Posts Tagged ‘The Metropolitan Museum’
February 20, 2015 | by Sadie Stein
In honor of the Metropolitan Museum’s birthday, I’d like to suggest a fun weekend read: Thomas Hoving’s Making the Mummies Dance: Inside the Metropolitan Museum of Art. Hoving, who died in 2009, became the Met’s director in 1967, and in his decade-long tenure he made the museum the world-class institution (and moneymaker) it is today, influencing the whole industry in the process. It was Hoving who created the Fifth Avenue plaza, the set of shallow steps that lead up to the museum’s doors, and the big banners that announce exhibitions. He added gift shops and splashy special exhibitions, courted donors like crazy, and expanded the physical space into Central Park—facing opposition all the way.
Hoving’s biggest innovation, though, was his approach to acquisition: rather than build up a deep, conservative collection of small pieces, he decided to splurge on big-ticket masterpieces from all over the world. As a result, the Met is now home to such pieces as Velázquez’s Portrait of Juan de Pareja and the Temple of Dendur, and since his time, directors have followed this model. Read More »
May 21, 2014 | by Dan Piepenbring
Yesterday, the Met released nearly four-hundred thousand images—394,253, if you’re counting—into the public domain. Verily this is a horn of digital plenty, and the museum has made it easy, even fun, to peruse: users can sort the images by artist, maker, culture, method, material, geographical location, date, era, or department. To give you a sense of the collection’s scope, I sorted it, not especially imaginatively, to show only books, which left me with an unwieldy 2,701 results—and then I dove in. Above are a few of the more striking images I found, all of them deeply miscellaneous.
There’s something enjoyable in a stochastic approach to browsing, though you’d be right to call it dilettantish. The pieces I found have nothing in common—no cultural background, no thematic unity, no philosophy or aesthetic, no chronology, not even a shared mode of production—except that they all come from books, and they were all created by, you know, the people of Earth. Imagine wandering a library in complete disarray, with no organizing principle and no particular ambition: all the context disappears, along with most notions of the cumulative, but it’s hard not to come away feeling humbled by the vastness of artistic accomplishment. If this is a cheap kind of awe, it doesn’t feel that way; a few minutes of randomized images did wonders for my sense of humanism, and I saw only an infinitesimal fraction of the collection.
You can peruse the Met’s online collection here, as purposely or as arbitrarily as you’d like. Bookmark it and return whenever you’re feeling misanthropic.
March 9, 2012 | by The Paris Review
If you get the chance, check out “Cecil Beaton: The New York Years,” which has extended its run at the Museum of the City of New York. It’s a record of the artist, designer, photographer, and general man-about-town’s relationship with the city in pictures and words, and both the duration of Beaton’s career and the scope of his creativity are something to behold. —Sadie Stein
On the recommendation of our art editor, Charlotte Strick, I’ve started reading Amelia Gray’s debut novel, Threats—the nifty cover of which Charlotte designed, so perhaps she’s biased. But so far, it’s with good cause: the narrative is subversive and impressionistic, evidentiary and eccentric. It reminds me occasionally of Grace Krilanovich’s The Orange Eats Creeps, another deeply imaginative book and one that, in the spirit of this post, I'd wholly recommend. —Nicole Rudick
It is, as Andrew Butterfield says in The New York Review of Books, a show “of staggering beauty and revelatory importance” and “a landmark exhibition,” and it is also your last chance to see it this week. I spent last Sunday strolling through the “The Renaissance Portrait from Donatello to Bellini” at the Metropolitan Museum of Art, and I can’t imagine a more colorful or vibrant way to spend the weekend. —Deirdre Foley-Mendelssohn
I recently discovered Literature Map, an addicting bit of artificial intelligence that plots writers by similarity. Watch your favorite authors drift about in a blue void like awkward, disembodied party-goers! A Marauder's Map for the literary. (Also good for finding new reads.) —Allison Bulger
I visited the Whitney Biennial last week and caught Sarah Michelson’s disciplined performance of “Devotion Study #1—The American Dancer,” a piece about movement, repetition, and the relationships formed in dance. Michelson's residency ends March 11 and it’s a spectacle not to be missed. —Elizabeth Nelson
A screener of Lena Dunham’s Girls made its way around the office a few weeks ago. It contained only three episodes, but I couldn’t get enough. —D.F.M.