Curated by Hugh Hayden and Daniel S. Palmer for the Public Art Fund, “Black Atlantic” at Brooklyn Bridge park features sculptures that explores modern Black identity
Leilah Babirye’s Agali Awamu , 2022. Photo: Nicholas Knight, Courtesy of Public Art Fund, NY, the artist, Gordon Robichaux, NY, and Stephen Friedman Gallery, London. There’s a small wooden boat that looks like it ran aground in Brooklyn Bridge Park, teetering on a few boulders by the water’s edge. As you approach it, you realize this isn’t an ordinary vessel: Its frame looks like an enormous skeleton.
Hugh Hayden’s Gulf Stream, 2022. Photo: Nicholas Knight, Courtesy of Public Art Fund, NY, the artist, and Lisson Gallery Gulf Stream is part of “Black Atlantic,” an exhibition about the African diaspora that Hayden, along with Daniel S. Palmer, curated for the Public Art Fund. It features sculptures by five artists that examine different ways that Black identity and culture has been shaped by the movement of people across the Atlantic.
The site itself inspired the theme of the exhibit. Public Art Fund and Hayden had been in talks since 2018 to produce a solo show in Brooklyn Bridge Park, but when he visited, he decided to create an installation that would be in dialogue with the water, the views of the Statue of Liberty, and the site’s port history. Moreover, he didn’t want to be the sole voice in a show about the Black diaspora, and enlisted four other artists who grapple with similar questions.
Kiyan Williams's Ruins of Empire, 2022 and Tau Lewis's We pressed our bellies together and kicked our feet, we became something so alien that we no longer had natural predators, 2022; We watched humankind evolve as we absorbed into the sea floor, the moon stared down at us and told us the Earth had a heavy heart, 2022; We wondered if the angels had abandoned us, or if they simply changed shape without letting us know.
Dozie Kanu’s On Elbows, 2022. Photo: Nicholas Knight, Courtesy of Public Art Fund, NY, the artist, and Project Native Informant, London The piece I wound up spending the most time with was Dozie Kanu’s On Elbows, a surreal cast-concrete fainting couch. It rests on four polished chrome elbow rims — custom metal accessories that usually stick out, like a pyramid, about a foot from the hub of a car tire.
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