The Art Gallery of Ontario (AGO) is currently facing significant staff changes following the controversial decision not to acquire a work by renowned photographer Nan Goldin. This decision stemmed from accusations labeling Goldin’s political views as antisemitic.
Background on the Controversy
Nan Goldin, known for her activism, voiced her strong opposition to the violence in Gaza and Lebanon during a speech at Berlin’s Neue Nationalgalerie in late 2024. Her comments included criticizing Israel amidst the ongoing conflict that began with Hamas’s attacks on October 7, 2023, which resulted in numerous casualties.
After her speech, the AGO planned a joint acquisition of Goldin’s video work, “Stendhal Syndrome,” collaborating with the Vancouver Art Gallery and Minneapolis’s Walker Art Center. However, in mid-2023, the AGO’s modern and contemporary curatorial committee voted 11-9 against the acquisition, citing concerns over the artist’s remarks.
Resignations at AGO
Following the contentious vote, John Zeppetelli, the modern and contemporary curator who supported acquiring Goldin’s work, resigned from his full-time position. Two volunteer members of the collections committee also stepped down, citing their dissent over the refusal to acquire “Stendhal Syndrome.” The votes and subsequent resignations have highlighted deep divisions within the gallery.
A Gallery’s Position and Governance Review
The AGO, one of North America’s largest art institutions, receives significant public funding, totaling $26 million from various governments in the last fiscal year. Despite the recent tumult, the gallery currently showcases three of Goldin’s existing works.
In response to the fallout, AGO director Stephan Jost acknowledged the need for governance improvements. An internal memo he shared outlined the importance of keeping discussions focused on artistic merit rather than personal political views. The gallery aims to reset its acquisition process, ensuring a space for healthy dialogue.
Implications for Art Institutions
Public art galleries, according to art advocates, should reflect diverse viewpoints rather than merely adhering to a consensus. Concerns have been raised that if acquisitions are influenced by political considerations, it may undermine institutional credibility and public trust.
The AGO’s situation reflects broader challenges faced by art institutions today. Critics argue that strong governance policies are essential to support robust discussions within committees while preserving artistic freedom.
Conclusion
The resignations and governance review at the AGO following the controversy over Nan Goldin’s work signify a pivotal moment for the institution. As art institutions navigate complex political landscapes, maintaining a commitment to diverse artistic expression will be crucial for fostering trust and engagement in the arts community.
