Courtesy of the Indianapolis Museum of Art at Newfields“Battle Between Carnival and Lent” is a 17th-century oil painting by Jan Miense Molenaer in the collection of the Indianapolis Museum of Art. “Carnival is personified by Dutch peasants who wield a large sausage, skewered birds, a beer tankard, and assorted cooking implements as weapons,” the museum says of the intentionally ridiculous scene. “Lent is embodied by a mob of clerics, including a monk who swings a bundle of dried codfish.
It was all very perplexing to longtime patrons of the beautiful and expertly curated museum and its several associated facilities on parklike grounds at 38th Street and Michigan Road, the old Lilly estate. It isn’t as though there have been no efforts at multiculturalism. An exhibit called “DRIP: Indy’s #BlackLivesMatter Street Mural,” was planned for April. It’s up in the air now. Two African-American guest curators announced they would withdraw in protest of the job-search language.
Nor is the museum a dusty storehouse of third-tier European old masters and Chinese teapots. Modern and postmodern works are well represented, and below the facility’s hilltop site there’s a lovely 100-acre wooded area along the White River devoted to nature and contemporary installations.
The contrition suits the Lenten season, as there’s a quasireligious character to the whole episode—sin committed, discovered, condemned and confessed, a willing self-abasement before priestly authority, the longing for absolution. But like medieval Christians caught in a dysfunctional power dynamic with a dominating church hierarchy, would-be woke institutions like the Indianapolis Museum of Art find themselves repeatedly being slapped with a dried codfish.
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