During the economic boom of the 1990s, art museums expanded dramatically in size, scope, and ambition. They came to be seen as new civic centers: on the one hand as places of entertainment, leisure, and commerce, on the other as socially therapeutic institutions. But museums were also criticized for everything from elitism to looting or illegally exporting works from other countries, to exhibiting works offensive to the public taste.

"Whose Muse?" brings together five directors of leading American and British art museums who together offer a forward-looking alternative to such prevailing views. While their approaches differ, certain themes recur: As museums have become increasingly complex and costly to manage, and as government support has waned, the temptation is great to follow policies driven not by a mission but by the market. However, the directors concur that public trust can be upheld only if museums continue to see their core mission as building collections that reflect a nation's artistic legacy and providing informed and unfettered access to them.

The book, based on a lecture series of the same title held in 2000-2001 by the Harvard Program for Art Museum Directors, also includes an introduction by Cuno and a fascinating--and surprisingly frank--roundtable discussion among the participating directors. A rare collection of sustained reflections by prominent museum directors on the current state of affairs in their profession, this book is without equal. It will be read widely not only by museum professionals, trustees, critics, and scholars, but also by the art-loving public itself.

Between a Temple of Art and a Big Event As places to enjoy art, as well as institutions that have become historic, museums can also be examined through the question of who exactly heads up these temples of art. What kinds of personalities have guided the fates of these large, traditional institutions? How have they done so, and what has motivated them? What galvanizes international curators or museum employees, and how have they risen to the challenge of opening their organizations to increasingly large numbers of visitors? Donatien Grau has conducted impressive conversations with influential museum operators. We have him to thank for these personal, art historical, cultural-political, and timely insights into museum operations, the histories of various institutions, and their leaders' very personal attitudes toward art. This volume reads like a detective story about the mediation efforts of museums and the personal motives behind them. Interviews with MICHEL LACLOTTE, Director of the Louvre, Paris, 1987-1995; SIR ALAN BOWNESS, Director of the Tate, London, 1980-1988; SIR TIMOTHY CLIFFORD, Director of the National Galleries of Scotland, Edinburgh, 1984-2006; PHILIPPE DE MONTEBELLO, Director of the Metropolitan Museum of Art, New York, 1977-2009; IRINA ANTONOVA, Director of the Pushkin Museum, Moscow, 1961-2013; PETER-KLAUS SCHUSTER, General Director of the Staatliche Museen zu Berlin, 1998-2008; SIR MARK JONES, Director of the Victoria & Albert Museum, London 2001-2011; TOM KRENS, Director of the Guggenheim Museum, New York, Venice, and Bilbao, 1988-2008; WILFRIED SEIPEL, General Director of the Kunsthistorisches Museum, Vienna, 1998-2008; HENRI LOYRETTE, Director of the Musee d'Orsay, Paris (1994-2001), and the Louvre, Paris (2001-2013). DONATIEN GRAU is a newspaper art critic, a museum curator, and a university teacher. His lively and clever voice has a firm place in the field of art.

Intimate portraits from one of the most innovative figurative artists of the twentieth century and the master of painted flesh. Curated by the artist's longtime studio assistant and friend, David Dawson, this important volume features twenty major and rarely seen paintings by Lucian Freud (1922-2011). The book begins with works from 1990, when Freud began painting the performance artist Leigh Bowery: these large-scale portraits of Bowery ushered in a new sense of monumentality in the artist's oeuvre. Inspired by Bowery's impressive physique, Freud began working on a larger scale, which emphasized the physical presence of his subjects. Despite their grand scale, Freud's subjects are still depicted with a sense of intimacy, penetrating honesty, and psychological depth. The naked body is a subject that has special significance in Freud's oeuvre. Nakedness was a way for Freud to get a more truthful portrait. Freud's probing oils get fresh consideration in this monograph and Dawson provides insights and stories about Freud working on these portraits, giving an intriguing behind-the-scenes look at the life of a contemporary master of representational art.