Teh Metropolitan Museum of art is not an isolationist place: its director Max Hollein is faithful too the founding global vision of the institution and to a New York myth. He will also expand his house.he need not fear American politics.
At first there was envy. When the Metropolitan Museum was founded 154 years ago,there was no permanent art collection that needed a new home,no house to house the museum,not even a name. There was only one group of American art lovers who came home from a visit to the Louvre in Paris wiht the firm belief that we needed something like this hear in New York. ItS hard to remember that origin story, given the art palace that stands majestically right next to Central Park: a foundation from nothing.
So, how is the Metropolitan Museum of Art doing today? Brilliant, if Max Hollein’s words are to be believed. Hollein, originally from Vienna and director of the Schirn und Städel in Frankfurt am Main from 2001 to 2016, has been a museum director in New York for six years. And he brought with him some figures, which he presented to a crowd of journalists with evident pleasure.
Voilà: the museum has an operating budget of $340 million per year; this does not include the purchase of larger art and construction projects. It has an endowment of four and a half billion dollars. A quarter of the operating budget comes from the foundation, the rest from donations and revenue, and New York City donates another $20 million. Simply put, the Metropolitan Museum is funded primarily by private individuals and is beholden to no one: no government in Washington can dictate its agenda.
The Met is a “universal institution”
Five and a half million people visited the museum in the last fiscal year. This makes it, Hollein says, “the most visited museum in the United States.” the crisis resulting from the Covid epidemic, which transformed New York into a ghost town for months, has been overcome. hollein is also satisfied with the composition of the visitors: very young and ethnically very mixed.
Only visitors from abroad have not returned in the same numbers as before the Covid period. 40% of visitors come from New York and its surrounding areas. The Metropolitan Museum, says Max Hollein, “is not a national institution, but a universal one” and is deeply connected to “new York as a melting pot of cultures”.
Many museums around the world, including the Metropolitan Museum, are dealing with the issue of restitution, that is, the return of stolen works of art. The Metropolitan Museum has hired more staff to deal with restitution issues, Hollein says, and does not wait until there are requests but intervenes itself if a work of art is found to have been illegally taken from its country of origin. origin.
Recently, works of art have been returned to Cambodia, Thailand and Iraq. But the opposite situation also occurred: Yemen asked the Metropolitan Museum to take care of works of art from this country while a civil war was raging there.
but Max Hollein didn’t appear before journalists just to adorn himself with past glories. It also features “capital projects”: projects that will consume a lot of money in the future (two billion dollars) and demonstrate capital ambitions. In the following years the Metropolitan Museum was rebuilt on a large scale. An entire part of the building, the southwest wing, were modern art is displayed, will be demolished and rebuilt in new splendor with much more space.
The Metropolitan Museum has a problem: it can’t expand any further, not towards the street side, but not even towards Central Park. The renovation projects make virtue of this necessity: the new building complex will be open onto the park, instead of presenting itself with a unfriendly concrete wall as before. From the upper floors you will have a fantastic view of the greenery. Construction will begin in 2026 and the new building will open to the public four years later.
The new Michael Rockefeller wing, reserved for Inca and Mayan works of art, but also for works from Oceania and Africa, is essentially already finished. In the new design, the shop windows, totems and old stone masks suddenly have a lot of air around them; audiences will be able to watch it starting in May next year.
In the new year, the Metropolitan Museum will also offer Americans the possibility to admire the paintings of a painter they almost didn’t know: Caspar David Friedrich. There are currently five of his paintings in storage in the United States, including one in New York. (For comparison, the Metropolitan Museum alone has forty works by van Gogh.)
He uses them all Exhibitions by caspar David Friedrich which took place in Germany this year, says Max Hollein, borrowing many of the images shown there. If you haven’t seen enough Caspar David Friedrich yet, in 2025 all you have to do is get on a plane and come to the building in Central Park.
The director leaves no doubt that under his leadership the Metropolitan Museum has no intention of escaping the world conflict in an apolitical way.“We are against nationalism,” says Hollein. “We celebrate the meeting of cultures”. His announcements can be summarized as follows: The Metropolitan Museum is undergoing major renovations and there is resistance.
What are the key strategies Max Hollein employs to ensure inclusivity adn diversity at the Metropolitan Museum of Art?
Interview between Time.news Editor and max Hollein, Director of the Metropolitan Museum of Art
Editor: Welcome, Max. It’s a pleasure to have you here. The Metropolitan Museum of Art has such a rich history, starting from its inception 154 years ago. Can you share what aspects of this origin story you find the most inspiring in yoru role today?
Max Hollein: Thank you! It’s great to be here. I frequently enough reflect on the museum’s humble beginnings—art lovers returning from the Louvre with a vision. It reminds me that the Met was built on passion and the belief that art is for everyone. My role is, in many ways, to honor that foundational mission by making art accessible and relevant in today’s diverse society.
Editor: Speaking of accessibility,your recent report shows that the Met has an operating budget of $340 million. That’s extraordinary! How do you ensure that the museum remains accessible to a wide audience while also managing such a significant budget?
Max Hollein: Absolutely, it’s a balancing act. Over 40% of our visitors come from New York and its surrounding areas, and we strive to keep admission affordable. fundraising plays a crucial role. We have a robust community of private donors, and we’re fortunate to receive $20 million from New York City. This allows us to focus on educational programs and outreach initiatives that enhance accessibility.
editor: You mentioned the composition of your visitors is notably young and ethnically diverse. How do you cater to this demographic?
Max Hollein: That’s one of my proudest achievements. We’re focused on curating exhibits that reflect a multitude of cultures and experiences. Our programming includes community events, workshops, and exhibitions that resonate with younger audiences. We want everyone to see the Met as a place where they can find their stories represented in art.
Editor: In light of the pandemic,you mentioned that the Met has rebounded remarkably well. what changes did you implement during that time that you believe have had a lasting impact on the museum?
Max Hollein: The pandemic forced us to rethink how we engage with the public. For instance, we accelerated our digital initiatives, enhancing our online experiences and expanding virtual exhibitions. These efforts will continue, making the Met more accessible to global audiences, even beyond those who can physically visit the museum.
Editor: You’ve also referred to the Met as a “universal institution.” Can you elaborate on what that means in terms of your mission and strategy?
Max Hollein: The idea of a universal institution speaks to our role in reflecting a broad spectrum of human experience. The Met is a place where cultures converge, and we embrace that melting pot aspect of New York City. Our art collection spans centuries and continents, and our mission is to present that diversity authentically and comprehensively.
Editor: Lastly, as the director of such a revered institution, how do you view the relationship between museums and contemporary politics?
Max Hollein: Museums must navigate complex political landscapes, but we remain true to our mission. The Met is beholden primarily to our visitors and supporters. Our independence allows us to explore narratives that might potentially be controversial, stimulating conversation and thought, which is paramount in today’s society.
Editor: Thank you, Max. Your insights shed light on how the Met continues to evolve while staying true to its roots. Wishing you further success as you continue to expand this cultural landmark!
Max Hollein: Thank you! It’s been a pleasure discussing the future of the Met with you.