Featuring the rarely seen early work of Diane Arbus (1923–1971), this exhibition will explore the genesis of one of the most influential and controversial artists of the 20th century. The show will focus on Arbus's first seven years working with the camera on the streets of New York City (1956–1962), a dramatic era in American history and the period when the artist developed her idiosyncratic style and subject matter, which were soon recognized, praised, criticized, and copied all over the world. The majority of the photographs will be drawn from The Metropolitan Museum of Art's vast Diane Arbus Archive, acquired in 2007 by gift and promised gift from the artist's estate. More than two-thirds of the photographs have never been exhibited or published, offering general visitors and scholars alike an unparalleled opportunity to see the work of this evocative and haunting artist.
The exhibition is made possible by the Alfred Stieglitz Society.
Additional support is provided by The Horace W. Goldsmith Foundation and the Art Mentor Foundation Lucerne.
Accompanied by a catalogue.
This installation will shed light on Chinese opera costumes. Showcasing robes drawn entirely from The Met collection, it will examine these luxury textiles from artistic and technical points of view. The first rotation (on view through January 8, 2017) will focus on costumes used in dramas based on historical events; and the second rotation (on view January 14–October 9, 2017) will feature costumes from plays derived from legends and myths. A set of album leaves faithfully depicting theatrical characters wearing such robes will also be displayed.
An exhibition featuring 45 magnificent examples of Chinese carved lacquer drawn entirely from The Met collection, this installation will explore the development of this significant artistic tradition.
Showcasing a selection of 75 exquisite carvings—not only jade, the most esteemed of East Asian gems, but also agate, malachite, turquoise, quartz, amber, coral, and lapis lazuli—this installation will present the lapidary art of China’s Qing dynasty (1644–1911). Drawn entirely from The Met collection, it will reveal the extensive variety of hardstones and full palette of vibrant colors favored at the imperial court.
Divine Pleasures: Painting from India's Rajput Courts—The Kronos Collections
June 14–September 12, 2016
The Kronos Collection of Indian painting is a finely distilled selection of nearly 100 works from the royal courts of northern India, forming a major promised gift by collector Steven M. Kossak to The Metropolitan Museum of Art. These vivid and inspired images—dating from the 16th to the early 19th century and representing almost all major artistic centers of Rajasthan and the Punjab Hills—reflect the meeting of artistic talent, spiritual devotion, and royal taste.
Divine Pleasures celebrates the collection and presents this visual splendor in relation to the rich literary and philosophical traditions of Indian Hinduism.
Accompanied by a publication.
#DivinePleasures
The Old Ball Game: New York Baseball 1887–1977
June 10–November 13, 2016
Since the mid-19th century, New York has been home to some of the sport’s most successful and beloved teams. Nearly 400 baseball cards featuring players from numerous teams, from the New York Metropolitans and the Brooklyn Bridegrooms to the Giants, Dodgers, Yankees, and Mets will be featured in this exhibition. All of the cards are from the collection of The Met, and many of them will be on display for the first time.
#OldBallGame
Printing a Child’s World
May 27–November 6, 2016
A burgeoning marketplace centering on childhood developed in the late 19th and early 20th centuries. This exhibition will feature some two dozen works—primarily children’s picture books, illustrations, and prints—by artists including Randolph Caldecott (for whom the annual award for best children’s illustration is named), George Bellows, Winslow Homer, and Thomas Nast. In addition to works from the permanent collection of The Met, there will be a dozen loans from a private collection and the New-York Historical Society.
#PrintingaChildsWorld
Dream States: Contemporary Photographs and Video
May 16–October 30, 2016
Artists have often turned to dreams as a source of inspiration, a retreat from reason, and a space for exploring imagination and desire. This exhibition presents 30 photographs and one video drawn from The Met collection, all loosely tied to the subjective yet universal experience of dreaming.
#MetDreamStates
Manus x Machina: Fashion in an Age of Technology
May 5–September 5, 2016 (extended from August 14)
The Costume Institute’s spring 2016 exhibition, presented in the Museum’s Robert Lehman Wing, explores how fashion designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear. With more than 150 ensembles dating from the early 20th century to the present, the exhibition addresses the emergence of a distinction between the hand (manus) and the machine (machina) at the onset of industrialization and mass production. It explores this ongoing dichotomy, in which hand and machine are presented as discordant tools in the creative process, and question this relationship and the significance of the distinction between haute couture and ready-to-wear.
The exhibition is made possible by Apple.
Additional support is provided by Condé Nast.
#ManusxMachina
Global by Design: Chinese Ceramics from the R. Albuquerque Collection
April 25–September 5, 2016
This exhibition, which focuses on the late 16th to the 18th century—the period when Chinese porcelain became a global luxury—features 60 exquisite and unusual pieces in a presentation that challenges the traditional, and overly rigid, cataloguing of Chinese ceramics as domestic or trade items. In addition to exploring the trade in Chinese ceramics within Asia, the exhibition focuses on the development of shapes and designs that reflect longstanding exchanges between China and the Islamic world as well as on the subsequent introduction and incorporation of works reflecting both these traditions into Europe and the Americas in the late 16th century. It also explores the ways in which 18th-century artists, when faced with the global idioms that had developed at that time, made artistic choices that allowed them to create an endless range of spectacular and visually imaginative works.
#GlobalbyDesign
The Roof Garden Commission: Cornelia Parker, Transitional Object (PsychoBarn)
April 19–October 31, 2016
This spring British artist Cornelia Parker has created a site-specific installation atop The Met’s Iris and B. Gerald Cantor Roof Garden. The installation is the fourth in a series of commissions created specifically for the outdoor space.
Supported by Bloomberg Philanthropies.
Additional support is provided by Cynthia Hazen Polsky and
Leon B. Polsky.
Accompanied by a publication.
#MetRoof
Tatsuo Miyajima: Arrow of Time (Unfinished Life)
April 19–September 25, 2016
Location: The Met Breuer
A new light-based installation by Japanese artist Tatsuo Miyajima is on view at The Met Breuer in the Tony and Amie James Gallery. Arrow of Time (Unfinished Life) was created to accompany The Met Breuer’s inaugural exhibition Unfinished: Thoughts Left Visible. The artist programmed approximately 250 LED counters to count from one to nine repeatedly, then go dark momentarily, and then repeat the sequence. According to Miyajima, the cyclical repetition of numbers, along with the recurring passage from light to dark, symbolizes the unending “time of human life.”
The exhibition is made possible by Leonard A. Lauder and The Dr. Mortimer and Theresa Sackler Foundation.
Additional support is provided by The Daniel and Estrellita Brodsky Foundation, the Jane and Robert Carroll Fund, Howard I. Hoffen & Sandra Hoffen, Kenneth and Rosalind Landis, Ann M. Spruill and Daniel H. Cantwell, and Northern Trust.
It is supported by an Indemnity from the Federal Council on the Arts and the Humanities.
#TatsuoMiyajima
#MetUnfinished
#MetBreuer
Unfinished: Thoughts Left Visible
March 18–September 4, 2016
Location: The Met Breuer
This exhibition examines a subject critical to artistic practice: the question of when a work of art is finished. Beginning with the Renaissance masters, this scholarly and innovative exhibition examines the term “unfinished” in the broadest possible way, including works left incomplete by their makers, which often give insight into the process of their creation, but also those that partake of a non finito—intentionally unfinished—aesthetic that embraces the unresolved and open-ended. Some of history’s greatest artists explored such an aesthetic, among them Titian, Rembrandt, Turner, and Cézanne. The unfinished has been taken in entirely new directions by modern and contemporary artists, among them Janine Antoni, Lygia Clark, Jackson Pollock, and Robert Rauschenberg, who alternately blurred the distinction between making and un-making, extended the boundaries of art into both space and time, and recruited viewers to complete the objects they had begun.
With over 190 works dating from the Renaissance to the present—nearly 40 percent of which are drawn from the Museum’s collection, supplemented with major national and international loans—the exhibition demonstrates The Met’s unique capacity to mine its rich collection and scholarly resources to present modern and contemporary art within a deep historical context. The exhibition catalogue expands the subject to include the “unfinished” in literature and film, and the role of the conservator in elucidating a deeper understanding of artistic thought on the subject of the unfinished. It is published by The Metropolitan Museum of Art and distributed by Yale University Press.
The exhibition is made possible by Leonard A. Lauder and The Dr. Mortimer and
Theresa Sackler Foundation.
Additional support is provided by The Daniel and Estrellita Brodsky Foundation, the Jane and Robert Carroll Fund, Howard I. Hoffen & Sandra Hoffen, Kenneth and Rosalind Landis, Ann M. Spruill and Daniel H. Cantwell, and Northern Trust.
It is supported by an Indemnity from the Federal Council on the Arts and the Humanities.
Accompanied by a catalogue.
#MetBreuer
#MetUnfinished
Artistic Furniture of the Gilded Age
In three parts, all opening December 15, 2015
• Worsham-Rockefeller Dressing Room (permanent installation): December 15, 2015
• George A. Schastey (special exhibition): December 15, 2015–June 5, 2016
• Herter Brothers and the William H. Vanderbilt House (gallery installation): December 15, 2015–January 31, 2017
The centerpiece of this three-part exhibition is a sumptuous Aesthetic-style dressing room (1881–82) that was part of a larger commission for Arabella Worsham. She then sold her West 54th Street house and its furnishings to John D. Rockefeller, who made few changes. The
Worsham-Rockefeller Dressing Room has found new life at The Met, where it provides fresh insight into the luxurious and artistic interiors found in New York’s wealthiest households in the late 19th century. The exhibition’s second part focuses on the dressing room’s designer,
George A. Schastey (1839–1894), who, although little-known today, operated one of the largest and most successful decorating firms of the time. Some 15 to 20 works by or attributed to Schastey are shown near five examples by rival firms such as Herter Brothers, Pottier & Stymus, and Herts to demonstrate the quality of his work. The unique atmosphere created by New York’s esteemed Gilded Age decorating firms is demonstrated in a new gallery installation on
Herter Brothers’ most important commission, the William H. Vanderbilt House, highlighting several new discoveries. Completed in 1882, the Vanderbilt commission dates to precisely the same moment as the Worsham-Rockefeller Dressing Room.
Artistic Furniture of the Gilded Age: George A. Schastey is made possible by the Enterprise Holdings Endowment and The Peter Jay Sharp Foundation.
Additional support is provided by Karen H. Bechtel.
Accompanied by a
Bulletin.
#GildedAgeFurniture
Design for Eternity: Architectural Models from the Ancient Americas
October 26, 2015–September 18, 2016
From the first millennium B.C. until the arrival of Europeans in the 16th century, artists from the ancient Americas created small-scale sculptures representing buildings to be placed in the tombs of important individuals. These works in stone, ceramic, wood, and metal range from highly abstracted representations of temples and houses to elaborate architectural complexes populated with figures conveying a rich sense of ancient ritual and daily life. Often called models, these miniature structures were critical components in funerary practice and beliefs about an afterlife. This exhibition, the first of its kind in the United States, provides new insights into ancient American architectural design and sheds light on the role of models in mediating relationships between the living, the dead, and the divine.
The exhibition is made possible by Jill and Alan Rappaport in honor of Joanne Pearson.
Additional support provided by the Friends of the Department of the Arts of Africa, Oceania, and the Americas.
Accompanied by a catalogue.
#DesignforEternity
Phil Collins: how to make a refugee
December 11, 2015—November 6, 2016
Filmed during the Kosovo War (1998–1999), how to make a refugee, by British artist Phil Collins, addresses the depiction of war victims by journalists and documentarians. In this film, Collins brings a critical, self-conscious eye to the conventions governing the representation of suffering in the media.
Alex Katz at the Met
October 9, 2015–November 6, 2016
This exhibition, mounted in celebration of gifts both donated and promised to The Met, gathers works by Alex Katz (American, born 1927), one of our era's most acclaimed artists. Acquired through the generosity of Glenn Fuhrman, Leonard A. Lauder, and Katz himself, these works—eight in total, including two loans—span nearly the entire arc of Katz's career and include drawings, prints, and paintings. Among the works are two cutouts, the innovative artistic device that Katz pioneered in the late 1950s; a haunting cityscape; several portraits of Ada, Katz's wife and long-time muse; and portraits of luminaries from Katz's own social and artistic circles.
#MetKatz
New Discoveries: Early Liturgical Textiles from Egypt, 200–400
September 23, 2015–September 5, 2016
Iconographic analysis and scientific testing have revealed new information about the meaning and use of two textiles in The Met collection. The first—woven in a loop pile meant to suggest a mosaic—has recently been recognized as a wall hanging for Christian liturgical use. The second—five recently acquired elements from a depiction of the crossing of the Red Sea as described in the book of Exodus—can be understood as being from a wall hanging for Christian or possibly Jewish use.
#LiturgicalTextiles
Reimagining Modernism: 1900–1950
Opened September 2014
This reinstallation of the first-floor galleries of the Lila and Acheson Wallace Wing for modern and contemporary art is a comprehensive and unprecedented reinterpretation of The Met collection of European and American modern painting, sculpture, photography, drawings and prints, and design. The first-floor galleries have been divided into seven themes that relate to art and life in the first half of the 20th century: Avant-Garde (Muriel Kallis Steinberg Newman Gallery and The Esther Annenberg Simon Gallery), Direct Expression (Gallery 911), Abstraction (The Marietta Lutze Sackler Gallery and The Helen and Milton A. Kimmelman Gallery), Bodies (also in The Helen and Milton A. Kimmelman Gallery), Work and Industry (Gallery 903), The Metropolis (Pierre and Maria-Gaetana Matisse Gallery), and Retreat (The Sharp Gallery and 901).
Sol LeWitt: Wall Drawing #370
June 30, 2014–January 28, 2018
Sol LeWitt’s 1982 piece
Wall Drawing #370: Ten Geometric Figures (including right triangle, cross, X, diamond) with three-inch parallel bands of lines in two directions was installed at the Museum over a period of four weeks. The drawing of 10 geometric figures set within squares went on view in its complete state beginning June 30, 2014 and will remain on view through January 1, 2017.
The loan of W
all Drawing #370 is courtesy of The Estate of Sol LeWitt.
The installation is made possible by The Modern Circle.
Fabergé from the Matilda Geddings Gray Foundation Collection
November 22, 2011–November 27, 2016
When Matilda Geddings Gray acquired her first piece of Fabergé for her niece, in 1933, she was already a wealthy and sophisticated collector, and the name of the Russian artist-jeweler Peter Carl Fabergé (1846–1920) was almost unknown in the United States. Since then, Fabergé’s art has become widely known and his exquisite objects are now internationally sought after. On long-term loan to The Met, this selection from the Matilda Geddings Gray Foundation collection, one of the finest in the world, includes objects created for the Russian Imperial family, such as the Lilies-of-the-Valley Basket—the most important Fabergé creation in the United States—and three Imperial Easter Eggs.
CONTINUING EXHIBITIONS AND INSTALLATIONS
Masterpieces of Chinese Painting from The Metropolitan Collection
October 31, 2015–October 11, 2016
During the last 40 years, The Met collection of Chinese painting and calligraphy has grown to be one of the greatest in the world. With masterpieces dating from the Tang dynasty (608–917) to the Qing (1644–1911), the collection encompasses the vast historical sweep of the brush arts of China, from meticulous court painting to fiercely brushed dragons to lyrical paintings by scholars. The exhibition is part of a yearlong celebration marking the centennial of the Department of Asian Art. This exhibition, presented in two rotations, highlights the gems of the permanent collection in a chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271–1368) dynasties.
The exhibition is made possible by the Joseph Hotung Fund.
#AsianArt100
#ChinesePainting
Celebrating the Arts of Japan: The Mary Griggs Burke Collection
October 20, 2015–January 22, 2017
Over the course of five decades, Mary Griggs Burke (1916–2012), a New York-based collector of Asian art, built one of the finest and most comprehensive private collections of Japanese art outside Japan. Over 300 masterworks, including over 225 paintings in various formats, as well as Buddhist sculptures and an array of ceramics and lacquerware, outstanding examples of every type of Japanese art represented, were bequeathed to The Met. This exhibition, which serves as a tribute to a great collector, reveals the distinctive features of Japanese art as viewed through the lens of 50 years of collecting: the sublime spirituality of Buddhist and Shinto art; the boldness of Zen ink painting; the imaginary world conjured up by the Tale of Genji and classical Japanese literature; the sumptuous colors of bird-and-flower painting; the subtlety of poetry, calligraphy, and literati themes; the aestheticized accoutrements of the tea ceremony; and the charming portraiture of courtesans from the "floating world" (ukiyo-e).
The exhibition is made possible by the Mary Griggs Burke Fund, Gift of the
Mary Livingston Griggs and Mary Griggs Burke Foundation, 2015.
#AsianArt100
#ArtsofJapan
The Arts of Nepal and Tibet
Reopened March 13, 2015
These newly reinstalled galleries for Nepalese and Tibetan arts display some 100 sculptures, paintings, and textiles from the 9th to the 19th century, showcasing the 14 masterpieces acquired recently from the Zimmerman Family Collection.
#NepalTibetArts
#AsianArt100
New Venetian Sculpture Gallery
Opened November 11, 2014
The Met’s marble sculpture
Adam by Tullio Lombardo (ca. 1455–1532) returned to public view late last fall following a 12-year conservation project, presented in a special exhibition in the Museum’s new Venetian Sculpture Gallery. Adam is now the focal point of this permanent gallery in a niche inspired by its original location in a monumental tomb in Venice. The creation of this new space has encouraged the curatorial reassessment of The Met’s sculpture collection from this period. Tullio’s statue is joined by an exquisitely carved Saint Catherine of Alexandria by Cristoforo Solari (ca. 1460–1524), specially acquired for this gallery, and a newly conserved masterpiece by Tullio’s father Pietro Lombardo, a Madonna and Child, whose attribution to Pietro was sometimes questioned in the past and that, as a consequence, has spent several decades in storage. The new Venetian Sculpture Gallery, a perfect cube, was designed with Renaissance ideals of geometry and proportion in mind. It is a meditative environment that encourages sustained encounters with these important works.
The installation of this gallery was made possible by Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso and Romano I. Peluso.
Chinese Treasury
Opened May 19, 2014
This gallery, which recreates the type of collecting and display found in 18th-century treasure cabinets (
duobaoge), features some of The Met's most precious works of Chinese art including sculptures and vessels of ivory, rhinoceros horn, glass, porcelain, and jade. Touchpads allow viewers to read introductory texts for all of the objects as well as to explore further by grouping the works of art digitally by material and by theme.
The Costume Institute’s Anna Wintour Costume Center
Opened May 8, 2014
The Costume Institute galleries reopened on May 8 as the Anna Wintour Costume Center after a two-year renovation, reconfiguration, and updating. The 4,200-square-foot main Lizzie and Jonathan Tisch Gallery features a flexible design that lends itself to frequent transformation, as well as a zonal sound system and innovative projection technology. The redesigned space also includes: the Carl and Iris Barrel Apfel Gallery, which orients visitors to The Costume Institute’s exhibitions and holdings; a state-of-the-art costume conservation laboratory; an expanded study/storage facility that houses the combined holdings of The Met and the Brooklyn Museum Costume Collection (which was transferred to The Met in 2009); and The Irene Lewisohn Costume Reference Library, one of the world’s foremost fashion libraries. The Costume Institute was last refurbished in 1992.
New European Paintings Galleries, 1250–1800
Opened May 23, 2013
The Met’s galleries for its world-renowned collection of European Old Master paintings from the 13th through the early 19th century reopened in May 2013 after an extensive renovation and reinstallation. This was the first major renovation of the galleries since 1951 and the first major reinstallation of the collection since 1972. Gallery space has increased by almost one-third, making it possible to display more than 700 paintings from the collection and giving the entire floor of galleries a grandeur not seen in half a century. The reinstallation also captures historical crosscurrents between countries and contacts between artists by placing them in adjoining rooms. The Met collection of early Netherlandish, Italian, and French paintings is wide-ranging and includes landmark pictures, while its collection of Dutch school paintings must be counted among the finest in the world. As for individual artists, the representation of Rembrandt, Rubens, Vermeer, Poussin, Velázquez, Goya, and David is the strongest in the western hemisphere, and there are individual masterpieces known to every student of art history, such as Bruegel’s
The Harvesters and David’s
The Death of Socrates. Key works have been cleaned, conserved, or reframed, and important new loans complement the collection.
###
Updated September 1, 2016
Faith and Photography: Auguste Salzmann in the Holy Land
September 12, 2016–February 5, 2017
Jerusalem 1000–1400: Every People Under Heaven
September 26, 2016–January 8, 2017
Fragonard: Drawing Triumphant—Works from New York Collections
October 6, 2016–January 8, 2017
Valentin de Boulogne: Beyond Caravaggio
October 7, 2016–January 16, 2017
Max Beckmann in New York
October 19, 2016–February 20, 2017
Renaissance Maiolica: Painted Pottery for Shelf and Table
October 20, 2016–May 29, 2017
Kerry James Marshall: Mastry
October 25, 2016–January 29, 2017
Native American Masterpieces from the Charles and Valerie Diker Collection
October 28, 2016–March 19, 2017
Show and Tell: Stories in Chinese Painting
October 29, 2016–August 6, 2017
Masterworks: Unpacking Fashion
November 8, 2016–February 5, 2017
City of Memory: William Chappel’s Views of Early 19th-Century New York
November 15, 2016–May 14, 2017
The Poetics of Place: Contemporary Photographs from The Met Collection
December 12, 2016–June 25, 2017
Y. G. Srimati and the Indian Style (1926-2007)
December 15, 2016–June 18, 2017
Inhabiting Marcel Breuer’s Architecture: Four Public Buildings Photographed by Luisa Lambri and Bas Princen
February 1–May 21, 2017 (updated dates)
CONTINUING EXHIBITIONS AND INSTALLATIONS:
Humor and Fantasy —The Berggruen Paul Klee Collection
September 1–December 31, 2016
Power and Piety: Islamic Talismans on the Battlefield
August 29, 2016–February 13, 2017
Benjamin Franklin: Portraits by Duplessis
August 22–November 28, 2016
Simple Gifts: Shaker at The Met
July 13, 2016–June 25, 2017
The Aesthetic Movement in America
July 13, 2016–June 25, 2017
diane arbus: in the beginning
July 12–November 27, 2016
From the Imperial Theater: Chinese Opera Costumes of the 18th and 19th Centuries
June 25, 2016–October 9, 2017
Cinnabar: The Chinese Art of Carved Lacquer, 14th to 19th Century
June 25, 2016–October 9, 2017
Colors of the Universe: Chinese Hardstone Carvings
June 25, 2016–October 9, 2017
The Old Ball Game: New York Baseball 1887–1977
June 10–November 13, 2016
Printing a Child’s World
May 27–November 6, 2016
Dream States: Contemporary Photographs and Video
May 16–October 30, 2016
Manus x Machina: Fashion in an Age of Technology
May 5–September 5, 2016 (extended from August 14)
Global by Design: Chinese Ceramics from the R. Albuquerque Collection
April 25–September 5, 2016
The Roof Garden Commission: Cornelia Parker, Transitional Object (PsychoBarn)
April 19–October 31, 2016
Tatsuo Miyajima: Arrow of Time (Unfinished Life)
April 19–September 25, 2016
Unfinished: Thoughts Left Visible
March 18–September 4, 2016
Artistic Furniture of The Gilded Age
In three parts, all opening December 15, 2015
• Worsham-Rockefeller Dressing Room (permanent installation): December 15, 2015
• George A. Schastey (special exhibition): December 15, 2015–June 5, 2016
• Herter Brothers and the William H. Vanderbilt House (gallery installation): December 15, 2015–January 31, 2017
Phil Collins: how to make a refugee
December 11, 2015—November 6, 2016
Masterpieces of Chinese Painting from The Metropolitan Collection
October 31, 2015–October 11, 2016
Design for Eternity: Architectural Models from the Ancient Americas
October 26, 2015–September 18, 2016
Celebrating the Arts of Japan: The Mary Griggs Burke Collection
October 20, 2015–January 22, 2017
Alex Katz at the Met
October 9, 2015–November 6, 2016
New Discoveries: Early Liturgical Textiles from Egypt, 200–400
September 23, 2015–September 5, 2016
Asian Art at 100: A History in Photographs
September 19, 2015–May 22, 2016
Reimagining Modernism: 1900–1950
Opened September 2014
Sol LeWitt: Wall Drawing #370
June 30, 2014–January 28, 2018
Fabergé from the Matilda Geddings Gray Foundation Collection
November 22, 2011–November 27, 2016
Image Captions:
Jerusalem 1000–1400: Every People Under Heaven:
The Virgin and Apostle Capital (detail), early 1170s. Limestone. Terra Sancta Museum, Basilica of the Annunciation, Nazareth
Kerry James Marshall: Mastry: Kerry James Marshall (American, b. 1955).
Untitled (Studio), 2014. Acrylic on PVC panels; 83 5/16 x 119 1/4 in. (211.6 x 302.9 cm). The Metropolitan Museum of Art, New York, Purchase, The Jacques and Natasha Gelman Foundation Gift, Acquisitions Fund and The Metropolitan Museum of Art Multicultural Audience Development Initiative Gift, 2015 (2015.366)
diane arbus: in the beginning: Diane Arbus (1923-1971).
Taxicab driver at the wheel with two passengers, N.Y.C. 1956 © The Estate of Diane Arbus, LLC. All Rights Reserved
Manus x Machina: Fashion in an Age of Technology: Dress, Silicon feather structure and molding of bird heads on cotton base, Iris van Herpen (Dutch, born 1984), fall/winter 2013–14. Photo by Jean-Baptiste Mondino
The Roof Garden Commission: Cornelia Parker, Transitional Object (PsychoBarn): Installation view (detail) of The Roof Garden Commission: Cornelia Parker, Transitional Object (PsychoBarn) at The Metropolitan Museum of Art, 2016. Photographed by Alex Fradkin, Photo courtesy the artist.
Unfinished: Thoughts Left Visible: Alice Neel.
James Hunter Black Draftee, 1965. Oil on canvas. COMMA Foundation, Belgium, © The Estate of Alice Neel, Courtesy David Zwirner, New York/London