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A museum's confession: why we have looted objects

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A museum's confession: why we have looted objects

A view of Moving Objects: Learning from Local and Global Communities on show at the Asian Art Museum in San Francisco.

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Kevin Candland/Asian Art Museum San Francisco

Last year, the Thai government sent a letter to the Asian Art Museum in San Francisco requesting the return of four ancient bronze statues depicting Buddhist spiritual figures — buddhas and bodhisattvas.

“ We did some initial research on these,” said Natasha Reichle, the museum’s associate curator of Southeast Asian art. “It was not too difficult to determine that they were looted.”

Stolen around 60 years ago in a massive art heist, the statues are soon heading home to Thailand. But before they leave, the museum is explaining how these artifacts wound up in its collection in the first place in the exhibition Moving Objects: Learning from Local and Global Communities. This effort is indicative of a growing trend: Museums opening up about dark truths.

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“I would love audiences to think of the return of these objects not as in any way a loss,” Reichle said, noting that the exhibition explores complex questions to do with cultural heritage, ownership, and restitution.  ”And it’s also, I hope, a way to form relationships with countries in Southeast Asia that’s based on equity and collaboration.”

Turning a blind eye to questionable provenance

Reichle said these statues were among the many stolen in the mid-1960s from the ruins of a temple in a remote part of northeast Thailand.

The looted statues were sold to private collectors and museums around the world by a London art dealer. Four of them were gifted to the Asian Art Museum by a major donor.

One of many panels on the gallery walls explaining what happened to the statues and what will happen next.

One of many panels on the gallery walls explaining what happened to the statues and what will happen next.

Kevin Candland/Asian Art Museum San Francisco


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Even back then, Reichle said, her institution had suspicions about their sketchy provenance. “You can see in the correspondence that they were concerned about the legality of this, but pretty much ignored it, put it to the side, and went ahead.”

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Changing values

Until about a decade ago, most museums in the West didn’t think too deeply about questions of provenance when it came to acknowledging — let alone making amends for — looted works in their collections.

“The museum sector stance was much more, ‘We’re the authorities, we’re the experts, we’re going to talk about these things we’ve studied in other cultures,” said Elizabeth Merritt, the founding director of the Center for the Future of Museums at the American Alliance of Museums.

But a growing number of requests from overseas authorities for the return of stolen artifacts, along with prominent investigations in the U.S. media and government around a few of these cases has led to a shift in the public’s understanding of what museums do — and a shift in museums’ own values.

Many museums are now re-evaluating their traditional role as universal custodians of the world’s heritage and culture.

“There’s a larger public consciousness now about what museums are,” said Stephen Murphy, a senior lecturer in the Department of History of Art and Archaeology at the School of Oriental and African Studies (SOAS), University of London, who researches looted Southeast Asian art. “Like, ‘Why do you have all this material from different cultures around the world? And how did you get it?’ “

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Murphy said that’s why museums are not only having more open conversations with the countries and communities whose artifacts were stolen, but also with the museum-going public.

“There’s such an appetite with the general public to understand how objects came into their collections,” Murphy said. “And I think if museums engage more openly with this, they will be able to develop a greater understanding among the museum-going public of the issues that museums face.”

The challenges facing museums

Those issues are substantial.

Many museums, including the Asian Art Museum, don’t have the money and staff to deeply research questions of provenance. And sometimes it can be difficult to identify what government or group has standing to receive these artifacts.

Figuring out the answers to these questions takes significant time. And museums may have thousands of objects, only some of which are on public display. Many are in storage, awaiting potential research.

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Also, some museums still worry that the countries requesting these objects won’t be able to look after them.

As the American Alliance of Museums’ Merritt points out, caring for and researching significant cultural heritage is what museums do.

“I think it’s really important that the public understand that museums steward these vast collections for the benefit of the public, and what it takes to take care of those things,” Merritt said.

One of the statues on display ijn the Moving Objects exhibition at The Asian Art Museum of San Francisco. Standing Buddha, 750-850 CE, Thailand, likely from Prasat Hin Khao Plai Bat II, Buriram Province, Bronze.

One of the statues on display in the Moving Objects exhibition: Standing Buddha, 750-850 CE, Thailand, likely from Prasat Hin Khao Plai Bat II, Buriram Province, Bronze.

Asian Art Museum of San Francisco


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Asian Art Museum of San Francisco

Talking to the public

The Asian Art Museum is just one institution confronting these competing forces out in the open.

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There’s also an exhibition at the Smithsonian’s National Museum of African Art in Washington, D.C., which tells the story of sculptures stolen during a British raid on Benin City, Nigeria, in the late 1800s. The Smithsonian repatriated 29 of these co-called “Benin Bronzes” in its collection in 2022, and borrowed nine back from the Nigerian government for the exhibition.

An artifact on display in the Benin Bronzes exhibition at the Smithsonian Museum of African Art in Washington DC

An artifact on display in the Benin Bronzes exhibition at the Smithsonian Museum of African Art in Washington, D.C.

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And the Museum of Food and Drink in New York recently held a public event ahead of the repatriation of more than 50 antique Mesoamerican artifacts to Mexico and other countries.

“It’s really a celebration of the way that we are retelling history from the perspective of the people who made the history and not necessarily the people who came in and changed the history,” said Catherine Piccoli, the museum’s curatorial director.

The global museum community has been watching the evolution of American attitudes towards repatriation with interest.  Udomluck Hoontrakul, the director of the Thammasat Museum of Anthropology at Thammasat University in Thailand, said she admires the Asian Art Museum of San Francisco’s efforts to engage its visitors around these issues.

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“This helps audiences understand the broader situation in which these objects were taken,” Hoontrakul said. “And it highlights the violence and exploitation involved in the illicit trade of cultural property.”

Jennifer Vanasco edited the broadcast and digital versions of this story. Chloee Weiner produced the audio.

Lifestyle

‘The Invite’ is a marriage comedy with sex and heart

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‘The Invite’ is a marriage comedy with sex and heart
What happens when a simple dinner party goes off the rails? That’s the premise of The Invite, a very good new comedy directed by Olivia Wilde. Wilde also stars alongside Seth Rogen as a couple who invite their neighbors over for a meal, played by Penelope Cruz and Edward Norton. And it’s a heck of a dinner party, full of frank talk about sex and its complications.If you like slightly absurd relationship comedies, check out these episodes:’Mr. & Mrs. Smith’ is a stylish take on spy marriageIn Tina Fey’s ‘The Four Seasons,’ marriage is far from a vacationConnect with Pop Culture Happy Hour:Letterboxd / FacebookOur weekly newsletterSupport Pop Culture Happy Hour+
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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

I met Dan on Hinge.

He lives in Woodland Hills, and I live in Venice. In Los Angeles, this is considered a long-distance relationship. In another city it might be nothing. Here, it’s a factor.

But I believe that with the right person, you can make anything work, so I stay open. I’m a native New Yorker, and if I were living in Brooklyn and a guy lived on the Upper West Side, that would be a 45-minute subway ride, which is truly nothing in New York. So with that same logic, I try to have flexibility with men in L.A.

When we started planning our first date, Dan suggested three options: a hike on mushrooms, a wine tasting or a walk on the beach.

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A hike on mushrooms is something I’d only do with someone I already trust, not someone I just met online. I don’t do first-date hikes because I don’t like feeling trapped if the guy’s a dud. So I chose the wine tasting.

Then I learned the wine tasting was in West Hills.

On a Friday night, driving there from Venice would be insane. So I said I didn’t want to meet there because of the traffic. He suggested Malibu. That was also not ideal on a Friday.

I was getting annoyed — this was a pink flag because in my dating world, the guy is supposed to come to the woman’s neighborhood in the early days. I’ve gone out with plenty of men from the Valley who effortlessly suggested they come to me. It’s not rare or impossible.

I suggested he come to the Westside. I didn’t specifically say Venice, and in hindsight, I probably should have. He landed on Brentwood, which was manageable for both of us. On our first date, we met at an Irish pub on Wilshire Boulevard. He was cuter and more interesting than I had expected, and with the Guinness flowing, we had fun.

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When I got home, he texted me: “Well, I like you 🙂 Less the tik tok and the lack of rock music in your life, but it’s not a deal breaker — there are other qualities 🙂 What are your thoughts?”

I noticed the slight negativity but was mostly dazzled that a man texted immediately after the date to say he liked me. In the modern dating economy, this felt rare.

The next day, both of our evening plans fell through, so we made a last-minute date. The wine tasting he originally suggested still sounded like fun, and although it meant me driving to the Valley, I was up for it now that we’d met.

We sipped flights at Malibu Wines & Beer Garden in its airy, romantic courtyard and played a flirty version of Truth or Dare. Halfway through, he dared me to kiss him.

We ended with sushi on Ventura Boulevard and a short make-out session in his car. He invited me to Thanksgiving at his uncle’s, which felt too soon, but also sweet.

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After the second date, he texted and said he had his kids that week and was also hosting an event on Thursday, so his only day to meet was Wednesday. I said great.

On Tuesday night, he checked if we were still on, and I said yes.

Then he texted: “I’m flexible on time but not on location. I have a big event on Thursday, hopefully you can come to me again.”

My stomach tightened. This again?

So I texted back: “I drove to you last time, which was a bit of an exception for me especially in the early days, but the wine tasting location sounded special. Usually guys come to my area. How about we switch it up this time?”

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He replied: “I appreciate the effort! Because of my event, I’d rather be close to a computer just if needed … Here is what i offer:
— I’ll come to your area anytime next week/end
— Lunch/dinner on me
I want to continue where we stopped last time 😉 No pressure of course, but let’s snuggle”

I responded: “Ok let’s meet next week. Snuggles sound nice … let’s see what happens …”

Then he wrote: “So I won’t see you tomorrow?”

I replied: “Unless you wanna come to me and bring your laptop along, let’s rain check until you have more flexibility.”

He said: “Dang, you are hard. I’ll let you know tomorrow around midday if it’s ok.”

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And then — surprise — he decided to come.

He drove to Venice for a 5 p.m. date. He said his ETA was 5 p.m., and it ended up being 5:25 p.m., typical 405 Freeway.

When he showed up, he was in a cranky mood. On our way to KazuNori in Marina del Rey, I thanked him for picking me up and told him I think it’s hot when the guy comes to the girl.

“You’re just saying that because you want me to come to you more,” he said, not playfully, but aggressively.

That was basically the end for me. But there I was, in his car, heading to dinner. So I stayed pleasant and tried to make the best of it.

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I shared that in the early stages of dating, I find it’s good etiquette for the guy to come to the woman’s neighborhood. He immediately disagreed and started ranting about how dating rules are ridiculous and how they swing in women’s favor. He resented paying for dates and declared he wasn’t looking to “sponsor a woman’s life.”

“If women want equality and equal rights,” he said, “then it should apply all across the board, including dating, and the man shouldn’t have to pay.”

I said women don’t actually have equal rights because we get paid less than men and often receive lower salaries than men in the same position.

I tried to change the subject and reset the mood, but he insisted we keep hashing it out.

I tried to explain masculine/feminine dynamics: providing and protecting, giving and receiving.

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“What does the man get out of this arrangement?” he asked.

It was like watching someone’s personality warp into Mr. Hyde. Then he brought up another point: He’s a single dad of two kids, so he gets tired; and because I don’t have kids, that should factor into who drives where.

At this point, I was barely engaging and focused on eating my hand rolls, and I couldn’t wait to get home.

The check came, and I happily split it, wanting nothing further from him.

In the car back to my place, he remarked: “It’s obvious we’re never gonna see each other again.”

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Obvious, but did it need to be stated?

Then he showed me a Spotify playlist he’d made for me of his favorite electronic music, because he knows I like EDM.

“Oh, that’s sweet,” I said.

“Yeah, that’s how I show interest. Through things like this, not who drives to who,” he replied.

When I got out of the car, we wished each other luck, and I headed inside and shut the door.

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Two hours later, he sent me the playlist. I’ve yet to listen to it.

It wasn’t the distance that ruined it. It was the resentment. I’m not looking for a man who feels burdened by the effort. I’m looking for a man who sees the value of courting a woman in the first place.

The author is a writer, comedian and former psychologist who lives in Venice. She is the creator of the new vertical series “Manfari.” She’s on Instagram: @solange_neue and @manfari.show.

L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

Lonnie Bunch III is the 14th Secretary of the Smithsonian. He’s pictured above in September 2017.

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In a memo addressed to staffers sent Tuesday, the secretary of the Smithsonian, Lonnie G. Bunch III, defended the institution after the White House issued a 162-page report that characterizes the National Museum of American History as a place which has become “subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”

In his email, which NPR has obtained, Bunch wrote in part: “While there will always be room for improvement, this report is not a fair characterization of the work and totality of the National Museum of American History. At the Smithsonian, our work is driven by scholarship, accuracy and an uncompromising commitment to tell the fullness of America’s story. As public servants and the keepers of this institution, we are charged with helping a nation find understanding, hope and clarity and as part of that duty, we are dedicated to excellence, reflection and growth.”

He continued: “We remain focused on what grounds us: a steadfast commitment to scholarship, nonpartisanship, independence, accuracy and integrity. For nearly 180 years, the Smithsonian has worked alongside partners across government — from the White House to Congress to our governing Board of Regents — guided by our enduring mission to increase and diffuse knowledge. That purpose remains: to pursue knowledge with rigor and to serve the American public with clarity and care.”

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The White House report was issued on July 4 by the Domestic Policy Council under the title “Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage.”

The council faults the National Museum of American History on a multitude of fronts, saying it underemphasized the Founding Fathers and early colonial and Revolutionary history; was not sufficiently celebratory of the country’s 250th anniversary; and that it engaged in “anti-white,” “illegal alien” and transgender activism.

It also accuses the museum of trying to “indoctrinate” teachers and students through its exhibitions, programming and teaching resources.

In the report, the council also specifically criticizes museum director Anthea Hartig, who has led the National Museum of American History since 2019 and is concurrently the president of the Organization of American Historians, calling her “an activist advancing an ideological agenda contradictory to the museum’s founding purpose of fostering patriotism.”

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