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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.

Can I touch it?
Unfortunately, Rodin's Orpheus can't be touched (nor can anything else in the galleries!) but I can understand how all the varied textures making touching a temptation.
Rodin's use of surfaces in his bronze sculptures is so distinctive. That roughness was a very unusual approach at the time, when fine art sculpture was expected to look smooth and polished.
I've always been into Buddhist art and I was curious about the material and country of origin. I am wondering if there are specific features in this work that are identifying to a specific time period or country.
This specific piece is made of red sandstone and comes from India during the Gupta Period which was approximately 320 to 550 CE.
I have found that many depictions of the Buddha from the Gupta period featured the stretched ears, curled hair, wide-set mouth and those thin, arching eyebrows. The Buddha is shown as very introspective with his eyes looking downward in meditation.
Why do some works need to be protected from light and some don't?
That work is a textile, which is particularly fragile to light (the fibers break down much more quickly than materials like marble or metal). The inks on that piece are also particularly sensitive to light!
Why is this woman dressed like a nun?
Her clothing is an example of the height of fashion in 1630s Amsterdam. The tradition of wearing black as a symbol of decorum was actually introduced by the Spanish in the early 16th century.
Yes, this is correct those tiles were made in Damascus, Syria, during the late 16th-17th century. 
It is made from a type of ceramic called 'fritware,' which involved painting the tiles and applying a transparent gaze before firing to give the tiles a bit of shine. 
What is the curatorial theme behind this grouping? This room?
The idea behind this installation is to show the connections across geographies and time. It shows the connection between the many different collection areas held within the Museum.
Why were these four chairs placed together?
They show a style of seating that was used in various places, during various times and how the idea of a stool evolved. There was also a direct cross-cultural influence of traditional African craft on European modernism in the early 20th century.That display is actually a wonderful example of what "Connecting Cultures" as a whole attempts to convey.
Was this Hobart slicer broken and repaired?
I am not seeing that the slicer was broken and repaired. The report cites "extensive wear," but nothing about a break.
I love the Serapis figure! Do visitors ever try to put coins in his mouth?
Not that we know of although people often stop to look carefully at its two faces.
Did the exhibit curator actively conceive of its placement like that?
Well, Connecting Cultures was actually curated by a group of curators with Kevin Stayton, our Chief curator in charge. It is an interesting juxtaposition that we get many questions about for the curators, but with group curation, we are not sure exactly who placed it.
Are the Paik and Cunningham videos in your collection and viewable online? I can't see an object number. Where can I see this outside the museum?
The Paik/Cunningham video is not actually Brooklyn Museum objects (they are supplemental to the exhibition to think about bodies in motion, but not part of our collection). I am showing the Merce by Merce by Paik video in many places online, and here is a great website for it (although this will take you out of the app): http://www.eai.org/title.htm?id=2669
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.