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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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.

Why did they use three kinds of wood to do this drawer?
In 1690, the advantage of using two types of wood is both economical and practical. By making the frame out of the sturdier, more easily workable oak, and keeping only the exterior (front) panel in painted pine, the maker made it more durable and sturdy!
Hi how do they make the stylized lines on the terra cotta of this piece?
Great question! The Yoruba artist responsible for this beautifully naturalistic head would have incised the lines in the clay when it was still wet.
Before the clay would be dried out, and eventually fired to become ceramic, the clay is quite soft. The artist may have used a wooden stick or perhaps a metal stylist to carve these lines.
Are the lines just a stylistic preference?
Or do they have any function or purpose
Scholars are still debating! Some believe they are scarification marks, other scholars speculate represent body paint, since both scarification and face painting in certain ritual contexts was common in many parts of Nigeria into the early 20th century. However, there is no evidence of what kind of body marks were in fashion when these objects were made or what kind of people would have had these marks.
Whatever the intended purpose to these lines we can surmise that they may have been markers of identity, signifying a place of origin, status, or membership in a certain organization. Some writers have also suggested that they may represent the beaded veils that Yoruba rulers wore/wear to conceal their faces, although no Ife works show attachments for headgear with veils or face coverings. Personally I think the lines also serve to further highlight the incredibly sophisticated modeling of the face itself. Not an ethnographic answer, but worth considering the formal, too!
What's the name of this owl?
It's catalogued as "Standing Owl" in the museum's records. Not a very exciting name, I'm afraid!
But those two owls were originally located on the Herald Building on Herald Square in midtown Manhattan. The building is gone, but the Brooklyn Museum is displaying the owls on behalf of New York University, who owns them now.
Their eyes used to have green glass and live electric wiring inside them. The owls' eyes would blink on and off whenever the Herald Building's big clock struck the hour.
Cool (especially the blinking). Thanks. I think he looks like a Fred, by the way!
Can you tell me a bit about these two chairs?
The goal of this installation is to showcase how European conceptions of chair have influenced and are influenced by African and non-Western seat design. As well as the cross cultural importance implied by sitting in a chair. Often times you'll see only the most important person in a room gets to sit in a chair --  to the left you'll see an American example and to the right you'll see an Asante example. 
For the Asante , chairs and stools play a key role in stately regalia. Based on European furniture forms this type of chair represents the stability and commitment of a chief or king. The two finials on the top rear of the char are thought to represent an eagle’s talons and further reference to power of the seated individual.  I personally love the highly ornamental use of the brass tacks. Kings and court officials had to sit in a highly prescribed symmetrical pose to embody stately grace and composure.
As you may have read on the label the American Wainscot Chair was intended for the most important person in the house -- and also took comfort second to the appearance of power and grace. 
Could you tell me more about this portrait?
In this wonderful portrait of our museum's late curator of Paintings and Sculpture, John Baur, Neel uses thick layers of paint and wobbly outlines to imbue this formal genre with a more intimate gaze.
That makes sense, considering the fact that Neel and Baur were close friends, but this intimacy is a quality that permeates all of Neel's work, whether she is painting celebrities or strangers. Many of her subjects were people in the art world -- curators, art historians, gallerists, critics, and others.
Furnished room? Aaron Siskind? Tell me more!
Oh my, I love that Siskind photograph so much. It shows a random, everyday life scene in 1930s Harlem, but it's like the rest of the neighborhood (and the world even!) doesn't exist: all you see is the boy, the woman, and the shadowy face in the window.
It's the kind of perfect snapshot of normal life in New York that one gets after living here for a while. Siskind himself was born on Manhattan's Lower East Side and studied uptown at City College.
What is this?
You may have read on the label that this mask would be used in Yaka circumcision and initiation rituals. After the boys are initiated as men, they travel through numerous villages and are presented as adults. This mask was crucial in these presentations however, it wouldn't be worn. Instead it would actually be held by with a stick . The stick on this particular mask is hidden by the rafia.
Could you please explain to me how these reliefs came to the United States?
The Northwest Palace of Nimrud (modern day Kalhu, Iraq) was discovered in 1840 by an English diplomat named Austen Henry Layard. The region was part of the Ottoman Empire at the time. Layard began excavating in 1845 and the finds were so impressive that the British Museum, then engaged in a rivalry for Middle East antiquities with the Louvre, gave him two thousand pounds to send all the monumental sculptures and relief-decorated slabs he could. However, he sent so many that the museum could not house them all. Thus some went on sale. In 1855, Henry Stevens, an American living in London, purchased the twelve reliefs now in this gallery and sold them to the New-York Historical Society in Manhattan. In 1937 the Society decided it could no longer house the slabs and lent them to The Brooklyn Museum, which eventually purchased them in 1955.
What are all these symbols? Where would they get the colors from? 
There's a lot of symbolism here. For instance, do you see the eye on the side? Eyes appear on many Egyptian coffins. It's called a wedjat-eye or the eye of Horus. These eyes were painted on coffins because it was believed they would allow the deceased to see and participate in funerary rituals. They were painted so that when the person was buried they would always face east toward the rising sun.
Regarding you question about the colors: They would have used soot for the black, lapis lazuli or azurite for the blue, malachite for the green, and ochres or iron oxide for the reds.
Is this Muhammad Ali? 
This iconic image of Muhammad Ali was by Flip Schulke!  While on assignment to photograph the young Ali, Schulke mentioned, in passing, that he specialized in underwater photography. Ali — wanting to do something special to get into LIFE magazine told the photographer that he worked out every day in the water; that an old trainer had told him that water resistance would add strength to his arms and quickness to his punches. Truthfully he never trained underwater and couldn’t even swim! Sure enough the two produced this iconic image together along with many other and they ran in LIFE’s September 8, 1961, issue.
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.