Skip Navigation

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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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's the price estimate of this work?
Unfortunately, for insurance and ethical reasons, museums cannot share how much our works were priced at when we acquired them or how much they are currently worth.
Can you tell me a little about this?
This is a portrait of Dona Maria de la Luz, a Creole patron of the artist. She is painted wearing a silk brocade dress with jewelry and chiqueadores, or glued false beauty spots, made of black velvet. Dona Maria de la Luz came from a well known family, the Cervantes, who allied themselves with another powerful family, the Velasco family. Her dress, jewels, and chiquadores would have been the height of fashion in Mexico City in the 18th century.
Scholars have suggested that the eyes and ears may have been filled with encrustation of precious metals or stones, and the ears could also have worn earflares, like those the skeleton wears on the other side. The navel might have been filled with offerings.
Is this the original frame?
Yes! That is the original frame. Georgia O'Keeffe designed it herself. I like the way the frame's scallops echo the shapes of the clouds and the mountains.
What is the subject of the sculpture in the background?
 The sculpture in the background of the studio shows Prometheus, a mythical individual who stole fire from the gods to bring it to humans. There's a humorous visual pun between that idea and the scene in the front with the model handing a light to the sculptor for his cigarette.
Art of this kind wasn't even collected by major "fine art" museums like this one until the 1930s. The artist, William Hawkins, titled the scene along the bottom. He was barely literate, but he definitely wanted us to know his name and the date he made the painting. He was born in rural Kentucky in 1895 but later lived in Ohio. He used inexpensive materials like paint from a hardware store, and his subject matter often came from photos in magazines, ads, and newspapers, combined with his own memories.
Why is this a piece of art?
Decorative arts (furniture, jewelry, other household items) are now frequently included in art museums. They're included in museum collections for various reasons such as their high levels of craftsmanship, their innovative designs and uses of new materials, as well as what they can tell us about the lives of people in other eras.
This set is very typical of the 1930s "Art Deco" because of its black-and-metal palette and its streamlined forms. You may see how it "fits in" with the paintings and sculptures installed nearby if you think about its simple shapes.
Max Weber was inspired here by seeing a very modern ballet on stage. Instead of showing the dancers and stage realistically, with details, he broke the scene down into movement and color.
It's a memory of a performance he actually attended in NYC. But it does feel like a dream too in the way it's so colorful and distorted and a little hard to "read."
Do people still wear these?
One of my favorite pieces and a great example of a Northwest Coast transformation mask in excellent condition. Did you notice the cords that were used as pulleys to open and close it (and make amazing thunder clapping noises).
Yes, people do still use these today. the Kwakwaka'wakw people still have an amazing sculptural tradition and still make transformation masks to be worn during potlatches. Potlatches were banned for quite some time in Canada and had to go underground, but they are once again being practiced/celebrated.
Why does this have a hole in it? Did the artist do this intentionally?
The hole is definitely a detail created by the artist, Terence Koh. He is interested in exploring ideas of ephemerality and decay. In this work Koh creates something like a shrine, with these items preserved as "relics." You could also think of it as an artistic take on the kind of display case you might see at a natural history, filled with objects of organic and inorganic materials.
However, I am not certain why the artist felt compelled to make a hole in the vitrine. Contemporary artists often don't provide a lot of explanation about their work, in part to leave the meaning of the work open to interpretation. In my opinion the hole adds to this sense of decay, and I think it could also be read as an opportunity for escape.
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.