Art is not just something we observe, it’s something we live with. The Dean Collection, curated by Swizz Beatz (Kasseem Dean) and Alicia Keys, is a testament to the power of living with art in all its forms.
The collection goes beyond visual art, intertwining music, history, and cultural expression. Visitors stepping into the exhibition are immediately immersed in a dialogue between past and present, tradition and innovation, representation and introspection.
The Dean Collection is not confined to traditional visual arts. It also incorporates music, movement, and personal artifacts like early musical instruments from Swizz Beatz, a piano Alicia Keys used in her music videos, and even BMX bikes. These objects emphasize that art exudes beyond paintings and sculptures; it extends to how people express themselves in their daily lives.
One of the most striking pieces in the collection is a monumental diptych (a picture such as an altarpiece or carving in two panels side by side) by artist Amy Sherald, best known for her portrait of First Lady Michelle Obama. The work features motorbike riders, inspired by Sherald’s observations of young men in Baltimore performing stunts on the streets. Their aerial poses, reminiscent of 17th and 18th-century grand manner equestrian portraiture, evoke images of Napoleon on a rearing horse — except in this case, Napoleon wears Air Jordans.
Another powerful installation comes from artist Ebony G. Patterson. Her tapestry-like works, created from photographs of children, are printed onto fabric and then hand embellished. Initially, viewers are captivated by the vibrant colors and intricate details, but upon closer inspection, gaps in the fabric and solemn expressions hint at a deeper message. Patterson’s work prompts reflection on children lost to gun violence, a reality she contemplates from her experiences growing up in Jamaica and living in Chicago.
The exhibition is organized under the theme “Giant Presence,” emphasizing large-scale works that demand attention. Swizz Beatz often says, “The sky is not the limit, it’s just the view,” encapsulating the philosophy behind the collection. The monumental size of many pieces ensures that Black artists are not only seen but take up space in a historically exclusive art world.
A compelling example is Nick Cave’s “Soundsuits,” which are wearable sculptures created in response to the police beating of Rodney King. These elaborate, otherworldly suits, made from a variety of materials, act as protective armor while also serving as a bold artistic statement on race and identity. The Soundsuits function as both a shield and a spectacle, drawing viewers in while challenging them to think critically about systemic violence and resilience.
Another highlight is Titus Kaphar’s interactive triptych (three panels side by side), a newer addition to the Dean Collection. Kaphar, known for reimagining historical narratives, presents a piece where a canvas of the Virgin Mary can be lifted and repositioned over other panels, including an image of Muhammad Ali knocking out Sonny Liston. The artwork forces viewers to consider which moments in history are emphasized and which are erased.
While many works critique society and its injustices, the collection also celebrates Black joy, leisure and community. One section features a quartet of images by Derrick Adams, including pieces from his “Floater” series, which depict Black people relaxing in swimming pools. This setting holds historical significance, as public pools were spaces of segregation and racial exclusion. Adams reclaims these as spaces of pleasure, relaxation and dignity.
Hank Willis Thomas contributes to the conversation with two pieces: a tapestry created from decommissioned prison uniforms, and a sculpture titled “Strike” depicting two interlocked arms — one of a police officer and one of another individual locked in a moment of struggle or resolution. These works address themes of incarceration, labor exploitation, and systemic oppression, prompting questions about who is seen, who is forgotten, and who bears the weight of history.
The Dean Collection can be considered an evolving testament to artistic freedom and cultural preservation. Swizz Beatz and Alicia Keys are not just collectors; they are patrons who empower artists to dream beyond their own expectations. By providing opportunities for large-scale works and ensuring their visibility, the Deans are reshaping the contemporary art world, making space for diverse narratives and voices.
As visitors leave the exhibition, they are left with a lingering sense of awe. The works in the Dean Collection do more than just fill gallery walls; they fill a cultural void, pushing conversations forward and elevating the presence of Black artists in the global art scene. And as Swizz Beatz reminds us, “The sky is not the limit — it’s just the view.”
