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Two other statues, set on pedestals, are visible in the background" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=3840&q=75&fit=clip&auto=format"/><div class="content-card_badges__NUSE_"><div class="badge_badge__Uonuj" style="color:var(--color-text-header)" data-sentry-component="Badge" data-sentry-source-file="index.tsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24"><path fill="currentColor" fill-rule="evenodd" d="M3 7a2 2 0 0 1 2-2h11a2 2 0 0 1 2 2v3.441l3.5-3.704v9.526L18 12.558V16a2 2 0 0 1-2 2H5a2 2 0 0 1-2-2zm2-.67h11c.37 0 .67.3.67.67v9c0 .37-.3.67-.67.67H5a.67.67 0 0 1-.67-.67V7c0-.37.3-.67.67-.67" clip-rule="evenodd"></path></svg>Video</div></div></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/amor-towles"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Meet Me at The Met: Amor Towles</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">For writer Amor Towles, The Met is not just one museum, but many.</span></div><div class="article-card_attribution__rlfec">October 7</div></div></div></div><div class="content-card_card__iiXut content-card_sideBySide__R5Htp " data-sentry-component="ContentCard" data-sentry-source-file="index.tsx"><div class="content-card_imageWrapper___nx_x"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-component="RedundantLink" data-sentry-source-file="index.jsx" href="/en/perspectives/immaterial-time"></a><img alt="Detail of a clock face with gold-colored accents, roman numeral numbers, and a counter for the date." data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/8b1e0a13b1571b4326b829c655c5cb33d7727af9-1920x983.jpg?w=3840&q=75&fit=clip&auto=format"/><div class="content-card_badges__NUSE_"><div class="badge_badge__Uonuj" style="color:var(--color-text-header)" data-sentry-component="Badge" data-sentry-source-file="index.tsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24"><path fill="currentColor" d="M18.963 13.1c0-5.015-2.603-8.01-6.963-8.01-4.36 0-6.963 2.995-6.963 8.01a7.344 7.344 0 0 0 .773 3.556c.804 1.323 1.439 2.117 3.09 2.117.105 0 .19 0 .19-.202v-3.957c0-.138 0-.201-.19-.201a2.243 2.243 0 0 0-2.117 1.322 6.593 6.593 0 0 1-.434-2.634c0-2.519.71-6.752 5.651-6.752 4.942 0 5.672 4.233 5.672 6.72a6.58 6.58 0 0 1-.466 2.635 2.243 2.243 0 0 0-2.116-1.323c-.148 0-.201.063-.201.201v3.979c0 .17.095.2.201.2 1.661 0 2.296-.803 3.1-2.116a7.342 7.342 0 0 0 .773-3.544"></path></svg>Audio</div></div></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/immaterial-time"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx"><em>Immaterial</em>: Time</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Keeping digital art alive.</span></div><div class="article-card_attribution__rlfec">September 10</div></div></div></div><div class="content-card_card__iiXut content-card_sideBySide__R5Htp " data-sentry-component="ContentCard" data-sentry-source-file="index.tsx"><div class="content-card_imageWrapper___nx_x"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-component="RedundantLink" data-sentry-source-file="index.jsx" href="/en/perspectives/immaterial-stone"></a><img alt="Detail of Adam's face." data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/33a84421e99c8c3b5c10dea0ad7d639bbea62be6-1920x983.jpg?w=3840&q=75&fit=clip&auto=format"/><div class="content-card_badges__NUSE_"><div class="badge_badge__Uonuj" style="color:var(--color-text-header)" data-sentry-component="Badge" data-sentry-source-file="index.tsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24"><path fill="currentColor" d="M18.963 13.1c0-5.015-2.603-8.01-6.963-8.01-4.36 0-6.963 2.995-6.963 8.01a7.344 7.344 0 0 0 .773 3.556c.804 1.323 1.439 2.117 3.09 2.117.105 0 .19 0 .19-.202v-3.957c0-.138 0-.201-.19-.201a2.243 2.243 0 0 0-2.117 1.322 6.593 6.593 0 0 1-.434-2.634c0-2.519.71-6.752 5.651-6.752 4.942 0 5.672 4.233 5.672 6.72a6.58 6.58 0 0 1-.466 2.635 2.243 2.243 0 0 0-2.116-1.323c-.148 0-.201.063-.201.201v3.979c0 .17.095.2.201.2 1.661 0 2.296-.803 3.1-2.116a7.342 7.342 0 0 0 .773-3.544"></path></svg>Audio</div></div></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/immaterial-stone"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx"><em>Immaterial</em>: Stone</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Making and breaking legacies.</span></div><div class="article-card_attribution__rlfec">June 4</div></div></div></div><div class="content-card_card__iiXut content-card_sideBySide__R5Htp " data-sentry-component="ContentCard" data-sentry-source-file="index.tsx"><div class="content-card_imageWrapper___nx_x"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-component="RedundantLink" data-sentry-source-file="index.jsx" href="/en/perspectives/how-to-read-european-decorative-arts-interview"></a><img alt="An image of a collection of European Decorative Art Objects." data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/70c58d791210e492ec03a440a62c9874476ead77-1920x971.png?w=3840&q=75&fit=clip&auto=format"/></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/how-to-read-european-decorative-arts-interview"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Reassessing European Decorative Arts</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Curator Daniëlle Kisluk-Grosheide on the reconsideration of European decorative arts.</span></div><div class="article-card_attribution__rlfec">Delia Cruz Kelly</div><div class="article-card_attribution__rlfec">July 5, 2023</div></div></div></div><div class="content-card_card__iiXut content-card_sideBySide__R5Htp " data-sentry-component="ContentCard" data-sentry-source-file="index.tsx"><div class="content-card_imageWrapper___nx_x"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-component="RedundantLink" data-sentry-source-file="index.jsx" href="/en/perspectives/linsky-porcelain"></a><img alt="A pair of black men with feathers decorating their heads and body next to a cup covered with a lid" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/984fdf9b86ad801bde12561528394584d8a1fab3-1920x983.jpg?w=3840&q=75&fit=clip&auto=format"/></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/linsky-porcelain"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The Linsky Project: Reinterpreting Porcelain Figures</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">New interpretive labels help visitors navigate the role of the decorative arts in negotiating race, labor, colonialism, and global commerce.</span></div><div class="article-card_attribution__rlfec">Marlise Brown</div><div class="article-card_attribution__rlfec">April 12, 2023</div></div></div></div><div class="content-card_card__iiXut content-card_sideBySide__R5Htp " data-sentry-component="ContentCard" data-sentry-source-file="index.tsx"><div class="content-card_imageWrapper___nx_x"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-component="RedundantLink" data-sentry-source-file="index.jsx" href="/en/perspectives/black-presence-tudor-england"></a><img alt="Images of trumpeters." data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/96bc0aade83782b80a4f0978fa7ed386b4d064ee-1920x1080.jpg?w=3840&q=75&fit=clip&auto=format"/><div class="content-card_badges__NUSE_"><div class="badge_badge__Uonuj" style="color:var(--color-text-header)" data-sentry-component="Badge" data-sentry-source-file="index.tsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24"><path fill="currentColor" fill-rule="evenodd" d="M3 7a2 2 0 0 1 2-2h11a2 2 0 0 1 2 2v3.441l3.5-3.704v9.526L18 12.558V16a2 2 0 0 1-2 2H5a2 2 0 0 1-2-2zm2-.67h11c.37 0 .67.3.67.67v9c0 .37-.3.67-.67.67H5a.67.67 0 0 1-.67-.67V7c0-.37.3-.67.67-.67" clip-rule="evenodd"></path></svg>Video</div></div></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/black-presence-tudor-england"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The Black Presence in Tudor England</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Learn more about John Blanke, a trumpeter who performed at the coronation of Henry VIII, and other documented free Black residents of Tudor England.</span></div><div class="article-card_attribution__rlfec">January 6, 2023</div></div></div></div><div class="content-card_card__iiXut content-card_sideBySide__R5Htp " data-sentry-component="ContentCard" data-sentry-source-file="index.tsx"><div class="content-card_imageWrapper___nx_x"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-component="RedundantLink" data-sentry-source-file="index.jsx" href="/en/perspectives/mantuan-roundel"></a><img alt="Two curators behold the Mantuan Roundel, installed in the galleries" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/e62b7f9966478756a2c22825130590925ddf558d-1913x1080.png?w=3840&q=75&fit=clip&auto=format"/><div class="content-card_badges__NUSE_"><div class="badge_badge__Uonuj" style="color:var(--color-text-header)" data-sentry-component="Badge" data-sentry-source-file="index.tsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24"><path fill="currentColor" fill-rule="evenodd" d="M3 7a2 2 0 0 1 2-2h11a2 2 0 0 1 2 2v3.441l3.5-3.704v9.526L18 12.558V16a2 2 0 0 1-2 2H5a2 2 0 0 1-2-2zm2-.67h11c.37 0 .67.3.67.67v9c0 .37-.3.67-.67.67H5a.67.67 0 0 1-.67-.67V7c0-.37.3-.67.67-.67" clip-rule="evenodd"></path></svg>Video</div></div></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/mantuan-roundel"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The Mantuan Roundel</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Learn more about an extremely rare bronze relief attributed to Gian Marco Cavalli. Created around 1500, it is one of the largest and most technically sophisticated examples of a bronze roundel from the early Renaissance.</span></div><div class="article-card_attribution__rlfec">December 12, 2022</div></div></div></div><div class="content-card_card__iiXut content-card_sideBySide__R5Htp " data-sentry-component="ContentCard" data-sentry-source-file="index.tsx"><div class="content-card_imageWrapper___nx_x"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-component="RedundantLink" data-sentry-source-file="index.jsx" href="/en/perspectives/secrets-of-the-tudor-archives"></a><img alt="Portrait of a Young Man, Probably Robert Devereux by Nicholas Hilliard" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/b0e2a2ccc1badc90068f85b5000aeca6b159171c-1920x1080.jpg?w=3840&q=75&fit=clip&auto=format"/><div class="content-card_badges__NUSE_"><div class="badge_badge__Uonuj" style="color:var(--color-text-header)" data-sentry-component="Badge" data-sentry-source-file="index.tsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24"><path fill="currentColor" fill-rule="evenodd" d="M3 7a2 2 0 0 1 2-2h11a2 2 0 0 1 2 2v3.441l3.5-3.704v9.526L18 12.558V16a2 2 0 0 1-2 2H5a2 2 0 0 1-2-2zm2-.67h11c.37 0 .67.3.67.67v9c0 .37-.3.67-.67.67H5a.67.67 0 0 1-.67-.67V7c0-.37.3-.67.67-.67" clip-rule="evenodd"></path></svg>Video</div></div></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/secrets-of-the-tudor-archives"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Secrets of the Tudor Archives</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Hear from a scholar whose recent discoveries in British archives have transformed our understanding of these artists and their royal sitters.</span></div><div class="article-card_attribution__rlfec">October 21, 2022</div></div></div></div><div class="content-card_card__iiXut content-card_sideBySide__R5Htp " data-sentry-component="ContentCard" data-sentry-source-file="index.tsx"><div class="content-card_imageWrapper___nx_x"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-component="RedundantLink" data-sentry-source-file="index.jsx" href="/en/perspectives/tudors-virtual-opening"></a><img alt="Curators Lizzie Cleland and Adam Eaker in the Tudors exhibition looking at a painted portrait of Queen Elizabeth I" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/8a7d274e511fc4a621f8d0a9a8f635b5c14ccc76-1920x1080.jpg?w=3840&q=75&fit=clip&auto=format"/><div class="content-card_badges__NUSE_"><div class="badge_badge__Uonuj" style="color:var(--color-text-header)" data-sentry-component="Badge" data-sentry-source-file="index.tsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24"><path fill="currentColor" fill-rule="evenodd" d="M3 7a2 2 0 0 1 2-2h11a2 2 0 0 1 2 2v3.441l3.5-3.704v9.526L18 12.558V16a2 2 0 0 1-2 2H5a2 2 0 0 1-2-2zm2-.67h11c.37 0 .67.3.67.67v9c0 .37-.3.67-.67.67H5a.67.67 0 0 1-.67-.67V7c0-.37.3-.67.67-.67" clip-rule="evenodd"></path></svg>Video</div></div></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/tudors-virtual-opening"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The Tudors: Art and Majesty in Renaissance England Virtual Opening</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Join curators Elizabeth Cleland and Adam Eaker to explore <em>The Tudors</em>, which traces the transformation of the arts in Tudor England through more than 100 objects.</span></div><div class="article-card_attribution__rlfec">October 19, 2022</div></div></div></div><div class="content-card_card__iiXut content-card_sideBySide__R5Htp " data-sentry-component="ContentCard" data-sentry-source-file="index.tsx"><div class="content-card_imageWrapper___nx_x"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-component="RedundantLink" data-sentry-source-file="index.jsx" href="/en/perspectives/astronomicum-caesareum"></a><img alt="Detail of the Astronomicum Caesareum" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="0" height="0" decoding="async" data-nimg="fill" class="sanity-image_img__cWxRo " style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;object-fit:cover;color:transparent" sizes="(max-width: 960px) 100vw, 50vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/326a2de72923f2e92bc09dd1dce39836d8a51fba-1920x1081.jpg?w=3840&q=75&fit=clip&auto=format"/><div class="content-card_badges__NUSE_"><div class="badge_badge__Uonuj" style="color:var(--color-text-header)" data-sentry-component="Badge" data-sentry-source-file="index.tsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24"><path fill="currentColor" fill-rule="evenodd" d="M3 7a2 2 0 0 1 2-2h11a2 2 0 0 1 2 2v3.441l3.5-3.704v9.526L18 12.558V16a2 2 0 0 1-2 2H5a2 2 0 0 1-2-2zm2-.67h11c.37 0 .67.3.67.67v9c0 .37-.3.67-.67.67H5a.67.67 0 0 1-.67-.67V7c0-.37.3-.67.67-.67" clip-rule="evenodd"></path></svg>Video</div></div></div><div class="content-card_body__tCfGX" style="--body-padding:0"><div class="content-card_eyebrow___r9jM"></div><div class="content-card_heading__OM7om" role="heading" aria-level="2"><a href="/en/perspectives/astronomicum-caesareum"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Using the Astronomicum Caesareum Book</span></a></div><div><div class="content-card_description__DMYpC"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">This most sumptuous of all Renaissance instructive manuals explained the use of the astrolabe and other instruments used for computing planetary positions</span></div><div class="article-card_attribution__rlfec">October 3, 2022</div></div></div></div></div></section><div class="pagination-controls_pageControls__Oa_1n" data-sentry-component="PaginationControls" 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do art conservators save video art from obsolescence? If a painting on canvas rips or a marble sculpture shatters to pieces, art conservators are trained to respond accordingly and repair it. Artworks that unfold over time—like videos and software based works—are a different thing altogether. These artworks are made using cutting-edge technologies that are constantly being updated. If the “canvas” or medium an artwork is made on keeps shifting, how do art conservators protect these works from obsolescence? Read the complete transcript below. Subscribe to Immaterial wherever you find podcasts: Listen on Apple Podcasts Listen on Spotify Listen on YouTube Listen on Amazon Music Season 2 of Immaterial is made possible by Dasha Zhukova Niarchos. Additional support is provided by the Zodiac Fund. Transcript SAM WINKS: Make sure the time is accurate… It’s within reason. [CLOCK WINDING] CAMILLE DUNGY: What you’re hearing right now is a clock that is hundreds of years old being wound. Every week, a collection technician walks through The Met’s galleries and checks up on clocks like these, to make sure that they’re operating on time. Even though they are incredibly old, they still work. WINKS: It’s a 300-year-old clock. [CLOCK RINGING] DUNGY: They may have stood in someone’s living room ticking away centuries ago, and to this day, they’re still ticking. In this episode of Immaterial, we’re going to talk about a particular category of artworks in The Met that like clocks, need to be kept working: time-based media art. [MUSIC] These are videos, films, sound art, and software-based pieces that unfold over time. All were made with technologies that are for the most part less than one hundred years old. And all have hardware that needs to work for people to truly experience the art. If these works of art aren’t functioning, they become functionless as art. I’m Camille Dungy. From The Metropolitan Museum of Art, this is Immaterial. We’ll hear from artists who make some of these works, and the people responsible for keeping time-based art alive. — DUNGY: To start off, I want to share a piece from the time-based art collection at The Met. It’s a video work called Every Shot, Every Episode by Jennifer and Kevin McCoy. The McCoys’ piece is a perfect introduction to why these kinds of artworks are so challenging to preserve. But first, one of our producers had a question… about time… SALMAN AHAD KHAN: I’m guessing you spent years working on this project. KEVIN MCCOY: Every Shot, Every Episode? JENN MCCOY: No, we had a deadline! [LAUGHS] KEVIN MCCOY: We had a deadline. It’s just, “Get that shit done.” It was like I don’t know, it was like six to nine months of just grinding it out. JENN MCCOY: I’m Jenn McCoy, and I’ve been an artist for many years, and I work in collaboration with Kevin. KEVIN MCCOY: I’m Kevin McCoy. I’m an artist based here in Brooklyn, and work collaboratively with my wife Jennifer. And our work has taken lots of different forms—sculpture, video, software. DUNGY: We went to speak to the McCoys at their Brooklyn studio to get a better sense of their work. It was truly a Brooklyn artist’s dream—a warehouse converted to an art-making space. When they were creating Every Shot, Every Episode, the McCoys were living through a transformative period for time-based media art. Technology was changing rapidly and a major transition was underway moving from analog to digital technologies. KEVIN MCCOY: You know this is in the nineties, the late nineties. The transition from analog to digital was happening all around us and in that context, lots of discussions around the adequacy of the digital [at] that time, film versus video battles. You know, ‘Video is terrible compared to film. Film has all these other properties!’ DUNGY: Times were changing, and the way that people consumed media was changing rapidly too. That left Kevin and Jen reflecting on how they consumed media growing up, how different things were back in the seventies. Kevin remembered an experience he had with a babysitter as a child. KEVIN MCCOY: My sister swears I’m making this up, but I really don’t think that I am. JENN MCCOY: So, Kevin had a babysitter, back in the day that was really interested in Starsky and Hutch. DUNGY: A popular cop show from the seventies. JENN MCCOY: And this was before VCRs even. So she used to annotate as she watched and make these cassettes. DUNGY: Audio cassette tape. KEVIN MCCOY: So you’re watching TV and you’ve got a little cassette thing and a mic. And you’re sitting there recording the audio of the show in the room. And then as it’s happening, you describe the scene: “They’re at his apartment.” And then a new scene happens. “They’re in the car. There’s a car chase.” So she describes the picture simultaneous to the audio of the show, and then can listen back to it and kind of have an experience of the show without having a VCR, just with an audio recorder. It’s genius. JENN MCCOY: And so this idea of thinking about a found repository or a found database like the entirety of the Starsky and Hutch season one seemed like it would be kind of funny and weird. And like, let’s test out those ideas. DUNGY: Thinking about all of these things—the transition from film to digital and the way that we consume culture—led them to an idea. [MUSIC] Jen and Kevin would create a database of their own, one that used digital technologies to categorize every scene and image in Starsky and Hutch. The artwork has two key components: the data, and a way to display the data. If you look at the piece hanging on the wall, you’ll see a huge array of video CDs, or VCDs, the precursor to DVD and successor to the classic CD. At the time, VCDs were the way to go for burning and storing huge files. So the McCoys made 277 of these VCDs and lined them up side by side on three white floating shelves. Simple white spines of each jewel case reveal each VCD’s descriptive title in bold, black, all-cap, sans serif font. Up close you have all these category names. JENN MCCOY: So we’re looking at ‘Every Car Chase,’ ‘Every Bomb,’ ‘Every Money,’ ‘Every Prostitute,’ ‘Every Girlfriend,’ ‘Every Leather Jacket.’ And we’re reshuffling a bunch of episodes from Starsky and Hutch to look at in this new way. DUNGY: The idea was that each time you would insert one of those VCDs, like say the one titled ‘Every Car Chase,’ you would basically get a compilation of every single car chase in the series playing on the tiny TV. That’s the second and crucial component of the art piece. A steel briefcase, like the kind you’d see in old spy movies, is splayed open on the wall. A tiny screen is mounted in the case’s upper compartment for viewing. And at the bottom of the briefcase, the McCoys nestled a portable clamshell VCD player. KEVIN MCCOY: The production process for doing this was very arduous. We have to digitize the episode, we have to isolate each shot, and then we have to create the database ourselves in which we classify it. And then we have to retrieve each of those individual files, put them all together, save that as a video file. DUNGY: After all of this work, they presented it to the public. KEVIN MCCOY: We were showing it with our gallery and they were at the Armory Art Fair. And then the first preview of the fair—someone from The Met just came and they want to buy the piece. DUNGY: This was one of their first works…and they had interest from The Met. KEVIN MCCOY: And you know, it was kind of a shock. DUNGY: So the work came into The Met’s collection. But the technologies used to make the piece, like video CDs, quickly became outdated. JENN MCCOY: I mean, the project was made with consumer electronics available at the time, and then the technology quickly outstripped it. I think for every artist, you don’t know when you’re working on it, if it’s an important project, you know? DUNGY: They hadn’t thought about the longevity of the piece or how it would survive for an extended period in a museum collection. Once artists like Jennifer and Kevin hand over their works to museums, this responsibility of keeping the piece alive then falls into the hands of the art conservators there. When its initial exhibition period ended, the piece went into storage until the next time a curator decided to exhibit the work. As with most time-based art, it was incredibly fragile and technology evolved drastically in the years that it sat in storage. [Sound of producers arriving in the studio] So we went to talk to one of the conservators responsible for keeping the McCoys’ piece alive, two decades after they first created it. On our way to his office though, we ran into Nora Kennedy, the head of Photograph Conservation. She helped us understand the unique challenges of conserving time-based media work compared to the artworks museums like The Met have historically acquired. Nora has an easy example to help us understand. She goes into her office. Grabs a Post-It, holds it in front of us, and then… [RIPPING PAPER] NORA KENNEDY: So, right? DUNGY: Rips it into pieces. KENNEDY: You have a photograph that is torn in half. You can easily explain, I’m gonna stick this back together again and I’m gonna make where it’s joined up invisible. DUNGY: If a photograph is ripped like this or a sculpture shatters into pieces, you know what to do as a conservator: you figure out a way to stick the pieces back together. KENNEDY: So that’s a very physical thing that people can comprehend. You can show examples of that. DUNGY: Time-based media is different. “Breaking” is much more abstract—a video file gets corrupted, or there’s an issue running an artwork’s software, or the format you produced the work on—like the VCDs the McCoys used—goes extinct. Dealing with that… is slightly more complicated. The Met currently has about three hundred pieces of time-based media art. Reels of film, hard drives filled with gigabytes of digital videos, five-channel multimedia installations, and more. The collection is still in its infancy. There will likely be lots more additions in years to come. For a long time, there were no conservators at the Museum who could actually answer questions about how to care for works that cover such a wide spectrum. There were art conservators in adjacent specializations—like Nora in Photograph Conservation. But no full-time staff specialized in the technical side of time-based media works. [MUSIC] That all changed when they hired conservator Jonathan Farbowitz. Jonathan’s career followed a slightly less conventional path than most museum conservators, and that strange career path almost perfectly mirrored the evolution time-based media was undergoing. It started when he was in college as a film student. JONATHAN FARBOWITZ: I did my undergrad at a time where celluloid film, analog video, digital video, those were all viable formats for production and distribution. DUNGY: The year was 2004. At the time, film was in the midst of a format war. FARBOWITZ: It was a very weird transitional time where digital video had just come on the scene and you had all of these formats. DUNGY: Digital video was becoming increasingly popular and threatened to relegate film to the past. Jonathan had a job on campus in the film department. He was responsible for transferring tapes and film from one format to another. Film to Umatic, Umatic to VHS, VHS to Digital Betacam. FARBOWITZ: I felt like, at the time, I have to learn all of these formats because if I’m going to be a filmmaker, I have to know about all the technical characteristics of these formats to make the right choices about how I might shoot my movie. DUNGY: Jonathan eventually graduated into a world that had become increasingly digital. He worked a series of odd jobs in film and TV. He worked as a production assistant. FARBOWITZ: Mostly running around New York, you know, jumping in taxis, taking tapes to places. DUNGY: He worked on reality TV shows. FARBOWITZ: Project Runway, Making the Band. Shalom in the Home. DUNGY: He edited for festivals. FARBOWITZ: One of the editing jobs that was great was working for the Tribeca Film Festival. DUNGY: But he grew disillusioned. FARBOWITZ: It’s all freelance. It’s very unstable. You’re always hustling. It’s just not necessarily the life I wanted to lead. DUNGY: So he decided to change things completely and pivoted to working with computers. He had always been interested in computers when he was a kid, and thought I might as well try that for a bit. He learned a bit of programming, worked at a tax software company, and even made a website with some programmer friends that was basically Yelp for vegan restaurants. FARBOWITZ: We called it VegPhilly, so it was like a vegan guide to Philadelphia. DUNGY: And all this time, without knowing it, he was slowly gaining the tools needed to become the perfect conservator for time-based media. FARBOWITZ: I mean, sure [LAUGHS]. I mean, I agree somewhat that somehow I was building the skills without knowing what I was doing, because I was, you know, involved in film, I was involved in technology and all these different things. It was a strange sort of training program, yeah. DUNGY: Eventually, Jonathan settled back into the video world and got one last gig helping with film screenings at a local community video center called Scribe. It’s the job that would eventually lead to him finding his true-calling as a time-based media conservator. At Scribe, Jonathan became interested in their collection of old archival video cassettes. He realized how quickly technology had evolved within his own lifetime. These cassettes were all the rage when he was growing up, and now, in 2013 all these recordings on cassettes would possibly be lost forever if they did not get digitized. It reminded him of stories he heard about the beginning of film, in the early 1900s. FARBOWITZ: When film initially hit the scene, you know, it was like dirty theaters that were very inexpensive and it was considered a very coarse medium where like, you might go to a theater and people would be throwing stuff at the screen. That’s come a long way to like now where we do consider some films to be art. DUNGY: He said the vast majority of silent films were never preserved and subsequently ‘lost.’ And so he got interested in thinking about what types of new media might be considered the silent films of today. Video conservation and the conservation of cutting-edge software art are relatively new fields. As fine artists increasingly use innovative technologies to create their work, they may be at risk of being ‘lost’ if there are not museum conservators who know how to shepherd these works through time. Jonathan eventually went to graduate school to hone these skills. Fast forward to a couple of years after he graduated. Nora Kennedy and The Met were also hoping to solve their time-based media conservation woes. KENNEDY: It was more like, oh my gosh, what are we going to do with all this time-based media art? We need a specialist. DUNGY: When Jonathan applied for the job, with his experience in the worlds of film and TV, software programming, and media conservation, they knew they had to hire him. So… back to Every Shot, Every Episode. How do you get a piece made using 2001 technology to run in 2021? FARBOWITZ: We were dealing with obsolete technologies… and we were dealing with custom hardware. DUNGY: The Met started an initiative to revive the work. Initially, a fellow at The Met Alex Nichols and contract conservator sasha arden, began working on the revival. When the team was asked to revive the work, the VCD was all but extinct. And the VCD player the McCoys originally used for the piece… was incredibly fragile. The manufacturer wasn’t even making them anymore. So one of the conservation team’s first questions was how important was it to display the videos on a functioning VCD player from the 2000s? FARBOWITZ: This is really fragile equipment and this artwork is going to be in an exhibition for several months. DUNGY: Did it make sense to use such an obsolete and delicate piece of tech to display the work? FARBOWITZ: Sometimes time-based media artworks require very creative solutions to these sorts of things. DUNGY: The team—sasha arden in particular—had an idea. They could bypass the archaic VCD player altogether. Use this player as a prop to stay true to the original aesthetic of the piece, but then… put a hidden media player in the back to play the actual videos. FARBOWITZ: If you’re facing the work, you’re seeing a tiny LCD screen. And in the bottom half, there’s a VCD player. That’s what you’re seeing as a visitor. But what you’re not seeing is that behind the case into the wall is this digital media player and that’s what’s feeding the video and the audio signal into those elements of the case that you’re seeing and hearing. DUNGY: This was a compromise, but one that would help the work to live on. For The Met, the priority was preserving this work. And the McCoys were on board. These pieces require a specific kind of constant care to remain alive. [MUSIC] FARBOWITZ: These artworks, they can be a bit like people. There’s the baby artwork, and then there’s the toddler, and then the child, and then the teenager, and they often go through different stages as they’re exhibited more. Where sometimes the artist’s opinions on what’s necessary and how to show the piece, you know, they change a little bit. So it’s not like showing a time-based media artwork, it’s not always a case of, oh, we just go back to the instructions and we install it exactly how the instructions say. Like these are sometimes dynamic things over time. DUNGY: Conserving Every Shot, Every Episode was a process of adaptation. But it was still a work rooted in the physical world. Today, there are other time-based media works that pose an even greater challenge to people like Jonathan—software-based works. Software-based works rely on technologies developed by corporations that are constantly changing and being updated. How do conservators preserve works like these that don’t have a fixed state? Artist Ho Tzu Nyen’s work provokes these kinds of questions. Meet him… after the break… [MUSIC] — HO TZU NYEN: My name is Ho Tzu Nyen. I’m an artist. I live and work in Singapore. I work, I would say, mostly with moving images. DUNGY: In 2012, Tzu had an idea for an extended video piece—a collage of clips that responded to words and labels that he felt defined Southeast Asia as a region. It took the form of a dictionary of terms in alphabetical order. HO TZU NYEN: So using the structure of A to Z, right? And there are twenty-six letters in the alphabet. So there are twenty-six different concepts and different ways of reimagining Southeast Asia. DUNGY: He would call it: The Critical Dictionary of Southeast Asia. And in this dictionary, A was not for apple… HO TZU NYEN: But A was for anarchy. And A was for altitude. So, for example, the first term thinks about the relationship between altitudes and anarchism in Southeast Asia. So, traditionally in Southeast Asia, anarchism survives in very high altitudes, which are areas that are far away from the lowland empires. So there’s a saying that armies run out of breath on high altitudes. DUNGY: He looked at movies, home videos, and animations that evoked high altitude anarchism: An old clip panning through misty mountain ranges. A movie excerpt of a giant titanium hand descending from the heavens towards children at a hilltop temple. Images of men with guns moving through tall grasses. But as he put the pieces together, Tzu had a problem. HO TZU NYEN: I was stuck for three years at least. Back in 2011, basically, I was still very much a video maker right? You shoot videos and you have many different shots. And there’s always this notion that there is only one best of all possible versions that this work can take. So I was working always with one single timeline. DUNGY: To make any video, artists edit footage together in an editing software, stringing different shots in a particular order. HO TZU NYEN: And that is the timeline, right? Like, it’s literally called a timeline on our editing software, right? And that was the problem of why I couldn’t finish this work. I found it very violent to reduce the work into one single timeline, you know, because my whole conception of Southeast Asia was that it was a region that couldn’t be defined in a simplistic way. Southeast Asia is a region that has not been unified by any religion or political systems. Even the term Southeast Asia, I would say, was not indigenous to the region itself. This term kind of came from outside forces. So I would say for me, Southeast Asia is a kind of a paradox. It’s a region which is not one. It is simultaneously a region and it’s simultaneously not a region. So, that immediately forms a contradiction with the notion of a single editing timeline, right, where everything is forced into one timeline and it has to be clearly resolved. So I was stuck with that for three years. DUNGY: Until… HO TZU NYEN: I had a chance meeting with a programmer in Helsinki. And we had a conversation, and then everything kind of clicked. DUNGY: Tzu and this programmer—Sebastian Lutgurt—talked about the idea of making a software-based artwork. HO TZU NYEN: And, you know, thinking about how we could use algorithmic systems to constantly generate new versions of the video, so that there’s not one single version, but endless, multiple versions of the video. DUNGY: So rather than edit the video on one single timeline, Tzu and a few programmers—Sebastian and his collaborator Jan Gerber—could code an algorithm that edited the video in an infinite number of ways. Tzu could present infinite ways of understanding Southeast Asia. HO TZU NYEN: It was almost an immediate kind of like, click for me, that the project finally found its form after three years of wondering. We started on that in 2015, and we presented it in 2017. DUNGY: They created a website to host the work: cdosea.org. If you go to the website, you’ll encounter a solid black screen with an index of the alphabet at the bottom. And then, images and videos flash across the screen— HO TZU NYEN: The images, they range from snippets of movies to home videos, to videos that tourists shoot in Southeast Asia, to documentaries, to animation that are cut up and rearranged. And at the same time, you will hear a voice over track sometimes sung, sometimes spoken, sometimes whispered, describing certain concepts related to Southeast Asia in combination with this footage. DUNGY: Everytime you refresh the website, you see new videos in a different order responding to these terms that Tzu has set. All generated by this algorithm that his programmers coded. HO TZU NYEN: So it just keeps generating new versions and new renders. Sometimes it fits perfectly. Sometimes it is, I would say, it’s strange. Sometimes it’s strange in a beautiful way, and sometimes it’s just strange. And you would have to live with the just strange if you want also those moments of unpredictable beauty that can happen. DUNGY: So exactly how many versions of the work are there? HO TZU NYEN: I have thought about that but the mathematics of it would be beyond me. Instinctively I was going to say it's probably infinites but then infinity is such a strong word, so I hesitate to use that, but I would say that the combinations are already a lot. DUNGY: There’s 5,066 video clips, 277 sound clips, and 260 voice tracks. Multiply those and you get a number that would take way too much time to recite out loud. And Tzu regularly adds new videos for the algorithm to draw upon for the dictionary. [MUSIC] HO TZU NYEN: So I remember a discussion with a museum and they were, this was maybe six, seven years ago, and they were basically just quite disturbed by the fact that there is no one single video that they are purchasing and entering into their collection, right? DUNGY: For Tzu, creating a work using technology solved a problem. But when a work like this enters a museum collection, the idea of caring for something that is constantly changing is a huge challenge. When museums contacted Tzu to ask about purchasing the work about seven years back… HO TZU NYEN: Many of these conversations always were tinged with some kind of a fear. So the fact that this video is mutable, that it changes, disturbed the museum and they couldn’t quite deal with this. And then also in the end, they mentioned that they probably didn’t have the adequate staff who could deal with this, even if it entered their collection. And that’s when the conversation ended. DUNGY: Some museums didn’t have the bandwidth to care for software-based work. And again, most conservators just don’t have the expertise to deal with these challenges. HO TZU NYEN: But I would say in the last three to five years, I would say there’s been a kind of a shift in attitude. So rather than complications and complexities being a conversation ender, you know, now I think there is a kind of interest and a willingness to explore together what is the best way to preserve these works. [MUSIC] DUNGY: Thanks to people like Jonathan, these kinds of acquisitions are more possible in museums now. What does that process even look like though? It’s a matter of documenting exactly how the work was created. HO TZU NYEN: So, really going through every single component of the hardware required to run it, but also the software part of it. So, for example, the language that it was written in, the coding language, and what kind of operating systems, etc. But I would say the conversation after this would have to go one layer deeper, actually, which is, when one starts to imagine that these operating systems are no longer in existence. DUNGY: What happens to the piece in the future? When new technologies no longer support Tzu’s code? HO TZU NYEN: Probably there are two possible answers. The first would be we have to try to ensure that they can be migrated to different systems. But the other strand of the conversation, which is interesting, it goes back to the intention of why you programmed these systems in this specific way. DUNGY: In other words, your conceptual goals for the piece. What do you want the piece to do? HO TZU NYEN: And the only way to describe this is in a non technical way. So we go back into concepts and intentions. And I would say these kind of instructions, in the end, they could be just as important as the technical ones, right? So hopefully with this second set of conceptual parameters or directions, I imagine that if one could describe them so precisely, maybe it’s possible to reconstruct your work just based on those sets of instructions with entirely different systems. [MUSIC] HO TZU NYEN: This is kind of quite speculative, but I would say we are doing both of these things at the same time. Actually with all the different museums interested in The Critical Dictionary of Southeast Asia, this is where I see the conversations finally heading to. DUNGY: When The Critical Dictionary of Southeast Asia is acquired by a museum, Tzu hands over the algorithm and all of the video assets that the piece uses. But the museum only receives the video assets from the moment in time that it is acquired—not the videos that Tzu adds to the repository thereafter. So when the work enters a museum collection, it becomes only one version of itself. In the context of a museum, does the work lose its ever-changing quality? Does the piece stop living? HO TZU NYEN: I would say there is an interesting tension there, and I’m not sure if this tension can ever go away. We are talking about whether the artwork goes into the collection to live or to die, right? And to choose either life or death seems very extreme. To me, I would rather have a state in which it is both alive and dead at the same time. So I suppose a slightly negative way of looking at that would be a zombie. But maybe a more interesting way to think of it is like Schrödinger’s cat. So Schrödinger’s cat before the experimenter lifts the lid to see whether the cat is dead, the cat is both alive and dead at the same time. So I would like to imagine my works in the storage of all the different museums as being Schrödinger’s cats before the experimenter lifts the lid. So refusing this either or choice and being both at the same time. — DUNGY: Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise. Our production staff includes Salman Ahad Khan, Ann Collins, Samantha Henig, Eric Nuzum, Emma Vecchione, Sarah Wambold, and Jamie York. Additional staff includes Julia Bordelon, Skyla Choi, Maria Kozanecka, and Rachel Smith. This season would not be possible without Andrea Bayer, Inka Drögemüller, and Douglas Hegley. Sound design by Ariana Martinez and Kristin Mueller. This episode includes original music composed by Austin Fisher. Fact-checking by Mary Mathis and Claire Hyman. Special thanks to Adwoa Gyimah-Brempong and Avery Trufelman. Immaterial is made possible by Dasha Zhukova Niarchos. Additional support is provided by the Zodiac Fund. This episode would not have been possible without Associate Conservator Jonathan Farbowitz, Conservator in Charge Nora Kennedy, Collections technician Sam Winks, Kevin and Jennifer McCoy, and Ho Tzu Nyen. And special thanks to Associate Curator Lesley Ma and Associate Curator Lauren Rosati. To learn more about this episode and see pictures of the artworks featured, visit The Met’s website at metmuseum.org/immaterialtime. I’m your host, Camille Dungy. ### "])</script><script>self.__next_f.push([1,"2f:T894a,"])</script><script>self.__next_f.push([1,"What happens when the unbreakable shatters? Throughout art museums around the world, you’ll find ancient stone statues of rulers and marble monuments immortalizing noblemen. These objects were made to survive decay and destruction, to remain intact and whole. But from the moment that stone is extracted from the earth, it is bound to become a more fragmented version of itself—chiseled, chipped, and sometimes shattered over time. In this episode, we examine the many ways that stone breaks. How can a statue’s cracks and cavities tell a more complex story of our humanity? Read the complete transcript below. Subscribe to Immaterial wherever you get your podcasts: Listen on Apple Podcasts Listen on Spotify Listen on YouTube Listen on Amazon Music Season 2 of Immaterial is made possible by Dasha Zhukova Niarchos. Additional support is provided by the Zodiac Fund. Transcript CAMILLE DUNGY: There’s a writer—Robert Macfarlane—who talks about stone in a really fascinating way. Robert is a mountaineer and a nature writer, and there’s a passage from his book, Underland, that has been stuck in my head as we’ve worked on this episode. Before we start, I want to share it with you: “We tend to imagine stone as inert matter, obdurate in its fixity. But seen in deep time, stone feels instead like a liquid briefly paused in its flow. Stone folds as strata, gouts as lava, floats as plates, shifts as shingle.” [MUSIC] And with that… Our story begins one late night in New York City. JACK SOULTANIAN: It was a Sunday night, it was October 6th, 2002. DUNGY: This is conservator Jack Soultanian. He preserves and repairs art at The Met. SOULTANIAN: And I had just returned from the movies. DUNGY: He was about to settle in at his home for the night when his phone rang. Being a conservator isn’t like being a surgeon or a firefighter. In sixteen years working at the Museum, Jack had never received an emergency call on a weekend. SOULTANIAN: I was told that there was a terrible accident. So naturally, I rushed to the Museum. DUNGY: He arrived at the underground security entrance and was led through the Museum to a gallery called the Vélez Blanco Patio. When Jack entered, he was astonished at what he saw. SOULTANIAN: The scene was truly devastating. DUNGY: Strewn across the floor of the patio…was a body. SOULTANIAN: It was, it was total grief and horror at the scene. DUNGY: The body…was made of marble. It had been a carefully rendered, life-sized sculpture of Adam, the one from the Bible. This nude figure appeared simultaneously divine and human. It was considered one of the greatest works of the fifteenth century, created by one of Italy’s most gifted sculptors, Tullio Lombardo. SOULTANIAN: This great masterpiece of Italian Renaissance sculpture was absolutely, you know, in pieces. The fragments were scattered everywhere, and at that time it was unclear what had happened. DUNGY: Was this the site of a crime? Or a terrible accident? Was the statue pushed or did it fall? Or did it spontaneously explode? While Jack stood trying to wrap his head around what had happened, he heard a horrifying, crunching sound right behind him. [CRUNCH] SOULTANIAN: The security officer who brought me up, who had all good intentions, kept walking in the patio floor, and I can still hear the sound of the fragments crushing under his shoes. And so I told him, very politely, to, you know, please stop, which he did. And then I cordoned off, I said that no one was allowed into the patio. DUNGY: Jack was in a daze, but he knew in this moment, on a Sunday night, there wasn't much he could do. The damage was done. So, for the second time that night he went home. SOULTANIAN: When I woke on Monday morning it was the first time I had ever thought, you know, this was a dream or a nightmare. That this did not really happen. DUNGY: But it did really happen. And when Jack arrived back at the Museum, he had to get to work. He called fellow conservator Carolyn Riccardelli, who had just completed grad school and had recently started a job at the Museum. CAROLYN RICCARDELLI: I remember it very clearly. I got the phone call and it was my colleague Jack Soultanian, and he said there’s been an incident. And I went upstairs and I saw this sculpture broken all over the floor…and it was devastating. Like I had a visceral, physical reaction to it, an emotional reaction that I still feel, even now talking about it. I didn’t know what the work of art was because I was unfamiliar with Adam. And I asked him, you know, what is this? What fell down? And he said, it’s Adam by Tullio Lombardo. And I'm, and I kind of shrugged my shoulders and he said it’s the most important Renaissance sculpture in the Western Hemisphere. And that really hit me. I couldn't believe it. And then, you know, I had to click into, alright, what are we gonna do next? Like, what are we gonna do about this? DUNGY: From The Metropolitan Museum of Art, I’m poet and writer Camille Dungy, and this is Immaterial. This episode, Stone. [MUSIC] DUNGY: The stories stone carries… ROBERT MACFARLANE: Look at the spells they cast, the crimes they incite… RICCARDELLI: There’s some kind of life force that this sculpture has… DUNGY: And what it means when stone breaks. ERHAN TAMUR: When you damage a statue, you could also damage the individual… RICCARDELLI: It was bad. It was bad. It was a big mistake. DUNGY: Those pieces on the floor of the Vélez Blanco Patio are no stranger to fragmentation. Before the sculpture shattered on the floor, it was a stone slab chiseled and chipped in an artist’s studio. And before that, it was hacked from the side of a mountain. Stone sculptures are formed through successive subtractions—forged through breaking, bit by bit. So it makes sense that to understand what it means for a stone sculpture to break, we have to look back at why artists choose to carve stone in the first place. This is not a choice that artists make lightly. Stone is…heavy. Almost immovable. So, why use it? I promise I’ll get back to Adam’s story, but for now, I want to introduce you to a guy in ancient Mesopotamia who used stone in the stoniest way possible… Gudea was a powerful ruler in ancient Mesopotamia, one of the earliest recorded civilizations in the world. SARAH GRAFF: We're looking at about four thousand years ago. Southern Iraq, kind of just branching off the Tigris River. DUNGY: That’s Met curator Sarah Graff. We met in her office, where she just finished a cranberry scone. GRAFF: Yeah, it was really good. And I can’t believe it’s still around because I bought it on Sunday. How did it survive till Wednesday? Who knows, but it was good. And I was like, thanks past self for thinking of future self. DUNGY: Okay, that’s beside the point, but actually…kind of not? Like Sarah, the Mesopotamian ruler Gudea thought a lot about his future self. Specifically, Gudea was thinking of himself in the afterlife. In ancient Mesopotamia after you died… GRAFF: You depend on your descendants to remember you so that you’re not in the afterlife hungry and thirsty and alone and forgotten. DUNGY: They were supposed to leave food and water and other meaningful offerings at your grave. Being the powerful ruler that he was, Gudea wanted to be remembered and tended to, not just for a couple of generations, but forever. But, he wondered… GRAFF: How do I communicate with somebody that I can’t imagine? How do I make sure that they know this really important piece of information? DUNGY: How do I tell people who will never meet me, who will live far into the future, that I mattered? Gudea commissioned a nearly indestructible tribute. A group of sculptures of himself. And he was very particular about what material they would be made of. A dark, smooth stone known to be practically unbreakable: diorite. GRAFF: He didn’t want them made in precious metals, in ivory. He wanted them made in diorite, because diorite’s a very hard stone. It’s a permanent kind of image. It would stand for eternity. DUNGY: To get his hands on diorite, Gudea likely sent an expedition hundreds of miles away to where the stone was mined in present-day Oman. Then, he ordered the construction of a series of diorite sculptures of himself to be placed in temples throughout the city. One record said there were five hundred sculptures. And inscribed on at least one of the sculptures was a phrase: GRAFF: “Let the life of Gudea, who built the house, be long.” His life is long because we still know his name four thousand years after he died. We know who he is. We know what he did. So, in a really concrete sense his life has been long because of the medium that he chose for preserving his accomplishments. And his life continues. DUNGY: And today, four thousand years later, one of Gudea’s statues sits in The Metropolitan Museum of Art. Seated, hands folded over each other in front of his chest like a confident boss, Gudea doesn’t look a day over…five hundred. GRAFF: He has beautiful fingernails and toenails. And you can see his cuticles, which is extraordinary. [MUSIC] DUNGY: Imagine one of Gudea’s sculptures as a sped up time lapse moving a century a second. Over the years, the sculpture's surrounding environment shifts. The city around it is built up and broken down. The sculpture is remembered, forgotten, worshiped, discarded, and then remembered again. But at the end of it all, the diorite sculpture still stands, cuticles and all, almost outside of time. Stone declares its own importance, its own power, if for no other reason than that it is still here. [MUSIC] DUNGY: So back to Tullio Lombardo’s Adam—that marble sculpture that shattered into hundreds of pieces on the Museum floor. Marble was the diorite of the Italian Renaissance. It was the type of material out of which rulers and religious leaders wanted their monuments carved. They chose marble as their medium. To scream “this is important” through the void of time and into the future. Adam was definitely a “this is important” psychic scream. A successful one at that. That’s thanks to the sheer genius of the guy who carved his name on the base of the statue... The artist himself, Tullio Lombardo. In the early Renaissance, Tullio Lombardo was known as one of the greatest sculptors of all time. To Carolyn Riccardelli, the conservator who encountered Adam shattered on the floor, Tullio’s work exuded something difficult to place your finger on. RICCARDELLI: There’s some kind of life force that this sculpture has. I mean, I always felt it because it looked realistic and alive, even as individual fragments. There were moments where I was like, Oh, is it real? DUNGY: At the time that Tullio Lombardo made this sculpture, he was in his early thirties, and he was eager to prove himself. So, when the doge of Venice called upon Tullio’s family workshop to construct a whole church monument in his honor, Tullio must have been excited to take the lead. For his showstopping piece in the multi-part monument, Tullio hatched a plan to sculpt an incredibly life-like version of Adam—the perfect man, created by God and in God’s image—in marble. And he wouldn’t sculpt Adam out of just any marble. He would use Carrara marble: a perfect stoney cocktail, mixed and fermented over millions of years. Seen over deep time, stones like marble are almost…liquid, which might come as a surprise. It definitely did to writer Robert Macfarlane. MACFARLANE: I grew up as a mountaineer. I’m still a mountaineer. And, you know, mountaineers really prize the solidity of rock. It’s kind of what you hang on and what you hang off. But I remember some of those gong strike moments, when you begin to realize that you’re dealing with a substance that has its own fantastical age, its own extraordinary biographies. You realize that stone has other identities too, and some of those are liquid and some of those are somewhere between liquid and solid. DUNGY: Carrara marble is one of those extraordinary, malleable stones. It started as the skeletons of ancient sea creatures compressed at the bottom of the ocean. When tectonic plates shifted, the fossilized mass metamorphosed and slowly rose up six thousand feet to form the Apuan Alps in Carrara, Italy. It’s these kinds of ancient histories that clue you in to stone’s mobility, or as Robert puts it… MACFARLANE: The symphony of the Earth, the way that mountains rise and fall, they dilapidate. DUNGY: Most marble becomes discolored or streaked over time as it melds with other minerals, but by some strange accident, some Carrara marble remains perfectly crystalline and translucent. It glows. From ancient times, humans were obsessed with Carrara marble. They went through immense effort to wrench this heavy material from the side of a mountain and lug it hundreds of miles away. Tullio Lombardo’s Adam was a work of art worthy of Carrara marble. Tullio received a six foot three inch block of marble, and he had one chance to carve his perfect human body. The process of carving is quite unforgiving. RICCARDELLI: It’s a subtractive process. Once you remove stone by carving it, you can’t put it back on. Once it’s gone, it’s gone. So, if you make a mistake at the top of the sculpture, you would continue carving until you corrected that mistake. DUNGY: Tullio Lombardo couldn’t make a single mistake. And he didn’t. RICCARDELLI: To me that’s just very impressive and shows a command of the material. Like a confidence and skill that kind of blows my mind. DUNGY: Tullio completed the twenty-sculpture monument for the doge of Venice with the help of assistants, but he chose to carve his signature only on Adam. It was an assertion of his authorship, an acknowledgement of his great work. And maybe, this carved signature would communicate his skill to people hundreds of years into the future. His masterpiece was actively and carefully protected for more than five hundred years. It eventually made its way to The Met, where it stood on a pedestal in a gallery, intact and whole. Until…the worst thing that could happen, happened. The sculpture fell. I have questions about this. What actually happened? Why did Adam fall? RICCARDELLI: Adam was on a pedestal. The reason the sculpture fell down is because the pedestal collapsed. It buckled under the weight of the sculpture and it fell apart. And Adam went down with the pedestal. What I know is that the pedestal was built about two years before the accident, so it really wasn’t a very old pedestal. There was some work done in the Vélez Blanco patio. And at that time, they redid the pedestals. And they were built by an outside contractor. Clearly this one wasn’t built properly. It wasn’t built for something this heavy. And even if it’s not something I ever directly had any conversations about, you still feel responsible. This was a really special work of art. And it was under our watch. I mean, I still get choked up thinking about those moments. And there are times I give talks about the sculpture and there’s a moment where I show pictures of the broken fragments on the floor, and it’s a palpable reaction from the audience every time. And then I feel that, and I get choked up. And I’ve done it many times and over and over and here even now, sitting here, I still have that emotional reaction. It was bad. It was bad. It was a big mistake. And that reaction drove our decision making and, the way that we approached it, we wanted to make up for the accident, and get as much out of it as we could. DUNGY: Stone asks a lot of the conservators tasked with fixing it when it breaks. These individuals are required to somehow do the impossible—to remake the object so that all the stories and meanings it carries may continue to survive through time. For both Jack and Carolyn, this was a worst case scenario, something that they had never seen in real life. So after they encountered the broken pieces on the floor, what did they do next? Find out after the break. [MUSIC] — DUNGY: Met conservators Jack and Carolyn were given a day and a half to collect all the fragments of Tullio Lombardo’s Adam. This was twenty-eight large pieces and hundreds of tiny shards spread across the marble floor of the Vélez Blanco Patio. How did they even conceptualize a way to clean up the mess? They did what they knew. They tried to make order out of chaos. SOULTANIAN: So, what we did is we literally gridded the floor. Every tile that had even the tiniest fragment of the marble was given a code number according to its coordinates and was photographed. DUNGY: Once they gathered every fragment, big and small, the team laid them out on tables in their studio, wondering, but not knowing, what would come next. RICCARDELLI: I immediately thought of who was going to deal with this? Who’s going to put this back together? Not like, how are we going to explain that we have to trash the sculpture? In other words, I always went straight to somebody’s going to put this piece back together. It’s gonna be a big giant job, and who’s gonna to do that? And it turned out to be me. DUNGY: As it turns out, it took about three years to secure the resources needed to start the conservation project. Carolyn was asked to lead the team of conservators to put Adam back together. She began by approaching the smaller fragments of the sculpture like a massive 3D puzzle. RICCARDELLI: Michael Morris, my partner on the project and I would stare at these fragments. For hours on end. The two of us became so familiar with these fragments. There were a couple of little pieces that were like, why can’t we find where this goes? We would start naming them like this little nubbin, or that little chunk. And we got to the point where we would just rearrange them on the table, like, according to shape or according to color. DUNGY: There was another thing that really helped in this reassembly process—Tullio Lombardo himself! RICCARDELLI: There’s minute tool marks remaining on the surface of the sculpture that helped us a lot in finding the locations of the fragments. DUNGY: These were tool marks that Tullio left as he chiseled and smoothed his marble sculpture. They provided a guide for Carolyn and Michael. So with Tullio’s help, they slowly began to make progress on their puzzle. Rejoining these small pieces, which seems really difficult, was actually the easiest part of the project. RICCARDELLI: Finding locations for all of the little tiny pieces, that’s kind of second nature for conservators. We work with ancient materials. And the ancient materials that survive are the inorganic brittle materials: ceramics, glass, stone. Anything that’s made out of brittle materials, it breaks. DUNGY: Yes, stone is frequently chosen as a material to last. But stories like the perfectly preserved statues of Gudea are rare. Many stone objects break, whether by accident, or by force. RICCARDELLI: There’s a lot in the Museum that’s fragmentary. I think most people don’t realize it. We do a very good job of disguising it, because we don't necessarily want to highlight the fragmentary nature of things. And we fill in holes, and we fill in the cracks, and we paint it. When I go through a museum with another conservator, we spot things and we’re pointing them out and we’re trying to imagine where the restorations are. But when I go through with somebody who’s not a museum person at all, and they’re like, wow, it’s amazing that this survived. DUNGY: I will admit, I have frequently been one of those people. RICCARDELLI: And I’m like, well, it survived, but I can tell this is in, like, fifty different pieces and somebody’s put it back together very carefully and restored all of the losses. DUNGY: When Carolyn walks through a museum, she notices all of the repairs that people like her have made to sculptures. But those repairs weren’t only made by contemporary conservators. Sometimes, repairs that Carolyn notices were done by people centuries ago. Some of these people were also well known artists. Tullio Lombardo occasionally restored ancient Roman and Greek marble sculptures. I love this part of his story. He constructed missing arms or legs to make fragmented bodies whole again. But there are also broken stone objects in the Museum that were never put back together. TAMUR: When these statues of Gudea were excavated in the late nineteenth century, many of these statues, their heads were missing. DUNGY: This is Erhan Tamur, a Gudea expert and former Mellon Postdoctoral Curatorial Fellow at The Met. There is one very well preserved whole Statue of Gudea at The Met. But as Erhan mentioned, most other Gudea statues that were unearthed in Iraq in the nineteenth century were found as disembodied heads and headless bodies. Some of these statues were likely intentionally decapitated inside an ancient building. TAMUR: In ancient Mesopotamia, such statues were not only representations of the person who was depicted. They also embodied the individual. So when you damage a statue, you could also damage the individual. DUNGY: Some statues may have been broken more recently by individuals seeking to sell fragments for large sums on the antiquities market. In the case of one Gudea statue in the nineteenth century… TAMUR: A French modern telegraph inspector who saw this statue out in the open in one of his inspection rounds, then approached the statue, sawed off the hands. We don’t really know how he broke them, but it must have taken some time. And he clearly saw how valuable it can be. And he brought them back to Baghdad and sold it to an antiquities dealer. DUNGY: So the inspector broke the Gudea sculpture, took just its hands to sell, and left the rest behind. The hands were later rejoined with the rest of the statue, and it was made whole again, but today many Gudea statues sit in different museums displayed as just a disembodied head or just a headless body—fragmented versions of their former selves that were sold and dispersed across the world. And these are wounds that conservators cannot easily disguise or fill in, because there is too much missing. “Surviving” whole is not neutral or coincidental. The question of whether an object survives—whether it is destroyed, or whether it is repaired—is at the whims of larger forces. Of invading armies, of French telegraph inspectors, of powerful institutions who collect art. [MUSIC] — DUNGY: Tullio Lombardo’s Adam was broken by accident, but in deciding how to approach this conservation, Carolyn and her team wondered if they should show evidence of the fact that Adam was once broken. Or should they hide that? RICCARDELLI: Our accident just didn’t seem like something that Adam needed to carry. I mean, it was an important reminder to us as conservators, but it didn’t need to be displayed on the sculpture permanently. So, that’s why we chose to take all of the fills and restorations to a very high level, to become as invisible as we could possibly make them. DUNGY: Carolyn and her team wanted to move through the repair process like ghosts. If they did it right, their presence would be totally undetectable. They would leave no evidence of their work on the surface of this sculpture for future generations. If Carolyn and her team truly wanted to leave as little trace of the accident on Adam as possible, they would need to make the materials they used to glue him back together…reversible. RICCARDELLI: You want to be able to give a person in the next generation 150 years down the road, you want to give them a chance to undo what we did and do it a different way. Because you can’t fathom what they can do in a hundred years, two hundred years. DUNGY: One of the most challenging things that conservators have to deal with when performing repairs on older sculptures is fixing previous repairs, ones that were done by people centuries ago. RICCARDELLI: I do remember at least one object where I was removing resin that I had to use a heat gun and pick it away little by little under a microscope. But boy, it’s really tough. I mean, hours and hours of picking away resin. I think in my earlier days, I used to get really angry about it. Like, what were they thinking? DUNGY: And this frustration is not rare. It’s something that so many conservators have experienced. RICCARDELLI: The difficulty in removing those materials probably was the thing that made conservators think, we should make things more easily reversible when we do our interventions. DUNGY: If Carolyn and her team could make the adhesives they used on Adam reversible, that would be an incredible feat. It would be like a magic trick, to be able to reconstruct this life-sized marble sculpture and then leave the option to take it apart again. For Carolyn, the key was finding the right adhesive. For many years, the approach to sticking heavy fragments together was epoxy, which is basically super glue. But the problem with epoxy—it’s not exactly reversible. RICCARDELLI: You can heat it up and scrape it off or use very harsh solvents to soften it, but it usually results in some damage to the stone that it’s been bonding. DUNGY: So using epoxy…not the answer. RICCARDELLI: We have this adhesive in conservation, called B-72 that we use on ceramics and stone, but on a small scale. DUNGY: If epoxy is super glue, B-72 is the conservator’s version of white school glue. This acrylic resin was very reversible, but no one had tested to see if it would hold up for heavy stone works like Adam. We’re talking about an almost 800 pound piece of marble. At the time, there were conservators in the field experimenting with combining B-72 and epoxy. RICCARDELLI: If you imagine two pieces of stone put together. There’s a join or a connection between the two. And the B-72 is reversible adhesive. You put a coating of that directly on the stone and then you use epoxy to actually join the stone. DUNGY: You make a B-72 sandwich. RICCARDELLI: B-72 is the bread and the epoxy is the meat or the cheese, as you wish. DUNGY: The idea was that if you have the pieces of stone covered with B-72, which is reversible, and then you add the epoxy, the epoxy would bond the two pieces without making a permanent, irreversible change to the statue. RICCARDELLI: But how many layers are in that sandwich? It’s three layers. They could be very thin, but that’s three layers of material that you’re introducing into a join. DUNGY: That three layered sandwich would be too chunky. The sculpture pieces were fresh breaks that needed to fit together really tightly. The team wondered if they could use just one layer of a reversible adhesive like B-72. Not a sandwich, but a secret sauce combining B-72 and another acrylic resin. After materials tests, they tried it out. RICCARDELLI: They were like a perfect match for the marble. So, a hundred years from now, if somebody needs to take Adam apart, they’ll be able to do it with acetone and nothing else. DUNGY: This kind of experimental research had never happened in the field. No one believed that reversible adhesives alone would be strong or stable enough to support the forces in a large sculpture. Doing this research and testing took years to experiment with different combinations of reversible adhesives and ensure that they would actually hold together an 800 pound piece of marble. Several years into the process, they still hadn’t actually put the sculpture back together yet. Up until that point, it had been dress rehearsals with replicas. Then came the big day, when they would actually reassemble Adam… RICCARDELLI: We didn’t know up until that point that everything fit together. How well it fit together. Because we thought, it’s possible there could have been some change in the stone. DUNGY: Pardon? RICCARDELLI: Sometimes when a ceramic vessel breaks it actually springs and you can never really get it back together the way it was because there’s some inherent tension sort of built into the way that the ceramic is made. We thought, who knows, it could have gotten deformed in some way, and we just don’t know until today. DUNGY: Imagine the amount of pressure they felt on that day. More than a decade of research and work all came down to this moment. RICCARDELLI: When you are charged with putting it back together and knowing…that the art historical world is watching, the conservation world is watching, and a lot of people are watching. That was a big weight on my shoulders. DUNGY: They put the large fragments in armatures and began stacking up each piece. RICCARDELLI: We started from the ankles and working our way through the legs, one leg fragment at a time. And the alignment of the leg fragments looked really good. DUNGY: Then they had to connect the legs to the torso. RICCARDELLI: The torso, which weighs 350 pounds, it’s this massive piece of stone. It was actually hanging from something that looked like a corset, so we repositioned the torso so it was right over the legs. DUNGY: The legs were on a lift table that could be raised to meet the torso. RICCARDELLI: And just slowly, slowly raising the table, like minute increments to the point where we could see it was gonna line up. And that last little step where the crack just sort of disappears in between the fragments was amazing. Everything lined up perfectly. DUNGY: And after the adhesives dried and bonded… RICCARDELLI: We took away the armature and it was, for me, that was a big moment to see the sculpture without anything holding it up was like a huge sense of accomplishment. DUNGY: So in 2014, twelve years after Adam shattered on the floor of the Vélez Blanco Patio, Carolyn and her team accomplished an unthinkable task. They made Adam whole again. A new gallery was even built for Adam, and he was reintroduced to the public. The gallery is mostly empty, with Adam standing high in a niche at the back. Carolyn was ecstatic. But it wasn’t all celebration and relief. In the first year after the sculpture was reinstalled, Carolyn was a bit anxious and frequently came to the gallery to check on Adam. RICCARDELLI: I did come up and I would touch the joins and make sure they felt aligned still. When you connect two pieces of stone that have a very tight join the way that Adam has, you just run your finger over that connection and you can feel when it’s perfectly aligned. And it’s like if it’s off even by the most minute amount, less than a hair, you can feel it. Or I can feel it. DUNGY: But it never budged. Today, Carolyn stands in the gallery, just to check his ankle one more time. RICCARDELLI: It’s totally smooth. I can’t perceive that at all. I mean, I don’t worry about him like…there’s a lot of things that I worry about in the Museum, but he’s not one. I know he’s totally solid. DUNGY: Standing in the gallery with Carolyn, Adam appears perfectly whole. Pristine. It’s almost impossible to tell that the sculpture was once broken. Even though Carolyn did an impossible task, something of the utmost talent and skill, those who encounter Adam years in the future won’t know her name. Unlike Gudea, unlike Tullio Lombardo, Carolyn hasn’t carved her name or any evidence of herself to last through deep time on this object. Because for Carolyn, that’s not the point. Rather, she wants to give people the opportunity to experience the work as Tullio originally intended. RICCARDELLI: I think that, that doing a good job and getting it back as perfectly as we possibly could was a driving force the whole time. And part of that was to see it standing, to see it look whole, and to see it displayed in the galleries again, so that people could enjoy it. I mean that’s a pleasure that I can say that I’ve done that too. And just to, like, have had the experience of feeling so connected to a work of art and really, feeling connected to an artist. And when you start to look very closely at an object and spend a lot of time on it, and you see tool marks and fingerprints and clay and things like that, like, you really do feel a connection. And that’s a big…it’s a privilege to be able to feel that connection and get that close to a work of art. MACFARLANE: One way to imagine stone or minerals or rock as less than inert, as not only just matter, is to think what they do to us. DUNGY: Robert Macfarlane. MACFARLANE: I mean, in one sense, they’re just geological happenstances. And you wouldn’t really think I guess that they were anything other than inert matter. But then you look at what they do in the world. You look at the spells they cast, you look at the enchantments that they exert, the crimes they incite. How are they not agential or almost willful presences? They draw us, they pull us, they push us into all manner of actions that we wouldn’t undertake without a relationship with them. [MUSIC] RICCARDELLI: It’s a big part of me, this project. And…it’s an honor to be part of the life of the sculpture. [MUSIC] DUNGY: Walking through the Museum, stone objects might seem stagnant. But in a lot of ways, they are alive. In the ways that artists shape them, in how they crack and erode, but also in how they affect us. Maybe that’s why we fight so hard to protect stone sculptures. But despite all our efforts, stone objects will inevitably change. Preserving a stone sculpture is preserving one moment in the life of this material. It’s freezing it in time for just one moment longer. [MUSIC] — DUNGY: Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise. Our production staff includes Salman Ahad Khan, Ann Collins, Samantha Henig, Eric Nuzum, Emma Vecchione, Sarah Wambold, and Jamie York. Additional staff includes Julia Bordelon, Skyla Choi, Maria Kozanecka, and Rachel Smith. This season would not be possible without Andrea Bayer, Inka Drögemüller, and Douglas Hegley. Sound design by Ariana Martinez and Kristin Mueller. This episode includes original music composed by Austin Fisher. Fact-checking by Mary Mathis and Claire Hyman. Special thanks to Adwoa Gyimah-Brempong. Immaterial is made possible by Dasha Zhukova Niarchos. Additional support provided by the Zodiac Fund. This episode would not have been possible without: curator Sarah Graff; Robert Macfarlane; conservator Carolyn Riccardelli; conservator Jack Soultanian; and art historian at the University of York, Erhan Tamur. And special thanks to: the scholarship of art historians Luke Syson and Valeria Cafa. To see images of the statue of Gudea and Tullio Lombardo’s Adam, or to watch a timelapse video of Adam being put back together, visit The Met’s website at metmuseum.org/immaterialstone I’m your host, Camille Dungy. ### "])</script><script>self.__next_f.push([1,"30:T258b,"])</script><script>self.__next_f.push([1,"How to Read European Decorative Arts, the latest volume in The Met’s How to Read series, illuminates European artistry and ingenuity in decorative arts from the High Renaissance to the Industrial Revolution through forty exemplary objects. I spoke with curator and author Daniëlle Kisluk-Grosheide about the categorization of fine and decorative arts, the role of anonymous female artisans in European workshops, and what eighteenth-century artists might think of today's Marie Kondo minimalism. Delia Cruz Kelly: From the outset, How to Read European Decorative Arts reexamines the value of the field by interrogating perceptions of these works as “merely decorative.” Instead, you position decorative arts as holding equal importance as fine arts. To begin, can you distinguish the decorative arts from the fine arts and speak to the ways your scholarship has questioned the hierarchy of these categories? Daniëlle Kisluk-Grosheide: There is still a clear distinction felt between the decorative arts and the fine arts of painting, sculpture, and architecture. That difference came into being during the Renaissance when people began characterizing the fine arts as having to do with the creative process, which elevated these art forms above the mechanical arts (as the decorative arts were also called). Decorative arts, made by craftspeople, resulted in more utilitarian objects that could also be ornamental. I was thinking about that distinction when writing this book. I’ve worked as a curator of decorative arts all my life, and sometimes it feels like we are the props department. Sometimes we are asked: “Do you have an object similar to what is depicted in this painting?” I think the decorative arts deserve a second consideration. Why is a figurine in porcelain called a piece of decorative art whereas a statue of clay or marble is called sculpture? Sometimes the same artists worked on both types of objects. Very often the designs of decorative arts were borrowed from the compositions of or specifically created by fine artists—sculptors, draftsmen, and painters. There is not always such a clear distinction. The fields very often overlap, and that’s what I wanted to raise in the introduction of the book. The publication accompanies a small installation in Gallery 521, on view through August 2024, and I hope that both will help visitors reevaluate the placement of the decorative arts. Why is a painted scene not considered a painting when it is rendered on a fan or a piece of porcelain? Cruz Kelly: You’re speaking to a standard of mastery that we see in both the fine arts and decorative arts. This book considers the contributions of a few renowned masters, such as the Dutch cabinetmaker Jan van Mekeren and the Italian goldsmith Andrea Boucheron, but some of the most stunning objects, like the gorgeous, embroidered chest with scenes from the Story of Esther, or the soft-paste porcelain flowers manufactured in Vincennes, just east of Paris, are lesser-known and unattributed. Whether objects are produced in a workshop or privately at home, artisan anonymity—especially that of female creators—seems more common in the decorative arts. What does our limited understanding of where and from whom these objects come from tell us about the role of the maker in European decorative arts? Kisluk-Grosheide: There are many works in the decorative arts for which we do not know the name of the maker; in fact, there are probably more unattributed works than those that are signed and dated. As you noted, for many works such as the fan on the cover of the book and the flowers most likely made at the Vincennes manufactory, we don’t know the makers’ names and that could be because they were women. Women were not usually members of the guild. Their names were not recorded. Yet, the daughters and wives of masters in certain workshops probably made up about half of the workforce. It’s only in rare circumstances that we have evidence of women’s contributions. We have an enamel casket by Susanne de Court; she was a sixteenth-century artist working in Limoges, France. She quite often initialed her works or signed her name full-out and yet we know very little about her, but her signature is evidence that there women active in this field. Makers often didn’t identify themselves, although occasionally they did. There is this amazing silver ewer included in the book by Adam van Vianen, a goldsmith. Rather than stamping the silver with his master’s mark, he signed and dated it as an artist would sign and date a work of art. Again, there’s that crossover between the fine and decorative arts: it seems Van Vianen identified more as a sculptor—a sculptor in silver—than as a goldsmith or silversmith. I love examples like this. Cruz Kelly: This book’s incredible variety of objects, materials, technologies, geographic origins, and time periods is rarely seen together in one publication—essentially, these forty objects represent three centuries of European history. Can you tell me about your selection process and the opportunities this collection affords to both new students and experienced collectors of decorative arts? Kisluk-Grosheide: The selection was difficult! We hold about sixty thousand objects in the Department of European Sculpture and Decorative Arts, and I was trying to be as complete as possible and find representative objects from different parts of Europe. Our holdings are stronger in English, French, Italian, and German than in Scandinavian or Spanish art, but I tried to find objects from different periods and different geographical locations that modeled different techniques, while also being mindful of certain stories I wanted to tell regarding women artists and colonial histories. These are difficult histories to tell, but I felt they were important to include. Intentionally, I have not chosen some of our most famous pieces. For example, Marie Antoinette’s black lacquer furniture has been written about so often, by others and also by me. Frankly, I thought I had said what I could say about it. Let’s find something else. I combed the online collection; I went through the galleries and to the storeroom. I was looking for specific types of objects and different kind of pieces, but I could’ve chosen forty other ones. Some artworks are new acquisitions, others just spoke to me, and some pieces had interesting stories that made me want to learn more. It is by no means a full history of the decorative arts, but this selection points out different techniques, materials, and narratives that hopefully will be of interest to the reader. I think this book is a bit like a cookbook of forty chapters: you don’t have to read it from beginning to the end. When you leaf through a cookbook you see a beautiful illustration and think, hat looks delicious. Let’s read this, and maybe, I can make that!” In this case it’s, “Oh! That looks like an interesting object. What is it? How was it used, or how was it created?” That’s what I hope this book will do: inspire people to look at the decorative arts and take an interest. All of us, even if we feel we have no knowledge of the decorative arts, are surrounded by objects daily. Everything we use today was made by someone, designed by someone, and that was also true hundreds of years ago. Cruz Kelly: While reading, I was struck with a real sense of amusement in objects like the kitschy porcelain figurine, The Kiss (ca. 1745). The figurine shows a couple locked in embrace and seems to serve no other purpose but enjoyment. We live in a world of Marie Kondo minimalism where we’re all looking at our belongings and asking, “Does it spark joy?” Do you think Europeans of the sixteenth through eighteenth centuries were asking themselves the same question? What can you say about the influence of aesthetics on the production of objects for display and entertainment? Kisluk-Grosheide: That’s a good question! I think art has always given joy, certainly to their owners and collectors. Why would you collect if not for the pleasure of looking at the work of art? With the decorative arts, the joy of an object is not only about looking but also about handling it: feeling its weight, touching the surface, bringing it closer to the eye, sometimes perceiving the scent that is emanated by certain pieces. That’s the wonderful thing about the decorative arts; these objects have always engaged various senses and sparked joy and pleasure in different ways. I don’t know exactly when the Marie Kondo minimalism came into being, certainly not in the eighteenth century! Still, I think we marvel at how things were made in the same way someone in the eighteenth century might have. “Look at this perfect piece of porcelain!” I think the response today is the same as when these objects were new, hundreds of years earlier. “These pieces were also, at times, status symbols just like over-the-top Rolex watches are today.” These pieces were also, at times, status symbols just like over-the-top Rolex watches are today. Nobody needs a watch now, because every gadget we use—our computers, phones, and microwaves—tell time, yet people still want the Rolex. It was no different for Europeans in the sixteenth through eighteenth centuries. The longer I study decorative arts, the more I'm convinced that we as human beings haven't changed. The decorative arts still give us pleasure. They enrich our lives, and they are lovely objects to show off and share with friends. "])</script><script>self.__next_f.push([1,"31:T3557,"])</script><script>self.__next_f.push([1,"On the first floor of The Met Fifth Avenue is a suite of seven galleries containing works of art collected by Jack and Belle Linsky during the early twentieth century in the tradition of Europe’s princely patrons. Chief among the objects are eighteenth-century porcelain figurines originally made as a form of courtly luxury for rulers such as Augustus the Strong, the founder of Meissen manufactory in present-day Germany. When the Linsky Galleries first opened at The Met in 1984, the designers and curators intended to replicate the spirit of the couple’s Fifth Avenue apartment. The display did not feature interpretative labels. I’ve often walked through this winding sequence of small galleries as a fellow of the European Sculpture and Decorative Arts Department and overheard visitors puzzled by this collection of porcelain figurines. At first they might look like courtiers plucked out of a pastoral Boucher painting or one of Watteau’s fêtes galante. But at a second glance, some subjects and characters may appear problematic or offensive. When I first encountered the hunting group, produced by Höchst Manufactory, I was enamored with the curving rocailles of the gilt-bronze base, the vibrant enamel, and the meticulous details modeled in porcelain. At the apex of the scene, two hunters are framed by a wine cooler and a dead stag; the men are celebrating a successful outing. Upon closer inspection, I noticed a third figure kneeling in the foreground. Was he also a hunter? The object label identified the young man as an attendant; however, his deeply pigmented Black skin, sumptuous costume, smaller scale, and gilded neck collar (the latter a symbol of enslavement) differentiates him from his white counterparts. This is a figure known as a “blackamoor,” a historical term used to refer to ornamental, exaggerated, and often caricatured depictions of Black Africans. In studying this and other porcelain figurines like it, a key question arises for me: How can we begin to address these technically sophisticated objects, once imagined by many as the height of luxury, when they appear to us so different today? With my mentor, Dr. Iris Moon, assistant curator in the European Sculpture and Decorative Arts Department, I saw an opportunity to revisit this area of the Museum’s collection in order to incorporate new narratives. We imagined a project that would reframe the Linksys’ significant collection of porcelain figurines around relevant topics such as race, labor, colonialism, and global commerce. Doing so would highlight the important role of the decorative arts in negotiating these issues. We set out to write a series of interpretative texts that would help visitors in the Linsky Galleries ask one key question: Why look at porcelain figurines from the eighteenth century today? I found that this task was more difficult than it first appeared. Writing engaging label copy for a general audience is among the most challenging aspects of curatorial work, especially when the artworks in question include racially sensitive depictions. Why look at porcelain figures from the eighteenth century today? Eight object labels now guide viewers through Galleries 538 and 543. We selected porcelain figurines from some of the most significant European manufacturers of the period, including Höchst, Meissen, Mennecy, Nymphenburg, and the Russian imperial and Danish royal manufactories, and drafted new texts that position these objects in historical contexts and interpretative frameworks for the first time. While working on this project, we wanted to be careful to distinguish the early collecting history of the Linskys from this current reinterpretation. I conducted research in The Met archives, which revealed information about the Linskys as individuals and collectors. Jack Linsky (1897–1980) was born into a poor family in northern Russia and immigrated to New York in 1904. Through family friends, Jack met Belle (1904–87), who had immigrated to New York from Kyiv, and the couple married in 1925. Belle was an efficiency expert at the company Jack founded, Swingline—a brand name that has become synonymous with staplers and office supplies. In their life together, they were business partners, philanthropists, and art collectors. After Jack’s death, Belle donated their considerable art collection to The Met. Belle hoped the installation would honor her husband’s life and that the galleries would make people “feel they are visiting the home of a special, intimate friend.” [1] In conceiving the Linsky Galleries at The Met, designers Henri Samuel and Harold Eberhard worked with former curators to transport audiences to the Linskys’ sumptuously decorated Fifth Avenue home. Even before Belle donated their collection to The Met, guests described the Linsky’s palatial fourteen-bedroom apartment as “a museum.” One of their former accountants claimed that some rooms were “roped off because [the collection] was so valuable. You had to sit in another room.” [2] Jack and Belle displayed the majority of their porcelain inside seven cases, with the works arranged by region of production or manufacturer. Met curators maintained a few of the original object groupings, but in some instances, they deviated from the Linskys’ display to create cohesive narratives—for example, grouping commedia dell’arte figurines in one vitrine and pastoral subjects in another. Though intimate in scale, porcelain figurines made in the eighteenth century were luxury objects used to convey the power and refined taste of the person who possessed them. Each of the works we selected for this project once spoke to its owner’s status, even if we rarely know to whom they originally belonged. In the 1700s, people acquired porcelain figurines in various ways. In London, they could be found at luxury or “toy” shops. In Paris, marchand-merciers sold them, frequently modified to include a sculptural brass mount, a clock, or additional porcelain flowers. Rulers like Elector and King Augustus the Strong and Empress Catherine the Great often commissioned and gifted porcelain to assert their power. In the Linsky Collection, the miniature portrait of Augustus made of stoneware—a predecessor to the hard-paste porcelain developed at Meissen—shows the despot wearing his royal coronation attire, commemorating his political power as the new king of Poland. Catherine encouraged the Russian Imperial Porcelain Manufactory to produce works such as the People of Russia group. Its depiction of Indigenous peoples, like the Kirghiz man and the female shaman, was a celebration of Russia's colonization of Siberia. [3] Duke Carl Eugen of Württemberg commissioned a set of ballet figurines from his factory in Ludwigsburg to adorn an elegant dessert table on his thirty-fifth birthday. Actual performances he had witnessed inspired the costumes and poses of the dancers. Here we see even a duke harnessing the power of luxury—in the form of locally made porcelain symbolizing his courtly entertainment—as propaganda. [4] By manufacturing and disseminating these Ludwigsburg ballet figurines, Carl Eugen promoted the idea that his reign should be associated with courtly spectacle, luxury, and the technical innovation of porcelain production. Booming global trade routes in the eighteenth century brought a wealth of products to European buyers. Consumables—chocolate from Mesoamerica, coffee from the Levant, tea from Asia, and sugar and snuff (powdered tobacco leaves) harvested by enslaved people in colonized territories in the Caribbean and North America—were prized commodities. These luxury goods spurred demand for specific serving and storage vessels, often made of porcelain, but the culture around their enjoyment is also reflected in porcelain figurines. One figural group shows an anonymous wealthy couple embracing as they consume hot chocolate. The man was likely a member of the Freemasons—a secret classicist society for men—indicated by the Masonic apron in his lap. The attentive pug and the ribbons on the woman’s wrists and collar may suggest that she was a member of Mopsorden, the Order of the Pug, which offered memberships to men and women from the nobility and wealthy bourgeoisie. In this Meissen group, the couple’s social and economic capital is linked to the history of chocolate in Europe; the costs of consuming chocolate (including the vessels and occasional sugar used to prepare it) made it a luxury enjoyed only by the elite. For several centuries, elaborate ephemeral sugar sculptures adorned the banquet tables of wealthy European patrons, which were eventually supplanted by porcelain figurines. Like the aforementioned figural group, this pair of sugar boxes with “blackamoor” figures also combines a male and a female body with an edible luxury—this time, sugar. Meissen originated this type of composition, but competing manufacturers in Nymphenburg and Vienna quickly developed their own versions. The tone of these figures, however, differs significantly from that of the couple drinking chocolate. Here, the pairing of the sweet commodity and Black bodies suggests the inextricable links in the Western imagination between luxury, capitalism, and the enslaved labor that harvested sugar. Beneath the luxury, leisure, and courtly entertainment of eighteenth-century Europe were the imbalanced systems of commerce and labor that made them possible. Porcelain figurines reproduced the contemporary interests of elite society on a miniature scale. The diminutive bodies, sumptuous attire, and glittering surfaces can be disarming and seemingly incongruous with the sobering themes implicit in their subjects. The large number of racialized depictions among these figurines raises questions about the purposes they served for consumers at the time. Although some of the examples in the Linsky Collection had a functional purpose, objects like the Meissen nodding pagod indicate aristocratic interests in spectacle and whimsy that devolved into mockery. The figure is depicted with hands hovering above a protruding belly, mouth parted in an open grin, and elongated earlobes that hang just below his jawline. These figures were interchangeably called “pagods” or “magots,” both imprecise and derisive terms used to describe an imagined Chinese or Japanese monk. Many porcelain pagods, including this Meissen example, were outfitted with hidden mechanisms to make the head and arms bobble when touched. Although the Meissen nodding pagod became a widely popular and endlessly copied chinoiserie luxury object, meant to delight and amuse the owner, today it is difficult for many viewers to see beyond the grotesque and offensive racialization of the depiction. When discussing my research with colleagues and students, many people are surprised to learn that figurines featuring exaggerated caricature based on racial stereotypes are standard works in the history of European porcelain. The fact that large quantities were made, sold, and collected throughout Europe suggests the serious social capital with which these luxury objects were imbued. The development of these works should be understood within the context of the European Enlightenment—a time during which Bernard Mandeville touted the commercial and societal benefits of luxury, while authors like Johann Caspar Lavater and Georges-Louis Leclerc, the Comte de Buffon, developed theories on human variety and invented racial hierarchies. In turn, Edward Long—enslaver, writer, and British supporter of Jamaican plantocracy—based his literary defense of enslavement on many of these Enlightenment philosophies. In many ways, these debates informed the production of racialized porcelain figurines like the Höchst hunting group, where an unnamed “blackamoor” is frozen in a pose of perpetual servitude. The ubiquitous presence of racialized porcelain figurines, displayed in the domestic interiors of eighteenth-century aristocrats among their voluminous decorative arts collections, served to normalize and reinforce racial hierarchies. In the museum context, the absence of explanatory labels for the Linsky figurines encourages a surface-level reading of eighteenth-century porcelain as an entertaining tabletop garnish. With the addition of these new texts, we hope to contextualize these important objects and explore their changing meanings. [1] Avis Berman, “The ‘Girl with the Special Eye for Art’” ARTNews (September 1982): 87. Return [2] John R. MacArthur, The Selling of “Free Trade”: NAFTA, Washington, and the Subversion of American Democracy (New York: Hill and Wang, 2000): 15. This quote came from Howard Pollack, of H.T. Schwaeber \u0026 Co., Jack Linsky’s former accountant and tax preparator in the 1960s. Return [3] Jack and Belle Linsky began amassing this collection of Russian figures in the 1940s, purchasing one piece a year from the “personal collection” of a Russian dealer named Popov. Years later, Belle Linsky said she “was invited to go to the warehouses of the [Popov Porcelain Factory] museums. But they didn’t have any eighteenth-century porcelain there. Of course not… I have it!” Gary Graffman, “The Natural,” Connoisseur Magazine (June 1983): 87 – 88. Return [4] Clare Le Corbeiller, “Figures to Adorn the Middle of the Desert,” Figures from Life: Porcelain Sculpture from The Metropolitan Museum of Art ca. 1740-1780. Edited by Cynthia Duval (Boston: Museum of Fine Arts, 1992): 9. Return "])</script><script>self.__next_f.push([1,"32:T7a7,England, under the volatile Tudor dynasty, was a thriving home for the arts. An international community of artists and merchants, many of them religious refugees, navigated the high-stakes demands of royal patrons, including England’s first two reigning queens. Against the backdrop of shifting political relationships with mainland Europe, Tudor artistic patronage legitimized, promoted, and stabilized a series of tumultuous reigns, from Henry VII’s seizure of the throne in 1485 to the death of his granddaughter Elizabeth I in 1603. The Tudor courts were truly cosmopolitan, boasting the work of Florentine sculptors, German painters, Flemish weavers, and Europe’s best armorers, goldsmiths, and printers, while also contributing to the emergence of a distinctly English style. Join Elizabeth Cleland, Curator in the Department of European Sculpture and Decorative Arts, and Adam Eaker, Associate Curator in the Department of European Paintings, to explore The Tudors: Art and Majesty in Renaissance England, which traces the transformation of the arts in Tudor England through more than 100 objects—including iconic portraits, spectacular tapestries, manuscripts, sculpture, and armor—from both The Met collection and international lenders. The exhibition is made possible by Alice Cary Brown and W.L. Lyons Brown, Frank Richardson and Kimba Wood, Barbara A. Wolfe, the Diane Carol Brandt Fund, The Coby Foundation, Ltd., The Klesch Collection, Ann M. Spruill and Daniel H. Cantwell, and Sharon Wee and Tracy Fu. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. It is organized by The Metropolitan Museum of Art and The Cleveland Museum of Art, in collaboration with the Fine Arts Museums of San Francisco. The catalogue is made possible by the Diane W. and James. E. Burke Fund. Additional support is provided by the Hata International Foundation and the Samuel H. Kress Foundation. 33:T72b,With its hand-colored illustrations, this splendid book is a feast for th"])</script><script>self.__next_f.push([1,"e eyes just to leaf through. But it was designed and marketed to meet a specific function: detailed instructions explained to privileged owners—amongst them Tudor King Henry VIII—on how to turn the paper dials according to dates and star signs, to create their own astrological charts and forecasts. Sixteenth-century royalty and scholars alike combined the desire for knowledge with the long-held belief that it could be gathered from the movement of the stars: from predicting one’s health to the weather and ideal moments of susceptibility—or conversely, obtuseness—the heavens provided meaning and guidance in an unstable world. Featured Artwork: The Astronomicum Caesareum, written by Petrus Apianus (1495–1552), illustrated by Michael Ostendorfer (ca. 1490–1549), Ingolstadt, 1540. Printed text on paper with hand-colored woodcut illustrations, 17 7/8 x 12 11/16 in. (45.4 x 32.3 cm.). The Metropolitan Museum of Art, New York, Gift of Herbert N. Straus, 1925 (25.17) https://www.metmuseum.org/art/collection/search/337061 Director: Kate Farrell Producer: Bryan Martin Writers: Ana Matisse Donefer-Hickie, Angelina Ding, and Bryan Martin Video Editor: Angelina Ding Camera: Kelly Richardson Gaffer: Josh Schneiderman Gaffer Assistant: Jonathan Meija Production Coordinators: Lela Jenkins, Aurola Wedman Alfaro Narration: Ana Matisse Donefer-Hickie Music: Austin Fisher Post Production Sound: David Raymond Paper Conservation Conservator: Yana van Dyke General Manager of Collections: Denny Stone Thanks to: Elizabeth Cleland, Adam Eaker, Melissa Bell, and Mandy Kritzeck Subscribe for new content from The Met: https://www.youtube.com/user/metmuseum #TheMet #Art #TheMetropolitanMuseumofArt #Museum © 2022 The Metropolitan Museum of Art "])</script><script>self.__next_f.push([1,"15:[[\"$\",\"$L2c\",null,{\"data-sentry-element\":\"Breadcrumbs\",\"data-sentry-source-file\":\"page.tsx\"}],[\"$\",\"$L2d\",null,{\"initialResults\":{\"took\":2,\"timed_out\":false,\"_shards\":{\"total\":1,\"successful\":1,\"skipped\":0,\"failed\":0},\"hits\":{\"total\":{\"value\":132,\"relation\":\"eq\"},\"max_score\":null,\"hits\":[{\"_index\":\"articles-1732299626496\",\"_id\":\"XUoaVZMB4PeigmMB_YZi\",\"_score\":null,\"_source\":{\"sanityId\":\"KLVqzQL7KTVccOrMxfdIGC\",\"title\":\"Meet Me at The Met: Amor Towles\",\"slug\":\"amor-towles\",\"thumbnailUrl\":\"https://cdn.sanity.io/images/cctd4ker/production/fed7490587933562e45ebc0f543cc4cb45d030e8-1920x1080.jpg?w=500\u0026fit=max\u0026auto=format\",\"articleTopics\":[{\"title\":\"Inspiration\",\"slug\":\"inspiration\"}],\"body\":\"Writer Amor Towles finds inspiration in a visit to one of his favorite places in The Met, the magical studiolo from the Ducal Palace in Gubbio. 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