Exhibitions: Raw/Cooked: Ulrike Müller

  • 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: Hollow Head of a Crocodile

In the Old Kingdom (circa 2670–2195 B.C.) silver was more valuable than gold, but this grad...

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: Headless Statuette of a Female

    The shapely forms of this statuette are characteristic of the ideal feminine body type of the Ptolemaic Period. During Greek rule, full thig...

    Want to add this object to a set? Please join the Posse, or log in.


    DIG_E_2012_Raw_Cooked_Ulrike_Muller_01_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_02_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_03_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_04_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_05_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_06_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_07_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_08_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_09_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_10_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_11_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_12_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_13_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_14_PS4.jpg DIG_E_2012_Raw_Cooked_Ulrike_Muller_15_PS4.jpg

    Raw/Cooked: Ulrike Müller

    Exhibition Didactics ?
    • Raw/Cooked: Ulrike Müller
      Ulrike Müller’s Raw/Cooked exhibition, Herstory Inventory, is a two-part, collaborative project. The first is inspired by the inventory of the extensive T-shirt collection housed at the Lesbian Herstory Archives, a grassroots organization in Park Slope. Müller distributed the T-shirt descriptions to collaborators, including feminists and queer artists, instructing them to translate the words into new images; the result, 100 Feminist Drawings by 100 Artists, is on view here.

      For the project’s second segment, Müller turned her attention to the Museum’s collection. She chose five key words that appear frequently on the inventory list and refer to lesbian, feminist, and queer symbolic imagery: flower, hand, rainbow, triangle, and axe. Using these terms to search the Museum’s collections online, Müller selected objects for display, accompanied by her written commentaries. Herstory Inventory begins in the fifth-floor elevator lobby and extends to the lobbies on the fourth, third, and second floors.

      Müller graduated from the Academy of Fine Arts, Vienna. Her studio is in Sunset Park, Brooklyn.

      Eugenie Tsai

      The rainbow objects gathered in this case are made by American artists of both native and colonial heritage. Over the centuries, a range of mythological and spiritual meanings has been attributed to the rainbow. In its impermanence and immaterial beauty, this natural phenomenon can challenge our notions of what is real and possible.

      In 1978, a San Francisco–based artist designed a flag with rainbow-colored stripes as a symbol of the diversity and unity of the LGBT community. Today this banner is internationally recognized. It is flown at gay and lesbian pride marches and other gatherings and displayed to mark community centers and queer-friendly businesses around the world.

      —Ulrike Müller

      The objects within this category feature triangular forms and zigzag lines, and they were all made by or for women. Displayed as a group, they propose an open and speculative response to questions regarding the absence or presence of queer bodies in the Museum. Can cultural invisibility be challenged by experimental, imaginative ways of looking?

      As a symbol of gay liberation the triangle signifies pride and solidarity, but it also memorializes a history of homophobic violence. During the German Nazi regime (1933–45) homosexual men and “antisocial” women (a category that included feminists and lesbians) were persecuted and often killed. In concentration camps their prisoners’ uniforms were marked with pink or black triangular badges.

      —Ulrike Müller

    • HANDS
      Hands are powerful symbols in many cultures, as seen in the ancient Egyptian amulets and Buddhist ritual gesture on display here. Hands guide, protect, and signal. A cast of the hand of a beloved person may be a souvenir, but it may also contain a possessive claim—the one displayed here is prominently adorned with a ring that signifies marriage.

      In drawings nearby, hands form fists and assume more immediately passionate meanings. Fists represent struggle and resistance to oppression, as in the radical feminist symbol that features a clenched fist in the center of the symbol for woman. Hands touch, stroke, pet, hit, poke, and penetrate; they are sensual, sexual, and political. Hands refer to agency, the ability to do things that affect others and the world.

      —Ulrike Müller

      The objects in this category present various ways of looking at flowers, in particular the white lily. This case displays the highly stylized form of an art deco vase together with an elegant black-and-white calyx on a dinner plate and a blocky lily printed on paper, whereas the watercolor installed on the wall nearby is based on careful botanical observation. The subject matter is handled very differently in each of these pieces, yet they all respond to the lily’s suggestive form.

      Historically, flower painting was considered a “minor” art form accessible to women and others excluded from life drawing classes and arts academies. Flowers, especially irises, appear in lesbian and feminist imagery owing to their seductive beauty and sexualized formal connotations.

      —Ulrike Müller

      Axes, swords, and knives can be tools or weapons. Whether their purpose is quotidian or ceremonial, the care applied to their form and adornment speaks to this power.

      Since the 1970s the labrys, or double-bladed battle-axe employed by the mythological Amazonian women warriors, has been a symbol for lesbian feminist strength and self-sufficiency. It evokes a tradition of fierce lesbians working together to establish nonpatriarchal social structures. Monique Wittig writes, “Our symbols deny the traditional symbols and are fictional for traditional male culture, and we possess an entire fiction into which we project ourselves and which is already a possible reality. It is our fiction that validates us.”

      —Ulrike Müller

    advanced 110,591 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."

    Recently Tagged Exhibitions

    Recent Comments

    "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"
    By shelley

    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
    By Aimee Record

    "For more information on Louis Schanker and the New York Art Scene of the mid 1900's go to http://www.LouisSchanker.info "
    By Lou Siegel

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.

    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.
    For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
    This section utilizes the New York Times API in order to display related materials in New York Times publications.