This fascinating 1928 film, part of a year-long series from The Met showcases the back-of-the-house.

The Met is marking its 150th Anniversary.

Throughout 2020, as part of their sesquicentennial, the Metropolitan Museum of Art in New York has launched a major film-archive initiative—From the Vaults. Each Friday this year, the museum will release and publish one new film from their collection on their website.

The Met’s archive comprises more than 1,500 films from the 1920s onward. They were both made and collected by the Museum. Included are rarely seen artist profiles, documentaries, and animations, as well as process films about specific art-making techniques and behind-the-scenes, back-of-the-house footage of the Museum.

This 25-minuted film—one of my favorites—shot in 1928, is an enlightening showcase of the many internal businesses necessary to help keep a museum functioning at the time. A couple of the many operations you’ll visit are the metal and glass shop where showcases are constructed; the tradespeople conserving textiles, stone, and paintings; the photo studio where every object is photographed and cataloged.

The Met provides additional context on the approach of their film, “Employees punch time clocks; janitors dust the galleries; curators puzzle over fragments of ancient statuary. The film, Behind the Scenes: The Working Side of the Museum,1928, begins and ends with footage of workers entering and leaving the Museum, a moving homage to the first film ever made, Workers Leaving the Lumière Factory (1895).”

The Met says that included in their film series are rarely seen artist profiles, documentaries, and animations, as well as process films about specific art-making techniques and behind-the-scenes footage of the Museum.

Visit The Met’s website to see more From the Vault films, including this one. Metropolitan Cats, 1983—A History of Cats at The Met.

#FromTheVaults and #FilmFriday are associated with The Met’s 150th anniversary.

By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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