Center for Curatorial Leadership Class of 2010By STAN PARCHIN
October 20, 2009
New York's
Center for Curatorial Leadership (CCL), a non-profit organization dedicated to the rigorous training of prominent art museum professionals in the United States, announced the names of 12 outstanding participants who comprise its Class of 2010. The fellows are:
| Christophe Cherix, Curator, Department of Prints and Illustrated Books, Museum of Modern Art, New York; |
| Deborah Cullen, Director of Curatorial Programs, El Museo del Barrio, New York; |
| Malcolm Daniel, Curator in Charge, Department of Photographs, The Metropolitan Museum of Art, New York; |
| Kristina van Dyck, Associate Curator for Collections and Research, Menil Collection, Houston; |
| Kathleen Forde, Curator of Time-based Visual Arts, Experimental Media and Performing Arts Center, Troy, New York; |
| Alison de Lima Greene, Curator, Contemporary Art & Special Projects, Museum of Fine Arts, Houston; |
| Frederick Ilchman, Mrs. Russell W. Baker Curator of Paintings, Museum of Fine Arts, Boston; |
| Chiyo Ishikawa, Deputy Director for Art & Curator of European Paintings and Sculpture, Seattle Art Museum; |
| Alisa LaGamma, Curator, Department of the Arts of Africa, Oceania, and the Americas, The Metropolitan Museum of Art; |
| Lisa E. Rotondo-McCord, Assistant Director for Art & Curator of Asian Art, New Orleans Museum of Art; |
| Trevor Schoonmaker, Curator of Contemporary Art, Nasher Museum at Duke University; and |
| Stephan Wolohojian, Landon and Lavinia Clay Curator and Department Head, Department of Paintings, Sculpture and Decorative Arts, Harvard Art Museum (Fogg). |
Graduates include Gary Tinterow, Curator in Charge of Nineteenth-century, Modern and Contemporary Art at The Metropolitan Museum of Art, and Kevin Salatino, Curator and Department Head, Prints and Drawings at the Los Angeles County Museum of Art.
Center for Curatorial Leadership
The Center for Curatorial Leadership's formation was announced on June 29, 2007 by Agnes Gund, President Emerita of the Museum of Modern Art, New York, and Elizabeth Easton, the former Chair of the Department of European Painting at the Brooklyn Museum. Philippe de Montebello, Director Emeritus of The Metropolitan Museum of Art, and other American museum directors endorsed the CCL's program from its inception. The organization's activities are supported financially by contributions from Agnes Gund, Eugene Thaw and the Matisse Foundation.
Curatorial Curriculum
Each student is mentored for the entire six-month fellowship.
Instruction, fully funded by the CCL, is provided by the faculty of Columbia University's Graduate School of Business as well as accomplished museum directors, administrators and trustees from around the United States.
The MBA-level curriculum commences on January 4, 2010 with a two-week series of intensive mini-courses devoted to non-profit management, finance, fundraising, board development, long-range and short-term planning, cultural properties law and other pertinent subjects. The Spring curriculum entails a one-week residency in a museum other than the one that employs the fellow. A final week of study occurs in June.
Museum directors, curators and trustees conduct executive leadership seminars throughout the semester. Successful completion of the Center for Curatorial Leadership's program, designed to enhance curators' ability to compete successfully for future museum directorships, leads to a professional certificate.
Since 2008, two CCL fellows were named art museum directors, four were promoted to deputy-director or associate director rank, two were promoted to chief curator and three others attained more senior positions.
Gail Harrity New President at Philadelphia Museum of Art
By STAN PARCHIN
October 19, 2009
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Gail Harrity, President and Chief Operating Officer of the Philadelphia Museum of Art. Photograph by the Philadelphia Museum of Art. |
The
Philadelphia Museum of Art announced today the appointment of Gail Harrity as its President and Chief Operating Officer, effective immediately. Ms. Harrity, the PMA's Chief Operating Officer since 1997, served as Interim Chief Executive Officer during the past 15 months while the museum's Board of Trustees searched for a successor to the late Anne d'Harnoncourt as Director.
EducationGail Harrity received her B.A. from Boston University (1973) and her M.B.A. in Public and Private Management from the Yale School of Management (1982). She was the recipient of an Eisenhower Fellowship (2002) and the program's first participant to go to China.
ExperienceHarrity worked at New York's Metropolitan Museum of Art from 1982 to 1989, where she served as Assistant Treasurer and Chief of Budget, Planning and Government. Before coming to the PMA, she was the Solomon R. Guggenheim Museum's Deputy Director for Finance and Administration, Deputy Director and Project Director for the Fifth Avenue institution's satellite in Bilbao, Spain.
At the Philadelphia Museum of Art, Harrity currently oversees finance, marketing, communications, external relations, facilities management, membership and development. Among her recent contributions are the development of a single database of the PMA's collection and the upgrade of its Web site.
Iran Says British Museum Refuses to Lend Cyrus Cylinder
By STAN PARCHIN
October 15, 2009
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| Babylonian. Cyrus Cylinder (ca. 539 B.C.). Clay. L. 22.86 cm (9 in.); Th. 10.0 cm (3.9 in.). © The Trustees of the British Museum. |
Iran threatened on October 12, 2009 to cease all cooperation with the United Kingdom's archaeological endeavors and special exhibitions in two months if the British Museum does not lend the Islamic nation the Cyrus Cylinder (ca. 539 B.C.), a Babylonian artifact of Persian historical importance, for public display.
The British Museum promised to loan the Cyrus Cylinder to Tehran after its appearance in Forgotten Empire: The World of Ancient Persia (September 9, 2005-January 8, 2006), a popular presentation of 321 antiquities (many from the National Museum of Iran) also seen at the CaixaForum in Barcelona, Spain (March 8-June 11, 2006). According to the arrangement, the object was to be exhibited in Iran after its inclusion in the museum's show Babylon: Myth and Reality (November 13, 2008-March 15, 2009) and the artifact's temporary installation in the institution's new Iranian art gallery.
Hamid Baqaei, vice president in charge of Iran’s Cultural Heritage, Handicrafts and Tourism Organization, said, "The ancient cylinder was scheduled to be lent in September but the director of the British Museum refused to do so, citing Iran’s post-election political state." The British Museum, referring to its standard policy, reaffirmed its commitment to lending the artifact when it's assured that Iran's domestic situation is suitable for the object to be displayed there. Discussions about the loan's timing began only recently.
The Cyrus Cylinder
The clay Cyrus Cylinder, buried in the foundations of Babylon's city wall, was discovered in 1879. Its cuneiform inscription tells of Babylon's conquest in 539 B.C. by Cyrus II (559-530 B.C.), the Achaemenid founder of the Persian Empire. According to its text, Cyrus, chosen by Marduk, the city's patron god, captured Nabonidus (555-539 B.C.), Babylon's last king. Under the Persian monarch's rule, Babylon's traditional deities, their temples and cults were restored and deported peoples and their gods were allowed to return to their homelands. Cyrus' measure of religious toleration was a distinct departure from the policies of earlier Assyrian and Babylonian rulers.
Sources
Curtis, John E. and Nigel Tallis (eds.), et al. Forgotten Empire: The World of Ancient Persia (exh. cat.). Berkeley and Los Angeles: University of California Press, 2005, 59.
Finkel, I.L. and M.J. Seymour (eds.), et al. Babylon: Myth and Reality (exh. cat.). London: The British Museum Press, 2008., 171-172.