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Deep Waters: Four Artists and the Sea at MFA Boston

From 9 November 2024 to 9 November 2025, the MFA Boston hosts the exhibition “Deep Waters: Four Artists and the Sea”

Source: Museum of Fine Arts (MFA) Boston · Image: J.M.W. Turner, “Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On),” 1840. MFA Boston

Generations of artists have explored the beauties and terrors of the ocean, reflecting on the experiences of those who have lived and died among the waves. Weaving together artworks by four artists made over centuries and across the Atlantic, this exhibition follows a genealogical thread united by the sea. Echoes of John Singleton Copley’s Watson and the Shark (1778) reverberate in J. M. W Turner’s 1840 Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), which itself has influenced art created in the 21st century.

Presented here for the first time in New England, John Akomfrah’s iconic three-channel film installation Vertigo Sea (2015) expands on the themes at the heart of the two earlier works, exploring humanity’s tumultuous relationship with the sea and its creatures, and the ocean’s role in the history of slavery. In Some People Have Spiritual Eyes I and II (2020), photographer Ayana V. Jackson takes these ideas in a new direction. Jackson’s exploration of divinity, femininity, and destiny through self-portraiture is inspired by Drexciya, a mythical aquatic utopia populated by descendants of the pregnant African women who lost their lives in the Atlantic Ocean during the Middle Passage.

“Deep Waters: Four Artists and the Sea” invites visitors to consider and reflect on the conversation between these works of art and their makers. Each artist offers a unique perspective drawn from their lived experience, yet all are attuned to the poetics and histories of the sea—from its glittering surfaces and unfathomable depths to its inhabitants and ghosts; from it as a site of memory, mourning, and fragility to a symbol of resilience and possible futures.

Aguas profundas: cuatro artistas y el mar en el MFA Boston

Del 9 de noviembre de 2024 al 9 de noviembre de 2025, el MFA Boston acoge la exposición “Deep Waters: Four Artists and the Sea”

Fuente: Museo de Bellas Artes (MFA) Boston · Imagen: J.M.W. Turner, “Barco de esclavos (esclavistas arrojando por la borda a los muertos y moribundos, se acerca el tifón)”, 1840. MFA Boston

Generaciones de artistas han explorado las bellezas y los terrores del océano, reflexionando sobre las experiencias de quienes vivieron y murieron entre las olas. Esta exposición, que entrelaza obras de arte de cuatro artistas realizadas a lo largo de siglos y al otro lado del Atlántico, sigue un hilo genealógico unido por el mar. Los ecos de Watson and the Shark (1778) de John Singleton Copley resuenan en Slave Ship de 1840 de J. M. W Turner (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), que a su vez ha influido en el arte creado en el siglo XXI.

Presentada aquí por primera vez en Nueva Inglaterra, la icónica instalación cinematográfica de tres canales de John Akomfrah, Vertigo Sea (2015), amplía los temas centrales de las dos obras anteriores, explorando la tumultuosa relación de la humanidad con el mar y sus criaturas, y el océano. papel en la historia de la esclavitud. En Algunas personas tienen ojos espirituales I y II (2020), la fotógrafa Ayana V. Jackson lleva estas ideas en una nueva dirección. La exploración de Jackson de la divinidad, la feminidad y el destino a través del autorretrato está inspirada en Drexciya, una mítica utopía acuática poblada por descendientes de mujeres africanas embarazadas que perdieron la vida en el Océano Atlántico durante el Pasaje del Medio.

“Aguas profundas: cuatro artistas y el mar” invita a los visitantes a considerar y reflexionar sobre la conversación entre estas obras de arte y sus creadores. Cada artista ofrece una perspectiva única extraída de su experiencia vivida, pero todos están en sintonía con la poética y las historias del mar, desde sus superficies brillantes y profundidades insondables hasta sus habitantes y fantasmas; de ella como un lugar de memoria, duelo y fragilidad a un símbolo de resiliencia y futuros posibles.

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