Curator, writer, and critic Brooke Hodge will join the Smithsonian’s Cooper-Hewitt, National Design Museum as deputy director, a post that has been vacant since Caroline Baumann stepped up from that role in 2012 to serve as acting director following the death of Bill Moggridge. Baumann was named director of the museum last June. Hodge, who been director of exhibitions and publications at the Hammer Museum in Los Angeles since 2010, will begin her new position on July 16 as the Cooper-Hewitt continues the countdown to its reopening after an epic renovation that will expand exhibition space by more than 60%. “I’ve known and admired Brooke since her involvement [as a guest curator] with the 2006 Triennial at Cooper-Hewitt, and I’m thrilled she is joining us at this critical juncture,” said Baumann in a statement released today. “Brooke will be diving into preparations for our opening later this fall, while partnering with me and museum teams on the exciting, future plans for the nation’s design museum.”
The Revolving Door
Amsterdam’s Stedelijk Museum, currently home to exhibitions of the work of Marcel Wanders and Jeff Wall (and book your flights now for September when the Marlene Dumas retrospective will occupy a circuit of 15 rooms), has found a new director in Beatrix Ruf (pictured), the current director of the Kunsthalle Zürich. She succeeds Ann Goldstein, who was artistic director at the Stedelijk for the past four years, and will jointly lead the museum with managing director Karin van Gilst. Ruf will start her involvement with the museum immediately and take up her new role on a full-time basis in November.
As director of the Kunsthalle Zürich since 2001, Ruf initiated and oversaw the completion of an extensive reconstruction and expansion, commissioned numerous installations, and initiated projects such as the survey exhibitions of Yang Fudong and Ian Wallace, among others. In 2006, she was the curator of the successful third edition of the Tate Triennial in London. “I feel very honored, and am very moved, to be entrusted with the opportunity to be director of the Stedelijk Museum and to lead its extraordinary exhibition history and its collection into the future, together with the entire Stedelijk team,” said Ruff in a statement announcing her appointment. “Its courageous and outstanding contemporary—as well as art historical—exhibitions and world-class collection of modern and contemporary art and design were always a beacon and example in my own professional thinking and in numerous discussions with artists and colleagues. The Stedelijk Museum is a museum that shows us how to live in the present and how the future can be built on tradition.”
Judith Dolkart Named Director of Addison Gallery of American Art; Drawing Center Appoints Executive Editor
Spring has—finally, allegedly—sprung in the land of polar vortices and cultural institutions are in the mood for hiring. The Addison Gallery of American Art, located on the Andover, Massachusetts campus of Phillips Academy, has found its new director in Judith Dolkart (pictured), who currently serves as deputy director of art and archival collections and chief curator at the Barnes Foundation in Philadelphia. She’ll begin in her new role at Andover in July, succeeding Brian Allen, who last summer joined the New-York Historical Society as vice president and museum director.
Also making a move is New York-based arts writer and editor Margaret Sundell. The Drawing Center has appointed her to the post of executive editor of the Drawing Papers. Her duties will include “recruiting writers, commissioning essays, editing the Drawing Papers, and maintaining the highest standards for all published institutional texts,” according to a statement released yesterday by the Soho institution.
Your Sunday is about to get a lot less visually stimulating: Arem Duplessis has decided to leave his post as design director of The New York Times Magazine [muffled sobbing]. Come February, he’ll begin his new position as a creative director at Apple, where he’ll lend his creative genius to the internal marketing team. Word of the move follows the recent announcement that Facebook has tapped Apple advertising veteran Scott Trattner to serve as its executive creative director. We asked Duplessis a few questions as he prepares to relocate to the promised land of Cupertino.
Why is it the right time for you to make this move?
I’ve been at The New York Times Magazine for almost ten years. I have worked with some of the smartest people on the planet and it’s been one of the most rewarding experiences of my life. I feel very fortunate to have been able to experience such a great gig. With that said, it’s time for a new chapter and a new challenge.
What will you miss most about working at The New York Times Magazine?
Without question the people. I have made so many great friends over the years and I will miss them dearly.
Bonus question: What’s the best gift you received this holiday season?
Hearing my son proclaim “THIS IS THE BEST CHRISTMAS EVER!” No way to beat that, right?
Last fall, Silicon Valley powerhouse Kleiner Perkins Caufield & Byers launched a number of initiatives to attract and develop design talent, and now they’ve recruited the ultimate design mind: John Maeda. The computer scientist, artist, author, designer, and overall shape shifter announced this week that he will leave his post as president of the Rhode Island School of Design at the end of the fall semester to become design partner at KPCB.
In his new role, Maeda will help KPCB’s entrepreneurs build design into their company cultures; he will also chair the eBay Design Advisory Board, working with the company to evolve design capabilities. “The courage, inspiration and rigor that RISD students show in their work and their choices to lead—why we say that RISD is the Reason I’m Sleep Deprived—is what inspired me to seize these opportunities,” Maeda notes in the video farewell (below) he sent earlier this week to the RISD community. “I am passionate about revealing art and design’s role in innovation, and this next step represented irresistible pathways to strengthen design’s place in the digital age.”
The Keith Haring Foundation is continuing its support of New York’s New Museum, pledging $500,000 to support and name the museum’s school, teen, and family programs. The gift follows the foundation’s 2008 grant of $1 million to establish a fund for school and youth programs at the New Museum and to name the Keith Haring Director and Curator of Education and Public Engagement—a post currently held by Johanna Burton.
In other New Museum news, #ArtsTech Meetup founder Julia Kaganskiy has been named director of the institution’s new incubator for art, technology, and design. The initiative, slated to launch in summer 2014 in the building adjacent to the museum, will be a educational and professional workspace: “a dynamic 24/7 center where creative start-up entrepreneurs and artists will form a vibrant interdisciplinary community geared toward collaboration and innovation.”
Craft theorist and historian Glenn Adamson has been tapped to direct the Museum of Arts and Design in New York. He comes to MAD (beginning October 15) from London’s Victoria and Albert Museum, where he serves as Head of Research, a role that has encompassed initiating and shaping major exhibitions (he co-curated the V&A’s recent Postmodernism show), managing partnerships with museums and universities, and leading academic fundraising, among other responsibilities. Adamson succeeds Holly Hotchner, who stepped down at the end of April.
It’s a pivotal moment for MAD. In addition to a directorial changing of the guard, chief curator and VP of collections David Revere McFadden will retire from his position at the end of 2013, capping off a 16-year tenure at the museum. Meanwhile, plans are well underway for next year’s fifth anniversary celebration (can it be that long since MAD moved into its quirky Columbus Circle home?), which will include “Inspired,” an exhibition showcasing works that have joined the museum’s collection since the opening of its new building in 2008.
As those charming French robots have been reminding us lately, “We’ve come too far to give up who we are / So let’s raise the bar and our cups to the stars”—and our professional sights to the most shopping-obsessed corner of Planet Conde Nast. That would be Lucky, where newly installed editor-in-chief and “nail art” aficionado Eva Chen is all about a $250 holographic leather baseball cap for fall.
Whether you’re up all night to get some or just for good fun, the hunt is on for an art and photo intern who gets Lucky. The magazine about shopping is in the market for “a junior or senior at a U.S. college or university majoring in graphic design, photography, or studio art, with an interest in multimedia, fashion, current editorial and historical photography, and with strong communication and interpersonal skills.”
Dealer-turned-director Jeffrey Deitch is poised to part ways with the Los Angeles Museum of Contemporary Art, the Los Angeles Times reports. He is expected to step down with just under two years left in his five-year contract. “One person, who was not authorized to speak publicly, said that Deitch was ‘choosing to step down,’” wrote Mike Boehm in an article published today. “Another person who has spoken to Deitch said that MOCA is expected to announce Deitch’s exit along with the news that the museum is nearing completion of a fundraising campaign it announced in March to boost its endowment from about $20 million to $100 million.” Stay tuned for the press release, which is reportedly due following a MOCA board meeting scheduled for tomorrow. And L.A.’s loss may be New York’s (re)gain. B.L.A.T.C. reports that Deitch is already on the hunt for an apartment and a gallery space on the Upper East Side.
The bubbling vat of creative talent at Wired magazine has yielded a new design director for Fortune. Tim Leong will join the Time Inc. title on August 5. He was previously director of digital design at Wired and is also a newly published author: Leong’s Super Graphic: A Visual Guide to the Comic Book Universe is out today from Chronicle Books.
“He is a multi-talented guy who worked on all aspects of the Wired brand with an emphasis his last two years on the digital extensions, including all tablet editions, coordinating motion and programming, e-books, e-features, as well as working directly with the website,” wrote Fortune creative director (and fellow Wired veteran) Brandon Cavulla in an e-mail sent today. “Tim was also a part of Wired‘s conferences, working with me on motion graphics/film and overall identity.” He succeeds Emily Kehe, who left Fortune in December and is now creative director at People StyleWatch.
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