Following the recent announcement that Toronto's Art Gallery of Ontario (AGO) would not be acquiring a work by renowned artist Nan Goldin, a wave of reactions has emerged. This decision, influenced by trustee Judy Schulich, who labeled Goldin as "antisemitic," has sparked calls for Schulich's resignation and raised questions about the impact of affluent donors on museum governance.
Schulich, a significant supporter of the AGO and an executive at the Schulich Foundation, has yet to publicly address the matter. Her involvement appears to have been pivotal in the gallery's refusal to accept Goldin's notable work, Stendhal Syndrome (2024), which was intended for a collaborative acquisition with Vancouver Art Gallery and Minneapolis's Walker Art Center. The initial report came from Toronto journalist Samira Mohyeddin on X, later corroborated by the Globe & Mail, which noted that a committee member had made disparaging comparisons between Goldin and Nazi filmmaker Leni Riefenstahl.
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An open letter advocating for greater transparency and curatorial freedom at the AGO has garnered over 500 signatures, including that of Goldin herself. This initiative, organized by Jewish organizations such as Jews Say No To Genocide and Independent Jewish Voices Toronto, critiques Schulich's actions as indicative of a troubling trend where donor influence overshadows curatorial integrity. The vote against acquiring Stendhal Syndrome was narrowly decided at 11 to 9, leading to significant fallout, including the resignation of AGO's modern and contemporary art curator, John Zeppetelli, along with two volunteer committee members. Meanwhile, Vancouver and Minneapolis moved forward with the acquisition, leaving AGO behind in what was once a collaborative effort.
AGO director Stephan Jost defended the decision, emphasizing the complexities faced by public museums in today's politically charged environment. He stated, "We are a public museum and pluralism is a reality... We are focused on our mission and working to ensure our processes are about art and respectful dialogue."
The open letter further asserts, "Judy Schulich, a trustee of the AGO, intervened to block the acquisition of a new work by Jewish American artist Nan Goldin... The use of wealth and institutional power by donors to intimidate curators, override professional decision-making and censor artists is antithetical to artistic freedom."
Goldin expressed her concerns to The Art Newspaper, highlighting the implications of wealth and power in ensuring immunity from accountability, questioning the priorities of the museum amidst these events.
In response to the situation and following an independent governance review, the AGO has announced plans to separate its modern and contemporary curatorial committees into two distinct groups, one dedicated to 20th-century art and the other to 21st-century art, with the change expected to take effect in late 2026.
Despite the recent controversy, the AGO maintains three of Goldin's photographs in its permanent collection: Brian in Hotel Room with Three Beds, Mérida, Mexico (1982), Cody in the Dressing Room at the Boy Bar, NYC (1991), and My Bed, Hotel La Louisiane, Paris (1996).
