Posted: Wednesday, March 16, 2011
The Met is always interested in both new audiences and new perspectives. In 2009, we created an initiative called Spectrum to produce events that shed fresh light on our collections and exhibitions. Programs have included conversations with artists, a story-telling event co-hosted with The Moth, and live musical performances, all connected to the works of art in our galleries.
Posted: Wednesday, March 9, 2011
Many of you may already know about Foursquare, which lets smartphone users share their location with friends and get tips and special discounts from the places they visit. But did you know that it also lets you connect with the Met?
Posted: Wednesday, March 2, 2011
As a chemist in the Museum's Department of Scientific Research, I work closely with Anna Vila-Espuña, also in the Department of Scientific Research, and Nora Kennedy, in Photograph Conservation, on collaborations with Met curators to increase our understanding of methods and materials used to create paintings, works of art on paper, and photographs. This knowledge not only enlightens us about the artists' techniques, but it also aids in the care and preservation of the works.
Posted: Friday, February 25, 2011
Looking at art—really looking—can be a powerful thing. But it takes time. And patience. And even a bit of practice. The rewards, however, are well worth the effort. Looking often reveals details not registered by the viewer at first glance, elements that can bring a work of art to life.
Posted: Tuesday, February 15, 2011
Here at the Met, no two days are alike, especially in my job as a member of the Visitor Services staff. Each new person who comes into the Museum has new questions. Many visitors feel overwhelmed by the immensity of the Museum's collections, and may not know quite where to begin. When people ask my colleagues or me for guidance, we encourage them to join a Museum Highlights Tour or to pick up helpful printed materials such as a Museum Floor Plan, a list of the day's events, or one of our Family Guides. I find the best approach is to try to imagine myself in the visitor's shoes and ask, "What might this person need to help her comfortably enjoy the Museum and get the most out of her visit?"
Posted: Thursday, February 10, 2011
Since its debut on January 5, Connections has allowed tens of thousands of viewers to become acquainted with members of our staff. Each episode sparkles with the personality of a narrator who weaves together works of art from the Met's collections, based on a theme that he or she finds particularly inspiring. Our viewers have been inspired as well.
Posted: Friday, February 4, 2011
On February 6, 1871, a committee of the Board of Trustees of The Metropolitan Museum of Art discussed the plan that led to the construction of the Museum's first building at its current site on the east side of New York's Central Park.
Posted: Thursday, February 3, 2011
As the situation unfolds in Egypt, I continue to reflect on my trip there last fall and the extraordinary country that I encountered during my stay. My visit was focused on the Met's archaeological work, and I was particularly struck by the relationship between the collection of the Cairo Museum and the holdings of the Met. Our strong relationship with our colleagues in Egypt has fostered more than a century of collaboration, and thirty years of partage (1906–36) has yielded two deeply connected collections.
Posted: Tuesday, February 1, 2011
The Met is taking part in the Art Project, which Google launched today at a press conference in London. Seventeen museums from nine countries are currently participating in the Art Project, which can be accessed at www.googleartproject.com. This allows viewers both to explore the museums using Street Views technology and to view one iconic work from each museum's collection in a more in-depth way using state-of-the-art zooming technology.
Posted: Thursday, January 20, 2011
Developed in the early years of the twentieth century, Autochromes were the result of the first commercially viable color photographic process. Yet the dyes used to impart the color in Autochromes are so sensitive to light that typical exhibition conditions cause rapid and irreversible fading, which has led to the Metropolitan Museum's policy of not exhibiting these vulnerable photographs. As the Museum's research scholar in photograph conservation, I spent three years studying the stability of Autochrome dyes. I began my research with a desire to better understand how and under what conditions Autochromes fade and, ideally, to devise a safe way to exhibit these important photographs. The exciting culmination of my work will take place next week, January 25–30, when five original Autochromes by Alfred Stieglitz and Edward Steichen will be displayed in low-oxygen enclosures as part of the special exhibition Stieglitz, Steichen, Strand.