Brooklyn Museum at 200 Celebrates Beauty and Art’s Hidden History
The New York Times
A new American wing draws on feminist and racially and ethnically diverse thinking to spotlight 200 exceptional works in its collection.
At 200 years young, the Brooklyn Museum, the second largest art museum in New York City, has begun celebrating the bicentennial of its founding. And it’s doing so in characteristic fashion — meaning in ways that make traditionalists crazy. It is emphatically re-emphasizing what it has, basically, long been: an institution with the heart and soul of an alternative space enclosed in the body of a traditional museum.
And it does so with two large-scale season-opening projects. One is a complete rehang and rethink of its American art galleries, filtering centuries of art from two hemispheres through a post-Black Lives Matter lens. The other, less radical, is a community-based roundup of new work by more than 200 contemporary artists living and working in the borough.
Let me wedge in some history here. The museum was founded in 1823 as a circulating public library in what was then the Village of Brooklyn, across the river and independent from a rivalrous Manhattan. In the mid-19th century, the library, called the Brooklyn Institute, began collecting, along with books, natural history specimens and art. (Among the first pieces acquired was a painting, “The First Harvest in the Wilderness” (1855), by the Hudson River School artist Asher B. Durand. It’s in the American galleries rehang.)
In 1898, what is now the museum moved into a version of its present McKim, Mead & White home where, over time, it scored some cultural coups. It was among the first United States museum to present African art as art rather than as ethnology. It organized a nervy survey of avant-garde European modernist art in 1926, three years before MoMA existed. The museum was also one of the first in the country to have an art school, and to create a conservation lab.
As time went on it also courted controversy by giving space to art unwelcome elsewhere. In 1980, while two other museums backed out of a traveling tour of Judy Chicago’s “The Dinner Party,” Brooklyn not only took it in but acquired the installation for its collection. (It’s on permanent view in the museum’s Elizabeth A. Sackler Center for Feminist Art, another Brooklyn first.)
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