Through a sculptural garden installation, local artist, Iviva Olenick is "greening" the exterior of the Invisible Dog, celebrating contributions of native and nonnative plants (and peoples) to the (bio)diversity of Brooklyn through Plant(n)ation: Brooklyn As Farm. The project will debut on March 9, 2019, with new blooms appearing throughout the spring, summer and fall, and public harvests in late summer–fall.
In celebration of the Open Studios and Season Ten, The Invisible Dog presents Friend of a Friend: A Group Show Curated by the Creatives of the Invisible Dog, featuring the work of 25 artists, each selected by the 25 artists of the Invisible Dog Art Center.
Houston-based artists Nick Vaughan and Jake Margolin present two new pieces, the fifth in their ongoing series of interdisciplinary installations that connect little known LGBTQI2 histories from each state to contemporary queer experiences (50 States: Arkansas) and a five channel video installation featuring drag performers from Eastern Oklahoma (Political Gestures).
Dataatadata: Everything and Nothing is an immersive sound installation that centers around a 30 day performance and the creation of an intricate, large scale mandala.
For Important Portraits, Kalen Hollomon presents a series of hand drawn, enlarged copies of found amateur police and memory sketches that seek to explore relationships between perception and reality, intention and bias, communication and reproduction.
The installation consists of a series of glass orbs, suspended and connected in a hybrid style of shibari and ukidama, or Japanese fishing floats. Each orb holds a floating artifact of the artist’s relationship with a member of their community.
SEED / POND is an exhibit that seeks to bridge the divide between internal and external perception by offering large-scale algorithmic ink drawings to ponder as well as the opportunity to physically navigate through a gallery-wide floor drawing installation.
Unfounded is an installation sewn, welded and kept in the Glass House by craftsman/artist Calvin Stalvig, it meditates and contends with a history and home, poverty and being raised as the eldest black son of a family led by two white women. Of the many questions Unfounded asks, one Stalvig sits with is, “What does the house built by a man look like, when he is raised to build homes without a father?”