An Artist Faces Climate Disaster With Hard Data and Ancient Wisdom

Every Mardi Gras in New Orleans, the members of the North Side Skull and Bone Gang emerge onto the streets of the Tremé neighborhood in a dawn ritual that dates back more than 200 years. Clad in black-and-white skeleton suits and ornamented papier-mâché masks, they wake the city to the sound of drums and bells summoning the ancestors.

Their ritual carries deep significance, even lessons for the whole planet, said the artist and activist Imani Jacqueline Brown, who filmed the procession this year. “They’re breaching the divide between the world of the spirits and the world of the living,” she said. “They are singing to us that we’ve got to live today because tomorrow we might die.”

Brown, 36, grew up in New Orleans; she now lives in London, a member of the research and visual investigations group Forensic Architecture. An exhibition at Storefront for Art and Architecture in Manhattan through Aug. 31 combines her research chops with the poetry and spirituality that she sees in the grass-roots culture in her hometown.

The show, titled “Gulf,” is written with a strike-through and pronounced “Strike Gulf.” Its central focus is the impact of the oil and gas industry on South Louisiana. But the more sources Brown mines — including core samples of deep-sea drilling by geologists in the Gulf of Mexico and archives of oil boycott campaigns in the 1970s and 1980s, along with her own footage from New Orleans — the broader the scope of her project becomes. It reaches back into geological time while linking to the climate emergency today.

The resulting works bring some welcome lyricism to the field of “research art.” The exhibition includes a video installation in which the Skull and Bone Gang procession, bathed in bluish light, is overlaid on footage she made at the city’s aquarium, where sharks and rays float around a model of an offshore rig in a display about the Gulf of Mexico that is sponsored by oil corporations.