Upcoming 2020 ExhibitionsWe’re pleased to announce a selection of upcoming 2020 exhibitions. This wi

Upcoming 2020 ExhibitionsWe’re pleased to announce a selection of upcoming 2020 exhibitions. This winter, we welcome back our iconic Kehinde Wiley painting Napoleon Leading the Army over the Alps (2005), which for the first time at the Brooklyn Museum will be presented in dialogue with its early nineteenth-century source painting, Jacques-Louis David’s Bonaparte Crossing the Alps (1801). We also look at our collection from new perspectives with focused exhibitions that present historical works through a contemporary, multifaceted lens. Out of Place: A Feminist Look at the Collection examines nearly 50 collection works using an intersectional feminist framework. Climate in Crisis: Environmental Change in the Indigenous Americas is an installation of the Museum’s Arts of the Americas collection which reconsiders indigenous art from the perspective of the prolonged and ongoing impact of climate change and colonization. Contemporary artist and MacArthur Fellowship recipient Jeffrey Gibson mines our collection and archives to examine collecting practices and reinterpret historical representations of indigenous communities. We also present African Arts—Global Conversations, a cross-cultural exhibition pairing diverse African works with collection objects made around the world, and Striking Power: Iconoclasm in Ancient Egypt, which examines the damage to sculptures and reliefs in ancient Egypt as a way of also exploring twenty-first-century concerns and struggles over public monuments and the destruction of antiquities. In March, we celebrate the iconic history and trailblazing aesthetics of Studio 54 in a special exhibition featuring never-before-seen archival materials, video, photography, fashion, and more. We will also present the first solo museum exhibition dedicated to Brooklyn-based photographer John Edmonds, winner of our inaugural UOVO Prize for an emerging Brooklyn artist. And in the fall of 2020, we are proud to mount the first career retrospective of the work of Lorraine O’Grady, one of the most significant figures in contemporary performance, conceptual, and feminist art. “We’re thrilled to present a roster of exhibitions next season that are in conversation with our collection in fresh and exciting ways,” says Anne Pasternak, Shelby White and Leon Levy Director, Brooklyn Museum. “As an encyclopedic museum, we’re always looking for new ways to examine our collection and open it up to include narratives that have historically been left out of the canon. In 2020, we’re committed to exhibitions that do just that: telling stories that are rarely told, through the eyes of contemporary artists.”Jacques-Louis David Meets Kehinde Wiley January 24–May 10, 2020 Morris A. and Meyer Schapiro Wing, 4th FloorThis exhibition brings an iconic painting from our collection—KehindeWiley’s Napoleon Leading the Army over the Alps (2005)—into dialogue with its earlynineteenth-century source painting, Jacques-Louis David’s Bonaparte Crossing the Alps(1801). The two paintings, displayed together for the very first time, are on view inconsecutive exhibitions at the Château de Malmaison from October 9, 2019, to January 6,2020, and at the Brooklyn Museum from January 24 to May 10, 2020. This focusedexhibition questions how ideas of race, masculinity, representation, power, heroics, andagency play out within the realm of portraiture. The presentation at the Brooklyn Museum isthe first time David’s painting is on view in New York, and Wiley marks this momentousoccasion by consulting on the exhibition design. It includes videos incorporating Wiley’sperspectives on how the Western canon, French portrait tradition, and legacies ofcolonialism influence his own practice. The exhibition represents an intimate conversationbetween two key artists of the nineteenth and twenty-first centuries and illuminates howimages construct history, convey notions of power and leadership, and create icons. The exhibition is organized by the Brooklyn Museum and Musée national des châteaux de Malmaison andBois-Préau. The Brooklyn presentation is curated by Lisa Small, Senior Curator, European Art, and EugenieTsai, John and Barbara Vogelstein Senior Curator, Contemporary Art, Brooklyn Museum.Out of Place: A Feminist Look at the Collection January 24–September 13, 2020 Elizabeth A. Sackler Center for Feminist Art, 4th FloorThis exhibition presents more than 50 works from acrossour collections. Following the 2018exhibition Half the Picture: A Feminist Look at theCollection, Out of Place also explores collection worksanew through an intersectional feminist framework. Outof Place features more than forty artists from remarkablydifferent contexts whose unconventional materials andapproaches call for a broader and more dynamicunderstanding of modern and contemporary art. Examining how contexts change the way we see art, Outof Place: A Feminist Look at the Collection showcasesartists who have traditionally been seen as “out of place”in most major collecting museums. The exhibition is organized around three distinct culturalcontexts for making and understanding creativity—museums and art spaces, place-basedpractices, and the domestic sphere—and explores significant histories that have been, untilrecently, overlooked and undervalued, despite their influence outside of the mainstream. Outof Place traces how cultural institutions are challenged and changed by the ways artistswork. Over half of the works in the exhibition are on view for the very first time, includingimportant collection objects as well as significant new acquisitions, such as highlights fromthe recent Souls Grown Deep Foundation Gift of works by Black artists of the AmericanSouth. Artists featured include Louise Bourgeois, Beverly Buchanan, Chryssa, Thornton Dial, HelenFrankenthaler, Lourdes Grobet, Louise Nevelson, Dorothea Rockburne, Betye Saar, MiriamSchapiro, Judith Scott, Joan Snyder, and May Wilson, among others. Out of Place: A Feminist Look at the Collection is curated by Catherine Morris, Senior Curator for theElizabeth A. Sackler Center for Feminist Art, and Carmen Hermo, Associate Curator, Elizabeth A. SacklerCenter for Feminist Art. Generous support for this exhibition is provided by the Helene Zucker Seeman Memorial Exhibition Fund.Jeffrey Gibson: When Fire Is Applied to a Stone It Cracks February 14, 2020–January 10, 2021 Arts of the Americas Galleries, 5th Floor This exhibition presents new and existing work byartist Jeffrey Gibson alongside a selection from our extensive collection andarchives. Gibson collaborated with historian ChristianCrouch to organize this exhibition that examinesnineteenth- and early twentieth-century museumcollecting practices, and the historicalrepresentations of indigenous communities, througha contemporary lens. Gibson, an artist of Choctaw and Cherokee descent,often incorporates elements of Native American artand craft into his practice. He regards theseaesthetic and material histories as modern,innovative, global, and hybrid. The presentation includes collection objects such as moccasins, headdresses, ceramics, and parfleche, andexamples of beadwork and appliqué, displayed alongside Gibson’s contemporary works,which take material and formal inspiration from these traditional artistic practices. Theexhibition also includes rarely exhibited items from our archives that shed light onthe formation of the Brooklyn Museum’s Native American collection in the early twentiethcentury by curator Stewart Culin. The archival selections by Gibson and Crouch aim to returnthe focus to the indigenous individuals represented within the archives, recovering thoseindividuals’ previously overlooked narratives and presence. By presenting his own work alongside key selections from our collection, Gibsonoffers a different perspective on historical objects within a museum setting—one that is notstatic or stuck in the past, but ever evolving and modern. He encourages visitors to questionlong-held categorizations and representations of Native American art and challenges ourunderstanding of tradition, practice, craftsmanship, and art-making. Jeffrey Gibson: When Fire Is Applied to a Stone It Cracks is organized by Jeffrey Gibson and ChristianCrouch, Curatorial Advisor, with Eugenie Tsai, John and Barbara Vogelstein Senior Curator, ContemporaryArt, and Erika Umali, Mellon Curatorial Fellow, with support from Nancy Rosoff, Andrew W. Mellon SeniorCurator, Arts of the Americas, and Molly Seegers, Museum Archivist, Brooklyn Museum.Major support for this exhibition is provided by Ellen and William Taubman. Generous support is provided bythe Brooklyn Museum’s Contemporary Art Committee, the FUNd, and Stephanie and Tim Ingrassia.Climate in Crisis: Environmental Change in the Indigenous Americas February 14, 2020–January 10, 2021 Arts of the Americas Galleries, 5th Floor Climate change is having a severe impact on indigenouscommunities across the Americas, but this situation hasan even longer history. The European conquest andcolonization of the Americas beginning in the sixteenthcentury introduced ways of using and exploiting naturalresources that clashed with indigenous ways ofunderstanding and relating to the natural world. Thisexhibition draws upon the strength of our renowned collection to highlight indigenousworldviews about the environment, and the ongoingthreat of ecological destruction. The installation includes work spanning 2,800 years, andexplores how indigenous beliefs, practices, and ways ofliving are impacted by the climate crisis, ranging from theeffects of melting sea ice and overfishing for Nativepeoples of the Arctic and Pacific Northwest to illegal logging and deforestation for indigenouscommunities in the Amazon. This environmental perspective reveals the fundamentaldisparities between the misuse of natural resources over the past five hundred years andindigenous communities’ profound relationships with their ancestral homelands. In addition,the exhibition incorporates voices of contemporary indigenous activists to underscore thework being done today to counter the climate crisis and protect the planet. Climate in Crisis: Environmental Change in the Indigenous Americas is curated by Nancy Rosoff, Andrew W.Mellon Senior Curator, Arts of the Americas, with Joseph Shaikewitz and Shea Spiller, Curatorial Assistants,Arts of the Americas and Europe.African Arts—Global Conversations February 14–November 15, 2020 Lobby Gallery, 1st Floor, and collection galleries on the 2nd, 3rd, and 5th FloorsAfrican Arts—Global Conversations seeks to bring African arts into broader, deeper, andmore meaningful and critical conversations about the ways that art history and encyclopedicmuseums have or have not included African artworks. It is the first exhibition of its kind totake a transcultural approach pairing diverse African works across mediums with objectsmade around the world―all drawn from our collection. It puts Africanand non-African arts from distinct places and time periods in dialogue with each other in anintroductory gallery, as well as in “activation spaces” in the galleries dedicated to EuropeanArt, Arts of the Americas, American Art, Ancient Egyptian Art, and Arts of Asia. Duos, trios,and other groupings of objects from a wide variety of locations worldwide promptconversations about history, art, race, power, design, and more. Approximately 33 artworksare presented (including 20 by African artists), as well as a selection of historical books.Highlights include the celebrated eighteenth-century sculpture of a Kuba ruler, a selection offourteenth- to sixteenth-century Ethiopian Orthodox processional crosses, and a midtwentieth-centurymask from Sierra Leone’s Ordehlay (Ode-Lay) society. Also on view areworks by contemporary artists Atta Kwami, Ranti Bam, Magdalene Odundo OBE, and TaiyeIdahor. African Arts—Global Conversations is curated by Kristen Windmuller-Luna, Sills Family Consulting Curator,African Arts, Brooklyn Museum. Studio 54: Night Magic  March 13–July 5, 2020  Morris A. and Meyer Schapiro Wing and Iris and B. Gerald Cantor Gallery, 5th Floor Studio 54: Night Magic is the first exhibition to trace thegroundbreaking aesthetics and social politics of the historicnightclub, and its lasting influence on nightclub design,cinema, and fashion. Though it was open for only threeyears—from April 26, 1977, to February 2, 1980—Studio54 was arguably the most iconic nightclub to emerge in thetwentieth century. Set in a former opera house in MidtownManhattan, with the stage innovatively re-envisioned as adance floor, Studio 54 became a space of sexual, gender,and creative liberation, where every patron could feel like astar. From the moment Studio 54 opened, its cutting-edgedécor and state-of-the-art sound and lighting systems set itapart from other clubs at the time, attracting artists, fashiondesigners, musicians, and celebrities whose visits werevividly chronicled by notable photographers. In addition topresenting the photography and media that brought Studio54 to global fame, the exhibition conveys the excitement ofManhattan’s storied disco club with more than 600 objectsranging from fashion design, drawings, paintings, film, andmusic to décor and extensive archives. Studio 54: Night Magic is curated and designed by Matthew Yokobosky, Senior Curator of Fashion andMaterial Culture, Brooklyn Museum.Lead sponsorship for this exhibition is provided by Spotify.John Edmonds: A Sidelong Glance May 1, 2020–February 7, 2021  Stephanie and Tim Ingrassia Gallery of Contemporary Art, 4th Floor John Edmonds is the first winner of the UOVO Prize, anew annual award for an emerging artist living or workingin Brooklyn. This is Edmonds’s first solo museumexhibition and features approximately 25 new and recentphotographic works that include portraiture and still lifesof Central and West African sculptures. Best known forhis sensitive depictions of young Black men, Edmondsuses photography and video to create formal pictures thatchallenge art historical precedents and center Blackqueer desire. He often uses a large-format camera toheighten the staging of his subjects and explore theirsculptural potential, making reference to religiouspaintings and modernist photography. Highlightingmarkers of Black self-fashioning and community—hoodies, du-rags, and more recently, African sculptures—Edmonds’s works point to individual style and a sharedvisual language across time. John Edmonds: A Sidelong Glance is curated by Ashley James, former Assistant Curator, ContemporaryArt, and Drew Sawyer, Phillip Leonian and Edith Rosenbaum Leonian Curator, Photography, BrooklynMuseum.Leadership support for the UOVO Prize is provided by UOVO.Striking Power: Iconoclasm in Ancient EgyptOpening May 22, 2020 Egyptian Galleries, 3rd Floor This exhibition, which draws from our renowned Egyptian collection, seeks toestablish a context for considering contemporaryconcerns and struggles over public monuments anddamage to antiquities. Striking Power: Iconoclasm inAncient Egypt explores patterns of organizedcampaigns of destruction to sculptures and reliefsmotivated by shifting ideologies, politics, and crime inancient Egypt, over a 2,500-year period. Presentingapproximately 60 whole and damaged masterpiecesof Egyptian art, the exhibition explores the damagethat occurred during and after the rule of Pharaohs,with particular focus on the contested reigns of Hatshepsut (circa 1478–1458 B.C.E.) andAkhenaten (circa 1353–1336 B.C.E.). Targeted damage to sculptures typically occurredaround a figure’s nose, which ancient Egyptians believed would remove the sculpture’ssupernatural ability to breathe and therefore prevent the deceased figure from interactingwith the human world. The exhibition explores the notion of public approval of iconoclasmand poses the question, who has the power to bring down or destroy images? Opinionsabout iconoclasm hinge on questions of whose narrative dominates public space. Many ofthe same questions about public art that concern the contemporary world, such as the rolethat U.S. Confederate monuments should play in today’s publically shared spaces, areilluminated through the lens of ancient iconoclasm. Striking Power: Iconoclasm in Ancient Egypt is organized in collaboration with the Pulitzer Arts Foundationand is curated by Edward Bleiberg, Senior Curator of Egyptian, Classical, and Ancient Near Eastern Art,Brooklyn Museum.Lorraine O’Grady: Both/And  November 20, 2020–April 11, 2021 Elizabeth A. Sackler Center for Feminist Art, 4th Floor Lorraine O’Grady: Both/And is the firstcomprehensive retrospective of one of the mostsignificant figures in contemporary performance,conceptual, and feminist art. For four decades, fromthe anger and hilarity of the early guerrillaperformance Mademoiselle Bourgeoise Noire, to thejoy and complexity of Art Is… on Harlem’s streets, tothe haunting alternations in her single-channel videoLandscape (Western Hemisphere), O’Grady hasdelved fearlessly into a range of timely questions:Black subjectivity (especially Black femalesubjectivity), diaspora, hybridity, art’s guiding concepts and institutions (from modernism tothe museum), and the intersection of self and history. By putting contradictory ideas intoplay—black and white, self and other, here and there, West and non-West, past andpresent—and allowing them to interact with each other without expecting a concrete resolution, O’Grady’s work aims to replace the dualistic, “either/or” of Western thought with aproductive, open-ended “both/and.” The urgency of the ideas she explores is perhaps thereason that her work is being newly embraced by a younger generation of artists who findmuch to learn from a practice that upends the fixed positions of power that structure ourculture—while bringing into focus the poignancy of the lives that have been lived within theseframeworks.The exhibition includes twelve of the artist’s fourteen major projects, accompanied by aselection of material from her rich archive. It is accompanied by a catalogue documenting thefull span of O’Grady’s artistic career, the first publication to do so, with essays by MalikGaines, Harry Burke, Zoe Whitley, Catherine Morris, and Aruna D’Souza, along with aconversation between O’Grady and Catherine Lord. Lorraine O’Grady: Both/And is organized by Catherine Morris, Senior Curator for the Elizabeth A. SacklerCenter for Feminist Art, Brooklyn Museum, and writer Aruna D’Souza. Leadership support for this exhibition is provided by The Kaleta A. Doolin Foundation. Major support isprovided by the Elizabeth A. Sackler Museum Educational Trust. Generous support is provided by ShelleyFox Aarons and Philip Aarons.We hope to see you at the Museum soon!Illustrated, from top:Rose Hartman (American, born 1937). Bianca Jagger Celebrating her Birthday, Studio 54, 1977. Black and white photograph. Courtesy of the artist. © Rose Hartman  Kehinde Wiley (American, born 1977). Napoleon Leading the Army over the Alps, 2005. Oil on canvas. Brooklyn Museum, Partial gift of Suzi and Andrew Booke Cohen in memory of Ilene R. Booke and in honor of Arnold L. Lehman, Mary Smith Dorward Fund, and William K. Jacobs, Jr. Fund, 2015.53. © Kehinde Wiley. (Photo: Brooklyn Museum) Lourdes Grobet (born Mexico City, Mexico, 1940). Untitled, from the series Painted Landscapes, circa 1982. Silver dye bleach photograph. Brooklyn Museum; Gift of Marcuse Pfeifer, 1990.119.12. © Maria de Lourdes Grobet. (Photo: Brooklyn Museum)Jeffrey Gibson (American, born 1972). WHEN FIRE IS APPLIED TO A STONE IT CRACKS, 2019. Acrylic oncanvas, glass beads and artificial sinew inset into custom wood frame. Courtesy of theartist and Kavi Gupta, Chicago. © Jeffrey Gibson. (Photo: John Lusis) Eskimo artist. Engraved Whale Tooth, late 19th century. Sperm whale tooth, black ash or graphite, oil. Brooklyn Museum; Gift of Robert B. Woodward, 20.895. Creative Commons-BY. (Photo:Brooklyn Museum) Kuba artist. Mask (Mwaash aMbooy), late 19th or early 20th century. Rawhide, paint, plant fibers, textile, cowrieshells, glass, wood, monkey pelt, feathers. Brooklyn Museum; Robert B.Woodward Memorial Fund, 22.1582. (Photo: Brooklyn Museum) Guy Marineau (French, born 1947). Pat Cleveland on the dance floor during Halston’s disco bash at Studio 54,1977. (Photo: Guy Marineau / WWD / Shutterstock) John Edmonds (American, born 1989). Two Spirits, 2019. Archival pigment photograph. Courtesy of the artist and Company, New York. © John Edmonds Face and Shoulder from an Anthropoid Sarcophagus, 332–30 B.C.E. Black basalt. Brooklyn Museum; Charles Edwin Wilbour Fund, 37.1516E. (Photo: Brooklyn Museum) Lorraine O'Grady (American, born 1934). Rivers, First Draft: The Woman in the White Kitchen tastes her coconut,1982/2015. Digital chromogenic print from Kodachrome 35mm slides in 48 parts.Courtesy Alexander Gray Associates, New York. © Lorraine O’Grady/Artists Rights Society (ARS), New York -- source link
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