The Modern
Dr. Marla Price’s tenure at the Modern Art Museum of Fort Worth will end this year.
If a picture is worth a thousand words, then Dr. Marla Price’s tenure at the Modern Art Museum of Fort Worth is worthy of the same respect if not more. Since joining this world-renowned art museum, she’s seen a few major projects come to fruition. One of which would be the completion of the Modern’s current building in 2002, designed and completed by architect Tadao Ando.
Besides being behind the scenes of this transformative project that was significant to the growth of Fort Worth’s Cultural District, Price was also able to grow the museum’s budget as well as its attendance. Because of this uptick in artistic interest in Cowtown, she was also responsible for establishing permanent endowments that funded both special programs and the building’s upkeep.
With so much to celebrate over her time at the Modern, Price’s biggest impact is a human one, given she nurtured and created a skilled staff, many of which that have been with the museum for more than 20 years.
Price’s journey to her current role began in 1986, when she joined the Modern team as its chief curator. Six years later, she would be appointed acting director of the Museum in 1991. Less than a year later she would be named its director beginning in January of 1992.
Her background includes a BA with honors from Mary Washington and a PhD. in art history from the University of Virginia.
“Marla elevated the Museum to international prominence through relationships she formed with respected museum partners and world-renowned artists, presenting critically acclaimed exhibitions, and acquiring key works for the permanent collection,” Modern board chair Marsland Moncrief said in a statement.
“She was instrumental in creating what ArtForum, in 2002, called ‘the most elegant museum in the entire country.’ With her leadership, the Modern has become an outstanding star on a national and international scale, while the mission has grown to be an inclusive community space for people to engage on different levels with the art of our time.”
Besides overseeing the construction of the current Modern building, Price was also present for several other milestones throughout her career, that include organizing major exhibitions like the 10 + 10: Contemporary Soviet and American Painters in 1989, the George Segal: Still Lifes and Related Works in 1990, and the Howard Hodgkin: Paintings, (1975–1995) in 1996 to name a few.
Price was also very adept at cultivating relationships, according to a press release. Partly because of this, she was able to contribute significantly to the growth of the Modern’s permanent collection. Some of Price’s most noteworthy acquisitions include Francis Bacon’s first self-portrait, an important group of works by Sean Scully, and a Mark Rothko painting bequeathed to the Modern by the late Anne Windfohr Marion.
Price was also responsible for many of the Modern’s collaborations with many global museums that span from The Royal Academy in London all the way to the Tretyakov Gallery in Moscow, just to name a few. She also built strong ties with many of the neighboring DFW museums, often organizing coordinated exhibitions and programs.
So far Price hasn’t set a hard stop date for hr retirement given she plans to step down after a new director is hired. The Board of Trustees has begun an international search led by search committee chair Kim Darden and Koya Partners.
“On behalf of the Board, we extend our sincere gratitude to Marla for her profound effect on the Museum during decades of transformational growth, marked by legacy milestones including the completion of the Modern’s building and the growth and quality of the permanent collection,” board president Rafael Garza says. “Her artistic vision and commitment to scholarly excellence have cultivated a robust organization with devoted, longstanding supporters and staff. We honor Marla’s impressive career and generational impact and acknowledge her invaluable guidance, which has positioned the Modern well for continued success.”
