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: 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: 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
On Wednesday, September 18, join us on Twitter for Ask a Curator Day with Department of Modern and Contemporary Art Associate Curator Ian Alteveer. Ian will answer your questions about his job, the collection, and exhibitions during this live Twitter Q&A.
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.