Live to Change Something Through Art


2010-02-01

Ensconced on the third floor of Bedford-Stuyvesants’ Restoration Plaza, the aptly named Skylight Gallery dazzles. This sun-drenched space currently hosts, “Live to Change Something Through Art”, (through feb 28th) an exhibition of the Art Collective Coup d’etat Brooklyn. Titled after the Collectives mission statement, this show endeavors, in the adapted words of curator Nakeisha Gumbs, to ‘explore urban art and showcase work that alludes to social conditions and culture.” Boasting contributions by over 25 artists, “Live to Change …” accomplishes this objective with style.

The high notes of the show are 4 jewel-toned photographs from Kwesi Abbensetts. The double exposure muses in these photos are confrontational and dream-like, leaving an impactful resonance long after their initial viewing. Jamaican born Taganyahu Swaby offers traditional and technically proficient woodcuts. The rousing “We Nuh Know How We and Dem a Go Work It Out” by Swaby features a cacophonous street scene, with deep gouges in wood signifying the vacuous, unmistakable shapes of riot police headgear and batons. Also exceptional, a deftly executed letter-form abstraction by DC native ONE9, an amusing yet polished ‘Big Daddy Kane Snowboard’ by Deka (Kane is nimbus-framed with gold and cash in check) and the uplifting ‘Freedom Fighters’ Poster by designer Sam Wilson, with imagery alluding to the twin weapons of inspiration and example employed by heroes of old.

This polyphonic show offers much in the way of perspective and insight, a reminder that themes as broad as urbanity and community can seldom be voiced in the singular. Rather, the strains of comprehension come to us in chords, sometimes clanging, often soothing and occasionally sublime.

—Enrico Gomez


The No Place / Accented


2010-02-01

Can you recall the last really great conversation you had? Mine was with a peer, recently, on spirituality and urbanization in Pre-Modern Europe. Dense and electric, I gleaned much insight from the time spent in that communicative space. The current shows at BRIC Rotunda Gallery in Downtown Brooklyn offer just such a space.

Through March 6th, BRIC Rotunda presents ‘The No Place’ curated by Gallery Director Elizabeth Ferrer and ‘Accented’ curated by 2010 Lori Ledis Emerging Curatorial Fellow Murtaza Vali. Both exhibitions are examples of the power of curatorial choice and the access made possible through the cogent application of their talents.

In ‘The No Place’, Ferrer assembles a discourse on the notions of Dystopia, Utopia and the spectrum in-between. The artwork’s exceptional, especially Paula Luttringers heartbreaking photo essay “Lamento de los Muros’ (The Wailing of the Walls) documenting holding cells of female political prisoners and the brilliant installation, “Design for the Alien Within” by Jenny Polak which references the exchange of risk and trust between the oppressed and their allies. In ‘Accented’, curator Vali focuses on areas where the individual transcends perfunctory demarcation and considers the articulation of self. Stunning contributions here include Brendan Fernandes’ “Foe”, a video of the artist being coached on the ‘proper’ dialect of his various cultural derivations and “Touching From A Distance” by Angel Nevarez & Valerie Tevere, a conceptually stratous two-channel video of a public square protest paired with footage of a Mariachi band playing ‘Transmission’ by Joy Division (Transcendent!)

It has been said that a well-curated show is like an excellent dinner party. But the gracious host, like the curator, knows that beyond the guest list, the place cards and the ambience it is the spaces in between us where the real event takes place. And we, the invited, need only bring ourselves.

—-Enrico Gomez