The First Art Newspaper on the Net    Established in 1996 Saturday, August 13, 2022


The Brooklyn Museum opens 'The Slipstream: Reflection, Resilience, and Resistance in the Art of Our Time'
Mounir Fatmi (Moroccan, born 1970). Maximum Sensation, 2010. Fifty skateboards, plastic, metal, textile, 5 × 8 × 31 11/16 in. (12.7 × 20.3 × 80.5 cm). Brooklyn Museum; Purchase gift of Stephanie and Tim Ingrassia and John and Barbara Vogelstein, 2010.67. © Mounir Fatmi. Photo: Brooklyn Museum.



BROOKLYN, NY.- The exhibition contemplates the tumultuous year 2020 and its lasting impact on our future, with new contemporary acquisitions from the collection, including artists Mel Chin, Arthur Jafa, Tschabalala Self, Simone Leigh, and others.

A major new commission for the Museum’s façade, Nick Cave’s Truth Be Told, is being presented in conjunction with the exhibition.

The Slipstream: Reflection, Resilience, and Resistance in the Art of Our Time draws examples from the Brooklyn Museum’s renowned collection of contemporary art to contemplate the profound disruption that occurred in 2020. Borrowing its title from an aeronautical term that refers to the pull of the current that is left in the wake of a large and powerful object, the exhibition examines the placement and displacement of power that runs throughout American history and continues today. In the slipstream of 2020, the confluence of the devastating effects of the pandemic, civil unrest across the United States, a contested Presidential election, and unchecked climate change will continue to shape conversations about the state of the nation and world. The exhibition seeks to hold space for individuals to find their feelings of fear, grief, vulnerability, anger, isolation, and despair—as well as those of joy, determination, and love—reflected in the art.

The Slipstream: Reflection, Resilience, and Resistance in the Art of Our Time is curated by Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art, with Joseph Shaikewitz, Curatorial Assistant, Arts of the Americas and Europe, Brooklyn Museum.




Centering artists of color, The Slipstream features works created by multiple generations of artists dating from the 1960s to the present day. More than sixty artworks, in a variety of mediums and styles, have been organized in seven sections around themes such as collective power, family ties, spiritual well-being, relationships to nature, and the simple rituals of daily life.

“The concept of the slipstream provides a vantage point from which to contemplate what has just passed while still feeling its pull, and to consider meaningful ways to move forward,” says Eugenie Tsai. “The exhibition underscores the Brooklyn Museum’s longstanding commitment to building a collection that reflects diversity, equity, inclusion, and access, and to presenting art that centers the stories of people of color. We are very grateful to our benefactors for making it possible to represent these narratives, since many of the exhibition’s artworks have been generously gifted to the Museum.”

Many of the artworks in The Slipstream are recent acquisitions. Among them are major installations including Mel Chin’s long-running environmental justice project The Fundred Reserve (2008–19) and Simone Leigh’s Loophole of Retreat (2019), which is inspired by American abolitionist Harriet Jacobs’s autobiography recounting her journey to freedom. The exhibition also features a number of recently acquired film and video works: Arthur Jafa’s film akingdoncomethas (2018), made from found footage of Black churches’ services and gospel performances; William Kentridge’s 4 Soho Eckstein Films (1989–91), which explores race and whiteness in South Africa’s apartheid system; and Tourmaline’s Salacia (2019), which follows a Black trans woman and sex worker as she navigates brutal systems of racism and transphobia in New York in the 1830s.

In addition to its conceptual approach, the exhibition presents a broad range of techniques and materials that characterize and expand the boundaries of contemporary art-making, including textiles, appliqué, collage, and text. Each of these mediums has its own long history but has been reinvigorated in innovative ways in the hands of artists working today. For example, in My Father’s FBI File; Government Employees Installation (2017), Sadie Barnette takes an archival approach by enlarging and embellishing five hundred files that the F.B.I. gathered on her father, a former Black Panther member. In cycle (2020), Hugo McCloud incorporates hundreds of scraps from single use plastic bags to comment on the way plastics travel from mass manufacturing to consumption and disposal. Several works also incorporate textile techniques traditionally relegated to handcraft: Tschabalala Self’s painting Piss (2019) uses painted and found fabric appliqué and collage to capture a moment of lighthearted mischief among three exaggerated human forms, and Diedrick Brackens’s when no softness came (2019) is an exuberant textile work inspired by Black cowboys that reimagines the trope of the heroic male on horseback.

In order to reckon with the year 2020, the exhibition also turns to earlier works in the collection that speak to the current moment. Paul Ramírez Jonas’s The Commons (2011) reconsiders the purpose of monuments by depicting a riderless horse that evokes the imperial motif of equestrian statues; viewers are invited to add to the sculpture, which is made of cork, thereby shifting the focus from an individual leader to collectively held power. Other highlights include Dindga McCannon’s joyful painting West Indian Day Parade (1976), which celebrates the annual Caribbean carnival that energizes the streets surrounding the Brooklyn Museum, and Emma Amos’s Flower Sniffer (1966), a depiction of leisure and joy in the lives of Black people that was a political act in its time and remains so today.

In conjunction with The Slipstream, the Museum debuts a major commission designed by Nick Cave in collaboration with Bob Faust for the Museum’s lower façade. An earlier iteration of Truth Be Told was made in response to the police killing of George Floyd in the summer of 2020 and was first exhibited outdoors at Jack Shainman Gallery’s Kinderhook, New York, space known as The School. The installation speaks across all of the Museum’s collections as it welcomes visitors and sets the tone for the works on view.










Today's News

May 15, 2021

National Gallery of Art reopens with a new vision: 'For all the people'

Picasso painting sells for $103 mn in New York

Pace opens a solo exhibition of new and recent work by Moroccan-French artist Yto Barrada

From David Hammons, a tribute to Pier 52 and lastingness

The Brooklyn Museum opens 'The Slipstream: Reflection, Resilience, and Resistance in the Art of Our Time'

Banksy. A Visual Protest opens at Serlachius Museums in Finland

Ferraris for the people: luxury goods now sold in fractions

The National Gallery brings Dutch masterpiece to six unusual locations across the nation

Skirball Cultural Center opens an exhibition of portraits made up of thousands of LEGO bricks

"From Heroes to Immortals" and "A Room with a View" open at OKCMOA

'We are the Met': Opera unions rally against proposed pay cuts

Exhibition aims to awaken public consciousness to the realities of environmental destruction

'The Great Wonder: Violet Oakley and the Gothic Revival' on view at Vassar

Billie Hayes, memorable witch on 'H.R. Pufnstuf,' dies at 96

Wallace Chan takes titanium to new height

David Kovats Gallery opens its second solo exhibition dedicated to the prolific Hyperrealist István Nyári

Christian Newby's 9 metre textile work in response to our Covid-19 shared experience unveiled at Collective

Morgan Lehman opens Jason Stopa's first solo exhibition with the gallery

Huge Titanic replica to open as Chinese tourist destination

Vienna's Secession presents a newly commissioned work by artist and choreographer Maria Hassabi

Rolex presented to Thunderbird pilot more than six decades ago to touch down at Heritage Auctions

As Broadway plans its return, 'Hamilton' will require vaccines backstage

Crafting their way through lockdown

Reanimating 'Cabaret,' one frame at a time

HOW TO GET FOLLOWERS ON INSTAGRAM WITHOUT FOLLOW BACK?

What Makes Good Art

5 Web Design Tips To Help You This Fall

Top Guide to Trademark Registration in The European union

HOME DESIGNS: THE ULTIMATE GUIDE TO DECORATING WITH ART

An Interview With New York Artist Luna Jiang




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful