NYC-Arts visits the Brooklyn Museum for “The Slipstream: Reflection, Resilience and Resistance in the Art of Our Time.” Whether it’s the pandemic, civil unrest or climate change, this exhibition of works by a diverse group of artists offers us new ways to reflect on the changes we faced in 2020 and beyond.

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> GOOD EVENING, AND WELCOME TO 'NYC-ARTS.'

I'M PAULA ZAHN.

WE BEGIN OUR PROGRAM TONIGHT WITH A LOOK BACK AT THE TUMULTUOUS YEAR 2020, AS REFLECTED IN WORKS OF ART ON VIEW AT THE BROOKLYN MUSEUM.

'THE SLIPSTREAM: REFLECTION, RESILIENCE, AND RESISTANCE IN THE ART OF OUR TIME' HIGHLIGHTS WORKS FROM THE MUSEUM'S COLLECTION OF GENERATIONS OF ARTISTS OF COLOR, FROM THE 1960s TO THE PRESENT DAY.

WHETHER IT'S THE PANDEMIC, CIVIL UNREST, OR CLIMATE CHANGE, THE EXHIBITION OFFERS US NEW WAYS TO REFLECT ON THE CHALLENGES WE FACED IN 2020 AND MAY EVEN SUGGEST A WAY FORWARD.

WE'RE STANDING HERE IN AN EXHIBITION ENTITLED 'THE SLIPSTREAM: REFLECTION, RESILIENCE, AND RESISTANCE IN THE ART OF OUR TIME.'

THIS IS AN EXHIBITION OF 50 ARTISTS FROM THE BROOKLYN MUSEUM'S CONTEMPORARY COLLECTION.

'THE SLIPSTREAM' IS ACTUALLY A TERM BORROWED FROM AERONAUTICS.

IT IS THE TURBULENCE THAT FOLLOWS A LARGE MOVING OBJECT.

WE ARE CURRENTLY IN THE SLIPSTREAM, WHICH OFFERS US A PERSPECTIVE FROM WHICH TO LOOK AT 2020, THE LARGE OBJECT THAT JUST PASSED.

KAREN DAVIS' NICOTINE SCULPTURE SEEMS PARTICULARLY RELEVANT FOR THIS MOMENT.

I SELECTED IT BECAUSE IT DEPICTS A HEALTH CARE WORKER, SEEMINGLY LOST IN HER OWN THOUGHTS, REGAINING THE STRENGTH TO MAKE IT THROUGH ANOTHER DAY.

ONE OF THE MOST STRIKING THINGS ABOUT 'NICOTINE' IS THE MATERIAL OUT OF WHICH IT'S MADE.

IF YOU LOOK CLOSELY, YOU MIGHT BE ABLE TO SEE THAT THOSE SHREDDED PIECES OF PAPER ARE MEDICAL BILLS AND SUGGEST THE ENORMOUS EXPENSE THAT'S OFTEN INVOLVED IN HOSPITALIZATION.

YOU CAN ALSO TELL THAT DAVIS WAS INTERESTED IN EGYPTIAN ART.

THERE'S A CERTAIN MUMMIFIED LOOK WHICH EVOKES THIS LONG TRADITION OF DEATH BUT ALSO PERHAPS OF ETERNAL LIFE.

THERE'S A MURAL BELOW HER FEET.

SO AS WE STAND THERE LOOKING AT THE SCULPTURE, WE SEE OURSELVES REFLECTED.

WE'RE IMPLICATED OR INCLUDED IN PART OF THIS SCENE.

OFTENTIMES, EQUESTRIAN STATUES ARE MADE OUT OF BRONZE OR MARBLE BUT 'THE COMMONS' IS MADE OUT OF CORK.

IT'S ESSENTIALLY A GIGANTIC BULLETIN BOARD WHERE VISITORS ARE INVITED TO LEAVE SOMETHING, A MESSAGE, AN OBJECT, FOR OTHERS TO SEE OR INTERACT WITH.

MONUMENTS ARE A VERY HEATED TOPIC AT THIS POINT BECAUSE IT HAS TO DO WITH WHO HAS POWER AND WHO THEN IS POWERLESS.

SO ONE OF THE THINGS THAT PAUL RAMIREZ JONAS' 'THE COMMONS' HAS DONE IS ADVOCATE FOR DETHRONING IMPERIAL POWER AND GIVING IT TO THE PEOPLE, WHICH I THINK MANY PEOPLE AFTER THE PAST YEAR ARE THINKING ABOUT.

HUGH LOCKE IS A LONDON-BORN ARTIST WHO GREW UP IN GUYANA.

IF YOU'VE EVER LOOKED AT BRITISH CURRENCY OR POSTAGE STAMPS, YOU MIGHT RECOGNIZE THE ICONIC PROFILE OF QUEEN ELIZABETH II.

HE HAS RECREATED THAT ICON OUT OF KITSCHY, INEXPENSIVE OBJECTS LIKE SWORDS, DOLL HEADS, AND BEADS, PRODUCTS THAT ARE CREATED GR GLOBALLY, A KIND OF CONTEMPORARY VERSION OF THE BRITISH EMPIRE.

THE TITLE OF THE WORK IS THE NAME OF THE LARGEST DIAMOND IN THE WORLD.

AT THE END OF THE 19th CENTURY IT BECAME A PART OF THE BRITISH COLLECTION OF JEWELS, SYMBOLIZING THE POWER OF THE BRITISH EMPIRE AT THE TIME.

HE'S LOOKING AT THE COLONIAL RELATIONSHIP BETWEEN GREAT BRITAIN AND THE REST OF THE WORLD.

ONE OF THE MOST STRIKING PIECES IS MEL CHIN'S PROJECT.

WHEN YOU LOOK AT THE PIECE, YOU'LL SEE A VERY LARGE VITRINE WHICH CONTAINS 7,500 BUNDLES OF WHAT APPEAR TO BE HUNDRED DOLLAR BILLS.

THEY WERE MADE BY CHILDREN AROUND THE COUNTRY.

WHILE YOU'RE CUSTOMIZING YOUR BILL, YOU ALSO LEARN ABOUT THE PROBLEM OF LEAD POLLUTION.

HE STARTED THIS PROJECT TO ENCOURAGE CONGRESS TO FUND A BILL FOR REMEDIATION.

HE MADE A CASE TO HOUSE OF BILLS, MAKING IT LOOK LIKE AN OFFICIAL GOVERNMENT PIECE OF FURNITURE, SO TO SPEAK.

HE ALSO CREATED A LARGE PLAQUE TO PUT BEHIND IT MADE OUT OF STYROFOAM, WHICH IS FLANKED BY STANCHIONS.

HE BALANCES HIS INTEREST IN ACTIVIST ART WITH HIS INTEREST IN CRAFT AND MAKING THINGS BY HAND.

THERE ARE SO MANY THINGS THAT VISITORS CAN COME AWAY WITH AFTER SEEING 'THE SLIPSTREAM.'

CERTAINLY YOU CAN SEE THE WIDE RANGE OF CONTEMPORARY PRACTICE.

YOU CAN ALSO SEE HOW ENGAGED ARTISTS ARE WITH THE WORLD AROUND THEM, PROVIDING A KIND OF REFUGE TO THINK ABOUT AND REFLECT UPON OURSELVES AND OUR PLACE IN THE WORLD AND WHAT THE WORLD CAN BECOME.