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Thread: The Metropolitan Museum of Art

  1. #1

    Default The Metropolitan Museum of Art

    The Metropolitan Museum of Art
    1000 Fifth Avenue at 82nd Street
    New York, New York 10028-0198
    General Information: 212-535-7710
    MetMuseum on Wired New York

    American Wing Courtyard of the Metropolitan Museum of Art.

    European Paintings in the Metropolitan Museum of Art.

  2. #2


    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

  3. #3


    umm I have it wrong, disregard the last post (if you can stop laughing). It is the MOMA thats relocated temporarily

  4. #4
    Forum Veteran
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    Nov 2002
    New York City


    Too late on the "you can stop laughing" part :lol:

    Just kidding.

  5. #5


    you New York kids and your humour...... why I oughta.....

  6. #6


    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

  7. #7
    Disgruntled Optimist lofter1's Avatar
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    Quote Originally Posted by Law & Order
    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.

  8. #8
    Disgruntled Optimist lofter1's Avatar
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    Jun 2005
    NYC - Downtown


    Celebrating a Restoration

    May 8, 2006

    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.

  9. #9


    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

  10. #10
    Disgruntled Optimist lofter1's Avatar
    Join Date
    Jun 2005
    NYC - Downtown


    Now that movie prices in NYC have gone up to $11.00 in many places 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

  11. #11


    I'm sure your earnings can keep up with the dime or quarter that will still buy you admission.

  12. #12


    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

  13. #13


    Hello everyone, I work at the MET. Perhaps I could be of some assistance with this thread.

  14. #14


    Quote Originally Posted by Supremacy View Post
    Hello everyone, I work at the MET. Perhaps I could be of some assistance with this thread.
    What do you do there, Supremacy?

  15. #15


    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.

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