that it is time for us to step up, and do the work as an organization to appropriately scaffold a global community that is at its core, anti-racist. A creative life requires bravery and action, honesty and hard work. To our non-Black members new to anti-racism, we urge each of us to relearn our shared history. It is okay to be honest about not knowing. We recognize that becoming anti-racist is an ongoing process of acknowledging, educating, un-learning, examining, uprooting, and speaking up. Here are some questions that we are currently asking ourselves: What biases and blindspots, implicitly and explicitly, do we have as an organization and as individuals? How can we learn (and unlearn) in a way that supports real, sustained change? How will we use our platform to be more inclusive and intersectional when we share the work of creators not just in this moment, but year round? What does it look like to show up with humility? Are we willing to engage and to make mistakes? Let us open up the dialogue to educate each other, accept gaps in our lived experiences, and press through the discomfort that often accompanies growth. Engaging in the hard conversations is where critical change can be made. We are here to support you. We will continue to further amplify the voices and projects of Black business owners, creators, writers, directors, activists, and others in our community. For our first step, we have compiled and shared a list of informative resources, tools, and platforms that we have found helpful in beginning this journey. We stand with our Black community and Black creatives in the fight against racism and violence, and we urge us all to do the same. — The CreativeMornings HQ Team.
Artsy News June 2, 2020 https://www.artsy.net/news/artsy-editorial-national-museum-african-american-history-culture-launched-portal-facilitate-conversations-race The National Museum of African American History and Culture launched a portal to facilitate conversations about race. The Smithsonian’s National Museum of African American History and Culture (NMAAHC) launched an online portal Sunday that aims to facilitate dialogue about race in the United States. This platform comes as protests over racial violence and police brutality spread rapidly across the country. The portal, Talking About Race, features videos, exercises, scholarly texts, and more than 100 other resources that examine how racism and racial identity form our society. The portal was originally set to launch in the fall, but according to The Art Newspaper, NMAAHC cited various recent racist events—like the police actions that led to the deaths of George Floyd in Minneapolis and Breonna Taylor in Louisville, Kentucky, in addition to the following nationwide protests—as reasons for releasing the portal early. The institution also referenced a recent altercation in Central Park, during which a white woman called 911 on a Black man when he asked that she put her dog on a leash in accordance with park rules. Spencer Crew, interim director of the NMAAHC, said in a recent statement: Since opening the museum, the number one question we are asked is how to talk about race, especially with children. We recognize how difficult it is to start that conversation. But in a nation still struggling with the legacies of slavery, Jim Crow laws, and white supremacy, we must have these tough conversations if we have any hope of turning the page and healing. This new portal is a step in that direction. On Sunday, Secretary Lonnie G. Bunch—who, before becoming the the first Black leader of the Smithsonian Institution, was the NMAAHC’s founding director—shared a rare public statement regarding the current events and the state of race in the U.S. In the statement, Bunch praised protesters for their work and condemned police brutality. Bunch appealed to the need for action: “History is a guide to a better future and demonstrates that we can become a better society—but only if we collectively demand it from each other and from the institutions responsible for administering justice.” National Museum of African American History and Culture Talking About Race May 31, 2020 Talking about race, although hard, is necessary. We are here to provide tools and guidance to empower your journey and inspire conversation. https://nmaahc.si.edu/learn/talking-about-race Let’s talk, think, and act together! Choose a topic below to begin. Bias Being Antiracist Community Building Self-Care Race and Racial Identity Social Identities and Systems of Oppression Whiteness Historical Foundations of Race Hyperallergic Amid Historic Black Lives Matter Protests, One Museum’s Call for a “Nonpartisan Approach” Disappoints June 5, 2020 “Let me reemphasize this point: the Toledo Museum of Art does not have a political stance,” director Adam Levine wrote, prompting criticism. But oppression is not a question of political ideology, it is factual. The Toledo Museum of Art (TMA) in Ohio is one of the latest institutions to draw criticism for its response to the nationwide protests against anti-Black police violence and systemic racism. In a polemical statement released earlier this week, TMA director Adam Levine expressed political neutrality, arguing that museums must remain unbiased and lamenting that “we are living in a moment where virtually everything becomes politicized.” “Let me reemphasize this point: the Toledo Museum of Art does not have a political stance,” wrote Levine. “We exist to provide access to the highest quality works of art from across time and space to anyone, regardless of their beliefs or their appearance. These are not empty words; this nonpartisan and disinterested approach is baked into our institutional DNA.” Levine then cited the museum’s statement of purpose, which says it “recognizes neither class, creed, color, nor condition.” Read more https://hyperallergic.com/569393/toledo-museum-nonpartisan-approach/ Floyd Case Forces Arts Groups to Enter the Fray Cultural institutions are feeling compelled to stand up for racial justice, but artists and activists want action, not just statements of solidarity. June 8, 2020 New York Times https://www.nytimes.com/2020/06/07/arts/museums-theaters-protests.html The apologies keep coming. After the Nelson-Atkins Museum of Art in Kansas City, Mo., allowed the police to use its property to stage a response to a protest over George Floyd’s death, its director asked the police to gather elsewhere and issued a public apology. When the Getty was criticized for putting out “vague” social media posts calling “for equity and fairness” that failed to mention Mr. Floyd, who died in police custody in Minneapolis on May 25, its chief executive pledged to do better. The language of contrition was similar from the San Francisco Museum of Modern Art after it was criticized for responding to Mr. Floyd’s death with an Instagram post: an image of a work by the artist Glenn Ligon — who is black — without any statement from the institution. “We can do better,” the apology said. The museum followed up with a second apology days later for having disabled comments in response to criticism of its initial post. For decades, cultural organizations have generally opted out of politically heated debates, positioning themselves as neutral territory and preferring to let the artists they present do the opining. As civic institutions often supported by taxpayer dollars, they have historically eschewed political allegiances. But this time is different. In the period of protests, many arts organizations have entered the fray. Some of their public messages have been commended as better than silence; others criticized as tone deaf and too little too late. The Alpha Omega Theatrical Dance Company in New York posted signs showing support for Black Lives Matter and racial justice efforts.Credit...Gabriela Bhaskar for The New York Times Such efforts to meaningfully contribute to the conversation are especially sensitive because many of the institutions are led by white executives who answer to boards largely made up of wealthy white trustees. That composition has long fueled suspicion that arts organizations are inherently resistant to — or incapable of — real change. “It’s not enough to issue these toothless statements,” tweeted Adrianne Russell, a writer, museums specialist and former employee at the Nelson-Atkins, “and that’s why I wish museums would just be quiet unless they’re going to tell the truth.” When the Metropolitan Opera tweeted last week that there was “no place for racism in the arts,” several people commented on social media that the company had never performed an opera by a black composer. (Their first — Terence Blanchard's “Fire Shut Up in My Bones” — was announced last year but has yet to be performed.) “I do not think art museums have done enough,” Chris Anagnos, the executive director of the Association of Art Museum Directors, said in a statement on the organization’s website. “We have dabbled around the edges of the work, but in our place of privilege we will never live up to the statement that ‘museums are for everyone’ unless we begin to confront, examine and dismantle the various structures that brought us to this point.” Some responses have landed more successfully than others, namely the impassioned statement from Lonnie G. Bunch III, the secretary of the Smithsonian, who called on his professional cohort to step up. In his statement, Lonnie G. Bunch III, secretary of the Smithsonian, urged his colleagues in the museum world to do more to address racial injustice. Credit...Andrew Harnik/Associated Press “Will we join the struggle to seek justice and equality?” Mr. Bunch said. “Will we heed the call of courageous figures throughout history who spoke out against slavery, marched on for voting rights, and sat in for basic equality? Will we challenge the nation to live up to its founding ideals? In the memory of those taken from us and for the good of the country, I hope that we do.” Other institutions tried a pragmatic approach. In New York, Off Broadway and Brooklyn theaters, as well as the Brooklyn Museum and MoMA PS1, have offered restroom access to protesters. Theaters in cities such as Oakland, Calif.; Austin, Texas; and Washington, have done the same. The Smithsonian National Museum of African American History and Culture created an online portal for a discussion about race. The Walker Art Center in Minneapolis announced it would no longer contract the services of the local police department for events until the law enforcement agency “implements meaningful change by demilitarizing training programs, holding officers accountable for the use of excessive force and treating communities of color with dignity and respect.” Four Minneapolis officers were charged in connection with Mr. Floyd’s death. Many organizations that view themselves as enlightened, progressive institutions decided they could no longer sit on the sidelines in order to avoid controversy. “We are part of that problem — the racism is within us — as institutions that are always telling our audience what’s good art and making choices that set up or reinforce cultural orders,” said Michael Govan, the director of the Los Angeles County Museum of Art. “We have an ability to critique and change those orders.” Officials of the Nelson-Atkins Museum of Art in Kansas City, Mo., apologized after allowing the police to use its grounds to stage a response to a protest about the death of George Floyd.Credit...Katie Currid for The New York Times The conversation about the complacency of arts groups was building long before their recent public statements of solidarity or their posting of black boxes and #BlackoutTuesday on Instagram were judged insufficient. The Whitney Museum of American Art faced criticism when it featured in its 2017 Biennial exhibition a painting by the white artist Dana Schutz of the lynched black teenager Emmett Till, incurring protests. It kept the painting on the wall, saying it raised important questions. Last year, the museum was the site of multiple demonstrations because one of its trustees, Warren B. Kanders, owns a company that sold the tear gas that was reportedly used on immigrants at the border. He ultimately felt compelled to step down. Four of the 14 curators now are people of color, and the museum has featured black artists in earnest but acknowledges there is much more to do. “Everybody has to look at themselves and say, ‘We’re all not doing this as well as we should be,’” said Adam D. Weinberg, the museum’s director. “If you don’t have input from other voices, you’re just going to get the same answers.” Protesters last year at the Whitney Museum in New York draped a banner over an edge of the building.Credit...Andrew White for The New York Times Many of these cultural organizations did not respond at all when Amadou Diallo was shot dead by the police in the Bronx in 1999 or Michael Brown was killed by an officer in Ferguson, Mo., in 2014. But this time around, the approach has changed, whether it’s because the politics of the moment have triggered advocacy or because the multiple fatal encounters with the police can no longer be ignored. Would you like recommendations for more stories like this? Yes “They’re using language that they’ve never used before in terms of racism and white supremacy,” Melanie A. Adams, the director of the Smithsonian’s Anacostia Community Museum, said of museums. She has worked as a facilitator of workshops on topics related to museums and race. Ms. Adams said that she had noticed a shift in museum attitudes after the shooting of Mr. Brown and believes some of the change may be attributable to more young activists working in institutions. The challenge, she said, will be sustaining the discussion that currently feels so urgent. “Sometimes with these situations, for the next few months we’ll all wave the social justice flag, and then we’ll go back to our corners,” she said, “I’m hoping that’s not going to be what happens this time.” Some efforts have been more symbolic. Last Tuesday, the Kennedy Center announced that its lights would be dimmed for nine nights in honor of Mr. Floyd, marking the final nine minutes of his life. The Hirshhorn Museum has organized a number of major institutions including the Metropolitan Museum of Art to devote the home pages of their websites to a 24-hour stream of “Love Is the Message, the Message Is Death,” a 2016 video by the artist Arthur Jafa, on Saturday. “No institutional leader has all the answers right now,” said Max Hollein, the director of the Met. “There is a moment when you reflect, when you have to listen.” Mr. Hollein learned this lesson the hard way last week when Mr. Ligon objected to the use of one of his artworks in the Met’s recent social media post. “I know it’s #nationalreachouttoblackfolksweek but could y’all just stop,” Mr. Ligon said on Instagram. “Or ask me first?” Mr. Hollein said he has apologized directly to Mr. Ligon. The Museum of Modern Art is presenting screenings of Mr. Jafa’s 2018 “akingdoncomethas” — more than 100 minutes of black church services — through June 9 and has posted a list of organizations that fight racism and support equality. “We can change the stories we tell in the galleries and we have to do the work to make sure the institution reflects the richness and diversity of our country,” said Glenn D. Lowry, MoMA’s director. “This is a moment of reckoning.” Many arts leaders agree that the most effective response is institutional change — hiring more staff members of color; diversifying the board; presenting a range of programming. “We need to revisit deeply everything — our organizational structures, the programs that we value, what exhibitions we should be doing,” said Julián Zugazagoitia, the director of the Nelson-Atkins who used to head El Museo del Barrio. “The actions speak more than declaratory statements.” At the same time, change can cost money and some of the institutions pledging to diversify both their staffs and the moneyed boards that support their work are already facing severe financial problems caused by the coronavirus pandemic. Laura Raicovich, the politically outspoken former director of the Queens Museum, is currently working on a book due out next year, tentatively titled “The Myth of Museums: Why Cultural Institutions Can’t Be Neutral in an Age of Protest.” In 2018, she stepped down after clashing with her board over an event sponsored by the Israeli government and over what, she believed, was her public support for young undocumented immigrants. She said that museums should abandon the pretense of a united front. “It’s time for institutions to drop the monolithic responses,” she said, “to be more transparent about the different conversations happening inside of a museum.” James Cuno, the president of the Getty Trust, said he was comfortable with having had to revise his museum’s statement in response to criticism. “It was extremely important that our staff brought it to our attention,” he said. “It was the way institutions should work.” The Guggenheim Museum, which did not have a black curator on staff until last year, has for several months been working with an outside diversity consultant, its director, Richard Armstrong, said. Its statement of support for Blackout Tuesday drew criticism from Chaédria LaBouvier, who organized the Guggenheim’s Basquiat show last year as a guest curator. She has said her experience at the museum was fraught with racism. Among the examples she cited was her exclusion from a museum panel that discussed the exhibition she designed. Mr. Armstrong, speaking broadly in an interview, said that the museum should strive to be an ethical leader but that there invariably would be missteps. “One of the missing links in our moving forward as a culture is a greater sense of forgiveness. We’ve made mistakes, we’ve tried as much as possible to address them and we will go on making mistakes.” But some people in the art world are growing tired of what they view as excuses. After the San Francisco Museum of Modern Art apologized for blocking from view a critical comment from a former employee named Taylor Brandon, who is black, two artists, Leila Weefur and Elena Gross, along with the artists’ collective Heavy Breathing and others, decided to pull their work from a residency program. They wanted to send a clear message that the museum needs to address its institutional racism rather than just release statements of solidarity. “It is their job to figure out how to resolve this problem,” Weefur said. “Do not put the labor solely on the artist.” Correction: June 8, 2020 Because of an editing error, an earlier version of this article misstated the number of people who are on the curatorial staff at the Whitney. There are 30 members of the curatorial staff, not 14; but 14 of them are curators Whitney Museum of American Art https://whitney.org/we-stand-with-black-communities From our Director: We stand with Black communities Dear Whitney Community, Like all of you, I have been horrified, furious, and anguished over the violent deaths of George Floyd, Breonna Taylor, Tony McDade, and far too many Black Americans. Devastating racism and inequity are all too prevalent across the United States. As a museum of American art, we have sought to make visible and condemn, through the voices of the artists and art we present, the injustice, systemic racism, and violence aimed at people of color in our country. We understand the weight of our position and stand with Black communities across the country who are suffering—and everyone who is working to make a more just future. At the Whitney, we must undertake this work as well. Over the past five years since opening downtown, we have made mistakes. We have also listened and are always learning. We have increased the racial diversity of our collection, exhibitions, performances, educational programs, audiences, and staff. But we must go further and do more still. In the coming months, the Whitney will re-examine our exhibitions and programs to ensure they continue to address the art and experiences of people of color, especially Black communities. We will review our staff, our organizational structures, and our culture through a lens of racial equity and will commit to additional anti-racism and unconscious bias training. We will also actively consider and pursue new avenues to leverage the Whitney’s resources for constructive engagement outside the Museum’s walls. Our Board of Trustees will pursue the goals of adding greater diversity and reviewing its governance, both of which are already underway. I pledge myself and the Whitney wholeheartedly to these processes and others that we will identify and undertake in the days, weeks, and months ahead, in order to pursue meaningful action and lasting change. We will continue to share updates about specific actions and initiatives in the coming weeks. The Whitney believes in the power of artists and art to shape lives and communities and in an inclusive idea of America. I am committed to our ongoing work, which we will conduct with our hearts, humanity, empathy, and, critically, with the courage to do what we think is right. With respect and commitment, Adam D. Weinberg Alice Pratt Brown Director Museum Association, UK Sector bodies call for stand against racial injustice amid Black Lives Matter protests _ Museums Association https://www.museumsassociation.org/museums-journal/news/01062020-call-for-collective-anti-racist-action-black-lives-matter-protests June 1, 2020 The Museums Association (MA) is among a number of stakeholders to call for "real change" in how the museum and heritage sector addresses racism, as Black Lives Matter protests grow in the US following the killing of an unarmed black man, George Floyd, by a police officer in Minneapolis. In a statement today, the association said: “The MA stands with all people of colour in the fight against racial injustice and inequality. The recent killing of George Floyd highlights the need for real change in how we address racism and diversity as a society and in our museums. “We acknowledge that museums have an important role to play in recognising and challenging historic oppression and that our collections, knowledge, independence and ethics can be used to highlight the issues that matter to our communities and wider audiences. “The MA’s vision is for inclusive, participatory and sustainable museums at the heart of our communities. We believe that museums can make a significant contribution to public conversations on contemporary issues such as decolonisation, inequality and racism. We also believe that museums have a responsibility to support the workforce within our organisations and creating space for the lived experience of our colleagues. “Museums have a critical role to play in building a society that is diverse, inclusive, tolerant and respectful and the MA will continue to support them to do that. “‘Somebody has to stand when others are sitting. Somebody has to speak when others are quiet.’ – Bryan Stevenson, founder, the National Memorial for Peace and Justice.” Arike Oke, director of the Black Cultural Archives in south London, has called on museum and heritage stakeholders to pledge to take "collective anti-racism action". A joint statement by heritage bodies, which the MA has committed to sign, is due to be published shortly. “We need to change,” Oke told Museums Journal. “We need to think about anti-racism in everything we do. “Those of you who are black, or have black colleagues, will know that the events of the past few week are taking an heavy toll mentally, physically, emotionally. On top of the weight of the pandemic. On top of the weight of Covid-19 affecting black communities more heavily than others. “The weight is heavy because it’s the weight of history, of decades and longer of systemic racism and bias, of micro-aggressions, of not being believed, of our experience being minimised, of seeing black people die in police custody without enquiries being made. Of 40 years since the uprisings in Bristol, Birmingham, Brixton. Of 101 years since the 1919 ‘race riots’. Of 27 years since Stephen Lawrence’s murder.” Oke asked organisations across the sector to add their voice to the commitment. “BCA is the home of Black British history – our research collections are unique and so is our voice, but we don’t want to be alone in speaking out and calling for a change,” she said. “Could we, as the sector which holds our nation’s heritage, please take leadership in making a stand in solidarity together – archives and museums, workforce and leadership, to commit to being actively anti-racist (not just diverse and inclusive)?” Oke’s call to action was echoed by the Museum Detox network, which represents people in the museum and gallery sectors who identify as of colour. The network tweeted: “Silence is an act of violence. If organisations cannot publicly declare that #BlackLivesMatter, they are complicit. "Each have a responsibility to the Black community who visit, who are employed and whose culture is on display in these buildings. Now is the time to be anti-racist.” Black Lives Matter at the Museum of Fine Arts June 5, 2020 http://wcmfa.org/news/black-lives-matter-at-the-museum-of-fine-arts/ A Message to the Community – The heart-breaking event of George Floyd’s death and the subsequent anguish have made it clear that American society is fractured. In Hagerstown, Maryland, where the Museum of Fine Arts-Washington County (MFA-WC) is located, we can be proud that our City Police Chief and Community Police Officers condemn the George Floyd murder and actions of the police officers in Minneapolis involved in his death. Over last weekend, protestors in Hagerstown spoke with strength and resolve, and remained peaceful. The Museum of Fine Arts-Washington County joins other voices near and far to affirm that Black Lives Matter. People say they trust museums. They say museums provide solace and respite from difficulties in the world, and help heal. They say museums help teach tolerance and understanding of the differences that exist between people, groups, nations, religions. The American Alliance of Museums, which serves some 20,000 museums across our nation, and has accredited the MFA-WC, is deeply dedicated to diversity, equity, access and inclusion (DEAI), and actively provides resources on equity and social justice, as well as workshops and seminars for museum professionals. This week, many museums and arts organizations have released statements concerning the danger of remaining silent in the face of injustice. The mission of the Museum of Fine Arts-Washington County is to provide access and programming to all, and the MFA-WC talks and walks its commitment to diversity, equity, access and inclusion (DEAI). For example, MFA-WC is proud to have hosted the landmark exhibition, “The Blues and the Abstract Truth,” which opened its doors wide to new audiences, volunteers and museum members, many from the regional Black community who have joined the MFA-WC in our commitment to telling diverse stories through exhibitions, artistic and educational programs, and performing arts. The museum’s core values address our role in serving all and in bringing diverse art, people, and voices to exhibitions, and programs, and actively advancing DEAI through the Board of Trustees, Board of Advisors and the volunteer Singer Society. The MFA-WC is committed to Artistic Quality, providing barrier-free access to a nationally recognized art collection of lasting quality and to national and regional exhibitions through its policy of free admission to the public. MFA-WC provides Creative Access through positive, enjoyable, and productive artistic outlets for youth and adults alike through varied educational programs and events, many of which are free. MFA-WC provides opportunities for Personal Growth through the stimulating experience of encountering works of art, participating in artistic activities, learning from others, and fostering one’s own creativity. Situated in Hagerstown’s beautiful City Park, the MFA-WC is Community-Centered and is an integral part of the community fabric; it is known and enjoyed by people of different age groups, origins, backgrounds and experiences. The MFA-WC provides a Safe Place where visitors may find engaging, stimulating, and peaceful artistic surroundings, and welcoming and helpful staff and volunteers. The MFA-WC provides a trained staff of security personnel whose goal is to protect the valuable art collections while providing visitor-friendly access. The MFA-WC embraces Public Access and prohibits discrimination in employment and volunteer service, artistic and educational programs, and other activities on the basis of race, national origin, color, creed, religion, sex, age, disability, veteran status, sexual orientation, gender identity, or associational preference. MFA-WC affirms its commitment to providing equal opportunities and equal access to its facilities. From this basis, we work daily to fulfill our commitment to the people of our region and those who visit the museum from afar so that all may experience the transformative power of art. Rebecca Massie Lane, Director, Museum of Fine Arts-Washington County Hagerstown, MD As Austin museums react to the Black Lives Matter movement, bigger issues emerge Statements of support for Black Lives Matter from local museums reveal a long, tough road to achieving equity June 6, 2020 https://sightlinesmag.org/as-austin-museums-react-to-the-black-lives-matter-movement-bigger-issues-emerge Black Lives Matter protests have erupted across the country recently in response to the murder of George Floyd at the hand of police in Minneapolis and the killings of Breonna Taylor and Ahmaud Arbery. In Austin, protesters chant “Justice for Mike Ramos,” the latest unarmed person of color to be killed by Austin police. After the #BlackoutTuesday campaign kicked off a social media frenzy, many cultural institutions and museums reacted to pressure from protestors on social media to release public statements of solidarity with the Black Lives Matter movement. It prompted national museum leaders to react. “As a community, I do not think art museums have done enough,” wrote Chris Anagnos executive director of Association of Art Museum Directors, in a statement issued June 1. “We have dabbled around the edges of the work, but in our place of privilege we will never live up to the statement that ‘museums are for everyone’ unless we begin to confront, examine and dismantle the various structures that brought us to this point.” Read more A statement in response to Black Lives Matter The Courtauld Institute of Art June 5, 2020 https://courtauld.ac.uk/statement-black-lives-matter The Courtauld Institute of Art and its student body supports Black Lives Matter, and is saddened and outraged by the murders of George Floyd, Breonna Taylor, Ahmaud Arbery, and all those who have suffered from systemic racism, injustice and violence. As an institution, we know we must do more to address systemic racism, and we must do it better. Our visitors, students and staff are not diverse enough, and this must change. We recognise that it is our role to provide leadership in this area, and we are fortunate in having a Student Union who will always challenge us to do more. Progress has been too slow so far. A meaningful and robust focus on now achieving these ambitions is needed by every member of our community. We are all accountable. Following on from internal discussions this week, and recommendations from our student body, we are committing immediately to: Convene a staff and student Working Group on diversity and anti-racism, including members of the Courtauld’s Governing Body and senior management team, to drive faster change. The group will work across the organisation to address issues around student recruitment, experience and progression; staff recruitment, retention and progression; our role as a Gallery and Museum; and decolonising the curriculum. Deliver diversity and inclusion training, including anti-racism, to all staff and students. Continue the recruitment process for two new posts, to cover Modern and Contemporary Art of Africa and the African Diaspora. Explicitly state our commitment to anti-racism as a core aim of Courtauld Connects. Revise targeting of undergraduate financial support. Offer our full support through Student Welfare channels to any students affected by the present crisis. We also recognise that this is a start – we need to go further than this, and we will. At a senior level we are discussing how we achieve more diverse representation on our Boards and Committees; maintain and grow a mix of representative voices throughout our events; and work with the rest of the sector on these issues. We do not have all of the answers, and need to be more ambitious and more effective in what we do. Working with students, staff and sector voices will make sure we continue to learn and improve. Black Lives Matter: museums respond 6 June 2020 https://www.disegnodaily.com/article/black-lives-matter-museums-respond DisegnoDaily As protests against institutionalised racism and police brutality swept US cities and arrived on European shores this week, many museums responded with social media messages and posts on their websites. While US political leadership has been either absent or functioned as an aggressor during recent protests against the murder of George Floyd by police, many educational and cultural institutions have taken it upon themselves to try and support the communities they serve, while also addressing their own associations with racism. Here, Disegno takes a look at what some of them have said. First out, on Sunday 31 May, was the Smithsonian Institution in the US, whose Secretary Lonnie G. Bunch III wrote a short and sharp statement about recent events and how US citizens have “been forced to confront the reality that, despite gains made in the past 50 years, we are still a nation riven by inequality and racial division.” Bunch concluded his statement with a number of questions and call to actions for readers to consider: “At this pivotal moment when the eyes of the nation and the world are upon Minneapolis, will we join the struggle to seek justice and equality? Will we heed the call of courageous figures throughout history who spoke out against slavery, marched on for voting rights, and sat in for basic equality? Will we challenge the nation to live up to its founding ideals? In the memory of those taken from us and for the good of the country, I hope that we do.” The Smithsonian Institution is the world’s largest museum, education, and research complex, with 19 museums and the National Zoo. One of its museums is the The National Museum of African American History and Culture (NMAAHC) in Washington. On the same day as Bunch released his statement, the NMAAHC launched its Talking About Race web portal. It is designed to “help individuals, families, and communities talk about racism, racial identity and the way these forces shape every aspect of society, from the economy and politics to the broader American culture.” The easy-to-browse site covers topics such as bias, community building and self care, and include tools to aid discussion also beyond an American context. On Monday 1 June The Met in New York published a response by its president Daniel H. Weiss and director Max Hollein, sharing a letter that had been sent to museum staff. On The Met website they wrote: “As we mourn the murder of George Floyd, Breonna Taylor, Ahmaud Arbery, and all who have suffered because of systemic racism, injustice, and violence, we stand in solidarity with the Black community in the fight against racism. The first step in this work involves looking at ourselves. We turn first to our colleagues in The Met community to listen, learn, and move forward together.” Since then, a clear message of solidarity has been pinned to the top of the museum's website. LACMA paused digital communication on its website for the entire week. The Los Angeles County Museum, which is currently being redeveloped with a new building by Peter Zumthor, published a short institutional statement on the same day as The Met. It said: “We stand with our community in rejecting racism, in mourning, and in demanding justice for the deaths of countless African Americans who continue to be targeted by systematic violence.” But the statement also found room to promote some of its own work in the field of active anti-racism: “Our staff is hard at work at developing programs and initiatives, including our new series of programs titled ‘Racism is a Public Health Issue.’ We recognize that ours is just one small contribution toward a change in our society that is long overdue.” Of the US institutions that Disegno looked at, LACMA was the only one to engage with the #blackouttuesday project on its website – posting a short message (pictured above) against a black background. MoMA in New York opted to post a message on Twitter and Instagram on Tuesday 2 June, following this up with an article of an “incomplete list of resources and organizations for fighting racism and supporting justice and equality”. MoMA's website now also clearly states its support for Black Lives Matter, with the following message being the first seen when visiting the site: "We stand in solidarity with Black communities, join the call for equity and justice, and deplore all forms of violence." With the Black Lives Matter protests starting in US cities, American museums were ahead of European institutions in publishing responses to recent events. In the UK, however, The Tate was first out with a Twitter message on Monday 1 June stating, “We have a platform, a voice, and a duty to our Black members, employees, artists, visitors and followers to speak up and stand for human rights and anti-racism.” The museum also created a page dedicated to black artists in the museum collection and the stories behind their work. A page on the Tate website has been dedicated to Black artists. The Royal Academy in London joined #blackouttuesday on social media, alongside the Design Museum (on Instagram only), but other London institutions were slower to engage. The Victoria & Albert Museum posted a message on its blog by its director Tristram Hunt on Thursday 4 June and the British Museum followed on Friday 5 June with a message from its director Hartwig Fischer. While both expressed their solidarity with the Black Lives Matter movement, they were also careful to state the museums’ activities to promote diversity in regards to the museum collections and initiatives tackling the museums' colonial pasts. The V&A also posted a blog by the recently appointed director of V&A East, Gus Casely-Hayford, contemplating the racist history of museums: "The Enlightenment is the period in which the museum sector was born and alongside it was the intellectual apparatus of race and racism," wrote Casely-Hayford. The messages by directors at UK museums contrasted with the messaging by US institutions, whose statements largely avoided commentary around histories or activities they have pursued in connection to the recent protests. Instead, these organisations opted for statements focused around healing by listening to Black colleagues and the messages of the Black Lives Matter movement. To date, none of the UK museums mentioned have foregrounded a Black Lives Matter message on their websites in the same way that some US museum have done. If these messages are not accessed directly through social media, they remain difficult to find within these sprawling museum sites. The rest of Europe has seen little engagement from major museums beyond messages of solidarity posted on social media. The Rijksmuseum and Stedelijk Museum in Amsterdam both engaged with #blackouttuesday on social media, but with no comments on their websites. Surprisingly, and disappointingly, none of the large Paris museums engaged with the movement, either via #blackouttuesday or via statements, despite widespread protests in the Paris capital. The Musée du quai Branly - Jacques Chirac, with “a collection of 300,000 works from Africa, Asia, Oceania and the Americas” reposted a sound file of a lecture by the philosopher and political activist Cornel West and sociologist Mahamadou Lamine Sagna from 2016. Museums outside of Europe and the States seem to have been largely unresponsive to the recent events. Many of the institutions mentioned here have been called out on social media for their inaction in regards to promoting diversity within museum staff, especially in appointing black employees to positions of leadership and curatorial roles. Despite the many messages of support from museums, there is still much work to be done within the institutions themselves to deal with both their colonial histories and failure to promote diversity within the workforce. To this end, Museum Detox – “a network for museum and gallery workers who identify as of colour” – offered useful tools on Twitter for how museums can take action and tackle these issues going forward, coupled with the poignant message: “Whatever you are doing, it is not enough”.