Kevin Beasley’s Proscenium | Rebirth / Growth: The Watch / Harvest / Dormancy: On Reflection (2024–25), at Storm King Art Center, transforms Tippet’s Field with a monumental 100-foot-long, 11-foot-tall installation. The site-specific work features four triptychs of cast-resin slabs, each representing a season through layered clothing, plants, farm tools, and seeds embedded in resin and Sharpie marks. These evoke earth, sky, and shifting horizons, with reverse sides revealing three-dimensional topographies of material memory, akin to land strata. The curved structure, resembling a theater proscenium, frames the Hudson Valley landscape, engaging viewers in a multisensory experience. Beasley, born in 1985 in Lynchburg, VA, draws on his family’s century-long land ownership in Valentines, VA, to explore land stewardship, colonialism, and the Hudson River School’s legacy. Curated by Nora Lawrence, Eric Booker, and Adela Goldsmith, the work probes landscape as both freedom and inaccessibility.

Kevin Beasley: Proscenium | Rebirth / Growth: The Watch / Harvest / Dormancy: On Reflection (2024–25). Storm King Art Center, New Windsor, New York (USA), August 31, 2025.

Exhibition text (excerpt):

Kevin Beasley (b. Lynchburg, VA, 1985) explores the environmental, cultural, and political dimensions of the American landscape. With PROSCENIUM| Rebirth / Growth: The Watch / Harvest / Dormancy: On Reflection (2024–25), Beasley inaugurates Storm King’s new Tippet’s Field with his largest work to date, measuring one hundred feet long by eleven feet tall.

For this site-specific installation, four triptychs, each formed from three cast-resin slabs, represent the four seasons. Beasley renders each scene with gestural marks in resin, Sharpie, and various casting techniques. Densely layered clothing, plants, farm tools, and seeds form the earth and sky, which meet along a shifting horizon line. On the reverse, a varied topography reveals the artist’s unique method of layering resin and an assortment of collected materials inside the frame to create a three-dimensional composition. The resulting work contains layers of material memory, evoking strata of land. The installation’s curved form recalls that of a proscenium, the space in front of a theater curtain where performance and audience meet. Throughout his practice, Beasley engages sound and performance as a means of channeling the histories and lived experiences embedded in the American landscape. Set within Tippet’s Field, his multisensory work frames and reflects the surrounding landscape, engaging the viewer in a fully embodied experience of place.

For more than a century, Beasley’s family has owned land in Valentines, Virginia—a remarkable inheritance for a Black family and a lens through which the artist reflects on land stewardship, farming, and the legacies of colonialism. At Storm King, his engagement with the local landscape converses with and complicates the work of the Hudson River School, a group of artists who produced idealized landscape paintings in the nineteenth century. “Landscape is a word to ask questions around,” says Beasley. “For some folks it means freedom, and for others it means something you can’t access . . . [it] tells a deep story and speaks in ways that encourage us to absorb experiences.”

This exhibition is organized by Nora Lawrence, Executive Director, and Eric Booker, Associate Curator, with Adela Goldsmith, Assistant Curator.