Hasta La Ideas

I’ve got no strings. Maurizio Cattelan’s “Daddy Daddy” (2008), which sold for $2.5 million this evening at Phillips de Pury in New York.

• Congratulations are in order for Michael Silverberg, who has been named editor-in-chief of Print. In addition to the magazine, he’ll direct content for the regional design annual competition, Imprint, and Print Books. Silverberg previously served as managing editor of Print.

• Entertainment Weekly is getting a new design director: Kory Kennedy. He’s held the same role at Runner’s World for the past six years and previously worked his design magic for publications such as Spin, Rolling Stone, Interview, and Sports Illustrated. Kennedy starts at EW on May 30.

• The juries have spoken, and on Tuesday evening, the Art Directors Club celebrated the winners of its 91st annual awards at a cocktail-laden gala in New York emceed by John Boiler of 72andSunny. Pulling off the elusive three-peat were a couple of hometown favorites, The New York Times Magazine and the School of Visual Arts, which won the cumulative awards honor in their respective categories (ADC Design Team of the Year and ADC School of the Year) for the third year in a row. Click here for the full listing of winners or better yet, stop by the ADC 91st Annual Awards Exhibition, which opened today at the ADC Gallery and is on view through May 24.
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Way back around the end of 2005, I received an invitation from mediabistro to step in as a guest editor for a vacationing Eva Hagberg, writing a few posts for their relatively new design/art/architecture blog, UnBeige. The assignment was for a couple of weeks, but then, somehow, I never wound up leaving, and here I still sit, some six and a half years later. Our Editorial Director, Chris Ariens, claims that stretch makes me the longest-serving blogger in the entire organization. So, of course, now that I’ve gotten the gold plaque saying as much, as well as this $25 gift certificate to the Olive Garden of my choosing, it seems like a good time to say farewell.

In all these years I’ve been working here, and over a mind-boggling number of posts (some of which even made sense), I’ve been blessed to have shared a space with some absurdly fantastic talent. I’ve had the sincere pleasure of working with my original co-editor, Alissa Walker, helping to build the bones of the powerhouse that UnBeige is today (as well as teaching her everything I know and am therefore responsible for roughly 96% of her success). From there, for more than four years now, having the amazing fortune to serve alongside Stephanie Murg, whose dedication to solid reporting and quality writing constantly inspired me to try and focus more on the posts themselves than trying to make a clever pun-filled joke in the headline, followed by a jarring batch of pun-filled ramblings (unfortunately, I am only human and that didn’t always stick). And there aren’t thanks enough in the world to properly offer up to all the staff at mediabistro, who took a chance on a kid from Chicago, only to never come to their senses and fire him after about the second week.
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The J. Paul Getty Museum will soon likely be enjoying some stability for the first time in more than two years, with the announcement that Timothy Potts who has most recently served as the director of the Fitzwilliam Museum in Cambridge, England, will be coming on board as the museum’s full-time director. The Getty’s leadership of late, has been more than a bit in flux, first with Michael Brand‘s sudden and unexpected exit at the start of 2010. David Bomford was named as his acting replacement, until he also hit the road this past December to move back to his native London, leaving still-recently-installed Getty Trust president, James Cuno, to temporarily take over the position. Fortunately for Cuno’s schedule and nerves, Potts will take over at the museum come September 1. Here’s his thoughts on joining the Getty:

I am delighted to be joining the Getty Museum at such a promising time, when its leadership, ambitions and prospects are stronger than ever. Like others in the museum world, I have for many years admired (and sometimes been frustrated by!) the quality of its collecting and the innovative way it pursues its scholarly and educational mission. It has evolved into much more than an artistic showpiece of national and international renown, however. With the Museum and its sister institutes devoted to research, conservation and philanthropy, the Getty represents a uniquely well-rounded ‘university of the arts.’ No other institution does more to collect, preserve and understand the history and materiality of art than the Getty, and I greatly look forward to working with the Museum’s outstanding staff in building on this achievement over the years ahead.

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Philip Johnson‘s Glass House will soon have a new leader manning the transparent and modern ship. Today, the National Trust for Historic Preservation announced that Henry Urbach will be taking over as director of the historic architectural landmark in New Canaan, Connecticut. Urbach most recently served as curator of architecture and design at SFMOMA, having taken leave from the position last spring to work independently, which included research work at the Glass House itself. Previously, he’d also run a popular gallery in New York for nearly a decade, the eponymous Henry Urbach Architecture. It is currently planned that he will take on the roll at the Glass House on April 2, replacing its current interim director, Rena Zurofsky, who had this to say about his selection:

I met Henry last spring and was struck by his energy and enthusiasm for the site. He seems to me ideal to lead the dedicated Glass House team into even more innovative and exciting programmatic terrain, and to push restoration programs on track. I congratulate Henry, and also Estevan Rael-Galvez, Vice President of Sites at the National Trust for Historic Preservation, on his astute choice.

New Career Opportunities Daily: The best jobs in media.

New year, new masthead additions! Over at Fortune, Emily Kehe (pictured) has been doing the heavy lifting on the art side since August, when creative director John Korpics left the Time Inc. title to get sporty, as vice president and creative director for print and digital media for ESPN The Magazine and ESPN.com. Kehe jumped into designing Fortune covers and layouts, overseeing the iPad edition, and managing the department, according to managing editor Andy Serwer. “So much so that when it came time to find a permanent replacement for John, and while we did consider other candidates, I really needed to look no further than a few doors down to Emily’s office,” he wrote in an e-mail announcing Kehe’s appointment as design director. A native of Colorado, she studied publication design and photography at the University of Miami School of Communication before working at publications including The Miami Herald and The Boston Globe. Kehe began her career at Fortune as a freelancer in 2008 and later returned to help Korpics with the magazine’s 2010 redesign.

And over at New York, editor-in-chief Adam Moss and photography director Jody Quon have tapped Christoper Anderson as the magazine’s first photographer-in-residence, a position created both to showcase his work and deepen New York’s commitment to original photography. “We thought that we could be the ideal outlet for Chris to explore his painter’s palette of image-making,” said Quon in a statement issued Monday by the magazine. “Chris’s commitment to journalism combined with his range of artistry makes him the perfect partner for the magazine.” Anderson, an acclaimed photographer and member of Magnum Photos, will shoot editorial work exclusively for New York on an array of subjects in a full range of styles, from photojournalism to portraiture to conceptual work. His photography will appear regularly beginning with this week’s issue, which features Anderson’s surveillance-style photos in its “Classifieds” cover story.

New Career Opportunities Daily: The best jobs in media.