Collection Pyramid, 2001. Installed in the 5th Floor Elevator Lobby

Take the elevator to the fifth floor and when the doors open, you’ll find yourself in a small exhibition entitled Black Lincoln for Dooky Chase. There, you can contribute all of your unwanted pennies to Collection Pyramid, (2011), a sculpture in the making by Clean Penny Service (CPS), a performance duo formed in 2009 by artists Mike Smith and Lizzie Wright. Once the transparent pyramid is filled, it will be sealed, and the piece will be complete.

And take a look at those pennies in your pocket. Have any of them lost their shine?

CPS will be performing at Target First Saturday at the Brooklyn Museum on July 2 from 6 to 8 p.m. The duo’s mission is to clean a dirty penny (I’m sure they’d be willing to do more than one) for each passerby, using “natural” methods whenever possible, free of charge. Stop by with your penny at the South Entrance!

Come get your penny cleaned by Clean Penny Service at Target First Saturday on July 2, 2011.

West Indian-American Carnival 2008 – Brooklyn, NY by David Berkowitz via Flickr.

This is just a reminder that there’s no First Saturday in September, but there will be plenty going on around the Museum with the all events surrounding the West Indian-American Day Carnival Association’s Labor Day parade that will be taking place.

My colleagues and I are not taking a break, however, and are busily preparing for the next season of Target First Saturdays. We’ll be kicking things off on October 3rd with a collaboration with the Hungarian Cultural Center as part of their year long Extremely Hungary festival. We’re excited to offer a night of art and culture beyond visitor’s expectations that will include a performance by Vertical Players Repertory, an Opera Open Mic with Brooklyn’s beer swilling, jeans wearing opera singers from Opera on Tap, and a soulful dance party hosted by Brooklyn’s DJ Reborn and a top Hungarian DJ.

If you just can’t wait for October, you can join me on the Brooklyn Museum’s Facebook page during the month of September where I’ll be asking questions about visitor’s experience at and thoughts about First Saturday. Please join me. I’d love to hear what you think!

Remember what our old calendar looked like? Let’s give it one last hurrah:

Starting today, we are rolling out some calendar upgrades to improve ease of use and allow us to disseminate event information more flexibly. Today I mainly want to talk about ease of use.

The Museum’s calendar actually has two distinct sets of users. On the front end we have visitors to our Web site (and, hopefully, to the Museum itself). But behind the scenes, our ever-patient editors comprise another group with very different needs. We tried to keep the user experience of both visitors and editors in mind over the course of the calendar upgrade.

What’s new for visitors
Many things, big and small. Let’s start with the big stuff:

New layout
We switched to a wider layout and ditched those blocks of color. And, on pages that display a range of dates (like the week, month, and weekend views and the “browse by category” pages), we’ve now grouped the events under easy-on-the-eyes date headings. No more “2009-04-18” above each and every event title. Suddenly the calendar is readable! I’m hoping this will encourage people to stay and explore what we have to offer.

Featured events
With the switch to the wider layout we were also able to add a right-hand column that we’ll use to highlight upcoming featured events, such as the Brooklyn Ball coming up on April 23.

Permalinks and bookmarking tools
Every event now has its own permalink, to display that event and only that event. This opens up a lot of new territory for how and where we use event information. And for how you can use our event information. Taking a tip from the good folks at the Walker Art Center, we’ve added a “Share This” link below each event that lets you post it to Facebook, tweet it, or save its permalink page to a variety of social bookmarking services.

And now the small stuff. With a data-driven page like the calendar, the devil truly is in the details. These are the kind of things that individually, ultimately, should be almost invisible to anyone looking at the page, but that work together to make things feel natural. Effortless reading is what we’re aiming for here.

So, for instance, we made sure times were formatted to read the way we would say them out loud: 6—8:30 p.m. instead of 6:00 p.m.—8:30 p.m.. We moved query-specific information from its old spot at the top of the page’s main well into the page title, and programmed the titles to use more English and fewer dates. Instead of saying “Events from 4/12/2009 to 4/18/2009” we now say “Week of April 12, 2009”.

We’ve tweaked the listing of current exhibitions to call out which events are opening and closing during the requested date range, and changed the heading on that exhibition list from “Current Exhibitions” to “On View” to reinforce the fact that the list shows what exhibitions will be open during the selected time period.

What’s new for editors
Okay, technically, it’s been about week since we finalized upgrades to the intranet tool that our editors use to manage all this event information. But I think they’ll agree that it still feels new enough to merit mentioning here.

For them, the biggest change is that the new calendar tool offers a way to batch edit groups of recurring events, like Museum Guide tours, that are offered at many different times. We also integrated some related tools for managing our lists of locations and event categories. And finally, we reorganized the main page of the calendar tool to make it easier to find the events they need to edit. All of these changes should make calendar updates go more smoothly for them.

Finally, I’ll note that the new tool was designed as an alternate interface for the same underlying data that the old tool worked off of. Of course, we added significantly to the original data structure, but we were able to keep the core unchanged. Essentially, the old tool then offered access to a subset of the data and functionality that the new tool could handle. This meant that both tools could be used simultaneously — I could use the new tool for development and testing while the editors continued to use the old tool. And it meant no data migration before launch. Which is a thing of beauty.

So, that’s it. Welcome to the new calendar. Now go explore.

The exhibition Burning Down the House: Building a Feminist Art Collection is fortunate to feature one of only two photographs by prominent artist Carrie Mae Weems that are currently in the Brooklyn Museum’s Collection of Contemporary Art. This one on view in the galleries (pictured above), is from one of Weems’ best-known bodies of work, The Kitchen Table series, a group of photographs that explores human experience from the vantage point of both female subject and viewer, and also an African-American point of view. Like most of the photographs in the series, this one revolves around the figure of a woman (the artist herself) frozen in a shared moment with another individual in the room. In this mesmerizing image, Weems appears to be playing a game of cards with her male companion, while a photograph of Malcolm X hovers evocatively above the scene. The curators, Maura Reilly, founding curator of the Elizabeth A. Sackler Center for Feminist Art, and Nicole Caruth found this image captured their goals for the exhibition so dynamically that they chose it as the signature image for the show! Fans of the Brooklyn Museum will notice it reproduced in many places on the website and throughout the Museum itself.

Carrie Mae Weems discusses her relationship to feminism and art, including the photograph featured in Burning Down the House: Building a Feminist Art Collection, this Saturday, January 24th, 2009 in the Forum of the Elizabeth A. Sackler Center for Feminist Art.

For more information about this, and other events in the Center throughout January and February, click here. And stay tuned for several photos from this program and others on the feminist blog next week!

(Ladan Akbarnia and Jina Porter explaining Ghada Amer’s photo series of her various public works installations for the crowd. Photo courtesy of Jessie Shaffer.)

Akbarnia was very insightful in her take on Amer’s work, at one point questioning the attitude of Muslim women towards their veils and other traditional head and body coverings.

(Dr. Natasha Gordon-Chipembere describing her extensive work with circumcised women. Photo courtesy of Jessie Shaffer.)

Concurrent with the gallery talk was a screening of the film Moolaadé, directed by Ousmane Sembène, which addresses female circumcision. Afterwards, Dr. Natasha Gordon-Chipembere graciously led a heated discussion of the film and female circumcision in general. Moving from semantics to female circumcision in Brooklyn and the West’s misconceptions of the practice, and emotions understandably ran high as audience members volleyed back and forth on this controversial issue.

On Saturday, July 12th, Curator Maura Reilly gave a public tour of the exhibition Ghada Amer: Love Has No End, which is on view in the Center’s main galleries through October 19th.

(Maura Reilly presenting her take on Ghada Amer’s work. Photo courtesy of Jessica Hester.)

Reilly discussed the artist’s appropriation of the aesthetics of male Abstract Expressionists such as Barnett Newman and Jackson Pollock, and also suggested that Amer’s use of stitching – a traditionally-female endeavor – in some of her work is part of a reclamation of female sexuality and artistic autonomy. Like Akbarnia’s talk earlier in the month, Reilly touched on Amer’s investment in portraying both the social and political disenfranchisement and personal empowerment of Muslim women.

(Photo courtesy of Jessica Hester.)

Also on July 12th, the Center hosted filmmaker Katrina Browne for a showing of her documentary Traces of the Trade: A Story from the Deep North. Presented in partnership with PBS’s P.O.V., a showcase for independent nonfiction film, the documentary chronicles Browne’s discovery that her New England ancestors were the largest slave-trading family in American history.

Don’t forget to stop by this Saturday at noon for the reading of excerpts from Live Through This—The Art of Self-Destruction, edited and read by Brooklyn-based feminist performer Sabrina Chapadjiev. Chapadjiev will lead a discussion following the reading with artist Fly and poet Nicole Blackman completing the panel. Thanks to everyone who came last month for your continuous support of the Center’s public programs!!

This month’s Target First Saturday events at the Elizabeth A. Sackler Center for Feminist Art here at the Brooklyn Museum includes a screening of the film Moolaadé. Directed by Ousmane Sembène, this award winning film tells the tale of six young girls who are about to be circumcised and the subsequent attempts to protect the girls from this trauma. “Moolaadé” is the name for the magical protection one of the village women uses on the girls to prevent their imminent circumcisions.

The showing of the film begins at 6pm and is followed by a discussion with Dr. Natasha Gordon-Chipembere, who has worked extensively with, and as an advocate for, circumcised women. If you can’t make it at six for the film, stroll on over to the galleries to see Ladan Akbarnia, Hagop Kevorkian Associate Curator of Islamic Art here at the Brooklyn Museum, give a talk on Ghada Amer: Love Has No End at 7pm. Free tickets for both of these events are available at the Visitor’s Center at 5pm!

(Film Still from Moolaadé (2004), directed by Ousmane Sembène.)

(Close up of Suffragettes riding float…New York Fair, Yonkers, 10 August 1913. Courtesy of the Library of Congress)

Working to further the dialogue between women and contemporary art, the South Asian Women’s Creative Collective is an organization that seeks to unite and provide resources for female artists of South Asian descent, bringing a crucial perspective to the forefront of the global feminist art world. This weekend, board members Mareena Dareida and Sadia Rehman, along with artists Sara Rahbar, Samira Abbassy, and poet Sarah Husain will participate in a panel discussion moderated by artist Miriam Ghani here at the Elizabeth A. Sackler Center for Feminist Art during the Brooklyn Museum’s Target First Saturday events. The panel will provide a taste of these artists work as well as spoken word in this precursor to the collective’s 11th annual visual arts show, Rods and Cones: Seeing From the Back of One’s Head, at the Abrons Art Center, Henry Street Settlement this August.  Featuring artwork by Samira Abbassy, Samanta Batra Mehta, Anna Bhushan, Ruby Chishti, Smruthi Gargi Eswar, Mona Kamal, Baseera Khan, Pallavi Sharma, Sheena Sood, this exhibition should definitely be worth checking out!

(Shamira Abbassy, Calligraphic self-portrait, 2006. Courtesy of England Gallery)

Overhead view.  Pia Lindman: Soapbox Event, Reinventing Forms of Free Speech.  Federal Hall National Memorial, 26 Wall Street, New York City.  April 5, 2008.  Photo: Pia Lindman.  Courtesy: Pia Lindman.

Lindman received her MFA from Finland’s Academy of Fine arts, and received a second masters degree from Massachusetts Institute of Technology (MIT). Over the years, Lindman has experimented with social and public space, challenging social, political and economic issues facing human beings globally. She has explored her interest in human masses, space and architecture through projects such as Three Cities, Rivers, Monuments (2002/2006) and Fascia (2006).

In her Soapbox Event, Lindman uses historical public spaces as venues for her art. She grants each participant a soapbox to stand on and sets her handy dandy timer for one minute. Participants can share just about anything in the time allotted; poetry, stories, monologues, movement sequences or articles. But there’s a catch: participants may form coalitions, stacking their soapboxes to create a higher podium. One minute is added to each coalition’s speaking time for each extra soapbox stacked. Now, this is a woman who understands the meaning of teamwork!

Side view.  Pia Lindman: Soapbox Event, Reinventing Forms of Free Speech.  Federal Hall National Memorial, 26 Wall Street, New York City.  April 5, 2008.  Photo: Pia Lindman.  Courtesy: Pia Lindman.

Lindman’s Soapbox Event is about more than getting your chat on. Lindman’s work forces participants to be conscious of one another, to share space, to communicate and listen. Her work is much more than a blab-fest: it challenges those involved to become more aware of their bodies in space, how bodies and voices relate to other bodies, how bodies and voices have the potential to affect the world.

The Soapbox Event is an ongoing project, taking place in public locations throughout New York City. The last event, held at the Federal Hall National Memorial in the Financial District reeled in 41 participants, a great success. Past Soapbox Events have taken place at Cooper Union, Yale School of Art and several other acclaimed venues.  To learn more about Pia Lindman’s upcoming events and her fascinating, thought provoking body of work visit the Soapbox Event Blog or check out Pia Lindman’s bio. Learn how to get involved and exercise your right to free speech.