The Senate is entering a new phase of judicial battles as Republicans push aside Democrats’ objections.
Shortly after beginning her first season as assistant conductor of the Dallas Symphony Orchestra four years ago, Karina Canellakis got one of those big breaks. The orchestra’s music director, Jaap van Zweden, was injured, and she was asked to lead Shostakovich’s formidable Eighth Symphony without even one rehearsal.
“The first time I had ever conducted the piece was as the Saturday night subscription concert,” she recalled in an interview. But she triumphed: The Dallas Morning News wrote that she “rose spectacularly to the challenge,” and called her debut one of the best performances of the year.
Since then her conducting career has exploded, and now she is again following in Mr. van Zweden’s footsteps: Ms. Canellakis, a 36-year-old native New Yorker, has been named the next chief conductor of the Netherlands Radio Philharmonic Orchestra — a post that Mr. van Zweden held from 2006 to 2012.
“It’s incredible to think that I’m somehow following in that lineage, by chance,” she said. She said that she had sent a message with the news to Mr. van Zweden, who is leaving Dallas to become music director of the New York Philharmonic.
Ms. Canellakis, who studied violin at the Curtis Institute of Music in Philadelphia and conducting at Juilliard, has appeared with more than two dozen orchestras in the past two seasons. This year she will make her debuts with the Orchestre de Paris and the Wiener Symphoniker.
The Netherlands Radio Philharmonic is known for the core repertory, operas and a steady diet of world premieres; Ms. Canellakis has experience leading new works through her association with the International Contemporary Ensemble, and said she looks forward to championing living composers when she takes up the Netherlands job in 2019. The orchestra said she was the first woman to be named chief conductor of a Dutch symphony orchestra.
Looking back, she said, her last-minute Shostakovich was a turning point. “It bonded me to the orchestra right away, in a very deep way,” she said. “And it also showed me that I could really do this.”
Two associates said that Mr. Murdoch, the chief executive of 21st Century Fox, intends to start his own company if Disney’s deal to buy most of Fox’s assets goes through.
The social network overhauled itself into three new divisions and shuffled the leadership of its key businesses in one of its biggest reorganizations.
Wendell Jamieson, who had led The New York Times’s metro section for five years, issued an apology before leaving the paper. But the reason for his departure was not disclosed.
The resignation of WPP’s Martin Sorrell shocked the industry and also highlighted the question of what‘s next for advertising companies in a dynamic era.
Larry Thompson, a former U.S. deputy attorney general, said the carmaker had not held wrongdoers accountable or been serious enough about change.
Unlike his recent predecessors Philippe de Montebello, who served for 31 years, and Thomas P. Campbell, who served for eight, Mr. Hollein did not ascend from the Met’s curatorial ranks. He was reportedly a runner-up when Mr. Campbell was chosen in 2008.
But he was an appealing candidate this time around for a museum seeking a stabilizing force after a period of financial turmoil. He is an aggressive fund-raiser with experience in contemporary art as well as a broader knowledge of art history, who has a track record of digital innovations.
Since age 31, Mr. Hollein has served as a museum director, including 15 years at several institutions in Frankfurt: the Städel Museum, which houses one of Europe’s important collections of old masters; the Schirn Kunsthalle, which exhibits modern and contemporary art; and the Liebieghaus, with a world-renowned sculpture collection.
Credit Amy Lombard for The New York Times
At the Städel, Mr. Hollein developed a forceful digital strategy and oversaw a $69 million renovation and expansion that doubled the gallery space and created a new wing for art made since 1945. All three museums during his tenure saw record levels of attendance and added more than 2,800 artworks to their collections.
He only recently moved to the United States, in 2016, to head the Fine Arts Museums, consisting of the de Young Museum in Golden Gate Park, which specializes in American art; and the Legion of Honor near the foot of the Golden Gate Bridge, which focuses on European art.
In his two years in San Francisco, Mr. Hollein has brought significant innovations to the Fine Arts Museums, including Digital Stories, an in-depth look into the museum’s exhibitions, enhanced by multimedia experiences. The museum translated all exhibition materials into Spanish for its exhibition “Teotihuacan: City of Water, City of Fire”; created a Minecraft map of the pyramids; and offered free online courses to help encourage access for all audiences — not only the young.
At a time when museums are making a concerted effort to expand the cultural conversation to include more women and people of color, Mr. Hollein said it was also important to him that the Met “open up” to incorporate a range of perspectives. He cited his current institution’s acquisition last year of 62 works by African-American artists, from the Souls Grown Deep Foundation in Atlanta, which was featured in a show that closed April 1. (The Met acquired 57 works from the foundation in 2014, some of which go on view in an exhibition that opens May 22).
“Max is a formidable intellect — he has a very strong capacity to engage issues at a high level,” said Daniel H. Weiss, the president and chief executive of the Met. “We are going to be genuine partners.”
Many in the art world had wondered whether the Met director job would draw first-rate candidates, given the museum’s recent reorganization of its leadership structure. Rather than governing from the top of the pyramid, like Mr. Campbell, who also served as chief executive before he was forced to step down last year, Mr. Hollein will report to Mr. Weiss, who retains the chief executive title. Though both will have responsibility for fund-raising, Mr. Hollein will be in charge of the artistic side of the museum — exhibitions, acquisitions, programming — while Mr. Weiss will oversee business and operations.
Nevertheless, the position drew strong contenders, according to a person familiar with the selection process who declined to be identified discussing internal deliberations. Among the finalists were Adam D. Weinberg, the director of the Whitney Museum of American Art in New York; Julián Zugazagoitia, the chief executive and director of the Nelson-Atkins Museum of Art in Kansas City, Mo.; Emilie Gordenker, the director of the Mauritshuis, the museum in The Hague; Timothy Rub, the director of the Philadelphia Museum of Art; and Taco Dibbits, the director of the Rijksmuseum in Amsterdam.
Still, the selection of Mr. Hollein could lead to complaints that the Met had again chosen a white man for the top job.
“The museum’s commitment to diversity is evident in everything we do, and the search was no exception to that,” said Candace K. Beinecke, a board member who led its search committee with Richard Chilton.
The Met would not disclose Mr. Hollein’s salary. As director and chief executive, Mr. Campbell’s total compensation was $1.4 million, including a salary of $942,287 and the use of a Fifth Avenue apartment, which the Met plans to sell, according to recent tax records. Mr. Campbell was forced out in the wake of the museum’s financial problems and low morale, departing amid revelations about a close personal relationship he had with a female staff member.
Credit Joshua Bright for The New York Times
The museum also scaled back plans for its new modern and contemporary wing, initially expected to cost $600 million. Mr. Hollein will have to raise money for that reconceived project as many cultural projects are vying for funds, namely the Museum of Modern Art’s $400 million expansion; the Studio Museum in Harlem’s $175 million new home; the Frick Collection’s $160 million redesign; and Geffen Hall’s renovation, initially estimated at more than $500 million.
Although European museum directors are typically assumed to require fewer fund-raising skills, given government support for the arts, that is changing. Mr. Hollein said he raised half the cost of the Städel extension from private donations, an impressive feat and unusual for Germany, where large cultural projects are mostly state funded.
A 2014 article on the German website Deutsche Welle said Mr. Hollein “manages to walk the line between art and commerce,” citing for example the Städel’s partnership with the German drugstore chain DM, which sells art pieces as prints for people’s living rooms.
Some have accused Mr. Hollein of going too far; in 2012, he was forced to defend the museum against accusations that he had turned the acquisition of a Raphael painting of Pope Julius II — with questionable provenance — into “a mass public spectacle.” Mr. Hollein said at the time: “We knew that the attribution was going to be controversial. That’s why it was so important for us to not simply hang it in the museum, but to present all the facts we had gleaned over the years. I don’t see this as sensationalist, but rather as a very open and transparent process.”
Nevertheless, the Met job will be a learning curve for Mr. Hollein, who began his career at the Guggenheim Museum as the chief of staff and executive assistant to its former director, Thomas Krens, but who has never led a museum in New York. The Met can be something of a shark tank, requiring a constructive working relationship with its powerful curators.
The Fine Arts Museums of San Francisco receive a healthy 1.6 million visitors, but that pales in comparison to the Met’s 7 million visitors across its three locations, including the Met Breuer, the Cloisters and its Fifth Avenue flagship. In San Francisco, Mr. Hollein managed an operating budget of $60 million and over 500 employees; the Met has a budget of $305 million and a staff of 2,200.
Mr. Hollein grew up in an artistic household, the son of Hans Hollein, the Viennese architect. Mr. Hollein studied art history at the University of Vienna and business administration at the Vienna University of Economics.
As a curator, he specialized in art of the 1980s and ’90s, and organized exhibitions that included the American pavilion at the Venice Architecture Biennale in 2000 and the Austrian pavilion at the Venice Art Biennale in 2005.
While running the de Young in San Francisco, Mr. Hollein added its first contemporary art curator. The museum’s first major show since his arrival, “Contemporary Muslim Fashion,” opening in September, will explore Muslim dress codes and their influence on fashion worldwide. (Mr. Hollein’s wife, Nina Hollein, is an Austrian clothing designer; they have three teenagers.)
“On the one hand it’s a fashion show, on the other hand it will address complex social, political questions,” Mr. Hollein said. “Museums these days are one of the few areas where you can have a complex cultural discussion in a non-polemical way.”
Katherine Farley, Lincoln Center’s chairwoman, said in a statement that the organization was “grateful” for Ms. Spar’s service and that the board would initiate a formal search for her successor in the coming weeks. Russell Granet, the center’s executive vice president of education and community engagement since 2012, has been named acting president.
The specific reasons for Ms. Spar’s abrupt exit are so far unclear. In her letter, she wrote, “We understand you may have questions about this change,” adding that there would be a meeting of the center’s staff on Monday at noon, when “we will have the opportunity to discuss the transition and answer your questions in person.”
Reached by telephone, Ms. Spar declined to elaborate on her statement.
Given Lincoln Center’s recent history, the 11-year tenure of Reynold Levy, who stepped down in 2013 after overseeing the $1.2 billion overhaul of the center’s campus, looks like the exception. His predecessor, Gordon J. Davis, resigned abruptly in 2001 after a stormy tenure that lasted just nine months.
Ms. Spar’s departure comes six months after the decision not to proceed with a more comprehensive renovation of David Geffen Hall, the New York Philharmonic’s home. When she first signed on to the job, plans for the hall were considerably more ambitious, with a gut renovation as the goal and most of the money needed for the project — estimated at more than $500 million — still to be raised.
But in October, Lincoln Center and the Philharmonic announced that they were scuttling the plan and seeking simpler ways to improve the hall, a major setback for a project that has been mulled for nearly 20 years. The change also seemed to throw cold water on the fire finally ignited for the project by a $100 million gift from the entertainment mogul David Geffen in 2015. Last year, Mr. Geffen expressed frustration at the lack of additional support for the project from other wealthy donors.
The revision of the hall’s plans was driven by Deborah Borda, who was named president and chief executive of the Philharmonic last year. The hiring of Ms. Borda was considered a coup for the orchestra, given her successful 17-year track record at the Los Angeles Philharmonic and her experience with the New York Philharmonic, having run it in the 1990s.
In an interview on Friday, Ms. Borda disputed the idea that there was a clash between the two executives. “She was a great partner to work with on the hall,” Ms. Borda said of Ms. Spar. “I think she just felt this wasn’t a good fit.”