Have you heard people say visiting a museum is good for you? Why is that? Grace Calame-Mars, a Nursing Professional Development Specialist, and Carolyn Halpin-Healy, an Art Educator at The Met, know the first-hand benefit of art in museums as a tool to help our well-being. Hear about the art therapy program they helped organize for medical professionals at NYU Langone Hospital, where close-looking exercises improved clinical observation skills and strengthened empathy, which became especially valuable tools during the COVID-19 pandemic.

Guests: Grace Calame-Mars, nurse educator at NYU Langone and Carolyn Halpin-Healy, art educator

Objects mentioned in this episode:

Pieter Bruegel the Elder (Netherlandish, 1525–1569). <a href="https://www.metmuseum.org/art/collection/search/435809" rel="nofollow" target="_blank">The Harvesters</a>, 1565. Oil on wood, 47 x 63 3/4 in. (119 x 162 cm). The Metropolitan Museum of Art, New York, Rogers Fund, 1919 (19.164)

<a href="https://www.metmuseum.org/art/collection/search/310325" rel="nofollow" target="_blank">Figure: Seated Couple</a>, eighteenth–early nineteenth century. Mali, Dogon peoples. Wood, metal, H. 28 3/4 x W. 8 5/8 x D. 8 in. (73 x 21.9 x 20.3 cm). The Metropolitan Museum of Art, New York, Gift of Lester Wunderman, 1977 (1977.394.15)

Jacques Louis David (French, 1748–1825). <a href="https://www.metmuseum.org/art/collection/search/436105" rel="nofollow" target="_blank">The Death of Socrates</a>, 1787. Oil on canvas, 51 x 77 1/4 in. (129.5 x 196.2 cm). The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund, 1931 (31.45)

<a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank">www.metmuseum.org/frameofmind</a> #FrameofMindSee <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

<description>&lt;p&gt;Have you heard people say visiting a museum is good for you? Why is that? Grace Calame-Mars, a Nursing Professional Development Specialist, and Carolyn Halpin-Healy, an Art Educator at The Met, know the first-hand benefit of art in museums as a tool to help our well-being. Hear about the art therapy program they helped organize for medical professionals at NYU Langone Hospital, where close-looking exercises improved clinical observation skills and strengthened empathy, which became especially valuable tools during the COVID-19 pandemic.&lt;/p&gt;

&lt;p&gt;Guests: Grace Calame-Mars, nurse educator at NYU Langone and Carolyn Halpin-Healy, art educator&lt;/p&gt;

&lt;p&gt;Objects mentioned in this episode:&lt;/p&gt;

&lt;p&gt;Pieter Bruegel the Elder (Netherlandish, 1525–1569). &lt;em&gt;&lt;a href="https://www.metmuseum.org/art/collection/search/435809" rel="nofollow" target="_blank"&gt;The Harvesters&lt;/a&gt;&lt;/em&gt;, 1565. Oil on wood, 47 x 63 3/4 in. (119 x 162 cm). The Metropolitan Museum of Art, New York, Rogers Fund, 1919 (19.164)&lt;/p&gt;

&lt;p&gt;&lt;a href="https://www.metmuseum.org/art/collection/search/310325" rel="nofollow" target="_blank"&gt;Figure: Seated Couple&lt;/a&gt;, eighteenth–early nineteenth century. Mali, Dogon peoples. Wood, metal, H. 28 3/4 x W. 8 5/8 x D. 8 in. (73 x 21.9 x 20.3 cm). The Metropolitan Museum of Art, New York, Gift of Lester Wunderman, 1977 (1977.394.15)&lt;/p&gt;

&lt;p&gt;Jacques Louis David (French, 1748–1825). &lt;em&gt;&lt;a href="https://www.metmuseum.org/art/collection/search/436105" rel="nofollow" target="_blank"&gt;The Death of Socrates&lt;/a&gt;&lt;/em&gt;, 1787. Oil on canvas, 51 x 77 1/4 in. (129.5 x 196.2 cm). The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund, 1931 (31.45)&lt;/p&gt;

&lt;p&gt;&lt;a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank"&gt;www.metmuseum.org/frameofmind&lt;/a&gt; #FrameofMind&lt;/p&gt;&lt;p&gt;See &lt;a href="https://omnystudio.com/listener"&gt;omnystudio.com/listener&lt;/a&gt; for privacy information.&lt;/p&gt;</description>

Hear how art therapy exercises improved nurses’ clinical observation skills and strengthened empathy, valuable tools during the COVID-19 pandemic.

Art and Medicine

Can art save your life? According to Virgil Ortiz, an artist from the Cochiti Pueblo in New Mexico, it can. For Virgil, making pottery with traditional materials and methods is a kind of therapy, a fundamental expression of his culture across generations. Virgil describes how the process itself brings him a sense of purpose and connection to his family, including the prayers he recites before he and his nephews dig clay from their ancestral lands. Given this living legacy, it was a significant moment for Virgil to visit The Met for the first time and see his culture represented in the Charles and Valerie Diker Collection of Native American art. Tune in to hear his story about art’s connection to belonging.

Guest: Virgil Ortiz, artist and teacher

Learn more about the Art of Native America: The Charles and Valerie Diker Collection at <a href="https://www.metmuseum.org/exhibitions/listings/2018/art-of-native-america-diker-collection" rel="nofollow" target="_blank">www.metmuseum.org/diker</a>

<a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank">www.metmuseum.org/frameofmind</a> #FrameofMindSee <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

<description>&lt;p&gt;Can art save your life? According to Virgil Ortiz, an artist from the Cochiti Pueblo in New Mexico, it can. For Virgil, making pottery with traditional materials and methods is a kind of therapy, a fundamental expression of his culture across generations. Virgil describes how the process itself brings him a sense of purpose and connection to his family, including the prayers he recites before he and his nephews dig clay from their ancestral lands. Given this living legacy, it was a significant moment for Virgil to visit The Met for the first time and see his culture represented in the Charles and Valerie Diker Collection of Native American art. Tune in to hear his story about art’s connection to belonging.&lt;/p&gt;

&lt;p&gt;Guest: Virgil Ortiz, artist and teacher&lt;/p&gt;

&lt;p&gt;Learn more about the Art of Native America: The Charles and Valerie Diker Collection at &lt;a href="https://www.metmuseum.org/exhibitions/listings/2018/art-of-native-america-diker-collection" rel="nofollow" target="_blank"&gt;www.metmuseum.org/diker&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;&lt;a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank"&gt;www.metmuseum.org/frameofmind&lt;/a&gt; #FrameofMind&lt;/p&gt;&lt;p&gt;See &lt;a href="https://omnystudio.com/listener"&gt;omnystudio.com/listener&lt;/a&gt; for privacy information.&lt;/p&gt;</description>

Discover how creating earthenware pottery connects artist Virgil Ortiz to his Native American heritage, ancestral lands, and what it means to see his culture represented at The Met.

Art Rooted in the Earth

Can the art of music bridge differences that separate us? For Reena Esmail, working as a composer is about more than music: It’s about building what she calls “equitable musical spaces” for the performers and the audience. Born to Indian immigrants, she feels passionately that cultural difference can be a source of richness in both life and music. She remembers one memorable sitar concert at The Met that particularly inspired her to work between the worlds of Western and Indian classical music, a joyful combination that refines and uplifts her sense of purpose.

Guest: Reena Esmail, composer

<a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank">www.metmuseum.org/frameofmind</a> #FrameofMindSee <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

<description>&lt;p&gt;Can the art of music bridge differences that separate us? For Reena Esmail, working as a composer is about more than music: It’s about building what she calls “equitable musical spaces” for the performers and the audience. Born to Indian immigrants, she feels passionately that cultural difference can be a source of richness in both life and music. She remembers one memorable sitar concert at The Met that particularly inspired her to work between the worlds of Western and Indian classical music, a joyful combination that refines and uplifts her sense of purpose.&lt;/p&gt;

&lt;p&gt;Guest: Reena Esmail, composer&lt;/p&gt;

&lt;p&gt;&lt;a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank"&gt;www.metmuseum.org/frameofmind&lt;/a&gt; #FrameofMind&lt;/p&gt;&lt;p&gt;See &lt;a href="https://omnystudio.com/listener"&gt;omnystudio.com/listener&lt;/a&gt; for privacy information.&lt;/p&gt;</description>

Hear from composer Reena Esmail on how working between the worlds of Western and Indian classical music uplifts her sense of purpose and connection to humanity.

Composing New Harmonies

How does the pandemic change our interpretation of art? Since lockdown, staff members at The Met have discovered that familiar artworks now appear different in profound and personal ways. For Alison Hokanson, assistant curator in the Department of European Paintings, a painting by Edvard Munch speaks to her need for quiet introspection after so much time isolated indoors with her husband and three children. For Abraham Thomas, Daniel Brodsky Curator of Modern Architecture, Design, and Decorative Arts, a Finnish lounge chair designed to support recovery from tuberculosis reminds him how integral design can be to healing. And for Margaret Golden, a Met docent and retired physician, a medieval Islamic mortar connects directly to the efforts of frontline medical workers saving lives today.

Guests:

Alison Hokanson, assistant curator, European Paintings, The Metropolitan Museum of Art

Abraham Thomas, Daniel Brodsky Curator, Modern Architecture, Design and Decorative Arts, The Metropolitan Museum of Art

Margaret Golden, retired physician and Met docent

Objects mentioned in this episode:

Edvard Munch (Norwegian, 1863–1944). <a href="https://www.metmuseum.org/art/collection/search/441924" rel="nofollow" target="_blank">Night in Saint-Cloud</a>, 1893. Oil on canvas, 27 1/2 x 22 1/4 in. (70 x 56.7 cm). The Metropolitan Museum of Art, New York, Private collection (L.2018.2)

Alvar Aalto (Finnish, 1898–1976). <a href="https://www.metmuseum.org/art/collection/search/491666" rel="nofollow" target="_blank">“Model No. 41” Lounge Chair</a>, 1931–32. Laminated Birch, 26 1/2 x 24 x 36 in. (67.3 x 61 x 91.4 cm). The Metropolitan Museum of Art, New York, Purchase, Friends of Twentieth Century Decorative Arts Gifts, by exchange, 2000 (2000.3750) © 2022 Artists Rights Society (ARS), New York

<a href="https://www.metmuseum.org/art/collection/search/444529" rel="nofollow" target="_blank">Mortar and Pestle made for Abu Bakr ‘Ali Malikzad al-Tabrizi</a>, late twelfth–early thirteenth century. Attributed to Iran. Bronze; inlaid with silver and black compound, Mortar: H. 4 1/2 in. (11.4 cm), Diam. 5 3/4 in. (14.6 cm); Pestle: H. 10 1/2 in. (26.7 cm), Diam. 2 3/8 in (6 cm).The Metropolitan Museum of Art, New York, Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 (91.1.527a, b)

<a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank">www.metmuseum.org/frameofmind</a> #FrameofMindSee <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

<description>&lt;p&gt;How does the pandemic change our interpretation of art? Since lockdown, staff members at The Met have discovered that familiar artworks now appear different in profound and personal ways. For Alison Hokanson, assistant curator in the Department of European Paintings, a painting by Edvard Munch speaks to her need for quiet introspection after so much time isolated indoors with her husband and three children. For Abraham Thomas, Daniel Brodsky Curator of Modern Architecture, Design, and Decorative Arts, a Finnish lounge chair designed to support recovery from tuberculosis reminds him how integral design can be to healing. And for Margaret Golden, a Met docent and retired physician, a medieval Islamic mortar connects directly to the efforts of frontline medical workers saving lives today.&lt;/p&gt;

&lt;p&gt;Guests:&lt;/p&gt;

&lt;p&gt;Alison Hokanson, assistant curator, European Paintings, The Metropolitan Museum of Art&lt;/p&gt;

&lt;p&gt;Abraham Thomas, Daniel Brodsky Curator, Modern Architecture, Design and Decorative Arts, The Metropolitan Museum of Art&lt;/p&gt;

&lt;p&gt;Margaret Golden, retired physician and Met docent&lt;/p&gt;

&lt;p&gt;Objects mentioned in this episode:&lt;/p&gt;

&lt;p&gt;Edvard Munch (Norwegian, 1863–1944). &lt;em&gt;&lt;a href="https://www.metmuseum.org/art/collection/search/441924" rel="nofollow" target="_blank"&gt;Night in Saint-Cloud&lt;/a&gt;&lt;/em&gt;, 1893. Oil on canvas, 27 1/2 x 22 1/4 in. (70 x 56.7 cm). The Metropolitan Museum of Art, New York, Private collection (L.2018.2)&lt;/p&gt;

&lt;p&gt;Alvar Aalto (Finnish, 1898–1976). &lt;a href="https://www.metmuseum.org/art/collection/search/491666" rel="nofollow" target="_blank"&gt;“Model No. 41” Lounge Chair&lt;/a&gt;, 1931–32. Laminated Birch, 26 1/2 x 24 x 36 in. (67.3 x 61 x 91.4 cm). The Metropolitan Museum of Art, New York, Purchase, Friends of Twentieth Century Decorative Arts Gifts, by exchange, 2000 (2000.3750) © 2022 Artists Rights Society (ARS), New York&lt;/p&gt;

&lt;p&gt;&lt;a href="https://www.metmuseum.org/art/collection/search/444529" rel="nofollow" target="_blank"&gt;Mortar and Pestle made for Abu Bakr ‘Ali Malikzad al-Tabrizi&lt;/a&gt;, late twelfth–early thirteenth century. Attributed to Iran. Bronze; inlaid with silver and black compound, Mortar: H. 4 1/2 in. (11.4 cm), Diam. 5 3/4 in. (14.6 cm); Pestle: H. 10 1/2 in. (26.7 cm), Diam. 2 3/8 in (6 cm).The Metropolitan Museum of Art, New York, Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 (91.1.527a, b)&lt;/p&gt;

&lt;p&gt;&lt;a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank"&gt;www.metmuseum.org/frameofmind&lt;/a&gt; #FrameofMind&lt;/p&gt;&lt;p&gt;See &lt;a href="https://omnystudio.com/listener"&gt;omnystudio.com/listener&lt;/a&gt; for privacy information.&lt;/p&gt;</description>

Hear personal reflections from three staff members at The Met about how specific artworks have taken on new meaning for them since the pandemic.

Seeing Art Through a Pandemic Lens

How can a physical space be designed to support well-being? While museum galleries might seem a world away from barbershops, to Josh Livingston, both are places for people to gather and connect. Josh is a Visiting Assistant Professor in the American Studies Department at Bard College, and he’s spent many happy hours exploring The Met with his wife and young daughter, Jude. He also hails from a long line of barbers, and in 2020, he opened Friend of a Barber with his business partners. Built for more than haircuts, Josh’s barbershop is also a vibrant community hub that showcases work by local artists, and welcomes children and pets, too. Learn how for Josh, spaces can be purpose-built to support meaningful connections that impact the whole community.

Guest: Joshua Livingston, barber and visiting assistant professor of American Studies, Bard College

Objects mentioned in this episode:

John Singer Sargent (American, 1856–1925). <a href="https://www.metmuseum.org/art/collection/search/12127" rel="nofollow" target="_blank">Madame X (Madame Pierre Gautreau)</a>, 1883–84. Oil on canvas, 82 1/8 x 43 1/4 in. (208.6 x 109.9 cm); Framed: 95 3/4 x 56 5/8 x 5 in. (243.2 x 143.8 x 12.7 cm). The Metropolitan Museum of Art, New York, Arthur Hoppock Hearn Fund, 1916 (16.53)

<a href="https://www.metmuseum.org/art/collection/search/547802" rel="nofollow" target="_blank">The Temple of Dendur</a>, completed by 10 B.C. Egypt, Nubia, Dendur, West bank of the Nile River, 50 miles South of Aswan, Roman period, reign of Augustus Caesar. Aeolian sandstone, Temple proper: H. 6.40 m (21 ft.); W. 6.40 m (21 ft.); L 12.50 m (41 ft.); Gate: H. 8.08 m (26.5 ft.); W. x 3.66 m (12 ft.); D. 3.35 m (11 ft.). The Metropolitan Museum of Art, New York, Given to the United States by Egypt in 1965 and awarded to The Metropolitan Museum of Art in 1967 (68.154)

<a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank">www.metmuseum.org/frameofmind</a> #FrameofMindSee <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

<description>&lt;p&gt;How can a physical space be designed to support well-being? While museum galleries might seem a world away from barbershops, to Josh Livingston, both are places for people to gather and connect. Josh is a Visiting Assistant Professor in the American Studies Department at Bard College, and he’s spent many happy hours exploring The Met with his wife and young daughter, Jude. He also hails from a long line of barbers, and in 2020, he opened Friend of a Barber with his business partners. Built for more than haircuts, Josh’s barbershop is also a vibrant community hub that showcases work by local artists, and welcomes children and pets, too. Learn how for Josh, spaces can be purpose-built to support meaningful connections that impact the whole community.&lt;/p&gt;

&lt;p&gt;Guest: Joshua Livingston, barber and visiting assistant professor of American Studies, Bard College&lt;/p&gt;

&lt;p&gt;Objects mentioned in this episode:&lt;/p&gt;

&lt;p&gt;John Singer Sargent (American, 1856–1925). &lt;em&gt;&lt;a href="https://www.metmuseum.org/art/collection/search/12127" rel="nofollow" target="_blank"&gt;Madame X (Madame Pierre Gautreau)&lt;/a&gt;&lt;/em&gt;, 1883–84. Oil on canvas, 82 1/8 x 43 1/4 in. (208.6 x 109.9 cm); Framed: 95 3/4 x 56 5/8 x 5 in. (243.2 x 143.8 x 12.7 cm). The Metropolitan Museum of Art, New York, Arthur Hoppock Hearn Fund, 1916 (16.53)&lt;/p&gt;

&lt;p&gt;&lt;a href="https://www.metmuseum.org/art/collection/search/547802" rel="nofollow" target="_blank"&gt;The Temple of Dendur&lt;/a&gt;, completed by 10 B.C. Egypt, Nubia, Dendur, West bank of the Nile River, 50 miles South of Aswan, Roman period, reign of Augustus Caesar. Aeolian sandstone, Temple proper: H. 6.40 m (21 ft.); W. 6.40 m (21 ft.); L 12.50 m (41 ft.); Gate: H. 8.08 m (26.5 ft.); W. x 3.66 m (12 ft.); D. 3.35 m (11 ft.). The Metropolitan Museum of Art, New York, Given to the United States by Egypt in 1965 and awarded to The Metropolitan Museum of Art in 1967 (68.154)&lt;/p&gt;

&lt;p&gt;&lt;a href="https://www.metmuseum.org/perspectives/series/frame-of-mind" rel="nofollow" target="_blank"&gt;www.metmuseum.org/frameofmind&lt;/a&gt; #FrameofMind&lt;/p&gt;&lt;p&gt;See &lt;a href="https://omnystudio.com/listener"&gt;omnystudio.com/listener&lt;/a&gt; for privacy information.&lt;/p&gt;</description>

Hear from barber Josh Livingston about the power of community spaces to support connection and well-being, whether when visiting an art museum or getting a haircut.

Art, Haircuts, and Community

Are you looking for ways to calm your mind and find inspiration? Frame of Mind , an uplifting podcast from <a href="http://www.metmuseum.org">The Metropolitan Museum of Art</a> , can help. Hear practical tips and all kinds of personal stories from artists and activists, a barber and a nurse, museum staff, and others about how art supports their well-being. At a time when well-being is more important than ever, learn how art has the power to connect, inspire, and restore us wherever we are.

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