Tag Archives: Brooklyn Museum

Brooklyn Museum Plans New Museum Gift Shop


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A completely new, significantly larger Brooklyn Museum Gift Shop, designed by the architectural firm Visbeen Associates, is opening Wednesday April 4, 2012 in space previously devoted to temporary exhibitions. At 4,150 square feet, the new shop is 1,600 square feet larger than the shop it replaces. The store is part of a multiphase transformation of much of the Museum’s first floor designed by Ennead Architects that has already resulted in an extensive renovation of the Museum’s historic Great Hall and the creation of a major new exhibition space.

“The major goals of the new design for the first floor of the Museum have been to create a more coherent visitor experience, larger footprints for the Museum’s shop, restaurant, and exhibition galleries, and space to create a remarkable installation of major works from the Museum’s permanent collections,” comments Museum Director Arnold L. Lehman.

“The design for the new Museum Shop has created a significantly enhanced shopping environment for our visitors along with an exciting new approach to merchandising. The shop will offer a fresh selection of unique items related to the world cultures represented in the Museum’s rich permanent collection. An important feature will be products from both established as well as emerging Brooklyn designers and artisans,” states Vice Director of Merchandising Sallie Stutz.

The newly created store will be organized around an arc shape that will be reflected in a curved jewelry counter in the center that forms the focal point of the space and will be echoed in a coffered ceiling containing recessed lighting. Two light fixtures, created by Brooklyn artist David Weeks, will be focal points of the design. The shop will feature 225 linear feet of lightly stained oak casework with metal fittings, with additional free standing fixtures in which merchandise will be displayed.

The new space, along the east side of the front façade of the building, was originally built in 1904 and is one of the oldest sections in the nearly 600,000-square-foot landmark building designed by McKim, Mead, & White. A wider entrance to the shop from the Lobby will provide greater visual access to the Great Hall, assisting circulation, and a rear entrance will connect it to planned temporary exhibition galleries.

One of the first in a museum in the United States, the Brooklyn Museum Shop began in 1935 as a sales desk offering publications, postcards, and photographs of objects in the Museum’s collections. In 1954 it evolved into a Gallery Shop that specialized in toys and original folk art and crafts from around the world, as well as objects related to special exhibitions. In 1963-64, the Museum Shop produced the first shopping bag created by a museum, featuring a four-color graphic.

Following the April opening of the Museum Shop, the next phase of the first-floor transformation, scheduled for completion in late summer of 2012, will include a new Museum restaurant and cafe, a bar, and an outdoor dining terrace, all planned to be opened for lunch and dinner. The dining room will also accommodate special functions. Casual dining areas will overlook the Steinberg Family Sculpture Garden. There will be direct access to the various dining areas and bar from the Museum’s 350-car parking lot.

The final phase of the first-floor renovation will transform space that has been occupied by the current Museum Café into special exhibition galleries that will add 50 percent more floor space to the previous temporary exhibition gallery, the Robert E. Blum Gallery.

The first-floor renovation continues a major redesign of the Museum’s ground level that began in 2004 with the opening of the Martha A. and Robert S. Rubin Pavilion, the Ennead-designed and critically acclaimed front entrance, as well as the renovated lobby, newly created front plaza and South Entrance, and expanded parking facilities.

Major support for the Museum’s extensive first floor renovation project has been provided by the City of New York through the Department of Cultural Affairs and the City Council.

Support has also been provided by Martha A. and Robert S. Rubin, Arline and Norman M. Feinberg, and Lisa and Dick Cashin.

Illustration: Brooklyn Museum Retail Shop Sketch by Visbeen Associates.

‘Keith Haring: 1978-1982’ Exhibit Opening in Brooklyn


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Keith Haring: 1978-1982, the first large-scale exhibition to explore Haring’s early career, will be presented at the Brooklyn Museum from March 16 through July 8, 2012 [note date change]. Tracing the development of the artist’s extraordinary visual vocabulary, the exhibition includes 155 works on paper, seven experimental videos, and over 150 archival objects, among them rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.

“We are delighted to have this exceptional opportunity to present this groundbreaking exhibition of these dynamic works created by one of the most iconic and innovative artists of the late twentieth century as his formidable talents emerged,” comments Brooklyn Museum Director Arnold L. Lehman. “The works of art and the accompanying documentary material place in new perspective the development of this unique talent.”

The Brooklyn presentation of the exhibition, which was organized by the Contemporary Arts Center, Cincinnati, Ohio, and the Kunsthalle Wien, Austria, will feature approximately thirty-one additional works on paper, of which thirty are black-and-white subway drawings, as well as a 1978 scroll Everyone Knows Where the Meat Comes From. It Comes From the Store.

The exhibition chronicles the period in Keith Haring’s career from the time he left his home in Pennsylvania to attend New York’s School of Visual Arts, through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York’s downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative musicians, poets, performance artists, and writers of the period. Also explored in the exhibition is how these relationships played a critical role in Haring’s development as a facilitator of group exhibitions and performances and as a creator of strategies for positioning his work directly in the public eye.

Included in Keith Haring: 1978-1982 are a number of very early works that had previously never before been seen in public, twenty-five red gouache works on paper of geometric forms assembled in various combinations to create patterns; seven video pieces, including his very first, Haring Paints Himself into a Corner, in which he paints to the music of the band Devo, and Tribute to Gloria Vanderbilt; and collages created from cut-up fragments of his own writing, history textbooks, and newspapers that closely relate to collage flyers he created with a photocopy machine.

In 1978, when he enrolled in the School of Visual Arts, Keith Haring began to develop a personal visual aesthetic inspired by New York City architecture, pre-Columbian and African design, dance music, and the works of artists as diverse as Jean Dubuffet, Pablo Picasso, Willem de Kooning, and Jackson Pollock. Much influenced by the gestural brushwork and symbolic forms of the Abstract Expressionists, his earliest work investigated patterns made of geometric forms, which evolved as he made new discoveries through experimentation with shape and line as well as media. He meticulously documented his aesthetic discoveries in his journals through precise notes and illustrations. In 1980 he introduced the figurative drawings that included much of the iconography he was to use for the rest of his life, such as the standing figure, crawling baby, pyramid, dog, flying saucer, radio, nuclear reactor, bird, and dolphin-all enhanced with radiating lines suggestive of movement or flows of energy.

The exhibition also explores Haring’s role as a curator in facilitating performances and exhibitions of work by other artists pursuing unconventional locations for shows that often lasted only one night. The flyers he created to advertise these events remain as documentation of his curatorial practice. Also examined is Haring’s activity in public spaces, including the anonymous works that first drew him to the attention of the public, figures drawn in chalk on the black paper used to cover old advertisements on the walls of New York City subway stations.

Keith Haring died in 1990 from AIDS-related complications. His goal of creating art for everyone has inspired the contemporary practice of street art, and his influence may be seen in the work of artists such as Banksy, Barry McGee, Shepard Fairey, and SWOON, as well as in fashion, product design, and in the numerous remaining public murals that he created around the world.

Keith Haring: 1978-1982 is curated by Raphaela Platow. The exhibition is co-organized by the Contemporary Arts Center, Cincinnati and the Kunsthalle Wien, Austria. The Brooklyn presentation is organized by Tricia Laughlin Bloom, Project Curator, and Patrick Amsellem, former Associate Curator of Photography, Brooklyn Museum.

This exhibition was supported in part by the Stephanie and Tim Ingrassia Contemporary Art Exhibition Fund.

Illustration: Keith Haring (American, 1958–1990). Untitled, 1980. Sumi ink on Bristol board, 20 x 26 in. (50.8 x 66.0 cm). Collection Keith Haring Foundation. Copyright Keith Haring Foundation.

NY Journalism of Djuna Barnes Exhibit Scheduled


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“Newspaper Fiction: The New York Journalism of Djuna Barnes, 1913-1919,” an exhibition of 45 objects including drawings, works on paper, documentary photographs, and stories in newsprint by the celebrated writer and early twentieth-century advocate for women’s rights Djuna Barnes (American, 1892-1982), will be presented in the Herstory Gallery of the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art from January 20 through October 28, 2012. Among the works on view will be eight illustrations Barnes composed to accompany her newspaper columns.

The Herstory Gallery is devoted to the remarkable contributions of the women represented in The Dinner Party by Judy Chicago, on permanent view in the adjacent gallery. Barnes is one of 1,038 women honored in Chicago’s iconic feminist work.

Prior to publishing the modernist novels and plays for which she is now remembered, such as Ryder (1928), Nightwood (1936), and The Antiphon (1958), which present complex portrayals of lesbian life and familial dysfunction, Barnes supported herself as a journalist and illustrator for a variety of daily newspapers and monthly magazines, including the Brooklyn Daily Eagle, McCall’s, Vanity Fair, Charm, and the New Yorker.

Brought up in an unconventional household, Barnes developed an outsider’s perspective on “normal” life that served her well as a writer. Her liberal sexuality fit in perfectly with the bohemian lifestyle of Greenwich Village and, later, the lesbian expatriate community in Paris. From her first articles in 1913 until her departure for Europe in 1921, Barnes specialized in a type of journalism that was less about current events and more about her observations of the diverse personalities and happenings that gave readers an intimate portrait of her favorite character-New York City. Attempting to capture its transition from turn of the century city to modern metropolis, Barnes developed her unique style of “newspaper fictions,” offering impressionistic observations and dramatizing whatever she felt to be the true significance or subtexts of a story.

Image: Djuna Barnes, Sketch of a woman with hat, looking right, for “The Terrorists,” New York Morning Telegraph Sunday Magazine, September 30, 1917. Ink on paper. Djuna Barnes Papers, Special Collections, University of Maryland Libraries

Brooklyn Museum Receives National Honor


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The Institute of Museum and Library Services (IMLS) has selected the Brooklyn Museum as one of only ten libraries and museums to receive the 2011 National Medal for Museum and Library Service.

The Brooklyn Museum was founded in 1823 as an apprentices’ library and is now one of the largest art museums in the United States, with comprehensive collections that span millennia and encompass almost every culture, enhanced by a distinguished record of exhibitions, scholarship, and service to the public.

From its beginnings the Brooklyn Museum was envisioned as an institution designed to educate the people both of Brooklyn and the world–as a “museum of everything for everyone.” Today it continues to serve as a vital educational and community resource through programs including its nationally renowned Target First Saturdays program and comprehensive on-site educational activities. The Museum’s exhibitions and arts education programs are specifically designed to develop and extend the cultural and art historical themes of its comprehensive collection.

“We are extremely proud to be recognized by IMLS with its National Medal,” commented Arnold L. Lehman, Director of the Brooklyn Museum. “To be acknowledged by IMLS from among the many thousands of institutions in the United States is an exceptional tribute to the Museum Trustees, staff, volunteers, and supporters. We are grateful to IMLS for this extraordinary honor.”

The National Medal is the nation’s highest honor for museums and libraries for extraordinary civic, educational, economic, environmental, and social contributions. Recipients must demonstrate innovative approaches to public service and community outreach.

“Congratulations to the Brooklyn Museum on receiving the National Medal for Museum and Library Service. The work you have done is an inspiration to libraries and museums throughout the nation,” said Susan Hildreth, IMLS Director. “With innovation, creativity, and a great deal of heart you have achieved an outstanding level of public service.”

The other institutions that will receive the IMLS medal this year are:

Weippe Public Library & Discovery Center, Weippe, ID
San José Public Library, San José, CA
Alachua County Library District, Gainesville, FL
Columbus Metropolitan Library, Columbus, OH

EdVenture Children’s Museum, Columbia, SC
Erie Art Museum, Erie, PA
Lewis Ginter Botanical Garden, Richmond, VA
Madison Children’s Museum, Madison, WI
Hill Museum & Manuscript Library, Collegeville, MN

IMLS is the primary source of federal funding for museums and libraries. The National Medal for Museum and Library Service was created to highlight the vital role these institutions play in American society. Recipients are selected by the director of IMLS following an open nomination process and based on the recommendations of the National Museum and Library Services Board.

Youth and Beauty: Art of the American Twenties


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Youth and Beauty: Art of the American Twenties, a new exhibit of 138 paintings, sculptures, and photographs by 67 of the greatest artists of their time has opened at the Brooklyn Museum’s Morris A. and Meyer Schapiro Wing, 5th Floor. The exhibit, which runs to January 29, 2012, is begin billed as the first wide-ranging exploration of American art from the decade between the end of World War I and the onset of the Great Depression.

How did American artists represent the Jazz Age? This exhibition brings together for the first time the work of sixty-eight painters, sculptors, and photographers who explored a new mode of modern realism in the years bounded by the aftermath of the Great War and the onset of the Great Depression. Throughout the 1920s, artists created images of liberated modern bodies and the changing urban-industrial environment with an eye toward ideal form and ordered clarity—qualities seemingly at odds with a riotous decade best remembered for its flappers and Fords.

Artists took as their subjects uninhibited nudes and close-up portraits that celebrated sexual freedom and visual intimacy, as if in defiance of the restrictive routines of automated labor and the stresses of modern urban life. Reserving judgment on the ultimate effects of machine culture on the individual, they distilled cities and factories into pristine geometric compositions that appear silent and uninhabited. American artists of the Jazz Age struggled to express the experience of a dramatically remade modern world, demonstrating their faith in the potentiality of youth and in the sustaining value of beauty. Youth and Beauty will present 140 works by artists including Thomas Hart Benton, Imogen Cunningham, Charles Demuth, Aaron Douglas, Edward Hopper, Gaston Lachaise, Yasuo Kuniyoshi, Luigi Lucioni, Gerald Murphy, Georgia O’Keeffe, Alfred Stieglitz, and Edward Weston.

The exhibition was organized by Teresa A. Carbone, Andrew W. Mellon Curator of American Art, Brooklyn Museum.

Photo: Nickolas Muray (American, 1892-1965). Gloria Swanson, circa 1925. Courtesy George Eastman House, International Museum of Photography and Film, Rochester, New York.

Brooklyn Museum Planning Keith Haring Exhibit


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Keith Haring: 1978-1982, the first large-scale exhibition to explore the early career of one of the best-known of American twentieth-century artists, will be presented at the Brooklyn Museum from April 13 through August 5, 2012. Tracing the development of the artist’s extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.

“We are delighted to have this exceptional opportunity to present this groundbreaking exhibition of these dynamic works created by one of the most iconic and innovative artists of the late twentieth century as his formidable talents emerged,” comments Brooklyn Museum Director Arnold L. Lehman. “The works of art and the accompanying documentary material place in new perspective the development of this unique talent.”

Organized by the Contemporary Arts Center, Cincinnati, Ohio, by Raphaela Platow, Director and Chief Curator, and the Kunsthalle Wien, Austria, the Brooklyn presentation will be coordinated by Associate Curator of Photography Patrick Amsellem.

The exhibition chronicles the period in Keith Haring’s career from the time he left his home in Pennsylvania and his arrival in New York City to attend the School of Visual Arts, through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York’s downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative musicians, poets, performance artists, and writers of the period. Also explored in the exhibition is how these relationships played a critical role in Haring’s development as a facilitator of group exhibitions and performances and, as a creator of strategies for positioning his work directly in the public eye.

Included in Keith Haring: 1978-1982 are a number of very early works that had previously never before been seen in public, twenty-five red gouache works on paper of geometric forms assembled in various combinations to create patterns; seven video pieces, including his very first, Haring Paints Himself into a Corner, in which he paints to the music of the band Devo, and Tribute to Gloria Vanderbilt; and collages created from cut-up fragments of his own writing, history textbooks, and newspapers that closely relate to collage flyers he created with a Xerox machine.

In 1978, when he enrolled in the School of Visual Arts, Keith Haring began to develop a personal visual aesthetic inspired by New York City architecture, pre-Columbian and African design, dance music, and the works of artists as diverse as Alechinsky, Dubuffet, Picasso, Willem deKooning, and Jackson Pollock. Much influenced by the gestural brushwork and symbolic forms of the abstract expressionists, his earliest work investigated patterns made of geometric forms, which evolved as he made new discoveries through experimentation with shape and line as well as the media. He meticulously documented his aesthetic discoveries in his journals through precise notes and illustrations. In 1980 he introduced the figurative drawings that included much of the iconography he was to use for the rest of his life, such as the standing figure, crawling baby, pyramid, dog, flying saucer, radio, nuclear reactor, bird, and dolphin, enhanced with radiating lines suggestive of movement or flows of energy.

The exhibition also explores Haring’s role as a curator in facilitating performances and exhibitions of work by other artists pursuing unconventional locations for shows that often lasted only one night. The flyers he created to advertise these events remain as documentation of his curatorial practice. Also examined is Haring’s activity in public spaces, including the anonymous works that first drew him to the attention of the public, figures drawn in chalk on pieces of black paper used to cover old advertisements on the walls of New York City subway stations.

Keith Haring died in 1990 from AIDS-related complications. His goal of creating art for everyone has inspired the contemporary practice of street art and his influence may be seen in the work of such artists as Banksy, Barry McGee, Shepard Fairey, and SWOON, as well as in fashion, product design, and in the numerous remaining public murals that he created around the world.

Photo: Keith Haring, Untitled, 1978. Courtesy Keith Haring Foundation.

Exhibit: Rarely Seen Paintings by Eva Hesse


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Eva Hesse Eva Hesse Spectres 1960, an exhibition of rarely seen paintings by the artist Eva Hesse (1936-1970), will be presented in the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art beginning September 16, 2011. Created when Hesse was just 24 years old, this group of eighteen semi-representational oil paintings, while standing in contrast to the works for which she is well known, nonetheless constitutes a vital link to her later Minimalist sculptural assemblages. Although several recent museum exhibitions of Hesse’s work have featured a few of these paintings from 1960, none have considered them as a group, all together.



There are two distinct groups within the Spectres series. In the first, the paintings are intimate in scale and the loosely rendered figures are gaunt, standing or dancing in groups of two or three yet disconnected from one another. The second group, in traditional easel-painting scale, presents both odd, alien-like creatures and certain depictions that resemble the artist herself.

The exhibition considers these evocative, spectral paintings not merely as self portraits but as states of consciousness–thereby opening a dialogue about Hesse’s aspirations versus the nightmares and visions that remained constant throughout her life. Working against critical commentary that has seen these works as abject exercises in self deprecation, Eva Hesse Spectres 1960 examines them as testimony of private struggle.

Born in Hamburg in 1936, Eva Hesse and her family left in 1938 to escape the fate of Germany’s Jews and settled in New York City. She was determined to become an artist from an early age, striving at first to be a painter. Later she began to create startlingly original sculptural configurations that exploited the properties of cheesecloth, rubber, plastic, tubing, cloth, and other materials. Hesse achieved a level of success attained by few women of the time. In 1963 she had her first solo show; by 1968 she had gallery representation. She died in 1970 of a brain tumor. Two years after her untimely death, the Guggenheim Museum held a retrospective of her work–its first for a woman.

Eva Hesse Spectres 1960 was organized by E. Luanne McKinnon, Director of the University of New Mexico Art Museum, Albuquerque. The Brooklyn Museum presentation is organized by Catherine Morris, Curator, of the Elizabeth A. Sackler Center for Feminist Art. The works in the exhibition come from both public and private collections.

The exhibition is accompanied by a catalogue co-published by the University of New Mexico Art Museum and Yale University Press (2010). It includes color reproductions of all of the works in the exhibition, along with new scholarship in four essays by: E. Luanne McKinnon, Director, University of New Mexico Art Museum, Albuquerque; Elisabeth Bronfen, Global Distinguished Professor of German, New York University, and Chair of American Studies, University of Zurich; Louise S. Milne, Lecturer at the Napier University and the Centre for Visual Studies, Edinburgh College of Art; and Helen Molesworth, Chief Curator, Institute of Contemporary Art, Boston.

Eva Hesse Spectres 1960 is organized by the University of New Mexico Art Museum, Albuquerque, in collaboration with the Estate of Eva Hesse.

Illustration: Eva Hesse (American, born Germany, 1936-1970). No title, 1960. Oil on canvas. 36 x 36 inches (91.44 x 91.44 cm). Collection of Barbara Bluhm-Kaul and Don Kaul, Chicago, Illinois, USA

Brooklyn Museum Announces New Trustees


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Associate Professor of Law at New York Law School Tamara C. Belinfanti, Forest City Ratner Companies Executive Vice President and General Counsel David L. Berliner, and Brooklyn-based artist Fred Tomaselli were elected to the Board of Trustees of the Brooklyn Museum at the June Board meeting. The election of Tomaselli marks the first time in recent years an artist has served on the Museum Board.

“We are delighted to welcome these three new Members. They bring a breadth of experience, interest, and expertise that will further enhance and strengthen our Board, working together with Museum Director Arnold L. Lehman and the Staff,” states newly elected Board Chair John S. Tamagni.

Tamara C. Belinfanti is an Associate Professor of Law at New York Law School and lives in Brooklyn. Previously, she was a Corporate Associate with the international law firm of Cleary Gottlieb Steen & Hamilton LLP. She is a graduate of Harvard Law School, where she was a Clinical Intern to Professor Alan M. Dershowitz.

Executive Vice President and General Counsel of Forest City Ratner Companies, a Brooklyn-based real estate developer and property owner, David Berliner is also Chairman of the Board of Directors of the Madison Square Park Conservancy and a founding member of their Curatorial Committee, an advisory group that sources and evaluates proposals to commission work of contemporary artists to be shown in Madison Square Park.

A native of California, Fred Tomaselli emerged from the California art scene, creating installation and performance art in the early 1980s. In 1985 he moved to New York, where he was one of the pioneering artists of Williamsburg, Brooklyn. His work has been shown worldwide in both galleries and museums and is represented in public and private collections. In the fall of 2010, the Brooklyn Museum presented a critically acclaimed mid-career survey of his work.

New Board Chair for Brooklyn Museum


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The Members of the Board of Trustees of the Brooklyn Museum have elected John S. Tamagni, a member of the Board since 1987 and currently Chair of the finance committee and Board Treasurer, as the Museum’s Chair. He succeeds retiring Chair Norman M. Feinberg, who has served as Chair since 2006. Feinberg will continue to serve as an active Board member. Trustee Stephanie Ingrassia was elected Board President. Ingrassia has been a Trustee for ten years.

Born and raised in Brooklyn, Tamagni has recently returned to the Borough after living in Summit, New Jersey, for four decades. He has had a connection to the Brooklyn Museum since childhood, coming as a visitor when his mother studied art at the Brooklyn Museum Art School (which was moved to the Pratt Institute in the 1980s). Following his graduation from Dartmouth College with a degree in economics, he served as a Line Officer in the United States Navy. After his release from active duty in 1959, he joined Blyth & Co. as an investment banker in its Municipal Finance group. In 1972 he moved to Lazard Frères & Co. as a General Partner and retired as a Managing Director at the end of 2005. He subsequently assumed control of Capital Markets at Lazard for corporate, government, and municipal securities. He is currently a Founding Partner and Chairman of Castleton Partners, a fixed-income investment management and advisory firm. He was Vice-Chairman of the Securities Industry Association as well as a Director. He was also Director of the Bond Market Association.

Tamagni has long been involved in philanthropic causes. He is also a Trustee of the Orchestra of St. Luke’s and an overseer of the Hood Museum of Art at Dartmouth College. He is a former Trustee of Overlook Hospital in Summit, New Jersey and a former Overseer of the Graduate School of the New School in New York City. With his late wife Janet, to whom he was married for 52 years, he collected American paintings of the mid-nineteenth through early twentieth century.

Stephanie Ingrassia, who takes over the long-vacant position of President, studied fine arts and art history at Michigan State and the University of London, and received a B. A. from the School of Visual Arts in New York. A career in graphic design has included the design of books, magazines, newsletters, and promotional materials as well as teaching computer graphics at the School of Visual Arts. A collector of contemporary art, Ingrassia has served on the Brooklyn Museum Board since 2001. Prior to her election as President, she was a Vice Chair. She has also been a board member of BRIC Arts/Media and of Creative Time. She and her husband, Tim Ingrassia, and their four children live in Brooklyn.

Brooklyn Museum Cancels Street Art Exhibition


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The Brooklyn Museum has canceled the spring 2012 presentation of Art in the Streets, the first major United States museum exhibition of the history of graffiti and street art. Organized by the Museum of Contemporary Art Los Angeles, where it is currently on view at The Geffen Contemporary through August 8, 2011, the exhibition had been scheduled at the Brooklyn Museum from March 30 through July 8, 2012.

“This is an exhibition about which we were tremendously enthusiastic, and which would follow appropriately in the path of our Basquiat and graffiti exhibitions in 2005 and 2006, respectively. It is with regret, therefore, that the cancellation became necessary due to the current financial climate. As with most arts organizations throughout the country, we have had to make several difficult choices since the beginning of the economic downturn three years ago,” Brooklyn Museum Director Arnold L. Lehman said in a prepared statement.

The announcement follows a recent follows the limiting of Friday hours, effective July 1. The Brooklyn Museum will no longer remain open until 10 p.m. every Friday, a change resulting from what museum officials called “the challenging economic climate confronting many public institutions throughout New York City and the country.”