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For questions about Member tickets, visit our Frida Kahlo Member tickets FAQ page.

Q: Do I need to purchase tickets in advance to see the exhibition?
We strongly recommend purchasing tickets online ahead of time. A limited number of same-day timed tickets will be available for purchase on a first-come, first-served basis every day at the Museum. For a link to purchase tickets through our ticket vendor, Showclix, please visit the Frida Kahlo exhibition webpage.

Q: How much are tickets? Do they include general admission?
Please see our Visit page for information on admission pricing.

Yes, admission to the rest of the Museum is included in the special exhibition ticket price. Note that on Mondays and Tuesdays, only the first floor of the Museum is open. The exhibition will be open until 7 pm with a last ticketed entry of 5:45 pm Monday–Wednesday and Friday–Sunday, and until 10 pm with a last ticketed entry at 8:45 pm on Thursday.

For a complete list of exhibition and Museum hours, see our Visit page.

Q: Do I need to print my tickets? What happens when I arrive at the Museum?
You can either print your tickets at home or present your electronic tickets on your mobile device. There is no need to go to the Admissions Desk when you arrive, as your electronic or printed ticket is valid for entry directly into the exhibition. The time on your ticket is the time you should be in line at the entrance to the exhibition, which is located on the first floor, just off the lobby. Restrooms and Coat Check are also in the lobby area.

When you arrive at the Museum, feel free to check your coat or bags (large items must be checked) and use the restroom before joining the line for your ticket time, as tickets are good for one-time entry only. If you arrive earlier than your ticket time, staff may ask you to explore the Museum and come back at your assigned time. There are two lines: one for standard ticket holders and one for Museum Members. Please make sure you get in the appropriate line. Staff may ask you to go to another line if you are in the wrong one. If you have an untimed entry ticket, you may bypass the line, go straight to the staff member scanning tickets, and be let into the exhibition.

Any questions? See a staff member, who will be happy to assist you.

Q: I purchased multiple tickets online, but only received one email and QR code from Showclix. Are my tickets all there?
Yes. All tickets purchased in a single transaction will be included in one QR code (black and white pixelated square) for us to scan.

Q: Are tickets timed? What if I miss my time slot?
Yes, most tickets are timed in order to help control traffic flow in the exhibition. We do offer a limited number of untimed entry tickets for $35 available online only.

The time on your ticket is when you should be in line at the entrance to the exhibition. If you're late for your ticket time, entry will be permitted at the discretion of staff.

Q: When can I come to see the exhibition?
For a complete list of exhibition and Museum hours, please see our Visit page.

Q: Will tickets be available for purchase in person?
Yes, a limited number of same-day tickets will be available for purchase on-site each day. Same-day tickets are available on a first-come, first-served basis and sell out quickly.

Q: What is an untimed entry ticket?
Untimed tickets are special $35 tickets that allow entry at any time on the date selected.

Q: Are children required to have tickets to enter Frida Kahlo? What if my child does not have a ticket for the exhibition?
Yes, everyone ages 3 and up must have a Frida Kahlo ticket to enter the exhibition. This helps us ensure the exhibition does not exceed capacity. No one over the age of 3 will be permitted to enter the exhibition without a ticket.

Q: Can I change my ticket time after my reservation is made?
Tickets are nonrefundable, but can be exchanged 72 hours prior to the date and for one time with no fees by emailing support@showclix.com with your name and new requested date. Exchange is based on availability. Exchange may take up to 72 hours.

Q: Can I give my ticket to someone else?
Absolutely. Tickets are transferable, so feel free to give your unused ticket to someone else.

Q: Are strollers allowed in the exhibition?
Yes, strollers are allowed in the exhibition and all other spaces in the Museum unless otherwise noted.

Q: Is photography allowed in the exhibition?
Unfortunately, photography is not allowed in the exhibition, but we welcome it in other areas of the Museum (no flash, please).

Q: Is sketching allowed in the exhibition?
Unfortunately, because of the crowded nature of the exhibition, sketching is not permitted. We welcome sketching in other areas of the Museum, however. See our Museum FAQ page for more about sketching.

Q: I have a question that isn't answered here. What should I do?
If you have additional questions not answered here, please feel free to call the Frida Kahlo hotline at 718.501.6484 or email us at information@brooklynmuseum.org.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

Please check back for the latest program updates!

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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App
ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

Explore our 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. Tours are for adult groups of 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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

Our Libraries and Archives are open by appointment. To discover our collections, please use our Library online catalogue and Archives finding aids. To access our resources, email us at library@brooklynmuseum.org or archives.research@brooklynmuseum.org and we'll do our best to assist you.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App
ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

Restrooms, which are on the first, second, and third floors, are wheelchair accessible and have baby-changing tables. Family and all-gender restrooms are located just off the main lobby, on the first 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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

Restrooms, which are on the first, second, and third floors, are wheelchair accessible and have baby-changing tables. Family and all-gender restrooms are located just off the main lobby, on the first 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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

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

Restrooms, which are on the first, second, and third floors, are wheelchair accessible and have baby-changing tables. Family and all-gender restrooms are located just off the main lobby, on the first 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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

Also on the Second Floor

Restrooms, which are on the first, second, and third floors, are wheelchair accessible and have baby-changing tables. Family and all-gender restrooms are located just off the main lobby, on the first floor. There are water fountains near all 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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

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 pm. 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, which are located on the first, second, and third floors (floor plan), are wheelchair accessible and have baby-changing tables. Family and all-gender restrooms are located just off the main lobby.

Coat Check
A 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 our 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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

Also on the First Floor

  • Admissions Desk
  • Member Services Desk
  • Museum Shop
  • Dining (The Norm restaurant and bar; Café)

Restrooms, which are located on the first, second, and third floors, are wheelchair accessible and have baby-changing tables. Family and all-gender restrooms are located just off the main lobby, on the first floor. There are water fountains near all restrooms.

Pick up Assistive Listening Devices at the Admissions Desk.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App
ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App

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

NOTE: Our parking lot will be closed Sunday, June 3.

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

NOTE: Our parking lot will be closed Sunday, June 3. 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 pm.


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.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App
ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App
ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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 App
ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

This has a classic shape, but was it traditionally fired? 
The wife of this husband and wife pair, Elizabeth Toya Medina, learned the art of traditional Zia pottery-making from her mother-in-law and still creates the forms of the pots by hand from homemade clay. She does utilize traditional Zia firing techniques.
Thank you. I know quite a bit about traditional Puebla pottery and it was really hard to discern the firing technique especially because of their glaze technique which "appears" to be applied after firing. Do you know if it is? 
Elizabeth Medina typically applies a white slip to her vessels before firing to create a background for painted designs. She likely did the same in this case. However, just based on how bright the white is on that vessel, it was likely painted over after firing by Marcellus Medina.
That makes sense. Thanks for the conversation!!
Can you give me a brief history of why animals are mummified?
The exhibition covers the main reason for the vast quantities of animal mummies known to archaeologists today: They were thought to carry messages to the gods. There was an industry in the temples of Late and Ptolemaic period Egypt that kept herds of animals to be used for votive mummy purposes.
Can you give me more info on the Model of a Bull?
The main point of interest with that object is that the single bone could stand for the whole animal. Bulls, of course, are very large so the bull-shaped bundle was much more practical. The bull was actually one of the most important animals in Egyptian mythology. One sacred bull, the Apis bull, lived in the temple of Ptah and was thought to be a manifestation of the god. When the Apis bull died, a new one was sought out. They were identified by their unique markings including a white spot on the forehead.
Tell me more.
This is one of many fertility figurines from the ancient Near East. They were thought to aid women in conceiving and protect them during and after childbirth.
Tell me more!
This is a block showing a man force-feeding a cow. It would have been part of a larger wall decoration in Akhetaten (known today as Tell el-Amarna) in Egypt.
Is it similar to force feeding for slaughter today?
That's likely. He was either helping it to digest food or force feeding it to help fatten it for it to be processed later for consumption.
Thanks!
Can you tell me every color of paint used?
That's a great question! Degas's paints were not named and categorized the same way they would be now in an arts store, but he would have used paints with some of the same pigments to achieve these colors. Here are some specifics on what he likely used:
The white is lead white (no longer in popular use because of how poisonous lead is!) as well as baryte. The earth tones are made using iron oxides, so they would be similar to red and yellow ochre colors you would find today. The bright red is vermilion. These pigments were often used by Degas, and are not specific to this painting, but will probably give you a good idea of what was available to him.
Great. Thanks!
To create the sounds that each instrument makes, were the actual instruments on display used or were replicas made?
The sounds were sourced from soundtracks of similar types of instruments being played such as Dale Olsen’s Music of El Dorado and Peyote songs from the Smithsonian’s Folkways Records.
Tell me more, please!
I love the varieties of blue in this print. The color came from a newly developed chemical color called Prussian Blue. Before Prussian Blue was developed in Germany, Japanese printmakers used vegetable-based dyes and colors, which were not as bright and tended to fade quickly.
Can you tell me more about all of this?
This fireplace and its various parts were designed and installed by the firm of the Herter Brothers for John Sloane, who was a partner at W. & J. Sloane, a NY furniture company. The fireplace is designed in the Jacobean Revival Style, influenced by 16th century English furniture and design. The Jacobean style was noted for its 3-dimensional fullness of the design, which I think comes across with this sturdy mahogany fireplac
Why is the sculpture of Shakespeare left standing?
That's exactly what you're supposed to notice! As the title indicates, "The Edge of Doom" portrays the destruction of the world. Colman has positioned Shakespeare as a prophet. The title is a quote from one of his sonnets and the scroll he is holding includes lines from The Tempest about destruction. One can also interpret the Shakespeare figure as a symbol of thought and literature, suggesting that these intangible ideas will be the last thing left in the end.
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.