BRIC Stands With Our Black Community

A Letter From Our President:

In this moment of profound reckoning for our country, I'm stunned by having witnessed so brazenly the ongoing consequences of whiteness being weaponized against Black bodies. I grieve for the Black lives taken from us: George Floyd, Breonna Taylor, Ahmaud Arbery, and many others. I'm also pained by the toll COVID-19 has taken on our country, our city, our borough, and our neighbors. KEEP READING >>

Periodically, BRIC invites artists and arts professionals to create a Short List of some of their favorite artists in the BRIC Contemporary Artist Registry curated around a common theme. The following is a Short List curated by Rick Herron.


/Head, Shoulders, Knees And Toes/ King of Limbs/ Coat of Arms/ Ghost In The Shell/ Ghost In The Machine/ Armed To The Teeth/ Try Not To Breathe/ Kimono My House/ Arms Akimbo/ In Limbo/ Phantom Limb/ Ghost Ship/ Out On A Limb/ Toothless/ Spirit Gum/ Street Spirit/ An Arm And A Leg/ An Eye For An Eye/ Tooth For Tooth/ Lend Me Your Ear/ We're Here, We're Queer/ I AM A Man/ Knock Kneed/ Limbless And Helpless/ Give Me A Hand/ I Gotta Hand It To You/ My Headphones/ Moving The Needle/ Needle Nosed/ Drop The Mic/ Arse Over Elbow/ Spiraling/ The Downward Spiral/ I've Fallen And I Can't Get Up/  

MICHAEL ALAN Michael Alan's practice is a self-sustaining ecosystem that generates music, drawing, painting, sculpture, photography, performance, and installation in an endless iterative cycle. Indefatigable and indecipherable, Alan is never not making art. A New York native, Alan's work is made for the street, the hospital, the studio, the gallery, the museum, the sidewalk, and the McDonald's. Pop art, street art, the Victorian, the surreal, and the avant-garde all collapse into a single dense mass that explodes as a supernova of creative output whose fuel seems inexhaustible. His Living Installation marathon salon happenings have been making a beautiful mess for thirteen years.  

DANNY COEYMAN Danny Coeyman marks time by letting it solidify in his hand, temporarily joined in an intimate handshake with a stranger as wet plaster sets in the negative space between their open fists. Clothes left behind by buddies, boyfriends, and hook ups are transformed into minimalist abstract portraits that eschew representation, but stubbornly hold on to stains, smells, and snags. Coeyman creates work in order to connect in a one to one, direct experience with his audience, his subject and event neglected parts of himself. If it is not generous, and does not form new bonds and relationships, he does not make it.  

KATE FAUVELL Kate Fauvell is a documentarian, archivist, activist, and eulogist. Collaborating with dancers, school children, her family, and lovers, Fauvell's loose gesture, saturated primary colors and attenuated forms coalesce into portraits of piquant emotional states in condensed time. Fauvell's process is therapy, is social life, is a lesson plan, is an opportunity for growth. She's just returned from an artist residency at MASS MoCA and is currently memorializing her grandparents in a series anthropomorphic canvases that incorporate their personal effects into the works.  

DANIEL GREENFIELD-CAMPOVERDE Daniel Greenfield-Campoverde, trained as an architect as well as an artist, uses the tropes of architectural drafting to represent the human condition in plan, section, and elevation. Distinguishing characteristics are emptied out so that bodies become pure line, vessels to be filled up or projected onto. Flags, symbols, and forms are stripped of their potent color so that nationality and individual identity become indeterminate and universally experienced. But for anything that's been gotten rid of, an opportunity for reinvention and rebuilding has been proposed to the right client with an intrepid, open mind.  

TROY MICHIE Troy Michie's collages combine the esoteric with the erotic. Culled from vintage porn pictorials, travel magazines and family photographs, Michie's works, often use negative space as a strategy to call attention to gaps in personal, historical and even ontological understanding. Desire is acknowledged, even celebrated, but body parts are quite literally objectified, completely divorced from their owner, then reassembled into an amalgam of tense, masculine energy. Family members are alluded to, but obscured, much the same way memories are constantly fading, reemerging and combining. Michie's personal interests and narratives, expressed in economical compositions that make the most of everyday materials, serve to initiate complex, ambiguous dialogue in the mind of the audience about sexuality, race, history, and aesthetics.  

JJ MIYAOKA-PAKOLA JJ Miyaoka-Pakola's work cleverly dances along the edge of several classic dichotomous relationships: quiet/loud, tradition/innovation, figure/ground, East/West, sincerity/irony, historical/contemporary, brash/humble, disciplined/spontaneous. Often presented as diptych compositions, Miyaoka-Pakola expertly creates a taut balance between elements in his works that snap one's senses into the present moment like a sudden burst of bright citrus. In addition to Miyaoka-Pakola's ability to find new territory for his abstraction to explore, his attention to fine detail and masterful craftsmanship make it a pleasure to stay with each work until the next will be revealed.

JULIA NORTON Julia Norton makes paintings about the architecture of childhood nostalgia. Her work functions as urban planning for space colonies, or blue prints for a vast bio-dome to usher in a neo-Cambrian explosion of unimaginable flora. In a new series of photographs called Dark Level: Process, made in collaboration with artist Max Steele, detached hands reach in from the edge of the frame to stretch, tear, and pull at a thin veil of fabric appearing to distort the fabric of the universe itself. Created to accompany written works by Steele, Norton's Dark Level series doesn't so much illustrate the text as haunt it.


ABOUT THE SHORT LIST CURATOR

Rick Herron is a curator, artist, writer and museum worker from Plattsburg, MO. Most recently he co-curated Powerful Babies: Keith Haring's Impact on Artists Today with Bill Arning for Spritmuseum in Stockholm, Sweden. He has also curated projects and exhibitions for The Leslie-Lohman Museum of Gay and Lesbian Art, New Museum, The LGBT Center of New York, VisualAIDS, Chashama, Cindy Rucker Gallery and others. Herron has participated in projects with Elmgreen & Dragset, Carsten Höller, Dis, The Kitchen, palissimo, fluxconcert, Our Hit Parade and many others. In 2013-14, he was the Curatorial Fellow in the Queer/Art/Mentorship program, working with independent curator Pati Hertling and film writer/director Ira Sachs. Rick lives in New York City and works in Visitor Services at the New Museum.