Exhibitions

Julian Alexander & Khadijat Oseni’s Supremacy Project is now on view on the exterior walls of St. Ann's Warehouse in Brooklyn Bridge Park. The installation includes two exhibitions:Michael T. Boyd’s Lost Ones. Culture Found.,which reexamines the legacy of widely known victims of police brutality and hate crimes; and Julian Alexander and photographer Steven “Sweatpants” Irby’s Supremacy: Who Protects Me From You?, which illuminates the systemic inequities at the core of our government.

Our Star (5 Skies) is a site specific painting installation in five parts that was designed and created for Main Window. The work uses simple geometric shapes to illustrate movements of the sun and the changes in quality of light. The artist hopes to conjure the twilight horizon and the sense of contemplation and wonder that accompanies it.

Ryan Cosbert’s New York solo debut, I Am What I Am, features paintings that scaffold experience, symbolism, and the African diaspora to confront trauma, under-/misrepresented histories, and the subjugation of Black communities, forging a socio-political consciousness within abstract painting.

Kurland’s Society for Cutting Up Men’s Books is an object-based, tactile imagining of matriarchal paradise. Seeking and picturing freedom, at the core of much of Kurland’s work, is located here in the artistic act itself: Kurland is purging her own cherished library of photography books authored by white men and utilizing these materials to create new photographic collages.

Respire, an exhibition by Tomoko Amaki Abe includes a new body of work in glass, ceramics, printmaking, and video that reflects on themes of deterioration and regeneration, transience and permanence. Abe pays particular attention to the shifts in perception that have taken place as a result, especially in regard to the heightened symbiotic relationship between our body and our environment.

TRACES: 28 Days in Elizabeth Murray’s Studio, presents Kang’s latest work, a durational video performance made in the former studio of the late American painter Elizabeth Murray. Inspired by the acclaimed artist’s workspace in Washington County, New York, Kang’s improvisational and playful performance explores studio practice as a daily ritual.

Grokhovsky presents Fantasyland, a site-specific mixed media installation that explores the rise and fall of a fantastical empire and its uncertain future using a variety of mediums and objects, such as giant plush toys, inflatable beach balls, deconstructed and re-assembled mannequins. The artist underscores American society’s surplus of objects, brutally intoxicating consumerism, and unbridled desire for material possessions that form an ironic, ultimate beacon and capitalist symbol of freedom.

In Undoing White Mess, lenochan employs a process of deconstructing objects and de-circulating institutional relics, posing a series of questions about the acquisition of knowledge. In this body of work, he reconfigures everyday commodities, such as books, furniture, and tools in order to rethink the way that they can be understood, to open up their potential meanings, and to initiate art’s transformative function.