Currently On View:

Iโ€™M NEVER ALONE

SOLO EXHIBITION

Iโ€™m Never Alone, Goldenโ€™s debut solo exhibition, maps the artistโ€™s connection to Black aliveness through their ecosystem of chosen & blood family over the past 60 years. This multi-medium installation brings together the fabrics of Goldenโ€™s award-winning self-portraiture series On Learning How to Live and their debut poetry collection A Dead Name That Learned How to Live.

TBA

UP NEXT

JANUARY 2024

RECENT EXHIBITS

Works on exhibition are open for purchase. Purchase inquiries can be directed to office@brooklineartscenter.com.

GOLDEN

Iโ€™M NEVER ALONE

Iโ€™m Never Alone, Goldenโ€™s debut solo exhibition, maps the artistโ€™s connection to Black aliveness through their ecosystem of chosen & blood family over the past 60 years. This multi-medium installation brings together the fabrics of Goldenโ€™s award-winning self-portraiture series On Learning How to Live and their debut poetry collection A Dead Name That Learned How to Live. Exploring the languages of self & collaborative portraiture, family photo albums, sibling-made sculptures & fashions, visual odes & poetics, and the architecture of Black homemaking. 

By elevating the mundane, the human matter, and our makers, this exhibition highlights the tension between home & history, friend & family, audience & company. Shrinking the miles & years between Hampton, Virginia, Pocomoke City, Maryland, and Boston, Massachusetts to showcase that Black queer life has always been here. Forebearer to our own nations, foraging our own forgiveness, finding freedom inside & outside the home.

Golden (they/them) is a Black gender-nonconforming trans photographer, poet, & community organizer raised in Hampton, VA (Kikotan land), currently residing in Boston, Massachusetts (Massachusett people land). They are the author of A Dead Name That Learned How to Live (2022), a Lambda Literary Award Finalist for Transgender Poetry (2023), and the photographic series On Learning How to Live, an Arnold Newman Prize Finalist (2021), documenting Black trans life at the intersections of surviving & living in the United States. Their forthcoming hybrid poetry & photography book REPRISE will be released in 2025 with Haymarket Books. 

Goldenโ€™s published & collaborative work can be found on Instagram (@goldenthem_) or through their website goldengoldengolden.com.

Works in this exhibition were made in collaboration with bashexo, Chaney Carlson-Bullock, Julissa Emile, Cameron Golden, Edison Golden, Morgan Golden, Stephanie Golden, Tilden Golden, Chanelle John, Simone John, Mikayla Litevich, Zenaida Peterson, Charline Xu, and Kamaria Weemz. Support has been generously provided by the City of Boston, the Collective Futures Fund, the Isabella Stewart Gardner Museum, Mass Cultural Council, the Museum of Fine Arts, Boston, and Women Photograph.

Curated by Bean Pecorari

This exhibition is about the gender-queer lens, and features art by people who identify as transgender, non-binary, or gender-queer. With our common lens on the world, themes of community, nature, gender, and energy emerge as through-lines. This work is our bodies: it is objects going through transition, self-advocacy, and defying bodily expectations in literal and abstract ways. This collection of work is a declaration of the multifaceted experience. It is safety in nudity; evidence of reality, function, and surgery (and lack thereof). It puts trans artists in conversation with each other and acknowledges the lives weโ€™ve built past our traumaโ€“ because being trans is a part of our identity, but we are also so much more.

While this show may give you a glimpse into the trans lens, it is by no means a holistic representation of the entire gender-queer community. The trans experience is different for everyone; there are infinite variables including race, gender, sexuality, class, and ability. Different privileges and adversities influence the access we have to tell our stories. There are always more stories to be told.

This exhibition contains work from the following artists, you can find their other amazing work on instagram.

Leo Gielow

Journey Temple

Iz DeContreras

Annie Meyer

Campbell McLean

Hollie Sullivan

Indรซ

@mourningdoves

@understorycuration

@iz.decontreras

@anniemeyerstudio

@art_by_campbell

@gothgranma

@artbyinde

@bean_ceramics

@badnewsbucket

@plainboyceramics

@yve.ceramics

@bassic.diego

@luvlexibaby

Bean Pecorai

Emery Essex

Moon Rodriguez

Yve Holtzclaw

Diego Martinez

Alexis McGough

Questions about this show?

Please enter your inquiry here.

A CALL TO OUR ANCESTORS

Michelle Falcรณn Fontรกnez

A Call to our Ancestors is a multimedia series dedicated to honoring the ancestors that came before us. The project portrays various generations of Puerto Rican women, each symbolizing a different element of the culture as well as their roles in society. The series is composed of large photographic murals and art installations, touring within the Puerto Rican diaspora in Massachusetts.

"A Call to our Ancestors" was made possible with funding by Cambridge Arts, El Corazรณn/The Heart of Holyoke, the New England Foundation for the Arts' Public Art for Spatial Justice Program, with funding from The Barr Foundation, the Art Workspace Easthampton (AWE) Studio Residency Program, ECA Artist Grants Initiative and the Mayorโ€™s Office of Arts and Culture and the City of Boston.โ€

THESE, OUR BODIES

Works featured by:

Amanda Pickler | Heather Sabian | Lo Hennessey Marcella Kelley | Margaret Hart | Moriah Faith

The experience of the human body is vast, nuanced, and unique. Some of us are in constant battles with our body, experiencing daily pain and discomfort. Others have to navigate having their bodies be the topic of political rulings. The body cares for children, creates, destroys, and loves deeply. In this exhibition, we have created a space to celebrate these, our bodies.

FRACTURED & FOUND

Jessica Burko

โ€œMy work in the ongoing series, Fractured & Found, combines photography and encaustic medium inside reclaimed wooden drawers that are pieced into towering and teetering structures. The image transfers are largely fragmented self-portraits and their connection to areas of empty space suggest a disjointed existence. Through the juxtaposition and isolated compartments of broken moments and emptiness there appears to be room for breath, for rest, or intervals yet to be filled. 

The path I travel in making the work explores connections between interior being and being on display, creating emotional divisiveness while in demand by conflicting forces. Searching for balance between selfhood, motherhood, working, and rest, every role becomes compartmentalized, fitting into one another as a modular ever-changing form.

Incorporating found materials helps me feel grounded in whatโ€™s real and what exists outside of my head. The drawers symbolize not just boxes Iโ€™m trying to fit into, but also spaces once private, now revealed and put on display. Much of my work grows out of the battle between yearning for one thing but doing something else. The images and constructions combine with disjointed awkwardness, and through making the images and structures I traverse complex feelings while struggling to find place, meaning, purpose, and time.โ€

THE INFINITE MIRAGE OF RAPTURE

Jaina Cipriano

"These works communicate the complex grief of growing up as a woman in a culture dedicated to stifling authentic emotion and communication. This is especially precarious for those of us who fear abandonment, as it is easy, in our search for love and connection, to get caught in a web of codependency without any means of emotional salvation.

I am interested in creating a space where people with similar trauma can feel witnessed by others as the first step to liberation from this cycle of silence, the faรงade of isolation. My pieces depict cut-off subjects struggling to escape liminal spaces. When they realize no one is coming to save them, they seek the strength to save themselves."

DEGLASSIFICATION

Lindsy Marshall & Siena Hancock

Glass is a unique material. As a vitreous substance, its amorphous molecular state causes it to be given a completely separate classification from a solid, liquid, or gas. Artists Lindsy Marshall and Siena Hancock work with this distinctive material in ways that defy everyday expectations. Rather than creating a clear pristine form of glass, Hancock and Marshall both create artworks that toe the line of the materialโ€™s limits. Holding the roles of pseudo alchemists, chemists, and enchanters- their works are conglomerated from various methods and processes of glassmaking as well as the combination of different glass types and oxides.

 

XTENSION

 

Jameel Radcliff

I was taught to see all painting as abstract, whether I'm working with recognizable imagery or not. The work strays towards what I consider to be โ€œpureโ€ abstraction, where there's little to no recognizable imagery, but instead is a field of impasto marks and bright moments of color. Working with mixed media broadens opportunities for me to be more flexible with my work, as I am  able to bounce between using paint, collage and drawing elements in my Pieces. 

Itโ€™s very important to me that I paint almost instinctively, trying to remove the burden of whatever insecurities or self doubt comes with finishing and showing work. This painting is a product of that idea. As a child, I can remember sitting on the beach with my fingers in the sand. I wasn't making anything to impress or shock, there was no goal. I was just there, and I did it because I could. 

Nygel Jones

 My practice consists of constructing and painting wooden panel shapes and frames, in ways that extend beyond known existing geometric shapes. The frames are an extension of the shapes within. In my recent work, my subject matter is anything that I think about, which is interpreted through the shapes design, and colors being random. I find my art and process, a constant evolution in design and approach.  the process is like playing a strategic game with a specific equation in which every game is different and each piece and move has purpose. Itโ€™s a visual yet physical metaphor to a musician intuitively playing an instrument or a hobbyist building a Lego set.

EBENDA

Hartmut Austen

Ebenda is the German word for โ€œIbidemโ€, Latin for โ€œJust thereโ€ or โ€œAt the very same placeโ€. I use the title for its shortness and literal playfulness โ€“ however it also relates to an idea of place, presence and absence, as well as, a reference to our personal and shared experiences of the year 2020. With each of my works, I attempt to strike a balance between personal reflection on political and social currents, while simultaneously commenting on the artistic medium itself.


Thanks to Mark Cooper, Tatiana Flis, Haynes Riley, Fabio Fernรกndez and Joachim Homann for input with this show.

Tacit Facet: Small and Mighty

Curated by Camilo Alvarez, the show stays true to Alvarezโ€™s mission to explore the diversity of cultures and voices that continually shape contemporary art and ideas today. Featuring a mix of local and internationally acclaimed artists from New York to California and abroad, the group show explores themes of race, gender, class, and cultural identity. Tacit facet includes work by Radcliffe Bailey, Gloretta Baynes, Iona Rozeal Brown, Daniel Callahan, Don Claude, Ashley Doggett, Karen Eutemey, Marlon Forrester, Robert Freeman, Deborah Grant, Stephen Hamilton, Sedrick Huckaby, Lavaughan Jenkins, Anukriti Kaushik, Khalid Kodi, Peter Wayne Lewis, Steve Locke, Lester Merriweather, Kayode Ojo, Cierra Michele Peters, Lamar Peterson, Jordan Seaberry, Malick Sidibe, Lorna Simpson, Susie Smith, Henry Taylor, Chanel Thervil, Thukral & Tagra, Carrie Mae Weems, Fred Wilson, and Brittney Leeanne Williams. 

There is a staggering breadth of both thematic and artistic approaches represented within this show. Some artists tap into historical frameworks, as found in Stephen Hamiltonโ€™s multi-media works on paper inspired by pre-colonial African art history. Other artists draw from more contemporary spaces, such as Iona Rozeal Brown, whose large-scale, acrylic paintings reflect Japanese printmaking and the modern world of hip-hop.

The show highlights rising stars in the art world, while also redefining the work of established artists through Lorna Simpsonโ€™s prolific photographs and Carrie Mae Weemsโ€™ multi-media work. Bridging current and established, modern and ancient, historical and our contemporary moment, tacit facetโ€ฆsmall & mighty pushes viewers to expand understandings of race, culture, and identity not as a monolithic or binary experience but as richly multifaceted, multidimensional, and ever-changing.