Posted: Tuesday, April 30, 2013
«Photography was invented just twenty years before the American Civil War. In many ways the war—its documentation, its soldiers, its battlefields—was the arena of the camera's debut in America. "The medium of photography was very young at the time the war began but it quickly emerged into the medium it is today," says Jeff Rosenheim, curator of the current exhibition Photography and the American Civil War (on view through September 2), and author of its accompanying catalogue. "I think that we are where we are in photographic history, in cultural history, because of what happened during the Civil War . . . it's the crucible of American history. The war changed the idea of what individual freedom meant; we abolished slavery, we unified our country, we did all those things, but with some really interesting new tools, one of which was photography."
Posted: Monday, October 22, 2012
Visitors of all ages are invited to join us this Friday, October 26, for Fright Night!, an evening of dark tales, photography workshops, drawing activities, films, and more. Inspired by the eerie images in the exhibition Faking It: Manipulated Photography Before Photoshop, the festivities will allow visitors to connect to the exhibition and the Museum's collections in a variety of spooky ways.
Posted: Monday, July 16, 2012
Genevieve and Alisha write about an intriguing photograph in the exhibition Spies in the House of Art, and nine new posts conclude the blog accompanying Byzantium and Islam, which closed July 8.
Posted: Wednesday, March 16, 2011
Posted: Wednesday, March 2, 2011
Posted: Thursday, January 20, 2011
Posted: Wednesday, September 22, 2010
Inside the museum—not just the Met but any art museum—photography has been birthed in hallways. It began to spring from the shoulders of museums' print departments in the 1920s and 1930s, when modernism was making a case for photography as an independent art form. Over the decades it has spread institutionally through the in-between spaces that architecturally mirror the medium's proudly mongrel status as both art and not art.
Posted: Tuesday, August 24, 2010
The current exhibition Hipsters, Hustlers, and Handball Players: Leon Levinstein's New York Photographs, 1950–1980 features candid photographs of New Yorkers, with each of Levinstein's subjects representing a particular neighborhood. In the thirty years since these photographs were taken, New York City's neighborhoods have changed dramatically: new buildings have appeared, businesses have opened or closed, and a new generation has moved in. What would Levinstein see in the people of New York today?
Posted: Friday, February 5, 2010
A daguerreotype by Baron Jean-Baptiste Louis Gros—a work of extraordinary quality and rarity—has been acquired by the Metropolitan Museum. Both a depiction and a demonstration of what the medium was capable of at its high point in 1850s Paris, The Salon of Baron Gros shows the interior of a mid-nineteenth-century parlor believed to be that of the baron, with light streaming in from a window at left.