Site:Brooklyn

Call Directions Website Contact the museum

Site:Brooklyn Site:Brooklyn Gallery is dedicated to exhibiting the current practice of contemporary artists.

Site:Brooklyn is dedicated to exhibiting a wide range of emerging and mid-career artists. The gallery invites artists, curators and writers to engage in lively exhibitions, criticism and the exchange of ideas through art, reflecting our times and shaping our culture. OnSite:Brooklyn is a street level gallery located in the heart of the Gowanus arts district .

Alexandra Bloch’s artists statement for her work “Pnina” in our online exhibition The Modern Portrait” Juried by Theador...
10/14/2026

Alexandra Bloch’s artists statement for her work “Pnina” in our online exhibition The Modern Portrait”

Juried by Theadora Walsh

“A native New Yorker, I discovered my passion for painting and drawing as a child. One of my earliest memories is making drawn copies of the paintings in my parents’ collection of hardbound books of the Old Masters.

After a liberal arts education that included painting, drawing, art history, foreign languages, and travel, I continued studying with established artists at the Art Students League of New York and the School of Visual Arts as well as with instructors from Philadelphia-based Studio Incamminati.

Since then, my artwork has been exhibited in group shows across the United States and several solo exhibitions in North Carolina.

I paint in a realistic style deriving great pleasure from molding color, shape, and value into illusions of three-dimensional forms on the two dimensional surface of canvas or paper. My subjects are portraits, whole figures, partial figures, and still lifes. I create art that features just one or few people or objects offering the viewer a retreat for the eye and spirit. These are contemplative glimpses of a simple scene rather than a wide view of a jumbled world.

When not working in my studio, I enjoy traveling, yoga, baking, and spending time in the outdoors. Before moving to Charlottesville, Virginia where I currently reside, I lived in North Carolina, New York City, Seattle, Washington, DC, Kiev, Berlin, and Grenoble.”

See Laurie Batter’s work in our online exhibition “The Modern Portrait” Juried by Theadora WalshIndividual Work Descript...
10/11/2026

See Laurie Batter’s work in our online exhibition “The Modern Portrait”

Juried by Theadora Walsh

Individual Work Descriptions:
“The Thread Between Us”
A faint photograph from the first decade of the 1900s provided the starting point for this painting, showing Jennie with two close, lifelong friends during a vacation in the Catskills. As a young mother in New York, Jennie supported her family by sewing beautiful undergarments for wealthy women. The work reflects on friendship, shared time, and the fragments of a life that continue across generations.

“What Remains of Us”
This painting was influenced by a small, timeworn photograph of my childhood in the early 1950s, capturing a family moment whose emotional meaning has changed with time. The three children—myself, the youngest, and my two older siblings—appear together, while another child was soon to be born. Each occupies a separate emotional space. Through layering, erasure, and fragmented forms, I explore how memory reshapes our understanding of childhood, family, and the moments that remain with us.

See Adele Soll Aronson’s work in our online exhibition “The Modern Portrait” Juried by Theadora WalshAdele Soll Aronson“...
10/08/2026

See Adele Soll Aronson’s work in our online exhibition “The Modern Portrait”

Juried by Theadora Walsh

Adele Soll Aronson
“The Mama”
Oil on stretched canvas
52.2” x 75.6” x 1”

10/05/2026

“The Modern Portrait” online exhibition is now live!

Juried by THEADORA WALSH

“When I think of the modern portrait, I think of the shift to modernity more generally: the construction of self-determination through national revolutions, industrial progress and its invention of new forms of leisure, and the emergence of the subject as an individual rather than an anomalous member of a class, dynasty, or religious group. Prior to this epochal shift, portraiture had been a form of deification, a way of fixing gods and kings into perpetuity. In early modernity, those same techniques began to be applied to ordinary people: merchants, soldiers, artists, wives, children. At the same time, interior life was becoming newly legible. For much of human history, we had no language for consciousness as we understand it now. The internal voice with which we speak to ourselves was attributed to an angel, a demon, or God. With modernity came an understanding of self-referentiality, and with that an aesthetics guided by internal principles.
If pressed to think of the first modern portrait, a thought exercise I attempted when I learned of this exhibition’s thematic framing, I’d suggest David’s The Death of Marat. Drawing on his bellicose classical training in Paris and studies of the Renaissance masters, in his famed portrait David turns the French revolutionary into a modern saint: Marat arranged in his bath like a pietà, his body christened in a warm amber light. The modern portrait is characterized as much by its subject as by the individualized painter, and their own subjectivity. This duplicity invites an array of new aesthetic techniques.”
-Theadora Walsh

Check our online exhibition, “Series: One Thing After Another”Juried by Matt Stromberg WALL 5: CONCEPTUALISMDYLAN DEWITT...
10/01/2026

Check our online exhibition, “Series: One Thing After Another”

Juried by Matt Stromberg

WALL 5: CONCEPTUALISM
DYLAN DEWITT / CHRISTINE GAFFNEY / JUDITH G LEVY / MAHDI DOLATYARI / YIK HENG LEE / JOYCE POLANCE / KIRSTEN SIMONSEN

The final wall features artists whose use of seriality is rooted in a conceptual framework. Dylan DeWitt’s carefully-constructed works cheekily raise questions about artifice and authenticity. Through performance and sculpture, Christine Gaffney offers a feminist rejoinder to minimalism’s phallocentrism. Judith G. Levy uses repetition to harrowing effect in her memorial to murdered trans and non-binary individuals. Mahdi Dolatyari uses Persian calligraphy to investigate slippages in meaning and understanding, while Yik Heng Lee explores how the meaning of an appropriated image shifts, as it moves from photograph to woven pattern. Joyce Polance’s paintings of her therapist upend the established relationship between therapist and patient, while engaging issues around memory and recognition. Named after songs by the Eagles, Kirsten Simonsen’s tranquil color field postcards take on a darkly ironic tone, conjuring commodified paradise and despoiled nature.

Check our online exhibition, “Series: One Thing After Another”Juried by Matt Stromberg WALL 4: THE BODYNICOLE BELLE /ROX...
09/30/2026

Check our online exhibition, “Series: One Thing After Another”

Juried by Matt Stromberg

WALL 4: THE BODY
NICOLE BELLE /ROXANNE DARLING / MANAS RANJAN / EMMA SCHWARTZ / CERES MADOO / MARY PORTERFIELD / HUMNA RAZA / KIMBERLY ROBERTSON

The artists in this section showcase the human body through variation and seriality, as a device for both formal and narrative investigations. Photographers Nicole Belle and Roxanne Darling both take vastly different approaches to self-portraiture. Belle’s self-portraits can be seen as vestiges of performances in which she playfully riffs on the staid traditions of studio photography. Darling’s photographs depict her n**e body in various natural settings, presented almost as part of the landscape, with a mix of candor and humor. Manas Ranjan’s graphic woodcuts and monoprints convey a sense of bodily anxiety, through the repetition of a gaping, toothy maw or trembling hands. A trio of paintings by Emma Schwartz depict contorted hands as they pantomime a religious children’s rhyme, perhaps a portent of spiritual agony. Ceres Madoo’s ceramic female figures stand upside-down, supported by thick pillars of hair, bulwarks against the injustice of the status quo. Mary Porterfield and Humna Raza each employ the figure in their deeply personal work: Porterfield’s large-scale transparent cut-outs lay bare the grief of caring for aging and dying parents, while in Raza’s gripping charcoal, chalk, and ink drawings, hair plays a metaphorical role through which she explores her own identity. In Kimberly Robertson’s beaded Haunting series, the body is absent, replaced by bloodied vests representing journalists, doctors, and aid workers killed in Gaza.

Ariana Padovano’s Artist Statement: “I am fascinated by the creative potential of the grid; it is the ultimate rule to f...
09/26/2026

Ariana Padovano’s Artist Statement:

“I am fascinated by the creative potential of the grid; it is the ultimate rule to follow, to break, to manipulate, to warp. My ink drawings are colorful, geometric abstractions that replicate the pixelation of a computer screen. Although these pieces emulate digitally rendered effects, everything is drawn entirely by hand.”

Check out her work in our online exhibition, “Series: One Thing After Another”

Juried by Matt Stromberg

See John Richardson’s work in our online exhibition, “Series: One Thing After Another”Juried by Matt Stromberg Artist’s ...
09/26/2026

See John Richardson’s work in our online exhibition, “Series: One Thing After Another”

Juried by Matt Stromberg

Artist’s Statement:
“Through my art, I explore intersections of different spaces through a kind of speculative architecture based primarily through an extension of the relief sculpture tradition. Serial in nature, a current grouping of sculpture begins with a repeated plane, each 17” x 9”. The plane is folded cut and reshaped into a ribbed plywood form that establishes an interior and exterior. This is a “known” that is defined in space by an equivalent planar area of projected light, some of which registers. The light is mapped where it lands on the plywood and established there through a fixed application of epoxy putty. The putty is intentionally worked so a residue of touch can be seen. In this way, the putty represents an organic body perhaps in contrast to a more rigid and mechanistic form: flesh to skeleton. Opposites are mutually supporting, intertwined, and dependent, even as the sum total presents a quiet mystery.”

New Open Call 📣📣📣 LINK TO APPLY IN BIOSite:Brooklyn is now accepting submission for our online group show, “Handmade”Thi...
09/24/2026

New Open Call 📣📣📣 LINK TO APPLY IN BIO

Site:Brooklyn is now accepting submission for our online group show, “Handmade”

This is an online exhibition juried by Pallavi Surana

ABOUT THE CALL:
The human hand possesses a particular intelligence. From the earliest carved tools to the studio traditions of ceramics, glass, textile, and woodwork, artists have long understood that artistic creation comes from a synthesis of mental and physical labor. In an era increasingly shaped by mechanical and digital reproduction, the handmade object points towards something different: a focus on touch and the material process. For Handmade, SiteBrooklyn is looking for works, across all mediums, that foreground the artist’s hand as both process and subject — the point where thought becomes physical, direct, and irreversible action.

ABOUT THE JUROR:
Pallavi Surana is an arts writer and curator based in New York. Since 2024, she has been working on projects with Kiran Nadar Museum of Art and with curator Cecilia Alemani. She has recently curated exhibitions at Smack Mellon (2025), GHOSTMACHINE (2025), and Hessel Museum of Art in New York (2024, 2023). Previously, she has held positions at SculptureCenter and Hessel Museum of Art, New York; Museum of Art and Photography (MAP), Flint, and St+India Foundation in India; as well as the Cookhouse Gallery and the Camden Arts Centre in London. Her writing has appeared in publications like e-flux Criticism, ARTnews, The Art Newspaper and Ocula, among others. Pallavi has been a visiting critic at various residencies around New York City, such as Pioneer Works, EFA Studios and NARS foundation, among others. She has a graduate degree from the Center for Curatorial Studies at Bard College, NY.

DATES:
Final Submission Deadline: October 26, 2026 11:59 PM PT
Notification Letter: November 3, 2026
-
-
Work featured from previous artist:
Deborah Meyers
“Ring”
Jewelry/Metal
1.5” x 1” x 1”

See Rajee Aryal’s work in our online exhibition, “Series: One Thing After Another”Juried by Matt Stromberg Artist’s Stat...
09/23/2026

See Rajee Aryal’s work in our online exhibition, “Series: One Thing After Another”

Juried by Matt Stromberg

Artist’s Statement:
“The blank surface has no history, no context. It asks for a kind of heroism I do not possess—the invention of something from nothing. Instead, I begin with the world. I print photographs of garbage accumulating in the rivers near my childhood home in Nepal onto the surface. Through custom software I wrote, every pixel of the image is translated into letters, transforming the photograph into a textual grid. The image is consumed by text, making room for another image to emerge in its place.

Each physical work is constructed through a slow accumulation of marks guided by this textual structure. The graphical form of the printed letters determines the shape of every painted or stitched mark. Built one gesture at a time, the image is gradually revealed through repetition, labor, and duration. What begins as waste is reorganized into an ordered visual system that both conceals and preserves its origin.

Many works consist of multiple layers. Painting on canvas is overlaid with painting on organza, each produced from the same textual grid. Pattern is placed upon pattern, text upon text, grid upon grid. The resulting image recalls the logic of woven textiles: warp and weft, structure and interval, opacity and transparency, 0s and 1s. The organza filters light while remaining permeable, allowing each layer to mediate the one beneath it.

My digital works extend this process. Printed on layered organza, they are composed entirely through custom software that places every mark algorithmically. Here the graphical qualities of language become the image itself, dissolving the distinction between text and pattern.”

Address

165 7th Street
Brooklyn, NY
11215

Opening Hours

Wednesday 1pm - 6pm
Thursday 1pm - 6pm
Friday 1pm - 6pm
Saturday 1pm - 6pm

Telephone

+17186253646

Website

Alerts

Be the first to know and let us send you an email when Site:Brooklyn posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Museum

Send a message to Site:Brooklyn:

Shortcuts

Sponsored

Share

Category