Director's Blog

  • Honoring the Past and Enhancing the Future: A Conversation with Director Ian Wardropper

    Director Ian Wardropper (along with Publications Editor Rebecca Brooke), discusses the Frick’s plans to upgrade and expand its buildings, the institution’s first comprehensive upgrade since 1935. 

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  • Winter 2018

    Director Ian Wardropper looks ahead to programs of the coming months and discusses the Frick’s inclusion in Apollo Magazine’s “best of 2017” awards. 

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  • Fall 2017

    Director Ian Wardropper discusses current and upcoming exhibitions, including Murillo: The Self-Portraits.

  • Margot Bogert Retires as Board Chair

    Director Ian Wardropper thanks Margot Bogert, who recently retired as Chair of the Board of Trustees after twelve years.

  • Winter 2017

    Director Ian Wardropper looks ahead to upcoming events, including programs that celebrate the tenth anniversary of the Center for the History of Collecting.

  • Du Paquier Porcelain from Vienna: The Generous Gift of Melinda and Paul Sullivan

    Director Ian Wardropper discusses a wonderful acquisition of work by the Du Paquier Porcelain Manufactory.

  • Summer 2016

    Director Ian Wardropper discusses the evolution of the collection, including recent acquisitions.

  • Winter 2016

    The Director looks ahead at the coming months and discusses an innovative education collaboration with the Ghetto Film School.

  • Fall 2015

    In 1916, Henry Clay Frick converted his private office at his home on Fifth Avenue into a gallery for the collection of Limoges enamels that he had purchased from the estate of J. Pierpont Morgan for the then-staggering sum of $1,157,500. What was so compelling about these delicate, jewel-like objects that Frick paid such a high price and was willing to sacrifice his sanctuary for their...

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  • Spring/Summer 2015

    This summer, the Frick offers a variety of special exhibitions that I hope will prompt you to visit our galleries. Frederic Leighton’s striking Flaming June, from the Museo de Arte de Ponce in Puerto Rico, hangs in the Oval Room, the first time in thirty-five years that the painting has been shown in New York.

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