Winlock, Herbert Eustis, (1 Feb. 1884–27 Jan. 1950), Director Emeritus, Metropolitan Museum of Art, New York City

2007 ◽  
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Metropolitan Museum ◽  
Metropolitan Museum Of Art

Conclusion

2020 ◽  
pp. 181-196
Author(s):  
Amy Feinstein
Keyword(s):  
New York ◽  
New York City ◽  
Jewish Identity ◽  
York City ◽  
Popular Media ◽  
Metropolitan Museum ◽  
Popular Press ◽  
Avant Garde ◽  
Metropolitan Museum Of Art ◽  
Head Of State

The conclusion explores the ways that Stein’s identity as a Jewish and modernist writer was a potent symbol of collaboration and resistance in Vichy France and today. The chapter addresses and historicizes concerns over Stein’s Jewish identity and alleged Nazi-collaboration as raised by Alan Dershowitz and others in the popular press in 2012, when the Metropolitan Museum of Art in New York City opened the exhibition, “The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde.” Although Stein had translated the speeches of Pétain, Vichy’s head of state, her translations were never published and the origins and conclusion of the project remain unknown. In any case, the translation project must be considered alongside Stein’s numerous contributions to publications of the intellectual resistance. Popular claims of Stein’s Nazi collaboration are largely unsubstantiated, historically obtuse, and prone to reading Stein out-of-context, such as a widely-cited passage about being “conservative” in her 1939 memoir Paris France. In their determination to know about Stein’s wartime experiences and writings, the popular media have, nonetheless, affirmed the importance of Jewish identity and modernist style to Stein’s legacy as a writer. This book affirms that too.

scholarly journals Exhibition Review Essay and Reviews

Museum Worlds ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 238-261
Author(s):  
Emily Stokes-Rees ◽  
Blaire M. Moskowitz ◽  
Moira Sun ◽  
Jordan Wilson
Keyword(s):  
New York ◽  
New York City ◽  
Hong Kong ◽  
Review Essay ◽  
York City ◽  
Metropolitan Museum ◽  
Digital Evolution ◽  
Franz Boas ◽  
Metropolitan Museum Of Art ◽  
Shanghai Museum

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

Theorizing Palimpsests

2021 ◽  
Vol 11 (2) ◽  
pp. 193-208
Author(s):  
Aslı Iğsız
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Metropolitan Museum ◽  
Metropolitan Museum Of Art ◽  
The Past ◽  
Structural Problems ◽  
Structural Nature ◽  
History Of ◽  
The Many

Abstract How do we connect the past with the present to address structural problems? While the pursuit of a cause-and-effect past flowing into the present contributes to the understanding of an event or object, how that past is recalled, represented, related, disconnected, suppressed, and/or obfuscated in any given present matters. This article proposes palimpsests as a critical tool for analyzing the many histories of the present. To illustrate this theoretical practice, the article offers a palimpsestic reading of a museumized object, the Nubian Temple of Dendur, now at the Metropolitan Museum of Art in New York City. The structural nature of a history of the present comes into view only when one is able to discern multiple histories, presents, categories, and objects layered together within the palimpsest of history.

“What Is Religion?”

2020 ◽  
Vol 40 (1) ◽  
pp. 211-214
Author(s):  
Winnifred Fallers Sullivan
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Metropolitan Museum ◽  
Metropolitan Museum Of Art ◽  
Theory Of Religion

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.

scholarly journals Paris-on-Hudson

Athanor ◽  
2019 ◽  
Vol 37 ◽  
pp. 59-66
Author(s):  
Thomas Busciglio-Ritter
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Hudson River ◽  
Metropolitan Museum ◽  
Museum Collections ◽  
Metropolitan Museum Of Art ◽  
Hudson River School ◽  
River Landscape ◽  
Rule Out

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. 

Valuing Grief

Grief ◽  
2020 ◽  
pp. 123-152
Author(s):  
David Shneer
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Visual Context ◽  
Metropolitan Museum ◽  
Western Art ◽  
Solo Show ◽  
Art Photography

This chapter traces Baltermants’s entry into the art photography market. In the mid-1960s, he had his first New York City exhibition alongside other well-known photojournalists, including Robert Doisneau and Irving Penn. From there his work was included in a Metropolitan Museum show, and he was often the lone Soviet representative in major photography shows. In the 1970s, Baltermants began giving Grief visual context by exhibiting other images taken that same wartime day in Kerch. In 1983, Baltermants had his first solo show in New York City, and although reviewers loved his wartime work, reviewers panned the overall show. The critical appreciation for his wartime work and disappointment at his postwar Soviet “propaganda” did not dampen a few intrepid collectors’ interest in bringing him to the Western art photograph market and adding financial value to the list of values his photography possessed.

scholarly journals Repatriation of Cultural Property–Who Owns the Past? An Introduction to Approaches and to Selected Statutory Instruments

2010 ◽  
Vol 38 (2) ◽  
pp. 185-200 ◽  
Author(s):  
Carol A. Roehrenbeck
Keyword(s):  
New York ◽  
New York City ◽  
Los Angeles ◽  
Cultural Property ◽  
Metropolitan Museum ◽  
Public Television ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
The Past ◽  
The Press

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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