Roger Griffith, Associate Sculpture Conservator: So we’re going to start with the rotor blades.
Roger: Oh my god.
Joy Bloser, Fellow in Sculpture Conservation: Nice!
Roger: Did you see the dome? Look.
Joy: Yeah, it’s gross.
Roger: Wow.
[whistling]
Joy: Not a bad Monday!
Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture: Alright. I think a legit fourteen is okay. Don’t you?
Anne Umland, The Blanchette Hooker Rockefeller Senior Curator of Painting & Sculpture: I mean, I’m fine.
Preparator: Okay, I’m on.
Pedro Cruz, Preparator, Collection Management and Exhibition Registration: We’re coming down, let’s get the blocks out, five inches,
Preparator: Yep. Yep.
Pedro: So move the top strap a little bit…beautiful —
now we remove the nine inches, remove the ladder...
and remove the tape.
Pedro: Very nice job, everybody.
Peter Perez, Foreman, Frame Shop, Exhibition Design and Production: The thing about framings is that
we don’t always know that the artist actually put the art in the frame,
or actually even saw the frame.
Peter: In the case of Van Gogh, you know, he has his brother put the frames on,
and then he talked about the kind of things that he liked,
and one of the things that he said that he liked was a black frame.
Peter: This is from the letters between his brother and him.
And he did have kind of strong opinions about framing, which is good for us.
Peter: Uh…
A little higher?
Peter: Yeah, on the right side, on this side, you can see light, so you need to come up on this side.
Peter: Okay, that’s it. Yep.
Peter: As you know, they’re being picked up at 1:00 p.m., to go to the floor.
Amy Sillman, Artist: I remember picking a hundred works, and saying to all the people I was working with,
I want to...I want the works to be on a kind of bleachers, so that the works are like the figures,
so that you as the person who is looking is being looked back at by a crowd.
I want a crowd of artworks on a kind of literal, like, stadium seating,
and then Aimee Keefer, who is the amazing designer, was the one who figured out the angles,
where the things lower, so that you didn’t have to go like this.
The lower things were at this angle, the things in the middle were at this angle,
and the things at the top were at this angle,
and that was genius because then, these works move from your feet,
which is the most important part of your body, in my opinion,
to up the wall, rather than having sort of having ascended alit and being sort of suspended there forever,
and then creating this gulf between you and it.
Sarah Meister, Curator, Photography: Fabulous. Okay, so right back where it was?
Sarah: Yeah, I think, maybe a shade cooler? Yeah. It’s nice.
Sarah: I’m just worried noboby’s going to be able to see the daguerreotype. Is there a way of making
this wall more targeted that would make it…?
Lee Ann Daffner, Photography Conservator: Yeah, if we do more of a spot.
Sarah: This is just a wall wash — it’s just a three-foot candle wall wash.
Lee Ann: Well, yeah, but it looks so good! Right?
Sarah: Yeah.
Sarah: I want these things to glow. I mean, I want them to be safe, but I want them to glow.
Lee Ann: 9 –
Sarah: Shucks!
8
10
8
7.5
7
6
5.8…
Sarah: 5.8?
Lee Ann: Can you go down a little bit more?
Lee Ann: That’s 4.7.
Sarah: Okay, and that gives us what for this?
Lee Ann: 5.5.
Sarah: The magic number.
Ramona Bronkar Bannayan, Senior Deputy Directory of Exhibitions and Collections: Okay, so we’re still missing…
Lana Hum, Director, Exhibition Design and Production: They’re coming up after lunch.
Ramona: They’re coming and the frame is finished now?
Lana: Yep! These two, the two Picasso’s are coming in after lunch.
Ramona: Okay, and I guess we’ll just have to look at the Stella, but I think yeah we’re almost -
Lana: I know.
Ramona: I know our punch list meeting this evening is going to be much smaller as we go through the list.
Lana: I hope it’s a one-pager.
Ramona: A one-pager? Oh yeah, good luck with that.
Lana: I know.
Ramona: It’s not quite one page, but we’re getting there, we're getting there.
Betye Saar, Artist: I like that, who did that, I wonder.
Betye: Oh yeah! Here’s the big mural. Yeah, we were just planning that.
Betye: It is good lookin’, I’ll say that.
Esther: What do you think?
Betye: Looks good!
Esther: I think so too.
Betye: Looks good.
Ann: Okay you guys.
Roger: Should we just do it, should we try?
Joy: So Ellen, you’re doing the rotor?
Roger: Ellen’s going to do the rotor.
Roger: Alright, here we go!
Joy: Did you look up?
Roger: Yeah, I did.
Joy: That was gross.
Rik Vanmechelen, Manager of Enterprise Applications, Information Technology: Well look at that! Oh, 6 is misbehaving like it always does, okay.
It cut the last one right? Okay.
This one didn’t. Please be good, please be good, you can do it, come on.
If it was a software problem, it would be for all of them, so it has to be, like, hardware related, right?
Ryan Sprott, Developer, Apps, Information Technology: Yeah, I agree.
Rik: Okay.
It starts off wrong already.
Oh, that one too?
Ryan: Well, just-
Rik: And it’s not the paper stock either, right, like you’ve swapped paper stock of this with another one?
They should all aspire to be more like P7.
We’re not open just yet, but I…
Tunji Adeniji, Chief Facilities and Safety Officer, Facilities and Safety: Good morning, welcome back!
Good morning, welcome to MoMA.
♫ Decorator tainted with insanity. ♫
Fred Liberman, Volunteer: Hey, Chet, how are you?
Chet Gold, Security Supervisor: I’m groovy, how are you feeling?
Fred: Okay! Great, great.
Chet: I like the fluffy beard.
Chet: The closure was very, um, what’s the right word?
It was surreal.
Without people here, it kind of loses its…
Chet: The people create the energy here.
I really like this room, the way it’s set up, the way it’s kind of salon style.
This room feels really good. But you know where I’m taking you…
Chet: Oh, it’s back!
It was hard not to have it this summer,
‘cause there was a lot of work in here, so it wasn’t up, but I’m happy it’s back.
I think the seats feel like lily pads too.
Chet: Yes, this is still going to be the zone to decompress
but yeah, so you know we had to come here.