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TXTual Healing @ FSAT

I’m happy to mention that Brooklyn-based artist Paul Notzold will be bringing TXTual Healing to our upcoming Target First Saturday on May 3rd. I’ve long been an admirer of this project and am thrilled to be able to see it live and in-person in our lobby.

TXTual Healing is an ongoing series of interactive performances that encourage the creation of dialog through text messaging from mobile phones. The project harnesses the SMS capabilities of the cell phone as a medium to interact with and explore our shared public and physical space, not as a means to escape it. TXTual Healing builds community through public story telling.

Using the speech bubble as a symbol for communication, participants send text messages to a provided phone number that automatically, anonymously, and in real time, displays these messages inside the bubbles projected onto the facade of a building. The result of projecting in shared public space give participants in the street a voice as loud as the corporate and government entities who financially predetermine the information in these spaces.

TXTual Healing encourages the public sharing of thoughts, experiences and ideas using networked mobile devices that typically support more private communications. Positioning the projections next to windows, or integrating the SMS interactivity with religious, political and socially charged graphics, invites people to share their own uncensored views of the information around them in the form of interactive theater.

For our installation, Paul has adapted the system to display images from our Utagawa exhibition  and worked with our Education and Curatorial staff to give txters questions to ponder. If you are coming this Saturday, be sure to bring your cell phone and if not we will be posting photos to Flickr and hopefully a really awesome video soon after the event.

Pics in this post are from the dry run last Tuesday.  While I was in Denver for AAM, Bob was having fun testing and sending me pics (see below - very funny Bob).

ArtShare takes Silver!

ArtShare, the Brooklyn Museum’s Facebook application just won a Silver award in the Online Presence category of the American Association of Museums MUSE awards. We are in great company with the Powerhouse taking Gold for its online Collection (a project we are great admirers of).

Judges said:
“ArtShare on Facebook is a simple web application with a great, innovative concept: provide a database-driven storehouse of images for users to populate their Facebook pages with and allow users to add their own artwork. In other words, this application creates a new virtual port of entry to museum content (albeit one limited to Facebook users), that taps into the universal desire to “share ownership” of great art. By tapping into mainstream social networking, this application engages new audiences and spurs communal discussion and conversation about artwork and other collections objects. Visually, the application succeeds in retaining the clean and appealing interface of the Facebook site itself, no mean feat in the often-cluttered social networking environment. The Brooklyn Museum’s foresight and generosity in opening this application up to use by its museum peers (ArtShare now includes content from eight different museums ranging from the Metropolitan Museum of Art to the Powerhouse) preserves the integrity and authority of art and institution alike makes this application an award-winning development. Three cheers for ArtShare’s art-sharing concept, execution, and cross-museum synergy.”

ArtShare now has 2239 users and 12 institutions using the application to share their collections (with more on the way in the coming months). We intend to make some technical changes/additions as soon as Facebook completes their expected profile overhauls.

Side note, if you are at AAM this week, I’m in a session about blogging with some really awesome folks, so come by and check it out.

Update! ArtShare also won in an additional category, the Jim Blackaby Ingenuity Award (Cindy, Seb - thanks for the headsup on this).

“The Jim Blackaby Ingenuity Award was introduced in New Orleans at the 2004 MUSE awards ceremony. Jim Blackaby, a board member of the Media and Technology Committee, passed away in the summer of 2003. Jim influenced many in the museum world with his innovative work in information services and Internet strategies. Conceived in his memory, this award recognizes a project that exemplifies the power of creative imagination in the use of media and technology a project that has a powerful effect on its audience, and one that stands above the others in inventiveness and quality. The winner is selected from submissions to the MUSE awards of all categories and does not necessarily have to be a winner within the category to which it was submitted.”

What is a book?

On April 5th we had our second talk in a series of discussions to commemorate the 185th anniversary of the founding of the Library. The well attended talk – entitled What is a book? – was given by Andy Birsh and Davin Kuntze, from Woodside Press, who spoke about the elements of the book format. Their presentation focused on typography, papers, and bindings in use before and since the days of Gutenberg. Mr. Birsh is the proprietor of Woodside Press in the Brooklyn Navy Yard, one of the largest fine letterpress printing studios in New York. Mr. Kuntze is a trained bookbinder, printer, and graphic designer who lives in Crown Heights.

As always, it was a great pleasure to listen and think about the history of books and to see some books that are great examples of papermaking, printing and binding. Books on view included books on papermaking and specimen books with paper samples and facsimiles of codices such as the Codex Mendoza, the Mexican manuscript. The following is part of the catalog entry for this remarkable book published in London in 1938:

“The Mendoza codex is a Mexican pictographic manuscript prepared on the authority of Don Antonio de Mendoza, the first viceroy of New Spain … A Spanish priest, familiar with the Nauatl … was employed by the viceroy to set down in Spanish the explanations of the glyphs as interpreted by the Mexicans themselves.” The facsimile includes the original pictographs in colors and the Spanish explanations.”

This codex facsimile is one of many in this collection that document the culture of Mexico.

Several truly rare books were out for the public to see such as Hori Apollinis selecta hieroglyphica (Rome, 1599). This emblem book (seen below) documents Horapollo’s attempt to decipher the Egyptian hieroglyphs and offers many woodcut images some of which are supposedly by Dürer. The book was recently on view in the Egypt Through Other Eyes exhibition organized by the Museum Library staff.

Other rarities on view included The First Book of Architecture by Andrea Palladio (London, 1721) and Specimens of plain and ornamental printing types, borders, ornaments, rules, &c. made at the type and electrotype foundry of James Conner & Sons (New York, 1859) A good example of an accordion binding was The Great Exhibition “wot is to be” : or probable results of the industry of all nations in the year ‘51. Showing what is to be exhibited, who is to exhibit it; in short,how its [!] all going to be done (London, 1850). This book is a continuous, illustrated strip, folded accordion style.

We also had a few artists’ books out that are exquisite examples of printing such as the Peter Kruty edition of The Diary of a Madman by Nikolai Gogol (Summer Gardens Editions, 1998) with art by Mikhail Magaril. Peter Kruty’s letterpress studio is in Brooklyn and he worked with a team to produce this great example of letterpress and fine binding. The book was included in the Artists Book exhibition here back in 2000. Another artist’s book that was included in the Artists Book exhibition here and on view for our talk is The Corona Palimpsest (1996) made by Nora Ligorano and Marshall Reese.

I could go on and on about all of the great books we had out on view … if you want a full list of what we all looked at send an email and we will be happy to send the list to you.

Keonna Hendrick, Education Intern for Library Outreach, enjoys looking at one of the many rare books we had
out for the public to see.

National Library Week having just ended, it seems opportune to bring up a topic that was discussed during the talk which centered on the future of the book and the challenges presented by the Internet. There seems to be a notion in the air that “all of this will be digitized” if it hasn’t been already and that we will not need libraries. Perhaps it is so much easier to click at your computer instead of getting up and opening a book. But what a pleasure that is! Touching the paper, seeing images that in many instances are engravings or are hand colored, feeling the binding. I realize I am speaking from the perspective of a research librarian surrounded by books that have a true intrinsic value. As in most art libraries, we have many books filled with tons of images – engravings, photographs, textile and paper samples etc - that have an incredible tactile quality to them. I don’t look forward to the day when I have to climb into bed with a computer instead of a book. I know I am not the only one who feels that we need to speak up for the book as a physical entity and would really like to begin a discussion here about this issue. As far as I can see here in Brooklyn there are two camps of thinking: the book lover who speaks for the beauty of the physical book and the Internet lover who wants everything online and available in a very immediate way. Which camp are you in? Can the wishes of the two camps converge so that we can have everything – the book and the digital version?

Brooklyn Museum Audio Publications

Artist Dialogue: Ghada Amer and Maura Reilly

Panel Discussion: Exploring Caribbean Popular Culture through Music

Symposium: Considering Syncretic Practices, Beliefs, and Religions in the Caribbean

Brooklyn Museum - Today

The Brooklyn Museum is closed today.