Community: bloggers@brooklynmuseum

Brooklyn Museum has just joined some of the other non-profits hosting content in the Beyond Campus area of iTunes U (tip of the hat to Despi at IMA for initial info on this). For us, the idea seemed like a good one because it allows us to host long-format content in a setting where people want to find it. Many of the Universities using iTunes U are hosting lectures and we’ve got a ton of artist talks and panel discussions, so this seemed like the right location to do it. In addition, we’ve always wanted to find an easy way our visitors could download our audio tour content right to their iPods and the iTunes U setup accomplishes this. Finally, all of our content is all in one place. We’ll still be uploading to YouTube and blip.tv as appropriate, but iTunes U gives us the ability to host everything in one location without file size and length limits.

When working with the iTunes U template, we wanted to keep our categorization as simple as possible. Most of the traffic to our own website goes to three areas: Exhibitions, Collections, and Visit. In iTunes U, you’ll find our content divided into three categories to mirror this idea. The jury is still out on if this will work for us in this venue, but we are giving it a go and keeping it simple for now. On the right hand side, we are owning the “wisdom of the crowd” and showcasing top downloaded content which seems like an interesting way to get visitors deeper into the site.

If any colleagues are thinking about doing this, feel free to give us a ring if you need any information.

I’m happy to mention that Brooklyn-based artist Paul Notzold will be bringing TXTual Healing to our upcoming Target First Saturday on May 3rd. I’ve long been an admirer of this project and am thrilled to be able to see it live and in-person in our lobby.

TXTual Healing is an ongoing series of interactive performances that encourage the creation of dialog through text messaging from mobile phones. The project harnesses the SMS capabilities of the cell phone as a medium to interact with and explore our shared public and physical space, not as a means to escape it. TXTual Healing builds community through public story telling.

Using the speech bubble as a symbol for communication, participants send text messages to a provided phone number that automatically, anonymously, and in real time, displays these messages inside the bubbles projected onto the facade of a building. The result of projecting in shared public space give participants in the street a voice as loud as the corporate and government entities who financially predetermine the information in these spaces.

TXTual Healing encourages the public sharing of thoughts, experiences and ideas using networked mobile devices that typically support more private communications. Positioning the projections next to windows, or integrating the SMS interactivity with religious, political and socially charged graphics, invites people to share their own uncensored views of the information around them in the form of interactive theater.

For our installation, Paul has adapted the system to display images from our Utagawa exhibition  and worked with our Education and Curatorial staff to give txters questions to ponder. If you are coming this Saturday, be sure to bring your cell phone and if not we will be posting photos to Flickr and hopefully a really awesome video soon after the event.

Pics in this post are from the dry run last Tuesday.  While I was in Denver for AAM, Bob was having fun testing and sending me pics (see below - very funny Bob).

ArtShare, the Brooklyn Museum’s Facebook application just won a Silver award in the Online Presence category of the American Association of Museums MUSE awards. We are in great company with the Powerhouse taking Gold for its online Collection (a project we are great admirers of).

Judges said:
“ArtShare on Facebook is a simple web application with a great, innovative concept: provide a database-driven storehouse of images for users to populate their Facebook pages with and allow users to add their own artwork. In other words, this application creates a new virtual port of entry to museum content (albeit one limited to Facebook users), that taps into the universal desire to “share ownership” of great art. By tapping into mainstream social networking, this application engages new audiences and spurs communal discussion and conversation about artwork and other collections objects. Visually, the application succeeds in retaining the clean and appealing interface of the Facebook site itself, no mean feat in the often-cluttered social networking environment. The Brooklyn Museum’s foresight and generosity in opening this application up to use by its museum peers (ArtShare now includes content from eight different museums ranging from the Metropolitan Museum of Art to the Powerhouse) preserves the integrity and authority of art and institution alike makes this application an award-winning development. Three cheers for ArtShare’s art-sharing concept, execution, and cross-museum synergy.”

ArtShare now has 2239 users and 12 institutions using the application to share their collections (with more on the way in the coming months). We intend to make some technical changes/additions as soon as Facebook completes their expected profile overhauls.

Side note, if you are at AAM this week, I’m in a session about blogging with some really awesome folks, so come by and check it out.

Update! ArtShare also won in an additional category, the Jim Blackaby Ingenuity Award (Cindy, Seb - thanks for the headsup on this).

“The Jim Blackaby Ingenuity Award was introduced in New Orleans at the 2004 MUSE awards ceremony. Jim Blackaby, a board member of the Media and Technology Committee, passed away in the summer of 2003. Jim influenced many in the museum world with his innovative work in information services and Internet strategies. Conceived in his memory, this award recognizes a project that exemplifies the power of creative imagination in the use of media and technology a project that has a powerful effect on its audience, and one that stands above the others in inventiveness and quality. The winner is selected from submissions to the MUSE awards of all categories and does not necessarily have to be a winner within the category to which it was submitted.”

On April 5th we had our second talk in a series of discussions to commemorate the 185th anniversary of the founding of the Library. The well attended talk – entitled What is a book? – was given by Andy Birsh and Davin Kuntze, from Woodside Press, who spoke about the elements of the book format. Their presentation focused on typography, papers, and bindings in use before and since the days of Gutenberg. Mr. Birsh is the proprietor of Woodside Press in the Brooklyn Navy Yard, one of the largest fine letterpress printing studios in New York. Mr. Kuntze is a trained bookbinder, printer, and graphic designer who lives in Crown Heights.

As always, it was a great pleasure to listen and think about the history of books and to see some books that are great examples of papermaking, printing and binding. Books on view included books on papermaking and specimen books with paper samples and facsimiles of codices such as the Codex Mendoza, the Mexican manuscript. The following is part of the catalog entry for this remarkable book published in London in 1938:

“The Mendoza codex is a Mexican pictographic manuscript prepared on the authority of Don Antonio de Mendoza, the first viceroy of New Spain … A Spanish priest, familiar with the Nauatl … was employed by the viceroy to set down in Spanish the explanations of the glyphs as interpreted by the Mexicans themselves.” The facsimile includes the original pictographs in colors and the Spanish explanations.”

This codex facsimile is one of many in this collection that document the culture of Mexico.

Several truly rare books were out for the public to see such as Hori Apollinis selecta hieroglyphica (Rome, 1599). This emblem book (seen below) documents Horapollo’s attempt to decipher the Egyptian hieroglyphs and offers many woodcut images some of which are supposedly by Dürer. The book was recently on view in the Egypt Through Other Eyes exhibition organized by the Museum Library staff.

Other rarities on view included The First Book of Architecture by Andrea Palladio (London, 1721) and Specimens of plain and ornamental printing types, borders, ornaments, rules, &c. made at the type and electrotype foundry of James Conner & Sons (New York, 1859) A good example of an accordion binding was The Great Exhibition “wot is to be” : or probable results of the industry of all nations in the year ‘51. Showing what is to be exhibited, who is to exhibit it; in short,how its [!] all going to be done (London, 1850). This book is a continuous, illustrated strip, folded accordion style.

We also had a few artists’ books out that are exquisite examples of printing such as the Peter Kruty edition of The Diary of a Madman by Nikolai Gogol (Summer Gardens Editions, 1998) with art by Mikhail Magaril. Peter Kruty’s letterpress studio is in Brooklyn and he worked with a team to produce this great example of letterpress and fine binding. The book was included in the Artists Book exhibition here back in 2000. Another artist’s book that was included in the Artists Book exhibition here and on view for our talk is The Corona Palimpsest (1996) made by Nora Ligorano and Marshall Reese.

I could go on and on about all of the great books we had out on view … if you want a full list of what we all looked at send an email and we will be happy to send the list to you.

Keonna Hendrick, Education Intern for Library Outreach, enjoys looking at one of the many rare books we had
out for the public to see.

National Library Week having just ended, it seems opportune to bring up a topic that was discussed during the talk which centered on the future of the book and the challenges presented by the Internet. There seems to be a notion in the air that “all of this will be digitized” if it hasn’t been already and that we will not need libraries. Perhaps it is so much easier to click at your computer instead of getting up and opening a book. But what a pleasure that is! Touching the paper, seeing images that in many instances are engravings or are hand colored, feeling the binding. I realize I am speaking from the perspective of a research librarian surrounded by books that have a true intrinsic value. As in most art libraries, we have many books filled with tons of images – engravings, photographs, textile and paper samples etc - that have an incredible tactile quality to them. I don’t look forward to the day when I have to climb into bed with a computer instead of a book. I know I am not the only one who feels that we need to speak up for the book as a physical entity and would really like to begin a discussion here about this issue. As far as I can see here in Brooklyn there are two camps of thinking: the book lover who speaks for the beauty of the physical book and the Internet lover who wants everything online and available in a very immediate way. Which camp are you in? Can the wishes of the two camps converge so that we can have everything – the book and the digital version?

Photos by Leah Golubchick

I am excited to announce Dawn Mostow as the winner of our Cosplay Costume Contest that was held at Target First Saturday on April 5^th. The theme of the evening was “Japanimated! The Arts and Culture of Japan,” which related to our two exhibitions of Japanese art, © MURAKMI and Utagawa: Masters of the Japanese Print, 1770–1900. Cosplay (which comes from the words “costume” and “play”) is very popular among anime and manga fans in both Japan and the United States. We chose to have a Cosplay Contest because in planning the program we were looking for an activity that would engage visitors and encourage them to participate celebrating the unique, creative cultures coming out of Japan. For this contest we invited visitors to come dressed up as their favorite anime or manga character and have their picture taken by our volunteer photographers Priscilla Vazquez and Leah Golubchick. Many people dressed up and you can see their fabulous costumes on our flickr stream. It was hard for our panel of judges to pick a winner from the many wonderful costumes, but all chose Dawn’s as one of their favorites.

Rei Ayanami from Evangelion, left, with Dawn at Target First Saturday, right. Photo by Leigh Paris.

Dawn is dressed up as Rei Ayanami, a character from the anime series Evangelion. Dawn chose Rei Ayanami because, “I wanted a popular character that is easily recognizable to anime fans, but also holds a visual interest to people not familiar with Japanese animation, thereby creating an interest in the genre.” Dawn has been involved in Cosplay for ten years and made her costume herself. She has a background in costume design, and is currently studying for an MFA at Pratt Institute. She remarked that making the costume was challenging because she had to work on bringing a two-dimensional character to life. Thanks to Dawn and everyone else who participated in the contest and made April’s Target First Saturday memorable! I hope you can all join us again in May.

Stepping out of the Eastern Parkway subway station this morning, I was greeted by the most amazing sight: the cherry trees in front of the Museum were bursting with big, puffy pink blossoms. On Friday they had been all brown twigs, but over the weekend they just exploded. It had a dramatic effect on my mood: I went from tired and gloomy to bouncy and optimistic in a split second. And I’m not really the kind of person who oohs and aahs over pretty flowers.

This year, the incredible display of cherry blossoms found around the Brooklyn Museum (especially in the Botanic Garden next door) gains an additional dimension because inside we’re featuring a couple of great exhibitions of Japanese art. Obviously, you don’t need to be Japanese to appreciate the coming of Spring, but the rest of us can learn a thing or two from the Japanese approach to seasonal change. There’s a very ancient tradition in Japan, first practiced by the aristocracy and then later by the whole population, of watching very closely for the changes in nature that mark the transition between seasons and celebrating those changes with poetry and festivals. None of these festivals are as overtly nature-based or as broadly celebrated as Hanami, or cherry-blossom viewing, an occasion for picnics and strolling in groves of trees that were planted for the purpose. Picture an entire country sharing the giddy experience that I just had coming out of the subway, add quite a bit of alcohol and a day spent away from the office, and you have a sense of what Hanami is like.

In Japanese poetry and philosophy, cherry blossom viewing delivers two somewhat contradictory lessons. The sad truth is that cherry trees bloom for only about a week, then they shed their flowers in a wonderful blizzard of petals. The fleeting quality of their beauty is a large part of what’s so thrilling and meaningful about it all. In East Asian Buddhism, the flowering of the trees was used as a metaphor for human life in general: a gorgeous, exciting pageant, but woefully short. Buddhists argue that we should seek something deeper and more meaningful, something — described as “truth” — that surpasses such temporary, earthly thrills. However, as is often the case, popular tradition takes the Buddhist interpretation of the cherry blossoms and turns it on its head: instead of dismissing the power of ephemeral beauty, the Hanami festival embraces it and suggests that we all enjoy ourselves now because we cannot know what tomorrow brings.

When you see cherry blossoms in Japanese art — and you can find them in several prints in the exhibition, Utagawa: Masters of the Japanese Print, 1770-1900, open through June 15, 2008 — they can represent all the youth and optimism of Spring, but they can also represent the fleeting nature of life, a more pessimistic view. This kind of complex symbolism might seem like a bit of a downer to those of us who are just out to enjoy the view, but it’s what makes for great art. So the next time you see a Japanese image that pairs an image of a beautiful young woman with a branch of blossoming cherry, think about what the hidden message may be. But there’s also no harm in enjoying the beauty while we’ve got it.

Photo courtesy mayotic via the Brooklyn Museum Group on Flickr. All Rights Reserved.

As Tamara noted, one of the most interesting things about putting on exhibitions for living artists is that the artists themselves often have a hand in how their work is viewed, and this is not just limited to the pieces in the exhibition. In this case, planning for the Members Preview and Reception was much more than just firing off a letter to all our Members and ordering some food from our caterer. For the © MURAKAMI Members Preview and Reception held on April 4, Murakami’s studio Kaikai Kiki helped design the invitation (seen above) and were only satisfied when the artist himself approved it.

Going into the night, there were two big unknowns: the number of people that would show up, and whether the artist was going to make an appearance. When 2,300 Members came, we were thrilled. And when the Takashi Murakami himself walked into the lobby, it was icing on the cake. He graciously shook hands, took pictures, and signed invitations (as you can see below) for over an hour, and our Members couldn’t have been happier. Maybe we should do exhibitions of living artists more often!

If you didn’t make it to the Members opening, the show is now open to the public through July 13. Come and check it out! You never know when the artist could show up…

This Saturday, April 12, to celebrate our two exhibits of Japanese art we will host an academic symposium entitled “Love and Pop: Contemporary Visual Cultures in Japan and Beyond.” This is the first symposium held in a many years at the Brooklyn Museum that specifically highlights the work of graduate students. It is the first of what I hope will be an annual event. I think it is a unique event because the material that will be presented is both academically rigorous and accessible to all. The day will start off with a keynote address by Roland Kelts, author of Japanamerica: How Japanese Pop Culture Has Invaded the US. It will continue with a panel entitled “Consuming Desire: Superflat, Otaku, Kawaii and the Grotesque,” moderated by Eugenie Tsai, Curator of Contemporary Art at the Brooklyn Museum. The second panel, “Visual Release: Gender, Art, Representation and Exchange,” will be moderated by Aiko Nakagawa. Aiko is a street artist and founding member of the artist collective Faile. Incidentally, the work of Aiko and Faile was very popular on our Flickr page during the Graffiti show during summer of 2006. I chose these moderators for their particular takes as a scholar, curator and artist (respectively) on Japanese and American culture and contemporary art.

A collage of works of art by Aiko Nakagawa

In organizing this symposium I hoped to create a platform for students producing scholarship related to visual culture to share their work with a wider audience. I initially imagined the symposium would attract local students. To my surprise and delight panelists are flying in from as far away as London and California. The panelists are: Kaori Hoshino, Brooklyn College; Meghen Jones, Boston University; Maya Kimura, California College of the Arts, San Francisco; Marci Kwon, New York University; Cindy Lisica, University of the Arts, London; Dawn Mostow, Pratt Institute; Pennylane Shen, New York University. If you join us on Saturday I would love to know what you think!

With just a day left before the opening of © MURAKAMI, installation has wrapped up here at the Brooklyn Museum. We will be presenting nearly 100 works of art by the internationally-acclaimed artist Takashi Murakami as part of the most comprehensive retrospective of his work to date. Along with our own conservators, registrars, and art handlers, we have been hosting officials from Kaikai Kiki, (the artist’s studio in Tokyo and New York), and from the Museum of Contemporary Art, Los Angeles – the exhibition’s organizing institution – to assist with the installation. It’s been a packed house, but we are definitely grateful for so many experienced pairs of hands. And of course, the progress of the installation has also been closely monitored by the artist himself.

Takashi Murakami (left) with Paul Schimmel, Curator, Museum of Contemporary Art, Los Angeles. Photo by Mami Kato. Flower Matango (b), 2001-2006 and Cosmos, 2003. Artworks ©Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

I am most excited about the nitty-gritty details which make for an interesting installation period at the Museum. This multi-faceted exhibition fuses art with design elements, and Murakami has designed custom carpets and wallpaper to serve as the backdrop for his lively pieces. The effect is quite marvelous! Lately I have been consumed by the carpeting, for which a delicate installation plan had to be developed. As always, our primary goal was to achieve a seamless, flawless look for the exhibition. But there were other concerns as well; namely, ensuring that a temporary install would not permanently damage our original granite flooring while simultaneously guaranteeing that the bonding method would withstand heavy traffic. I think we’re there; the carpet looks wonderful.

Installers from Carpet Resources, Ltd., work with Ken Moser, Chief Conservator (right) to determine an appropriate installation plan for the carpet. Photo by Tamara Schechter. Artwork ©Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

As you can see from the first photo in this post, Murakami sees the gallery space itself as an extension of his artistic presentation, meant not to fade into the background but rather to contribute to the overall atmosphere created by his work. Through the use of carpet and wallpaper, Murakami turns the very walls and floors around his art into works of art themselves. We have had plenty of experience installing fine art wallpaper; many of you may remember this element in the presentation of Global Feminisms. In addition, artist Ghada Amer has also explored the use of wallpaper in her work; you can check that out in Ghada Amer: Love Has No End, currently on view in the Elizabeth A. Sackler Center for Feminist Art.

Murakami’s mesmerizing patterns are meant to overwhelm the senses and stimulate a greater connection to his work, and our first-class wallpaper installer, Amir Hasan, worked diligently for two weeks to ensure that Murakami’s intricate patterns matched seamlessly.

Amir Hasan, installer extraordinaire, hangs Murakami’s wallpaper. Photo by Shelley Bernstein. Jelly Fish Eyes, 2001. Artwork ©Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

This presentation will be stellar, and I hope these images have sufficiently whetted your appetite, but, be aware, when the show closes the images within my post will have to come down along with the exhibition. Many thanks to Takashi Murakami and KaiKai KiKi for allowing us to share these images with you during the run of the show! © MURAKAMI opens on April 5^th!

Has everyone seen the fantastic work the Indianapolis Museum of Art is doing on their YouTube channel? It’s hard to miss and we’ve been watching their videos for while now in complete amazement. They’ve got a little bit of everything on their channel including staff profiles, short videos and video series from recent exhibitions and installations. I was excited to meet the folks in charge of the channel recently, Daniel Incandela and Despi Mayes, when they were visiting NYC. One of the things I love about the IMA videos is they do everything with their own in-house staff - no outside producers. It’s clear to me that there’s a lot of commitment and quality here that’s rooted in the mission of the institution. YouTube is just one part of the awesome IMA web presence. While you are at it, check out their new blog, the dashboard and the latest web feature for Breaking the Mode.

So, why am I starting this post with the IMA? Well, we just produced a short video for our exhibition © MURAKAMI and while video is not something we tend to do a lot of at the Brooklyn Museum, we are very proud of this one. “Mr. Pointy Comes to Brooklyn” was inspired by the IMA’s “LOVE MOVE“. Shot in timelapse style, our new video documents the load in and assembly of Takashi Murakami’s sculpture, Mr. Pointy, which is now on display in the Rubin Pavilion throughout the run of the exhibition. One of the things we really liked about “LOVE MOVE” was the way the IMA combined different types of footage to produce a video that could really hold your attention. We worked with the same format, combining still shots taken from the ground with timelapse shots from the roof, then shifting to a true timelapse of the sculpture being assembled.

To get some of the footage, we set up shop on the roof of one of buildings across the street from the Museum. Bob (left) and Francesca (right) almost froze up there! This part of the load in lasted all day and they shot more than 2000 images to go into the final timelapse. Those of us on the ground kept joking that they looked like snipers on the roof. Many thanks to Victor, the superintendent of the building across the street. Not only did he arrange to get us access, he provided electricity so we could power our equipment all day.

Bob hard at work and cold!

After the first day, we all got to move inside to warmer surroundings. At the same time we were shooting, Ruby Washington, a photographer from the New York Times, was here capturing shots for a piece just published in our hometown paper. Check out her great flicks in Carol Vogel’s article. We’ve also got a series of shots of our own up on Flickr if you are into the close-ups.

The view down Washington Avenue was pretty cool…note the pigeons decided to oversee the shoot!

You may notice there’s no music in the video. We really wanted to use a track from mobygratis, but we were just shy of time needed to get the approval for the track and our request is still “pending”, so it’s a bit of a silent movie right now. Once the exhibition completes its run we will have to take the video off YouTube and the flicks off Flickr, but we are thrilled we can share them with you for this limited time. Thanks to The Nugget Factory for the inspiration! Daniel, now we need advice about how to make transitions that will look good when YouTube does its compression. It looks so much better when we host it.