ABOUT THE SPEAKER

Thomas P. Campbell - Museum director
Thomas P. Campbell, director of The Metropolitan Museum of Art, aims to make the venerable museum's offerings both narrative-driven and accessible.

Why you should listen

Thomas P. Campbell became the ninth Director of The Metropolitan Museum of Art in January of 2009. Since he began, Campbell has pursued an agenda for the Met that focuses on scholarship and accessibility. These priorities maintain the Museum’s excellence in its exhibitions, publications, acquisitions and permanent collections, while encouraging new thinking about the visitor experience. Further initiatives include exploring the judicious use of technology in the Museum and fully integrating education into all the Met’s activities.

Campbell led the Met through the fiscal setbacks caused by the 2008 recession without reducing hours, gallery openings or programs. He launched an effort to redesign the Museum’s website which now attracts more than 50 million visits per year. FY2011 also saw the Met’s highest attendance in 40 years, rising to 5.6 million. The Museum has just opened new galleries for its Islamic Art Department and American Wing, and is working on plans to renovate The Costume Institute and to reconfigure the outdoor plaza and fountains. In 2011, Campbell announced a collaboration with the Whitney Museum in which the Met will program its landmark Breuer Building on Madison Avenue starting in 2015.

Campbell had worked in the Metropolitan's Department of European Sculpture and Decorative Arts for fourteen years, rising steadily through the curatorial ranks as Assistant Curator (1995-97), Associate Curator (1997-2003), and Curator (2003 to December 2008). During this time, he conceived and organized the major exhibitions Tapestry in the Renaissance: Art and Magnificence (2002) and Tapestry in the Baroque: Threads of Splendor (New York, 2007; Palacio Real, Madrid, spring 2008), both of which incorporated drawings, paintings, and prints, as well as tapestries, and received widespread acclaim. The 2002 exhibition was named "Exhibition of the Year" by Apollo Magazine and its catalogue won the Alfred H. Barr, Jr. Award (College Art Association) for distinguished exhibition catalogue in the history of art (2003). Since shortly after his arrival at the Museum, he also served as Supervising Curator of The Antonio Ratti Textile Center, which houses the Museum's encyclopedic collection of 36,000 textiles and is one of the preeminent centers of textile studies in the world.

More profile about the speaker
Thomas P. Campbell | Speaker | TED.com

TED2012

Thomas P. Campbell: Weaving narratives in museum galleries

Thomas P. Campbell：在博物館中編織故事

Filmed: 2012-03-01

Readability: 4.6

677,732 views

身為紐約大都會美術館的館長，Thomas P. Campbell 對策畫藝術展覽有深刻的體驗。不只是選擇藝術展品，而是以展出方式確保觀眾能夠身歷其境。在這裡，他利用炫麗的圖像解釋他於兩個展覽 -- 展示中古世紀的壁毯以及設計師麥昆的誇張服裝藝術 -- 運用的策展理念。（TED2012 設計專題）

Thomas P. Campbell - Museum director
Thomas P. Campbell, director of The Metropolitan Museum of Art, aims to make the venerable museum's offerings both narrative-driven and accessible. Full bio

Double-click the English transcript below to play the video.

00:16

When I was considering考慮 a career事業 in the art藝術 world世界,

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正當我打算投入藝術事業時

00:20

I took拿 a course課程 in London倫敦,

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我在倫敦修了一門課

00:24

and one of my supervisors監事 was this irascible暴躁 Italian意大利

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其中一名老師
是位個性焦躁的義大利人

00:28

called叫 Pietro彼得羅, who drank喝 too much,

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叫做 Pietro

00:32

smoked熏制 too much and swore發誓 much too much.

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他常喝酒、常抽菸
髒話也罵得有夠多

00:37

But he was a passionate多情 teacher老師,

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但他是個極富熱忱的教師

00:41

and I remember記得 one of our earlier前 classes類 with him,

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有一次上課

00:44

he was projecting突出 images圖片 on the wall壁,

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他把圖片投影在牆上

00:46

asking問 us to think about them,

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並要我們思索圖中含意

00:49

and he put up an image圖片 of a painting繪畫.

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其中一張是一幅畫

00:51

It was a landscape景觀 with figures人物, semi-dressed半打扮,

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一幅風景圖
有一些半裸體的人在喝酒

00:55

drinking喝 wine紅酒. There was a nude裸體 woman女人

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前景下方

00:58

in the lower降低 foreground前景, and on the hillside山坡 in the back,

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有一位裸女
而後方的山丘邊上

01:01

there was a figure數字 of the mythological神話 god Bacchus巴克斯,

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畫著希臘神話中的酒神Bacchus

01:05

and he said, "What is this?"

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老師問道 "這是什麼?"

01:08

And I -- no one else其他 did, so I put up my hand手, and I said,

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因為沒人回答，我就舉手說：

01:11

"It's a Bacchanal發酒瘋 by Titian黃褐色的."

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"這是提香所繪的《酒神節》（Bacchanal）"

01:14

He said, "It's a what?"

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他說："是什麼？"

01:17

I thought maybe I'd pronounced宣判 it wrong錯誤.

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我以為是發音錯了

01:19

"It's a Bacchanal發酒瘋 by Titian黃褐色的."

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"這是提香的《ㄐㄧㄡ神節》"

01:23

He said, "It's a what?"

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他又說："是什麼？"

01:25

I said, "It's a Bacchanal發酒瘋 by Titian黃褐色的." (Laughter笑聲)

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我說："這是提香的《ㄑㄧㄡˊ 神節》"
（笑聲）

01:28

He said, "You boneless無骨的 bookworm書呆子!

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他說："你這個書呆子！"

01:32

It's a fucking他媽的 orgy狂歡!"

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"這他媽的叫做多P派對！"

01:34

(Laughter笑聲)

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(笑聲)

01:37

As I said, he swore發誓 too much.

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如我所說，他髒話掛嘴邊

01:40

There was an important重要 lesson課 for me in that.

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從中，我學到寶貴的一課

01:43

Pietro彼得羅 was suspicious可疑 of formal正式 art藝術 training訓練,

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Pietro 對正規藝術教育和藝術史教育
很不以為然

01:47

art藝術 history歷史 training訓練, because he feared害怕

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因為他認為

01:51

that it filled填充 people up with jargon行話, and then they just

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這麼一來
人們的腦袋只會充滿專有名詞

01:55

classified分類 things rather寧 than looking at them,

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讓大家學會分門別類
忽略如何欣賞

01:59

and he wanted to remind提醒 us that all art藝術 was once一旦 contemporary現代的,

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他想要提醒我們所有的藝術曾經都很 "現代"

02:04

and he wanted us to use our eyes眼睛,

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他希望我們用自己的眼睛

02:07

and he was especially特別 evangelical福音 about this message信息,

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也特別強調

02:11

because he was losing失去 his sight視力.

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因為他的視力已經開始退化

02:13

He wanted us to look and ask問 basic基本 questions問題 of objects對象.

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他希望我們多觀察
問的問題越單純越好

02:18

What is it? How is it made製作? Why was it made製作?

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這是什麼？
是怎麼做的？為什麼要做？

02:21

How is it used?

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如何使用?

02:24

And these were important重要 lessons教訓 to me when

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這堂課帶給我的觀念

02:26

I subsequently後來 became成為 a professional專業的 art藝術 historian歷史學家.

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在我成為專業的藝術史學家之後
依然中用

02:29

My kind類 of eureka尤里卡 moment時刻 came來了 a few少數 years年份 later後來,

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幾年之後，我茅塞頓開

02:34

when I was studying研究 the art藝術 of the courts法院 of Northern北方 Europe歐洲,

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當時我正研究北歐宮廷藝術

02:39

and of course課程 it was very much discussed討論 in terms條款 of

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當然這其中所討論的大多是

02:43

the paintings繪畫 and the sculptures雕塑

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畫作、雕刻

02:45

and the architecture建築 of the day.

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還有當代的建築

02:49

But as I began開始 to read讀 historical歷史的 documents文件

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但當我開始閱讀史料

02:52

and contemporary現代的 descriptions說明,

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和當代的介紹時

02:55

I found發現 there was a kind類 of a missing失踪 component零件,

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我發現有一樣東西不見了

02:59

for everywhere到處 I came來了 across橫過 descriptions說明 of tapestries掛毯.

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我在史料中到處可見壁毯的記載

03:04

Tapestries掛毯 were ubiquitous普及 between之間 the Middle中間 Ages時代

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壁毯在中世紀是隨處可見的

03:08

and, really, well into the 18th日 century世紀,

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一直到18世紀都是如此

03:11

and it was pretty漂亮 apparent明顯的 why.

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原因挺明顯的

03:13

Tapestries掛毯 were portable手提. You could roll滾 them up,

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因為壁毯可以隨身攜帶

03:16

send發送 them ahead先 of you, and in the time

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簡單又方便
只要掛到牆上

03:19

it took拿 to hang掛 them up, you could transform轉變 a cold冷,

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就可以讓又冷又暗的房間

03:22

dank潮呼呼 interior室內 into a richly豐富地 colored有色 setting設置.

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瞬間充滿色彩

03:26

Tapestries掛毯 effectively有效 provided提供 a vast廣大 canvas帆布

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壁毯是一幅巨大的畫布

03:31

on which哪一個 the patrons食客 of the day could depict描繪 the heroes英雄

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畫布上大多刻畫著

03:35

with whom誰 they wanted to be associated相關,

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他們所喜愛的英雄們

03:38

or even themselves他們自己,

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甚至是自己的肖像

03:40

and in addition加成 to that, tapestries掛毯 were hugely巨大 expensive昂貴.

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此外，壁毯是非常昂貴的東西

03:45

They required需要 scores分數 of highly高度 skilled技能的 weavers織工

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每一條都是靠大量精熟的織工

03:49

working加工 over extended擴展 periods期 of time

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花很多時間做成的

03:52

with very expensive昂貴 materials物料 -- the wools羊毛, the silks帛,

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選用上好的羊毛和蠶絲製作

03:55

even gold金 and silver銀 thread線.

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有的甚至織入金線銀線

03:58

So, all in all, in an age年齡 when the visual視覺 image圖片

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所以

04:03

of any kind類 was rare罕見, tapestries掛毯 were an incredibly令人難以置信 potent有力的

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在任何視覺圖像都很稀有的時代

04:08

form形成 of propaganda宣傳.

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壁毯成為極具影響力的宣傳工具

04:12

Well, I became成為 a tapestry掛毯 historian歷史學家.

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我也因緣際會成為壁毯史學家

04:16

In due應有 course課程, I ended結束 up as a curator館長

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後來
我到大都會美術館擔任策展人

04:19

at the Metropolitan宗主 Museum博物館, because I saw the Met會見

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因為我認為

04:23

as one of the few少數 places地方 where I could organize組織

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這個機會世上少有

04:26

really big大 exhibitions展覽 about the subject學科

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我可以策劃各種我喜歡的大型特展

04:30

I cared照顧 so passionately熱情 about.

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探討我最熱愛主題

04:33

And in about 1997, the then-director然後導演 Philippe菲利普 de德 Montebello蒙特貝羅

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1997年時
那時的館長Phlippe de Montebello

04:38

gave給 me the go-ahead前進 to organize組織 an exhibition展覽

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要我開始籌備2002年的特展

04:41

for 2002. We normally一般 have these very long lead-in帶入 times時.

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這種特展
因為牽扯到許多環節

04:46

It wasn't不 straightforward直截了當. It's no longer長 a question題

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往往要提早很長一段時間籌備

04:50

of chucking夾緊 a tapestry掛毯 in the back of a car汽車.

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譬如說
不能直接把壁毯扔進貨車

04:53

They have to be wound傷口 on huge巨大 rollers輥,

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得用巨大的捲筒捲起來

04:57

shipped運 in oversized過大的 freighters貨機.

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並用特大號的貨輪運送

05:01

Some of them are so big大 we had, to get them into the museum博物館,

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有些壁毯大到無法扛進美術館

05:03

we had to take them up the great steps腳步 at the front面前.

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從正門的大石階才得其門而入

05:08

We thought very hard硬 about how to present當下 this

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我們費盡心思

05:13

unknown未知 subject學科 to a modern現代 audience聽眾:

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試圖呈現這幅壁毯的意境

05:16

the dark黑暗 colors顏色 to set組 off the colors顏色 that remained保持

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用較暗色的背景和褪色的物品形成對比

05:19

in objects對象 that were often經常 faded褪色;

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顯現主題的色彩

05:22

the placing配售 of lights燈火 to bring帶來 out the silk絲 and the gold金 thread線;

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運用燈光

05:26

the labeling標籤.

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來襯托蠶絲與金線

05:28

You know, we live生活 in an age年齡 where we are so used

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你知道嗎？

05:31

to television電視 images圖片 and photographs照片,

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現代人太依賴電視影像、照片和照片

05:34

a one-hit一擊 image圖片. These were big大, complex複雜 things,

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壁毯這種又大又複雜的東西

05:39

almost幾乎 like cartoons卡通 with multiple多 narratives敘事.

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就像有多種角色扮演的卡通

05:43

We had to draw畫 our audience聽眾 in, get them to slow慢 down,

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我們必須吸引觀眾
讓他們放慢步調

05:46

to explore探索 the objects對象.

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慢慢探索這些藝術品

05:49

There was a lot of skepticism懷疑論. On the opening開盤 night,

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縱使面臨許多質疑的聲浪

05:53

I overheard偷聽 one of the senior前輩 members會員 of staff員工 saying話,

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特展第一天
我偷聽到一位資深的工作人員說

05:57

"This is going to be a bomb炸彈."

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"這樣沒搞頭！"

06:00

But in reality現實, in the course課程 of the coming未來 weeks週 and months個月,

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但事實上
在接下來的幾個月

06:04

hundreds數以百計 of thousands數千 of people came來了 to see the show顯示.

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成千上萬民眾接踵而至

06:10

The exhibition展覽 was designed設計 to be an experience經驗,

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展覽的設計讓觀眾身歷其境

06:14

and tapestries掛毯 are hard硬 to reproduce複製 in photographs照片.

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而且壁毯很難以照片的形式呈現

06:18

So I want you to use your imaginations想像,

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所以我想請你們運用想像力

06:21

thinking思維 of these wall-high牆高 objects對象,

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想像這些跟牆一樣高的東西

06:24

some of them 10 meters米 wide寬,

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有些寬達10米

06:26

depicting描繪 lavish闊氣 court法庭 scenes場景 with courtiers臣子 and dandies花花公子

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刻畫著金碧輝煌的宮廷景象
和穿著華麗的紈褲子弟

06:31

who would look quite相當 at home in the pages網頁 of the fashion時尚 press按 today今天,

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若出現在今日的流行雜誌
也不會奇怪

06:36

thick厚 woods樹木 with hunters獵人 crashing轟然 through通過 the undergrowth發育不全

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茂密的樹林中
獵人在樹叢中披荊斬棘

06:40

in pursuit追求 of wild野生 boars公豬 and deer鹿,

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緊追著野豬和鹿群

06:43

violent暴力 battles戰鬥 with scenes場景 of fear恐懼 and heroism英雄主義.

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血腥戰場上的恐懼與英雄氣概

06:49

I remember記得 taking服用 my son's兒子 school學校 class類. He was eight八 at the time,

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我記得我帶兒子的班上參觀
他當時八歲

06:53

and all the little boys男孩, they kind類 of -- you know, they were little boys男孩,

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而那些小男孩
你也知道的，小男生都這樣

06:57

and then the thing that caught抓住 their其 attention注意

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他們的最專注的東西

07:00

was in one of the hunting狩獵 scenes場景 there was a dog狗

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是一幅狩獵景象裡
其中有隻狗

07:03

poopingpooping in the foreground前景 — (Laughter笑聲) —

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在前景中大便（笑聲）

07:06

kind類 of an in-your-face在你的臉上 joke玩笑 by the artist藝術家.

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有點像是藝術家故意的小笑話

07:09

And you can just imagine想像 them.

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你可想樣小朋友的反應

07:12

But it brought帶 it alive活 to them. I think they suddenly突然 saw

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但這使的整個展覽鮮活了起來
我想他們忽然發現

07:15

that these weren't不 just old舊 faded褪色 tapestries掛毯.

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這些並不只是褪色的壁毯

07:18

These were images圖片 of the world世界 in the past過去,

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這些影像捕捉已過去的世界

07:23

and that it was the same相同 for our audience聽眾.

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忠實地呈現在過去與現代的觀眾眼前

07:26

And for me as a curator館長, I felt氈 proud驕傲. I felt氈 I'd shifted移 the needle針 a little.

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身為策展人，我感到很驕傲
我覺得我有那麼些影響力

07:31

Through通過 this experience經驗 that could only be created創建

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透過這個只有在美術博物館
才能製造的經驗

07:34

in a museum博物館, I'd opened打開 up the eyes眼睛 of my audience聽眾 --

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我讓觀眾開了眼界

07:38

historians歷史學家, artists藝術家, press按, the general一般 public上市 --

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讓歷史學家、藝術家，和社會大眾

07:43

to the beauty美女 of this lost丟失 medium中.

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有機會欣賞這已失去的介質的美麗

07:47

A few少數 years年份 later後來, I was invited邀請 to be the director導向器

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幾年後
我受邀成為美術館的館長

07:51

of the museum博物館, and after I got over that --

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在我自當下的不可置信：
"蛤？我嗎？"

07:54

"Who, me? The tapestry掛毯 geek極客? I don't wear穿 a tie領帶!" --

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"那個壁毯怪咖？我是不打領帶的！"
反應過來之後

07:59

I realized實現 the fact事實: I believe passionately熱情 in that

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我看清事實：我熱忱地相信

08:05

curated策劃 museum博物館 experience經驗.

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博物館經驗的力量

08:08

We live生活 in an age年齡 of ubiquitous普及 information信息,

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我們生活的時代中資訊無所不在

08:12

and sort分類 of "just add加 water水" expertise專門知識,

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專業知識簡便地像即溶咖啡

08:16

but there's nothing that compares比較 with the presentation介紹

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但是沒有任何東西比得過

08:20

of significant重大 objects對象 in a well-told良好的告訴 narrative敘述,

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已引人入勝的故事呈獻深具意義的物品

08:24

what the curator館長 does, the interpretation解釋 of a complex複雜,

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策展人的任務是解釋一個複雜

08:29

esoteric深奧 subject學科, in a way that retains保留 the integrity廉正

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深奧的主題
並同時保持主題的完整性

08:33

of the subject學科, that makes品牌 it -- unpacks解包 it

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但是想辦法將謎團拆開

08:36

for a general一般 audience聽眾.

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使普通觀眾能夠親近

08:39

And that, to me, today今天, is now the challenge挑戰 and the fun開玩笑

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而對我來說
那正是我的工作的有趣

08:42

of my job工作, supporting支持 the vision視力 of my curators策展人,

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及挑戰之處
如何支持我的策展同仁的願景

08:47

whether是否 it's an exhibition展覽 of Samurai武士 swords劍,

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不管是展出日本武士刀

08:50

early早 Byzantine拜占庭式的 artifacts文物, Renaissance再生 portraits畫像,

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早期拜占廷文物、文藝復興肖像

08:56

or the show顯示 we heard聽說 mentioned提到 earlier前,

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或是之前有提過的特展

08:59

the McQueen麥昆 show顯示, with which哪一個 we enjoyed享受

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也就是去年暑假很成功的

09:02

so much success成功 last summer夏季.

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設計師麥昆的展覽

09:04

That was an interesting有趣 case案件.

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那其實是很有趣的案例

09:07

In the late晚了 spring彈簧, early早 summer夏季 of 2010, shortly不久 after

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在2010年的春末夏初時

09:12

McQueen'sMcQueen的 suicide自殺,

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於麥昆自殺過後不久

09:15

our curator館長 of costume服裝, Andrew安德魯 Bolton博爾頓, came來了 to see me,

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我們的服裝策展人
Andrew Bolton來見我

09:19

and said, "I've been thinking思維 of doing a show顯示 on McQueen麥昆,

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他說
"我已經想要計畫麥昆特展一陣子了"

09:22

and now is the moment時刻. We have to, we have to do it fast快速."

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"而現在正是時機"
"我們一定得做，而且要快"

09:27

It wasn't不 easy簡單. McQueen麥昆 had worked工作 throughout始終 his career事業

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這並不簡單
麥昆畢生僅與少數幾名

09:32

with a small小 team球隊 of designers設計師 and managers經理

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經紀人和設計團隊合作

09:35

who were very protective保護的 of his legacy遺產,

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他們很保護麥昆留下的作品

09:39

but Andrew安德魯 went去 to London倫敦 and worked工作 with them

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但Andrew去了倫敦一趟

09:41

over the summer夏季 and won韓元 their其 confidence置信度, and that of

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並與他們一共事了一個暑假

09:45

the designers設計師 who created創建 his amazing驚人 fashion時尚 shows節目,

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贏得一些設計師的信賴
他們曾策劃麥昆驚人的服裝秀

09:49

which哪一個 were works作品 of performance性能 art藝術 in their其 own擁有 right,

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單是這些秀就可說是表演藝術的作品

09:54

and we proceeded繼續 to do something at the museum博物館,

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而我們一同於大都會美術館

09:56

I think, we've我們已經 never doneDONE before.

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做了我們不曾做過的事

09:58

It wasn't不 just your standard標準 installation安裝.

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這不是正常的藝術安裝

10:01

In fact事實, we ripped撕開 down the galleries畫廊 to recreate重建

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事實上，我們把各展廳給拆了

10:06

entirely完全 different不同 settings設置, a recreation娛樂 of his first studio工作室,

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創造完全不同的佈景
像是重造他第一個工作室

10:11

a hall大廳 of mirrors鏡子,

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一個鏡面長廊

10:14

a curiosity好奇心 box框,

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一個百寶箱

10:16

a sunken凹陷 ship船, a burned-out燒壞 interior室內,

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一艘沈船、火災肆虐後的室內

10:20

with videos視頻 and soundtracks配樂 that ranged不等 from

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加上各式錄音和錄影帶

10:23

operatic歌劇的 arias阿里亞斯 to pigs豬 fornicating通姦.

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從歌劇詠嘆調到豬在交配的畫面

10:27

And in this extraordinary非凡 setting設置, the costumes服裝

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而在這誇張的佈景中，那些服裝

10:32

were like actors演員 and actresses女演員, or living活的 sculptures雕塑.

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有如演員或是活生生的雕像一般

10:37

It could have been a train培養 wreck破壞.

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這一切都有可能是悲劇收場

10:39

It could have looked看著 like shop店 windows視窗 on Fifth第五 Avenue大街

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可能看起來像聖誕節
第五大道的展示窗一樣

10:44

at Christmas聖誕, but because of the way that Andrew安德魯

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但由於Andrew和麥昆的團隊

10:47

connected連接的 with the McQueen麥昆 team球隊, he was channeling竄

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關係密切。他有辦法汲取呈現

10:51

the rawness半生不熟 and the brilliance輝 of McQueen麥昆,

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麥昆野蠻並令人驚奇的設計風格

10:55

and the show顯示 was quite相當 transcendanttranscendant,

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結果展出超越所有期望

10:58

and it became成為 a phenomenon現象 in its own擁有 right.

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不只是展出的時裝
而是展覽本身吸引大批群眾

11:00

By the end結束 of the show顯示, we had people queuing排隊

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到了最後展覽接近尾聲時

11:03

for four四 or five五 hours小時 to get into the show顯示,

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有些民眾排隊四、五小時才得進場

11:06

but no one really complained抱怨.

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但沒有人抱怨

11:09

I heard聽說 over and over again, "Wow哇, that was worth價值 it.

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我一再聽見 "哇！這真是值得"

11:12

It was a such這樣 a visceral內臟, emotive感情的 experience經驗."

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"這真是個扣人心弦的經驗"

11:16

Now, I've described描述 two very immersive身臨其境 exhibitions展覽,

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現在
我講了兩個令人身臨其境的展覽

11:20

but I also也 believe that collections集合, individual個人 objects對象,

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但我也相信收藏和個別的展示品

11:26

can also也 have that same相同 power功率.

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也能有相同的效果

11:28

The Met會見 was set組 up not as a museum博物館 of American美國 art藝術,

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大都會美術館的成立宗旨
並不只是為了收藏美國藝術

11:32

but of an encyclopedic廣博的 museum博物館,

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而是要成為一個包羅萬象的博物館

11:35

and today今天, 140 years年份 later後來, that vision視力

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而140年後的今日

11:40

is as prescient有先見之明 as ever,

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那個願景的先見之明
一如過往

11:43

because, of course課程, we live生活 in a world世界 of crisis危機,

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這是因為
我們生活在一個充滿危機的世界

11:47

of challenge挑戰, and we're exposed裸露 to it

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處處有著挑戰
而且經由二十四小時的新聞頻道

11:49

through通過 the 24/7 newsreels新聞影片.

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時時刻刻地接觸這些危機

11:52

It's in our galleries畫廊 that we can unpack解壓 the civilizations文明,

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唯有於展廳之內
我們才有辦法解開文明的奧妙

11:57

the cultures文化, that we're seeing眼看 the current當前 manifestation表現 of.

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認識日常所見的新文化

12:02

Whether是否 it's Libya利比亞, Egypt埃及, Syria敘利亞,

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無論是利比亞、埃及、敘利亞

12:06

it's in our galleries畫廊 that we can explain說明

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在我們的展廳之中都能予以解讀

12:09

and give greater更大 understanding理解.

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並帶來更完整的認識

12:11

I mean, our new新 Islamic清真 galleries畫廊 are a case案件 in point點,

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我是說
我們的伊斯蘭展廳就是個好例子

12:14

opened打開 10 years年份, almost幾乎 to the week週, after 9/11.

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它於9/11事件十周年時開放

12:20

I think for most最 Americans美國人, knowledge知識 of the Islamic清真 world世界

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我想對於多數美國人
對於伊斯蘭世界的認識

12:24

was pretty漂亮 slight輕微 before 9/11, and then it was thrust推力 upon上 us

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在9/11之前是極淺的
然後這課題卻在

12:28

in one of America's美國 darkest最黑暗 hours小時,

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美國史上最黑暗的時刻
猛然於我們肩上扛下

12:32

and the perception知覺 was through通過 the polarization極化

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大家對於伊斯蘭文化的觀感

12:35

of that terrible可怕 event事件.

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透過那悲慘的事件而兩極化

12:38

Now, in our galleries畫廊, we show顯示 14 centuries百年

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現在，在我們的展廳之中

12:42

of the development發展 of different不同 Islamic清真 cultures文化

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我們展示伊斯蘭文化
十四個世紀以來的演變

12:46

across橫過 a vast廣大 geographic地理 spread傳播,

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並涵蓋廣泛的地理範圍

12:49

and, again, hundreds數以百計 of thousands數千 of people have come

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再一次的
已有數十萬的民眾前來參觀

12:53

to see these galleries畫廊 since以來 they opened打開 last October十月.

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這些去年十月開放的展覽廳

12:58

I'm often經常 asked問, "Is digital數字 media媒體 replacing更換 the museum博物館?"

210

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常有人問我：
"數位媒體會取代美術館嗎？"

13:05

and I think those numbers數字 are a resounding高亢 rejection拒絕

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我認為這些參展數據堅決否定此說

13:09

of that notion概念. I mean, don't get me wrong錯誤,

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我是說，不要誤會我的意思

13:13

I'm a huge巨大 advocate主張 of the Web捲筒紙.

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我很倡導網際網路

13:16

It gives給 us a way of reaching到達 out to audiences觀眾

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它使我們有辦法接觸全世界的觀眾

13:19

around the globe地球, but nothing replaces取代 the authenticity真偽

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但沒有任何東西能夠取代

13:25

of the object目的 presented呈現 with passionate多情 scholarship獎學金.

216

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經熱誠的學問呈現的物品的真實性

13:31

Bringing瞻 people face面對 to face面對 with our objects對象

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當人們和展品面對面接觸時

13:36

is a way of bringing使 them face面對 to face面對 with people

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就像是和其他人面對面接觸

13:39

across橫過 time, across橫過 space空間, whose誰的 lives生活 may可能 have been

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超越時空
接觸這些生命與我們截然不同

13:44

very different不同 to our own擁有, but who, like us,

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卻和我們所有人一樣

13:49

had hopes希望 and dreams夢, frustrations挫折 and achievements成就

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擁有希望和夢想
挫折與成就的人生

13:54

in their其 lives生活. And I think this is a process處理

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我認為這個過程

13:57

that helps幫助 us better understand理解 ourselves我們自己,

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能使我們更加了解自己

14:01

helps幫助 us make better decisions決定 about where we're going.

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並幫助我們在未來
做出更好的決策

14:06

The Great Hall大廳 at the Met會見 is one of the great portals門戶 of the world世界,

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大都會美術館的大廳
是個舉世無雙的通道

14:11

awe-inspiring凜然, like a medieval中世紀 cathedral大教堂.

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凜然如中古世紀的大教堂

14:16

From there, you can walk步行 in any direction方向

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從這裡，
你可以往任何一個方向前進

14:18

to almost幾乎 any culture文化.

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邁向任何一種文化

14:21

I frequently經常 go out into the hall大廳 and the galleries畫廊

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我時常到大廳和展示廳裡

14:24

and I watch our visitors遊客 coming未來 in.

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看著我們的訪客進出

14:27

Some of them are comfortable自在. They feel at home.

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有些人看起來自在
就像在自家一般

14:31

They know what they're looking for.

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他們知道自己所追尋的昰什麼

14:33

Others其他 are very uneasy不安. It's an intimidating嚇人 place地點.

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其他人看起來不太自在
這是個令人卻步的地方

14:38

They feel that the institution機構 is elitist精英.

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他們感到這個機構是只屬於菁英文化

14:41

I'm working加工 to try and break打破 down that sense感 of that elitism精英.

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我正努力的破除這個概念

14:47

I want to put people in a contemplative沉思 frame幀 of mind心神,

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我想要讓觀眾陷入沉思的心境

14:51

where they're prepared準備 to be a little bit位 lost丟失, to explore探索,

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讓他們願意迷路、願意探索

14:57

to see the unfamiliar陌生 in the familiar熟,

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在熟悉中看見新穎之處

15:01

or to try the unknown未知.

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或是試著體驗未知

15:05

Because for us, it's all about bringing使 them face面對 to face面對

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因為對我們來說
這一切都是為了帶大家

15:10

with great works作品 of art藝術,

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與偉大的藝術作品面對面

15:13

capturing捕獲 them at that moment時刻 of discomfort不舒服,

242

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捕捉那一剎那的不確定感

15:17

when the inclination傾角 is kind類 of to reach達到 for your iPhone蘋果手機,

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當你習以為常地想拿起
你的iphone或黑莓機

15:21

your Blackberry黑莓, but to create創建 a zone區

244

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但我們卻創造一帶空間

15:26

where their其 curiosity好奇心 can expand擴大.

245

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讓人們的好奇心起飛

15:31

And whether是否 it's in the expression表達 of a Greek希臘語 sculpture雕塑

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不管是一個古希臘雕像的表情

15:35

that reminds提醒 you of a friend朋友,

247

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使你想起一位朋友

15:37

or a dog狗 poopingpooping in the corner角 of a tapestry掛毯,

248

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或一隻狗在壁毯的角落大便

15:41

or, to bring帶來 it back to my tutor導師 Pietro彼得羅,

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或回到我的老師Pietro所說的

15:44

those dancing跳舞 figures人物

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圖中那些跳舞的人物

15:47

who are indeed確實 knocking敲門 back the wine紅酒,

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正飲酒作樂

15:50

and that nude裸體 figure數字 in the left foreground前景.

252

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和那左前景中的裸女

15:53

Wow哇. She is a gorgeous華麗 embodiment實施例 of youthful青春的 sexuality性慾.

253

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哇！
她可真是青春性慾最美麗的代言人

16:02

In that moment時刻, our scholarship獎學金 can tell you

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在那一剎那
我們的學問可以告訴你

16:07

that this is a bacchanal發酒瘋,

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這是幅《酒神節》

16:11

but if we're doing our job工作 right,

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但如果我們有達到目標

16:14

and you've checked檢查 the jargon行話 at the front面前 door門,

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而你也將學術名詞忘在大門外

16:18

trust相信 your instinct直覺.

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相信你的直覺

16:20

You know it's an orgy狂歡.

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你就會知道那是一場多P派對

16:24

Thank you. (Applause掌聲)

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謝謝（掌聲）

16:27

(Applause掌聲)

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（掌聲）

Translated by Anny Chung
Reviewed by 盧曉天 .

ABOUT THE SPEAKER

Thomas P. Campbell - Museum director
Thomas P. Campbell, director of The Metropolitan Museum of Art, aims to make the venerable museum's offerings both narrative-driven and accessible.

Why you should listen

Thomas P. Campbell became the ninth Director of The Metropolitan Museum of Art in January of 2009. Since he began, Campbell has pursued an agenda for the Met that focuses on scholarship and accessibility. These priorities maintain the Museum’s excellence in its exhibitions, publications, acquisitions and permanent collections, while encouraging new thinking about the visitor experience. Further initiatives include exploring the judicious use of technology in the Museum and fully integrating education into all the Met’s activities.

Campbell led the Met through the fiscal setbacks caused by the 2008 recession without reducing hours, gallery openings or programs. He launched an effort to redesign the Museum’s website which now attracts more than 50 million visits per year. FY2011 also saw the Met’s highest attendance in 40 years, rising to 5.6 million. The Museum has just opened new galleries for its Islamic Art Department and American Wing, and is working on plans to renovate The Costume Institute and to reconfigure the outdoor plaza and fountains. In 2011, Campbell announced a collaboration with the Whitney Museum in which the Met will program its landmark Breuer Building on Madison Avenue starting in 2015.

Campbell had worked in the Metropolitan's Department of European Sculpture and Decorative Arts for fourteen years, rising steadily through the curatorial ranks as Assistant Curator (1995-97), Associate Curator (1997-2003), and Curator (2003 to December 2008). During this time, he conceived and organized the major exhibitions Tapestry in the Renaissance: Art and Magnificence (2002) and Tapestry in the Baroque: Threads of Splendor (New York, 2007; Palacio Real, Madrid, spring 2008), both of which incorporated drawings, paintings, and prints, as well as tapestries, and received widespread acclaim. The 2002 exhibition was named "Exhibition of the Year" by Apollo Magazine and its catalogue won the Alfred H. Barr, Jr. Award (College Art Association) for distinguished exhibition catalogue in the history of art (2003). Since shortly after his arrival at the Museum, he also served as Supervising Curator of The Antonio Ratti Textile Center, which houses the Museum's encyclopedic collection of 36,000 textiles and is one of the preeminent centers of textile studies in the world.

More profile about the speaker
Thomas P. Campbell | Speaker | TED.com

THE ORIGINAL VIDEO ON TED.COM

Thomas P. Campbell：在博物館中編織故事 | TED Talk | TED.com