look at these moroccan craftsmen go!

the more you know

nothing to see here, just some bird drawers

The bird drawers at the US Museum of Natural History.https://t.co/06R655LHc4 pic.twitter.com/SdvA1ycN0P

— Ziya Tong (@ziyatong) March 24, 2016

old whitney bout to get TURNT

The #MetBreuer opens tomorrow! View the full schedule of opening weekend events: https://t.co/dDUdF5rjed pic.twitter.com/s9wtbY4AqK

— The Met (@metmuseum) March 17, 2016

look what you did you little jerk

 what are you doing with a soda in the museum anyway?

 This 12-year-old Taiwanese child was visiting the exhibition "Faces of Leonardo: Images of Genius" in Taipei when he accidentally tripped — drink in hand — and punched a hole into a $1.5 million dollar Italian still-life painting.

huffpo discovers Memphis

read the article

"There are American cities with more art museums and natural history museums than Memphis, but none has the cultural breadth and depth of museums devoted to American musical history."

another subtweet for Mike

“Sumptuous: East Asian Lacquer” is drawn entirely from the permanent collection. http://t.co/BA7zeJ4BzG #AsianArt100 pic.twitter.com/79kjbLJbNU

— metmuseum (@metmuseum) March 24, 2015

tell me how you really feel...

jerry saltz did NOT care for the bjork show at MoMA and seems to be kind of mad in general:

That sadness has mushroomed into dejection of late. Since 2004, when it reopened in its bland new Taniguchi building, many art-world conversations about New York museums circle back to and then plunge into people's pain, anger, sadness, and frustration about the Museum of Modern Art. On the one hand, the museum has the greatest collection of modern art on Earth. It always will. Yet not only is most of this collection permanently held captive in storage, what little of it is on view is seen in perhaps the most unpleasant viewing conditions in any major museum in the world — in far too few galleries that are far too small and poorly designed. Then there's the museum's twisted bid to transform itself into something like a multiplex mall, specializing in whiz-bang pop-cultural events. Now comes a Diller Scofidio + Renfro expansion plan meant to fix the problems it created in 2004, which looks much more likely to exacerbate them. (via)

this made me stop and lol

"Washington Crossing the Delaware" http://t.co/PU7qWCYKzV MT @MeCookieMonster: Da biggest painting me see @metmuseum! pic.twitter.com/SaVqUN4HAb

— metmuseum (@metmuseum) February 13, 2015

weird stuff like this is why i follow the American Museum of Natural History on twitter and instagram

From the archives: an illustration of "the destruction of Saint Pierre, Martinique" 1902 http://t.co/95k6EXAJiK #tbt pic.twitter.com/bbjZKeILGq

— AMNH (@AMNH) December 4, 2014

im excited about visiting the renovated Cooper Hewitt Design Museum

read through this interview with museum director caroline baumann

i never have seen anything like this before

putting a sculpture back together.

nErD aLeRt!

aspen art museum, by shigeru ban.

thx emilube!

renzo piano gives a good interview about architecture and responding to criticism

in metropolis

PC: Some people have said that the northern façade is not looking as exciting at it could be, that it does not make a enough of a gesture towards the city. How do you respond to that?

RP: First, we have to wait and see, the building is not ready yet, of course. A building like this is like a meteorite, but a gentle one. It does not destroy anything—actually it uplifts. But it lands, and it is something new there. People should wait for the building to be finished and see.

archaeological dilemma

Unbroken Seal on the Third Shrine, January 1924
Harry Burton (English, 1879–1940)
The Egyptian Expedition of The Metropolitan Museum of Art
Gelatin silver print; 9 x 6 in. (22.9 x 15.2 cm)
(TAA 622)

At the beginning of January 1924, the gold shrines surrounding the sarcophagus of Tutankhamun were opened, one after another. The double doors of the first shrine were closed only with sliding bolts of ebony, but the second and third shrines had been secured with elaborately tied ropes that bore clay seals stamped with impressions of the necropolis seal—a crouching jackal over nine bound captives.

Burton's photograph of this uncut seal perfectly conveys the conflicting feelings of archaeological discovery. On the one hand, excitement, even impatience to see what is behind the sealed doors. On the other hand, hesitation and regret at having to cut a rope that someone so carefully tied and sealed more than thirty-three centuries ago.

Simple rope and a clump of clay impressed with seals promised that the treasures within this shrine had remained inviolate since the pharaoh's burial. Once the seal was broken to allow the archaeologists access, only Burton's photograph could evoke its original talismanic power and eloquently testify to the archaeologist's eternal dilemma: as the excavation and tomb clearing reveal things hitherto unseen, it also forever removes them from their undisturbed state.

via

#MuseumDay

Check out a new pinboard of highlights from our current exhibition, Natural Histories: http://t.co/e6tdMwGKaU pic.twitter.com/oK2JOdbzMz

— AMNH (@AMNH) May 20, 2014

this is a very pretty and interesting bit about julian schnabel

Julian Schnabel: In The Course of Seven Days on Nowness.com

theyre putting him in museums again. via

did you find something strange at the beach?

take it to the american museum of natural history and they will identify it for you. no gems, and NO ANIMALS (living or dead). happy identification day!

the national civil rights museum

dig it

sexy viking stuff at the british museum

they put a dinosaur statue in front of the mcclung museum on UT's campus

via