Past Residents
Past Resident2020: Wallace Arts Trust
Imogen Taylor
Imogen Taylor’s practice seeks to illuminate the modernist painting movement’s embedded relationship with LGBTQ+ histories. Her reclamations of modernist tropes emerge on parallelogram shaped canvases to create a sense of disorientation for the viewer through queer phenomenology. Taylor believes that parallel to the physical act of painting, queerness functions as a medium activated by her body.
Imogen Taylor has exhibited work Hocken Collections, Dunedin; Michael Lett, Auckland; and The Dowse Art Museum, Wellington, among others.
Imogen Taylor, Another Word For Abyss, 2019, acrylic on hessian, 94 × 47 in. (238.76 × 119.38 cm)
Imogen Taylor, Shit Guitarist, 2018, acrylic on hessian, 25 × 29 in. (63.5 × 73.66 cm)
Imogen Taylor, Ripe, 2019, acrylic on hessian, 47 × 47 in. (119.38 × 119.38 cm)
Imogen Taylor, Self Help, 2019, acrylic on hessian
Imogen Taylor, Hooded Violet, 2019, acrylic on hessian, 17 × 18 in. (43.18 × 45.72 cm)
Residents from New Zealand
Past Resident2020: The Artists’ Salaries, The Icelandic Centre for Research, The Icelandic Visual Artists Copyright Association, MUGGUR2020: 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, William Talbott Hillman Foundation, Hartfield Foundation
Habby Osk
Habby Osk’s interests lies in basic physics: balance, movement, gravity, time and force. These concepts play an important role across her art practice as she creates works which test the limits of balance and stability and explore gravity’s influence over time using sculpture, photography and installation as her primary medium. Osk places objects in precarious situations to probe how far they can go without tipping over, to capture the moment of stillness before the looming collapse and the transformation over time.
Habby Osk has exhibited work at Gerðarsafn – Kópavogur Art Museum, Iceland; Akureyri Art Museum, Iceland; and Tina Kim Gallery, New York, among others.
Habby Osk, Lean, 2018, wood, cement, and rope, 1961/2 × 118 × 10 in. (499.11 × 299.72 × 25.4 cm)
Habby Osk, Anchor IIII, 2019, wood, cement, and rope, 12 × 65 × 10 in. (30.48 × 165.1 × 25.4 cm)
Habby Osk, Fracture, 2018, C-print from photography series, image 3 of 6, 10 × 8 in. (25.4 × 20.32 cm)
Habby Osk, Suspend, 2018, wood, cement, and rope, 83 × 114 × 10 in. (210.82 × 289.56 × 25.4 cm)
Habby Osk, Stability, 2015, site-specific installation with wood and plastic, 120 × 636 × 36 in. (304.8 × 1615.44 × 91.44 cm)
Ground Floor Residents
Civan Özkanoğlu
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
James Beckett
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
Joiri Minaya
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
Past Resident2020: The Pollock-Krasner Foundation, Inc.
Annabel Daou
Annabel Daou’s work takes place at the intersection of writing, speech, and non-verbal modes of communication. Her paper works, videos, sound pieces, and performances deal with yearnings and anxieties that are both personal and political. Her process involves mining the expressive possibilities of ordinary words and phrases in order to reveal unexpected intimacies between individual and collective experience. Frequently, the work evokes moments of rupture, chaos, and misunderstanding, but always with the tenuous possibility of repair.
Annabel Daou has exhibited work at National Museum of Beirut; KW Institute for Contemporary Art, Berlin; and Park Avenue Armory, New York, among others.
Annabel Daou, Is this living?, 2018, paper, graphite and gesso, 39 × 34 in. (99.06 × 86.36 cm)
Annabel Daou, they were here, 2016, cuben fiber, ink, and repair tape, 146 × 103 in. (370.84 × 261.62 cm)
Annabel Daou, Chou Hayda, 2018, video still, 24 min
Annabel Daou, Need Is Not Quite Belief, 2014, ink on mending tape on handmade Japanese paper, 60 × 161/2 in. (152.4 × 41.91 cm)
Annabel Daou, punch the clock, spin the bottle, rule the world, 2015, ink and mending tape on paper, 94 × 56 in. (238.76 × 142.24 cm)
