Skip Navigation

Please check back for the latest program updates!

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

DAY 1: Friday, October 20, 2017

SESSION 1
9:30–11:15 am

Opening Performance
Marc Bamuthi Joseph

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

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

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

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

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

SESSION 2
11:30 am–1:25 pm

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

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

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

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

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

BREAK FOR LUNCH
1:25–2:30 pm

SESSION 3
2:30–4:20 pm

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

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

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

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

SESSION 4
4:35–6:15 pm

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

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

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

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

SESSION 5
6:30–8:15 pm

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

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

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

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

Concluding Performance
The Resistance Revival Chorus

Reception, Rubin Pavilion, 1st Floor
 

Day 2: Saturday, October 21, 2017

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
ASK App ASK Team

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

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

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
ASK App ASK Team

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
ASK App ASK Team

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

Exhibitions on the Fifth Floor

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
ASK App ASK Team

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

Exhibitions on the Fourth Floor

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
ASK App ASK Team

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

Exhibitions on the Third Floor

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

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
ASK App ASK Team

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

Exhibitions on the Second Floor:

Also on the Second Floor

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
ASK App ASK Team

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

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

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

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

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

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

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

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

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

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

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
ASK App ASK Team

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

Exhibitions on the First Floor

Also on the First Floor

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

Pick up Assistive Listening Devices at the Admissions Desk.

ASK Brooklyn Museum Bloomberg Philanthropies

Here's what people are asking.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.

Hi. This reminds me a lot of Canada's Group of 7? Were they contemporaries? Did they share influences?
That is a really interesting connection! Manievich painted "Birch Trees" in 1911.  Abraham Manievich was landscape painter from Kiev who exhibited in Paris in 1913, just before World War II.  While the Group of 7 was a little bit later, but they likely had similar influences. Manievich was heavily influenced by Cézanne in terms of his heavy brushstrokes and flattened landscapes. Cézanne's work had an impact on nearly every modernist painter of the early 20th century. In other works Manievich showed his interest in the bright harsh colors of the Blaue Reider school which is also apparent in the paintings of Canada’s Group of 7, particularly Lawren Harris. Common to all of these artists was a desire to have a distinctive voice apart from European painting that reflected their heritage and local.
Thanks. That's helpful and I suppose it makes sense that northern hemisphere landscape artists would have similar styles.
You're welcome! And you're right, before the reign of Stalin and ultimately the Cold War, Russia was a big part of the development of modern art in the early 20th century. Plus Russia and Canada are not so environmentally different in some areas.
Is this made from a sea shell?
It is a seashell! Specifically, a strombus shell. If you press the button on the case that corresponds with that object, you can hear it being played. Definitely try out some of those buttons, it makes the instruments so much more interesting being able to hear them!
Tell me about this!
The artist, Jane Dickson, belonged to a generation of artists working in Manhattan's cheaper (and often more dangerous) neighborhoods in the 1980s. Her subject matter includes the sensory overload of city life and the un-beautiful edges and corners of America's urban and suburban environments. This was painted as a view out of the window of her Manhattan studio.
Jane Dickson has said of her work: "A wary observer of necessity, I paint to locate baseline reality within an unstable world. Child of immigrants, I have enlisted painting in my life-long study of American-ness to examine its cultural pivot points, shifting parameters and anomalies."
Can you tell me about these?
Sure! Dotty Attie is a painter, photographer and printmaker who is perhaps most well known for her feminist reworkings of Old Master paintings. This work appropriates details from two paintings by the artist Thomas Eakins, 'The Gross Clinic' and 'The Champion Single Sculls'.       
Attie has juxtaposed these details with text recounting a controversial event in Eakins's professional career, when he allowed female students to sketch from a live, nude male model and consequently lost his teaching position.
With this work she is encouraging the viewer to actively think about hypocrisy in American society (why do we allow images of violence against the human body but condemn nudity?) as well as gender discrimination in the art world.
If you're curious, you can see a work by Thomas Eakins himself that shows an artist working from a live female nude in his studio in that same gallery. The painting is titled, 'William Rush Carving His Allegorical Figure of the Schuylkill River."
How come this one doesn't have a description?
That's a great question! While I can't speak for the American Art curatorial staff, I can tell you that a lot of thought goes into which objects get expanded labels and which do not and many factors can go into those decisions. Perhaps, because this is clearly a provocative image, the curators wanted to leave it a bit of a mystery? Perhaps they felt it did not need further explanation? I can only speculate!
Is there something you would like to know about it?
Woah, that's cool
Yeah, what's the background or context for the painting?
Definitely! The artist, John Koch, depicts himself with a male model, Ernst Ulmer, who was a piano student of Koch's wife. The sculpture in the background of the painting is another work by Koch that depicts Prometheus, character in ancient Greek myth. Prometheus was punished by Zeus, king of the gods, for stealing fire and giving it to humans. This sculpture shows Prometheus chained to a rock and being tormented by a bird of prey. He is being freed by the god Hercules. There's some humorous interplay between the painting's figures and the sculpture in the back. The theme of fire comes back with the model giving fire to the painter (Koch) to light his cigarette.
What school would this be considered? I don't know 18th century work well.
It was painted in modern-day Mexico while it was part of the Spanish Empire. Scenes depicting the mixing of European and indigenous peoples were relatively common at the time.
Is it considered Impressionist?
This would not be considered Impressionist. Impressionism got its start around 1870, so this painting was long before. It is a style typical of South America when it was part of the Spanish colonies. It might be called Spanish Colonial. Typically it is highly realistic and highly finished with many accurate details, yet it does not not closely follow the rules of perspective. The faces are idealized. That is they do not show irregularities
Thanks for all the info!
I'm Italian, for this reason I'm interested about this work!
Richard Greenough was an American sculptor working abroad in Rome and then Paris. He was strongly influenced by the art of ancient or classical Greek and Rome, which he was able to see in European museums so his style is called "Neoclassical." He did this work sculpture of what he thought Mary Magdalene would look like. Greenough was very much inspired by the Renaissance and the Baroque styles of sculpture.
Yes it's incredible...I thought I was in front a classic masterpiece.
There are similar sculptures on the 5th floor in our American art galleries by other American sculptors that evoke the Classical style.
I love this work.
It is fantastic isn't it? Another version of this painting exists in the Church of San Magno in the town of Legnano near the Italian city of Milan. The Milanese artist Bernardino Luini closely followed the style of Leonardo da Vinci who was working in Milan at the time and  their work has a lot in common, especially the  richly colored animated figures with a sense of shadow and relief. The composition is typical of Venetian altarpieces showing enthroned Madonna surrounded by a choir of angels.
Wow, thanks!
You're welcome!
You're looking at a work by Lynn Hyman Butler "Wonder Wheel at Night." Its one of the few color works on view in Forever Coney. Though the technique used to make it is very different from traditional color photography. Would you like to hear more about Butler's process for making this (I warn you it is very photo-techy!)
Thank you. That is what I wanted to know! I have no idea about "silver dye bleach technique".
The simplest explanation is that as the only available method to create handmade photographic prints directly from color slide film. It is a direct-positive, meaning that no negatives are created or used, unlike traditional color processes. Yellow, magenta and cyan dyes are incorporated into a white-opaque polyester based paper and bleached during processing to reveal their latent color. Likely the artist shot these images in her large format camera with a slow exposure, to achieve the motion blur. and later altered the color effects in the developing in the dark room.
The artist has said,  "I try to capture the sense of time passing. I hope that the photographs will be a reminder that we are on the edge of a century in which the fate of many life forms, including our own, will be determined, and the decision of whether to save or relinquish landscapes such as these will be of increasing urgency."
Amazing. Thanks for the answer. This is very helpful!
You're welcome! It is a truly difficult process, and increasingly rare as production of the materials has recently ended.
How are the colors so bright and well preserved in this 600-1000 CE textile?
The textiles were likely discovered in burials on the South coast of Peru in one of driest regions of the world. This climate preserved the textiles and there pigments. For this Wari textile we do not know exactly where it was discovered.
Most helpful, thank you!
You're very welcome!
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.