Foundation News

Open House Sundays

June 12th, 2016

Open House Sundays at The Brant Foundation

1-3pm on the following dates:

June 12th, 19th, 26th
July 10th, 17th
August 28th
September 4th, 11th

On view:

 Jonathan Horowitz: Occupy Greenwich

Parking for The Brant Foundation’s open house Sundays will be located at Greenwich Polo Club. A designated parking area will be on your immediate left before Greenwich Polo check-in. If you wish to stay for the polo match please proceed to Greenwich Polo check-in to purchase a ticket. You may also purchase a discounted ticket online at:

Please contact us with any questions: 203-869-0611 or

About Occupy Greenwich:

Opening amid the presidential election season, the exhibition is comprised mostly of work made over the course of Barack Obama’s eight-year presidency. As such, the exhibition presents a timely opportunity to examine Horowitz’s ever-evolving practice within the context of the current political landscape.

Since the early 1990s, Horowitz has created work that combines the imagery and ambivalence of Pop Art with the engaged criticality of conceptualism. His work in video, sculpture, painting and photography examines the deep-seated links between consumerism and political consciousness, as well as the political silences of postwar art. Recent painting projects have explored the personal psychology of mark making, at times prominently employing the hands of others. Appropriation of both pop cultural and art historical sources figures heavily in the show, with imagery transformed through both technology and the human hand.

Anchoring the exhibition is the installation November 4, 2008, which re-stages the day eight years ago when Obama was elected president. In the piece, 19 hours of CNN and Fox News coverage (originally presented as live feeds) play on back-to-back monitors in the center of a room. Red and blue carpets divide the space into opposing sides and 42 official presidential portraits circle the room, with Obama’s portrait in waiting on the floor.

Upon arrival at the Foundation, viewers are confronted by a functional solar panel sculpture on the lawn, which powers Horowitz’s video Apocalypto Now inside. Using found footage, the film weaves narratives on the history of the Hollywood disaster movie, climate change, terrorism, and the Christian apocalypse. In another room, a human scale, bronze statue of Hillary Clinton greets visitors. Rendered in the style of a 1970’s greeting card figurine, the sculpture is captioned “Hillary Clinton is a Person Too,” evoking Clinton’s vilification as both a political leader and a powerful woman.

Notwithstanding its political undertones, viewer participation and social interaction are recurring tenets of Horowitz’s work. A sculptural installation titled Free Store invites viewers to leave objects that they wish to discard and take away whatever they would like. Another work, Contribution Cubes, is a series of Plexiglas donation boxes each dedicated to a different charitable or political organization. Suggesting minimalist sculpture and relational aesthetics, the work describes the population that passes through the exhibition space through the varying donation amounts that accumulate. 402 Dots, the first of Horowitz’s Dot Paintings, is a monumentally scaled work comprised of 402 canvases, each painted by a different person. Participants in the project were instructed to paint a perfect, solid black dot with an 8-inch diameter in the center of a 12-inch square canvas, using only provided paint and brushes. The resulting dots all differ in size, shape, position, and texture. The paintings are hung in a brick pattern, suggesting a blown-up field of irregular Ben-Day dots. Like a vast population, together they create a paean to human struggle, acceptance, and individuality.


Current Exhibition

Mike Kelley: Singles’ Mixer

New York May 17th to June 29th, 2024

  • Singles' Mixer

Singles’ Mixer is one of 31 “reconstructions” that constitute Kelley’s ambitious and carnivalesque Day Is Done (2005/6), an operatic installation of American proportions. Day Is Done consists of vignettes, videos, and sculptures that depict narratives Kelley abstracted from a collection of high school yearbook photographs, gleaning action from after-school activities and characters from adolescent outcasts. Kelley’s live-action interpretations imbue the source material—imagery of extracurricular clubs, sports, dances, and more—with a psychological unease stemming from socially accepted rituals. The constellation of these farcical reenactments juxtaposes a lingering anxiety against activities ripe with youth and banality; Day Is Done in its entirety speaks to the cult of cultural and institutional rituals and their haunting effects from adolescence through adulthood.

Born in 1954 in Detroit, Michigan, Mike Kelley received his BA in 1976 from the University of Michigan and his MFA in 1978 from the California Institute of the Arts. Prior to his passing in 2012, Kelley had solo exhibitions at numerous institutions worldwide, including the Musée du Louvre, Paris; the Institute of Contemporary Arts, London; Tate Liverpool; the Museum Moderner Kunst, Vienna; the Los Angeles County Museum of Art; the Whitney Museum of American Art, New York; and the Hirshhorn Museum and Sculpture Garden, Washington, DC, among many others. A retrospective of his work was held at the Stedelijk Museum Amsterdam in 2012 and subsequently traveled to MoMA PS1, Long Island City (2013); the Centre Pompidou, Paris (2013); and the Museum of Contemporary Art, Los Angeles (2014).


[1] Mike Kelley, interview by Art21, Art in the Twenty-First Century, season 3, episode 2, “Memory,” September 23, 2005,


Image: © 2024 Mike Kelley Foundation for the Arts. All Rights Reserved / Licensed by VAGA at Artists Rights Society (ARS), NY. Photo: Fredrik Nilsen