Coordinates: 40°46′46″N 73°57′47″W / 40.779447°N 73.96311°W / 40.779447; -73.96311
The Metropolitan Museum of Art (colloquially The Met) is an art museum in New York City. Its permanent collection contains more than two million works, divided among nineteen curatorial departments. The main building, located on the eastern edge of Central Park along Manhattan's Museum Mile, is by area one of the world's largest art galleries. There is also a much smaller second location at "The Cloisters" in Upper Manhattan that features medieval art.
Represented in the permanent collection are works of art from classical antiquity and Ancient Egypt, paintings and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met also maintains extensive holdings of African, Asian, Oceanic, Byzantine, and Islamic art. The museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. Several notable interiors, ranging from 1st-century Rome through modern American design, are permanently installed in the Met's galleries.
Coordinates: 40°46′3″N 73°58′55″W / 40.7675°N 73.98194°W / 40.7675; -73.98194
The Museum of Arts and Design (MAD), based in Manhattan in New York, New York, is a center for the collection, preservation, study, and display of contemporary hand-made objects in a variety of media, including: clay, glass, metal, fiber, and wood. It accommodates 300,000 visitors per year, however, touring exhibitions, outreach efforts, and off-site programs effectively double that audience.
The museum was founded in 1956 by the American Craft Council together with philanthropist Aileen Osborn Webb, as the Museum of Contemporary Crafts. In 1986, it relocated to 40 West 53rd Street and was renamed the American Craft Museum. In 2002 it changed its name again to the Museum of Arts and Design. In 2008, the museum moved to 2 Columbus Circle.
The new location, with more than 54,000 square feet (5,000 m2), more than tripled the size of the Museum’s former space. It includes: four floors of exhibition galleries for works by established and emerging artists; a 150-seat auditorium in which the museum plans to feature lectures, films, and performances; and a restaurant. It also includes a Center for the Study of Jewelry, and an Education Center that offers multi-media access to primary source material, hands-on classrooms for students, and three artists-in-residence studios.
Philippe de Montebello (born May 16, 1936 in Paris) served from 1977 to 2008 as the director of the Metropolitan Museum of Art in New York. On his retirement, he was both the longest-serving director in the institution's history, and the longest-serving director of any major art museum in the world. From January 2009, Montebello took up a post as the first Fiske Kimball Professor in the History and Culture of Museums at New York University's Institute of Fine Arts.
Born to a French aristocratic family, de Montebello immigrated to the United States of America in the 1950s, and became a naturalized citizen of the US in 1955. He was educated in New York City at the Lycée Français, graduated from Harvard University with a degree in art history, and earned an MA from New York University, after which he embarked on a career in Fine Arts. He became the Director of the Metropolitan Museum in 1977 and has become widely known as the public face of the museum.
He announced his retirement on 8 January 2008, stating that he intended to step down by the end of 2008 after more than 31 years at his post.
Frans Hals the Elder (c. 1580 – 26 August 1666) was a Dutch Golden Age painter. He is notable for his loose painterly brushwork, and helped introduce this lively style of painting into Dutch art. Hals was also instrumental in the evolution of 17th century group portraiture.
Hals was born in 1580 or 1581, in Antwerp. Like many, Hals' family fled during the Fall of Antwerp (1584-1585) from the Spanish Netherlands to Haarlem, where he lived for the remainder of his life. Hals studied under another Flemish-émigré, Karel van Mander (1548–1606), whose Mannerist influence, however, is not noticeably visible in his work. At the age of 27, he became a member of the city's painter's corporation, the Haarlem Guild of Saint Luke, and he started to earn money as an art restorer for the city council. He worked on their large art collection that Karel van Mander had described in his book The Painting-Book (Middle Dutch: Het Schilder-Boeck), published in 1604. The most notable of these were the works of Geertgen tot Sint Jans, Jan van Scorel and Jan Mostaert, that hung in de St. Jans kerk in Haarlem. The restoration work was paid for by the city of Haarlem, since all religious art was confiscated after the iconoclasm, but the entire collection of paintings was not formally possessed by the city council until 1625, after the city fathers had decided which paintings were suitable for the city hall. The remaining art that was considered too "Roman Catholic" was sold to Cornelis Claesz van Wieringen, a fellow guild member, on the grounds that he remove it from the city. It was under these circumstances that Hals began his career in portraiture, since the market for religious themes had disappeared.
This is the art
Of splitting apart
I always thought
Yeah, yeah, yeah
We were too smart
For not being able
To stop giving and receiving
But my name's Unable
And I'm unable to be grieving
You came into my life
Dependent on me
But it cuts like a knife
For you‚re abandoning me
I thought you were not afraid
To show me your loving day
Now it's too late
And this is my fate
This is the art
Of splitting apart
I always thought
Yeah, yeah, yeah
We were too smart
For not being able
To stop giving and receiving
But my name's Unable
And I'm unable to be grieving
You still belong
To the great great holy world
To still be able
To live your fun
But being afraid of me
Is what you made of me
If you could only see
Who I wanna be
Now you're my nightmare
And you don't even care
This is the art
Of splitting apart
I always thought
Yeah, yeah, yeah
We were too smart
For not being able
To stop giving and receiving
But my name's Unable
Paint me a pretty picture make sure it's black and white the colors would hurt my eyes no imperfections or I'll cut them out paint me a pretty picture I painted over all my others in red
Rachael Lampa
This is all so beautiful
But how much of this will really be
Enough to keep me on my feet
This is how it feels
When it's for real
But how much can be invisible
Enough for me to just believe
And I'm chasing the wind
And ending up right where I began
I know that there's an art to starting over again
Knowing God will never waste the pain
You can only try so hard to right a wrong
This song will only last so long
But life takes time so let it live along
I may never know
I should just let go
But I we really want a god that I can understand
Still I close my eyes
Try to reason why
But since when does my desire dominate the plan?
And I'm chasing the wind
And ending up right where I began
I know that there's an art to starting over again
And I know that God will never waste the pain
You can only try so hard to right a wrong
This song will only last so long
But life takes time so let it live along
When life is in slow motion
And when the silence is deafening
Hold on tight, you're gonna cry
But there's always a reason why
I know that there's an art to starting over again
And I know that God will never waste my pain
You can only try so hard to walk alone
This song will only last so long
But life is just the art of living on
Stringed puppets dancing,
Drawing flies to the stench
Flesh impaled with wires
Sick, amusing, painful play
Imagination, evisceration
A morbid show
With blood on the wall
Hear people’s call
Chant and applaud
Caged in mocked misery
And audience with bleeding taste
Pulling strings, open sores
Come in,
Come in and catch the art
Barbed wire, embracing like fire
Deforming architecture
Endless desires, clawing pyre
Like a living dissection
Closing ecstasy, a fevered burning plague
Temptations lost control,
Rips apart the victims whole
Artistic patterns remain
Like a puzzle in its chaos start