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| When City of Detroit assumed control of the Detroit Institute of Art, the city was 96 percent white (1920) |
What happens when an 84 percent black city is $15 billion in debt? The second largest municipal owned museum in America (housing a collection worth north of $1 billion) is on the chopping block [
Detroit's creditors could target Detroit Institute of Arts collection, Detroit News, 5-24-13]:
A public spat over the fate of the Detroit Institute of Arts'
collection erupted Friday as museum officials sparred with Emergency
Manager Kevyn Orr's office over whether its masterpieces can be sold in
the event of a bankruptcy.
DIA spokeswoman Pamela Marcil said
earlier Friday the city is not allowed to sell off assets because of an
agreement with the DIA that says the museum will operate according to
professional standards. Selling off art would violate standards set by
the American Association of Museum Directors, which has accredited the
DIA.
But Orr's spokesman, Bill Nowling, said Friday any such
agreement would be invalid under a Chapter 9 bankruptcy filing, leaving
the museum's city-owned assets at risk.
Nowling also blasted the
DIA for failing to act when restructuring consultants approached the DIA
two months ago to warn of "a potential huge liability for them."
"They've been negligent to date in trying to find a way to protect a
tremendous cultural asset, not only of the city, but of Michigan and the
world," Nowling said.
"Burying your head in the sand is not the right
option that they should be looking at."
The DIA's Board of Directors has scheduled a special June 3 meeting to discuss the potential sale of the museum's collection.
Eugene A. Gargaro Jr., chairman of the board of directors, said in
response to Nowling's comments that the DIA has been "very proactive and
responsive in everything we've done, exercising solid stewardship of
our responsibility."
"I'm not into making accusations, here,"
Gargaro said. "I would like to continue the civility and the way we've
been working together. It's not our goal to have any kind of adversarial
relationship. We want to partner to help the emergency manager."
Nowling's comments came after the museum earlier Friday argued that
under the DIA's operating agreement with Detroit, "the city cannot sell
art to generate funds for any purpose other than to enhance the
collection" in light of the possibility that the DIA may "face exposure
to creditors" if Detroit seeks Chapter 9 bankruptcy protection.
Detroit, an example of a city operating under Actual Black-Run America (ABRA) guidance, continues to find ways to put the "d" in depravity and dysfunction.
The city of Detroit assumed financial ownership of the Detroit Institute of Art in 1920 -- at a time when the black population of the city was only four percent.
Yes, Detroit was 96 white in 1920.
Today, Detroit is 84 percent black.
In the early 1980s, the city of Detroit (under the stewardship of the first black mayor, Coleman Young) began to pull away from financially supporting the DIA; instead, according to Jeffrey Abt's "A Museum on the Verge: A Socioeconomic History of the Detroit Institute of Art," the city decided to divert $3.5 million in 1987 to erect the
Museum of African American History (MAAH).
In 1993, the city built an even larger home for the MAAH, spending $38.4 million to erect the largest African American museum in all of the land.
Now, because of the mismanagement of the city by black elected officials, one of the last remaining remnants of the culture black people drove away from the city of Detroit is potentially going on the auction block. But black people long ago turned their back on the DIA, as Abt makes clear in his book:
The differential treatment of the DIA and MAAH by the city’s
political leadership can be traced directly to Detroit’s evolving demographic profile.
Whereas African Americans constituted barely 4 percent of the city’s population
in 1920, the year Detroit
assumed ownership of the DIA, by the mid-199s African Americans composed 70
percent of the city’s residents. As discussed earlier, the demographic change
was accompanied by a shift in political power confirmed by the election of
Coleman Young as the city’s first African American mayor in 1974 and a gradual but
sure change to majority African American stakes in the city council and other
political arenas. Just as the DIA once symbolized and served the cultural
aspirations of Detroit’s citizenry, the MAAH now performed much the same role –
but for a dramatically different ethnic constituency than the one that
established the DIA. The point was made solemnly clear following Coleman Young’s
death in late November 1997 when his body was placed in state below the MAAH’s
rotunda for Detroit’s
resident to pay their final respects. (p. 244-45)
Earlier in the book, Abt makes this point about Young’s
victory as mayor in a 1974:
He was elected mayor on the strength of an African American
plurality in Detroit, and like most who voted
for him, he perceived his victory as an African American victory that truly
made the City of Detroit
their city. (p.186)
The condition of Detroit in 2013 directly correlates to blacks assuming control of the city and driving whites away. And as a way to pay off creditors, the City of Detroit - their city - might have to sell evil whitey's art...
An oasis in a sea of vulgarity.
That's what the DIA represents; to blacks, it might represent a way of paying off six percent of their debt.