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Brooklyn Museum

Where great art and courageous conversations are catalysts for a more connected, civic, and empathetic world. www.brooklynmuseum.org

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brooklynmuseum·2 hours agoPhoto

You can now book advance tickets to KAWS: WHAT PARTY! On view February 12–September 5, 2021, WHAT PARTY is a sweeping survey of KAWS’s twenty-five-year career, from his roots as a graffiti artist to a dominating force in the contemporary art world, tracing common themes in the Brooklyn-based artist’s practice. The exhibition features more than one hundred broad-ranging works, including rarely seen graffiti drawings and notebooks, paintings and sculptures, smaller collectibles, furniture, recent augmented reality projects, and monumental installations of his popular COMPANION figures.⁠

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brooklynmuseum·a day agoPhoto

In conjunction with his solo show at the Museum, UOVO Prize-winning artist John Edmonds has organized part of program 2 of Art on the Stoop: Sunset Screenings. His selection includes videos by Sara Cwynar, Steph Foster, Ja’Tovia Gary, Glenn Ligon, Tiona Nekkia McClodden, and Ka-Man Tse, which screen Friday and Saturday evenings at 5pm through November 7th.

The three works featured here all explore the reverberations of past cultural artifacts, from early cinema to vintage jewelry boxes. In Soft Film (2016), Sara Cwynar employs plush jewelry boxes, which she sourced from eBay, to explore the cycles of captialism as well as subtle forms of discrimination against women. 

Ja’Tovia Gary’s video An Ecstatic Experience (2015) manipulates historical and contemporary footage—including a 1965 TV show featuring an adaptation of a narrative by a former enslaved woman—to meditate on both the liberating and violent cycles of history. 

For his 2008 video The Death of Tom, Glenn Ligon had originally planned to create a reenactment of the climactic scene of Edwin S. Porter’s 1903 silent film adaptation of the anti-slavery novel Uncle Tom’s Cabin (1852) by abolitionist Harriet Beecher Stowe. After learning that the film had not been properly loaded, Ligon decided to still use the abstracted footage, suggesting a history that cannot be fully represented and remains unfinished.

Sara Cwynar (Canadian, born 1985). Soft Film, 2016 [Still]. 16mm film on video with sound, 6 min., 28 sec. Courtesy of the artist and Foxy Production © Sara Cwynar ⇨ Ja'Tovia Gary (American, born 1984). An Ecstatic Experience, 2015 [Still]. Single channel video with sound, digitized 16mm film, 6 min. Courtesy of the artist and Paula Cooper Gallery, New York. © Ja'Tovia Gary ⇨ Glenn Ligon (American, born 1960). The Death of Tom, 2008 [Still]. 16mm film transferred to video, black and white, sound, 23 min. Courtesy of the artist and Regen Projects, Los Angeles. © Glenn Ligon

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brooklynmuseum·2 days agoPhoto

Join us on Monday, November 2 for a critical conversation about the current state of American democracy and how the arts can play a role in its future. On the eve of the presidential election, and as many are heading to the Museum to vote, visual artist Ed Ruscha, producer Swizz Beatz, and entrepreneur Jimmy Iovine chat with director Anne Pasternak. They discuss how artists are using their platforms to contribute to civic engagement, in electoral politics and beyond. As an example of one such contribution, Ruscha’s painting OUR FLAG currently hangs in our entryway. The enduring symbol of American pride and patriotism, frayed and tattered, presents a striking statement on our fraught political moment. 

Register in advance to join us on Zoom. Also available on Facebook Live.

Ed Ruscha (American, born 1937). OUR FLAG, 2017. Acrylic on canvas, 70 × 138 in. (177.8 × 350.5 cm). © Ed Ruscha. Courtesy of the artist and Gagosian. (Photo: Joshua White / JWPictures.com)

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brooklynmuseum·4 days agoPhoto

Studio 54 quickly cemented itself as a place where artists, designers, and patrons alike could express themselves through fashion. Designers like Halston and Larry LeGaspi made fashion an integral part of the nightclub scene where there were many memorable outfits. Among others who added to the bold and diverse ensembles of the dance floor were British designer Zandra Rhodes and artist Richard Gallo, photographed here in a quilted coat. As well as being a location where fashion converged, Studio 54 also saw the birth of Calvin Klein’s iconic line of jeans, which famously emerged after a late-night conversation at the club.

What better excuse to get dressed up than a trip to see Studio 54: Night Magic? Book your tickets now before it closes November 8. 

Posted by Gina Vasquez
Dustin Pittman (American). Richard Gallo, 1979. Courtesy of the artist. © Dustin Pittman ⇨ Dustin Pittman (American). Valerie LeGaspi, Larry LeGaspi and Zandra Rhodes, 1979. Courtesy of the artist. © Dustin Pittman ⇨ Rose Hartman (American, born 1937). Woman in Red (Valerie LeGaspi), Studio 54, 1977. Color photograph. Courtesy of the artist, www.rosehartman.com. © Rose Hartman ⇨ Rose Hartman (American, born 1937). R. Couri Hay and Zandra Rhodes, Studio 54, 1977. Black and white photograph. Courtesy of the artist, www.rosehartman.com. © Rose Hartman  ⇨ Ron Galella (America, born 1931). Premiere party for “Grease.” Andy Warhol with Grace Jones, 1978. Courtesy of the artist. © Ron Galella ⇨ Dustin Pittman (American). Pat Cleveland, New Year’s Eve, 1979. Courtesy of the artist. © Dustin Pittman ⇨ Dustin Pittman (American). Iman, 1978. Courtesy of the artist. © Dustin Pittman ⇨ Ron Galella (America, born 1931). Party for Egon von Furstenberg’s Book “The Power Look” New York City, Ara Gallant and Diane von Furstenberg, 1978. Courtesy of the artist. © Ron Galella ⇨ Allan Tannenbaum (American, born 1945). Fashion Maker’s Show, Jerry Hall, May 23, 1978. Courtesy of the artist. © 2020 Allan Tannenbaum ⇨ Gordon Munro and Peter Rogers (1934–) for Studio 54 (Nightclub). Now everybody can get into Studio 54, circa 1980. Museum of the City of New York, 2013.8.9. © Gordon Munro, photographer

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brooklynmuseum·5 days agoPhoto

Worried about overcrowding at the polls? In many states voters can vote before Election Day at early voting sites. In New York, the early voting period starts today, Saturday, October 24 running through Sunday, November 1, 2020. Dates and hours may vary based on where you live. Head to vote.org today to Plan Your Vote.⁠

We’re proud to once again serve as a polling site. If the Brooklyn Museum is your polling location, please find our early voting and Election Day hours below. For all other New Yorkers, locate your polling site at findmypollsite.vote.nyc.

Early voting hours, October 24–November 1, 2020: ⁠⁠
Saturday, October 24, 10 am–4 pm⁠
Sunday, October 25, 10 am–4 pm⁠
Monday, October 26, 7 am–3 pm⁠
Tuesday, October 27, 12–8 pm⁠
Wednesday, October 28, 12–8 pm⁠
Thursday, October 29, 10 am–6 pm⁠
Friday, October 30, 7 am–3 pm⁠
Saturday, October 31, 10 am–4 pm⁠
Sunday, November 1, 10 am–4 pm⁠

Election Day hours: Tuesday, November 3, 6 am–9 pm⁠

Images by: Paola Kudacki ⇨ Jaamil Olawale Kosoko  ⇨ Amaryllis DeJesus Moleski ⇨ Nick Mauss & Ken Okishii   and ⇨ Joseph Grigely for Plan Your Vote.

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brooklynmuseum·6 days agoPhoto

Starting this weekend, there’s even more art to see now that our 4th floor has reopened!⁠ We’re so excited for visitors to be reunited with The Dinner Party by Judy Chicago and Out of Place: A Feminist Look at the Collection, as well as two brand-new exhibitions: ⁠⁠

John Edmonds: A Sidelong Glance⁠
As part of the inaugural @uovo.art Prize for an emerging Brooklyn artist, John Edmonds presents new and recent photographic portraits and still lifes of Central and West African sculptures, exploring the intersections of representation, modernity, and identity in the African diaspora. On view through August 8⁠, 2021.⁠

Design: 1880 to Now
This newly renovated gallery exhibits an exciting range of designers and manufacturers from the late nineteenth century to the present day. Featuring furniture, ceramics, glass, and metalwork, the selected works offer competing visions of modernity, explore tensions between craft and industry, and demonstrate critical innovations in production.⁠

Plan your visit today at brooklynmuseum.org!⁠

John Edmonds (American, born 1989). Two Spirits, 2019. Archival pigment photograph. Courtesy of the artist and Company, New York. © John Edmonds ⇨ Tejo Remy, designer (Dutch, born 1960). Droog Design, Design Cooperative, manufacturer, Amsterdam, Netherlands (founded 1993). Chest of Drawers “You Can’t Lay Down Your Memory,” designed 1991, made 2005. Maple, other woods, painted and unpainted metals, plastic, paper, textile. Brooklyn Museum; Gift of Joseph F. McCrindle in memory of J. Fuller Feder, by exchange, 2005.36. © Droog Design. ⇨ Lourdes Grobet (Mexican, born 1940). Untitled (Cactus Painted Red/Yellow), ca. 1986. Silver dye bleach photograph (Cibachrome). Brooklyn Museum, Gift of Marcuse Pfeifer, 1990.119.12. © artist or artist’s estate ⇨ Judy Chicago (American, born 1939). The Dinner Party, 1974–79. Brooklyn Museum; Gift of the Elizabeth A. Sackler Foundation, 2002.10. © Judy Chicago. (Photo: Donald Woodman)⁠
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brooklynmuseum·6 days agoVideo

John Edmonds’s video explores a quiet moment of intimacy and vulnerability between two men. Silhouetted in a darkened room, the artist and a friend face each other as they take turns “shotgunning,” or blowing smoke into the other’s mouth. At times, their lips linger, nearly touching, as if in anticipation of a kiss. In both his still photography and video work, Edmonds creates sensitive portraits and still lifes that focus on markers and rituals of Black self-fashioning and community—including hoodies, du-rags, and African sculptures.

See “Shotgun” in full as part of our Art on the Stoop: Sunset Screenings series—showing each Friday and Saturday, through November 8, now starting at 5pm. You can also see more work from our first @UOVO Prize-winning artist on view in John Edmonds: A Sidelong Glance, opening today on the Museum’s fourth floor.

And tune in to Screen Time on our Instagram Live, today at noon (ET), where Edmonds will join curator Drew Sawyer for a chat about his work on view in both Brooklyn Museum presentations.

John Edmonds (born Washington, D.C, 1989). Shotgun, 2014 [Excerpt]. Single-channel video (color, silent): 9 min., 53 sec. Courtesy of the artist and Company Gallery

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brooklynmuseum·7 days agoPhoto

This fall, we’re taking a look at how artists in the Brooklyn Museum collection have promoted civic engagement through their work.

In 1968, artist Wadsworth Jarrell co-founded COBRA (Coalition of Black Revolutionary Artists) with his spouse, fashion designer Jae Jarrell, and artists Barbara Jones-Hogu, Jeff Donaldson, and Gerald Williams. Not only did women play central roles in the prominent Black Arts Movement collective—which would later be renamed AfriCOBRA (African Commune of Bad Relevant Artists)—but they were also iconic leaders in the Black Power Movement.

Revolutionary (Angela Davis) depicts the radical activist and revolutionary intellectual, Angela Davis, who, when this was painted, was fighting for her freedom from wrongful imprisonment. The portrait illustrates the intensity and power of Davis’ activism as Wadsworth Jarrell utilizes her words, slogans from the Black Power movement, and AfriCOBRA’s signature aesthetic––self-described as “Kool-Aid colors.”

The year 1971 was significant for both Jarell and Davis. As Jarrell completed this vibrant artwork, Angela Davis wrote her truth-uncovering piece, “Reflections on the Black Woman’s Role in the Community of Slaves.” In this piece, Davis “illuminates the historical matrix of Black women’s oppression" as enslaved Black Women were expected “to promote the consciousness and practice of resistance” (1971:84) while also “ministering to the needs of [all] men and children around her” (1971:87).

The core of Davis’ words remain true today, as highlighted in entertainer and philanthropist Megan Thee Stallion’s October 2020 piece in the New York Times. Megan discusses society’s negligence in acknowledging the labor of Black women throughout American history, echoing Davis’ thoughts on the political expectations and lack of care for Black Women in America, she states, “In the weeks leading up to the [2020] election, Black women are expected once again to deliver victory for Democratic candidates … [Black Women] march for everyone else, riot for everyone else, die for everyone else, love for everyone else, but when it comes down to her, there ain’t a [person] in sight.” (New York Times: 2020)   

Wadsworth Jarrell’s “Revolutionary (Angela Davis)” serves as an example of how art can be used to acknowledge and celebrate the often overlooked social and political contributions of Black women. 

Fifty years later, Angela Yvonne Davis continues to be a leader in the fight for global intersectional justice. 

Posted by Christian Reeder
Wadsworth A. Jarrell (American, born 1929). Revolutionary (Angela Davis), 1971. Acrylic and mixed media on canvas. Brooklyn Museum, Gift of R.M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.18. © artist or artist’s estate

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brooklynmuseum·8 days agoPhoto

Speaking directly to the camera, artist Howardena Pindell recounts her experiences of racism and sexism as a Black woman in the United States. At times, she shifts to play the role of a white woman, gaslighting Pindell and clamining she is “paranoid.” This groundbreaking video critiques both institutionalized racism, and the mostly white feminist movement of the time. In 1972, Pindell cofounded A.I.R. Gallery, one of the first artist-run spaces for women in the U.S., and Free, White and 21 was first shown in 1980’s Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States, curated by Ana Mendieta. This intensely personal and political film, whose title comes from a rebellious catchphrase often heard in Hollywood movies of the 1930s and 1940s, was a stark departure from the abstract works on paper for which Pindell was primarily known.

See Free, White and 21 in full as part of our Art on the Stoop: Sunset Screenings series, showing each Wednesday, Thursday, and Sunday through November 8, now starting at 5pm.

Howardena Pindell (born Philadelphia, 1943). Free, White and 21, 1980 [Stills]. Single-channel video (color, sound): 12 min., 15 sec. Courtesy of Garth Greenan Gallery. Brooklyn Museum; Gift of Garth Greenan, 2020

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brooklynmuseum·9 days agoPhoto

Join us this Thursday for a Virtual Art History Happy Hour and learn more about our exhibition African Arts—Global Conversations. First, you’ll hear from Lagos-based artist Taiye Idahor as she reflects on her experience working with our collection of African art and her Ivie Series, which is featured in the exhibition. Follow African Arts—Global Conversations’s expansive, transcultural approach to African arts as Joshua Cohen, assistant professor of art history, City College of New York, considers “grounds for comparison.” Finally, Nijah Cunningham, assistant professor of African American studies and English, Hunter College, discusses how the exhibition reframes ideas of African and non-African arts and seeks to produce a different image of exchange and the world.

This program is free to stream on Facebook Live. Or, register and pay what you wish to join us on Zoom, and participate in a Q&A with the speakers after the talks. Your contribution supports our dynamic public programs and events.

Taiye Idahor (Nigerian, born 1984). Imaria (Ivie Series), 2020. Photo paper collage, pen, and ink drawing on paper. (Photo: Courtesy of the artist)

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brooklynmuseum·11 days agoPhoto

Don’t let a pandemic stand in the way of your voice being heard! This election season, a majority of Americans are eligible to vote by mail. Many states have deadlines to request mail-in ballots less than two weeks before Election Day, but the Postal Service recommends that voters request mail-in ballots by October 19 to ensure that ballots are returned on time. 

Head to vote.org today for everything you need to prepare!

Images by: Jesse Duquette / The Daily Don ⇨ Mark Alice Durant ⇨ Muna Malik ⇨ Kamrooz Aram and ⇨ Ken Lum and Paul Farber / Monument Lab  for Plany Your Vote and Vote.org 

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brooklynmuseum·12 days agoPhoto

There was no mirror ball at Studio 54, but set pieces like the iconic “Moon and Spoon” designed by Aerographics (Richie Williamson and Dean Janoff), as well as kinetic lighting by Jules Fisher and Paul Marantz, set it apart from other discotheques. Because it was located in a renovated theater building, changes of scenery could be frequent, seamless, and magical, with set pieces flying in and out above the stage-turned-dancefloor. Owners Ian Schrager and Steve Rubel also hired Experience Space—a team of interior designers known for their work in boutiques and restaurants—to elevate the entryway, bar area, and dancefloor surroundings. A balcony and other seating areas made Studio 54 a place to see and be seen. The combination of high-end design, original theater architecture, and dynamic sets, lighting, and sound created an exhilarating environment described as “lightning in a bottle.”

Posted by Forrest Pelsue
Photos (1-6): Adam Scull (American). Michael Overington Renovation, 1981. ⇨ Steve Rubell and Tom Snyder, September 21, 1978. ⇨ Entrance Hall at Studio 54, 1978. ⇨ Bar at Studio 54, 1977. ⇨ Dance Floor at Studio 54, 1977.  ⇨ Dance Floor at Studio 54, 1977. Photos by Adam Scull/PHOTOlink.net. © Adam Scull; and  ⇨ Last Photo: Dustin Pittman (American). New Year’s Eve, 1979. Courtesy of the artist. © Dustin Pittman

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brooklynmuseum·13 days agoVideo

For Question Bridge: Black Males, Chris Johnson and Hank Willis Thomas, with Bayeté Ross Smith and Kamal Sinclair, spent years traveling to twelve American cities and towns speaking with 150 Black men, who represented a range of geographic, generational, economic, and educational backgrounds. The varied speakers seem to be in dialogue with one another, their reflections sharing common self-selected themes, usually left unspoken, that challenge generalizations often based on racist systems of oppression and white supremacy. Considering Question Bridge nearly a decade later, and under the changed and newly charged political context of 2020, shifts in priorities and language are notable—and discussions about Black self-definition and self-determination remain incisive and urgent calls. 

Tune in to Screen Time on our Instagram Live, today at 1pm, where Hank Willis Thomas amd Bayeté Ross Smith will discuss Question Bridge: Black Males, and view an excerpt of it out on our plaza as part of our Art on the Stoop: Sunset Screenings series, showing each Wednesday, Thursday, and Sunday through November 8, starting at 6pm. 

Chris Johnson (born Brooklyn, New York, 1948), Hank Willis Thomas (born Plainfield, New Jersey, 1976), Bayeté Ross Smith (American, born 1976), Kamal Sinclair (American, born 1976). Excerpts from Question Bridge: Black Males, 2011. Single-channel video (color, sound): 15 min. 22 sec. excerpt from 2 hr., 53 min. Brooklyn Museum; Alfred T. White Fund  2012.52

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brooklynmuseum·14 days agoPhoto

Coming to the Brooklyn Museum on February 12, 2021, KAWS: WHAT PARTY presents a sweeping survey of KAWS’s twenty-five-year career, tracing common themes in the Brooklyn-based artist’s practice, as he has grown from his roots as a graffiti artist to a dominating force in the contemporary art world. Presenting more than one hundred broad-ranging works, #kawsbkm features rarely seen graffiti drawings and notebooks, paintings and sculptures, smaller collectibles, furniture, recent augmented reality projects, and monumental installations of his popular COMPANION figures.⁠

Become a Member by Tuesday, October 20 to access an exclusive one-week presale (from October 22–28) before tickets are made available to the public on October 29! Members receive special access to the exhibition, including invitations to the Member Preview and Saturday Member Morning Hours. Not ready to commit to a full year right now? For a limited time, we’re pleased to offer a 6-month Membership option for those looking to take advantage of special Membership perks at a discounted rate. Visit bit.ly/bkmmembers to join today!⁠

KAWS (American, born 1974). WHAT PARTY, 2020. Bronze, paint. © KAWS. (Photo: Brad Bridgers Photography)

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brooklynmuseum·15 days agoVideo

To make The Chronicles of New York City, JR and his team spent the summer of 2018 driving across all five boroughs with their semi-truck turned photo studio. Recruiting subjects at random on the sidewalk, each person or small group was photographed against a green screen, then cut out and added into a digital collage. The entire process was documented and turned into a short film by Jeremy Elkhin and Tasha van Zandt. Both the final mural and the “making of” capture the diversity of people and places that make New York City what it is. 

Just one week left to see JR: Chronicles at the Brooklyn Museum, on view through Sunday, October 18.

Video by Jeremy Elkhin and Tasha van Zandt © JR-ART.NET⁠⠀⁠

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brooklynmuseum·15 days agoPhoto

Attention New Yorkers! A few days ago, the Supreme Court of the United States announced that the census will end this Thursday, October 15. Close to 40% of New Yorkers STILL need to self-respond. The census determines billions of dollars in funding for cultural organizations like us, as well as schools, health care, jobs programs, housing, transportation, and so many other vital services. 

We need every New Yorker to get involved to ensure a complete 2020 Census count! Get counted NOW at my2020census.gov and nudge your friends and family to do the same. 

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brooklynmuseum·16 days agoVideo

Jeffrey Gibson’s She Never Dances Alone celebrates Indigenous women, presenting a performance by Sarah Ortegon, a jingle dress dancer who carries forward the dance’s call for ancestral healing and protection. Jingle dress originated with the Anishinaabe (Ojibwea) people during the 1918 influenza pandemic and is traditionally performed by women. The rhythmic, kaleidoscopic visual impact of the video mirrors and replicates Ortegon’s form. This shimmering mass of movement visually dazzles, but also underscores how Indigenous women today take action to protect their communities, rallying for accountability in the movement for Missing and Murdered Indigenous Women, Girls, and Two Spirit across the United States, Canada, and the world. Spend time with #MMIW, #MMIWG2S, #NoMoreStolenSisters for more information about this necessary call to accountability and action.

See She Never Dances Alone in full, as well as Gibson’s first video I Was Here, as part of our Art on the Stoop: Sunset Screenings series, showing each Wednesday, Thursday, and Sunday through November 8, starting at 6pm. You can also see more of the artist’s work in Jeffrey Gibson: When Fire Is Applied to a Stone It Cracks, on view inside the Museum through January 10. 

Jeffrey Gibson (Choctaw/Cherokee, born 1972). She Never Dances Alone, 2020 [Excerpt]. Single-channel video (color, sound, featuring Sarah Ortegon): 3 min. Courtesy of the artist and Sikkema Jenkins & Co., New York. Originally presented by Times Square Arts, March 1 - July 31 2020. Music: “Sisters” by A Tribe Called Red.

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