- TONIGHT ON SHOWCASE WITH BARBARA KELLAR, DEBORAH EMONT SCOTT OF THE TAFT MUSEUM OF ART.

STAY TUNED, SHOWCASE STARTS RIGHT NOW.

KELLAR: HI, I'M BARBARA KELLAR, WELCOME TO SHOWCASE.

I HAVE A REALLY, REALLY WONDERFUL GUESTS TODAY, DEBORAH EMONT SCOTT FROM THE TAFT MUSEUM.

SHE IS THE TAFT MUSEUM AND THERE'S SO MUCH GOING ON THERE NOW THAT WE WANTED TO SHARE IT ALL WITH YOU AND LET YOU KNOW WHAT'S HAPPENING.

SCOTT: THANK YOU, BARBARA.

IT'S A PLEASURE TO BE HERE.

KELLAR: THANK YOU.

WELL, LET'S GET -- WE WANT TO KNOW WHAT IS HAPPENING NOW THAT THE TWIGS ARE GONE.

SCOTT: THE TWIGS ARE GONE, YES.

IT WAS CALLED FAR FLUNG.

KELLAR: RIGHT.

SCOTT: WE LOVED HAVING IT.

PEOPLE LOVED IT.

BUT AFTER 18 MONTHS, TWO YEARS, IT STARTS TO DEGRADE.

KELLAR: RIGHT, AND YOU TOLD US THAT.

SCOTT: OKAY, AND SO WE PUSHED IT A LITTLE LONGER.

BUT EVENTUALLY IT GOT TO THE POINT WHERE, OH MY GOODNESS, IT'S GOING TO BE UNSAFE.

AND SO WE HAD TO TAKE IT DOWN.

AND PATRICK DOHERTY, HE'S THE ARTIST, IN HIS WORLD WHEN HE DOES PIECES AROUND THE WORLD, USUALLY THEY'RE IN FIELDS OR SOME PLACE WITHOUT A 200 YEAR OLD WOODEN HOUSE BEHIND IT, AND THEY DO A BURNING KELLAR: OH, NO.

SCOTT: YES, THEY DO A BURNING.

AND I SAID, UNFORTUNATELY, ART MUSEUMS AND FIRE, THERE'S AN ALLERGY THERE.

KELLAR: YES, THAT RIGHT.

SCOTT: YEAH, WE DON'T LIKE THAT, SO THERE WAS NO BURNING.

IT WAS JUST TAKEN AWAY TO A WONDERFUL PLACE IN NORTHSIDE WHERE TWO ARTISTS MADE A NEW PIECE FROM IT ALL.

KELLAR: OH, MY GOODNESS.

SCOTT: WE DIDN'T WANT TO JUST -- KELLAR: OH, YEAH.

SCOTT: SO THEY RE-PURPOSED IT.

EXACTLY.

KELLAR: IS IT STILL THERE?

SCOTT: I THINK SO, YEAH.

KELLAR: DO YOU KNOW EXACTLY?

SCOTT: I'll CHECK AND I'll GET BACK TO YOU.

I CAN'T REMEMBER.

KELLAR: OKAY, ALL RIGHT.

SO THAT'S OVER.

SCOTT: THAT'S OVER.

AND WE DID A LONG, HARD LOOK AT THE PHYSICAL STRUCTURE OF THE MUSEUM AS WELL AS EVERYTHING INSIDE BECAUSE THE HOUSE WAS APPROACHING IN 2020 ITS 200TH ANNIVERSARY.

IT WAS TIME TO REALLY MAKE SURE THAT IT WAS GOING TO LOOK PERFECT FOR THAT CELEBRATION.

SO, OF COURSE, THE HOUSE WAS BUILT CIRCA 1820, IT MIGHT HAVE BEEN 1819, MIGHT HAVE BEEN 1821, 23, SO WE HAVE A LITTLE LEEWAY.

SO COVID SORT OF SLOWED US DOWN, BUT THAT'S OKAY.

SO, IN ORDER TO GET THE HOUSE READY, WE WORKED WITH GBBN ARCHITECTS, HGC CONSTRUCTION, EXPERTS FROM CONSERVATION PROGRAMS BECAUSE, AS YOU KNOW, THE TAFT MUSEUM OF ART IS ON THE -- NOT ONLY IS IT ON THE CINCINNATI'S HISTORIC REGISTER, OHIO'S HISTORIC REGISTER, IT'S ON THE NATIONAL HISTORIC REGISTER AND IT HAS LANDMARK STATUS.

SO WE CAN'T JUST TURN AROUND AND PAINT IT PURPLE.

KELLAR: RIGHT.

NO.

SCOTT: NOT THAT WE WOULD WANT TO, BUT EVERYTHING WE DO HAS TO BE AS CLOSE TO WHAT THE ORIGINAL ARCHITECT AND THE ORIGINAL INHABITANTS WANTED.

KELLAR: YEAH, INTENDED.

SCOTT: IT'S LIKE WHEN YOU CONSERVE A PAINTING, YOU SORT OF GO THROUGH THAT KIND OF -- KELLAR: YEAH, YOU DON'T PAINT IN YOUR IDEA.

SCOTT: EXACTLY, EXACTLY.

SO, 80-90% OF THE -- IT'S A WOODEN SLAT HOUSE, AND YOU MAY HAVE NOTICED MOST WOODEN SLAT HOUSES, YOU KNOW, ARE OVERLAPPED.

KELLAR: RIGHT.

SCOTT: THIS ONE'S LIKE THIS.

KELLAR: YEAH.

SCOTT: AND IT MEANS THAT -- WELL, WE THINK THAT THEY BELIEVE THAT AT A DISTANCE IT LOOKED LIKE MORE EXPENSIVE STONE.

KELLAR: OH.

SCOTT: BUT IT MEANS THAT THERE WASN'T GREAT RUNOFF ALLOWED FROM RAIN.

YEAH, SO THERE'S A THERE IS WATER DAMAGE.

THE LAST TIME ALL THE BOARDS WERE SELECTIVELY DEALT WITH WAS 1970.

THAT'S A LONG TIME AGO.

WHAT IS THAT?

FIFTY YEARS.

YEAH, YEAH.

SO EVERY BOARD IS COMING OFF, 80-90% ARE ORIGINAL.

KELLAR: OH, MY GOSH.

SCOTT: EVERY BOARD IS COMING OFF AND REVIEWED FOR ITS ABILITY TO BE USED AGAIN.

IT MAY HAVE TO BE SHAVED DOWN.

SOME OF THEM ARE WARPED.

SADLY, THEY WON'T BE ABLE TO BE USED.

AND WHEN THE HOUSE -- WHEN THE BOARDS ARE OFF, THAT'S WHEN WE'RE TAKING OUT ALL OF THE BAD INSULATION THAT DOESN'T WORK.

AND I MEAN, FOR ALL INTENTS AND PURPOSES, WE'VE BEEN HEATING AND COOLING LYTLE PARK BECAUSE THERE'S JUST NO -- SO WE HAVE A RESPONSIBILITY TO THE TAFT'S PERMANENT COLLECTION AND TO ALL THE WORKS OF ART THAT WE BORROW TO KEEP THE WORKS OF ART, PREFERABLY 50% HUMIDITY, PLUS OR MINUS 50%, 72 FAHRENHEIT, PLUS OR MINUS 2 DEGREES.

WE'RE VERY, VERY PRECIOUS.

WE CAN'T DO THAT WITH THE HOUSE THE WAY IT IS.

AND SO HEAPY ENGINEERING SAID WE CAN DESIGN A PLAN FOR YOU HVAC, HEATING, VENTILATING, AIR CONDITIONING.

WE CAN DESIGN A PLAN FOR YOU, BUT YOU HAVE TO HAVE A VAPOR BARRIER.

SO THE WOOD, THE INSULATION, THE VAPOR BARRIER, A RAIN SCREEN, IT'S GOING TO ABSORB THE MOISTURE.

IT'S VERY COMPLICATED.

BUT IN ORDER TO DO THAT, WE HAD TO TAKE ALL THE ART OUT OF THE HOUSE.

WE ARE FORTUNATE WE HAVE THE 2004 ADDITION WITH FIFTH THIRD GALLERY.

SO 80 OF OUR TREASURES WENT INTO FIFTH THIRD GALLERY, AND WE'RE CALLING THAT IN A NEW LIGHT.

KELLAR: MM-HMM.

SCOTT: IT REALLY IS SEEING THE COLLECTION VERY DIFFERENTLY AND INDEED IN A NEW LIGHT.

AND ABOUT 50 WORKS ARE OVER AT OUR SISTER INSTITUTION, CINCINNATI MUSEUM CENTER, WHERE YOU GO IN, YOU TURN LEFT, YOU GO DOWN THE ESCALATOR AND YOU'RE IN THE RUTHVEN AND THE MALLORY GALLERIES.

KELLAR: RIGHT.

SCOTT: AND THEY HAVE BEEN A DREAM TEAM TO WORK WITH.

KELLAR: WELL, ELIZABETH PIERCE IS THE GREATEST.

SCOTT: ELIZABETH PIERCE'S IS THE GREATEST.

EXACTLY.

SO I MEAN, WE'VE DONE -- IT'S A VERY UNUSUAL SETUP.

WE HAVE OUR SECURITY THERE.

THEIR ENGINEERS DID THE LIGHTING.

I MEAN, AND THEY INSTALLED IT WITH OUR ASSISTANCE.

IT'S BEEN -- I DON'T KNOW WHEN -- IT'S BEEN AMAZING.

KELLAR: SERENDIPITY.

SCOTT: YES, IT'S BEEN REALLY, REALLY WONDERFUL.

AND WE KNEW THAT PEOPLE WOULD BE THERE WITH CHILDREN, AND SO WE DO OUR USUAL INTERPRETATION AND WE DO SOMETIMES MORE TO THE STORY SO WE CAN UNDERSTAND THE CONTEXT.

KELLAR: RIGHT.

SCOTT: THEN WE HAVE A CLOSER LOOK, WHICH IS THE KIND OF THING WHERE YOU WOULD SAY TO YOUR CHILDREN OR YOUR GRANDCHILDREN, "WHAT DO YOU SEE IN THIS PICTURE?

WHY DO YOU THINK THE ARTIST PAINTED THAT TREE THAT WAY?"

AND IT GETS A CONVERSATION GOING?

KELLAR: YEAH.

SCOTT: SO WE'VE GOT ALL THAT GOING ON.

WE'RE ALSO REINTERPRETING THE PERMANENT COLLECTION SO THAT WHEN IT GOES BACK IN, WE TRIED TO FIGURE OUT HOW DO YOU MAKE A COLLECTION THAT WAS BUILT BY ANNA AND CHARLES TAFT IN BETWEEN 1902-1927, HOW DO YOU MAKE THAT EARLY 20TH CENTURY RELEVANT FOR EARLY 21ST CENTURY?

IT'S A HUNDRED YEARS LATER AUDIENCE.

WE ARE DIFFERENT PEOPLE.

WE'VE EXPERIENCED A CENTURY OF CHANGE, NOT EACH OF US INDIVIDUALLY, BUT OUR COUNTRY HAS EXPERIENCED SO MUCH CHANGE.

ALL OF US JUST SINCE MARCH 2020, WE'RE NOT THE SAME PEOPLE.

WE'VE HAD 15, 18 MONTHS OF TIME TO REFLECT, TO BE AWARE OF WHAT'S GONE ON IN OUR COUNTRY WITH GEORGE FLOYD'S MURDER, WITH SOCIAL JUSTICE ISSUES COMING MORE TO THE FOREFRONT.

WE ARE LOOKING AT THESE WORKS OF ART WITH DIFFERENT -- WITH NEW -- WITH A NEW BRAIN.

SO OUR CURATORS AND OUR EDUCATORS HAVE BEEN FOCUSING ON THAT AND TELLING US.

I MEAN, AND WELL, FIRST OF ALL, ART HISTORY ISN'T STATIC.

ART HISTORY EVOLVES BECAUSE WE LEARN NEW THINGS ABOUT WORKS OF ART, AND WE THINK DIFFERENTLY ABOUT THOSE THINGS THAT WE KNEW ALREADY.

AND SO THAT GOES INTO THE LABEL.

AND ACTUALLY, I'M PROUD TO SAY THAT THE ALLIANCE OF AMERICAN MUSEUMS, THAT'S A BODY THAT ACCREDITS -- GIVES ACCREDITATION TO ART MUSEUMS, HISTORY MUSEUMS, AQUARIA, ZOOS, AND CHILDREN'S MUSEUMS, THE WHOLE EVERYTHING.

THEY HOLD AN EXCELLENCE IN LABEL WRITING CONTEST EVERY YEAR.

KELLAR: OH, MY GOSH.

YEAH.

I MEAN, PEOPLE DON'T -- A LOT OF -- IN ORDER TO WRITE 100 WORDS, YOU HAVE TO KNOW 5,000.

KELLAR: RIGHT, AND YOU HAVE TO HAVE A VERY SPECIFIC TALENT.

SCOTT: EXACTLY.

SO, WE SUBMIT EVERY YEAR AND WE DON'T WIN, AND WE WON LAST YEAR.

KELLAR: OH, MY GOSH.

SCOTT: THERE WERE 11 AWARDS GIVEN, NOT IN RANKED ORDER, JUST 11 AWARDS GIVEN FOR EXCELLENCE IN LABEL WRITING, AND THE TAFT WAS THE ONLY ART MUSEUM.

KELLAR: WELL, WHAT OTHER VENUES WOULD BE IF IT'S NOT A MUSEUM?

SCOTT: A ZOO.

KELLAR: OH, YOU MEAN, OH, YES.

ANIMALS AND THEIR INTERPRETATION.

OH, YEAH.

SCOTT: SCIENCE MUSEUMS, THEY GET LABELS.

AQUARIA GET LABELS.

CHILDREN'S MUSEUMS HAVE LABELS.

KELLAR: OKAY.

WOW.

THAT'S PHENOMENAL.

WAS IT ONE STAFF PERSON OR WAS IT -- SCOTT: IT WAS, IT WAS SORT OF A COLLABORATION.

SHE WROTE, AN EDUCATOR REVIEWED IT, I REVIEWED IT, AND EDITOR LOOKED AT.

KELLAR: USED YOUR PENCIL.

SCOTT: JUST A LITTLE.

KELLAR: YEAH, WOW.

I LOVE THAT.

I'M A WRITER, SO I LOVE THAT.

YEAH.

WELL, I MEAN, I -- I'D LIKE TO BE A WRITER.

SCOTT: AND YOU APPRECIATE GOOD WRITING.

YEAH, I VERY MUCH APPRECIATE IT.

YEAH, IN THE -- A GOOD LABEL, ONCE YOU READ THE FIRST SENTENCE, IF IT'S WRITTEN WELL, YOU WOULD WANT TO READ THE WHOLE THING.

YEAH.

KELLAR: RIGHT.

SCOTT: BUT WE ALSO UNDERSTAND THAT PEOPLE COME TO MUSEUMS TO LOOK, NOT NECESSARILY TO READ.

AND SO OUR GOAL IS WE WANT EVERY INDIVIDUAL TO THINK AND BELIEVE THAT WE WANT YOU IN PARTICULAR TO BE THERE.

KELLAR: YEAH.

SCOTT: SO WE WILL HAVE A TOUCH SCREEN.

WELL, I DON'T KNOW IF IT'S GOING TO BE TOUCH.

IT'S GOING TO BE -- YEAH, I'M NOT SURE WHAT THE TECHNOLOGY EXACTLY IS GOING TO BE, BUT IT'S GOING TO BE LIKE A BOOK, BUT IT'LL BE DIGITAL TELLING ALL ABOUT THE PEOPLE WHO LIVED IN THE HOUSE AND WHAT THE ROOMS WERE USED FOR AND ALL THAT KIND OF STUFF.

KELLAR: OH, MY GOSH, THAT IS REALLY FUN.

SCOTT: THEN WE'RE GOING TO HAVE A BROCHURE FOR PEOPLE WHO WANT A BROCHURE.

KELLAR: YEAH.

SCOTT: THEN WE HAVE THE LABELS.

WE HAVE THE AUDIO GUIDE ON YOUR PHONE, KELLAR: SO YOU HAVE NO EXCUSE.

SCOTT: THAT'S RIGHT.

KELLAR: TO BE IGNORANT OF THE -- SCOTT: WELL, WHEN PEOPLE LEARN IN DIFFERENT WAYS, SO WE'RE DOING THAT.

SO WE'RE DOING FIXING UP THE HOUSE.

WE'RE REINTERPRETING THE COLLECTION WHERE WE HAVE STATE OF THE ART SECURITY RIGHT NOW, BUT IT CAN ALWAYS BE BETTER, AND FIRE PROTECTION.

AND THEN, LET'S SEE, AND THE VISITOR EXPERIENCE.

KELLAR: WHAT DID YOU DO WITH THE FURNITURE?

SCOTT: THAT'S ALL BEEN MOVED OUT, YEAH.

KELLAR: SO IT'S HIDING.

SCOTT: IT'S IN A HIDING PLACE, YEAH.

NOW THINK ABOUT THE GORGEOUS DRAPERIES WE HAVE, ALL THE WINDOWS ARE OUT.

KELLAR: THOSE ARE ALL OUT?

SCOTT: THE WINDOWS ARE OUT BECAUSE THEY ALL HAVE TO BE REHABBED.

THE SHUTTERS, THE GUTTERS, THE ROOF, THE CHIMNEYS, 11.

IT'S ALL, I MEAN, IT'S WE'RE GETTING IT READY FOR THE NEXT HUNDRED YEARS.

KELLAR: YEAH.

SCOTT: AND SO THOSE DRAPERIES WERE NEVER INTENDED TO BE REMOVED.

KELLAR: I DON'T THINK SO.

YEAH, SO NOW WHAT?

SCOTT: AND SO IT TOOK LIKE, I DON'T KNOW, 400 MAN HOURS, MAN/WOMAN HOURS TO GET THEM DOWN.

WE HAD TO BUILD -- NOT WE, BUT OUR CONSTRUCTION COMPANY BUILT A WOODEN STRUCTURE IN THE MUSIC ROOM, AND THEY ARE ALL NOW HANGING THERE.

THEY ARE ENCLOSED BECAUSE YOU CAN'T FOLD THEM.

KELLAR: NO.

OH, MY GOSH, NO.

SCOTT: YEAH.

SO THEY'RE HANGING IN THE MIDDLE OF THE ROOM.

AND IT'LL TAKE THE SAME 400 HOURS TO GET THEM BACK.

PROBABLY, PROBABLY.

KELLAR: OH, MY GOSH.

SCOTT: MM-HMM.

YEAH.

SO IT'S A VERY LABOR INTENSIVE, EXPENSIVE PROCESS.

WE -- OUR GOAL IS 12.7 MILLION, WE ARE AT 10 MILLION.

KELLAR: GOOD FOR YOU.

GOOD.

THAT'S GREAT.

SCOTT: AND WE WERE VERY FORTUNATE.

YOU KNOW, I CAN TELL YOU THIS IS A REALLY IMPORTANT PROJECT.

BUT WHEN NATIONAL ENDOWMENT FOR THE HUMANITIES GIVES US THE LARGEST AWARD, THE MAXIMUM AMOUNT OF $750,000 FOR INFRASTRUCTURE AND CAPACITY BUILDING, THAT'S LIKE GETTING THE GOOD HOUSEKEEPING STAMP OF APPROVAL.

DON'T LISTEN TO DEBORAH.

THIS WAS A PANEL OF EXPERTS WHO THOUGHT OUR PROJECT WAS REALLY VALID AND WORTHY OF SUPPORT.

SO IT'S A 3-1 CHALLENGE THOUGH, 4-1 CHALLENGE.

WE HAVE TO RAISE 3 MILLION TO GET THE 750.

KELLAR: OKAY, BUT PEOPLE STEP UP.

SCOTT: PEOPLE ARE STEPPING UP.

YEP.

A LOT OF PEOPLE IN RECOGNITION OF 200TH ANNIVERSARY.

WE HAVE BOARD MEMBERS AND OTHER DONORS WHO HAVE GIVEN $200,000.

WE HAVE THE 2020 CLUB FOR PEOPLE WHO GIVE $2020, WE'LL LIST THEIR NAME TEMPORARILY SOME PLACE.

KELLAR: YEAH.

SCOTT: SO IT'S COMING ALONG AND WE'RE SO GRATEFUL TO ALL THE PEOPLE WHO HAVE SUPPORTED US SO FAR.

KELLAR: WOW.

SO HOW LONG IS THIS ALL GOING TO TAKE?

SCOTT: WE WILL BE DONE BY JUNE 2022.

KELLAR: WOW.

SCOTT: PRETTY QUICK.

KELLAR: THAT'S PRETTY FAST.

THAT IS.

SCOTT: THE ACTUAL WORK SHOULD BE DONE BY THE END OF FEBRUARY 2022, BUT THEN WE HAVE TO GET IT ALL BACK IN.

BUT THEN WE OPEN A JANE AUSTEN FASHION SHOW.

KELLAR: OH, MY GOSH.

WELL, WE HAVE TO -- YOU HAVE TO COME BACK FOR THAT.

SCOTT: YES.

KELLAR: OH, MY GOSH.

AND WHERE ARE THOSE THINGS COMING FROM?

THEY'RE COMING FROM A MUSEUM OF -- WHAT'S IT CALLED?

A MUSEUM OF DESIGN AND FASHION IN LOS ANGELES.

KELLAR: OH, MY GOSH.

SCOTT: YEAH.

AND IT'S FROM THEIR MOVIES.

IT'S FROM THE DIFFERENT, DIFFERENT MOVIES.

YEAH, IT'S CALLED FASHION AND SENSIBILITY, I THINK.

KELLAR: OH, MY GOSH.

OH, THAT SOUNDS -- I LOVE THAT.

THAT'S REALLY GREAT.

SCOTT: AND SO THAT, LIKE WITH DOWNTON ABBEY, THEY'LL BE IN FIFTH THIRD GALLERY, BUT ALSO THROUGHOUT THE HOUSE.

KELLAR: YEAH.

YEAH.

SCOTT: SO THAT SHOULD BE GOOD.

KELLAR: YEAH.

SO ARE PARTS OF THE MUSEUM STILL OPEN?

SCOTT: YES.

KELLAR: IT WILL REMAIN OPEN?

SCOTT: WE'LL REMAIN OPEN, SO YOU CAN COME, YOU CAN SEE THE 80 WORKS TRULY IN A NEW LIGHT.

I THINK IT'S REVELATORY BECAUSE, YOU KNOW, WE HAVE CERTAIN THINGS THAT ARE -- WE HAVE THIS LITTLE FABERGE, IT LOOKS LIKE A LITTLE NOTEBOOK AND IT'S DISPLAYED IN A IN A CASE IN THE KEYSTONE GALLERY, USUALLY.

AND NOW IT'S IN A DIFFERENT -- YOU'RE LOOKING AT IT FROM A DIFFERENT ANGLE.

IT'S LIT DIFFERENTLY AND IT LITERALLY SPARKLES.

KELLAR: WOW, THAT'S RIGHT UP MY ALLEY.

SCOTT: SOME OF THE WATCHES HAVE COME OUT AND THEY SPARKLE.

KELLAR: BECAUSE THEY HAVE BETTER LIGHTING.

SCOTT: YEAH.

KELLAR: WE WOULD SPARKLE IF ONLY FOR BETTER LIGHTING.

YOU KNOW, WE'VE BEEN WORKING ON THAT AND THAT MAY HAPPEN.

WE MAY GET BETTER LIGHTING.

EXCUSE ME.

WELL, IT'S ALSO ALL ENCOMPASSING AND ALL SO EXCITING.

BUT WHEN PEOPLE COME IN WHEN IT'S ALL FINISHED, THEY WON'T SEE ANY DIFFERENCE.

SCOTT: WELL, THAT'S A VERY, VERY ASTUTE OBSERVATION.

SO IF THEY LOOK AT THE OUTSIDE, AND PEOPLE DON'T LOOK AS CLOSELY AS I DO OR AS YOU MIGHT, THEY WILL SEE A HOUSE THAT LOOKS VERY WELL TAKEN CARE OF, NUMBER ONE.

WHEN THEY GO INSIDE, THEY WON'T NOTICE THAT ALL THE GALLERIES HAVE BEEN REPAINTED, SAME COLORS.

WE'RE MOVING SOME THINGS AROUND, NOT THAT MANY.

AND SO WE WERE JUST TALKING YESTERDAY THAT WHAT WE MIGHT DO, SOMETIMES MUSEUMS WHEN THEY'RE INTRODUCING A NEW WORK OF ART THAT THEY'VE JUST PURCHASED, THEY'LL HAVE A TAG ON IT THAT SAYS NEW ACQUISITION.

WE MAY SAY -- I MEAN, THERE ARE THINGS THAT WERE NEVER ON VIEW BEFORE THAT ARE COMING OUT, NEWLY ON VIEW.

I DON'T KNOW, MAYBE WE'LL DO ONE, I DON'T KNOW, NEW LOCATION.

I DON'T KNOW ABOUT THAT.

KELLAR: BECAUSE YOU DON'T HAVE -- YOU DON'T TAKE ANY ACQUISITIONS.

SCOTT: NO, WE DON'T MAKE ANY ACQUISITIONS.

WE DO ACCEPT GIFTS.

KELLAR: THE SAME PAINTINGS THAT WERE THERE.

SCOTT: YEAH, THAT'S RIGHT.

YEP.

BUT YOU KNOW WHERE THE REMBRANDT IS, RIGHT?

REMBRANDT'S GOING TO MOVE.

KELLAR: OH, OKAY.

WHERE'S IT GOING?

SCOTT: SO WHEN YOU'RE IN THE MUSIC ROOM.

YOU KNOW IT, YOU WERE A DOCENT THERE.

KELLAR: YEAH.

SCOTT: SO YOU ENTER THE MUSIC ROOM, YOU TURN RIGHT AND YOU HAVE THE RED COUCH AND THE GAINSBOROUGH.

KELLAR: YEAH.

SCOTT: THE TOMKINSON BROTHERS.

KELLAR: I KNOW, EXACTLY, YEAH.

SCOTT: AND THE HALS, THE MAN AND THE WOMAN.

KELLAR: RIGHT.

SCOTT: WELL, WE'RE GOING TO PUT THE REMBRANDT ON THE LEFT, AND WE'RE GOING TO HAVE THE OTHER HALS ON THE RIGHT, AND THEN WE'RE GOING TO HAVE THE COUPLE, MR. AND MRS. OF THE HALS OVER BY THE DOORWAY.

KELLAR: OKAY, WELL, I CAN'T WAIT TO SEE.

SCOTT: YEAH.

AND THEN YOU'LL BE ABLE TO GET A LONGER VIEW OF THE REMBRANDT.

KELLAR: YEAH.

SCOTT: SO, I THINK IT'LL BE A SUBTLE CHANGE, BUT I THINK A VERY GOOD ONE.

KELLAR: IT'S -- WELL, IT ALL SOUNDS REALLY EXCITING, REALLY EXCITING.

SCOTT: AND THEN NOW THAT WE HAVE ANN GLASSCOCK AS AN ASSOCIATE CURATOR, HER SPECIALTY IS DECORATIVE ARTS.

SO THE COLLECTION, THERE ARE -- MY NUMBERS AREN'T EXACT RIGHT NOW, BUT LIKE 180 PAINTINGS AND 650 WORKS OF DECORATIVE ARTS.

AND WE NEVER HAD A CURATOR WHO SPECIALIZED IN DECORATIVE ARTS.

SO, FOR EXAMPLE, THE FABERGE PIECE I WAS TALKING ABOUT, WE, UP UNTIL ANN'S ARRIVAL, WE THOUGHT IT WAS POSSIBLY BY FABERGE.

IT TOOK HER A FEW MONTHS, DEFINITELY FABERGE.

SHE DID HER RESEARCH.

KELLAR: RIGHT.

SCOTT: SO WE WILL BE LOOKING AT SOME MAYBE MING DYNASTY CHINESE CERAMICS THAT HAD NOT BEEN ON VIEW THAT ANN HAS PULLED OUT.

THEY NEED SOME CONSERVATION WORK.

WE'LL GET THAT DONE.

SO POSSIBLY THOSE WILL BE ON VIEW.

THERE'S A TENDENCY WHEN YOU HAVE A CASE OF BEAUTIFUL BLUE AND WHITE CHING DYNASTY CERAMICS, YOU JUST LOOK AT THEM ALL AND IT'S VERY, VERY BEAUTIFUL AGAINST THAT YELLOW BACKGROUND.

BUT ARE SOME BETTER THAN OTHERS?

ARE THERE SOME FEATURES OF SOME THAT IT WOULD BE GOOD TO KNOW ABOUT?

AND SO WE'RE -- PART OF THE LEARNING.

EXACTLY, YEAH.

KELLAR: EXPERIENCE.

SCOTT: RIGHT.

SO WE'RE TRYING TO PULL SOME OF THEM OUT AND MIX IT UP A LITTLE.

AND NO ROOM FOR LABELS, SO WE'RE PROBABLY GOING TO USE QR CODES.

KELLAR: NOW WHAT'S THAT?

SCOTT: ON YOUR PHONE.

YOU'VE DONE, USED A QR CODE.

YES, YOU HAVE.

I'M SURE.

I'M SURE.

KELLAR: YOU DON'T KNOW HOW LITTLE I KNOW.

SCOTT: OKAY, WELL, EASY TO LEARN.

YOU HOLD YOUR CAMERA UP AND THEN IT TAKES A PICTURE OF IT AND SUDDENLY ALL THIS INFORMATION POPS UP.

KELLAR: I KNOW ABOUT THAT PROCESS.

SCOTT: YES, THERE YOU GO.

YEAH.

SO THAT'S ANOTHER INTERPRETATION TECHNIQUE THAT WILL BE USED.

KELLAR: EVEN KIDS CAN DO THAT.

SCOTT: OH, YEAH.

KELLAR: THEY DO IT, THEY DO IT FIRST AND THEN SHOW US HOW TO DO IT.

SCOTT: THE DIGITAL NATIVES.

KELLAR: YEAH.

I THINK YOUR DESCRIPTION OF THE CARDS AND THE DESCRIPTIONS THAT GO WITH THE ITEM IS SO INTERESTING BECAUSE IT HAS TO BE CONCISE.

SCOTT: OH, YES.

KELLAR: AND ABSOLUTELY PERFECT.

SCOTT: ENGAGING.

KELLAR: ENGAGING, RIGHT.

SO THAT IN ITSELF IS A WONDERFUL REASON TO GO.

AND I MEAN, YOU CAN LEARN SO MUCH.

SCOTT: WELL, AND WHAT WE'RE TELLING IN SO MANY CASES THERE'S THE WORK OF ART AND WE WANT TO GUIDE YOUR EYE BACK TO THE WORK OF ART.

NOTICE THE WAY THE ARTIST PAINTED HALF OF HER FACE IN SHADOW.

BUT THEN WHO WAS SHE?

WHERE DID HER FATHER OR HER HUSBAND GET ALL THIS MONEY TO HIRE THE MOST IMPORTANT ARTIST PAINTING IN ENGLAND AT THE TIME TO PAINT HER PORTRAIT?

KELLAR: YEAH, WELL.

SCOTT: WE DO RESEARCH AND WE FIND OUT.

AND WE FIND OUT THAT THE MONEY, FOR EXAMPLE, CAME FROM SUGAR.

KELLAR: OKAY.

SCOTT: AND THE WAY THAT WAS CULTIVATED WAS NOT A PRETTY STORY, BUT IT'S PART OF THE STORY.

AND SO WE CALL THAT PART OF THE LABEL MORE TO THE STORY.

KELLAR: WOW.

SO GOING THROUGH THERE, IT'S GOING TO BE A TOTALLY NEW EXPERIENCE.

SCOTT: MM-HMM.

KELLAR: THE SAME LOOK.

SCOTT: YES.

KELLAR: BUT A TOTALLY NEW EXPERIENCE.

SCOTT: YEAH, INTELLECTUALLY.

KELLAR: YEAH.

SCOTT: MM-HMM.

WE TALK ABOUT ISSUES OF GENDER.

DO YOU KNOW WE'RE AWARE OF ONLY ONE WORK OF ART BY A WOMAN AT THE MUSEUM, WHICH WAS A RENAISSANCE ENAMEL.

KELLAR: AND HOW -- AND YOU DIDN'T KNOW WHO DID IT BEFORE?

SCOTT: THAT'S A GOOD QUESTION.

I THINK WE DID, BUT WE DIDN'T KNOW THAT -- KELLAR: FROM THE NAME THAT IT WAS A WOMAN?

SCOTT: I THINK WE KNEW, BUT NOW WE'VE PUT IT IN -- WE'RE MORE, MORE AWARE.

KELLAR: SO MENTION IT.

SCOTT: YEAH.

KELLAR: AND YOU KNOW IT, BUT YOU NEVER.

SCOTT: RIGHT, YES.

SO WE TALK ABOUT GENDER.

WE TALK ABOUT WEALTH AND INDUSTRY AND THE EFFECTS OF THAT ON THE WORKS OF ART THAT THE TAFTS COLLECTED.

KELLAR: YEAH.

SCOTT: AND, YOU KNOW, THEY BUILT A COLLECTION THAT WAS VERY MUCH IN KEEPING WITH WHAT WEALTHY COLLECTORS WERE BUYING AT THAT TIME.

THE COLLECTION MIRRORS IN SOME WAYS THAT WHAT YOU'LL FIND AT THE FRICK IN NEW YORK, HENRY CLAY FRICK, J.P. MORGAN, ISABELLA STEWART GARDNER IN BOSTON.

AND SO YOU MIGHT SAY, "WELL, WHY DIDN'T THEY BUY ANY WORK BY AFRICAN-AMERICAN ARTISTS?"

IT WASN'T -- THEY DIDN'T -- THEY WEREN'T THINKING THAT WAY.

KELLAR: NO.

SCOTT: THEY WEREN'T THINKING THAT WAY.

BUT EXCUSE ME, THEY DID BUY WORKS OF TWO CONTEMPORARY ARTISTS, THEIR CONTEMPORARIES, FRANK DUVENECK AND HENRY FARNY.

AND OF COURSE, AT THE TAFT, I SHOULD HAVE BROUGHT THIS UP EARLIER, OUR ROBERT S. DUNCANSON MURALS ARE PAINTED ON THE 200 YEAR OLD PLASTER.

KELLAR: YES.

SCOTT: SO, WE HAVE A VIBRATION SPECIALIST FROM CHICAGO.

IT LOOKS LIKE THEY'RE GETTING ELECTRICAL ELECTROCARDIOGRAMS.

THEY HAVE SENSORS ON THEM, HOOKED UP TO COMPUTERS.

WE KNOW WHAT AMOUNT OF VIBRATION THEY CAN TOLERATE.

AND IF IT GETS NEAR THAT NUMBER, ALL WORK STOPS.

KELLAR: OKAY.

SCOTT: AND THEY HAVE THEIR OWN MICROCLIMATE.

THE WINDOWS MAY BE OUT, BUT THEY ARE HAPPILY AIR CONDITIONED AND HEATED.

KELLAR: YOU'VE LEARNED A LOT.

MAYBE YOU KNEW ALL THIS BEFORE?

SCOTT: NO.

KELLAR: BUT YOU HAVE BECOME AN EXPERT ON HOUSE REHABILITATION.

SCOTT: YES.

RIGHT.

KELLAR: YEAH, YOU NOW KNOW ALL THAT.

THAT IS -- SCOTT: IT'S A JOB WHERE, LIKE YOU, YOU TALK TO PEOPLE ALL DAY AND YOU LEARN THINGS.

KELLAR: ABSOLUTELY.

WHAT IS YOUR REOPENING DATE?

SCOTT: IT'S GOING TO BE PROBABLY HAVING A COMMUNITY DAY ON SUNDAY, I THINK IT'S THE 19TH OF JUNE 2022.

KELLAR: I'M LOOKING FORWARD TO IT.

OH, MY GOSH.

SCOTT: YEAH.

KELLAR: THIS IS SO EXCITING AND SOMETHING TO REALLY LOOK FORWARD TO.

AND THANK YOU SO MUCH FOR COMING.

IT WAS REALLY FUN.

SCOTT: YEAH, AND IT'S FREE NOW.

KELLAR: OH, OKAY.

SCOTT: BECAUSE HALF OUR HOUSE IS NOT ACCESSIBLE.

BUT IF YOU MAKE -- IF YOU DO GET DONATE THE SUGGESTED $10 FEE, IT GOES TO OUR $12.7 MILLION CAMPAIGN.

KELLAR: OKAY, YOU APPLY THAT.

SCOTT: YEAH.

KELLAR: IT'S ALL GOOD.

YES, THANK YOU.

SCOTT: THANK YOU.

KELLAR: THIS WAS REALLY INTERESTING.

SCOTT: THANK YOU FOR HAVING ME.

KELLAR: YOU'RE WELCOME.

- JOIN US NEXT WEEK FOR ANOTHER EPISODE OF SHOWCASE WITH BARBARA KELLAR RIGHT HERE ON CET.

CAPTIONING: MAVERICK CAPTIONING CIN OH MAVERICKCAPTIONING.COM