TED2012
Thomas P. Campbell: Weaving narratives in museum galleries
Tomas P. Kambel (Thomas P. Campbell): Priča o tkanju u galerijama muzeja
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Kao direktor muzeja Metropoliten u Njujorku, Tomas P. Kembel duboko razmišlja o izložbama - ne samo o izboru umetničkih predmeta, nego i o njihovom postavljanju u okruženje gde javnost može da sazna njihove priče. Uz predivne slike, pokazuje nam kako njegova filozofija izložbe funkcioniše pri izlaganju srednjevekovnih tapiserija - i za neverovatnu modu/umetnost Aleksandra MekKvina. (Iz sesije Design Studio, sa konferencije TED2012, koju su vodili gosti domaćini Či Perlman i Dejvid Rokvel.)
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
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 a career in the art world,
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Kada sam razmišljao o karijeri u svetu umetnosti,
00:20
I took a course in London,
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upisao sam kurs u Londonu
00:24
and one of my supervisors was this irascible Italian
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i jedan od mojih profesora je bio naprasiti Italijan
00:28
called Pietro, who drank too much,
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Pjetro, koji je mnogo pio,
00:32
smoked too much and swore much too much.
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previše pušio i preterano mnogo psovao.
00:37
But he was a passionate teacher,
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Ali on je bio strastven učitelj,
00:41
and I remember one of our earlier classes with him,
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pamtim jedan od početnih časova kod njega,
00:44
he was projecting images on the wall,
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projektovao je umetničke slike na zid
00:46
asking us to think about them,
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pitajući nas
00:49
and he put up an image of a painting.
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šta mislimo o njima.
00:51
It was a landscape with figures, semi-dressed,
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Bio je to pejzaž sa figurama, poluobučenim,
00:55
drinking wine. There was a nude woman
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kako piju vino. Tu je bila naga žena
00:58
in the lower foreground, and on the hillside in the back,
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u donjem prednjem delu, a na brežuljku u pozadini
01:01
there was a figure of the mythological god Bacchus,
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bila je mitološka figura boga Baha
01:05
and he said, "What is this?"
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i on je pitao: "Šta je ovo?"
01:08
And I -- no one else did, so I put up my hand, and I said,
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I ja – niko drugi, podigao sam ruku i rekao:
01:11
"It's a Bacchanal by Titian."
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"To su Ticijanove Bahanalije."
01:14
He said, "It's a what?"
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On, na to: "To je - šta?"
01:17
I thought maybe I'd pronounced it wrong.
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Pomislio sam da sam možda pogrešno izgovorio.
01:19
"It's a Bacchanal by Titian."
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"To su Ticijanove Bahanalije."
01:23
He said, "It's a what?"
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On reče: "To je - šta?"
01:25
I said, "It's a Bacchanal by Titian." (Laughter)
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Rekoh: "To su Ticijanove Bahanalije." (Smeh)
01:28
He said, "You boneless bookworm!
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On reče: "Ti beskičmeni knjiški moljcu!
01:32
It's a fucking orgy!"
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To je jebena orgija!"
01:34
(Laughter)
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(Smeh)
01:37
As I said, he swore too much.
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Kao što rekoh, mnogo je psovao.
01:40
There was an important lesson for me in that.
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Bila je to važna lekcija za mene.
01:43
Pietro was suspicious of formal art training,
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Pjetro je bio sumnjičav prema
formalnom umetničkom
formalnom umetničkom
01:47
art history training, because he feared
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obrazovanju iz istorije umetnosti, plašio se
01:51
that it filled people up with jargon, and then they just
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da ono puni ljude žargonom i da oni potom klasifikuju
01:55
classified things rather than looking at them,
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stvari bez posmatranja, a on je hteo
01:59
and he wanted to remind us that all art was once contemporary,
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da nas podseti da je sva umetnost nekad bila savremena,
02:04
and he wanted us to use our eyes,
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hteo je da otvorimo oči,
02:07
and he was especially evangelical about this message,
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posebno je bio pobožan u vezi sa tim
02:11
because he was losing his sight.
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jer je gubio vid.
02:13
He wanted us to look and ask basic questions of objects.
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Hteo je da gledamo i da postavljamo
osnovna pitanja o predmetima.
osnovna pitanja o predmetima.
02:18
What is it? How is it made? Why was it made?
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Šta je to? Kako je napravljeno?
Zbog čega je to napravljeno?
Zbog čega je to napravljeno?
02:21
How is it used?
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Kako se koristi?
02:24
And these were important lessons to me when
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Ovo su mi bile važne lekcije kasnije, kada sam
02:26
I subsequently became a professional art historian.
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postao profesionalni istoričar umetnosti.
02:29
My kind of eureka moment came a few years later,
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Moj eureka momenat je nastupio posle nekoliko godina,
02:34
when I was studying the art of the courts of Northern Europe,
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proučavao sam umetnost u sudnicama Severne Evrope,
02:39
and of course it was very much discussed in terms of
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o njoj se mnogo govorilo u vezi sa
02:43
the paintings and the sculptures
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slikama i skulpturama
02:45
and the architecture of the day.
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i arhitekturom toga doba.
02:49
But as I began to read historical documents
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Ali kada sam počeo da proučavam istorijska dokumenta
02:52
and contemporary descriptions,
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i opise savremenika,
02:55
I found there was a kind of a missing component,
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otkrio sam da jedna komponenta svuda nedostaje,
02:59
for everywhere I came across descriptions of tapestries.
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gde god sam naišao na opise tapiserija.
03:04
Tapestries were ubiquitous between the Middle Ages
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Tapiserije su bile sveprisutne u srednjem veku
03:08
and, really, well into the 18th century,
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i do dobrog dela 18. veka,
03:11
and it was pretty apparent why.
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bilo je jasno zbog čega.
03:13
Tapestries were portable. You could roll them up,
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Tapiserije su prenosive. Mogu se urolati,
03:16
send them ahead of you, and in the time
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poslati unapred, mogu da stignu na vreme
03:19
it took to hang them up, you could transform a cold,
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da bi se okačile, možete transformisati hladan
03:22
dank interior into a richly colored setting.
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vlažni enterijer u bogato obojenu prostoriju.
03:26
Tapestries effectively provided a vast canvas
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Tapiserije su bukvalno bile velika platna, na kojima su
03:31
on which the patrons of the day could depict the heroes
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tadašnji pokrovitelji mogli da prikažu heroje
03:35
with whom they wanted to be associated,
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sa kojima su hteli da se identifikuju
03:38
or even themselves,
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ili čak sebe,
03:40
and in addition to that, tapestries were hugely expensive.
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a u prilog tome, tapiserije su bile veoma skupe.
03:45
They required scores of highly skilled weavers
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Bili su neophodni vrhunski vešti tkači,
03:49
working over extended periods of time
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koji su radili u dugim periodima
03:52
with very expensive materials -- the wools, the silks,
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sa vrlo skupim materijalima – vuna, svila,
03:55
even gold and silver thread.
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čak zlato i srebrni konac.
03:58
So, all in all, in an age when the visual image
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Dakle, u periodu kada je bilo kakva vizuelna slika
04:03
of any kind was rare, tapestries were an incredibly potent
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bila retka, tapiserije su bile neverovatno moćno
04:08
form of propaganda.
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sredstvo reklame.
04:12
Well, I became a tapestry historian.
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Postao sam istoričar tapiserija.
04:16
In due course, I ended up as a curator
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Na kraju sam završio kao kustos
04:19
at the Metropolitan Museum, because I saw the Met
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u Metropoliten muzeju, jer sam video Metropoliten
04:23
as one of the few places where I could organize
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kao jedno od nekoliko mesta gde bih mogao da organizujem
04:26
really big exhibitions about the subject
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zaista velike izložbe o temi
04:30
I cared so passionately about.
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koja me je jako zanimala.
04:33
And in about 1997, the then-director Philippe de Montebello
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Otprilike 1997., tadašnji direktor Filip de Montebelo
04:38
gave me the go-ahead to organize an exhibition
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dopustio mi je da organizujem izložbu
04:41
for 2002. We normally have these very long lead-in times.
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za 2002. Obično imamo ovako duge rokove.
04:46
It wasn't straightforward. It's no longer a question
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To nije bilo jednostavno. Nije bilo više pitanje
04:50
of chucking a tapestry in the back of a car.
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kako ubaciti tapiseriju u gepek.
04:53
They have to be wound on huge rollers,
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Treba da se saviju na velike koturove,
04:57
shipped in oversized freighters.
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isporuče u ogromnim teretnim brodovima.
05:01
Some of them are so big we had, to get them into the museum,
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Neke od njih su bile tako velike, pa smo morali
05:03
we had to take them up the great steps at the front.
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da ih unosimo kroz velike ulazne stepenice muzeja.
05:08
We thought very hard about how to present this
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Ozbiljno smo razmišljali kako da predstavimo
05:13
unknown subject to a modern audience:
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ovu nepoznatu temu sadašnjoj publici:
05:16
the dark colors to set off the colors that remained
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da izdvojimo tamne boje od preostalih boja
05:19
in objects that were often faded;
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na objektima koji su često izbledeli;
05:22
the placing of lights to bring out the silk and the gold thread;
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o postavci svetla da bismo izdvojili svileni i zlatni konac;
05:26
the labeling.
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o natpisima.
05:28
You know, we live in an age where we are so used
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Živimo u eri kada smo navikli na
05:31
to television images and photographs,
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televizijske slike i fotografije,
05:34
a one-hit image. These were big, complex things,
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popularne slike. A ovo su velike, kompleksne stvari,
05:39
almost like cartoons with multiple narratives.
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gotovo kao crtani filmovi sa mnogim pripovedačima.
05:43
We had to draw our audience in, get them to slow down,
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Trebalo je da privučemo publiku,
da ih nateramo da uspore,
da ih nateramo da uspore,
05:46
to explore the objects.
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da ispituju objekte.
05:49
There was a lot of skepticism. On the opening night,
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Bilo je mnogo skepse. Na veče otvaranja
05:53
I overheard one of the senior members of staff saying,
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čuo sam jednog od starijih članova osoblja kako kaže:
05:57
"This is going to be a bomb."
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"Ovo će biti bomba."
06:00
But in reality, in the course of the coming weeks and months,
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Ali u stvarnosti, narednih nedelja i meseci
06:04
hundreds of thousands of people came to see the show.
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stotine hiljada ljudi je došlo da vidi izložbu.
06:10
The exhibition was designed to be an experience,
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Izložba je bila dizajnirana da bude jedno iskustvo,
06:14
and tapestries are hard to reproduce in photographs.
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tapiserije je teško reprodukovati u fotografije.
06:18
So I want you to use your imaginations,
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Želim da upotrebite maštu
06:21
thinking of these wall-high objects,
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da zamislite ove objekte visoke kao zidovi,
06:24
some of them 10 meters wide,
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neki od njih su po 10m široki,
06:26
depicting lavish court scenes with courtiers and dandies
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opisuju raskošne scene u sudnici
sa dvorjanima i kicošima
sa dvorjanima i kicošima
06:31
who would look quite at home in the pages of the fashion press today,
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koji deluju kao da su kod kuće na stranicama
današnjih modnih magazina,
današnjih modnih magazina,
06:36
thick woods with hunters crashing through the undergrowth
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scene gustih šuma sa lovcima kako se probijaju
06:40
in pursuit of wild boars and deer,
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u potrazi za divljim svinjama i jelenima,
06:43
violent battles with scenes of fear and heroism.
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nasilne bitke sa scenama straha i herojstva.
06:49
I remember taking my son's school class. He was eight at the time,
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Sećam se kada sam doveo razred mog sina.
Tada je imao osam godina
Tada je imao osam godina
06:53
and all the little boys, they kind of -- you know, they were little boys,
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i svi dečaci su – znate, bili su mali
06:57
and then the thing that caught their attention
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i onda im je jedna stvar privukla pažnju,
07:00
was in one of the hunting scenes there was a dog
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bilo je to u jednoj od scena lova, jedan pas je
07:03
pooping in the foreground — (Laughter) —
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kakio u prednjem delu slike -- (Smeh) --
07:06
kind of an in-your-face joke by the artist.
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kao da vam se slikar smeje u lice.
07:09
And you can just imagine them.
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Samo možete da ih zamislite.
07:12
But it brought it alive to them. I think they suddenly saw
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To im je donelo živost.
Mislim da su iznenada uvideli
Mislim da su iznenada uvideli
07:15
that these weren't just old faded tapestries.
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da to nisu samo stare izbledele tapiserije.
07:18
These were images of the world in the past,
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Bile su to slike sveta u prošlosti
07:23
and that it was the same for our audience.
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i za našu publiku.
07:26
And for me as a curator, I felt proud. I felt I'd shifted the needle a little.
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Kao kustos, bio sam ponosan. Osetio sam
da sam malo pomerio stvari.
da sam malo pomerio stvari.
07:31
Through this experience that could only be created
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Kroz ovo iskustvo koje se može stvoriti samo
07:34
in a museum, I'd opened up the eyes of my audience --
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u muzeju, otvorio sam oči svojoj publici –
07:38
historians, artists, press, the general public --
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istoričarima, umetnicima, štampi, opštoj publici –
07:43
to the beauty of this lost medium.
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za lepotu ovog izgubljenog medijuma.
07:47
A few years later, I was invited to be the director
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Nekoliko godina kasnije, pozvali su me da budem direktor
07:51
of the museum, and after I got over that --
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muzeja i kad sam prevazišao reakciju -
07:54
"Who, me? The tapestry geek? I don't wear a tie!" --
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"Ko, ja? Stručnjak za tapiserije? Pa ja ne nosim kravatu!" -
07:59
I realized the fact: I believe passionately in that
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shvatio sam činjenicu: strasno verujem u
08:05
curated museum experience.
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iskustvo izložbe u muzeju.
08:08
We live in an age of ubiquitous information,
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Živimo u vremenu sveprisutne informacije,
08:12
and sort of "just add water" expertise,
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gde je dovoljno samo zalivanje vodom da stvari uspeju,
08:16
but there's nothing that compares with the presentation
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ali ništa ne može da se uporedi sa predstavljanjem
08:20
of significant objects in a well-told narrative,
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značajnih objekata u dobro ispričanoj priči,
08:24
what the curator does, the interpretation of a complex,
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a to je posao kustosa, interpretacija kompleksnog
08:29
esoteric subject, in a way that retains the integrity
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ezoteričnog predmeta, na način koji zadržava celinu
08:33
of the subject, that makes it -- unpacks it
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subjekta, koji ga čini – otkriva ga
08:36
for a general audience.
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opštoj publici.
08:39
And that, to me, today, is now the challenge and the fun
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Za mene je to izazov i zabavni deo mog posla je
08:42
of my job, supporting the vision of my curators,
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da podržavam viziju mojih kustosa,
08:47
whether it's an exhibition of Samurai swords,
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bez obzira da li je u pitanju izložba mačeva samuraja,
08:50
early Byzantine artifacts, Renaissance portraits,
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artefakti ranog vizantijskog doba, renesansni portreti
08:56
or the show we heard mentioned earlier,
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ili izložba koja je ranije pomenuta,
08:59
the McQueen show, with which we enjoyed
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Mek Kvinova izložba, koja je bila
09:02
so much success last summer.
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veoma uspešna prošlog leta.
09:04
That was an interesting case.
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Bio je to zanimljiv slučaj.
09:07
In the late spring, early summer of 2010, shortly after
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U kasno proleće ili rano leto 2010., neposredno pošto se
09:12
McQueen's suicide,
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Mek Kvin ubio,
09:15
our curator of costume, Andrew Bolton, came to see me,
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naš kustos za kostime, Endru Bolton, je došao do mene
09:19
and said, "I've been thinking of doing a show on McQueen,
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i rekao: "Razmišljao sam da napravim Mek Kvinovu izložbu
09:22
and now is the moment. We have to, we have to do it fast."
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i sad je trenutak. Moramo da to uradimo brzo."
09:27
It wasn't easy. McQueen had worked throughout his career
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Nije bilo lako. Mek Kvin je tokom cele svoje karijere
09:32
with a small team of designers and managers
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radio sa malim timom kreatora i menadžera
09:35
who were very protective of his legacy,
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koji su jako štitili njegovo nasleđe,
09:39
but Andrew went to London and worked with them
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ali Endru je otišao u London i radio sa njima
09:41
over the summer and won their confidence, and that of
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preko leta i stekao njihovo poverenje i poverenje
09:45
the designers who created his amazing fashion shows,
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kreatora koji su pravili njegove
fantastične modne izložbe,
fantastične modne izložbe,
09:49
which were works of performance art in their own right,
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koje su bile prava umetnička dela
09:54
and we proceeded to do something at the museum,
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i mi smo produžili da pravimo nešto u muzeju,
09:56
I think, we've never done before.
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što nikad ranije nije napravljeno.
09:58
It wasn't just your standard installation.
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To nije bila samo standardna instalacija.
10:01
In fact, we ripped down the galleries to recreate
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Ogolili smo galerije da bismo ponovo stvorili
10:06
entirely different settings, a recreation of his first studio,
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potpuno drugačiju postavku, stvorili smo njegov prvi studio,
10:11
a hall of mirrors,
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dvoranu od ogledala,
10:14
a curiosity box,
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čudnovatu kutiju,
10:16
a sunken ship, a burned-out interior,
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potonuli brod, dotrajali enterijer
10:20
with videos and soundtracks that ranged from
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sa video i zvučnim zapisima od
10:23
operatic arias to pigs fornicating.
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operskih arija do svinjskih bordela.
10:27
And in this extraordinary setting, the costumes
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U ovoj vanrednoj postavci, kostimi
10:32
were like actors and actresses, or living sculptures.
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su bili kao glumci i glumice ili žive skulpture.
10:37
It could have been a train wreck.
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Mogla je biti olupina voza.
10:39
It could have looked like shop windows on Fifth Avenue
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Mogla je da liči na izloge Pete avenije
10:44
at Christmas, but because of the way that Andrew
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za Božić, ali zbog načina na koji se Endru
10:47
connected with the McQueen team, he was channeling
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povezao sa timom Mek Kvina, prikazivala
10:51
the rawness and the brilliance of McQueen,
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je sirovost i brilijantnost Mek Kvina
10:55
and the show was quite transcendant,
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i izložba je bila prilično uzvišena
10:58
and it became a phenomenon in its own right.
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i postala je pravi fenomen.
11:00
By the end of the show, we had people queuing
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Do kraja izložbe, ljudi su stajali u redovima
11:03
for four or five hours to get into the show,
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po četiri ili pet sati da bi ušli na izložbu,
11:06
but no one really complained.
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ali niko se nije žalio.
11:09
I heard over and over again, "Wow, that was worth it.
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Čuo sam ponovo: "Vau, vredelo je.
11:12
It was a such a visceral, emotive experience."
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Bilo je to pravo unutrašnje, emotivno iskustvo."
11:16
Now, I've described two very immersive exhibitions,
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Opisao sam dve veoma impresivne izložbe,
11:20
but I also believe that collections, individual objects,
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ali isto tako verujem da kolekcije,
pojedinačni predmeti
pojedinačni predmeti
11:26
can also have that same power.
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mogu imati istu snagu.
11:28
The Met was set up not as a museum of American art,
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Metropoliten nije osnovan kao muzej američke umetnosti
11:32
but of an encyclopedic museum,
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već kao enciklopedijski muzej
11:35
and today, 140 years later, that vision
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i danas, 140 godina kasnije, ta vizija
11:40
is as prescient as ever,
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je proročanska kao nikad do sad
11:43
because, of course, we live in a world of crisis,
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jer živimo u svetu sa krizama,
11:47
of challenge, and we're exposed to it
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sa izazovima i tome smo neprekidno
11:49
through the 24/7 newsreels.
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izloženi.
11:52
It's in our galleries that we can unpack the civilizations,
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U našim galerijama otkrivamo civilizacije,
11:57
the cultures, that we're seeing the current manifestation of.
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kulture u sadašnjem trenutku.
12:02
Whether it's Libya, Egypt, Syria,
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Bez obzira da li je Libija, Egipat, Sirija,
12:06
it's in our galleries that we can explain
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u našim galerijama možemo da objasnimo
12:09
and give greater understanding.
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i pružimo veće razumevanje.
12:11
I mean, our new Islamic galleries are a case in point,
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Naše nove islamske galerije su ilustracija koja ovo opravdava,
12:14
opened 10 years, almost to the week, after 9/11.
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otvorene su 10 godina posle 11. septembra.
12:20
I think for most Americans, knowledge of the Islamic world
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Mislim da su mnogi Amerikanci malo znali o islamskom svetu
12:24
was pretty slight before 9/11, and then it was thrust upon us
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pre 11. septembra, na nama je bilo
da doprinesemo shvatanju
da doprinesemo shvatanju
12:28
in one of America's darkest hours,
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jednog od najmračnijih trenutaka Amerike
12:32
and the perception was through the polarization
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kroz polarizaciju
12:35
of that terrible event.
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tog strašnog događaja.
12:38
Now, in our galleries, we show 14 centuries
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Sada u našim galerijama, prikazujemo 14 vekova
12:42
of the development of different Islamic cultures
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razvoja raznih islamskih kultura
12:46
across a vast geographic spread,
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preko ogromnog geografskog područja,
12:49
and, again, hundreds of thousands of people have come
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ponovo stotine hiljada ljudi je došlo
12:53
to see these galleries since they opened last October.
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da vide ove galerije od kako su otvorene prošlog oktobra.
12:58
I'm often asked, "Is digital media replacing the museum?"
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Često me pitaju: "Da li će digitalni mediji zameniti muzej?",
13:05
and I think those numbers are a resounding rejection
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mislim da ti brojevi pokazuju da se to neće desiti.
13:09
of that notion. I mean, don't get me wrong,
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Nemojte da me pogrešno razumete,
13:13
I'm a huge advocate of the Web.
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veliki sam pristalica interneta.
13:16
It gives us a way of reaching out to audiences
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To nam daje mogućnost da stignemo do publike
13:19
around the globe, but nothing replaces the authenticity
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na celoj planeti, ali ništa ne može da zameni autentičnost
13:25
of the object presented with passionate scholarship.
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predmeta koji predstavi vatreni učenik.
13:31
Bringing people face to face with our objects
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Uživo prikazivanje objekata
13:36
is a way of bringing them face to face with people
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je način da spojimo ljude sa ljudima
13:39
across time, across space, whose lives may have been
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kroz vreme, kroz prostor, čiji su životi možda bili
13:44
very different to our own, but who, like us,
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mnogo drugačiji od naših, ali koji su kao i mi
13:49
had hopes and dreams, frustrations and achievements
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imali snove i nade, poraze i dostignuća
13:54
in their lives. And I think this is a process
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u svojim životima. Mislim da je ovo proces
13:57
that helps us better understand ourselves,
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koji nam omogućava da bolje shvatimo same sebe,
14:01
helps us make better decisions about where we're going.
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da donesemo bolje odluke kuda ćemo da krenemo,
14:06
The Great Hall at the Met is one of the great portals of the world,
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Velika dvorana Metropolitena je jedan
od najvećih portala u svetu,
od najvećih portala u svetu,
14:11
awe-inspiring, like a medieval cathedral.
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koja uliva strahopoštovanje, nalik srednjevekovnoj katedrali.
14:16
From there, you can walk in any direction
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Odatle možete odšetati u bilo kom pravcu
14:18
to almost any culture.
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u bilo koju kulturu.
14:21
I frequently go out into the hall and the galleries
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Često odem u hol i u galerije
14:24
and I watch our visitors coming in.
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i posmatram naše posetioce.
14:27
Some of them are comfortable. They feel at home.
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Nekima je ugodno. Osećaju se kao kod kuće.
14:31
They know what they're looking for.
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Znaju zašto su došli.
14:33
Others are very uneasy. It's an intimidating place.
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Drugima je neprijatno. To je zastrašujuće mesto.
14:38
They feel that the institution is elitist.
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Osećaju da je ta institucija elitistička.
14:41
I'm working to try and break down that sense of that elitism.
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Pokušavam da razbijem taj osećaj elitizma.
14:47
I want to put people in a contemplative frame of mind,
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Želim da omogućim ljudima da razmišljaju,
14:51
where they're prepared to be a little bit lost, to explore,
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da budu spremni da se pomalo izgube, da istražuju,
14:57
to see the unfamiliar in the familiar,
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da vide nepoznato u poznatom
15:01
or to try the unknown.
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ili da pokušaju nepoznato.
15:05
Because for us, it's all about bringing them face to face
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Za nas, sve je u tome da uživo vide
15:10
with great works of art,
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sjajna umetnička dela,
15:13
capturing them at that moment of discomfort,
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uhvatiti ih u tom momentu nelagode
15:17
when the inclination is kind of to reach for your iPhone,
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kada postoji namera da dohvate svoj iPhone,
15:21
your Blackberry, but to create a zone
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Blekberi i da se stvori prostor gde
15:26
where their curiosity can expand.
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njihova radoznalost može da se raširi.
15:31
And whether it's in the expression of a Greek sculpture
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Bez obzira da li se radi o izrazu na grčkoj skulpturi
15:35
that reminds you of a friend,
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koja vas podseća na prijatelja
15:37
or a dog pooping in the corner of a tapestry,
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ili psu koji kaki u uglu tapiserije
15:41
or, to bring it back to my tutor Pietro,
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ili da se vratimo na mog tutora Pjetra,
15:44
those dancing figures
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one figure koje igraju,
15:47
who are indeed knocking back the wine,
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koje se opijaju vinom
15:50
and that nude figure in the left foreground.
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i ta gola figura u levom prednjem delu.
15:53
Wow. She is a gorgeous embodiment of youthful sexuality.
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Vau. Ona je prekrasno otelotvorenje
mladalačke seksualnosti.
mladalačke seksualnosti.
16:02
In that moment, our scholarship can tell you
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U tom momentu, naš student može reći
16:07
that this is a bacchanal,
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da je ovo bahanalija,
16:11
but if we're doing our job right,
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ali ako svoj posao radimo dobro
16:14
and you've checked the jargon at the front door,
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i ako ste ostavili žargon na ulaznim vratima
16:18
trust your instinct.
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verujte svom instinktu.
16:20
You know it's an orgy.
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Znate da je to orgija.
16:24
Thank you. (Applause)
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Hvala vam. (Aplauz)
16:27
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Thomas P. Campbell - Museum directorThomas 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.
Thomas P. Campbell | Speaker | TED.com