Is Philadelphia Weakly afraid to talk about the Barnes Foundation mess?

The Barnes story seems too hot to handle for Philadelphia Weekly’s Managing Editor Anastasia Barbalios (abarbalios@philadelphiaweekly.com) The following piece was submitted to her two weeks ago, followed up with a phone message and by e-mail. No rejection letter or acknowledgement in return; just dead silence. What’s everybody so scared about?

We think PW’s readers deserve to know more about the Barnes controversy, especially since the public is largely paying for it. In particular, we think people might like to know more about the Friends of the Barnes Foundation and why they go on with the organized opposition to The Move despite setbacks and crazy odds against success. But Ms. Barbalios apparently feels differently. So we’ll post it here and hope that readers of PW and others see it somehow. If you want to contact Ms. Barbalios to ask what’s up, her number is (215) 563-7400, ext. 165; her e-mail address is abarbalios@philadelphiaweekly.com

Why We Fight by Evelyn Yaari

What do artists, a folklorist, and a travel consultant from Philadelphia, teachers and an HVAC expert from Jenkintown, a retired doctor and an artist from Merion, an antiques dealer and an art dealer from New York, historic preservationists from Berwyn and Lafayette Hill, and a history professor and stay-at-home mom from Bala Cynywd have in common? Not much, except for trying to save The Barnes Foundation – widely acknowledged as one of the most extraordinary cultural experiences in the world. Founded in 1922 as a school for art appreciation and horticulture on 12 acres in Merion, The Barnes has long been the target of the Powers That Be (Pew, Annenberg, Lenfest, Rendell, and others). They plan to cart its priceless art collection to a 4-acre tourism venue less than five miles away. The legal and political maneuvers used to pull it off have earned The Movers the name “Philly-stines” and headlines from Los Angeles to London: “An Act of Vandalism,” “Untouchable,” “Stop, Thieves!” “Art Scandal”!

The turmoil over the Barnes Foundation is one of the longest-running controversies around. When Montgomery County Orphans’ Court Judge Stanley Ott gave permission for the move of the Barnes art collection in 2004, it was expected that the case was closed, the deals sealed. Instead, the ruling inspired formation of Friends of the Barnes Foundation and ignited opposition that has never stopped.

A Court challenge by the Friends in 2007/2008 ended with them being dismissed for lack of standing. The prediction was the group would fold. It didn’t. In 2009, an acclaimed, independent documentary about the Barnes called “The Art of the Steal” was released nationwide, heaping fuel on the flames of protest. In the meantime, construction continues on the Philadelphia building intended for Albert Barnes’ art collection, but it’s an uphill effort for The Movers, too. The cost of construction is at least 50% higher than originally planned for a building 25% smaller. There is still no endowment. Fund-raising as reported in the press has been persistently sluggish. The news that Pennsylvania taxpayers are on the hook for almost $50 million to help pay for it – about one-third of the cost – is raising eyebrows. And in the background, the steady drumbeat of opposition just doesn’t quit.

What keeps the Friends battling against some of the country’s most powerful foundations – Pew and Annenberg; politicians - Rendell; corporations – Comcast and Aramark? The answers are as varied as the Friends themselves and rooted in core beliefs of deep, emotional resonance: integrity, truth, justice. An artist wishes for everyone the powerful transcendence created by art and nature at The Barnes. “You feel as if you have been transported to another time, a slower time.” A history professor understands both the profound American ideals uniquely expressed by The Barnes and the folly of building a monstrously large facility suitable for society galas to house a replica of it. The Los Angeles Times recently published an article he co-authored showing the Philadelphia Barnes project as a financial disaster in the making. The HVAC expert, who studied at and joined the faculty of The Barnes, knows well the immense contribution The Barnes can make to civilization if permitted to stay in its purpose-built setting in Merion. An internationally-known art dealer calls the idea that the Barnes in Merion can’t sustain itself “Nonsensical.” Historic preservationists argue in favor of Philadelphia choosing authenticity over a reproduction. They want everyone to know that The Barnes, with its art collection, gallery, and arboretum intact is eligible for National Historic Landmark status. The Parkway building, they say, can be sold and used for a spectacular sculpture museum. A teacher fights because the clear intentions of Albert Barnes for his Foundation to forever remain in Merion are being tossed into the trash bin. The stay-at-home-mom fights because she’s mad as hell about the lies, waste, and sheer stupidity responsible for something so obviously wrong.

But ethics, art, nature, exquisiteness, and history converge with intensity on a common point: There is utter disgust over hundreds of millions of dollars spent destroying an extraordinary existing asset to service short-term political and commercial interests.

The justification given for the move in Court in 2004 that the Barnes in Merion is not financially sustainable and that the only way of preventing its failure is moving to Philadelphia has been discredited. The newer mantra that more people will see the art collection in Philadelphia is countered with a reminder that they would not have anything close to the same experience as the original. Besides, Merion can have about as many people as are expected eventually at the Philadelphia venue without the huge expense and the destruction of a historically valuable site. Like repeated, super slow-motion encounters of David and Goliath, the Friends keep loading up their slingshots over and over again.

Now comes a potential game-changer: The Friends have filed a new petition in Court, led by attorney Sam Stretton, asking for the case to be re-opened and asking for legal standing. Their petition tells Judge Ott he was misled in earlier hearings about the improper activities of former Pennsylvania Attorney General Mike Fisher (now a Federal Judge for the Third Circuit). Judge Ott has asked the parties to appear in Court. The Friends see a future full of possibilities that would save a national cultural treasure, a lot of money, and the reputation of our city. Stranger things have happened.

London Independent Weighs in on The Barnes Foundation Mess

photo credit Anna Schori

In his column in the London Independent, “Out of America,” Rupert Cornwell asks about the Barnes Foundation takeover ”Is this the biggest art heist in history?” and soon enough answers - Yes, “beyond all doubt…”

Mr. Cornwell does know his stuff, as one who has long reported on the American political scene and he could peg the Barnes heist from a mile away: “And thus began a devious tale of high art, base politics and endless litigation, tinged by race and driven by pride, snobbery, the lust for prestige and, of course, by money.”

For the record, people might be interested in reading another view on the matter. CEO of the Pew Charitable Trusts prefers to describe things as a mere difference of opinion by “thoughtful people”. In a letter to a citizen interested in the integrity of historic preservation who objects to Pew’s plans for moving the Barnes art collection, Ms. Rimel wrote the following:

“The relocation of the Barnes has been a polarizing issue, with strong opinions on both sides. Yet it has always been my belief that, even under the most challenging circumstances, thoughtful people can be considerate of diverse opinions and respectfully agree to disagree. The Pew Charitable Trusts remains confident that the Barnes and its board have explored many options for preserving Dr. Barnes’ legacy, and we continue to fully support their position that a move of the collection is the most appropriate course to ensure the institutions’ long-term sustainability.”

Guess which view is supported by facts and which is motivated by a need to cover one’s derriere?

There’s a bit more on this topic in a Main Line Times commentary piece, “London Calling…”

Back in 2008, Mr. Cornwell’s colleague at the London Independent, art critic Charles Darwent gave readers full exposure to the Barnes controversy in an article called “Art Scandal” that appeared in the paper’s Sunday Supplement with a huge photo of Barnes President Derek Gillman in the main gallery. Mr. Darwent summed things up this way: “Outside the offices of Philadelphia's great and good – the very people Barnes set up his Foundation to defend against – you will be hard pressed to find anyone who approves it.”

And that was before news got out that former Governor Ed Rendell slated almost $50 million Pennsylvania taxpayer funds for the super-sophisticated Barnes Pork Barrel project.

Gives New Meaning to HuffPo piece, “Stop, Thieves!”

When Huffington Post recently published Christian Josi and Derek Hunter’s piece about the Barnes controversy “Stop, Thieves!”, who knew what was coming. That piece is about the theft of the entire art collection of Albert C. Barnes. But now we have a different sort of crime on Latch’s Lane, because thieves have stolen a brand new ‘billboard’ sign from Friends of the Barnes Foundation.

It appears that someone has a serious problem with the truthful message about authenticity as expressed by artist Benjamin Everett, who designed the sign for the Friends as a contribution to the group's preservation advocacy against the transfer of the Barnes art collection from Merion to Philadelphia. The sign has Dr. Barnes saying “Keep it REAL. Keep it in Merion.”

Last December a vandal marred the ‘billboard’ of Friends of the Barnes Foundation with red spray paint. That poster was created by artist Bill Ternay. The deliberate and careful way the paint was sprayed over the faces of Dr. Barnes and the artists surrounding him speaks of seething anger toward the Friends and their preservation movement to keep the Barnes intact.

The new sign by Ben Everett was constructed of especially strong material and covered with clear plastic to protect it from spray paint. But the message was too much for someone who hates the Friends. First they took it down and threw it over the fence. It was re-installed. Yesterday, they just stole it.

A new sign is in the works.

Upcoming Barnes Talk in Judge Ott’s Court Generates Buzz

The announcement last Friday that Montgomery County Orphans’ Court Judge Stanley Ott has called the Barnes Foundation and the Pennsylvania Attorney General to his Courtroom on March 18 is generating some electricity. The Judge’s Preliminary Decree requires the Barnes Foundation and Attorney General to appear and explain why he should not reopen hearings on the Barnes Foundation matter. This is in response to the Petition of Friends of the Barnes Foundation filed by Samuel C. Stretton, Esq. on February 17 asking that the case be reopened.

By mid-afternoon on Saturday, the Philadelphia Inquirer’s “Hearing could reopen case of Barnes art move” by Bob Moran was in the Number One spot of philly.com’s “most e-mailed stories”! We weren’t expecting it or even watching it, but a super-alert Barnes lover in Jersey City let us know. Cheryl Allison’s “Judge Rules on Barnes Petition” was among the “most discussed” pieces on the website of Main Line Media News.

Then on Monday, the big art blog ArtInfo came out with this headline: “Art World Mercilessly Snubbed at the Oscars, Barnes Foundation Case May Return to Court, and More Must-Read Art News.” Barnes Case, “must-read” news? Yes!

Oh, and we also heard that there were some frantic calls to New York fashion houses putting holds on the evening gowns being designed to adorn the Philly-stines for the a Parkway Barnes gala. No worries. If things goes well in Court and the real Barnes is saved, everyone will have reason to celebrate!