Thomas P. Campbell is the director and CEO of The Metropolitan Museum of Art.
Posted: Monday, June 22, 2015
Step aside, Game of Thrones; Season 2 of The Artist Project is the most anticipated follow-up of the year. With twenty new artists talking about how The Met is the place where they always find inspiration and make new discoveries, there is no better watching. Tune in and feel free to binge watch.
Posted: Thursday, June 11, 2015
I often remind people that when the Met was founded in 1870, it did not own a single work of art. The collection that we know and love today is the collective achievement of many collectors and donors—private citizens determined to share their passion for art with the public. The giant names—J.P. Morgan, Louisine and H.O. Havemeyer, Benjamin Altman, Robert Lehman, Charles and Jayne Wrightsman, Walter Annenberg, and most recently Leonard Lauder—join hundreds of others who were, and are, profoundly generous in supporting the development of our collection.
Posted: Wednesday, March 25, 2015
We have spoken a lot lately about The Met's interest in looking at contemporary art through the lens of our historical collection. We have just launched a new project that gives you a glimpse of just what we mean when we talk about that kind of connected view of contemporary art.
Posted: Thursday, February 26, 2015
Speaking with great sadness on behalf of the Metropolitan, a museum whose collection proudly protects and displays the arts of ancient and Islamic Mesopotamia, we strongly condemn this act of catastrophic destruction to one of the most important museums in the Middle East. The Mosul Museum's collection covers the entire range of civilization in the region, with outstanding sculptures from royal cities such as Nimrud, Nineveh, and Hatra in northern Iraq. This mindless attack on great art, on history, and on human understanding constitutes a tragic assault not only on the Mosul Museum, but on our universal commitment to use art to unite people and promote human understanding. Such wanton brutality must stop, before all vestiges of the ancient world are obliterated.
Posted: Thursday, February 5, 2015
The news that Walter Liedtke was among the victims of the Metro-North train crash on Tuesday night sent shock waves through the Museum. We had all heard about the accident, some considered for a moment who they knew who took that route, but then life continued. The revelation the next morning that among the five people in that first train car was one of our own curators suddenly made the world feel impossibly small. For 35 years, Walter had come and gone from the Met every day, and now that would never happen again.
Posted: Tuesday, December 23, 2014
One of the great strengths of the Met is its extraordinary staff. In January, one of our legendary curators, Drue Heinz Chairman of Drawings and Prints George Goldner, is stepping down, and we made a special video to mark the impact of his twenty-two-year career here.
Posted: Tuesday, October 7, 2014
At its best, tapestry is a mesmerizing art form, but it's an aspect of art history that has been largely overlooked by scholars. If you pick up any standard history of European arts, it's all about painters, sculptors, and architects. This exclusion of tapestries from the narrative of art history, however, is not an accurate reflection of the importance of the medium in shaping and defining the style of some of history's most influential artists. While Raphael and Rubens, for example, are among the most exceptional of painters, their designs for tapestries are every bit as remarkable. The truth is that few artists rarely work with just one medium. During the Renaissance in particular, tapestry was the most important figurative art, collected by the wealthiest and most powerful patrons, and was therefore a medium in which prominent artists strove to work.
The Met addresses one such remarkable artist in the exhibition Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, on view October 8, 2014, through January 11, 2015. Coecke was truly a Renaissance master of all disciplines who achieved immense fame in his lifetime, though in the literature the overwhelming genius of his tapestry designs is often bypassed in favor of critique of his panel paintings and drawings. Certainly, to many of his contemporaries, Coecke's most admired works were his tapestry designs. In Grand Design, the breadth of Coecke's work is explored by reuniting nineteen of his most beautiful tapestries with more than thirty of his prints and drawings and seven of his panel paintings.
Posted: Wednesday, September 10, 2014
It is a great day for the Met and a great day for the City of New York. More than a century after the completion of the Met's Fifth Avenue facade and forty years after its last plaza renovation, the Museum has revived one of the great outdoor spaces in New York.
Posted: Tuesday, September 2, 2014
I'm pleased to announce the launch of the Met app created by the Museum's Digital Media Department. This free digital resource is the easiest way for the Met community, both local and global, to stay current with what's happening at the Museum every day—wherever you are.
Posted: Thursday, August 7, 2014
The Met's 82nd & Fifth web feature redefined the online museum experience: in two-minute episodes, one hundred Met curators talked about the work of art that changed the way they see the world—one curator, one work, two minutes at a time. That content is now available on an iPad app in twelve languages. You can download, favorite, and share episodes, and create your own collections.