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:在博物馆画廊中讲故事

Filmed:
677,732 views

作为纽约大都会博物馆馆长,Thomas P. Campbell深刻体会到艺术展览不仅仅是对艺术作品的筛选和罗列,而是通过布设让公众能够领悟其中的故事。利用辉煌的视觉图像,包括中世纪挂毯画,以及亚历山大·麦奎因大量时装艺术品,他向我们展示他的策展哲学是如何起到作用。.(来自TED2012“设计”分会场,由Chee Pearlman和David Rockwell策划。)
- 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考虑 a career事业 in the art艺术 world世界,
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当我打算从事艺术相关的工作时,
00:20
I took a course课程 in London伦敦,
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我在伦敦选修了一门课程,
00:24
and one of my supervisors监事 was this irascible暴躁 Italian意大利
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众多导师中有一位暴躁的意大利人
00:28
called Pietro彼得罗, who drank too much,
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名字叫彼得罗,他总是酗酒,
00:32
smoked熏制 too much and swore发誓 much too much.
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是个老烟枪,还经常破口大骂。
00:37
But he was a passionate多情 teacher老师,
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但他也是一位充满热情的老师,
00:41
and I remember记得 one of our earlier classes with him,
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我记得他给我们上的一堂入门课,
00:44
he was projecting突出 images图片 on the wall,
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他将图像投影到墙上,
00:46
asking us to think about them,
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要求我们去思考,
00:49
and he put up an image图片 of a painting绘画.
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他投影了一张画。
00:51
It was a landscape景观 with figures人物, semi-dressed半打扮,
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画中有风景和人物,一半的人装着衣服,
00:55
drinking wine红酒. There was a nude裸体 woman女人
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喝着葡萄酒。这是一个裸体的女人
00:58
in the lower降低 foreground前景, and on the hillside山坡 in the back,
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在前景较低的位置,而在后景的山坡上,
01:01
there was a figure数字 of the mythological神话 god Bacchus巴克斯,
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画的是酒神巴克科斯,
01:05
and he said, "What is this?"
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他问,“这是什么?”
01:08
And I -- no one else其他 did, so I put up my hand, and I said,
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于是我——看到其他人都没吭声,就举起手来回答,
01:11
"It's a Bacchanal发酒疯 by Titian黄褐色的."
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“这是提香的《酒神祭》。”
01:14
He said, "It's a what?"
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他再问,“这是什么?”
01:17
I thought maybe I'd pronounced宣判 it wrong错误.
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我以为是自己的发音不准。
01:19
"It's a Bacchanal发酒疯 by Titian黄褐色的."
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“这是提香的《酒神祭》。”
01:23
He said, "It's a what?"
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他还问,“这是什么?”
01:25
I said, "It's a Bacchanal发酒疯 by Titian黄褐色的." (Laughter笑声)
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我重复,“这是提香的《酒神祭》”(笑声)
01:28
He said, "You boneless无骨的 bookworm书呆子!
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他说,“你这个书呆子!”
01:32
It's a fucking他妈的 orgy狂欢!"
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他说,“这是他妈的纵酒狂欢!”
01:34
(Laughter笑声)
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(笑声)
01:37
As I said, he swore发誓 too much.
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如之前所说,他总是破口大骂。
01:40
There was an important重要 lesson for me in that.
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通过这件事我学到了重要的理念。
01:43
Pietro彼得罗 was suspicious可疑 of formal正式 art艺术 training训练,
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彼得罗质疑这些正儿八经的艺术培训和
01:47
art艺术 history历史 training训练, because he feared害怕
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艺术史教学,因为他担心
01:51
that it filled填充 people up with jargon行话, and then they just
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这种教育让学生限于教条,最后他们只学会了
01:55
classified分类 things rather than looking at them,
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如何去鉴别,而不是鉴赏,
01:59
and he wanted to remind提醒 us that all art艺术 was once一旦 contemporary现代的,
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他想提醒我们,所有艺术都曾是“当代艺术”,
02:04
and he wanted us to use our eyes眼睛,
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他希望我们用双眼去直接感受,
02:07
and he was especially特别 evangelical福音 about this message信息,
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他尤其热衷于传播这一理念,
02:11
because he was losing失去 his sight视力.
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因为他的视力正在衰退。
02:13
He wanted us to look and ask basic基本 questions问题 of objects对象.
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他希望我们对目标物进行观察和提出基本问题。
02:18
What is it? How is it made制作? Why was it made制作?
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它是什么?它是如何制作的?为什么要制作它?
02:21
How is it used?
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它是怎样被应用的?
02:24
And these were important重要 lessons教训 to me when
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这些经验教训对于我后来
02:26
I subsequently后来 became成为 a professional专业的 art艺术 historian历史学家.
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成为专业的艺术史学家是非常重要的。
02:29
My kind of eureka尤里卡 moment时刻 came来了 a few少数 years年份 later后来,
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几年后当我在北欧学习宫廷艺术,
02:34
when I was studying研究 the art艺术 of the courts法院 of Northern北方 Europe欧洲,
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我有了一次灵感的迸发。
02:39
and of course课程 it was very much discussed讨论 in terms条款 of
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当然学习期间会终日讨论
02:43
the paintings绘画 and the sculptures雕塑
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绘画和雕塑
02:45
and the architecture建筑 of the day.
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以及建筑风格。
02:49
But as I began开始 to read historical历史的 documents文件
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但当我开始读历史文献
02:52
and contemporary现代的 descriptions说明,
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和当代的描述,
02:55
I found发现 there was a kind of a missing失踪 component零件,
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我发现有一个被众人遗忘的艺术形式,
02:59
for everywhere到处 I came来了 across横过 descriptions说明 of tapestries挂毯.
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在所有的地方,我都遇到了对挂毯画的描述。
03:04
Tapestries挂毯 were ubiquitous普及 between之间 the Middle中间 Ages时代
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挂毯画的盛行是从中世纪开始
03:08
and, really, well into the 18th century世纪,
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恰恰好,结束于18 世纪,
03:11
and it was pretty漂亮 apparent明显的 why.
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这里的原因非常明显。
03:13
Tapestries挂毯 were portable手提. You could roll them up,
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挂毯非常便携。你可以将它们卷起,
03:16
send发送 them ahead of you, and in the time
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放在身前,而当你将它们挂起
03:19
it took to hang them up, you could transform转变 a cold,
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你可以将一个阴冷的内室,
03:22
dank潮呼呼 interior室内 into a richly丰富地 colored有色 setting设置.
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装饰得色彩丰富。
03:26
Tapestries挂毯 effectively有效 provided提供 a vast广大 canvas帆布
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挂毯有效地提供了一个巨大的画布
03:31
on which哪一个 the patrons食客 of the day could depict描绘 the heroes英雄
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在那个时代,人们可以在上面描绘英雄
03:35
with whom they wanted to be associated相关,
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他们期望能够追随,
03:38
or even themselves他们自己,
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或者他们自身的肖像,
03:40
and in addition加成 to that, tapestries挂毯 were hugely巨大 expensive昂贵.
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此外,挂毯极其昂贵。
03:45
They required需要 scores分数 of highly高度 skilled技能的 weavers织工
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它需要大量熟练的织布工
03:49
working加工 over extended扩展 periods of time
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通过日以继夜的工作
03:52
with very expensive昂贵 materials物料 -- the wools羊毛, the silks,
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使用非常昂贵的材料——羊毛,丝绸,
03:55
even gold and silver thread线.
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甚至是金丝银线。
03:58
So, all in all, in an age年龄 when the visual视觉 image图片
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所以,总而言之,在各类视觉影像稀缺的时代,
04:03
of any kind was rare罕见, tapestries挂毯 were an incredibly令人难以置信 potent有力的
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挂毯是一种难以置信的
04:08
form形成 of propaganda宣传.
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有效的传播媒介。
04:12
Well, I became成为 a tapestry挂毯 historian历史学家.
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后来,我成为了挂毯画历史学者。
04:16
In due应有 course课程, I ended结束 up as a curator馆长
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在适当的时候,我又转职成为了馆长,
04:19
at the Metropolitan宗主 Museum博物馆, because I saw the Met会见
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因为我认为大都会博物馆
04:23
as one of the few少数 places地方 where I could organize组织
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是少数可以用来组织
04:26
really big exhibitions展览 about the subject学科
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真正大型展出的地方,包括那些主题
04:30
I cared照顾 so passionately热情 about.
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我投入了大量的深情。
04:33
And in about 1997, the then-director然后导演 Philippe菲利普 de Montebello蒙特贝罗
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大概是1997年,时任馆长菲利普·蒙特贝罗
04:38
gave me the go-ahead前进 to organize组织 an exhibition展览
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让我牵头来组织一场2002年的展览。
04:41
for 2002. We normally一般 have these very long lead-in带入 times.
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我们通常会有相当长的准备时间。
04:46
It wasn't straightforward直截了当. It's no longer a question
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策展并不是那么简单。将挂毯固定在车子后面
04:50
of chucking夹紧 a tapestry挂毯 in the back of a car汽车.
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已经不再是问题。
04:53
They have to be wound伤口 on huge巨大 rollers,
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它们必须散绕在大型的滚轮上,
04:57
shipped in oversized过大的 freighters货机.
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由超大号的货船装运。
05:01
Some of them are so big we had, to get them into the museum博物馆,
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其中一些太大以至于无法在博物馆安放,
05:03
we had to take them up the great steps脚步 at the front面前.
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我们不得不将它们放在前厅的大台阶上。
05:08
We thought very hard about how to present当下 this
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我们苦思如何去将它们呈现给
05:13
unknown未知 subject学科 to a modern现代 audience听众:
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对此一无所知的现代观众:
05:16
the dark黑暗 colors颜色 to set off the colors颜色 that remained保持
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用深色来衬托出那些挂毯上
05:19
in objects对象 that were often经常 faded褪色;
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经常褪色的颜色;
05:22
the placing配售 of lights灯火 to bring带来 out the silk and the gold thread线;
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灯光的布置来凸显丝绸和金线;
05:26
the labeling标签.
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说明性的标注。
05:28
You know, we live生活 in an age年龄 where we are so used
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你知道,我们身处的时代对
05:31
to television电视 images图片 and photographs照片,
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电视图像和照片这样一闪即逝的图像
05:34
a one-hit一击 image图片. These were big, complex复杂 things,
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已经司空见惯。而这些巨大的、复杂的作品,
05:39
almost几乎 like cartoons卡通 with multiple narratives叙事.
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浑似多重叙述的卡通动画。
05:43
We had to draw our audience听众 in, get them to slow down,
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我们需要吸引观众的眼球,让他们沉浸下来,
05:46
to explore探索 the objects对象.
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去探索这些展品。
05:49
There was a lot of skepticism怀疑论. On the opening开盘 night,
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有很多质疑的声音。就在开幕当晚,
05:53
I overheard偷听 one of the senior前辈 members会员 of staff员工 saying,
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我无意中听到一位高级职员说,
05:57
"This is going to be a bomb炸弹."
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“这将会是一个哑弹。”
06:00
But in reality现实, in the course课程 of the coming未来 weeks and months个月,
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但事实上,在接下来的几周和几个月,
06:04
hundreds数以百计 of thousands数千 of people came来了 to see the show显示.
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成百上千的人们来参观这场挂毯秀。
06:10
The exhibition展览 was designed设计 to be an experience经验,
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展览的设计旨在让人身临其境,
06:14
and tapestries挂毯 are hard to reproduce复制 in photographs照片.
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挂毯很难通过照片的形式重现。
06:18
So I want you to use your imaginations想象,
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所以我希望你们能够发挥想象,
06:21
thinking思维 of these wall-high墙高 objects对象,
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想象这些有墙那么高的物品,
06:24
some of them 10 meters wide,
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其中一些宽达10米,
06:26
depicting描绘 lavish阔气 court法庭 scenes场景 with courtiers臣子 and dandies花花公子
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描绘奢华的法庭场景和那些名门望族
06:31
who would look quite相当 at home in the pages网页 of the fashion时尚 press today今天,
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像是今天在家中看新闻中的时尚版面,
06:36
thick woods树木 with hunters猎人 crashing轰然 through通过 the undergrowth发育不全
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猎人在密林中穿越灌木,
06:40
in pursuit追求 of wild野生 boars公猪 and deer鹿,
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追逐野猪和鹿,
06:43
violent暴力 battles战斗 with scenes场景 of fear恐惧 and heroism英雄主义.
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激烈的战争场景充满了恐惧和英勇。
06:49
I remember记得 taking服用 my son's儿子 school学校 class. He was eight at the time,
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我记得那天接待我儿子的班级。他当时只有8岁,
06:53
and all the little boys男孩, they kind of -- you know, they were little boys男孩,
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所有的小男孩,在坐各位都清楚,他们这样的小男孩,
06:57
and then the thing that caught抓住 their attention注意
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引起他们注意的画面
07:00
was in one of the hunting狩猎 scenes场景 there was a dog
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是在一个狩猎场景中有一条狗
07:03
poopingpooping in the foreground前景 — (Laughter笑声) —
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在前景里便便 — — (笑声) — —
07:06
kind of an in-your-face在你的脸上 joke玩笑 by the artist艺术家.
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一种艺术家肆无忌惮的玩笑。
07:09
And you can just imagine想像 them.
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你可以想象这些。
07:12
But it brought it alive to them. I think they suddenly突然 saw
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它栩栩如生地呈现在观众眼前。我认为他们会突然发现
07:15
that these weren't just old faded褪色 tapestries挂毯.
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这些不只是褪色了的旧挂毯。
07:18
These were images图片 of the world世界 in the past过去,
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这些属于旧时代的意象,
07:23
and that it was the same相同 for our audience听众.
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在我们的观众面前并没有改变。
07:26
And for me as a curator馆长, I felt proud骄傲. I felt I'd shifted the needle a little.
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我作为馆长,我感到自豪,我感到这是一点进步。
07:31
Through通过 this experience经验 that could only be created创建
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通过这种只有在博物馆内才可以创造出的效果,
07:34
in a museum博物馆, I'd opened打开 up the eyes眼睛 of my audience听众 --
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让我的观众开了眼界
07:38
historians历史学家, artists艺术家, press, the general一般 public上市 --
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让历史学家、 艺术家、 记者、 一般大众 — —
07:43
to the beauty美女 of this lost丢失 medium.
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发现这已快失传的介质的美。
07:47
A few少数 years年份 later后来, I was invited邀请 to be the director导向器
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几年以后,我被邀请接任博物馆馆长,
07:51
of the museum博物馆, and after I got over that --
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在后来我适应了这些问题 — —
07:54
"Who, me? The tapestry挂毯 geek极客? I don't wear穿 a tie领带!" --
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"谁,我吗?挂毯极客吗?我连领带都不系!"— —
07:59
I realized实现 the fact事实: I believe passionately热情 in that
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我意识到这样的事实:我对那场
08:05
curated策划 museum博物馆 experience经验.
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博物馆策展的成功经验深信不疑。
08:08
We live生活 in an age年龄 of ubiquitous普及 information信息,
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我们生活在一个信息爆炸的时代,
08:12
and sort分类 of "just add water" expertise专门知识,
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拥有"只需加点水"的专业技能,
08:16
but there's nothing that compares比较 with the presentation介绍
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但是没有什么可以与策展相比:
08:20
of significant重大 objects对象 in a well-told良好的告诉 narrative叙述,
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通过充分的叙述将重要的对象进行呈现,
08:24
what the curator馆长 does, the interpretation解释 of a complex复杂,
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馆长所做的,就是解释那些复杂的,
08:29
esoteric深奥 subject学科, in a way that retains保留 the integrity廉正
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深奥的主题,并保留它的原汁原味,
08:33
of the subject学科, that makes品牌 it -- unpacks解包 it
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然后做出解读
08:36
for a general一般 audience听众.
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最终呈现在大庭广众之前。
08:39
And that, to me, today今天, is now the challenge挑战 and the fun开玩笑
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对我来说,今天,正是我工作面临的
08:42
of my job工作, supporting支持 the vision视力 of my curators策展人,
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挑战和乐趣,支持我的策展人的愿景,
08:47
whether是否 it's an exhibition展览 of Samurai武士 swords,
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无论展览的是武士刀,还是
08:50
early Byzantine拜占庭式的 artifacts文物, Renaissance再生 portraits画像,
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早期拜占庭古器物,文艺复兴时期画像,
08:56
or the show显示 we heard听说 mentioned提到 earlier,
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或者是我之前提到的,
08:59
the McQueen麦昆 show显示, with which哪一个 we enjoyed享受
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麦奎因的服装秀,它让我们在
09:02
so much success成功 last summer夏季.
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在去年的夏天享受到成功的喜悦。
09:04
That was an interesting有趣 case案件.
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这是一个有趣的实例。
09:07
In the late晚了 spring弹簧, early summer夏季 of 2010, shortly不久 after
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时间是在2010年的春末夏初,
09:12
McQueen'sMcQueen的 suicide自杀,
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麦奎因刚刚自杀不久,
09:15
our curator馆长 of costume服装, Andrew安德鲁 Bolton博尔顿, came来了 to see me,
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我们的服饰馆馆长安德鲁·博尔顿,过来与我商量,
09:19
and said, "I've been thinking思维 of doing a show显示 on McQueen麦昆,
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"我一直想策划一场麦奎因的服装秀,
09:22
and now is the moment时刻. We have to, we have to do it fast快速."
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我认为现在正是时机。我们必须尽快行动起来。”
09:27
It wasn't easy简单. McQueen麦昆 had worked工作 throughout始终 his career事业
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这件事并不容易。麦奎因生前工作的团队
09:32
with a small team球队 of designers设计师 and managers经理
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是一小部分设计师和管理者
09:35
who were very protective保护的 of his legacy遗产,
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他们对麦奎因的遗产太过保护,
09:39
but Andrew安德鲁 went to London伦敦 and worked工作 with them
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后来安德烈去伦敦做他们的工作,
09:41
over the summer夏季 and won韩元 their confidence置信度, and that of
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过了整个夏天,才赢得了他们的信心,
09:45
the designers设计师 who created创建 his amazing惊人 fashion时尚 shows节目,
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这些设计师凭借他们在表演艺术中的实力
09:49
which哪一个 were works作品 of performance性能 art艺术 in their own拥有 right,
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创造出麦奎因时装秀惊人的效果,
09:54
and we proceeded继续 to do something at the museum博物馆,
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而我们着手博物馆的策展工作,
09:56
I think, we've我们已经 never doneDONE before.
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我认为效果是旷古绝今的。
09:58
It wasn't just your standard标准 installation安装.
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它并不只是标准化的策展。
10:01
In fact事实, we ripped撕开 down the galleries画廊 to recreate重建
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事实上,我们推翻之前的画廊布景来重建
10:06
entirely完全 different不同 settings设置, a recreation娱乐 of his first studio工作室,
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完全不同的设置,再现他的第一个工作室
10:11
a hall大厅 of mirrors镜子,
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布满镜子的大厅,
10:14
a curiosity好奇心 box,
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引人好奇的宝箱,
10:16
a sunken凹陷 ship, a burned-out烧坏 interior室内,
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一艘沉船,被烧毁的内室,
10:20
with videos视频 and soundtracks配乐 that ranged不等 from
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伴随视频和音乐,风格变化
10:23
operatic歌剧的 arias阿里亚斯 to pigs fornicating通奸.
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由歌剧咏叹调到猪交媾之声。
10:27
And in this extraordinary非凡 setting设置, the costumes服装
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在这样非比寻常的布设中,
10:32
were like actors演员 and actresses女演员, or living活的 sculptures雕塑.
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服装就像是男女演员,像是有生命的雕塑。
10:37
It could have been a train培养 wreck破坏.
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展览有可能像火车脱轨成为一场失败的事故。
10:39
It could have looked看着 like shop windows视窗 on Fifth第五 Avenue大街
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也可以像圣诞节第五大道商店橱窗里的展示,
10:44
at Christmas圣诞, but because of the way that Andrew安德鲁
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但正因为安德鲁采取的方式
10:47
connected连接的 with the McQueen麦昆 team球队, he was channeling
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与麦奎因团队的沟通,他成为了
10:51
the rawness半生不熟 and the brilliance of McQueen麦昆,
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连接最朴素和最辉煌的麦奎因的桥梁,
10:55
and the show显示 was quite相当 transcendanttranscendant,
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这场展览因此相当的出众,
10:58
and it became成为 a phenomenon现象 in its own拥有 right.
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凭借着它自身的力量成为了一次奇迹。
11:00
By the end结束 of the show显示, we had people queuing排队
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在展览的尾声,还有人为了进场
11:03
for four or five hours小时 to get into the show显示,
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而排了四、五个小时的长队,
11:06
but no one really complained抱怨.
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但没有人在抱怨。
11:09
I heard听说 over and over again, "Wow, that was worth价值 it.
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我再而三地听到,“哇,太值了!
11:12
It was a such这样 a visceral内脏, emotive感情的 experience经验."
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这是怎样的一次直觉和感性的体验啊!"
11:16
Now, I've described描述 two very immersive身临其境 exhibitions展览,
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现在,我已经描述了两个非常沉浸式的展览,
11:20
but I also believe that collections集合, individual个人 objects对象,
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但是我也相信收藏品,独特的物品,
11:26
can also have that same相同 power功率.
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也可以拥有同样的魅力。
11:28
The Met会见 was set up not as a museum博物馆 of American美国 art艺术,
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成立大都会博物馆的目的不只是为了美国艺术,
11:32
but of an encyclopedic广博的 museum博物馆,
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而应是成为一个百科全书式的博物馆,
11:35
and today今天, 140 years年份 later后来, that vision视力
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今天,博物馆已经成立140多年 ,这一初衷
11:40
is as prescient有先见之明 as ever,
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是多么的有先见之明,
11:43
because, of course课程, we live生活 in a world世界 of crisis危机,
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因为,我们生活的世界充满危机和挑战,
11:47
of challenge挑战, and we're exposed裸露 to it
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我们通过日以继夜的新闻汇编
11:49
through通过 the 24/7 newsreels新闻影片.
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来接触它们。
11:52
It's in our galleries画廊 that we can unpack解压 the civilizations文明,
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正是我们的画廊,可以用来解读文明和文化,
11:57
the cultures文化, that we're seeing眼看 the current当前 manifestation表现 of.
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就像我们现在看到的示威活动
12:02
Whether是否 it's Libya利比亚, Egypt埃及, Syria叙利亚,
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无论是利比亚、 埃及还是叙利亚,
12:06
it's in our galleries画廊 that we can explain说明
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我们可以在画廊中对它们进行解读
12:09
and give greater更大 understanding理解.
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并赋予更多的理解。
12:11
I mean, our new Islamic清真 galleries画廊 are a case案件 in point,
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依我所见,我们的新伊斯兰画廊是一个恰当的例子,
12:14
opened打开 10 years年份, almost几乎 to the week, after 9/11.
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画廊几乎就在 9·11 之后的那周开放,至今已10多年。
12:20
I think for most Americans美国人, knowledge知识 of the Islamic清真 world世界
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我认为大多数美国人,对于伊斯兰世界的认知
12:24
was pretty漂亮 slight轻微 before 9/11, and then it was thrust推力 upon us
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在 9·11事件之前是相当欠缺的,之后却被
12:28
in one of America's美国 darkest最黑暗 hours小时,
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美国最黑暗的几个小时内
12:32
and the perception知觉 was through通过 the polarization极化
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发生的极端恐怖事件
12:35
of that terrible可怕 event事件.
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强化了对伊斯兰世界的偏见。
12:38
Now, in our galleries画廊, we show显示 14 centuries百年
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现在,在我们的画廊,展示来自14世纪
12:42
of the development发展 of different不同 Islamic清真 cultures文化
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不同的伊斯兰文化的发展
12:46
across横过 a vast广大 geographic地理 spread传播,
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跨越广阔的地理分布,
12:49
and, again, hundreds数以百计 of thousands数千 of people have come
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并再次吸引成千上万的人来参观
12:53
to see these galleries画廊 since以来 they opened打开 last October十月.
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这些去年10月开放的画廊。
12:58
I'm often经常 asked, "Is digital数字 media媒体 replacing更换 the museum博物馆?"
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我常常问,"数字媒体正在取代博物馆吗?"
13:05
and I think those numbers数字 are a resounding高亢 rejection拒绝
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我认为这些参观访问量是最响亮的反驳。
13:09
of that notion概念. I mean, don't get me wrong错误,
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请不要误会我的意思,
13:13
I'm a huge巨大 advocate主张 of the Web卷筒纸.
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我也是网络的积极倡导者。
13:16
It gives us a way of reaching到达 out to audiences观众
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网络可以让我们接触到世界各地的观众
13:19
around the globe地球, but nothing replaces取代 the authenticity真伪
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但是没有什么可以取代亲眼所见
13:25
of the object目的 presented呈现 with passionate多情 scholarship奖学金.
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这些被热情研究过的展品。
13:31
Bringing people face面对 to face面对 with our objects对象
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让人们直面我们的展品
13:36
is a way of bringing使 them face面对 to face面对 with people
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是一种方式带领他们
13:39
across横过 time, across横过 space空间, whose谁的 lives生活 may可能 have been
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面对那些不同时代的人们
13:44
very different不同 to our own拥有, but who, like us,
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与我们的生活方式迥异,却和我们一样,
13:49
had hopes希望 and dreams, frustrations挫折 and achievements成就
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有着希望和梦想、挫折和成就。
13:54
in their lives生活. And I think this is a process处理
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我认为这是一个很好的过程
13:57
that helps帮助 us better understand理解 ourselves我们自己,
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可以帮助我们更好地理解自己,
14:01
helps帮助 us make better decisions决定 about where we're going.
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帮助我们选择方向,做出更好的决策。
14:06
The Great Hall大厅 at the Met会见 is one of the great portals门户 of the world世界,
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大都会博物馆的大礼堂是全世界最宏伟的大厅之一,
14:11
awe-inspiring凛然, like a medieval中世纪 cathedral大教堂.
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像一座中世纪的教堂,令人敬畏。
14:16
From there, you can walk步行 in any direction方向
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从那里,你可以按任意方向去游览,
14:18
to almost几乎 any culture文化.
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然后遍历几乎所有的文化。
14:21
I frequently经常 go out into the hall大厅 and the galleries画廊
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我经常进入大厅和画廊
14:24
and I watch our visitors游客 coming未来 in.
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注目着前来参观的游客。
14:27
Some of them are comfortable自在. They feel at home.
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他们中的一些感觉很舒适,就如同在家里一样。
14:31
They know what they're looking for.
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他们明确自己在寻找什么。
14:33
Others其他 are very uneasy不安. It's an intimidating吓人 place地点.
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其他人很不自在,觉得这个地方令人生畏。
14:38
They feel that the institution机构 is elitist精英.
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他们认为这座建筑是属于社会精英的。
14:41
I'm working加工 to try and break打破 down that sense of that elitism精英.
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我努力尝试打破这种精英主义的感觉。
14:47
I want to put people in a contemplative沉思 frame of mind心神,
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我希望能将观众带入一种冥想的状态,
14:51
where they're prepared准备 to be a little bit lost丢失, to explore探索,
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在这种情境下他们有点儿忘我,开始探索,
14:57
to see the unfamiliar陌生 in the familiar,
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开始在熟悉中发现陌生,
15:01
or to try the unknown未知.
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或者体验完全未知的神秘。
15:05
Because for us, it's all about bringing使 them face面对 to face面对
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因为对我们来说,所有的职责就是是让观众直面
15:10
with great works作品 of art艺术,
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这些伟大的艺术作品,
15:13
capturing捕获 them at that moment时刻 of discomfort不舒服,
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抓住并制止一些不合适的行为,
15:17
when the inclination倾角 is kind of to reach达到 for your iPhone苹果手机,
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比如你想着去拿出iPhone,
15:21
your Blackberry黑莓, but to create创建 a zone
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Blackberry去进行拍摄,虽然有限制但是我们创造了
15:26
where their curiosity好奇心 can expand扩大.
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一个让你充满好奇的地方。
15:31
And whether是否 it's in the expression表达 of a Greek希腊语 sculpture雕塑
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是否这种希腊雕塑的表达方式
15:35
that reminds提醒 you of a friend朋友,
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让你想起了一位朋友,
15:37
or a dog poopingpooping in the corner of a tapestry挂毯,
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又或许是绘在挂毯角落的一只正在便便的狗,
15:41
or, to bring带来 it back to my tutor导师 Pietro彼得罗,
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或者,让我回忆起导师彼得罗的那堂课,
15:44
those dancing跳舞 figures人物
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看着那些纵情舞蹈的人物
15:47
who are indeed确实 knocking敲门 back the wine红酒,
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他们的确在一杯接一杯的痛饮葡萄酒,
15:50
and that nude裸体 figure数字 in the left foreground前景.
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还有赤裸人体在画的左前方。
15:53
Wow. She is a gorgeous华丽 embodiment实施例 of youthful青春的 sexuality性欲.
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哇哦。她是年轻性感的华丽化身。
16:02
In that moment时刻, our scholarship奖学金 can tell you
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在那一刻,我们的专业知识可以告诉你
16:07
that this is a bacchanal发酒疯,
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这是一场“酒神祭”,
16:11
but if we're doing our job工作 right,
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但是,如果我们做的工作到位,
16:14
and you've checked检查 the jargon行话 at the front面前 door,
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您也已经查阅了相关术语,
16:18
trust相信 your instinct直觉.
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那么请相信自己的直觉。
16:20
You know it's an orgy狂欢.
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你知道这是一场狂欢。
16:24
Thank you. (Applause掌声)
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谢谢。(掌声)
16:27
(Applause掌声)
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(掌声)
Translated by Zheqing Fang
Reviewed by Yuguo Zhang

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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.

 

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Thomas P. Campbell | Speaker | TED.com