Mar 27 Mon 10am-12am Age of Empires Chinese Art Exhibition at The Met (Apr 3-July 16 2017)

The Chinese did marvelous things before anybody else

The Chinese did marvelous things before anybody else

Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220)
April 3-July 16, 2017

A major landmark exhibition of ancient Chinese art will open at The Met on April 3. Showcasing more than 160 works—including renowned terracotta army warriors—the exhibition will illuminate the unprecedented role that art played in creating a lasting Chinese cultural identity. Drawn exclusively from museums and archaeological institutes in the People’s Republic of China, the majority of the works have never before been seen in the West. Other highlights include a recently discovered life-size sculpture of a seminude performer; scholars speculate that the work’s anatomical accuracy—hitherto unknown in Chinese figural art—was inspired by Hellenistic sculptures that Alexander the Great introduced into Central Asia a century earlier.

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Mar 20 Mon Met Breuer (Whitney) Floor 4: Marsden Hartley’s Maine and Lygia Pape: A Multitude of Forms

Marsden Hartley (American, 1877–1943). Canuck Yankee Lumberjack at Old Orchard Beach, Maine (detail), 1940–41. Oil on Masonite-type hardboard. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift of Joseph H. Hirshhorn, 1966. Photo by Cathy Carver

Exhibition Dates: March 15–June 18, 2017
Exhibition Location: The Met Breuer, Floor 3

The exhibition Marsden Hartley’s Maine, on view at The Met Breuer from March 15 through June 18, 2017, will showcase the American artist’s lifelong artistic engagement with his home state of Maine. Approximately 90 paintings and drawings will illuminate his extraordinarily expressive range—from Post-Impressionist interpretations of seasonal change in inland Maine in the early 1900s to folk-inspired depictions, beginning in the late 1930s, of the state’s hearty inhabitants, majestic coastline, and great geological icon, Mount Katahdin.

Marsden Hartley’s Maine is organized by The Metropolitan Museum of Art and the Colby College Museum of Art. Following its presentation at The Met, the exhibition will be on view at the Colby College Museum, in Waterville, Maine, from July 8 through November 12, 2017.

The exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation, the Henry Luce Foundation, the William Randolph Hearst Foundation, and the Jane and Robert Carroll Fund.

It is organized by The Metropolitan Museum of Art and the Colby College Museum of Art.

Born in Lewiston, Maine, in 1877, Hartley became known for his peripatetic nature, especially his time spent in Paris and Berlin, where he participated in the European avant-garde. Over the course of his career, however, he returned to his home state repeatedly, painted Maine subjects while living abroad, and proclaimed himself the “painter from Maine” in the final chapter of his life. With the artist’s place of origin as its focus, the exhibition will trace the powerful threads of continuity that run through Hartley’s work and underlie many of his greatest contributions to American modernism. To Hartley, Maine was a springboard to imagination and creative inspiration, a locus of memory and longing, a refuge, and a place for communion with previous artists who painted there, especially Winslow Homer, the most famous American artist associated with the state. Hartley died in Ellsworth, Maine, in 1943.


Lygia Pape (Brazilian, 1927–2004). Divisor (Divider), 1968. Performance at Museu de Arte Moderna, Rio de Janeiro, 1990. Photo by Paula Pape. © Projeto Lygia Pape

Lygia Pape: A Multitude of Forms

Exhibition Dates: March 21–July 23, 2017
Exhibition Location: The Met Breuer, Floor 4
Press Preview: Monday, March 20, 10 am–noon

The first major retrospective exhibition in the United States devoted to Brazilian artist Lygia Pape (1927–2004) will open at The Met Breuer on Tuesday, March 21. A critical figure in the development of Brazilian modern art, Pape combined geometric abstraction with notions of body, time, and space in unique ways aiming to integrate the art object with life experience. Covering a prolific, unclassifiable career that spanned five decades, the exhibition will examine Pape’s extraordinarily rich oeuvre as manifest across varied media, from sculpture, prints, and painting to installation, performance, and film.

Alongside Lygia Clark and Hélio Oiticica, Lygia Pape is one of the most prominent artists of her generation and was a leading protagonist at a crucial moment for the history of art in Brazil. During a period of intense industrialization following World War II, concrete and constructivist European trends entered the country where figuration had been the dominant vocabulary. Pape was part of the Concrete movement (Grupo Frente) in Rio de Janeiro, reworking the legacies of geometric abstraction. It then evolved in 1959 into the Neoconcrete group, aimed at giving priority to experimentation and process over any normative principle. She was among the first to consider integrating the space of the artwork with the space of the viewer with works that demand participation or interaction, marking a breakthrough moment in 20th-century art.

The exhibition is made possible by The Daniel and Estrellita Brodsky Foundation and The Garcia Family Foundation.

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Mar 10 Fri Noon Molly Barnes Presents Christine Berry of Berry Campbell Gallery

Love of selling art
Christine Berry is the rare kind of gallery owner who will welcome any visitor with a friendly Hello! and will tell you anything you need to know about the art she sells and the artists represented by the 2000 abstract expressionist and other modernist works now in the inventory of her flourishing four year old gallery in Chelsea, an expanding storefront 2000 sq ft space whose paintings can be seen from across the street, an accessibility which helps draw in most of the crowd on the Thursday evenings which have become a art event in Manhattan to rival the crowded weekend nights at the Metropolitan Museum as date night outings for art lovers and scouting investors both, a sidewalk visibility which is a choice on the part of Berry, who is by nature one of the most accessible social beings in the art world who tells how she started out after her Art History degree working on 57 Street for the storied dealer Ira Spanierman for ten years, where she found at first that when people came in they said absolutely nothing even as they peered over her shoulder at the front desk at the art behind her, but when she said Hello! How are you? they warmed to her immediately and she soon began selling more than her colleagues, a success which also reflected her love of selling art as a process of education and enlightenment in introducing works into the lives of her customers, so now having her own gallery “for me in beyond a dream come true”, a dream which survived the initial moment when during a hot Texas summer party at Baylor she fell in love with a Vermeer on the wall and changed her course of study while her furiously resistant college professor father challenged her to find any want ad in the local paper for an art historian, and eventually worked for a Florida billionaire bidding in New York and happened to resort to a limousine one day to get to Spanierman on 57th St in a hurry and stepped out of it into a job for ten years there before starting Berry Campbell on the fashionable 24th Street art runway between 10th and 11th Avenues where the rent is “insane” and she and her partner Martha Campbell take full responsibility for backing the artists they market to an extent which now forces her to admit that though friendly she does try and curb artists from anything more than chit chat at a party or any crowd situation, a sentiment fully understood by Molly Barnes who was reminded of a time when she was down in the floor of Los Angeles airport because she was feeling sick and was joined by a woman artist anxious to promote her portfolio.

Molly Barnes will interview Christine Berry, co-owner of Berry Campbell Gallery in Chelsea.

CHRISTINE BERRY is the co-owner of Berry Campbell Gallery located on the ground floor at 530 West 24th Street in New York City in the heart of the Chelsea Arts District. Christine Berry opened the gallery with Martha Campbell in the fall of 2013 with a focus on Postwar Modern and Contemporary Art.

Recently, Berry Campbell Gallery announced its expansion into a new 2,000 square-foot ground floor gallery and exhibition space. Berry Campbell joins its West 24th Street neighbors—Andrea Rosen Gallery, Gagosian Gallery, Jack Shainman Gallery, Luhring Augustine, Mary Boone Gallery, Marianne Boesky Gallery, and Matthew Marks—as vital contributors to the flourishing Chelsea art scene, recently made even more vibrant with the recent opening of the new Whitney Museum of American Art.

Berry Campbell fills an important gap in the downtown art world, showcasing the work of prominent artists and estates in the areas of of Abstract Expressionism, Minimalism, Color Field, Op Art, and mid-career artists working in the modernist tradition. Berry Campbell represents Edward Avedisian, Walter Darby Bannard, Stanley Boxer, Dan Christensen, Eric Dever, Perle Fine, Balcomb Greene, Gertrude Greene, John Goodyear, Ken Greenleaf, Raymond Hendler, Jill Nathanson, Stephen Pace, Charlotte Park, William Perehudoff, Ann Purcell, Albert Stadler, Mike Solomon, Syd Solomon, Susan Vecsey, James Walsh, and Joyce Weinstein.

Current Exhibition at Berry Campbell:
February 9 through March 11, 2017
Dan Christensen: Late Calligraphic Stains
530 West 24th Street (Tenth/Eleventh Avenues)
New York, NY
(212) 924-2178
Hours: Tuesday – Saturday, 10 AM – 6 PM

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Mar 9 Thu 2-5pm Screening of Disturbing the Peace by NYU Tisch Department of Art & Public Policy and NYU Leadership Initiative NYU Production Lab 16 Washington Place

An Israeli enemy of Palestine changes his tune and fights for peace

An Israeli enemy of Palestine changes his tune and fights for peace

In a world torn by conflict – in a place where the idea of peace has been abandoned – an energy of determined optimism emerges. When someone is willing to disturb the status quo and stand for the dream of a free and secure world, who will stand with them?

We invite you to a join us for a special screening of Disturbing the Peace. From enemy combatants to peaceful warriors, Disturbing the Peace chronicles the transformation of individuals into the nonviolent peace activists they are today. See this inspiring narrative of finding peace in turbulent times and join us for a conversation on how to build a free and secure world.

After viewing the film, audience members will join in on a discussion with two of the organization members and the film maker.

About the film:
Disturbing the Peace follows the story of former enemy combatants—Israeli soldiers and Palestinian fighters—who have joined together to challenge the status quo and say “enough.” The film reveals their transformational journeys from soldiers committed to armed battle to nonviolent peace activists, leading to the creation of combatants for peace.

The film follows everyday people who took extraordinary actions by standing for what they believe in, just like those who came before them—Martin Luther King Jr., Rosa Parks, Gandhi, Nelson Mandela and many other whose names we don’t know. The movies challenges all of us —to understand the narratives we live within to look at our current roles in our societies, and to decide what role we are going to play in creating a more humane world, for all. And it starts with our willingness to disturb the peace.
To watch the trailer and for more information, please visit:

Sponsored by NYU Tisch Department of Art & Public Policy and NYU Leadership Initiative with support from the Tisch Institute of Performing Arts (IPA).

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Mar 9 Thu Noon Molly Barnes Introduces The Unstoppable Audrey Flack

Audrey Flack is a Renaissance woman, a polymath of painting, sculpture, music, photography and politics!

Liberating Artist
Audrey Flack seems as energetic at 85 as she must have been in her early days as an artist who has evidently never let being a woman hold her back, from her start in the fifties when she led in painting photorealism and the MOMA began its collection with one of her works in 1966, when she associated with Willem De Kooning, Jackson Pollock and other drunken bad boys of abstract expressionism, whom she now views as similar to Rodin the sculptor in subjecting female artists to subordination and inconsiderate behavior which they mistakenly thought was part and parcel of great talent, but Flack herself never veered from choosing a path dictated by her own inner creative needs, during the sixties abandoning paint and picking up clay and locking her studio door for ten years before exhibiting her own sculpture along 19 Century lines though definitely not following Rodin, who she says she is still mad at after finding out how much he borrowed from the talent of Camille Claudel, his young mistress and assistant whose life was ruined by the ten year old affair, whose work she first admired at the Rodin Museum in the seventies and only then realized was by a woman, who helped inspire her subsequent work which in terms of realistic beauty may have peaked in her graceful 2,000-pound bronze statue of a woman called “Veritas et Justitia,” or Truth and Justice, now colloquially known as Lady Justice, outside the courthouse in Tampa, which supplicants heading for an appearance in front of a judge apparently rub with a prayer, since one of its ten year old toe has largely vanished, which together with the consistently non-abstract character of the direction of her work and the strength of her feminist objections to the oppression of female artists made one wonder whether she was exhibiting a reliable tendency of women artists to reclaim the concrete from the wave of abstract art which has dominated the West in recent decades, as a kind of reversal of the Alzheimers of male art toward representational work, which she allowed was an interesting question worth exploring, though without disparaging male achievement.

Molly Barnes will interview painter, sculptor, banjo player, and songwriter Audrey Flack who, on February 18, 2017, received a Lifetime Achievement Award from The Women’s Caucus for Art.

Audrey Flack is a pioneer of Photorealism and a nationally recognized painter and sculptor. The first women artists to be listed in Janson’s History of Art were Audrey Flack and Mary Cassatt. Flack’s work is in the collections of major museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, Whitney Museum of American Art, and the National Museum of Art in Australia.

Flack was the first photorealist painter to have work purchased by the Museum of Modern Art (MoMA). Her public sculpture has been monumental and spearheading a return to representational public art. Her mission is to present women not as mere sex objects gazing up at a general on a horse, but as strong, intelligent, purposeful individuals with a powerful physiognomy and inner and outer beauty.

Throughout her career, Flack’s work has been featured in numerous traveling museum exhibitions, includingTwenty-two Realists (1972) at the Whitney Museum of American Art, Super Realism (1975-76) at the Baltimore Museum of Art, American Painting of the Seventies (1979) at the Albright-Knox Gallery, (Buffalo),Contemporary American Realism (1981-83) at the Pennsylvania Academy of the Fine Arts (Philadelphia),Toyama Now, 1981 at the Museum of Modern Art (Tokyo), and Making Their Mark: Women Artists Move into the Mainstream (1989) which traveled to the Cincinnati Art Museum, the New Orleans Museum of Art, the Denver Art Museum and the Pennsylvania Academy of the Fine Arts.

Flack has also held numerous solo exhibitions including at the Louis K. Meisel Gallery, the Gary Snyder Gallery (New York) and Hollis Taggart Galleries among others.

Flack is also noted for her musical group, The History of Art String Band.

Eldridge & Co. interview with Audrey Flack:
Eldridge & Co. – Audrey Flack-Painter, Sculptor – CUNY TV
Artist Audrey Flack and Ronnie Eldridge talk about their

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Mar 8 Wed 1.30-8pm CUNY Elebash Recital Hall – Political Icons: The Good, the Bad, and the Ugly, the 2017 Leon Levy Biography Conference

Political Icons: The Good, the Bad, and the Ugly, the 2017 Leon Levy Biography Conference

1:30pm – 8pm Wednesday, March 8, 2017. Elebash Recital Hall, The Graduate Center, CUNY (365 Fifth Ave., at 34th St.)

An afternoon series of four events, free and open to the public. Reservations are required for the final event, Israel and Palestine through Memoir and Biography. Register here with Graduate Center Public Programs. If you plan to attend only the earlier events, simply RSVP by email to

1:30 p.m. – 1:45 p.m. Introductory Remarks

1:45 p.m. – 3 p.m. Liberal Icons
David Nasaw (award-winning biographer of Joseph Kennedy, Andrew Carnegie and William Randolph Hearst), with Blanche Wiesen Cook (author of the three-volume biography, Eleanor Roosevelt), Patricia Bell-Scott (The Firebrand and the First Lady: Portrait of a Friendship: Pauli Murray, Eleanor Roosevelt, and the Struggle for Social Justice), and David Levering-Lewis (the Pulitzer Prize-winning author of the two-volume biography of W.E.B. DuBois).

3:15 p.m. – 4:30 p.m. Daniel Oppenheimer in Conversation with Kai Bird
Daniel Oppenheimer (Exit Right: The People Who Left the Left and Reshaped the American Century) discusses the strange political odysseys of Whittaker Chambers, James Burnham, Ronald Reagan, Norman Podhoretz, David Horowitz, and Christopher Hitchens.

4:45 p.m. – 6:00 p.m. Presidential Transitions
Meg Jacobs (Research Scholar, Princeton University, and author of Panic at the Pump: The Energy Crisis and the Transformation of American Politics in the 1970s), with Robert Dallek (author of presidential biographies of FDR, JFK, LBJ and Nixon), John Farrell (Richard Nixon: The Life), and Michael Tomasky (Bill Clinton).

6:30 p.m. – 7:45 p.m. Israel and Palestine through Memoir and Biography
Sari Nusseibeh (Once upon a Country: A Palestinian Life and The Story of Reason in Islam) and Dan Ephron (Killing a King: The Assassination of Yitzhak Rabin and the Remaking of Israel) speak with Kai Bird (Crossing Mandelbaum Gate: Coming of Age between the Arabs and Israelis).

Established with a generous gift from the Leon Levy Foundation in 2007 as a hub for writers, scholars, students, teachers, and readers of biography, the Leon Levy Center for Biography at the CUNY Graduate Center builds connections between independent and university-affiliated biographers across disciplines and cultivates important discussions about the art and craft of biography historically and in our time.
“Without the Leon Levy Center for Biography Fellowship, I could never have written my just-published book, Balanchine & The Lost Muse.”
—Elizabeth Kendall, 2011–2012 fellow, author of Balanchine & the Lost Muse: Revolution & the Making of a Choreographer (Oxford, 2013)

To achieve its mandate of identifying, supporting, and fostering excellence and innovation in biography, the Leon Levy Center for Biography (LLCB) hosts frequent public events as well as the annual Leon Levy Biography Lecture in the fall; an annual conference or biography clinic in the spring; a resident fellowship competition to fund the research and writing of outstanding biographies; and academic courses at the Graduate Center in the art and craft of biography.

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Mar 5th Sun 4pm Canterbury Sings Bach’s St. Matthew Passion at Heavenly Rest Under Jonathan de Vries with Carla Wesby, Jeffrey Mandelbaum, Blake Friedman and Matthew Curran

Unbeatable Bach
In a charming and rewarding respite from the wintry air of the city outside and the constant media cacophony from Washington, one of the greatest works from the hand of the all time master of rhythmic melody and harmony for the classical ear sounded clearly in the towering space of Heavenly Rest in the ears of an attentive audience filling the pews from front to back, all of whom save one young lady at the rear using her iPhone possibly to search for information about this supreme composition were visibly absorbed in a binding communal experience of the peak of analogue musical tradition in a regrettably digital modern world, and taken up by an unending flow of tuneful melody and heavenly harmony which the richly voiced choir and the tenor soloist in particular traversed with flair and a rhythmic bounce that must have made some in the audience one wonder anew why Bach is not still a staple of every Sunday’s celebration of God’s power and love of human beings in this magnificent space.

. The Canterbury Choral Society, led by Conductor Jonathan De Vries, will present The St. Matthew Passion in concert on Sunday March 5 2017 at the Church of the Heavenly Rest at Fifth Avenue and 90th Street at 4pm. Over a hundred singers, a complete orchestra, and four exciting soloists will perform.

Canterbury Choral Society Winter Concert, March 5 2017 at 4pm
Place: Church of the Heavenly Rest, 2 East 90th Street,

Approach the Lenten Season with Johann Sebastian Bach’s powerful
St. Matthew Passion conducted by Jonathan De Vries and
performed by Canterbury Choral Society with full orchestra, double chorus and professional soloists!

Soprano: Carla Wesby,
Countertenor: Jeffrey Mandelbaum
Tenor: Blake Friedman
Bass: Matthew Curran

A highlight of Bach’s work, the Passion is based on the Gospel of St. Matthew and tells the Good Friday story of Jesus’ arrest, trial and execution. Conductor Jonathan De Vries describes the work as “a storytelling masterpiece” as Bach brings the tragedy to life by combining the dramatic use of narrative, recitatives, arias, chorales and choruses.

Bach used a contemporary and well-known hymn, the centuries-old but familiar “O Sacred Head Sore Wounded”, to bring the story home to his audience. It is repeated five times in the work, each time adding a new depth of meaning.

Conductor Jonathan De Vries: “We can credit our performance to Felix Mendelssohn and his rediscovery of Bach’s work in 1829.”

Carla Wesby, soprano, recently sang as soloist in Messiah with Brooklyn Contemporary Chorus and toured with the Mark Morris Dance Group, singing in the voice ensemble of Dido and Aeneas. During the 2014-2015 season she was heard in the extra chorus of Die Meistersinger at the Metropolitan Opera. Previously with Canterbury Choral Society she performed in the “Lord Nelson” Mass and Mozart’s Mass in C Minor.

Jeffrey Mandelbaum, countertenor, made his debut at the Metropolitan Opera in The Enchanted Island, singing alongside Joyce DiDonato. He recently made a double Alice Tully Hall debut, singing in Bach’s Magnificat with the American Classical Orchestra and Bach’s Christmas Oratorio with Riverside Choral Society. This marks Mr. Mandelbaum’ s sixth appearance with Canterbury Choral Society, having first sung Esther 12 years ago, followed by Solomon, St. John Passion, Samson and the B Minor Mass.

Blake Friedman, tenor, first sang with Canterbury Choral Society in 2015 as Nicolas in the 2015 Christmas Concert performance of Britten’s Saint Nicolas. With his “climactic high notes” and “powerful vocals,” tenor Blake Friedman has wowed critics and audiences alike. A native of Chicago, Mr. Friedman recently received rave reviews for his role in Liebeslieder Walzer with New York City Ballet at Lincoln Center, as Tenor Soloist in Van Gogh’s Ear at the Clark Institute, and in Tchaikovsky: None but the Lonely Heart at the Brooklyn Academy of Music. Last spring, he sang in the Bach B Minor Mass with Canterbury.

Matthew Curran, bass, first joined the roster of the Metropolitan Opera in its productions of The Nose and The Magic Flute. He also sang the role of Ferrando in Il Trovatore with Opera in Williamsburg. Praised for his “rich sound” and “stylish power” Matthew brings a strong dramatic instinct to his roles. He has sung on the stages of Zurich Opera, Seattle, Atlanta, Memphis and regional opera houses.

Tickets for the March 5th concert by the Canterbury Choral Society are priced at $25, general admission: $20, seniors; and $10, students. Children 12 and under are free. Tickets are available at the door. For advance booking visit
For more information visit our website

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Feb 28 Tue Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, Will Leave Jun 30 Fri

Paid $1.2 million in 2011, did he want a pay raise?

Press Release: Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, to Step Down

Board Chairman Daniel Brodsky Announces Interim Appointments

(New York, February 28, 2017)—Thomas P. Campbell, Director and Chief Executive Officer of The Metropolitan Museum of Art, announced today that he will resign effective June 30, 2017. Campbell has served as the institution’s Director and CEO since January 1, 2009. He joined The Met in 1996 as curator and expert in the area of tapestries. Daniel Brodsky, Chairman of the Board of Directors of The Met, announced a transition plan for the Museum.

“I couldn’t be more proud of The Met’s accomplishments during my tenure as Director and CEO,” said Mr. Campbell. “In close collaboration with the Board, curators, and the entire organization, the Museum has evolved into a beacon of scholarship and understanding, not only for visitors to our New York sites, but globally through digital platforms, leadership exchanges, and more. At a moment when art and culture have an especially profound role to play in fostering mutual understanding, I am especially proud that our visitor base is the largest and most diverse in the Museum’s history. At the same time, we are on track to be financially stable and have a solid strategic path forward.”

Mr. Brodsky issued the following statement: “I and the entire Board leadership are incredibly proud of the accomplishments of the Museum during Tom’s tenure: record audience growth; installation of several suites of beautiful new galleries; emergence as a worldwide digital leader; building a curatorial team without parallel; continuing a robust exhibitions and acquisitions program; and, of course, the expansion of The Met’s commitment to its Modern and Contemporary program, most notably in The Met Breuer. Tom has led The Met in precisely the right direction during his tenure, and we look forward to continuing to make progress in the areas he and his team have led in the years ahead.”

Mr. Brodsky also announced that he has asked The Met’s President, Daniel H. Weiss, to serve as interim Chief Executive Officer and to work with Mr. Campbell and curatorial and administrative leadership on a transition plan.

Appointed in 1996 as an assistant curator in the Department of European Sculpture and Decorative Arts and supervising curator of the Antonio Ratti Textile Center, Campbell was a curator for 13 years, and organized two highly acclaimed tapestry exhibitions. He was appointed by The Met’s Board of Directors in fall 2008, succeeding Philippe de Montebello. During his tenure, overall museum attendance has grown by 40 percent to a record seven million across The Met’s three sites.

“I began at The Met 22 years ago as a curator and have been here almost my entire career. It was not an easy choice to step away, especially at such a vital and exciting moment. That said, its current vitality is what makes this the right moment to do so. I have worked hard, and I believe my efforts have paid off. For the next stage of my career I look forward to new challenges beyond the Met, always in service of art, scholarship, and understanding. Finally, Dan Weiss is a further reason this is an opportune moment to step away. I have worked closely with him since 2015, and I am confident his vision, level-headedness, and experience are precisely what the Museum needs to continue on its positive trajectory.”
Mr. Campbell’s accomplishments over the past eight years include the following:
Overall attendance has grown by 40 percent to a record 7 million across The Met’s three sites.
Named by Trip Advisor as the #1 museum in the world for two years in a row.
Oversight of dozens of exhibitions and publications that have been recognized with awards and citations, including:
Cubism: The Leonard A. Lauder Collection
Alexander McQueen: Savage Beauty
China: Through the Looking Glass
Kongo: Power and Majesty
Ancient Egypt Transformed: The Middle Kingdom
Vigée Le Brun: Woman Artist in Revolutionary France
Pergamon and the Hellenistic Kingdoms of the Ancient World
Assyria to Iberia at the Dawn of the Classical Age
The Drawings of Bronzino
Sultans of Deccan India, 1500–1700: Opulence and Fantasy
Interwoven Globe: The Worldwide Textile Trade, 1500–1800
Extravagant Inventions: The Princely Furniture of the Roentgens
Preliminary studies laying the foundation for the future growth of the institution, including a five-year strategic plan; and a buildings feasibility study
Opening The Met Breuer
Appointing many new department heads (curatorial, conservation and administrative) and hiring approximately 50 new curators and conservators.
Created a dedicated Digital Department to reach a new global audience. reaches 30 million users a year and tens of millions more through social media.
Completed the rebuilding of the American Wing
New galleries for the Islamic Department
New Costume Institute
Refurbishment of the European paintings galleries
Complete redesign of the Museum’s plaza
Oversight of many acquisitions and significant gifts, including the transformative promised gift of Leonard Lauder’s collection of Cubist art.
About The Metropolitan Museum of Art

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Feb 21 Tue 10am-1pm Frick Major Turner Exhibition – Turner’s Modern and Ancient Ports: Passages Through Time Feb 23 to May 14, 2017)


J.M.W. Turner, Shields, on the River Tyne, for The Rivers of England, 1823, watercolor on paper, © Tate, London 2016

February 23 through May 14, 2017



February 23 through May 14, 2017

Exploring a turning point in the career of Britain’s greatest land- and seascape painter of the nineteenth century, a major exhibition at The Frick Collection will illuminate Joseph Mallord William Turner’s (1775–1851) distinctly modern approach to the theme of the port. Opening in winter 2017, Turner’s Modern and Ancient Ports: Passages Through Time centers around the Frick’s grand-scale Harbor of Dieppe and Cologne, both painted by the artist in the mid-1820s, and unites them for the first time publicly with a closely related yet unfinished work from Tate, London, that depicts the harbor of Brest, in Brittany. This trio of port scenes is accompanied by more than thirty of Turner’s oil paintings, watercolors, sketchbooks, and prints, among them other contemporary views of France, Germany, and England, as well as imagined scenes set in ancient Carthage and Rome. A longstanding subject in art, the port is a space of arrival and departure that links the city interior and the open water beyond, evoking
a sense of journey and the passage of time. Whether portraying the ancient world or encapsulating contemporary life in a specific region, Turner returned to this time-honored theme to explore the relationship of past and present and, conscious of his own place in history, showcase his artistic innovations, chief among them his dazzling treatment of light and color.

J.M.W. Turner, The Harbor of Brest: The Quayside and Château, ca. 1826–28, Oil on canvas, 68 x 88 inches, © Tate, London 2016

Comments Susan Galassi, “As with so many of our exhibitions, this show is built around major works in our collection and provides the occasion to bring fresh perspectives through new scholarship and engaging programming. The Frick’s harbors of Dieppe and Cologne, purchased more than a hundred years ago by Henry Clay Frick, are restricted from travel and have not been exhibited elsewhere for the past century. We are thrilled to provide our audiences insight into Turner’s masterful technique and process by reuniting the Frick’s ports, which themselves have never before been the focus of an exhibition, with a third harbor scene from the Tate on a similar scale, along with other port scenes—both imagined and set in the present—in oil and watercolor that reveal how the artist developed this subject over time.”

J.M.W. Turner, Cologne, the Arrival of a Packet-Boat: Evening, exhibited 1826, oil on canvas, The Frick Collection; photo Michael Bodycomb

Turner’s Modern and Ancient Ports: Passages through Time was organized by Susan Grace Galassi, Senior Curator, The Frick Collection; Ian Warrell, independent curator and Turner specialist; and Joanna Sheers Seidenstein, Anne L. Poulet Curatorial Fellow, The Frick Collection. It will be accompanied by a range of public programs as well as a catalogue published with Yale University Press.

Joseph Mallord William Turner, Harbor of Dieppe: Changement de Domicile, exhibited 1825, oil on canvas, The Frick Collection; photo Michael Bodycomb

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Feb 7 Tue Met Museum Makes 375,000 Images Freely Available to All

What’s this exquisite example of classical beauty called? Perfection!

The Met Makes Its Images of Public-Domain Artworks Freely Available through New Open Access Policy

(New York, February 7, 2017)—Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today its adoption of a new policy: all images of public-domain artworks in the Museum’s collection are now available for free and unrestricted use. This updated policy, known as Open Access, utilizes the Creative Commons Zero (CC0) designation. This policy change is an update to The Museum’s 2014 Open Access for Scholarly Content (OASC) initiative. The Met’s Open Access policy facilitates the use of more than 375,000 images of public-domain artworks for both scholarly and commercial purposes. The Museum is collaborating with global partners to enable greater access to the collection.
In making the announcement, Mr. Campbell said: “We have been working toward the goal of sharing our images with the public for a number of years. Our comprehensive and diverse museum collection spans 5,000 years of world culture and our core mission is to be open and accessible for all who wish to study and enjoy the works of art in our care. Increasing access to the Museum’s collection and scholarship serves the interests and needs of our 21st-century audiences by offering new resources for creativity, knowledge, and ideas. We thank Creative Commons, an international leader in open access and copyright, for being a partner in this effort.”

“Sharing is fundamental to how we promote discovery, innovation, and collaboration in the digital age,” said Ryan Merkley, CEO, Creative Commons. “Today, The Met has given the world a profound gift in service of its mission: the largest encyclopedic art museum in North America has eliminated the barriers that would otherwise prohibit access to its content, and invited the world to use, remix, and share their public-domain collections widely and without restriction. This is an enormous gift to the world, and it is an act of significant leadership on the part of the institution. I want to congratulate Thomas P. Campbell, the board of trustees, and The Met staff for making such a strong commitment to collaboration and sharing, and I hope that other institutions, both public and private, will follow the path they are setting out here today.”
To maximize the reach of The Met’s Open Access initiative, the Museum announced its new partnerships with Creative Commons, Wikimedia, Artstor, Digital Public Library of America (DPLA), Art Resource, and Pinterest. The Museum also welcomes its first Wikimedian-in-Residence, Richard Knipel, who will collaborate with Wikimedians around the world to bring images of public-domain artworks into Wikimedia Commons, Wikipedia, and diverse GLAM-Wiki initiatives. Creative Commons will support search and re-use of The Met collection with its CCSearch beta at The Met has also created a public GitHub repository.
“The Met has again proven itself a leader among the world’s great cultural institutions. By opening their vast collection of art and antiquities to be freely available under Creative Commons Zero, they are lighting the way for other institutions to follow,” said Katherine Maher, Executive Director of the Wikimedia Foundation. “Wikipedia’s hundreds of millions of users from around the globe will now be able to experience The Met’s greatest treasures, no matter where they live. This remarkable cultural heritage is now free for anyone to view, share, and use.”

Loic Tallon, The Met’s Chief Digital Officer, said: “In our digital age, the Museum’s audience is not only the 6.7 million people who visited The Met’s three locations in New York City this past year, but also the three-billion-plus internet-connected individuals around the world. Adopting the CC0 designation for our images and data is one of the most effective ways the Museum can help audiences gain access to the collection and further its use by educators and students, artists and designers, professionals and hobbyists, as well as creators of all kinds. I am particularly delighted to be launching the Museum’s CC0 policy in collaboration with Creative Commons, Artstor, DPLA, Pinterest and the Wikipedia community, and for their support in bringing the Museum’s collection to their users.”
The Met’s new agreement with Artstor, a service affiliated with the education not-for-profit ITHAKA, will make the images discoverable throughout its digital resources, which support a global education community and provide tools to encourage image and data use in research and teaching.

“We are thrilled to help further the impact of The Met’s bold public digital access initiative through our work in the global educational community,” said Kevin Guthrie, President of Artstor and ITHAKA. “We look forward to making these 375,000 images available so that teachers, students, and researchers around the world can find them, use them, and most importantly re-use them. The CC0 license for these images is a sea change that will help educators and students advance our collective understanding of art and human values by encouraging their use, not only in traditional classrooms and scholarly publications, but also in new digital projects and online courses.” Guthrie added, “Access is just the beginning. We look forward to continuously finding ways to work with those engaged in education to enhance and encourage the reach of this collection.”
The public can also find images offered from this initiative on Pinterest, thus making the collection more easily accessible to their community.

Evan Sharp, co-founder and Head of Product at Pinterest, said: “Pinterest is where more than 150 million people discover ideas for their lives, whether they collect images of artistic masterpieces or the art of the everyday. We’re honored to partner with The Met to make this unprecedented collection accessible to the Pinterest community.”

The rollout of this change in policy is an ongoing process, as the Museum continues to collaborate with new and existing partners to develop our content-distribution efforts and explore new opportunities.

While all images of works the Museum believes to be in the public domain are included in this initiative, certain works are not available for one or more of the following reasons: the work is still under copyright, or the copyright status is unclear; privacy or publicity issues; the work is owned by a person or an institution other than The Met; restrictions by the artist, donor, or lender; or lack of a digital image of suitable quality.
The Museum continues to work with Art Resource for licensing images of works under copyright or other restrictions, or for images not available on The Met’s website.

The Met’s Open Access initiative is made possible through the continued generous support of Bloomberg Philanthropies.

“The Metropolitan Museum of Art’s new initiative brings its collection to an even larger audience. One of the first museums to offer audio guides, invest in mobile apps, and develop a robust website, The Met continues to be a leader in providing access to its encyclopedic resources for millions of people all over the world,” said Kate D. Levin of Bloomberg Philanthropies.
Related blog posts about The Met’s new image policy can be found on Now at The Met and Digital Underground, as well as on the websites of our partners Creative Commons, Wikimedia Foundation, and Artstor.

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Feb 7 Tue 6-8pm New York Academy of Medicine Panel on Antibiotic Resistance in Agriculture and Health Care

The penalty of using leftover WWII chemicals rather than Nature to protect crops from the smallest eaters

Antibiotic Resistance: Implications for Agriculture and Health Care
FEB 7 2017, 6:00PM-8:00PM
Antibiotics are an essential part of the health care we receive, yet 80% of those sold in the United States—the same medicines used to treat human infections—are used in industrial animal agriculture as a stopgap against crowded, unsanitary conditions and to promote growth. This panel explores how the overuse and misuse of antibiotics is breeding antibiotic resistant bacterial strains and how people are responding.

Get Smart About Antibiotic Stewardship in Agriculture and Health Care

Antibiotics are an essential part of the health care we receive, yet 80% of those sold in the United States—the same medicines used to treat human infections—are used in industrial animal agriculture as a stopgap against crowded, unsanitary conditions and to promote growth. This panel explores how the overuse and misuse of antibiotics is breeding antibiotic resistant bacterial strains and how people are responding.

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Feb 6 Mon 6-8pm Lloyd Sederer Author of Improving Mental Health: Four Secrets in Plain Sight at The New York Academy of Medicine

Author’s Night: Lloyd Sedere Improving Mental Health: Four Secrets in Plain Sight

Was he born sanguine or did Lloyd Sederer become a guru of mental health though his books and wit? Either way, he looks like his own best patient!

The New York Academy of Medicine

Wise psychiatrist
In the oddly intimate setting of a sparsely attended talk at the Academy in its series for Fellows on medicine and health, a key figure in the New York psychiatric community who has hundreds of psychiatrists and 700,000 patients under his control in the nation’s largest state mental health system, Lloyd Sederer demonstrated his remarkable talent as a writer of 500 articles including many for the Huffington Post where he is Medical Editor, and as a speaker, running through the four major points he has made in his new small book “Improving Mental Health: Four Secrets in Plain Sight” in terms which in their accessibility and his breadth of view of the human predicament of people plagued by mental problems, seemed to us to reflect a level of wisdom, moderation and compassion rare in high officials and gurus of conventional thinking in the field, and one hopes that his thoughts will reach the widest possible audience since they seem to be bound to improve the experience of clinicians and their patients alike, although in what was perhaps a happy comment on his motives to enlighten others rather than profit from his own thinking Dr Lederer himself didn’t wish to sell any of the three copies he had brought along but referred buyers to Amazon.

The New York Academy of Medicine
Dr. Sederer will talk about his new best seller “Improving Mental Health: Four Secrets in Plain Sight.” This short book is meant to be read and readable by general and professional audiences alike. It aims to help clinicians improve the lives of their patients–and patients and families to improve their own lives–by identifying these ‘secrets’ and taking action in ways that can work immediately. In addition to mental health and primary care clinicians, patients and their families will find the book’s many stories, clinical examples and cultural references fascinating and illuminating.

The four secrets he will elaborate on from the book are:

Behavior serves a purpose.
The power of attachment.
As a rule, less is more.
Chronic stress is the enemy.
Join us to learn more and to offer your thoughts as well.

Lloyd Sederer, MD is Medical Editor for Mental Health for the Huffington Post, Chief Medical Officer of the NYS Office of Mental Health, and Adjunct Professor at the Columbia/Mailman School of Public Health. He has taught medical writing for the lay public for 11 sequential semesters in the Columbia Department of Psychiatry. The author/editor of seven text books and two books for the lay public, his essays, opinion pieces, and book and movie/TV reviews have appeared about every week in the Huffington Post, US News & World Report, Psychology Today, The Wall Street Journal, The New York Times, Washington Post, Commonwealth Magazine, and Dr. Sederer is the recipient of a Rockefeller Scholar-in-Residence Grant and numerous professional awards for clinical services and education. His website is

Date: Monday, February 6, 2017
Time: 6:00 PM – 7:00 PM
1216 Fifth Avenue at 103rd Street
New York, NY 10029
United States
If you’d like to attend this event you can RSVP online. Confirmed


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Feb 6 Mon 10am-Noon Met The Mysterious Landscapes of Hercules Segers (Feb 13 Mon-May 21 Sun)

Hercules Segers (Dutch, ca. 1590–ca. 1638). Houses near Steep Cliffs, ca. 1619–23. Oil on canvas, 27 9/16 x 34 1/8 in. (70 x 86.6 cm). Museum Boijmans Van Beuningen, Rotterdam

17C pioneer in painted etchings who showed Rembrandt how
In another extraordinary coup the Met introduces yet another great artist the man in the street has never heard of, with curator Nadine Orenstein of Drawings and Prints gathering almost all the works extant of Hercules Segers of Haarlem and The Hague, the Dutch experimental print maker of the late 16th and early 17th Century (1589 to 1638 approx) who explored ways of combining etching and painting in landscapes of such profound and blessed subtlety that his younger compatriot Rembrandt (1606-1669) is known to have owned at least 8 of his paintings as well as a printing plate, a show that not only will restore and broaden the reputation of one of the most creative minds of five centuries ago but one that exhibits the materials and tools the uniquely experimental master used in his unmatched technical combinations of copper plate etching and double painting with colored inks which have won him a cult following among artists today including filmmaker Werner Herzog who put details of Segers’ landscapes in
Hearsay of the Soul in the 2012 Whitney Biennial, all of which techniques and works written up in the hefty and very complete two part catalogue for $120 designed by the imaginative Irena Boom with covers so black that the faint impression of a Segers work on the covers is for all practical purposes invisible, which in a way conveys the key to appreciating Segers’ work which is to give it time, for the full impression will take a considerable time to make itself felt.

Hercules Segers (ca. 1589–ca. 1638), the great Dutch experimental printmaker, created otherworldly landscapes of astonishing originality by using an extraordinary array of techniques that still puzzle scholars today. The Mysterious Landscapes of Hercules Segers, on view at The Metropolitan Museum of Art from February 13 through May 21, will be the first major exhibition in the United States devoted to the artist, who possessed one of the most fertile creative minds of his time. Although his name is not well known today, Segers’s works were highly prized during his lifetime, and Rembrandt (1606-1669) owned eight of his paintings and a printing plate.

Segers’s surviving works are extremely rare: only 10 impressions of his prints are in museums in the United States (one in The Met collection), and only 15 paintings have been attributed to the artist. The Mysterious Landscapes of Hercules Segers will feature a selection of these paintings, in addition to almost all of Segers’s prints in varying impressions. The Rijksmuseum, whose collection of Segers’s work is the largest in the world, is generously lending its entire holdings (74 prints, two oil sketches, and one painting) to the exhibition. Other European institutions, notably the British Museum and the Kupferstichkabinett of the Staatliche Kunstsammlungen in Dresden, will lend important works that will allow The Met to highlight Segers’s remarkable printed oeuvre in a variety of stages, revealing the range of the artist’s experiments with the etching technique, along with his idiosyncratic use of materials.

Hercules Segers is often characterized as a forgotten genius who was beset by misfortune during his life and died in poverty. In fact, he was a well-known painter, and his work entered numerous collections during his lifetime. The eldest son of a merchant who sold clothes and paintings, Segers was sent to Amsterdam to train with the foremost landscape painter Gillis van Conincxloo. He then joined the artists’ guild in Haarlem in 1612, at a time when that city was an important center for printmaking. In 1614 Segers moved back to Amsterdam and married Anna van der Bruggen, who was 16 years his senior and wealthy. By 1619 he bought a house in Amsterdam with a view of the incomplete North Church (Noorderkerk), which he etched around 1623. Not long afterward, in 1630, Segers faced financial difficulties and was forced to sell his house to pay his debts. Around that time, he also became active selling paintings and moved to Utrecht where he sold approximately 137 paintings, including 33 of his own. His stay in Utrecht was relatively brief, and by early 1632 he had moved on to The Hague, where he died sometime between 1633 and 1638.

Hercules Segers (Dutch, ca. 1590–ca. 1638). The Tomb of the Horatii and Curiatii, ca. 1628–29. Line etching printed with tone and highlights, colored with brush; unique impression, Sheet: 5 1/16 x 7 11/16 in. (12.8 x 19.5 cm). Rijksmuseum, Amsterdam; on loan from the City of Amsterdam, collection Michiel Hinloopen (1619–1708), 1885

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Feb 4 Sat -5 Sun Canjam Headphone Show New York Marriott Marquis Times Square

Some may feel these are still simply the best day-to-day mobile phones of all because of the subtly natural sound of the fine wooden enclosures of the Audio-Technica ATH-ESW9A

Audiophiles unite
Where did all the discriminating listeners go in this 21st Century, post giant speaker era, with all the detail challenged Beats and earbuds, and limited audio spectrum Apple iPhones? You’ll find out at this display of modern headphones and their sound enhancing amplifiers, where price is no object in the search for perfect sonic reproduction but where the consumer level headphone can often compete with the high end wallet splitter in sheer audio pleasure even for the most experienced ear. Let’s see.

Experience the latest headphone audio technology


Throughout 2016, CanJam Global hosted thousands of headphone audio enthusiasts, music-lovers, and audio industry press at their expos in North America, Asia, and Europe. And now, we’re finally coming to take a bite out of the Big Apple! Come experience the latest products from the industry’s leading brands and listen to your music like never before!

Mark your calendars and book your flights, CanJam NYC will take place at the New York Marriott Marquis in iconic Times Square! Its central location is just a short walk to some of the city’s must-see attractions. Within blocks, you can visit over 40 of Broadway’s many theatres, take a stroll through Central Park, or head to the top of the Empire State Building.

CanJam is the global go-to expo for audiophiles looking to enhance their listening experience to the fullest. Now the international convention’s coming to the Big Apple, filling the New York Marriott Marquis with the latest in headphones and personal audio systems. Whether you’re outfitting your studio or workplace, or you just want to give your favorite EDM tracks the perfect earth-shaking bass, you’ll find new products, audio industry experts and cutting-edge exhibitors there to cater to all your audio needs. Expect items for sale, educational seminars, prize giveaways and more at this two-day event catering to pros and novices alike.

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Jan 31 Tue New York Academy of Medicine George J. Makari, Author Soul Machine: The Invention of the Modern Mind

Whence Psychiatry Came
A practicing psychiatrist at a major New York institution who is a practiced historian too has surveyed the unfolding history of the view of the mind from ‘soul’ to ‘machine’, and in a fluent and colloquial talk took us through five centuries of intellectual development in which like the geographer of a broad river to the sea he named and described each of the tributaries, the theoretical contributors who were mapped also on a number of slides, ending with reading out loud part of his final chapter, which unfortunately like the slides proved too dense to absorb without further study, but which gave the overall impression of humans struggling for a long time to account for phenomena of their interior universe which are simply purely emotionally driven and therefore too complex and unmeasurably ill defined to reduce to any kind of permanent physical science, despite all these efforts to map our interior universe, a limitation which the author semed to agree would apply indefinitely, even if such phenomena as the stimulation of a certain part of the brain with electrodes reliably results in giving the impression in the subjects chosen for the experiment in Canada according to one questioner, that they were, like St Paul on the road to Damascus, undergoing a transcendent religious experience, and so left one with the same impression as that which one had had when one arrived, which is that psychiatry is a matter of subjective analysis whose success is founded in emotion rather than intellectual truths.

“Soul Machine: The Invention of the Modern Mind”
George Makari

Speaker: George Makari, Director, DeWitt Wallace Institute
for the History of Psychiatry, Weill Medical College
In his book Soul Machine, Dr. Makari takes us back to the
origins of modernity, a time when a crisis in religious authority
and the scientific revolution led to searching questions about
the nature of human inner life. This is the story of how a new
concept―the mind―emerged as a potential solution, one
that was part soul and part machine, but fully neither.

Soul Machine takes us back to the origins of modernity, a time when a crisis in religious authority and the scientific revolution led to searching questions about the nature of human inner life. This is the story of how a new concept―the mind―emerged as a potential solution, one that was part soul and part machine, but fully neither.

In this groundbreaking work, award-winning historian George Makari shows how writers, philosophers, physicians, and anatomists worked to construct notions of the mind as not an ethereal thing, but a natural one. From the ascent of Oliver Cromwell to the fall of Napoleon, seminal thinkers like Hobbes, Locke, Diderot, and Kant worked alongside often-forgotten brain specialists, physiologists, and alienists in the hopes of mapping the inner world. Conducted in a cauldron of political turmoil, these frequently shocking, always embattled efforts would give rise to psychiatry, mind sciences such as phrenology, and radically new visions of the self. Further, they would be crucial to the establishment of secular ethics and political liberalism. Boldly original, wide-ranging, and brilliantly synthetic, Soul Machine gives us a masterful, new account of the making of the modern Western mind.

george_makari_headshot.jpgGeorge J. Makari, MD is Director of Cornell’s DeWitt Wallace Institute for the History of Psychiatry, Professor of Psychiatry at Weill Medical College, Adjunct Professor at Rockefeller University, and Columbia University’s Psychoanalytic Center. Dr. Makari writes and lectures widely on the lessons to be learned from the history of psychiatry and psychoanalysis. He has published numerous articles and essays for professional journal and venues like The New York Times, The Boston Globe, and The Lancet. He is the author of Revolution in Mind, The Creation of Psychoanalysis, which was published in 2008 to wide acclaim. The book has received over 80 reviews, has been or is being translated into numerous languages, and has been the subject of seven scholarly symposiums. His most recent work, Soul Machine: The Invention of the Modern Mind, was released last year, and was called in the Wall Street Journal “brilliant” “essential reading.” In addition to his research, writing, Dr. Makari maintains an active psychiatric practice and lives in New York City.

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