Relevant bibliographies by topics / Metropolitan Museum of Art New York

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Metropolitan Museum of Art New York'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Metropolitan Museum of Art New York"

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Bury, Stephen. "Developing NYARC: the New York Art Resources Consortium." Art Libraries Journal 36, no. 3 (2011): 25–30. http://dx.doi.org/10.1017/s0307472200017028.

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NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.
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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (July 1, 2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.
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Pawlikowska-Gwiazda, Aleksandra. "Terracotta oil-lamps from Egypt's Theban region in the collection of the Metropolitan Museum of Arts, New York." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 31, 2019): 641–57. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.28.

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The group of 17 oil lamps now in the Islamic Art Department collection of the Metropolitan Museum of Art (New York) was excavated in West Thebes in Upper Egypt by the Metropolitan Museum of Art expedition at the beginning of the 20th century. The assemblage was never fully published (apart from being included in the online MeT Collection database). The present paper documents the material in full, examining the collection and proposing in a few cases a new dating based on parallels from other sites.
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Budin, Stephanie Lynn. "The World Between Empires, Metropolitan Museum of Art, New York." Near Eastern Archaeology 82, no. 3 (September 1, 2019): 179–85. http://dx.doi.org/10.1086/705471.

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Lilyquist, Christine. "Twelve Carnarvon Writing Boards and their Provenances." Journal of Egyptian Archaeology 105, no. 2 (December 2019): 157–75. http://dx.doi.org/10.1177/0307513319896277.

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Research for the final report of a large Middle Kingdom tomb dug jointly by the fifth Earl of Carnarvon and The Metropolitan Museum of Art provides provenance information for 12 writing boards from Carnarvon tombs on the West Bank at Luxor. Through disparate records at the Griffith Institute Oxford, Egyptian Museum Cairo, and The Metropolitan Museum of Art New York, the tablets can now be assigned to a small area below or adjacent to Hatshepsut’s valley temple. The results put the texts into a broader cultural context at the same time that the study illustrates the fragility of information from excavations that deserve to be accurately and widely known.
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Clark, William W., and Charles T. Little. "Notable Recent Acquisitions, Metropolitan Museum of Art and the Cloisters, New York." Gesta 29, no. 2 (January 1990): 239–40. http://dx.doi.org/10.2307/767037.

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Stokes-Rees, Emily, Blaire M. Moskowitz, Moira Sun, and Jordan Wilson. "Exhibition Review Essay and Reviews." Museum Worlds 7, no. 1 (July 1, 2019): 238–61. http://dx.doi.org/10.3167/armw.2019.070115.

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Exhibition Review Essay:Exhibition without Boundaries. teamLab Borderless and the Digital Evolution of Gallery Space by Emily Stokes-Rees Exhibition Reviews:The Colmar Treasure: A Medieval Jewish Legacy. The Met Cloisters, The Metropolitan Museum of Art, New York by Blaire M. MoskowitzShanghai Museum of Glass, Shanghai; Suzhou Museum, Suzhou; and PMQ, Hong Kong by Moira SunThe Story Box: Franz Boas, George Hunt and the Making of Anthropology. Exhibition at the Bard Graduate Center Gallery in New York City (14 February–7 July 2019) and the U’mista Cultural Centre in Alert Bay, British Columbia (20 July–24 October 2019) by Jordan Wilson
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Geismar, Haidy. "Cultural Property, Museums, and the Pacific: Reframing the Debates." International Journal of Cultural Property 15, no. 2 (May 2008): 109–22. http://dx.doi.org/10.1017/s0940739108080089.

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The following short articles were presented at a special session of the Pacific Arts Association, held at the College Arts Association annual meeting in New York in February 2007. Entitled “Cultural Properties—Reconnecting Pacific Arts,” the panel brought together curators and anthropologists working in the Pacific, and with Pacific collections elsewhere, with the intention of presenting a series of case studies evoking the discourse around cultural property that has emerged within this institutional, social, and material framework. The panel was conceived in direct response to the ways that cultural property, specifically in relation to museum collections, has been discussed recently in major metropolitan art museums such as the British Museum and the Metropolitan Museum of Art (the Met). This prevailing cultural property discourse tends to use antiquities—that most ancient, valuable, and malleable of material culture, defined categorically by the very distancing of time that in turn becomes a primary justification for their circulation on the market or the covetous evocation of national identity—as a baseline for discussion of broader issues around national patrimony and ownership.
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Laderman, Shulamit. "The Colmar Treasure: A Medieval Jewish Legacy, Metropolitan Museum of Art, New York." IMAGES 13, no. 1 (November 26, 2020): 180–87. http://dx.doi.org/10.1163/18718000-12340137.

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DeLuca, Carolyn. "The Hazen Center for Electronic Information Resources." Art Libraries Journal 23, no. 4 (1998): 26–28. http://dx.doi.org/10.1017/s0307472200011263.

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The Hazen Center is a state-of-the-art electronic resource center situated within the Watson Library at the Metropolitan Museum of Art in New York. It provides access to art historical research and other scholarly resources available via electronic media such as CD-ROMs and the Internet, and also serves as a teaching center for their use. The Center is used by the Museum’s staff, the academic community, and by visiting art researchers.
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Dissertations / Theses on the topic "Metropolitan Museum of Art New York"

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Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.

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Geiger, Stephan. "The art of assemblage the Museum of Modern Art, 1961 ; die neue Realität der Kunst in den frühen sechziger Jahren." München Schreiber, 2005. http://d-nb.info/98913458X/04.

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Alamsjah, Winnie 1974. "Rethinking the modern : imagining the future of the Museum of Modern Art, New York." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62954.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.
Includes bibliographical references (p. 103-105).
The thesis seeks to explore the implications of the emergence of the digital media as a new art form on the museum space. The museum as an institution has faced some ideological and philosophical contradictions in recent times. Economically, heightened competition for dwindling funds has begun to shape programming decisions. Philosophically, the museum's perceived authoritarian role clashes with the critiques of cultural hegemony that are so much a part of the contemporary art world. Contemporary art forms that intentionally subvert the equation of art and object are often less compatible with traditional conceptions of museum space. And socially, museum expansion is often used as a tool for the gentrification of museum neighborhoods, a stratagem that cheers civic boosters and troubles social critics. All these point to a social, philosophical, political critique of the museum as an institution. The thesis does not attempt to resolve all the issues rooted in the current museum culture/structure. Rather, it seeks to study the various museums built historically and propose a new way of understanding the role of the museum in relation to the issues brought up by artists, social critics, historians alike. The exploration involves both spatial and material articulation. What could a museum be?
by Winnie Alamsjah.
M.Arch.
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Wright, Lesley. "Surviving in New York : an exploration of development at the Museum of Modern Art." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/85.

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Manzano, Raul. "Language, Community, and Translations| An Analysis of Current Multilingual Exhibition Practices among Art Museums in New York City." Thesis, Union Institute and University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10060087.

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This dissertation provides an analysis of current multilingual practices among art museums in New York City. This study is located within the current theoretical analysis of 1) museums as sites of cultural production and 2) the politics of language, interpretative material, and technology. This study demonstrates how new roles for museums embracing multilingual exhibitions and technology may signal new ways of learning and inclusion.

The first part is a theoretical-based approach. The second part consists of a mixed-method research design using qualitative and quantitative methods to create three different surveys: of museum staff, of the general public, and finally my observations of museum facilities and human subjects.

Multilingual exhibitions are complex and require changes at all levels in a museum's organizational structure. Access to museum resources can provide more specific data about language usage. The survey responses from 175 adults provides statistics on multilingual settings and its complexity. The survey responses from 5 museums reveals the difficulty, and benefits, of dealing with this topic. Visual observations at 36 museums indicate that visitors pay attention to interpretative material, while production cost, space, and qualified linguistic staff are concerns for museums. Technology is a breakthrough in multilingual offerings, for it can help democratize a museum's culture to build stronger cultural community connections.

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Barrere, Laetitia. "La photographie documentaire à l'épreuve du modernisme au "Museum of Modern Art" de New York (1937-1970)." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010594.

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Cette thèse est consacrée aux questions de réception et d'institutionnalisation de la photographie documentaire et de la photographie de reportage à partir de 1937 jusqu'aux années 1970 au Museum of Modem Art (MoMA) de New York. Le premier chapitre revient sur la genèse et les enjeux de l'instauration de la straight photography comme canon d’une tradition esthétisante du médium et éclaire l’influence de la critique formaliste dans l'émergence d'un modernisme documentaire, exemplifié par la production de Walker Evans. De nombreux photographes dont les pratiques ne correspondaient pas aux idéaux de perfection technique de la straight photography ont de exclus des circuits de légitimation institutionnelle, en particulier les membres de la Photo League de New York. La photographie documentaire urbaine, développée en dehors de la doxa moderniste, fait l'objet du deuxième chapitre de cette étude. A. cet égard, une attention particulière est consacrée à l'œuvre critique d'Elizabeth McCausland, principale porte-parole de la fonction sociale de la photographie. Le troisième chapitre se concentre sur la période de l’après-guerre. Dans ce nouveau contexte, les Américains sont à la recherche de nouveaux canons artistiques, qu'ils trouvent dans la photographie de reportage française, dont Henri Cartier-Bresson représente le chef de file. Ce chapitre dévoile les intérêts diplomatiques du modernisme dans les échanges transatlantiques avec la France, ainsi que ses intérêts économique à travers l'exemple d'André Kertész dont l'exposition au MoMA suscite l'envol de sa cote sur le marché naissant de la photographie dans les années 1970
This thesis is dedicated to questions of reception and institutionalization of documentary photography and reportage photography from 1937 through to the 1970s at the New York Museum of Modern Art (MoMA). The first chapter looks at the development and objectives of the advent of straight photography as a canon or an aestheticizing tradition of the medium, and sheds light on the influence of formalist criticism in the emergence of a form of documentary modernism, exemplified by the works of Walker Evans. Many photographers whose practices do not correspond to the ideals of technical perfection of straight photography were excluded from the circuits of institutional legitimization, particularly the members of the New York Photo League, Urban documentary photography, developed outside of the modernist doxa will be the subject of the second chapter of this study. In this respect, particular attention is paid to the critical work of Elizabeth McCausland, a major spokesperson for the social function of photography. The third chapter focuses on the post-war period. ln this new context. The Americans were looking for new artistic canons, which they found in French reportage photography, with Henri Cartier-Bresson leading the fray. Finally, this chapter reveals the diplomatic interests of modernism in Transatlantic exchanges with France, as well as its economic interests, taking André Kertész, as an example, whose exhibition at MoMA caused his works to suddenly rise in value on the inchoate photography market of the 1970s
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Shiffrar, Genevieve Ruth 1966. ""Its future beyond prophecythe City of New Jersey, worthy sister of New York": John Cotton Dana's vision for the Newark Museum, 1909-1929." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278461.

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A member of America's established cultural elite, John Cotton Dana (1856-1929) aimed to wrest cultural and economic authority from the nouveau riche through his role as the first director of the Newark Museum. In his favorite exhibition, "New Jersey Textiles," he encouraged local immigrant laborers to improve the design of goods that he simultaneously prompted middle-class women to purchase. He imagined that, as a result, Newark's manufacturing sector would blossom without nouveau-riche involvement; the region would soon rival its new-money neighbor, New York City. Under Dana's supervision, Jarvis Hunt (1859-1941) designed the 1926 Newark Museum building, employing the conventions of contemporary office architecture (predating a similar strategy at the Museum of Modern Art) to articulate this vision. The Metropolitan Museum of Art designed a series of exhibitions indebted to Dana's ideas. Ironically, the Metropolitan has received credit for innovations that Dana had designed to challenge New York's preeminence.
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Haines, Cooke. "Frederick Kiesler's Art of This Century Gallery in New York (1942-1947), in the context of the twentieth century art museum." Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438419.

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Kivlan, Anna Karrer. "An eye for vulgarity : how MoMA saw color through Wild Bill's lens." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39314.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.
Includes bibliographical references (p. 67-71).
This thesis is an examination of the 1976 Museum of Modern Art exhibition of color photographs by William Eggleston-the second one-man show of color photography in the museum's history- with particular attention to the exhibition monograph, William Eggleston's Guide. From hundreds of slides, MoMA Director of Photography John Szarkowski dominated the process of selecting the 75 images for the exhibition and 48 to be carefully packaged in the Guide, a faux family photo album/road trip guidebook. It is my contention that, despite their verbal emphasis on the Modernist and universal (rather than Southern) nature of the images, the photographs can be read as being replete with the mythology of the Old South- its decay, vulgarity, and even horror. Through this act of manipulation, the images in the Guide appealed in a voyeuristic way to an elite Northern art world audience, ever eager to reinforce its own intellectual, economic, and ethical superiority over other parts of the country. Due to its presumed "vulgarity" and absence of aesthetic mystique at the time, color photography required for its inaugural moment at the museum a sharp distancing from the documentary tradition and advertising-the complete erasure of social context afforded by a Modernist aesthetic.
(cont.) The two-faced posture maintained by the curator and photographer combined a canny understanding of the cultural power of the images with an overtly Modernist disavowal of it.
by Anna Karrer Kivlan.
S.M.
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Sbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.

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While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.
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Books on the topic "Metropolitan Museum of Art New York"

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The Metropolitan Museum of Art. New York: Harrison House, 1986.

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New York. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 2012.

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York, New. The Metropolitan Museum of Art guide. New York: The Museum, 1987.

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New York. The Metropolitan Museum of Art guide. Edited by De Montebello Philippe. 2nd ed. New York: The Museum, 1994.

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Company, Teaching, ed. Museum masterpieces: The Metropolitan Museum of Art. Chantilly, Va: The Teaching Company, 2008.

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Brettell, Richard R. Museum masterpieces: The Metropolitan Museum of Art. Chantilly, VA: The Teaching Company, 2008.

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The Metropolitan Museum of Art. New York, NY: AV2 by Weigl, 2015.

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Hibbard, Howard. The Metropolitan Museum of Art. New York: Harrison House, 1986.

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New York. Publications of the Metropolitan Museum of Art. Boston: G.K. Hall, 1990.

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Alyson, Stein Susan, and Metropolitan Museum of Art (New York, N.Y.), eds. Goya in the Metropolitan Museum of Art. New York: The Museum, 1995.

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Book chapters on the topic "Metropolitan Museum of Art New York"

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Ott, John. "Metropolitan, Inc." In New York: Art and Cultural Capital of the Gilded Age, 122–38. New York : Routledge, 2018. | Series: Routledge research in art history: Routledge, 2018. http://dx.doi.org/10.4324/9781351027588-8.

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Prinz, Martin. "The American Museum of Natural History." In Geology and Engineering Geology of the New York Metropolitan Area, 49–50. Washington, D. C.: American Geophysical Union, 1989. http://dx.doi.org/10.1029/ft361p0049.

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MacLeod, Suzanne. "Sugar Hill Children’s Museum of Art & Storytelling, New York, USA, 2015." In Museums and Design for Creative Lives, 266–73. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429398698-31.

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Cramer, Peter A. "Recruiting and Nominating Participants for the Brooklyn Museum Controversy: The Contributions of New York City Print Journalists." In Outrage: Art, Controversy, and Society, 66–98. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283542_4.

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"METROPOLITAN MUSEUM OF ART DEPARTMENT OF ISLAMIC ART NEW YORK, NEW YORK." In Enigmatic Charms, 187–217. BRILL, 2006. http://dx.doi.org/10.1163/9789047408529_020.

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"The Metropolitan Museum of Art, New York, comes into being." In The Collector's Voice, 66–71. Routledge, 2016. http://dx.doi.org/10.4324/9781315264448-17.

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Rose, Louis. "Toward a Psychology of Art, 1919–32." In Psychology, Art, and Antifascism. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300221473.003.0002.

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This chapter looks at how Kris' status as a convert to Catholicism temporarily provided him with professional and personal protection. His work abroad with international collectors, museum directors, and art patrons supplied a safety net beyond Austria if it became necessary. When the Metropolitan Museum of Art required an expert to catalog its cameo collection, it brought Kris to New York in 1929 to undertake the job. At the same time, Kris kept close track of deteriorating conditions in Austria and employed his contacts to find work abroad for his younger, Jewish colleagues. A liberal royalist in post-imperial Vienna, Kris remained convinced of the irreversible disintegration of Austrian political life. At his first meeting with Ernst Gombrich, he made sure that the young researcher understood fully the uncertainties attached to an art historical career in Vienna.
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Lin, Jenny. "From Shanghai to New York by way of conclusion." In Above Sea, 147–53. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0006.

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The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking Glass.” Ruminating on the afterlives of East-meets-West exoticizations, the conclusion synthesizes the preceding ones by analyzing the exhibition’s loaded cross-cultural hybrids of art-fashion-celebrity culture and Sino-US corporate sponsorship. The chapter argues that “China: Through the Looking Glass” might have countered the critique that the exhibition did not adequately present contemporary Chinese culture by including some of the art and design projects presented throughout the book, summarizing the vital issues these projects raise.
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Lena, Jennifer C. "The Museum of Primitive Art, 1940–1982." In Entitled, 41–69. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0003.

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This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.
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Tolles, Thayer. "The elephant in the room: George Grey Barnard's Struggle of the Two Natures in Man at The Metropolitan Museum of Art, New York." In Sculpture and the Museum, 115–31. Routledge, 2017. http://dx.doi.org/10.4324/9781315088259-7.

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