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The Santa Barbara Museum of Art (SBMA) has canceled an exhibition focused on the legacy of art historian Michael Fried’s landmark 1965 show Three American PaintersSeveral months before the opening, Three American Painters – Then and Now was conceived and organized by SBMA’s former Deputy Director and Chief Curator Eik Kahng, whose position at the museum has been eliminated as of January, according to multiple sources interviewed for this story.
In a statement, Hyperallergy, a representative for the SBMA cited “the Museum’s mission, budget, relevance, and audiences” among the reasons for the show’s cancellation. But several participants, including a board member who requested anonymity, suggested Fried was also viewed as homophobic because of his private letter written to the editor at Artforumin 1967, at the age of 28. In the letter, which was unearthed by a Scholarly Articles for 2018 by Christa Noel Robbins, Fried employs the term “faggot sensibility” to characterize certain aspects of Minimalist aesthetics.
Todd Cronan from Emory University who wrote an article for the exhibition catalog suggested another possible motive. Hyperallergy that in a November 30 meeting, SBMA’s director Amada Cruz asked Kahng to stop working on the show because it was under consideration for its lack of diversity. In mid-January, Kahng’s position was eliminated due to “redundancy,” according to Cronan, as Cruz would be assuming the role of chief curator.
With respect to Kahng’s termination, an SBMA spokesperson said the museum could not comment on “confidential personnel matters.” Kahng did not respond to email inquiries. Fried declined comment for this article.
Slated to open July 7, SBMA’s exhibition would have included works by the artists in Three American Painters — Jules Olitski, Kenneth Noland, and Frank Stella — and 22 other artists, among them Anthony Caro, Helen Frankenthaler, and contemporary photographers Thomas Demand, Candida Höfer, Thomas Struth, and Jeff Wall. Envisioned as a “historical re-creation” of Fried’s exhibition at the Fogg Art Museum, which lay the groundwork for the critic’s 1967 essay “Art and Objecthood” — a foundational art historical text that pitted post-painterly abstraction against Minimalism — the SBMA show extended Fried’s line of reasoning into the present day. It was intended to connect Color Field painters with a younger photographer generation that Fried would champion and to explore questions of authorship, materiality and digital mark-making in the age AI and digital mark making.
Artists and collaborators were informed that the show was scrapped in its entirety after 62 loans were secured and a print catalog was ready to be printed by the first week of the year 2024. On January 5, Cronan and other participants in the show received an email from the SBMA’s newly appointed director, Amada Cruz.
“As part of my responsibilities, I have been assessing all the upcoming programs of the museum, including exhibitions,” Cruz wrote in the email. “I have made some changes to these programs, among them the difficult decision to cancel the Three American Painters exhibition and publication.”
When Cronan asked Cruz to explain her decision, she replied, “As I mentioned, there are many reasons, but mostly I think this project is more suited to an academic institution. Santa Barbara Museum serves a wider audience. I have suggested it to Eik [Kahng] that she offer it to a university gallery.”
Cruz succeeded Larry J. Feinberg as the director and CEO at SBMA in October. RetirementLast February, after a tenure of 15 years, Cruz left her position. Cruz previously served as the director and CEO of Seattle Art Museum for 4 years and, before that, executive director of Phoenix Art Museum where her tenure was described as turbulent. She increased the museum’s endowment by almost $5 million within her first six months, but was criticized for her “abrasive management style,” reportedly leading to the resignations and firings of several museum employees.
Lauren Olitski, whose father Jules Olitski was one of the three artists in the original 1965 presentation, learned of the show’s cancellation from a registrar who emailed her to inform her that the museum would no longer require the pieces she was set to lend to the exhibition.
Asking by Hyperallergy what she thought of the possibility that Fried’s use of a homophobic slur many decades ago might be behind the decision, Olitski replied, “If that’s the reason, then [they should] say that and let’s have an open conversation about it.”
“We’re living in a time when we’re reckoning with what needs to be reckoned with,” she continued. “Let’s be honest about what things are and what they are not and put them in the proper context.”
Christa Noel Robbins, who authored the 2018 article in which she discusses Fried’s language, had a similar response.
“A show that properly historicized the generative value of Fried’s criticism, while still acknowledging the very real occlusions embedded in his approach to art’s history, would be brave,” Robbins told Hyperallergic. “Such a show could very well present as overly ‘academic,’ if, by that word, we mean carefully thought out, properly historicized, and willing to acknowledge and discuss that which is most controversial in our cultural landscape.
“But in our current moment bravery seems to be in short supply in the museum world,” she said.
Dennis Yares is an art dealer who has been a fixture in the Los Angeles area for many years. You can also view the gallery at has been exhibiting prominent Color Field painters for six decades, expressed his dismay at the show’s cancellation in a January 16 email to Cruz and the museum board. “I find it preposterous and so very disappointing that such a monumental curated exhibition is unjustifiably removed from the calendar just a few months before realization,” he wrote.
Artist Willard Boepple, whose 2014 monograph included a foreword by Fried, had lent one of his works from his personal collection to the exhibition — a series of silkscreen monoprints. He was “stunned” when he learned via another participating artist that the exhibition had been canceled.
“This exhibition was her baby,” artist Willard Boepple told Hyperallergy of former curator Kahng’s commitment to the show. “It wasn’t even Michael Fried’s idea.”
“I was honored to be included. There were interesting stories to be explored about where Color Field went,” Boepple said. “To have a show that embraces Charles Ray and Anthony Caro in the same room, and Jeff Wall and Frank Stella in the same room … I would have liked to see that.”