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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.

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#HowardenaPindell's intensely personal and political film, "Free, White and 21." was first shown in Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States, curated at A.I.R. Gallery in 1980. A stark departure from the abstract works on paper for which she was primarily known, Pindell’s personal account of the prejudice she experienced exposed white liberals’ complicity in systemic racism and sparked controversy within the gallery and beyond. Pindell’s motivation, however, was not to put viewers on the defensive but to record, on her own terms, her lived experience as a woman of color. #wewantedarevolution

"Families torn apart. Communities torn apart. Loss of land. Loss of businesses. Loss of history. There's a legacy that lives on." — Shirah Dedman, along with her mother, Phoebe Dedman, and aunt, Luz Myles, remembers her great-grandfather, Thomas Miles Sr., who was lynched in Shreveport, Louisiana in 1912. Click link in bio to hear their story, and explore the Legacy of Lynching, a new exhibition organized in partnership with @eji_org snd @google, now through September 3 @brooklynmuseum.

A little #bluesday inspiration from #BKMAmericanart: In this studio portrait by #HarryCEdwards, blue beadwork and pigment are found throughout the model Handsome Morning’s traditional Dakota outfit, which consisted of a fringed dress with beaded yoke, a tubular bone-bead necklace, beaded moccasins, and a buffalo hide robe painted with a box-and-border design. Edwards’s detailed description of her dress and accessories, along with the use of her name in the title of this painting, suggests his interest in asserting Handsome Morning’s authenticity to his audience. #infinitebluebkm 🔵⠀ ⠀

Tuesday's #BrooklynTalks conversation with #BryanStevenson, founder of @eji_org, artists #SanfordBiggers and #GlennLigon, and poet, essayist, and playwright #ElizabethAlexander is sold out, but due to high demand we’re hosting a simulcast of the conversation in our Lobby, as well as a special preview of the new exhibition The Legacy of Lynching: Confronting Racial Terror in America. Click link in bio for details and tickets.

Georgia O’Keeffe: Living Modern takes a new look at how the renowned modernist artist proclaimed her progressive, independent lifestyle through a self-crafted public persona—including her clothing and the way she posed for the camera. The exhibition expands our understanding of O'Keeffe by focusing on her wardrobe, shown for the first time alongside key paintings and photographs. It confirms and explores her determination to be in charge of how the world understood her identity and artistic values. Don’t sleep, today is the final day to see this American Icon the way she wanted you to see her. #okeeffemodern

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.⠀

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