A number of decisions must be made quickly in advance of two exhibition openings, “Louise Bourgeois: An Unfolding Portrait” and “Max Ernst: Beyond Painting.” See what it takes to run a modern museum in our new documentary series: “At the Museum.” A new episode premieres each Friday on YouTube: http://mo.ma/subscribe
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Shipping and Receiving (Episode 1) | AT THE MUSEUM
The Making of Max Ernst (Episode 2) | AT THE MUSEUM
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0:07 Chief curator emerita Deborah Wye and curatorial assistant Sewon Kang use an empty frame to assess the light quality in the Marron Atrium ahead of the opening of “Louise Bourgeois: An Unfolding Portrait.”
1:13 Sculpture conservators climb up an exterior ladder to clean Rachel Whiteread’s “Water Tower” (1998).
1:27 Debbie and Sewon consider which Bourgeois spider to display in the Marron Atrium with exhibition designer Matthew Cox. Which spider do you prefer? Let us know in the comments below!
3:11 The title wall for “Max Ernst: Beyond Painting” is applied using silkscreening and vinyl blow-up techniques.
3:50 Art handlers hang Max Ernst’s “The Blind Swimmer” (1934).
4:18 While Louise Bourgeois’ “Spider (Cell)” (1997) is installed in the Marron Atrium, Bourgeois’ former assistant, Jerry Gorovoy, advises on the installation with Debbie, Sewon, and Matthew.
5:48 Curators Anne Umland and Starr Figura assess progress on the Max Ernst installation a few hours before it is scheduled to open to the public.
6:29 Anne and Starr invite a colleague to take a closer look at a painting from Ernst’s “Microbe” painting, titled “Adam and Eve Expelled from the Garden of Eden” (1946-47). Can you spot Adam and Eve? Let us know in the comments below!
7:35 Sewon gives a tour of “Louise Bourgeois: An Unfolding Portrait” to a group of MoMA educators several days before the exhibition opens to the public.
9:28 A team of art handlers and registrars put the finishing touches on the exhibition “Max Ernst: Beyond Painting.”