Max Hollein

Hollein repositioned the Schirn Kunsthalle Frankfurt nationally as well as internationally through a highly popular yet challenging exhibition programme from classical to contemporary art mounting up to ten major shows per year. The depth, quality and quantity of the programme has been accompanied by a significant increase in corporate funding. Among the highlights of the programme have been exhibitions such as “Shopping: A Century of Art and Consumer Culture”, “Henri Matisse: Drawing with Scissors”, “Yves Klein”, “The Naked Truth: Klimt, Schiele, Kokoschka and Other Scandals”, “Women Impressionists” and “Edvard Munch. The Modern Eye”. At the Schirn, his frequent collaborator was noted art historian Olivier Berggruen, and for many years now, the Schirn has been the most popular art institution in the Rhine-Main region.[6] In 2012 the Schirn had its best attended year so far with a total of 479,121 visitors.[7] Its online and digital outreach has been significantly advanced and the Schirn publishes its own wide reaching online magazine “Schirn Mag” since 2011.

At the Städel Museum, Max Hollein introduced a wide spectrum of new exhibition formats: from small “cabinet exhibitions” on such artists as Wilhelm Lehmbruck, Martin Kippenberger and others, to the “Constellations” series with works of contemporary art from the museum’s holdings. Under his direction, the Städel realised major exhibitions on the Old Masters, including “Cranach the Elder”, “The Master of Flémalle and Rogier van der Weyden” and “Botticelli” as well as significant retrospectives on modern masters such as Ernst Ludwig Kirchner and Max Beckmann. Under Max Hollein, special emphasis was also given to the development of the collection: between 2006 and 2012 more than 1,500 works were added to the collection. Among the most significant projects worthy of mention in this context was the major expansion of the Städel Museum completed in 2012 which doubled the institution’s gallery space and created a new wing for the presentation of art since 1945. Both the architecture as well as the significant collection development were hailed by the public and the media. More than 50 percent of the 52 million euro construction costs were raised through private sources in an unprecedented fundraising campaign. The Städel was honoured as “Museum of the Year 2012” by the German art critics association AICA in 2012.[8] In the same year, the museum recorded its highest ever attendance numbers, with 447,395 visitors.[7] The Städel significantly enlarged its activities and outreach through a major digital expansion on the occasion of its 200-year anniversary in 2015.[9]

Under Max Hollein’s directorship, the Liebieghaus Skulpturensammlung underwent the greatest reorganisation of its infrastructure since 1990. The various departments from Old Egypt and Antiquities, through Middle Ages, Renaissance, Baroque to Neoclassicism as well as the “studioli” on the top floor of the museum villa were newly installed under his tenure and reopened in 2008 with an entirely new colour and lighting concept. Funding for this major renovation came to a large extent from private and corporate sources. Exhibitions such as “Sahure – Death and Life of a Great Pharaoh”, “Gods in Colour ”, “Franz Xaver Messerschmidt” and “Jeff Koons: The Sculptor” were received with unprecedented success. In 2012 the Liebieghaus had 153,737 visitors, making it the best attended year in the history of the institution.[10]

Hollein assumed the role of Director and CEO of the Fine Arts Museums of San Francisco on 1 June 2016.[11][12] In this capacity, he managed an operating budget of $60 million and over 500 employees.[3]

Since his appointment Hollein has instituted a major restructuring of the museum organization and has added the institution's first contemporary curator; Claudia Schmuckli.[13] Hollein has successfully launched a contemporary art initiative, bringing the work of living artists into dialogue with the buildings and collections of the de Young Museum and Legion of Honor, with exhibitions by Urs Fischer and Sarah Lucas at the Legion of Honor and Carsten Nicolai and Leonardo Drew at the de Young museum.[14] In January 2017, the institution announced a significant new addition to its collection of American art through the acquisition of 62 works by 22 contemporary African American artists, including Thornton Dial's Blood And Meat: Survival For the World (1992) and Lost Cows (2000–1), Joe Light's Dawn (1988), Jessie T. Pettway's Bars and String-Pierced Columns (1950's), Lonnie Holley's Him and Her Hold the Root (1994) and Joe Minter's Camel at the Watering Hole (1995).[15] Since his appointment he has opened several critically acclaimed exhibitions, including The Brothers Le Nain: Painters of Seventeenth Century France,[16] Frank Stella: A Retrospective,[17] Danny Lyon: Message to the Future,[18] Monet: The Earl Years[19] and Stuart Davis: In Full Swing.[20] The Summer of Love Experience: Art, Fashion, and Rock & Roll marked the end of his first year in tenure. The exhibition celebrated the 50th anniversary of the Summer of Love.[21] Over its 19-week run, it drew almost 270,000 visitors and 400.000 online visits from around the world, making the exhibition[22] the highest attendance in recent years.

According to Vogue magazine, Hollein was the Chairman of the international Bizot group of Museum directors.[23] In 2002, the Bizot Society stated its objectives in apublic statement titled, "The Declaration on the Importance and Value of Universal Museums".[23]

In April 2018, the Metropolitan Museum of Art announced that Hollein will become its 10th director.[3] He succeeded in a selection process whose finalists included Adam D. Weinberg, Julián Zugazagoitia, Emilie Gordenker, Timothy Rub, and Taco Dibbits.[3] In his new role, Hollein will report to Daniel H. Weiss, the president and chief executive of the Met.[3] His appointment was supported by many in the art world;[24][25][26] and criticized in three newspapers, The Guardian,[27] The New York Times[28] and The Observer[29] for being the 10th white man appointed to the position at the Met, suggesting the institution's lack of diversity.

Hollein shared his vision for the present and future role of encyclopedic museums, and outlined that he aims for The Met’s galleries and programming to present a range of perspectives on history and examine the intersection of cultures, rather than offer a singular, linear narrative.[30] Hollein has also engaged in broader cultural debates as The Met’s Director, including penning an essay about the Museum’s leadership responsibilities in upholding the policies and practices for the acquisition of art and archaeological materials, and protecting cultural heritage around the globe.[31]

Early in his tenure, Hollein said he would focus on further injecting modern and contemporary art into The Met’s main Fifth Avenue building.[32] He announced a comprehensive program to that effect, including site-specific commissions from contemporary artists Wangechi Mutu and Kent Monkman, as well as the debut presentation of a new video installation by contemporary artist Ragnar Kjartansson.[33] The Museum also announced plans for a $70 million renovation of its galleries for the arts of Africa, Oceania, and the Americas,[34] as well as progress on previously announced plans to remodel its Modern Wing.[35] In July 2019, the Museum reported that it had over 7 million visitors for a third year in a row.[36]

• Deutsche Bank, Member of the Advisory Board (2006–2012)[37][38]

• State Hermitage Museum in Saint Petersburg, Member of the International Advisory Board[39]
• Hall Art Foundation, Member of the Advisory Board[40]
• İstanbul Modern, Member of the Advisory Board[41]
• Nomura Art Award, Member of the Jury[42]
• University of Applied Arts Vienna, Member of the International Advisory Board[43]
• University of Art and Design Offenbach am Main, Member of the Advisory Board[44]
• Arts Sponsorship Award of the Association of Arts and Culture of the German Economy, Member of the Jury[45]