Visit the AMAM
Enjoy the intimate setting of an acclaimed college art museum.Learn More
Enjoy the intimate setting of an acclaimed college art museum.Learn More
The Allen presents changing exhibitions along with engaging guest speakers and public programs.Learn More
The Allen's collection is particularly strong in 17th century Dutch and Flemish painting, Japanese prints, early modern art, African art, and more.Learn More
Explore the full range of museum programs through free events, guided and self-guided tours, and resources for professors and PreK-12 teachers.Learn More
Find podcasts, activities, and information for all age groups.
Support for the museum continues our tradition of bringing art to the people.Learn More
The American Alliance of Museums—an organization that represents the museum field, providing advocacy, resources, and connections—awarded the Allen Memorial Art Museum reaccreditation in November last year. This is the result of a multi-year process that involves a deep dive into a museum’s operations, policies, and strategic vision.
Gaining reaccreditation means that the Allen, which was first accredited in 1995, continues to meet national standards and best practices, and is a member of a community of institutions that hold themselves publicly accountable for excellence. Together, the museum’s dedicated staff and many of you, in our community—as part of the reaccreditation process—gave a great deal of thought to charting the Allen’s future through preparation of the new strategic plan we unveiled last year, as well as new mission, vision, and values statements. Our efforts during the next several years—whether through exhibitions, acquisitions, teaching and research, or public programs—will be focused on the goals and ideals elaborated in these, and we hope you will peruse them and join us in more closely connecting the museum, and its stellar collection, to our community.
Unfortunately, such close connections in mid-2024 will be challenged by the fact that the Allen will have to close for several months. In 2021, Oberlin College began work on the “Sustainable Infrastructure Program,” or SIP, which entails converting the campus heating system from steam to hot water, with the goal of achieving carbon neutrality by 2025. The Allen had already undertaken this green heating and cooling approach as part of a major 2009–11 renovation that saw geothermal wells sunk in the museum’s north lawn and a complete updating of the museum’s heating, ventilation, air conditioning, and associated systems—a project that earned Leadership in Energy and Environmental Design (LEED) Gold certification. Now, the museum’s existing systems are slated to be hooked into the campus’s new system this summer. Regretfully, this will entail the closure of the museum as of May 27. We are grateful for the partnership of the Oberlin College Facilities Planning and Construction staff in this work, and look forward to welcoming you back in the autumn.
Finally, while often I’ve written about endeavors that have highlighted new acquisitions to the collection, I now want to let you know about a recent loss: the 1911 drawing Girl with Black Hair, by artist Egon Schiele. You may have seen articles in the press last autumn about this; here, I can offer some context to Oberlin College’s decision to hand the drawing over to those who have posited that it is rightfully theirs, relatives of Fritz Grünbaum, a celebrated performer, writer, and director. Tragically, Grünbaum and his wife Lilly (Elisabeth), both Jewish residents of Vienna, were murdered in the Holocaust.
The Allen purchased Girl with Black Hair in early 1958 from Galerie St. Etienne in New York City, run by Otto Kallir, a Jewish refugee who fled Austria in 1938, arriving in New York in 1939. He had acquired it from the gallery Gutekunst & Klipstein, in Bern, whose records indicate that it had been purchased in early 1956 from Mathilde Lukacs, Lilly Grünbaum’s sister, who fled Austria for Belgium in 1938. Exactly how Lukacs acquired it is not clear; the crucial facts as to how she came to possess it and other artworks she sold remain unknown, and died with her in 1979.
The Allen’s purchase was made pursuant to a decision by the museum’s Friends of Art group—our membership body, to which many of you reading this may belong—following a “purchase party,” an event at which donors vote on acquisitions. Charles Percy Parkhurst, the director of the Allen from 1949 to 1962, who authorized the drawing’s purchase, was a noted Monuments Man. He spent the latter part of World War II and the period immediately following the war locating and inventorying thousands of artworks that had been looted by the Nazis, and as Deputy Chief of the Monuments, Fine Arts, and Archives program (MFAA) in Germany he coordinated restitution efforts at the Munich Central Collecting Point. In total, the MFAA located and returned more than five million looted artworks and items to their legitimate owners. In November 1945 he signed the Wiesbaden manifesto, rejecting the plunder and removal of cultural items as spoils of war, and in 1948 for his efforts in returning looted art he was made a Chevalier de la Légion d’honneur by the French government. It is inconceivable that Parkhurst would have purchased for the Allen any artwork that he believed might have been looted.
Several lawsuits, regarding other drawings that may have been in Grünbaum’s collection, have made their way through the courts. Some decisions have held that similar drawings were not looted by the Nazis, while others found for the Grünbaum heirs. While we believe it has not been definitively established that the drawing was looted from Grünbaum’s collection, the College has voluntarily turned it over, hoping that this will provide some measure of closure to the family. While this is certainly a loss to the collection, I want you to know that the Allen takes provenance issues very seriously. Our staff has devoted, and will continue to devote, great energy to researching the ownership history of collection works, and will always strive to ensure that any works entering the collection do so both legally and ethically.
John G. W. Cowles Director
January 22, 2024
The visual arts community at Oberlin College (Art History, Studio Art, the Allen Memorial Art Museum and the Clarence Ward Art Library) recognize and condemn the racial violence in Atlanta, which is a culmination of ongoing harassment and discrimination targeting the Asian-American, Asian and Pacific Islander communities. A persistent blight on American history, this discrimination has intensified in the last year, amplified by politically motivated racist and xenophobic associations between these communities and Covid-19. These hateful actions and words, and the underlying racial stereotypes that support them, hurt the Oberlin College community, including our students and colleagues; they are antithetical to what we stand for professionally and personally. We commit ourselves to the action of building an Oberlin community that is free of discrimination and harassment, and equitably supportive of all its members. This work builds on the necessary anti-racist work we have begun in the Oberlin visual arts community and are committed to continuing.
With this statement, we echo and affirm an earlier statement by the Comparative American Studies Department, East Asian Studies Department, International Student Resource Center, and Multicultural Resource Center, and another statement by the Presidential Initiative on Racial Equity and Diversity Commission.
We encourage Oberlin students and others to use the resources available in these earlier statements for both education and action, and to reach out to us for support.
March 29, 2021
The Allen Memorial Art Museum stands in solidarity with communities of color in affirming a belief in justice and equality for all, and in condemning racial injustice. Oberlin College President Ambar has recently announced an initiative to address these issues, and the museum staff look forward to partnering in this with her, with our colleagues, and with our broader community.
I had the honor of spending time with Darren Walker, president of the Ford Foundation, and Lonnie Bunch, then the director of the National Museum of African American History and Culture and now secretary of the Smithsonian, during Oberlin College’s 2017 commencement. At that time, each received honorary degrees, and Walker delivered the address, marking the AMAM’s centennial. Their powerful public statements in recent days on the killing of George Floyd, and of many others, are uplifting calls to action, and for change.
In the museum world, our work is accomplished with and through art. Art has the power to demonstrate, to communicate, to educate, to help, and to heal in difficult and painful situations. The staff and I look forward to welcoming you back to the museum, a site where we can collectively reflect upon and engage in conversations about societal challenges, including racial injustice and inequality, and together work to effect that needed change.
June 4, 2020
Visit - Tours
Enjoy the intimacy of one of the nation's best academic art museums. Free admission since 1917.
Sign up for our e-newsletter to get information about our free events and latest exhibitions.
Join & Support
Your support makes a difference. Become a museum member, donor, or volunteer.