Sinéad Vilbar has been appointed curator of Japanese and Korean art at the Cleveland Museum of Art. Vilbar is currently assistant curator in the department of Asian art at the Metropolitan Museum of Art, where she has worked since 2008. She succeeds Seunghye Sun, who held the post for one year before returning to Korea, reports Steven Litt of the Plain Dealer. Said Vilbar: “It’s very exciting for me. Cleveland has a super collection. In my area of specialization, which is Buddhist art, the collection is tremendous.”
Dieter Fenkart-Froeschl has been named chief operating officer of the San Diego Museum of Art, reports James Chute of U-T San Diego. Fenkart-Froeschl previously acted as director of the division of institutional advancement at the American Museum of Natural History. He replaces Reed Vickerman, who left the museum to assume the position of chief operating officer at nonprofit Everyone Counts. Said director Roxana Velásquez: “Dieter was far and away the most exceptional choice. The museum is experiencing significant growth with increased staff and expanded exhibitions, programming, and events. Dieter’s career focus and success managing not-for-profit organizations make him a critical addition to our executive team and to the continued growth of the institution.”
The Museum of Contemporary Art Detroit has received $50,000 from the GM Foundation. The gift is intended to fund new art education programs in the area for middle and high school students. Said museum director Elysia Borowy-Reeder: “Our new youth programs are designed to inspire and empower teens while providing an exciting introduction to creative careers. We thank the GM Foundation for this generous grant and for making contemporary art and design more accessible to middle and high school students in metro Detroit.” In the last three years, the GM foundation has given more than $23.2 million to Detroit-based cultural institutions and nonprofits.
3rd Ward, the art, design, and educational workspace with sites in Brooklyn and Philadelphia, will close, reports Melena Ryzik of the New York Times. The company’s management and board were not able to negotiate with investors to raise $1.5 million needed for the operating costs for both spaces. According to coowner Jason Goodman, the expansion to the Philadelphia outpost was a necessary measure, but ultimately contributed to the financial troubles of the business. A crowd-sourced investment campaign only garnered $375,000 of the required sum to keep the workspace's doors open. Launched in 2006, 3rd Ward had envisioned creating a space where a community of artists and entrepreneurs could meet and work.
The Museum of Modern Art, New York, has announced the appointment of Roxana Marcoci as its senior curator of the museum’s department of photography. Marcoci joined the museum in 1999 as an assistant to the department of painting and sculpture. In 2003, she was appointed assistant curator to the museum’s department of photography, subsequently being promoted in 2007 as curator. Marcoci during her fourteen years at the institution has organized various exhibitions, including “Thomas Demand,” 2005, “Take your time: Olafur Eliasson,” 2008 (which she cocurated with Klaus Biesenbach), “The Original Copy: Photography of Sculpture, 1839 to Today,” 2010, “The Shaping of New Visions: Photography, Film, Photobook,” 2012, and most recently “New Photography 2013,” 2013-14. Marcoci also currently chairs MoMA’s Modern Women's Fund committee and the Central and Eastern European group of the Contemporary and Modern Art Perspectives in a Global Age (C-MAP) program at the museum.
The Tate, London, has announced the appointment of Kerstin Mogull as its managing director. Previously the chief operating officer at BBC Future Media and Technology, Mogull is currently the director of strategy at Clear Channel International. Her experiences include planning online initiatives and establishing global partnerships through the use of new digital technologies. Mogull was selected through an open competition led by a panel of Tate trustees headed by Lord Browne. She begins her new post in January 2014, filling a role previously occupied by Alex Beard, who went on to work as CEO of the Royal Opera House. Tate director Nicholas Serota said of Mogull’s appointment: “Kerstin’s experience in developing policy at a major public broadcaster, coupled with her knowledge of developing media, will bring new strengths to Tate as we move further into the digital age. I am delighted that she has chosen to return to the public sector and am very much looking forward to working with her as part of a strong senior team at Tate.”
The curatorial panel for the 2013 Sobey Art Award has announced that Ontario-based artist Duane Linklater has won its annual prize. The $50,000 award, which is funded by Canada’s Sobey Art Foundation, is given to an artist below the age of forty who has exhibited in a public or commercial art gallery within eighteen months of being nominated. This year’s nominees also included artists Tamara Henderson, Pascal Grandmaison, Mark Clintberg, and Isabelle Pauwels. Linklater received his BA from the University of Alberta and his MFA from the Milton Avery Graduate School of Arts at Bard College, Annandale-on-Hudson. His work includes video, film installation, performance, and sculpture, and has been exhibited in Vancouver, Alberta, Toronto, Chicago, and New York.
The Robert Rauschenberg Foundation has awarded sixteen arts organizations at the start-up level with its second round of SEED grantsunrestricted funds for operating that enable recipients to build programming to ensure growth. Each award winner has been selected through an anonymous nomination process in partnership with local cultural leaders, and each will receive thirty thousand dollars over three years. Winners range from Sugar City in Buffalo, New Yorkan organization seeking to promote an alternative arts community through regional eventsto Cattle Track Arts and Preservation in Phoenix, Arizonaa desert-based community of artists who live and work together. Said executive director of the foundation Christy MacLear: “Young institutions have a whole host of hurdles to clear simply to begin the process of raising money. We hope to reach promising start-ups earlier than that, both to acknowledge their initial accomplishments and to ensure their longevity.” For a full list of winners, click here.
Canada’s minister of foreign affairs, Lynne Yelich, has hailed the release of filmmaker John Greyson from an Egyptian prison with a statement released on a government website Saturday night, according to Radio-Canada. “Canada applauds the decision to free Tarek Loubani and John Greyson,” wrote the minister. “I rejoice at the prospect of seeing Loubani and Greyson reuniting with their families and friends, who have all shown much courage throughout this ordeal.”
Yelich also expressed “gratitude” to Egyptian authorities and commended them for allowing “regular consular access” to both Canadians while they were detained. As artforum.com reported earlier this month, Greyson and Loubani were detained by Egyptian police, who accused them of being members of the Muslim Brotherhood. Their reports on the conditions of their detention can be found here.
When news broke last year that Berlin’s Gemäldegalerie intended to remove its collection of works by old masters to make way for twentieth-century art, the decision provoked public outcry; ultimately, the Prussian Cultural Heritage Foundation changed course, announcing plans instead to house the newer artworks in an edifice that would be added to the group of buildings making up the Kulturforum. Now, Hermann Parzinger, the foundation’s head, has penned a column in the Frankfurter Allgemeine Zeitung laying out some of his thoughts on the new building, which he says is necessary due to both urban-planning and financial considerations.
In his article, Parzinger expresses discomfort with the current plans, noting that “Museum Island is unfinished as a place of artistic and cultural development” and that the original plan to move the Gemäldegalerie’s collection to Museum Island would have brought it into close proximity with other significant collections, uniting painting and sculpture. Yet, given the necessity for a new building, Parzinger insists that the museum’s location be thoroughly considered, noting that “every new construction project at the Kulturforum will be inevitably and fatefully linked to its [possible role as a] solution to the site’s urban problems.” Calling the Kulturforum an area full of “unfinished visions, rejected plans, and failed solutions,” Parzinger says that a well-planned new museum could bring hope to the site, acting as a corrective to “previous planning errors.” He argues for the new building to be constructed on Sigismund Street, due to its proximity to the Mies Van Der Rohe–designed Neue Nationalgalerie.
Will balloon dogs be next for Moscow’s Jewish Museum? According to the Art Newspaper’s Sophia Kishkovsky, the museum—which occupies the space that formerly housed Dasha Zhukova’s Garage Center for Contemporary Culture—has decided to include contemporary art in its programming, as part of “a bid to broaden its audience.” Alexander Boroda, the president of the Federation of Jewish Communities of Russia (which oversees the Jewish Museum) hopes that contemporary art will draw in younger viewers in particular.
While he did not disclose details about future shows, Boroda did note that its contemporary exhibitions would not be limited to Jewish themes, but would have a philosophical bent. “We see that [contemporary art] is very much in demand, and we also want to be in demand in those spheres that are interesting to contemporary people,” he said, but distanced the museum’s new focus from Zhukova’s project, adding, “The Garage Center for Contemporary Culture has moved, and their entire ideology has moved as well.” The museum’s first contemporary-art show, “Foreigners Everywhere,” includes works by Marina Abramović and Ulay, Joseph Beuys, and Taryn Simon. The exhibition is open until November 4.