Posted: Wednesday, July 16, 2014
"The Administrator of Kuaiji [Wang Xizhi, ca. 303–ca. 361] is all mannerist cliché.
As the study of calligraphy declines, I enjoy a free rein with a laugh.
Scornful of following known calligraphers like a maid,
I take the stone tablet of Mount Hua as my master."
In 1736, leading artist Jin Nong (1687–1773) wrote this iconoclastic quatrain that reflects a momentous turning point in the development of Chinese calligraphy during his time. Abandoning the venerated tradition defined by the classic elegance of its patriarch, Wang Xizhi, Jin Nong turned to an earlier, less-sophisticated model—stone inscriptions of the ancient Han dynasty (206 b.c.–a.d. 220)—for guidance.
Posted: Tuesday, July 15, 2014
Ever wonder what it would have been like to live in Paris in the golden age of the French monarchy and to have the money to do it in style?
Posted: Thursday, July 3, 2014
For arts institutions, engaging the younger demographic seems to be on everyone's mind. All eyes are on the twenty-somethings, and while those capricious millennials are important, it's the kids—the seven- to sixteen-year-olds seated next to their parents, still curious and open-minded—who are truly the ones with the potential to become loyal and life-long art fans.
Posted: Wednesday, July 2, 2014
Posted: Tuesday, July 1, 2014
The online feature One Met. Many Worlds. launched on June 9, and The Metropolitan Museum of Art Guide recently became available as an e-book on Amazon, Google Play, and iTunes; the print version will soon be released in Arabic, German, Korean, and Russian. These two projects present different perspectives on the highlights of the Museum's collection: One Met. Many Worlds. is driven by universal concepts that encourage the viewer to explore artworks in a new ways, while the Guide provides an essential art history background in a more traditional format. I recently spoke with Amy Liebster, associate coordinator for online publications, about both the web feature and the various versions of the print guide.
Posted: Monday, June 30, 2014
Architect Josef Hoffman, painter Koloman Moser, and textile industrialist Fritz Waerndorfer founded the Wiener Werkstätte (Vienna Workshop) in 1903 as a cooperative for artists and artisans. The Wiener Werkstätte began publishing postcards in 1907 and continued until the beginning of World War I. The postcards were among the least expensive or luxurious of the Wiener Werkstätte's products, which included furnishings for the homes of Viennese aristocrats. Most of the designs were intended solely for the postcard format, while a few were reproductions of earlier paintings.
Posted: Friday, June 27, 2014
There's a corner you turn in the Egyptian Wing of the Metropolitan Museum where the labyrinth of galleries suddenly opens up into a staggering vista of The Temple of Dendur. Though I now always know what I'm about to see, turning that corner is still a powerful experience. Walking into Alarm Will Sound's first rehearsal for I Was Here I Was I at the Temple, I was struck by what an incredible thing it is to be creating art at the Met. We created I Was Here I Was I expressly for The Temple of Dendur, using it not only as venue, but as subject.
Posted: Wednesday, June 25, 2014
Join us in Gallery 399 for a special chance to see the installation of Sol LeWitt's 1982 Wall Drawing #370 in progress. The exhibition officially opens on June 30.
Above: Time-lapse photography of installers preparing Sol LeWitt's Wall Drawing #370.
The loan of Wall Drawing #370 is courtesy of The Estate of Sol LeWitt. The installation is made possible by The Modern Circle. Director/Producer: Kate Farrell; Time-Lapse Photography: Thomas Ling; Production Assistants: Caiti Borruso, Emily Chang
Posted: Tuesday, June 24, 2014
Many #tapestrytuesday readers have asked why some tapestries in the Met's collection have such diverse color palettes. As it turns out, the question you should be asking isn't "Why?" but "Dye?" Understanding the preservation or degradation of a tapestry's color is a complex sort of query whose answer is largely influenced by the dyes used to color its threads. To help unravel the mystery of tapestry colors, I recently sat down for a fascinating lesson in dyeing with two of the Museum's tapestry experts: Cristina Carr, conservator in the Department of Textile Conservation; and Nobuko Shibayama, associate research scientist in the Department of Scientific Research.
Posted: Tuesday, June 17, 2014
Sarah Scaturro and Glenn Petersen are conservators in The Costume Institute who not only contributed to the conservation of Charles James's works in Charles James: Beyond Fashion, on view through August 10, but also authored an essay for the catalogue which accompanies the exhibition. The book offers a comprehensive study of the life and work of legendary Anglo-American couturier Charles James (1906−1978) and highlights his virtuosity and inventiveness. This publication also includes early photographs and rarely seen archival items, such as muslin study pieces, dress forms, and sketches.