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Purchase tickets. Some of the Saturday programs have limited capacity and require a separate ticket. Tickets will be available at registration on a first-come, first-served basis.
 

DAY 1: Friday, October 20, 2017

SESSION 1
9:30–11:15 am

Opening Performance
Marc Bamuthi Joseph

Welcome and Introductory Remarks
Anne Pasternak, Shelby White and Leon Levy Director, Brooklyn Museum
Tom Healy, writer and Guest Curator, Brooklyn Museum

“If There’s a Heaven, I Can’t Find a Stairway”: Can Art Create a Way Forward?
Cultural critic Touré in conversation with rap artist Tariq "Black Thought" Trotter of The Roots. They discuss creative responsibilities, artistic imagination, and staying inspired as artists, thinkers, and global citizens.

Keynote
Kirsten Gillibrand, U.S. Senator from New York, in conversation with Anne Pasternak, Shelby White and Leon Levy Director, Brooklyn Museum, on the awesome impact of one person, one change, or one story.

When Does Practice Become the Real Thing?: A Talk on Community Benefits
Roberta Uno, Director, Arts in a Changing America, gives a talk on best practices and effective strategies for creating inclusive and dynamic cultural communities. How do we shift institutional priorities, build equitable relationships, and encourage accountability?

Creative Resistance: The Role of the Artist
Paola Mendoza, filmmaker and Artistic Director, Women’s March on Washington, speaks on how artists can help drive change through cultural creation, connecting people through their common humanity.

SESSION 2
11:30 am–1:25 pm

Across the Line: Changing Culture with Virtual Reality
Dawn Laguens, Executive Vice President and Chief Brand Experience Officer, Planned Parenthood, in conversation with Lindsey Taylor Wood, Founder and President, The Helm. This conversation explores how Planned Parenthood uses art and such new media as virtual reality to tell stories, expand their reach, and inspire change. Through these creative strategies they focus not only on policy victories but on changing the culture of shame and stigma around women’s sexual and reproductive health.

Can Politicians Think Like Artists?
A conversation among artists Hank Willis Thomas and Marc Bamuthi Joseph, and Neera Tanden, President, Center for American Progress, moderated by Tom Healy. They unpack what artists and policy-makers may be able to learn from each other as creative dissenters and boundary-pushers.

Everyday Creativity: Making Change in Communities
A conversation among Kemi Ilesanmi, Executive Director, The Laundromat Project; Ebony Noelle Golden, Founder and CEO, Betty’s Daughter Arts Collaborative; and Sade Lythcott, CEO, National Black Theatre, moderated by Adjoa Jones de Almeida, Director of Education, Brooklyn Museum. Three community arts leaders get together to discuss the complexities and transformative power of their local practices and initiatives in New York City, amplifying the link between creativity, imagination, and neighborhood well-being.

Amplifier: Hear Our Voice
Cleo Barnett, artist, curator, and Program Director, Amplifier, gives a brief talk on making art specifically for movement-building and harnessing the power of positive propaganda for elevating voices, including working with the Women’s March on Washington.

How to Build a Movement
Linda Sarsour and Bob Bland, national co-chairs of the Women’s March on Washington, reflect on the massive global success of the January 21, 2017, protest and the ongoing effort to sustain momentum for intersectional women’s rights. Moderated by Carmen Hermo, Assistant Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.

BREAK FOR LUNCH
1:25–2:30 pm

SESSION 3
2:30–4:20 pm

Planting Seeds for Communities of Change
Alvin Starks, Senior Program Officer, Open Society Foundations, in conversation with Anjali Kumar, Chief People Officer and General Counsel, Cheddar Inc., and William Floyd, Head of External Affairs, Google New York and California; moderated by Rashida Bumbray, Senior Program Manager of Arts Exchange, Open Society Foundations. Members of philanthropic foundations and the corporate and start-up sectors discuss how the arts can help institutions create a culture of engagement that supports social justice and helps communities thrive.

Faith and Social Change in Brooklyn
Rabbi Rachel Timoner, Congregation Beth Elohim in Park Slope, and Reverend Eric Thomas, Interim Pastor, Siloam Presbyterian Church in Bed-Stuy, discuss spiritual life in Brooklyn with Joyce S. Dubensky, CEO, Tanenbaum Center for Interreligious Understanding, with particular attention to belonging, allyship, safety, and self-expression.

Our Bodies Ourselves: Advocacy through Feminist Filmmakers
Pamela Berger and Jane Pincus, founders of the trailblazing women's health organization Our Bodies Ourselves, unite with Julie Childers, OBOS Executive Director, and Ayesha Chatterjee, OBOS Global Project team, to present their work—remarkable for its longevity—and an intergenerational discussion of feminist activism, including a screening of vintage films from the Global Women’s Health Movement.

Black Lives Matter: The Future of a Movement
CNN political commentator Sally Kohn interviews Alicia Garza, co-founder of #BlackLivesMatter, on systemic racism, the movement, rage, and hope.

SESSION 4
4:35–6:15 pm

Making Brooklyn Well: Designing Healthy Communities for Everyone
Richard Cook, co-founder of COOKFOX architecture firm, and Brenda Rosen, President and CEO, Breaking Ground, discuss the intersection of design and community wellness. They unpack strategies for supporting mental and physical health through connections to nature in the built environment, and the efficacy of good design to create safety and security for Brooklyn’s most vulnerable citizens.

Open Access: A Creative Practice
Canadian social practice artist Carmen Papalia presents on the empathic possibilities of his work, which has been described as an “open-sourcing of his own access . . . making visible the opportunities for learning and knowing through the non-visual senses.”

Indigenous Art and Organizing: A Conversation on Policy, Practice, and Representation
Jodi Gillette, former advisor to President Obama; Kevin Gover, Director, National Museum of the American Indian; and artist Jeffrey Gibson discuss the ethics of representing and supporting indigenous art, history, and culture. They share lessons learned and strategies for ensuring inclusion, growth, and exchange among institutions, artistic communities, and governments. Moderated by Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.

The Fight for Opportunity: Immigration Now
Tania Bruguera, artist and inaugural Artist-in-Residence of the NYC Mayor’s Office of Immigrant Affairs, joins Murad Awawdeh, Vice President of Advocacy, New York Immigration Coalition, and artist Felipe Baeza for a discussion of political challenges facing New York’s immigrant communities and the creative possibilities of Arte Útil, or “useful art.”

SESSION 5
6:30–8:15 pm

The Value of Storytelling in Education with performances from SLUT: The Play and Now That We're Men
Teacher, writer, and director Katie Cappiello and Beau Willimon, playwright and creator of House of Cards, explore the fusion of theater arts and activism in education and the active benefits of the theater as a space to encourage challenging conversations on topics like gender norms and sexual assault.

I Can’t Breathe: A Reflection
Artist and performer Shaun Leonardo presents a performative reflection and meditation on self-preservation, aggression, and the fight to survive in over-policed communities of color. Conducted in memory of Philando Castile, Alton Sterling, Freddie Gray, Walter Scott, Eric Garner, Jamar Clark, Laquan McDonald, Michael Brown, Akai Gurley, Ramarley Graham, Tamir Rice, Trayvon Martin… and countless others.

Who Says Who We Are? The Ethics of Representation
Claudia Rankine, poet, essayist, and founder of The Racial Imaginary Institute (TRII); artist Sam Durant; Coco Fusco, artist, writer, and professor; and Antwaun Sargent, writer and art critic, approach a topic of recent museological and political urgency, tackling the ethics of representation, the current state of racial and identity politics in the art world, and the repercussions of visual culture.

Closing Remarks
Anne Pasternak, Shelby White and Leon Levy Director, Brooklyn Museum

Concluding Performance
The Resistance Revival Chorus

Reception, Rubin Pavilion, 1st Floor
 

Day 2: Saturday, October 21, 2017

11:15 am–12:45 pm Mirror/Echo/Tilt, Robert E. Blum Gallery, 1st Floor
MELANIE CREAN
A performative workshop led by Melanie Crean and developed by Shaun Leonardo, Melanie Crean, and Sable Elyse Smith focused on questioning and shifting the American concept of criminality. Attendees engage in short physical storytelling exercises to explore how ideas of criminality are represented in popular media as well as everyday social exchange.

11:15 am–12:45 pm ArtChangeUS Presents: Grounding from Knowing, Luce Center for American Art, 5th Floor
EMILY JOHNSON
How can we imagine change without understanding our present and past relationship to place and land? This workshop focuses on where we are—Lenapehoking—the Lenape homeland. It is not a history lesson, but rather an exploration of how to build relationships with land and place so that we are better able to extend care and enliven true change.

11:15 am–12:45 pm Creative Resistance, Beaux-Arts Court, 3rd Floor
PAOLA MENDOZA and SARAH SOPHIE FLICKER
Join Paola Mendoza, Artistic Director, Women’s March on Washington, and Sarah Sophie Flicker, cultural organizer and activist, for an intimate roundtable about the role of artists in resisting injustice. They discuss lessons learned from the Women's March and how they use art to combat oppression and marginalization. Brainstorming sessions, break-out groups, and sharing of ideas to follow.

11:30 am–12:15 pm We Shouldn’t Have Policies That We are Afraid to Talk About, Cantor Auditorium, 3rd Floor
LAURIE JO REYNOLDS
Artist and activist Laurie Jo Reynolds presents a dynamic talk that considers state responses to sexual abuse and violence, examining unintended consequences of public registration, notification laws, and related restrictions. Q&A with audience members follows.

11:30 am­–12:30 pm; 12:30–1:30 pm; 2–3 pm Amplify Your Voice: Silkscreening Protest Art, Rubin Pavilion, 1st Floor
AMPLIFIER
Amplifier, the organization that flooded the streets with images of hope during the Inauguration and Women’s March, offers a screenprinting workshop and discusses how images can be used to fuel movements. Participants get to screen-print their own protest poster.

11:30 am–1 pm Film Retrospective of the Global Women’s Health Movement, Sackler Center, Forum, 4th Floor
OUR BODIES OURSELVES founders
In this session, Our Bodies Ourselves founders present the films Abortion (1971) and Jane: An Abortion (1995) and lead a post-screening discussion.

12:30–2 pm; 3:30–5 pm D.I.Y. Zine-Making, Beaux-Arts Court, 3rd Floor
CON ARTIST COLLECTIVE
Before the internet there were zines. Learn about the history of zines and their political engagement, with artists from New York’s Con Artist Collective, which invites participants to make their own zines.

1–2 pm Google’s Love Letters, Cantor Auditorium, 3rd Floor
MALIKA SAADA SAAR and others to be announced
Join Malika Saada Saar, Google's Senior Counsel on Civil and Human Rights, for a video presentation and discussion of Google’s project partnering with criminal justice reform groups to connect kids with their incarcerated parents.

1:30–3 pm Film Retrospective of the Global Women’s Health Movement, Sackler Center, Forum, 4th Floor
OUR BODIES OURSELVES
Our Bodies Ourselves founders present La Operación (1982), a seminal documentary by filmmaker Ana María García on the mass sterilization of Puerto Rican women in the 1950s and 1960s, and leads a post-screening discussion with a focus on contemporary activism.

1:30–4:30 pm Staging Change: The Fusion of Theater Arts and Activism, Robert E. Blum Gallery, 1st Floor (free teen workshop)
KATIE CAPPIELLO
This free hands-on workshop led by playwright Katie Cappiello guides teens in the creation of plays grounded in social justice themes. Through acting exercises, group discussion, and creative writing, teens collaborate to devise original performance pieces that shed light on the challenges they and their peers face locally, nationally, and even worldwide.

2–3:30 pm The Laundromat Project Presents: We the News, Beaux-Arts Court, 3rd Floor
LIZANIA CRUZ
Join the Laundromat Project’s 2017 Bed-Stuy Create Change artist-in-residence Lizania Cruz for a discussion and hands-on zine-making workshop from her project We the News, based on the idea of sanctuary. Lizania co-creates spaces of sanctuary through the use of language, personifying the role storytelling plays in uniting, empowering, and building community.

2–4:30 pm Film: New York Premiere of Winnie (2017), Cantor Auditorium, 3rd Floor
The Brooklyn Conference in partnership with the March on Washington Film Festival proudly presents the New York premiere of Winnie (2017), directed by Pascale Lamche, followed by a conversation with Gay McDougall, U.N. Committee on the Elimination of All Forms of Racial Discrimination, and others to be announced. This is the untold story of the mysterious forces that combined to take down Winnie Mandela, who fought on the front line and underground against apartheid in South Africa while her husband Nelson Mandela served a life sentence. In the end, Nelson was labeled a saint and Winnie a sinner.

3:30–5 pm Open Access, Sackler Center, Forum, 4th Floor
CARMEN PAPALIA
In reaction to his own challenges in receiving institutional disability support services, artist and disability activist Carmen Papalia developed a new, relational model for accessibility called Open Access. In this participatory discussion-based workshop, Papalia introduces participants to the Open Access framework and discusses his experiences organizing for accessibility and mutual aid.

4:30–5 pm The Dream Unfinished Orchestra Performance, Cantor Auditorium, 3rd Floor
Join us for a performance by activist orchestra The Dream Unfinished.

4:30–5:15 pm Artist’s Eye: Natalie Frank and Zoë Buckman, Sackler Center, 4th Floor
This series of intimate, in-gallery talks by contemporary artists illuminates our special exhibitions with fresh and alternative perspectives. Artists Natalie Frank and Zoë Buckman respond to Roots of “The Dinner Party”: History in the Making.

5–6 pm Hewing a Stone of Hope from the Mountain of Despair: The Art of a New Politics, Cantor Auditorium, 3rd Floor
For the concluding talk of the conference, writer and New York Times columnist Charles M. Blow, Ambassador Patrick Gaspard, Vice President, Open Society Foundations, and Brittany Packnett, Vice President, National Community Alliances for Teach For America, are in conversation about the interplay of the creative imagination and practical politics. How is the society we actually build shaped by the worlds we can imagine? 

Generous support for The Brooklyn Conference has been provided by Open Society Foundations.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Use our award-winning app to get the most out of your next visit to the Brooklyn Museum.

Ask questions, get info, and share insights—via live, one-on-one texting—with one of our knowledgeable and friendly experts. Our team currently includes an archaeologist and anthropologist as well as art historians and educators.

It’s easy and fun, and you’re in control the whole time—use it a little, or a lot. All questions welcome!

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Explore our permanent collection or a special exhibition on a guided group tour led by one of our friendly and experienced Museum Guides, or on your own with a self-guided group tour. These tours are for adult groups with at least 10 people, last about one hour, and can be tailored to meet the interests and needs of your group.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

We're renovating our second floor to bring you a better experience, which means the Libraries and Archives are currently open by appointment only. If you're a researcher who would like to access our resources, send us an email and we'll do our best to assist you.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Exhibitions on the Fifth Floor

Restrooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor restrooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor restrooms.

Pick up Assistive Listening Devices at the Admissions Desk on the first floor.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Exhibitions on the Fourth Floor

Restrooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor restrooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor restrooms.

Pick up Assistive Listening Devices at the Admissions Desk on the first floor.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Exhibitions on the Third Floor

Also on the Third Floor: Iris and B. Gerald Cantor Auditorium

Restrooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor restrooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor restrooms.

Pick up Assistive Listening Devices at the Admissions Desk on the first floor.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Exhibitions on the Second Floor:

Also on the Second Floor

Restrooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor restrooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor restrooms.

Pick up Assistive Listening Devices at the Admissions Desk on the first floor.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Parking
Parking is available in the lot behind the Museum, off Washington Avenue. On Target First Saturdays, there's a flat rate of $6 starting at 5 p.m. Park your bicycle in the rack behind the building, next to our sculpture garden.

Shopping
Our Shop offers an eclectic mix of gifts, jewelry, books, clothing, crafts, and foods from around Brooklyn and around the world.

Dining
Have small plates, dinner, or drinks at The Norm restaurant and bar, led by Michelin-starred Chef Saul Bolton. Or stop by our Café. Planning a group tour? Consider a catered lunch for your group.

Restrooms
Restrooms are on the first and third floors (floor plan), are wheelchair accessible, and have baby-changing tables. A family restroom is located just off the main lobby.

Coat Check
A free coat check is available on the first floor, where you can leave any packages, large bags, umbrellas, or strollers.

Wheelchairs
Complimentary wheelchairs are available at the coat check on the first floor. Our entrances and restrooms are wheelchair accessible. For more information, visit our Accessibility page.

Strollers
You're welcome to use strollers throughout the building (although from time to time there are certain areas where we might need to restrict their use, on account of small spaces, especially fragile art, or other circumstances). If necessary, leave your stroller at the coat check.

Wireless Access
We offer free wireless access throughout our galleries and grounds. During your visit, we encourage you to switch to wifi (BrooklynMuseum) for faster download speeds. The wireless project was created by the Brooklyn Museum Technology Department, with help from NYCWireless.

Go Mobile
Need information on the go? Planning your next visit? Access www.brooklynmuseum.org from your mobile phone to view our mobile-friendly website.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

No matter what your interest, there's a tour for you:

  • Join our Museum Guides for daily public tours (free with admission) focusing on a variety of themes, eras, and movements in art.
  • Book a group tour for ten or more adults.
  • Explore tours and programs for school groups, all designed to help students and teachers construct meaningful experiences with works of art.
ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

Exhibitions on the First Floor

Also on the First Floor

Restrooms are on the first, second, and third floors; those on the first and third floors are wheelchair accessible. The second-floor restrooms can be reached only via the stairs from the Schapiro Wing on the third floor. Water fountains are near the first- and third-floor restrooms.

Pick up Assistive Listening Devices at the Admissions Desk.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

By Subway

2/3 to Eastern Parkway/Brooklyn Museum. Transfer to 2/3 from 4/5 (at Nevins Street) and B, D, Q, N, R, and LIRR (at Atlantic Terminal-Barclays Center). See a subway map. Make sure to check with the MTA for any service changes, especially on the weekend.


By Bus

The closest bus stops are:

B41 and B69 at Grand Army Plaza

B45 at St. Johns Place and Washington Avenue

Check with the MTA for the most up-to-date bus information.


By Car

From Manhattan:

Brooklyn Bridge; left at Tillary Street; right on Flatbush Avenue for about 1.5 miles to Grand Army Plaza; about 2/3 around Plaza; right on Eastern Parkway. We're at the first intersection (Eastern Parkway and Washington Avenue). Or: Manhattan Bridge enters directly onto Flatbush Avenue.

From Westchester, the Bronx, Queens, or Connecticut:

Robert F. Kennedy Bridge (Triborough) to Brooklyn Queens Express (BQE); Manhattan Bridge exit to Tillary Street; left onto Flatbush Avenue and proceed according to the directions from Manhattan.

From Staten Island and southern or central New Jersey:

Verrazano-Narrows Bridge to Gowanus Expressway (Route 278 towards Manhattan); exit to 38th Street; left on Fourth Avenue for about 2 miles; right on Union Street; 5 blocks to Grand Army Plaza; go 1/2 around Plaza; right on Eastern Parkway. We're at first intersection (Eastern Parkway and Washington Avenue).

From northern or north central New Jersey:

George Washington Bridge/Holland or Lincoln Tunnel to Manhattan; follow directions from Manhattan.

From Long Island:

Grand Central Parkway to Jackie Robinson Parkway; exit at Bushwick Avenue; left at third traffic light to Eastern Parkway; about 3 miles to Washington Avenue. We're across intersection at left.


Parking

On-site parking is available in the lot behind the Museum, off Washington Avenue. On Target First Saturdays there's a flat rate of $5 beginning at 5 p.m.


Bikes

Park your bicycle at the racks behind the Museum, next to the Sculpture Garden. Bikes are parked at your own risk; we don't accept responsibility for vandalism or theft.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What sort of ceremony might this mantle have been used for?
The Paracas Textile, by an ancient Nasca artist or artists, is incredible! While it was likely to have been worn in some sort of ceremony prior to its inclusion in a burial, it's not clear where or how it would have been used.
Many textiles that come from ancient coastal Peru were included in burials. Bodies of the deceased were wrapped in many, many layers of textiles before being buried. Since this textile is so complex and would have required a lot of hours to create, scholars think it was unlikely to have been made to only be placed in a burial.
We don't have written records from coastal Peru two thousand years ago that would provide some insight. By exploring their material culture, however, we can determine an interest in fertility and agriculture, as well as a religious system based around shamanism, a tradition seen in many South American societies.
Why's she just painting floors?
Hello! I see you are in the Marilyn Minter show looking at one of her early photorealist works. These early works show Minter fighting against the flashiness and bravado associated with photorealism of the 1970's -- instead of flashy surfaces and hyperrealistic portraits (think of Chuck Close or Richard Estes) Minter turned instead to the mundane reality of her own studio, painting the linoleum floor, sheets of wood and paper curls from double stick tape.  She completed many of these works after her formal studies in photography and says in many ways she was trying to teach herself how to paint. 
She has said that she always had the ability to copy things exactly in her art, and that's why she's often called a "photorealist." Later in her career you'll see her work move away from the mundane to flashier subjects all while dropping the guise of the photographic (on closer inspection) I think this quote from a recent lecture at The Hammer Museum is really enlightening: "I know that i'm considered a photorealist and every single article ever written but i'm really not one.  I'm not criticizing photorealism but the thrill for a photorealist painter is usually being able to get up close and having it still look exactly like a photo. But my paintings are just combinations of moments and they soften up close and they sort of fall apart. I'm more like a photo replacer – that's that I call myself."
Is this a painting or photograph?
"Orange Crush" is actually a painting. It is enamel paint on metal! If you look closely (and carefully) you can see evidence of Minter's process of working with enamels -- she applies the final layers of paint and blends them with her fingertips.
As with many of Minter’s works, it can be really difficult to tell the very different mediums apart at first glance. Unsurprisingly, all of Minters photorealist works are based on photographs. Minter takes all of her images using a film camera and then later brings together together dozens, if not hundreds, of images together to create the composite photos that she uses as source materials.  But that doesn't mean Minter doesn't show photographs. She likens her photos to sketches or drawings for her paintings, but when she is pleased with a "straight" photograph, she'll show that as well. 
Why is Porn Grid considered a work of feminist art?
For Minter, part of her feminist practice was to embrace images of pleasure, which led to the creation of works such as Porn Grid. In Minter's view, women should be able to create sexual images of their own bodies and for their own desires. This act of reclaiming the erotic gaze is a feminist act by Minter.
Would you consider the work to be feminist?
It's certainly erotica. As for feminist, I'm not personally sure.
Would you consider this feminist?
Good point. For Minter, it's feminist because she is reclaiming the imagery and explicitly saying that it for women. She has said on this: " I thought everybody was thinking like me – my thinking was, nobody has politically correct fantasies and women were not owning these images. I want to see women make these images for their own sexual pleasure."
For me, I certainly think these works emerged from a place of Feminist thought. It can be somewhat hard to view them in the context in which Minter made them, as they are responding to the movements of the late 1980s and early 1990s, before pro-sex Feminism really came to the fore.
Well I can certainly see and understand your view, but does Breaking Dawn 2011 - represent feminism?
That's an interesting question! In some views, the Feminist label can be applied to any work, or, at least, any work can be critiqued by a Feminist lens. Minter's work brings up the idea of a woman's fantasy and how it can or should be critiqued.
Explain these please!
"Porn Grid" by Marilyn Minter dates to 1989. Minter was interested in exploring imagery that other artists weren't looking at in their artistic practices. Minter wanted to reclaim explicit erotic works, through her practice as a female artist, and create images that addressed the issue of female pleasure.
Minter has said about this work and the context it was created in: " It was a politically correct time, and I think for women to work with [explicit imagery], it’s still very difficult, because there’s a glass ceiling. My question was: Can a woman artist reclaim work from an abusive history? I thought ‘what subject matter has never been touched by a woman?’ I was, and still am, a second wave feminist, and I believe that no one has politically correct fantasies."
Do you know where in Egypt these animal mummies are from?
The ibis was excavated at Abydos, an important religious and funerary site in Upper Egypt.
Not much description with this one? Why are their faces covered?
This photograph shows the Anthropomorphic Masks by Pamí’wa, also known as Cubeo, artists in a contextual setting. The mask, which is in a nearby case, would have been worn for a ceremony one year after the death of a member of the community.
Often when museums collect masks or regalia, it can be hard to envision how the object would have looked during its ritual or societal life. Archival and contextual images are one way to add that dimension back to a work, which was not likely meant to be viewed in a static environment.
Where is the writing of the age at death, 59, written? Is it visible?
The writing is about halfway down the body of the mummy in gold leaf. The numbers are in Greek, meaning they are letters. At the end of his name you'll see nu theta which translates to 59.
Were the mummies ever placed or stored standing up in ancient Egypt?
Mummies were laid down when they buried, but were stood up like this for various ceremonies during the funeral. This position also makes it easier to see imagery and the craftsmanship of the cartonnage which contributes the curators' choice to display them upright.
Who are the people in Marilyn Minter's works?
Great question! It really depends on what works you're looking at! In her later works Minter works primarily with hired models and sometimes former students with the exception being her close friend Wangechi Mutu (in the work "Drizzle"). Earlier in her career Minter worked with photographs of her mother, as well as found images from tabloids, pornography and cook books.
ASK App ASK Team

Curious about how we developed ASK Brooklyn Museum? The project team is blogging regularly on BKM Tech, and we've open sourced our code on Github.