Exhibitions: Working in Brooklyn: Current Undercurrent

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

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Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Statue of Metjetji

    Metjetji, the subject of this statue, is shown in later life, with the long kilt of a senior official and, as viewed from the side, a rather...

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    Working in Brooklyn: Current Undercurrent

    Press Releases ?
    • May 1997: From July 25, 1997 to January 25. 1998, the Brooklyn Museum of Art will present Current Undercurrent: Working in Brooklyn, an exhibition that will focus on artists, many at the start of their careers, who have shown in, and are represented by, galleries and alternative spaces located in Brooklyn. Approximately 50 paintings, works on paper, and sculptures will be augmented with files filled with small works by about 200 other artists, accessible to the public during specific Museum hours. The contents of these files will vary periodically to give exposure to a maximum number of artists. In September, the exhibition will be enhanced with a program of videos by Brooklyn artists.

      Current Undercurrent, part of the Museum’s ongoing Working in Brooklyn series, highlights the diversity and achievement of Brooklyn’s artistic community with works by such artists as Karen Arm, Louise Belcourt, Jean Blackburn, Jane Fine, Kara Flammond, Rachel Harrison, Shari Mendelson, James Siena, Amy Sillman, and Fred Tomaselli.

      Though originally pioneered by artists seeking inexpensive lofts, Brooklyn has grown into a diverse artistic community and continues to attract young talent with its energy and strong sense of diverse, liberal traditions. By including a wide selection of artists, each with different styles and approaches, Current Undercurrent will illustrate the ever-growing importance of the borough of Brooklyn as a vital determinant of contemporary art worldwide.

      The exhibition was co-organized by Charlotta Kotik, Curator of Contemporary Art at the Brooklyn Museum of Art, and Joe Amrhein of Williamsburg’s Pierogi 2000 Gallery, which is known for its inclusive flat files of works by both established and emerging artists. The video art program, to be shown in September in the Iris and B. Gerald Cantor auditorium, has been co-curated by the Museum and Momenta Art, a Brooklyn non-profit art space that focuses on the works of emerging artists in the Williamsburg community. Artists were also chosen from Arena, a Cobble Hill gallery that features salons on Sunday afternoons.

      Working in Brooklyn
      , a resumption of the Museum’s renowned exhibition series of 1985-90, comprises exhibitions of Brooklyn art as well as conversation panels between contemporary Brooklyn artists. The new Working series was initially revived with the exhibition Glenn Ligon: Evidence of Things Not Seen (September 21, 1996–February 9, 1997) and continues with Current Undercurrent. Planned to continue through the end of the century, future Working projects include exhibitions by artists Bing Hu (February 27–September 13, 1998) and Joan Snyder (April 1998).

      Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1995 - 2003. 1997, 088-89. View Original 1 . View Original 2

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    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
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