The Future, the Unknown (S2, E1) | AT THE MUSEUM

Rachel Klein, Senior Receptionist: Museum of Modern art. Fine thank you. How are you? Yes we are closing. June 15th is the last
day for you to visit and we will reopen again on October 21st. Yes, yes 10:30 to 5:30 on the 15th. Now I don’t believe that performing would
actually be an option. Caitlin Richeson, Graduate Intern, Sculpture Conservation: I was dusting it last week and I noticed that there were like dust bunnies
that looked like the size of coal. Can’t have this happen. Chet Gold, Security Supervisor: You want to do five, you want to do five and make sure you go to every room. My favorite room is room nine. Visitors: Ok, alright, thank you. Cheers. Ann Temkin, Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture: For me the collection is the museum. It’s not a part of it that you can separate out. All of our activities revolve around the fact that we have the collection that we have and we’ll come and go, the building changes, the collection evolves, the collections always sort of shape shifting, but even as a kind
of flexible, growing thing, it’s our body. Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints: When we all got together to say you know how are
we going to reinvent the display of this collection was to bring all our collections together. You can tell different stories, you can broaden the scope, you can bring artists’ voices that you never dreamt you know to bring into the collection. Lynda Zycherman, Sculpture Conservator: it’s in unbelievably beautiful condition. Betye Saar, artist: Oh it is? Lynda: Yes, I think so. Betye: I like the unbelievable part. Betye: How are you? Christophe: I’m good and you? Betye: Good. Christophe: Good to see you. Betye: In the newspaper they used to have
an astronomy section that would list where the stars were going to be and they would have a little diagram similar to this at the top of that column so that’s where I got that idea and once
I put it together then I made several prints of that. Christophe: I was wondering if it was glue
or tape? Betye: What? Christophe: If it was glue or tape? Betye: Oh, no tape. Christophe: No tape, okay. Betye: No tape. Lynda: Let me get the picture of the x-ray
because you can actually see that. It might refresh your memory. Betye: But is it important? No. Christophe: No I think, no, it’s not really
important. Betye: A lot of these things were done unconsciously, I mean they were just put like that and then later on I analyzed it. It’s about life and about death, my future, the unknown, you know that’s where you read your future, what these lines mean so it’s like this and this is stuff that has
happened or hasn’t happened. The sky up above, my childhood, what I think about education, love, so love is an eagle, it comes and goes, it
flies away, it stays. Chet: Izay! How are you? Good. This is a really special room to me because Hammons is really clever about how he delivers and it’s all cultural and beautiful and it makes you think at the same time. Sir. It’s all good. Everyone wants to look at this and everyone wants to get as close as they can you know to the piece. We don’t have… stanchions are… stanchions, or these black tapes around this one so it always invites people getting too close. I think it’s about the effects of alcohol
but I’m sure its deeper and it’s rooted in our communities. Hammons is the Holy Grail to me in terms of black art in America, but yeah I love this room and of course the Water Lilies but this is my favorite room right now. Lana Hum, Director of Exhibition Design and Production: This is the Richard Serra “Equal” it’s the first artwork that we’re installing
that will be part of the 2019 reinstallation. After two twelve-hour days of rigging the
sculpture in we’re at the final stages. So each block is about forty tons, so that’s 80,000 pounds so we’re at the last moment of setting the
final block down. Sarah Suzuki, Director, Opening of the new Museum: We normally keep these groups to ten people because this is a live construction site, but because this is a special occurrence and we all need to get in to see this before we are twice as many so please stay with the group and don’t
scratch yourself on anything. Rajendra Roy, The Celeste Bartos
Chief Curator of Film: Are you telling us to behave? Good luck with that. Sarah: Try to avoid ripping a hole in your
pants. Ann Temkin: They’re going to be in these
huts, plywood huts, each one gets its own roof and four sides. Anne Umland, Senior Curator of Painting and Sculpture: Like a plywood vitrine? Like a box with a hidden noise? But yeah they just feel like they’re made
to be here.

21 thoughts on “The Future, the Unknown (S2, E1) | AT THE MUSEUM

  1. πŸ’•πŸ’žπŸ’•πŸ’žπŸ’•πŸ’žπŸ’•πŸ’žπŸ’•πŸ’•πŸ’žπŸ’•πŸ’žπŸ’•πŸ’žπŸ’•πŸ’žπŸ’•πŸ’•πŸ’žπŸ’•πŸ’žπŸ’•πŸ’žπŸ’•πŸ’žπŸ’•πŸ’•πŸ’žπŸ’•πŸ’žπŸ’•

  2. On my first visit to America, the first institution I attended was the Museum of Modern Art. It was an unbelievable and gratifying experience. It was a privilege to view the works of the giants of modern of art, up close and personal.

  3. Wow! I am blown away. More MoMA vlogs please! Crushi! 🧑 πŸ’› πŸ’š πŸ’™ πŸ’œ πŸ–€

  4. All this fetishism with the art-works is so frustrating but it reflects the US the best. You Americans do crave immortality, while we Europeans have embraced our mortality. It’s an interesting point, isnt it?

  5. This is amazing. I worked at the national museum of Colombia and since then these series makes so much more sense. And I love it. And you guys do amazing work

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