Posted: Tuesday, May 24, 2011
Many of the works on paper currently on view in Historic Images of the Greek Bronze Age: The Reproductions of E. Gilliéron & Son required conservation treatment to address a variety of structural and aesthetic problems. The dedicated effort over the past two years to address the conservation of these objects and to look more closely at their method of production reflects a reconsideration of their role in the Museum and in the history of art itself.
Posted: Wednesday, May 18, 2011
This month, the Museum launched its first iPad app interactive e-publication for the exhibition Poetry in Clay: Korean Buncheong Ceramics from Leeum, Samsung Museum of Art. The Met Buncheong app complements the exhibition catalogue and includes highlights from each chapter in the book, a video introduction from Soyoung Lee, co-curator of the exhibition and co-author of the catalogue, 360-degree object views, multiple image views, panoramas of the gallery, and links to publications and related sections of the Museum's website.
Posted: Tuesday, May 17, 2011
In the second half of the nineteenth century, archaeologists began to focus on understanding prehistoric Greece and its extraordinary flowering during the Greek Bronze Age (about 3000–1050 B.C.). Heinrich Schliemann's discovery of wealthy tombs at Mycenae in 1876 brought to life the Heroic Age immortalized in the epic poetry of Homer, in which King Agamemnon’s palace was described as "rich in gold."
Posted: Friday, May 13, 2011
My first day as senior manager of the Museum's Uris Center for Education in July 2010 was an exhilarating and hectic day, chock-full of new information, faces, and experiences. The third annual P.S. Art exhibition was on display in the corridor alongside Carson Family Hall, and the space was alive with the expressive and vibrant artwork of New York City public school students. This burst of artistic energy greeted me every morning until it came time to return the artwork to the talented young artists who had created it. Now empty, beige, and boring, the cases begged for something to fill them. I thought, "This area needs some visuals to introduce visiting schoolchildren to the Met experience. These walls should never be bare!" I began thinking about what we could exhibit that would be visually stimulating and representative of the Uris Center's educational mission.
Posted: Thursday, May 12, 2011
It was a very significant week for the future of the Met.
Posted: Friday, May 6, 2011
Posted: Tuesday, April 26, 2011
The Met produces around thirty publications a year, including special exhibition and permanent collection catalogues, guides, the quarterly Bulletin, the annual Journal, and many other special projects. As an assistant in the Editorial Department, I get a glimpse of all stages of production, from the initial proposal until the time the bound book arrives on my desk. Each project can take more than a year and requires close collaboration among the contributors—curators, photographers, designers, outside authors, and, occasionally, collectors—and the editorial staff.
Posted: Monday, April 18, 2011
The illustrations of the Washington Haggadah, currently on loan to the Metropolitan from the Library of Congress, suggest—with a touch of humor and not a little humanity—some of the challenges inherent in following the instructions for celebrating the Passover seder.
Posted: Friday, April 8, 2011
Many Americans—and nearly all museum professionals—have noted with great concern the recent reports of the arrest and detention in Beijing of the Chinese artist Ai Weiwei. This news has come just as the City of New York prepares to install the artist's first major American exhibition, Circle of Animals/Zodiac Heads, which opens at Central Park's Grand Army Plaza on May 2.
Posted: Wednesday, April 6, 2011
Eighty-five years ago today, on April 6, 1926, The Metropolitan Museum of Art opened the "Pompeian Court," a new gallery space for classical art, to the public. Located in the Museum's recently constructed southern wing ("Wing K") designed by McKim, Mead and White, this gallery space was the company's last for the Metropolitan since becoming its official architect in 1904.