How does the pandemic change our interpretation of artwork? Since lockdown, employees members at The Met have found that acquainted artworks now seem completely different in profound and private methods. For Alison Hokanson, assistant curator within the Division of European Work, a portray by Edvard Munch speaks to her want for quiet introspection after a lot time remoted indoors along with her husband and three kids. For Abraham Thomas, Daniel Brodsky Curator of Fashionable Structure, Design, and Ornamental Arts, a Finnish lounge chair designed to help restoration from tuberculosis reminds him how integral design could be to therapeutic. And for Margaret Golden, a Met docent and retired doctor, a medieval Islamic mortar connects on to the efforts of frontline medical staff saving lives in the present day.

Friends:

Alison Hokanson, assistant curator, European Work, The Metropolitan Museum of Artwork

Abraham Thomas, Daniel Brodsky Curator, Fashionable Structure, Design and Ornamental Arts, The Metropolitan Museum of Artwork

Margaret Golden, retired doctor and Met docent

Objects talked about on this episode:

Edvard Munch (Norwegian, 1863–1944). Night in Saint-Cloud, 1893. Oil on canvas, 27 1/2 x 22 1/4 in. (70 x 56.7 cm). The Metropolitan Museum of Artwork, New York, Personal assortment (L.2018.2)

Alvar Aalto (Finnish, 1898–1976). “Model No. 41” Lounge Chair, 1931–32. Laminated Birch, 26 1/2 x 24 x 36 in. (67.3 x 61 x 91.4 cm). The Metropolitan Museum of Artwork, New York, Buy, Associates of Twentieth Century Ornamental Arts Presents, by change, 2000 (2000.3750) © 2022 Artists Rights Society (ARS), New York

Mortar and Pestle made for Abu Bakr ‘Ali Malikzad al-Tabrizi, late twelfth–early thirteenth century. Attributed to Iran. Bronze; inlaid with silver and black compound, Mortar: H. 4 1/2 in. (11.4 cm), Diam. 5 3/4 in. (14.6 cm); Pestle: H. 10 1/2 in. (26.7 cm), Diam. 2 3/8 in (6 cm).The Metropolitan Museum of Artwork, New York, Edward C. Moore Assortment, Bequest of Edward C. Moore, 1891 (91.1.527a, b)

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