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Brooklyn Museum  We aim to serve our diverse public as a dynamic, innovative, and welcoming center for learning through the visual arts.

http://bit.ly/pinktrash17

Only two days left to connect with #GeorgiaOkeeffe, the artist, the style icon, and the celebrity. See #okeeffemodern by July 23 and share your favorite moments with us like recent visitor @shopgirl.studio 🔄 #AndyWarhol's silkscreened Georgia with diamond dust. ✨#mybkm

In 1982, artist #MarenHassinger and curator Horace Brockington took the train between Van Cortlandt, Prospect, and Central Park, staging performances of Pink Trash three times throughout the span of the day. Hassinger, whose wire sculpture Leaning (1980) opens #WeWantedaRevolution, began each performance by collecting litter and replacing it with debris of her own design: pink cigarettes, newspaper, and found objects that she painted in her studio and transported in a matching magenta satchel. At once informed by color theory and discourses of public space, Pink Trash calls attention to New Yorkers’ imprints on their shared environment. This Sunday, July 23, Hassinger will revisit this historic performance on its 35th anniversary. Free with Museum admission, but RSVP strongly encouraged. Link in bio for details.

Maren Hassinger. Performance of Pink Trash, 1982. Performance documentation courtesy of Horace Brockington⠀

Join Brooklyn-based artist collective @bufu_byusforus tonight in our Biergarten for an evening of music, discussion, and skill shares on collective organizing, art-making, and community building. Kick off the evening at our 6pm Happy Hour then join in on our community discussion with @arthoecollective, @getartistspaid, #TestOURmonials Project, @sadacnyc, and more, then wrap up the evening at our mixer with DJ Adair. Free with Museum admission. | Members of BUFU. 📷 Asher Torres

#GeorgiaOKeeffe's living space was another manifestation of her comprehensive and coherent aesthetic. Just as in her art and clothing, she opted for clean lines and minimal detail. She particularly loved the interior courtyard door of her adobe house in Abiquiu, New Mexico, which she painted as an abstracted composition of flat squares and angles. ⇨ When she posed for photographer #DonWorth in that courtyard, O’Keeffe wore a boxy white jacket that echoed its forms. ⇨ Made by a French manufacturer of workers’ uniforms, this jacket shared the same sensibility as O’Keeffe’s handmade white silk dresses, white-on-white abstractions, and sparely furnished interiors. #okeeffemodern ends Sunday, July 23.⠀

Opening July 26, The Legacy of Lynching: Confronting Racial Terror in America is a new exhibition that seeks to spark an honest conversation about the legacy of racial injustice in America today. Coordinated in collaboration with @eji_org and @google, this exhibition presents EJI’s groundbreaking research into the history of lynchings and connects it to artworks and archival material from our collections. Join us and explore the Legacy of Lynching through September 3.

A little #bluesday inspiration from #BKMEgyptianart: The remains of blue paint on Nefertiti’s wig suggest a close relationship with the gods, who were believed to have hair of lapis lazuli, a rare stone. She raises her arms to worship Aten, the chief god of this period, and receives in return from the god an ankh sign at her nose, ensuring her life. The inscription refers to her as “Beloved of Aten.” #infinitebluebkm 🔵

#GeorgiaOKeeffe always maintained a strong following among art lovers, and her stature as one of the country’s first and most significant modernists was secure. But in the late 1960s and 1970s her audience expanded and she became a celebrity, occupying a special place in the popular imagination. Feminists embraced her as a role model for women who wanted satisfying careers; to a youthful counterculture she became known not only as an artist, but also for her face, dress, and independent lifestyle. When she died in 1986, at the age of ninety-nine, she had become an American icon. Only one more week to explore O'Keeffe's self-crafted public persona through her art, wardrobe, and image. #okeeffemodern closes Sunday, July 23.⠀

As part of #WeWantedARevolution, artist #MarenHassinger will restage her 1982 performance Pink Trash, which explores ideas of public space and ethical citizenship by drawing attention to the ways New Yorkers engage with their local environment. Originally performed in Central Park, Prospect Park, and Van Cortlandt Park, this unique and exciting restaging of Pink Trash will take place in @prospect_park on Sunday, July 23. Join us at the Museum at 1pm for a special tour and conversation with Hassinger and co-curator @rjkhckly before heading to the park for the 2:15 performance. Ticket link in bio.⠀

Only one week left to see Georgia O’Keeffe: Living Modern. See it before July 23 and be sure to share your matchy-matchy #okeeffemodern moments like recent visitor @mxrxdth using #mybkm—you may end up on our feed! 🔄 #georgiaokeeffe

From her twenties until the end of her life, O’Keeffe studied and admired various aspects of Asian culture. Many of her abstracted landscapes, such as this bird’s eye view of a river, show her interest in the calligraphic line and flattened perspective of Japanese and Chinese painting. ⇨ Posing for the photographer Bruce Weber in 1984, O’Keeffe fused Eastern and Western influences by pairing a kimono with a vaquero hat. The swirl of her “GOK” brooch, designed by her friend Alexander Calder, echoes the larger form of her own sculpture behind her. ⇨ This kimono, a padded men’s garment in striped gray silk with a black collar, suited her lifelong taste for clothing that was practical, androgynous, and monochromatic, while also reflecting her fascination with Asian culture. #okeeffemodern

What can you learn about an artist's process if they are no longer alive? Careful study of artworks and related materials such as preparatory drawings can offer invaluable clues. People who knew the artist can often provide important information or anecdotes. To learn more about #GeorgiaOKeeffe, #bkmconservation recently examined the O'Keeffe works in our collection and researched the lifelong collaborative friendship of the artist and former Brooklyn Museum conservator Caroline Keck. Join us tonight at 6pm to learn more about their special relationship as well as recent technical findings that provide fascinating insights into O'Keeffe's methods and desired aesthetic. Link in bio for tickets.

#BKMArthandlers have been busy installing the monumental works in our upcoming exhibition, Proof: Francisco Goya, Sergei Eisenstein, Robert Longo. When we say monumental, we're not lying. Here #RobertLongo's Untitled (Mecca) 2010 is made up of 9 individual charcoal drawings that are around 4 x 6 ft each. At approximately 14 x 21 ft, the entire work is so large that we had to build a whole new wall to fit it! See it alongside over 60 other works by Longo, Goya and Eisenstein when #proofbkm opens on September 8.

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