Displaying items by tag: Curator

Maurice Tuchman, the first full-time curator of modern art at the Los Angeles County Museum of Art, has donated his papers to the Getty Research Institute, the GRI is expected to announce Thursday.

Tuchman held the LACMA position from 1964 to 1994 and was responsible for mounting pioneering shows and projects, including the lauded Art and Technology program, which championed emerging light and space artists such as Robert Irwin and James Turrell and paired artists with Southern California technology companies from 1966 to 1971.

The Detroit Institute of Arts board of directors today named Salvador Salort-Pons, an internationally respected curator, scholar and the museum’s executive director of collection strategies and information, as its director, president and CEO, effective October 15, 2015.

Salort-Pons has served as director of the museum’s European Art Department since 2011, adding the role of director of collection strategies and information in 2013. He also serves as the Elizabeth and Allan Shelden Curator of European Paintings at the DIA and has played a key role in the museum’s strategic planning process, approaching his work with the visitor-centered approach that is a key tenet of the DIA’s vision. He succeeds Graham W. J. Beal, who retired as director of the DIA on June 30.

The Metropolitan Museum of Art announced today that Barbara Drake Boehm will be the Paul and Jill Ruddock Senior Curator at the museum’s medieval-art annex, the Cloisters, where she is currently a curator. In this newly created position, Boehm will oversee plans for budgeting, museum strategy, and the collections, while still serving as a curator for shows at the Cloisters.

In the past, Boehm has worked on shows about enamels made in Limoges between the 12th and 14th centuries, Jeanne d’Évreux’s prayer book, and art made in Prague during the 14th and 15th centuries.

Eli Wilner & Company recently completed the restoration of an important period frame for the Cleveland Museum of Art. Curator Mark Cole approached Wilner with images of the period frame on Gilbert Stuart’s Portrait of Elizabeth Beltzhoover Mason, circa 1803-1805. The Wilner team identified the frame as an English or early American “Carlo Maratta” style frame, with an acanthus leaf-and-shield ornament applied in a simple cove. This frame style was popular in America in the 18th and early 19th centuries. It was determined that the frame was both appropriate to the painting and likely to be the original, as the museum’s records indicated that the frame had been with the painting for at least a century. Having established the quality and importance of the frame, it was decided that extensive restoration would be appropriate.

The Pérez Art Museum has picked Franklin Sirmans as its next director. He brings to the table fund-raising success, experience in four major U.S. markets (Los Angeles, New Orleans, New York, at MoMA PS1 and the Brooklyn Museum, and Houston), a curatorial focus on contemporary art—and even art journalism experience as the former U.S. editor of Flash Art and Editor-in-Chief of ArtAsiaPacific.

He may need that varied bag of tricks to draw focus to the Pérez Museum (in any month but December, when Art Basel Miami Beach descends on the city), to boost its profile and attendance within the crazily museum-rich town and to raise both operating funds and its good will with the locals.

Russia has blocked Sweden from borrowing Marc Chagall paintings for an upcoming exhibition of the artist's work, the Millesgarden Museum in Stockholm said Thursday, following a diplomatic dispute between the two countries.

Museum curator Onita Wass told AFP that the museum has been forced to cancel the exhibition of 48 works by French-Russian artist Chagall and several of his contemporaries. 

"We worked in cooperation with the State Russian Museum in St. Petersburg to put together an exhibition on Marc Chagall and the Russia of his time, but the culture ministry didn't permit us to borrow the works... forcing us to cancel the exhibition," said Wass.

Harold Koda, the curator in charge of the Costume Institute of the Metropolitan Museum of Art, has announced his retirement. WWD reported on Tuesday that he plans to enter retirement early next year. 

"If there's anything, my greatest acquisition has been getting Andrew Bolton from the [Victoria and Albert Museum] and putting together all of these incredible things that people don't see. But they are as important than the more visible aspects of our department," Koda told the trade publication. He, Bolton and their 30-person team are currently working hard on the institution's upcoming Jacqueline de Ribes exhibition.

New Britain Museum of American Art on Friday named a director to succeed Douglas Hyland. Min Jung Kim, who will join the museum on Nov. 2, is currently deputy director for external relations of the Eli and Edythe Broad Art Museum of Michigan State University in East Lansing.

Kim will be the sixth director of the 112-year-old museum. Hyland's last day will be Oct. 30, according to assistant curator Emily Misencik. He has been director of the museum for 16 years.

The reporters staked her out. The investigators said she conspired with crooked dealers. And her museum colleagues seemed content to watch her disappear, as if one of the world’s most powerful, respected and sought-after art historians deserved to be the only American curator brought to trial.

Ten years ago, Marion True, then curator of antiquities for the J. Paul Getty Museum in Los Angeles — the wealthiest museum in the world — was formally accused by the Italian government of taking part in a stolen-art ring. Within months, she would lose her job, her career and leave the country.

Pittsburgh’s Carnegie Museum of Art announced today that it has tapped Eric Crosby, the associate curator of visual arts at the Walker Art Center in Minneapolis, to be its new Richard Armstrong Curator of Modern and Contemporary Art. He starts in the new role in October.

Crosby had been at the Walker since 2009, where his curatorial credits included Liz Deschenes’s first solo museum outing and a rehang of part of the Walker’s permanent collection that focused on its extensive Fluxus holdings.