The Making of Max Ernst (S1, E2) | AT THE MUSEUM

The Making of Max Ernst (S1, E2) | AT THE MUSEUM

This is crazy. This is ridiculous. It’s getting me up for my mid-afternoon drowsiness. For some reason I thought it was going to
be like really easy. I guess there’s no reason it needs to be
in. Can we do it? It fits, I think. No it’s not this one! Oh, oh, oh. We’re good, we’re good. Yeah, we’re just doing the stairs, this is
not good. But is it going to fit in the stairs? We’re going to see, I don’t know. It was a great attempt Plan B. Sorry. It’s okay. It’s the same process. Lift high. Do you want me to go under? Yeah, but hold on you have to rest it. Okay. Got it? Yeah. You want to put it… there. What do you guys think of this idea of kind
of starting over here on the left with the book-like situation in the vitrine and then
this idea that the pages are kind of floating out and around What’s happening there? Those are the four pieces that are gonna be
on that wall? Mm-hmm. For the, I mean, that’s what we were thinking. Yeah. What do they call that? The microbe? Yeah, yeah. Oh, I think it’s great. I think it’s gonna look beautiful. I just…I mean, I would…I like this better
than just not having any prints on top. Like if it were to be isolated but having
the prints on top and having that, the whole thing works together. So we’re on the second floor, a former print
galleries. The show is called, “Max Ernst: Beyond Painting.” It’s all works from MoMA’s collection but
across all the departments and mediums. So, “Beyond Painting,” is a phrase of Ernst’s referring
to the way that he worked. One of the reasons we have such amazing holdings
of Max Ernst’s work is because we began to collect him very early on. The earliest works in this show were acquired
for the museum in 1935, and we’ve sort of kept going ever since then. And that is why we’re able to tell this story
of this incredibly inventive artist in such a synoptic way, just by going to our storage
vaults. I don’t have those even. Yeah, move that that way. Yeah, a little bit to that way…to the left. The center one? Yeah, center one to the left. I don’t know if they’ll have that much space
in the mat but… We’re testing everything so we’ll know how to lay out the walls. You know, in some museums, you put a show,
the walls were already there and so you just work with what you’ve got and you make it
look as good as you can. But at MoMA, every time there’s a new exhibition,
we invent new walls for the most part for the special exhibitions. So in a way, it’s great because you think
that you’ve got any idea that you wanna do, you can use. But when you have limitless possibilities,
that’s a problem too. You know, sometimes limitations are good and
they help you, but right now, I’m happy that we have the chance to make them exactly the
way we want to. Does it look like plaster? It’s plaster but Anna just did some reflective
FTIR analysis and it’s actually, most probably oil paint. FDIR? FTIR. That’s that machine over there. The Fourier… Yeah. So I think it might be better to say oil and
plaster on… On canvas. And it’s actually, I mean, it’s canvas but
it’s burlap. I would say burlap, maybe it’s more specific. Ellen, was I correct in that you were saying that now that you’ve taken
the varnish off of “Birds Above the Forest,” that there’s a real similarity between the
pigments? I’m just…at least, visually because we haven’t
done analysis on this one, but just visually, this black just feels much more similar, like
they’re both very matte velvety black. And they’re very close together, so, you know,
it could be a material that he’s just had. Just had…has round? So if we get more information about what the
actual pigment is here, it might be interesting to compare. Compare the two. Yeah. And had you gotten to see “Birds Above the
Forest” without its varnish on? No. There’s still a little remnant just for a
reminder but this is how glossy the varnish was. Wow. Oh my God. So it’s a pretty dramatic change. To me, it feels like that one should be a
little higher. The king? The big one. Really? No? Huh, okay. I was thinking it looked pretty good. Okay, but let’s see it higher. Very… Imposing. Imposing, yeah. Looks much more… Like he’s looking down on everybody now. Kind of annoyed. Which is kind of good, it’s more imperious. Very. Yeah. I think maybe that’s good. Got to look at him from far away. Yeah I think I’m good with that. This one to me feels the least likely. I think it’s too light but…okay. This is the only one that’s kind of a true
grey. Can we…let’s just hold it up a little bit. Wow, it’s nice. It’s nice. They change, when, you know. When they are on the wall. Don’t forget you’re looking at these against
a white background which also affects the way you will get the color. The way we perceive it. Yeah. Can we see the lighter ones though, just because
they seem to get darker the moment we put them on the wall? Yeah. Which one of these… Hold it up for a second. Well, that’s like a slight, warmer version
of that one a little bit. This thing is… That one’s more blue, isn’t it? Yeah. Do you want more hashtags? You can hashtag Max Ernst. Okay. Beyond painting. I never like too many hashtags. I think they’re
annoying. So basically, we’ll just put some tape on
the back and then we usually put more on the top just to make sure. I think so, right? Yeah, that’s the top. Okay, let’s have a look. And we just have to fix the…like where the
M and the E meet, the contour so it feels straight. I mean, I guess, we might as well just go
here if we can. Yeah. I mean, yeah, wouldn’t we just want more
space Yeah., It’s not even that much of a difference
in the end but the more, the merrier. Because this wall’s not moving anymore, right? I don’t think so, yeah. I think they’re just asking about the script. Okay. That’s it. So we’ll just wait and then see what they

Dereck Turner

28 thoughts on “The Making of Max Ernst (S1, E2) | AT THE MUSEUM

  1. JBL Creations says:

    What a wonderful overwhelming experience it must be to stand so close to all those amazing works of art. Not some copy but the originals, to know your handling the ones that Rothko and Kline painted with their own two hands. Don't ever take that for granted.

    A side note: The two young guys moving the display model around. There has got to be a better way to move that. Can you not glue it down well enough so you could have stood it up in the elevator? How about building it in sections. All the parts need to be a magnetic system, not sure if that would work or not.

  2. Richard Lund says:

    Nice to see all the many many details that go into preparing for an exhibition. I flew in from NC just to see the Max Ernst show at MOMA on a weekend. This added something nice to the wonderful memory of the exhibition.

  3. Debbie Meyer says:

    Oh, my! Love watching the way museums work. Especially MOMA. Please, more!

  4. Jay Sato says:

    the stairs reminds me of friends when they lifted the couch

  5. Christian Egon Bärnthaler says:

    super 1

  6. Shiao says:

    I've learned so much. Please make more! please please 😛

  7. Bad Cat Productions says:

    2:58 sexy voice )

  8. Ed Leonardi says:

    I love this series!!! More, please!!!!

  9. Ady Ads says:

    Makes you appreciate the museum experience so much more seeing the work that goes on to create it. Enjoying the series thus far.

  10. Rotter Red says:

    I've just begun this series (saw #8 uploaded today) and am enjoying it immensely. I don't know if I will get a reply from anyone at MoMA (or from anyone who could answer my question), I was curious about Ellen's (I think I heard her name right) job. In the previous episode, I saw her using a flashlight on the paintings and then later a vacuum cleaner, and she was making these notes. What is her job, and can you tell me a little about it? Thank you.

  11. mukund p says:


  12. goodboybuddy1 says:

    I am so amused at this process of 'design by committee'. Everyone is being so polite that it's hard to figure out who's in charge. Ernst would laugh, for sure.

  13. Hongzheng Han says:

    After the episode, the two guys carrying the museum layout had been fired. (Just kidding…)

  14. Hillside Arts Collective says:

    Wonderfully insightful to witness how, the many talented people from MoMA, assemble an exhibition…. thank you!

  15. Raj Singh Arora says:

    Every time I go to New York ….. I visit MOMA….. I love MOMA :)))

  16. Gabriel Tavares says:

    omg i luv this so such. It feels like a dream come true.

  17. Richard Goode says:

    Great as art as a collection of a aspect to art.


    I laughed so hard when that lady curator said " i dont like too many hashtags, I think they are annoying" …HAHAHAHA funny because its true.

  19. Jason Hanson says:

    I wonder if the staff member painting the wall realizes that he too now has a painting in The Museum of Art? : )

  20. jukestaposition says:

    The model could have easily fit the elevator if they tilted it longitudinally just like when they entered the stairs –.–

  21. Jmpsthrufyre * 665 years ago says:

    I sometimes wonder what some of these abstract or surreal artists who have passed would have thought of digital medium or what they would have done with it

  22. Jesse Garza says:

    somebody make a decision – for fck sake. When everyone decides, NOBODY is responsible.

  23. KamikazeYazzie says:

    This reminds me of "The Office", but the MOMA version. I would totally watch that show.

  24. MrMy says:

    I feel like I'm watching a Portlandia episode.

  25. Mona Negi says:

    1:18 – Pivot, Pivot, PIVOT, PIVOT!!!😊

  26. Jenny Hughes says:

    Another interesting peep behind the scenes = thanks. Good to hear someone else saying that too many hashtags are annoying!

  27. Aura Hernandez says:

    I went to those exhibitions and they were amaaaaazing, it's wonderful to see all the process behind everything!

  28. Kuba Sch says:

    This series evokes the feeling that I got when I had to prepare everything for the school drama. Putting up chairs, scenography, all of that.

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