José Parlá created the artwork which is done in the colors of the Barclays logo and meant to "capture the energy and vitality of the borough." It was inspired by James Agee's book "Brooklyn Is," which is about the author's "personal experiences of living in Brooklyn, watching Barclays Center being built, and the continued transformation of the borough."
|Image via Curbed|
Based on the image above, it's certainly classes up the sports facility (as do other art works, part of a trend that apparently began in Dallas), though I can't say Parla's abstract squiggles scream "Brooklyn." According to Parla's bio:
José Parlá’s paintings are composed from several distinct types of source material: the purely abstract (painterly) dabbing, gesture and layering of paint; collaged materials and detritus from the streets of the world (and that may include type or other writing and images); writing, which is easily the dominant material of these works, filling and often obscuring its contents in successive layers. Rarely is this written material actually fully legible in any of his works, usually it lies at the boundary between abstract marking and calligraphy, complicated and obfuscated by the palimpsest process he employs throughout.Invitation only
The unveiling, according to the invitation below, is 6 to 8 pm. RSVP is required. I wasn't invited.
Parlá’s work at the new BAM Fisher theater seems like a cousin:
And in Philadelphia
Coincidentally, I also got a notice for a new show at Crane Arts in Philadelphia, opening tomorrow night and hanging through January 26 , featuring painters Stuart Elster and Peter Krashes. The latter may be better known to AY-watchers as a leader of the Dean Street Block Association and Atlantic Yards Watch contributor.
From the press release:
Peter Krashes’ works are an examination and critique of power from personal experience. Krashes’ paintings are an extension of his work as a community organizer and leader in Brooklyn. The images in Krashes’ paintings are derived from photographs he takes from his public life. The paintings question where power resides; in the building that houses local or federal government, the camera that mediates our view of governance, or the home-made protest signs and children’s painted faces from political rallies.The Krashes painting above right is titled "Elected Officials are our Surrogates." Like a lot of works, it might also be called "Diary of Brooklyn."
Gallery 102 · Crane Arts Building · 1400 N American Street · Philadelphia, PA 19122