Posted: Thursday, December 26, 2013
What does it take to install an exhibition of contemporary Chinese art?
The diversity in scale, media, and format of the seventy-some pieces in Ink Art: Past as Present in Contemporary China have tested the talents and ingenuity of the Museum's incredibly resourceful staff. After a number of advance planning meetings, our installation began in earnest on October 30 in the Early Chinese Buddhist Sculpture Gallery (206)—just off the Great Hall Balcony. There, we planned to display three 16 1/2-foot-tall hanging scrolls from Qiu Zhijie's 30 Letters to Qiu Jiawa, (2009) and the five triptychs of Yang Jiechang's Crying Landscapes (2002). Together, these works would announce to visitors to the Asian Wing that they were entering the world of contemporary China, where old and new often come together.
Posted: Monday, December 23, 2013
With less than a month left to see the exhibition Balthus: Cats and Girls—Paintings and Provocations at The Metropolitan Museum of Art, I sat down with Sabine Rewald—Jacques and Natasha Gelman Curator in the Department of Modern and Contemporary Art, and author of the accompanying exhibition catalogue—to discuss her many years of fascination with Balthus, as well as her latest research that has brought such a renewed richness to the artist's subjects.
Posted: Friday, December 20, 2013
Since the establishment of the Print Department in 1916 there has been a clear mission to gather all types of printed material ranging from Rembrandt's magnificent and widely collected etchings to the more ephemeral, which includes, among many others things, American and European trade and calling cards, bookplates, illustrated catalogues, and even greeting cards.
Posted: Tuesday, December 17, 2013
Perhaps you have attended one of Spectrum's many concerts, panel discussions, trivia nights, or the annual Oktoberfest at The Cloisters museum and gardens. Now the group would like to bring you closer to the Met and introduce some of the staff members that make the Museum such a special place. This post is the first in our "Spectrum Spotlight" series, which will introduce some of the Met's rising stars on the curatorial staff. Look for more installments throughout the year, and, of course, please attend Spectrum events!
Posted: Thursday, December 5, 2013
If a picture is worth a thousand words, a comparison is worth at least two thousand.
The exhibition Artists and Amateurs, Etching in Eighteenth-Century France (on view through January 5) offers many thought-provoking pairings illuminating aspects of artistic process and individual style. An etching, which is printed from ink held in sunken lines on a copper plate, can be reworked between printings, resulting in distinct states. Such is the case with a print depicting soldiers trudging through a bleak landscape, off to join their regiment. An extremely rare first state is etched by the hand of Antoine Watteau, renowned painter of fêtes galantes. His delicate sinuous line imbues his figures with a grace more balletic than warlike.
Posted: Monday, December 2, 2013
Posted: Friday, November 15, 2013
Washington Heights—the neighborhood in northern Manhattan that houses The Cloisters museum and gardens—is built upon a series of bluffs and cliffs. Concrete staircases and creaky subway elevators connect different sections of the neighborhood, and buildings stand tall on stilts driven deep into Manhattan schist. From a distance, blocks of apartment buildings appear like castellated European villages. However, despite its once-impenetrable terrain, or maybe because of it, Washington Heights is a place where some of the wildest and most romantic medieval-architecture fantasies in New York City have been realized for over 150 years.
Posted: Wednesday, November 13, 2013
I recently had the opportunity to speak with Mike Hearn—the Met's Douglas Dillon Curator in Charge of the Department of Asian Art—about his work in authoring the catalogue accompanying the upcoming exhibition Ink Art: Past as Present in Contemporary China, his inspiration for incorporating modern works into his department, and the role of the Chinese artist in today's art world.
Posted: Monday, October 21, 2013
On Friday, September 20, the fall season of Artists on Artworks began as visitors gathered in the Vélez Blanco Patio to meet artist Lisa Corinne Davis, who led a tour of the galleries and an hour-long discussion of a few paintings that she had personally selected. During the tour, Davis shared her perspective as a painter, talking about the choices that artists make as they are creating a new work—including what they choose to include and not include in terms of both subject and composition.
Posted: Friday, October 18, 2013
One hundred years ago this weekend, on October 20, 1913, Robert W. de Forest was unanimously elected the fifth president of The Metropolitan Museum of Art. De Forest had been involved with the Museum since its inception in 1870 and had served on its Board of Trustees since 1889, first as a Trustee and later as its secretary and vice president.
Posted: Wednesday, October 9, 2013
Janet Cardiff's The Forty Part Motet, currently on view through December 8, boasts the distinction of being the first exhibition of contemporary art in the seventy-five-year history of The Cloisters museum and gardens. A sound installation consisting of forty speakers mounted on tall stands and arranged in a large oval, Cardiff's work seems to have found its ideal home in the Fuentidueña Chapel—dominated by the monumental twelfth-century apse brought to The Cloisters from the church of San Martín in Fuentidueña, Spain.
Posted: Tuesday, October 8, 2013
This year's Artist in Residence program brings Alarm Will Sound, one of the most creative ensembles working today, to the Met. Just beyond the cutting edge of music, dance, and theater, this hugely respected and highly accomplished group of performer-composers turns its collective imagination for one year to the Met's permanent collection and galleries.
Posted: Friday, October 4, 2013
We just posted my episode, entitled Breakthrough, as part of 82nd & Fifth, the award-winning web series that has introduced our audience and our curators to a whole new way of looking at works of art: one object, one curator, two minutes at a time. I chose one of my favorite masterpieces—a Bernard van Orley tapestry of The Last Supper from 1524—and was amazed by the stunning details that Met photographer Peter Zeray was able to capture. This is the 75th of this 100-episode project, and I hope you take some time to enjoy them all.
Posted: Wednesday, October 2, 2013
In celebration of the New European Paintings Galleries, 1250–1800, the Museum hosted two special evenings of concerts on September 17 and 18. Music and art came together to illuminate the time period represented by the galleries, creating a resonant cultural experience.
Posted: Wednesday, September 25, 2013
The situation in Syria is both grave and deeply troubling. In the midst of such striking human suffering, all other concerns can easily get lost in the shadows. But we must believe that there will be a time when peace returns to Syria, and when that moment arrives, it would be tragic to find that most of the country's heritage had been lost.
Posted: Monday, September 23, 2013
MetPublications is a portal to the Museum's comprehensive book and online publishing program from 1964 to the present, offering free content and information from an encyclopedic collection of publications—including exhibition catalogues, collection catalogues, Museum guides, and educational materials. And now, with the addition of two hundred thirty-five issues of The Metropolitan Museum of Art Bulletin spanning the past fifty years, MetPublications currently boasts close to nine hundred titles.
Posted: Monday, September 16, 2013
Posted: Wednesday, September 11, 2013
Earlier this year, the Met became the first art museum to ever receive a TEDx license to hold a conference in the style of the globally known TED Talks. We chose the (broadly interpreted) theme of Icons and started to plan right away...
Posted: Friday, September 6, 2013
As an art historian, my goal is to offer information and insight. As a teacher, I hope to encourage people to discuss, discover, and explore. Where is the balance between these things in museum teaching and interpretation? When and how is information meaningful? How do we help visitors look closely and relate to what they see? These are some of the questions that guided me during my Kress Interpretive Fellowship at the Met this past year. My main project was a thematic, digital publication focusing on teaching adults in the European Paintings collection. The exciting final result is Looking to Connect with European Paintings: Visual Approaches for Teaching in the Galleries—it has just been released and is available as a free download (PDF) within MetPublications.
Posted: Thursday, September 5, 2013
Although theatrical plays had been presented at the original Cloisters museum at 699 Fort Washington Avenue until its closing in February 1936, it was not until the performance of The Miracle of Theophilus at The Cloisters' current home in January 1942 that a medieval drama was produced for the first time. Envisioned and organized by the curatorial staff, with a text translated from the original French into English by Curator James Rorimer—later director of The Metropolitan Museum of Art—and costumes designed by Associate Curator Margaret Freeman, the thirteenth-century play was enjoyed by a group of Museum members on the Feast of the Epiphany. Thus began a tradition of medieval theatrical performances at The Cloisters.