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 recently became available as an e-book on The Metropolitan Museum of Art Guide 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
, on view through August 10, but also authored an essay for the Charles James: Beyond Fashion 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.
Posted: Monday, June 16, 2014
The year 2014 marks the five-hundredth anniversary of Albrecht Dürer's
(1514), a masterpiece of engraving whose imagery has fascinated artists, historians, scientists, and mathematicians for centuries. In honor of this occasion, a Melencolia I small display of Melencolia and several works it influenced is on view through July 14 in the Robert Wood Johnson Jr. Gallery.
Posted: Friday, June 13, 2014
When Kate Soper's adventurous score for
I Was Here I Was I fills The Temple of Dendur in The Sackler Wing on June 20, the gallery itself will be at the center of the performance. The Temple of Dendur has long been an unrivaled venue for concerts, but for this dramatic and unprecedented finale to Alarm Will Sound's yearlong residency, the Temple will be the principal character in a story that spans two millennia and three different storylines.
Posted: Thursday, June 12, 2014
Today marks the opening day of the World Cup, the monthlong tournament in which teams from thirty-two nations will compete for the title of best soccer team in the world. Since the Metropolitan's
collection includes works of art from all thirty-two nations participating in the games, we thought this would be a perfect occasion to celebrate the global nature of our holdings.
Posted: Thursday, June 12, 2014
The Metropolitan Museum recently swept the AICA-USA Arts Awards for Excellence in Curatorial Achievement in the time-based media category.
Posted: Wednesday, June 11, 2014
The art at the Met reaches across the globe, so we wanted to start providing our collection information in some of the many languages represented by these cultures. Our new web feature
One Met. Many Worlds. brings you more than five hundred collection highlights in eleven languages: English, Arabic, Chinese, French, German, Italian, Japanese, Korean, Portuguese, Russian, and Spanish.
Posted: Friday, May 30, 2014
"Feel the World Stand Still"
This phrase is currently emblazoned on subway ads across New York City promoting the
Arvo Pärt Project at St. Vladimir's Seminary, which will bring the Estonian composer to New York for the first time since 1984. While this kind of dramatic hyperbole often surrounds any discourse regarding Pärt's music—"mystical," "heavenly," "timeless" are frequently used—the overwhelming acceptance of his work is a rare occurrence in the landscape of contemporary concert performance. His is a music that seamlessly bridges the gap between the modern and the ancient, minimalism and Gregorian chant, making the comparisons often cited between Pärt's music and that of both Phillip Glass and Josquin dez Prez the equivalent of an artist being equally heralded alongside Rothko and Caravaggio.
Posted: Thursday, May 29, 2014
Posted: Thursday, May 29, 2014
Brought to you by the
Spectrum group, which encourages post-college audiences to experience the Met in new and unexpected ways, this post is the third installment of our "Spectrum Spotlight" series, which introduces some of the staff members who make the Museum such a special place.
Posted: Tuesday, May 27, 2014
In the world of tapestry, it's hip to be square—or rectangular, for that matter. Why, you ask? The answer is quite simple: borders.
You might have noticed that a decorative, tapestry-woven strip traces the edges of many tapestries, which is referred to as the border. While the border is very much a part of the physical tapestry itself, it often has a personality all its own. And, while some border designs were reused on multiple sets of unrelated tapestries, these ornamental edges can still be thought of as something like a thumbprint, a distinguishing characteristic that is apparent only upon close inspection.
Posted: Tuesday, May 27, 2014
I recently sat down with Karin L. Willis, the photographer for the
Charles James: Beyond Fashion catalogue that accompanies the current exhibition of James's work, on view through August 10. The publication offers a comprehensive study of the life and work of the legendary Anglo-American couturier Charles James (1906−1978), highlights his virtuosity and inventiveness, and includes early photographs and rarely seen archival items—including muslin study pieces, dress forms, and sketches. During our conversation Karin spoke about the challenging but rewarding process of photographing James's designs.