Why did WMSE-FM drop Mary
Louise Schumacher’s new arts show after just one episode?
Schumacher, the Journal
Sentinel’s art critic, says she’s never gotten an official explanation, and
there’s no indication she flubbed her premiere. After the debut episode aired on
Friday, August 23, the station’s promotions director, Ryan Schleicher, sent her a congratulatory email.
Less than 24 hours later, however, the gig was gone. As
Schumacher reported on her blog,
station manager Tom Crawford later sent
her an email asking her to call right away – and when she did, Crawford told
her that the show was history.
“He was obviously very upset,” Schumacher says. “He
essentially said that he appreciated the show; he respected me; but the
leadership of MSOE had made the decision not to air the show.”
Schumacher says that when she asked why, Crawford said,
“I can’t really tell you,” and he
repeated that response when she asked whether the cancellation had anything to
do with something she’d written.
And to date, Schumacher says, school officials have
maintained their silence on the topic.
(Full disclosure: Milwaukee Magazine recently began a weekly, half-hour talk show on WMSE called “No Revisions.”)
“We evaluate our programming on a regular basis,” the
engineering school’s media relations director, JoEllen Burdue, tells Pressroom Buzz via email. “From time to time,
it involves adding or removing a show. As a matter of standard practice, we
don’t engage in public discussions about our programming decisions.”
Buzz has learned, however, that the reason was indeed something Schumacher
wrote – more than a half-decade ago.
story about MSOE’s new Man At Work museum focused on the presence
of artwork commissioned by the government of Nazi Germany, under Adolph Hitler.
The story pointed out that among the 700 paintings and
sculptures collected by the museum’s principal donor, the single-most
represented artist was one Erich Mercker, whose work, Schumacher wrote, “was
commissioned directly by Hitler’s government to create images of the Third
Reich’s expanding infrastructure.” The story noted that two other artists in
the collection also had Nazi ties.
“One of the 81 Mercker works in the collection shows
laborers cutting stone bound for the Chancellery in Berlin, the Reich's seat of
power, and others depicting bridges of the Autobahn, one of Hitler's proudest
achievements,” Schumacher wrote at the time.
When she asked Eckhart G. Grohmann, the Milwaukee
industrialist whose donation of some 700 paintings and sculptures got the
museum off the ground, about the appropriateness of including Nazi commissioned
art in the display (without a forthright discussion of its origins), he told
her that the museum was focused on the evolution of human work and industry – and
“Grohmann also said Mercker was, like many artists,
merely trying to make a living during the war years, a fact he says he learned
from the artist’s heirs,” Schumacher wrote. And she reported the artist was
not, in fact, a Nazi party member, confirming that detail with the National
all, the story reflected some assiduous investigation. Schumacher
even sought provenance records on the Mercker paintings (without success) in
hopes of learning where they had come from before Grohmann’s purchase.
The piece was also highly nuanced. She pointed out that a
local Jewish leader had specifically declined to criticize MSOE or the museum
for including the Nazi-linked works in its exhibits. And she quoted an official
with the Simon Wiesenthal Center who pointed out that in contrast to active,
enthusiastic Nazi propagandists, hired artists like Mercker were “not
necessarily the bad guys,” and that, “There’s a lot of gray in this area.”
At the same time, though, Schumacher was forthright in assessing
the moral issue at hand.
She quoted a critic who suggested that some of the workers
depicted in the paintings might well have been concentration camp slave
laborers, and she took note of the curiously sanitized biography of Mercker that
MSOE offered – it referred to the rising Nazi regime of the 1930s merely as
“the new German rulers.”
She polled various art experts on the larger question of how
to display Nazi-linked art and writing: “Curators and scholars generally agree
that exhibiting works made for the Nazis is not, unto itself, egregious, but
whitewashing the history is.”
Schumacher was even raising questions struck a nerve with the museum
and its benefactors.
When she asked now-retired museum director John Kopmeier “whether the
museum would consider providing more historical context” for some of the works,
she wrote that Kopmeier responded, “‘I could argue against this … It is
of no interest to us.’”
Meanwhile the donor’s wife, Ischi Grohmann, told Schumacher “that the museum was ‘a private
collection of a private man who gave this as a gift to a private school. The
public has nothing to do with it,’” although, as Schumacher noted, the museum
is open to the public seven days a week.
Whether a six-year-old controversy cost Schumacher the radio
show at WMSE is still not a matter of public acknowledgement, and Schumacher
has moved on. The program – which had several episodes already prepared when
the first one aired – is now a podcast.
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