Posted: Wednesday, October 15, 2014
The three-part Gods and Goddesses lecture series, which concluded on September 30, attempted to broadly address the multifaceted deities of the Hindu, Buddhist, and Jain religions—faiths that are at the foundation of South Asia's great sculptural tradition. The first lecture began with Buddhism, tracing its image-making tradition that emerged to give manifest form to the Buddha's enlightened relics. Over time it continued to reflect developments within the Buddhist tradition, with the imagery becoming more complex as artists strove to represent subtle aspects of ideology.
Posted: Friday, July 25, 2014
As I travel through the galleries of The Metropolitan Museum of Art, one question always lingers in my mind: If these inanimate objects were able to speak, what would they say? I have taken on the task of "interviewing" three sculptures to break their silence and give us more insight into their lives and stories.
Posted: Friday, April 18, 2014
The mid-nineteenth century was a period of incredible stagnation for French music, especially for those composers working in the vocal arts. Only five new French operas were commissioned by the Opéra Comique in Paris between 1852 and 1870, and France had yet to forge their own style of art song, despite the widespread interest German composers had developed in the musical form earlier in the century. However, the passage of multiple revolutions and failed empires in the mid-nineteenth century gave French artists across all disciplines a spectrum of intense emotions to convey, and the wealth of art song in the country quickly began to accumulate.
Posted: Tuesday, April 15, 2014
The special exhibition The American West in Bronze, 1850–1925 closed at The Metropolitan Museum of Art on Sunday, April 13. Nearly one thousand people visited the galleries on the last day, bringing the total number of visitors to over 108,000 people since the exhibition opened on December 18, 2013. For the next few days, we will be working closely with art handlers, registrars, and conservators to see that the sixty-five sculptures and three paintings are safely de-installed and packed for transport, most of them to the exhibition's second venue at the Denver Art Museum, where it will be on view May 11 through August 31, 2014. The post-closing period also involves thanking lenders and sponsors; sorting out research used for the exhibition and its accompanying catalogue; and writing final reports. I look forward to traveling to Nanjing, China, for the September 29 opening of the exhibition at its third venue, the Nanjing Museum, where it will remain on view through January 18, 2015. Meanwhile, back here at the Met, we will be shifting gears from western bronze sculpture to Rediscovering Thomas Hart Benton's America Today Mural, which will open September 30, 2014.
Posted: Wednesday, April 9, 2014
This Sunday, April 13, is the final day to see The American West in Bronze, 1850–1925 at the Met. After the show closes in New York, it will travel to its second venue, opening at the Denver Art Museum on Sunday, May 11. Located in the heart of the Rocky Mountain region, Denver is an opportune setting for an exhibition of western bronzes. The Denver Art Museum is also home to the Petrie Institute of Western American Art, founded in 2001 and dedicated to promoting the significance of the West in American art and culture. Denver thus provides a new geographic and intellectual context for The American West in Bronze, 1850–1925.
Posted: Tuesday, April 8, 2014
The Cesnola Collection of Cypriot Art: Stone Sculpture (2014) is the first comprehensive publication of 635 stone sculptures in the Met's extensive collection of ancient art from the island of Cyprus. Published online, in a historic first for the Museum, the publication is available to read, download, and search in MetPublications at no cost. A paperbound edition, complete and printed as a 436-page print-on-demand book with 949 full-color illustrations, is also available for purchase and can be ordered on Yale University Press's website.
Posted: Monday, March 31, 2014
On April 22, 1930, Bryant Baker's seventeen-foot bronze statue Pioneer Woman was unveiled in Ponca City, Oklahoma, before a crowd of forty thousand spectators. At the dedication ceremony, patron Ernest W. Marland—oil man, philanthropist, and the tenth governor of Oklahoma—described the commission: "We have erected monuments to our war heroes, to the hearty pioneers who wrested from the wilderness, from the plains and from the desert this nation of ours, but have we preserved the memory of the women…who married their men and set out with them on their conquest of the west, faced with them the months of arduous toil and terrible dangers?…With this monument I hope to preserve for the children of our children the story of our mothers' fight and toil and courage."
Posted: Friday, March 28, 2014
The sculpture Pioneer Woman in the current exhibition The American West in Bronze, 1850–1925 caught my attention because it depicts a woman. Before you roll your eyes and claim that I am stating the obvious, bear with me! The field of American Western art is dominated by renditions of men and animals, so Bryant Baker's sculpture offers a unique approach to capturing the West. The very fact that Pioneer Woman focuses on a pioneer woman makes it noteworthy, but the meaning of the work is more elusive than just its subject matter.
Posted: Wednesday, March 26, 2014
In 1905, Charles M. Russell—America's "Cowboy Artist"—cast his first bronze sculpture depicting the Plains Indian buffalo hunt. It was a theme he began painting as early as 1890, and one that he would return to throughout his career, producing more than fifty buffalo hunt paintings and sculptures by the time of his death in 1926.
Posted: Wednesday, March 19, 2014
Sculptures capture emotions and body movements, which, in my opinion, makes them more relatable than paintings. The sculptures in the exhibition The American West in Bronze, 1850–1925 really evoke the American West, and the details bring the pieces to life. Cast in different sizes and displayed on pedestals of different heights, the pieces create an effect like a mountain range. The ridges and valleys work to draw your attention to each piece, no matter its size, and the lack of conformity allows the viewer to allocate time to each sculpture and absorb its details.