Past Residents
Past Resident2024: Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, Jerome Foundation, The Milton and Sally Avery Arts Foundation2023: Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, Jerome Foundation2021: Vision Fund
Joiri Minaya
Joiri Minaya’s work is a reassertion of Self, an exercise of unlearning, decolonizing and exorcizing imposed histories, cultures and ideas. She reconciles the experiences of growing up in the Dominican Republic and navigating the United States and the Global North, using gaps, disconnections and misinterpretations as ground for creativity.
Joiri Minaya has exhibited work at Baxter St at the Camera Club of New York; Wave Hill, New York; and Centro León, Santiago, Dominican Republic, among others.
Joiri Minaya, #dominicanwomengooglesearch, 2016, UV print on Sintra board and fabric collage, 72 × 180 × 144 in. (182.88 × 457.2 × 365.76 cm).
Joiri Minaya, Tropticon, 2018, aluminum, polycarbonate and perforated vinyl, 144 × 120 × 120 in. (365.76 × 304.8 × 304.8 cm).
Joiri Minaya, Continuum, 2020, digital collage, 8 × 10 in. (20.32 × 25.4 cm).
Container #7, 2020, photography, 40 × 60 in. (101.6 × 152.4 cm).
Joiri Minaya, The Cloaking of the statue of Christopher Columbus behind the Bayfront Park Amphitheatre, and the statue of Ponce de Leon at the Torch of Friendship on Biscayne Blvd, Miami, Florida, 2019, dye-sublimation print on spandex fabric and wood structure, 144 × 60 × 60 in. (365.76 × 152.4 × 152.4 cm).
Ground Floor Residents
Hong Seon Jang
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Sujin Lim
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Simon Liu
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Past Resident2021: Vision Fund
Lauren Kelley
Lauren Kelley is a storyteller employing a wry wit when surveying notions of emotional excess. Her approach to animation combines clay-mation with a collection of tan, plastic toys to stylistically evoke the children’s television programs of the artist’s youth. Her jittery, low-tech ideas take place amongst Technicolor dioramas; a plush backdrop in contrast to the flaccid storylines of a discontented cast of innocent characters.
Lauren Kelley has exhibited work at Centre Pompidou, Paris; Women and Their Work, Austin; and The Kitchen, New York, among others
Lauren Kelley, Pickin', 1999, C-print, 24 × 24 in. (60.96 × 60.96 cm).
Lauren Kelley, Froufrou Conclusions, 2011, single-channel video, 1:22 min.
Lauren Kelley, Video Still-Pink Heads, 2011, multi-channel video, 22 sec.
Lauren Kelley, Storyboard Image - Prototypical Oppression/ Obsession, 2009, digital C-Print, 11 × 81/2 in. (27.94 × 21.59 cm).
Lauren Kelley, Video Still-Telephone, 2014, multi-channel video, 17 sec.
Residents from United States
Past Resident2020: AES+F
Ustina Yakovleva
Ustina Yakovleva creates paintings, graphic works, and objects. A large part of her practice is informed by graphic works consisting of identical individual strokes that create abstract compositions; an automatic writing of sorts that binds time into material form. In her works in other media, she follows similar principles: embroideries evolve into organic structures, fabric sculptures grow to resemble continents or icebergs, or possibly electronic circuits rooted in empty air.
Ustina Yakovleva has exhibited work at the 5th Ural Industrial Biennial of Contemporary Art, Ekaterinburg; Winzavod Center for Contemporary Art; Museum of the Artistic Exploration of the Arctic, Arkhangelsk, all Russia among others.
Events & Exhibitions
2020 Summer Open Studios
August 25–August 26, 2020
Ustina Yakovleva, Untitled, 2019, installation, 25 objects, dimensions variable.
Ustina Yakovleva, Mollusk IV, Mollusk V and Mollusk VIII, 2016, cotton fabric, natural pearls, sugar quartz, silk thread, and mono thread, dimensions variable.
Ustina Yakovleva, Mollusk XVI, 2018, artificial leather, silk thread, beads, and mono thread, 78 × 8 × 6 in. (198.12 × 20.32 × 15.24 cm).
Ustina Yakovleva, Mollusk XVII, 2019, cotton fabric, beads, silk and synthetic thread, 82 × 14 × 8 in. (208.28 × 35.56 × 20.32 cm).
Ustina Yakovleva, Untitled, 2017, ink and silk thread on canvas, 20 × 16 in. (50.8 × 40.64 cm).
