Museum Food

Go Veggie Crazy at the Brooklyn Museum’s Hyper-Local Urban Farm Stand


Have your recent trips to the museum been sorely lacking in locally sourced produce from urban farms in Brooklyn? Have you recently walked up to a new exhibition and become suddenly struck by hunger pangs that can only be sated by vegetables grown within a mile from your apartment? Do you at some point each day need to purchase greens from the same person who grew and picked them with their hands in order to carry on with your life? Read More


Sailing With Swoon: Inside Her ‘Submerged Motherlands’ at the Brooklyn Museum

Submerged Motherlands

Last Thursday night, in one of the Brooklyn Museum’s cavernous fifth-floor galleries, a drummer sat about 40 feet above the ground on a remarkably well-constructed hodgepodge of wooden planks, plastic baskets and sheets of corrugated metal, tapping away on the cymbals of his drum set. Below him, two female singers stood on the same construction, purring harmonious oohs and aahs. With four other musicians, they made meditative electronic music that was evocative of running water, blanketing the audience of about 300 clustered around them.

They were performing within Submerged Motherlands, an installation by Swoon, the Brooklyn artist whose given name is Caledonia Curry, and who is probably best-known for two fairly ambitious projects—the series of giant, rough-hewn portraits that she’s wheatpasted on buildings around Brooklyn and Manhattan since 1999, and for sailing into the 2009 Venice Biennale on rafts made from New York City trash, causing quite a scene. As it happens, the musicians were actually perched on those same rafts for the evening’s performance, which was titled “Submerged Collaborations” and included the screening of a fictional movie about those rafts. Read More


Chuck Close Talks George W. Bush and Ai Weiwei Has a Hard Time Saying ‘No': At the Brooklyn Artists Ball

Guests Enjoying Candy Installation by Flour Shop (c) Elena Olivo

The gala circuit, as it gathers steam in early spring, can make one feel somewhat cynical. The succession of grandiose speeches, anemic benefit auctions and bags of cutesy swag induce a mild malaise. “This one feels upbeat,” said artist Jenny Holzer, one of the honorees at the annual Brooklyn Artists Ball on Wednesday, as she surveyed the room. It was true, the mood at the museum that night was buoyant. Perhaps it was the relief that the April snow the night before didn’t stick around, but people seemed to be enjoying themselves. As always, some women took the word “ball” and ran with it: sweeping floor-length gowns in Easter egg hues abounded. Read More

On View

‘Witness: Art and Civil Rights in the Sixties’ at the Brooklyn Museum

Emma Amos, 'Three Figures,' 1966. (© Emma Amos / Licensed by VAGA, New York, NY. Photo by Becket Logan)

“We didn’t want a dream, we wanted a revolution,” the sculptor Mark di Suvero says in the catalog for this utterly captivating exhibition. “The art establishment ignored us. Pop art was just starting up. We were against capitalism.”

“Witness” thrusts you back into the world he is discussing in that passage, the 1960s of civil-rights struggles and political violence. Expertly marshaling its art (by names big and still too small), documentary photography, fashion and music, the show channels a time when the stakes were enormous—life and death—and when artists were digging in, serving as committed spectators and activists, testing what could be represented and how. Read More

On View

‘LaToya Ruby Frazier: A Haunted Capital’ at the Brooklyn Museum

'Grandma Ruby and Me,' 2005. (© LaToya Ruby Frazier/Brooklyn Museum)

Taken collectively, the black-and-white photographs that LaToya Ruby Frazier has been making over the past 10 years, pictures of her family and their social circle, form an unflinching portrait of life in Braddock, Pa., a city battered by economic depression and environmental degradation. Appearing in small numbers in the New Museum’s 2009 Triennial and the Whitney Museum’s 2012 Biennial, these photos looked out of place in their unfashionable emotional immediacy, which makes “A Haunted Capital,” her first solo museum show in New York, organized by Eugenie Tsai, a welcome opportunity to consider a large, strong selection of them on their own terms. Read More

On View

‘John Singer Sargent Watercolors’ at the Brooklyn Museum

Corfu- Lights and Shadows

The Elizabeth Peyton of the Palazzo Barbaro set, the painter John Singer Sargent had a way with white. From voluminous Bedouin robes to frothing Alpine streams, the sun-bleached marble steps of Santa Maria della Salute to the spotless cashmere shawl on a bloodless Boston socialite, the painter’s whites are perhaps the most socially nuanced in the history of watercolor. A show of nearly a hundred of his expert late watercolors (and a few middling oil paintings), mostly painted between 1901 and 1912, is well worth a visit. Read More


Two Rembrandts Make a Trip to Brooklyn Museum

'Self-Portrait with Shaded Eyes' (1634). (Courtesy Brooklyn Museum)

The riches continue to flow for Rembrant lovers in New York. Last year, London’s Kenwood House loaned its remarkable self-portrait by the master painter to the Met. Now the Brooklyn Museum has announced that two works by Rembrant that are currently in a private collection in New York will go on view there on March 18. They’ll be paired with four other Dutch works from the 17th century that reside in the same collection. Read More