The Washington Post recently underwent significant staff reductions, with reports indicating that nearly a third of its workforce was let go. This move by the Jeff Bezos-owned publication has particularly impacted several departments, including sports, local news, and international reporting. A notable individual affected by these changes is Sebastian Smee, a distinguished art critic and Pulitzer Prize recipient, who had been a fixture at the paper since 2018.
The news of these substantial layoffs at the esteemed Washington Post, a publication under the ownership of billionaire Jeff Bezos, emerged recently, signaling a significant restructuring. Sources, including reports from the New York Times, suggest that roughly 30% of the paper's employees were affected, amounting to over 300 journalists out of approximately 800 in the newsroom. This strategic downsizing has led to a reduction in the paper's coverage across sports, local news, and international affairs.
Among the journalists whose positions were eliminated was Sebastian Smee, celebrated for his critical insights and recipient of the Pulitzer Prize for Criticism. Smee, who joined the Post in 2018, expressed his gratitude for his time at the publication, acknowledging the opportunities it provided for extensive travel and exposure to the art world. He specifically thanked Marty Baron, who was instrumental in bringing him to the Post from the Boston Globe. Smee also extended his empathy to his former colleagues who lost their jobs and urged continued support for the remaining staff, commending their dedication and quality work.
Despite the widespread layoffs, another Pulitzer Prize-winning critic, Philip Kennicott, known for his work in art and architecture, is reported to be staying with the Post. This detail was also confirmed by Hyperallergic, though the Post's press office did not immediately provide a statement. The staff reductions have not gone without protest; employees, joined by supporters from the Washington-Baltimore News Guild, demonstrated outside the paper's offices. Protesters voiced their discontent, with one sign poignantly adapting the Post's slogan, 'Democracy dies in darkness,' to 'Bezos is the dark,' reflecting the sentiment regarding the newspaper's owner.
Sebastian Smee's Pulitzer Prize in 2011 recognized his 'vivid and exuberant writing about art,' which brought various artworks to life with profound appreciation. His acclaimed works covered diverse subjects, from contemporary artists like Cornelia Parker to historical figures such as Luis Meléndez, and included an exhibition featuring artifacts from China’s Forbidden City. His final review for the Post focused on a Martin Puryear retrospective, where he described the artist's sculptures as profound and silent, inviting a deeper, non-verbal connection.
Smee's career before the Post included roles as national art critic for The Australian and contributions to numerous other prominent publications like the Guardian and The Financial Times. He is also an accomplished author, with four books to his name, including 'The Art of Rivalry' and 'Paris in Ruins,' the latter praised by Christopher Benfrey for its meticulous research and elegant prose. Smee is also known for not shying away from controversy, as evidenced by his defense of Impressionist painter Pierre-Auguste Renoir against public protests, which famously led to a challenge for a duel.
These layoffs occurred shortly after the release of the documentary 'Melania,' a project by Bezos’s Amazon MGM Studios. This film, which received widespread negative reviews, was part of a $40 million deal with the Trump family and incurred an additional $35 million in marketing costs. This deal was notably announced just days after Jeff Bezos, currently ranked as the world's fourth-richest person by Forbes with a net worth of $234.9 billion, dined with Trump at Mar-a-Lago.
The recent downsizing at the Washington Post, under Jeff Bezos's ownership, saw a significant portion of its journalistic staff, including decorated art critic Sebastian Smee, departing the organization. This action led to public protests, highlighting concerns over job security and editorial integrity in the face of corporate cutbacks.