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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Sullivan, Winnifred Fallers. "“What Is Religion?”." Comparative Studies of South Asia, Africa and the Middle East 40, no. 1 (May 1, 2020): 211–14. http://dx.doi.org/10.1215/1089201x-8186236.

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Abstract This review of Shahab Ahmed's What Is Islam? The Importance of Being Islamic explores the value of Ahmed's theory of religion through an analysis of some objects presented in Heavenly Bodies, a 2018 exhibit of Catholic fashion at the Metropolitan Museum of Art in New York City.

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12

Zalewski, Leanne M. "Pioneering print collector: Samuel Putnam Avery (1822–1904)." Journal of the History of Collections 31, no. 2 (October 16, 2018): 403–10. http://dx.doi.org/10.1093/jhc/fhy034.

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Abstract Pioneering print collector and curator, Samuel P. Avery (1822–1904), donated a collection of 17,775 prints, including works by Cassatt, Whistler, Turner and Manet, to establish the Print Collection of the New York Public Library in 1900. Prior to his donation, Avery curated print exhibitions at the Library, Metropolitan Museum of Art, Grolier Club, and Union League Club. Through an examination of Avery’s persistent efforts to exhibit exemplary prints in museum and gallery settings – including an unusual collection of prints by women – this article provides evidence that Avery’s ground-breaking curatorial efforts led to the institutionalization of print display in New York.

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13

Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.

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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

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Zingone, Michela. "Instagram as Digital Communication Tool for the Museums: a Reflection on Prospectives and Opportunities through the Analysis of the Profiles of Louvre Museum and Metropolitan Museum of New York." European Journal of Social Science Education and Research 6, no. 3 (September 25, 2019): 53. http://dx.doi.org/10.26417/ejser.v6i3.p53-63.

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Launched in October 2010, Instagram is nowadays one of the most used social networks. According to the latest data released by the platform in 2018, in fact, the number of active users exceeded one million. From the public to the private sector, several actors have integrated Instagram into their communication plan. Among them, there are also the museum institutions. The object of this article is to look at what types of contents museums usually share and to understand how they are using this innovative communication channel based essentially on images to document, communicate their daily activity, their identity, and get in touch with users. Through the method of the content analysis, we propose a qualitative analysis of the posts published in a period of 30 days on the official profiles of the Louvre Museum in Paris and the Metropolitan Museum of Art in New York.

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15

Atshan, Sa’ed, and Katharina Galor. "Curating Conflict." Conflict and Society 6, no. 1 (June 1, 2020): 1–17. http://dx.doi.org/10.3167/arcs.2020.060101.

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This article compares four Jerusalem exhibits in different geographical and political contexts: at the Tower of David Museum in Jerusalem, the Palestinian Museum in Birzeit, the Metropolitan Museum of Art in New York, and the Jewish Museum Berlin. It examines the role of heritage narrative, focusing specifically on the question of the Israeli-Palestinian conflict, which is either openly engaged or alternatively avoided. In this regard, we specifically highlight the asymmetric power dynamics as a result of Israel’s occupation of East Jerusalem, and how this political reality is addressed or avoided in the respective exhibits. Finally, we explore the agency of curators in shaping knowledge and perspective and study the role of the visitors community. We argue that the differences in approaches to exhibiting the city’s cultural heritage reveals how museums are central sites for the politics of the human gaze, where significant decisions are made regarding inclusion and exclusion of conflict.

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16

Roehrenbeck, Carol A. "Repatriation of Cultural Property–Who Owns the Past? An Introduction to Approaches and to Selected Statutory Instruments." International Journal of Legal Information 38, no. 2 (2010): 185–200. http://dx.doi.org/10.1017/s0731126500005722.

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Should cultural property taken by a stronger power or nation remain with that country or should it be returned to the place where it was created? Since the 1990s this question has received growing attention from the press, the public and the international legal community. For example, prestigious institutions such as the J. Paul Getty Museum of Art in Los Angeles and the Metropolitan Museum of Art in New York have agreed to return looted or stolen artwork or antiquities. British smuggler Jonathan Tokeley-Parry was convicted and served three years in prison for his role in removing as many as 2,000 antiquities from Egypt. Getty director Marion True defended herself against charges that she knowingly bought antiquities that had been illegally excavated from Italy and Greece. New books on the issue of repatriation of art and antiquities have captured the attention of the public. A documentary based on one of these books was shown in theaters and aired on public television. The first international academic symposium on the topic was convened in New York City in January 1995.

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17

Howell, Joyce. "American Quilts and Coverlets in the Metropolitan Museum of Art, 2nd ed AmeliaPeck with Cynthia V. A.Schaffner. New York: Metropolitan Museum of Art and MQ Publications, 2007." Journal of American Culture 37, no. 1 (March 2014): 74–75. http://dx.doi.org/10.1111/jacc.12108.

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18

Mc Nab, Jessie. "Palissy et son «école» dans les collections du Metropolitan Museum of Art de New York." Revue de l'Art 78, no. 1 (1987): 70–76. http://dx.doi.org/10.3406/rvart.1987.347671.

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19

Cleave, Claire. "The Drawings of Filippino Lippi and His Circle, The Metropolitan Museum of Art, New York." Renaissance Studies 12, no. 3 (October 20, 2008): 416–22. http://dx.doi.org/10.1111/j.1477-4658.1998.tb00419.x.

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20

Putcha, Rumya S. "Yoga and White Public Space." Religions 11, no. 12 (December 14, 2020): 669. http://dx.doi.org/10.3390/rel11120669.

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This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.

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21

Thürigen, Susanne. "The Silver Caesars: A Renaissance Mystery. Julia Siemon, ed. Exh. Cat. The Metropolitan Museum of Art Symposia. New York: Metropolitan Museum of Art, 2018. xvi + 218 pp. $50." Renaissance Quarterly 73, no. 3 (2020): 1005–6. http://dx.doi.org/10.1017/rqx.2020.132.

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22

Martinson, Fred H. "Japanese Art from the Gerry Collection in the Metropolitan Museum of Art. By Barbara Brennan Ford and Oliver R. Impey. New York: The Metropolitan Museum of Art, 1989. 141 pp. $29.50." Journal of Asian Studies 50, no. 2 (May 1991): 410–11. http://dx.doi.org/10.2307/2057245.

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23

Mozzati, Tommaso. "¿Os recibimos con alegría? Il viaggio di Olga Raggio a Vélez Blanco nel 1959: l’itinerario, gli interlocutori, i rapporti frail Metropolitan Museum e le istituzioni spagnole." TEMPORÁNEA. Revista de Historia de la Arquitectura, no. 2 (2021): 2–23. http://dx.doi.org/10.12795/temporanea.2021.02.01.

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L’articolo intende ripercorrere il dialogo apertosi fra il Metropolitan Museum of Art di New York, le autorità ministeriali spagnole e l’intelligentsia andalusa negli anni compresi fra il 1959 e il 1963, cioè durante la ricostruzione del patio proveniente dal castello di Vélez Blanco nelle sale dell’istituzione newyorkese. Nel far questo il contributo si propone di ricollocare una simile rete di relazioni sullo sfondo della più ampia situazione politica e diplomatica vissuta in quegli anni dal regime franchista all’interno della comunità internazionale e, in particolare, nel contesto dei negoziati intrattenuti al tempo con il governo di Washington.

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24

Bilak, Donna. "Jewelry: The Body Transformed: Metropolitan Museum of Art, New York, November 12, 2018–February 24, 2019." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 26, no. 2 (September 2019): 322–24. http://dx.doi.org/10.1086/708798.

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25

Cotner, Jon. "A Squeeze of the Hand." Excursions Journal 3, no. 1 (September 13, 2019): 1–9. http://dx.doi.org/10.20919/exs.3.2012.150.

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We recorded forty-five-minute dialogues for thirty straight days around New York City. Half these talks took place at a Union Square health-food store that we call “W.F.” Other locations included MoMA, the Metropolitan Museum of Art, the Metropolitan Opera House, Central Park, Prospect Park, and a Tribeca parking garage. What follows is our twentieth conversation. Here sickness, emptiness, a train delay, and an argument seem to prefigure disaster and the project’s sudden end. But this disaster—much like the two-character Japanese word for “crisis”: the first one meaning “danger,” the second, “opportunity”—offers clarities perhaps best expressed by a Japanese proverb:Luck turns Wait

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26

Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (October 27, 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.

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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.

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27

Charola, A. E., L. Lazzarini, G. E. Wheeler, and R. J. Koestler. "The Spanish Apse from San Martin de Fuentiduena at The Cloisters, Metropolitan Museum of Art, New York." Studies in Conservation 31, sup1 (January 1986): 18–21. http://dx.doi.org/10.1179/sic.1986.31.supplement-1.18.

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28

Pearson, Paul N. "Provenance and identity of a large bronze statue currently in the Metropolitan Museum of Art, New York." Journal of the History of Collections 30, no. 1 (June 24, 2017): 35–48. http://dx.doi.org/10.1093/jhc/fhx016.

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29

Banks, Patricia A. "Ethnicity, Class and Trusteeship at African-American and Mainstream Museums." Cultural Sociology 11, no. 1 (July 7, 2016): 97–112. http://dx.doi.org/10.1177/1749975516651288.

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While Pierre Bourdieu argues that cultural capital is grounded in distinct aesthetic knowledge and tastes among elites, Francie Ostrower emphasizes that cultural capital grows out of the social organization of elite participation in the arts. This article builds on Ostrower’s perspective on cultural capital, as well as Milton Gordon’s concept of the ethclass group and Prudence Carter’s concept of black cultural capital, to elaborate how culture’s importance for class and ethnic cohesion is rooted in the separate spheres of arts philanthropy among black and white elites. The argument is empirically illustrated using the case of arguably the most prominent mainstream and African-American museums in New York City – the Metropolitan Museum of Art (the Met) and the Studio Museum in Harlem (SMH). Findings show that relative to the Met board the SMH board is an important site of unification for elite blacks, and in comparison to the SMH board, the Met board is a notable site of cohesion for elite whites. This article advances theory and research on cultural capital by elaborating how it varies among elite ethclass groups. Moreover, it highlights how the growth of African-American museums not only adds color to the museum field, but also fosters bonds among the black middle and upper class.

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Busciglio-Ritter, Thomas. "Paris-on-Hudson." Athanor 37 (December 3, 2019): 59–66. http://dx.doi.org/10.33009/fsu_athanor116676.

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In 1969, a curious picture entered the collections of the Metropolitan Museum of Art, in New York City, as part of a major bequest by American banker Robert Lehman (1891-1969). Identified as a Hudson River Scene, the painting, undated and unsigned, depicts an idyllic river landscape, surrounded by green hills, indeed reminiscent of the Hudson River School. Yet the attribution devised by the museum for might appear curious at first glance, as it does not rule out the possibility of a work produced by a little-known French painter named Victor de Grailly. Born in Paris in 1804, Grailly died in the same city in 1887. Mentioned in several museum collections, his pictures constitute a debatable body of work to this day. But if only a few biographical elements have been saved about the artist, the crunch of the debate lies elsewhere.

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31

Gregory, Tori. "Timeline of Art History2007394Timeline of Art History. Last visited June 2007. Gratis Metropolitan Museum of Art New York, NY URL: www.metmuseum.org/toah/splash.htm." Reference Reviews 21, no. 8 (October 30, 2007): 45. http://dx.doi.org/10.1108/09504120710839029.

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32

Thomason, Allison Karmel. "Beyond Baylon: Art, Trade, and Diplomacy in the Second Millennium B.C.E.: An Exhibit at the Metropolitan Museum of Art, New York." Near Eastern Archaeology 72, no. 1 (March 2009): 51–54. http://dx.doi.org/10.1086/nea20697212.

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33

Maul, Tim. "Anglomania: Tradition and Transgression in British Fashion, Tim Maul, Metropolitan Museum of Art, New York, May - September 2006." Circa, no. 117 (2006): 80. http://dx.doi.org/10.2307/25564475.

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34

Ording, Philip. "Picturing Math: Selections from the Department of Drawings and Prints at The Metropolitan Museum of Art, New York." Mathematical Intelligencer 39, no. 3 (August 25, 2017): 1–4. http://dx.doi.org/10.1007/s00283-017-9742-x.

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Roden. "The Metropolitan Museum of Art of New York, Heavenly Bodies: Fashion and the Catholic Imagination (2018)." QED: A Journal in GLBTQ Worldmaking 5, no. 3 (2018): 204. http://dx.doi.org/10.14321/qed.5.3.0204.

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Frenger, Carolyn. "Timeline of Art History2003411Timeline of Art History. New York, NY: The Metropolitan Museum of Art 2000‐, updated frequently. URL: www.metmuseum.org/toah/. Last visited May 2003." Reference Reviews 17, no. 7 (July 2003): 59–60. http://dx.doi.org/10.1108/09504120310498220.

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37

Ruggles, D. F. "The Ar t of mEdieval Spain, a. d. 500-1200 (New York: Metropolitan Museum of Art, 1993), 357 pp." Medieval Encounters 1, no. 2 (1995): 297–99. http://dx.doi.org/10.1163/157006795x00172.

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38

Christern-Briesenick, Brigitte. "Das Fragment eines südwestgallischen Sarkophages, vielleicht aus Saint-Guilhem-le-Désert im Metropolitan Museum of Art in New-York." Revue archéologique de Narbonnaise 29, no. 1 (1996): 173–81. http://dx.doi.org/10.3406/ran.1996.1472.

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39

Meeks, Dimitri. "Book Review: Le Papyrus D'Imouthès Fils de Psintaês au Metropolitan Museum of Art de New-York (Papyrus MMA 35.9.21)." Journal of Egyptian Archaeology 90, no. 1_suppl (December 2004): 55–57. http://dx.doi.org/10.1177/030751330409001s25.

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40

Vowles, Sarah. "Michelangelo: Divine Draftsman & Designer (New York, Metropolitan Museum of Art, 13 November 2017–12 February 2018). Accompanying book by Carmen C.Bambach. New York: Metropolitan Museum of Art/Yale University Press, 2017. 392 pp. with 370 colour illus. $65. ISBN 978‐1588396372 (hb)." Renaissance Studies 33, no. 2 (October 22, 2018): 299–306. http://dx.doi.org/10.1111/rest.12535.

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41

Busciglio-Ritter, Thomas. "‘Covetable pictures’." Journal of the History of Collections 32, no. 1 (December 13, 2018): 73–90. http://dx.doi.org/10.1093/jhc/fhy059.

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Abstract Born in 1820, John Taylor Johnston is a pivotal figure in the history of American collecting. A pioneer in transatlantic art collecting, his numerous visits to Europe helped him develop his taste, enrich his possessions, and build a reliable network of artists and dealers. He then re-injected this experience into a rising New York art market, becoming the first collector to enjoy success through the weekly public opening of a domestic art gallery. Here he displayed his highly-praised collection of European and American paintings, comprising works by Vernet, Gérôme, Meissonier, Homer and Church. Along with his brother James, Johnston also founded the very first edifice in the United States devoted entirely to housing artists – the Tenth Street Studio Building, designed by architect Richard Morris Hunt. His reputation as a collector eventually led to his appointment as first president of the newly formed Metropolitan Museum in 1871.

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Haron, Muhammed. "Inscription as Art in the World of Islam." American Journal of Islam and Society 13, no. 4 (January 1, 1996): 589–92. http://dx.doi.org/10.35632/ajis.v13i4.2287.

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During April 1996, the Hofstra Cultural Center organized an internationalinterdisciplinary conference that focused upon the role of inscriptionin Islamic art. The conference included diverse areas of inquiry. Forinstance, it accepted a paper that addressed the usage of Arabic script asinscription in different parts of the world and provided an opportunity to listento papers that considered inscription as an icon as well as its context,function, and comparative features. In addition, the coordinators organizedan exhibition of the works of several artists who were invited specificallyto talk about their works. This exhibition started with the opening of theconference and continued into May. On display was a unique blend of traditionaland modem uses of Arabic calligraphy--objects from the seventhcentury as well as those produced via contemporary technology.Habibeh Rahim, who is attached to Hofstra University's department ofphilosophy, and Alexej Ugrinsky of the Cultural Center, were the conferencedirector and coordinator, respectively. The former initiated the ideaand, with a committee of individuals, hosted the conference and exhibiteda selection of Islamic art. This exhibition was supported further by permanentdisplays in New York City at the Metropolitan Museum of Art, theBrooklyn Museum, the Pierpont Morgan Library, and the New York PublicLibrary.The conference opened with prayers from each of the major religioustraditions and two brief addresses by Habibeh Rahim and DavidChristman, the dean of New College and current director of HofstraMuseum. The first session, chaired by Sheila Blair (Harvard Univeristy),consisted of the following scholars and presentations: Valerie Gonzalez(Ecole d'Architecture Provence-Mediterrainee Centre Habitat etDeveloppement, Marseille, France), "The Significant Esthetic System ofInscriptions in Muslim Art"; Peter Daniels (University of Chicago),"Graphic-Esthetic Convergence in the Evolution of Scripts: A FirstEssay"; Solange Ory (Universite de Provence at Aix-Marseille, France),"Arabic Inscriptions and Unity of the Decoration"; Sussane Babarie (NewYork University), "The 'Aesthetics' of Safavid Epigraphy: AnInterpretation"; Ali al-Bidah (Dar al-Athar al-Islamiyah), "Aesthetic andPractical Aspects of a Hexagonal Emerald in Dar al-Athar al-Islamiyah";and Howard Federspiel (McGill University, Canada), "Arabic Script on ...

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Musacchio, Jacqueline Marie. "Maiolica: Italian Renaissance Ceramics in the Metropolitan Museum of Art. Timothy Wilson. With Luke Syson. Highlights of the Collection. New York: Metropolitan Museum of Art; distributed by Yale University Press, 2016. xii + 380 pp. $75." Renaissance Quarterly 70, no. 3 (2017): 1078–79. http://dx.doi.org/10.1086/695177.

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Kontozova-Deutsch, Velichka, Felix Deutsch, László Bencs, Agnieszka Krata, René Van Grieken, and Karolien De Wael. "Optimization of the ion chromatographic quantification of airborne fluoride, acetate and formate in the Metropolitan Museum of Art, New York." Talanta 86 (October 2011): 372–76. http://dx.doi.org/10.1016/j.talanta.2011.09.030.

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Silverman, Cathy, Adriana Rizzo, and Federico Carò. "An Investigation of Eighteenth-Century English Red Japanned Furniture in the Collection of The Metropolitan Museum of Art, New York." Studies in Conservation 64, sup1 (January 7, 2019): S126—S138. http://dx.doi.org/10.1080/00393630.2018.1563356.

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Kasprzycka, Katarzyna. "Reconstruction of the bases of sandstone sphinxes from the Temple of Hatshepsut at Deir el-Bahari." Fieldwork and Research, no. 28.2 (December 28, 2019): 359–87. http://dx.doi.org/10.31338/uw.2083-537x.pam28.2.20.

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The reconstruction of the iconographic program of the decoration of the sandstone bases of a group of sphinxes of Hatshepsut lining the processional avenue leading to the Queen’s Mansion of a Million Years in the temple at Deir el-Bahari is the prime focus of this article. The fragments of these statues discovered in the 1920s by the archaeological mission of the Metropolitan Museum of Art in New York were never published. The pieces were rediscovered in storage in 2005. A theoretical reconstruction has been undertaken, leading the author to identify an unusual iconographical pattern that reflects changes in art introduced in the times of Hatshepsut. The representations on the bases of the royal sandstone sphinxes from the queen’s temple include, among others, rekhyt birds, pat-people and “enemies of Egypt”. They take on a form that departs from that known from other sphinx sculptures.

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Croizier, Ralph. "Chinese Art: Modern Expressions. Edited by Maxwell K. Hearn and Judith G. Smith. New York: Metropolitan Museum of Art, 2001. 311 pp. $19.95 (paper)." Journal of Asian Studies 62, no. 2 (May 2003): 588–91. http://dx.doi.org/10.2307/3096270.

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van Lint, Theo Maarten. "Armenia: Art, Religion, and Trade in the Middle Ages. Helen C. Evans, ed.Exh. Cat. New York: Metropolitan Museum of Art, 2018. 352 pp. $65." Renaissance Quarterly 73, no. 4 (2020): 1343–44. http://dx.doi.org/10.1017/rqx.2020.230.

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Ferrari, Roberto C. "Splendors of Imperial China:97105Kent Lydecker et al. Splendors of Imperial China: an Electronic Catalogue. The Metropolitan Museum of Art 1000 Fifth Ave. New York, NY 10028‐0198 212‐879‐5500 212‐570‐3879 (fax): Metropolitan Museum of Art (New York) and National Palace Museum (Taipei) 1996. URL: http://www.metmuseum.org $29.95." Electronic Resources Review 1, no. 11 (November 1997): 122–24. http://dx.doi.org/10.1108/err.1997.1.11.122.105.

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Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.

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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.

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