Exhibitions: Curator's Choice: Back to Brooklyn

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Bowl with Beveled Internal Rim

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Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Premonition of Evil

    Adolph Gottlieb was an Abstract Expressionist painter whose subjects and forms were derived from sources including African and Native Americ...

     
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    Curator's Choice: Back to Brooklyn

    Press Releases ?
    • May 25, 1985: Welcome Back to Brooklyn, the sixth in a continuing series of Curators’ Choice exhibitions, will open in The Brooklyn Museum Lobby Gallery on June 2nd and be on view through September 2, 1985.

      Welcome Back to Brooklyn, which opens in celebration of this year’s “Welcome Back to Brooklyn Day,” will present a selection of 47 objects related to Brooklyn from the Museum’s permanent collections. The earliest work in the exhibition will be Francis Guy’s large “Winter Scene in Brooklyn,” painted about 1817-1820, which depicts daily life on Front Street at the time of The Apprentices’ Library, forerunner of The Brooklyn Museum. Brooklyn’s manufacturing and commercial vitality will be reflected in a variety of objects from the Decorative Arts collections; an intricate cast-iron garden settee made by the firm Peter Timmes Son, an opulent armchair by Thomas Brooks circa 1872 and the elaborate Century Vase by Karl Mueller that was produced for the 1876 Centennial Exhibition in Philadelphia. A number of historical prints offer views of nineteenth century Brooklyn plus photographc documentation of the borough spanning approximately one hundred years. A prime mover in the building of The Brooklyn Museum was A. Augustus Healy, whose 1907 portrait by John Singer Sargent will be on view. Three other pieces in the exhibition of particular interest will be a marble medallion relief from the Litchfield Mansion, circa 1866; a velvet presentation suit that was worn by Edward Litchfield when he was introduced at the Court of St. James in 1907 and, in marked contrast, a Brooklyn Dodger uniform from the mid-1950’s.

      The Brooklyn Museum’s “Curators’ Choice” series is made possible by a generous grant from A & S and the Foundation of its parent company, Federated Department Stores, Inc.

      Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1971 - 1988. 1985, 027. View Original

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    "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
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    Prints, Drawings and Photographs

    Over the years, the collections of the Brooklyn Museum have been organized and reorganized in different ways. Collections of the former Department of Prints, Drawings, and Photographs include works on paper that may fall into other categories: American Art, European Art, Asian Art, Contemporary Art, and Photography.
    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
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