Exhibitions Archive - Page 7

An exhibition space with a collaged, ring-shaped decal on the far left wall. Within the ring is the show title which reads “It’s About Us” and a block of wall text underneath. In the center of the floor is a white, center column housing a monitor, shelves, pamphlets, and small objects. Behind the center column is a set of podiums displaying burnt sienna and white colored sculptures.
A black graphic with collaged, white, stylized images of people at protests and their signs. The protest signs include phrases like “come together, “the struggle continues”, and “la revolución es poder para el pueblo”.
An exhibition space with hardwood floors embedded in the center of the floor. Raised above the hardwood floors is a set of four-sided blinds. The hardwood floors are covered with overlaying and multi-color sports field diagrams. Raised up within the blinds are four banners with a rainbow, checkered pattern.
A side profile portrait of a Black woman in black and white. She is posing against a white backdrop and in a seated posture. One hand is on her hip and the other is on her thigh, both clearly displaying a collection of bangles and rings. She is wearing black pants, a sleeveless top, a chain necklace and dangle earrings. Her hair is worn in a close cut shave. On her right bicep is a black panther tattoo.
Twelve adults of different genders and racial backgrounds pose for a group portrait in a swanky living room scene. The adults are dressed in suits and formal gowns. The room has black and white striped floors, a number of lounge chairs and sofas, framed art, diamond chandeliers and crown molding.
On a white exhibition wall is a photograph of a white woman with short, brown, curly hair, wearing a black dress who is holding up a piece of paper in one hand. She is mimicking a painted portrait of man holding the same pose. To the right of the photograph is a mosaic patterned sheet of paper made up of tiny, multi-colored squares. The paper is in an abstract shape and has some of its squares missing.
A creek site where four women are engaged in research. The creek is a shimmery brown and sprawls out from the top right corner. There are small rock boulders and dense vegetation at the borders. Three of the women are crouched in the creek with their attention below the shallow water's surface. The fourth is up above with a clear view of the rest of the group. They are all dressed casually. Two of them are wearing floppy hats and three of them have bags strapped over their shoulders.
An architectural rendering of a futuristic pavilion set in a park. The main part of the pavilion has a white, bulbous shape and is gracing the sky on white cylindrical columns, planted in the ground in a circle. Within the pavilion is a group of mature trees and a gridded glass sealing that mimics the topography of the tree canopy. Down at the ground are tiny specs of people that demonstrate the grand scale of the pavilion.
A white exhibition wall with milk crates hanging in a cross shape. The outer facing surface of the crates have been spray painted, starting from the center and radiating out, yellow, orange, white, blue, green, and yellow again. Around the cross are paper cut out images of community members and famous people wearing La Calavera face paint. Propped up on the milk crate cross is a black, round sign with a brown power fist and the phrase “Corazón Indígena Por Las Vida Negras”. Below, at the gallery floor, is a row of chakra candles in different colors.
The artist Mierle Laderman in conversation with a Sanitation worker, standing beside a Sanitation truck. Mierle is a White woman with thick, long, blonde hair. She is wearing teal pants, an orange shirt, and a black, zip-up vest. The Sanitation worker is Black and dressed in a gray uniform. The truck is white and covered in graffiti.
A two story mural of a blob made out of polygons in different, shapes, sizes, and colors. Down at the floor of the exhibition space are adults viewing the mural. Descending from the top right is a twisting flight of stairs.
An exhibition space with Tiffany Glass lamps on display. The lamps are made up of mosaic, green blue, purple, and yellow nature patterns and motifs. They come in variations of floor, table, and hanging lamps.
A comicstrip of a South Asian woman, astronaut wading through a polluted body of water filled with junk. Behind her is a red, industrial cityscape smoking the sky. At the top, the comic strip reads “What can we say about her as we sit here, caught in the throes of circular time, warming our flayed soles by the fire? Under her skin the rise and fall: of immortal jellyfish, of unspoken pleas & mechanical hands—selfsame shards of this tumultuous universe…{a sigh of the crossroads?} Tattoo her onto the city’s skin, stroke by stroke by stroke.”.
A large-scale relief map of New York City’s watershed, installed in an exhibition space with navy blue walls. The relief map is guarded off by a metal railing on three sides. Along the longest exhibition wall are eight maps accompanied by wall text.
A black and white photograph of the members of punk band, The Ramones. The four band members are posing in an alley filled with junk. They each have long, shaggy hair with bangs, are wearing skinny jeans, t-shirts, and black, leather jackets. Each has a cool and tough expression on their face.
Three framed portraits of Black elderly women. They are each dressed elegantly and smiling against colorful patterned backgrounds. The framed portraits are sitting on a black, blue, and gold floral background.