Brooke Stewart
Brooke Stewart (b. 1994, Topsfield, MA) is a Boston-based interdisciplinary artist whose work explores the intersection of art and sport. Her research is rooted in painting, printmaking, and mixed-media installation. Stewart earned her MFA from the School of the Museum of Fine Arts at Tufts University (2018) and her BA from the College of William and Mary (2016). A lifelong athlete, she treats courts, basketball, tennis, and other playing surfaces as sacred, earth-like fields of memory, movement, and cultural identity. Her practice investigates how public space, repetition, ritual, and physicality shape narratives of belonging. Her work has been exhibited nationally and internationally, including at The Museum of Fine Arts Boston, the Los Angeles Printmaking Society, Tokyo University of the Arts, Artist Proof Press (Johannesburg), Edinburgh College of Art, the Danang Fine Art Museum (Vietnam), 808 Gallery at Boston University, LaMontagne Gallery, and at Z’M projects, where she presented her 2025 solo exhibition Hail Mary. Stewart is the recipient of numerous awards and residencies, including the Massachusetts Cultural Council Award in Printmaking (2022), the Walter Feldman Fellowship (2021), the Alice C. Cole Merit Grant (2020), and multiple residencies at Oehme Graphics and Constellations Studio Press. Her work belongs to the collections of Fidelity, the Boston Public Library, and The College of William and Mary. A dedicated educator, she has taught at Northeastern University, Tufts University, Brandeis University, the College of the Holy Cross, and the Harvard Art Museums. In 2025, she founded Project Hustle Boston, an artist-run space supporting early-career artists.
My work explores courts, fields, and sport surfaces as sites of memory and Labor. I see them as a protected spaces to fight for equality, enjoy play and build community. Drawing from my background as a former two-sport Division I athlete, I use large-scale printmaking, painting, and installation to parallel artistic process with athletic training, focusing on repetition and endurance. I treat these surfaces as “earth paintings,” where lines, scuffs, and wear function as records of time and participation. By removing the horizon line and presenting these spaces from above, I invite viewers into the field rather than positioning them on the sidelines. My practice centers women’s sports histories and asks how access, visibility, and belonging are built, maintained, and imagined.