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After 14 years running the Frick Collection, during which this art museum finally realized a controversial expansion of its Gilded Age mansion on Fifth Avenue \u2014 and temporarily took up residence in the modernist Breuer building on Madison Avenue \u2014 its director, Ian Wardropper<\/a>, said he would retire next year.<\/p>\n \u201cMy goal is to leave the institution in good shape programmatically and financially and that will be the case,\u201d Wardropper, 72, said in a telephone interview. \u201cI\u2019m hoping I can turn it over to somebody with fresh ideas.\u201d<\/p>\n The announcement is the latest in a series of significant resignations by long-serving leaders of major museums, including the Guggenheim<\/a>, the Philadelphia Museum of Art<\/a>, the San Francisco Museum of Modern Art<\/a> and the Whitney Museum of American Art<\/a>. In addition, the contract of Glenn D. Lowry, the longtime director of MoMA, expires next year<\/a>.<\/p>\n Such leadership transitions have presented cultural institutions with the opportunity \u2014 or even mandate \u2014 for a reset, particularly at a time that the job description has become increasingly complex<\/a> and concerns about diversity have grown more urgent.<\/p>\n<\/div>\n<\/div>\n The Frick is especially associated with the past, given its historic collection of old masters such as Bellini, Rembrandt, Vermeer and Hals, as well as its location in the 1914 landmark former residence of the industrialist Henry Clay Frick, designed by Carr\u00e8re and Hastings. <\/p>\n<\/div>\n<\/div>\n While many museums have adjusted their programs in response to the last decade\u2019s intense demand for contemporary art, the Frick under Wardropper has steadfastly adhered to its founding principles to focus on masterworks from the Renaissance through the early 20th century.<\/p>\n Only recently in its temporary home, the former Whitney Museum, has the Frick seemed to loosen its tie, displaying<\/a> its Turners, Sargents and Fragonards alongside an exhibition devoted to the Black painter Barkley L. Hendricks<\/a> (1945\u20132017), the first artist of color to have a solo show at the museum since it was founded in 1935.<\/p>\n The museum also recently presented \u201cLiving Histories: Queer Views and Old Masters<\/a>\u201d with four contemporary artists \u2014 Doron Langberg, Salman Toor, Jenna Gribbon and Toyin Ojih Odutola \u2014 offering works that deal with issues of gender and queer identity, narratives formerly excluded in a museum focusing on European art.<\/p>\n<\/div>\n<\/div>\n \u201cI had to talk some of the trustees through that, as it went further afield from what they thought of as being the Frick,\u201d Wardropper said of the show. \u201cBut it brought new audiences and new programs around it, opening people\u2019s ideas about what the Frick could be.\u201d<\/p>\n<\/div>\n<\/div>\n Max Hollein, the director of the Metropolitan Museum of Art, said Wardropper had demonstrated \u201cdiplomatic qualities\u201d in moving the Frick into the present while honoring the past. \u201cHe opened up a dialogue with contemporary thinkers and cultural figures,\u201d Hollein said. \u201cThe Frick could be perceived as a very static collection. I think Ian changed that.\u201d<\/p>\n The Frick\u2019s renovation aims to update the museum\u2019s visitor experience by improving circulation, amenities, infrastructure and wheelchair accessibility \u2014 trying to meet the needs of modern audiences without compromising the building\u2019s jewel-box quality. It also opens up the restored second-floor living quarters of Frick and his wife, Adelaide Howard Childs Frick, formerly used for museum offices and off limits to the public.<\/p>\n Average attendance before the pandemic was between 285,000 and 300,000 per year. The museum\u2019s annual operating budget of about $30 million is expected to increase only slightly in the expanded building.<\/p>\n As to whether the Frick should and will be doing more Hendricks-type shows, Wardropper said the museum would continue to seek \u201ca balance.\u201d<\/p>\n<\/div>\n<\/div>\n \u201cWe\u2019re not a contemporary art institution and we\u2019re in a city that is filled with them,\u201d he said. \u201cWhere we can make a difference is an intersection with contemporary art that makes sense and not lose our mandate, which is to continue to try to get a younger audience interested in older art.\u201d<\/p>\n \u201cI think we have to show younger people in particular that if they pay attention and go deep,\u201d he added, \u201dthey really can surface with something interesting.\u201d<\/p>\n<\/div>\n<\/div>\n The Frick was repeatedly thwarted in its previous expansion efforts and Wardropper clearly carries some battle scars. <\/span>In the face of vehement protests, <\/span>the museum\u2019s renovation attempts failed in 2014 and 2015 before the proposal by Selldorf Architects was finally approved in 2018<\/a>.<\/p>\n Preservationists, designers, critics<\/a> and architects opposed the Frick\u2019s effort to eliminate its tranquil garden on East 70th Street, designed by the British landscape architect Russell Page, and worried about losing the museum\u2019s intimate scale. Protesters included members of the New York City Landmarks Preservation Commission<\/a>, along with a coalition, Unite to Save the Frick<\/a>.<\/p>\n<\/div>\n<\/div>\n \u201cGardens are works of art,\u201d Robert A.M. Stern, the dean of the Yale School of Architecture, said at the time. \u201cThis one is in perfect condition by Russell Page, one of the pre-eminent garden designers of the 20th century, and it should be respected as such. It\u2019s as important as a tapestry or even a painting, and I think the museum is obliged to recognize its importance.\u201d<\/p>\n They also objected to the museum\u2019s transformation of its music room<\/a> into a special exhibitions gallery. The music room, which will be used for performances and talks, has moved underground. But Wardropper said he bears no ill will and is pleased with the outcome. \u201cThe only thing we did not get was a loading dock,\u201d he said.<\/p>\n \u201cI can\u2019t afford to hold grudges and remain unhappy \u2014 I\u2019ve had to just keep moving forward,\u201d he said. \u201cI felt pretty beaten up a few years ago, but it makes it all the more satisfying to see that we\u2019re getting to the end. There are still a few neighbors who are not completely happy, but I think most people have come around to understanding that the Frick needs this.\u201d<\/p>\n Under the current plan, by Annabelle Selldorf<\/a>, the Frick is restoring the garden to honor Page\u2019s original vision, in consultation with Lynden B. Miller, a garden designer and preservationist. Rather than build over the garden, as previously planned, the Frick has built beneath it. And through a new connector, the public will now be able to go from the museum to the art reference library without going outside.<\/p>\n<\/div>\n<\/div>\n The new Frick, scheduled to open late this year, also includes a new education center, small cafe and expanded museum shop. (The Frick\u2019s admission restriction to children age 10 and up will remain in place.)<\/p>\n<\/div>\n<\/div>\n As for what\u2019s next, Wardropper said he is working on two books, one with Selldorf about the renovation, and another about Frick and his daughter Helen as collectors. \u201cI\u2019m looking forward to taking a breather,\u201d he said.<\/p>\n While the board will conduct an international search for his successor, Wardropper said it would be great if that person came \u201cfrom within\u201d and that he hoped that Xavier F. Salomon,<\/a> the deputy director and chief curator, \u201cwill be one of the candidates.\u201d<\/p>\n With a Ph.D. in art history from New York University, Wardropper previously spent a decade at the Metropolitan Museum of Art, ending his tenure there as the chairman of European sculpture and decorative arts. For 20 years before that, he worked at the Art Institute of Chicago, where he served as the curator of European decorative arts, sculpture, and ancient art.<\/p>\n During his tenure at the Frick, Wardropper has overseen a $290 million capital campaign for the renovation, about 83 percent of which \u2014 $242 million \u2014 has been raised so far.<\/p>\n He also increased the board of trustees to 24 from 18 (there are three Frick descendants and one emerita), and developed the droll series \u201cCocktails with a Curator<\/a>\u201d for YouTube \u2014 during the pandemic that paired a crash-course discussion of a work of art in the collection with a drink related to the era. (It became a book and an international hit with many who had never before been to the museum.)<\/p>\n<\/div>\n<\/div>\n The Frick\u2019s partnership with the Ghetto Film School<\/a>, now in its eighth year, connects young filmmakers with the museum\u2019s collection.<\/p>\n With the building project not yet completed, Wardropper still has work to do, namely moving the art and staff back into its original home as well as raising money for exhibitions through 2027. \u201cIt\u2019s going to be a very intense year,\u201d he said. <\/p>\n But the director also said he feels positive about how the museum continues to become more open and accessible to a broader population of visitors.<\/p>\n \u201cThe Frick has been this ivory tower with the key thrown away in many people\u2019s minds,\u201d he said. \u201cI think we unlocked it.\u201d<\/p>\n<\/div>\n<\/div>\n