https://www.city-journal.org/art-institute-of-chicago-redefines-its-purpose-as-antiracism
“Western civilization is not about whiteness; it is a universal legacy. But the guardians of that civilization, by portraying it as antithetical to racial justice because of demographic characteristics, are stunting the human imagination—and impoverishing the world.”
The Art Institute of Chicago is not the first museum to turn on its docent program. But it is the most consequential. It is worth tracing the developments that led to the docent firings in some detail. The Institute is a case study in what happens when museums and other cultural organizations declare their mission to be antiracism. The final result, if unchecked, will be the cancellation of a civilization.
Chicago’s Art Institute, founded in 1879 as both a museum and an art school, emerged from the post–Civil War wave of museum building. Successful businessmen from San Francisco to Boston created grand receptacles for European art in the spirit of democratic elitism, believing that history’s masterpieces should be available to all. The Institute’s original holdings consisted almost entirely of plaster casts of Greek and Roman sculpture, reflecting the centuries-long view that the classical world represented the pinnacle of artistic achievement in the West. Soon, however, Chicago’s Gilded Age benefactors began donating a more sweeping range of works, starting with a bequest of 44 predominantly Barbizon School oil paintings from the widow of Henry Field, brother of the Marshall Field & Company founder. More than four dozen classics of Impressionism and Post-Impressionism came the Institute’s way in 1925 and 1926. Non-Western traditions started filling out the collections as well; the largest gift in the Institute’s history, from civic leader Martin Ryerson in 1933, included Asian art among Old Master paintings, textiles, and decorative arts.
Philanthropists underwrote the nearly continuous expansions of the Institute’s 1893 Beaux-Arts building on Michigan Avenue to accommodate the growing holdings. Today, the Institute constitutes one of the finest repositories of global art on the American continent; one small corridor, containing exquisite pastel portraits by Martin Quentin de la Tour, Chardin, and other Ancien Régime artists, alone warrants a visit.