By Andrew Goldstein. From artnet.com. Posted on 5/9/18.
Ensconced in a spacious suite on the top floor of the Metropolitan Museum of Art that opens onto a grand balcony overlooking Central Park—and the Fifth Avenue apartments of several major museum patrons—Daniel Weiss sits behind one of the most august desks in the cultural world.
Befitting the office of the CEO of the Met, the room is decorated by a personalized assortment of treasures from the collection. Alfred Sisley’s delicately hued Rue Eugène Moussoir at Moret: Winter (1891) and Andreas Achenbach’s dramatically Romantic Sunset After a Storm on the Coast of Sicily (1853) are joined on the walls by a violin borrowed from the musical instruments department—a reminder of the “feeble attempt” Weiss once made to play one—as well as the original typewritten copy of a famous Vietnam War poem by Major Michael Davis O’Donnell, a helicopter pilot who was shot down and went missing in action for 29 years. Weiss is currently writing a book about the poem.
Befitting the office of the CEO of the Met, the room is decorated by a personalized assortment of treasures from the collection. Alfred Sisley’s delicately hued Rue Eugène Moussoir at Moret: Winter (1891) and Andreas Achenbach’s dramatically Romantic Sunset After a Storm on the Coast of Sicily (1853) are joined on the walls by a violin borrowed from the musical instruments department—a reminder of the “feeble attempt” Weiss once made to play one—as well as the original typewritten copy of a famous Vietnam War poem by Major Michael Davis O’Donnell, a helicopter pilot who was shot down and went missing in action for 29 years. Weiss is currently writing a book about the poem.
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