After 12 years of distinguished leadership and curatorial accomplishments, Klaus Ottmann has stepped down from his role as Chief Curator and Deputy Director for Academic Affairs. During his tenure at the Phillips, Ottmann oversaw the curatorial, conservation, and registrarial departments, as well as led our major academic partnership with the University of Maryland. Here, Klaus shares some of his favorite memories.
What makes The Phillips Collection different from other museums?
The Phillips is unique in many ways but one of its most distinctive characteristics is the emphasis on creating new conversations between art works, which keeps the collection alive, relevant, and new, even if one has seen some of the individual works in other contexts before. This is what distinguishes The Phillips Collection from other more static museums, where art is not allowed to thrive and acquire new layers of meaning.
What are your hopes for the Phillips’s next century?
To continue to strive for more diversity within its collection and exhibitions without abandoning its foundational mission as a museum of modern and contemporary art where the intimate and experimental meet.
What exhibitions/programs/partnerships are you most proud of?
First and foremost, I would consider the creation of the Wolfgang Laib Wax Room my lasting legacy. In regards to exhibitions: Angels Demons, and Savages: Pollock, Ossorio, Dubuffet (2013) because I had a brilliant co-curator, Dorothy Kosinski; George Condo: The Way I Think (2017) because it was an extraordinary collaboration with an exceptional artist; Nordic Impressions: Art from Åland, Denmark, the Faroe Islands, Finland, Greenland, Iceland, Norway, and Sweden, 1821–2018 (2018) because it allowed me to work very closely with all of the Nordic Embassies including the Greenlandian Representation (our rich diplomatic partnerships were one of my favorite aspects of working at the Phillips) and because it enabled me to work with 19th-century and 20th-century art in one exhibition for the first time.
What is your favorite work in the Phillips’s collection? What is a favorite work of yours in the Phillips’s collection that our members might not know about?
The Rothko Room has always been my refuge; it is one of the most powerful installations one can experience in a museum. I discovered many wonderful artists and paintings while working at the Phillips. One of my favorite works in the collection, and probably one of the lesser well-known ones, is Louis Michel Eilshemius’s Summer Landscape with Hawk (between 1901 and 1906).