Stepping into the Brooklyn Museum for the Giants exhibition, curated by the powerhouse couple Swizz Beatz and Alicia Keys, feels like entering a mansion with minimalist furniture and maximalist art. A home with towering, masterpieces created by a who’s who of Black emerging and established artists covering every ivory-hued wall. Giants are outsized in scope yet intimate in meaning. Standing in the vast museum space, one may feel galaxies away, but rest assured, the art surrounding you shares the universal feel of coming home.
“We ourselves have to lift the level of our community, take the standards of our community to a higher level, make our own society beautiful so that we will be satisfied… we’ve got to change our own minds about each other with new eyes …we have to come together with warmth…”—Malcolm X
Swizz Beatz and Alicia Keys, both cultural legends in their own right, have assembled a collection that speaks volumes about the richness of Black culture and its profound impact on the art world. Their passion for elevating Black voices and stories shines through every piece.
Giants is not just an exhibition but a statement. The Dean Collection boasts works from Kehinde Wiley, whose regal, vivid portraiture challenges traditional perceptions of power and beauty. Then there’s Kara Walker, whose haunting silhouettes tell stories of race, gender, and historical trauma with sharp, unapologetic honesty.
Jean-Michel Basquiat, the neo-expressionist maestro that mixed defiance and history with raw, graffiti-inspired work that continues to influence generations, appears here not in a surrender to trend, but in a triumphant reminder (for some) and teachable moment (for others). During his decade-long career (he overdosed on heroin at 27), some critics categorically dismissed Basquiat with whistleblowing descriptors such as “primitive.” However, nearly 40 years later, a rap producer and an R&B singer demonstrate the power of Black ownership, and rightfully position the visionary and prolific Basquiat as a pioneer.
The work “Untitled” by Langston Hughes repeats the Harlem Renaissance writer’s name intentionally to transport Hughes’ legacy from the “confines” of Harlem to all of America and the world. Superstar artist Jordan Casteel calms the world with intimate portraits of soulful Harlemites (is that an oxymoron?). The remaining boldfaced names lining the walls read like an enviable guest list of a late summer dinner party on the Vineyard: Nick Cave, Arthur Jafa, Deana Lawson, Deborah Roberts, Amy Sherald, Mickalene Thomas, and more. Gratefully, Giants doesn’t peak among the stars. The emerging talent, such as standout Toyin Ojih Odutola and his intricate, narrative-laden drawings strengthen this exhibition’s exploration of the complexity of identity.
Mr. and Mrs. Dean have curated an experience that’s as educational as it is emotional. You’re immersed in stories, dialogues, debates, joy, and memory. What sets Giants apart is its ability to be both profound and accessible. It’s a celebration open to all; it illuminates the often intimidating world of contemporary art, making it relatable and fun.
The Deans have assembled a collection that speaks volumes about the richness of Black culture and its profound impact on the art world. Their passion for elevating Black voices and stories shines through every piece.
“Some things you forget. Other things you never do. Places are still there. If a house burns down, it’s gone, but the place—the picture of it—stays…out there, in the world.” —Toni Morrison, Beloved
Giants is a love letter to Blackness, history, and love. Swizz Beatz and Alicia Keys have not just collected art; they’ve used these pieces to craft a narrative that celebrates the past, critiques the present, and imagines a future where Black artists (and Black people) are recognized as the giants they genuinely are. This exhibition is a journey filled with beauty, pain, joy, and gratefully a return home.
Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys is on view until July 7, 2024 at Brooklynmuseum.org
