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????《財富》：你如何讓現(xiàn)代的觀眾認識到這些古老藝術(shù)品的現(xiàn)實意義？

????托馬斯?坎貝爾：我認為我們可以做更多事情。比如,，去年10月,，我們重新開放了裝飾一新的伊斯蘭藝術(shù)展區(qū)。當時距離911事件已經(jīng)過去了大約10年,。我想,，在911事件之前，大多數(shù)美國人或許對伊斯蘭教知之甚少,。接著,，在那個恐怖的時刻之后，美國人不可避免地以一種非常極端化的視角來感知這一教派,。我們重開這些畫廊就是為了展現(xiàn)大量伊斯蘭藝術(shù)品長達14個世紀的演變歷史,。令我吃驚，但并不覺奇怪的是,，自從我們開辦這些畫廊以來,，我們在4個月里迎來了大約37萬名參觀者，人潮如織,，只有最受歡迎的臨時展覽才能見到這樣的場面,。

????《財富》：你們?nèi)绾窝永m(xù)觀眾的這種熱情？

????托馬斯?坎貝爾：大都會藝術(shù)博物館面向的是知識淵博的群體,，但不能由此認為我們是一個精英機構(gòu),。我花了很多心思來思考這樣一個問題：我們?nèi)绾文茏屵@家博物館變得更平易近人一些。

????出于某種原因,，大都會藝術(shù)博物館一直有一個傳統(tǒng),，它從不做廣告。我不太清楚這個傳統(tǒng)的起源,。我出任館長之后,，首先做的事情之一就是啟動了一項名為“我們該見面了”的廣告宣傳活動（大都會藝術(shù)博物館英文簡稱Met的另一層含義是“見面”——譯注）。其中一條廣告是一對夫婦在羅丹的雕塑“親吻（The Kiss）”前擁吻的場景,。

????同樣,，我們也打算重新設(shè)計一下戶外的廣場。這個廣場的許多地方看起來都有點像一所監(jiān)獄的院子,，顯得嚴峻且令人望而生畏,。我們想把這里改造成一個非常有吸引力的地方，讓人們一到大都會博物館就產(chǎn)生一種非常美好的感覺,。

????我們正在用更有創(chuàng)意的方式來思考第一次來參觀的游客有可能產(chǎn)生的感受,。令人驚訝的是，我第一次來的時候,，畫廊甚至從未編號,。

????《財富》：讓人們認同你對博物館的愿景是不是一件很困難的事,？

????托馬斯?坎貝爾：我的任命決定宣布一周后，雷曼兄弟公司（Lehman Brothers）破產(chǎn)了,。就在我等著上任的時候,，我親眼目睹了整個股市崩盤那一幕。好的一面（如果這也算的話）在于,，如果沒有這場危機,，我這樣一個剛剛上任、年紀又輕的館長或許得花上相當長的時間才能說服人們認同我的想法,。但外部的資金壓力迫使博物館上下所有的人必須認真思索我們的核心事務(wù),。因此，我上任沒多久就開始實施我的計劃了,。

????《財富》：你還記得你第一次喜歡上織錦,，也就是你的專長領(lǐng)域，是在什么時候,？

????托馬斯?坎貝爾：作為一位年輕的藝術(shù)史學者,，我很幸運。我學習藝術(shù)那會,，藝術(shù)涵蓋的范圍包括繪畫，雕塑和建筑,，我當時發(fā)現(xiàn)過去的主顧們花費巨資購買織錦,，因此我就開始在旅途中觀摩織錦作品。

???How do you make ancient pieces of art relevant to a modern audience?

????I think we can do more. For example, last October, we reopened the new galleries of our Islamic art department. It's about 10 years after 9/11. I think before 9/11 most Americans probably had relatively little understanding of Islam. And then, in that terrible moment, the perception was inevitably filtered through a very polarized light. What we've done in reopening these galleries is present 14 centuries of the evolution of many Islamic arts. And what's amazing to me, but not surprising, is that since we opened those galleries, we've had 370,000 visitors in four months. The galleries are drawing crowds as if they were one of our most popular temporary exhibitions.

????How do you sustain that kind of interest?

????While we're addressing people who know a huge amount, the Met mustn't be perceived as an elitist intuition. I've put quite a lot of energy into thinking about how we can make it feel more accessible.

????Take advertising: for some reason there had been a tradition that we never showed people with works of art. I'm not quite sure where that came from. One of the first things I did when I became director was start an advertising campaign called "It's time we Met." One ad in the series showed a couple kissing in front of Rodin's sculpture "The Kiss."

????Similarly, we're about to redesign the plaza outside. Most of it looks like a bit like a prison yard, it's austere, it's forbidding. We want to have an attractive place where people feel good about arriving at the Metropolitan.

????We're thinking much more creatively about what it is like to be a first time visitor. Amazingly, when I came, the galleries had never even been numbered.

????Has it been difficult to get people on board with your vision for the museum?

????Well, a week after the announcement of my appointment, Lehman Brothers went down. As I waited in the wings, I saw the whole stock market collapsing. The silver lining, in so far as there was one, is that it might have taken me quite a while as a young new director to get people on board. But the external finances forced all of our staff to think hard about our core priorities, so I could come in and really get my agenda going.

????Do you remember when you first fell in love with tapestries, your area of expertise?

????I was lucky, as a young art historian, I was studying art as it was then defined, which is painting and sculpture and architecture, and I realized the patrons of the past were spending huge amounts of money on tapestries, so I began looking at tapestries while traveling.