"A blockbuster exhibition of human achievement and flaws."New York Times Book Review
"Gross demonstrates he knows his stuff. It's a terrific tale... gossipy, color-rich, fact-packed... What Gross reveals is stuff that more people should know."USA Today
"Tantalizing... irresistable... one of the year's most entertaining books."The Daily Beast
"Yummy."New York Daily News
"Riveting and accurate. My God! The back-stabbing and Machiavellian conspiracies! I had no idea. I learned a lot."Tom Hoving
"Michael Gross has proven once again that he is a premier chronicler of the rich. Rogues' Gallery is an insightful, entertaining look at a great institution-with all its flaws and all its greatness."Gay Talese
"The author clearly relishes dishing the dirt, but he also offers a supremely detailed history of the museum...Gross's portrait of Met politics is sharp and well-constructed. A deft rendering of the down-and-dirty politics of the art world."Kirkus Reviews, April 1, 2009
"Sprawling histor... Behind-the-scenes dirt and an intriguing look at the symbiosis of culture and cash."Publishers Weekly, March 30, 2009
Now in a new, updated paperback edition, Rogues’ Gallery is the first independent, unauthorized look at the epic saga of the nation’s greatest museum, the Metropolitan Museum of Art, and an endlessly entertaining follow-up to Michael Gross’ bestselling social history 740 Park. Gross pulls back the shades of secrecy that have long shrouded the upper class’s cultural and philanthropic ambitions and maneuvers — and paints a revealing portrait of a previously hidden face of American wealth and power, a rich, satisfying, alternately hilarious and horrifying look at America’s upper class, and what is perhaps its greatest creation. Includes a new afterword by the author, updating the story and telling the startling story of the book itself.
$16.99 * ISBN: 978-07679-2489-4 * Media Contact: Dyana Messina at Random House (212) 572-2098 or dmessina (at) randomhouse (dot) com * If you’d like Michael Gross to speak to your group contact: Authors Unlimited (212) 481-8484
October 3rd, 2019
Today’s New York Times reflects the current fashion for questioning the composition of the boards of cultural institutions. Ten years ago, Rogues’ Gallery did the same, using the sometimes sordid stories of the founders and boards of the Metropolitan Museum of Art as a window on the ways cultural philanthropy is used by the wealthy and powerful to launder their reputations, and how those institutions encourage and protect them. The Times’ Book Review called the book “a blockbuster exhibition of human achievement and flaws.” So is the paper’s must-read story today.
August 7th, 2019
New York Magazine’s Whitney Mallett and Katy Schneider have created a guide to the latest gallery of rogues to join the boards of the city’s leading cultural philanthropies. Rogues’ Gallery gets a shout-out–alongside Metropolitan Museum board members like Henry Kissinger and David Koch.
May 5th, 2019
Rogues’ Gallery was published ten years ago today and remains both banned in the bookstore of the Metropolitan Museum of Art, its focus, and pointedly relevant, as last month’s death of longtime museum trustee Jayne Wrightsman, and this week’s frenzy over the Costume Institute’s annual gala, aka the Party of the Year, demonstrate. I think of the book as my favorite child, the one that caused the most trouble, was deemed a delinquent, and thus, merits extra love–my little James Dean, you might say, only this rebel had a cause: Highlighting how the wealthy use culture and philanthropy to launder their money, their deeds, and their reputations. And yes, members of the Sackler family of opioid fame are also characters in the book The New York Times Book Review called “a blockbuster exhibition of human achievements and flaws.” Happy birthday, baby. Truth is beauty.
April 24th, 2019
Tomorrow’s New York Post features an obit/excerpt from Rogues’ Gallery on the extraordinary Jayne Wrightsman, who died this week. It’s really about more than one museum.
April 20th, 2019
One of my best and most knowing sources from Rogues’ Gallery, my book on the Metropolitan Museum of Art, tells me that Jayne Wrightsman, arguably the last living society lioness, has died after a long decline at age 99. She was born Jane Larkin in Flint, Michigan, in 1920. The daughter of an architect who mysteriously disappeared from her life, but went on to build American embassies and consulates for the U.S. State Department during and after the Great Depression, and, as described in that book, “a whisky-voiced southern-accented nightclub habitue nicknamed Chuggy,” she became an icon of American reinvention. With the husband she met in Los Angeles in the 1940s, Charles Wrightsman, the son of an Oklahoma wildcatter and one of the wealthiest men in America, she climbed to the top of American Society when there still was such a thing, and helped ensure the Met Museum board’s status as the most sought after seat of social power in the city from the mid-1950s until the millennium–and beyond. The photo shows her in a Los Angeles nightclub in her days as an eligible girl-about-Beverly-Hills.
March 26th, 2019
Today’s New York Times details a backlash against the philanthropy of the drug-dealing Sackler clan, best known here in New York as the donors of the Metropolitan Museum of Art’s Temple of Dendur (above), Sackler Wing and Sackler Galleries. The back story of the current controversy is told in Rogues’ Gallery, my book on how the super-rich have used that museum–and other causes–to launder their reputations and in the words of the book’s epigraph from Bernard Mandeville, turn “Private Vices…into Publick Benefits.” The story begins in 1963, and includes the family’s invention of modern drug marketing (Sackler made Valium the first $100 million drug); secret deals personally benefiting Dr. Arthur M. Sackler; and his and his brothers’ bare-knuckle bargaining, extraordinary demands, and threats against the museum’s board and administrators, including accusations of anti-Semitism against the museum, and homophobia against the Sackler family. “So what?” Sackler’s attorney snapped at me when I called him for comment. “Do you think most people who give money are easy to get along with? That’s life.” So is comeuppance, even when served cold.
June 20th, 2017
Last week, William D. Cohan interviewed me on covering the world of wealth in New York at a 92Y Talk. Here’s the podcast.
April 2nd, 2017
The Rockefeller family’s enduring legacy, the subject of a feature story by Michael Kaplan in today’s New York Post, is also a prominent theme in 740 Park and Rogues’ Gallery, two of my books. News-hooked on the recent death of David, the last surviving son of John D. Rockefeller, Jr., and the only one to live in 740 Park, the story addresses how great fortunes are dispersed and thus dissipated in large families, and asks if this wealthy family’s name still matters. I say it does, and others agree. In large part, that’s because, as Kaplan writes, “the family never flaunted its wealth.,” and “a chunk of it has gone to philanthropy,” including the Metropolitan Museum of Art, subject of the latter book. Rockefeller influence also lurks behind the April Philanthropy issue of AVENUE, out next week, which spotlights this century’s Rock-a-fellas.
February 12th, 2017
“One of our most provocative journalists, Michael Gross has cornered the market for insiders’ stories of the most bewitching and private worlds of the privileged, very rich, talented and beautiful,” says the 92nd Street Y, announcing my forthcoming appearance there on the night of June 12th, when I’ll engage in conversation with William D. Cohan, the former M&A investment banker for Lazard Frères and bestselling author of books about Wall Street. Speaking of insider stories, on Friday, Bloomberg “revealed” details of financier and Trump administration advisor Stephen Schwarzman‘s 70th birthday party in Palm Beach this weekend. But readers of AVENUE magazine, where I’m editor-in-chief, had that news first, more than three weeks ago. And here’s Cohan on Trump and Wall Street–a must read from today’s New York Times.
April 25th, 2016
Fashion is dead. Long live fashion. That’s not the news you’ll hear in this week’s relentless run-up to Vogue‘s annual promotional party at the Metropolitan Museum, but it’s the message of “Has Luxury Fashion Priced Itself Into Extinction?” my return-to-fashion-writing essay on The Daily Beast this morning. “The digital culture that’s killing fashion-as-we-know-it could, perversely, prove fashion’s salvation,” it argues. “Alongside the paid bloggers and pampered celebrities flogging $3,000 branded goods on Instagram are just plain folks taking selfies of themselves in outfits that reflect individual creativity, not the needs of vampire corporations sucking quarterly profits from purses and perfume bottles. Luxury fashion may be walking dead but self-expression through dress won’t die with it.”