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href="/press-releases/scholastic-art-2025"><h3><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The Metropolitan Museum of Art to Exhibit Recognized Works From New York City Participants in the 2025 Scholastic Art & Writing Awards </span></h3></a><span>March 21, 2025</span></div><div class="press-card_card__P2Ztq" data-sentry-component="PressCard" data-sentry-source-file="index.tsx"><a class="press-card_titleLink__BxsvA" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/press-releases/jordan-schnitzer-gift"><h3><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The Metropolitan Museum of Art’s Department of Drawings and Prints Receives Curatorial Endowment from Jordan Schnitzer</span></h3></a><span>March 13, 2025</span></div><div class="press-card_card__P2Ztq" data-sentry-component="PressCard" data-sentry-source-file="index.tsx"><a 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Rockefeller Wing <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-sub-saharan-africa-art" name="departments" value="sub-saharan-africa-art"/><label for="department-sub-saharan-africa-art" class="checkbox-with-label_label__27KYG ">African Art in The Michael C. Rockefeller Wing <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(16)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-medieval-art-and-the-cloisters" name="departments" value="medieval-art-and-the-cloisters"/><label for="department-medieval-art-and-the-cloisters" class="checkbox-with-label_label__27KYG ">Medieval Art and The Cloisters <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(14)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-the-american-wing" name="departments" value="the-american-wing"/><label for="department-the-american-wing" class="checkbox-with-label_label__27KYG ">The American Wing <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(20)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-european-sculpture-and-decorative-arts" name="departments" value="european-sculpture-and-decorative-arts"/><label for="department-european-sculpture-and-decorative-arts" class="checkbox-with-label_label__27KYG ">European Sculpture and Decorative Arts <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(21)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-the-robert-lehman-collection" name="departments" value="the-robert-lehman-collection"/><label for="department-the-robert-lehman-collection" class="checkbox-with-label_label__27KYG ">The Robert Lehman Collection <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(5)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-ancient-near-eastern-art" name="departments" value="ancient-near-eastern-art"/><label for="department-ancient-near-eastern-art" class="checkbox-with-label_label__27KYG ">Ancient Near Eastern Art <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(9)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-arms-and-armor" name="departments" value="arms-and-armor"/><label for="department-arms-and-armor" class="checkbox-with-label_label__27KYG ">Arms and Armor <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(6)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-european-paintings-1250-1800" name="departments" value="european-paintings-1250-1800"/><label for="department-european-paintings-1250-1800" class="checkbox-with-label_label__27KYG ">European Paintings <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(31)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-the-michael-c-rockefeller-wing" name="departments" value="the-michael-c-rockefeller-wing"/><label for="department-the-michael-c-rockefeller-wing" class="checkbox-with-label_label__27KYG ">The Michael C. Rockefeller Wing <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(1)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-asian-art" name="departments" value="asian-art"/><label for="department-asian-art" class="checkbox-with-label_label__27KYG ">Asian Art <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(44)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-musical-instruments" name="departments" value="musical-instruments"/><label for="department-musical-instruments" class="checkbox-with-label_label__27KYG ">Musical Instruments <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(4)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-greek-and-roman-art" name="departments" value="greek-and-roman-art"/><label for="department-greek-and-roman-art" class="checkbox-with-label_label__27KYG ">Greek and Roman Art <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(9)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-modern-and-contemporary-art" name="departments" value="modern-and-contemporary-art"/><label for="department-modern-and-contemporary-art" class="checkbox-with-label_label__27KYG ">Modern and Contemporary Art <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(54)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-photographs" name="departments" value="photographs"/><label for="department-photographs" class="checkbox-with-label_label__27KYG ">Photographs <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(25)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-ancient-american-art" disabled="" name="departments" value="ancient-american-art"/><label for="department-ancient-american-art" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Ancient American Art in The Michael C. Rockefeller Wing <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-drawings-and-prints" name="departments" value="drawings-and-prints"/><label for="department-drawings-and-prints" class="checkbox-with-label_label__27KYG ">Drawings and Prints <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(26)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-egyptian-art" name="departments" value="egyptian-art"/><label for="department-egyptian-art" class="checkbox-with-label_label__27KYG ">Egyptian Art <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(3)</span></label></div></div><div class="press-search_checkboxGroups__jlS1m"><h5>Conservation</h5><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-objects-conservation" disabled="" name="departments" value="objects-conservation"/><label for="department-objects-conservation" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Objects Conservation <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-photograph-conservation" disabled="" name="departments" value="photograph-conservation"/><label for="department-photograph-conservation" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Photograph Conservation <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-textile-conservation" disabled="" name="departments" value="textile-conservation"/><label for="department-textile-conservation" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Textile Conservation <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-east-asian-paintings-conservation" disabled="" name="departments" value="east-asian-paintings-conservation"/><label for="department-east-asian-paintings-conservation" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">East Asian Paintings Conservation <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-paintings-conservation" disabled="" name="departments" value="paintings-conservation"/><label for="department-paintings-conservation" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Paintings Conservation <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-time-based-media-working-group" disabled="" name="departments" value="time-based-media-working-group"/><label for="department-time-based-media-working-group" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Time Based Media Working Group <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-paper-conservation" disabled="" name="departments" value="paper-conservation"/><label for="department-paper-conservation" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Paper Conservation <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-scientific-research" disabled="" name="departments" value="scientific-research"/><label for="department-scientific-research" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Scientific Research <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-costume-institute-conservation" disabled="" name="departments" value="costume-institute-conservation"/><label for="department-costume-institute-conservation" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Costume Institute Conservation <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div></div><div class="press-search_checkboxGroups__jlS1m"><h5>Other</h5><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-thomas-j-watson-library" disabled="" name="departments" value="thomas-j-watson-library"/><label for="department-thomas-j-watson-library" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Thomas J. Watson Library <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-antonio-ratti-textile-center-and-reference-library" disabled="" name="departments" value="antonio-ratti-textile-center-and-reference-library"/><label for="department-antonio-ratti-textile-center-and-reference-library" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Antonio Ratti Textile Center and Reference Library <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-museum-archives" disabled="" name="departments" value="museum-archives"/><label for="department-museum-archives" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Museum Archives <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-directors-office" disabled="" name="departments" value="directors-office"/><label for="department-directors-office" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Director's Office <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-digital" disabled="" name="departments" value="digital"/><label for="department-digital" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Digital <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-modern-art-research-center" disabled="" name="departments" value="modern-art-research-center"/><label for="department-modern-art-research-center" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Leonard A. Lauder Research Center for Modern Art <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-metlive-arts" disabled="" name="departments" value="metlive-arts"/><label for="department-metlive-arts" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">MetLive Arts <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-publications-and-editorial" disabled="" name="departments" value="publications-and-editorial"/><label for="department-publications-and-editorial" class="checkbox-with-label_label__27KYG checkbox-with-label_disabled__DL7Qi">Publications and Editorial <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(0)</span></label></div><div class="checkbox-with-label_filter__yOEBj" data-sentry-component="CheckboxWithLabel" data-sentry-source-file="index.tsx"><input class="checkbox-with-label_input__KVXgh" type="checkbox" id="department-education" name="departments" value="education"/><label for="department-education" class="checkbox-with-label_label__27KYG ">Education <span style="color:var(--color-grey-700)" data-sentry-component="Count" data-sentry-source-file="index.tsx">(2)</span></label></div></div></details></div></div></aside></section><div class="search-layout_buttonWrapper__vrf7I"><button class="search-layout_filtersButton__1J98d secondary" data-sentry-component="Button" 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The Metropolitan Museum of Art’s Seeing Silence: The Paintings of Helene Schjerfbeck will be the first major exhibition in the United States dedicated to the artist’s work. Featuring nearly 60 works on canvas—including generous loans from the Finnish National Gallery / Ateneum Art Museum, other Finnish museums, and private collections in Finland and Sweden—the exhibition will be on view December 5, 2025, through April 5, 2026.\n\nBorn in Helsinki, Schjerfbeck witnessed civil war and two World Wars as well as the burgeoning of Finland’s national identity following independence from Russian rule in 1917. Despite many personal hardships, Schjerfbeck never wavered in her determination to pursue her passion, painting for most of her life in a remote Nordic country, far removed from Europe’s centers of cultural upheaval and renewal. She once said resolutely, “All that I desire to do is to paint….there is always something to conquer.”\n\nThe exhibition is made possible by Elsa A. 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Seeing Silence looks beyond art history’s cultural mainstream to one woman who overcame immense struggles to produce a powerful body of work, highlighting her rightful place in the story of modernism.”\n\nSeeing Silence will trace Schjerfbeck’s artistic development from her early years in Helsinki to the end of her life in Sweden, illuminating the artist’s evolving style from traditional subjects in a realist vein to a painterly language of spare imagery, often densely worked in thick and diluted paint. Schjerfbeck sanded and scratched through layers of paint, sometimes exposing the dense weave of her canvases as she experimented with her materials. As a valuable voice among the many strands of modernism at play throughout the world in the early 20th century, Schjerfbeck’s unique visual language deserves recognition in the codified narratives of art history.\n\nCredits and Related Content\n\nSeeing Silence: The Paintings of Helene Schjerfbeck is curated by Dita Amory, Robert Lehman Curator in Charge of the Robert Lehman Collection at The Met. Anna-Maria von Bonsdorff, director of the Ateneum Art Museum, is the consulting curator.\n\nA fully illustrated catalogue will accompany the exhibition and be available for purchase from The Met Store.\n\nThe Met will host a variety of exhibition-related educational and public programs to be announced at a later date.\n\nThe exhibition is featured on The Met website, as well as on social media.\n\n###\n\nApril 1, 2025\n\nImage: Helene Schjerfbeck (Finnish, 1862‒1946). Self-Portrait, 1912. Oil on canvas, 17 1/8 × 16 1/2 in. (43.5 × 42 cm). Finnish National Gallery Collection, Ateneum Art Museum, Helsinki (A-2016-51). Photo: Finnish National Gallery / Yehia Eweis"])</script><script>self.__next_f.push([1,"26:T1913,"])</script><script>self.__next_f.push([1,"(New York, March 27, 2025)—The Metropolitan Museum of Art announced today the landmark gift of the René Balcer and Carolyn Hsu-Balcer Inuit Print Collection, which features over 500 relief prints by renowned Inuit printmakers from multiple regions across Nunavut and Nunavik, the semiautonomous Arctic homeland of Canada's Inuit population. This important collection, gifted to The Met by René Balcer and Carolyn Hsu-Balcer, is among the strongest examples of Inuit graphic art in the United States. With works ranging from the mid-1940s to the present day, it includes major works by some of the most influential Indigenous women artists in history and will significantly enhance The Met’s collections of Inuit items. The Balcer Collection represents diverse Inuit printmaking methods, including sealskin and paper stencils; monoprints; and carved stone, or stone-cuts, on paper, and features imagery of birds, animals, Inuit peoples, transformative figures, dreams, cosmologies, and hunting scenes.\n\n\n\"We are deeply grateful to René Balcer and Carolyn Hsu-Balcer for this extraordinary gift, which is a leading collection of Inuit masterworks in a U.S. museum,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “Mr. and Mrs. Balcer’s dedication to the support of Inuit artists is evident in this magnificent and comprehensive collection that celebrates the remarkable artistry of Native and Indigenous individuals and communities, and we are thrilled to be able to share these prints with visitors in our American Wing galleries.”\n\n\nRené Balcer began collecting Inuit art in Montreal, Canada, in the late 1970s. The René Balcer and Carolyn Hsu-Balcer Inuit Print Collection highlights the famous artists’ collective and printmaking studio at Baffin Island’s Cape Dorset, the source of Inuit printmaking that was established in the 1950s. The original artists working at Cape Dorset collectively identified as the West Baffin Eskimo Co-operative, and in 1960 they released their first official catalogued collection of 41 prints to great critical acclaim. The René Balcer and Carolyn Hsu-Balcer Inuit Print Collection includes some of the most celebrated Inuit artists associated with the collective, such as Jessie Oonark (1906–1985) and Kenojuak Ashevak (1927–2013), whose print The Enchanted Owl (1960) was featured on a commemorative Canadian postal stamp in 1970 and was on view in The Met exhibition A Decade on Paper: Recent Acquisitions, 2014–2024 (August 26, 2024–February 23, 2025). Looking ahead, select works in the Balcer Collection will be included as part of ongoing annual rotations in the Art of Native America installation in the Museum’s American Wing.\n\n\n“This is an aesthetically and culturally significant gift, and it has been an absolute pleasure to work with René Balcer and Carolyn Hsu-Balcer in our mutual goal to more strongly represent Inuit artists in The Met collection,” said Patricia Marroquin Norby (P’ urhépecha), Associate Curator of Native American Art in the American Wing. “The arrival of this beautifully curated collection aligns with our departmental vision to prioritize previously underrepresented artists and the presence, voices, and experiences of peoples and communities who have contributed greatly to our cultural and national identities. We look forward to collaborating with Inuit communities and individual artists to highlight these works in our galleries and programming.”\n\n\nRené Balcer and Carolyn Hsu-Balcer said, “One of the greatest challenges the Inuit face vis-à-vis the southern world is invisibility. At best, the Inuit and their brethren in the Circumpolar region are an abstraction to the rest of the world, glimpsed mostly through the distorted lens of pop history. At worst, the reaction the Inuit get when meeting non-Indigenous people is, ‘Oh, I thought you all died off years ago.’ It is our modest hope that this collection will demonstrate that the Inuit and their culture are very much alive and very much engaged in the modern world (to wit, Annie Pootoogook’s Watching Jerry Springer from 2003). My wife, Carolyn, and I are very grateful to The Met for accepting the collection and committing its vast resources and reach to showcase to the world the creative brilliance, wisdom, and humor of Inuit artists.”\n\n\nAbout René Balcer and Carolyn Hsu-Balcer\nRené Balcer is an Emmy-winning writer, producer, and creator of critically acclaimed TV series and documentaries. René’s engagement with the Canadian North began as a teenager working in lumber mills, hydro projects, and construction on airstrips in remote communities, often alongside First Nations and Inuit coworkers.\n\n\nAmong other artistic endeavors across North America and Asia, René and Carolyn recently organized and participated in a multiyear artist’s residency with Chinese artist Wu Jian’an and Inuit artists at the Uqqurmiut Centre for Arts and Crafts in Pangnirtung, Nunavut, and with renowned artists Shuvinai Ashoona, Ningiukulu Teevee, and Qavavau Manumie at Kinngait Studios (Cape Dorset). René’s poignant photographs of the Arctic have been featured in gallery exhibitions in New York and appear in his recently published portfolio, Seeing As (ACC Art Books UK).\n\n\nAbout The Met\nThe Metropolitan Museum of Art was founded in 1870 by a group of American citizens—businessmen and financiers as well as leading artists and thinkers of the day—who wanted to create a museum to bring art and art education to the American people. Today, The Met displays tens of thousands of objects covering 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in two iconic sites in New York City—The Met Fifth Avenue and The Met Cloisters. Millions of people also take part in The Met experience online. Since its founding, The Met has always aspired to be more than a treasury of rare and beautiful objects. Every day, art comes alive in the Museum’s galleries and through its exhibitions and events, revealing both new ideas and unexpected connections across time and across cultures.\n\n\nImage credit:\nKenojuak Ashevak. “Untitled (red woman/birds/wings/feet),” Drawing, pencil and ink 10x14in, 25.4x35.6 cm. Waddington, 9/18/20. René Balcer and Carolyn Hsu-Balcer Collection, Gift of René Balcer and Carolyn Hsu-Balcer, 2024\n"])</script><script>self.__next_f.push([1,"27:T1029,"])</script><script>self.__next_f.push([1,"Exhibition Dates: March 28–May 18, 2025, 2025\nLocation: The Met Fifth Avenue, Ruth and Harold D. Uris Center for Education\n\nThe Alliance for Young Artists \u0026 Writers, the presenter of the Scholastic Art \u0026 Writing Awards, today announced the 10th annual New York City Scholastic Art \u0026 Writing Awards Gold Key exhibition, to be held at The Metropolitan Museum of Art’s Ruth and Harold D. Uris Center for Education.\n\nThe exhibition will be free and open to the public during regular Museum hours from March 28 through May 18, 2025. More information about the exhibition can be found here.\n\nThis special exhibition features 316 original works of teen art and 300 original works of teen writing, which were selected from nearly 14,500 submissions by more than 2,500 teens in grades 7–12, from over 250 schools in all five boroughs. The exhibition at The Met will display original works in the Painting, Printmaking, and Drawing and Illustration categories. All writing works can be accessed virtually, while printed reproductions and projected visuals of all other artworks will be prominently showcased in the Museum’s Carson Family Hall.\n\nAll works featured in the exhibition received top regional awards—the Gold Key—by New York City–based participants in the 2025 Scholastic Art \u0026 Writing Awards, the country's longest-running and most prestigious scholarship and recognition program for creative teens. Gold Key–winning works are eligible to receive national honors through a second round of judging, which can provide additional opportunities for exhibition and publication as well as access to scholarships.\n\nHeidi Holder, Frederick P. and Sandra P. Rose Chair of Education, The Metropolitan Museum of Art, said: “I see visitors to the New York City Scholastic Art \u0026 Writing Awards exhibition taking photos, pointing out their favorite paintings, drawings, and sculptures to family and friends—enthralled by the remarkable talent and imagination of these young artists. The Metropolitan Museum of Art is delighted to host this annual exhibition that supports artistic expression, a key pillar in understanding oneself and our changing world. The vision of these artists excites us and viewers who will continue to visit the exhibition. We’re so proud to play a part in this.”\n\n“The works featured in this year’s 2025 New York City regional exhibition showcase a wide variety of subjects, styles, and media, but all brim with exceptional creativity and reflect the exhilaratingly bold, original visions of today’s teens,” said Christopher Wisniewski, Executive Director, Alliance for Young Artists \u0026 Writers. “The Alliance for Young Artists \u0026 Writers could not be more proud to once again work with The Met to celebrate the city’s courageous young creatives and share their accomplishments with an international audience.”\n\n\nTo celebrate the student writers and artists featured in the exhibition, the Museum will be hosting a private opening reception for students, family members, educators, and friends on Friday, March 28, featuring keynote remarks from contemporary artist and 2022 Scholastic Awards Alumni Achievement Award recipient Derek Fordjour, whose work was featured in The Metropolitan Museum of Art’s recent exhibition, Flight into Egypt: Black Artists and Ancient Egypt, 1876–Now.\n\n\nThe 2025 New York City Scholastic Art \u0026 Writing Awards exhibition at The Met is presented with generous support from Scholastic Inc., Maurice R. Robinson Fund, Public Funds from the New York City Department of Cultural Affairs in partnership with the City Council, Dedalus Foundation, Arthur F. and Alice E. Adams Charitable Foundation, Cornelia T. Bailey Foundation, Robert Lehman Foundation, AEO Better World Foundation, and the Cowles Charitable Trust.\n\nTo learn more about the Alliance for Young Artists \u0026 Writers and the Scholastic Art \u0026 Writing Awards, visit www.artandwriting.org, or connect on Instagram @artandwriting #goldkey.\n\nImage: Madeline Berberian-Hutchinson, Bleeding Seeds. Gold Key, Digital Art, 2025. Grade 12, Stuyvesant High School, New York, NY. William Wrigley, educator.\n"])</script><script>self.__next_f.push([1,"28:T197d,"])</script><script>self.__next_f.push([1,"(New York, March 13, 2025)—The Metropolitan Museum of Art announced today the endowment of a curatorial position in the Museum’s Department of Drawings and Prints, made possible by a generous donation from collector and patron of the arts Jordan Schnitzer. In recognition of this major gift, the position has been named the Jordan Schnitzer Curator. Jennifer Farrell, who joined The Met in 2014, is the position’s first incumbent, effective immediately.\n\n“We are immensely grateful to Jordan Schnitzer for this remarkable gift to the Museum,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “Jordan continues to distinguish himself as a great supporter and outstanding collector of the arts—earning his reputation as the ‘Prince of Prints’—and his mission is to generously share contemporary art with audiences around the US in unprecedented ways and scale. His substantial support of The Met and its curators ensures the continued vital work of the Department of Drawings and Prints in collecting, studying, and presenting significant works of art on paper across time.”\n\nNadine Orenstein, Drue Heinz Curator in Charge of the Department of Drawings and Prints, said: “Jordan has been a longtime friend of the Department of Drawings and Prints. We are thrilled about his support for the department and Jennifer.”\n\n“It is a great privilege to be the inaugural Jordan Schnitzer Curator,” said Jennifer Farrell. “Jordan is well known for his philanthropy as well as his sustained and deep support of the visual arts, with a particular focus on prints. He has worked closely with numerous artists, scholars, and art institutions to enrich their exhibition programs and produce noteworthy publications and programs in order to ensure that more people are able to experience exhibitions of modern and contemporary art.”\n\n“I am honored to support the curator position in the Department of Drawings and Prints at The Metropolitan Museum of Art. The Met houses one of the world’s largest collections of works on paper, and I hope my contribution helps continue to showcase both historic and contemporary artists, giving their voices a platform through this powerful medium,” said Jordan Schnitzer. “A special thanks to Director Max Hollein, the Development team and especially Nadine Orenstein, and the newly appointed Jordan Schnitzer Curator, Jennifer Farrell. I look forward to years of collaboration with these talented individuals.”\n\nJennifer Farrell, The Met’s Jordan Schnitzer Curator in the Department of Drawings and Prints, is responsible for the study and presentation of modern and contemporary prints, illustrated books, and artists' books. She joined the Department of Drawings and Prints in 2014 after holding curatorial positions at the Yale University Art Gallery, the University of Virginia, and the Whitney Museum of American Art Independent Study Program, and teaching at Yale University, the School of Visual Arts, and the American University of Paris, among other schools. Her past exhibitions at The Met include Modern Times: British Prints, 1913–1939 (2020–21); Ragnar Kjartansson: Death Is Elsewhere (2019); World War I and the Visual Arts (2017–18, for which she authored the related Metropolitan Museum of Art Bulletin, Fall 2017); Workshop and Legacy: Stanley William Hayter, Krishna Reddy, and Zarina Hashmi (2016–17). She has published several books, including Get There and Decide Promptly: The Richard Brown Baker Collection of Postwar Art (2012), which received The Frick Collection's 2013 Book Prize for a Distinguished Publication in the History of Collecting in America, and Kootz: The History and Legacy of the Samuel M. Kootz and the Kootz Gallery (2017). She has also authored essays and reviews for a variety of publications. She earned a BA from Smith College and a PhD from the Graduate Center of the City University of New York and attended the Whitney Museum of American Art’s Independent Study Program. She is currently working on the upcoming exhibition Witnessing Humanity: The Art of John Wilson, opening at The Met in September 2025. The exhibition is organized by The Metropolitan Museum of Art and the Museum of Fine Arts, Boston and is accompanied by an exhibition catalogue.\n\nThe Department of Drawings and Prints at The Met stewards a vast collection of works on paper comprising approximately 21,000 drawings, 1.2 million prints, and 12,000 illustrated books created in Europe and the Americas from about 1400 to the present day. Since its foundation in 1916, the department has been committed to collecting a wide range of works on paper, which includes both pieces that are incredibly rare and lauded for their aesthetic appeal as well as material that is more popular, functional, and ephemeral. The broad scope of the department’s collecting encourages questions of connoisseurship as well as those pertaining to function and context and demonstrates the vital role that prints, drawings, and illustrated books have played throughout history.\n\nAbout Jordan Schnitzer\nJordan Schnitzer is a West Coast businessman, philanthropist, and globally recognized art collector. In 2024, ARTnews named Schnitzer as one of its Top 200 Collectors for a second consecutive year.\n\nHe is known for sharing his collection of more than 22,000 works with institutions large and small at no cost. His family foundation has organized over 180 exhibitions solely from its collection and loaned thousands of artworks to over 120 museums. Because of this work, ArtNet recently called Schnitzer “The People’s Collector.”\n\nArt played a major role in Schnitzer’s childhood as his mother, Arlene Schnitzer, owned the first contemporary art gallery in his hometown of Portland, Oregon. In 1988, Schnitzer began collecting contemporary prints and multiples and today is North America’s largest print collector. His collection now includes a wide variety of prints, sculptures, paintings, glass, and mixed media works.\n\nSchnitzer is President of Schnitzer Properties, his family-owned commercial real estate investment and development company. Schnitzer Properties is one of the West Coast’s top 10 private real estate owners with offices in six western states.\n\nAdditionally, Schnitzer serves as president of the Harold \u0026 Arlene Schnitzer CARE Foundation, which has donated over $300 million to fund hundreds of nonprofit projects that touch lives and enrich communities.\n\n\n###\n\nMarch 13, 2025\n"])</script><script>self.__next_f.push([1,"29:T2128,"])</script><script>self.__next_f.push([1,"This spring, The Metropolitan Museum of Art will present an adventurous new history of American photography from the medium’s birth in 1839 to the first decade of the 20th century. Drawn from the Museum’s William L. Schaeffer Collection—a magnificent recent promised gift to The Met by trustee Philip Maritz and his wife Jennifer—major works by lauded artists such as Josiah Johnson Hawes, John Moran, Carleton E. Watkins, and Alice Austen, will be presented in dialogue with extraordinary photographs by obscure or unknown practitioners made in small towns and cities from coast to coast. The exhibition’s many photographs by little-studied makers, early practitioners, and intrepid amateurs have been selected to reveal the artists’ ingenuity, aesthetic ambition, and lasting achievement. In some 275 photographs—most never before seen—The New Art: American Photography, 1839–1910 explores the nation’s shifting sense of self, driven by the immediate success of photography as a cultural, commercial, artistic, and psychological preoccupation. The presentation will be on view from April 11 through July 20, 2025.\n\nThe exhibition is made possible by the Diane W. and James E. Burke Fund and the Diane Carol Brandt Fund.\n\nAdditional support is provided by The Horace W. Goldsmith Foundation.\n\n“Through an impressive array of 19th- and early 20th-century images that capture the complexities of a nation in the midst of profound transformation, this exhibition offers something new even for those well-versed in the history of photography,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “Thanks to the generosity of Jenny and Flip Maritz, we can study and celebrate these formerly hidden treasures by hundreds of both known and unknown makers finally ready for their close-ups. Our hope is to give these works their rightful place in the ever-expanding history of the medium.”\n\nJeff L. Rosenheim, Joyce Frank Menschel Curator in Charge of the Department of Photographs, added, “The camera and its myriad democratic products—rivals to the greatest literature of the era—are clearly the origin of modern communication and global image-sharing today. If we want to forge a deeper appreciation of contemporary art and the role of the camera in the lives of today’s picture makers, we must recognize and respect the stunning visual power and authenticity of early American photography.”\n\nCarefully assembled over the last 50 years by the Connecticut collector and private dealer William L. Schaeffer, the collection includes splendid photographs in superb condition from every stage of the medium’s early technical development: daguerreotypes, ambrotypes, tintypes, salted paper prints, albumen silver prints, cyanotypes, platinum prints, and gelatin silver prints. The exhibition also features an extensive display of three types of card-mounted photographs—cartes de visite, stereographs, and cabinet cards—each wildly popular in the mid- to late 19th century. When seen through binocular viewers, all the stereographs in the show will be visible in three dimensions.\n\nThis is not the first exhibition at The Met to feature photographs drawn from the famous collection of 19th-century photographs amassed by Schaeffer. In 2013, the Museum included more than a dozen Civil War views in Photography and the American Civil War. These are now part of the Museum’s collection through the direct support of another Museum trustee, Joyce Frank Menschel. The gifts by the Maritzes to The Met, as well as those by Joyce Menschel, mark a pinnacle in the institution’s ongoing effort to build the finest holdings of 19th-century American photography in the nation.\n\nExhibition Overview\n\nIn 1839, the invention of photography transformed the world. In December of that year, when the first daguerreotypes were exhibited in New York, former mayor Philip Hone marveled in his diary at what he described as “one of the wonders of modern times,” adding that “like other miracles, one may almost be excused for disbelieving it without seeing the very process by which it is created.”\n\nThe daguerreotype’s remarkable ability to hold permanently an unimaginably detailed likeness on its surface—an image heretofore only seen fleetingly in a mirror—seemed in equal measure unbelievable and perfectly real, darkly mysterious yet scientifically verifiable, a shadowy fiction and yet a beautiful truth. The supernatural quality of the new art was noted by many around the world. As one reviewer, writing for a Baltimore weekly in January 1840, admitted, “We can find no language to express the charm of these pictures painted by no mortal hand.”\n\nPhotography arrived almost simultaneously with the steam locomotive, the steam ship, and the electric telegraph—all inventions that dramatically shortened the distances between people and places and forever changed the way civilizations communicate. The medium developed during the age of the type-crazy broadside, the morning and the evening newspaper, and the illustrated weekly. It was also the time of the birth of mercantile libraries (previously only the wealthy had access to books and libraries), and, not surprisingly, of eye strain. The era saw the medical specialization in the study of eye maladies and the development of optometry and ophthalmology. In 1835, just before the concurrent announcement of the invention of the new art in Paris and London, the American philosopher and essayist Ralph Waldo Emerson noted in his private journal: “Our age is ocular.”\n\nOrganized primarily by picture format across three galleries, The New Art illustrates what photography looked like for the average working citizen as well as those at the top of the economic scale. Exhibition visitors can see the clothes individuals wore at work and home, their attitudes to the camera singly and in groups, their ways of sitting or standing or touching, and how they honored their children and respected their ailing and recently deceased family members. They can look at newly constructed storefronts, see how farmers worked their fields, and measure where new towns met the wilderness. They can observe the near total devastation of Native American communities, especially those living in the Plains, and confront the vicious cruelty of slavery and the influential role of the camera in the Civil War, still the crucible of American history.\n\nIn daguerreotypes, tintypes, and paper prints, viewers can also begin to see and comprehend how African Americans during the Civil War, throughout the Reconstruction era, and leading into the 20th century slowly began to replace negative stereotypes with positive self-images. This effort was explicitly nurtured by Frederick Douglass, who had long advocated visits to photography studios. In his nearly constant lecturing circuit across the country, he argued persuasively that no one could be truly free until each individual could sit for and possess their own photographic likeness. In The New Art, men and women of color definitively hold the camera’s attention and the viewer’s as well.\n\nSeen together in The New Art, the subjects in these photographs are not just sitters molded by a camera operator, but the cocreators of their own portraits. One can see this clearly in their eyes and in their many small, seductive gestures. Confronting a photograph that left an artist’s studio more than 150 years ago can be a humbling experience. The magic of photography brings one face to face with the past, and the present is never more vital than it is in these early pictures. That is the medium’s essence, its beauty, and its pathos.\n\nCameras\n\nThe exhibition will also showcase a small selection of 19th-century American cameras to further immerse visitors in the photography process. These have been kindly lent to The Met by Eric Taubman and the Penumbra Foundation.\n\nCredits and Related Content\nThe New Art: American Photography, 1839–1910 is curated by Jeff L. Rosenheim, Joyce Frank Menschel Curator in Charge of the Department of Photographs. Virginia McBride, Research Associate in the Department of Photographs, provided assistance.\n\nThe Met will host a variety of exhibition-related programs, to be posted on The Met website as details become available.\n\nThe exhibition is featured on The Met website, as well as on social media using the hashtag #MetAmericanPhotography.\n\n###\n\nMarch 6, 2025\n"])</script><script>self.__next_f.push([1,"2a:T2a4f,"])</script><script>self.__next_f.push([1,"(New York, March 6, 2025)—Opening March 25, 2025, at The Metropolitan Museum of Art, the major exhibition Monstrous Beauty: A Feminist Revision of Chinoiserie will radically reimagine the story of European porcelain through a feminist lens. When porcelain arrived in early modern Europe from China, it led to the rise of chinoiserie, a decorative style that encompassed Europe’s pervasive fantasies of both the East and the exotic along with new ideas about women, sexuality, and race. This exhibition interrogates the ways in which this mutable, fragile material that shaped European women’s identities in the past also led to the construction of abiding racial and cultural stereotypes around Asian women. Shattering the illusion of chinoiserie as a neutral, harmless fantasy removed from the present, Monstrous Beauty casts a critical glance at inherited attitudes toward the style, exploring how negative stereotypes can be reclaimed as terms of female empowerment.\n\nThe exhibition is made possible by the William Randolph Hearst Foundation and Mellon Foundation.\n\nAdditional support is provided by Kohler Co., the E. Rhodes and Leona B. Carpenter Foundation, Karen and Samuel Choi, The International Council of The Metropolitan Museum of Art, the Edward John \u0026 Patricia Rosenwald Foundation, and Mimi O. Kim.\n\n“Monstrous Beauty examines the multifaceted legacy of chinoiserie in 18th-century Europe,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “By illuminating the beauty of the object and the power of this art form to reflect, distort, and dictate the ways in which women's identities have been shaped and perceived across time, this thought-provoking exhibition invites viewers to engage with the past in new ways.\"\n\nIris Moon, Associate Curator, Department of European Sculpture and Decorative Arts at The Met, said, “Monstrous Beauty is both a story of enchantment and a necessary unraveling of harmful myths from the past—myths about the exotic—that have a hold over the present. It is time to retell the history of chinoiserie.”\n\nBringing together nearly 200 historical and contemporary works, from 16th-century European works to contemporary installations by Asian and Asian American women artists, Monstrous Beauty illuminates how chinoiserie ornament actively constructed cross-cultural ideas of female desire and agency. Much sought after as the embodiment of Europe’s fantasy of the East in the 1700s, porcelain accumulated a variety of associations over the course of its complex history. Fragile, delicate, and sharp when broken, it became a charged metaphor for women.\n\nContemporary works by Asian and Asian American women artists counteract chinoiserie’s stereotypes of exoticism by reclaiming the monstrous as a source of artistic possibility. Artists whose works are on view include: Patty Chang, Heidi Lau, Lee Bul, Candace Lin, Jennifer Ling Datchuk, Jen Liu, and Yeesookyung.\n\nThe exhibition’s central atrium will draw viewers in with an installation of Yeesookyung’s porcelain vessels, which feature broken shards mended and turned into dazzling monsters using the kintsugi repair method. Viewers themselves form an active part of the exhibition, joining the conversation between works from the past and pieces by contemporary artists, including a new commissioned work by Patty Chang. Made possible with the support of the Kohler Company, Abyssal is a full-size massage table made of raw, unglazed porcelain punctured by holes. After the exhibition closes, the table will be sunk in the Pacific Ocean. Instead of a sturdy horizontal support for a passive body, Chang’s massage table is reimagined as an uncanny object with orifices. Chang writes, “The holes put the body in doubt.” Raising questions about who or what we choose to see, the work recalls the unseen labor of Asian women spa workers, such as the six women killed during the 2021 Atlanta spa shootings. Abyssal is also about the possibility of afterlives, regeneration, and transformation. Underwater, the table will serve as a deposit for growing coral.\n\nExhibition Overview\nThrough a lens of curiosity and critique, porcelain reemerges here as a politically charged material that changed women’s lives. Five thematic sections introduce a mix of unexpected protagonists into the story of porcelain: queens, mothers, monsters, starlets, shoppers, and cyborgs. The style’s inventive language gave voice to novel tastes and identities, but also created lasting stereotypes that are difficult to break. The works of contemporary Asian and Asian American women artists are strategically positioned throughout the five thematic sections to rupture the illusion of a seamless continuity between past and present.\n\nThe exhibition begins with porcelain’s arrival in Europe via maritime trade. Porcelain appeared as strange and marvelous, when blue-and-white plates from Asia began arriving by sea in the 16th century. Merchants used porcelain from China as ballast, its weight offering ships stability in rough seas, before realizing they could sell it to eager consumers. Soon, shiploads of porcelain were being auctioned off in Europe by the late 1600s, even as anxieties around shipwrecks, warfare, and colonial violence surfaced obliquely in monstrous decorative motifs.\n\nThe next section explores how Mary II, Queen of England, developed an obsession with Asian ceramics in the late 1600s, giving birth to a taste for chinoiserie that influenced generations of women collectors in Europe. Mary’s main role as queen of England was to birth an heir. Instead, she gave birth to a taste for porcelain, which functioned as a surrogate body, a way to reproduce her presence by filling residences with bright ceramics, textiles, and lacquer panels. This feminine, personal take on chinoiserie contrasted with the French monarchy’s uses of the exotic to assert absolutist power.\n\nTea became ingrained in European culture, and the following section explores how this exotic beverage was turned into a potent symbol of civility that set Europe apart from the “savage” territories it exploited as well as the women who were in charge of cultivating a world of politeness in the home. Porcelain objects gained strong associations with women at a moment when public debates aired collective anxieties around their growing voices as consumers, tastemakers, and citizens.\n\nThrough the porcelain figurines that proliferated in 18th-century Europe, porcelain shaped notions of womanhood in unexpected ways. A shifting cast of goddesses, mothers, monsters, and performers, often clothed in gaudy costumes and adopting exaggerated poses, appeared. A starting point for later stereotypes surrounding the Asian woman, these figurines also put pressure on the fixed European vision of womanhood. These small, toylike objects paired with the period’s dazzling painted export mirrors serve as vehicles for reflecting on women’s self-perceptions—on how they wanted to see themselves versus the images imposed on them.\n\nThe exhibition closes with the long afterlives of chinoiserie into the 20th century and beyond. This was a period when modern Asian women directly grappled with the stereotypes created by the legacy of a historical style that conflated Asian femininity with traditional luxury objects and European consumption. The American imagination reshaped the style through film and photography. Like porcelain, these media provided a glossy substrate upon which fantasy images of the Asian woman could be projected and reproduced, and also contested.\n\nCredits and Related Content\nMonstrous Beauty: A Feminist Revision of Chinoiserie is curated by Iris Moon, Associate Curator, Department of European Sculpture and Decorative Arts at The Met.\n\nA fully illustrated catalogue will accompany the exhibition and be available for purchase from The Met Store.\n\nThe catalogue is made possible by the Diane W. and James E. Burke Fund.\n\nAdditional support is provided by Salle Yoo and Jeffrey Gray and the Doris Duke Fund for Publications.\n\nThe exhibition is accompanied by a new audio guide featuring women who share enriching stories and historical insights into the works. The guide will be narrated by Michelle Zauner, of Grammy-nominated American band Japanese Breakfast, with contributions from scholars, artists, and writers, including Iris Moon, Patty Chang, Jen Liu, Anne Anlin Cheng, and Patricia Ferguson.\n\nThe Met will host a variety of exhibition-related educational and public programs, including a Creative Convening on May 17 featuring conversations, presentations, and readings by leading scholars, designers, and writers in celebration of the exhibition and Asian American Pacific Islander Heritage Month. A screening of a film starring Anna May Wong on June 22 will feature a conversation on Wong’s work and legacy. An Artists on Artworks program on August 8 will invite writers to respond to works on view with readings of texts that connect to exhibition content. Met Expert Talks engaging exhibition curators and designers will be offered on Tuesday, May 13, and Thursday, May 22, in celebration of AAPI Month.\n\nArt-making programs will include an Open Studio on Saturday, May 10, that will invite participants to meet artist Heidi Lau, gaining insight into her process of making hand-built ceramic sculptures, and work with Met teaching artists to design their own sculptural relief. Educator programs include an Educator Workshop “Invented Narratives: Chinoiserie, Women, and the Porcelain Imaginary” on Saturday, April 5, which will explore the exhibition and create art with story and perspective in mind. On May 11, Family Programs will present Family Afternoon: Beautiful Monsters from 1 to 4 p.m. for multigenerational audiences to engage in and explore themes related to the exhibition. Families can enjoy learning more about clay making and make their own figurines and embark on a self-guided gallery hunt for families.\n\nThe Met’s Community Partnerships and Initiatives team, in collaboration with Mott Street Girls, will offer programs on April 26 in New York City’s Chinatown inspired by the exhibition, including guided walking tours and the opportunity to learn directly from organizations and community members preserving Chinatown’s rich cultural heritage. Tours will visit murals on Doyers Street, family-owned small businesses, and more notable sites of Chinatown’s past and present.\n\nThe exhibition is featured on The Met website, as well as on social media using the hashtag #MetMonstrousBeauty.\n\n###\n\nMarch 6, 2025\n\n\nImage caption: Ewer (Brocca) (detail), Medici Porcelain Manufactory, ca. 1575–80. Soft-paste porcelain. The Metropolitan Museum of Art, New York, Gift of J. Pierpont Morgan, 1917 (17.190.2046)"])</script><script>self.__next_f.push([1,"2b:T198e,"])</script><script>self.__next_f.push([1,"(New York, February 24, 2025)—The Metropolitan Museum of Art and The Hellenic Republic of Greece announced today that it will return a 7th century BCE Bronze Head of a Griffin to Greece. The repatriation follows the launch of The Met’s Cultural Property Initiative, which includes undertaking a focused review of works in the collection as well as creating a new Head of Provenance position and hiring additional provenance researchers.\n\nOne of the finest existing cast-bronze griffins' heads, this object has been prominently displayed at the entrance to The Met’s Greek and Roman galleries since 1999 and has been installed in the galleries since its acquisition in 1972. As stated in the official find report presented by the Greek Ministry of Culture to the Museum, the Griffin was originally found by chance in the bed of the Kladeos River in Olympia in 1914 by the curator of the Archaeological Museum of Olympia, who placed it in the library of the museum, where it remained un-inventoried until its disappearance in the 1930s. According to The Met’s archives, this Bronze Head of a Griffin was donated to the Museum in 1972 as part of the bequest of Walter C. Baker. Baker had purchased it in 1948 from Joseph Brummer in New York, who acquired it in 1936 from an antique dealer in Athens. The Met and the Greek Ministry agreed to the return of the Griffin after careful review of records and letters determining that it could not have legitimately left the Archaeological Museum of Olympia. The Met will return the Griffin to Greece and is looking forward to displaying it on loan by Greece to The Met for a planned special exhibition in 2026.\n\nThe exhibition Across Wine-Dark Seas: Art and Identity beyond Ancient Greece, which will open in late 2026, will explore the panorama of exceptional works of art produced by Greek artists in the pre-Classical age as they traveled across the Mediterranean Sea and beyond.\n\nThe Met and Greece recently announced a landmark 50-year partnership with the Greek government and the Museum of Cycladic Art, along with the Hellenic Ancient Cultural Institute, regarding Leonard N. Stern’s Collection of Cycladic art that brought 161 stunning Cycladic artifacts from the Leonard N. Stern Collection—which includes nearly all the major types of Cycladic marble figurines representing the Late Neolithic period to the end of the Early Bronze Age—to The Met for a long display, to be followed by a series of cultural exchanges and opportunities.\n\nThe Stern Collection will be the focus of a panel on February 25, as part of The Met’s “Cultural Heritage Now” convening series that began in spring 2023. Experts from The Met and the Greek Ministry of Culture will discuss the innovative cultural and scientific collaboration between the Museum and Greece and reveal recent findings. Previous “Cultural Heritage Now” panels have highlighted provenance research underway at The Met, the San Antonio Museum of Art, and the Museum of Fine Arts, Boston; international partnerships, featuring presentations on the Rubin Museum’s partnership in Nepal and The Met’s Indian Conservation Fellowship Program; the Native American Graves and Repatriation Act and its ongoing impact on communities and museums; and most recently, on the future of museums and how they can be at the center of learning and cultural exchange while exploring the upcoming reopening of the completely renovated Michael C. Rockefeller Wing.\n\nAbout The Met’s Cultural Property Initiative\nIn spring 2023, The Met announced a suite of initiatives related to cultural property and collecting practices that include undertaking a focused review of works in the collection; hiring additional provenance researchers to join the many researchers and curators already doing this work at the Museum; further engaging staff and trustees; and using The Met’s platform to support and contribute to public discourse on this topic. In March 2024, The Met announced the appointment of Lucian Simmons to the role of Head of Provenance. Building on the Museum’s many decades of extensive provenance research and information sharing across numerous areas, there are now 11 new and expanded provenance research positions at The Met.\n\nIn February 2024, The Met and the Ministry of Culture of the Government of India signed a Memorandum of Understanding outlining future cooperation on educational initiatives, exhibitions, and exchanges of scholarship and expertise, building on a decades-long partnership that has yielded many important collaborations, most recently the exhibition Tree \u0026 Serpent. Early Buddhist Art in India in 2023. The Museum has similar partnerships in place with the Kingdom of Thailand; Nigeria’s National Commission for Museums and Monuments; the Ministry of Culture, Sports and Tourism of the Republic of Korea; and the Republic of Italy.\n\nIn April 2024, The Met initiated the transfer of ownership of a third-millennium BCE Sumerian sculpture to the Republic of Iraq, after provenance research by Met scholars established that the work rightfully belongs to Iraq. Other recent agreements include the transfer of ownership of two stone sculptures to the Republic of Yemen, which resulted in a historic custodial agreement stating that The Met will care for and display the stone sculptures until Yemen wishes to have them returned. Following that agreement, 14 ancient sculptures that were voluntarily repatriated to the Republic of Yemen from the Hague family collection located in New Zealand, were loaned to The Met by the Republic of Yemen who requested that the objects be held at the Museum, where they will be studied and catalogued, until Yemen requests their return. In October 2023, through ongoing engagement with the Nepalese government The Met returned a 13th-century wooden temple strut and stone stele of a Vishnu triad.\n\nThe Met has launched object webpages for all restituted works of art—specifying that the object has been returned and to what country—as part of a commitment to transparency. The Museum has also embraced a New York State law passed in August 2022 that requires museums to publicly identify any artworks in their collection that changed hands in Europe during the Nazi era (1933–1945) due to involuntary means, with more than 50 updated object labels now installed.\n\nFurther information on The Met’s collecting practices and activities is available online.\n\nA statement by Max Hollein, Marina Kellen French Director and CEO of The Met, is available, here."])</script><script>self.__next_f.push([1,"2c:T580,(New York, NY, February 21, 2025)— The Board of Trustees of The Metropolitan Museum of Art announced today that it has elected Wesley M. LePatner as an Elective Trustee. The election took place at the February 20, 2025 meeting of the Board and was announced by Candace K. Beinecke and Hamilton (“Tony”) E. James, Co-Chairs of the Museum’s Board of Trustees.\n\n“We are delighted to welcome Wesley to our Board as an Elective Trustee,” said Board Co-Chairs Beinecke and James. “Wesley’s deep expertise and knowledge will be an invaluable addition to the Board, and we look forward to working with her to advance the Museum’s mission.”\n\nWesley M. LePatner\n\nWesley M. LePatner is a Senior Managing Director at Blackstone, where she is the Global Head of Core+ Real Estate and the Chief Executive Officer of Blackstone Real Estate Income Trust (BREIT). Ms. LePatner is also a member of Blackstone Real Estate’s Investment Committee. She previously served as the Chief Operating Officer of the Core+ business as well as BREIT. Prior to joining Blackstone in 2014, she spent over a decade at Goldman Sachs.\n\nMs. LePatner received a BA in History from Yale University, summa cum laude and Phi Beta Kappa, and serves on the boards of The Abraham Joshua Heschel School and Yale University Library Council.\n\nAt The Met, she is a member of the Friends of European Paintings.\n\n###\n\nFebruary 21, 2025\n2d:T170e,"])</script><script>self.__next_f.push([1,"(New York, February 18, 2025)—The Metropolitan Museum of Art has commissioned Jennie C. Jones (born 1968, Cincinnati, Ohio) to create a new installation for the Museum’s Iris and B. Gerald Cantor Roof Garden. On view from April 15 through October 19, 2025, The Roof Garden Commission: Jennie C. Jones, Ensemble will explore the sonic potential of stringed instruments as well as their formal possibilities.\n\nThe exhibition is supported by Bloomberg Philanthropies.\n\nAdditional support is provided by Cynthia Hazen Polsky and Leon B. Polsky, and Melony and Adam Lewis.\n\n“We are thrilled that Jennie C. Jones will bring her unique artistic vision to The Met’s iconic roof garden,” said Max Hollein, the Museum’s Marina Kellen French Director and Chief Executive Officer. “Elevated high above the sounds and rhythms of New York City, her innovative installation will seamlessly combine form, color, line, and acoustics, challenging visitors to engage with sculpture in new and unexpected ways.”\n\nDavid Breslin, Leonard A. Lauder Curator in Charge, Modern and Contemporary Art, added, “Jennie C. Jones’s fidelity to abstraction invites her viewers to pay attention to the quieter pathways where profound meanings reside. By combining the sensorial experiences of visual art and sound, Jones is one of the most thoughtful and compelling voices in contemporary art today.\"\n\nThis project is the latest in The Met’s series of contemporary commissions in which the Museum invites artists to create new works of art, establishing a dialogue between the artist's practice, The Met collection, the physical Museum, and The Met's audiences. It stands as the final Roof Garden Commission before the space temporarily closes in preparation for the construction of the Oscar L. Tang and H.M. Agnes Hsu-Tang Wing, The Met’s new home for its collection of modern and contemporary art. The series will resume following the anticipated 2030 reopening of the renovated wing, which will feature an expanded Cantor Roof Garden on the fourth floor.\n\nAbout the Artist\n\nIn her paintings, sculptures, works on paper, installations, and audio compositions, Jennie C. Jones uses sound to respond to the legacy of minimalism and to modernism itself. Drawing on her immersion in Black avant-garde music, she deploys sound and listening as important conceptual elements of her practice, from the acoustic fiberglass panels she affixes to canvas that absorb sound to the lines and bars she creates through her compositions that refer to elements of musical notation. Her work across media offers new possibilities for minimalist abstraction, challenging how—and by whom—it is produced.\n\nHer solo exhibitions include Jennie C. Jones: Compilation, at the Contemporary Art Museum Houston (2015–16); Jennie C. Jones: RPM, at the Glass House (2018); Jennie C. Jones: Constant Structure, at the Arts Club Chicago (2020); and, most recently, Jennie C. Jones: Dynamics, at the Solomon R. Guggenheim Museum (2022). Jones’s work is held by numerous public and private collections across the United States, including the Art Institute of Chicago; Cleveland Museum of Art; Hirshhorn Museum and Sculpture Garden; Los Angeles County Museum of Art; The Museum of Modern Art; Philadelphia Museum of Art; Solomon R. Guggenheim Museum; the Walker Art Center; and the Whitney Museum of American Art, among many others. She lives and works in Hudson, New York.\n\nCredits and Related Information\n\nThe Roof Garden Commission: Jennie C. Jones, Ensemble is conceived by the artist in consultation with Lauren Rosati, Associate Curator in the Department of Modern and Contemporary Art and Research Projects Manager in the Leonard A. Lauder Research Center for Modern Art at The Met.\n\nThe exhibition will be accompanied by a publication that includes an essay by Rosati as well as an interview between Jones and artist Glenn Ligon. The publication will be available for purchase at The Met Store.\n\nThe catalogue is made possible by the Mary and Louis S. Myers Foundation Endowment Fund and Mellon Foundation.\n\nRelated education programs will be posted on The Met website as they become available.\n\nThe Roof Garden Commission series was established in 2013 by The Met’s Department of Modern and Contemporary Art. The series of site-specific commissions on The Iris and B. Gerald Cantor Roof Garden has featured work by Imran Qureshi (2013), Dan Graham (2014), Pierre Huyghe (2015), Cornelia Parker (2016), Adrián Villar Rojas (2017), Huma Bhabha (2018), Alicja Kwade (2019), Héctor Zamora (2020), Alex Da Corte (2021), Lauren Halsey (2023), and Petrit Halilaj (2024).\n\nThe Roof Garden Commission: Jennie C. Jones, Ensemble will be featured\non The Met’s website, as well as on social media via the hashtags #CantorRoof and #MetJennieCJones.\n\nAbout Modern and Contemporary Art at The Met\n\nThe Met’s engagement with art from 1890 to the present spans movements in modernism to contemporary practices from around the world, and is represented across numerous curatorial departments. To house this renowned collection of 20th- and 21st-century art, the Museum is undergoing a full reimagining of the current modern and contemporary art galleries, to be renamed the Oscar L. Tang and H.M. Agnes Hsu-Tang Wing. Designed by architect Frida Escobedo, the first woman to design a wing in the Museum’s 154-year history, the 126,000-square-foot, five-story wing will provide more than 70,000 square feet for the display of art and include approximately 18,500 square feet of outdoor space spread across the fourth- and fifth-floor terraces. Set to open in 2030, the wing will seamlessly connect with the rest of the Museum while also addressing accessibility, infrastructure, and sustainability needs. More information is available on The Met’s website.\n\n###\n\nFebruary 18, 2025\n\nPhoto: Jennie C. Jones, 2024. Photo: Joshua Franzos\n"])</script><script>self.__next_f.push([1,"2e:T3e25,"])</script><script>self.__next_f.push([1,"Exhibition Dates: May 10–October 26, 2025\nMember Previews: May 6, 8, and 9, 2025\nExhibition Location: The Met Fifth Avenue, Iris and B. Gerald Cantor Exhibition Hall, Gallery 999, Floor 2\n\n\n(New York, February 4, 2025)—The Metropolitan Museum of Art announced today new details for this year’s Met Gala® and The Costume Institute’s spring exhibition, Superfine: Tailoring Black Style, on view at The Met Fifth Avenue from May 10 through October 26, 2025.\n\nThe exhibition and benefit are made possible by Louis Vuitton.\n\nMajor funding is provided by Instagram, the Hobson/Lucas Family Foundation, Africa Fashion International, founded by Dr. Precious Moloi-Motsepe, and The Perry Foundation.\n\nAdditional support is provided by Condé Nast.\n\nIn addition to this year’s Met Gala co-chairs—Colman Domingo, Lewis Hamilton, A$AP Rocky, Pharrell Williams, and Anna Wintour, and honorary chair LeBron James—The Met will revive the longstanding tradition of a Host Committee, comprising actors, artists, athletes, designers, filmmakers, musicians, and writers, that will support the evening’s festivities. The committee members are André 3000, Chimamanda Ngozi Adichie, Simone Biles and Jonathan Owens, Grace Wales Bonner, Jordan Casteel, Dapper Dan, Doechii, Ayo Edebiri, Edward Enninful, Jeremy O. Harris, Branden Jacobs-Jenkins, Rashid Johnson, Regina King, Spike Lee and Tonya Lewis Lee, Audra McDonald, Janelle Monáe, Jeremy Pope, Angel Reese, Sha'Carri Richardson, Olivier Rousteing, Tyla, USHER, and Kara Walker.\n\nChef Kwame Onwuachi will create The Met Gala menu and artist Cy Gavin will provide the creative direction for the red carpet design, with other décor concepts led by Derek McLane and Raúl Àvila.\n\n“Every year, The Met Gala brings together cultural figures and style icons from across a wide array of fields to celebrate and support art and fashion,\" said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. \"This spring's event will mark the opening of the exhibition Superfine: Tailoring Black Style, a profoundly scholarly show centering an important legacy of Black-led sartorial innovation and creative expression that continues to inspire and shape our world today.”\n\nSha’Carri Richardson remarked: “I’m beyond excited to stand with my fellow Host Committee members in supporting The Met and this year’s spring Costume Institute exhibition, celebrating the undeniable impact of Black creativity on fashion and culture for centuries. Our style isn’t just what we wear—it’s how we move, how we own our space, how we tell our story without saying a word. Fashion sets us apart, but it also brings us together—whether you’re shining on the track, commanding the stage, or just making the streets of New York your runway. On May 5, our light will continue shining on the power of style, and trust me, you don’t wanna miss it.”\n\nUSHER commented: “I’m honored to be part of such a long-standing tradition with The Met. The theme this year is not only timely but also speaks to our rich culture that should always be widely celebrated.”\n\n\nKwame Onwuachi added: “I am thrilled and honored to be creating the dining experience for this year's Met Gala. As a chef who grew up in the Bronx, being a part of such an iconic New York institution for the most celebrated, star-studded night of the year is like a professional dream come true. And as a lover of high fashion, collaborating on the theme, Superfine: Tailoring Black Style, brings a whole new level of inspiration for me and my team to work with.”\n\nThe dress code for the evening is “Tailored for You,” a nod to the exhibition’s focus on suiting and menswear—from specific silhouettes to various fabrics and accessories—that is purposefully designed to both provide guidance and invite creative interpretation. Each year the dress code takes inspiration from the exhibition theme and references ideas explored in the show. The Costume Institute Benefit (also known as The Met Gala®) takes place annually on the first Monday in May and provides the department with its primary source of annual funding for exhibitions, publications, acquisitions, operations, and capital improvements.\n\n................................................................................................................\n\nAbout Superfine: Tailoring Black Style\nSuperfine: Tailoring Black Style presents a cultural and historical examination of Black style from the 18th century to the present through an exploration of the concept of dandyism. To bring this rich subject to life, various artists have contributed to the exhibition through concepts that amplify topics explored in the curation. In her first-ever exhibition design, artist Torkwase Dyson uses her signature “hypershapes” to create a series of stand-alone monumental sculptures, or “architectural zones,” designed to hold questions around Black life—related to reflection, theatricality, scale, liberation, flight, and transcendence—and amplify moments of tension between motion, scale, and display in visitors’ experience. The two bespoke mannequin heads on display are by artist Tanda Francis and emulate bronze monuments. One of the works features numerous silhouetted profiles meant to represent a plurality of individuals and community as well as a visualization of the unseen: emerging from a central point is a face inspired by André Grenard Matswa of the Congo, the imaginative revolutionary who is considered the first Sapeur in that vibrant community that arose in the 1920s. Francis created this portrait within the theme of “protective styles” as a tribute to the unifying experience of function, style, and culture within the African diaspora. Artist and Special Consultant Iké Udé lends his unique expertise and experience as a dandy to curate a section of the exhibition that explores his own work and highlights Julius Soubise, whose style and behavior challenged societal norms in 18th-century London. Artist Tyler Mitchell’s images for the exhibition catalogue include a selection of dynamic object photography as well as a photo essay that portrays the camaraderie among well-styled Black men across generations. The catalogue also includes more than 30 essays by various thought leaders, artists, and other distinguished voices.\n\n\nProgramming\nThe Met will host a series of exhibition-related programs and public events for all ages, both at the Museum and at other institutions, prior to the May opening, including a talk at The Apollo Stages at The Victoria Theater on Tuesday, April 8 from 6 – 7pm; and another at The Billie Holiday Theater at Bed-Stuy Restoration Corporation on Thursday, April 24 from 6:30pm – 7:30pm. Additional programs will include walking tours; interdisciplinary panel discussions exploring various themes in the exhibition; hands-on workshops and demonstrations exploring process, materials, and styling; a design competition for college students, and more. In the Museum's fourth collaboration with Metrograph, the independent New York movie theater will present a film series inspired by the exhibition later this fall. Further details on events and programming will be released in the coming weeks.\n\n\nExhibition Overview\nSuperfine: Tailoring Black Style explores the importance of sartorial style to the formation of Black identities in the Atlantic diaspora. The show is inspired by Guest Curator Monica L. Miller’s 2009 book, Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, and chronicles the ways in which Black people have used dress and fashion to transform their identities and imagine new ways of embodying political and social possibilities. The exhibition interprets the concept as both an aesthetic and a strategy, using garments, paintings, prints, photographs, decorative arts, literary texts, and film to explore this cultural and historical phenomenon from the 18th century to today.\n\nSuperfine is organized into 12 sections, each representing a characteristic that defines this style: Ownership, Presence, Distinction, Disguise, Freedom, Champion, Respectability, Jook, Heritage, Beauty, Cool, and Cosmopolitanism. Together, these characteristics demonstrate how the figure is defined and self-fashions and how their style raises notions of assimilation, distinction, and resistance—all while telling a story about self and society inflected by race, gender, class, and sexuality.\n\nMonica L. Miller, Guest Curator, and Chair of Africana Studies, Barnard College, Columbia University, said: “Dandyism can seem frivolous, but it often poses a challenge to or a transcendence of social and cultural hierarchies. It asks questions about identity, representation, and mobility in relation to race, class, gender, sexuality, and power. The exhibition explores this concept as both a pronouncement and a provocation. The exhibition title refers to ‘superfine’ not only as the quality of a particular fabric—'superfine wool’—but also as a particular attitude related to feeling especially good in one’s own body, in clothes that express the self. Wearing superfine and being superfine are, in many ways, the subject of this exhibition. And the separateness, distinction, and movement between these two states of ‘being’ in the African diaspora from the 1780s to today animates the show.”\n\nAndrew Bolton, Curator in Charge, The Costume Institute, commented: “Superfine: Tailoring Black Style is our department’s first exhibition devoted to menswear in more than 20 years. The show also reflects our ongoing commitment to diversifying our exhibitions in a way that is authentic to The Costume Institute. What makes it possible to translate Monica’s book, Slaves to Fashion, into an exhibition is our collection of high-style menswear, which serves as a foundation for imagining and realizing this important sartorial history.”\n\nThe show’s conceptual framework is inspired by Zora Neale Hurston’s 1934 essay Characteristics of Negro Expression. With the exception of “Jook,” each of the 12 characteristics in the exhibition were newly selected by Miller and The Costume Institute’s curatorial team. The first six sections comprise primarily historical objects, while the final six feature predominantly objects from the 20th century on.\n\nAmong the first six sections, Disguise examines an earlier characteristic of fashion—how it can be used to conceal and reveal, particularly for the enslaved, who understood that clothing and dress marked them as individuals. This section shows how race, class, and gender cross-dressing enabled Black people to convey the ways in which identity is dependent on, and can be manipulated by, conventions of dress. Highlighted in this section are the stories of the formerly enslaved couple Ellen and William Craft, who fled from Georgia to Philadelphia in 1848, and prominent 20th-century entertainers Ralph Kerwinoe and Stormé De Lavarie, who each donned typical male attire as an expression of their nonconforming gender identities. Objects on view include an frontispiece from the Crafts’ 1860 memoir, a top hat dating from 1855, and a suit by Who Decides War from the fall/winter 2024–25 collection.\n\nThe Champion section explores the role of the “uniform” and how athletic dress can illuminate the history of discrimination and stereotypes of Black men in sports as well as the way in which athletic success for Black men can be a mode of distinction and a route to status as a style icon.\n\nObjects in this section range from 19th-century jockey silks to a 1974 issue of Jet magazine featuring Walt Fraizer on the cover—one of the first Black athletes to have a major shoe deal, with Puma—and ensembles by Saul Nash and Denim Tears.\n\nRespectability considers the politics of assimilation, activism, and propriety and the ways in which Black political and cultural leaders, such as W.E.B. Du Bois and Frederick Douglass, have long understood grooming and dress as tools of power and distinction. Tailoring traditions were often passed down within Black families in the African diaspora; since the late 19th century, Black students could learn these techniques as part of their education at historically Black colleges and universities (HBCUs), which have been essential to the creation of a progressive Black vanguard. Objects on view include pieces owned and worn by Douglass, photographs of Du Bois, a suit owned by André Leon Talley, and an ensemble from the 2022 Polo Ralph Lauren Exclusively for Morehouse and Spelman Colleges collection.\n\nAnother section, Beauty, inspired by a 1969 poem by Nikki Giovanni, highlights the beauty, confidence, and sheer fabulousness of style and attitudes that begin to emerge among Black males in the 1970s and ‘80s. Following the seismic social justice movements of the 1960s, Black men converted their previous social invisibility into a form of radiance that relied on their hypervisibility, pride, and panache and allowed for an experimentation with norms of masculinity, gender identity, and sexuality. Rebuking stereotypes of Black masculinity as simply “strong” and “hard,” wardrobes began to feature leather and drapery, lace, ruffles, and sequins, emphasizing a mode of dress that spans the spectrum of gender as part of its transgressive power. Highlighting this section are contemporary ensembles by Marvin Desroc, Theophilio, and LaQuan Smith.\n\nCool examines the turn to stylized casual dress that revolutionized fashion from the 1960s to the 1980s, with Black designers and the wearers of their clothes at the center of redefining how people dress for work and play. Cardigans, tracksuits, and denim, born out of a resistance to constraining formality, demonstrate the art of being unbothered and nimble—even in politics, where the Kariba suit replaced Western suiting as official, formal dress in Jamaica in the 1970s. This easeful form communicates “cool,” an undefinable concept that relies on the creation of a mood or an atmosphere in which fashion, accessories, pose, and gait come together to attract notice and desire. Exemplifying this nonchalant yet highly curated approach to self-presentation are pieces by Botter, Grace Wales Bonner, and Bianca Saunders.\n\nCredits\nThe exhibition is organized by Monica L. Miller, Guest Curator, Professor and Chair of Africana Studies, Barnard College, Columbia University, with The Costume Institute’s Andrew Bolton, Curator in Charge; William DeGregorio, Associate Curator; and Amanda Garfinkel, Associate Curator; and with help from Kai Marcel, Research Assistant, The Costume Institute.\n\nIn addition, artist Torkwase Dyson created the conceptual design for the exhibition, which is realized in the galleries by The Met’s Design Department and SAT3 Studio. Artist Tanda Francis designed the two bespoke sculpted mannequin heads used throughout the galleries. Artist Iké Udé served as Special Consultant.\n\nMiller and The Costume Institute’s curatorial team consulted with an advisory committee of scholars who provided feedback on the exhibition. The committee members are Dr. Christine Checinska, Jason Cyrus, Thelma Golden, Deborah Tulani Salahu-Din, Dr. Jonathan Michael Square, and, from The Met, Dr. Denise Murrell, Merryl H. and James S. Tisch Curator at Large.\n\nRelated Content\nFeaturing new photography by artist Tyler Mitchell, an illustrated catalogue accompanies the exhibition and includes more than 30 essays by various thought leaders, artists, and other distinguished voices. 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