A Message from DIA Board Chair Lane Coleman

Every time I step into the Detroit Institute of Arts, I immediately sense that I’m in a place that is both a haven for art enthusiasts around the world and a hub of engagement for our community members here in Metro Detroit. And now, as I enter a new role as the museum’s board chair, I feel prouder than ever of the legacy we’re continuing to build as a place where everyone can find meaning in art.

The Detroit Institute of Arts is more than just a museum; it is a place for everyone in our community: A Clinton Township high school student looking for inspiration for art class; a Southgate mom looking for something free to do with her kids on a rainy day; grandparents introducing their grandchildren to art; first dates; Kresge Cafe study sessions; a tourist destination.

Art has the power to unite, inspire, and provoke thought, and we are committed to ensuring that the DIA remains a welcoming space where every member of our community feels a sense of belonging.

Though I’m not a native Detroiter, my roots in this community run deep, and I know the DIA plays a vital role in enhancing the cultural fabric of our city. We will continue to collaborate with local artists, educators, and community leaders to foster creativity, education, and engagement. Together, we will strengthen our ties with the community and ensure that the DIA remains a beacon of inspiration for generations to come.

I want to thank our outgoing board chair, Gene Gargaro, as well as the rest of our board, for trusting me to carry on the important work happening at the DIA. This is a continuation of a remarkable story shaped by the brushstrokes of our predecessors and the collective heartbeat of a community in love with art.

While we take pride in the past, we also look to the future. The DIA has earned a stellar reputation, and I am determined to uphold and build upon it. Our commitment is not only to maintain the excellence that defines the DIA but also to explore innovative ways to enhance our offerings, expand accessibility, and embrace new forms of artistic expression.

As we embark on this exciting journey together, I am confident that, with your continued support, we will navigate the path ahead with grace and resilience. Together, let us write the next chapter in the storied history of the Detroit Institute of Arts.

Lane Coleman
Board Chairman
Detroit Institute of Arts

The past year has been an extraordinary one for the Detroit Institute of Arts (DIA). We've expanded our collections, showcased beautiful exhibitions, and connected with communities near and far. As we step into the new year and say goodbye to 2023, let's take a moment to look back at some of the highlights from the past year. 

In 2023, we welcomed 600,000 visitors to the DIA — including more than 50,000 students from our local schools and more than 170 senior groups from the community. 

The fact that so many families, individuals and groups made visits to the DIA part of their lives in the past year speaks to the incredible works housed in our permanent collection, as well as the exhibitions we hosted — including a retrospective of the work of James Barnor, an exploration of printmaking in the modern era, our After Cubism show celebrating modern art in Paris post-World War I, Masterpieces of Early Italian Renaissance Bronze Statuettes, and our popular Ofrendas exhibition, including creations from members of our community. 

But the DIA is not just about the art within our walls; it's about engaging with our communities. Our Inside|Out program saw more than 170 reproductions of works of art enjoyed by community members across the region, and we collaborated on the creation of four new public art murals. Meanwhile, the DIA studio hosted artmaking at more than 40 local fairs and festivals, bringing the DIA experience to your neighborhoods. 

As we look ahead to 2024, we want to express our deep gratitude to our patrons and supporters, especially those from Macomb, Oakland, and Wayne counties. Your passion for art and culture continues to drive our mission. 

On behalf of all of us at the DIA, thank you for being a part of our journey. We look forward to sharing more art, inspiration, and creativity with you in your galleries and throughout our community in the coming year. 

Let's embark on this new year with enthusiasm and a shared love for the power of art to enrich our lives. 

As we look forward to serving you better every year, we wish you a Happy 2024! 

As we approach the end of another very fruitful year, I would like to take a moment to celebrate the extraordinary contributions of our outgoing board chair, Gene Gargaro, Jr. In his 20 years as chair, Gene left an indelible mark on the Detroit Institute of Arts and our communities. His tireless dedication and unwavering support have been instrumental in shaping the museum's recent successful history, present and future. 

You can read more about Gene Gargaro's incredible journey and his retirement from the position of board chair in the official announcement on our website.

To commemorate Gene's outstanding leadership and commitment, I invite you to click on the link below to watch a heartwarming video in which Gene shares his insights and reflections on his time as the head of the DIA’s Board of Directors: 

In this video, Gene takes us on a journey through his experiences, highlighting the transformative moments, the challenges, and the inspiring stories that have shaped the DIA's growth over the years. It's a testament to his passion for art, culture, and for our communities. 

Gene's unwavering dedication to our institution has been instrumental in securing the DIA's place as one of the nation's leading art museums. His leadership has paved the way for countless exhibitions, educational programs, and community initiatives that continue to enrich the lives of the residents of our local communities and visitors from all around the world. 

As we reflect on Gene Gargaro's outstanding legacy and tireless efforts, let us also celebrate the power of art to inspire, unite, and transform lives. This December, I encourage you to visit the Detroit Institute of Arts and experience the beauty and wonder of our collections. Gene's legacy lives on through the art that he has helped nurture and protect. 

Join us in celebrating Gene’s incredible journey and the impact he has had on the Detroit Institute of Arts and our communities. Thank you, Gene, for your invaluable contributions, and we look forward to continuing your legacy for generations to come. 

Warmest wishes for a joyful and art-filled December! 

One of my favorite places at the Detroit Institute of Arts is the museum’s Research Library, Archives, and Collection Information department. Open to the public, it is a place to visit and learn about the museum’s past and present, researching historical documentation and accessing its thousands of beautifully illustrated art books. During a recent visit to this department, I was brought up to date on an ongoing project that includes the digitization of a collection of existing 8 x 10-inch (large format) nitrate photo negatives, which were taken in 1932–33 to document the making of Diego Rivera’s Detroit Industry Murals at the DIA. Nitrate negatives decay with time and pose some difficult preservation challenges. Their digitization will help preserve the history of the murals and make the images accessible to everyone through our website.*

The DIA team and I talked about the project and marveled at the extraordinary efforts that were taken to document Rivera’s work during 1932 and 1933. It appears that Edsel Ford had asked Ford Motor Company photographer W. J. Stettle to take photos of Rivera’s mural progress daily. In addition, Ford Motor Company’s team filmed the artist at work, and today that film footage is accessible on the National Archives website. Filming and photographing Rivera’s work with the latest technologies of the time was a very expensive activity, but more importantly, it was an indication of the awareness that a masterpiece for posterity was in the making—today some refer to the Detroit Industry murals as the “Sistine Chapel of Detroit.”

The value and interest that Rivera and Frida Kahlo placed on these large images underscores this photographic campaign’s rarity and uniqueness. As a matter of fact, soon after leaving Detroit, they requested a copy of the set of mural photographs and, in exchange, allowed the museum to keep the large drawings that Rivera used to paint his magnificent frescoes. To this regard, on Oct. 21, 1933, Kahlo wrote the following letter from New York City to Clyde Burroughs, then-secretary of the DIA:

Dear Mr. Burroughs,

Diego Rivera received your letter asking that the drawings remain in Detroit. He is perfectly willing to have you keep them there provided you can send him copies of the large photographs of the frescoes, which were made by the Ford photographer.

We were very glad to hear from you. Greetings to all our mutual friends and to your family.

Sincerely,

Frida Kahlo de Rivera

While the set of photographs was a unique testament to the murals in 1933, the museum was very lucky to keep these phenomenal drawings, which are one the great treasures of the collection. They were on view at the DIA in 1933, then packed and stored. Because of the size of our building and its different periods of renovation, we sort of lost track of them for many years. It was only around 1979 when two DIA archivists, Marilyn Ghausi and Claudia Hommel, rediscovered the Rivera drawings in a storage area rolled up in brown paper where, fortunately, they had remained seemingly untouched for almost 45 years.

The discovery by Ghausi and Hommel aligns well with the work that our current director of the Research Library, Archives, and Collection Information department, Maria Ketcham, and her team are doing today. They continue to find, preserve, and digitize our documentary treasures so we can share the institution’s history with present and future generations of scholars as well as the public. With the recent establishment of our brand-new Digital Division, we are providing new talent and resources to do this important work. I am always amazed and very grateful for the extraordinary effort that takes place behind the scenes at the DIA. We are lucky to have such a committed and passionate team as well as a world-class collection for the benefit of our communities.

*Special thanks to Jim Prest, a DIA volunteer who has been working diligently on the digitization of these negatives and photos. 

The Detroit Institute of Arts staff works passionately to provide the audiences with a visit that is welcoming and comfortable, in a beautiful space, where art and community come together to inspire memorable personal experiences. These experiences do not emerge only from the extraordinary art collection, our diverse and inclusive learning programs and fun activities we offer, but also from the sum of many thoughtful details, all carefully created behind the scenes and placed by our talented team members. From the planters in Rivera Court to the windows in Kresge Court, the features of our museum that patrons know and love are sometimes more than meets the eye. Even as the director of the museum, I was amazed recently by a DIA team member who kindly gave me a tour of the inconspicuous and yet important work he has done throughout our space.

Over the last eight months, led by the DIA’s operations team and in collaboration with other departments, the museum has fully renovated our beloved Marvin and Betty Danto Lecture Hall with partial support from a 2021 Michigan Arts and Culture Council Capital Improvements Grant. The infrastructure has been upgraded and—perhaps most important for our visitors, performers, and speakers—the space is now fully compliant with the requirements of the Americans with Disabilities Act. Changes included. the construction of a new accessible seating platform at the back, transfer and companion seating, the installation of a lift for stage accessibility, and a new audio-visual system, among other crucial improvements.

The next time you attend an event there, I encourage you to take a moment to enjoy the details. One that may go unnoticed is the decoration on the front of the newly raised stage. At a distance, it appears to be ornate, veined marble; however, if you get close and look at it with an eagle eye, you will discover the marble is not real, but painted with extraordinary skill to make it look authentic—a technique called trompe l’oeil, which, translated from French, means “deceiving the eye.”

James Burts, the creator of this virtuoso work, is one of our team members who works in maintenance and is also a highly skilled painter. For decades, he has helped the DIA create optical illusions such as this throughout the building. They are both a visual delight and an innovative solution.

A Detroiter, James graduated in 1972 from the Art School of the Society of Arts and Crafts, which later became the College for Creative Studies. After a few jobs, he eventually settled at General Motors where he worked in the Shipping and Receiving department. Soon, colleagues noticed his artistic talent, and GM appointed him as a photo retoucher and illustrator. In that position, he used the airbrush technique to retouch both color and black-and-white photography—in other words, he did photoshop before it even existed. James worked at GM for 28 years; the DIA hired him for our maintenance team 21 years ago. Since then, he has been helping his team with regular duties, as well as doing this amazing specialty work.

James’ personal artistic touch goes purposely “hidden” throughout the building, enhancing our visitors’ visual experience. A couple of weeks ago, he gave me a tour. We visited Rivera Court, where he pointed out the planters around the space that help protect the murals. At first glance, they appear to be made of travertine stone, the same material used by DIA architect Paul Cret to decorate this space in 1927. In fact, James has meticulously painted them to create the illusion of the creamy colored stone sprinkled with little pits and grooves. I have worked at the DIA for almost 16 years and have always thought those planters were travertine.

James and I walked around the galleries, and he drew my attention to many of his subtle creations (big and small!), before ending at Kresge Court, where he has built and painted a large window to cover an empty space. His design replicates the original windows that enclose the Schwartz Galleries of Prints and is covered with his imitation of the leaded glass window, made with amazing skill and keen attention to all details and its materiality. This window effectively provides visual and spatial unity to Kresge Court.

James was smiling as he showed me his many creations, and I was thinking to myself that he is both an artist and a magician with a sense of humor, as our eyes are deceived by his brushes. His talent and passion are remarkable and we at the DIA are fortunate to have him on the team. He showed me many more fascinating works that aren’t included here due to the newsletter’s length limitations. Perhaps we should consider offering a trompe l’oeil tour in the museum? You would be amazed at what you see, or rather, what you don’t really see.

The Concert of Colors is perhaps the greatest artistic event of the year in Detroit. It’s an amazingly refreshing summer highlight! The Detroit Institute of Arts is at the epicenter, transforming our grounds and building into “the town square of our community, a gathering place for everyone,” per the DIA’s vision. The institution becomes a platform that unites metro Detroit’s diverse communities, through music and dance from around the world, creating a dialogue where participants embrace freedom of expression.

The National Endowment of the Arts’ Chair Dr. Maria Rosario Jackson joined us this year at the opening event in the DIA’s Kresge Court on July 20. Her remarks to the crowd emphasized the importance of living “artful lives.” That idea encompasses not just the creative work of art professionals, but all of us who want to express ourselves creatively—through making, doing, teaching, and learning. Furthermore, as Chair Jackson shared, it is paramount we tell our stories on our own terms, and that we do it not only in museums, concert halls, and theaters, but in our homes, community spaces, and any other place where ordinary life unfolds.

From a personal perspective, this notion of the creative process being a universal endeavor in everyday’ s life is a crucial part of our educational activities and personal growth. “Making” is as important, or even more important, than the final product. When we engage in art making, we are problem-solving, figuring things out, finding solutions. Those are very valuable tools as we develop our abilities to be better prepared in the world, and bring value to our society.

During the Concert of Colors weekend, the crowd took over the DIA building and grounds. Bands played in the DIA’s auditorium and on two temporary stages on the Woodward side of the museum. Visitors could discover parallels and thought-provoking connections between the DIA’s extraordinary art collection and the concert's amazing musical offerings. They could enjoy themselves with the films, art-making in the DIA studio, and art conversations that were happening as part of this multi-day event taking place in our cultural district, our town square.

My wife Alex and I enjoyed the music of both Infinite River, featuring Ethan Daniel Davidson and Don Was, as well as ECNO: El Conjunto Nueva Ola (Mexican Rock). We visited the art studio and connected with families making art with the DIA’s talented team of instructors. It was a weekend for an artful life, a life full of artistic Detroit traditions, rich with performances from Native American, Cambodian, Guinean, and Caribbean communities, to name just a few. We are grateful to all of them for inspiring us and enriching our lives with creativity. I am also very grateful to Ismael Ahmed, the founder of Concert of Colors, for partnering with the DIA on this extraordinary event and working so closely with Anthony Smith, DIA’s Vice President of Learning and Audience Engagement, Larry Baranski, DIA’s Director of Public Programs, and the entire DIA team, who make the museum’s visitor experience so extraordinary.

It is well known that one of the most amazing parts of the Detroit Institute of Arts is its European painting collection. What’s less well known is that the frames of those paintings are extraordinary in themselves; handcrafted objects, sometimes hundreds of years old, and the DIA has one of the finest frame collections in the world.

Why is that important? I must admit, when I started to work in the museum 15 years ago, I did not pay much attention to frames. I sort of thought that frames are just frames, there to enclose the artwork. I was wrong, and a personal experience here at the DIA changed my mind.

The DIA is fortunate to have a masterpiece by Italian Renaissance painter Giovanni Bellini in our collection; a Madonna and Child, painted in 1509. This particular Bellini is important for several reasons. It was commissioned by the Mocenigo—a powerful Venetian family who were passionate supporters of the arts and artists, and who amassed one of the most refined art collections of that time. Bellini, then at the height of his career, took a familiar subject and created a very innovative composition, with the drapery across the middle ground in a landscape setting, putting emphasis on the figures in the foreground. The serenity of the figures and the subtle light and warm colors make this work a mesmerizing achievement in Bellini’s career.

In 2008, we loaned this masterpiece to the Italian government for a monumental exhibition dedicated to Bellini in the Scuderie del Quirinale in Rome. As is typical in preparing an artwork for travel, we took the painting out of its frame for inspection. The painting was in good shape; the frame was another story. There was extensive insect damage from long before the work arrived at the DIA and the interior looked like Swiss cheese; full of holes and on the verge of collapse. Our excellent conservation team made a short-term and a long-term decision: first, fabricate a simple, stable wooden frame so the painting could be shipped, and second, develop a restoration plan to save the magnificent original.

While the Bellini travelled to Rome, I sat in the conservation department looking at the damaged frame, probably made in the 16th century, admiring the ornate carving and overall beauty. When we realized the cost of restoration though, I was overwhelmed. We just could not afford it. Those were difficult times for the DIA, and the museum had other priorities. After our Bellini came back, we re-installed it using the new travel frame. In the years since, as I walked through the galleries, I would silently ask our Bellini for forgiveness that we could not restore its magnificent frame. But this experience had an unexpected and welcome outcome; it encouraged me to pay attention to many other frames in the DIA’s collection and understand the unique quality, depth, and breadth of our European frame collection.

Recently and with the support of generous donors John Peters and Christine Consales, the museum was able to review, then act on, the Bellini frame restoration plan! Over the past nine months, our conservators have worked diligently to stabilize the interior and clean, retouch, and regild its surface. James Storm, the DIA’s Mount Designer/ Fabricator and Frame Specialist, with the help of the DIA’s former frame conservator Tom Dickinson, and Ellen Hanspach-Bernal, DIA’s Paintings Conservator, dedicated many hours of expert and thoughtful work to bring the frame back to life. What a phenomenal effort! I am very grateful to all of them, as well as the many other individuals in the conservation department who helped make this project a success.

It is impressive to see our Bellini Madonna and Child back in the galleries, glowing in its original frame. When I stood in front of the artwork in early June, the last 15 years of DIA history went through my mind. It has been a time like no other for the museum. Whatever the vicissitudes of life are, our amazing teams continue to create experiences that help each visitor find personal meaning in art and with each other. Next time you are at the DIA, please take a look at the Bellini frame. It is simply an uplifting experience. A profound thank you to the DIA team for loving the collection, and serving our visitors at the highest level.

GIF courtesy of Aaron Steele, Imaging Specialist, DIA Conservation Dept.

At our May Board meeting, Gene Gargaro, DIA Board Chair, announced he was stepping down from his post. He did it in the Smith Crystal Gallery in front of a crowded room and with his wife Mary Anne in attendance. In his typical style, he cracked a couple of jokes, shared to-the-point remarks, and thanked everyone for their support. The moment he was done, everyone in the room stood up and applauded.

There are few cases in life where saying “thank you” seems not enough. This is clearly one of those. After his 20 years of extraordinarily devoted service to the institution, it feels as if words will not do justice at describing the profound sense of gratitude we have for Gene. Over the last few weeks, I have heard many say they got involved with the DIA because of Gene. These statements were always emotional, and I second that emotion. My relationship with Gene and Mary Anne is one of the main reasons my wife, Alex, and I have stayed in Detroit all these years. It is not easy to find great leaders, but when you do, you follow them.

Email inboxes are a sort of archive of our times. I did a search for Gene’s address and found emails from him dating back to my early years at the DIA. Those first notes were about engaging people, raising awareness of our great museum and, of course, fundraising. It is amazing to see that he has kept his focus for so long and continued to do it in the kindest of ways. I believe many will agree with me when I say that Gene is one of the nicest people we know. He is a living example of the value of humility and hard work. From time to time over the past 15 years, we would meet for breakfast at one of the Pancake Houses in metro Detroit. At one of these breakfasts, where we never actually ate pancakes, I was whining about something and feeling low. He listened to me patiently, and instead of just cheering me up, he gracefully showed me that it is better to feel upbeat and positive, and of course, show leadership in times of difficulty. This is something I will dearly remember. He has been the best boss I could have wished for and a generous mentor.  

The search for our next Board Chair is being led by Bonnie Larson, our Chair of Governance and Nominating committee. Following the museum bylaws, we have an equitable and inclusive process in place, designed to identify a candidate whose skill set will align with the DIA’s needs and who will help us define our future. We are at a remarkable point in the DIA’s history: the museum has expanded, we are fiscally strong, our collection is secured forever thanks to skillful navigation during the city’s bankruptcy, and the two regional millages have transformed us financially and as a community-engaged organization. I thank Gene for these and other amazing successes.

Whoever becomes the next DIA Board Chair has a phenomenal foundation on which to build and a passionate staff with which to work. The DIA team looks forward to the opportunity to bringing the museum to the next level of accomplishment so we can continue to serve our communities locally, nationally, and internationally. In the meantime, hats off to Gene!

Last Sunday our Latino communities in Detroit celebrated El Día del Niño, or Children’s Day. The idea to commemorate this day has its origins in Mexico, where it became an official national holiday on April 30, 1924. In 1959, the United Nations followed the spirit of that day and established November 20 as Universal Children’s Day, which is meant to promote togetherness, to increase awareness of the problems that children face around the globe, and to improve the welfare of all children.

For the past few years, Elías Gutiérrez, a community leader and friend of the DIA, has organized a school visit to the museum in partnership with Comerica Bank to celebrate El Día del Niño in April. I find it so touching that Elías thinks about our museum as the right place for a special trip for children. Last week we hosted many students from Harms Elementary School and Hope Academy from Southwest Detroit who joined other students (almost 1,000) from tri-county schools. The museum was bustling, and one could feel the energy of the school groups as they toured the galleries and made personal connections with our collections.

I joined Elías, Comerica president Steve Davis, and his team led by Yolanda Serra, in Rivera Court where we gathered with the students from Harms Elementary School and Hope Academy. After taking photos in front of the Diego Rivera murals, some of the children very politely approached me. A young girl asked in Spanish: “¿puedo hacerte una pregunta? (May I ask you a question?)”. And from there we talked about the art they make in school, Diego Rivera and Frida Kahlo, what part of Mexico the students’ families come from, and their favorite foods (which happened to be tamales for almost all of them)! It was a very special moment for me. Speaking my native language with these students brought me back to my childhood, and my memories of visiting museums with my parents in Spain. It was a wonderful moment of togetherness and positive energy and made me think about the museum’s role in education, and the importance of paying careful attention to children’s wellbeing.

We are very grateful to Elías, who has worked with the DIA team over the years to connect the museum with the Spanish-speaking schools in southwest Detroit. He knows we care deeply about these communities and have many programs to serve them throughout the year. This month we are celebrating the remarkable creativity of our tri-county students with the Annual Detroit Public Schools Community District Student Exhibition. I am so delighted to say that we have been doing this show for 86 years, and it never fails to be an inspirational moment for each of us at the DIA. Please come experience the power of their art, which covers so many subjects and so many different kinds of media—painting, drawing, film, photography and so much more. These children are our future, and it is important to pay attention to them. In the years to come we will be placing everything from our amazing art collection, all the way to the future of our planet, in their hands.