Bo Berkman, Lead Preparator: There’s not that many large works or sawhorses on four or five anyway…. Bo: Let’s bring most of this to the other tables and a couple of lights to follow me with. Bo: Anny, how are you? Anny Aviram, Senior Paintings Conservator: Good morning, how are you? Bo: I’m really great. Bo: There’s no reason – in fact, let’s just go this way. Bo (Elvis voice): Thank you very much. Bo: I can move a number of the larger
works, the Frankenthaler, the Kline, the Newman, the two Pollocks, down to the fourth floor. Bo: Do you want to dust them or do something first before they go down? Anny: I need to vacuum the backs before you take them. Bo: Of all of them? Okay. Anny: That would be ideal. Anny: You know, I can’t tell the difference, but I feel different. Diana Hartman, David Booth Fellow in Paintings Conservation: Yeah. Anny: Just because that handprint disappeared. I’ve got the top. Megan Randall, Assistant Conservator: It’s heavier than I was expecting. Anny: You know, I think it’s going to be very quick. Anny: Watch your leg, Bo. Thank you. Anny: Yuck! Anny: Wow. Anny: This is just a holding spot. It’s not going to be here. The painting installed here. Anny: Feels good that it’s clean. It looks like three feet on each side, approximately. John Driscoll, Artist: Yeah. John: Yeah, that’s good. Phil Edelstein, Artist: Yeah, there’s the pole. John: Yeah. Phil Edelstein, Artist: Just, I think the shield, I said to drop a line here. Shield and pot. John: Yeah, that’s fine. Phil: What time is it by the way, how are
we doing time-wise? Martha Joseph, Assistant Curator, Media & Performance Art: It’s 2:15. Phil: 2:15! We’re in really good shape. Ana Janevski, Curator, Media & Performance Art: Rosalind, this is Phil, this is the other artist. Yes. Rosalind Fox Solomon, Artist: Is he on your team? Ana: No, he’s the artist, he’s one of the artists, so John and Phil are the two artists. Phil: I’m the good-looking one. Rosalind: That’s interesting. Ana: Yeah. Phil: The sound has shape. Martha: Yes. Phil: You’ll put your head in it and then it’s like, hold it, what’s the shape of the sound-field around this thing. Phil: I think that’s one of the really unexplored, unarticulated, you know how do you listen to this thing? Martha: Yes. Yeah. Phil: What are you listening for? Martha: Right. Phil: So by the way, there’s almost as much time, if we’ve been hanging for a day and a half, the refinement is probably almost as much time. Martha: A day and a half. Ingrid Chou, Creative Director, Creative Team: So we’re changing, we’re changing the way people navigate galleries, and I just want to make sure that there’s a good reason why we shouldn’t be on the left, we should
be on the right. Ingrid: If we decide to put the sign on one side only – Olya Domoradova, Senior Graphic Designer: I like the idea of them being on two different sides. Ingrid: You mean here and here? Olya: Yeah, it’s like – Ingrid: But at the same, if you just look
at one side, you already know both directions. David Klein, Senior Graphic Designer, Creative Team: It is actually easier to see it all on one side, like, without it being that kind of… Ingrid: Right. Anny: Yes, hold it, we can hold it. Anny: Diana’s getting the vacuum. Anny: Yeah, Diana’s running over. Bo: We’re going to nine. Bo: I think we’re going to lay it down. We’re going to lay it down like this. Bo: Top, bottom. Anny: I like Bo. Diana: Hm? Anny: I like Bo. He gives very, very good instructions, always. Bo: Okay, everyone just follow what everybody else is doing. Alright, ready? One, two, three. Anny: We went to the Musée Picasso in Paris, and the truck, the narrow streets in Paris didn’t fit, so they had to walk the painting. Bo: No kidding! Anny: It was crazy, yeah. Dave: Wow. Anny: That was the last time, we – Bo: Do you remember when this was shown unframed, Anny? In the Elderfield show? Anny: Yes. Anny: Did you like it unframed? Bo: I mean sure, it was amazing to see it that much looking just like a painting. Dave: It’s your favorite painting, huh? Anny: Um… I don’t know if it’s my favorite. It’s one of my favorites. Anny: It’s weird to see them together. There’s five women on each. I just counted them for the first time. Anny: This is not supposed to happen, so it’s a good moment here. Anny: Okay. Check that orientation!