Site Matters: Brooklyn Represents
September 28 - December 14, 2007
Curators: Lauren Schell Dickens and Julie McKim
Reception: Friday, September 28, 6 - 8pm
Open House: Saturday, September 29, 1-4pm (Sheryl Oring performance I Wish to Say, 1:30-3pm)
Film Screenings: Saturday, October 13, 8pm and Thursday, November 1, 7pm
View Exhibition Images
Site Matters: Brooklyn Represents explores the notion of site as physical location, cultural debate, and discursive exchange, and includes work by Malin Abrahamsson, Michelle Levante, Ethan Levitas, Greg Lindquist, Sara Macel, Cheryl Molnar, Lucas Monaco, Iviva Olenick, Sheryl Oring and Dhanraj Emanuel, Isaac Paris, Carolina Salguero, Karen Schoellkopf, Smudge Studio, and Michele Valdez. The artwork featured in Site Matters: Brooklyn Represents was culled from BAC's Online Registry of Brooklyn Artists by curators Lauren Schell Dickens and Julie McKim.
How does one define Brooklyn? Site-specific art of the late 1960s and early 1970s was a response to a physical space, whether the Nevada desert or the architecture of the gallery, the work depended on its location for support. As the 1970s practice of site specificity merged with postmodern dialogues of the eighties, the notion of 'site' expanded from a neutral and purely physical space, to acknowledge the implicit political and economic forces at work. In her article 'One Place After Another: Notes on Site Specificity' art historian Miwon Kwon pushes further, no longer defining site in physical and spatial terms, but as a conceptually discursive realm.
Using Kwon's expanded definition of site, Site Matters: Brooklyn Represents examines the multiple and interwoven identities of the borough as they are psychologically, economically, viscerally, and imaginatively conceived.* Greg Lindquist's painting Monument to Open Sky documents Williamsburg's changing landscape as a memorial and a repository for collective memory. Karen Schoellkopf positions Brooklyn as a site of social engagement. Her interactive Innerviews project, incorporating both dialogues with catcallers and a journal for open participation, explores the impact of catcalling on our shared public space. Isaac Paris and Iviva Olenick address the borough's complex cultural identity. Olenick's hand-stitched family albums focus on the interplay of memory and identity through generational history, while Paris Living in the Hood (Self-Portrait) subtly addresses his own position within the social context of Brooklyn.
ABOUT THE CURATORS Lauren Schell Dickens holds degrees from Yale University in American Studies and Columbia University in Modern Art History. She has worked at museums across the country including the Dallas Museum of Art and the Guggenheim, and is currently at The Jewish Museum. Julie McKim completed an M.A. in Modern Art History from Columbia University and a B.A. in Art History and Women Studies from the University of California at Santa Cruz. She has worked at diverse art establishments throughout the country including PERFORMA, The Kitchen, the Oakland Museum of California, and the National Museum of Women in the Arts, Washington DC. She currently works at the Whitney Museum of American Art. This is Lauren and Julie's first collaborative project. Their next curatorial endeavor opens in January 2008 at Nurture Art in Brooklyn.
*LMCC's 2004 publication "Site Matters: Lower Manhattan Cultural Council's Artists Residency Program in the World Trade Center, 1997-2001 is a publication which examines Manhattan as a site of creativity. This exhibition is a partial response to this publication as it looks at the recent and unprecedented shift of artistic production from across the East River to Brooklyn.