Community: bloggers@brooklynmuseum

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.

Judging by the number of re-tweets Nick’s “Poor SpumoniNick’s Almanack” project received, I think it’s safe to say that 1stfans enjoy Twitter Art Feed projects that mix language and wit with a little interactivity. This month, we ramp up the interactivity to create the first ever work of art by 1stfans themselves. Ranjit Bhatnagar, whose personal website has been around since 1993 (!!), submitted a proposal for the Twitter Art Feed that demonstrated his great understanding of how twitter works and what creative possibilities lie within the daily interactions on this platform.

Screenshot of the original “Exquisite Sonnet” project in 1992, a collaboratively-produced sonnet.

Ranjit’s proposition is actually an updated version of a project he did a long time ago (at least in internet years), and Shelley and I are convinced it’s going to work really well with the 1stfans crowd we have on twitter right now. Here’s Ranjit’s proposal:

Long ago in the dark ages of the internet I conducted a version of the surrealists’ language games. In the “Exquisite Sonnet Project” (1992) I had participants write a sonnet, one line each; each person only knowing the preceding line and the rhyme they had to match. I edited the entries slightly for meter and posted the results of each sonnet as it was completed I’ll do a similar project for the 1stfans feed, constructing a group sonnet over the course of the month. 1stfans members can submit candidate lines for the sonnet by posting to @1stfans, and every two days I’ll choose a line and re-tweet it.  Submissions which follow the meter and rhyme constraints of the sonnet form will have the best chance of being chosen, and I might edit them slightly to fit.  People who want to talk about the project should use the hashtag #exquisitesonnet. I’ll also make a web application which creates random sonnets from all the submissions that at least come close to fitting the sonnet rules (launching mid-July).

In the 1992 “Exquisite Sonnet” project, the entire process was done over email. This time around, the sonnet will be composed entirely via Twitter. 

If the concepts don’t seem straightforward, they will soon after the tweeting begins. You’ll get the hang of it, and Ranjit (@ranjit) and I (@willcary) will be able to help out with any questions that may arise throughout the month. What’s exciting is that at the end of the month, we’ll end up with a 1stfans-produced sonnet that everyone can enjoy. If you want to be part of this project and are not a 1stfan Member, you can join here.

Brooklyn Museum Director Arnold Lehman has issued an update to his April letter about the measures the Museum has taken to address the current economic crisis. His letter today concerns what the Museum has had to do in regards to our wonderful staff. Sadly, there have been layoffs in departments across the Museum. As valued friends of the Museum, I want to draw your attention to this update. Again, Arnold’s letter articulates how important it is for the Museum to continue to operate as a vibrant and meaningful place for all of us.

Download Letter

Nick Fortunato is the second artist selected via the open call for the 1stfans Twitter Art Feed. Similar to An Xiao’s work with Morse Code, Nick’s proposal for the feed explores the delivery of news and evolution of communication through the ages. As you’ll see, Nick came up with a great concept that will be a welcome addition to the feed:

The title of my project is “Poor SpumoniNick’s Almanack.” SpumoniNick is my Twitter handle and the Almanack I’m referring to is Benjamin Franklin’s Poor Richard’s Almanack.

This project is an attempt to draw parallels between Twitter, a modern day social networking tool and Benjamin Franklin’s Poor Richard’s Almanack, perhaps the original social networking publication. 275 years after publication of Franklin’s Almanack the form still holds, only the delivery method has changed—a singular voice, communicating to the masses. Then, Franklin’s masses were Colonial America, today it’s the world.

My goal is to “skin” the Twitter feed with content directly pulled from the original Almanacks. I believe that there is very little difference between the common observations people post today on Twitter and those aphorisms and proverbs found in Franklin’s texts. I will not modernize the language, keeping it in the older English as a way to reinforce the mashing of times from then to now.

The experience for the viewer will be one where my posts, in a voice from the past, are sprinkled in with their friends modern up to the minute updates.

Images:  Poor Richard’s Almanac - 1758 - Franklin, Benjamin (author) - Philadelphia - Library of Congress

I’ve been watching the N.B.A. a lot lately, and not just because the playoffs are going on and I’m a huge basketball fan. I’m also watching the N.B.A. as a league, which is, like many businesses, struggling right now. I’ve noticed over the past year that the N.B.A. and art museums actually have a lot in common, in particular the fact that they both rely on similar membership models: museums have their dues-paying members, and the N.B.A. has its season ticket holders.  I think with regards to the development/membership work that I do, there’s a lot to be learned from for-profit businesses that use similar models.  I’ve found inspiration in some of the things N.B.A. teams do to acquire and retain their “members” in a tough economy, and I think some of the tactics they’ve used to attract season ticket holders could make sense for us here in Brooklyn too.

If you’re asking, “Wait, how are N.B.A. teams and museums alike, again?” I’ll explain. In the big picture, the N.B.A. has its franchises as the U.S. has its museums: one in every major U.S. city. Museums and N.B.A. teams both inhabit large, instantly identifiable structures that provoke civic pride (for the most part) among locals. Museums and N.B.A. teams both have their star players (either signature works or exhibitions that draw people in), and N.B.A. teams-like membership departments–use those stars in hopes of convincing their fans that the entire experience (collection) is worth a yearly donation. Like the roster of an N.B.A. team, some exhibitions are created internally by curators using the museum’s own collection (or “drafted”) and some are brought in from other cities (”traded”). Like N.B.A. teams, museums have their coaches (directors) and owners (trustees), and-at least in NYC-media that dedicate staff to covering and analyzing the moves they make.

Two of my favorite institutions: The MFA (via kalyan3 on Flickr) and the TD Banknorth Garden (via WallyG on Flickr), both in Boston.

More relevant to my work is the concept of season ticket holders, which are the N.B.A.’s version of museum members. The reason this comparison works especially well is because the N.B.A. and museums both charge money for a product that is inherently fleeting and difficult to quantify: the experience of viewing art and the experience of viewing a basketball game are something to which value is arbitrarily assigned. Since that’s the case, museums and N.B.A. teams are especially grateful to those who care enough to support the team/institution financially, and in this tough economy 27 of the 30 N.B.A. teams have decided not to increase the price of season ticket packages for next year. I can’t think of one museum in the U.S. that is raising membership dues next year, either.

Like museums, N.B.A. teams offer their members a several additional benefits (besides free admission). In addition to free parking, discounts on food and merchandise, and ticket holder cards (our members here at the Brooklyn Museum receive those benefits as well), N.B.A. teams offer and do a lot on their websites that I think we can learn from here in Brooklyn. The Minnesota Timberwolves send game day notes via email to their season ticket holders (wouldn’t it be cool to send a summary of exhibitions to members the day they visited?). The Sacramento Kings announce season ticket holders names on the big screen when it’s their birthday (we have rolling LCD screens in our lobby that might work for that).  If the Chicago Bulls allow their season ticket holders to come to a Bulls practice, couldn’t we potentially allow our members to watch a conservator restore a painting? Our hometown New York Knicks even customize their season ticket holder benefits based on what type of fan you are (”Lifer, Family, or Executive“), and the New Jersey Nets put their own spin on our museum’s reciprocal Membership program by offering their season ticket holders free N.H.L. tickets whenever they’re in Florida. N.B.A. teams also capitalize on the excitement of their games to make the idea of season tickets seem equally exciting (as seen in this spectacular 76ers video). There’s no reason, in my opinion, that museum membership can’t be just as exciting a prospect as owning season tickets.

I’m not saying that we’re going to implement any of these benefits right away, or that museums should follow the N.B.A. model since our missions and goals are different as non-profit and for-profit institutions. However, what does seem evident is that now is the time to get creative with membership benefits. Brooklyn Museum Members are our season ticket holders, and they hold a stake in the future of our institution. I am determined to make sure that our membership benefits continue to make each season more exciting than the last.