Por Los Ojos De Mi Gente (Through the eyes of my Tribe)
Curated by Alanna Fields and Antonio Pulgarin
Opening: June 19, 2020
Exhibition dates: June 19 – July 24, 2020
Baxter St at the Camera Club of New York proudly presents Por Los Ojos De Mi Gente (Through the eyes of my tribe), a group exhibition that presents recent works by POC and Queer identifying lens-based artists. The exhibition is inspired by the pioneering transgender activists: Marsha P. Johnson and Sylvia Rivera and the legacies they left behind. Ms. Johnson and Ms. Rivera worked tirelessly to foster safe spaces for LGBTQ youth in New York City and those impacted by H.I.V/AIDS. They were vital figures in the Stonewall uprising that took place on June 28th, 1969 but their contributions to the uprising and the civil rights revolution that soon followed, are often left out of every Pride narrative. In recent years, a petition began to recognize their contributions to the movement but their exclusion from pride narratives unearthed deeper rooted issues within the LGBTQ community. Reacting to inequity in contemporary visual representations of people of color within the LGBTQ spectrum, the participating artists in this exhibition draw from their respective personal experiences and histories to create a multi-narrative account of the complexities surrounding Queer identity in America.
Participating Artists: Alanna Fields, Alexis-Ruiseco Lombera, Antonio Pulgarin, Derick Whitson, Felicita “Felli” Maynard, and Golden
Opening Reception: March 4, 2020 | 6–8 pm
Exhibition Dates: March 4 – April 18, 2020
Coffee Talk: Postponed until further notice
Baxter St at the Camera Club of New York is pleased to present Grey Matter by artist Betsy Kenyon and curated by Melanie Willhide, opening March 4, 2020.
How does one quantify or describe the experience of nonrepresentational, nonfigurative photography consisting only of gradient forms and geometric patterns — the kind of abstraction afforded traditionally to painters and sculptors? Grey Matter, Betsy Kenyon’s ongoing exploration of both traditional and invented darkroom techniques engenders the experience of form itself. The work plays with dimension, depth, and perspective, and suggests values of minimalism and psychedelia, free of literal subject matter, narrative, humanism, or statement. Kenyon deftly challenges the boundaries of photography, offers a new vision for the medium, and gifts us a greyscale language that is simple as it is profound.