The Brant Foundation has a mission to promote education and appreciation of contemporary art and design, by making works available to institutions and individuals for scholarly study and examination.
The Brant Foundation’s loan program, established in 1996, plays a crucial role in our mission to promote education and appreciation of contemporary art. The Foundation’s lending program increases public accessibility to the collection’s paramount pieces – broadening visibility to contemporary works critical to the history of art and its scholarship. Each year, the Foundation lends artwork to exhibiting venues worldwide, proudly supporting artists and art institutions around the globe. Please contact Allison Brant for more information about our loan program.
Additionally, The Brant Foundation offers a multitude of ongoing programs and events aimed to enhance and enrich the public’s experience with contemporary art. These programs are designed to facilitate art education, foster creative and scholarly development, and provide unique opportunities for anyone with an interest in contemporary art. Click here to learn more about The Brant Foundation’s educational programs.
The Brant Foundation is open to the public and free of charge. Click “Book a Tour” to sign up for a docent-led tour or self-guided visit.
Yes, The Brant Foundation’s New York and Greenwich buildings are wheelchair accessible.
Unless otherwise indicated, photography is permitted for non-commercial, personal use only. Flash photography, tripods, video/recording devices and selfie sticks are not permitted.
Please email email@example.com or call 203-869-0611 to cancel or reschedule your visit.
Our doors will open at the start time of the tour. Guests visiting our Greenwich location are welcome to arrive 10 minutes early to walk the grounds (weather permitting).
Tours are typically 45 minutes to an hour long.
Free parking is available at The Brant Foundation’s Greenwich location. Due to limited space, we kindly ask visitors to carpool when possible.
The Brant Foundation’s New York location does not have a designated parking area.
Please contact Sabrina Marsalisi (firstname.lastname@example.org) to arrange a school or group visit.
– Please do not touch the artwork/installations
– Food and drink are not permitted inside the building
– Smoking and vaping are strictly prohibited
– Please keep mobile devices on silent and limit use to non-gallery spaces
– Individuals under the age of 16 must be accompanied by an adult
– Backpacks may not be worn on your back
The Brant Foundation has two locations, in Greenwich, CT and New York, NY. Sign up for our mailing list below and receive updates about upcoming exhibitions, programs, and events at both locations.
The Brant Foundation’s New York space is temporarily closed.
The Brant Foundation’s Greenwich space is open to the public Tuesday – Saturday. Click the “Book a Tour” link below to plan your visit.
Greenwich, CT 06831
Untitled (Bread House) (2004-2005) is a life-size cabin built from loaves of bread, expandable foam, and wood. The quaint alpine structure is set on an arrangement of Oriental carpets. Over time the house decays, shedding crumbs on the floor and emitting a distinct, pervasive odor.
The bed sculptures Kratz and Untitled (Soft Bed), (both 2013) signal an alternate surrealist world and appear to buckle under the pressure of some invisible force. Kratz, cast in aluminum but disguised in a layer of mimetic paint, is made even more credible by the pile of real concrete that has been poured on top of it, as if to hasten its collapse.
In Horse/Bed (2013), a horse has fully merged with a hospital bed, whose various parts envelop the animal’s head and legs. The horse stands upright, “wearing” the bed like a harness as though nothing is amiss. Digitally combined from 3-D scans of a taxidermy workhorse and a hospital bed, then milled from aluminum, the detail of the sculpture’s impressive materiality provides an overwhelming amount of information to the naked eye.
The monumental Problem Paintings, making use of headshots as backgrounds, colored and enlarged, then obstructed by silkscreened still life images of fruits and vegetables, propose a clash of representational systems that is both convulsive and darkly humorous.
In the series of Phantom Paintings: Aluminum (2015), Silicone (2015), Barium (2016), Chlorine (2015), Lead & Tin (2016), and Drained (2016), the background of each painting is a photographic image of Fischer’s own face or collaged elements thereof, overlaid with silkscreened marks that are based on real painted or drawn gestural compositions. Like the Problem Paintings, these layered images provide a fresh and subversive view through the clash of representational systems and different cosmic orders.
In the library there are four new paintings created digitally on an iPad, representing imaginary environments, artworks in domestic settings, and surreal compositions. On a screen, as opposed to paper or canvas, Fischer is able to paint with light itself—moving illuminated pixels, reflecting on the subtle atmospheric changes across day, night, and seasons.
Urs Fischer: Error is on view through September 2o19.