Daniel H. Weiss Named Next President of The Metropolitan Museum of Art


The Metropolitan Museum of Art announced today that Daniel H. Weiss, an innovative executive and accomplished art historian serving currently as president of Haverford College, will be the next President of the Museum. He will succeed Emily Kernan Rafferty, who will retire from the Met on March 31 after 10 years in the post, and nearly 40 at the institution. Dr. Weiss’ appointment was announced by Daniel Brodsky, Chairman of the Board, and Thomas P. Campbell, Director and CEO.

Photo Courtesy of The Metropolitan Museum of Art/Don Pollard

Photo Courtesy of The Metropolitan Museum of Art/Don Pollard

Dr. Weiss, who was formally elected to the Museum presidency at today’s regular meeting of the Board of Trustees, was chosen after an extensive national search overseen by a special committee of the board. He will assume his new post at the Metropolitan this summer, following the end of the current semester at Haverford.

In his new role, Dr. Weiss will serve as chief operating officer of the Museum, reporting to Director and CEO Campbell and serving as an ex officio member of the Board of Trustees. As President, he will have direct leadership responsibility for all day-to-day operations of the institution, and will oversee 1,500 employees in all areas of museum administration: facilities and construction, development and membership, finance and investments, information technology, legal affairs, visitor services, human resources, marketing and external relations, merchandising (the Met shops), and government relations. The Museum currently has more than 2,200 full- and part-time employees overall, an operating budget of more than $300 million, and an endowment of approximately $3 billion. Last year, the Museum attracted 6.2 million visitors to its main building and The Cloisters, and more than 40 million visits to its website.

The Board search committee for presidential selection included: Daniel Brodsky, chairman; Candace K. Beinecke, Russell L. Carson, Richard L. Chilton, Jr., Blair Effron, Jeffrey W. Greenberg, Hamilton E. James, Bonnie Sacerdote, Andrew M. Saul, Lulu C. Wang, and Shelby White, with Henry B. Schacht serving in an advisory capacity and Director Thomas P. Campbell ex officio.

Mr. Brodsky and Mr. Campbell joined in expressing their deep appreciation to outgoing President Emily Rafferty, who assumed the Museum presidency on January 15, 2005: “To the entire staff of this institution—from curators and administrators to guards and maintainers—Emily Rafferty has been not only a highly effective leader, but a beloved champion of the institution and of its greatest asset: the men and women who work here. By rising in the ranks over a career spanning four decades, she became and remains a symbol of the opportunity that awaits all the gifted and committed individuals who might launch careers of their own here in the future. Emily has been a remarkable president, colleague, and friend, and we thank her profoundly for her truly historic service to the Met.” Chairman Brodsky and Director Campbell announced that in an unprecedented move, the Board has named Ms. Rafferty President Emerita, effective April 1.

Daniel H. Weiss, who was born in Newark, N.J., and raised on Long Island, earned his B.A. in psychology with a concentration in art history at George Washington University in 1979; his M.A. with concentrations in Medieval and Modern Art from Johns Hopkins University in 1982; his M.B.A. from the Yale School of Management in 1985; and in 1992 his Ph.D. from Hopkins, with concentrations in Western Medieval and Byzantine Art and a minor in Classical Greek Art and Architecture.

He began his career as museum shops manager at the John F. Kennedy Center for the Performing Arts in Washington, and later served as an associate, then a senior associate, at Booz, Allen & Hamilton in New York.

After earning his Ph.D., Dr. Weiss became an assistant professor of art history at Johns Hopkins’ Zanvyl Krieger School of Arts and Sciences, rising over a decade-long academic career there to associate professor (1996), full professor (1999), chair of the History of Art Department (1998-2001), and Dean of the Faculty (2001-2002). From 2002-2005 Dr. Weiss was James B. Knapp Dean of the Krieger School of Arts and Sciences, overseeing 2,700 undergraduates, 1,500 graduate students, and 300 faculty in 23 departments.

From 2005-2013 Dr. Weiss served as President and Professor of Art History at Lafayette College in Easton, Pennsylvania, where he worked to increase the size of the permanent faculty by more than 10%, developed revised curricula, introduced new interdisciplinary programs, and created innovative alliances with the city of Easton. During his tenure, Lafayette became the only college in the nation to receive a collaborative grant from the NEA under its Urban Arts initiative program.

In 2013, Dr. Weiss became president of Haverford, where he has worked to maintain the school’s nearly 200-year-long commitment to a student-centered and ethical learning environment. During his tenure, Dr. Weiss led the effort to prepare a comprehensive strategic plan, and secure the funds to support new interdisciplinary initiatives and major renovations to the library, new facilities for biology, psychology, and music, as well as a new center for visual culture, arts, and media. A professor of Independent College Programs and an affiliated professor in the history of art at Bryn Mawr College, Dr. Weiss has taught courses on liberal arts colleges and the history of art.

During his academic career, Dr. Weiss has published widely, delivered many public lectures, organized and served on conferences and symposia, and earned a number of fellowships and grants. He was, for example, a Junior Fellow at Harvard University’s Dumbarton Oaks Center for Byzantine Studies in 1991-92, an NEH fellow in 1996, and the recipient of a College Art Association Millard Meiss publication subsidy for his 1998 book, Art and Crusade in the Age of Saint Louis (Cambridge University Press, 1998). Continue reading

Metropolitan Museum to Designate Renovated Costume Institute the Anna Wintour Costume Center

Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that the Museum will designate the space occupied by The Costume Institute as the Anna Wintour Costume Center. The complex has been completely redesigned and renovated and will reopen on May 8 with the inaugural exhibition Charles James: Beyond Fashion. The Anna Wintour Costume Center will house the Department’s exhibition galleries, library, conservation ?????????????????????????laboratory, research areas, and offices. The curatorial department itself will continue to be called The Costume Institute.

Founded in 1937 as The Museum of Costume Art, it was incorporated and renamed as The Costume Institute and became a part of the Metropolitan Museum in 1946. It now contains a collection of fashionable dress and regional costumes from Europe, Asia, Africa, and the Americas, dating from the 17th century to the present. In January 2009, The Brooklyn Museum transferred its costume collection, amassed over more than a century, to The Costume Institute, where it is known as the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art. The combined collection of more than 35,000 pieces constitutes one of the largest, most comprehensive costume collections in the world, offering an unrivaled timeline of Western fashion history.

“Anna Wintour’s extraordinary advocacy and fundraising have made this state-of-the-art space a reality,” said Daniel Brodsky, the Museum’s Chairman. “She has the rare ability to rally diverse groups across a wide range of industries to support The Costume Institute so it can educate and inspire visitors from around the world.”

Ms. Wintour, Artistic Director of Condé Nast and Editor-in-Chief of Vogue, has been a Trustee of the Met since January 1999. In her role as benefit chair and fundraiser, Ms. Wintour has raised approximately $125 million for The Costume Institute. Her work has included co-chairing 15 benefits since 1995, helping to secure sponsorships and funding for exhibitions as well as for the two-year renovation and other projects.

“Through her bold leadership at the helm of the annual Costume Institute Benefit plus other significant fundraising, Anna has helped us realize a place where The Costume Institute can move into the future with the latest technology for creating immersive, cutting-edge exhibitions, developing new techniques for object conservation, and designing a customized collection storage facility,” said Mr. Campbell. “Her interest in our mission has allowed us to rise to new levels of growth and prominence. She is an exceptional benefactor, advocate, and friend.”

The Anna Wintour Costume Center will include The Costume Institute’s 4,200-square-foot main showcase – the Lizzie and Jonathan Tisch Gallery – which features a flexible design that lends itself to frequent transformation, a zonal sound system, innovative projection technology, and wireless connectivity. The Center also includes the Carl and Iris Barrel Apfel Gallery, which will orient visitors to The Costume Institute’s exhibitions and holdings; a state-of-the-art costume conservation laboratory; an expanded study/storage facility that will house the combined holdings of the Met and the Brooklyn Museum Costume Collection; and The Irene Lewisohn Costume Reference Library, one of the world’s foremost fashion libraries.

Funding for the renovation also includes a landmark gift of $10 million from Lizzie and Jonathan Tisch along with $1 million commitments from Janet and Howard Kagan and the Samuel I. Newhouse Foundation.

The Costume Institute was previously refurbished in 1992. The last exhibition in its galleries was blog.mode: addressing fashion which closed in April 2008. The Charles James exhibition will also be on view in the Museum’s first-floor exhibition galleries from May 8 through August 10.



Three Metropolitan Museum Exhibitions Stimulate $742 Million 2013 Economic Impact for New York

Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art announced that the presentation of three special exhibitions during the spring/summer 2013 season—Impressionism, Fashion, and Modernity; Punk: Chaos to Couture; and The Roof Garden Commission: Imran Qureshi—generated an estimated $742 million in spending by regional, national, and international tourists to New York, according to a visitor survey released by the Museum today. Using the industry standard for calculating tax revenue impact, the study found that the direct tax benefit to the City and State from out-of-town visitors to the Museum totaled some $74.2 million. (Study findings below.) The full-year estimate of visitor spending in New York by out-of-town visitors to the Museum in fiscal year 2013 is $5.4 billion.


Impressionism, Fashion, and Modernity considered the role of fashion in the works of the Impressionists and their contemporaries. The exhibition was made possible in part by The Philip and Janice Levin Foundation, the Janice H. Levin Fund, and the William Randolph Hearst Foundation.

Additional support was provided by Renée Belfer. The exhibition was supported by an indemnity from the Federal Council on the Arts and the Humanities. The exhibition was organized by The Metropolitan Museum of Art, New York,  the Art Institute of Chicago, and the Musée d’Orsay, Paris.

Impressionism, Fashion, and Modernity

February 26–May 27, 2013

Total Visitors: 440,973

Average/Day: 5,128

Punk: Chaos to Couture examined punk’s impact on high fashion from the movement’s birth in the 1970s through its continuing influence today. The exhibition was made possible by Moda Operandi. Additional support was provided by Condé Nast.

Punk: Chaos to Couture

May 9–August 14, 2013

Total Visitors: 442,350

Average/Day: 4,706

The Roof Garden Commission: Imran Qureshi presents the first large-scale installation in the United States by the contemporary artist Imran Qureshi. The exhibition is made possible by Bloomberg.

Additional support is provided by Cynthia Hazen Polsky and Leon B. Polsky.

The Roof Garden Commission: Imran Qureshi

May 14–November 3, 2013

Total Visitors through August 31: 259,858

Average/Day: 2,625

Campbell noted: “It is particularly gratifying to see that visitors from around the globe continue to respond enthusiastically to the Met’s diverse exhibitions and renowned permanent collection. A visit to the Met was cited repeatedly—by more than half of the out-of-town visitors in our survey—as a key reason for deciding to travel to New York.”

Emily K. Rafferty, President of the Metropolitan Museum—who also serves as chair of NYC & Company, the city’s officialba5e5e3bc7cfec3e7c562ed32c617f57 tourism agency—stated: “Tourism—both domestic and international—is vital to New York’s economic health. The Metropolitan Museum is the most-visited cultural attraction in the City. We are proud of this strong record of attracting visitors from beyond the five boroughs, and of the Met’s clear impact on the economy.”

In the spring/summer 2013 survey period, Impressionism, Fashion, and Modernity, on view from February 26 to May 27, 2013, drew 440,973 visitors. Attendance for Punk: Chaos to Couture was 442,350 during its run from May 9 to August 14. And The Roof Garden Commission: Imran Qureshi attracted 259,858 visitors from May 14 through August 31, 2013, when this survey was completed.

The survey found that 1.7 million or 77% of the Museum’s visitors traveled from outside the five boroughs of New York. Of these travelers, 21% were from the Tri-State area, 31% were from other states, and 48% were international visitors. Seventy-eight percent of travelers reported staying overnight in the City and, of these, three-quarters stayed in a hotel, hostel, or rented apartment. The average length of stay was 6.6 days. These out-of-town visitors reported spending an average of $1,139 per person ($773 for lodging, sightseeing, entertainment, admission to museums, and local transportation, and another $366 for shopping). Overall spending per person was 3% lower than in 2012, primarily due to a decline in shopping. The amount reported for lodging and other expenses is virtually unchanged from 2012. Continue reading

Charles James Exhibition and New Costume Institute Galleries to Open in May 2014 at The Metropolitan Museum of Art

(Images by Lea Christiano and Lolly Koon)

Gala Benefit May 5, 2014, with Chair Aerin Lauder and Co-Chairs Bradley Cooper, Oscar de la Renta, Sarah Jessica Parker, Lizzie and Jonathan Tisch, and Anna Wintour

Exhibition Dates:      May 8–August 10, 2014

Exhibition Location: The New Costume Institute Galleries and first-floor Special Exhibition Galleries   

Press Preview:  Monday, May 5, 10 a.m.–1 p.m.

Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that the inaugural exhibition of the newly renovated Costume Institute in spring 2014 will examine the career of legendary 20th-century Anglo-American couturier Charles James (1906–1978).  Charles James: Beyond Fashion, on view from May 8 through August 10, 2014 (preceded on May 5 by The Costume Institute Benefit), will be presented in two locations–The Costume Institute’s new galleries as well as special exhibitions galleries on the Museum’s first floor. The exhibition will explore James’s design process and his use of sculptural, scientific, and mathematical approaches to construct revolutionary ball gowns and innovative tailoring that continue to influence designers today.

Charles James, 1947

Charles James, 1947

Charles James, 1947

Charles James, 1947

Charles James considered himself an artist, and approached fashion with a sculptor’s eye and a scientist’s logic,” said Mr. Campbell.  “As such, the Museum, and in particular, the new Lizzie and Jonathan Tisch Gallery in The Costume Institute, offer the ideal setting in which to contextualize the complexity of James’s work.

The New Costume Institute

May 2014 will mark the grand reopening of The Costume Institute space after an overall two-year renovation, reconfiguration, and updating. The 4,200-square-foot Lizzie and Jonathan Tisch Gallery will represent a fundamental change in the Museum’s approach to its costume collection, including a flexible design that lends itself to frequent transformation, a zonal sound system, innovative projection technology, wireless connectivity, and exhibitions on view 10 months a year.

Charles James, 1948

Charles James, 1948

Charles James, 1950

Charles James, 1950

Charles James, 1951

Charles James, 1951

The New Costume Institute will also include the Carl and Iris Barrel Apfel Gallery, which will orient visitors to The Costume Institute’s exhibitions and holdings; a state-of-the-art costume conservation center; an expanded study/storage facility that will house the combined holdings of the Met and the Brooklyn Museum Costume Collection; and The Irene Lewisohn Costume Reference Library, one of the world’s foremost fashion libraries. The project is funded by a gift from Lizzie and Jonathan Tisch, as well as proceeds raised at the annual Costume Institute Benefit under the leadership of Anna Wintour, and from commitments by Janet and Howard Kagan and the Samuel I. Newhouse Foundation, IncThe Costume Institute was last refurbished in 1992.      Continue reading

Metropolitan Museum of Art Announces Gift of Major Cubist Collection Comprising 78 Works by Picasso, Braque, Gris, and Léger from Leonard A. Lauder

Billion Dollar Collection–One of the Foremost Collections of Cubist art in the World–Will Transform the Museum

“A Gift to the People of New York”

Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced that Leonard A. Lauder has 19104_logopledged to give the Museum his collection of 78 works by Pablo Picasso, Georges Braque, Juan Gris, and Fernand Léger, which stands as one of the foremost collections of Cubism in the world.  Mr. Campbell concurrently announced that, in coordination with the gift, the Metropolitan Museum is establishing a new research center for modern art at the Metropolitan, supported by a $22-million endowment funded by grants from Museum trustees and supporters, including Mr. Lauder.

The Leonard A. Lauder Collection, distinguished by its quality, focus, and depth, includes 33 works by Picasso, 17 by Braque, 14 by Gris, and 14 by Léger. It is unsurpassed in the number of masterpieces and iconic works critical to the development of Cubism.  Among the highlights of the collection are: Picasso’s The Scallop Shell (“Notre avenir est dans l’air”) (1912)Woman in an Armchair (Eva) (1913), and Still Life with Cards, Glasses, and Bottle of Rum: “Vive la France”(1914; partially reworked 1915); Braque’s Trees at L’Estaque (1908) and The Violin (Mozart/Kubelick) (1912); Léger’s Houses under the Trees (1913) and Composition (The Typographer) (1917-18); and Gris’s Portrait of the Artist’s Mother (1912) and Figure Seated in a Café (Man at a Table) (1914).

The Leonard A. Lauder Research Center for Modern Art will be the first such center dedicated exclusively to modern art within an encyclopedic museum and serve as a leading center for scholarship on Cubism and modern art, distinguished by its intellectual rigor and range, and its resources available for study. The Center will bring together renowned scholars, fellows, and curators for focused inquiry within the rich global context of the Metropolitan’s collection.

Leonard A. Lauder

Leonard A. Lauder

Leonard’s gift is truly transformational for the Metropolitan Museum,” stated Mr. Campbell in making the announcement. “Although the Met is unique in its ability to exhibit over 5,000 years of art history, we have long lacked this critical dimension in the story of modernism. Now, Cubism will be represented with some of its greatest masterpieces, demonstrating both its role as the groundbreaking movement of the 20th century and the foundation for an artistic dialogue that continues today. This is an extraordinary gift to our Museum and our City.

The Lauder Collection is one of the most significant groups of Cubist art ever assembled. Over the past 37 years, Mr. Lauder has selectively acquired the best and most important works of the four preeminent Cubist painters–Picasso, Braque, Léger, and Gris. He made his first two Cubist acquisitions in 1976 and his most recent, a Juan Gris collage, in March 2013. Mr. Lauder will continue to look for opportunities to add Cubist works to the Collection he has committed to the Met. Continue reading


Street, a new video by artist JAMES NARES, will have its New York premiere as the centerpiece of an exhibition by the same name at THE METROPOLITAN MUSEUM OF ART through May 27, 2013. A recent acquisition of the Museum, the mesmerizing 61-minute high-definition video—which was shot on the streets of Manhattan over the course of a week in September 2011—will be shown continuously on a large screen in the central gallery of the Museum’s DRAWINGS, PRINTS, AND PHOTOGRAPHS GALLERIES. The exhibition Street will also include 60 works of art—selected by the artist from the Met’s encyclopedic collections—that situate his video in relation to earlier works that capture the spirit of the street.

THOMAS P. CAMPBELL, DIRECTOR OF THE METROPOLITAN MUSEUM, said: “James Nares’ Street is a microcosm of contemporary New York that makes accessible the countless individual moments, gestures, and interactions that are normally too fleeting to take in all at once. Because its underlying subject is people, Street is also fascinating to view in a historical context. The relevant works of art that Nares selected from across the Met’s vast holdings range from a striding figure made in Sumer around 3000 B.C. to Walker Evans’ jars of pull tabs and bottle caps pocketed off the sidewalk. These works are eclectic and often surprising, and provide a true lesson in close looking across geographic and temporal boundaries.” Continue reading



The spring 2013 exhibition organized by THE COSTUME INSTITUTE of THE METROPOLITAN

MUSEUM OF ART will be PUNK: Chaos to Couture. The exhibition, on view from MAY 9 through AUGUST 11, 2013 (preceded on May 6 by THE COSTUME INSTITUTE BENEFIT), will examine punk’s impact on high fashion from the movement’s birth in the 1970s through its continuing influence today

The exhibition is organized by ANDREW BOLTON, CURATOR, in THE MET’S COSTUME INSTITUTE. Photographer NICK KNIGHT is the exhibition’s creative consultant working with exhibition design consultant SAM GAINSBURY (who was creative director for the Met’s ALEXANDER MCQUEEN: SAVAGE BEAUTY exhibition in 2011) and production designer GIDEON PONTE (a set and production designer for photo shoots and feature films including Buffalo 66 and American Psycho). All mannequin head treatments and masks will be designed by GUIDO PALAU, who also created treatments for Alexander McQueen: Savage Beauty and last year’s Schiaparelli and Prada: Impossible Conversations.

Richard Hell, late 1970sCourtesy of The Metropolitan Museum of Art, Photograph © Kate Sim

Richard Hell, late 1970s
Courtesy of The Metropolitan Museum of Art, Photograph © Kate Sim

The exhibition, in the Museum’s second-floor Iris and B. Gerald Cantor galleries, will feature approximately 100 designs for men and women. Original punk garments from the mid-1970s will be juxtaposed with recent, directional fashion to illustrate how haute couture and ready-to-wear have borrowed punk’s visual symbols, with paillettes being replaced with safety pins, feathers with razor blades, and bugle beads with studs. Focusing on the relationship between the punk concept of ‘do-it-yourself‘ and the couture concept of ‘made-to-measure,’ the exhibition will be organized around the materials, techniques, and embellishments associated with the anti-establishment style. Presented as an immersive multimedia, multisensory experience, the clothes will be animated with period music videos and soundscaping audio techniques. Continue reading