Brooklyn Museum

Abstract Background In this study, an enameled glass mosque lamp in the Brooklyn Museum collection is investigated to elucidate the origin and date of production of each of its components—the body, handles, wick-holder, and foot—to establish whether the lamp was produced during the Mamluk period (13th–14th century) or is a 19th-century European creation. Results Using X-ray fluorescence spectrometry and scanning electron microscopy with energy dispersive X-ray spectrometry (SEM–EDS), the body, handles, and wick-holder were found to exhibit identical composition. The lamp’s foot, however, presents a dissimilar composition, one significantly richer in sodium, magnesium, and potassium. The matrix compositions, colorants, and opacifiers of the body’s enamel decorations were characterized by SEM–EDS and Raman spectroscopy analyses and compared with Mamluk and 19th-century production. Conclusions The lamp’s body, handles, and wick-holder were produced using the same type of glass, one likely incorporating a plant ash flux typical of medieval Islamic glass. Materials composing the body’s enamel decorations are consistent with Mamluk production. The foot’s distinct composition indicates that it is a later addition to the object. Combining the analytical, stylistic, and historical evidences, this glass lamp can now be identified as a Mamluk example, one of few comprising an integral wick-holder. The presence of a wick-holder is discussed and connected to the small size of the lamp. Details informing understanding of the lamp’s manufacture are also included. The implications of these new findings on the object’s conservation treatment and display are discussed in the context of the upcoming reinstallation of the Arts of the Islamic World gallery at the Brooklyn Museum.

Research on Judy Chicago's The Dinner Party, (1974-79; completed with the assistance of more than 400 volunteers), is abundant and generally focuses on the monumental table of thirty-nine place settings acknowledging the contribution of women throughout Western history. Scholars have examined, praised and criticized the installation from various feminist and formal aesthetic perspectives. By contrast, this thesis considers what has essentially been overlooked until now, Judy Chicago's curatorial framework for the entire The Dinner Party exhibition experience. Using my own interviews with the artist, team members, and contemporary curators, as well as consulting the artist's installation manuals from Harvard University Archives, and examining the reception of the curation, I highlight the essential curatorial features that made The Dinner Party such an international phenomenon. The artist's curatorial elements were research-oriented, inclusive and activist-leaning with interactive, multi-media structures to achieve her feminist message. Considering The Dinner Party's current installation at the Elizabeth A. Sackler Center for Feminist Art, my thesis argues that Chicago's successful yet overlooked methods offer the most proactive, critical and approachable curatorial presentation. The current installation that has been stripped of these curatorial elements, while perhaps institutionally practical, compromises much of the message and feminist intent. This study contributes to the field by focusing on this notable exhibition, providing discourse into Chicago's curating and offering considerations for contemporary curating practice, with the goal of contributing to the growing area of curatorial research focused on feminist artists and curatorial projects.

This article is a timeline of highlights from Weusi history, from 1964 to 1990, including notes about its Annual Outdoor Art Festival.

January 01 2012 Portfolio: Brian Dewan Brian Dewan Brian Dewan Brian Dewan is a visual artist and composer living in Catskill, NY. He exhibits at Pierogi Gallery in Brooklyn. His I-CAN-SEE filmstrips have been screened at the Whitney Museum, the Brooklyn Museum, New Museum, and the Museum of Jurassic Technology. His published CDs include Ringing at the Speed of Prayer, Words of Wisdom, The Operating Theater, and Tells the Story. Dewan collaborates with his cousin Leon Dewan in the design and construction of analog electronic musical instruments, and they perform together under the name of Dewanatron. Search for other works by this author on: This Site Google Scholar Author and Article Information Brian Dewan Brian Dewan is a visual artist and composer living in Catskill, NY. He exhibits at Pierogi Gallery in Brooklyn. His I-CAN-SEE filmstrips have been screened at the Whitney Museum, the Brooklyn Museum, New Museum, and the Museum of Jurassic Technology. His published CDs include Ringing at the Speed of Prayer, Words of Wisdom, The Operating Theater, and Tells the Story. Dewan collaborates with his cousin Leon Dewan in the design and construction of analog electronic musical instruments, and they perform together under the name of Dewanatron. Online Issn: 1537-9477 Print Issn: 1520-281X © 2012 Brian Dewan2012 PAJ: A Journal of Performance and Art (2012) 34 (1 (100)): 163–168. https://doi.org/10.1162/PAJJ_a_00082 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Brian Dewan; Portfolio: Brian Dewan. PAJ: A Journal of Performance and Art 2012; 34 (1 (100)): 163–168. doi: https://doi.org/10.1162/PAJJ_a_00082 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsPAJ: A Journal of Performance and Art Search Advanced Search This content is only available as a PDF. © 2012 Brian Dewan2012 Article PDF first page preview Close Modal You do not currently have access to this content.

When listening to music, we are able to identify well-known songs as familiar within fractions of a second. However, as of now it is unclear how fast the brain can differentiate between familiar and unfamiliar music, and what the underlying neural correlates are. Here, we used electro-encephalography (EEG) and pupillometry to reveal the temporal signatures of neural processes that allow differentiation between familiar and unfamiliar music. Participants passively listened to 750 ms snippets of familiar songs as well as of acoustically matched control songs, presented in random order. We observed greater pupil dilation rates to familiar music from 100-300 ms post stimulus onset. Brain responses measured with EEG showed a differentiation between familiar and unfamiliar music from 350 ms post onset, but in the opposite direction to that seen with pupillometry: Unfamiliar snippets were associated with greater responses than familiar snippets. A group of control participants, which was presented with the same song snippets but was unfamiliar with all of the songs, showed no such differences. Possible underlying mechanisms are discussed.

In 1801 an obscure young woman in Berlin discovered to possess "an unusual formation of the sexual organs" became a flashpoint of professional debate between some of Germany's most prominent physicians. Doctors' opinions regarding sexual indeterminacy were always circumscribed by the limitations of their capacity ot observe the human body. Because of this, "hermaphrodites" had considerable latitude in constructing bodily experience and sexual histories which would support their own largely incontrovertible claims about their bodies. Their rejoinders to the normalizing, binary notion of gender held by both physicians and jurists are remarkable.

Translation of the texts on the door-jambs Cambridge Fitzwilliam E.5.1909 and Brooklyn 56.152.They come from a tomb of the Saite Period reused in the Thirtieth Dynasty.The new user, a secretary of Nectanebo I, addresses the old owner, a palace official under Amasis, and Claims to have done him a great favour by restoring and reusing his tomb.In his response, the old owner declares himself to have acted as a mediator and assures his 'benefactor', and the king who allowed the transfer, of the goodwill of the gods.Particularly remarkable is the presence of a type of personal 'guardian angels' (spsivt) in the texts and decoration.1909 fand W.