Ludwig Wittgenstein

Infinite Blue @BrooklynMuseum

When I visited the Brooklyn Museum in February they were in the midst of an expansive first-floor-wide exhibit. Surveying the entire collection, Infinite Blue collected museum objects that prominently featured the colour blue. Part of their Year of Yes: Reimagining Feminism at the Brooklyn Museum

A Year of Yes: Reimagining Feminism at the Brooklyn Museum presents the history of feminism and feminist art while showcasing contemporary artistic practices and new thought leadership.

Blue is a perfect theme. While not explicitly stated in their literature, it seems to have been selected by the museum’s curators for embodying core feminist values:

In cultures dating back thousands of years, blue—the colour of the skies—has often been associated with the spiritual but also signifies power, status, and beauty. The spiritual and material aspects of blue combine to tell us stories about global history, cultural values, technological innovation, and international commerce.

The Painter Goblin is an ever evolving project. Colour is key part of its evolution. To promote Infinite Blue and the goal of A Year of Yes, we decided to look at the Brooklyn Museum’s paintings via Wikidata to pay homage to, and showcase the wonderful work of the female artists in their collection.

Each of the paintings below use one of the Painter Goblin’s palettes that incorporate the colour blue in subtly different ways. We hope you like the result.

Do visit the Brooklyn Museum if you get a opportunity. It has been one of my favourite’s to visit so far. More details can be found on their website.

As I sat down to finally put pen to paper on this blog this morning, on typing my first word, this song (🦋🐚) came on the radio. Thank you Joni.

Songs are like tattoos
You know I’ve been to sea before
Crown and anchor me
Or let me sail away

Here is a shell for you
Inside you’ll hear a sigh
A foggy lullaby
There is your song from me


The quote from the title image is from Ludwig Wittgenstein’s ‘Philosophical Investigations‘, and the neon sign can be seen, featured quite prominently at the Museum’s exhibit’s entrance:

276. “But don’t we at least mean something quite definite when we look at a colour and name our colour impression?” It is virtually as if we detached the colour impression from the object, like a membrane. (This ought to arouse our suspicions.)