A Guard's Regard

Lizzie
November 7, 2014
Left: Mihrab (Prayer Niche), A.H. 755/A.D. 1354–55. Iran, Isfahan. Islamic. Mosaic of polychrome-glazed cut tiles on stonepaste body; set into mortar. The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1939 (39.20). Right: Over Robe (Uchikake) with Pattern of Long-Tailed Birds in a Landscape, second half of the 18th century. Japan, Edo period (1615–1868). Silk and metallic-thread embroidery and stencil paste-resist dyeing on silk satin damask; Overall: 72 x 49 in. (182.9 x 124.5 cm). The Metropolitan Museum of Art, New York, Gift of Charles Zadok, 1959 (59.46)

«A person can have an individual relationship with art, but at The Metropolitan Museum of Art there is often a third party involved when strolling through the galleries: the security guard. It didn't take me long to realize how wise the guards at the Met are: Many of these men and women are extremely curious about art and how it is perceived, and therefore take advantage of being in one of the world's greatest museums during their work day.»

I spoke to one of the guards in the Islamic Art galleries about her observations of how visitors approach different types of art in the Met. She commented that many visitors looking at the Modern and Contemporary Art galleries hastily snap pictures of Pollock's Autumn Rhythm before quickly moving on to other famous works of art. She believes that the popular reputations of modern artists sometimes inhibit the viewer from absorbing the art without considering society's favoritism. In contrast, the Department of Islamic Art's collection allows viewers to deeply explore the beauty and craft behind each work with a clear mind.

Jackson Pollock (American, 1912–1956) | Autumn Rhythm (Number 30), 1950 | 57.92
Jackson Pollock (American, 1912–1956). Autumn Rhythm (Number 30), 1950. Enamel on canvas; 105 x 207 in. (266.7 x 525.8 cm). The Metropolitan Museum of Art, New York, George A. Hearn Fund, 1957 © 2011 Artists Rights Society (ARS), New York (57.92)

A guard stationed in the Asian Art galleries prefers the art in his wing, specifically the birds of Japan. He feels a sense of inner peace while looking at the art and believes that visitors have a similar experience. A great sense of tranquility surrounds him not only while looking at Buddhist objects, though, but all throughout the Museum. He believes that the peaceful nature felt across the Met shows both the success and importance of the Museum as a cultural institution.

Lizzie undefined

Lizzie was formerly an intern with the Museum's High School Internship Program.