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When you visit the Brooklyn Museum, you can use our app to ask us questions or chat about the artwork you see.

You’ll be connected with a team of art historians and educators who know our collection, can answer your questions, and can give you recommendations on what to see next. 

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

We're renovating our second floor to bring you a better experience, which means the Libraries and Archives are closed to the public until fall 2017. If you're a researcher who would like to access our resources, send us an email and we'll do our best to assist you.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

Exhibitions on the Fifth Floor

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

Exhibitions on the Fourth Floor

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

Exhibitions on the Third Floor

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

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
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.

Our Second Floor galleries are currently closed for renovations.

Also on the Second Floor

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

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

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

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

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

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

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

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

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

We're committed to making our galleries and facilities accessible to everyone.

  • We are fully wheelchair accessible. Check our online and printed floor plan for details.
  • If you need a wheelchair during your visit, they're available for free at the coat check in the lobby.
  • Companions of people with disabilities are admitted for free.
  • The parking lot behind the Museum is fully accessible. There's a free, 15-minute grace period for pickups and dropoffs.
  • If you need an assistive-listening device, they're available for free at our Admissions Desk, on the first floor.

We also offer a wide range of services for our visitors of all ages with special needs.

  • For those who have low or no vision, guided visits that include verbal descriptions can be scheduled for both adult and school groups, with advance notice. We also offer Sensory Tours, monthly public tours designed to accommodate and engage both sighted and non-sighted visitors. Verbal descriptions of collection highlights are available via Art Beyond Sight.
  • For those who are deaf or hard-of-hearing, American Sign Language interpretation for both adult and school group tours can be arranged, with advance notice.
  • For those with intellectual disabilities or other special needs, we offer specially tailored guided gallery visits to adult and school groups.

We hope that you'll get in touch with us via email or at 718.501.6229 if you have questions about any of the above services, or if you'd like to make advance arrangements.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

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

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

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

Exhibitions on the First Floor

Also on the First Floor

  • Admissions Desk
  • Museum Shop
  • Dining (The Norm restaurant and bar; BKM Café and Bowl)

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

Pick up Assistive Listening Devices at the Admissions Desk.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

By Subway

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


By Bus

The closest bus stops are:

B41 and B69 at Grand Army Plaza

B45 at St. Johns Place and Washington Avenue

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


By Car

From Manhattan:

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

From Westchester, the Bronx, Queens, or Connecticut:

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

From Staten Island and southern or central New Jersey:

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

From northern or north central New Jersey:

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

From Long Island:

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


Parking

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


Bikes

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
ASK App ASK Team

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

What were they used for?
The Kachina dolls were used to instruct children on the various Kachina spirits. They represent were different spirits, each of which brought specific good things to the community like rain, healthy crops, fertility/births.
The Kachina dolls were hung inside the home, where they helped children to learn and remember the distinguishing features of each kachina spirit. At certain times of year, adult men dressed in similar regalia, impersonating these spirits -- and they performed ritual dances for the community, petitioning the spirits for rainfall, good health, and new births of animals and children. In Zuni and Hopi religion they believe that the men actually become the portrayed messenger from the gods when they wear the specific Kachina identity. Thus the actual masks and clothing are sacred and not shown. The dolls may be shown as they are only representations. 
Was the artist a soldier? If so, did he suffer any injuries during his observations?
Vasily Vereshchagin was a war correspondent. With the outbreak of the Russo-Turkish War in 1877, Vereshchagin, who was living in Paris at the time, volunteered for the staff of the Russian army. He wanted to go to the front lines to observe what was happening and these two paintings were created out of what he witnessed.
He was wounded, but during a different incident than the one represented here. While on board a Russian ship that was placing navel mines, Vereshchagin was hit in the hip with a bullet when the Turkish army started firing at the ship from the shore. His wound almost killed him but he eventually recovered and traveled to the battlefront at Plevna, in northern Bulgaria, the aftermath of which he painted in these two pictures.
I don't see any information for this piece, could you tell me about it?
That work is called "Convergence" by the American artist Mike Bidlo.
I thought it was a Pollock.
You have a sharp eye! Bidlo is actually known for copying the works and styles of other artists. He  had a whole solo show in the 1980s appropriating Pollock's style. It  helped make him famous.
Can you tell me more about this piece?
Louise Bourgeois is a very important 20th century sculptor and many of her works refer to the human body in one way or another. I like its placement next to works of art that show artists at work, painting or sculpting live human models. She was influenced by Surrealism, and many of her works have a symbolic or dream-like quality. She turned to the subject of hands later in her life and made a number of works showing hands. Sometimes she showed hands touching each other but here, they are just relaxed. As an artist, of course, she used her hands to create constantly they were her tools.
This painting's size and subject matter struck me. I'm also interested in this because I've never seen Russian artists displayed together before.
This painting and the one next to it by Vasily Vereshchagin were both painted from his direct observations along the road from Plevna (in present-day Bulgaria) to Russian prisoner-of-war camps on the Danube River. He was deeply disturbed and moved by what he saw happening to the captured Turkish troops. He wrote: "The frost set in so suddenly...that the brave defenders of Plevna in their stiff frozen overcoats were too weak to resist it, and by ones and twos fell on the road and were frozen to death."
I was really drawn in by the realistic eyes of the woman in the painting! When reading the description below the painting, it says that many French artists drew inspiration from the social instability of the time. Is this just an assumption made by historians about this piece? How do art historians make these connections?
Many art historians are also well-versed on the history of the time that they study and I think the comments in that label were inspired by the fact that the artist had to flee France for England during the revolution but longed to return (he eventually returned to France after and exhibited at the Paris Salon). Art historians also base their research on things like artist diaries or letters, contemporary reviews, and general social criticism from the time to get a feel for what an artist's motivation was.
On the 5th floor, there are a bunch of really bold paintings of ladies doing "unladylike" things. Were these pieces created to make a feminist statement? Or am I labeling them as feminist anachronistically?
Hi there! Great question. Give me a minute to type out that information for you.
The artists would not have necessarily been considered feminist. But you are correct to pick up on the women doing unconventional things for the time. The curator framed that section so that people would ask questions just like you did. Also, the paintings in this section move from being works by male artists of female subjects (family members), to works by female artists (passive to active).
Why do these three statues of the same person look so different?
Egyptian tomb statues do not always reproduce the tomb owner's actual appearance and are often influenced by stylistic trends of the dynasty. The inscribed names and titles served to identify the individual. Thus, statues of the same person may look quite different, as can be seen in these three wooden images of Metjetji. These illustrate the convention of depicting the tomb owner at different stages of life, from an idealized youth to an older man.
Can you tell me about this? I have always been fascinated by graffiti styles.
The artist Randy “KEL1ST” Rodriguez was born and raised in New York City. He became a leader of the “Wild Style” graffiti movement in the 1970s. He was considered a master of graffiti and street art by his peers and by some art critics too.
His style is graphic and bold. He painted the entire sides of New York's subway cars from 1977-1987 with large letting and caricatures.
I like the texture of this.
It does indeed have a very interesting texture. It's a mosaic made all in stone. This decorative panel used to decorate an ancient synagogue.
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.