Gordon Parks. Jean-Michel Basquiat. Lorna Simpson. Kehinde Wiley. Nina Chanel Abney. These names loom large in the past and present of art—as do many others in the collection of musical and cultural icons Swizz Beatz (Kasseem Dean) and Alicia Keys. Expansive in their collecting habits, the Deans, both born and raised in New York, champion a philosophy of “artists supporting artists.” The first major exhibition of the Dean Collection, Giantsshowcases a focused selection from the couple’s world-class holdings. The Brooklyn Museum’s presentation spotlights works by Black diasporic artists, part of our ongoing efforts to expand the art-historical narrative. 

“Giants” refers to several aspects of the Dean Collection: the renown of legendary artists, the impact of canon-expanding contemporary artists, and the monumental works by such creators as Derrick Adams, Arthur Jafa, and Meleko Mokgosi. Immense pieces—including the largest ever by Mokgosi—are paired with standouts such as Parks’s seminal photographs, Wiley’s revolutionary portraits, and Esther Mahlangu’s globe-bridging canvases. 

The term also evokes the strength of the bonds between the Deans and the artists they support, and among the artists themselves. Along with examining these links and legacies, the exhibition will encourage “giant conversations” inspired by the works on view—critiquing society and celebrating Blackness.

Learn more about our touring exhibitions, and bring this exhibition to your institution by emailing exhibitions@brooklynmuseum.org.

In February 2024, The Metropolitan Museum of Art will present the groundbreaking exhibition The Harlem Renaissance and Transatlantic Modernism. Through some 160 works of painting, sculpture, photography, film, and ephemera, it will explore the comprehensive and far-reaching ways in which Black artists portrayed everyday modern life in the new Black cities that took shape in the 1920s–40s in New York City’s Harlem and nationwide in the early decades of the Great Migration when millions of African Americans began to move away from the segregated rural South. The first art museum survey of the subject in New York City since 1987, the exhibition will establish the Harlem Renaissance and its radically new development of the modern Black subject as central to the development of international modern art.

Featured artists include Charles Alston, Aaron Douglas, Meta Warrick Fuller, William H. Johnson, Archibald Motley, Winold Reiss, Augusta Savage, James Van Der Zee, and Laura Wheeler Waring. These artists will be shown in direct juxtaposition with portrayals of international African diasporan subjects by European counterparts ranging from Henri Matisse, Edvard Munch, and Pablo Picasso to Germaine Casse, Jacob Epstein, and Ronald Moody.

A significant percentage of the paintings, sculpture, and works on paper on view in the exhibition come from the extensive collections of Historically Black Colleges and Universities (HBCUs), including Clark Atlanta University Art Museum, Fisk University Galleries, Hampton University Art Museum, and Howard University Gallery of Art. Other major lenders include the Smithsonian American Art Museum and the National Portrait Gallery, with pending loans from the Schomburg Center for Research in Black Culture. The exhibition will include loans from significant private collections and major European lenders.

The exhibition is made possible by the Ford Foundation, the Barrie A. and Deedee Wigmore Foundation, and Denise Littlefield Sobel.

Highlighting thirty years of artmaking dedicated to the Black experience in America, Sonya Clark: We Are Each Other is the first comprehensive survey of the communal art-making projects that form the heart of the artist’s pioneering creative practice. Accompanied by a selection of Clark’s photographs, prints, and sculpture, the exhibition will feature five of Clark’s large-scale, collaborative projects, including her barrier-breaking The Hair Craft Project (2014) and the ongoing performance, Unraveling.

Working with a wide range of emotionally resonant materials and everyday objects—from cotton cloth and human hair to school desks and bricks— Clark encourages audiences to confront through material transformation the country’s historical imbalances and racial injustices. At the same time, Clark celebrates the complexities of the Black cultural experience. The uses of traditional craft materials, her applied knowledge of global craft techniques, and the communal collaborations that are integral to the integrity of Clark's art are among the many ways Clark represents and honors the legacies of the African diaspora in Black life.

ABOUT THE ARTIST

Sonya Clark is an artist and educator renowned for mixed-media works that address race and visibility, explore Blackness, and redress history. She is the Winifred L. Arms Professor of Art and Humanities at Amherst College in Massachusetts. Previously, Clark was honored as a Distinguished Research Fellow in the School of the Arts at Virginia Commonwealth University, where she served as chair of the Craft/Material Studies Department for over a decade. Prior to that appointment, she was the Baldwin Bascom Professor of Creative Arts at the University of Wisconsin-Madison, where she taught fornine years. Clark earned an MFA from Cranbrook Academy of Art and was honored with their Distinguished Alumni Award. She has a BFA from the School of the Art Institute of Chicago. Her first college degree is from Amherst College, where she also received an honorary doctorate. In 2021, she was awarded additional honorary doctorates from Franklin and Marshall College and Maine College of Art.

Her work has been exhibited in over 500 museums and galleries in the Americas, Africa, Asia, Europe, and Australia. Clark’s artwork is held in the collections of the National Museum of Women in the Arts, the Museum of Fine Art in Houston, the Museum of Fine Arts Boston, the Virginia Museum of Fine Arts, and the Smithsonian Museum of American Art, among many others. Clark is the recipient of numerous awards, including a United States Artist Fellowship, Anonymous Was a Woman Award, Rappaport Prize, Art Prize, and Art Matters Grant. She has been selected for residencies at Red Gate in Beijing, China; BAU Camargo in Cassis, France; the Rockefeller Foundation in Bellagio, Italy; a Smithsonian Artist Research Fellowship in Washington, DC; Civitella Ranieri in Umbertide, Italy; Yaddo in Saratoga Springs, New York; the Isabella Stewart Gardner Museum in Boston, Massachusetts; Indigo Arts in Portland, Maine; an Affiliate Fellowship at the American Academy in Rome, Italy; and Black Rock in Dakar, Senegal, among others.

Sonya Clark: We Are Each Other is organized by the Museum of Arts and Design; Cranbrook Art Museum, Bloomfield Hills, Ml; and the High Museum of Art, Atlanta.

Support for the exhibition and publication Sonya Clark: We Are Each Other was provided by grants from the Henry Luce Foundation, the Andy Warhol Foundation, and the National Endowment for the Arts. The exhibition is also supported in part by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and the New York City Department of Cultural Affairs in partnership with the City Council.

With additional support from WayMaker Media.

The second annual presentation of Studio Sound—a performance series that champions artists and musicians whose work engages new possibilities for sound and music—will feature interdisciplinary artist and writer Sable Elyse Smith. Exploring auditory art forms through both live and recorded performance, this ongoing series suggests an expanded history of art in which sound plays a central role.

Smith’s work draws from the legacy of Conceptual art, using video, sculpture, photography, text, and now sound to confront the mundane and pervasive impacts of systemic oppression. At MoMA, Smith will present a new musical composition and video installation in the form of an opera, with ticketed performances and an installation on view during Museum hours. Part of a larger ongoing project, this work tells a story of queer love between two Black women set in a surreal environment. Unfolding across multiple scenes, the performance explores the political, collective, and dramatic potential of the voice as well as the ways in which language dissolves through sonic expression.

Organized by Martha Joseph, The Phyllis Ann and Walter Borten Assistant Curator of Media and Performance, with May Makki, Curatorial Assistant, Department of Media and Performance. Performances produced by Lizzie Gorfaine, Associate Director and Producer, with Nora Chellew, Assistant Performance Coordinator, Performance and Live Programs.

Edges of Ailey is the first large-scale museum exhibition to reflect on the life, work, and legacy of visionary artist Alvin Ailey (b. 1931, Rogers, Texas; d. 1989, New York, New York). Widely recognized for the dance company he founded in 1958, Ailey imagined and cultivated a platform for modern dance through his innovative repertoire, interdisciplinary sensibility, and support of other dancers and choreographers. Presented in the Museum’s 18,000+ square-foot fifth-floor galleries, this multifaceted presentation encompasses a multimedia exhibition, daily performance program, and scholarly catalogue to offer a richly layered experience for understanding the artist anew. 

Edges of Ailey will showcase an ambitious daily program of live performances, including works from the Alvin Ailey American Dance Theater repertory and new commissions as well as workshops, classes, and panels. The exhibition situates Ailey within a broader social, creative, and cultural context, illuminating the artists who influenced and collaborated with him, the spaces and scenes he frequented, and the dynamic themes explored within his dances through painting, drawing, sculpture, photography, film and video, rehearsal footage, ephemera, and other archival materials. 

Edges of Ailey is organized by the Whitney Museum of American Art in close consultation with the Alvin Ailey Dance Foundation. The exhibition is curated by Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs, with Joshua Lubin-Levy, Curatorial Research Associate, and CJ Salapare, Curatorial Assistant.