Januar - ebruar 0, 018
Open Saturdays and Sundays 11 - 6 pm
Monday through Friday by appointment
Performance on opening night starts at 8pm.
Guest curators Jane Cavalier and Nicole Kaack are honored to present Re: Framed, the 18th iteration of Re: Art Show, an ever-evolving group exhibition at 630 Flushing Avenue, Brooklyn, NY. For Re: Framed, the curators salvaged discarded frames from major New York art institutions and invited a group of contemporary artists to use them as raw material for new projects or as new homes for existing work.
The exhibition explores the seemingly neutral architecture of the frame as a point of contest and of departure, addressing the ways in which this armature plays a constitutive role in the production and reception of a given work. As a discreet bolster that protects the work of art, the frame also confers value by way of its associations with the semi-ritualized presentation of precious artworks in museums and galleries. Expanding outward from the frame as a physical object, this show also explores framing as a compositional device. The decision to separate the seen from the unseen is itself so fundamental to the artistic process that it is too often overlooked.
The artists in this exhibition have been selected on the basis of their explicit engagement with framing as a tool for cropping, confining, promoting, or contextualizing ideas and information. The featured artists include Dana Buhl, Emmy Catedral, Golnaz Esmaili, Curtis Glenn, Jibade-Khalil Huffman, Tomashi Jackson, E.M. Joseph, Simone Kearney, Martha Naranjo Sandoval, Elise Peterson, and Constance Tenvik. The curators have worked with these eleven artists to select or develop works that respond to the previous use of their given frame. Having primarily housed works from the canon of post-war modern art, ranging from figures such as Eva Hesse to Andy Warhol, the frames provoked artists to consider histories both institutional and artistic.
Through its focus on framing, this exhibition aims to address the space between the work and the world, embracing the act of re-framing in order to question the power dynamics that shape the construction, dissemination, and reception of artistic works. Some of the artists address the location of the show -- the old Pfizer Pharmaceutical Factory -- as a conceptual frame for their work. Others engage with history itself as a forceful mechanism of visibility and exclusion, re-framing dominant narratives of whiteness or masculinity to share alternative perspectives. Together, the works in Re: Framed explore the act of framing from many perspectives in order to offer a rigorous critique of how such inconspicuous structures shape our own individual and social possibilities.