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Current Exhibitions on View

Our Stories Carried Us Here exhibit poster

Our Stories Carried Us Here

On View from September 8 to December 10, 2021

Charles B. Wang Center Skylight Gallery, Jasmine Gallery, Zodiac Gallery

Our Stories Carried Us Here is an exhibition of an original and fascinating journey by Zaynab Abdi, Aziz Kamal, Craig Moodie, Karelin, Ruth Mekoulom, Alex Tsipenyuk, Zurya Anjum, Sergio Cenoch and Mary Anne Quiroz, Vy Luong, Amara Solomon Kamara—eleven immigrants and refugees from Chad, Guatemala, Jamaica, Kazakhstan, Liberia, Mexico, Myanmar (Rohingya), Pakistan, Philippines, Vietnam, and Yemen living across the United States.

The exhibition brings forward complex and challenging issues of race, religion, class, racial profiling, education inequality, systematic displacement and discrimination, mental health, disability, activism, and more to reclaim a narrative that has so often been shaped by hate, fear, and xenophobia.

Ten vibrantly illustrated stories co-created by first and second-generation immigrant illustrators that empower individuals of various backgrounds and act as a mirror and a light. They connect us all with experiences that inspire both hope and empathy.

This exhibition is based on the book titled, Our Stories Carried Us Here: A Graphic Novel Anthology, which is edited by Julie Vang, Tea Rozman, and Tom Kaczynski. Along with the foreword written by Thi Bui, book cover illustrated by Nate Powell, and published by Green Card Voices, a Minneapolis-based nonprofit organization that utilizes the art of storytelling to share first person narratives of America’s immigrants to establish a better understanding between immigrants and their communities.

The exhibition is co-presented by the Charles B. Wang Center and Green Card Voices ( www.greencardvoices.org)

Follow @ charlesb.wangcenter and @GreenCardVoices on social media

Books are available at the SBU Bookstore and www.greencardvoices.org/books/graphic-novel

Green Card Voices logo

 

 

Exhibitions Opening Reception

September 8, 2021 @ 5:00 PM – 7:00 PM
Skylight Gallery
Free Admission

RSVP here

To Be Sold: Virginia and the American Slave Trade exhibit poster

To Be Sold: Virginia and the American Slave Trade

On View from September 8 to December 10, 2021

Charles B. Wang Center Theatre Gallery

To Be Sold: Virginia and the American Slave Trade examines the American slave trade before the Civil War through the works of British artist Eyre Crowe (1824–1910). Crowe sketched scenes of this inhumane commerce that he would later develop into a series of illustrations and paintings, including his well-known Slaves Waiting for Sale (1853). 

The exhibition is organized into three sections: (1) “The Slave Trade and the Rise of Abolitionism,” which explores the slave trade in the Atlantic; (2) “Eyre Crowe and His Paintings,” which looks at Eyre Crowe’s works and how the iconography of abolition art evolved; and (3) “The Memory of the Slave Trade,” which examines the role of visual culture and the language of abolitionism in the transatlantic world. 

Audiences can view Crowe’s paintings in detail via video and streaming and listen to oral histories from formerly enslaved people recorded by the Works Progress Administration in the 1930s.  

To Be Sold is curated by Maurie D. McInnis, president of Stony Brook University. The exhibit is based on her book, Slaves Waiting for Sale: Abolitionist Art and the American Slave Trade (University of Chicago Press, 2012). 

The exhibition was first organized by the Library of Virginia with support from the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.   

Library of Virgina logo          National Endowment for the Humanities logo

Again exhibit poster

Again by Seongmin Ahn

On View from September 8, 2021 to May 31, 2022

Charles B. Wang Center Main Lobby

Again is a typographical mural by Brooklyn-based artist Seongmin Ahn, expressing her manifesto of overcoming the global COVID-19 pandemic. The mural is a cross-cultural exchange and community bonds, and it incorporates both Eastern and Western styles, motifs, ornaments, and symbols. The ornamented images celebrates "the beginning of a prosperous future again" in various languages, including Korean, English, Spanish, Chinese, and Hindi.

The mural has been installed in various communities in New York City, including the neighborhood of Corona, Queens, an area that was hit hard by COVID-19.
The Studio exhibit poster

The Studio:
Through a Surrealistic Lens

Long-Term Installation
Charles B. Wang Center Theatre Gallery

White, flat, dreamlike spaces, serving as thresholds between the inner, subjective self and the external, physical world, were a subject that fascinated the South Korea-based project group GREEM (a name that literally translates to “picture” in Korean). GREEM’s goal is to elicit feelings of strangeness, difference, curiosity, and fun in its audiences. Following a long and rich Surrealist tradition, GREEM draws inspiration from dreamlike narratives, absurd juxtapositions, and comic books for new graphic languages.

A huge, flattened, and cartoon-like artist’s studio in white and black is open, inviting viewers to live out their surrealistic fantasies. The realistic detailing of the artist’s studio also adds touches of humor, utility, and everyday-ness. As soon as the viewer enters the studio (which is carefully modeled and gives the illusion of a three-dimensional form), surrealistic dreams are triggered; the white, flat scene and the viewer’s point of view are disrupted.

The current exhibition is designed to be reproduced and seen on social media as much as it is meant to be enjoyed in its actual location. This imaginative exhibition crosses perspective, culture, and media.

Curated by Jinyoung Jin, Director of Cultural Programs at the Charles B. Wang Center, this exhibition is designed and presented by Project Group GREEM, based in Seoul, South Korea.

greem logo

Simplicity Over Complexity poster

Simplicity Over Complexity

Long-Term Installation
Charles B. Wang Center Outdoor Garden

Brooklyn-based Korean American artist Jongil Ma revives the Charles B. Wang Center's outdoor garden with architecturally woven sculptures, using varying lengths and types of thin wooden strips, both in their raw state and dyed in color. Three large, site-specific installations balance the positive with the negative, tranquility with tension, and stillness with movement. The installations interact with the Wang Center's architecture and spatial dynamics, transforming the garden through a multiplicity of viewing possibilities.

* The Charles B. Wang Center's exterior garden was cleaned up by Pi Lambda Phi Fraternity as part of their community service. A special thanks to Ahmed Shata, Andrew Zheng, Omar Sandresy, Dan Monessa, Dhaval Shah, and Brian Crosby.

Zen Rock Garden poster

Zen Rock Garden

Long-Term Installation
Charles B. Wang Center Outdoor Garden

Located on the first floor, in between the meeting rooms 101 and 102 at the Charles B. Wang Center, this Japanese rock garden (枯山水 karesansui) was created by Gerard Senese and his wife Hiroko Uraga-Senese as a tribute to the appreciation of Japanese culture. Japanese gardens are rich with symbolism, and they are usually created with certain meanings and wishes in mind. The Wang Center's new Zen garden features symbols of Buddhist paradises with a tortoise islet ( kame-jima) and a crane islet ( tsuru-jima). Made with rocks, the tortoise symbolizes prosperity and the crane symbolizes health and good luck.