1 00:00:01,533 --> 00:00:05,266 ♪♪ 2 00:00:05,300 --> 00:00:09,000 {\an7}-This is the largest art museum in the Americas, 3 00:00:09,033 --> 00:00:12,833 five floors high, four city blocks long. 4 00:00:12,866 --> 00:00:15,600 New York's Metropolitan Museum of Art 5 00:00:15,633 --> 00:00:19,200 is 2.3 million square feet of treasure. 6 00:00:19,233 --> 00:00:22,433 {\an1}-The museum was largely an audacious vision. 7 00:00:22,466 --> 00:00:27,233 {\an1}-I just want to be surrounded by art and beauty. 8 00:00:27,266 --> 00:00:32,133 {\an1}-In 2020, the Met turned 150, 9 00:00:32,166 --> 00:00:34,566 {\an1}the museum planned an anniversary year 10 00:00:34,600 --> 00:00:37,233 {\an1}nobody would forget. 11 00:00:37,266 --> 00:00:38,933 {\an1}-I'm this excited. 12 00:00:38,966 --> 00:00:40,333 -Every year, we're pumping out 13 00:00:40,366 --> 00:00:42,366 {\an1}something pretty amazing. 14 00:00:42,400 --> 00:00:45,733 {\an1}-But as the revels began, COVID struck New York. 15 00:00:45,766 --> 00:00:48,500 {\an7}-There are new warnings about the coronavirus outbreak. 16 00:00:48,533 --> 00:00:52,233 {\an7}-For the first time ever, the Met closed indefinitely. 17 00:00:52,266 --> 00:00:54,800 {\an1}-Walking through the museum with 5,000 years 18 00:00:54,833 --> 00:00:58,266 {\an1}of the greatest works of art, it's a spiritual experience. 19 00:00:58,300 --> 00:01:02,333 {\an1}-With the future unknown, was its survival in question? 20 00:01:02,366 --> 00:01:06,233 {\an1}-This is an exhibition install frozen in time. 21 00:01:06,266 --> 00:01:09,833 {\an1}This is a reminder that we can overcome. 22 00:01:11,900 --> 00:01:17,066 {\an1}-Then, the killing of George Floyd rocked America. 23 00:01:17,100 --> 00:01:19,100 -People are mad at the institution, 24 00:01:19,133 --> 00:01:21,866 and I did not fully see that coming. 25 00:01:21,900 --> 00:01:25,333 {\an1}-The Met began to question its record on diversity... 26 00:01:25,366 --> 00:01:27,900 {\an1}-This has everything to do with a redefinition 27 00:01:27,933 --> 00:01:29,333 {\an1}of what art museums are. 28 00:01:29,366 --> 00:01:31,133 {\an1}-...on inclusion... 29 00:01:31,166 --> 00:01:35,133 {\an1}-You see so many pictures of men winning. 30 00:01:35,166 --> 00:01:37,300 {\an1}-...on social justice. 31 00:01:37,333 --> 00:01:38,900 {\an1}-These objects were stolen. 32 00:01:38,933 --> 00:01:41,700 {\an1}They were never intended to be in a space like the Met. 33 00:01:41,733 --> 00:01:44,033 {\an1}-The museum has had to retreat. 34 00:01:44,066 --> 00:01:45,966 {\an1}Now it's trying to come back 35 00:01:46,000 --> 00:01:48,266 {\an1}and wants to come back with what face? 36 00:01:48,300 --> 00:01:52,600 {\an7}-When the world unlocks, will there still be a place 37 00:01:52,633 --> 00:01:55,200 {\an1}for the Metropolitan Museum of Art? 38 00:01:55,233 --> 00:01:58,366 {\an8}♪♪ 39 00:02:15,733 --> 00:02:19,700 {\an7}[ Siren wailing in distance ] 40 00:02:19,733 --> 00:02:21,100 {\an8}♪♪ 41 00:02:21,133 --> 00:02:25,333 {\an7}-It's spring 2019, one year before the start 42 00:02:25,366 --> 00:02:28,500 {\an8}of the museum's 150th anniversary. 43 00:02:28,533 --> 00:02:30,733 {\an7}The Met opens at 10:00, 44 00:02:30,766 --> 00:02:34,066 {\an1}but at 8:00, the art press come in for finger food 45 00:02:34,100 --> 00:02:35,800 and reassurances. 46 00:02:35,833 --> 00:02:37,633 {\an1}In the recent past, 47 00:02:37,666 --> 00:02:40,233 these journalists reported mismanagement 48 00:02:40,266 --> 00:02:42,200 {\an1}and a drop in visitor numbers. 49 00:02:42,233 --> 00:02:45,566 {\an1}-If you'll please take your seats, we'll begin. 50 00:02:45,600 --> 00:02:50,066 {\an1}-Has the Met's new CEO, Dan Weiss, turned it around? 51 00:02:50,100 --> 00:02:52,400 {\an7}-I'm delighted to welcome all of you here this morning. 52 00:02:52,433 --> 00:02:56,166 {\an7}It's a pleasure to report to you that we have a balanced budget. 53 00:02:56,200 --> 00:02:59,100 {\an1}We have to find more than $60 million. 54 00:02:59,133 --> 00:03:01,166 We changed our admissions policy 55 00:03:01,200 --> 00:03:03,333 {\an1}and that has helped us with our finances, 56 00:03:03,366 --> 00:03:05,066 {\an1}but has had no negative effect, 57 00:03:05,100 --> 00:03:08,133 {\an1}none, zero on visitation to the museum. 58 00:03:08,166 --> 00:03:09,700 {\an1}And now we can turn to the program 59 00:03:09,733 --> 00:03:12,100 {\an1}and the opportunities ahead. 60 00:03:12,133 --> 00:03:15,900 {\an1}-Director Max Hollein is a new groom from Austria. 61 00:03:15,933 --> 00:03:18,566 {\an7}-This year we actually have a full spectrum 62 00:03:18,600 --> 00:03:20,400 {\an7}of major exhibitions. 63 00:03:20,433 --> 00:03:24,366 {\an1}One is quite a work, Leonardo Da Vinci Saint Jerome. 64 00:03:24,400 --> 00:03:25,733 -Next up... 65 00:03:25,766 --> 00:03:28,006 {\an1}-You'll be glad to know I'm not the performance surprise. 66 00:03:28,033 --> 00:03:31,266 {\an1}-Quincy Houghton came from the Getty Museum in Los Angeles 67 00:03:31,300 --> 00:03:33,166 {\an1}to plan exhibitions. 68 00:03:33,200 --> 00:03:34,766 {\an7}-I'm going to give you a quick overview 69 00:03:34,800 --> 00:03:37,100 {\an7}of the summer and the fall. 70 00:03:37,133 --> 00:03:39,266 {\an1}We're commemorating the 50th anniversary 71 00:03:39,300 --> 00:03:41,266 {\an1}of the Apollo moon landing. 72 00:03:41,300 --> 00:03:43,066 -The major show, The Last Knight, 73 00:03:43,100 --> 00:03:47,200 {\an1}the art, armor, and ambition of Maximilian of Austria. 74 00:03:47,233 --> 00:03:50,200 {\an1}-The museum's first sound based commissioned 75 00:03:50,233 --> 00:03:52,466 {\an1}by British artist Oliver Beer. 76 00:03:52,500 --> 00:03:56,100 {\an1}-The first sculpture commission on the Met's facade, 77 00:03:56,133 --> 00:03:58,800 {\an1}and the artist who we've selected is Wangechi Mutu. 78 00:03:58,833 --> 00:04:01,866 {\an1}She's an outstanding artist, born in Nairobi. 79 00:04:01,900 --> 00:04:05,000 {\an1}Then, in conjunction with our camp exhibition, 80 00:04:05,033 --> 00:04:06,966 {\an1}we will have a battle of legends, 81 00:04:07,000 --> 00:04:08,633 {\an1}a voguing competition. 82 00:04:08,666 --> 00:04:12,166 {\an1}The judges will include Josè Xtravaganza, Anna Wintour. 83 00:04:12,200 --> 00:04:13,666 {\an1}So it's now my pleasure 84 00:04:13,700 --> 00:04:17,066 to introduce the House of Gorgeous Twisters. 85 00:04:17,100 --> 00:04:19,500 [ Applause ] 86 00:04:19,533 --> 00:04:22,233 {\an1}-Let them feel the music. Deejay, pump it up. 87 00:04:22,266 --> 00:04:26,233 ♪♪ 88 00:04:26,266 --> 00:04:28,433 {\an1}-The Met is old, but also new. 89 00:04:28,466 --> 00:04:31,633 {\an1}Displays like this show the museum's more than 90 00:04:31,666 --> 00:04:35,766 {\an1}marble statues and old masters. 91 00:04:35,800 --> 00:04:39,200 {\an7}-To be able to blend our culture with this historical culture 92 00:04:39,233 --> 00:04:41,333 {\an7}and bring what we have for the future 93 00:04:41,366 --> 00:04:44,266 {\an1}to match what they have from the past, it's great. 94 00:04:44,300 --> 00:04:46,600 -We're going to bring life, energy, style, 95 00:04:46,633 --> 00:04:47,600 grace, technique, all of that. 96 00:04:47,633 --> 00:04:49,666 {\an1}We're gonna give it to you. - Period. 97 00:04:49,700 --> 00:04:52,866 {\an1}-Gorgeously as well. 98 00:04:52,900 --> 00:04:56,366 {\an1}-This is a 19th century institution 99 00:04:56,400 --> 00:04:59,433 {\an1}speaking to 21st century visitors. 100 00:04:59,466 --> 00:05:01,333 -Strike a pose. 101 00:05:01,366 --> 00:05:04,766 {\an7}-What we are producing here has everything to do 102 00:05:04,800 --> 00:05:08,100 {\an7}with the redefinition of what art museums are. 103 00:05:08,133 --> 00:05:11,766 {\an1}It's not necessarily just about object-based exhibitions. 104 00:05:11,800 --> 00:05:15,166 {\an1}Programing really is about the public, 105 00:05:15,200 --> 00:05:18,666 {\an1}the art, and the issues that are happening in the world. 106 00:05:18,700 --> 00:05:20,066 {\an1}And in today's society, 107 00:05:20,100 --> 00:05:24,700 {\an1}to be a relevant and engaging and important institution, 108 00:05:24,733 --> 00:05:27,233 {\an1}you have to bring diverse voices to the table, 109 00:05:27,266 --> 00:05:30,966 {\an1}whether they're on the stage or on the walls or on the staff. 110 00:05:31,000 --> 00:05:33,766 {\an1}-Thank you so much. 111 00:05:33,800 --> 00:05:36,366 {\an1}Have a great, gorgeous afternoon. 112 00:05:36,400 --> 00:05:39,700 -So today, you saw a voguing performance 113 00:05:39,733 --> 00:05:43,166 in the Met, but it's in the American wing. 114 00:05:43,200 --> 00:05:45,276 {\an1}And the first thing I did when they were finished performing, 115 00:05:45,300 --> 00:05:48,566 {\an1}I turned to the head of the American art department 116 00:05:48,600 --> 00:05:50,033 {\an1}and said, "This is America." 117 00:05:50,066 --> 00:05:52,766 {\an8}♪♪ 118 00:05:52,800 --> 00:05:54,766 {\an7}-The Met is in its pomp, 119 00:05:54,800 --> 00:05:57,700 {\an7}the books balanced, and the future bright. 120 00:05:57,733 --> 00:06:00,666 {\an7}The surrounding streets of the Upper East Side 121 00:06:00,700 --> 00:06:03,066 {\an1}are well-heeled and lush. 122 00:06:03,100 --> 00:06:06,633 {\an1}As usual, on a Monday morning just before opening, 123 00:06:06,666 --> 00:06:08,833 {\an1}the Great Hall is a greenhouse. 124 00:06:08,866 --> 00:06:13,566 {\an7}-My staff comes here at about 5:00, 5:30 in the morning. 125 00:06:13,600 --> 00:06:15,700 {\an1}We take out all the old flowers, 126 00:06:15,733 --> 00:06:18,066 {\an1}then we start making new arrangements. 127 00:06:18,100 --> 00:06:22,266 {\an1}And of course we have to be done before all the tourists come. 128 00:06:22,300 --> 00:06:24,833 {\an7}-New Yorkers treat the place like home, 129 00:06:24,866 --> 00:06:26,200 {\an1}but in an average year, 130 00:06:26,233 --> 00:06:27,900 most of the seven million visitors 131 00:06:27,933 --> 00:06:30,200 {\an1}through these doors are tourists. 132 00:06:30,233 --> 00:06:32,433 {\an1}-Please have it open, all bags. 133 00:06:32,466 --> 00:06:34,700 {\an1}-Good morning. Good morning. 134 00:06:34,733 --> 00:06:38,133 {\an1}-Many are Americans making a personal pilgrimage. 135 00:06:38,166 --> 00:06:40,533 {\an1}-It's pretty fabulous. 136 00:06:40,566 --> 00:06:43,833 {\an1}-It's the visitor dollars that keep the Met open. 137 00:06:43,866 --> 00:06:47,466 {\an7}-So you've stepped into the Greek and Roman department. 138 00:06:47,500 --> 00:06:49,300 We're starting in ancient Greece. 139 00:06:49,333 --> 00:06:52,566 {\an1}Greek and Roman is laid out chronologically. 140 00:06:52,600 --> 00:06:55,500 -There are around a million objects on show 141 00:06:55,533 --> 00:06:59,100 {\an1}presented by 17 departments. 142 00:06:59,133 --> 00:07:01,033 {\an1}-Now I want you to think about sightlines 143 00:07:01,066 --> 00:07:02,533 {\an1}as we're going on our tour. 144 00:07:02,566 --> 00:07:05,900 {\an1}Things are grouped and displayed together 145 00:07:05,933 --> 00:07:09,000 {\an1}so that if I took all the object labels away, 146 00:07:09,033 --> 00:07:11,866 {\an1}just visually looking down a hallway, 147 00:07:11,900 --> 00:07:14,000 {\an1}you'd be able to understand the history 148 00:07:14,033 --> 00:07:16,766 {\an1}of that art and culture. 149 00:07:16,800 --> 00:07:20,566 Follow me in. We're entering ancient Rome. 150 00:07:20,600 --> 00:07:23,366 {\an1}-It takes a year to train as a guide. 151 00:07:23,400 --> 00:07:25,633 ♪♪ 152 00:07:25,666 --> 00:07:30,366 {\an1}-We're entering Africa, Oceania, and the Americas. 153 00:07:30,400 --> 00:07:34,266 {\an1}Down the hallway into ancient America. 154 00:07:34,300 --> 00:07:37,200 Mayan and Aztec are in the far gallery, 155 00:07:37,233 --> 00:07:39,700 {\an1}getting into Peruvian objects 156 00:07:39,733 --> 00:07:44,500 {\an1}that are about 1,000, 1,500 years old. 157 00:07:44,533 --> 00:07:46,866 {\an1}The Met's not trying to be the largest institution 158 00:07:46,900 --> 00:07:49,900 or the biggest holder of objects, 159 00:07:49,933 --> 00:07:51,833 {\an1}but to tell the most comprehensive story 160 00:07:51,866 --> 00:07:54,200 we possibly can. 161 00:07:54,233 --> 00:07:56,800 -Regular visitors don't need a tour guide. 162 00:07:56,833 --> 00:07:58,833 {\an1}They know the history by heart. 163 00:07:58,866 --> 00:08:01,566 {\an1}I think we have to go out... [ speaks indistinctly ] 164 00:08:01,600 --> 00:08:04,800 ♪♪ 165 00:08:04,833 --> 00:08:09,000 {\an1}It's the Cycladic sculptures, I like all these small ones. 166 00:08:09,033 --> 00:08:12,633 {\an1}There's something so incredibly elegant about them. 167 00:08:12,666 --> 00:08:15,566 {\an1}I mean, I don't know how you can not like these. 168 00:08:15,600 --> 00:08:18,000 {\an1}-British born Diana Heller has lived 169 00:08:18,033 --> 00:08:21,200 {\an1}and worked in New York since 1964. 170 00:08:21,233 --> 00:08:23,233 {\an1}-She's one of my favorite people in the Met. 171 00:08:23,266 --> 00:08:26,233 She, to me, is so calm that I often come 172 00:08:26,266 --> 00:08:29,400 {\an7}and just say hello to her when I'm leaving, 173 00:08:29,433 --> 00:08:32,800 {\an1}I come almost as much as once a week or at least two 174 00:08:32,833 --> 00:08:34,200 {\an1}or three times a month. 175 00:08:34,233 --> 00:08:38,100 {\an1}The moment I walk in here, I take a huge sigh of relief. 176 00:08:38,133 --> 00:08:40,066 ♪♪ 177 00:08:40,100 --> 00:08:42,500 {\an1}This is a relatively recent opening. 178 00:08:42,533 --> 00:08:44,633 {\an1}It's under the huge, great big stairway. 179 00:08:44,666 --> 00:08:48,200 {\an1}It's just the layout. [ Speaks indistinctly ] 180 00:08:48,233 --> 00:08:51,100 {\an1}-The under stairs gallery is home to the exhibition 181 00:08:51,133 --> 00:08:54,466 Arts and People of the Kharga Oasis. 182 00:08:54,500 --> 00:08:57,433 {\an1}It's curated by Andrea Achi. 183 00:08:57,466 --> 00:09:01,066 {\an7}This space is my favorite space at the Met because in 2000, 184 00:09:01,100 --> 00:09:04,633 {\an7}when they were doing renovations to the Byzantine galleries, 185 00:09:04,666 --> 00:09:06,633 {\an1}they just discovered it. 186 00:09:06,666 --> 00:09:09,066 -Achi is from the medieval department 187 00:09:09,100 --> 00:09:12,733 {\an1}with a special interest in Byzantine Egypt. 188 00:09:12,766 --> 00:09:14,366 {\an1}-What I've done in this installation 189 00:09:14,400 --> 00:09:16,633 {\an1}is to talk about really where these objects 190 00:09:16,666 --> 00:09:18,133 {\an1}are from and the fact 191 00:09:18,166 --> 00:09:22,133 {\an1}that objects don't just come from the air into vitrines. 192 00:09:22,166 --> 00:09:24,466 I'm actually a archeologist by training. 193 00:09:24,500 --> 00:09:26,200 {\an1}And I've excavated right 194 00:09:26,233 --> 00:09:28,566 {\an1}next to the excavation that the Met did. 195 00:09:28,600 --> 00:09:30,766 {\an1}So I know this material really intimately. 196 00:09:30,800 --> 00:09:34,133 So, for example, these are gold from Alexandria. 197 00:09:34,166 --> 00:09:36,700 {\an1}The people who are wearing these were people of color 198 00:09:36,733 --> 00:09:38,100 {\an1}and they were Egyptians 199 00:09:38,133 --> 00:09:39,866 {\an1}and they had really specific ideas 200 00:09:39,900 --> 00:09:43,500 {\an1}of what it meant to live well. 201 00:09:43,533 --> 00:09:46,800 {\an1}-For the 150th year celebrations, 202 00:09:46,833 --> 00:09:49,566 the curator plans to challenge perceptions 203 00:09:49,600 --> 00:09:52,533 {\an1}with a show called "The Good Life." 204 00:09:52,566 --> 00:09:54,833 {\an1}-The one thing I'm trying to do is to swap this notion 205 00:09:54,866 --> 00:09:56,666 {\an1}of what African art is, 206 00:09:56,700 --> 00:09:58,433 {\an1}because when we think about African art, 207 00:09:58,466 --> 00:10:00,200 {\an1}we only think about West Africa. 208 00:10:00,233 --> 00:10:03,866 {\an1}Visitors don't usually think about Egypt and Ethiopia 209 00:10:03,900 --> 00:10:05,066 and Sudan. 210 00:10:05,100 --> 00:10:06,642 {\an1}50 years from now, maybe somewhere we'll look 211 00:10:06,666 --> 00:10:10,466 {\an1}at jewelry like that and say, like, "Oh, that's African art." 212 00:10:10,500 --> 00:10:12,600 {\an1}-Departments tend their permanent galleries 213 00:10:12,633 --> 00:10:14,066 {\an1}while spending months 214 00:10:14,100 --> 00:10:19,833 {\an1}or years developing temporary exhibitions. 215 00:10:19,866 --> 00:10:21,733 But the Costume Institute presents 216 00:10:21,766 --> 00:10:25,033 {\an1}several new exhibitions every year. 217 00:10:25,066 --> 00:10:27,666 Right now, the main event is Camp 218 00:10:27,700 --> 00:10:32,333 a pump action pink extravaganza. 219 00:10:32,366 --> 00:10:35,366 {\an1}The main annual show is a much anticipated 220 00:10:35,400 --> 00:10:36,800 New York event. 221 00:10:36,833 --> 00:10:39,766 It's launched on the first Monday in May 222 00:10:39,800 --> 00:10:41,800 {\an1}by the famous Met Ball. 223 00:10:41,833 --> 00:10:44,300 {\an1}It's a starry, starry night 224 00:10:44,333 --> 00:10:46,466 where celebrities and the designers 225 00:10:46,500 --> 00:10:50,600 {\an1}who dress them make a splash and donate heavily. 226 00:10:50,633 --> 00:10:54,533 {\an1}The 2019 ball raised $15 million. 227 00:10:56,900 --> 00:11:01,000 {\an1}The money funds the work of the costume institute, 228 00:11:01,033 --> 00:11:04,166 {\an1}the hive of expensive activity. 229 00:11:04,200 --> 00:11:06,366 -That's actually a surgical microscope. 230 00:11:06,400 --> 00:11:08,733 {\an7}I don't know how anyone would do surgery on this 231 00:11:08,766 --> 00:11:13,200 {\an7}because it's very... it's very finicky about staying in focus. 232 00:11:13,233 --> 00:11:17,100 {\an1}We're doing microscopic analysis to determine the difference 233 00:11:17,133 --> 00:11:20,466 {\an1}between these two fabrics, gazar and zagar. 234 00:11:20,500 --> 00:11:23,633 {\an7}-What everybody thinks is gazar might not be gazar. 235 00:11:23,666 --> 00:11:27,033 {\an7}And what people think is the zagar might not be zagar. 236 00:11:27,066 --> 00:11:31,700 {\an1}-The difference is basically the density of the weave. 237 00:11:31,733 --> 00:11:36,133 {\an1}-Conservators tend a collection of over 30,000 items. 238 00:11:36,166 --> 00:11:38,500 {\an1}Atmospherics are controlled. 239 00:11:38,533 --> 00:11:41,900 {\an1}Even the bravest moth stays away. 240 00:11:41,933 --> 00:11:46,166 {\an1}Artificial materials face a special peril. 241 00:11:46,200 --> 00:11:50,400 {\an1}-We have 18th century gowns worn to, like, a French court 242 00:11:50,433 --> 00:11:51,966 that are in much better condition 243 00:11:52,000 --> 00:11:54,500 {\an1}than this dress from the 1960s. 244 00:11:54,533 --> 00:11:56,833 {\an1}We already have stuff from the 1990s 245 00:11:56,866 --> 00:11:59,833 that is starting to degrade rapidly. 246 00:11:59,866 --> 00:12:03,666 {\an1}-These fashion police are on constant patrol. 247 00:12:03,700 --> 00:12:07,066 Sarah Scaturro is with the vice squad. 248 00:12:07,100 --> 00:12:11,133 {\an1}-We're acquiring a lot of new and contemporary garments 249 00:12:11,166 --> 00:12:14,333 {\an1}that have synthetics that have inherent vice 250 00:12:14,366 --> 00:12:17,033 {\an1}a quality intrinsic to them that causes 251 00:12:17,066 --> 00:12:19,533 {\an1}their own self-destruction. 252 00:12:19,566 --> 00:12:21,276 {\an1}This is by a woman named Diana...[ speaks indistinctly ] 253 00:12:21,300 --> 00:12:25,433 {\an1}movie dress leather with illuminated photographs. 254 00:12:25,466 --> 00:12:27,466 {\an1}Well, they should have put like "leather" in quotes 255 00:12:27,500 --> 00:12:29,600 {\an1}because this is obviously not leather. 256 00:12:29,633 --> 00:12:33,300 {\an1}This is called pleather. The fabric is polyurethane. 257 00:12:33,333 --> 00:12:34,833 It's flaking, it's falling apart. 258 00:12:34,866 --> 00:12:37,000 {\an1}There's this white bloom that's come to the surface 259 00:12:37,033 --> 00:12:39,066 {\an1}and actually you can smell it. 260 00:12:39,100 --> 00:12:40,533 It stinks. 261 00:12:40,566 --> 00:12:42,933 {\an1}What we're smelling is off gassing chemicals 262 00:12:42,966 --> 00:12:46,400 {\an1}that can actually harm other objects in our collection. 263 00:12:48,866 --> 00:12:51,366 {\an1}This is very recent, it's like five years old. 264 00:12:51,400 --> 00:12:52,966 It's a certain kind of polyurethane 265 00:12:53,000 --> 00:12:55,100 {\an1}that's susceptible to oxygen. 266 00:12:55,133 --> 00:12:57,666 {\an1}We're going to put it in this big bubble, essentially, 267 00:12:57,700 --> 00:12:59,600 {\an1}and pump the bubble full of argon gas. 268 00:12:59,633 --> 00:13:01,666 {\an1}Taking out all the oxygen should slow down 269 00:13:01,700 --> 00:13:05,766 the degradation of that dramatically. 270 00:13:05,800 --> 00:13:08,333 {\an1}-The exhibition schedule is punishing. 271 00:13:08,366 --> 00:13:12,066 {\an1}Upstairs, camp still has four months to run. 272 00:13:12,100 --> 00:13:14,633 Downstairs, they are already planning 273 00:13:14,666 --> 00:13:17,166 {\an1}next year's standout show 274 00:13:17,200 --> 00:13:20,066 {\an1}where black will be the new pink. 275 00:13:20,100 --> 00:13:21,476 {\an1}-I mean, every year we're pumping out something 276 00:13:21,500 --> 00:13:23,233 pretty amazing. 277 00:13:23,266 --> 00:13:25,600 {\an1}We technically have less than a year to plan, 278 00:13:25,633 --> 00:13:28,600 so we'll see, fashionably late, right? 279 00:13:28,633 --> 00:13:30,633 ♪♪ 280 00:13:30,666 --> 00:13:34,100 {\an1}-However loud the clamor below, five floors up, 281 00:13:34,133 --> 00:13:37,966 {\an1}a deep pile hush pervades the corridor of power. 282 00:13:38,000 --> 00:13:44,033 {\an1}From here, Met CEO Dan Weiss can see spring in Central Park 283 00:13:44,066 --> 00:13:45,566 {\an1}and winter in Paris. 284 00:13:45,600 --> 00:13:49,300 {\an1}In college, I had images from the Metropolitan on my wall. 285 00:13:49,333 --> 00:13:53,000 {\an1}And one of them was this painting by Alfred Sisley. 286 00:13:53,033 --> 00:13:56,633 {\an1}And now I have the real thing, which is a great privilege. 287 00:13:56,666 --> 00:13:59,600 {\an1}-The Met began in Paris, where globe-trotting 288 00:13:59,633 --> 00:14:04,166 {\an1}industrialists dreamed of an American Louvre. 289 00:14:04,200 --> 00:14:06,833 {\an1}-When the museum was founded 150 years ago, 290 00:14:06,866 --> 00:14:10,033 {\an1}it really was largely an audacious vision 291 00:14:10,066 --> 00:14:12,400 {\an1}that a bunch of businessmen in New York City had 292 00:14:12,433 --> 00:14:14,566 {\an1}to create a cultural center that rivaled 293 00:14:14,600 --> 00:14:17,366 {\an1}the greatest cultural institutions in the world. 294 00:14:17,400 --> 00:14:20,166 {\an1}And it was preposterous. They had really no art. 295 00:14:20,200 --> 00:14:22,733 {\an1}They had ambition. They had vision. 296 00:14:22,766 --> 00:14:25,500 {\an1}But they had no art. And they had limited funds. 297 00:14:25,533 --> 00:14:29,733 {\an1}And somehow through this... This extraordinary experiment, 298 00:14:29,766 --> 00:14:32,566 {\an1}they were able to generate great interest and support. 299 00:14:32,600 --> 00:14:35,500 {\an1}And in this moment in our history, 300 00:14:35,533 --> 00:14:37,933 {\an1}what I think about all the time is how do 301 00:14:37,966 --> 00:14:40,066 {\an1}we find the right balance between respecting 302 00:14:40,100 --> 00:14:42,366 our tradition, exhibiting, collecting, 303 00:14:42,400 --> 00:14:46,100 {\an1}studying the works of 5,000 years of civilization 304 00:14:46,133 --> 00:14:48,166 {\an1}and at the same time serving the public 305 00:14:48,200 --> 00:14:52,700 {\an1}that's changing in ways we all see every day. 306 00:14:52,733 --> 00:14:55,900 {\an1}-The Met opened in April 1870. 307 00:14:55,933 --> 00:14:59,833 {\an1}It wasn't just a museum, it was an art museum. 308 00:14:59,866 --> 00:15:02,900 {\an1}The philanthropist founders believe that being close 309 00:15:02,933 --> 00:15:06,733 {\an1}to beautiful objects would improve visitors' lives. 310 00:15:06,766 --> 00:15:08,800 {\an1}-We are caretakers of the art. 311 00:15:08,833 --> 00:15:10,766 {\an8}People can get very close to it 312 00:15:10,800 --> 00:15:13,033 {\an7}and see the the layers of painting, 313 00:15:13,066 --> 00:15:14,633 {\an1}the brilliance of the colors, 314 00:15:14,666 --> 00:15:16,600 {\an1}whereas in other places you may not be able 315 00:15:16,633 --> 00:15:17,733 {\an1}to get that close at all. 316 00:15:17,766 --> 00:15:19,833 For instance, like the Mona Lisa, 317 00:15:19,866 --> 00:15:22,500 {\an1}you're like 10, 15 feet away. 318 00:15:22,533 --> 00:15:25,533 {\an1}Here we are inches away. 319 00:15:25,566 --> 00:15:29,400 {\an1}-Locals feel a sense of belonging and ownership. 320 00:15:29,433 --> 00:15:31,933 {\an1}-This is one of the most beloved areas of the Met. 321 00:15:31,966 --> 00:15:33,576 {\an1}It's something that New Yorkers in particular 322 00:15:33,600 --> 00:15:34,766 {\an1}feel very attached to. 323 00:15:34,800 --> 00:15:37,900 Historians argue that that cosmopolitanism, 324 00:15:37,933 --> 00:15:39,600 {\an7}the tolerance of New York City, 325 00:15:39,633 --> 00:15:42,433 {\an7}really extends back to its Dutch roots. 326 00:15:42,466 --> 00:15:45,866 {\an1}It's definitely humbling being responsible for the Rembrandts 327 00:15:45,900 --> 00:15:47,433 {\an1}and the Vermeers of the Met. 328 00:15:47,466 --> 00:15:51,366 {\an1}But I have to say, it's nice being the curator for an area 329 00:15:51,400 --> 00:15:53,600 {\an1}that is such a crowd pleaser. 330 00:15:53,633 --> 00:15:57,533 {\an1}The Met's is a world leading collection of Dutch masters. 331 00:15:57,566 --> 00:16:02,233 {\an1}These works have been enjoyed by New Yorkers since 1871, 332 00:16:02,266 --> 00:16:05,100 {\an1}when the European paintings department began. 333 00:16:05,133 --> 00:16:08,366 {\an1}-We've collected continuously for nearly 150 years. 334 00:16:08,400 --> 00:16:10,966 {\an1}People have come and asked me how many different museums 335 00:16:11,000 --> 00:16:12,600 {\an1}we borrowed these pictures from. 336 00:16:12,633 --> 00:16:14,666 {\an1}And it is kind of nice to be able to say, 337 00:16:14,700 --> 00:16:17,866 {\an1}actually, this is all ours. 338 00:16:17,900 --> 00:16:20,400 {\an1}-The museum started with collections 339 00:16:20,433 --> 00:16:24,200 {\an1}donated by the founders and their art-loving friends. 340 00:16:24,233 --> 00:16:27,700 {\an1}The first acquisition was a Roman sarcophagus 341 00:16:27,733 --> 00:16:30,833 {\an1}given by a Greek diplomat. 342 00:16:30,866 --> 00:16:33,233 {\an1}The Met's oldest departments 343 00:16:33,266 --> 00:16:37,266 reveal the tastes of America's Gilded Age. 344 00:16:37,300 --> 00:16:38,776 {\an1}-I've been coming to the Met since before 345 00:16:38,800 --> 00:16:39,833 {\an1}I was 5 years old. 346 00:16:39,866 --> 00:16:41,900 {\an1}I grew up on 86th Street. 347 00:16:41,933 --> 00:16:43,800 {\an1}The museum is a sanctuary. 348 00:16:43,833 --> 00:16:46,500 This is a church. This is a cathedral. 349 00:16:46,533 --> 00:16:48,700 There are people who come religiously 350 00:16:48,733 --> 00:16:52,033 {\an1}to see a certain object and stand before it. 351 00:16:52,066 --> 00:16:54,633 {\an1}You go into the galleries and realize 352 00:16:54,666 --> 00:16:57,066 {\an1}there is more to the world 353 00:16:57,100 --> 00:17:01,566 {\an1}than just bad news. 354 00:17:01,600 --> 00:17:06,000 {\an1}-Preserving ancient objects is the work of conservators, 355 00:17:06,033 --> 00:17:09,500 {\an1}Hermes Knauer did it for 40 years. 356 00:17:09,533 --> 00:17:14,000 {\an8}This shirt, when it came in in 2008, 357 00:17:14,033 --> 00:17:17,266 {\an7}was orange with rust. 358 00:17:17,300 --> 00:17:20,133 {\an1}I spent three and a half months cleaning this. 359 00:17:20,166 --> 00:17:24,000 {\an1}Each one of these rings has an inscription, 360 00:17:24,033 --> 00:17:26,800 {\an1}and it's the 99 names of God. 361 00:17:26,833 --> 00:17:30,133 {\an1}This piece may have belonged to the Shahjahan 362 00:17:30,166 --> 00:17:32,100 {\an1}who built the Taj Mahal. 363 00:17:32,133 --> 00:17:37,166 {\an1}All of these pieces have not only a history, 364 00:17:37,200 --> 00:17:40,666 {\an1}but people who are dedicated to care for them. 365 00:17:40,700 --> 00:17:44,166 {\an1}But you don't see them. The museum is an iceberg. 366 00:17:44,200 --> 00:17:47,200 {\an1}You see the tip of an iceberg, 367 00:17:47,233 --> 00:17:49,933 {\an1}but 7/8 of it is underground. 368 00:17:49,966 --> 00:17:52,733 ♪♪ 369 00:17:52,766 --> 00:17:56,066 {\an1}-The public never see this network of labs, 370 00:17:56,100 --> 00:18:00,766 {\an1}studios, workshops, and archives. 371 00:18:00,800 --> 00:18:03,100 {\an1}-Our newly acquired pistol sword. 372 00:18:03,133 --> 00:18:05,300 {\an1}-Ted Hunter and Sean Belair 373 00:18:05,333 --> 00:18:08,133 {\an1}are part of a team laboring unseen 374 00:18:08,166 --> 00:18:12,000 {\an1}to keep the arms and armor collection at the cutting edge. 375 00:18:12,033 --> 00:18:14,300 {\an1}-I'll remove the corrosion and then probably apply 376 00:18:14,333 --> 00:18:15,542 {\an7}a protective coating to make sure 377 00:18:15,566 --> 00:18:17,366 {\an7}it doesn't reactivate in the future. 378 00:18:17,400 --> 00:18:19,333 {\an1}We do like to disassemble our firearms, 379 00:18:19,366 --> 00:18:21,566 {\an1}so you really have to figure out how they come apart. 380 00:18:21,600 --> 00:18:23,009 {\an1}-Do you take the hammer off? Would that help? 381 00:18:23,033 --> 00:18:24,842 {\an1}- Well, the hammer... - Can't see what's behind it? 382 00:18:24,866 --> 00:18:29,266 {\an1}-Close a nut here, but you can't get past there first. 383 00:18:29,300 --> 00:18:33,966 {\an1}So we need to remove, you know. 384 00:18:34,000 --> 00:18:35,366 - Hmm. - Yeah. 385 00:18:35,400 --> 00:18:37,266 {\an7}-Sometimes this design solutions 386 00:18:37,300 --> 00:18:42,333 {\an7}these craftsmen come up with are real head scratchers. 387 00:18:42,366 --> 00:18:45,066 - Aha! - There you go. 388 00:18:45,100 --> 00:18:47,933 {\an1}-Some of the 14,000 piece collection 389 00:18:47,966 --> 00:18:51,533 goes out on loan to other museums. 390 00:18:51,566 --> 00:18:54,233 {\an1}-So this armor is going on loan to Florence. 391 00:18:54,266 --> 00:18:56,566 {\an1}I will use cleaning techniques 392 00:18:56,600 --> 00:18:59,233 {\an1}that are what I think of as the modern techniques. 393 00:18:59,266 --> 00:19:01,333 {\an1}Probably use my microscope for some of it. 394 00:19:01,366 --> 00:19:03,600 {\an1}We're going to reattach these lames 395 00:19:03,633 --> 00:19:05,433 {\an1}because when I send this off on loan, 396 00:19:05,466 --> 00:19:07,166 {\an1}I don't want anything flopping around. 397 00:19:07,200 --> 00:19:09,800 {\an1}I've got a reputation to uphold, right? 398 00:19:09,833 --> 00:19:13,266 {\an1}-We might guess that this calling, this environment 399 00:19:13,300 --> 00:19:16,300 attracts a certain kind of personality 400 00:19:16,333 --> 00:19:19,300 {\an1}and we'd be right. 401 00:19:19,333 --> 00:19:21,533 {\an1}-Every department is fun for people who are in it. 402 00:19:21,566 --> 00:19:25,700 {\an1}And I've been here now almost 18 years. 403 00:19:25,733 --> 00:19:29,400 {\an1}There's so many things that we do done by people who are crazy 404 00:19:29,433 --> 00:19:33,000 {\an1}passionate about what they're doing and everybody's like 405 00:19:33,033 --> 00:19:35,566 {\an1}gung ho about everything we do, I love being here. 406 00:19:35,600 --> 00:19:40,866 {\an7}-The Met is its people around 2,000 staff 407 00:19:40,900 --> 00:19:46,100 {\an8}all counting down to the 150th year. 408 00:19:46,133 --> 00:19:50,366 {\an1}Beside the 2020 calendar on Wolf Burchard's desk 409 00:19:50,400 --> 00:19:51,866 {\an1}are his worry beads 410 00:19:51,900 --> 00:19:57,333 {\an1}because his new exhibition will open the 150th celebrations. 411 00:19:57,366 --> 00:20:00,033 {\an1}-So these here are the 18th century galleries 412 00:20:00,066 --> 00:20:01,442 {\an1}and they're very much the centerpiece 413 00:20:01,466 --> 00:20:03,300 {\an1}of the British galleries. 414 00:20:03,333 --> 00:20:07,200 {\an1}-To tell the story of 500 years of British trade 415 00:20:07,233 --> 00:20:09,700 and its effect on interior design, 416 00:20:09,733 --> 00:20:13,066 {\an1}the existing British galleries are being remodeled. 417 00:20:13,100 --> 00:20:15,300 {\an1}They include entire rooms 418 00:20:15,333 --> 00:20:18,466 {\an1}rescued from crumbling stately homes. 419 00:20:18,500 --> 00:20:20,500 -This is a room from the 1750s. 420 00:20:20,533 --> 00:20:24,133 {\an1}I think this color has come out really beautifully. 421 00:20:24,166 --> 00:20:27,966 {\an7}When it was done in the 1990s, it was a much brighter yellow, 422 00:20:28,000 --> 00:20:30,766 {\an1}but it was all done with sponges and made the whole room 423 00:20:30,800 --> 00:20:33,633 look a bit like your local pizzeria. 424 00:20:33,666 --> 00:20:38,966 {\an1}It's extremely important to get these things absolutely right. 425 00:20:39,000 --> 00:20:41,966 {\an1}-Burchard has a $20 million budget 426 00:20:42,000 --> 00:20:44,000 {\an1}and most of his 700 exhibits. 427 00:20:44,033 --> 00:20:47,033 {\an1}What he needs now is time. 428 00:20:47,066 --> 00:20:49,400 {\an1}-This was originally a dining room 429 00:20:49,433 --> 00:20:52,133 {\an1}from a house in London, a very, very talented artist 430 00:20:52,166 --> 00:20:54,866 {\an1}is going to recreate what would have been that view 431 00:20:54,900 --> 00:20:56,533 {\an1}in 18th century London. 432 00:20:56,566 --> 00:20:58,933 {\an1}Whereas the other room is going to be the view 433 00:20:58,966 --> 00:21:02,066 {\an1}that you would have had of the country landscape. 434 00:21:02,100 --> 00:21:06,866 {\an1}We have about eight months left. We're opening in February 2020. 435 00:21:06,900 --> 00:21:08,666 {\an1}And given that this will mark 436 00:21:08,700 --> 00:21:10,300 {\an1}the 150th anniversary of the Met, 437 00:21:10,333 --> 00:21:13,766 {\an1}we really have to stick to that deadline. 438 00:21:13,800 --> 00:21:16,200 {\an1}When you look at this space right now, you think, 439 00:21:16,233 --> 00:21:18,200 well, how is it going to open in eight months? 440 00:21:18,233 --> 00:21:20,000 {\an1}But it's all going to go according to plan. 441 00:21:20,033 --> 00:21:22,133 I have no doubt. 442 00:21:22,166 --> 00:21:26,266 {\an1}-The Met serves a city defined by the word "new." 443 00:21:26,300 --> 00:21:29,700 150 years after its creation, 444 00:21:29,733 --> 00:21:33,200 {\an1}the challenge is to persuade digital age visitors 445 00:21:33,233 --> 00:21:37,466 {\an1}to stand still and concentrate on old things. 446 00:21:37,500 --> 00:21:42,400 {\an1}That magic is worked by the design department. 447 00:21:42,433 --> 00:21:46,200 {\an7}Patrick Herron is the lead designer on this project. 448 00:21:46,233 --> 00:21:48,566 {\an7}-Shall we move her up ever so slightly, 449 00:21:48,600 --> 00:21:51,000 {\an1}but does she then have to move further to the left? 450 00:21:51,033 --> 00:21:54,566 {\an1}-I think what we want to avoid is having too many big gaps. 451 00:21:54,600 --> 00:21:55,866 {\an1}-His team have mocked up 452 00:21:55,900 --> 00:21:58,500 {\an1}what will be a display case of 18th century 453 00:21:58,533 --> 00:22:03,166 {\an1}consumer durables that made luxury accessible to almost all. 454 00:22:03,200 --> 00:22:05,800 {\an1}-What if we've moved her further to the back? 455 00:22:05,833 --> 00:22:09,766 {\an1}-These Georgian chocolate pots, candlesticks, and snuff boxes 456 00:22:09,800 --> 00:22:11,966 were never meant to be seen together. 457 00:22:12,000 --> 00:22:15,166 {\an1}Herron must arrange them to tell a group story. 458 00:22:15,200 --> 00:22:17,200 {\an1}-We did move the lids around a little bit. 459 00:22:17,233 --> 00:22:18,933 {\an1}-I saw that. But it's fine. 460 00:22:18,966 --> 00:22:20,733 {\an1}-Get the arrangement wrong 461 00:22:20,766 --> 00:22:23,933 {\an1}and it could look like a grandma's mantelpiece. 462 00:22:23,966 --> 00:22:26,166 {\an1}-There's a lot of back and forth between how the objects 463 00:22:26,200 --> 00:22:27,440 {\an1}get displayed, how they're lit. 464 00:22:27,466 --> 00:22:29,833 {\an1}-We're wondering about that one. 465 00:22:29,866 --> 00:22:31,500 {\an1}-It's a bit too close to this. 466 00:22:31,533 --> 00:22:34,433 {\an1}So it needs to just slot down and over. 467 00:22:34,466 --> 00:22:36,333 {\an1}It's quite finicky. 468 00:22:36,366 --> 00:22:40,400 {\an1}I don't think I knew what I signed up for, but here I am. 469 00:22:40,433 --> 00:22:43,366 -Yeah, it's going to be fantastic. 470 00:22:43,400 --> 00:22:44,933 {\an1}[ Ship horn blows ] 471 00:22:44,966 --> 00:22:50,900 {\an8}♪♪ 472 00:22:50,933 --> 00:22:55,133 {\an1}-With so much preparation and progress, fall flies by. 473 00:22:55,166 --> 00:22:58,033 {\an1}Thanksgiving and Christmas are a blur. 474 00:22:58,066 --> 00:23:00,366 As 2020 begins, 475 00:23:00,400 --> 00:23:04,000 {\an1}the flagship exhibition of the Met's birthday celebrations 476 00:23:04,033 --> 00:23:05,866 {\an1}is nearing completion. 477 00:23:05,900 --> 00:23:08,333 {\an1}-I'm this excited. 478 00:23:08,366 --> 00:23:12,366 {\an1}-Andrea Bayer is in charge of all curatorial staff. 479 00:23:12,400 --> 00:23:16,100 {\an1}But making the Met the story of the museum's evolution, 480 00:23:16,133 --> 00:23:20,700 {\an1}told in 250 objects is her personal project. 481 00:23:20,733 --> 00:23:22,400 {\an8}-10 grand rooms, 482 00:23:22,433 --> 00:23:25,833 {\an7}10 episodes through the history of the museum 483 00:23:25,866 --> 00:23:30,966 {\an1}is going to be a thrilling, immersive experience. 484 00:23:31,000 --> 00:23:34,166 {\an1}I'm incredibly proud of what we have achieved here. 485 00:23:34,200 --> 00:23:38,466 {\an1}One of our greatest Egyptian sculptures, Pharaoh Hatshepsut, 486 00:23:38,500 --> 00:23:40,566 {\an1}she's going to sit right there. 487 00:23:40,600 --> 00:23:44,000 {\an1}And then out the window we see the great obelisk. 488 00:23:44,033 --> 00:23:48,466 {\an1}After her death, her sculptures were defiled by her coruler 489 00:23:48,500 --> 00:23:52,166 {\an1}who took over from her, and that is his obelisk. 490 00:23:52,200 --> 00:23:55,433 {\an1}So history over a long period 491 00:23:55,466 --> 00:23:58,566 {\an1}of time coming together. 492 00:23:58,600 --> 00:24:02,233 {\an1}We will have things here ranging from a Nepalese facemask 493 00:24:02,266 --> 00:24:07,633 {\an1}through Richard Avedon's portrait of Marilyn Monroe. 494 00:24:07,666 --> 00:24:10,400 {\an1}So that gives you a sense of how truly global 495 00:24:10,433 --> 00:24:12,333 {\an1}and encyclopedic the museum is. 496 00:24:12,366 --> 00:24:14,200 And each of the collecting departments 497 00:24:14,233 --> 00:24:17,166 {\an1}has gone to their donors, their supporters, 498 00:24:17,200 --> 00:24:19,200 {\an1}and asked whether they want to give gifts 499 00:24:19,233 --> 00:24:21,566 in honor of the museum's anniversary. 500 00:24:21,600 --> 00:24:24,000 {\an1}And let me tell you, ha ha, 501 00:24:24,033 --> 00:24:28,000 {\an1}a number of exceptional things have come in 502 00:24:28,033 --> 00:24:32,900 {\an1}and some of them have made their way into this exhibition. 503 00:24:32,933 --> 00:24:35,000 {\an1}-It's not just about objects. 504 00:24:35,033 --> 00:24:39,233 {\an1}This exhibition also underlines an ongoing mission. 505 00:24:39,266 --> 00:24:41,766 {\an1}-When we began in 1870, 506 00:24:41,800 --> 00:24:45,466 it was about bringing great objects 507 00:24:45,500 --> 00:24:49,466 {\an1}to a New York public to inspire and to educate. 508 00:24:49,500 --> 00:24:53,033 {\an1}It's important to remember that the Met has lived through, 509 00:24:53,066 --> 00:24:55,200 {\an1}for example, several periods 510 00:24:55,233 --> 00:24:58,333 {\an1}in which there was a great debate about immigration 511 00:24:58,366 --> 00:25:00,133 {\an1}and who is an American. 512 00:25:00,166 --> 00:25:03,166 {\an1}And many of the steps taken by the Met 513 00:25:03,200 --> 00:25:06,333 were to help new immigrants understand 514 00:25:06,366 --> 00:25:07,900 {\an1}how do you make yourself an American? 515 00:25:07,933 --> 00:25:10,200 {\an1}How do you make yourself a citizen of the world? 516 00:25:10,233 --> 00:25:15,100 {\an1}It's always been a part of the museum's mission. 517 00:25:15,133 --> 00:25:19,066 {\an1}-Today, the Met wouldn't presume to define what or who 518 00:25:19,100 --> 00:25:20,566 an American is. 519 00:25:20,600 --> 00:25:23,900 In old age, the museum is eager to show 520 00:25:23,933 --> 00:25:27,633 how young it is and awake to woke ideas. 521 00:25:27,666 --> 00:25:32,300 {\an1}-We have the responsibility to share ideally 522 00:25:32,333 --> 00:25:36,166 {\an1}the greatest artworks of the last 5,000 years, 523 00:25:36,200 --> 00:25:38,433 {\an1}but it's also important the museum is 524 00:25:38,466 --> 00:25:43,766 {\an1}not only like reliving previous times, 525 00:25:43,800 --> 00:25:47,900 {\an1}but it really also needs to live in our current time. 526 00:25:47,933 --> 00:25:50,966 {\an1}-Max Hollein realized that the Met looked exclusive, 527 00:25:51,000 --> 00:25:53,466 {\an8}not inclusive. 528 00:25:53,500 --> 00:25:56,200 {\an7}Wangechi Mutu became the first artist ever 529 00:25:56,233 --> 00:26:00,300 {\an1}to exhibit work in niches on the exterior. 530 00:26:00,333 --> 00:26:03,000 {\an1}-The facade of the metropolitan has been empty 531 00:26:03,033 --> 00:26:05,433 {\an1}since the museum was built. 532 00:26:05,466 --> 00:26:08,833 {\an1}Asking a contemporary artist to place something in there 533 00:26:08,866 --> 00:26:12,933 {\an1}that is about the issues of today is a statement 534 00:26:12,966 --> 00:26:15,133 {\an1}and saying, listen, we're willing to talk about 535 00:26:15,166 --> 00:26:17,600 {\an1}what we're going through as a culture and as a people, 536 00:26:17,633 --> 00:26:19,800 {\an1}and we're willing to put you in that position 537 00:26:19,833 --> 00:26:21,566 {\an1}as the bearer of these ideas 538 00:26:21,600 --> 00:26:23,700 in the front of this institution. 539 00:26:23,733 --> 00:26:25,833 {\an1}-The African-inspired figures 540 00:26:25,866 --> 00:26:28,766 are called The New Ones Will Free Us, 541 00:26:28,800 --> 00:26:31,400 {\an1}and that's what Max wanted them to do. 542 00:26:31,433 --> 00:26:35,766 {\an1}-Artists are, of course, great seismographs for 543 00:26:35,800 --> 00:26:37,866 {\an1}things that happen in society. 544 00:26:37,900 --> 00:26:40,933 They are also the address agencies urgencies. 545 00:26:40,966 --> 00:26:44,800 They help us look at the world 546 00:26:44,833 --> 00:26:46,733 {\an1}in a way that we need to look at it. 547 00:26:46,766 --> 00:26:49,466 {\an7}Wangechi Mutu is, with her art, 548 00:26:49,500 --> 00:26:51,533 {\an1}a very important proponent 549 00:26:51,566 --> 00:26:54,433 for our bringing in a new practice, 550 00:26:54,466 --> 00:26:59,733 {\an1}looking at art not only from a Western perspective. 551 00:26:59,766 --> 00:27:03,033 {\an1}-I think of these women as characters that have 552 00:27:03,066 --> 00:27:06,133 {\an1}the capacity, the freedom, and the opportunity to be 553 00:27:06,166 --> 00:27:09,800 {\an1}where they need to be, to say what they have to say. 554 00:27:09,833 --> 00:27:12,266 {\an1}They're here and they're present and they've arrived. 555 00:27:12,300 --> 00:27:16,266 ♪♪ 556 00:27:16,300 --> 00:27:18,233 {\an7}[ Siren wailing in distance ] 557 00:27:18,266 --> 00:27:25,100 {\an8}♪♪ 558 00:27:25,133 --> 00:27:28,700 {\an1}-Days before opening, Wolf Burchard's exhibition 559 00:27:28,733 --> 00:27:34,300 {\an1}of 500 years of British art and commerce nears completion, 560 00:27:34,333 --> 00:27:38,366 but many objects still require care. 561 00:27:38,400 --> 00:27:42,700 {\an1}This 17th century staircase features balustrades 562 00:27:42,733 --> 00:27:46,733 {\an1}carved in three dimensions from a single elm tree. 563 00:27:46,766 --> 00:27:50,266 {\an1}Much of it's been reconstructed. 564 00:27:50,300 --> 00:27:53,100 {\an1}-I've worked on this staircase since 2014. 565 00:27:53,133 --> 00:27:55,800 {\an1}To bring it back to life, 566 00:27:55,833 --> 00:27:59,633 {\an1}to make it speak again is kind of our goal 567 00:27:59,666 --> 00:28:02,000 {\an7}and it's a step by step process. 568 00:28:02,033 --> 00:28:05,633 {\an8}It's a staircase, but reaching the top now, 569 00:28:05,666 --> 00:28:08,133 {\an7}I am very pleased. 570 00:28:08,166 --> 00:28:11,900 {\an7}-In the next room, conservator Carolyn Riccardelli 571 00:28:11,933 --> 00:28:15,333 {\an1}is protecting a Tudor fireplace from dust. 572 00:28:15,366 --> 00:28:18,500 -There's a gap between the mantel, 573 00:28:18,533 --> 00:28:21,000 {\an1}the stone, and the paneling. 574 00:28:21,033 --> 00:28:25,266 {\an1}So we want to prevent dust from getting built up behind it. 575 00:28:25,300 --> 00:28:28,366 {\an1}That's where pests make their way. 576 00:28:28,400 --> 00:28:32,366 {\an1}-A skilled conservator leaves no trace of their existence. 577 00:28:32,400 --> 00:28:34,500 {\an1}It's not a job for egotists. 578 00:28:34,533 --> 00:28:38,166 {\an8}-We try to make our interventions invisible. 579 00:28:38,200 --> 00:28:41,300 {\an1}-A certain personality type goes into this. 580 00:28:41,333 --> 00:28:43,066 {\an1}Well, certainly meticulous. 581 00:28:43,100 --> 00:28:44,866 {\an7}I guess you're always aiming for perfection, 582 00:28:44,900 --> 00:28:46,642 {\an7}but there's a certain point where you realize 583 00:28:46,666 --> 00:28:49,800 {\an7}that you've gotten as far 584 00:28:49,833 --> 00:28:52,766 {\an1}as you're going to get and you need to stop. 585 00:28:52,800 --> 00:28:54,309 {\an1}There is a history in the museum of not 586 00:28:54,333 --> 00:28:58,133 {\an1}wanting to show conservation and not wanting to talk at all 587 00:28:58,166 --> 00:28:59,833 {\an1}about how the objects are cared for. 588 00:28:59,866 --> 00:29:02,133 {\an1}And that has really changed. - That's changed. 589 00:29:02,166 --> 00:29:04,900 {\an1}I think before it was a concern that it would take away 590 00:29:04,933 --> 00:29:06,900 {\an1}from the sense of wonder 591 00:29:06,933 --> 00:29:10,966 and appreciation of the work of art itself. 592 00:29:11,000 --> 00:29:14,833 And now we see it as a complement to the art. 593 00:29:14,866 --> 00:29:19,100 {\an8}♪♪ 594 00:29:19,133 --> 00:29:24,866 {\an7}-On February 24th, Upper Fifth Avenue smells like team spirit 595 00:29:24,900 --> 00:29:29,433 {\an1}as New York's arty glitterati come to a private opening. 596 00:29:29,466 --> 00:29:32,166 {\an1}-Good evening and welcome to the Met's renovated 597 00:29:32,200 --> 00:29:33,533 {\an1}and reimagined galleries 598 00:29:33,566 --> 00:29:36,133 {\an1}for British decorative arts and design. 599 00:29:36,166 --> 00:29:38,100 {\an1}-What you will see are a dazzling array 600 00:29:38,133 --> 00:29:40,166 {\an1}of objects and spaces, 601 00:29:40,200 --> 00:29:43,266 {\an1}but also with an updated curatorial narrative. 602 00:29:43,300 --> 00:29:46,666 {\an1}-Many will be seeing items they have donated. 603 00:29:46,700 --> 00:29:50,366 {\an1}-It's quite surreal to actually see real people here. 604 00:29:50,400 --> 00:29:52,600 You really want to pinch yourself. 605 00:29:52,633 --> 00:29:55,300 {\an1}Our new director Max Hollein, he was very keen on 606 00:29:55,333 --> 00:29:58,333 {\an1}what he calls alternative additional narrative. 607 00:29:58,366 --> 00:30:01,966 {\an1}So we are addressing the contrast of the beauty 608 00:30:02,000 --> 00:30:05,300 {\an1}and sometimes the humor of the objects 609 00:30:05,333 --> 00:30:07,966 {\an1}and the cruel aspects of the empire, 610 00:30:08,000 --> 00:30:09,900 {\an1}such as the slave trade. 611 00:30:09,933 --> 00:30:13,100 {\an1}So what would be important here is those slaves have a voice. 612 00:30:13,133 --> 00:30:15,866 {\an1}And so we have quoted firsthand accounts of the slaves. 613 00:30:15,900 --> 00:30:17,700 So we tell a more comprehensive story, 614 00:30:17,733 --> 00:30:20,966 {\an1}but also address subjects that are more difficult. 615 00:30:21,000 --> 00:30:26,133 {\an1}So far, the reaction has been rather positive. 616 00:30:26,166 --> 00:30:29,000 {\an1}-This case required so many hours of work, 617 00:30:29,033 --> 00:30:31,366 {\an1}to see it all in place is so rewarding. 618 00:30:31,400 --> 00:30:36,100 ♪♪ 619 00:30:36,133 --> 00:30:39,600 {\an1}-This was once the dining room in Kirtlington Park, 620 00:30:39,633 --> 00:30:44,933 {\an1}a British stately home cut out and sold to the Met in 1931. 621 00:30:44,966 --> 00:30:47,600 {\an1}Its Georgian glory restored, 622 00:30:47,633 --> 00:30:50,166 {\an1}the current residents of the actual house 623 00:30:50,200 --> 00:30:53,633 {\an1}have crossed the Atlantic to experience it. 624 00:30:53,666 --> 00:30:55,100 {\an7}-It was a real double take. 625 00:30:55,133 --> 00:30:57,400 {\an8}It's like walking into your home, 626 00:30:57,433 --> 00:30:59,333 {\an7}but it's it's obviously clearly not. 627 00:30:59,366 --> 00:31:00,500 We're in the Met. 628 00:31:00,533 --> 00:31:02,733 {\an1}They've got the paintings, the lights, 629 00:31:02,766 --> 00:31:05,266 {\an1}the beautiful view out the window. 630 00:31:05,300 --> 00:31:07,066 {\an1}It's actually pretty accurate. 631 00:31:07,100 --> 00:31:08,966 You look down and you see the lake. 632 00:31:09,000 --> 00:31:12,633 {\an1}And you can see, I think, at home it's a 25-mile view. 633 00:31:12,666 --> 00:31:14,000 {\an1}You can see a really long way. 634 00:31:14,033 --> 00:31:16,733 {\an7}-It's a strange kind of like déjà vu, isn't it? 635 00:31:16,766 --> 00:31:18,666 {\an7}You sort of, you know, 636 00:31:18,700 --> 00:31:21,100 {\an7}you're standing where I was putting the Christmas tree up. 637 00:31:21,133 --> 00:31:24,666 {\an1}The Met put back a copy of the room, but not all of it. 638 00:31:24,700 --> 00:31:27,533 So we're missing the main ceiling. 639 00:31:27,566 --> 00:31:29,100 {\an1}Everything else is the same. 640 00:31:29,133 --> 00:31:31,000 {\an1}It's quite odd, yes, it is quite odd. 641 00:31:31,033 --> 00:31:35,700 {\an1}It does feel quite strange being back, being in here. 642 00:31:35,733 --> 00:31:40,600 ♪♪ 643 00:31:40,633 --> 00:31:42,100 {\an1}-On March the 2nd, 644 00:31:42,133 --> 00:31:44,733 {\an1}the new British galleries opened to the public, 645 00:31:44,766 --> 00:31:47,533 kicking off the anniversary year. 646 00:31:47,566 --> 00:31:49,466 One day earlier, 647 00:31:49,500 --> 00:31:53,633 {\an1}the first case of coronavirus had been reported in New York. 648 00:31:53,666 --> 00:31:55,300 {\an1}It was a small story. 649 00:31:55,333 --> 00:31:58,800 {\an1}And as eight million citizens went about their business, 650 00:31:58,833 --> 00:32:00,433 the virus spread. 651 00:32:00,466 --> 00:32:02,966 {\an7}-There are new warnings about the coronavirus outbreak 652 00:32:03,000 --> 00:32:05,600 {\an7}as it rapidly takes hold. 653 00:32:05,633 --> 00:32:10,166 {\an7}-New York battled on. Shutting down was unthinkable. 654 00:32:10,200 --> 00:32:12,600 {\an7}-I had been in discussions with city government 655 00:32:12,633 --> 00:32:14,333 {\an7}each day and each day, 656 00:32:14,366 --> 00:32:17,133 {\an7}they were encouraging us to do what we can to stay open 657 00:32:17,166 --> 00:32:18,766 {\an1}to protect the economy 658 00:32:18,800 --> 00:32:22,933 {\an1}and ensure the well-being of our public and our staff. 659 00:32:22,966 --> 00:32:28,133 {\an1}-Crowds thronged the galleries, a perfect viral storm. 660 00:32:28,166 --> 00:32:31,500 {\an8}The Met's board took the hard decision. 661 00:32:31,533 --> 00:32:33,766 {\an7}-The only appropriate thing to do is to close 662 00:32:33,800 --> 00:32:35,500 {\an1}the institution immediately. 663 00:32:35,533 --> 00:32:37,166 {\an1}We call the mayor's office to tell them 664 00:32:37,200 --> 00:32:38,909 {\an1}that we were going to be announcing at 12:30 665 00:32:38,933 --> 00:32:41,033 {\an1}that we will close at the end of the day. 666 00:32:41,066 --> 00:32:43,933 {\an1}City Hall did not argue with us. 667 00:32:43,966 --> 00:32:46,333 {\an1}They also had not yet made a decision themselves 668 00:32:46,366 --> 00:32:47,900 as to what they would recommend. 669 00:32:47,933 --> 00:32:49,700 {\an7}-Today is March 12th. 670 00:32:49,733 --> 00:32:52,066 {\an8}The anniversary is on April 13th. 671 00:32:52,100 --> 00:32:54,900 {\an1}All the things we're going to do for the 150th, 672 00:32:54,933 --> 00:32:58,133 {\an1}but there is a lot of worry in the air. 673 00:32:58,166 --> 00:32:59,700 {\an7}-The fact of the matter is, 674 00:32:59,733 --> 00:33:01,933 {\an8}you don't know where it's going to strike next. 675 00:33:02,433 --> 00:33:03,600 {\an1}-Other cultural institutions 676 00:33:03,633 --> 00:33:04,633 {\an1}increasingly thought 677 00:33:04,666 --> 00:33:06,600 {\an1}it was appropriate to close, 678 00:33:06,633 --> 00:33:09,000 {\an1}but no one had actually made the gesture to do so. 679 00:33:09,033 --> 00:33:11,600 {\an1}Once we made that decision, others followed suit. 680 00:33:11,633 --> 00:33:13,166 Within 24 hours, 681 00:33:13,200 --> 00:33:15,866 {\an1}the entire cultural infrastructure of New York City 682 00:33:15,900 --> 00:33:16,900 {\an1}and all of Broadway 683 00:33:16,933 --> 00:33:18,076 {\an7}and everywhere else was closed. 684 00:33:18,100 --> 00:33:19,633 {\an8}[ Siren wailing ] 685 00:33:19,666 --> 00:33:21,433 {\an1}-A state of emergency was declared 686 00:33:21,466 --> 00:33:24,166 {\an1}in New York in the last hour. 687 00:33:24,200 --> 00:33:26,200 {\an1}-The city that never sleeps, 688 00:33:26,233 --> 00:33:29,500 {\an1}dozed, not knowing when it would wake. 689 00:33:29,533 --> 00:33:32,133 {\an1}-Right before we had to leave the building, 690 00:33:32,166 --> 00:33:35,733 {\an1}it felt like we were in an enormous moment 691 00:33:35,766 --> 00:33:39,666 {\an1}in the institution's history and in our own histories. 692 00:33:39,700 --> 00:33:43,366 {\an7}-The museum hadn't closed its doors for more than three days 693 00:33:43,400 --> 00:33:45,000 {\an7}for more than a century. 694 00:33:45,033 --> 00:33:48,966 {\an7}The 150th looked like being a memorable year, 695 00:33:49,000 --> 00:33:51,166 {\an7}but not in a good way. 696 00:33:51,200 --> 00:33:53,133 {\an1}-We determined that over the next 12 months 697 00:33:53,166 --> 00:33:54,966 {\an1}we're likely to see somewhere between 100 698 00:33:55,000 --> 00:33:58,433 {\an1}and $150 million of loss. 699 00:33:58,466 --> 00:34:02,033 {\an7}-You have artworks that are in the midst of treatment. 700 00:34:02,066 --> 00:34:04,733 {\an1}-Panel discussions and lectures and talks. 701 00:34:04,766 --> 00:34:08,166 {\an1}Everything has either been canceled or postponed. 702 00:34:08,200 --> 00:34:10,733 {\an1}-Our anniversary projects like Making the Met 703 00:34:10,766 --> 00:34:12,433 {\an1}that we're so close to the finish line. 704 00:34:12,466 --> 00:34:15,666 {\an7}We basically pushed those exhibitions to the fall. 705 00:34:15,700 --> 00:34:17,866 {\an7}-Although I was thinking about the exhibition, 706 00:34:17,900 --> 00:34:19,466 {\an1}to be honest with you, 707 00:34:19,500 --> 00:34:21,633 {\an1}I was really thinking about New York City 708 00:34:21,666 --> 00:34:24,933 {\an1}and we're 2,200 people who work at the museum. 709 00:34:24,966 --> 00:34:27,966 ♪♪ 710 00:34:28,000 --> 00:34:30,600 {\an1}-There was a small security presence, 711 00:34:30,633 --> 00:34:34,500 {\an1}but the iceberg of the Met had frozen at 4:00 p.m. 712 00:34:34,533 --> 00:34:38,200 {\an7}March 12th, the staff had gone to ground. 713 00:34:38,233 --> 00:34:40,433 {\an7}-I'm in Charleston, South Carolina. 714 00:34:40,466 --> 00:34:44,000 {\an8}-I'm at my home in Montclair, New Jersey. 715 00:34:44,033 --> 00:34:46,133 {\an7}-I've made several wedding cakes, 716 00:34:46,166 --> 00:34:47,833 {\an7}but nothing to the scale 717 00:34:47,866 --> 00:34:52,000 {\an7}of what I was planning on making for the 150th. 718 00:34:52,033 --> 00:34:55,400 -Data executive and avid baker, Margaret Choo, 719 00:34:55,433 --> 00:34:59,000 was to have made the official anniversary cake. 720 00:34:59,033 --> 00:35:00,633 {\an1}She did it anyway, 721 00:35:00,666 --> 00:35:04,033 {\an1}despite knowing she might have to eat it all herself. 722 00:35:04,066 --> 00:35:05,400 {\an1}-And it's so good. 723 00:35:05,433 --> 00:35:09,333 {\an1}If you've come out of this and you've lost weight, 724 00:35:09,366 --> 00:35:11,900 {\an1}you're just doing it wrong. 725 00:35:11,933 --> 00:35:13,833 -Now, the Met's digital presence 726 00:35:13,866 --> 00:35:16,233 was the museum. 727 00:35:16,266 --> 00:35:18,266 {\an1}Met websites would be viewed 728 00:35:18,300 --> 00:35:20,833 {\an8}34 million times. 729 00:35:20,866 --> 00:35:24,133 {\an7}-The fourth branch of the museum is our digital branch. 730 00:35:24,166 --> 00:35:26,300 {\an1}That team has been working to 731 00:35:26,333 --> 00:35:27,333 {\an1}find ways to bring 732 00:35:27,366 --> 00:35:29,400 {\an7}the light in a beauty 733 00:35:29,433 --> 00:35:30,833 {\an8}of an art museum 734 00:35:30,866 --> 00:35:36,400 {\an1}to people when 700 New York City residents are dying every day. 735 00:35:36,433 --> 00:35:39,700 {\an1}-There was a nationwide shortage of protective equipment. 736 00:35:39,733 --> 00:35:43,800 {\an1}New York hospitals were under pressure as never before. 737 00:35:43,833 --> 00:35:46,366 The Met's five conservation departments 738 00:35:46,400 --> 00:35:50,533 {\an1}had large reserves of gloves for handling precious objects. 739 00:35:50,566 --> 00:35:53,333 {\an1}Over 23,000 gloves 740 00:35:53,366 --> 00:35:56,266 {\an1}and 300 masks distributed 741 00:35:56,300 --> 00:36:00,500 {\an1}where it was most needed to medical facilities. 742 00:36:00,533 --> 00:36:02,400 {\an1}-The Textile Conservation Department 743 00:36:02,433 --> 00:36:06,066 {\an1}became a mask making factory. 744 00:36:06,100 --> 00:36:09,500 {\an1}-How many masks? 1,300. 745 00:36:09,533 --> 00:36:14,500 {\an7}If I speed things up, I could make one per 20 minutes. 746 00:36:14,533 --> 00:36:16,733 [ Laughs ] 747 00:36:16,766 --> 00:36:18,833 {\an1}-This is Valentino, radio check. 748 00:36:18,866 --> 00:36:22,833 {\an1}-The Fifth Avenue building is itself an antique. 749 00:36:22,866 --> 00:36:24,966 {\an1}Around the clock security staff, 750 00:36:25,000 --> 00:36:28,633 keep it safe from antique collectors. 751 00:36:28,666 --> 00:36:32,166 {\an1}-You have to be concerned with external entities, 752 00:36:32,200 --> 00:36:35,500 {\an1}try to compromise our perimeters and take advantage 753 00:36:35,533 --> 00:36:41,266 {\an7}of what they might perceive as a scaled down presence. 754 00:36:41,300 --> 00:36:44,433 {\an7}-By May, conservators are making weekly visits 755 00:36:44,466 --> 00:36:49,833 {\an1}to check on vulnerable objects in their new twilit world. 756 00:36:49,866 --> 00:36:50,966 -All right. 757 00:36:51,000 --> 00:36:53,933 {\an1}-Carolyn Riccardelli keeps everyone safe. 758 00:36:53,966 --> 00:36:57,100 {\an1}-Textile conservation made these masks for us. 759 00:36:57,133 --> 00:36:59,066 {\an1}So I want to read the letter. 760 00:36:59,100 --> 00:37:01,433 {\an1}I think it's important that you hear this. 761 00:37:01,466 --> 00:37:03,166 {\an1}As wonderful colleagues, 762 00:37:03,200 --> 00:37:06,433 {\an1}these masks were sewn... 763 00:37:06,466 --> 00:37:07,876 {\an1}[ Voice breaking ] It is not that emotional. 764 00:37:07,900 --> 00:37:09,933 {\an1}I'm just... sorry. 765 00:37:09,966 --> 00:37:13,900 {\an1}These masks were sewn with grateful hearts in appreciation 766 00:37:13,933 --> 00:37:15,866 {\an1}for your care and dedication to the museum, 767 00:37:15,900 --> 00:37:18,466 {\an1}we thank and salute each of you. 768 00:37:18,500 --> 00:37:20,366 Ready? All right. 769 00:37:20,400 --> 00:37:22,366 {\an1}How are you doing, Rachel? 770 00:37:22,400 --> 00:37:24,400 {\an1}I'm okay. [ Laughs ] 771 00:37:24,433 --> 00:37:27,500 Hanging in there. 772 00:37:27,533 --> 00:37:30,366 If these rounds are really simple, 773 00:37:30,400 --> 00:37:34,533 that that means we're doing everything right. 774 00:37:34,566 --> 00:37:38,100 So for textiles, I'm looking for insects, 775 00:37:38,133 --> 00:37:40,133 slipped hinges. 776 00:37:40,166 --> 00:37:43,233 {\an1}Some things we've covered up with brown paper 777 00:37:43,266 --> 00:37:46,700 to protect them from light exposure. 778 00:37:46,733 --> 00:37:49,700 Next is Sahel. 779 00:37:49,733 --> 00:37:52,666 Yeah, lights off completely in here. 780 00:37:52,700 --> 00:37:56,366 {\an1}Everything looks good. Next is Making the Met. 781 00:37:56,400 --> 00:37:58,233 -Hooray! 782 00:37:58,266 --> 00:38:00,533 -[ Laughs ] 783 00:38:00,566 --> 00:38:04,066 {\an1}The show is in the process of being installed. 784 00:38:04,100 --> 00:38:06,833 {\an1}Yeah, look at this, all these notes, 785 00:38:06,866 --> 00:38:11,300 {\an1}this is an exhibition install frozen in time. 786 00:38:11,333 --> 00:38:16,133 {\an1}I'm looking for any critters flying out like moths. 787 00:38:16,166 --> 00:38:19,433 {\an1}Japanese armor, we're used to things being covered up, 788 00:38:19,466 --> 00:38:22,333 {\an1}but it's still exciting to see what's inside. 789 00:38:22,366 --> 00:38:24,733 {\an1}I mean, who wouldn't be excited by that? 790 00:38:24,766 --> 00:38:28,966 {\an1}It's nice to come here and look at stuff. 791 00:38:29,000 --> 00:38:30,633 {\an1}And here's our saint. 792 00:38:30,666 --> 00:38:35,266 {\an1}So she's credited for ending the plague in Palermo. 793 00:38:35,300 --> 00:38:39,066 {\an1}Andrea, is it St. Rosal-ia? - Santa Rosalie. 794 00:38:39,100 --> 00:38:41,200 {\an1}So this is by van Dyck, 795 00:38:41,233 --> 00:38:45,166 {\an1}the Flemish artist working in Palermo, Italy. 796 00:38:45,200 --> 00:38:49,733 {\an1}And it has taken on additional relevance for all of us. 797 00:38:49,766 --> 00:38:54,200 {\an1}-Come on, we're ready. We're ready for you. 798 00:38:54,233 --> 00:38:58,033 {\an1}-This is an exhibition about the museum's history. 799 00:38:58,066 --> 00:39:00,733 {\an1}One of the things that has really changed for us 800 00:39:00,766 --> 00:39:02,633 is the knowledge that we are living 801 00:39:02,666 --> 00:39:06,333 {\an1}in one of the big moments for the museum. 802 00:39:06,366 --> 00:39:08,633 {\an1}-Alone in the empty halls, 803 00:39:08,666 --> 00:39:13,166 {\an1}Carolyn Riccardelli goes in search of a very old friend. 804 00:39:13,200 --> 00:39:14,866 {\an1}-Each time I'm in the museum, 805 00:39:14,900 --> 00:39:18,000 {\an1}I go to see Tullio Lombardo's Adam, 806 00:39:18,033 --> 00:39:20,866 {\an1}which is a sculpture that I worked on 807 00:39:20,900 --> 00:39:23,000 {\an1}for more than 10 years. 808 00:39:23,033 --> 00:39:25,933 {\an1}He's a marble sculpture from the Renaissance, 809 00:39:25,966 --> 00:39:27,900 maybe 1495. 810 00:39:27,933 --> 00:39:31,333 {\an1}The pedestal beneath it collapsed 811 00:39:31,366 --> 00:39:33,266 {\an1}and he fell to the floor 812 00:39:33,300 --> 00:39:36,766 {\an1}and broke into 28 large fragments 813 00:39:36,800 --> 00:39:38,533 and hundreds of small fragments. 814 00:39:38,566 --> 00:39:40,566 {\an1}It was a terrible accident. 815 00:39:40,600 --> 00:39:43,633 {\an1}It affected everybody in the museum 816 00:39:43,666 --> 00:39:47,633 {\an1}and it was through the efforts of a huge group of people 817 00:39:47,666 --> 00:39:51,766 {\an1}that brought it back to the public view. 818 00:39:51,800 --> 00:39:56,833 {\an1}For me, this is a reminder that we can overcome. 819 00:39:56,866 --> 00:40:04,866 ♪♪ 820 00:40:05,000 --> 00:40:07,400 {\an1}-Spring becomes summer. 821 00:40:07,433 --> 00:40:10,133 In solitude, the executive staff 822 00:40:10,166 --> 00:40:13,466 {\an1}experienced their workplace in a new way. 823 00:40:13,500 --> 00:40:15,900 {\an1}-Walking through the museum with 5,000 years 824 00:40:15,933 --> 00:40:18,533 of the greatest works of art ever produced, 825 00:40:18,566 --> 00:40:20,766 {\an1}it's a spiritual experience to be alone 826 00:40:20,800 --> 00:40:23,400 with all of that collective humanity. 827 00:40:23,433 --> 00:40:27,633 {\an1}You learn a lot about yourself and about the world around you. 828 00:40:27,666 --> 00:40:31,266 {\an1}-Director Max Hollein asks questions about the future 829 00:40:31,300 --> 00:40:33,266 {\an1}whenever it might start. 830 00:40:33,300 --> 00:40:36,966 {\an1}-It's a time of reflecting what is really important for us. 831 00:40:37,000 --> 00:40:39,133 {\an1}How can we best reach our audiences? 832 00:40:39,166 --> 00:40:42,933 {\an1}How are we going to be an even better institution? 833 00:40:42,966 --> 00:40:44,500 {\an1}-Closed by the virus, 834 00:40:44,533 --> 00:40:47,933 {\an1}the Crossroads project is Max's own vision. 835 00:40:47,966 --> 00:40:50,100 It celebrates creative commonalities 836 00:40:50,133 --> 00:40:52,466 {\an1}between disparate cultures. 837 00:40:52,500 --> 00:40:55,566 {\an1}With projects like this one, when you've just opened it, 838 00:40:55,600 --> 00:40:58,000 {\an1}and you could only share it with your audiences 839 00:40:58,033 --> 00:40:59,766 {\an1}for a couple of days, 840 00:40:59,800 --> 00:41:03,766 {\an1}it's feels right now as if these installations are in waiting. 841 00:41:03,800 --> 00:41:07,666 ♪♪ 842 00:41:07,700 --> 00:41:10,366 {\an7}-In July, news from Governor Cuomo 843 00:41:10,400 --> 00:41:12,700 {\an7}has the museum astir. 844 00:41:12,733 --> 00:41:15,000 {\an1}-We're going ahead with phase three opening 845 00:41:15,033 --> 00:41:16,733 {\an1}low-risk indoor arts, 846 00:41:16,766 --> 00:41:19,333 {\an1}entertainment, museums. 847 00:41:19,366 --> 00:41:20,766 {\an1}-Now came the race 848 00:41:20,800 --> 00:41:23,133 {\an1}to be ready for reopening. 849 00:41:23,166 --> 00:41:26,433 {\an1}The completion of Making the Met was first on the agenda. 850 00:41:26,466 --> 00:41:29,666 {\an1}-Okay, here. I'm ready. 851 00:41:29,700 --> 00:41:31,066 {\an1}-This is an exhibition 852 00:41:31,100 --> 00:41:33,800 {\an1}about the development of the museum itself. 853 00:41:33,833 --> 00:41:36,500 All departments are contributing. 854 00:41:38,600 --> 00:41:41,466 {\an1}Today, a Met treasure is traveling from 855 00:41:41,500 --> 00:41:44,366 {\an1}the first to the second floor. 856 00:41:44,400 --> 00:41:46,466 {\an1}Curator Diana Craig Patch 857 00:41:46,500 --> 00:41:50,233 is responsible for Egypt's great queen. 858 00:41:50,266 --> 00:41:52,500 {\an1}-Hatshepsut is in the show Making the Met 859 00:41:52,533 --> 00:41:57,266 {\an7}because she is one of our best known pieces. 860 00:41:57,300 --> 00:42:00,266 {\an1}The Egyptian government shared the statue with us, 861 00:42:00,300 --> 00:42:02,666 {\an1}which is something that we always want to acknowledge. 862 00:42:02,700 --> 00:42:04,466 {\an1}And she is exquisite. 863 00:42:04,500 --> 00:42:08,000 {\an1}She looks out across time. She doesn't look at anyone. 864 00:42:08,033 --> 00:42:11,066 {\an1}She just looks out across time. 865 00:42:11,100 --> 00:42:12,866 {\an1}It goes right here. - Okay. 866 00:42:12,900 --> 00:42:15,200 {\an1}-Hatshepsut will be placed in the window, 867 00:42:15,233 --> 00:42:16,933 {\an1}her back turned on the park 868 00:42:16,966 --> 00:42:20,700 {\an1}and the obelisk of the upstart ruler who succeeded her. 869 00:42:20,733 --> 00:42:22,966 - Look at her. - The obelisk. 870 00:42:23,000 --> 00:42:24,733 -Sensational. 871 00:42:24,766 --> 00:42:26,433 {\an1}Isn't that sensational? 872 00:42:26,466 --> 00:42:29,400 ♪♪ 873 00:42:29,433 --> 00:42:31,266 {\an1}-Acquired in 1929, 874 00:42:31,300 --> 00:42:34,333 {\an1}the statue is carved from limestone, fragile, 875 00:42:34,366 --> 00:42:38,500 {\an1}and at around 3,000 pounds, hard to move. 876 00:42:38,533 --> 00:42:40,409 {\an1}-I don't think there's much variability in that. 877 00:42:40,433 --> 00:42:45,433 {\an1}It doesn't look like there's a whole lot of place to move it. 878 00:42:45,466 --> 00:42:49,233 {\an1}-Crayton Sohan leads the in-house art movement team. 879 00:42:54,300 --> 00:42:56,466 {\an1}-Everybody's got her, right? 880 00:42:56,500 --> 00:42:57,733 {\an1}Well, I just want to make sure 881 00:42:57,766 --> 00:43:00,566 {\an7}somebody is keeping her from swinging. 882 00:43:11,066 --> 00:43:12,700 [ Whirring ] 883 00:43:12,733 --> 00:43:14,333 - Right here. - Crayton? 884 00:43:14,366 --> 00:43:16,666 {\an1}We have to make sure she's actually looking straight 885 00:43:16,700 --> 00:43:18,900 {\an1}regardless of the base. 886 00:43:18,933 --> 00:43:21,600 {\an1}They can't center the base, they have to center her face. 887 00:43:21,633 --> 00:43:23,500 Egyptian statues are never balanced. 888 00:43:23,533 --> 00:43:26,400 - Right. - So if you balance for the base 889 00:43:26,433 --> 00:43:29,633 {\an1}than the face can be looking somewhere else. 890 00:43:29,666 --> 00:43:31,166 -Memories of Carolyn Riccardelli's 891 00:43:31,200 --> 00:43:34,200 Adam statue which spontaneously collapsed 892 00:43:34,233 --> 00:43:37,800 {\an1}in 2002, are easily stirred. 893 00:43:37,833 --> 00:43:41,400 {\an1}It took 10 years and many hands to rebuild him. 894 00:43:41,433 --> 00:43:44,633 {\an1}-The thing is, Diana, that it's very close here 895 00:43:44,666 --> 00:43:46,833 {\an1}and it has a little bit more room in the back so. 896 00:43:46,866 --> 00:43:50,466 {\an1}- We can back up a little bit. - A tiny bit. 897 00:43:50,500 --> 00:43:53,200 {\an1}-One slip now and this queen could be rubble. 898 00:43:53,233 --> 00:43:54,933 {\an1}-No, no, no, no, no. 899 00:43:54,966 --> 00:43:56,533 {\an1}I'm just looking at her face. 900 00:43:56,566 --> 00:43:58,466 {\an1}It just needs to go about a half inch that way. 901 00:43:58,500 --> 00:44:03,400 - Okay. - All right. 902 00:44:03,433 --> 00:44:05,666 -Ready? 903 00:44:05,700 --> 00:44:09,333 {\an1}- Oops. She's moved. - Okay, okay, okay, okay. 904 00:44:09,366 --> 00:44:12,433 {\an1}When they went to move it over that little bit, 905 00:44:12,466 --> 00:44:16,366 {\an1}it slid and the whole back end went out. 906 00:44:16,400 --> 00:44:20,066 {\an1}-Yeah, she's not straight. 907 00:44:20,100 --> 00:44:22,400 {\an1}-The back end is no longer... 908 00:44:22,433 --> 00:44:25,233 {\an1}Can we do with the back end, too? Okay, fine. 909 00:44:25,266 --> 00:44:29,066 {\an1}-Can you run down and get me two more wood clamps? 910 00:44:29,100 --> 00:44:32,633 ♪♪ 911 00:44:32,666 --> 00:44:37,300 {\an1}[ Object clatters ] 912 00:44:37,333 --> 00:44:42,066 {\an1}-I can't. I can't... 913 00:44:42,100 --> 00:44:46,433 {\an1}[ Indistinct conversations ] 914 00:44:46,466 --> 00:44:48,066 - Diana? - Yep. 915 00:44:48,100 --> 00:44:50,566 Are we ready? 916 00:44:50,600 --> 00:44:52,800 I'm looking. 917 00:44:52,833 --> 00:44:56,200 {\an1}Yeah, she's getting better, a little bit more. 918 00:44:56,233 --> 00:44:59,600 {\an1}There she goes. She's fine. - Is it good? 919 00:44:59,633 --> 00:45:02,466 {\an1}-Yeah, you could stop. Thank you very much. 920 00:45:02,500 --> 00:45:05,300 {\an1}It's funny, she's not that big, but she's not easy. 921 00:45:05,333 --> 00:45:08,100 {\an1}Nothing on Egyptian statuary straight. 922 00:45:08,133 --> 00:45:10,066 {\an1}-They managed to get a pyramid perfect, Diana. 923 00:45:10,100 --> 00:45:13,433 -Yeah. 924 00:45:13,466 --> 00:45:17,066 {\an1}-In August, New York is beginning to open up. 925 00:45:17,100 --> 00:45:20,633 {\an1}Shops will admit mask-wearing customers and restaurants 926 00:45:20,666 --> 00:45:22,966 can serve diners in the open air, 927 00:45:23,000 --> 00:45:25,833 in bus lanes, and on pavements. 928 00:45:25,866 --> 00:45:27,500 Inside the Met, 929 00:45:27,533 --> 00:45:31,300 {\an7}the final preparations for opening are underway. 930 00:45:31,333 --> 00:45:34,366 {\an1}-People want to be here and without people here, 931 00:45:34,400 --> 00:45:36,566 {\an1}without that energy, the museum becomes 932 00:45:36,600 --> 00:45:40,433 {\an1}something more like a mausoleum than a living institution. 933 00:45:40,466 --> 00:45:43,200 {\an1}-After months walking the empty halls, 934 00:45:43,233 --> 00:45:46,333 Max and Dan are very slightly buoyant. 935 00:45:46,366 --> 00:45:49,000 {\an1}-There's lots going on for the first time in six months. 936 00:45:49,033 --> 00:45:51,200 {\an1}We now have plants and flowers. 937 00:45:51,233 --> 00:45:53,566 {\an1}-This was kind of pulled back from the pole, 938 00:45:53,600 --> 00:45:55,233 {\an1}but it looks like minimal art, right? 939 00:45:55,266 --> 00:45:56,633 {\an1}I actually photographed it 940 00:45:56,666 --> 00:45:59,066 and all the hand sanitizer machines 941 00:45:59,100 --> 00:46:01,466 looked like a new sound installation. 942 00:46:01,500 --> 00:46:05,966 {\an1}And it was obvious. We've got a lot of hand sanitizers here. 943 00:46:06,000 --> 00:46:09,866 {\an1}-Staff and visitors must be safe and feel secure. 944 00:46:09,900 --> 00:46:13,966 {\an7}A task force is overseeing the critical moment of reentry. 945 00:46:15,933 --> 00:46:19,400 {\an7}-Yes, I'm sorry. I was... I should have it on. 946 00:46:19,433 --> 00:46:23,666 {\an1}-Laurel Britton is head of revenue and operations. 947 00:46:23,700 --> 00:46:26,400 {\an1}Now her previous experience in military studies 948 00:46:26,433 --> 00:46:28,466 {\an1}has come to the fore. 949 00:46:28,500 --> 00:46:31,033 {\an1}-The greatest challenge has been the size of it, 950 00:46:31,066 --> 00:46:33,266 {\an1}the scope of this building and our collection, 951 00:46:33,300 --> 00:46:35,966 {\an7}trying to keep staff safe and trying to get visitors safe 952 00:46:36,000 --> 00:46:38,000 {\an7}and just making sure 953 00:46:38,033 --> 00:46:42,833 {\an7}we're doing everything we can to minimize risk. 954 00:46:42,866 --> 00:46:44,700 -Joy is muted. 955 00:46:44,733 --> 00:46:47,166 Massive financial losses have led 956 00:46:47,200 --> 00:46:49,933 {\an1}to a 20% cut in staff. 957 00:46:49,966 --> 00:46:51,776 {\an1}-We thought we would declare victory and move on 958 00:46:51,800 --> 00:46:53,633 {\an1}to the 151st year. 959 00:46:53,666 --> 00:46:56,533 {\an1}We didn't realize that 150th would be maybe 960 00:46:56,566 --> 00:47:00,266 {\an1}one of the defining years in the history of the museum. 961 00:47:00,300 --> 00:47:07,666 {\an8}♪♪ 962 00:47:07,700 --> 00:47:09,800 {\an7}-Finally, the day dawns. 963 00:47:09,833 --> 00:47:11,633 {\an8}- First in line. - I know. 964 00:47:11,666 --> 00:47:13,900 {\an7}-Tell me, what is it like to be able to come back here 965 00:47:13,933 --> 00:47:17,100 {\an7}after so many months? - It's crazy good. 966 00:47:17,133 --> 00:47:19,466 {\an8}♪♪ 967 00:47:19,500 --> 00:47:23,733 {\an1}-I've been taking my girls to the Met since they were babies. 968 00:47:23,766 --> 00:47:25,166 {\an1}I couldn't get here early enough. 969 00:47:25,200 --> 00:47:27,066 {\an1}So they open at 10:00, we got here at 9:00. 970 00:47:29,933 --> 00:47:31,633 -I don't know if I've ever been happier 971 00:47:31,666 --> 00:47:33,566 {\an1}to be someplace in my life. 972 00:47:33,600 --> 00:47:37,266 {\an1}To see people here is just going to be wonderful. 973 00:47:37,300 --> 00:47:41,900 {\an1}-After five months and 15 days, the communications team knows 974 00:47:41,933 --> 00:47:45,700 {\an1}foot fall will be a barometer of public confidence. 975 00:47:45,733 --> 00:47:49,766 {\an7}-Normally, on a August day, we could get 30,000 people. 976 00:47:49,800 --> 00:47:51,733 {\an1}We'll be able to accommodate up 977 00:47:51,766 --> 00:47:55,266 to 14,000 people or 2,000 an hour. 978 00:47:55,300 --> 00:47:56,642 {\an1}-It'll be a really nice experience for New Yorkers, 979 00:47:56,666 --> 00:47:57,700 I think. 980 00:47:57,733 --> 00:47:59,333 {\an7}We've been waiting months. 981 00:48:00,433 --> 00:48:01,742 -Good morning, everyone's a member 982 00:48:01,766 --> 00:48:04,566 {\an1}or has a 10:00 reservation? - Yes. 983 00:48:04,600 --> 00:48:05,866 {\an1}-All right, thank you. 984 00:48:05,900 --> 00:48:08,100 {\an1}-The first steps are tentative. 985 00:48:08,133 --> 00:48:11,033 {\an1}Entry is by ticket and time slot. 986 00:48:11,066 --> 00:48:13,833 {\an1}Routes through galleries are laid out. 987 00:48:13,866 --> 00:48:16,133 {\an1}Everything has been deep cleaned. 988 00:48:16,166 --> 00:48:18,866 {\an1}You could eat your breakfast off the Met. 989 00:48:18,900 --> 00:48:21,233 {\an1}-We anticipate a pretty nice turn out. 990 00:48:21,266 --> 00:48:22,509 {\an1}Before they come through the doors, 991 00:48:22,533 --> 00:48:24,866 {\an1}there's a vetting process as it relates to, 992 00:48:24,900 --> 00:48:27,100 you know, the COVID-19 protocol. 993 00:48:27,133 --> 00:48:29,866 {\an1}-Once Deputy Director of the Secret Service, 994 00:48:29,900 --> 00:48:33,300 {\an1}Security Chief Keith Prewitt balances biohazards 995 00:48:33,333 --> 00:48:35,033 {\an1}with public relations. 996 00:48:35,066 --> 00:48:38,133 {\an1}-You see the the Plexiglas that's been installed, 997 00:48:38,166 --> 00:48:42,766 {\an7}things like that on the surface can appear unwelcoming. 998 00:48:42,800 --> 00:48:45,100 {\an1}But I think in today's environment, 999 00:48:45,133 --> 00:48:47,133 {\an1}it's very reassuring. 1000 00:48:47,166 --> 00:48:50,533 {\an1}And they're going to go through and become reacquainted 1001 00:48:50,566 --> 00:48:53,400 {\an1}with this place that they love. 1002 00:48:53,433 --> 00:48:56,466 {\an1}-It's been months since the head of communications 1003 00:48:56,500 --> 00:48:58,666 {\an1}had good news to communicate. 1004 00:48:58,700 --> 00:49:01,766 {\an1}-Dan and Max have been navigating the pandemic 1005 00:49:01,800 --> 00:49:04,533 {\an1}and the financial challenges the museum face. 1006 00:49:04,566 --> 00:49:06,166 {\an1}So there are a lot of tough choices 1007 00:49:06,200 --> 00:49:08,233 {\an1}and they stay positive. 1008 00:49:08,266 --> 00:49:09,800 {\an1}It's all about the business. 1009 00:49:09,833 --> 00:49:13,566 {\an1}-I'm running to, what, the contemporary collection. 1010 00:49:13,600 --> 00:49:15,400 Modern art. 1011 00:49:15,433 --> 00:49:19,600 {\an1}I just want to be surrounded by art and beauty. 1012 00:49:19,633 --> 00:49:23,166 {\an8}♪♪ 1013 00:49:23,200 --> 00:49:26,500 {\an7}-The Met was the first great New York institution 1014 00:49:26,533 --> 00:49:31,333 {\an7}to close, the reopening is about more than just art. 1015 00:49:31,366 --> 00:49:33,633 {\an1}-Any idea of, you know, in terms of what it means 1016 00:49:33,666 --> 00:49:35,100 {\an1}for New York City? 1017 00:49:35,133 --> 00:49:39,800 {\an1}-Oh, yeah. It means that there is some semblance of normalcy. 1018 00:49:39,833 --> 00:49:43,233 {\an1}The Met only closed for, what, max three days prior to COVID? 1019 00:49:43,266 --> 00:49:45,500 So this is... This is a big first step. 1020 00:49:45,533 --> 00:49:47,866 ♪♪ 1021 00:49:47,900 --> 00:49:49,233 {\an1}-Almost all of the time slots 1022 00:49:49,266 --> 00:49:51,466 {\an1}are now fully reserved through the day. 1023 00:49:51,500 --> 00:49:54,700 {\an1}We have been through a lot of challenging moments 1024 00:49:54,733 --> 00:49:56,433 {\an1}in the last six months 1025 00:49:56,466 --> 00:50:01,400 {\an1}and what we've been working towards is this moment. 1026 00:50:01,433 --> 00:50:03,500 {\an1}-With the tourist trade suspended, 1027 00:50:03,533 --> 00:50:07,166 {\an1}the museum is back where it was 150 years ago, 1028 00:50:07,200 --> 00:50:09,200 {\an1}catering to New Yorkers. 1029 00:50:09,233 --> 00:50:12,000 {\an1}-Oh, I'm ecstatic. Are you kidding? 1030 00:50:12,033 --> 00:50:14,100 Like, I'm ready to do a handstand. 1031 00:50:14,133 --> 00:50:17,366 {\an1}I'm so happy the Met is back. 1032 00:50:17,400 --> 00:50:18,866 {\an1}-I grew up in New York. 1033 00:50:18,900 --> 00:50:21,500 {\an1}So I've been coming since I was in second grade. 1034 00:50:21,533 --> 00:50:23,800 {\an1}-To come back to the place we love, 1035 00:50:23,833 --> 00:50:26,000 to come back and to visit the artists 1036 00:50:26,033 --> 00:50:27,266 that with love, 1037 00:50:27,300 --> 00:50:29,833 part of it is our heritage as well. 1038 00:50:29,866 --> 00:50:31,866 {\an1}-It's not just a place, you know, 1039 00:50:31,900 --> 00:50:34,733 {\an1}it has more significance than just a building. 1040 00:50:34,766 --> 00:50:37,333 {\an7}-People that have gotten here like throughout the day, 1041 00:50:37,366 --> 00:50:38,700 {\an7}like they walk through the door 1042 00:50:38,733 --> 00:50:40,176 {\an7}and they throw their hands up and they'll scream. 1043 00:50:40,200 --> 00:50:41,366 {\an7}They're like, yes. 1044 00:50:41,400 --> 00:50:43,466 {\an7}-There was a woman that just went, "Whoo!" 1045 00:50:43,500 --> 00:50:45,666 {\an7}You know, like this when she came in. 1046 00:50:49,066 --> 00:50:52,033 {\an1}-Yes. Young people connecting 1047 00:50:52,066 --> 00:50:55,233 {\an1}with the romantic paintings. 1048 00:50:55,266 --> 00:50:57,233 {\an1}The children, they love, the Temple of Dendur 1049 00:50:57,266 --> 00:50:59,533 and anything in the Egyptian wing. 1050 00:50:59,566 --> 00:51:03,200 ♪♪ 1051 00:51:03,233 --> 00:51:07,033 And then we have the modern art type folks. 1052 00:51:07,066 --> 00:51:10,200 {\an1}They're more hipster type of people. 1053 00:51:10,233 --> 00:51:14,233 {\an1}-Cynthia King had not left home since mid-March. 1054 00:51:14,266 --> 00:51:17,933 {\an1}Five months later, this is her first outing. 1055 00:51:17,966 --> 00:51:20,466 {\an1}-I'm a New Yorker. We grew up in the projects. 1056 00:51:20,500 --> 00:51:23,466 {\an1}So here at the Metropolitan, we were able to see 1057 00:51:23,500 --> 00:51:25,966 what was going on in other cultures 1058 00:51:26,000 --> 00:51:28,666 and we were able to wonder about it. 1059 00:51:28,700 --> 00:51:34,866 {\an1}For a child who's still a child who has grown up, it's life. 1060 00:51:34,900 --> 00:51:37,466 {\an1}-Upstairs, visitors see Making the Met 1061 00:51:37,500 --> 00:51:39,666 {\an1}for the first time. 1062 00:51:39,700 --> 00:51:40,766 {\an1}-Walking through the doors 1063 00:51:40,800 --> 00:51:42,400 {\an1}it's like going into a sacred space. 1064 00:51:42,433 --> 00:51:45,333 {\an1}There is such beauty, so many treasures here. 1065 00:51:45,366 --> 00:51:47,466 {\an1}Your mind, your imagination is sparked 1066 00:51:47,500 --> 00:51:49,866 {\an1}by coming to something as 1067 00:51:49,900 --> 00:51:52,400 {\an1}culturally, visually, artistically rich 1068 00:51:52,433 --> 00:51:53,866 {\an1}as a collection like this. 1069 00:51:53,900 --> 00:51:57,266 {\an1}-It was such an emptiness when it wasn't here. 1070 00:51:57,300 --> 00:52:01,833 {\an1}Looking at beautiful things, I mean, you can't ask... 1071 00:52:01,866 --> 00:52:06,966 {\an1}Looking at beautiful things just... I need it. 1072 00:52:07,000 --> 00:52:09,533 {\an1}-It's nice to come back and see stuff that is new. 1073 00:52:09,566 --> 00:52:12,066 {\an1}It feels like momentum the museum and the city 1074 00:52:12,100 --> 00:52:14,933 {\an1}caring for and that it's this touchstone, 1075 00:52:14,966 --> 00:52:16,642 {\an1}and this thing that's been here longer than any of us 1076 00:52:16,666 --> 00:52:17,900 has been alive. 1077 00:52:17,933 --> 00:52:20,966 {\an1}And it's so solid and this building on Fifth Avenue, 1078 00:52:21,000 --> 00:52:22,309 {\an1}feels like it's going to be here forever. 1079 00:52:22,333 --> 00:52:25,166 And so it's a... It's a symbol of New York 1080 00:52:25,200 --> 00:52:26,566 {\an1}resilience for New Yorkers. 1081 00:52:26,600 --> 00:52:27,920 I think that's why they're coming. 1082 00:52:28,366 --> 00:52:29,366 {\an1}-Everyone is wearing 1083 00:52:29,400 --> 00:52:30,400 their masks. 1084 00:52:30,433 --> 00:52:31,600 {\an1}People are maintaining 1085 00:52:31,633 --> 00:52:33,066 social distance. 1086 00:52:33,100 --> 00:52:36,633 {\an1}They're... they're helping us to keep this open 1087 00:52:36,666 --> 00:52:39,800 and to keep all of New York going. 1088 00:52:39,833 --> 00:52:42,400 {\an1}-I've been a member for almost 40 years. 1089 00:52:42,433 --> 00:52:43,933 This is like a childhood home to me. 1090 00:52:43,966 --> 00:52:45,866 So this is a very important moment. 1091 00:52:45,900 --> 00:52:47,900 -I'm Greco Roman. My background is. 1092 00:52:47,933 --> 00:52:49,900 {\an1}And so when I come in here, I got to see, like, 1093 00:52:49,933 --> 00:52:51,866 {\an1}what my ancestors looked like. 1094 00:52:51,900 --> 00:52:55,300 {\an1}I see my cheekbones. I see my lips. I see my nose. 1095 00:52:55,333 --> 00:52:57,766 It's like... 1096 00:52:57,800 --> 00:52:59,766 {\an1}I see my past in here. 1097 00:52:59,800 --> 00:53:04,966 {\an1}These are my stories. This is, like, my heritage. 1098 00:53:05,000 --> 00:53:09,200 {\an1}-On the 27th of August, New York's death toll stands at 1099 00:53:09,233 --> 00:53:11,533 just over 32,000. 1100 00:53:11,566 --> 00:53:13,966 {\an1}Visitors have come on trust, 1101 00:53:14,000 --> 00:53:17,533 {\an1}assessing the peril, taking a risk for art. 1102 00:53:17,566 --> 00:53:20,100 {\an1}-There weren't very many people that saw the sculpture 1103 00:53:20,133 --> 00:53:22,700 {\an1}lying on the ground in pieces. 1104 00:53:22,733 --> 00:53:27,066 But I knew that there were people who thought 1105 00:53:27,100 --> 00:53:30,200 {\an1}that it would be impossible to put it back together. 1106 00:53:30,233 --> 00:53:32,733 {\an1}I think that the consensus among the conservators 1107 00:53:32,766 --> 00:53:36,033 {\an7}was that we could do it. 1108 00:53:36,066 --> 00:53:40,533 {\an7}We just didn't know exactly how yet or how long it would take. 1109 00:53:40,566 --> 00:53:45,233 {\an1}When you've gone through seemingly impossible projects 1110 00:53:45,266 --> 00:53:48,666 {\an1}all along the way, there are milestones and I feel like 1111 00:53:48,700 --> 00:53:51,700 {\an1}we've passed an important milestone reopening. 1112 00:53:51,733 --> 00:53:54,933 {\an1}People are very eager to come back to the museum, 1113 00:53:54,966 --> 00:53:57,066 but they're faced with the reality 1114 00:53:57,100 --> 00:53:59,633 {\an1}that it's not like it was before. 1115 00:53:59,666 --> 00:54:02,633 {\an1}You know, your first time you come back to that realization 1116 00:54:02,666 --> 00:54:04,700 {\an1}really hits you hard. 1117 00:54:04,733 --> 00:54:07,100 {\an1}People find solace in things that are ancient, 1118 00:54:07,133 --> 00:54:09,633 {\an1}finding connections to people 1119 00:54:09,666 --> 00:54:13,300 {\an1}that have possibly been through the same things. 1120 00:54:13,333 --> 00:54:16,400 {\an1}And I think that's why people come to museums. 1121 00:54:16,433 --> 00:54:19,466 {\an1}They want to feel the connection to the past 1122 00:54:19,500 --> 00:54:22,200 {\an1}when you don't know what's coming in the future. 1123 00:54:25,233 --> 00:54:27,433 {\an7}-Amid increased calls for social justice... 1124 00:54:27,466 --> 00:54:29,333 {\an7}-You have to bring diverse voices to the table. 1125 00:54:29,366 --> 00:54:30,933 {\an7}-...the Met looks inward. 1126 00:54:30,966 --> 00:54:32,266 {\an7}-It's a time of reflecting 1127 00:54:32,300 --> 00:54:33,509 {\an7}what is really important for us. 1128 00:54:33,533 --> 00:54:35,466 {\an1}-These objects were stolen. 1129 00:54:35,500 --> 00:54:37,700 {\an1}They were never intended to be in a space like the Met. 1130 00:54:37,733 --> 00:54:39,566 -The history taught to my children 1131 00:54:39,600 --> 00:54:41,833 {\an1}have been that of slavery. 1132 00:54:41,866 --> 00:54:44,933 {\an1}And there's more before that. There is more. 1133 00:54:44,966 --> 00:54:46,966 {\an1}-The museum has had to retreat 1134 00:54:47,000 --> 00:54:49,600 {\an1}and now it wants to come back with what face? 1135 00:54:49,633 --> 00:54:51,466 {\an1}-All Things to All People? 1136 00:54:51,500 --> 00:54:53,800 {\an1}Next time on "Inside the Met." 1137 00:54:55,300 --> 00:54:58,200 ♪♪ 1138 00:54:58,233 --> 00:55:00,733 {\an1}-To order "Inside the Met" on DVD, 1139 00:55:00,766 --> 00:55:05,233 visit ShopPBS or call 1-800-PLAY-PBS. 1140 00:55:05,266 --> 00:55:09,100 {\an1}This program is also available on Amazon Prime Video. 1141 00:55:09,133 --> 00:55:17,133 ♪♪ 1142 00:55:18,333 --> 00:55:24,866 ♪♪