Community: bloggers@brooklynmuseum

Over the last year Will and I have been taking a closer look at the benefits we offer our Members so that each one is not only meaningful, but also relevant to the way in which Members interact with the Museum.  Instead of cutting back in these tough times, we came up with a whole new set of benefits for Members for the 2010 fiscal year (July 2009-June 2010) tailored to these interests.

As we began to add these benefits, it became apparent that our signature publication—the Membership brochure—was in need of a major update. Rather than simply adding the new benefits to the existing brochure, we took this opportunity to completely redesign this publication. After all, the Membership brochure is our primary means of communicating what a Membership offers, and why it’s important, to anyone who walks into the Museum.

As we tackled the new design of the brochure, we had three things in mind: it should be aesthetically appealing, as comprehensive as possible, and convenient for anyone deciding to join.  So I sat down with Caroline, the Museum’s extremely talented (and patient) Senior Print Designer, and we brainstormed how to best accomplish these objectives. Here are the major changes that we came up with:

First, we decided to revamp the brochure’s cover. We said goodbye to Georgia O’Keefe’s Brooklyn Bridge, which was on the cover of the old brochure, and said hello to an eye-catching compilation of images from the Brooklyn Museum’s permanent collections. You may have noticed this design in various other Membership materials, like our Web page or the monthly Membership e-newsletter, so it only seemed fitting that this should also be the face of our Membership brochure.

New look on the right, with the older version on the left.

From there, our most important concern was that the benefit information clearly unfold (pun intended) on the inside.  We added more pages so the entire list of benefits would fit, made the text easier to read by incorporating a lighter color background, and we even decided to print the brochure on heavier paper stock so it would carry more weight (pun intended…again).

Finally, we took inspiration from the Studio Museum of Harlem’s membership brochure by including a perforated membership application that can be sealed and mailed back to us in a self-envelope.  We went one step further, however, by making the envelope prepaid so Members can return it to the Museum at their convenience.

Pre-paid, detachable envelope!

After many months of collaborating on this project, I’m positive that I not only owe Caroline the largest chocolate bar on the planet, but also that we successfully achieved our goals: we added value to our Memberships with an increased number of meaningful benefits, and we’re presenting them in a better package.  So next time you stop by the Visitor Center, grab a brochure and take look inside!

Last Thursday we welcomed over 900 members to the opening of Yinka Shonibare MBE. The weather was perfect, the galleries were packed, and the glass Pavilion was pretty in pink, with festive tablecloths to complement the hot pink walls of the exhibition.

Video via Urban Art & Antiques blog.

Speaking of festive, members received a special surprise when the artist showed up. While having an artist attend the exhibition opening is always a treat in and of itself, Shonibare made an entrance that we wouldn’t forget:  he walked in arm in arm with two companions who were impeccably dressed in full Victorian costume−it was as if they had just emerged from one of Shonibare’s photographs right into the museum!

Photo courtesy Trish Mayo via Flickr.

After walking through the exhibition with these lovely attendants by his side, Shonibare spoke with his good friend and author, Dr. Anthony Downey of the Sotheby’s Institute in London. This was truly the main event, as 450 members packed in to the auditorium to have this special chance to hear the artist speak about his work in conversation with a leading expert on contemporary art. Their engaging conversation centered on the “authenticity” of Shonibare’s work as an “African” artist working in the UK. A tutor of his initially recommended he focus on his African heritage instead of other themes he was exploring at the time. He went to Brixton market where African print fabrics are sold and found out that Dutch wax fabric as it is called, is actually produced in Europe and imitates Indonesian Batik patterns. Initially made to sell in Indonesia, they ended up being sold in West Africa because Indonesians preferred their own fabrics. At the time Yinka realized this would be the central theme that would run in his works: the idea of authentic versus inauthentic.

Photo courtesy Trish Mayo via Flickr.

Following questions from the audience, Shonibare graciously signed exhibition catalogues for members on stage until he’d gotten through the very last person in line. Members flocked to the galleries afterwards, particularly to the museum’s Period Rooms, where Shonibare’s works are whimsically integrated into these 18^th and 19^th century settings.

As this exhibition is the first major U.S. survey of Shonibare’s work, the opening last night was meaningful for everyone involved, and we thank everyone who came out for this special evening. Yinka Shonibare MBE is now open to the public and will be on view until September 20.

Paint brushes? Too obvious. A Brooklyn Museum Membership? Almost perfect. During the Members Preview & Reception for Gilbert & George this past Thursday, Museum Director Arnold Lehman seems to have gotten it right when he gave the artistic team this unique gift:

Photograph © Adam Husted

In an effort to find the most authentic souvenir of Brooklyn, the Director joked about having gone down to the “heart of Brooklyn,” otherwise known as the Fulton Mall, to find these classic hooded sweatshirts for his visitors. He was obviously having a little fun with his guests since these sweatshirts (with lettering in the Brooklyn Museum’s signature Cyan Blue, of course) are in sharp contrast to the double-breasted tweed suits Gilbert & George always wear in public. Nevertheless, they both seemed delighted with their new matching apparel and to receive this very special memento of their visit to Brooklyn.

Following this very insightful—and entertaining—discussion, Gilbert & George headed down to the lobby where they were met by a long line of Members eager to get their exhibition catalogues signed by the artist. In addition to these catalogues, Gilbert & George amiably signed everything from invitations to prints, and even one Member’s tie…while he was still wearing it!

The final highlight of the evening was the raffle drawing for a limited-edition Gilbert & George print which Members could enter by making a donation to the Museum’s Annual Fund. Although only one Member walked away with this special edition, over 800 Members attended this event and had the special opportunity to get up close and personal with the artist! If you didn’t make it to the Preview, you can still get to know Gilbert & George in our special exhibition galleries until January 11.

Photo courtesy of Brooklyn Museum Member, Stephen Sandoval.

Also, be sure to check out more photos from this event in the Brooklyn Museum Members group on Flickr.

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…