OTTAWA — At times it was the Royal Canadian Mounted Police who came for them. Other times, it was a school van. However it happened, for generations, Indigenous families in Canada had no choice but to send their children to church-run residential schools established by the government to erode their culture and languages, and to assimilate them.
A national Truth and Reconciliation Commission declared in 2015 that the schools, which operated from 1883 to 1996, were a form of “cultural genocide.”
But the profound damage inflicted by the schools didn’t stop there. The commission cataloged extensive physical, sexual and emotional abuse at the schools, which were often overcrowded, understaffed and underfunded. Disease, fire and malnourishment all brought death and suffering.
Now, the national shame of the schools is again dominating the conversation in Canada.
Since May, new technology has enabled the discovery of human remains, mostly of children, in many hundreds of unmarked graves on the grounds of three former schools in Canada — two in British Columbia and one in Saskatchewan. Who they were, how they died or even when they died may never be fully known.
were forced to attend residential schools in a forced assimilation program. Most of these schools were operated by churches, and all of them banned the use of Indigenous languages and Indigenous cultural practices, often through violence. Disease, as well as sexual, physical and emotional abuse were widespread. An estimated 150,000 children passed through the schools between their opening and their closing in 1996.
The Missing Children: A National Truth and Reconciliation Commission, set up as part of a government apology and settlement over the schools, concluded that at least 4,100 students died while attending them, many from mistreatment or neglect, others from disease or accident. In many cases, families never learned the fate of their offspring, who are now known as “the missing children.”
The Discoveries: In May, members of the Tk’emlups te Secwepemc First Nation found 215 bodies at the Kamloops school — which was operated by the Roman Catholic Church until 1969 — after bringing in ground-penetrating radar. In June, an Indigenous group said the remains of as many as 751 people, mainly children, had been found in unmarked graves on the site of a former boarding school in Saskatchewan.
Cultural Genocide’: In a 2015 report, the commission concluded that the system was a form of “cultural genocide.” Murray Sinclair, a former judge and senator who headed the commission, recently said he now believed the number of disappeared children was “well beyond 10,000.”
Apologies and Next Steps: The commission called for an apology from the pope for the Roman Catholic church’s role. Pope Francis stopped short of one, but the archbishop of Vancouver apologized on behalf of his archdiocese. Canada has formally apologized and offered financial and other search support, but Indigenous leaders believe the government still has a long way to go.
“Something good has to come out of this,” Joey Desjarlais, 73, said outside the ruins of the Muskowekwan Indian Residential School in Saskatchewan, which he was forced to attend, as were his parents, grandparents and great-grandparents. “Our children need to learn about the residential school, what we went through and what went on in there but also to learn their culture, so at least they’ll get it back.”
The image below shows girls working in the kitchen at the Bishop Horden Memorial School in Moose Factory, Ontario, around 1940.
Boys at the Shingwauk Indian Residential School playing with handmade bows, and a game of table hockey, in the 1960s.
Boys say their prayers in the dormitory at the Bishop Horden Memorial School in Moose Factory, Ontario, in 1950.
Girls at a residential school in Fort Resolution, Northwest Territories, around 1936. It is estimated that roughly one-third of all Indigenous children were enrolled in the schools by the 1930s.
Boys and girls, in their first communion outfits, posing at Spanish Indian Residential School in Spanish, Ontario, in the 1960s.
The Louvre is to have a female president for the first time in the Paris museum’s 228-year history.
Laurence des Cars, who is currently president of two other Paris institutions, the Musée d’Orsay and Musée de l’Orangerie, will take over the job — one of the most important in the art world — on Sep. 1, France’s culture ministry said in a news release on Wednesday.
She will take over the museum — which has an annual budget of 240 million euros (about $291 million), more than 2,000 employees and a regional outpost in northern France — at a difficult time. The pandemic has put a break on international tourism. Before it hit last year, the Louvre was getting about 10 million annual visitors, making it the most visited museum in the world.
Her mission will include drawing more young people into the museum, the news release said, and an increased focus on international partnerships.
Des Cars, 54, is something of a Louvre insider, having studied art history at the École du Louvre, the museum’s school. She oversaw the development of Louvre Abu Dhabi, a museum in the United Arab Emirates that leases the Louvre’s brand and which opened in 2017.
Black Models: From Géricault to Matisse,” which focused on previously overlooked Black figures in French art and was developed with the Wallach Art Gallery in New York, is considered a landmark of her tenure.
“A great museum must face history, including by looking back at the history of our own institutions,” she told Agence France-Presse in an interview in April.
Des Cars is among few women to have led major French museums. That dearth is “a consequence of official institutions not reaching out to women enough, or not giving them enough confidence,” des Cars said in a 2018 interview with The New York Times. But there is also “the issue of self-censorship — of women thinking, ‘I’m not up to that kind of job,’” she said.
“Women need to overcome their personal doubts, and to tell themselves: ‘I’m capable of this. It’s coming at the right time in my life and in my career. I’m ready for this,’” des Car added.
The Louvre belongs to the French state, so France’s president appoints the museum’s leader.
A few months ago, it was assumed that Jean-Luc Martinez, the Louvre’s president since 2013, was assured a third, three-year term. Under his tenure, the Louvre grew visitor numbers past 10 million for the first time. Its landmark Leonardo exhibition, which ended a few weeks before France went into a nationwide lockdown last year, drew rave reviews and a record million visitors.
partnerships with brands like Uniqlo, allowing a couple to spend a night in the museum as part of a marketing campaign for Airbnb and leasing the space to Beyoncé and Jay-Z to film the music video for their song “Apes**t.” (The Louvre also features prominently in the Netflix hit “Lupin,” one of the platform’s most-watched series.)
In March, after a dispute over a new color scheme in one of the Louvre’s galleries became a weekslong talking point in France’s news media, Henri Loyrette, a former president of the museum, threw his weight behind Martinez’s critics. He and another high-ranking former Louvre official gave testimony in a lawsuit brought by the Cy Twombly Foundation, which said the new paint job had disfigured a ceiling mural by the abstract American painter.
Martinez will continue at the museum, which reopened on May 19 after months of being closed, until Aug. 31. He will then become a heritage ambassador, responsible for coordinating France’s participation in international projects, the news release said.
Des Cars did not immediately respond to a request for comment.
Employees at yet another of New York City’s major museums have taken steps to form a union.
This time the organizing effort is taking place at the Brooklyn Museum, where a proposed union would represent a mixture of full- and part-time workers. The Technical, Office and Professional Union, Local 2110, U.A.W. filed a petition Tuesday with the National Labor Relations Board asking for a vote on the union.
The proposed bargaining unit includes about 130 employees, Maida Rosenstein, the local’s president, said. Among them are curators, conservators, editors and fund-raisers, who have full-time salaried jobs; and part-time educators, visitor services workers and gift shop employees, she said, adding that there may be others who are misclassified as independent contractors when they are technically part-time employees.
Natalya Swanson, a conservator at the museum who has taken part in the organizing effort, said that workers are concerned with, among other issues, job security, pay equity and having a clear path for promotion.
“People see many advantages to having a more democratic voice in the institution,” she said. “We recognize that we have the ability to advance the conditions for everyone in the workplace.”
George Floyd, the Brooklyn Museum home page included a message reading: “We stand in solidarity with the Black community. We stand against police brutality and institutional and structural racism.”
A recently opened show, “The Slipstream: Reflection, Resilience and Resistance in the Art of Our Time,” aims to examine power and to contemplate “the confluence of the devastating effects of the pandemic, civil unrest across the United States, a contested presidential election and unchecked climate change.”
As the pandemic prompted layoffs and furloughs at museums across New York City, people at the Brooklyn Museum were among those who lost jobs, Swanson said, though she did not know the precise number of employees affected by layoffs.
moved to form a union with Local 2110, which already represents workers at institutions like the Museum of Modern Art, the New Museum and the New-York Historical Society.
PARIS — François Pinault, the French billionaire, has never had much time for convention. “Avoid the paths already trodden,” has been his motto. Bored with acquiring Impressionist or Cubist works with surefire credentials, he said to himself four decades ago: “It’s impossible that we have become so stupid today that there are no human beings alive capable of creating tomorrow’s masterpieces.”
The fruits of that conviction are now on display in a contemporary art museum that opened in Paris on Saturday under the cupola of the Bourse de Commerce. With the Louvre to one side and the Pompidou Center to the other, this upstart in the cultural life of Paris combines tradition and modernity.
Once a grain exchange, the light-filled building has undergone a $170 million redevelopment conceived by the Pritzker Prize-winning Japanese architect Tadao Ando, who previously worked with Pinault at the Palazzo Grassi in Venice. Ando installed a 108-foot-diameter concrete cylinder inside the central rotunda, creating a core display area while retaining the framework of the original.
“A palimpsest of French history,” as Martin Bethenod, the museum’s director, put it.
No layer of the palimpsest has been concealed. Restored 19th-century frescoes beneath the dome illustrate the global commerce of the time. Titled “Triumphal France,” they amount to a primer in the demeaning stereotypes of a Eurocentric colonized world where white traders did business with bare-chested African warriors.
The juxtaposition with the many works in the galleries below by Black American artists, including David Hammons and Kerry James Marshall, is potent. Their pieces, driven by reflection on the grotesqueness and lasting wounds of racism, seem charged by the setting.
Transience is a theme. Nothing lasts, yet nothing is entirely gone. At the center of the museum’s initial exhibition stands a wax replica of the 16th-century Giambologna statue “The Abduction of the Sabine Women,” three writhing figures intertwined. Created by the Swiss artist Urs Fischer, it was set alight at the museum’s opening on Saturday and will burn for six months, leaving nothing behind.
So a high mannerist masterpiece becomes an elaborate giant candle: Sic transit gloria mundi. The Bourse de Commerce itself has been rented from Paris City Hall on a 50-year lease — a reminder that the museum’s life span may not be eternal. Ando’s cylinder is designed so that it can be removed once the lease expires.
Pinault, 84, a self-styled “troublemaker,” has always been more interested in disruption than permanence.
Born in rural Brittany, he went on to parlay a small timber business into a $42 billion diversified luxury-goods conglomerate, including brands like Gucci and Saint Laurent. I asked him about time passing. “Well, I am like everyone: As you grow older, that issue gnaws at you a little, but I am not obsessed by the time that may be left to me,” he said in an interview. “I hope it will be as long as possible.”
How, he asked, can anyone take himself for important, confronted by the sweep of history? “Humility must be worked on with a pumice stone every day,” he said. “The ego is something that grows if you don’t apply weed killer.”
Behind him in his office at the Bourse de Commerce hangs “SEPT.13, 2001,” a work in black and white by the Japanese artist On Kawara. It is a reminder that the unimaginable can happen — that as Victor Hugo put it, “Nothing is more imminent than the impossible.” Yet life continues nonetheless.
For Pinault, the project represents a long-held ambition to house some of his more than 10,000 works by artists including Cy Twombly, Cindy Sherman, Damien Hirst, Jeff Koons and Marlene Dumas in a Paris museum. That effort began about 20 years ago with plans, later aborted, to take over a disused Renault car factory in the suburb of Boulogne-Billancourt.
Although Sherman’s work is on prominent display — including a haunting photograph of a platinum-blonde woman, back turned, standing on a deserted American highway with her suitcase beside her in a shadowy half-light — the exhibition does not dwell on the giants of the Pinault Collection, as if the main aim were to jolt Parisians emerging from months of coronavirus lockdown with an injection of the new and little known in France.
Pinault said he had met David Hammons, a generally reclusive artist who came of age in the 1960s and ’70s, more than 30 years ago. Hammons learned that Pinault was the uneducated son of a peasant from a small Breton village. “He said we were alike, and I burst out laughing and told him, ‘Well, not exactly!’”
So was an unlikely friendship born. Its fruit is the more than 25 Hammons works on show at the Bourse de Commerce.
But what of those murals glorifying European colonization, with Christopher Columbus sweeping down from the sky in a caravel to find half-naked Native Americans? “We were convinced for a long time that we constituted civilization, the most evolved people,” Pinault said. “I never accepted that.” In the frescoes, he added, was “the beginning of global commerce, but dominated by Europe and France” — in short, “everything that a David Hammons detests.”
When the artist was shown a video of the frescoes, and giant antique maps tracing post-slavery trade routes dominated by European navies, he asked that his “Minimum Security” installation, inspired by a visit to death row at San Quentin State Prison, be placed against this backdrop. The squeaking and clanging of a cell door seems to carry the echo of centuries of oppression.
“Some will criticize us and say it’s shameful,” Pinault said. “We could have hidden the fresco — you can always hide something, that is cancel culture. And here, a great African-American artist said, ‘Don’t hide it.’”
Jean-Jacques Aillagon, the Pinault Collection’s chief executive, said: “When you show it, that does not mean you approve it. This was the image of trade at that moment, and you can’t think yesterday with the mind of today.”
Art is provocation. With almost Duchamp-like playfulness, Hammons challenges the viewer to think again, as with “Rubber Dread,” deflated inner tubes woven into dreadlocks. He reimagines detritus.
Kerry James Marshall, another Black artist whom Pinault has collected for years, seems to upend a whole Western tradition — Goya’s “Maya” or Manet’s “Olympia,” — with an untitled painting of a Black man, naked but for his socks, lying on a bed with a sidelong gaze, a Pan-African flag coyly covering his genitals.
Pinault said that his museum would not add much to Paris, but perhaps as a private institution it could move faster while the committees at state-owned museums pondered. “So perhaps you have a collection of things that would not otherwise be here.” Perhaps, yes. He was being modest.
He described himself as a restless nonconformist: “My roots are under the soles of my shoes.” When life presents something important enough to entice you into a journey, he suggested, “you have to take your suitcase, like that woman beside the road in the Cindy Sherman photograph — my favorite.”
He was 19 when he left Brittany for the first time and came to Paris. He enlisted in the army and went to Algeria, where war was raging. It was 1956. A parachutist, he was ordered to comb through villages looking for Algerian rebels fighting French colonial dominion. But the rebels were long gone; all that was left were houses full of women, children and older people. Pinault said he confronted his officer: “What the hell are we doing here? This war is already lost.”
“Shut up, Pinault,” he recalled the officer saying.
But he never has shut up. Instead, Pinault has made a fortune, a unique collection of contemporary art and a life out of anticipation. “Only anticipate” could be another of his mottos. As a result, Paris, sometimes a little set in its ways, has something different, disruptive and challenging on offer at the Bourse de Commerce.
Germany is banning most travel from Britain starting on Sunday amid concerns about the spread of a coronavirus variant first discovered in India, the German authorities said on Friday.
German citizens and residents of Germany will still be allowed to enter the country from Britain but will be required to self-isolate for two weeks upon arrival, Germany’s public health institution said as it classified Britain as an area of concern because of the variant.
The move came just days after Britain reopened its museums and cinemas and resumed allowing indoor service in pubs and restaurants. Many people in Britain have been looking forward to traveling abroad in the coming months, and Spain is set to welcome visitors arriving from Britain without a coronavirus test starting on Monday.
serve as an early warning for other European countries that have relaxed restrictions. This month, the World Health Organization declared the mutation a “variant of concern,” and although scientists’ knowledge about it remains limited, it is believed to be more transmissible than the virus’s initial form.
dozen or so other countries that Germany considers areas of concern because of variants. As of Thursday, Britain had 3,424 cases of the variant first discovered in India, according to government data, up from 1,313 cases the previous week.
Dozens of nations, including European countries and the United States, suspended travel from Britain or imposed strict restrictions earlier in the pandemic amid concerns about the spread of a variant first detected in England.
Britain’s Office for National Statistics said on Friday that the percentage of people testing positive for the coronavirus in England had showed “early signs of a potential increase” in the week ending May 15, although it said rates remained low compared with earlier this year. At its peak in late December, Britain recorded more than active 81,000 cases, compared with about 2,000 this month.
The country’s inoculation campaign is continuing apace, with an increased focus on second doses in an effort to thwart the sort of spikes that led to restrictions imposed earlier this year.
said on Saturday that people over 32 could now book an appointment.
Prime Minister Boris Johnson has vowed to proceed with a plan to lift all restrictions by June 21, although scientists have warned that the spread of the B.1.617 variant could delay such plans. Most cases of the variant have been found in northwestern England, with some in London.
In Germany, the restrictions on travel from Britain come as outdoor service resumed on Friday in cafes, restaurants and beer gardens after months of closure. Chancellor Angela Merkel urged people to “treat these opportunities very responsibly.”
LONDON — Before the pandemic hit Britain last year, Michelle Hedley could only go to her local theaters in the north of England if they happened to be doing a captioned performance.
That happened five times a year — at best, said Hedley, who is deaf.
But during the pandemic, suddenly, she could watch musicals all day and night if she wanted, as shuttered theaters worldwide put shows online, often with subtitles. “I started watching anything and everything simply because I could!” Hedley, 49, said in an email interview. “Even subject matters that bored me!”
“I viewed more theater than I had done (it felt like) in a lifetime,” she added.
22 percent of England’s population andhave diverse requirements — such as wheelchair access, audio description or for “relaxed” performances where audiences are allowed to make noise — this moment is causing more mixed reactions. Some fear being forgotten, andthat struggling venues will concentrate on producing in-person shows and forgo online offerings, or cut their in-person services for disabled people.
There is little evidence of that so far, and some venues say they will continue to include disabled people, but the real effect of venues’ reduced budgets won’t become clear for months.
“I will be forced to go back to being grateful for just five shows a year,” Hedley said. “It is very frustrating.”
Others are concerned, too. “I just have this sense of being left behind with people being so euphoric that they can do things in the flesh again,” Sonia Boué, an artist who is autistic, said in a telephone interview.
Before the pandemic, Boué, 58, would only visit museums if she was convinced a show would be worth the huge amount of energy the experience took. Getting the train from her home in Oxford to London could be overwhelming, she said, as coulddealing with crowds in a packed museum. “I’ve been in situations when I’ve just wanted to throw myself down on a station platform and lose it,” she said.
the painter Tracey Emin and the photographer Jo Spence, she said, with both influencing her own art. “The whole experience was so rich and wonderful,” Boué said.
emergency funding from the government.
Some high-profile venues have said they will keep working to include disabled people as they reopen. Kwame Kwei-Armah, the artistic director of the Young Vic theater in London, told The Guardian in May he wanted to livestream at least two performances of all future shows, with viewers limited to about 500 per stream, mimicking the theater’s capacity. The Young Vic intends to guarantee some of those tickets for disabled people, a spokeswoman said in an email. On Friday, the Almeida, another London theater, said it would film and released digitally its next season’s shows “where possible” but gave no further details.
But for regional theaters that are coming off a year without ticket sales, streaming may not always be possible. “It’s a huge financial outlay, making films, so you really need to think about it from the start,” Amy Leach, the associate director of Leeds Playhouse, said in a phone interview. She hoped her theater would do that for future work, she said.
People’s concerns are not just about cuts to streaming. Jessica Thom, a performer and wheelchair user who’s made work about her Tourette’s syndrome, said in a telephone interview that she was worried that some venues may see online shows as an accessibility alternative to offering the relaxed performances she loved to go to, where people were free to move around or make noise. “The anxiety about being written out is real,” she said.
Graeae, Britain’s leading deaf and disabled-led theater company, as well as “The Unknown” for Leeds Playhouse (streaming until June 5).
She has been helped in such work by being able to have meetings and rehearsals virtually. “My experiences have been incredibly inclusive,” she said, “and I think a lot of us are having the same concerns about ‘Will we go back to old ways of working, when we’re told we need to be in the room?’”
like the Globe in London, have started offering in-person performances with audio description, Wood said. But she won’t be able to attend for months. “I worked out the other day I’d need to be guided by about 25 people to go from my home to a London theater,” she said. “I can’t tell if someone is wearing a mask or not, I can’t keep distance, so I don’t feel ready,” she added.
Many other disabled people feel similarly anxious about attending events in person, she said, having been disproportionately affected by the pandemic. She was worried theaters might cut back on services assuming there isn’t demand, even if the trend for that hasn’t happened yet.
Six British museums and theaters said in emails they intended to maintain provisions for disabled audiences, and not cut back. Andrew Miller, a campaigner who was the British government’s disability champion for arts and culture until this spring, said many institutions would be hard pressed to “wriggle” out of commitments even if they for some reason wanted to, as much funding in Britain comes with a requirement to expand access. But future funding cuts could make the situation “messy,” he said. “There is a genuine worry there’ll be significantly less investment,” he added.
Boué said she just hoped British theaters and museums kept disabled people in mind. It should be easier than ever to identify with disabled people, she said. When the first lockdown hit, “it was this jaw dropping moment when everyone felt completely immobilized and like they didn’t have the freedoms they’d always taken for granted,” she said.
For once, “it was like disability was really everyone’s problem,” she added.
The art world is only just beginning to address the questions raised by the pandemic, such as: Are in-person art fairs a thing of the past and virtual viewing rooms the future? Will museums maintain no-touch ticketing and auction houses continue global online salesrooms?
One mega-gallerist, David Zwirner, has decided to double down on what he took away from the last year: the need for a click-to-buy marketplace to sell original works of art. As a result, Zwirner has created Platform, a website that debuts Thursday and which each month will offer 100 works presented by about 12 independent galleries around the world with prices ranging from $2,500 to $50,000.
“We learned there is a real place in the art world for e-commerce,” Zwirner said in a recent telephone interview. “There is an audience out there we did not know existed. They don’t go to galleries necessarily and they don’t really go to art fairs. They look at things online.” He noted that the audience was “almost all millennials,” who discover art through Instagram and word of mouth. “The art world has never catered to them,” Zwirner added. “They can graduate into a much broader participant.”
earlier pilot of Platform last year, and several of the participating galleries are returning for the new iteration, including Bridget Donahue and Night Gallery. Among the new partners are Bortolami, Charles Moffett, and Jessica Silverman. The artists that Platform is presenting initially include Kenny Rivero, Jane Dickson and Jibade-Khalil Huffman.
Gallery Network, an online, buy-now marketplace for works valued up to $150,000.
But for a blue-chip behemoth like Zwirner, the Platform venture represents a significant departure from the traditional in-person gallery model. The additional information provided about the works of art is more extensive, and in many cases artists are making work for the site.
“Everybody is trying to figure out this new landscape, which relies so much on digital content and selling material without actually seeing it in person,” Moffett said. “We’ve tried a number of different platforms and have been less than satisfied with the results. Obviously the David Zwirner brand is one that is very well respected and my artists liked the idea that they would be presenting on the Zwirner platform, so we figured, why not give this a shot?”
Skeptics will say that Zwirner is just trying to garner publicity and generate good will with a paternalistic, Robin Hood move that ultimately gives his own gallery 20 percent of every sale on Platform. And some in the art world worry that Platform is merely a farm team for Zwirner — a way to develop emerging artists, woo them from smaller galleries, and harvest information about those galleries’ clientele.
Ramiken Crucible, and to Harold Ancart, who continues to work with a smaller gallery, Clearing.
Lucas Zwirner, the son of the dealer, who led the creation of Platform, pointed out that the mega-gallery is investing in material on the site that gives the artists greater visibility, including interviews and videos.
Mike Steib, the chief executive of Artsy, said he welcomed Platform into the arena: “Anything we can do that makes buying art as accessible as buying cars, jewelry or luxury goods is great.”
Platform is staffed by a team of 10 young gallerists — in addition to his son, it includes Zwirner’s daughter, Marlene — who bring different backgrounds to the venture. Bettina Huang, for example, Platform’s general manager, has held leadership roles at e-commerce companies like Fab.com and the Amazon subsidiary Quidsi.
Silverman, who just opened a new space in San Francisco, said the two artists she will feature are Clare Rojas and Catherine Wagner. “I’m interested in experiments,” the dealer said of Platform — “who might come to the work who we don’t know.”
Lily Stockman, who shows with Moffett.
sold Jeff Koons’s “Balloon Venus Lespugue (Red) (2013-19)” for $8 million, and in the last 12 months has sold over $100 million worth of art online.
What particularly fueled the dealer’s interest in the venture, he said, was his experience with the gallery’s fund-raiser, “Artists for Biden,” in which more than $2.5 million worth of art by Koons, Kehinde Wiley and Carmen Herrera, among others, sold through a “buy now” option.
Dorian Grinspan, a New York City collector. “It’s exciting to have a place where you have a more curated showing of what’s around the market.”
(While the smaller galleries propose the artworks for Platform, the Zwirner specialists may weigh in.)
The mechanics of the site have been their own challenge. Zwirner Gallery is partnering with the fine-art shipping company Dietl International, using a custom-built system that provides shipping quotes at checkout.
a new $50 million gallery in Chelsea, which has been delayed by the pandemic.
“It creates a golden opportunity for me to think about what I really want,” he said. “I’m no longer as sure as I was four years ago.”
Zwirner said he also likes the idea of a business like Platform saving his gallery — and the smaller ones collaborating with him — the steep costs of multiple art fairs every year.
“We will never go back to the old way of working,” the dealer said. “We’ve encountered a much larger art world than we thought existed. If it proves to be a robust primary market, the sky’s the limit.”
Fifteen objects from cultural institutions passed through Sotheby’s at auction on Wednesday, showing that the debate among museum and industry leaders over deaccessioning hasn’t stopped these sales from occurring.
One work, Thomas Cole’s “The Arch of Nero” (1846) from the Newark Museum of Art, was a highlight, going for $988,000 with fees to a private foundation operated by the Florida-based collectors Thomas H. and Diane DeMell Jacobsen, in a sale of American art totaling $15 million. Last week, Sotheby’s made a combined $703.4 million from its contemporary, impressionist and modern art auctions. Its competitor, Christie’s, had similar successes, reaching more than $775.2 million for the week.
Talk of deaccessioning, the sale by museums of artworks to cover some operating costs, had been divisive earlier this year. The Newark Museum of Art’s decision this month to consign the Cole and 16 other artworks (including pieces by Thomas Eakins, Marsden Hartley and Georgia O’Keeffe) drew criticism from more than 80 curators and historians who signed a public letter that described the sale as “inflicting irreparable damage” on the institution.
The Newark Museum of Art’s director, Linda Harrison, defended the plan earlier this month, calling it “thoughtfully considered” and saying it represented a loss of less than 1 percent of the institution’s 130,000 artworks.
have argued that losing public access to works like the Cole landscape, which allegorizes the fragility of American democracy and the dangerous allure of oligarchs, limits society’s understanding of history.
“It’s a sad day for the people of Newark who are losing objects that have been at the heart of their great art museum for many decades,” William L. Coleman, a former associate curator of American art at the museum, who is now the director of collections and exhibitions at Olana Partnership in upstate New York, said in an interview. “We did not succeed in stopping the sale and that will be a source of regret for a long time.”
The Brooklyn Museum also participated in the auction, selling a Mary Cassatt painting, “Baby Charles Looking Over His Mother’s Shoulder (No. 3),” for $1.6 million with fees to the same collectors who bought the Cole painting. Before this latest sale, the museum had raised close to $35 million at auctions in the United States and Europe for the care of its artworks.
Commodore Amiga personal computer. They will be sold as NFTs, or nonfungible tokens, a type of investment conferring ownership of works that exist only in the digital world.
Funds from the Christie’s sale will benefit the Warhol Foundation’s grant initiatives, including its substantial annual funding of the Andy Warhol Museum in Pittsburgh.
“As the great visionary of the 20th century who predicted so many universal truths about art, fame, commerce and technology, Warhol is the ideal artist and NFTs are the ideal medium to reintroduce his pioneering digital artworks,” said Noah Davis, the Christie’s specialist leading the sale.
The governor of New York said Monday that the state will lift some mask requirements in accordance with the new mask guidance for vaccinated people that the Centers for Disease Control and Prevention announced Thursday.
“No masks, no social distancing,” Gov. Andrew M. Cuomo, a Democrat, said of the policy that will go into effect for vaccinated people on Wednesday. Masks will still be required in nursing homes, schools, health care facilities and on public transit. Unvaccinated people should continue to wear a mask, he said in a news conference at Radio City Music Hall in Midtown Manhattan.
The move dovetails with the previously scheduled lifting of most capacity restrictions at offices, museums, restaurants and stores on Wednesday. It was significant, however, given the longstanding restrictions imposed on one of the hardest hit cities in the United States.
In addition, the city’s subway system returned to 24-hour service on Monday. There has been more than one year of overnight closings during the coronavirus pandemic to provide more time to clean and disinfect trains, stations and equipment. It was the longest planned shutdown since the subway opened in 1904.
no longer necessary for fully vaccinated people to mask or maintain social distance in many settings. The change set off public confusion and drew objections from some local officials and labor unions, including the country’s largest union of registered nurses. A number of major U.S. retailers have already lifted mask requirements, essentially turning to an honor system that relies on unvaccinated people to keep their masks on in public.
Businesses in New York can still set individual policies and some will still require masks.
Yitzhak Arad, who as an orphaned teenage partisan fought the Germans and their collaborators during World War II, then went on to become an esteemed scholar of the Holocaust and the longtime chairman of the Yad Vashem remembrance and research center in Israel, died on May 6 in a hospital in Tel Aviv. He was 94.
Yad Vashem announced the death but did not specify the cause.
Mr. Arad was not even bar mitzvahed when the Germans invaded Poland and what is now part of Lithuania in 1939 and began rounding up and murdering Jews and forcing them into ghettos. His parents and 30 close family members would perish before the war ended in 1945.
But he survived, at first as a forced laborer — cleaning captured Soviet weapons in a munitions warehouse — and then, sensing what fate awaited, by smuggling weapons to partisans in the nearby forests and forming an underground movement in the ghetto. He, his sister and their underground associates eventually stole a revolver and escaped, meeting up with a brigade of Soviet partisans.
Acquiring the lifelong nickname Tolya (diminutive for Anatoly), he took part in ambushing German bases in what is now Belarus and setting up mines that blew up more than a dozen trains carrying German soldiers and supplies. Among his exploits was a battle with pro-German Lithuanian partisans in fields and forests covered in deep snow in the village of Girdan.
“We fought with them for a whole day, but by evening none of them remained alive,” he wrote in a 1979 memoir, “The Partisan: From the Valley of Death to Mt. Zion.” “The next day we counted over 250 Lithuanian dead.”
A Zionist since childhood, Mr. Arad made his way to Palestine, then a British mandate, aboard a ship, the Hannah Senesh, filled with immigrants.
He changed his Polish name, Icchak Rudnicki, to the Hebrew, Yitzhak Arad, and joined the fight for an autonomous Jewish land, serving with the Palmach, the elite fighting force that was eventually incorporated into the Israeli Army after Israel declared its independence in 1948. Assigned to an armor brigade, he rose to the rank of brigadier general, retiring in 1972.
He devoted himself to researching the history of the Holocaust, completing a doctorate at Tel Aviv University with a treatise on the destruction of the Jews of Vilna, Lithuania’s capital, now known as Vilnius. He was among the first scholars to study the Jewish partisans in the forests and the ghettos and the systematic murder of Jews by killing squads as the German Army moved deeper into Soviet territory.
“What gave Yitzhak Arad credibility was both the fact that he was a survivor and a historian,” said Abraham H. Foxman, former national director of the Anti-Defamation League. “He could discuss and teach about the Shoah from a very personal perspective.”
When another Palmach veteran, Yigal Allon, became a minister of education and culture, he asked Mr. Arad in 1972 to lead Yad Vashem — which means “a memorial and a name” and is taken from a verse in Isaiah.
A complex of museums, archives and memorial sculptures on a Jerusalem hill, Yad Vashem is considered the world’s leading repository of Holocaust documents, survivor interviews and other material. He served as its chairman of the directorate for more than two decades, until 1993.
“He never forgot,” said Avner Shalev, Mr. Arad’s successor as chairman. “He was part of the most important event for Jews in the 20th century — the Shoah — and he understood that it is an important mission in his life to research and commemorate that event.”
For most of his tenure at Yad Vashem, the Soviet Union and the Eastern European countries in its bloc cut off diplomatic relations with Israel. But Mr. Arad took pride in having established working relationships with archivists in those countries and securing hundreds of thousands documents that detailed the scope of the Holocaust.
Under his leadership, Yad Vashem added a number of monuments, including the Valley of the Communities, 2.5 acres of intersecting walls made of rough-hewed stone blocks engraved with the names of 5,000 Jewish communities, most of which were destroyed in the Holocaust.
He lectured at Tel Aviv University and wrote several books considered essential for scholars, including “The Holocaust in the Soviet Union,” which won a National Jewish Book Award in 2009, and “Belzec, Sobibor, Treblinka: the Operation Reinhard Death Camps,” which chronicled the murder of millions in those death camps.
In 2006, he was briefly the target of a war crimes investigation in Lithuania. A state prosecutor claimed there was evidence that a Soviet partisan band to which he belonged had killed 38 civilians, mostly women and children, in January 1944 in the village of Koniuchy.
Mr. Arad denied ever killing anyone in cold blood and pointed out that the village had been defended by a Lithuanian militia that collaborated with the Nazis. In the international outcry that ensued, historians noted that, at that point, Lithuania had never charged any non-Jews with war crimes despite the thousands of Lithuanians who had collaborated with the Nazis in the slaughter of 200,000 Jews. The case was dropped in 2008.
Mr. Arad was born on Nov. 11, 1926, in the ancient town of Swieciany, then within Poland but now part of Lithuania and known as Svencionys. (Another prominent resident was Mordecai Kaplan, the co-founder of Reconstructionist Judaism.) His father, Israel, was a synagogue cantor, and his mother, Chaya, a homemaker. The family moved to cosmopolitan Warsaw and sent Yitzhak to a Hebrew school. He belonged to a club that was part of the Zionist movement.
After the German blitzkrieg, his parents sent him and his older sister to live with his grandparents in his hometown, Swieciany, thinking they would be safe there. But the Germans occupied the town in June 1941, ordered all the Jews into a ghetto and soon began deportations to death camps and labor camps.
Mr. Arad’s wife, Michal, died in 2015. He is survived by two sons, Giora and Ruli, a daughter, Orit Lerer, 11 grandchildren and 13 great-grandchildren.
Mr. Arad remained active with Yad Vashem until his last weeks. Last year, he took part in a photography exhibition about Holocaust survivors and their lives after the war. When it was his turn to speak, he confronted the audience with a hard truth borne of his own ordeals.
“What happened in the past,” he said, “could potentially happen again, to any people, at any time.”