The Metropolitan Museum of Art

　　大都會藝術博物館

　　The Metropolitans new director gives his firstinterview

　　與大都會博物館新管理人的初次面談

　　I FEEL like Dorothy in The Wizard of Oz picked up by a whirlwind and dropped down ina land where everything is much more brightly coloured, says Thomas Campbell, who onJanuary 1st became the new director and CEO of New Yorks Metropolitan Museum of Art.His description is both apt and unexpected.

　　我感覺像《綠野仙蹤》里的桃樂茜;被一陣旋風刮起，然后在一個地方掉了下來，那里一切都是色彩斑斕，托馬斯?坎貝爾的描述恰如其分，也令人出乎意外。元月一日他成為了紐約大都會藝術博物館的新任管理人和行政總裁。

　　Until five months ago, the British-born 46-year-old, educated at Oxford University andLondons Courtauld Institute of Art, was by his own account, an open shirt, tweed jacket sortof guy. He liked to clear his diary to give time to his research and writing. Now he ownsseveral new suits and has a crammed schedule. The studies to which he has devoted thepast 20 years have had to become a hobby, like the watercolours he paints. The Campbellshave moved from the suburbs to a flat near the Fifth Avenue museum. It comes with whatmany consider the international museum worlds top job.

　　坎貝爾出生于英國，現年46歲，他在牛津大學和倫敦考陶爾德學院受過教育，按他自己的說法，五個月前他還是一個穿開禁襯衫、粗花呢夾克的家伙，他正要清理工作日志以騰出時間進行研究和寫作。現在，他有了幾套新西裝和一份排得滿滿的日程表，于是他投入了二十年的研究不得不變成了愛好，就像他喜歡畫水彩畫一樣。坎貝爾一家從郊外搬到了平坦的第五大街博物館附近。他開始了被很多人看作是國際博物館界最高級別的工作。

　　Cinderella also comes to mind when considering the events of the past year. During thesearch for a successor to Philippe de Montebello, the French-born director who was retiringafter 31 years as head of the museum, Mr Campbell, a British tapestry specialist, neverfeatured on the gossips shortlist, although all but two of the museums directors in the lastcentury have been recruited from within. Mr Campbell joined the Met in 1995, but he hasnever headed a department and was only one of its ten curators in European sculpture anddecorative arts.

　　想想過去一年發生的事情，這時灰姑娘也不禁浮現在腦海里。前一任管理人是出生于法國的菲利普?德?蒙提貝羅，他在位已三十年，正準備退休。在尋找接班人期間，身為掛毯專家的坎貝爾先生從未出現在傳聞的候選人名單上，雖然在上個世紀，博物館管理人除了兩位都是從內部選拔的。坎貝爾先生1995年進入博物館，但是從未擔任過任何一個部門的領導，僅僅是歐洲雕刻與裝飾藝術部的十名主任之一。

　　What the gossips overlookedbut the search committee did notare the twoexceptional exhibitions of Renaissance and Baroque tapestries that he organised in 2002 and2007. A surprise hit with both public and critics, the shows demonstrated Mr Campbellsconsiderable scholarly, diplomatic and administrative skills. In addition, supervising themuseums Antonio Ratti Textile Centre introduced him to curators from almost everydepartment and increased his knowledge of the museums immense holdings, which numbermore than 2m objects.

　　傳聞忽視了兩次杰出的展覽會，就是在 2002年和2007年舉辦的文藝復興和巴洛克掛毯藝術展覽會，但是遴選委員會并沒有忽略。展覽會令公眾和批評家感到驚訝的成功，證明了卡貝爾先生相當的學術、外交和管理能力。此外，指導博物館的安東尼奧?拉提紡織品中心把他介紹給了差不多每一個部門的主任，并且提高他關于博物館巨大的藏品的知識。博物館的藏品數量超過兩百萬件。

　　Thinking about his new role and all those treasures, Mr Campbell smiles and says, I feellike a kid in a candy store. This is probably not a phrase the aristocratic Mr de Montebellowould have uttered. Superficially, he and the boyish Mr Campbell could not be more different.Yet superficial is what their differences appear to be.

　　坎貝爾先生想到他新的角色和這些寶貝，微笑著說，我感覺就像是一個在糖果店里的孩子。這可能不是德?蒙提貝羅先生所要用的詞，表面上看，他和坎貝爾先生可能沒有更多的不同，他們外表看上去的差異是無關緊要的。

　　Mr de Montebello has been characterised as a connoisseur; a curators director. Hesays that the choice of Mr Campbell as his successor sends out a clear message thatscholarship is more important than marketing. Mr Campbell is proud that, as he takes over,the Met has exhibitions on Babylonian trade routes, the Italian Renaissance, African textilesand 17th-century Chinese watercolours, all planned by his predecessor.

　　德?蒙提貝羅先生被人們描述為是一位鑒賞家，主任的指導者。他說，選擇坎貝爾先生作為接班人傳遞了一個清晰的信息，就是學問是比營銷更重要的。在接管時，讓坎貝爾先生感到自豪的是，博物館有上任館長計劃的關于巴比倫商路、意大利文藝復興、非洲紡織品和十七世紀中國水彩畫的展覽會。

　　Both men prize scholarship, a global outlook and outreach, while keeping a respectfuleye on the bottom line. Mr Campbell has inherited a well run, financially sound institution.Emily Rafferty, its president, is a gifted fund-raiser. The museums last annual report valuesthe endowment at $2.5 billion. Mr Campbell believes that the great encyclopedic museumhe heads can be a place of inspiration, almost of refuge and hope in a difficult economicclimate, but cuts will have to come. Some will not be unwelcome. In Mr Campbells viewfewer expensive loan shows will free up financial and creative resources for innovativedisplays of works from the permanent collection.

　　管理者們重視學問和工作的全球視野和范圍，同時在最低限度上保持一個令人尊敬的視角。坎貝爾先生繼承的是一個運行良好、財力雄厚的機構，它的總經理艾米莉?拉弗蒂是一位天才的募捐者，博物館的去年年度報告估價捐款達二十五億美元。坎貝爾先生相信，在當前艱難的經濟背景下，他領導的這座偉大的百科全書式的博物館可能是一個給人以鼓舞的地方，幾乎是一個皈依和希望之處。但是裁員是必然的，某些人將是不受歡迎的。按照坎貝爾先生的觀點，少一些昂貴的貸款可以空出財務和創造性的資源，用于創新永久館藏作品的展覽。

　　Some changes will not be money-saving. Not only does the new director intend to putthe entire museum collection online, but he is also eager to use the internet moreinventively to tell the great stories of the objects we own and give visitors a sense of theirartistry. Mr Campbell buzzes with ideas about how this might be done. It is a world ofopportunities, he acknowledges but adds quickly, the challenge is delivering qualitycontent. For all his boyish appearance and references to The Wizard of Oz, Mr Campbellspeaks with conviction and determination. There is no doubting his maturity, as well ashis enthusiasm and his passion, when he talks about his feeling for art and his sense ofresponsibility to the institution he leads as well as to its millions of visitors.

　　有了一些變化，但將不是存錢。這位新館長不僅打算將全部的博物館藏品搬上互聯網，而且他還期望更有創造性的利用互聯網以講述我們擁有的這些東西的偉大的故事，并給予訪問者們藝術品質的感受。有了這些想法，坎貝爾先生在忙于怎樣實現它。互聯網是一個充滿機會的世界，他承認，然而馬上補充，挑戰也傳遞了高質量的信息。雖然他有著孩童般的外表并提到了《綠野仙蹤》，但坎貝爾先生的講話是帶著確信和決心的。在他談到對藝術的感受、對他領導的這個機構和數百萬的訪問者的責任感時，他的成熟、積極性和熱情是無可懷疑的。

　　The Metropolitan Museum of Art

　　大都會藝術博物館

　　The Metropolitans new director gives his firstinterview

　　與大都會博物館新管理人的初次面談

　　I FEEL like Dorothy in The Wizard of Oz picked up by a whirlwind and dropped down ina land where everything is much more brightly coloured, says Thomas Campbell, who onJanuary 1st became the new director and CEO of New Yorks Metropolitan Museum of Art.His description is both apt and unexpected.

　　我感覺像《綠野仙蹤》里的桃樂茜;被一陣旋風刮起，然后在一個地方掉了下來，那里一切都是色彩斑斕，托馬斯?坎貝爾的描述恰如其分，也令人出乎意外。元月一日他成為了紐約大都會藝術博物館的新任管理人和行政總裁。

　　Until five months ago, the British-born 46-year-old, educated at Oxford University andLondons Courtauld Institute of Art, was by his own account, an open shirt, tweed jacket sortof guy. He liked to clear his diary to give time to his research and writing. Now he ownsseveral new suits and has a crammed schedule. The studies to which he has devoted thepast 20 years have had to become a hobby, like the watercolours he paints. The Campbellshave moved from the suburbs to a flat near the Fifth Avenue museum. It comes with whatmany consider the international museum worlds top job.

　　坎貝爾出生于英國，現年46歲，他在牛津大學和倫敦考陶爾德學院受過教育，按他自己的說法，五個月前他還是一個穿開禁襯衫、粗花呢夾克的家伙，他正要清理工作日志以騰出時間進行研究和寫作。現在，他有了幾套新西裝和一份排得滿滿的日程表，于是他投入了二十年的研究不得不變成了愛好，就像他喜歡畫水彩畫一樣。坎貝爾一家從郊外搬到了平坦的第五大街博物館附近。他開始了被很多人看作是國際博物館界最高級別的工作。

　　Cinderella also comes to mind when considering the events of the past year. During thesearch for a successor to Philippe de Montebello, the French-born director who was retiringafter 31 years as head of the museum, Mr Campbell, a British tapestry specialist, neverfeatured on the gossips shortlist, although all but two of the museums directors in the lastcentury have been recruited from within. Mr Campbell joined the Met in 1995, but he hasnever headed a department and was only one of its ten curators in European sculpture anddecorative arts.

　　想想過去一年發生的事情，這時灰姑娘也不禁浮現在腦海里。前一任管理人是出生于法國的菲利普?德?蒙提貝羅，他在位已三十年，正準備退休。在尋找接班人期間，身為掛毯專家的坎貝爾先生從未出現在傳聞的候選人名單上，雖然在上個世紀，博物館管理人除了兩位都是從內部選拔的。坎貝爾先生1995年進入博物館，但是從未擔任過任何一個部門的領導，僅僅是歐洲雕刻與裝飾藝術部的十名主任之一。

　　What the gossips overlookedbut the search committee did notare the twoexceptional exhibitions of Renaissance and Baroque tapestries that he organised in 2002 and2007. A surprise hit with both public and critics, the shows demonstrated Mr Campbellsconsiderable scholarly, diplomatic and administrative skills. In addition, supervising themuseums Antonio Ratti Textile Centre introduced him to curators from almost everydepartment and increased his knowledge of the museums immense holdings, which numbermore than 2m objects.

　　傳聞忽視了兩次杰出的展覽會，就是在 2002年和2007年舉辦的文藝復興和巴洛克掛毯藝術展覽會，但是遴選委員會并沒有忽略。展覽會令公眾和批評家感到驚訝的成功，證明了卡貝爾先生相當的學術、外交和管理能力。此外，指導博物館的安東尼奧?拉提紡織品中心把他介紹給了差不多每一個部門的主任，并且提高他關于博物館巨大的藏品的知識。博物館的藏品數量超過兩百萬件。

　　Thinking about his new role and all those treasures, Mr Campbell smiles and says, I feellike a kid in a candy store. This is probably not a phrase the aristocratic Mr de Montebellowould have uttered. Superficially, he and the boyish Mr Campbell could not be more different.Yet superficial is what their differences appear to be.

　　坎貝爾先生想到他新的角色和這些寶貝，微笑著說，我感覺就像是一個在糖果店里的孩子。這可能不是德?蒙提貝羅先生所要用的詞，表面上看，他和坎貝爾先生可能沒有更多的不同，他們外表看上去的差異是無關緊要的。

　　Mr de Montebello has been characterised as a connoisseur; a curators director. Hesays that the choice of Mr Campbell as his successor sends out a clear message thatscholarship is more important than marketing. Mr Campbell is proud that, as he takes over,the Met has exhibitions on Babylonian trade routes, the Italian Renaissance, African textilesand 17th-century Chinese watercolours, all planned by his predecessor.

　　德?蒙提貝羅先生被人們描述為是一位鑒賞家，主任的指導者。他說，選擇坎貝爾先生作為接班人傳遞了一個清晰的信息，就是學問是比營銷更重要的。在接管時，讓坎貝爾先生感到自豪的是，博物館有上任館長計劃的關于巴比倫商路、意大利文藝復興、非洲紡織品和十七世紀中國水彩畫的展覽會。

　　Both men prize scholarship, a global outlook and outreach, while keeping a respectfuleye on the bottom line. Mr Campbell has inherited a well run, financially sound institution.Emily Rafferty, its president, is a gifted fund-raiser. The museums last annual report valuesthe endowment at $2.5 billion. Mr Campbell believes that the great encyclopedic museumhe heads can be a place of inspiration, almost of refuge and hope in a difficult economicclimate, but cuts will have to come. Some will not be unwelcome. In Mr Campbells viewfewer expensive loan shows will free up financial and creative resources for innovativedisplays of works from the permanent collection.

　　管理者們重視學問和工作的全球視野和范圍，同時在最低限度上保持一個令人尊敬的視角。坎貝爾先生繼承的是一個運行良好、財力雄厚的機構，它的總經理艾米莉?拉弗蒂是一位天才的募捐者，博物館的去年年度報告估價捐款達二十五億美元。坎貝爾先生相信，在當前艱難的經濟背景下，他領導的這座偉大的百科全書式的博物館可能是一個給人以鼓舞的地方，幾乎是一個皈依和希望之處。但是裁員是必然的，某些人將是不受歡迎的。按照坎貝爾先生的觀點，少一些昂貴的貸款可以空出財務和創造性的資源，用于創新永久館藏作品的展覽。

　　Some changes will not be money-saving. Not only does the new director intend to putthe entire museum collection online, but he is also eager to use the internet moreinventively to tell the great stories of the objects we own and give visitors a sense of theirartistry. Mr Campbell buzzes with ideas about how this might be done. It is a world ofopportunities, he acknowledges but adds quickly, the challenge is delivering qualitycontent. For all his boyish appearance and references to The Wizard of Oz, Mr Campbellspeaks with conviction and determination. There is no doubting his maturity, as well ashis enthusiasm and his passion, when he talks about his feeling for art and his sense ofresponsibility to the institution he leads as well as to its millions of visitors.

　　有了一些變化，但將不是存錢。這位新館長不僅打算將全部的博物館藏品搬上互聯網，而且他還期望更有創造性的利用互聯網以講述我們擁有的這些東西的偉大的故事，并給予訪問者們藝術品質的感受。有了這些想法，坎貝爾先生在忙于怎樣實現它。互聯網是一個充滿機會的世界，他承認，然而馬上補充，挑戰也傳遞了高質量的信息。雖然他有著孩童般的外表并提到了《綠野仙蹤》，但坎貝爾先生的講話是帶著確信和決心的。在他談到對藝術的感受、對他領導的這個機構和數百萬的訪問者的責任感時，他的成熟、積極性和熱情是無可懷疑的。