From the soaring Beaux-Arts architecture to the pristine flower arrangements
To the pristine flower arrangements and soaring Beaux-Arts architecture,
the Great Hall of the Metropolitan Museum of Art can be a humbling, even intimidating entry point for visitors
The Great Hall of the Metropolitan Museum of Art offers visitors an awe-inspiring and somewhat daunting experience
The artist Jacolby Satterwhite is having none of that.
A mind blowing combination of art forms, Jacolby Sattherwhite’s new Great Hall Commission, “A Metta Prayer,” defies the solemnity of the museum and transforms it into a vibrant, queer-infused love poem set to an acid house beat.
His new Great Hall Commission, titled “A Metta Prayer,” challenges the seriousness of the Great Hall at the Metropolitan Museum of Art with an extravagant, queer-inspired love poem to the universe set to an acid house beat.
The installation features digital projections and a mesmerizing soundtrack, and will be on view through Jan. 7. Exciting live performances will take place on weekends in October and November, as well as on opening night, Monday, Oct. 2.
The installation, consisting of digital projections and an enticing soundtrack, will captivate viewers until Jan. 7. Live performances will also take place on selected dates, including opening night on Oct. 2.
If you want to catch a glimpse of this unique experience, make sure to visit before Jan. 7. Live performances will be held on weekends in October and November, as well as during the opening night on Oct. 2.
The video may be the only time Met visitors will hear a benediction like, “May we always keep our wigs on our heads.” Amen.
Prepare to be wowed with an experience you won’t find anywhere else. Visitors to the Met will have the chance to hear a one-of-a-kind benediction, proclaiming, “May we always keep our wigs on our heads.” Amen.
Satterwhite, 37, was running on adrenaline at the end of August, sitting at his multi-computer command station in his home in Bedford-Stuyvesant, Brooklyn.
In late August, Satterwhite, 37, was a bundle of nervous energy as he sat at his multi-computer command station in his Brooklyn home in Bedford-Stuyvesant.
Satterwhite, a 37-year-old artist, was full of excitement and energy at the end of August as he worked at his computer station in his Brooklyn home in Bedford-Stuyvesant.
“I haven’t been sleeping,” said the artist, who talks in long, energetic bursts once he gets going. “The grandiosity of the exhibition is a lot of pressure. It’s the first time the Met has done this and they’re breaking a lot of their own rules.”
Satterwhite’s lack of sleep didn’t impede his excitement as he gushed about the pressure and grandiosity of the exhibition. The Met is taking a big risk with this commission, breaking many of its own rules in the process.
Satterwhite confessed to not getting much sleep due to the enormous pressure he feels from the grandiosity of the exhibition. The Met is taking a major leap by breaking their own rules with this commission, and Satterwhite is fully aware of the stakes.
A metta prayer is a peaceful wish for compassion in the Buddhist tradition, and Satterwhite does transcendental meditation everyday. But he said he has given the practice both a personal spin — “from my Black queer irreverent self” — as well as a generational twist.
Satterwhite’s “A Metta Prayer” is inspired by the Buddhist tradition of metta prayer, which promotes compassion. However, he adds his own unique touch as a Black queer artist, giving the practice a personal and generational spin.
Satterwhite’s “A Metta Prayer” is a personal and generational take on the Buddhist tradition of metta prayer, which emphasizes compassion. He infuses the practice with his own Black queer irreverent perspective.
“I’m a millennial who was raised on video games,” Satterwhite said. “I’m using the language, software and engineering that make games — which are meditations on conquest and violence — and turning them upside down to do a love and kindness prayer.”
Satterwhite, a millennial who grew up playing video games, is drawing inspiration from the language, software, and engineering used in these games. By subverting typical themes of conquest and violence, he creates a unique love and kindness prayer experience.
Satterwhite draws from his experience growing up in the video game era, using their language, software, and engineering techniques to create a new form of prayer centered around love and kindness, subverting the usual themes of conquest and violence.
The video is partly set in New York City, with characters collecting “mantra coins” in the manner of “endless runner” games, in which players navigate obstacles, and partly on a surreal floating cloudscape that Satterwhite said was inspired by Titian’s “Assumption of the Virgin,”
Satterwhite’s video takes viewers on a journey through New York City, where characters collect “mantra coins” reminiscent of “endless runner” games, all while floating through a dream-like cloudscape inspired by Titian’s “Assumption of the Virgin.”
While part of the video is set in New York City, with characters gathering “mantra coins” like in popular “endless runner” games, the other part takes place in a whimsical floating cloudscape, inspired by Titian’s masterpiece “Assumption of the Virgin.”
Satterwhite utilized cutting-edge digital animation techniques, including motion capture, to create the artwork. He worked at the Brooklyn Navy Yard alongside dancers, musicians, and himself, scanning their movements and incorporating them into the piece.
Satterwhite pushed the boundaries of digital animation by employing cutting-edge techniques, such as motion capture. Working with a team at the Brooklyn Navy Yard, he scanned the movements of dancers, musicians, and even himself, integrating them into the artwork.
Satterwhite pushed the limits of digital animation with his use of cutting-edge techniques like motion capture. Collaborating with dancers, musicians, and himself, he scanned their movements at the Brooklyn Navy Yard and incorporated them into his artwork.
The artist also scanned more than 70 objects from different corners of the Met’s collection, from ancient terra-cotta figures to a Noh mask and incorporated them into the work.
Satterwhite meticulously scanned over 70 objects from various corners of the Met’s collection, including ancient terra-cotta figures and a Noh mask, seamlessly integrating them into his artwork.
In a process of perfectionism, Satterwhite personally scanned over 70 objects from the Met’s diverse collection, ranging from ancient terra-cotta figures to a Noh mask, flawlessly merging them into his artwork.
He gave particular attention to arms like a medieval dagger-axe. “I’m integrating artworks that were made for imperialist conquest,” he said. “But I’m bringing them into my world.”
Among the objects that Satterwhite meticulously incorporated in his work is a medieval dagger-axe, an artifact with imperialist undertones. By bringing these objects into his own world, he challenges their original purpose and imbues them with new meaning.
Satterwhite specifically selected objects like a medieval dagger-axe, which symbolizes imperial conquest, and incorporated them into his artwork. By re-contextualizing these objects, he defies their original meaning and makes them his own.
“I really respect the canon,” he said of the Met’s encyclopedic collection. “I just don’t take it too seriously.”
Satterwhite acknowledges his deep respect for the Met’s extensive collection, but he approaches it with a lighthearted and irreverent attitude, refusing to be overwhelmed by its significance.
Satterwhite holds a great deal of respect for the Met’s vast collection, but he doesn’t let that respect turn into a seriousness that stifles his creativity. He approaches the collection with a sense of playfulness and lightheartedness.
The six-channel video will be projected onto four main walls of the Great Hall and two large lunettes on the balcony level — and a separate light projection will surround the space’s three skylight domes.
The immersive six-channel video will captivate viewers as it is projected onto four main walls of the Great Hall, as well as two large lunettes on the balcony level. Additionally, a separate light projection will envelop the three skylight domes, creating an otherworldly experience for visitors.
Viewers will be encompassed by the six-channel video projections, which will be displayed on four main walls of the Great Hall, two large lunettes on the balcony level, and a separate light projection that will illuminate the three skylight domes, enveloping the entire space in an extraordinary visual feast.
Satterwhite is changing the color of the screens of the electronic ticket kiosks to match his work, and he is even adjusting the palette of the Met’s famed floral arrangements — the first time an artist has been allowed to tinker with the fruits of Lila Acheson Wallace’s endowment.
Satterwhite’s attention to detail extends to the smallest aspects of the installation. He is modifying the color of the electronic ticket kiosks to complement his work, and has even been granted permission to adjust the palette of the Met’s iconic floral arrangements.
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