Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:02,240 --> 00:00:04,560
Nestled in New York's Central Park,
2
00:00:04,560 --> 00:00:07,520
this is the largest art museum
in America.
3
00:00:07,520 --> 00:00:12,280
The Metropolitan Museum of Art
is 2.3 million square feet
4
00:00:12,280 --> 00:00:15,720
of objects spanning 5,000 years
of history.
5
00:00:15,720 --> 00:00:18,840
The museum really was
an audacious vision
6
00:00:18,840 --> 00:00:22,040
to create a cultural centre that
rivalled the greatest in the world.
7
00:00:22,040 --> 00:00:25,200
The Met is a collection
of collections -
8
00:00:25,200 --> 00:00:29,880
paintings, jewellery,
textiles, statuary,
9
00:00:29,880 --> 00:00:32,800
and the world's most famous
fashion gala.
10
00:00:32,800 --> 00:00:35,800
Every year we're pumping out
something pretty amazing.
11
00:00:35,800 --> 00:00:37,840
It's America's treasure house.
12
00:00:37,840 --> 00:00:41,000
The collection
is what excites every curator
13
00:00:41,000 --> 00:00:43,600
to be part of this institution.
14
00:00:43,600 --> 00:00:47,520
In 2020, the Met turned 150,
15
00:00:47,520 --> 00:00:50,360
in its pomp and ready to celebrate.
16
00:00:50,360 --> 00:00:52,160
I'm this excited!
17
00:00:52,160 --> 00:00:56,280
But as the revels began,
Covid-19 struck New York.
18
00:00:56,280 --> 00:00:59,560
There are new warnings
about the Coronavirus outbreak.
19
00:00:59,560 --> 00:01:04,160
For the first time ever,
the Met was shut...indefinitely.
20
00:01:04,160 --> 00:01:07,040
Walking through the museum
with 5,000 years of the greatest
21
00:01:07,040 --> 00:01:10,640
works of art,
it's a spiritual experience.
22
00:01:10,640 --> 00:01:14,040
This is an exhibition install,
frozen in time.
23
00:01:14,040 --> 00:01:16,400
Initially, a cash crisis loomed.
24
00:01:16,400 --> 00:01:20,240
We're likely to see somewhere
between 100 and $150 million
25
00:01:20,240 --> 00:01:21,720
of loss.
26
00:01:21,720 --> 00:01:25,200
Then national outcry
at racial injustice
27
00:01:25,200 --> 00:01:28,600
had the Met examining
its own record...
28
00:01:28,600 --> 00:01:32,600
You see so many pictures
of men winning.
29
00:01:32,600 --> 00:01:34,360
..and resolving to change.
30
00:01:34,360 --> 00:01:35,960
These objects were stolen,
31
00:01:35,960 --> 00:01:38,840
they were never intended
to be in a space like the Met.
32
00:01:38,840 --> 00:01:42,200
It would be an anniversary year
nobody would forget...
33
00:01:42,200 --> 00:01:44,160
Nothing compares
34
00:01:44,160 --> 00:01:46,880
to what our city and country
is going through right now.
35
00:01:46,880 --> 00:01:48,560
..however hard they tried.
36
00:01:48,560 --> 00:01:50,400
We can overcome.
37
00:01:52,520 --> 00:01:54,680
When the world unlocked,
38
00:01:54,680 --> 00:01:58,280
would there still be a place
for America's treasure house?
39
00:02:12,680 --> 00:02:14,520
It's spring 2019.
40
00:02:14,520 --> 00:02:17,200
The Upper East Side streets
bordering Central Park
41
00:02:17,200 --> 00:02:21,080
emerge from winter looking clean
and fresh.
42
00:02:21,080 --> 00:02:24,920
Occupying a site four blocks long
on Fifth Avenue,
43
00:02:24,920 --> 00:02:30,840
the Metropolitan Museum of Art
is a year from its 150th birthday.
44
00:02:30,840 --> 00:02:34,360
As usual, on a Monday morning,
just before opening,
45
00:02:34,360 --> 00:02:36,600
the Great Hall is a greenhouse.
46
00:02:36,600 --> 00:02:39,200
My staff comes here at
47
00:02:39,200 --> 00:02:41,560
about 5.00, 5.30 in the morning.
48
00:02:41,560 --> 00:02:43,560
We take out all the old flowers,
49
00:02:43,560 --> 00:02:46,080
then we start
making the arrangements.
50
00:02:46,080 --> 00:02:50,240
And, of course, we have to be done
before all the tourists come.
51
00:02:50,240 --> 00:02:53,760
New Yorkers treat the place
like home, but in an average year,
52
00:02:53,760 --> 00:02:57,960
most of the seven million visitors
through these doors are tourists.
53
00:02:57,960 --> 00:03:00,280
If you have a bag,
please have it open. All bags!
54
00:03:00,280 --> 00:03:02,760
Good Morning. Good morning.
55
00:03:02,760 --> 00:03:05,920
Many of them are Americans
making a pilgrimage.
56
00:03:05,920 --> 00:03:07,760
It's pretty fabulous.
57
00:03:07,760 --> 00:03:12,120
It's the visitor dollars
that keep the Met open.
58
00:03:12,120 --> 00:03:15,320
So you've stepped into
the Greek and Roman Department.
59
00:03:15,320 --> 00:03:17,240
We're starting in Ancient Greece.
60
00:03:17,240 --> 00:03:20,240
Greek and Roman is laid out
chronologically.
61
00:03:20,240 --> 00:03:23,320
The Met has around
two million objects,
62
00:03:23,320 --> 00:03:26,520
one million of them on show.
63
00:03:26,520 --> 00:03:28,880
Now, I want you to think about
sightlines
64
00:03:28,880 --> 00:03:33,080
as we're going on our tour. Things
are grouped and displayed together,
65
00:03:33,080 --> 00:03:36,720
so that if I took
all the object labels away,
66
00:03:36,720 --> 00:03:39,480
just visually,
looking down a hallway,
67
00:03:39,480 --> 00:03:44,600
you'd be able to understand
the history of that art and culture.
68
00:03:44,600 --> 00:03:47,880
Follow me in.
We're entering Ancient Rome.
69
00:03:47,880 --> 00:03:51,440
It takes tour guides a year
to learn the history.
70
00:03:51,440 --> 00:03:56,760
We're entering Africa,
Oceania and the Americas.
71
00:03:56,760 --> 00:04:00,800
Down the hallway
into Ancient America.
72
00:04:00,800 --> 00:04:04,000
Mayan and Aztec
are in the far gallery,
73
00:04:04,000 --> 00:04:10,200
getting into Peruvian objects that
are about 1,000, 1,500 years old.
74
00:04:10,200 --> 00:04:13,680
The Met's not trying to be
the largest institution
75
00:04:13,680 --> 00:04:16,200
or the biggest holder of objects,
76
00:04:16,200 --> 00:04:20,680
but to tell the most comprehensive
story we possibly can.
77
00:04:20,680 --> 00:04:24,720
The museum is organised
into 17 departments.
78
00:04:24,720 --> 00:04:26,360
The objects don't change,
79
00:04:26,360 --> 00:04:31,720
but the curators place them in
new contexts to tell fresh stories.
80
00:04:33,280 --> 00:04:36,600
It almost looks like
he's parachuted down in.
81
00:04:36,600 --> 00:04:41,280
A team from the Medieval Department
are installing a new exhibition.
82
00:04:41,280 --> 00:04:45,120
It's a 9th-century
limestone Mayan sculpture
83
00:04:45,120 --> 00:04:46,640
of the rain god Chaac.
84
00:04:46,640 --> 00:04:49,480
And it's part of the
Crossroads installation.
85
00:04:49,480 --> 00:04:52,240
These objects have all been
displayed before,
86
00:04:52,240 --> 00:04:54,560
but here, they'll tell a story
of disparate cultures
87
00:04:54,560 --> 00:04:57,880
flourishing simultaneously
500 years ago.
88
00:04:57,880 --> 00:05:00,480
It's one of the exciting things
about this installation,
89
00:05:00,480 --> 00:05:02,680
is that it really crosses
the collections.
90
00:05:02,680 --> 00:05:05,280
We have a number of big sculptures
that are being brought in.
91
00:05:05,280 --> 00:05:08,400
We've got another one
coming from the Asian Department.
92
00:05:08,400 --> 00:05:11,160
A big 13th-century Khmer sculpture.
93
00:05:11,160 --> 00:05:13,320
Images of piety and power
94
00:05:13,320 --> 00:05:18,560
from Asia, the Americas, Africa
and Europe now sit side by side.
95
00:05:18,560 --> 00:05:20,120
Go back.
96
00:05:21,680 --> 00:05:26,080
All the sculptures are between the
4th century and the 15th century.
97
00:05:26,080 --> 00:05:29,840
It's interesting how different
cultures are doing similar things
98
00:05:29,840 --> 00:05:33,200
at this period, when they're not
doing it at any other time.
99
00:05:33,200 --> 00:05:37,160
Assistant Curator Andrea Achi
has a special interest
100
00:05:37,160 --> 00:05:42,080
in the North African culture in this
era, in particular Byzantine Egypt.
101
00:05:42,080 --> 00:05:45,760
This space is my favourite space
at the Met because in 2000,
102
00:05:45,760 --> 00:05:49,320
when they were doing renovation
to the Byzantine Galleries, um,
103
00:05:49,320 --> 00:05:50,760
they just discovered it.
104
00:05:50,760 --> 00:05:54,240
She has another exhibition
in this understairs gallery,
105
00:05:54,240 --> 00:05:57,520
the Art and Peoples
of the Kharga Oasis.
106
00:05:57,520 --> 00:06:00,720
What I've done in this installation
is to talk about really where
107
00:06:00,720 --> 00:06:03,840
these objects are from,
and the fact that
108
00:06:03,840 --> 00:06:06,440
objects don't just come from the air
into vitrines.
109
00:06:06,440 --> 00:06:09,440
I'm actually an archaeologist
by training,
110
00:06:09,440 --> 00:06:13,640
and I've excavated right next to
the excavation that the Met did
111
00:06:13,640 --> 00:06:15,760
so I know this material
really intimately.
112
00:06:15,760 --> 00:06:18,840
So, for example, these are gold
from, um, Alexandria.
113
00:06:18,840 --> 00:06:21,440
The people who were wearing these
were people of colour
114
00:06:21,440 --> 00:06:24,920
and they were Egyptians and they had
really specific ideas
115
00:06:24,920 --> 00:06:27,160
of what it meant to live well.
116
00:06:28,680 --> 00:06:31,840
This filigree jewellery
comes from a time
117
00:06:31,840 --> 00:06:34,800
when Roman culture
is giving way to Byzantine.
118
00:06:36,600 --> 00:06:39,040
For next year's
anniversary celebrations,
119
00:06:39,040 --> 00:06:41,800
she'll cast Met treasures
in a new light
120
00:06:41,800 --> 00:06:44,600
with an exhibition called
The Good Life.
121
00:06:44,600 --> 00:06:47,200
One thing I'm trying to do is
disrupt this notion of
122
00:06:47,200 --> 00:06:48,640
what African art is,
123
00:06:48,640 --> 00:06:51,960
because when we think about African
art we only think about West Africa.
124
00:06:51,960 --> 00:06:56,680
Visitors don't usually think
about Egypt and Ethiopia and Sudan.
125
00:06:56,680 --> 00:06:59,760
50 years from now, maybe someone
will look at jewellery like that
126
00:06:59,760 --> 00:07:02,240
and say, "Oh, that's African art."
127
00:07:02,240 --> 00:07:06,560
Departments tend their permanent
galleries while spending months
128
00:07:06,560 --> 00:07:10,240
or years developing temporary
exhibitions for the future.
129
00:07:11,640 --> 00:07:15,320
But the Costume Institute
presents several every year.
130
00:07:15,320 --> 00:07:19,280
Camp is 2019's main event -
131
00:07:19,280 --> 00:07:22,400
a celebration
of theatricality in costume.
132
00:07:22,400 --> 00:07:25,760
Flamboyant pieces by modern
designers strike poses
133
00:07:25,760 --> 00:07:28,120
beside mannered garments
from history,
134
00:07:28,120 --> 00:07:31,840
exploring the origins of the term
"camp".
135
00:07:31,840 --> 00:07:36,440
The main annual show is a
much-anticipated New York event.
136
00:07:36,440 --> 00:07:39,960
Fashion fans arrive suitably
dressed.
137
00:07:39,960 --> 00:07:41,720
CAMERAS SHUTTERS CLICK
138
00:07:41,720 --> 00:07:46,520
It's launched on the first Monday
in May by the famous Met Gala.
139
00:07:46,520 --> 00:07:49,200
It's a starry, starry night
140
00:07:49,200 --> 00:07:51,760
where celebrities
and the designers who dress them
141
00:07:51,760 --> 00:07:55,440
make a splash and donate heavily.
142
00:07:55,440 --> 00:07:58,920
In 2019, it raised $15 million.
143
00:08:00,160 --> 00:08:04,240
The money funds the work
of the Costume Institute.
144
00:08:04,240 --> 00:08:09,480
Their collection of some 30,000
garments spans five centuries.
145
00:08:10,760 --> 00:08:15,760
In the department's labs,
textiles are intensively researched.
146
00:08:15,760 --> 00:08:17,920
It's actually a surgical microscope.
147
00:08:17,920 --> 00:08:20,720
I don't know how anyone would do
surgery on this
148
00:08:20,720 --> 00:08:24,800
because it's very... It's very
finicky about staying in focus.
149
00:08:24,800 --> 00:08:28,000
We're doing microscopic analysis
to determine
150
00:08:28,000 --> 00:08:32,160
the difference between these
two fabrics, gazar and zagar.
151
00:08:32,160 --> 00:08:35,040
What everyone thinks is gazar
might not be gazar,
152
00:08:35,040 --> 00:08:38,520
and what people think is zagar
might not be zagar.
153
00:08:38,520 --> 00:08:42,280
The difference is basically
the density of the weave.
154
00:08:42,280 --> 00:08:45,320
These investigations are vital.
155
00:08:45,320 --> 00:08:48,080
Some modern materials pose a threat.
156
00:08:48,080 --> 00:08:52,040
We have 18th-century gowns
worn to, like, the French court
157
00:08:52,040 --> 00:08:56,440
that are in much better condition
than this dress from the 1960s.
158
00:08:56,440 --> 00:09:01,400
We already have stuff from the 1990s
that is starting to degrade rapidly.
159
00:09:01,400 --> 00:09:05,880
We're acquiring a lot of new
and contemporary garments
160
00:09:05,880 --> 00:09:09,040
that have synthetics,
that have inherent vice,
161
00:09:09,040 --> 00:09:14,360
a quality intrinsic to them that
causes their own self destruction.
162
00:09:14,360 --> 00:09:16,240
This is by a woman named Diana Dew.
163
00:09:16,240 --> 00:09:20,160
A movie dress, leather with
illuminated photographs.
164
00:09:20,160 --> 00:09:22,480
Well, they should have put,
like, "leather" in quotes
165
00:09:22,480 --> 00:09:25,960
because this is obviously not
leather. This is called pleather.
166
00:09:25,960 --> 00:09:27,960
The fabric is polyurethane.
167
00:09:27,960 --> 00:09:29,440
It's flaking, it's falling apart.
168
00:09:29,440 --> 00:09:31,800
There's this white bloom
that's come to the surface
169
00:09:31,800 --> 00:09:33,880
and, actually, you can smell it.
170
00:09:33,880 --> 00:09:35,360
It stinks.
171
00:09:35,360 --> 00:09:39,240
What we're smelling is off-gassing
chemicals that can actually harm
172
00:09:39,240 --> 00:09:41,800
other objects in our collection.
173
00:09:43,760 --> 00:09:46,280
This is very recent.
It's, like, five years old.
174
00:09:46,280 --> 00:09:49,680
It's a certain kind of polyurethane
that's susceptible to oxygen.
175
00:09:49,680 --> 00:09:52,480
We're going to put it in this big
bubble, essentially,
176
00:09:52,480 --> 00:09:55,200
and pump the bubble full of argon
gas. Taking out all the oxygen
177
00:09:55,200 --> 00:09:59,400
should slow down the degradation
of that dramatically.
178
00:09:59,400 --> 00:10:02,200
The exhibition schedule
is punishing.
179
00:10:02,200 --> 00:10:06,960
Upstairs, Camp still has
four months to run.
180
00:10:06,960 --> 00:10:11,760
Downstairs, they are already
planning the 150th year show,
181
00:10:11,760 --> 00:10:14,800
where black will be the new pink.
182
00:10:14,800 --> 00:10:18,000
I mean, every year we're pumping out
something pretty amazing.
183
00:10:18,000 --> 00:10:20,320
We technically have less than
a year to plan.
184
00:10:20,320 --> 00:10:23,680
Erm, so we'll see, fashionably late.
Right?
185
00:10:25,720 --> 00:10:29,880
The museum is led
by a new executive team.
186
00:10:29,880 --> 00:10:32,840
APPLAUSE
187
00:10:32,840 --> 00:10:37,320
This year, we actually have a full
spectrum of major exhibitions.
188
00:10:37,320 --> 00:10:42,440
Director Max Hollein is responsible
for the Met's creative vision.
189
00:10:42,440 --> 00:10:45,800
The first sculpture commission
on the Met's facade,
190
00:10:45,800 --> 00:10:48,560
and the artist who we've selected
is Wangechi Mutu.
191
00:10:48,560 --> 00:10:52,000
She's an outstanding artist,
born in Nairobi.
192
00:10:52,000 --> 00:10:55,760
I'm going to give you a quick
overview of the summer and the fall.
193
00:10:55,760 --> 00:10:59,120
Quincy Houghton plans
the exhibition schedule.
194
00:10:59,120 --> 00:11:01,480
We're commemorating
the 50th anniversary
195
00:11:01,480 --> 00:11:03,880
of the Apollo moon landing...
196
00:11:03,880 --> 00:11:07,760
Steering the ship is Dan Weiss,
the CEO,
197
00:11:07,760 --> 00:11:12,560
and since the Met was established
in 1870, it's 16th president.
198
00:11:14,600 --> 00:11:19,600
The museum is run from a quiet floor
high above the public galleries.
199
00:11:19,600 --> 00:11:25,360
From up here, Dan can see spring
in Central Park and winter in Paris.
200
00:11:25,360 --> 00:11:28,800
In college, I had images
from the Metropolitan on my wall,
201
00:11:28,800 --> 00:11:31,600
and one of them was this painting
by Alfred Sisley,
202
00:11:31,600 --> 00:11:36,440
and now I have the real thing,
which is a great privilege.
203
00:11:36,440 --> 00:11:38,920
The Met actually began in Paris,
204
00:11:38,920 --> 00:11:42,400
with American industrialists
dreaming of an American Louvre.
205
00:11:43,640 --> 00:11:46,280
When the museum was founded
150 years ago,
206
00:11:46,280 --> 00:11:49,440
it really was largely
an audacious vision
207
00:11:49,440 --> 00:11:52,120
that a bunch of businessmen
in New York City had -
208
00:11:52,120 --> 00:11:53,720
to create a cultural centre
209
00:11:53,720 --> 00:11:56,880
that rivalled the greatest
cultural institutions in the world.
210
00:11:56,880 --> 00:11:59,720
And it was preposterous.
They had really no art.
211
00:11:59,720 --> 00:12:02,160
They had ambition, they had vision.
212
00:12:02,160 --> 00:12:04,960
But they had no art.
And they had limited funds.
213
00:12:04,960 --> 00:12:09,120
And somehow through this...this, er,
extraordinary experiment,
214
00:12:09,120 --> 00:12:12,000
they were able to generate
great interest and support.
215
00:12:12,000 --> 00:12:14,760
And in this moment in our history,
216
00:12:14,760 --> 00:12:16,720
what I think about all the time,
217
00:12:16,720 --> 00:12:20,800
is how do we find the right balance
between respecting our tradition,
218
00:12:20,800 --> 00:12:22,480
exhibiting, collecting, studying
219
00:12:22,480 --> 00:12:25,640
the works of 5,000 years
of civilisation,
220
00:12:25,640 --> 00:12:28,840
and at the same time serving the
public that's changing in ways
221
00:12:28,840 --> 00:12:30,680
that we all see every day.
222
00:12:32,720 --> 00:12:35,600
The Met opened in April 1870,
223
00:12:35,600 --> 00:12:41,040
a museum for the New World
celebrating the art of the Old.
224
00:12:41,040 --> 00:12:44,360
The philanthropist founders
believed that by getting close
225
00:12:44,360 --> 00:12:47,400
to beautiful objects,
visitors' lives would be improved.
226
00:12:47,400 --> 00:12:51,960
The collections are extensive,
and constantly growing.
227
00:12:51,960 --> 00:12:54,560
They have one of
the world's largest assemblages
228
00:12:54,560 --> 00:12:58,000
of 17th-century
Dutch master paintings.
229
00:12:58,000 --> 00:13:01,040
This is one of the most beloved
areas of the Met.
230
00:13:01,040 --> 00:13:03,920
It's something that New Yorkers
in particular feel very attached to.
231
00:13:03,920 --> 00:13:07,120
Historians argue that the
cosmopolitanism, the tolerance
232
00:13:07,120 --> 00:13:11,520
of New York City really extends
back to its Dutch roots.
233
00:13:11,520 --> 00:13:15,120
It's definitely humbling being
responsible for the Rembrandts
234
00:13:15,120 --> 00:13:16,680
and the Vermeers of the Met,
235
00:13:16,680 --> 00:13:20,320
but I have to say it's nice being
the curator for an area
236
00:13:20,320 --> 00:13:23,200
that is such a crowd pleaser.
237
00:13:23,200 --> 00:13:25,920
There are around 200 Dutch works,
238
00:13:25,920 --> 00:13:29,640
but one frequently scores high
in visitor surveys.
239
00:13:29,640 --> 00:13:32,040
Young Woman with a Water Pitcher
240
00:13:32,040 --> 00:13:35,880
was the first painting by Vermeer
to come to America.
241
00:13:35,880 --> 00:13:38,360
It's the kind of painting
that really was so revolutionary
242
00:13:38,360 --> 00:13:41,760
for 17th-century Dutch art.
It's not a scene from the Bible,
243
00:13:41,760 --> 00:13:44,120
from classical myth or history.
244
00:13:44,120 --> 00:13:47,400
This is an ordinary
anonymous, everyday scene
245
00:13:47,400 --> 00:13:50,080
that somehow is incredibly poetic
and moving
246
00:13:50,080 --> 00:13:52,000
thanks to the magic of Vermeer.
247
00:13:52,000 --> 00:13:56,640
The Met's is a world-leading
collection of Dutch masters.
248
00:13:56,640 --> 00:14:01,000
These works have been enjoyed
by New Yorkers since 1871,
249
00:14:01,000 --> 00:14:03,920
when the Department
of European Paintings began.
250
00:14:03,920 --> 00:14:07,400
We've collected continuously
for nearly 150 years.
251
00:14:07,400 --> 00:14:09,000
People have come and asked me
252
00:14:09,000 --> 00:14:11,680
how many different museums we've
borrowed these pictures from,
253
00:14:11,680 --> 00:14:15,640
and it is kind of nice to be able
to say, actually, this is all ours.
254
00:14:15,640 --> 00:14:20,520
The museum started with collections
donated by the founders themselves
255
00:14:20,520 --> 00:14:22,920
and their art-loving friends.
256
00:14:22,920 --> 00:14:26,880
The very first acquisition
in November 1871
257
00:14:26,880 --> 00:14:31,320
was this Roman sarcophagus,
given by a Turkish diplomat.
258
00:14:31,320 --> 00:14:33,840
America was booming.
259
00:14:33,840 --> 00:14:36,960
It was fashionable among
the new elite to collect the art
260
00:14:36,960 --> 00:14:41,520
of the ancient world and bequeath it
to the Metropolitan Museum.
261
00:14:41,520 --> 00:14:45,360
As visitors enter the Greek
and Roman Departments,
262
00:14:45,360 --> 00:14:48,680
they pass the fragmentary
Head of a Youth.
263
00:14:48,680 --> 00:14:50,760
Carved in the 2nd century BC,
264
00:14:50,760 --> 00:14:54,080
it's said to be the face
of Alexander the Great.
265
00:14:55,360 --> 00:15:00,040
30,000 objects represent
these classical civilisations,
266
00:15:00,040 --> 00:15:02,840
but also their forebears.
267
00:15:02,840 --> 00:15:05,800
The Etruscans,
whose culture the Romans absorbed,
268
00:15:05,800 --> 00:15:09,280
are represented by vessels
showing scenes from daily life.
269
00:15:09,280 --> 00:15:13,120
These minimal marble forms
are the work of artists
270
00:15:13,120 --> 00:15:16,080
at the Cycladic Islands,
from a Neolithic civilisation
271
00:15:16,080 --> 00:15:21,560
that flourished in the Aegean
in the 4th century BC.
272
00:15:21,560 --> 00:15:23,440
Also on the ground floor,
273
00:15:23,440 --> 00:15:27,000
galleries devoted to
another 19th-century passion
274
00:15:27,000 --> 00:15:30,200
for the European age of chivalry.
275
00:15:30,200 --> 00:15:32,640
The Arms and Armor Department began
276
00:15:32,640 --> 00:15:37,040
with a purchase of a single
French collection in 1904.
277
00:15:37,040 --> 00:15:41,080
The accent was on armour
designed for display and ceremony,
278
00:15:41,080 --> 00:15:45,040
not battle. A group
of 16th-century helmets
279
00:15:45,040 --> 00:15:50,080
celebrate the genius of Milanese
armourer Filippo Negroli.
280
00:15:50,080 --> 00:15:53,960
Today, this collection
numbers 14,000 items,
281
00:15:53,960 --> 00:15:56,840
one of the most encyclopaedic
in the world.
282
00:15:56,840 --> 00:15:59,440
I've been coming to the Met
since before I was five years old.
283
00:15:59,440 --> 00:16:01,440
I grew up on 86th Street.
284
00:16:01,440 --> 00:16:03,360
The museum is a sanctuary.
285
00:16:03,360 --> 00:16:05,720
This is a church.
This is a cathedral.
286
00:16:05,720 --> 00:16:09,480
There are people who come
religiously to see a certain object
287
00:16:09,480 --> 00:16:11,680
and stand before it.
288
00:16:11,680 --> 00:16:16,760
You go into the galleries and
realise there is more to the world
289
00:16:16,760 --> 00:16:19,840
than just...bad news.
290
00:16:19,840 --> 00:16:25,000
Maintaining ancient objects like
these is the work of conservators.
291
00:16:25,000 --> 00:16:28,280
Hermes Knauer did it for 40 years.
292
00:16:28,280 --> 00:16:35,240
This shirt, when it came in,
in 2008, was orange with rust.
293
00:16:35,240 --> 00:16:38,400
I spent three-and-a-half months
cleaning this.
294
00:16:38,400 --> 00:16:42,000
Each one of these rings
has an inscription
295
00:16:42,000 --> 00:16:44,720
and it's the 99 names of God.
296
00:16:44,720 --> 00:16:50,440
This piece may have belonged to the
Shah Jahan, who built the Taj Mahal.
297
00:16:50,440 --> 00:16:55,520
All of these pieces
have not only a history,
298
00:16:55,520 --> 00:16:58,760
but people who are dedicated
to care for them.
299
00:16:58,760 --> 00:17:01,920
But you don't see them.
The museum is an iceberg.
300
00:17:01,920 --> 00:17:08,040
You see the tip of an iceberg, but
seven-eighths of it is underground.
301
00:17:09,200 --> 00:17:11,880
The iceberg is several floors deep.
302
00:17:11,880 --> 00:17:16,040
The public never see this network
of labs, studios, workshops
303
00:17:16,040 --> 00:17:17,520
and archives.
304
00:17:18,840 --> 00:17:21,480
Our newly acquired pistol sword.
305
00:17:21,480 --> 00:17:26,720
Ted Hunter and Sean Belair
are conservators and armourers.
306
00:17:26,720 --> 00:17:29,160
I'll remove the corrosion
and then probably apply
307
00:17:29,160 --> 00:17:30,520
a protective coating to make sure
308
00:17:30,520 --> 00:17:32,080
it doesn't reactivate in the future.
309
00:17:32,080 --> 00:17:34,400
We do like to disassemble
our firearms
310
00:17:34,400 --> 00:17:36,520
so you really have to figure out
how they come apart.
311
00:17:36,520 --> 00:17:39,120
Do you take the hammer off?
Would that help? Well, the hammer...
312
00:17:39,120 --> 00:17:41,280
Can't see what's behind it.
Well, there's a nut here,
313
00:17:41,280 --> 00:17:44,040
but you can't get past there first.
314
00:17:44,040 --> 00:17:46,760
So we need to remove...
315
00:17:46,760 --> 00:17:48,640
You know...
316
00:17:48,640 --> 00:17:50,400
Hmm. Yeah.
317
00:17:50,400 --> 00:17:54,560
Sometimes the design solutions
these craftsmen come up with are...
318
00:17:54,560 --> 00:17:56,880
..real headscratchers.
319
00:17:56,880 --> 00:17:58,560
Aha! There you go!
320
00:18:00,280 --> 00:18:04,040
We approach things, I think, on a
foundation of the old techniques,
321
00:18:04,040 --> 00:18:09,000
with our hammers
and antique tools in hand,
322
00:18:09,000 --> 00:18:13,080
and in the other hand we have
our modern chemicals and adhesives
323
00:18:13,080 --> 00:18:17,160
and scalpels and things.
We use conservation-grade materials.
324
00:18:17,160 --> 00:18:20,880
We understand the science,
but because it's arms and armour,
325
00:18:20,880 --> 00:18:23,040
sometimes you just need a hammer.
326
00:18:23,040 --> 00:18:25,840
Some of the thousand-piece
collection goes out on loan
327
00:18:25,840 --> 00:18:30,400
to other museums. Coming or going,
every item must be examined.
328
00:18:30,400 --> 00:18:34,440
This armour belonged to
the Duke of Sessa
329
00:18:34,440 --> 00:18:36,800
and is going on loan to Florence.
330
00:18:36,800 --> 00:18:39,000
I will use cleaning techniques
331
00:18:39,000 --> 00:18:41,520
that are what I think of
as the modern techniques.
332
00:18:41,520 --> 00:18:43,680
Probably use my microscope
for some of it.
333
00:18:43,680 --> 00:18:46,160
I don't want to take any gold off,
I don't want to wear down
334
00:18:46,160 --> 00:18:50,720
any of the etching or the repousse
work. On the other hand,
335
00:18:50,720 --> 00:18:53,960
I will probably need to use a more
traditional technique
336
00:18:53,960 --> 00:18:56,520
to reattach these lames.
337
00:18:56,520 --> 00:18:58,880
So it's going to need
a combination of things
338
00:18:58,880 --> 00:19:00,760
to get it to display worthy.
339
00:19:00,760 --> 00:19:03,600
Cos when I send this off on loan,
it's got to look good.
340
00:19:03,600 --> 00:19:05,880
We've got a reputation
to uphold, right?
341
00:19:05,880 --> 00:19:10,600
If I get going now, I could probably
get it roughly cleaned up
342
00:19:10,600 --> 00:19:14,160
and the mannequin made in a month
or so, but it's going to be tight.
343
00:19:14,160 --> 00:19:17,480
Right now, there's a lot of things
happening. I'm juggling this,
344
00:19:17,480 --> 00:19:20,880
and we have a major exhibition
coming called The Last Knight,
345
00:19:20,880 --> 00:19:24,160
with lots of armour. And we're
borrowing pieces that we don't have
346
00:19:24,160 --> 00:19:27,560
anything comparable. And I'm...
I think Sean agrees,
347
00:19:27,560 --> 00:19:30,400
we're very excited about it.
It's going to be good.
348
00:19:31,640 --> 00:19:35,800
These workshops date to
the first years of the museum.
349
00:19:35,800 --> 00:19:38,560
Away from the public galleries,
350
00:19:38,560 --> 00:19:42,040
they're a haven
for these enthusiasts.
351
00:19:42,040 --> 00:19:44,680
Every department is fun
for people who are in it.
352
00:19:44,680 --> 00:19:48,760
I've been here now, um...
almost 18 years.
353
00:19:48,760 --> 00:19:51,280
There's so many things that we do,
354
00:19:51,280 --> 00:19:54,520
done by people who are passionate
about what they are doing.
355
00:19:54,520 --> 00:19:58,440
There are around 2,000 staff,
most of them unseen,
356
00:19:58,440 --> 00:20:01,840
maintaining and expanding
the collections,
357
00:20:01,840 --> 00:20:05,600
preparing for next year's
challenging exhibition schedule.
358
00:20:05,600 --> 00:20:10,680
Curator Dr Wolf Burchard is building
an exhibition about five centuries
359
00:20:10,680 --> 00:20:14,920
of British trade and its effect
on interior design.
360
00:20:14,920 --> 00:20:19,040
It will open the 150th celebrations.
361
00:20:19,040 --> 00:20:22,280
These here are the 18th-century
galleries and they're very much
362
00:20:22,280 --> 00:20:24,880
the centrepiece
of the British Galleries.
363
00:20:24,880 --> 00:20:29,400
The Met's existing British Galleries
are being remodelled for the show.
364
00:20:29,400 --> 00:20:33,080
They include whole rooms
purchased and carefully removed
365
00:20:33,080 --> 00:20:36,360
from British stately homes
after the Second World War.
366
00:20:36,360 --> 00:20:38,440
This is a room from the 1750s.
367
00:20:38,440 --> 00:20:42,200
I think this colour has come out
really beautifully.
368
00:20:42,200 --> 00:20:46,160
When it was done in the 1990s,
it was a much brighter yellow.
369
00:20:46,160 --> 00:20:47,960
But it was all done with sponges
370
00:20:47,960 --> 00:20:51,720
and made the whole room look a bit
like your local pizzeria.
371
00:20:51,720 --> 00:20:57,200
It's extremely important to get
these things absolutely right.
372
00:20:57,200 --> 00:21:01,720
Burchard has a $20 million budget
and most of his exhibits.
373
00:21:01,720 --> 00:21:05,040
What he needs now is time.
374
00:21:05,040 --> 00:21:08,800
This was originally a dining room
from a house in London.
375
00:21:08,800 --> 00:21:12,440
A very, very talented artist is
going to recreate what would have
376
00:21:12,440 --> 00:21:14,440
been that view
in 18th-century London.
377
00:21:14,440 --> 00:21:17,520
Whereas the other room is going
to be the view that you would
378
00:21:17,520 --> 00:21:20,120
have had of the country landscape.
379
00:21:20,120 --> 00:21:22,720
We have about eight months left.
380
00:21:22,720 --> 00:21:24,960
We're opening in February 2020
381
00:21:24,960 --> 00:21:28,520
and given that this will mark the
150th anniversary of the Met,
382
00:21:28,520 --> 00:21:31,880
we really have to stick to
that deadline.
383
00:21:31,880 --> 00:21:33,960
When you look at the space
right now,
384
00:21:33,960 --> 00:21:36,880
you think, well, how are they
going to open in eight months?
385
00:21:36,880 --> 00:21:39,320
These are all part of
the glass cases.
386
00:21:39,320 --> 00:21:42,320
Installation of the art has to start
at the beginning of July,
387
00:21:42,320 --> 00:21:44,920
so we really need to make sure
that these will be installed
388
00:21:44,920 --> 00:21:46,520
within the next six weeks.
389
00:21:46,520 --> 00:21:50,320
But it's all going to go according
to plan, I have no doubt.
390
00:21:52,240 --> 00:21:56,320
The display will feature around
700 objects.
391
00:21:56,320 --> 00:21:59,640
Presenting them to digital-age
visitors in an arresting way
392
00:21:59,640 --> 00:22:02,840
is the job of the Design Department.
393
00:22:04,960 --> 00:22:09,040
Patrick Herron is
the lead designer on this project.
394
00:22:09,040 --> 00:22:11,240
Shall we move her
up ever so slightly?
395
00:22:11,240 --> 00:22:13,560
But does she then have to
move further to the left?
396
00:22:13,560 --> 00:22:16,680
I think what we want to avoid
is having too many big gaps.
397
00:22:16,680 --> 00:22:20,920
His team have mocked up what will be
a display case of 18th-century
398
00:22:20,920 --> 00:22:25,600
consumer durables that made luxury
accessible to almost all.
399
00:22:25,600 --> 00:22:28,080
Well, what if we moved her
further to the back?
400
00:22:28,080 --> 00:22:32,120
These Georgian chocolate pots,
candlesticks and snuff boxes
401
00:22:32,120 --> 00:22:34,720
were never meant to be
seen together.
402
00:22:34,720 --> 00:22:37,080
Now they must tell a group story.
403
00:22:37,080 --> 00:22:41,360
We did move the lids around a little
bit. I saw that, but it's fine.
404
00:22:41,360 --> 00:22:44,240
There's a lot of back and forth
between how the objects
405
00:22:44,240 --> 00:22:45,800
get displayed, how they're lit.
406
00:22:45,800 --> 00:22:47,960
We're wondering about that one.
407
00:22:47,960 --> 00:22:52,240
It's a bit too close to this.
It needs to slot down and over.
408
00:22:52,240 --> 00:22:54,400
It's quite finicky.
409
00:22:54,400 --> 00:22:58,200
I don't think I knew what
I signed up for, but here I am.
410
00:22:58,200 --> 00:23:00,080
Yeah, it's going to be fantastic.
411
00:23:01,720 --> 00:23:03,200
SHIP'S HORN BLOWS
412
00:23:08,000 --> 00:23:11,760
Preparations for the Met's
slew of celebratory events
413
00:23:11,760 --> 00:23:14,600
go on through autumn and winter.
414
00:23:14,600 --> 00:23:18,640
As 2020 begins, the flagship
exhibition Making The Met
415
00:23:18,640 --> 00:23:20,840
is nearing completion.
416
00:23:20,840 --> 00:23:22,920
I'm this excited!
417
00:23:22,920 --> 00:23:27,080
Andrea Bayer is in charge
of all curatorial staff,
418
00:23:27,080 --> 00:23:28,760
but this is her personal project -
419
00:23:28,760 --> 00:23:34,280
the story of the Museum's evolution,
told in 250 objects.
420
00:23:34,280 --> 00:23:39,920
Ten grand rooms, ten episodes,
through the history of the museum.
421
00:23:39,920 --> 00:23:44,680
It's going to be a thrilling,
immersive experience.
422
00:23:44,680 --> 00:23:48,000
I'm incredibly proud
of what we have achieved here.
423
00:23:48,000 --> 00:23:52,280
One of our greatest Egyptian
sculptures, Pharaoh Hatshepsut,
424
00:23:52,280 --> 00:23:55,880
she's going to sit right there,
and then out the window
425
00:23:55,880 --> 00:23:57,960
we see the great obelisk.
426
00:23:57,960 --> 00:24:02,160
After her death, her sculptures
were defiled by her co-ruler
427
00:24:02,160 --> 00:24:05,960
who took over from her,
and that is his obelisk.
428
00:24:05,960 --> 00:24:11,440
So, history over a long period
of time coming together.
429
00:24:12,560 --> 00:24:15,440
We will have things here
ranging from a Nepalese face mask,
430
00:24:15,440 --> 00:24:21,160
through Richard Avedon's portrait
of Marilyn Monroe.
431
00:24:21,160 --> 00:24:24,040
So that gives you
a sense of how truly global
432
00:24:24,040 --> 00:24:25,960
and encyclopaedic the museum is.
433
00:24:25,960 --> 00:24:28,760
And each of the collecting
departments has gone
434
00:24:28,760 --> 00:24:32,320
to their donors, their supporters,
and asked whether they want to
435
00:24:32,320 --> 00:24:35,240
give gifts in honour of
the museum's anniversary.
436
00:24:35,240 --> 00:24:38,000
And let me tell you - ha-ha! -
437
00:24:38,000 --> 00:24:41,720
a number of EXCEPTIONAL
things have come in,
438
00:24:41,720 --> 00:24:44,920
and some of them have made their way
into this exhibition.
439
00:24:46,320 --> 00:24:48,720
It's not just about objects.
440
00:24:48,720 --> 00:24:52,960
This exhibition also underlines
an ongoing mission.
441
00:24:52,960 --> 00:24:59,160
When we began in 1870, it was about
bringing great objects
442
00:24:59,160 --> 00:25:03,120
to a New York public,
to inspire and to educate.
443
00:25:03,120 --> 00:25:07,280
It's important to remember that the
Met has lived through, for example,
444
00:25:07,280 --> 00:25:11,800
several periods in which there was
a great debate about immigration
445
00:25:11,800 --> 00:25:16,920
and who is an American? And many
of the steps taken by the Met
446
00:25:16,920 --> 00:25:21,040
were to help new immigrants
understand how do you make yourself
447
00:25:21,040 --> 00:25:23,920
an American, how do you make
yourself a citizen of the world?
448
00:25:23,920 --> 00:25:28,160
It's always been
a part of the museum's mission.
449
00:25:29,680 --> 00:25:32,920
The 21st-century Met
wouldn't presume to define
450
00:25:32,920 --> 00:25:35,960
what or who an American is.
451
00:25:35,960 --> 00:25:39,480
In old age, the museum is keen
to show how young it is
452
00:25:39,480 --> 00:25:42,000
and awake to new ideas.
453
00:25:42,000 --> 00:25:45,560
Diversity amongst staff and the
selection of art is a priority
454
00:25:45,560 --> 00:25:48,760
for the new management team.
455
00:25:48,760 --> 00:25:52,800
We have the responsibility
to share,
456
00:25:52,800 --> 00:25:56,840
ideally, the greatest artworks
of the last 5,000 years.
457
00:25:56,840 --> 00:26:03,440
And so it's important that the
museum is not only reliving
458
00:26:03,440 --> 00:26:08,120
previous times, but it really also
needs to live in our current time.
459
00:26:08,120 --> 00:26:12,040
Appointed one year ago,
Director Max Hollein
460
00:26:12,040 --> 00:26:16,560
felt the Met's architecture looked
exclusive rather than inclusive.
461
00:26:16,560 --> 00:26:20,440
Wangechi Mutu
is the first artist EVER
462
00:26:20,440 --> 00:26:23,800
to exhibit work
in the niches in the exterior.
463
00:26:23,800 --> 00:26:25,880
The facade of the Metropolitan
464
00:26:25,880 --> 00:26:28,800
has been empty since the museum
was built.
465
00:26:28,800 --> 00:26:32,200
Asking a contemporary artist to
place something in there
466
00:26:32,200 --> 00:26:37,040
that is about the issues of today
is a statement. It's saying,
467
00:26:37,040 --> 00:26:39,640
"Listen, we're willing to talk about
what we're going through
468
00:26:39,640 --> 00:26:41,280
"as a culture and as a people,
469
00:26:41,280 --> 00:26:43,320
"and we're willing to put you
in that position,
470
00:26:43,320 --> 00:26:47,360
"as the bearer of these ideas,
in the front of this institution."
471
00:26:47,360 --> 00:26:52,360
The African-inspired figures
are called The NewOnes, will free Us
472
00:26:52,360 --> 00:26:54,960
and that's what Max
wants them to do.
473
00:26:54,960 --> 00:26:57,480
Artists are, of course,
great seismographs
474
00:26:57,480 --> 00:27:01,520
for things that happen in society.
475
00:27:01,520 --> 00:27:04,120
Also, they address urgencies.
476
00:27:04,120 --> 00:27:08,200
Also, they help us
look at the world
477
00:27:08,200 --> 00:27:10,520
in a way that we need to look at it.
478
00:27:10,520 --> 00:27:14,720
Wangechi Mutu is, with her art,
a very important proponent
479
00:27:14,720 --> 00:27:17,840
for our bringing in
a new practice,
480
00:27:17,840 --> 00:27:21,440
looking at art not only from
a Western perspective.
481
00:27:23,320 --> 00:27:27,400
I think of these women as characters
that have the capacity,
482
00:27:27,400 --> 00:27:30,480
the freedom and the opportunity
to be where they need to be,
483
00:27:30,480 --> 00:27:32,640
to say what they have to say.
484
00:27:32,640 --> 00:27:36,160
They're here and they're present
and they've arrived.
485
00:27:47,800 --> 00:27:51,360
Days before opening,
Wolf Burchard's exhibition
486
00:27:51,360 --> 00:27:55,880
of 500 years of British art
and commerce is nearing completion.
487
00:27:57,840 --> 00:28:00,840
It spans the Tudor
to the Victorian eras,
488
00:28:00,840 --> 00:28:05,040
but rests heavily on 18th-century
British mercantile expansion.
489
00:28:06,640 --> 00:28:10,720
A display of teapots will take
visitors to marine technology,
490
00:28:10,720 --> 00:28:14,640
Anglo-Chinese relations,
and slavery.
491
00:28:14,640 --> 00:28:18,000
Most of the 700 exhibits
are from the permanent collection
492
00:28:18,000 --> 00:28:22,200
of the Department of European
Sculpture and Decorative Arts.
493
00:28:22,200 --> 00:28:26,080
Ceramics, textiles,
paintings and furniture
494
00:28:26,080 --> 00:28:29,920
sit with monumental
architectural objects.
495
00:28:29,920 --> 00:28:36,040
This 17th-century staircase
was bought by the Met in the 1930s,
496
00:28:36,040 --> 00:28:39,920
rescued from the demolished
stately home Cassiobury Park.
497
00:28:42,960 --> 00:28:45,680
It features balustrades
carved in three dimensions
498
00:28:45,680 --> 00:28:48,000
form a single elm tree.
499
00:28:48,000 --> 00:28:50,920
I've worked on this staircase
since 2014.
500
00:28:50,920 --> 00:28:55,680
To bring it back to life,
to make it speak again
501
00:28:55,680 --> 00:28:58,240
is kind of our goal
502
00:28:58,240 --> 00:29:01,520
and it's a step-by-step process,
it's a staircase,
503
00:29:01,520 --> 00:29:06,360
but reaching the top now,
I am very pleased.
504
00:29:06,360 --> 00:29:08,440
In the Tudor Gallery,
505
00:29:08,440 --> 00:29:10,320
conservator Carolyn Riccardelli
506
00:29:10,320 --> 00:29:15,000
is protecting a 500-year-old
fireplace from dust.
507
00:29:15,000 --> 00:29:20,520
There is a gap between the mantle,
the stone and the panelling.
508
00:29:20,520 --> 00:29:24,680
And we want to prevent dust
from getting built up behind it.
509
00:29:24,680 --> 00:29:28,400
That's where pests make their way.
510
00:29:28,400 --> 00:29:32,880
A skilled conservator leaves
no trace of their existence.
511
00:29:32,880 --> 00:29:36,400
We try to make
our interventions invisible.
512
00:29:36,400 --> 00:29:39,440
A certain personality type
goes into this.
513
00:29:39,440 --> 00:29:41,160
Well, certainly meticulous.
514
00:29:41,160 --> 00:29:43,160
I guess you're always
aiming for perfection
515
00:29:43,160 --> 00:29:46,760
but there's a certain point
where you realise that...
516
00:29:46,760 --> 00:29:50,680
..you've gotten as far as you're
going to get and you need to stop.
517
00:29:50,680 --> 00:29:52,840
There is a history in the museum
518
00:29:52,840 --> 00:29:56,600
of not wanting to show conservation
and not wanting to talk at all
519
00:29:56,600 --> 00:29:59,400
about how the objects were cared
for, and that has really changed.
520
00:29:59,400 --> 00:30:02,400
That's changed. I think, before,
it was a concern that it would
521
00:30:02,400 --> 00:30:06,520
take away from the sense of wonder
and appreciation
522
00:30:06,520 --> 00:30:08,800
of a work of art itself.
523
00:30:08,800 --> 00:30:13,000
And now we see it as
a complement to the art.
524
00:30:15,720 --> 00:30:18,000
It's like being at the dentist.
525
00:30:18,000 --> 00:30:19,200
In the workshop,
526
00:30:19,200 --> 00:30:24,360
another team are recreating
lost elements of a Georgian table.
527
00:30:24,360 --> 00:30:27,480
It's like surgery.
The same tools.
528
00:30:27,480 --> 00:30:30,240
It looks a bit like a spine.
Mm-hm.
529
00:30:30,240 --> 00:30:34,360
What we'll do is, we'll just remove
this section here to get an idea.
530
00:30:35,560 --> 00:30:40,400
In this case, we have the cast
of the original carving here.
531
00:30:40,400 --> 00:30:45,000
And from that we have this negative
into which we pour an epoxy resin,
532
00:30:45,000 --> 00:30:47,520
which then comes out like this.
533
00:30:47,520 --> 00:30:48,960
It's difficult for you to see
534
00:30:48,960 --> 00:30:52,160
but there's evidence
of the missing carving.
535
00:30:52,160 --> 00:30:55,640
And in this case
we have the design drawing.
536
00:30:55,640 --> 00:30:59,600
And then we used ornaments
from the mirror to copy from.
537
00:30:59,600 --> 00:31:02,600
It really now would be
a complete piece of furniture,
538
00:31:02,600 --> 00:31:05,520
when it wasn't
for so, so many years.
539
00:31:11,120 --> 00:31:15,480
On February 24th,
the Met hosts a preview gala
540
00:31:15,480 --> 00:31:17,440
for friends and patrons.
541
00:31:17,440 --> 00:31:19,480
GLASS TINKLES
542
00:31:20,760 --> 00:31:23,680
Good evening and welcome
to the Met's renovated
543
00:31:23,680 --> 00:31:27,560
and reimagined galleries for
British Decorative Arts and Design.
544
00:31:27,560 --> 00:31:31,520
What you will see are a dazzling
array of objects and spaces
545
00:31:31,520 --> 00:31:35,080
but also with an updated
curatorial narrative.
546
00:31:35,080 --> 00:31:38,680
Many will be seeing items
they've donated.
547
00:31:38,680 --> 00:31:40,840
When you're here almost
always by yourself,
548
00:31:40,840 --> 00:31:44,000
it's quite surreal to actually
see real people here.
549
00:31:44,000 --> 00:31:46,080
You really want to pinch yourself.
550
00:31:46,080 --> 00:31:50,440
Our new Director Max Hollein,
he was very keen on what he calls
551
00:31:50,440 --> 00:31:52,640
alternative
or additional narratives.
552
00:31:52,640 --> 00:31:56,920
So we are addressing the contrast
of the beauty and sometimes
553
00:31:56,920 --> 00:31:58,880
the humour of the objects,
554
00:31:58,880 --> 00:32:03,640
and the cruel aspects of the Empire,
such as the slave trade.
555
00:32:03,640 --> 00:32:07,120
So what would be important here
is those slaves have a voice,
556
00:32:07,120 --> 00:32:09,720
and so we have quoted
first-hand accounts of the slaves,
557
00:32:09,720 --> 00:32:11,920
so we tell a more
comprehensive story,
558
00:32:11,920 --> 00:32:14,960
but also address subjects
that are more difficult.
559
00:32:14,960 --> 00:32:18,120
So far, the reactions
have been rather positive.
560
00:32:19,520 --> 00:32:23,000
This case required
so many hours of work.
561
00:32:23,000 --> 00:32:25,400
To see it all in place
is so rewarding.
562
00:32:29,680 --> 00:32:33,760
This was once the dining room
in Kirtlington Park,
563
00:32:33,760 --> 00:32:39,360
a British stately home
cut out and sold to the Met in 1931.
564
00:32:39,360 --> 00:32:41,520
Its Georgian glory restored,
565
00:32:41,520 --> 00:32:45,120
the current residents of the actual
house have crossed the Atlantic
566
00:32:45,120 --> 00:32:47,280
to experience it.
567
00:32:47,280 --> 00:32:48,880
It's a real double take.
568
00:32:48,880 --> 00:32:51,920
It's like walking into
your home but it's...
569
00:32:51,920 --> 00:32:54,640
It's obviously clearly not,
we're in the Met.
570
00:32:54,640 --> 00:32:56,760
They've the got the paintings,
the lights,
571
00:32:56,760 --> 00:32:59,360
the beautiful view out the window.
572
00:32:59,360 --> 00:33:02,600
And it is actually pretty accurate.
You look down and you see the lake.
573
00:33:02,600 --> 00:33:06,400
And then you can see...I think
at home it's a 25-mile view.
574
00:33:06,400 --> 00:33:08,160
You can see a really long way.
575
00:33:08,160 --> 00:33:10,680
It's a strange kind of, like,
deja vu, isn't it?
576
00:33:10,680 --> 00:33:12,240
You sort of, erm... You know,
577
00:33:12,240 --> 00:33:15,320
you're standing where I was putting
the Christmas tree up.
578
00:33:15,320 --> 00:33:18,480
And the Met put back a copy
of the room but not all of it.
579
00:33:18,480 --> 00:33:20,920
So we're missing the main ceiling.
580
00:33:20,920 --> 00:33:23,040
Everything else is the same.
581
00:33:23,040 --> 00:33:25,360
It's quite odd, yes,
it is quite odd.
582
00:33:25,360 --> 00:33:29,960
It does feel quite strange...
being back, being in here.
583
00:33:34,360 --> 00:33:38,920
On March 2nd, the new British
Galleries opened to the public,
584
00:33:38,920 --> 00:33:43,600
signalling the start of a year
of landmark exhibitions and events.
585
00:33:43,600 --> 00:33:45,200
But one day earlier,
586
00:33:45,200 --> 00:33:49,680
the first case of coronavirus
had been reported in New York.
587
00:33:49,680 --> 00:33:55,240
It was a growing problem abroad, but
as yet, not a big story in America.
588
00:33:55,240 --> 00:33:58,960
As the city's eight million citizens
went about their business,
589
00:33:58,960 --> 00:34:01,000
the virus was spreading.
590
00:34:01,000 --> 00:34:03,920
There are new warnings about the
coronavirus outbreak
591
00:34:03,920 --> 00:34:07,000
as it rapidly takes hold.
592
00:34:07,000 --> 00:34:09,000
New York battled on.
593
00:34:09,000 --> 00:34:11,200
Shutting down was unimaginable.
594
00:34:11,200 --> 00:34:15,040
I had been in discussions with city
government each day, and each day
595
00:34:15,040 --> 00:34:18,360
they were encouraging us to do
what we can to stay open,
596
00:34:18,360 --> 00:34:20,080
to protect the economy,
597
00:34:20,080 --> 00:34:23,200
and ensure the wellbeing
of our public and our staff.
598
00:34:23,200 --> 00:34:29,240
In any museum, crowds throng the
galleries - a viral perfect storm.
599
00:34:29,240 --> 00:34:32,400
The Met's board
see their responsibilities.
600
00:34:32,400 --> 00:34:34,320
The only appropriate thing to do
601
00:34:34,320 --> 00:34:36,560
is to close the institution
immediately.
602
00:34:36,560 --> 00:34:39,200
We called the Mayor's Office to
tell them that we were going to be
603
00:34:39,200 --> 00:34:42,360
announcing at 12.30 that we will
close at the end of the day.
604
00:34:42,360 --> 00:34:44,600
City Hall did not argue with us.
605
00:34:44,600 --> 00:34:47,120
They also had not yet made
a decision themselves
606
00:34:47,120 --> 00:34:48,880
as to what they would recommend.
607
00:34:48,880 --> 00:34:50,720
Today is March 12th.
608
00:34:50,720 --> 00:34:52,840
The anniversary is on April 13th.
609
00:34:52,840 --> 00:34:55,680
All the things we were going to do
for the 150th...
610
00:34:55,680 --> 00:34:58,800
But there's a lot of
worry in the air.
611
00:34:58,800 --> 00:35:00,920
The fact of the matter is,
612
00:35:00,920 --> 00:35:03,160
you don't know where
it's going to strike next.
613
00:35:03,160 --> 00:35:06,040
Other cultural institutions
increasingly thought it was
614
00:35:06,040 --> 00:35:09,840
appropriate to close. But no-one had
actually made the gesture to do so.
615
00:35:09,840 --> 00:35:13,000
Once we made that decision,
others followed suit.
616
00:35:13,000 --> 00:35:16,440
Within 24 hours, the entire cultural
infrastructure of New York City
617
00:35:16,440 --> 00:35:19,160
and all of Broadway
and everywhere else was closed.
618
00:35:19,160 --> 00:35:21,160
SIREN WAILS
619
00:35:21,160 --> 00:35:24,360
A state of emergency was declared
in New York in the last hour...
620
00:35:24,360 --> 00:35:29,080
The city that never sleeps
doesn't know when it will wake.
621
00:35:29,080 --> 00:35:31,360
Right before we had to
leave the building,
622
00:35:31,360 --> 00:35:35,200
it felt like
we were in an enormous moment
623
00:35:35,200 --> 00:35:40,000
in the institution's history
and in our own histories.
624
00:35:40,000 --> 00:35:43,720
The museum hasn't closed its doors
for more than three days
625
00:35:43,720 --> 00:35:48,960
for more than a century. The 150th
looks like being a memorable year -
626
00:35:48,960 --> 00:35:50,680
but not in a good way.
627
00:35:50,680 --> 00:35:53,560
We determined that over the next
12 months we're likely to see
628
00:35:53,560 --> 00:35:57,640
somewhere between
100 and $150 million of loss.
629
00:35:57,640 --> 00:36:01,640
You have artworks that are
in the midst of treatment.
630
00:36:01,640 --> 00:36:04,280
Panel discussions
and lectures and talks -
631
00:36:04,280 --> 00:36:07,800
everything has either been
cancelled or postponed.
632
00:36:07,800 --> 00:36:10,360
Our anniversary projects
like Making The Met,
633
00:36:10,360 --> 00:36:12,240
they were so close
to the finish line,
634
00:36:12,240 --> 00:36:15,120
We basically pushed those
exhibitions to the fall.
635
00:36:15,120 --> 00:36:17,560
Although I was thinking about
the exhibition,
636
00:36:17,560 --> 00:36:21,040
to be honest with you, I was really
thinking about New York City
637
00:36:21,040 --> 00:36:24,440
and the 2,200 people
who work at the museum.
638
00:36:25,920 --> 00:36:29,840
The cavernous building is
frozen at noon, March 13th.
639
00:36:29,840 --> 00:36:33,240
The staff have clocked out
and gone to ground.
640
00:36:33,240 --> 00:36:35,520
I'm in Charleston, South Carolina.
641
00:36:35,520 --> 00:36:39,080
I'm at my home
in Montclair, New Jersey.
642
00:36:39,080 --> 00:36:43,160
I've made several wedding cakes
but nothing to the scale of what
643
00:36:43,160 --> 00:36:47,040
I was planning on making
for the 150th.
644
00:36:47,040 --> 00:36:50,040
The membership executive,
an avid baker,
645
00:36:50,040 --> 00:36:52,920
was to have made
an official staff cake.
646
00:36:52,920 --> 00:36:54,480
She did it anyway,
647
00:36:54,480 --> 00:36:57,240
despite knowing she might
have to eat it all herself.
648
00:36:58,680 --> 00:37:00,320
That's so good!
649
00:37:00,320 --> 00:37:02,520
If you've come out of this
650
00:37:02,520 --> 00:37:06,000
and you've lost weight,
you're just doing it wrong.
651
00:37:07,520 --> 00:37:11,240
The fourth branch of the museum
is our digital branch.
652
00:37:11,240 --> 00:37:14,880
That team has been working to find
ways to bring the light
653
00:37:14,880 --> 00:37:18,400
and beauty of an art museum
to people
654
00:37:18,400 --> 00:37:22,760
when 700 New York City
residents are dying every day.
655
00:37:22,760 --> 00:37:26,640
There's a nationwide shortage
of protective equipment.
656
00:37:26,640 --> 00:37:30,960
New York hospitals are under
pressure as never before.
657
00:37:30,960 --> 00:37:34,360
The Met's five conservation
departments have large reserves
658
00:37:34,360 --> 00:37:37,040
of gloves for handling
precious objects.
659
00:37:37,040 --> 00:37:42,720
Over 23,000 gloves
and 300 masks distributed
660
00:37:42,720 --> 00:37:46,160
where it was most needed,
to medical facilities.
661
00:37:46,160 --> 00:37:50,400
The Textile Conservation Department,
no longer repairing fabrics,
662
00:37:50,400 --> 00:37:52,840
becomes a mask-making factory.
663
00:37:52,840 --> 00:37:56,680
How many masks? LAUGHING: 1,300.
664
00:37:56,680 --> 00:38:02,760
If I speed things up
I could make one per 20 minutes.
665
00:38:02,760 --> 00:38:05,960
RADIO BEEPS
This is Valentina, radio check.
666
00:38:05,960 --> 00:38:09,960
The Fifth Avenue building
is itself an antique.
667
00:38:09,960 --> 00:38:13,400
Security staff move in
to keep a round-the-clock vigil.
668
00:38:15,240 --> 00:38:19,000
You have to be concerned with
external entities...
669
00:38:19,000 --> 00:38:22,200
..try to compromise, you know, our
perimeters and take advantage
670
00:38:22,200 --> 00:38:26,080
of what they might perceive
as a scaled-down presence.
671
00:38:29,360 --> 00:38:32,480
By May, conservators are making
weekly team visits
672
00:38:32,480 --> 00:38:37,160
to check on vulnerable objects
in their new twilit world.
673
00:38:37,160 --> 00:38:41,200
All right. Carolyn Riccardelli
is safety officer.
674
00:38:41,200 --> 00:38:44,640
Textile Conservation
made these masks for us
675
00:38:44,640 --> 00:38:46,440
so I want to read the letter.
676
00:38:46,440 --> 00:38:48,600
I think it's important
that you hear this.
677
00:38:48,600 --> 00:38:53,560
"Wonderful colleagues,
these masks were sewn..."
678
00:38:53,560 --> 00:38:57,280
It's not that emotional,
I'm just... Sorry.
679
00:38:57,280 --> 00:39:01,040
"These masks were sewn with grateful
hearts in appreciation
680
00:39:01,040 --> 00:39:03,160
"for your care and dedication
to the museum.
681
00:39:03,160 --> 00:39:05,800
"We thank and salute each of you."
682
00:39:05,800 --> 00:39:09,000
Ready? All right.
How are you doing, Rachel?
683
00:39:09,000 --> 00:39:11,840
I'm OK, you? I'm OK.
684
00:39:11,840 --> 00:39:13,480
Hanging in there.
685
00:39:14,920 --> 00:39:17,720
If these rounds are really simple,
686
00:39:17,720 --> 00:39:21,280
that means we're doing
everything right.
687
00:39:21,280 --> 00:39:27,000
So for textiles, I'm looking for
insects, slipped hinges.
688
00:39:27,000 --> 00:39:31,240
Some things we've covered up
with brown paper to protect them
689
00:39:31,240 --> 00:39:33,880
from light exposure.
690
00:39:33,880 --> 00:39:36,320
Next is Sahel.
691
00:39:36,320 --> 00:39:39,960
Yeah, lights off completely in here.
692
00:39:39,960 --> 00:39:42,000
Everything looks good.
693
00:39:42,000 --> 00:39:44,760
Next is Making The Met. Hooray!
694
00:39:44,760 --> 00:39:47,520
SHE LAUGHS
695
00:39:47,520 --> 00:39:51,200
The show is in the process
of being installed.
696
00:39:51,200 --> 00:39:54,120
Yeah, look at this,
all these, erm, notes.
697
00:39:54,120 --> 00:39:58,640
This is an exhibition install
frozen in time.
698
00:39:58,640 --> 00:40:03,320
I'm looking for any critters
flying out, like moths.
699
00:40:03,320 --> 00:40:06,680
Japanese armour. We're used to
things being covered up,
700
00:40:06,680 --> 00:40:09,480
but it's still exciting
to see what's inside.
701
00:40:09,480 --> 00:40:12,000
I mean, who wouldn't be
excited by that?
702
00:40:12,000 --> 00:40:16,200
It's nice to come here
and look at stuff.
703
00:40:16,200 --> 00:40:18,000
And here's our saint.
704
00:40:18,000 --> 00:40:22,880
So she is credited for ending
the plague in Palermo.
705
00:40:22,880 --> 00:40:26,120
Andrea, is it Saint Ros-alia?
Santa Rosa-lia.
706
00:40:26,120 --> 00:40:30,400
This is a beautiful painting
by Van Dyck, the Flemish artist,
707
00:40:30,400 --> 00:40:34,960
working in Palermo, Italy, in 1624.
708
00:40:34,960 --> 00:40:37,080
And it shows the Saint.
709
00:40:37,080 --> 00:40:41,880
During the terrible plague,
people were praying to her,
710
00:40:41,880 --> 00:40:46,000
and Van Dyck was in the city
and captures that moment.
711
00:40:46,000 --> 00:40:49,080
It was one of the first works of art
that was purchased
712
00:40:49,080 --> 00:40:54,200
and it has taken on additional
relevance for all of us.
713
00:40:54,200 --> 00:40:57,760
Come on, we're ready.
We're ready for you!
714
00:40:57,760 --> 00:41:02,240
This is an exhibition
about the museum's history.
715
00:41:02,240 --> 00:41:05,840
One of the things that has really
changed for us is the knowledge
716
00:41:05,840 --> 00:41:10,520
that we are living in one of
the big moments for the museum.
717
00:41:10,520 --> 00:41:12,320
When alone in the empty halls,
718
00:41:12,320 --> 00:41:17,320
the conservator goes in search
of a very old friend.
719
00:41:17,320 --> 00:41:22,320
Each time I'm in the museum
I go to see Tullio Lombardo's Adam,
720
00:41:22,320 --> 00:41:27,120
which is a sculpture that I
worked on for more than ten years.
721
00:41:27,120 --> 00:41:32,440
He's a marble sculpture
from the Renaissance, maybe 1495.
722
00:41:32,440 --> 00:41:35,360
The pedestal beneath it collapsed
723
00:41:35,360 --> 00:41:40,760
and he fell to the floor
and broke into 28 large fragments
724
00:41:40,760 --> 00:41:43,160
and hundreds of small fragments.
725
00:41:43,160 --> 00:41:47,320
It was a terrible accident that
affected everybody in the museum.
726
00:41:47,320 --> 00:41:51,640
And it was through the efforts
of a huge group of people
727
00:41:51,640 --> 00:41:55,880
that brought it back
to the public view.
728
00:41:55,880 --> 00:42:01,320
For me, this is a reminder
that...we can overcome.
729
00:42:09,040 --> 00:42:11,640
Spring becomes summer.
730
00:42:11,640 --> 00:42:13,960
In solitude, the executive staff
731
00:42:13,960 --> 00:42:17,960
experience their workplace
in a new way.
732
00:42:17,960 --> 00:42:20,880
Walking through the museum
with 5,000 years of the greatest
733
00:42:20,880 --> 00:42:24,040
works of art ever produced,
it's a spiritual experience
734
00:42:24,040 --> 00:42:27,800
to be alone with all of that
collective humanity.
735
00:42:27,800 --> 00:42:30,960
You learn a lot about yourself
and about the world around you.
736
00:42:30,960 --> 00:42:35,760
Director Max Hollein
asks questions about the future,
737
00:42:35,760 --> 00:42:37,680
whenever it might start.
738
00:42:37,680 --> 00:42:41,320
It's a time of reflecting.
What is really important for us?
739
00:42:41,320 --> 00:42:43,480
How can we best reach our audiences?
740
00:42:43,480 --> 00:42:47,520
How are we going to be
an even better institution?
741
00:42:47,520 --> 00:42:52,640
Closed by the virus, the Crossroads
Project is Max's own vision.
742
00:42:52,640 --> 00:42:56,960
It celebrates creative commonalities
between disparate cultures.
743
00:42:56,960 --> 00:43:00,840
The idea for Crossroads was,
we actually want to show that
744
00:43:00,840 --> 00:43:05,000
the history of humankind,
the history of cultural evolution,
745
00:43:05,000 --> 00:43:08,680
is clearly all the history
of interconnectedness.
746
00:43:08,680 --> 00:43:12,560
That these are works coming
out of Africa, out of Asia,
747
00:43:12,560 --> 00:43:15,960
out of Europe,
out of the Americas,
748
00:43:15,960 --> 00:43:19,400
and they all have a similar idea
behind them.
749
00:43:23,200 --> 00:43:27,680
In juxtaposition,
two carvings of African men.
750
00:43:27,680 --> 00:43:31,160
One, a German altarpiece
depicting an African Magus,
751
00:43:31,160 --> 00:43:35,080
the other, a priestly elder
from the Dogon people of Mali.
752
00:43:38,360 --> 00:43:40,920
With projects like this one,
when you've just opened it
753
00:43:40,920 --> 00:43:45,280
and you could only share it with
your audiences for a couple of days,
754
00:43:45,280 --> 00:43:50,680
it feels right now as if these
installations are in waiting.
755
00:43:53,760 --> 00:43:58,600
In July, news from Governor Cuomo
has the museum astir.
756
00:43:58,600 --> 00:44:02,200
We're going ahead
with phased reopening.
757
00:44:02,200 --> 00:44:06,120
Low-risk indoor arts entertainment,
museums...
758
00:44:06,120 --> 00:44:09,960
Now comes the race
to be ready for reopening.
759
00:44:09,960 --> 00:44:13,440
The completion of Making The Met
is first on the agenda.
760
00:44:13,440 --> 00:44:16,160
OK, over here. All righty.
761
00:44:16,160 --> 00:44:20,120
This is an exhibition about the
development of the museum itself.
762
00:44:20,120 --> 00:44:22,840
All departments are contributing.
763
00:44:25,400 --> 00:44:28,160
Today, a Met treasure
is being brought very slowly
764
00:44:28,160 --> 00:44:31,480
from the first to the second floor.
765
00:44:31,480 --> 00:44:36,800
Curator Diana Craig Patch is
responsible for Egypt's Great Queen.
766
00:44:36,800 --> 00:44:39,280
Hatshepsut is in the show
Making The Met,
767
00:44:39,280 --> 00:44:43,640
because she is
one of our best-known pieces.
768
00:44:43,640 --> 00:44:46,640
The Egyptian government
shared the statue with us -
769
00:44:46,640 --> 00:44:49,240
which is something that we always
want to acknowledge -
770
00:44:49,240 --> 00:44:51,160
and she is exquisite.
771
00:44:51,160 --> 00:44:53,480
She looks out across time.
772
00:44:53,480 --> 00:44:56,680
She doesn't look at anyone,
she just looks out across time.
773
00:44:57,960 --> 00:44:59,400
It goes right here. OK.
774
00:44:59,400 --> 00:45:01,840
Hatshepsut will be placed
in the window,
775
00:45:01,840 --> 00:45:03,720
her back turned on the park
776
00:45:03,720 --> 00:45:07,080
and the obelisk of the upstart ruler
who succeeded her.
777
00:45:07,080 --> 00:45:13,080
Look at her! I mean, is that
sensational? Is that sensational?
778
00:45:15,840 --> 00:45:20,560
Acquired in 1929,
the statue is carved from limestone.
779
00:45:20,560 --> 00:45:24,960
Fragile and weighing just over
a ton, it's hard to move.
780
00:45:24,960 --> 00:45:27,320
I don't think there's much
variability in that.
781
00:45:27,320 --> 00:45:30,520
It doesn't look like there's
a whole lot of place to move it.
782
00:45:30,520 --> 00:45:36,720
Crayton Sohan leads the in-house
Art Movement Team.
783
00:45:36,720 --> 00:45:40,680
Slow, because we are going to see
how it picks up.
784
00:45:40,680 --> 00:45:43,400
Everybody's got her, right?
785
00:45:43,400 --> 00:45:46,920
I just want to make sure somebody's
keeping her from swinging.
786
00:45:58,560 --> 00:46:01,280
Ready. Crayton,
787
00:46:01,280 --> 00:46:03,800
we have to make sure
she's actually looking straight,
788
00:46:03,800 --> 00:46:05,800
regardless of the base.
789
00:46:05,800 --> 00:46:08,680
They can't centre the base,
they have to centre her face.
790
00:46:08,680 --> 00:46:10,960
Egyptian statues are never balanced.
Right.
791
00:46:10,960 --> 00:46:14,360
So if you balance with the base
then the...
792
00:46:14,360 --> 00:46:16,640
..face can be looking
somewhere else. Right.
793
00:46:16,640 --> 00:46:19,240
Memories of Carolyn Riccardelli's
Adam statue,
794
00:46:19,240 --> 00:46:24,880
which spontaneously collapsed
in 2002, are easily stirred.
795
00:46:24,880 --> 00:46:28,480
It took 12 years and many hands
to rebuild him.
796
00:46:28,480 --> 00:46:31,440
You see the thing is, Diana,
that it's very close here.
797
00:46:31,440 --> 00:46:33,920
And it has a little bit more room
in the back.
798
00:46:33,920 --> 00:46:36,000
We can back up a little bit.
A tiny bit.
799
00:46:41,680 --> 00:46:43,160
I'm just looking at her face.
800
00:46:43,160 --> 00:46:45,960
It just needs to go
about a half inch that way.
801
00:46:45,960 --> 00:46:49,120
Right, whoa, whoa. Got her?
802
00:46:50,320 --> 00:46:52,720
Ready?
803
00:46:52,720 --> 00:46:55,680
No, no, no. Oops, she's moved.
OK, OK, OK, OK, OK.
804
00:46:55,680 --> 00:46:58,800
When they went to move it over
that little bit...
805
00:46:58,800 --> 00:47:01,160
Yeah. ..it slid and the whole back
end went out.
806
00:47:02,920 --> 00:47:05,000
Yeah, she's not straight any more.
807
00:47:06,760 --> 00:47:08,600
The back end is no longer...
808
00:47:08,600 --> 00:47:12,240
ALL TALK AT ONCE
809
00:47:08,600 --> 00:47:12,240
OK, fine.
810
00:47:12,240 --> 00:47:15,480
Can you run down and get me
two four-foot clamps?
811
00:47:19,360 --> 00:47:21,400
BANG AND CLATTERING
812
00:47:23,800 --> 00:47:26,000
I can't. I can't!
813
00:47:26,000 --> 00:47:28,120
They drop things...
814
00:47:33,160 --> 00:47:34,760
Diana? Yeah.
815
00:47:34,760 --> 00:47:36,760
Are we ready?
816
00:47:36,760 --> 00:47:38,800
I'm looking.
817
00:47:38,800 --> 00:47:40,560
Yeah, she's getting better.
818
00:47:40,560 --> 00:47:42,440
A little bit more.
819
00:47:42,440 --> 00:47:44,400
There she goes.
820
00:47:44,400 --> 00:47:46,040
She's fine. Is it good?
821
00:47:46,040 --> 00:47:49,000
Yeah, you can stop.
Thank you very much.
822
00:47:49,000 --> 00:47:52,160
It's funny, she's not that big
but she's not easy.
823
00:47:52,160 --> 00:47:54,160
Nothing on Egypt statuary
is straight.
824
00:47:54,160 --> 00:47:57,680
But they managed to get
a pyramid perfect. Yeah.
825
00:47:57,680 --> 00:47:59,320
HE CHUCKLES
826
00:47:59,320 --> 00:48:03,480
In August, New York
is beginning to open up.
827
00:48:03,480 --> 00:48:06,440
Shops will admit
mask-wearing customers,
828
00:48:06,440 --> 00:48:09,120
and restaurants can serve diners
in the open air,
829
00:48:09,120 --> 00:48:11,280
in bus lanes and on pavements.
830
00:48:12,360 --> 00:48:14,400
Inside the Met,
831
00:48:14,400 --> 00:48:17,640
the final preparations
for the opening are under way.
832
00:48:17,640 --> 00:48:22,280
In times of trouble and duress, like
after 9/11, people want to be here.
833
00:48:22,280 --> 00:48:25,160
And without people here,
without that energy,
834
00:48:25,160 --> 00:48:27,920
the museum becomes something
more like a mausoleum
835
00:48:27,920 --> 00:48:29,680
than a living institution.
836
00:48:29,680 --> 00:48:32,760
After five months
walking these echoing halls,
837
00:48:32,760 --> 00:48:35,440
Max and Dan
are very slightly buoyant.
838
00:48:35,440 --> 00:48:37,000
There's lots going on.
839
00:48:37,000 --> 00:48:40,920
For the first time in six months,
we now have plants and flowers.
840
00:48:40,920 --> 00:48:44,120
This was kind of pulled back
from the pole but it looks like
841
00:48:44,120 --> 00:48:46,600
minimal art, right?
I actually photographed it.
842
00:48:46,600 --> 00:48:50,880
And all the hand sanitiser machines
look like a new sound installation.
843
00:48:50,880 --> 00:48:55,280
And it was obvious we've got
a lot of hand sanitisers here.
844
00:48:55,280 --> 00:48:59,360
A task force is overseeing
the critical moment of re-entry.
845
00:49:01,440 --> 00:49:04,520
Yes, I-I'm sorry, I was...
I should have it on.
846
00:49:04,520 --> 00:49:08,440
Laurel Britton is the
Head of Revenue and Operations.
847
00:49:08,440 --> 00:49:11,440
Now her previous experience
in military studies
848
00:49:11,440 --> 00:49:13,640
has come to the fore.
849
00:49:13,640 --> 00:49:16,440
The greatest challenge has been
the size of it.
850
00:49:16,440 --> 00:49:18,600
The scope of this building
and our collection,
851
00:49:18,600 --> 00:49:21,080
trying to keep staff safe
and trying to get visitors safe.
852
00:49:21,080 --> 00:49:27,640
And just making sure we're doing
everything we can to minimise risk.
853
00:49:27,640 --> 00:49:30,200
Joy is muted.
854
00:49:30,200 --> 00:49:35,200
Massive financial losses
have led to a 20% cut in staff.
855
00:49:35,200 --> 00:49:38,920
We thought we would declare victory
and move on to the 151st year.
856
00:49:38,920 --> 00:49:41,880
We didn't realise that
the 150th would be, maybe,
857
00:49:41,880 --> 00:49:45,200
one of the defining years
in the history of the museum.
858
00:49:52,480 --> 00:49:55,560
Finally the day dawns.
859
00:49:55,560 --> 00:49:57,160
First in line. I know. Tell me,
860
00:49:57,160 --> 00:50:00,320
what is it like to be able to come
back here after so many months?
861
00:50:00,320 --> 00:50:02,000
It's crazy good.
862
00:50:05,240 --> 00:50:08,960
I have been taking my girls
to the Met since they were babies.
863
00:50:08,960 --> 00:50:10,480
I couldn't get here early enough.
864
00:50:10,480 --> 00:50:12,720
So they opened at ten,
we got here at nine.
865
00:50:14,560 --> 00:50:18,720
I don't know if I've ever been
happier to be some place in my life.
866
00:50:18,720 --> 00:50:22,480
To see people here
is just going to be wonderful.
867
00:50:22,480 --> 00:50:26,120
After five months and 15 days,
the Communications Team
868
00:50:26,120 --> 00:50:29,480
know footfall will be a barometer
of public confidence.
869
00:50:30,920 --> 00:50:35,160
Normally, on an August day,
we can get 30,000 people.
870
00:50:35,160 --> 00:50:38,680
We'll be able to accommodate
up to 14,000 people,
871
00:50:38,680 --> 00:50:40,600
or 2,000 people an hour.
872
00:50:40,600 --> 00:50:43,320
It'll be a really nice experience
for New Yorkers, I think.
873
00:50:43,320 --> 00:50:44,960
We've been waiting months.
874
00:50:46,040 --> 00:50:49,600
Good morning. Everyone's a member or
has a ten o'clock reservation? Yeah.
875
00:50:49,600 --> 00:50:51,400
All right, thank you.
876
00:50:51,400 --> 00:50:54,000
The first steps are tentative.
877
00:50:54,000 --> 00:50:56,600
Entry is by ticket and time slot.
878
00:50:56,600 --> 00:50:58,920
Routes through galleries
are laid out.
879
00:50:58,920 --> 00:51:00,920
Everything is deep cleaned.
880
00:51:00,920 --> 00:51:04,040
You could eat your breakfast
off the Met.
881
00:51:04,040 --> 00:51:06,720
We anticipate a pretty nice turnout.
882
00:51:06,720 --> 00:51:09,920
Before they come through the doors,
there's a vetting process as relates
883
00:51:09,920 --> 00:51:12,160
to, you know,
the Covid-19 protocols.
884
00:51:12,160 --> 00:51:14,880
Once Deputy Director
of the Secret Service,
885
00:51:14,880 --> 00:51:17,120
Security Chief Keith Prewitt
886
00:51:17,120 --> 00:51:20,240
balances biohazards
with public relations.
887
00:51:20,240 --> 00:51:23,400
You see the Plexiglas
that's been installed.
888
00:51:23,400 --> 00:51:28,040
Things like that, on the surface,
can appear unwelcoming
889
00:51:28,040 --> 00:51:32,400
but I think in today's environment,
it's very reassuring.
890
00:51:32,400 --> 00:51:35,640
And, erm, they're going to go
through and become reacquainted
891
00:51:35,640 --> 00:51:38,200
with this place that they love.
892
00:51:38,200 --> 00:51:41,680
It's been months since
Head of Communications Ken Weine
893
00:51:41,680 --> 00:51:43,880
had good news to communicate.
894
00:51:43,880 --> 00:51:46,400
Dan and Max have been
navigating the pandemic
895
00:51:46,400 --> 00:51:49,720
and the financial challenges
the museum face.
896
00:51:49,720 --> 00:51:53,480
So there are a lot of tough choices,
and they stay positive.
897
00:51:53,480 --> 00:51:55,160
It's all about the visitors.
898
00:51:55,160 --> 00:52:00,600
I'm running to the Contemporary
Collection. Modern art.
899
00:52:00,600 --> 00:52:04,080
I just want to be surrounded
by art and beauty.
900
00:52:08,160 --> 00:52:12,440
The Met was the first great
New York institution to close.
901
00:52:12,440 --> 00:52:16,040
The reopening is about
more than just art.
902
00:52:16,040 --> 00:52:20,080
The idea of, you know, in terms of
what it means for New York City?
903
00:52:20,080 --> 00:52:24,920
Oh, yeah, it means that there is
some semblance of normalcy.
904
00:52:24,920 --> 00:52:28,520
The Met only closed for, what,
max three days prior to Covid,
905
00:52:28,520 --> 00:52:31,160
so this is a big first step.
906
00:52:33,000 --> 00:52:36,720
Almost all of the time slots are now
fully reserved through the day.
907
00:52:36,720 --> 00:52:39,880
We have been through
a lot of challenging moments
908
00:52:39,880 --> 00:52:41,440
in the last six months,
909
00:52:41,440 --> 00:52:44,960
and what we've been working towards
is this moment.
910
00:52:44,960 --> 00:52:49,000
When the Met first opened,
visitors were American.
911
00:52:49,000 --> 00:52:52,120
15 decades later,
with tourism suspended,
912
00:52:52,120 --> 00:52:54,520
the museum is back where it started.
913
00:52:54,520 --> 00:52:57,000
Oh, I'm ecstatic, are you kidding?
914
00:52:57,000 --> 00:53:01,720
I'm ready to do a handstand,
I'm so happy the Met is back.
915
00:53:03,000 --> 00:53:06,920
I grew up in New York so I've been
coming since I was in second grade.
916
00:53:06,920 --> 00:53:09,200
To come back to the place we love,
917
00:53:09,200 --> 00:53:12,840
to come back and to visit
the artists that we love,
918
00:53:12,840 --> 00:53:15,280
part of it is
our heritage as well.
919
00:53:15,280 --> 00:53:17,200
It's not just a place, you know,
920
00:53:17,200 --> 00:53:20,280
it has more significance
than just a building.
921
00:53:20,280 --> 00:53:22,600
People that have gotten here
throughout the day, like,
922
00:53:22,600 --> 00:53:24,840
they walk through the door and they
throw their hands up
923
00:53:24,840 --> 00:53:26,680
and they'll scream
and they're like, "Yes!"
924
00:53:26,680 --> 00:53:28,880
There was some woman
that just went "Wah!"
925
00:53:28,880 --> 00:53:31,320
You know, like this,
when she came in.
926
00:53:34,600 --> 00:53:39,600
Yes, young people, er, connecting
with the Romantic paintings.
927
00:53:39,600 --> 00:53:42,360
The children, they love
the Temple of Dendur
928
00:53:42,360 --> 00:53:45,440
and anything in the Egyptian Wing.
929
00:53:48,600 --> 00:53:51,640
And then we have the modern-art-type
folks.
930
00:53:51,640 --> 00:53:55,440
Er, they're more a hipster type
of people.
931
00:53:55,440 --> 00:54:00,000
Cynthia King has not left home
for five months.
932
00:54:00,000 --> 00:54:03,000
The Met is her first destination.
933
00:54:03,000 --> 00:54:04,600
I'm a New Yorker.
934
00:54:04,600 --> 00:54:06,160
We grew up in the projects,
935
00:54:06,160 --> 00:54:07,800
so here at the Metropolitan
936
00:54:07,800 --> 00:54:11,400
we were able to see what
was going on in other cultures.
937
00:54:11,400 --> 00:54:13,960
And we were able to wonder about it.
938
00:54:13,960 --> 00:54:18,480
For a child who's still a child
who has grown up, it's life.
939
00:54:20,200 --> 00:54:24,800
Upstairs, visitors see
Making The Met for the first time.
940
00:54:24,800 --> 00:54:27,760
Walking through the doors,
it's like going into a sacred space.
941
00:54:27,760 --> 00:54:30,440
There is such beauty,
so many treasures here.
942
00:54:30,440 --> 00:54:34,080
Your mind, your imagination is
sparked by coming to something
943
00:54:34,080 --> 00:54:37,320
as culturally, visually,
artistically rich
944
00:54:37,320 --> 00:54:39,200
as a collection like this.
945
00:54:39,200 --> 00:54:42,800
It was such an emptiness
when it wasn't here.
946
00:54:42,800 --> 00:54:46,560
Looking at beautiful things,
I mean, I can't...
947
00:54:46,560 --> 00:54:50,880
Looking at beautiful things...
just...I need it.
948
00:54:52,360 --> 00:54:56,400
It's nice to come back and see stuff
that is new. It feels like momentum,
949
00:54:56,400 --> 00:55:00,080
the museum and the city
carrying forward this touchstone,
950
00:55:00,080 --> 00:55:03,280
this thing that's been here longer
than any of us have been alive,
951
00:55:03,280 --> 00:55:06,160
and it's so solid in its building
on Fifth Avenue,
952
00:55:06,160 --> 00:55:08,760
it feels like it's going to be here
for ever. And so it's a...
953
00:55:08,760 --> 00:55:11,920
It's a symbol of New York resilience
for New Yorkers.
954
00:55:11,920 --> 00:55:13,400
I think that's why they're coming.
955
00:55:13,400 --> 00:55:15,560
Everyone is wearing their mask.
956
00:55:15,560 --> 00:55:18,240
People are maintaining
social distance.
957
00:55:18,240 --> 00:55:21,640
They're helping us to keep this open
958
00:55:21,640 --> 00:55:25,320
and to keep all of New York going.
959
00:55:25,320 --> 00:55:28,680
I've been a member for almost 40
years. This is like a childhood home
960
00:55:28,680 --> 00:55:31,200
to me. Yeah. So this is
a very important moment.
961
00:55:31,200 --> 00:55:33,960
I'm Greco Roman, my background is,
and so when I come in here,
962
00:55:33,960 --> 00:55:37,200
I get to see, like,
what my ancestors look like.
963
00:55:37,200 --> 00:55:40,280
I see my cheekbones,
I see my lips, I see my nose.
964
00:55:40,280 --> 00:55:43,600
And it's like... Oh, God, yes!
It's like...
965
00:55:43,600 --> 00:55:46,520
..I see my past in here.
These are my stories.
966
00:55:46,520 --> 00:55:48,880
This is, like, MY heritage.
967
00:55:50,000 --> 00:55:52,680
It's 27th August.
968
00:55:52,680 --> 00:55:57,040
The New York death toll
stands at just over 32,000.
969
00:55:57,040 --> 00:56:01,080
Today's visitors are taking
a risk...for art.
970
00:56:02,800 --> 00:56:05,240
There weren't very many people
that saw the sculpture
971
00:56:05,240 --> 00:56:07,840
lying on the ground in pieces.
972
00:56:07,840 --> 00:56:10,680
But I knew that there were people...
973
00:56:12,000 --> 00:56:15,440
..who thought that it would be
impossible to put it back together.
974
00:56:15,440 --> 00:56:18,600
I think that the consensus
among the conservators was
975
00:56:18,600 --> 00:56:21,160
that we could do it.
976
00:56:21,160 --> 00:56:24,080
We just didn't know exactly how yet
977
00:56:24,080 --> 00:56:25,600
or how long it would take.
978
00:56:25,600 --> 00:56:30,160
When you've gone through
seemingly impossible projects,
979
00:56:30,160 --> 00:56:32,720
all along the way
there are milestones.
980
00:56:32,720 --> 00:56:36,520
And I feel like we've passed
an important milestone reopening.
981
00:56:36,520 --> 00:56:40,040
People are very eager
to come back to the museum,
982
00:56:40,040 --> 00:56:44,800
but they are faced with the reality
that it's not like it was before.
983
00:56:44,800 --> 00:56:47,600
You know, the first time you
come back, that realisation
984
00:56:47,600 --> 00:56:49,920
really hits you hard.
985
00:56:49,920 --> 00:56:53,600
People find solace in things that
are ancient, finding connections
986
00:56:53,600 --> 00:56:58,680
to people that have possibly been
through the same things.
987
00:56:58,680 --> 00:57:01,680
And I think that's why
people come to museums.
988
00:57:01,680 --> 00:57:04,720
They want to feel
the connection to the past...
989
00:57:04,720 --> 00:57:07,480
..when you don't know
what's coming in the future.
990
00:57:10,840 --> 00:57:15,000
A series of racist
killings forces America
991
00:57:15,000 --> 00:57:17,400
to confront social injustice.
992
00:57:17,400 --> 00:57:20,520
The Met examines its own record.
993
00:57:20,520 --> 00:57:24,320
Any discussion about the future
of the museum has to take account
994
00:57:24,320 --> 00:57:27,560
of this moment. It's huge.
995
00:57:27,560 --> 00:57:31,440
There are many questions to answer,
not least about the art.
996
00:57:31,440 --> 00:57:35,080
These objects were stolen. It's time
for museums to be reconsidering
997
00:57:35,080 --> 00:57:37,400
their own colonial past.
998
00:57:37,400 --> 00:57:40,080
Opening shots.
Framing the performer.
999
00:57:40,080 --> 00:57:43,200
How does an institution
dedicated to the past
1000
00:57:43,200 --> 00:57:45,160
change to reflect the present?
1001
00:57:45,160 --> 00:57:48,000
I could apologise all day long
for my predecessors.
1002
00:57:48,000 --> 00:57:51,360
What is meaningful
is to put yourself on the line.
1003
00:57:51,360 --> 00:57:52,880
Lead the way, Kelsey.
1004
00:57:52,880 --> 00:57:54,560
Covid will be a footnote.
1005
00:57:54,560 --> 00:57:58,320
This revolution
will change the Met for good.
1006
00:57:58,320 --> 00:58:02,600
The history taught to my children
is that of slavery.
1007
00:58:02,600 --> 00:58:04,320
And there's more.
1008
00:58:04,320 --> 00:58:06,720
Before that, there is more.
138269
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.