More than forty works from the Brooklyn Museum’s expanding collection of contemporary art will go on long-term view on September 19, 2008, in 5,000 square feet of space newly renovated for this purpose. With contemporary works ranging from Andy Warhol’s Fragile Dress, 1966, to Mickalene Thomas’s A Little Taste Outside of Love, 2007, 21: Selections of Contemporary Art from the Brooklyn Museum will focus primarily on work produced since 2000, particularly from the richly diverse artistic community of Brooklyn.
This installation marks the first time in a decade that the Museum has dedicated space to the long-term display of selections of its collection of contemporary art and reflects a renewed emphasis on the acquisition and presentation of recent works.
The Museum’s director Arnold L. Lehman states, “The revitalized contemporary art program at Brooklyn is managed by an exceptional team of curatorial specialists under the leadership of Eugenie Tsai, the John and Barbara Vogelstein Curator of Contemporary Art. With the generous support of a number of the Museum’s Trustees and friends, this team has already made remarkable progress in acquiring important new works with a particular emphasis on works made in the twenty-first century and created by artists of color. At the same time, our curators have taken a strong lead in the presentation of the Museum’s dynamic exhibition program.”
Donald Judd, Claes Oldenburg, and Do-Ho Suh. A new installation of three wax sculptures by New York artist Petah Coyne will be on view in the fifth-floor lobby gallery August 6, 2008, through July 2009, to coincide with the opening of the new contemporary galleries. Two of the three sculptures are recent gifts that will be on view for the first time.
Among the recently acquired works in the contemporary installation will be a painting by the Miami-based artist Hernan Bas titled Night Fishing, which will also be included in the Museum’s forthcoming exhibition on the artist, on view February 27–May 24, 2009; a sculpture by Kara Walker titled Burning African Village Play Set with Big House and Lynching, 2006, that explores racial stereotyping through imagery drawn from the antebellum South; the Brooklyn artist Valerie Hegarty’s painting Fallen Bierstadt, inspired by the Museum’s renowned work by Albert Bierstadt, A Storm in the Rocky Mountains, Mt. Rosalie; a mixed-media sculpture by the Jamaican artist Hew Locke titled Koh-i-Noor, similar to another version of the subject in the Museum’s recent exhibition Infinite Island: Contemporary Caribbean Art; and twenty-five photogravures by Olafur Eliasson, a Danish-Icelandic artist, who is showing New York City Waterfall, a public art project currently on view in the East River. Other artists represented include Amy Sillman, Kiki Smith, Nari Ward, Chester Higgins Jr., Sol LeWitt, Kehinde Wiley, Terence Koh, Seher Shah, Simon Norfolk, Jules de Balincourt.
The Brooklyn Museum has collected contemporary art since the mid-nineteenth century when a bequest from Augustus Graham, one of the Museum’s founders, endowed a “Gallery of Fine Arts” accompanied by funds allocated for the annual purchase of works of art by living American artists. In 1855 the initial commission went to Asher B. Durand, whose painting The First Harvest in the Wilderness inaugurated the Museum’s collection. In the early twentieth century, the Museum continued to acquire contemporary art, and in 1934 it established a Department of Contemporary Art. Contemporary works were exhibited in galleries in the West Wing in the 1990s. Since 2001, contemporary art has been integrated into galleries throughout the Museum, especially in American Identities: A New Look.
The contemporary galleries installation is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, and Patrick Amsellem, Associate Curator of Photography. The Petah Coyne installation is organized by Tumelo Mosaka, Associate Curator of Exhibitions.
In addition to Jesper Just: Romantic Delusions, two additional contemporary exhibitions will be presented this fall: on view September 19, 2008 through January 4, 2009, organized by Patrick Amsellem; and Gilbert & George, on view October 3, 2008 through January 11, 2009, coordinated by Judy Kim, Curator of Exhibitions.
The Brooklyn Museum will be the final venue of an international tour of the first retrospective in more than twenty years of art by the internationally acclaimed artists Gilbert & George. On view from October 3, 2008, through January 11, 2009, the exhibition comprises of more than ninety pictures produced since 1970, among them more than a dozen that will be seen only in the Brooklyn presentation.
The exhibition was organized by Tate Modern, London, with the support and collaboration of the artists, who consider this to be the definitive presentation of their art. It traces their stylistic and emotional evolution through their pictures and works in other media, ranging from Charcoal on Paper Sculptures from the early 1970s to postcard pieces, to ephemera, dating back to the 1960s.
Gilbert and George met in 1967 while students at St. Martin’s Art School in London. They began to create art together, developing a uniquely recognizable style both in their pictures and in their presentations of themselves as living sculptures. Over the forty years they developed a new format that created large scale pictures, which are visually and emotionally powerful, through a unique creative process. Most of their pictures are created in groups and made especially for the space in which they are first exhibited.
Since 1974 Gilbert and George have used their personal complex grid system to create their pictures, which are now developed with the use of sophisticated digital editing techniques. In the early 1980s they began to introduce bold colors into their pictures, with one or more pictures in each group that were created on a monumental scale. All pictures in a group share common motifs and conceptual and formal elements.
The artists’ art, which is sometimes seen as controversial and provocative, considers the entire cosmology of human experience and explores such themes as faith and religion, sexuality, race and identity, urban life, terrorism, superstition, AIDs-related loss, aging, and death. The pictures in the exhibition have been loaned from public and private collections in North America and Europe.
Included in the exhibition will be selections from the Ginkgo Pictures series which were part of the exhibition that represented the United Kingdom at the 2005 Venice Biennale; examples from the 1974 Cherry Blossom pictures: Finding God, 1982, a huge complex composition featuring images of the artists, several young men, and a cross; and more recent pictures, among them two of The Six Bomb Pictures, created for the inaugural presentation of the exhibition at Tate Modern, these pictures are intended by the artists to be seen as modern townscapes reflecting the daily exposure in urban life to bomb threats and terror raids.
Gilbert was born in San Martino, Italy, in 1943. He studied at the Wolkenstein School of Art, the Hallenstein School of Art, and the Munich Academy of Art. George was born in Devon, England, in 1942 and studied at the Dartington Adult Education Centre and the Dartington Hall College of Art, as well as at the Oxford School of Art. Both attended St. Martin’s School of Art in London. For more than forty years they have lived and worked in East London in a house on Fournier Street that they have said is, in many ways, a part of their art.
The exhibition is organized by Tate Modern, London and was curated by Jan Debbaut, Independent Curator, and Ben Borthwick, Assistant Curator, Tate Modern. The Brooklyn presentation is coordinated at Tate Modern by Rachel Kent, Exhibitions Tour Manager and for the Brooklyn Museum by Judy Kim, Curator of Exhibitions.
Gilbert & George: Complete Pictures, a comprehensive, illustrated two-volume catalogue featuring 1,479 plates with an in-depth analysis of the Gilbert & George oeuvre by the art historian Rudi Fuchs, accompanies the exhibition. In addition, there is a 200-page exhibition catalogue produced by Tate Publishing that features essays by Jan Debbaut, curator; Ben Borthwick, Assistant Curator at Tate Modern; Michael Bracewell, novelist and cultural commentator; and Marco Livingstone, art historian.
Gilbert & George is organized by Tate Modern in association with the Brooklyn Museum. The exhibition is sponsored by Altria Group, Inc. Additional generous support is provided by James Chanos, and the Lehmann Maupin Gallery, Sonnabend Gallery, Shelley Fox Aarons and Philip E. Aarons, Millennium Partners, Francis Greenburger, Howard Wolfson, the Arline and Norman M. Feinberg Exhibition Fund, the Alvin E. Friedman-Kien Exhibition Fund, Andrew B. Cohen and Suzi Cohen, Leon and Michaela Constantiner and other generous donors. New York magazine is media sponsor.
Following the long run of Japanese Pop Art power player TAKASHI MURAKAMI’s retrospective “© Murakami,” show in Los Angeles, the massive retrospective picked up and relocated to the BROOKLYN MUSEUM where the exhibit’s star-studded opening charity gala was held last nite. Adding a bit of tongue-in-cheek irony to this stop was the inclusion of a mini-exhibition of fake Murakami Louis Vuitton merchandise to playfully contrast the onsite LV boutique (which, once again, kicked none of its profits back to the museum) selling very real and very expensive merchandise to the housewives of New York City.
The most comprehensive retrospective to date of the work of internationally acclaimed Japanese artist Takashi Murakami includes more than ninety works in various media that span the artist’s entire career, installed in more than 18,500 square feet of gallery space, at The Brooklyn Museum. Born in Tokyo in 1962, Murakami is one of the most influential and acclaimed artists to have emerged from Asia in the late twentieth century, creating a wide-ranging body of work that consciously bridges fine art, design, animation, fashion, and popular culture.
Here is further evidence that the upcoming © MURAKAMI exhibition which is set to make a storm at the Brooklyn Museum. Inqmnd have provided us with a more indepth look at the work which is close to 100 pieces spanning Murakami’s career will be on display in an 18,500 square foot gallery uncovering Murakami’s progression as an artist with the installation dating back to 1992.