Brooklyn Museum 200th Birthday Event Recap

Live Music by Burnt Sugar The Arkestra Chamber in the Lobby, 1st Floor

By OCEANA ANDRIES October 19, 2024

The Brooklyn Museum celebrated its 200th birthday this past weekend. It reigned in the occasion with events ranging from artists' talks to art-making stations and live music. As usual, the tickets were gone within a few moments of their drop. I anxiously waited for the newsletter to announce their availability and succeeded in RSVPing for two. I caught the event on Saturday, October 5. Here's a recap of everything that stood out to me.

Liza Lou's Trailer Exterior and Interior

Upon entering, the first installation was to the right, Trailer by Liza Lou. The silver trailer sat inconspicuously in a corner; a yellow light shone from the doorway and beautifully contrasted with the steel exterior of the trailer. In Lou's typical fashion, the interior was covered entirely with glass beads from the Jack Daniel's bottle to the table and several other daily items. The scene constructed before viewers was as if we caught a moment someone anticipated to return to. As though an unexpected errand arose, and they would be right back, and there was no need to tidy up. It was almost as if time stood still within the trailer, and with a bedazzled gun above the couch and a knife on the table, the mood felt eerie. As though if we were caught in our voyeuristic pursuits, there would be consequences.

Top Left - Ilisa Katz Rissman, Three Dancers, 2020, Pigmented Inkjet print. Bottom Left - Leah DeVun, Picture Window, 2024, Pigmented Inkjet print. Right - Jason Bard Yarmosky, Keys Open Doors, 2024, Oil on canvas

Next, I traveled further into the museum to "The Brooklyn Artists Exhibition." This huge show featured over 200 artists; it celebrates and unites Brooklyn artists while amplifying their voices. The mediums ranged from paintings and sculptures to videos. The amount of work within this exhibition is overwhelming, and I'm sure I'll have to go again to properly absorb all the artwork; for now, here are five that stood out to me: Kadine Anckle's witches do (2013), Ilisa Katz Rissman's Three Dancers (2020), Jason Bard Yarmosky's Keys Open Doors (2024), Naudline Pierre's The Deepest Part (2023), and Gabrielle Lansners’ I AM NOT OK (2022).

Anckle's witches do is a mixed-media work of beads, glue, and cardboard on a rusted metal pan. The intricately placed beads showcase a black-and-white portrait of the figure clutching their cheeks with closed eyes. Overall, their expression is quite challenging to read but definitely not one of ease. Upon further research, I discovered that the work represents Anckle's complicated relationship with her Father.

Rissman's Three Dancers is a photograph of three young girls. The three girls, probably no older than 9, stare directly at the viewers. Each had presumably decorated themselves, and their personalities shone through with adorable hairstyles and mostly pastel clothing. Opposed to their girlish styles, their expressions are smileless and stiff. The background is a typical Brooklyn landscape. This work became a window of nostalgia for me; it brought me back to my childhood summers in Brooklyn.

Yarmosky's Keys Open Doors is an oil on canvas. The work depicts twins Soull and Dynasty Ogun, whose work is also featured in the exhibition. The pair is seated in front of a portrait of their late Mother. Though twins, their clothing and jewelry reveal their individuality. The jewelry and clothing were all handmade and personalized by the twins.

They gazed at the viewer with an indecipherable stare; the mood in the painting was one of silence. Their Mother's portrait hangs between them; only her head is rendered against the white background. Above the top edge of her portrait, a white, dry plant hangs. I wish I could have identified it to further understand any intended meaning, but my failings in botany wouldn't allow me to. The work silently immortalized their late Mother and their devotion to her.

Pierre's The Deepest Part is a beautiful oil painting with a palette of greens and blues, with hints of warmer pinks and orange to balance the visual elements. The central figure barrels forward; in their right hand, which is ablaze in a pink flame, is an arrow-like object that emits a yellow light with dark edges. The figure is surrounded by bodiless creatures with human heads and wings. The work is full of movement, and with the many faces and expressions, the viewer's eyes bounce around perpetually to continuously discover something new. Its overall narrative is lost to me, but I can tell its roots are based in mythology. The work feels like a frame captured from a much larger tale. Though unaware of the figures' motivations, I hope the central figure can free herself from the creatures' wings and accomplish her task.

Finally, I found myself in the video room where I watched Lansner's I AM NOT OK. This work addressed racial and social injustices within the black community, and this video felt like an outrage, an emotional plea mixed with sadness, desperation, and anger. Her declaration on the onslaught of police brutality, combined with the jarring yet powerful movements of herself and the young male dancer interspersed with protest photos, created an incredibly raw and vulnerable performance.

Left- Simon Wu and Oscar yi Hou Panel. Right - The Arm Wrestle of Chip & Spike; aka Star-Makers, 2020. Signed and dated verso. Oil on Canvas

After my self-guided tour of the first floor, I ran up to the fifth floor to catch the tail-end of Simon Wu and Oscar yi Hou artists' talk; they discussed their artwork, projects, writings, and identities as queer Asians. Simon discussed his newly published book, Dancing on My Own, which speaks about art and family. The book expands on his freshly graduated life from 2017 - 2022 as he navigated his identity, art, and fashion while keeping his optimism. I bought a copy, and Simon was kind enough to sign it for me; I can't wait to report on how I found it. Oscar brought attention to his work The Arm Wrestle of Chip & Spike; aka: Star-Makers (2020), which hung within the space. The work depicts himself and his best friend, a lesbian, as they firmly grasp each other's hands in solidarity with their queer identities. They both look toward the viewer, and Oscar frames the pair in a dark border covered with stars, a crane, a horse, and other elements. The work is colorful and electric, and Oscar's explanation adds a good humorous element. I'm upset I missed the beginning of their talk, as I've been a fan of Oscar's work since it appeared on the UOVO's Bushwick facility's facade. There was so much to see on the first floor that I lost track of time.

This review/recap only scratches the surface of some events that occurred over the two-day celebration. During my visit, live music was playing on the first floor. My guest came to meet me a little later, around 8:30 p.m. By then, the line stretched down to Mt Prospect Playground, and after waiting in line for 40 minutes, she was told they were at capacity. Let that be a warning: for the 201st celebration, get there before the sun falls! Happy Birthday to Brooklyn Museum. I'm excited to see what's in store next year! WM