Harlem, NEW YORK—This month, Art in Flux Harlem is featuring “Street,” a group show that explores the daily vulnerability we all experience each day as we navigate public streets. The exhibition of photographs, sculpture and paintings is on view at a storefront space on Adam Clayton Powell Boulevard. Later this month, another exhibit called “Artistic Noise” will debut at a location three blocks north. Art in Flux is a pop-up gallery that primarily promotes artists living and working in Harlem. Founded several months ago by special events producer Leanne Stella, the gallery hosted its first show in May.
“Street” features seven artists. Art in Flux describes the exhibit as an exploration of “both the seen and the unseen; those who are empowered to embrace their strength and those still searching for a way to be free of harassment and abuse.”
“Street” is on view at Art in Flux Harlem, located at 1961 Adam Clayton Powell Boulevard, from May 31 to June 28, 2012.
All photos by Arts Observer
Above, Art in Flux Harlem is currently exhibiting in a storefront space on Adam Clayton Powell Boulevard at 118th Street. Top of page, Photos by Bayeté Ross Smith.
Installation view: At left and right, Photographs by Bayeté Ross Smith. At center, a painting by Jay Miriam.
Hoodie, 2011 (marble) by Jonathan Elliott. Although the sculpture could be a refernce to Trayvon Martin, the Florida teen who was wearing a hoodie sweatshirt when he was shot to death by a neighborhood watch volunteer in a gated community, it was completed a year before the incident that has attracted national news coverage.
In foreground, clockwise from top, Photographs by Ruben Natal-San Miguel capture Harlem personalities: “Glamour Break Diva,” 2009; partial view of “Senorita’s Roach Killers,” 2011 (East Harlem); “Lady Money Sings The Blues,” 2011 (Harlem).
“Annette” (oil on canvas) by Eileen Burgess.
Photographs of Cuba by Matt Siffert.
At left, “Bull Target 11,” 2011 (archival inkjet print) by Bayeté Ross Smith, with two other images from his “Taking Aim” series, which he describes as an exploration of the dichotomy between “acceptable, condoned” violence and criminal violence.