Posted: Tuesday, October 13, 2015
Have you ever wondered what happens in the Met at night? How about if the Museum were filled with nearly three thousand teens? What if these teens were dancing to a DJ while creating cool stuff, writing poetry, learning about hip-hop, making their own digital beats, and printing their own zines? To be part of it, Teens Take the Met on Friday, October 16, is a total must!
Posted: Tuesday, September 8, 2015
Experiencing art in a gallery is like coming out of a subway station in a new neighborhood and trying to navigate the vast unfamiliarity of the cityscape ahead of you. Crisscrossing lines, variegated colors, and the overlapping patterns of light, architecture, and people draw your eye in every direction, creating an overwhelming visual experience. Though neighborhoods each have their own culture and atmosphere, their boundaries melt into each other, asking you to reorient yourself as you meander through them.
Posted: Tuesday, August 4, 2015
It was March, nearing the end of my senior year at the University of Southern California, and graduation and the real world were right around the corner. I needed a position working somewhere I could be proud of as a college graduate. I had applied for the Met's MuSe (Museum Seminar) Internship as a junior and was turned down, but I decided to reapply as a senior, having gained more experience in the interim. This time I was confident that I was the ideal MuSe Intern, and I was accepted in April, a month before graduation.
Posted: Tuesday, June 23, 2015
From New Yorkers to tourists, thousands of people visit The Metropolitan Museum of Art every day. I have admired these people from afar for a while and believe they are a part of the art. With people drawing, viewing, and talking about the artworks, there is so much diversity in one place. I sometimes find myself overwhelmed by the chaos of my studies, family, friends, and everything else I have going on, but I never thought that there might be other people who feel the same way and also find a safe haven within the Met.
Posted: Friday, May 22, 2015
I find one-minute gesture, or figure, drawings very challenging. My desire to create an intriguing composition makes capturing the model's gesture in such a short period of time even harder. Normally, I look to the Met's collection for inspiration when I find myself confronted by an artistic problem, but, in this case, I thought: "How many one-minute gesture drawings are actually on display in a museum full of meticulously constructed masterpieces?"
Posted: Friday, April 10, 2015
I invite you to look up from your phone. There is something almost sacred about the paintings and objects here at the Met. Stand in front of Johannes Vermeer's Young Woman with a Water Pitcher and look closely, see how blue light comes through the glass of the window and shadows the folds of her headdress. She puts a hand up to the window, lost in thought, as if unaware of you, and light reflects off of the pitcher—a deep blue from her dress and the mantle, and a pale blue from the glass.
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, 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 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.
Posted: Tuesday, March 11, 2014
The first object seen upon entering the exhibition The American West in Bronze, 1850–1925 is a buffalo, perhaps one of the most important symbols of the American West. This sculpture, Henry Merwin Shrady's Buffalo, stands in front of a blown-up chromolithograph of a herd of wild buffalo, and showcases the exhibition's unique point of view, blending the artists' and patrons' fondest memories and wildest dreams of what the vast, "untouched" frontier meant. Nostalgia and excitement abound in the exhibition, as brave pioneers conquer the West and search for the American Dream.