Since 2002, the Brooklyn College Library has been home to a carefully curated cache of world-class art. Associate Professor and librarian Miriam Deutch is eager to reintroduce us to the collection, which is displayed throughout the library in what she calls unconventional spaces, accessible to all.
Associate Professor Miriam Deutch, Brooklyn College Library’s art specialist, gives an overview of the library’s collection and how you can see it up close.
Video by Salim Hasbini
When, beginning in 1999, the Brooklyn College Library was renovated and expanded, the building’s purpose was also broadened. “We completely rethought how it would be used,” says Miriam Deutch, associate professor and librarian at Brooklyn College. “It became a place for teaching and learning, contemplation, computing, for individual exploration and group collaboration,” for meetings, lectures, and performances, and an art collection—a somewhat hidden gem on the campus.
Acquired mostly through New York City’s “Percent for Art” law, which states that one percent of the budget of certain city-funded construction projects must be spent on art for the public spaces of those facilities, the collection includes paintings, drawings, sculptures, photography, and prints by world-class artists, such as Chakaia Booker, Sarah Sze, Xu Bing, and Shahzia Sikander, as well as works by renowned modern masters Alberto Giacometti, Käthe Kollwitz, Ed Rusha, Alexander Calder, Georges Braque, and Robert Motherwell.
“The Brooklyn College art professors, the college archivist, and I spent months identifying artists and visiting galleries in search of exceptional art for the new library’s large and prominent spaces,” says Deutch. “We were eager to create a diverse collection that reflects Brooklyn College’s students, who mostly live in Brooklyn but hail from more than 100 countries.”
By the library’s reopening in 2002, the committee had assembled an impressive collection. “Once the works were displayed, the library became seen as a place for art,” says Deutch. “Artists and alumni soon began to donate works, and donations begot more donations.”
The more than 100 pieces in the collection are displayed in “almost every space in the library,” says Deutch. It's an unconventional way to view the works, but she is determined that the public, especially the students, have access to the works. “The collection serves as an educational starting point, something that stimulates curiosity, encourages careful looking, promotes visual literacy, and supplements classroom learning.”
Deutch says that the library can be an introduction to how to look at art for those who have little or no exposure to museums and galleries. “Art can educate and enrich, as well as provoke and enrage, and creating a little stir can be a sign of success. If art is doing what it should, it expands visual language,” she adds.
You can view the library’s collection in person by picking up an audio tour and map at the circulation desk. Or you can take a virtual tour of the collection.
Sarah Sze (American, b. 1969) Day (2001–03)
Offset lithography and silkscreen
37-1/2" x 71"
Audio Transcription: Sarah Sze, Day and Night (2001–03). In both Day and Night a fantasy of miscellany is set free from function and gravity. In these exuberant prints, screened lines seem to propel and control the planets, buildings, architectural details, helicopters, signs, and satellite objects that swirl across the paper. Using dozens of layers of lithography and silkscreen, Sze creates an explosion of colors, forms, and light. There is an initial impression of chaos but there is also an inherent underlying composition. Although she begins with preliminary sketches, Sze describes her creative process as “improvisational, like jazz.”
Sarah Sze (American, b. 1969) Day (2001–03). Offset lithography and silkscreen, 37-1/2in x 71in
Sarah Sze (American, b. 1969) Night (2001–03)
Offset lithography and silkscreen
37-1/2" x 71"
Audio Transcription: Sarah Sze, Day and Night (2001–03). In both Day and Night a fantasy of miscellany is set free from function and gravity. In these exuberant prints, screened lines seem to propel and control the planets, buildings, architectural details, helicopters, signs, and satellite objects that swirl across the paper. Using dozens of layers of lithography and silkscreen, Sze creates an explosion of colors, forms, and light. There is an initial impression of chaos but there is also an inherent underlying composition. Although she begins with preliminary sketches, Sze describes her creative process as “improvisational, like jazz.”
Sarah Sze (American, b. 1969) Night (2001–03). Offset lithography and silkscreen, 37-1/2in x 71in
John Arruda (American, B. 1947) The Blind Leading the Blind (1993)
Oil on canvas
34” x 40”
Audio Transcription: John Arruda, The Blind Leading the Blind (1993). In his exceedingly imaginative and dramatic works, Arruda creates compelling portrayals of all facets of human emotions. His probing of the human soul results in raw psychological portraits, and often violent imagery. Disturbing and dreamlike, this painting appears to be a murder scene but is also intriguing for its ambiguity. Is this about a physical death or psychological death? Where are the hands on the central figure? The split images give a sense of movement and fragmentation, enhancing the unsettling feeling.
John Arruda (American, b. 1947) The Blind Leading the Blind (1993). Oil on canvas, 34in x 40in
Harold Baumbach (American, 1904–2002) Untitled (1980)
Oil on canvas
50” x 40”
Audio Transcription: Harold Baumbach, Untitled (1980). A self-taught painter, Baumbach became well-known in the 1930s for his densely patterned street scenes and Brooklyn interiors. He later turned to landscapes, which were less figurative and more impressionistic and expressive. A review in ARTnews explained, “His real subject was not the world outside of himself but the stuff and texture and light of paint.” This painting, which contains dreamlike trees in an abstract setting, explores color and spatial relations. Baumbach taught painting at Brooklyn College from 1946 to 1966.
Harold Baumbach (American, 1904–2002) Untitled (1980). Oil on canvas, 50in x 40in
George Braque (French, 1882–1963) Bird of the Woods or Bird XVII (1958)
Color lithograph
19-1/4” x 21-1/8”
Audio Transcription: Georges Braque, Bird of the Woods or Bird XVII (1958). Braque is one the great artists and innovators of the 20th century. He is especially well-known for his invention of Cubism with Picasso. Braque’s lifelong interest was the depiction of space and the relationship of objects within it. The art historian John Golding said about Braque’s fascination with space, “the birds’ trajectories describe and inform it—the beating of their wings stirs space and renders it tangible.” Birds were one of the major themes in Braque’s art during the last two decades of his life.
Georges Braque (French, 1882–1963) Bird of the Woods or Bird XVII (1958). Color lithograph, 19-1/4in x 21-1/8in
Jimmy Ernst (American, b. Germany, 1920–1984) Untitled (c. 1981)
Lithograph
15” x 11-1/2”
Audio Transcription: Jimmy Ernst, Untitled (c. 1981). Jimmy Ernst created works with emotionally moving colors and strong lines imparting a powerful sense of depth and pulsating rhythms. This lithograph reflects the period when the artist had moved away from abstraction toward nature-based motifs. The only child of Max Ernst, one of the most influential Dada and Surrealist artists, Jimmy Ernst taught in the Art Department at Brooklyn College for more than 30 years. Ernst commented in 1962 that “Artists and poets are the raw nerve-ends of humanity . . . they may not be able to save life on this planet, but without them there would be very little left worth saving.”
Jimmy Ernst (American, b. Germany, 1920-1984) Untitled (c. 1981). Lithograph, 15in x 11-1/2in
William Kentridge (South African, b. 1955) Dancing Couple (2003)
Offset lithograph
73” x 51”
Audio Transcription: William Kentridge, Dancing Couple (2003). In Dancing Couple, Kentridge aims to “depict the futile battles against entropy . . . representing bodies aging rather than bodies triumphant.” And indeed, his depiction of a middle-aged couple clearly conveys both their age and the age of their relationship. Their age is evident in their thickened bodies and their heavy steps, which have lost the nimbleness of youth. The age of their relationship is conveyed more subtly: the two are so accustomed to each other’s bodies that, even though they are nude, they don't seem to notice each other's nakedness. As a result, viewers don’t immediately notice it, either.
William Kentridge (South African, b. 1955) Dancing Couple (2003). Offset lithograph, 73in x 51in
Audio Transcription: Käthe Kollwitz, Praying Girl (1892). Although Kollwitz is best known for her anguished portrayals of mothers with children, the tragedy of war, and death, this work represents a lesser-known aspect of the artist’s life and inspiration. In her writing, Kollwitz acknowledges that her socialist “politicization” was derived from her faith; and this poignant image, of a girl engrossed in fervent prayer, also demonstrates the way Kollwitz used hands and faces to express intense emotion.
Robert Motherwell (American, 1915–1991) Africa Suite Number 7 (1970)
Screenprint
40-3/4” x 28-1/4”
Audio Transcription: Robert Motherwell, Africa Suite Number 7 (1970). Motherwell’s goal was to depict not a physical experience but rather his reaction to it. He was strongly influenced by the Surrealist technique of automatism, in which an artist allows his hand to move freely, thereby revealing forms that arise from the thoughts and feelings of the unconscious mind. Motherwell successfully used this technique to develop his own visual vocabulary.
Robert Motherwell (American, 1915-1991) Africa Suite Number 7 (1970). Screenprint, 40-3/4in x 28-1/4in
Vik Muniz (American, b. Brazil, 1960) Ad Reinhardt (2000)
Cibachrome
44” x 66”
Audio Transcription: Vik Muniz, Ad Reinhardt (2000). Muniz collected dust and detritus from the galleries and offices of the Whitney Museum of American Art and arranged these substances into a drawing based on a photograph from the museum’s exhibition “Collection in Context: Ad Reinhardt.” The abstract artist Ad Reinhardt taught in the Brooklyn College Art Department from 1947 to 1967. Muniz then photographed the drawing and enlarged it, creating a representation of a representation. Muniz’s use of dust is in keeping with his practice of incorporating unusual materials, such as chocolate syrup, ashes, and wire, into his work. His use of these substances hints at his offbeat sense of humor.
Vik Muniz (American, b. Brazil, 1960) Ad Reinhardt (2000). Cibachrome, 44in x 66in
Edward Ruscha (American, b. 1937) News (1970)
Silkscreen prints on paper
23" x 32"
Audio Transcription: Edward Ruscha, News, Mews, Pews, Brews, Stews & Dues (1970). In the series News, Mews, Pews, Brews, Stews & Dues, Ruscha probes the visual and emotive power of words by playing with similar sounds and humorous rhymes. The six words he uses are rendered in an old Gothic-style lettering and are expressions of Ruscha’s impressions of England—its houses, cathedrals, cuisine, etc. The artist experiments with the printmaking media, using organic materials such as black currant pie filling, red salmon roe, raw egg, squid ink, chutney, chocolate syrup, Bolognese sauce, daffodils, and axle grease to create the silk-screened prints.
Edward Ruscha (American, b. 1937) News (1970). Silkscreen prints on paper, 23in x 32in
Edward Ruscha (American, b. 1937) Mews (1970)
Silkscreen prints on paper
23" x 32"
Audio Transcription: Edward Ruscha, News, Mews, Pews, Brews, Stews & Dues (1970). In the series News, Mews, Pews, Brews, Stews & Dues, Ruscha probes the visual and emotive power of words by playing with similar sounds and humorous rhymes. The six words he uses are rendered in an old Gothic-style lettering and are expressions of Ruscha’s impressions of England—its houses, cathedrals, cuisine, etc. The artist experiments with the printmaking media, using organic materials such as black currant pie filling, red salmon roe, raw egg, squid ink, chutney, chocolate syrup, Bolognese sauce, daffodils, and axle grease to create the silk-screened prints.
Edward Ruscha (American, b. 1937) Mews (1970). Silkscreen prints on paper, 23in x 32in
Edward Ruscha (American, b. 1937) Pews (1970)
Silkscreen prints on paper
23" x 32"
Audio Transcription: Edward Ruscha, News, Mews, Pews, Brews, Stews & Dues (1970). In the series News, Mews, Pews, Brews, Stews & Dues, Ruscha probes the visual and emotive power of words by playing with similar sounds and humorous rhymes. The six words he uses are rendered in an old Gothic-style lettering and are expressions of Ruscha’s impressions of England—its houses, cathedrals, cuisine, etc. The artist experiments with the printmaking media, using organic materials such as black currant pie filling, red salmon roe, raw egg, squid ink, chutney, chocolate syrup, Bolognese sauce, daffodils, and axle grease to create the silk-screened prints.
Edward Ruscha (American, b. 1937) Pews (1970). Silkscreen prints on paper, 23in x 32in
Edward Ruscha (American, b. 1937) Brews (1970)
Silkscreen prints on paper
23" x 32"
Audio Transcription: Edward Ruscha, News, Mews, Pews, Brews, Stews & Dues (1970). In the series News, Mews, Pews, Brews, Stews & Dues, Ruscha probes the visual and emotive power of words by playing with similar sounds and humorous rhymes. The six words he uses are rendered in an old Gothic-style lettering and are expressions of Ruscha’s impressions of England—its houses, cathedrals, cuisine, etc. The artist experiments with the printmaking media, using organic materials such as black currant pie filling, red salmon roe, raw egg, squid ink, chutney, chocolate syrup, Bolognese sauce, daffodils, and axle grease to create the silk-screened prints.
Edward Ruscha (American, b. 1937) Brews (1970). Silkscreen prints on paper, 23in x 32in
Edward Ruscha (American, b. 1937) Stews (1970)
Silkscreen prints on paper
23" x 32"
Audio Transcription: Edward Ruscha, News, Mews, Pews, Brews, Stews & Dues (1970). In the series News, Mews, Pews, Brews, Stews & Dues, Ruscha probes the visual and emotive power of words by playing with similar sounds and humorous rhymes. The six words he uses are rendered in an old Gothic-style lettering and are expressions of Ruscha’s impressions of England—its houses, cathedrals, cuisine, etc. The artist experiments with the printmaking media, using organic materials such as black currant pie filling, red salmon roe, raw egg, squid ink, chutney, chocolate syrup, Bolognese sauce, daffodils, and axle grease to create the silk-screened prints.
Edward Ruscha (American, b. 1937) Stews (1970). Silkscreen prints on paper, 23in x 32in
Edward Ruscha (American, b. 1937) Dues (1970)
Silkscreen prints on paper
23" x 32"
Audio Transcription: Edward Ruscha, News, Mews, Pews, Brews, Stews & Dues (1970). In the series News, Mews, Pews, Brews, Stews & Dues, Ruscha probes the visual and emotive power of words by playing with similar sounds and humorous rhymes. The six words he uses are rendered in an old Gothic-style lettering and are expressions of Ruscha’s impressions of England—its houses, cathedrals, cuisine, etc. The artist experiments with the printmaking media, using organic materials such as black currant pie filling, red salmon roe, raw egg, squid ink, chutney, chocolate syrup, Bolognese sauce, daffodils, and axle grease to create the silk-screened prints.
Edward Ruscha (American, b. 1937) Dues (1970). Silkscreen prints on paper, 23in x 32in
Elizabeth Murray (American, 1940–2007) Rescue (1996)
Oil on canvas, wood
118” x 136” x 7”
Audio Transcription: Elizabeth Murray, Rescue (1996). Elizabeth Murray is known for her large, distinctively shaped canvases that playfully blur the line between paintings as objects and paintings as depictions of objects. In Rescue she uses multiple canvases, allowing the viewer simultaneously to look down on, into, and beneath a gigantic upside-down cup. The cup sits precariously on a table whose legs extend from either side of the main canvas, adding a sculptural touch. Bright colors and bold patterns give this work a sense of swirling movement and make this one of Murray’s most exhilarating paintings.
Elizabeth Murray (American, 1940–2007) Rescue (1996). Oil on canvas, wood, 118in x 136in x 7in
Chakaia Booker (American, b. 1953) Echoing Factors (2004)
Rubber tires, wood
66” x 96” x 24”
Audio Transcription: Chakaia Booker, Echoing Factors (2004). In Echoing Factors, Booker’s use of pattern, texture, and subtle variations in color creates an expressive, abstract sculptural relief. A raw explosion of energy emanates from her clever orchestration of bent, looped, and layered tires, creating poetic rhythms of swirling forms. Booker has described her approach: “Like a painter having a palette, my palette is the textures of the treads, the fibers from discarded materials, and tires that I use to create varied effects.”
Chakaia Booker (American, b. 1953) Echoing Factors (2004). Rubber tires, wood, 66in x 96in x 24in
David Deutsch (American, b. 1943) Rotunda (2002)
Oil on linen
64” x 71”
Audio Transcription: David Deutsch, Rotunda (2002). By painting scores of miniature, indecipherable, framed portraits in a tightly formed grid, the artist creates the illusion that the portraits are installed along the curve of a vast architectural rotunda. The painting engages the viewer in a search for the details of each tiny portrait while simultaneously giving the impression of standing in the grandeur of a dome such as the Pantheon. His use of sepia tones further enhances this sense of antiquity. Deutsch has said, “I’m attracted to shadows, to the psychological presence cast by the face.”
David Deutsch (American, b. 1943) Rotunda (2002). Oil on linen, 64in x 71in
Shahzia Sikander (Pakistani, b. 1969) Embark/Disembark I-VI (2002)
Photolithograpy and silkscreen
15” x 18”
Audio Transcription: Shahzia Sikander, Embark/Disembark I-VI (2002). Sikander began her formal art training by studying Indian and Persian miniatures. She reinterprets this genre by combining Christian, Hindu, and Muslim iconography in a contemporary medium. Using the central image of the woman, the artist explores both her personal identity and broader political and gender issues. Her work is remarkable for its breathtaking delicacy, meticulous details, and dreamlike rhythm. When asked what her work means, Sikander replied, “It’s not a question of what kinds of meaning the image is transmitting but what kind of meaning the viewer is projecting [on to my work].”
Shahzia Sikander (Pakistani, b. 1969) Embark/Disembark I-VI (2002). Photolithograpy and silkscreen, 15in x 18in
