Site:Brooklyn

Site:Brooklyn Site:Brooklyn Gallery is dedicated to exhibiting the current practice of contemporary artists.

Site:Brooklyn is dedicated to exhibiting a wide range of emerging and mid-career artists. The gallery invites artists, curators and writers to engage in lively exhibitions, criticism and the exchange of ideas through art, reflecting our times and shaping our culture. OnSite:Brooklyn is a street level gallery located in the heart of the Gowanus arts district .

See WALL 3 in our online exhibition “Landscape Natural and Urban”Juried by Tatum DooleyLink in bio!Alex Clark / Elise Da...
05/27/2026

See WALL 3 in our online exhibition “Landscape Natural and Urban”

Juried by Tatum Dooley

Link in bio!

Alex Clark / Elise Dahan / Julie Glass / Casey Inch / Patricia Ingersoll / Deborah Kennedy / Kyle Kogut / Kenneth Millington / Rita Myers / Anya Lin Pertel / Mel Smothers / Lili White

DOOM GLOOM sounds about right! The text of Kyle Kogut’s multimedia work rings true: things aren’t going great, the climate is changing, birds are going extinct, the world is on fire, the end is near. Often, these realities go unseen; here, the artists bring them to the forefront. 

These works prove that landscapes don’t have to be serene: they can be blood-red, on fire, and infused with the realities of life. What’s notable is that, despite heavier topics, the work doesn’t lose sight of hope. In fact, the act of art making is inherently imbued with the desire to propel something into the future.  

“Landscape in my work is both a witness and a metaphor. Elemental forces shape the narratives found within: storms, erosion, fires of unknown origin. Destruction and healing unfold in the same breath: ash nourishes new growth, ruin clears ground for renewal,” Casey Inch writes about his painting of a field aflame. “These paintings can be viewed as disappearing or emerging, hopeful or foreboding, elusive or already a memory. They are at once celebratory of the wonder of the natural world as well as a reminder of all that we have to lose.” 

I’m drawn, especially, to the work of Julie Glass. Lakeview After Katrina is made from the wood of a house that was swept away after the levee along the canal broke during Hurricane Katrina. The fragmented photographs were taken by Glass during the crisis and are now assembled in a gesture of resilience.

OPEN CALL EXTENSION  📣📣📣We are extending our open call for “Art and Politics” till tonight, May 19th, 2026 11:59 PM PT!-...
05/19/2026

OPEN CALL EXTENSION 📣📣📣

We are extending our open call for “Art and Politics” till tonight, May 19th, 2026 11:59 PM PT!
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Juried by Guusje Sanders
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LINK IN BIO
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Dates:
NEW Submission Deadline: Today May 19th, 2026 11:59 PM PT
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Featured work from previous artist:
Martin Brief
“Constitution”
Ink on paper
11” x 15”

See WALL 2 in our online exhibition “Landscape Natural and Urban”Juried by Tatum DooleyLink in bio! Susanne Babies / Ste...
05/17/2026

See WALL 2 in our online exhibition “Landscape Natural and Urban”

Juried by Tatum Dooley

Link in bio!

Susanne Babies / Stephen Barton / Julia Berkman / Cassandra Chalfant / Tom Crawford / Gerrit van Ommering / Yidong Ding / Clint Eccher / Steven Epstein / Julie Griffin / Julia Kohane / Alison Kruse / Katherine Nagel / Shane Neufeld / Xinyi Cindy Zhang

When I took a step back and looked at the curation for this exhibition from afar, I was taken by the twin compositions of some of the work. The painting by Alison Kruse of a shoreline almost perfectly lines up with the surrealist collage by Julia Kohane. Is this the same beach? Two distinct experiences of the same place? In other works, artists depict similar experiences in different places. 

By noticing patterns in composition, I began to understand how familiar forms can be used to create a framework for complex themes to be layered. 

Perspective plays a huge role in depictions of landscape. The famous vanishing point so often found in landscapes is succinctly articulated by Julia Berkman in the form of abstraction. Sky above, land or sea below. I take comfort in this line, unreachable no matter how far one travels, in the stillness of Stephen Barton’s photograph and in the outreaches of the city in Julie Griffin’s painting. The landscape invites the viewer to enter. 

Then, there are the artists who forgo the vanishing point altogether, instead offering an intimate view of the landscape. The footsteps depicted by Yidong Ding, so slight and ghostly, one thinks of the coldest day of the year, of losing something in a dusting of snow and having to re-trace one’s steps. An entire story plays out in between the inches of 12 x 16.

Open Call!  📣📣📣 Link in bio. Site:Brooklyn isaccepting submissions for our online group show, “Art and Politics”This is ...
05/15/2026

Open Call! 📣📣📣 Link in bio.

Site:Brooklyn isaccepting submissions for our online group show, “Art and Politics”

This is an online exhibition juried by Guusje Sanders

About the Call:
The relationship between art and politics is one of the most enduring, and contested, domains of human experience and expression. How do we represent, or give form to, the patterns of collective life, and what do those shared realities do to the practice of creating art? Some insist that one should take a side in political struggle, while others claim that art is unique in existing in a realm beyond. However, art and politics both draw, sometimes beautifully, sometimes painfully, sometimes absurdly, on a shared root of human experience, on the material of life. Site:Brooklyn invites submissions from across all mediums that explore the connection between artistic creation and political life.
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Dates:
Submission Deadline: May 18, 2026 11:59 PM PT
Online Exhibition: June 13, 2026
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Work from previous artist:
Scott Glaser
“Incarceracism - Nelson Mandela”
Fabric bandage mosaic on Arches watercolor paper
49.25” x 37.25” x 4”

See WALL 1  in our online exhibition “Landscape Natural and Urban”Juried by Tatum DooleyLink in bio! WALL 1Rosemary A. L...
05/14/2026

See WALL 1 in our online exhibition “Landscape Natural and Urban”

Juried by Tatum Dooley

Link in bio!

WALL 1
Rosemary A. Luckett / Dustyn Bork / Gregory Hennen / Elena Loderer /  Kristin Malin / James Mullen / Patty Neal / Stan Schnier / Janet Stafford / Loraine Stephanson / Huy Truong / Hanying Xu

These works encompass all that a landscape can be. A trompe l’oeil, a moment of abstraction, a darkroom photograph. Each work in this series exists with a spectrum: what can be seen and what is unseen; what is known and what remains a mystery. These works transcend physical location, offering insight into a moment in time. 

James Mullen creates a trompe-l’œil of photographs and pieces of paper taped over a traditional landscape painting, drawing attention to the painting’s various planes. “In this relationship I am compelled by photography’s ability to document, witness and construct visual meaning, and painting’s ability to reflect an accretion of experiences, time, and the human touch,” writes Mullen. This visual representation shows the way a landscape can be accumulated through layers of making and looking 

Speaking of photographs: Seen as a small tile on my screen, I was convinced that Patty Neal’s work was one— I kept returning to it because of the quality of the light. It wasn’t until I really looked that I realized my mistake: this is an oil painting. Despite knowing better, my brain kept looking at it as if it were a photograph. This perhaps has something to do with Neal’s source material: her own photography, which she often collages into a final composition.

I don’t mean to suggest that a work’s worth is elevated by being a painting rather than a photograph. Photographs have their own merit, as seen in Stan Schnier’s dreamy photograph that reaches back into the past. “I was thinking about what the harbor looked like in the late 1800’s when many of my ancestors arrived in the harbor and what it might have looked like, assuming it was not necessarily all bright and sunny and warm like in the movies,” writes Schnier.

05/07/2026

Our online group show, “Landscape Natural and Urban” is now live!

Juried by Tatum Dooley

Check it out at the link in our bio.
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See Mark Gens’s work in our online exhibition “Geometry The Shape of Things”Juried by Hannah Sage Kay--Artist Statement“...
04/30/2026

See Mark Gens’s work in our online exhibition “Geometry The Shape of Things”

Juried by Hannah Sage Kay
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Artist Statement
“In the Western canon, geometric precision is often framed as the height of enlightenment and divine order. This work inverts the narrative, interrogating geometry as an architect of systemic control. I examine how ordered form, long celebrated as a pathway to progress, functions as a tool that divides, contains, and ultimately neutralizes the human subject.
 
In this body of work, the square is not a geometric ideal, it is the architecture of a prison cell. The straight line is not a pathway, it is a barricade. Redaction enforces unknowing. Pixels dematerialize our bodies.
 
Reflected in the tufted mirror background our image is fractured and distorted, shifting us from witness to subject. No longer an outside observer, we inhabit the sites where agency is sacrificed to geometry. We are no longer merely looking at art; we are caught in the same forms of control we are attempting to critique. The architecture of power shapes the limits of our agency and the way we perceive our own dimensions.”
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See Sean Livingstone’s work in our online exhibition “Geometry The Shape of Things”Juried by Hannah Sage Kay--Artist Sta...
04/30/2026

See Sean Livingstone’s work in our online exhibition “Geometry The Shape of Things”

Juried by Hannah Sage Kay
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Artist Statement:
“As an artist, I work in series. Currently, I am exploring ideas, methods, and materials to remove my hand from my work. I have turned to my collections and archives (audio cassettes, vinyl records, magazines, crossword puzzles, dry transfer sheets, etc...) for form and medium. I feel that by doing so, I can explore ideas more thoroughly.

Themes found within my work often deal with anonymity, authorship, surrogates/copies, loss, violence, memory, sentimentality, and the darker undercurrent of American culture

I currently live and work in Brooklyn, NY”
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Work Description:
“Exiting Machine: projection bay”
found paper, audio cassette tape, plexiglass, acrylic sheet
20” x 16”
2024

Exiting Machine series:
Throughout this series, I am exploring the idea of movement from stagnant space and uncertainty through systems of passage (portals, pathways, and windows)—from outside to inside, existence to non-existence, and presence to absence.

I have presented these works as a kind of schematic or exploded view of machines/transport systems by using found paper, plexiglass, acrylic sheet, and audio cassette tape.
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See David Hutchinson’s work in our online exhibition “Geometry The Shape of Things”Juried by Hannah Sage Kay--Artist’s S...
04/30/2026

See David Hutchinson’s work in our online exhibition “Geometry The Shape of Things”

Juried by Hannah Sage Kay
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Artist’s Statement:
“My primary focus is the nature of communication, particularly the cross-over and crossfertilization between textual language and visible language. Throughout my practice I have devised two methods to ‘translate’ words and phrases from written text into a visual vocabulary: a) By using color to stand in for the letters of the alphabet based on color names (A=Aquamarine, B=Blue, C=Crimson, etc.); and, b) By using the numerical count of a letter as it occurs in the alphabet (A=1, B=2, C=3, etc.). In ‘Predator to Savior (Black)’, I utilize the count method (with corresponding chromatic translation strips, placed vertically on the paintings’ outside edges). Here, two ‘opposing words’ are placed side by side (Angel/Animal, Predator/Savior) with graduated black-towhite numerical blocks for each letter. Doing this describes how opposites blend together to become two sides of the same coin. They create a grinding, almost mechanical, movement into each other.”
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New Open Call 📣📣 link in bio!Site:Brooklyn is now accepting submissions for our online group show,“Art and Politics”This...
04/29/2026

New Open Call 📣📣 link in bio!

Site:Brooklyn is now accepting submissions for our online group show,
“Art and Politics”

This is an online exhibition juried by Guusje Sanders

About the Call
The relationship between art and politics is one of the most enduring, and contested, domains of human experience and expression. How do we represent, or give form to, the patterns of collective life, and what do those shared realities do to the practice of creating art? Some insist that one should take a side in political struggle, while others claim that art is unique in existing in a realm beyond. However, art and politics both draw, sometimes beautifully, sometimes painfully, sometimes absurdly, on a shared root of human experience, on the material of life. Site:Brooklyn invites submissions from across all mediums that explore the connection between artistic creation and political life.

Dates:
Submission Deadline: May 18, 2026 11:59 PM PT
Online Exhibition: June 13, 2026

Work from a previous artist:
Diana Schmertz
“But It Does Happen... (close-up)”
laser cut watercolor paintings on paper
11” x 8.5” x .04”

“’But It Does Happen…’ is an installation dealing with the devastating aftermath of the overturning of Roe v. Wade. As new laws take effect, children and adults are getting r***d, pregnant, and forced to bring unwanted pregnancies to term. FBI statistics estimate that 167 females and 1 “unknown” were r***d every day in America in 2022, the year the Dobbs v. Jackson’s ruling gave power to the states to make abortion illegal.

I painted 168 portraits of girls, women, and people with uteruses in a mugshot format to convey how r**e victims are being criminalized for wanting to abort a forced pregnancy...”
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       artandpolitics

Address

165 7th Street
Brooklyn, NY
11215

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Wednesday 1pm - 6pm
Thursday 1pm - 6pm
Friday 1pm - 6pm
Saturday 1pm - 6pm

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+17186253646

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