Open House Sundays
June 12th, 2016
Open House Sundays at The Brant Foundation
1-3pm on the following dates:
June 12th, 19th, 26th
July 10th, 17th
September 4th, 11th
Parking for The Brant Foundation’s open house Sundays will be located at Greenwich Polo Club. A designated parking area will be on your immediate left before Greenwich Polo check-in. If you wish to stay for the polo match please proceed to Greenwich Polo check-in to purchase a ticket. You may also purchase a discounted ticket online at: greenwichpolo.com.
Please contact us with any questions: 203-869-0611 or email@example.com
About Occupy Greenwich:
Opening amid the presidential election season, the exhibition is comprised mostly of work made over the course of Barack Obama’s eight-year presidency. As such, the exhibition presents a timely opportunity to examine Horowitz’s ever-evolving practice within the context of the current political landscape.
Since the early 1990s, Horowitz has created work that combines the imagery and ambivalence of Pop Art with the engaged criticality of conceptualism. His work in video, sculpture, painting and photography examines the deep-seated links between consumerism and political consciousness, as well as the political silences of postwar art. Recent painting projects have explored the personal psychology of mark making, at times prominently employing the hands of others. Appropriation of both pop cultural and art historical sources figures heavily in the show, with imagery transformed through both technology and the human hand.
Anchoring the exhibition is the installation November 4, 2008, which re-stages the day eight years ago when Obama was elected president. In the piece, 19 hours of CNN and Fox News coverage (originally presented as live feeds) play on back-to-back monitors in the center of a room. Red and blue carpets divide the space into opposing sides and 42 official presidential portraits circle the room, with Obama’s portrait in waiting on the floor.
Upon arrival at the Foundation, viewers are confronted by a functional solar panel sculpture on the lawn, which powers Horowitz’s video Apocalypto Now inside. Using found footage, the film weaves narratives on the history of the Hollywood disaster movie, climate change, terrorism, and the Christian apocalypse. In another room, a human scale, bronze statue of Hillary Clinton greets visitors. Rendered in the style of a 1970’s greeting card figurine, the sculpture is captioned “Hillary Clinton is a Person Too,” evoking Clinton’s vilification as both a political leader and a powerful woman.
Notwithstanding its political undertones, viewer participation and social interaction are recurring tenets of Horowitz’s work. A sculptural installation titled Free Store invites viewers to leave objects that they wish to discard and take away whatever they would like. Another work, Contribution Cubes, is a series of Plexiglas donation boxes each dedicated to a different charitable or political organization. Suggesting minimalist sculpture and relational aesthetics, the work describes the population that passes through the exhibition space through the varying donation amounts that accumulate. 402 Dots, the first of Horowitz’s Dot Paintings, is a monumentally scaled work comprised of 402 canvases, each painted by a different person. Participants in the project were instructed to paint a perfect, solid black dot with an 8-inch diameter in the center of a 12-inch square canvas, using only provided paint and brushes. The resulting dots all differ in size, shape, position, and texture. The paintings are hung in a brick pattern, suggesting a blown-up field of irregular Ben-Day dots. Like a vast population, together they create a paean to human struggle, acceptance, and individuality.
Third Dimension represents the impact of decades of collecting and highlights a selection of works that have never before been exhibited at the Foundation by Carl Andre, John Chamberlain, Urs Fischer, Dan Flavin, Glenn Ligon, Claes Oldenburg, Kenny Scharf, Oscar Tuazon, Andy Warhol, and Franz West.
The exhibition brings together a dynamic group of artists who are among the most influential voices in modern and contemporary art. Additional artists in the exhibition include David Altmejd, Jean-Michel Basquiat, Maurizio Cattelan, Adam McEwen, Mike Kelley, Karen Kilimnik, Nate Lowman, Cady Noland, Richard Prince, Rob Pruitt, Jason Rhoades, David Salle, Julian Schnabel, Josh Smith, and Dash Snow.
“We are thrilled to do another exhibition in the Foundation’s new East Village space that celebrates the building’s history as De Maria’s studio where he created so many daring works,” said Brant. “Having collected sculpture from a young age, I am pleased to be able to show many pieces that we have not been able to share with the public at the Foundation until now.”
Working with dealers such as Peter Weber and Leo Castelli, Peter M. Brant began collecting Minimalist and Post-Minimalist sculpture while in his early 20s, initially acquiring works such as Claes Oldenburg’s Giant Blue Shirt with Brown Tie (1963); and Dan Flavin’s Puerto Rican Light (to Jeanie Blake) 2, (1965), and The Diagonal, May 25, 1963 (To Robert Rosenblum). The latter is a milestone of Minimalism and the very first of Flavin’s fluorescent-light sculptures, which was gifted by Brant to the Metropolitan Museum of Art in 1974. (Brant installed both Puerto Rican Light and Giant Blue Shirt in the United Nations lobby, while living in an apartment in the building.) Similar examples of work by both artists are included in this exhibition, which have not been exhibited at the Foundation before: Oldenburg’s Soft Pay-Telephone (Ghost Version) (1963) and Flavin’s alternate diagonals of March 2, 1964 (to Don Judd) (1964).
Highlights on view across three floors of the Foundation’s 16,000-square-foot building include several works and installations by conceptual sculptor Cady Noland, including Crate of beer (1989); Cowboy with Holes, Eating (1990); SLA Group Shot #1 (1991); and Gibbet (1993-94). Noland is recognized for her exploration of the American psyche and impacts of mass media through collage, sculpture, and mixed-media installations. Brant was an early collector of Noland’s work, and the artist has become a key part of the Foundation’s collection.
In addition, Third Dimension includes two sculptures, by Urs Fischer and John Chamberlain, never before shown at the Foundation due to their monumental size. Their display is made possible by freight doors and a gantry mechanism that moves large artworks between levels through a floor-door system in the building. Fischer’s Untitled (The Rape of the Sabine Women) (2011) features a wax replica of Giambologna’s 16th-century sculpture, measuring more than 20 feet in height. It will be on view on the second floor of the Foundation, taking over the more than 30-foot-high space. The candle work, which also includes a wax sculpture of artist Rudolf Stingel and an office chair, will melt away over the course of the exhibition, through a system of wicks incorporated in the sculptures’ interiors. On the third floor, visitors will encounter Chamberlain’s Fuccimanooli (1990), made of bent, twisted, and painted pieces of metal reaching over 12 feet high.