View Full Version : The Metropolitan Museum of Art

January 4th, 2004, 09:15 PM
The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
General Information: 212-535-7710
MetMuseum.org (http://www.metmuseum.org/)
MetMuseum (http://www.wirednewyork.com/museums/met-museum/) on Wired New York

American Wing Courtyard of the Metropolitan Museum of Art (http://www.wirednewyork.com/museums/met-museum/).

http://www.wirednewyork.com/images/museums/metropolitan-museum/metmuseum_american_wing_3jan04.jpg (http://www.wirednewyork.com/museums/met-museum/)

European Paintings in the Metropolitan Museum of Art (http://www.wirednewyork.com/metropolitan_museum.htm).

http://www.wirednewyork.com/museums/metropolitan/metmuseum_paintings_3jan04.jpg (http://www.wirednewyork.com/metropolitan_museum.htm)

January 13th, 2004, 02:21 AM
is the met closed? I couldn't work it out from their site, dumb brit here. Visting in Feb and would like to go. From what I read it is in Queens (I think) for now until 2005. Maybe I'm wrong

January 13th, 2004, 04:37 AM
umm I have it wrong, disregard the last post (if you can stop laughing). It is the MOMA thats relocated temporarily

TLOZ Link5
January 13th, 2004, 11:33 AM
Too late on the "you can stop laughing" part :lol:

Just kidding.

January 14th, 2004, 05:49 AM
you New York kids and your humour...... why I oughta.....

June 14th, 2004, 10:42 PM
June 15, 2004

Metropolitan Is Expanding Its Modern Art Department


Gary Tinterow, who is to head a new, expanded modern art department at the Metropolitan, with Fernand Léger's "Woman With a Cat."

Pledging to increase its commitment to modern and contemporary art, the Metropolitan Museum is planning a major reorganization of its departments of European painting and modern art, it announced yesterday.

Gary Tinterow, 50, the museum's longtime curator of 19th-century European paintings, will run a new, expanded modern art department, which will include European paintings from 1800 to the present as well as international 20th-century sculpture, drawings, prints, decorative arts and design. Materials from several departments in the museum, including American art, will now become Mr. Tinterow's responsibility. In turn the department of European painting will now stop before the 19th century. The hugely popular collection of French Impressionist and post-Impressionist paintings will be included in the company of contemporary masters like Jasper Johns and Roy Lichtenstein.

"The expansion was the trigger," said Philippe de Montebello, director of the Metropolitan, referring to the museum's $155 million remodeling project, which the museum announced in February and which includes adding about 10,000 square feet of space above the Oceanic galleries in the Rockefeller Wing for 19th-century art, modern art, contemporary art and photography. "Traditionally the museum has functioned like a group of small museums with different departments and collections under one roof. This is a more integrated approach."

In reorganizing its curatorial departments, all European works created after 1800 will move from the Met's European paintings department, run by Everett Fahy, and come under the aegis of Mr. Tinterow's 19th-century, modern and contemporary art department.

William S. Lieberman, 80, who has been the chairman of the museum's department of 20th-century art, will be involved in the new department as its chairman emeritus and special consultant. He will report directly to Mr. de Montebello.

The Met's announcement comes on the eve of the Museum of Modern Art's reopening in Manhattan this fall, something Mr. de Montebello called "a coincidence."

Coincidence, perhaps, yet as museums compete for some of the estimated seven million visitors who come to New York every year to see art, the announcement underscores the Met's commitment to modern and contemporary works. "We would not be using the name contemporary art were we not concerned with it," Mr. de Montebello said. "We have always represented the work of living artists. But we are an encyclopedic museum and the key for us is to be balanced."

With the many museums in New York devoted to the work of emerging artists, Mr. de Montebello said he did not see the Met's role as having to be on the cutting edge. "We will leave that to others," he said.

Still, this is the first time the museum has used the word contemporary to describe even a portion of one of its curatorial departments since 1979, when Mr. Lieberman joined the Met, replacing Henry Geldzahler, who had run what was then called the department of contemporary art. With Mr. Lieberman's arrival the museum renamed it the department of 20th-century art. That lasted until 2001 when it became the department of modern art.

Both Mr. de Montebello and Mr. Tinterow say the Met will take a historic approach to newer art. "We don't need to be trendy but we can be current," Mr. Tinterow said. As for its acquisitions, he said, he is less concerned with representing a broad array of contemporary artists than he is with building deeper collections of the work of masters like Picasso or Jasper Johns. At the moment the museum's modern art collection comprises some 12,000 works in all media, from paintings to coffee tables.

While the changes will take time for visitors to notice, Mr. Tinterow said he hoped they would see a more "seamless presentation of art from the end of the 19th-century into the 20th-century, for example, a gallery devoted to Symbolist art." Eventually he is planning a gallery devoted to the small 19th-century sketches that the department has been acquiring in recent years, which may be interspersed with early photographs.

Mr. Tinterow said that one of his immediate goals was to look at the collection more historically by adding explanatory labels to great works of art, something that can be found in every other department in the museum. Mr. Tinterow also said he wanted to focus on cataloging the museum's modern art collection, for which the department has been lacking funds.

"There has been a huge increase in acquisitions but there hasn't been sufficient time and resources devoted to study," Mr. Tinterow said. "I want to emphasize scholarship of what we already own."

Copyright 2004 The New York Times Company

July 27th, 2005, 06:53 PM
Ok... I thought is was just exhibits and a place to take pictures, can you just go to the top and take pictures, or is it a whole big restaurant thing?

You can get a snack up there, too.

Current exhibition of Sol LeWitt sculptures & drawing (through October '05):



This summer’s installation by Conceptual artist Sol LeWitt includes five sculptures and one wall drawing. A prolific artist since his emergence in the mid-1960s, LeWitt is showing recent sculptures, called Splotches. With a palette of bold colors, LeWitt has created large-scale, painted fiberglass works. Their undulating, curvilinear shapes and vibrant hues brilliantly engage with the natural landscape of Central Park. LeWitt’s wall drawing, Whirls and Twirls, echoes the abstract forms and vivid color of the Splotches. Taken together, these works represent a bright complement to the unique setting of The Iris and B. Gerald Cantor Roof Garden, which offers a spectacular view of Central Park and the Manhattan skyline. Beverage and sandwich service is available from 10:00 a.m. until closing, including Friday and Saturday evenings.

May 8th, 2006, 10:38 AM
Celebrating a Restoration


May 8, 2006
NY_SUN (http://www.nysun.com/article/32293)

This year, the Metropolitan Museum of Art completed its latest great improvement: the restoration of its Fifth Avenue facade. The $12.2 million project has helped focus attention on the Met's own building as one of the museum's priceless artworks. It also represents the intersection of three trends in New York in recent years: museum renovations, building restorations, and nighttime illuminations of outstanding buildings.

As for the first, God bless the Met for not falling prey to the delusion that Renzo Piano can improve upon McKim, Mead & White - or Richard Morris Hunt. As for the second, God bless the Met for not treating its building as though it were some souvenir tchotchke suited as a backdrop for advertisements and laser light shows. Finally, go there at night for a genuine thrill. The exterior illumination is dramatic - calling to mind, though more beguiling than, the floodlighted Grand Central Terminal, the Met Life Tower, the former Tiffany building at 37th Street, and a few others. By day one wishes to enter the museum to see the wonders within. By night, there is a special feeling in contemplating the treasure house and only being able to wonder, dreamily, what its glorious halls must be like emptied of people and silent but for the padding feet of the night watchman.

Not the least of the facade's present charms is its conspicuous absence of banners advertising the shows within. Hunt's facade wasn't designed with such large banners in mind, and they do damage to the architectural effect. I'm hoping the Met continues to feel they are not warranted.

The renovation of the facade, the first in the museum's history, started with a rehabilitation and restoration of the roof. Then, to facilitate in the cleaning of the facade, workers removed the large banners that advertise the current shows. "When the renovation got underway, Philippe de Montebello noticed how much light came into the Great Hall," a museum spokesman, Harold Holzer, said.

That observation led to the decision to reduce the size of the banners, so that they would no longer cover the windows and block the light. "In the '70s, the Met was the first to put banners on the front. Maybe we'll be trend setters again," Mr. Holzer said.

Museum expansions and renovations take up a lot of space in the news. A couple of years ago, all of New York was talking about the Museum of Modern Art. This month, it's the Pierpont Morgan Library. Both institutions willfully jettisoned their traditional identities so as to attract ever greater numbers of visitors and to appear to be au courant. In contrast to MoMA and the Morgan is the Frick Collection, which has yet to build a glass-walled modern addition.

Indeed, in the late 1970s when the Frick felt it needed to expand, it did so with an addition, designed by the estimable John Barrington Bayley, that was perhaps the most consummately skillful piece of classical architecture erected in Manhattan in 30 or more years. The visitor is scarcely aware that it is not part of the original building - the sort of thing that horrifies some of today's design intellectuals. Also to be noted is the Jewish Museum, which when it expanded in the 1980s verily replicated its existing building (the former mansion of Felix and Frieda Warburg).

In 2006, the antidote to the Morgan expansion is to be found at the Met, New York's largest and greatest art museum. No, the Met has not expanded. It did a lot of that in the 1970s and 1980s.Those expansions, designed by Kevin Roche John Dinkeloo and Assocsiates, seemed kind of iffy when they were done, encroaching upon Central Park in what seemed somewhat insensitive ways. Yet by the standards of what has come since, those five lobes stuck on the rear of the Met - the Michael C. Rockefeller Wing, the Lehman Wing, the Lila Acheson Wallace Wing, the Sackler Wing, and the American Wing - seem remarkably understated and benign. They may have been modern, they may have usurped parkland, they might have been more sensitively adapted to the park - but they were not preening, show-offy additions, they were not, blessedly, "design statements."

Those additions were conceived in the controversial directorship of Thomas Hoving, and completed under Philippe de Montebello. For me, the best of the additions completed under this vast program of expansion is the Petrie European Sculpture Court, which preserves the facade of a long-ago Met expansion by the architect Theodore Weston, while opening up the only properly framed view there is of the unconscionably misplaced and neglected Obelisk in Central Park, helping to provide something like a proper setting for what few people seem to realize is one of the handful of the most important objects in New York City.

But it is renovations of a lesser scale though greater loveliness that have been undertaken under the Montebello regime that have secured the Met's standing as the great conservator of our cultural values. In particular I have in mind the thorough redesign of the European Paintings galleries completed in 1993. The Andre Meyer Galleries had only been opened in 1979 but were a disaster. Montebello and company had the great good sense to hire the brilliant Philadelphia architect Alvin Holm, a correct classicist, to design new galleries that are likely New York's best conceived and executed galleries for the display of paintings since the Frick Collection opened in the 1930s. Just as good as, if not better than, those galleries are the Greek galleries that were dramatically redesigned in 1999. I remember the New York Times art critic Michael Kimmelman's beautiful characterization of those galleries as "deeply, admirably unfashionable."

The Met's first building in Central Park opened in 1880. It was a Victorian Gothic affair concocted by Calvert Vaux and Jacob Wrey Mould and, unfortunately, perhaps the least felicitous of their contributions of structures to the park Vaux had laid out. Remarkably, one wall of the original museum can still be seen, within the Lehman Wing. After further additions, including the aforementioned one by Weston, which shifted the museum from Gothic to classical, the Met, just as it had begun to attain world-class significance, hired one of its own founding trustees, the incalculably important 19th-century architect Richard Morris Hunt, to design a new front for Fifth Avenue. Hunt's design can be seen in the central section, with its stately but immensely welcoming colonnade. (Hunt also designed the majestic Great Hall within.) This was one of Hunt's two great commissions just before he died, the other being the improbable mansion, "Biltmore," of George Washington Vanderbilt, in North Carolina. It is also one of shockingly few Hunt buildings still standing in New York City. Alas, he died before it was completed, and his son, Richard Howland Hunt, completed it.

After J.P. Morgan became president of the trustees in 1904, the Met undertook to expand to north and south along Fifth Avenue. For these wings, the Met hired McKim, Mead & White, specifically Charles Follen McKim, who was also not coincidentally at work on Morgan's private library on East 36th Street.

Today, the Met, illuminated, can be viewed as an object of great aesthetic significance in itself. No floodlight is trained directly upon the building. Rather, spotlights depend from among the rosettes of the soffits so as to cast white light vertically upon Hunt's four leisurely paced pairs of Corinthian columns. In addition, the grand stairway is illuminated by lights placed on the undersides of the railings leading from the top of the stairs down to south, east, and north. The lighting also indirectly casts a glow upon the wonderful masks and other sculpture by Karl Bitter adorning the facade.

By day, amid the crowds on the sidewalks and stairs, a lot of the fine features of the facade don't register. At night they awaken, just as the fewest people are around to see them. Imagine - a museum doing something not meant to attract crowds. What's more, the simplicity of the scheme will appear modern and dazzling long after the front of the Brooklyn Museum comes to appear a shopworn, dusty vitrine.

© 2006 The New York Sun, One SL, LLC.

July 13th, 2006, 04:36 AM
July 13, 2006
Met Is to Raise Its Admission Fee to $20

The Metropolitan Museum of Art is raising its recommended admission price for adults to $20 from $15, making it one of the most expensive museums to visit in the world.

Harold Holzer, a museum spokesman, said the increase, which is to take effect on Aug. 1, was intended to remedy an annual operating deficit that had averaged $3 million in recent years.

He emphasized that the fee was suggested, not obligatory. He declined to specify what percentage of the Met’s 4.2 million annual visitors paid the recommended charge.

The Museum of Modern Art drew broad attention in 2004 when its admission fee, which is compulsory, soared to $20 from $12, as it opened its newly expanded home in Midtown Manhattan.

Critics accused the museum of effectively closing its doors to a broad swath of the museumgoing public. MoMA countered that admission was free on Fridays from 4 to 8 p.m., and that visitors 16 and under could always enter at no charge.

Officials at the Met said they had little choice but to raise the price.

“The Met has worked long and hard to find ways to address a longstanding operating budget deficit,” Mr. Holzer said. “This is an effort to remain as accessible as possible, without resorting to mandatory options like charging extra for special exhibitions.”

Among other New York institutions, the Solomon R. Guggenheim charges $18; the Whitney Museum of American Art, $15; and the Brooklyn Museum, $8. The Art Institute of Chicago’s admission fee is $12; the Smithsonian Institution’s museums in Washington and the J. Paul Getty Museum in Los Angeles are free.

Although the Met’s general fee is not mandatory, only seasoned museumgoers know they can get an admissions button without paying the recommended amount.

Jane Kaplowitz, a Manhattan artist and teacher, said the increase was “outrageous and wrong.”

“Working class people are so intimidated by the museum experience anyway, they don’t feel they can just give a quarter,” she said. “It’s really unfair.”

The Met announced the fee increase with little fanfare, in an e-mail message sent at 3 p.m. yesterday to editors who supervise arts listings at news organizations.

Copyright 2006 The New York Times Company

July 13th, 2006, 08:57 AM
Now that movie prices in NYC have gone up to $11.00 in many places :eek: :mad: :eek: the $20 suggested entrance fee to the MET seems in line with NYC 2006.

Why aren't my earnings rising at the rate of these increases :confused:

July 13th, 2006, 11:45 PM
I'm sure your earnings can keep up with the dime or quarter that will still buy you admission.

July 15th, 2006, 03:22 AM
July 15, 2006
For $15, Admission to the Metropolitan. For 50 Cents, a Real Museum Experience.

The suggested admission fee at the Metropolitan Museum of Art, now $15, is going up to $20 on Aug. 1.

The first clerk had clearly heard it all, so many times before: the cheapskate’s whisper, the tone of moral calculus and finally the question, delivered with a sheepish grin: “What do I really have to pay?”

Veteran visitors to the Metropolitan Museum of Art usually weigh the decision silently, even guiltily, as they stand before the cash register that serves as portal to one of the world’s greatest art collections. Tourists rarely think to ask, and just fork it over.

But on Thursday, the day after word went around that the Met had decided to raise its suggested admission price to $20 — the same lofty figure that has earned the Museum of Modern Art its share of municipal scorn (at the Modern, it is mandatory, not just suggested) — The New York Times dispatched a reporter with a pocket full of quarters to conduct a small, slightly mischievous sociological experiment.

He went up to five different cashiers, asked the question, humbly proffered 50 cents and waited to measure the levels of scorn that would pour down upon his head.

In truth, there was not much noticeable scorn. There was, instead, that brand of aggressive disregard particular to New York that is sometimes much more effective in evoking shame and extracting money. The first clerk who was approached, a large man with a goatee, never even looked up from his screen when asked.

“It’s just suggested,” he mumbled.

“What if I only have 50 cents?” he was asked.

“Uh-huh,” he answered, staring momentarily at the two coins plunked into his palm before ringing up $15 on the cash register, punching in a 50-cent subtraction and sliding over a green metal admission button with the detachment of a Vegas dealer parting with a dollar chip. If he had been trained in a psy-ops camp in the most effective ways of wounding a conscience, he could have done no better.

When the Met decided to raise the admission price, effective Aug. 1, it did not announce it the way it often does such changes, by issuing a news release. Instead, it sort of slipped the news under the door, sending an e-mail message at 3 p.m. on Wednesday to editors who supervise arts listings at news organizations.

The Met argued that the change wasn’t really big news — it is just a suggested price, after all, intended to help the museum make up for an annual operating deficit that has averaged $3 million in recent years. And it pointed out that many other big museums in the country not only charge mandatory admission but also charge extra for special exhibitions.

If, for example, you want to see the “Americans in Paris” show now at the Museum of Fine Arts, Boston, you will have to buy a $23 adult ticket on top of the museum’s $15 adult admission fee. (The show comes to the Met in October; it will not cost extra there.)

The Met also points out, on flat-screen televisions helpfully placed right at the cashiers’ desks, that by paying the full admission, patrons are helping to support special exhibitions and public school programs.

But the museum does not make it easy to figure out that there is a choice. A lighted sign next to the suggested admission price announces: “Free Admission if You Become a Member Today!” (An annual membership, which starts at $50, confers benefits like a 10 percent discount at the museum’s gift shop.)

On Thursday there was also a Met employee patrolling the admissions lines with a portable credit card machine, asking if any patrons were paying by card. If asked, he explained that the full admission price was not obligatory. If not, he would simply say, “Adult?” and ring up $15. He was friendly and helpful, switching effortlessly to French to direct a couple to the “deuxième étage” (second floor).

Yet if you were the patron who happened to be paying with a couple of quarters, the reception was somehow never quite as mellifluous.

“What if I just give you 50 cents now and an I.O.U. to pay more next time?” the reporter asked a kind-faced white-haired cashier, sought out as a last resort for some badly needed empathy.

The kind face disappeared. Empathy must cost more than four bits.

“Mmm-hmm,” she said. “Next.”

Copyright 2006 The New York Times Company

September 17th, 2006, 09:48 PM
Hello everyone, I work at the MET. Perhaps I could be of some assistance with this thread. :)

September 17th, 2006, 10:42 PM
Hello everyone, I work at the MET. Perhaps I could be of some assistance with this thread. :)

What do you do there, Supremacy?

September 18th, 2006, 07:27 PM
Well, I work at the MET but I don't work for the MET. I'm actually part of the construction company renovating the museum. But I'm at the museum every weekday so I do know a thing or two about it.

September 18th, 2006, 08:28 PM
^ So what can you tell us about the re-do?

September 19th, 2006, 12:20 AM
And clandestine shots of on-going construction will be greatly appreciated (and your efforts rewarded).

Gregory Tenenbaum
September 19th, 2006, 03:34 AM
It is the single greatest museum in the world in my humble opinion so I have to say this museum is what makes New York City great.

MOMA is fantastic if you like paint drippers and canvas urinators but if you want real artists and real treasures of the ancient world and throughout history, you cant beat the Met.

Anyone see the Mexican gods exhibition there recently? Fascinating.

The Met is also taking steps to return items that have now been proven to have been stolen or misappropriated to their rightful owners (but with some obvious pains). I suppose that many items in museums should properly be elsewhere.

One thing that struck me in the British Museum was the Rosetta Stone.

Also in the British Museum I saw the Elgin Marbles. What's that you say? Well I was amazed when I saw it. It looked like the friggin roof of the Parthenon to me, you know, that building in Greece. It consists of the Pediments and Metopes and (the whole sides of the roof and the front and back triangular shaped parts)

I dont know why they call it the Elgin Marbles when they should just name it "Here Lies The Roof of the Parthenon Which We Stole from the Roof of the Parthenon". :eek:

September 20th, 2006, 07:11 AM
"Here Lies The Roof of the Parthenon Which We Stole from the Roof of the Parthenon".
At least it's out of the [acid] rain.

September 21st, 2006, 03:26 PM
I wonder if anyone well versed in architecture can help me with this question - on top of the 4 corinthian columns on the front of the Met there are rough hewn blocks, arranged in a haphazard pyramidal shape. Is this a sign of an unfinished flourish, or is something common to classical / neo classical buildings (the only think I could think is that perhaps the blocks act as some type of counter balance)

September 21st, 2006, 04:58 PM
They were originally intended to be sculptures.

The overall designs were so ambitious and costly, that several of the elements initially proposed by Hunt were not ultimately approved or completed, the most noticeable example of this being the four massive blocks of stone that sit atop the columns flanking the Museum's main entrance. Hunt's intention was that these should be carved, by four different sculptors, into groupings representing the "four great periods of Art" – ancient art (Egyptian), classical art (Greek), the Renaissance, and modern art. When the plans to carve the blocks were dropped, the stone was not removed because its bulk and weight were deemed necessary to balance the façade as an architectural design. Despite the simplification of Hunt's original concept, the façade was nevertheless hailed at its inauguration in 1902 by one newspaper as "the most monumental example of architecture in America" and by a prominent architect as "the best classic building in the country."




September 21st, 2006, 05:00 PM
many thanks, NYatKNIGHT - great links.

September 21st, 2006, 08:46 PM
The rough hewn blocks are such a great part of the facade -- a vast improvement on the idea of carved statues IMO -- A touch of Primitivism / Modernism to offset the Classicism.

October 1st, 2006, 11:48 AM
Is there a better museum in the world? Any thoughts?

October 25th, 2006, 01:43 PM
Aerial view (http://www.atomische.com/img/metropolitan_museum)

The Benniest
January 10th, 2008, 11:28 PM
Director (and Voice) of Metropolitan Museum to Retire
Philippe de Montebello, Retiring Director
(Fred R. Conrad/The New York Times)

What are the changes of me seeing this man at Metropolitan Museum? Kind of a dumb question, but I was just curious.


January 11th, 2008, 07:06 AM
^ No harm in trying. What would you say to him?

The Benniest
January 11th, 2008, 10:31 AM
^ No harm in trying. What would you say to him?

Well, I'd probably start by saying "Hi." :p I'm not sure what I'd say after that. I need to do my research on both him and the museum before I leave. :confused:

January 11th, 2008, 12:32 PM
Must see is the Etruscian Chariot on the second floor of the Roman exhibit, amazing to see such a preserved peice from that era

January 11th, 2008, 02:52 PM
Ciao to a Met Prize Returning to Italy

Chester Higgins Jr./The New York Times
Visitors at the Metropolitan Museum viewing the Euphronios krater.

NY TIMES (http://www.nytimes.com/2008/01/11/arts/design/11voge.html?ref=arts)
January 11, 2008

Inside Art

In the coda to a long tug of war, the Metropolitan Museum of Art is bidding goodbye to the Euphronios krater, a 2,500-year-old vessel that has been a showpiece of its collection for more than three decades. Sunday is the last viewing day.

The krater, a Greek bowl for mixing water and wine, will be sent to Italy as part of an agreement reached nearly two years ago with that country’s government, which has long contended that the artifact was illegally excavated from a tomb in Cerveteri, near Rome. The Met bought the krater in 1972 for $1 million from Robert Hecht, an antiquities dealer who is now on trial in Rome on charges of conspiring to traffic in looted artifacts. (Mr. Hecht denies the charges.)

Under the terms of the pact, the Met is returning 21 objects that Italy said were looted, and the Italian government is lending the Met a series of rare ceramic antiquities. The first arrived in late 2006, and three more are to be installed by Wednesday in the Met’s Greek and Roman galleries.

Two of the newly lent pieces have direct connections to the krater, which was painted by the Greek artisan Euphronios. A 26-inch-wide terra-cotta cup depicting an assembly of the Greek gods on Mount Olympus is signed by Euxitheos, a potter who also signed the Euphronios krater. A jug shaped like a woman’s head was made by the potter Charinos, who is believed to have worked in Euphronios’ workshop.

The third piece of ceramic art going on display next week, a krater made in southern Italy during the fourth century B.C., is decorated with a spoof of one of the most serious episodes in Greek drama: Oedipus solving the riddle of the Sphinx.

The departing krater is to go on view later this month at the Quirinale, the presidential palace in Rome, where a show of other objects repatriated from foreign museums opened last month.

In a telephone interview on Thursday, Philippe de Montebello, the Met’s director, praised the quality of the loan to the Met. “At the time during which the negotiations were under way, I brought a list prepared by the curators of the kinds of things we considered equivalents,” he said. “We expected one object, but got three very beautiful objects. It shows on what a firm footing our future collaborations with Italy will be.”

Mr. Montebello, who on Tuesday announced his retirement later this year, was asked whether he felt particularly emotional about the krater’s departure.

Speaking from a cellphone, he said, “I can’t hear you anymore” — a response he has occasionally deployed by land line to questions he would rather not answer.

Metropolitan Museum of Art
Sunday is the last chance to see the Euphronios krater

at the Metropolitan Museum of Art.


The only known copy of the first Book of Hours printed in France, a tiny volume nearly 5 inches tall and 3 inches wide, has been acquired by the Morgan Library & Museum. Designed to fit into the palm of a woman’s hand, the book of prayers and devotional readings is illustrated by more than 40 woodcuts depicting religious figures and the life of Jesus.

“They are less sophisticated illustrations than later examples of Books of Hours,” John Bidwell, the Morgan’s curator of printed books and bindings, said.

At the Morgan it joins one of America’s most notable collections of such prayer books: 240 manuscripts and about 130 printed versions of the Book of Hours. The title reflects the organization of the devotional readings, chosen for different times of day.

This volume is the first known book to have been produced by the French publisher Antoine Vérard, and it helped establish Paris as a leading publishing center.

“The French eventually made these medieval best sellers,” Mr. Bidwell said.

The Morgan paid $471,304 for the Book of Hours in November at Sotheby’s in London, where a German library was auctioning it. A grant from the B. H. Breslauer Foundation, established after the death of the New York antiquarian bookseller Bernard H. Breslauer in 2004, covered the cost.

Mr. Breslauer once owned this very volume, having discovered it at a Christie’s auction in 1966. “Breslauer was the first to recognize its importance,” Mr. Bidwell said. “At the time there had been no scholarship whatsoever on this Book of Hours.”

Scholars realized it was from 1485, about five decades after Gutenberg invented movable type. But it was Mr. Breslauer who, by sorting through bibliographies, determined that it was the first Book of Hours printed in France.

“Every few months the Morgan rotates its holdings of rare books and manuscripts,” Mr. Bidwell said, “and this one will be on display in April for about three months.”


When the Art Dealers Association of America sets up its annual Art Show in February, there will be more to see at the Park Avenue Armory than the paintings, drawings and sculptures being sold by the organization’s members.

Three site-specific projects by emerging artists are planned for the historic first-floor rooms of the landmark building, on Park Avenue between 66th and 67th Streets.

The contemporary projects fit in with the armory’s effort to attract a new and younger audience, and they will be on view to the public at no charge. (It costs $20 to enter the Art Show, which runs from Feb. 21 to 25 and benefits the Henry Street Settlement.)

“We thought it would be nice to enhance the initiatives at the armory and broaden the perspective of the Art Show,” said Roland Augustine, a Chelsea dealer who is president of the Art Dealers Association of America.

Mr. Augustine is also a trustee of Bard College in Annandale-on-Hudson, N.Y., where Tom Eccles, the armory’s artistic adviser, is director of the Center for Curatorial Studies. The three artists chosen for the armory project all have Bard affiliations.

Spencer Finch, an artist who explores relationships between light and color, is collaborating on an installation with Trevor Smith, the center’s curator in residence. Lisi Raskin, an artist in residence at Bard, plans to create a militarylike installation, centered on the idea of surveillance. Pietro Roccasalva, an Italian artist from Milan, is collaborating with a Bard student to present a performance-based piece.

Art students in Bard’s graduate program will contribute as well, creating a video installation for the armory’s first-floor hallways.


Spring may seem far away, but the clock is ticking fast for the New York auction-house experts assembling the May auctions of important fine art.

Christie’s has secured a small collection of Abstract Expressionist works for its May 13 sale. The top work is a Mark Rothko painting from 1952 with rich reds and yellows, titled “No. 15” and estimated at around $50 million.

“This is exactly what the market is desperate for,” said Brett Gorvy of Christie’s postwar and contemporary art department worldwide. Describing what is most desirable in a Rothko, Mr. Gorvy said, “It’s the best year and perfect scale: 90 inches by 77 inches.”

Dealers and collectors who follow the Rothko market will recognize the image. Sotheby’s sold it in November 1999 to an unidentified telephone bidder for $11 million, then a record price. Christie’s will not name its current seller, but experts say it is Roger Evans, a San Francisco collector.

Mr. Evans, a loyal Christie’s client, has sold other works at auction recently, including Andy Warhol’s “Orange Marilyn,” which he parted with in November 2006 for $16.2 million. And Christie’s is offering two other works from Mr. Evans’s collection in May: Sam Francis’s “Black,” from 1955, expected to bring $4 million to $6 million, and an untitled Adolph Gottlieb painting from 1960, estimated at $1.5 million to $2 million.

To secure the property, Christie’s gave Mr. Evans a guarantee — an undisclosed sum that it will pay him regardless of the sale’s outcome — that is believed to be around $50 million.

The three paintings will be on view at Christie’s Rockefeller Center galleries on Monday and Tuesday, alongside selected works from the auction house’s February sales in London.

Copyright 2008 The New York Times Company

The Benniest
April 17th, 2008, 09:39 PM
A few pictures of the Met from my trip to NYC.





The Benniest
May 8th, 2008, 10:30 PM
Power Dressing

From left: Mystique “X-Men” costume, Alexander McQueen gold bodysuit, As Four nylon and rubber pants,
Thierry Mugler corset ensemble. More photos > (http://www.nytimes.com/slideshow/2008/05/08/arts/0509-COST_index.html)

By CATHY HORYN (http://topics.nytimes.com/top/reference/timestopics/people/h/cathy_horyn/index.html?inline=nyt-per)
Published: May 9, 2008

Superheroes exist for many reasons. Certainly in our time they exist to sell movie tickets and plastic action figures. (Somewhere in my basement is a box of X-Men that represents a period of desperate pleadings.) But superheroes, those crusading men and women in tights, allow us to believe that in a cape or magical second skin we can do the impossible. We can transform ourselves.

Fashion thrives on the same expectation: Buy this hot dress or pair of Jimmy Choos, and see if you don’t feel curiously invincible at the next party. To an extent all superheroes, like some of the most flamboyant creatures in fashion, are playing a role inadvertently thrust on them by circumstance, their true identities and physical shortcomings concealed.

What separates the nerdish Bruce Banner, who morphs into the Incredible Hulk, from the mousy Luisa Annan, who as the outlandish Marchesa Casati aspired to look like a wild animal and for one Belle Époque-era ball wore a necklace of live, writhing snakes?

The answer is nothing. They each make their claim on the world by becoming Another. The ideas that dominate fashion — identity, performance, gender, body shapes, sexuality, logos and the quest for state-of-the-art materials — pretty well describe the world of the superhero.

These two forces are brought together in “Superheroes: Fashion and Fantasy,” the Metropolitan Museum of Art (http://topics.nytimes.com/top/reference/timestopics/organizations/m/metropolitan_museum_of_art/index.html?inline=nyt-org)’s playful look at comic book costumes and their influence on radical haute couture as well as high-tech sportswear. Organized by Andrew Bolton, curator of the Met’s Costume Institute (http://topics.nytimes.com/top/reference/timestopics/organizations/c/costume_institute/index.html?inline=nyt-org), the exhibition is a departure from the museum’s lavish historical surveys. This is the lighter, more fantastical side of fashion, an industry that loves to talk about the genius of Balenciaga while clamoring to dress the body of Beyoncé (http://topics.nytimes.com/top/reference/timestopics/people/k/beyonce_knowles/index.html?inline=nyt-per). Yet inevitably fashion is pioneered by the young, by their daydreams and obsessions, and this exhibition may open one’s eyes to new modes of style as surely as a fur-lined teacup or a slashed punk T-shirt depicting the British queen.

The notion of experiment is embodied in the design, which was done by Nathan Crowley, the production designer on two Batman films and the exhibition’s creative consultant. The 60 outfits, many from movies, are displayed in a sleek, white, brightly illuminated space that suggests a laboratory. All that clinical whiteness, along with three sections of mirrors arranged to create an endless reflection, helps to set off the extreme materials of the costumes and the vivid Gotham backdrops.

Superheroes emerged in the late 1930s, the hinge years between the misery of the Great Depression and the start of World War II, and American utopianism literally colored the costumes and avenging exploits of the comic heroes as they hurled bowling balls and other objects at the heads of the Axis dictators.

Wonder Woman, created by William Moulton Marston, first appeared against a patriotic Washington skyline in January 1942. The drawn version — unlike Lynda Carter’s television character with her 22-inch waist and ample bust — looks wholesome and cute in her flirty star-patterned skirt and bustier. Clark Kent, when trouble loomed, slipped out of his street clothes and into Superman’s sleek, empowering unitard. Since speed and flight were crucial to his mission, it’s possible that his attire owed something to circus acrobats’ costumes of the era. But the 1930s also marked the introduction of a streamlined modernity in interior design, automobiles and the fashion of couturiers like Madeleine Vionnet, whose dresses flowed like liquid over the skin. For contemporary designers like Jean Paul Gaultier (http://topics.nytimes.com/top/reference/timestopics/people/g/jean_paul_gaultier/index.html?inline=nyt-per), who did a printed version of the unitard in 1995, the attraction of a comic hero’s “second skin” may be that it looks modern.

But as the writer Michael Chabon (http://topics.nytimes.com/top/reference/timestopics/people/c/michael_chabon/index.html?inline=nyt-per) points out in a witty essay on the unitard in the “Superheroes” catalog, this minimal garment, for all its flash and novel materials, ultimately “takes its deepest meaning and serves its primary function in the depiction of the naked human form, unfettered, perfect and free.” Of course the body is the prime form of fashion. It also supplies the exhibition’s principal organizing theme — the Patriotic Body, the Armored Body and so forth.

Quite a few of the fashion interpretations of superhero costumes here are fairly literal and do little to expand our knowledge of either form of expression. Bernhard Willhelm’s 2006 Superman-inspired dress features an S logo that appears to be dematerializing in drips of red, while a Moschino three-piece suit from 2006 sports a T-shirt emblazoned with a red M. But beyond commenting on the proliferation of logos and branding, what do these garments tell us?

The suit worn by Tobey Maguire in “Spider-Man 3,” 2007. More Photos » (http://www.nytimes.com/slideshow/2008/05/08/arts/0509-COST_index.html)

In the Spider-Man display, which includes Tobey Maguire (http://topics.nytimes.com/top/reference/timestopics/people/m/tobey_maguire/index.html?inline=nyt-per)’s costume from “Spider-Man 3,” there are a number of cobweb knit and web-embroidered ensembles. Some of these show finesse and sly humor, like a 1990 Giorgio Armani (http://topics.nytimes.com/top/reference/timestopics/people/a/giorgio_armani/index.html?inline=nyt-per) gown traced in silk threads and crystal beads. But you can’t really know if this design springs from the natural world or a comic book, and you are left simply to marvel at its creepy beauty — which may be enough.

The magnified, supercharged body runs through fashion, from the hyper-athlete (cleverly evoked by Alexander McQueen (http://topics.nytimes.com/top/reference/timestopics/people/m/alexander_mcqueen/index.html?inline=nyt-per) in a 2005 silk ensemble with pretty football pads) to the sexy pinup, and is well represented in the exhibition. An inflatable jacket by the Belgian designer Walter van Beirendonck adds instant bulk and musculature to a man, while Hussein Chalayan (http://topics.nytimes.com/top/reference/timestopics/people/c/hussein_chalayan/index.html?inline=nyt-per)’s “Aeroplane Dress,” made from fiberglass and nylon, has moveable wing flaps and presents the body as a kind of flight capsule.

If John Galliano (http://topics.nytimes.com/top/reference/timestopics/people/g/john_galliano/index.html?inline=nyt-per)’s spangled bodysuit and studded leather thong seems to be a comic take on a comic book heroine (Wonder Woman’s star-spangled television costume), the Armored Body section of the exhibition alludes to a fascination with machines, technology and extreme, often violent, sensibilities. In the late 1980s and early ’90s few other designers provoked as much outrage and feminist debate as Thierry Mugler with his metal and molded plastic armor suits. With openings for breasts and belly, they left the most vulnerable parts of the female body exposed. Meanwhile a metal and flame-enameled bustier, from 1992, seems to transform the gal into the front end of a Harley, complete with handlebars and side mirrors.

It’s camp. But when these pieces were first shown on a Paris runway they were unfairly dismissed as crass, and Mr. Mugler’s motives were questioned. There was very little attempt to understand the themes of violence and eroticism conveyed in the style. Certainly these ideas are the basis for a lot of contemporary art and literature. You have to wonder if the reason Mr. Mugler didn’t receive serious consideration is that he was a dressmaker.

Designers liberate themselves from the banal just as superheroes do. They do remarkable things with materials and craft. Dolce & Gabbana (http://topics.nytimes.com/top/reference/timestopics/organizations/d/dolce_and_gabbana/index.html?inline=nyt-org)’s corseted minidress from 2007 looks as if it were molded from Tiffany silver. It is actually made of leather. Although it would have been nice to see more clothing examples from the 1960s and ’70s, and more abstract takes on transformation — where is Comme des Garçons, the avant-garde label of Rei Kawakubo (http://topics.nytimes.com/top/reference/timestopics/people/k/rei_kawakubo/index.html?inline=nyt-per)? — Mr. Bolton intelligibly connects these two distinct worlds.

And while it’s surprising that only two American designers are included in the exhibition — Rick Owens and As Four — it is also understandable.

Superheroes are largely an American invention, and designers here are probably too close to Catwoman and the Flash to be inspired in a new or funny way. Their fantasies involve England or Rome, not Krypton.

Copyright 2008 New York Times Company

The Benniest
July 6th, 2008, 11:21 PM
“Snow Storm: Hannibal and his Army Crossing the Alps” by artist Joseph William Mallord Turner

”View of London from Greenwich” (circa 1825)

"The Shipwreck"

”Fishermen at Sea”

”Light and Colour (Goethe's Theory) — The Morning after the Deluge — Moses
writing the Book of Genesis.”

“The Battle of Trafalgar” (1805)

“The Burning of the Houses of Lords and Commons” (1834)

“ Snow Storm—Steam Boat off a Harbor's Mouth Making Signals in Shallow Water, and Going by the Lead. The Author was in This Storm on the Night the Ariel Left Harwich” (1842)

Turner’s best work lies somewhere in between tumultuous and placid. In “Peace
— Burial at Sea” the sharp black silhouettes of the sails of a burning ship anchor
the quavering depictions of sea, air, fire and smoke.

In “Mortlake Terrace, the Seat of William Moffatt, Esq.; Summer’s Evening” the main action is the sun, sending its golden light shimmering across the Thames to give a row of trees long fingerlike shadows, while a spry little black dog (painted on paper stuck to the surface) barks at the passing boats.

In the tiny watercolor “Shields, on the River Tyne,” workers load coal from a ship into smaller boats by the yellow light of torches; the rest of the river, shrouded in blue and overseen by a silvery moon, seems to be another world altogether.

Turner never lost his connection to reality. One of the last, semiabstract paintings in the show’s final gallery is a sunrise view of Norham Castle, which is the subject of a Claudian watercolor in the first gallery. Amid its gorgeous smudges of blue castle, yellow sun and pale ochre shores are two cows, faint but definite, who have come for their morning drink.

“Keelmen Heaving in Coals by Moonlight” (1835)

Copyright 2008 New York Times Company

July 7th, 2008, 12:32 AM
My favorite works in the Turner exhibition are a series of small watercolours that Turner painted to memorialize the conflagration in London in 1834 -- which he witnessed. He then used those studies as a basis for his magnificent “The Burning of the Houses of Lords and Commons” (1834)

July 7th, 2008, 04:19 PM
A few things:

- The main steps are currently being restored so forget any good shots of the front of the museum during the summer.

- The American wing is closed for the summer, very disappointing.

- Two huge pieces by Stephen Hannock are on display near the Modern Art section. Amazing paintings combined with words and pictures. Worth seeing.


July 7th, 2008, 05:53 PM
Hannock's work is also hung in the Star Lounge at the Ritz (on Central Park South). Just beautiful.

March 12th, 2009, 08:04 PM
March 12, 2009 5:24 PM

More cuts at the Metropolitan Museum of Art

The cultural institution faces difficult decisions as its funding is slashed.

By Miriam Kreinin Souccar (http://www.crainsnewyork.com/apps/pbcs.dll/personalia?ID=55)

With the economic downturn deepening, the Metropolitan Museum of Art is cutting 27% of its full-time and 9% of its part-time staff in its merchandising department, for a total of 74 positions.

The cuts, announced today, come on top of other recent cost-saving measures. The museum shuttered eight satellite museum stores around the country over the last few months, which resulted in 53 layoffs.

The largest museum in the country also plans to reduce its overall workforce by about 10%, or 250 people, before the beginning of its next fiscal year, which starts July 1. Last month the museum instituted a hiring freeze and eliminated merit salary increases for the next fiscal year. The museum has not yet determined which positions will be cut.

“The Metropolitan is so large and complex an organization, whose staff possess skill sets crucial to maintaining its buildings and collections successfully, such a contraction requires a deliberate and delicate process,” a statement said.

Last year, the Met had a $3.2 million deficit on its $310 million operating budget, according to Artnet News. The museum’s $2.9 billion endowment has plunged to $2.1 billion, and the funding it receives from the city is being reduced by $1.7 million in 2009.


© 2009 Crain Communications, Inc.

March 13th, 2009, 01:04 AM
Thanks very very much for all of the pictures of the Metropolitan Museum of Art inside of it and also outside of it.

May 3rd, 2009, 11:38 PM
http://farm4.static.flickr.com/3555/3498666115_22cb09ed07.jpg (http://www.flickr.com/photos/sudentas/3498666115/)

May 5th, 2009, 02:53 AM
Most-popular museums
Taking in some culture
May 4th 2009
From Economist.com

Where are the world's most-popular museums?

FOR many tourists, a city break would be incomplete without visiting a musem or gallery to take in some culture. Last year, the Louvre in Paris attracted the highest number of visitors—8.5m people streamed through to peer at the Mona Lisa and the other treasures within. The French capital punches above its weight with another three museums high up on a list of favourites compiled by the Art Newspaper. Galleries in New York, London and Rome reap the benefits of high numbers of tourists. Free entry at London's galleries has also boosted visitors.


May 5th, 2009, 05:05 PM
This must be a list of most popular ART museums. The AMNH across the park from the Met gets only slightly fewer visitors.

The problem with lists like this are the fake authority. There are probably a lot of institutions in non-western countries that should be on this list (no one goes to museums in Beijing? I doubt it). This should be really be called - most visited museums that the Economist knows of from an article reported by The Art Newspaper.

Gregory Tenenbaum
June 16th, 2009, 05:42 AM
Also in the British Museum I saw the Elgin Marbles. What's that you say? Well I was amazed when I saw it. It looked like the friggin roof of the Parthenon to me, you know, that building in Greece. It consists of the Pediments and Metopes and (the whole sides of the roof and the front and back triangular shaped parts)

I dont know why they call it the Elgin Marbles when they should just name it "Here Lies The Roof of the Parthenon Which We Stole from the Roof of the Parthenon". :eek:

Ah, yep!

From the Guardian (http://www.guardian.co.uk/artanddesign/2009/jun/16/acropolis-museum-athens-elgin-marbles)
As Pandermalis is showing me around the gallery, the Greek minister of culture, Antonis Samaras, arrives. Samaras, a sleek, self-confident figure with a politician's firm handshake, is excited by a story playing in that day's Greek press that suggests the British Museum is willing to accept the possibility of a loan of its marbles to the new museum in Athens if Greece renounces ownership of them. Such a renunciation, he says, is unacceptable, but he still sees the offer as a constructive step. In the 1980s, when the film star Melina Mercouri was culture minister, the campaign for the return of the Elgin Marbles was based on tearful emotionalism; now, in the hands of professional politicians such as Samaras, it is about sharp-suited wheeler-dealing.
Samaras says the Greek government would never accept such a precondition. "It would be tantamount to accepting that what Elgin did was right. It would be like legalising or sanctifying his deeds, and I don't think any Greek government would ever do that." He sees the suggestion as a tactic, designed to divert attention from the fact that the new museum has changed the terms of the debate. "The museum is creating huge momentum, a crescendo all over the world, including England, where public opinion favours the return of the marbles." But he also believes it may signal a change of mood in official circles in the UK. "It seems that, for the first time, the British are starting to see room for serious discussion."

February 9th, 2012, 06:00 AM
Met Aims to Build Itself a Museum-Quality Plaza


A rendering of the new plaza in front of the Metropolitan Museum of Art,
as envisioned by the Philadelphia design firm OLIN.

[Rendering by OLIN via Bloomberg (http://www.bloomberg.com/photo/koch-pledges-60-million-to-upgrade-met-s-plaza-in-new-york-/148935.html).]
http://ny.curbed.com/archives/2012/02/08/metropolitan_musem_of_art_finally_plans_new_fifth_ ave_plaza.php

More than 40 years after its last makeover, the plaza in front of the Metropolitan Museum of Art is showing its age: the fountains are leaking, the sidewalk is crumbling, and the trees are dying. Overcrowding on the institution’s grand front steps — one of the most popular meeting places in Manhattan — often causes bottlenecks for visitors trying to get to the front door.

Now an ambitious plan is in the works to transform this four-block-long stretch along Fifth Avenue, from 80th to 84th Street, into a more efficient, pleasing and environmentally friendly space, with new fountains, tree-shaded allées, seating areas, museum-run kiosks and softer, energy-efficient nighttime lighting.

A meeting was held at 6 p.m. on Tuesday for officials from the Met to sit down with some 2,000 neighborhood residents to explain the project. If all goes as scheduled, and the institution receives approval from various city agencies — including the Public Design Commission, Landmarks Preservation Commission, Department of Parks and Recreation, Department of Environmental Protection, Department of Cultural Affairs and the Department of Transportation — construction will begin as early as this fall and is expected to be finished by the summer of 2014.

“Our first priority is to create an appropriate entrance to the greatest encyclopedic museum in the world, one that is attractive and welcoming rather than austere and forbidding,” said Thomas P. Campbell, the Met’s director and chief executive. At the moment, he added, “the plaza is a frying pan in the summer and a wind tunnel in the winter.” The museum will stay open during construction, although parts of the sidewalk may be closed at times.

OLIN, the Philadelphia landscape architecture and urban design firm behind the renewals of Bryant Park and Columbus Circle, has planned the project and will serve as its lead designer. David H. Koch, a Met trustee and the philanthropist who in 2008 pledged $100 million to renovate the New York State Theater at Lincoln Center — which was renamed for him — is providing $60 million to finance it. But the plaza will not be named after him.

“It all began when I was invited to attend the restarting of the fountains on Lincoln Center’s plaza” in 2009, Mr. Koch said in a telephone interview. “When the water started shooting up and was so beautifully illuminated, it blew me away. That’s when I suddenly got the idea that it would be great if the Met did something similar with their crummy fountains.”

He mentioned this to Emily K. Rafferty, the museum’s president, who told him that the institution had been thinking about a project like this for years but didn’t have the resources.

Mr. Koch, a chemical engineer by training, said he was curious to see what could be done. Mr. Campbell recalled that when the museum started to investigate repairing its fountains, it “opened up a broad rethinking of the plaza as a whole.” One thing led to another, and the museum started a design competition.

“OLIN’s design was as dramatic as anything I’d ever seen,” Mr. Koch said. “I fell in love with this project,” so much, he explained, that “I decided we should go for everything.”

When the plaza was last redesigned, in 1968, attention was paid to vehicular access, leaving sidewalks wide enough for cars, but now, with the Met’s attendance having more than doubled and with it the amount of foot traffic around the plaza, the aim is to make the space more people-friendly. (Although, to be fair, most visitors even now are probably more impressed by the grandeur of the museum’s building and its entrance than bothered by the “austere and forbidding” nature of the plaza.)

The plan calls for replacing the two long fountains that now flank the front steps with a pair of smaller square ones, made of granite, to be placed closer to the steps, thereby allowing clearer paths to the museum’s 81st and 83rd Street entrances, which are on street level and which many people don’t even know exist. Each fountain will be programmed by computer to provide a variety of water patterns during the warm months. In winter they will become reflecting pools, warmed by recycling steam to prevent freezing. Two sides of each fountain will serve as benches.

The 44 ailing trees at either end of the plaza will be replaced with more than twice that number. There will be shaded allées of little-leaf linden trees to the north and south, clipped as topiaries, similarly to the trees at the Palais Royal in Paris. Outside the 81st and 83rd Street entrances, small groves of London plane trees will be planted to create paths that will guide visitors into the entrances. They will be pruned to maximize shade in the summer and sunlight in the winter. Together these plantings are also supposed to soften noise.

Ornamental shrubs and herbaceous flowers will be placed along the base of the building on either side of the central staircase, resembling those seen in photographs of the museum taken in the early-to-mid 20th century.

The new sidewalk will have two patterns of granite in shades of gray. In addition to the fountain seating, there will be permanent benches and red retractable parasols on the north and south parts of the plaza, as well as movable tables and chairs beneath the groves of trees.

A pair of bronze kiosks are also part of the plan. One, near the 81st Street entrance, will provide visitors with information and expedited ticketing, and another, on 83rd Street, will sell light refreshments. The street vendors now in front of the museum will have designated places where they, too, can set up shop.

Dennis McGlade, a landscape architect who is a partner at OLIN, said the firm had looked for inspiration to the Beaux-Arts architecture of the museum, including the central building designed by Richard Morris Hunt and Richard Howland Hunt, which opened in 1902, and the slightly newer wings on either side by McKim, Mead & White.

“We studied the original McKim drawings and thought about this in a classical way,” Mr. McGlade explained. He and his partners also looked at other public places around Manhattan, including ones their firm had designed, like Bryant Park, Columbus Circle and the Fifth Avenue terrace in front of the New York Public Library.

New LED lighting will make a striking difference in the plaza at night. The museum’s facade is currently illuminated by floodlights across the street, an approach that uses a great deal of power and makes for lighting that the architects describe as overly harsh. They will be replaced with energy-efficient lights mounted on the museum’s facade, as well as angled up-lights on the sidewalk. They will have dimmers and be programmed to enhance the architectural ornaments of the building.

“Nothing gaudy,” Mr. Campbell said. “Just majestic.”


February 9th, 2012, 12:26 PM
Looks more like they want to build museum-financing eating space.

The current long & low configuration of the fountains leaves the mass of the Met open and viewable, as the Fifth Avenue building (http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=1017139&imageID=836757&total=190&num=0&word=metropolitan museum&s=1&notword=&d=&c=&f=&k=0&lWord=&lField=&sScope=&sLevel=&sLabel=&imgs=20&pos=5&e=w&cdonum=0) has been since it was first built.

Why hide it behind trees?http://digitalgallery.nypl.org/nypldigital/images/spacer.gif

http://images.nypl.org/index.php?id=805873&t=w (http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=693812&imageID=805873&total=190&num=0&word=metropolitan museum&s=1&notword=&d=&c=&f=&k=0&lWord=&lField=&sScope=&sLevel=&sLabel=&imgs=20&pos=3&e=r)

Image ID: 805873 (http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=693812&imageID=805873&total=190&num=0&word=metropolitan%20museum&s=1&notword=&d=&c=&f=&k=0&lWord=&lField=&sScope=&sLevel=&sLabel=&imgs=20&pos=3&e=w)

The new façade of the Metropolitan Museum of Fifth Avenue, New York. (1901)

February 9th, 2012, 12:34 PM
When the extensions were added the building was always kept visible ...


Image ID: 1508887 (http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=772142&imageID=1508887&total=190&num=40&word=metropolitan%20museum&s=1&notword=&d=&c=&f=&k=0&lWord=&lField=&sScope=&sLevel=&sLabel=&imgs=20&pos=45&e=w&cdonum=0#_seemore)

Fifth Avenue - 80th Street, west side - looking north

May 12th, 2012, 12:51 AM
Geodesic Space Pods Land on the Met's Roof

by Jessica Dailey

[Cloud City being installed, via the Times (http://www.nytimes.com/2012/05/11/arts/design/tomas-saracenos-cloud-city-on-roof-at-metropolitan-museum.html)]

These steel and acrylic modules make up "Cloud City (http://www.metmuseum.org/exhibitions/listings/2012/tomas-saraceno)," this year's installation on the roof of the Metropolitan Museum of Art. Designed by artist/architect Tomás Saraceno, the installation is the artist's vision of a futuristic flying city, and starting on May 15, visitors will be able to take a twisty staircase 20 feet up into this alternate reality. Saraceno told the Times (http://www.nytimes.com/2012/05/11/arts/design/tomas-saracenos-cloud-city-on-roof-at-metropolitan-museum.html) that in his mind, "the whole thing will go into orbit," so enter at your own risk—you could be zapped into outerspace.

[Artist's rendering]

Head over to the Times (http://www.nytimes.com/slideshow/2012/05/11/arts/design/20120511-SARA.html) for more images of Cloud City being installed.
Futuristic Aerie With a Park View (http://www.nytimes.com/2012/05/11/arts/design/tomas-saracenos-cloud-city-on-roof-at-metropolitan-museum.html) [NYT]


October 13th, 2012, 12:28 AM
Plaza Flex

The Met plays nice with neighbors in effort to stay on schedule.

by Tom Stoelker

Courtesy the Metropolitan Museum / OLIN

In an effort to get shovels in the ground on time, the Metropolitan Museum of Art agreed to strike plans to place refreshment and ticketing kiosks on their $60-million plaza renovation designed by OLIN. “The kiosks have been withdrawn from the plan, but we have reserved the right to reintroduce them after watching the plaza in operation,” said Harold Holzer, senior vice president of external affairs for the Met. The museum was responding to complaints from nearby co-op boards that the plaza was in danger of becoming like Starbucks, the website DNA.info reported. Holzer told AN that in order to move forward expeditiously certain issues would be tabled until the plaza was up and running, including whether to allow the controversial veteran-owned hot dog carts back onto the site. Veterans are permitted to sell food on the plaza based on a 19th-century law. The sidewalks near the museum are also teeming with artisans who are permitted by the city to sell their wares as well. “Let’s see which vendors return, vets or non-vets,” said Holzer.

http://www.archpaper.com/uploads/met_plaza_03.jpg (http://www.archpaper.com/uploads/met_plaza_03.jpg)
Elevation of the renovated plaza.

The museum already has all city-wide approvals necessary, but is treading carefully so as to not ruffle feathers of its lawyered-up neighbors. The museum has also recalibrated the number of freestanding tables to 30 (15 north, 15 south) and chairs to 120. Linden trees trimmed into topiaries will flank the plaza along the sidewalks leading to the plaza. But perhaps the most dramatic change will be LED up-lights that will highlight facade details.

Made possible by philanthropist David H. Koch, the OLIN plaza will scrap much of the 1970 renovation by architect Kevin Roche. In particular the Roche-designed fountains will be replaced with a pair of square water features that will flank the famous steps.

http://www.archpaper.com/uploads/met_plaza_02.jpg (http://www.archpaper.com/uploads/met_plaza_02.jpg)
Plaza site plan.

Holzer said that the first month will prove to be the most challenging when the fences go up and construction begins. A September 13 community meeting presented whimsical wayfinding strategies designed by LaPlaca Cohen, who have been handling the Met’s advertising for several years.

The museum said that they always held meetings with nearby co-op board presidents on a quarterly basis, but decided to ramp up the schedule to once a month as the October 15 groundbreaking deadline approached. The work is scheduled to be completed by Fall 2014.


October 14th, 2012, 06:03 PM
Those fountains are crap.

October 15th, 2012, 06:11 AM
^ Why's that, LL?

September 10th, 2014, 12:34 AM
The Met's Plaza & Fountains Are Finally Open After $65M Reno

by Hana R. Alberts

http://cdn.cstatic.net/images/gridfs/540f2bf6f92ea14853002c96/2.%20Met%20Museum%20Plaza_General%20View_Day_sm.jp g
(http://cdn.cstatic.net/images/gridfs/540f2bf7f92ea14853002c99/2.%20Met%20Museum%20Plaza_General%20View_Day_sm.jp g)[Photos via the Metropolitan Museum of Art.

After almost two years of being shrouded behind blue plywood (http://ny.curbed.com/archives/2013/01/04/met_museums_plaza_is_now_a_giant_hole_in_the_groun d.php), the Metropolitan Museum of Art's giant new plaza is open. A preview this morning of the plaza's first renovation in more than 40 years revealed two new fountains with 48 fancy-schmancy jets apiece capable of veritable dance routines (http://ny.curbed.com/archives/2014/08/28/the_met_museums_new_plaza_fountains_will_dance_lik e_this.php), 106 trees (double the number there before). There's also ample seating under red umbrellas, and new LED lights that will light up the facade at night. The biggest deal, though, is that as of tomorrow, all evidence of construction will be gone, and no fences will get in the way of a stroll along the west side of Fifth Avenue—for tourists and residents alike. The $65 million project was entirely funded by billionaire museum trustee and richest man in New York City (http://www.forbes.com/profile/david-koch/) David H. Koch, and the plaza bears his name. The whole thing is just plain large large: 1,021 feet long; and 70,706 square feet total. Public space for the win.

http://cdn.cstatic.net/images/gridfs/540f2bf3f92ea14853002c8c/4.%20Met%20Museum%20Plaza_General%20View_Day.jpg (http://cdn.cstatic.net/images/gridfs/540f2bf4f92ea14853002c8f/4.%20Met%20Museum%20Plaza_General%20View_Day.jpg) http://cdn.cstatic.net/images/gridfs/540f2bf0f92ea14853002c82/6.%20Met%20Museum%20Plaza_General%20View_Day.jpg (http://cdn.cstatic.net/images/gridfs/540f2bf1f92ea14853002c85/6.%20Met%20Museum%20Plaza_General%20View_Day.jpg)

http://cdn.cstatic.net/images/gridfs/540f2bedf92ea14853002c77/5.%20Met%20Museum%20Plaza_General%20View_Day.jpg (http://cdn.cstatic.net/images/gridfs/540f2beff92ea14853002c7a/5.%20Met%20Museum%20Plaza_General%20View_Day.jpg)h ttp://cdn.cstatic.net/images/gridfs/540f2bebf92ea14853002c6d/9.%20Met%20Museum%20Plaza_General%20View_Night_sm. jpg (http://cdn.cstatic.net/images/gridfs/540f2becf92ea14853002c70/9.%20Met%20Museum%20Plaza_General%20View_Night_sm. jpg)

http://cdn.cstatic.net/images/gridfs/540f2be8f92ea14853002c63/10.%20Met%20Museum%20Plaza_General%20View_Night_sm .jpg (http://cdn.cstatic.net/images/gridfs/540f2be9f92ea14853002c66/10.%20Met%20Museum%20Plaza_General%20View_Night_sm .jpg)http://cdn.cstatic.net/images/gridfs/540f2be6f92ea14853002c58/8.%20Met%20Museum%20Plaza_General%20View_Day.jpg (http://cdn.cstatic.net/images/gridfs/540f2be7f92ea14853002c5b/8.%20Met%20Museum%20Plaza_General%20View_Day.jpg)

http://cdn.cstatic.net/images/gridfs/540f2be3f92ea14853002c4d/7.%20Met%20Museum%20Plaza_General%20View_Day.jpg (http://cdn.cstatic.net/images/gridfs/540f2be4f92ea14853002c50/7.%20Met%20Museum%20Plaza_General%20View_Day.jpg)

At this morning's event, which ended with Koch pulling the trigger to send the fountains' jets spewing, museum officials and local officials praised the new public space.

New Plaza (http://www.metmuseum.org/visit/plan-your-visit/plaza) [official]

http://ny.curbed.com/archives/2014/09/09/the_mets_plaza_fountains_are_finally_open_after_65 m_reno.php