Site:Brooklyn

08/29/2026

Open Call! Link in bio

Site:Brooklyn is now accepting submissions for our online group show, “The Modern Portrait”

This is an online exhibition juried by Theadora Walsh

About the Call:
From the earliest cave paintings more than 20,000 years ago to the present day, portraiture has been an obsession of humanity. Its history has been shaped by competing impulses: a striving for likeness, the ennoblement of the subject, or a truth about the world in which the subject lived. What connects these impulses—and what the best portraiture attains—is a fusion of inner life and outer world. The ideas and methods of artists change over time, but the concerns of the form are ever-present. From Hans Holbein the Younger’s fastidious construction of the sitter’s identity, to Picabia’s deconstruction of the body’s form, to Paul Klee’s colorful abstractions, and into the photographic worlds of Man Ray and August Sander, the history of the portrait is capacious. The Modern Portrait, a new exhibition from Site:Brooklyn, seeks contemporary works in all media that engage with the portrait: as subject or as concept, as material or as metaphor.

About the Juror:
Theadora Walsh is an art critic and poet living in New York. Work has appeared in e-flux, Frieze, The Los Angeles Review of Books, ArtReview, BOMB Magazine, KQED Arts, and elsewhere. She is the author of The Almond (1080 Press) and currently works as Writer and Editor at SculptureCenter, in Queens. 

Final Submission Deadline: September 9, 2026 11:59 PM PT
Online Exhibition:  October 2, 2026 - November 2, 2026

Artist work from previous show:
Edward Mills
“JULIE + ONE”
Oil on canvas
24” x 18” x 2”

08/26/2026

Artist Statement from Jessica Baker

Her work is featured in our online exhibition, “Series: One Thing After Another” Juried by Matt Stromberg
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“I stopped making art when I became my mom’s primary caregiver during her final two years suffering from Parkinson’s and dementia. She lost her ability to verbally communicate during the last year of her life. I miss her voice. After she passed, I brought her artwork and the objects she treasured into my studio and began work on a series titled “Posthumous Collections” – creating from the things she lovingly touched countless times. The series explores the powerful relationship of mother and child and how time, aging and illness led to a role-reversal of the caregiving dynamic.

During my mom’s final years, she spent entire days staring at playing cards, touching and tearing them, holding them tightly if anyone tried to take them away. New cards were introduced when the old ones started to fall apart. Instead of throwing them away, I saved the remnants in a box.

The three artworks featured in this exhibit are part of the “Posthumous Collections” series. Each piece was created by re-assembling and repairing decks of my mom’s playing cards using her embroidery thread. She loved to embroider and continued until she was no longer able to hold the needle and thread. The process of repair was painstakingly slow as many of the cards were in pieces or missing.”
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Check out Jessica’s work and the rest of the exhibition at the link in our bio

08/23/2026

08/14/2026

Take a look into the practices and spaces of some of the artists in our current exhibition, “Art and Politics” juried by Guusje Sanders

08/07/2026

New Open Call! 📣📣📣 Link in bio

Site:Brooklyn is now accepting submissions for our online group show, “The Modern Portrait”

This is an online exhibition juried by Theadora Walsh

About the Call:
From the earliest cave paintings more than 20,000 years ago to the present day, portraiture has been an obsession of humanity. Its history has been shaped by competing impulses: a striving for likeness, the ennoblement of the subject, or a truth about the world in which the subject lived. What connects these impulses—and what the best portraiture attains—is a fusion of inner life and outer world. The ideas and methods of artists change over time, but the concerns of the form are ever-present. From Hans Holbein the Younger’s fastidious construction of the sitter’s identity, to Picabia’s deconstruction of the body’s form, to Paul Klee’s colorful abstractions, and into the photographic worlds of Man Ray and August Sander, the history of the portrait is capacious. The Modern Portrait, a new exhibition from Site:Brooklyn, seeks contemporary works in all media that engage with the portrait: as subject or as concept, as material or as metaphor.

About the Juror:
Theadora Walsh is an art critic and poet living in New York. Work has appeared in e-flux, Frieze, The Los Angeles Review of Books, ArtReview, BOMB Magazine, KQED Arts, and elsewhere. She is the author of The Almond (1080 Press) and currently works as Writer and Editor at SculptureCenter, in Queens. 

Submission Deadline: September 9, 2026 11:59 PM PT
Online Exhibition:  October 2, 2026 - November 2, 2026

Artist work from previous show:
Julia Foug
“Woman at Rest #27”
Oil
6” × 6” x 1.5”

08/06/2026

See Dominique Greene ’s work in our online exhibition “Art and Politics”

Juried by Guusje Sanders

Work Description:
‘Beijos For Us”
Photo lithography
21” x 21” x 0”

“‘Beijos for Us’ is a collaboration between photographer Tomorrow Blake Chapman and myself. This project began through a search for images of Black q***r women within institutional archives, where I encountered a striking absence of Black q***r women in both Black and q***r archival collections. Their absence reflects a lack of intersectionality in the ways Black and q***r lives have been documented, preserved, and remembered. In response, I turned away from institutional archives and toward the work of Black photographers within my own community.

In using this image, I was also conscious of the contested experiences of q***r women, whose love and intimacy are often oversexualized within popular media. In an attempt to both subvert this gaze and amplify their existence, I recreated Chapman’s photograph through digital manipulation and photolithography…

This work feels especially urgent in a moment when q***r people in the United States are increasingly targeted through political rhetoric and legislative action. Such attacks contribute to a broader climate of violence directed toward Black and q***r communities. Through this work, I aim to participate in the ongoing effort to document, uplift, and preserve the lives, relationships, and experiences of Black q***r people.”
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“Madonna and Child”
Inkjet and silkscreen
96” x 72”

“’Madonna and Child features a photograph of my mother holding me as a baby. In creating this work, I found myself continually returning to the fear, pain, and uncertainty that can accompany motherhood, particularly for Black women. Black women are three times as likely to die during childbirth, and in this political climate where reproductive justice and healthcare are being dismantled across the United States, an image of a Black woman holding her Black child becomes a symbol of perseverance and strength.”

08/05/2026

See Luyao Chang’s work in our online exhibition “Art and Politics”

Juried by Guusje Sanders

Work Description:
“The Passion”
Pigment mixed with silicon, steel chain
25” x 25” x 5.5”

“’The Passion’ is an allegory of the social contract between China’s government and its citizens. At the center of the installation is a flexible silicon sculpture as a deformed, star-shaped human hearts. The stars represent Chinese patriotism, the contradictions of life under a cruel, Fascist system that works in covert and subtle ways. As the state apparatus continues to expand, it requires its citizens to be soft, pliant, and mute.”
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“Double Braids”
Stoneware, glaze, crepe hair, thread
50” x 15” x 5.5”

“’Double Braids’ draws from traditional Chinese braided hair, symbolizing femininity, continuity, and mortality. The star-shaped heart appears as a suspended body, linked by chains that echo both braids and a mace. This parallel merges intimacy with violence, where identity becomes both origin and constraint. Reflecting on connections between fatalism, nationalism, and populism, the work considers how the body carries inherited structures of belonging, control, and loss.”

08/03/2026

See Sawyer Rose’s work in our online exhibition “Art and Politics”

Juried by Guusje Sanders

“The Carrying Stones Project “Artist Statement:
Women’s unpaid labor is one of the most thoroughly documented inequities in the world, and one of the least felt. For nine years, The Carrying Stones Project has been converting women’s invisible labor data into something you can see and feel, combining sculpture, portraiture, data visualization, and storytelling to close that gap.

I build large-scale data sculptures that translate women’s work into physical form. Each piece profiles a different woman who tracks her paid and unpaid hours for about three weeks using a custom timekeeping app I developed, logging everything: paid work, childcare, eldercare, housework, volunteer time. Each of her hours becomes a physical marker, and I build them into a sculpture that makes the paid/unpaid division of labor immediately obvious.
When the sculpture is finished, I bring it back to the woman whose data built it and photograph her carrying it, literally shouldering her burden of hours. This is where the project becomes most expressive, where you see that there is a real person and a real life behind the numbers.
The works profile women-identifying people across lines of age, race and ethnicity, sexual orientation, occupation, and socioeconomic status. I also choose participants whose stories speak to broader patterns in women’s labor, from academia and entrepreneurship to film and TV to same-sex relationships.

Activism requires an audience, but you can’t build a movement around work that no one can see. Gendered labor inequity has always had this problem. The imbalanced part of women’s labor loads is the work society has decided not to count, and those uncounted hours women spend holding everything together go undocumented and largely unnoticed…”

07/31/2026

See Caroline Bell’s work in our online exhibition “Art and Politics”

Juried by Guusje Sanders

Work Description:
“Stripped Autonomous Rights”
Soft sculpture
24” x 16” x 8”

“Sculpted from recycled memory foam, women’s clothing, and yarn, ‘Stripped Autonomous Rights’ makes commentary on how those affected by the ruling of Roe v. Wade getting overturned do not have the right to their own autonomy unless they are being consumed in the process. Hung from a meat hook on a clothing rack, Stripped Autonomous Rights explores how those affected by the overturning are treated as disposable unless they submit to the consumption of their autonomy. In contrast. the soft texture evokes a sense of empathy from the audience.”

07/28/2026

EXTENDED OPEN CALL 📣📣📣

We have extended our submission deadline so everyone can get their applications in for “Series: One Thing After Another ”

This is an online exhibition juried by Matt Stromberg
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Submission link in bio.
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Dates:
NEW Submission Deadline: TODAY July 28, 2026 11:59 PM PT
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Featured artist from previous show:
Heather Brown
“Tile” & “Earthenware”
acrylic, and oil on canvas
66” x 56” x 2”