Today, the Brooklyn Museum held a preview for Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond, a survey of more than 100 artworks by 35 artists (or groups) who live or work in Brooklyn. The show feels like a culmination of sorts — or at least a mini-peak — in the museum’s recent efforts to ramp up its engagement with Brooklyn artists, after criticism from some camps that the institution was disconnected from the borough’s scene. The research and effort — curators Eugenie Tsai and Rujeko Hockley visited over 100 artist studios across Brooklyn — that have gone into Crossing Brooklyn show.
The artists included here work across mediums — installation, performance, social practice, photography, video, painting — but many of them share a penchant for hybridity and a compelling resourcefulness. Clear themes emerge across the string of galleries: an interest in nature and sustainability, social interaction and engagement, the processing of crafting and construction, and Brooklyn itself. Even as it sprawls, Crossing Brooklyn hangs together remarkably well.
This isn’t to say the exhibition doesn’t have problems — it does, but more on those later, in a forthcoming review. For now, here’s a first look at the show, which opens on Friday.
Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond opens at the Brooklyn Museum (200 Eastern Parkway, Prospect Heights, Brooklyn) on October 3 and runs through January 4, 2015.
Now playing the Cannes Film Festival, the new film from the director of The Square embarks on a luxury cruise that goes to hell.
By enshrining her memories into sculptural form, Juárez celebrates her emotional pilgrimage through the growing pains of childhood to adulthood.
A journey spanning three continents over 1,500 years comes to the National Mall in Washington, DC. On view at the Smithsonian’s NMAA through September 18.
These university museum leaders are bridging cultural chasms through elaborate and generative work with their students.
Curators at the Maidan Museum in Kyiv are sifting through the rubble for items that “tell the story of ordinary people’s lives, of their deaths.”
Graduate student work representing 19 disciplines is featured in a digital publication and returns as an in-person exhibition at the Rhode Island Convention Center.
The cube, which has fallen into disrepair, was strapped in place by supportive metal implements at its base.
Inigo Philbrick misrepresented the ownership of and fraudulently traded in works by Jean-Michel Basquiat, Yayoi Kusama, and others.
Installations by Jessica Campbell, Yasmine K. Kasem, Suchitra Mattai, Haleigh Nickerson, and Nyugen E. Smith are now on view at JMKAC in Sheboygan, Wisconsin.
Author M. T. Anderson walks us through a sonic gallery of Vasily Kandinsky’s musical influences, which guided the painter’s pursuit of art that reveals a mystical, inner truth.
In yet another horror movie that’s actually about trauma, writer-director Alex Garland makes his points bluntly, having one actor play many facets of misogyny.
Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.