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, 47 × 94 in. (119.38 × 238.76 cm).
Imogen Taylor, Shit Guitarist, 2018, acrylic on hessian, 29 × 25 in. (73.66 × 63.5 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, 18 × 17 in. (45.72 × 43.18 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 Governor Andrew M. Cuomo 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, 118 × 1961/2 × 10 in. (299.72 × 499.11 × 25.4 cm).
Habby Osk, Anchor IIII, 2019, wood, cement, and rope, 65 × 12 × 10 in. (165.1 × 30.48 × 25.4 cm).
Habby Osk, Fracture, 2018, C-print from photography series, image 3 of 6, 8 × 10 in. (20.32 × 25.4 cm).
Habby Osk, Suspend, 2018, wood, cement, and rope, 114 × 83 × 10 in. (289.56 × 210.82 × 25.4 cm).
Habby Osk, Stability, 2015, site-specific installation with wood and plastic, 636 × 120 × 36 in. (1615.44 × 304.8 × 91.44 cm).
Ground Floor Residents
Bundith Phunsombatlert
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 Governor Andrew M. Cuomo and the New York State Legislature, William Talbott Hillman Foundation, Hartfield Foundation, Joseph Robert Foundation
Svetlana Bailey
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 Governor Andrew M. Cuomo and the New York State Legislature, William Talbott Hillman Foundation, Hartfield Foundation, Joseph Robert Foundation
Wieteke Heldens
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 Governor Andrew M. Cuomo and the New York State Legislature, William Talbott Hillman Foundation, Hartfield Foundation, Mondriaan Fund
Past Resident2020: The Italian Academy for Advanced Studies, Columbia University
Agostino Iacurci
Agostino Iacurci works with a wide range of media, including painting, wall-painting, sculpture, drawing, and installation. He creates immersive spaces to transform the perception of given environments. Starting from specific topics like the use of colors in the ancient and classical world, he questions issues of traditions and identity, investigating the process of idealization underlying historical myths and their impact on the collective imagination.
Agostino Iacurci has exhibited work at Civic Museum of Palazzo Mosca, Pesaro; Society for Fine Arts and Permanent Exhibition, Milan; and Celaya Brothers Gallery, Mexico City, among others.
Agostino Iacurci, Gypsoteca, 2018, paint, plaster, gouaches, paper, and wood.
Agostino Iacurci, Trompe l'oeil, 2017, paint, canvas, wood, cement, and found objects.
Agostino Iacurci, Gouaches on paper, 2017, gouaches on paper, 3 x 4.6 in. each .
Agostino Iacurci, Tracing Vitruvio, 2019, paint, canvas, wood, glass, mirror, and antique books.
Agostino Iacurci, Tracing Vitruvio, 2019, paint, canvas, wood, glass, mirror, and antique books.
