Last fall, the art historian Victoria C. Gardner Coates published an op-ed article in the Wall Street Journal suggesting that the utopian multicultural paradise imagined by the Metropolitan Museum of Art in Jerusalem 1000-1400: Every People Under Heavenwas being used to promote a particular political position concerning the status of today’s Jerusalem. The exhibition functioned, in her words, “as a highbrow gloss on the movement to define Jerusalem as anything but Jewish, and so to undermine Israel’s sovereignty.”https://mosaicmagazine.com/response/2017/03/not-your-city-everyones-city/
Coates’s article provoked a letter to the editor from Thomas P. Campbell, the Metropolitan’s director and chief executive officer (until his sudden resignation in late February). Objecting to Coates’s “extraordinarily narrow perspective,” Campbell assured readers of the Journal that, far from engaging in an anti-Israel “conspiracy”—his word, not hers—the museum’s purpose in mounting this “unprecedented gathering of masterpieces from the three Abrahamic faiths” was simply to “reveal the richly intertwined nature of these various aesthetic traditions at a fascinating moment in Jerusalem’s history.”
“If anyone has chosen to politicize the exhibition,” Campbell concluded, “it is Ms. Coates.”
I have no reason to doubt the sincerity of Campbell’s belief in the innocence of his museum’s exhibition, a belief shared by almost all reviewers. On certain subjects, when historical facts and their implications threaten to disrupt one’s more heavenly and comforting visions, the tendentious aspects of such visions simply become invisible: beyond notice, and certainly beyond argument. All the more reason, then, for me to thank the three respondents to my essay—Robert Irwin, Steven Fine, and Maureen Mullarkey—for making even more palpable the weighty historical facts that prove the illusion, or delusion, in Thomas Campbell’s blithe conception of that “fascinating moment in Jerusalem’s history.”
The Met was intent on showing medieval Jerusalem to be, in Irwin’s words, “the capital of a culturally vibrant La La Land,” and no counter-evidence—abundant examples of which are provided by Irwin in his learned and lively response—was permitted to get in the way. Moreover, just as the show’s positive vision of a medieval paradise was open to serious question, so too was its vision of the age’s stock villains; Mullarkey’s acute points about the show’s notion of the singular evil of the Crusades and of Christian rule in the Holy Land provide fodder for a much more extended inquiry.
Perhaps most surprising is how thoroughly the Met ended up distorting not just a proper historical perspective but a proper aesthetic perspective as well. Given how few artifacts in the show were actually from Jerusalem, and given that fewer still could even remotely be considered “masterpieces” (Campbell’s inflated term), the Met cannot be said to have demonstrated, on its own terms, how great cultural glories arose out of this presumed multi-faith experiment in convivencia.