Current Residents

List Grid

Current Resident: Jul 1, 2021–Jun 30, 2022

Studio #305

Anthony Iacono

Anthony Iacono works primarily in collage from cut-out sections of painted papers. Influenced by the aesthetics of film posters and voyeuristic erotic thrillers, the seemingly mundane scenarios he creates are offset by a suggestive, gradated palette that are wrought with coded language and suspense.

Anthony Iacono has exhibited work at The Approach Gallery, London; P.P.O.W Gallery, New York; and Marinaro, New York, among others.

anthonyiacono.com

Events & Exhibitions

2022 Spring Open Studios

April 22–April 23, 2022

2021 Fall Open Studios

November 13, 2021

Anthony Iacono, painted paper collage, 24 × 18 in. (60.96 × 45.72 cm)

Anthony Iacono, Red Delicious, 2020, painted paper collage, 37 × 20 in. (93.98 × 50.8 cm)

Anthony Iacono, Red Hat on York Street, 2021, painted paper collage, 6 × 4¹/₂ in. (15.24 × 11.43 cm)

Anthony Iacono, Rose (study), painted paper collage, 24 × 18 in. (60.96 × 45.72 cm)

Anthony Iacono, Phone, 2018, painted paper collage, 40 × 30 in. (101.6 × 76.2 cm)

Residents from United States

Sydney G. James

Vibrant Painting of a Black Woman relaxed while holding a Tea cup.

United States

The Kettering Family Foundation

Studio #212

Petrina Dacres

Jamaica, United States

Jane Farver Memorial Fund

2022

Steven Anthony Johnson II

this drawing depicts the Artist Grandmother, Annie Mae around the age 76. She is wearing a church hat and gown with a single gloved hand on her hip.

United States

The New York Community Trust’s Edward and Sally Van Lier Fund

Studio #201

United States, China

Current Resident: Apr 1, 2022–Apr 1, 2023

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

Ground Floor

Artist

Alchemyverse

Alchemyverse was founded in 2020 in New York City by artists Bicheng Liang (b. 1994, China) and Yixuan Shao (b. 1996, China/United States). As a duo, they construct visual and aural assemblages, working across disciplines of installation, print, sound, sculpture, and photography. Focusing on research and experimentation, their hybrid practice resonates with macro-environmental concerns and human dislocation of space, leading them to places such as Oahu and Moa Kea in Hawaii, the American Southwest, the Hudson Highlands, and the Chilean deserts.

Alchemyverse has exhibited work at Bishop Museum, Honolulu; The Catherine Fosnot Art Gallery and Center, New London; and Lenfest Center for the Arts, Columbia University, New York City, among others.

thealchemyverse.com

Events & Exhibitions

2022 Spring Open Studios

April 22–April 23, 2022

The work features collages of cyanotype photographs taken in the American Southwest, multichannel field recordings, and objects collected within the land on three suspended wooden panels.

Alchemyverse, Stir, Full of, Abounding In, 2021, cyanotypes collage, dead plant, pit-fired wild clay fragment, rocks, 8-channel specialized sound, transducers, and other mixed media, 84 × 120 × 3 in. (213.36 × 304.8 × 7.62 cm)

Left Without the Means to Move uses the ephemerality of sound and porousness of space to adapt to the viewers’ presence and creates an interactive soundscape as a constant search for balance. The materiality of the landscape slowly unfolds within and around the dome-shaped assemblage of sound recordings of making the ceramics in the wilderness, extracted soil, and pit-fired sandstone-molded sculptures.

Alchemyverse, Left Without The Means To Move, 2021, lava rocks, anodized aluminum, bone conductors, pit-fired wild clay and sound recorded within, desert soil, amplified microphones, speakers, subwoofers, and other mixed media, 204 × 204 × 180 in. (518.16 × 518.16 × 457.2 cm)

With the whole work's structure supported by salvaged rocks and plywood scraps, we explore how a construction of the fragmented brings the multitude of functionalities, identities, and meanings together, and us into proximity with such process.

Alchemyverse, Untitled, 2021-22, rocks, ceramics, bronze, dead plants, living moss, sand, films, cyanotypes, scores, 3D carved photo, turntable, trace light box, digital projectors, lamps, and other mixed media

In 2021, a record number of snowstorms blanketed the northeast regions of the US, due to rising temperature in the atmosphere which fuels the storms. At the time, we were traveling along the Hudson Valley, hiking in knee-high snow and crouching over frozen riverbank to chase aluminum sheets into the shapes of the rocks. What we thought as a simple gesture of conforming to the land was met with great resistance from the environment.

Alchemyverse, 隙/ At Intervals, 2020-21, earth and fire on aluminum sheets, 96 × 72 × 36 in. (243.84 × 182.88 × 91.44 cm)

Consisting of thirty-one cyanotype photographs and twelve-channel spatialized recordings made using salvaged materials, Bleikr explores a poetic avenue toward a non-anthropocentric scale of time --- one that expresses itself no longer in terms of hours and minutes, but in the forms in the textures, shadows, and sounds of the environment.

Alchemyverse, Bleikr, 2020, mounted cyanotypes, sounds, and transducers, 120 × 108 in. (304.8 × 274.32 cm)

Ground Floor Residents

Civan Özkanoğlu

United States, Turkey

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

Ground Floor

James Beckett

South Africa, The Netherlands, United States

Ground Floor

Joiri Minaya

United States, Dominican Republic

Ground Floor

South Korea, United States

Current Resident: Apr 1, 2022–Mar 31, 2023

Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, 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

Ground Floor

Artist

Kyoung eun Kang

Kyoung eun Kang’s work focuses on the small, simple everyday gestures and rituals that we tend to see as mundane, but have great significance. She captures subtle human interactions and behaviors to better understand human nature and the bonds between us–bonds that bridge time and space to connect couples, families, communities, strangers, and even the dead. Using an interdisciplinary approach, she explores geographical and cultural identity as well as universal human themes such as affection and attachment.

Kyoung eun Kang has exhibited at A.I.R. gallery, Brooklyn; The Korean Cultural Center, Washington D.C.; and Collar Works, Troy among others.

kyoungeunkang.com

Events & Exhibitions

2022 Spring Open Studios

April 22–April 23, 2022

This performance was made in the former studio of the late American painter Elizabeth Murray. Using my body as a medium through which to channel and revive Murray’s studio space, I gradually developed a choreography of actions and movements repeated as a daily ritual.

Kyoung eun Kang, TRACES: 28 Days in Elizabeth Murray’s Studio, 2020, performance photograph, kodak endura luster photo print mounted on mat-board, 20 × 30 in. (50.8 × 76.2 cm)

exhibition view at Collar Works, Troy, NY. TRACES: 28 Days in Elizabeth Murray’s Studio is a multimedia installation focused on a durational performance in response to the former studio of the late American painter Elizabeth Murray. The exhibition includes a 5 hour-long video that captures the full scope of my daily performance, a series of photographs depicting discrete choreographic gestures from the durational performance, watercolor drawings replicating marks in Murray’s studio, and displayed objects that belonged to Elizabeth Murray.

Kyoung eun Kang, TRACES: 28 Days in Elizabeth Murray’s Studio, 2020, multimedia installation, a video shown in three segments, photographs, studio objects that belonged to the late American painter Elizabeth Murray

exhibition view at NURTUREart, NY. The works are inspired by family's jokes, care packages sent by my mother from Korea and hidden family stories. Through this exhibition I create an interplay between sound and text, mystery and humor, in order to examine family relationships, separation and bonding.

Kyoung eun Kang, 1402 Seok-Dong, 2017, family poems, Korean dried anchovies, photographs, hand made ceramic sculptures, a Korean chamber pot, a sound installation and a floor installation

In “Partners,” dressed all in red, I approach strangers in Union Square Park in New York City at a very close distance, and mimic their gestures and postures without any verbal interaction. By forcing an interaction with them, I explore the fluidity between intimacy and separation, connection and isolation.

Kyoung eun Kang, Partners, 2008, video still of a performance-based single channel video, 12:58 min

exhibition view at BRIC project room, Brooklyn, NY. This three-channel installation observes the rituals of a 90-year-old couple living in Omaha, Nebraska and reveals the growing interpersonal relationship between the couple and myself. Taken over several months, I capture the subtle beauty of human encounters and cultural translation, embracing dynamic actions that resonate in the human experience, such as walking, breathing, eating and gathering.

Kyoung eun Kang, Omaha Diary I, 2016, three-channel video installation, 63min

Past Residents

List Grid

Residents Map