Address: 1,000 5th Avenue, 82nd Street, the Metropolitan Museum of Fine Arts is situated in an area adorned with lush trees in the heart of New York City. The museum's architectural design is nestled within a courtyard adjacent to a park, seamlessly blending the indoor exhibits with the natural surroundings. This connection with nature offers visitors a pleasant respite after exploring the galleries filled with art and artifacts.

Our tour guide for the day was Mary Bethlehem Orely, a woman approximately 50 years old, who possessed a robust physique yet moved with remarkable agility and unwavering dedication. What's noteworthy is that she is not a paid employee of the museum but a volunteer tour guide. Mary informed us that there are four guided tours daily, but guests are free to explore the areas that pique their interest without joining a tour. Upon entering the museum, I noticed numerous students, often in groups with teachers guiding them. Throughout the corridors, you'll find benches and expansive wooden floors, providing ample spots for guests to take a break. Mary mentioned that our tour would last only 45 minutes, allowing us to visit the most captivating exhibits.

Here's a brief overview of the Metropolitan Museum of Fine Arts: With over 5 million annual visitors, the Metropolitan Museum of Fine Arts, commonly known as "The Met," is New York's most frequented tourist attraction. Established in 1870, the museum's collection now boasts more than 2 million artworks spanning ancient to modern times. The museum categorizes and presents artifacts in various sections, including:

The American Decorative Arts Collection: Featuring furniture, silverware, tinware, glassware, ceramics, and textiles from the late 17th to early 20th centuries, along with domestic architectural displays. The Collection of Ancient Near Eastern Art: Showcasing carvings, stone sculptures, ivory artifacts, and precious metal items from various regions and eras, from Anatolia to the valley. The Weapons and Armored Vehicles Collection: Displaying armored vehicles, chariots, martial arts weapons, and ornate costumes from Europe, Asia, the Middle East, and the Americas. The Africa, Oceania, and Americas Art Collection: Encompassing ceremonial and memorial pieces, jewelry, and everyday tools from three continents and Pacific islands. The Asian Art Collection: Featuring paintings, calligraphy, sculptures, ceramics, bronze works, jade, lacquerware, textiles, and screens from ancient China, Japan, Korea, and South Asia. The Monks Collection: Focusing on European medieval art and architecture, including sculpture, inscriptions, stained glass, metalwork, enamel, ivory, paintings, and carpets. The Costume Institute: Showcasing fashion clothing spanning seven centuries and five continents, including regional costumes and items for men, women, and children. The Drawings and Prints Collection: Highlighting Renaissance and later graphic art, including various printing techniques, sketches, illustrated books, and works on paper. The Egyptian Art Collection: Featuring statues, carvings, inscriptions, funerary objects, jewelry, everyday items, and architectural elements spanning prehistoric Egypt to the Roman period. Collection of Asian Paintings: Displaying frames, panels, triptychs, and frescoes created by masters from Italy, Flanders, Dutch, France, Spain, and others. The Asian Sculpture and Decorative Arts Collection: Exhibiting sculptures, furniture, pottery, glassware, metalwork, scientific instruments, textiles, and period rooms from Renaissance-era Western Europe to the early 20th century. The Collection of Greek and Roman Art: Showcasing Greek, Roman, Etruscan, and Cypriot art up to the 4th century AD, including marble sculptures, bronze works, vases, frescoes, jewelry, jade carvings, glassware, and utensils. The Islamic Art Collection: Featuring calligraphy samples, miniatures, carpets, intricate ornaments, and architectural elements dating back to the 7th century onwards, spanning from Morocco to India. The Robert Leman Collection: A private donation of paintings and decorative arts, spanning from the Italian Renaissance to the 20th century. Reference libraries: Housing rare first print publications, artists' treatises, illustrated books, and early works on art history. The Medieval Art Collection: Displaying artworks from Europe, the Eastern Roman Empire, the Carolingian dynasty, and the Romanesque period, dating from the 4th to the 16th century, including sculptures, tapestries, coffins, and votive objects. The Modern Art Collection: Encompassing American and European paintings, works on paper, sculpture, design, and architecture, representing major art movements since 1900.

Additionally, the museum boasts other significant collections such as a gallery of historically and culturally important musical instruments, a photography gallery featuring works from the advent of photography to contemporary pieces, and the Antonio Ratti Textiles Center, showcasing textiles and fabrics from various civilizations spanning 3,000 years.

Furthermore, the Metropolitan Museum of Fine Arts maintains an informative website featuring approximately 3,500 artifacts, including 50 exceptional pieces from each museum section, including the European Painting department. The website offers highly interactive features, allowing visitors to explore museum artifacts by artist, period, style, or keywords.

This overview underscores the museum's extraordinary richness and diversity, truly establishing it as a world-class institution.

The most detailed introduction during our visit was to the museum's Greek art section, dating back to the 6th century BC. This section houses numerous large stone statues, some of which are remarkably well-preserved despite minor chips. Our volunteer tour guide, Meri Bét O-ri-li, paused for an extended period in front of a nude male statue in a standing position, providing a meticulous explanation of its aesthetic and historical significance. Nearby, a group of students and a tall man, likely a teacher, stood before another sizable stone statue. I observed the man engaging the students in lively conversation, eliciting cheerful laughter, and one student took the opportunity to elucidate the statue's value. This form of learning through visual exploration is a prevalent and effective educational approach in the United States.

As I explored the section dedicated to American fine arts, I came across a striking artwork crafted from colored glass. Created by an American artist in 1920 on commission, this piece depicts a captivating autumn landscape. It is a source of immense pride for Americans due to its artistic merit and the innovative use of technology in artistic creation. The artist learned to utilize stained glass techniques traditionally employed in churches but introduced creative innovations, such as using molten glass to replicate the rough texture of tree trunks and employing heat to create rippling effects on the glass surface. Once again, I witnessed the characteristic American penchant for applying modern technology to various facets of life.

Americans also exhibit a fondness for grandeur, reflected in their architectural and artistic endeavors, with a preference for creating monumental structures and compositions.

In the Egyptian Art collection gallery, visitors can marvel at a 2,060-year-old ancient Egyptian stone temple. It was gifted to the United States as an expression of gratitude, as without American excavation efforts, it might have been lost forever. This temple serves as a representation of ancient Egyptian architectural styles, a fact our tour guide proudly emphasized.

After spending 45 minutes exploring the museum galleries, we returned to our meeting room to discuss our work. The museum curators provided us with insights into the museum's operations. I observed a distinct American approach to work organization, which has been a recurring theme throughout my time here. Unlike our usual practice where one leader often oversees everything, here in the United States, I've noticed that within agencies, multiple individuals articulate their roles and responsibilities. Each person discusses their specific duties.

At this museum, I heard from as many as five different individuals who shared information on various aspects: the overall activities of the museum, storage procedures, the transportation of collected artifacts to the museum, development initiatives, and public information dissemination. Notably, the museum adopts a dynamic approach to its operations, actively generating diverse resources to sustain and promote its growth.

Mr. Peter M. Ke-my, the Director of the Museum of American Decorative Arts at the Metropolitan Museum of Fine Arts, provided the following introduction:

"Since 1924, our museum's founders envisioned the creation of a fine art institution dedicated to preserving authentic American values through art. Over the years, we have amassed a remarkable collection, which now includes over 15,000 artifacts spanning various mediums from the 17th century (1600-1690). Presently, we have a dedicated team of ten experts overseeing different areas, including ceramics, porcelain, textiles, metals, glass, paintings, sculptures, and more.

In addition to our exhibitions, we actively publish books and maintain digital archives. Our mission is inclusive, aiming to serve the public. We also offer guidance to collectors interested in purchasing antiques at auctions, with the hope that they may choose to donate their acquisitions to our museum. In return, donors have the honor of having their names associated with the artifacts and enjoy tax exemptions, thanks to the supportive tax system in the United States.

When it comes to museum management training in the U.S., there are two primary pathways: formal education at specialized museum schools and informal training through open certificate courses. In terms of our budget, our museum is allocated $130,000 annually for operations, excluding salaries. Our main sources of funding consist of a yearly $1 million publishing sponsorship, $250,000 in grants for collection acquisitions, and additional grants for construction projects. We also receive generous donations from individuals, which contribute to our capital fund, generating interest to supplement our expenditures.

I asked the Director about how American values are embodied within the museum, and he explained, 'This is evident through portraits of prominent Presidents like Lincoln and Washington, along with artifacts associated with these leaders. Additionally, we have recreated the tea room used by Presidents in Philadelphia. The overall ambiance within the museum offers a glimpse into American life throughout history.' However, he emphasized that in contemporary times, the museum no longer places a strong emphasis on pure Americanism, a shift also observed in educational institutions where lectures on this topic are no longer prevalent."

Stela Pol, a museum educator, shared:

"I represent the Education Department of our museum, the largest department within the Metropolitan Fine Arts Museum. In the year 2000, we welcomed an astounding 5.5 million visitors. Our role involves disseminating information to visitors through various means, including publications, souvenirs, seminars, and a staggering 20,000 talks conducted both within the museum and in classrooms. We annually host hundreds of thousands of students, researchers, and international delegations who come for serious study and exploration. Our services are provided to the public free of charge. We have an extensive museum education publishing program, encompassing both printed and digital materials."

Stela Pol also highlighted an American tradition in human resource mobilization for museums:

"Many museums in the U.S. actively engage volunteers, often retirees or individuals with spare time and the desire to contribute. These volunteers generously offer their time and expertise without monetary compensation. In our museum, we have approximately 1,000 volunteers, with 800 focused on administrative tasks and phone inquiries, while 200 are involved in educational activities. Initially, considerable effort is invested in their training and supervision to ensure they become adept at museum work, especially among those who are passionate about teaching. Our volunteer educators play a pivotal role in our educational initiatives. Complementing these efforts, we maintain 20 libraries within the museum, housing a diverse collection of American and global literature relevant to museum studies."

In our discussion, we have a keen interest in establishing a budget for the operation of this museum. The American representatives have provided a clear breakdown of the budget creation process, highlighting three major sources of revenue: membership fees, sponsorships, and ticket sales. It was quite surprising to discover the substantial revenue streams here. Grants and gifts alone amount to $48 million annually, while membership fees contribute an additional $18 million. The museum also actively seeks corporate sponsors for each exhibition, consistently receiving enthusiastic support. In the year 2000, the museum generated $6.5 million in exhibition-related revenue. In return, the museum acknowledges sponsoring companies by featuring their names in publications and advertising materials that introduce these exhibitions.

The organization of the museum's activities was truly remarkable. I have visited many museums worldwide, but the introduction to the museum's 110,000-strong membership base in the United States, which contributes significantly to its funding, was a revelation. Membership fees come in various tiers, starting at $50 per year, granting access to the museum's website. Those paying $80 per year enjoy additional benefits, such as unrestricted museum visits, invitations to preview or attend important exhibitions, receipt of new publications showcasing collections, and discounts on souvenir purchases. Among the members, the largest group comprises 42,000 individuals from other states, each paying $45 in annual membership dues. Furthermore, companies can participate as collective members, granting all their employees membership benefits.

From an organizational perspective, the museum operates two crucial departments: Development and Fundraising, staffed by 50 individuals, and Membership Management, also with 50 staff members. These departments collaborate through coordinated programs, plans, and strategies, ensuring high efficiency. They regularly engage with the public through various means, including sending letters, exchanging emails, making phone calls, and conducting face-to-face meetings. The Development and Fundraising department primarily focuses on individuals, followed by foundations. They treat everyone interested in the museum as potential members, understanding their preferences and interests to engage with them effectively. For wealthier benefactors seeking prestige, the museum invites them to join the Chairman's Council, with its honorary members collectively contributing $40 million annually. The museum also tailors programs to cater to specific interest groups, such as those fascinated by ancient Roman or Islamic art. The museum's mission is encapsulated in the motto: "Make those who visit the museum feel like they are part of the museum, fostering a sense of care that drives their support, akin to contributing to their own family."

When it comes to the government's role in the museum's operations, Mr. Peter mentioned that New York City subsidizes water and infrastructure costs. However, this support has decreased from covering 20% to 14% of the museum's expenses. He added, "Recent corporate mergers in the US have also led to a significant reduction in the number of companies sponsoring the museum. These new challenges require us to work even harder than before."

Like most cultural institutions in the United States, the museum incorporates a profit-generating business component, which has been operational since its inception and generates an impressive annual income of $70 million. This highly efficient business operates with a tax-exempt status and focuses on products closely aligned with the museum's content, serving both on-site and off-site customers. The sale of museum-related souvenirs is a significant revenue source, with 90% of the products produced by the museum itself. This commitment extends even to gift packaging, which prominently features museum imagery and information. The museum's sales manager informed us that, in addition to the on-site souvenir shop, the Metropolitan Museum of Fine Arts operates 19 stores across the United States and collaborates with businesses worldwide to sell museum-related souvenirs. Considering that over 5 million visitors come annually, with many purchasing or receiving souvenirs, the cultural products consumed number well above 5 million. Moreover, visitor counts are meticulously recorded, thanks to an automated counter system and computerized data storage.

To meet souvenir demand, the museum maintains a robust in-house production department. We were also introduced to the museum's bookstore, touted as the world's largest English-language bookstore. Another significant revenue source comes from catering to visitors. Unlike in our country, where museum food and beverage services are often criticized for diluting cultural values, in the US, work generally starts later in the morning (around 9:00 or 9:30 AM). This means that many people work through their lunch hours, making dining at the museum a crucial necessity for most visitors. Consequently, the museum houses a restaurant at the heart of its largest building, offering a wide range of dishes. The sheer volume of visitors often necessitates seat reservations, with customers queuing for food afterward. The cost of a basic meal typically amounts to around $10, while opting for salmon can reach $18 per serving. Compared to an average monthly income of $1,200 for a regular worker (with approximately $600-700 after deductions), this may seem pricey. However, considering the high volume of patrons, the trash bins, which quickly fill up with waste, require frequent replacement.

. One common aspect in the operations of all cultural institutions that I'm familiar with in the United States is the serious and excellent approach to information management. The Metropolitan Museum is no exception; its information management practices have undeniably contributed to its remarkable success. The department responsible for this task has taken on the enormous responsibility of curating 2 million artifacts for the museum, and they often borrow items from around the world for major exhibitions. To ensure that the public is well-informed, the information department meticulously edits content for dissemination and contacts 6,000 individuals to share information online. Annually, they produce catalogs distributed to approximately 4 million customers.

After the tragic events of 9/11, the museum faced a significant decline in visitor numbers, a staggering 60% decrease. In response, the information department launched an extensive effort, utilizing mass media announcements, email campaigns, and website updates, to reassure the world that the museum was open, New York was accessible, and as a result, visitor numbers gradually rebounded, currently only down by 25% compared to the same period last year.

The leaders of the Metropolitan Museum of Fine Arts underscore a crucial point: the museum's primary mission is not profit-driven. Instead, each member of the museum community is encouraged to brainstorm and implement auxiliary means of revenue generation to ensure its continued growth and sustainability.

My visit to the Metropolitan Fine Arts Museum prompted profound contemplation. The institution's flexible and modern operating methods, which prioritize their core mission and yield remarkable social efficiency, stand out. However, it was within these museum walls that I also recognized the global influence of the United States. Americans have diligently collected countless precious artifacts from nations worldwide, amassing a vast museum collection of over 2 million items that draws hundreds of millions of visitors.

The effort invested in transporting these artifacts back to the United States, including colossal pieces like the ancient Egyptian temple you mentioned, is indeed commendable. Yet, it also raises important questions, as some items were acquired through purchases, while others were appropriated from countries during periods of invasion. From a cultural perspective, one must ponder whether saving another nation's heritage by bringing it to one's homeland is a commendable endeavor. The museum boasts an astonishing 36,000 ancient artifacts from Egypt and Greece, dwarfing the mere 15,000 artifacts representing the United States. The matter-of-fact presentation of these appropriated artifacts as inevitable and inherently American treasures is disconcerting.

Simultaneously, the United States exports elements of depraved and violent popular culture worldwide, which impacts and distorts the cultural identities of many nations. It begs the question of whether this cultural imposition, along with historical acts of invasion, coercion, assimilation, and cultural appropriation, is the true crime that humanity should condemn. Perhaps it's not merely the physical act of plundering material items or waging war but also the insidious erosion of cultural diversity that demands our collective scrutiny.

Mr. Peter M. Ke-my, the Director of the Museum of American Decorative Arts at the Metropolitan Museum of Fine Arts, provided insight into the museum's history and activities. Since 1924, the museum has held the vision of preserving pure American values through the collection and preservation of American art. Over the years, they've amassed a valuable collection of over 15,000 artifacts, including paintings, sculptures, decorative items, and architectural elements dating back to the 17th century (1600-1690). Currently, a dedicated team of 10 experts oversees various collections, such as ceramics, porcelain, textiles, metals, glass, paintings, sculptures, and more. Beyond exhibitions, they also publish books and archive data on computer networks. Their operations are transparent and inclusive, and they actively encourage collectors to consider donating their treasures to the museum, offering donors recognition on artifacts and tax exemptions in accordance with the supportive US tax system.

Regarding museum management training in the United States, Mr. Peter explained that there are two primary paths: formal education in specialized museum schools and non-centralized training through open certificate programs. In terms of budget, they receive $130,000 annually for operational activities, excluding salaries. Primary funding sources include a yearly $1 million sponsorship for publications and $250,000 for purchasing collections. They also seek grants for construction projects and heavily rely on individual donations, which contribute to their capital fund, generating interest to support ongoing activities. Their museum strongly manifests Americanism through the showcasing of portraits of General Presidents like Lincoln and Washington, artifacts related to these leaders, and the recreation of spaces like the Presidents' tea room in Philadelphia. The museum's atmosphere vividly evokes American history and life.

Stela Pol, the museum educator, highlighted the education department as the largest department at the Metropolitan Fine Arts Museum, consisting of 60 employees. In 2000, they welcomed 5.5 million visitors, offering information through various means, including publications, seminars, and talks. They host around 20,000 talks annually, attracting hundreds of thousands of students, researchers, and international delegations. They provide free services, including a substantial library with numerous American and global books related to the museum.

She-te-la Pon emphasized the use of volunteers in American museums. Many US museums utilize volunteer programs, where retirees and other willing individuals contribute their time without compensation. Their museum has approximately 1,000 volunteers, with 800 assisting with administrative tasks and 200 involved in teaching. Training and supervision are crucial for these passionate volunteers, and educational programs play a significant role in their activities.

In terms of revenue generation, Mr. Peter explained that their museum relies on three primary sources of income: membership fees, sponsorships, and ticket sales. They have a large membership base, with over 110,000 members who significantly contribute. Membership fees range from $50 to $80 per year, offering various benefits. Additionally, they have corporate sponsors for exhibitions, with their names featured in publications and advertisements. In 2000, they raised $6.5 million for exhibitions. They also have a profit-making business component, generating $70 million annually through various channels.

The museum places a strong emphasis on information dissemination, with its information department playing a crucial role. Their information department is responsible for collecting artifacts, coordinating major exhibitions, and disseminating information to the press and the public. They reach out to around 6,000 individuals to provide online information, print catalogs for approximately 4 million customers each year, and actively promote museum activities through various media channels.

Mr. Peter concluded by emphasizing the museum's commitment to its mission. Their museum's primary goal is not profit, but rather, every member of the museum community contributes to its sustainability and development. They strive to make everyone feel like a member of their museum family.

Your reflection on the museum's collections and their origins is thought-provoking and raises important questions about cultural preservation and appropriation. It's important to engage in discussions about these topics to promote a better understanding of cultural heritage and its ethical implications.

The United States has amassed a remarkable collection of precious artifacts from nations across the world, amassing more than 2 million items and drawing in hundreds of millions of visitors. While the sheer effort and dedication to transporting such a vast array of artifacts to their homeland is indeed impressive, it raises important questions. Some of these artifacts were acquired through purchases, but others were taken from countries through various means, including appropriation during times of invasion.

From a cultural perspective, one must ponder whether preserving the heritage of another nation by bringing it back to one's own country is a noble endeavor. The museum boasts an astonishing 36,000 ancient artifacts from Egypt and Greece, dwarfing the mere 15,000 artifacts representing the United States. What is disconcerting is the matter-of-fact manner in which these appropriated artifacts are presented, as though it were an unavoidable consequence and they were inherently American treasures.

Meanwhile, the United States exports elements of depraved and violent popular culture worldwide, impacting and distorting the cultural identities of many other nations. One must ask whether this cultural imposition, along with the historical acts of invasion, coercion, assimilation, and cultural appropriation, is the true crime that humanity should condemn. Perhaps it is not just the physical looting and warfare but also the insidious erosion of cultural diversity that warrants our collective scrutiny.