Past Residents

List Grid

Past Resident
2023: Vision Fund

Artist

Shanekia McIntosh

Shanekia McIntosh is a multidisciplinary artist with a focus on poetry. Her work explores the intersection of passivity and action, apathy and empathy, as well as capitalism’s dehumanizing capacities, with the goal of cultivating space for afro-futurism, empathetic political actions, and accessibility.

Shanekia has exhibited work at the New Museum, New York; Collar Works, New York; and Pacific Northwest College of Art, Portland, among others.

Events & Exhibitions

Artists at Work: Dana Robinson, Nathaniel Donnett and Shanekia McIntosh with Allison Glenn

May 23, 2023, 6–7pm

2023 Spring Open Studios

April 21–April 22, 2023

text installation installed on decal on storefront

Shanekia McIntosh, a poem, 2021, installation

concrete poem sculpture on repurposed tree stub with paper

Shanekia McIntosh, Hindsight Is Hindsight, 2020, sculpture

poet performing with musicians and video projections

Shanekia McIntosh, Call Me Ishmael - A Story of Exploitation, 2019, performance

Shanekia McIntosh, another line, 2021, installation

Residents from United States

Frank WANG Yefeng

United States, China

ISCP Alumni Fund

Studio #303

Efrat Hakimi

A table top arrangement of paper, cutout images, ephemera, and tools used in bookbinding.

United States

Artis

Studio #301

Bryan Fernandez

United States

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

Studio #216

Canada

Past Resident
2023: Canada Council for the Arts

Artist

Janet Jones

Janet Jones’ paintings evoke abstract impressions of our modern urban world and cyber cities where the real, virtual, local, and global collide to form a techno-sublime environment.

Janet Jones has exhibited work at the Museum of Contemporary Art, Canada; Patrick Mikhail Gallery, Canada; and Kunsthalle Erfurt, Germany, among others.

Events & Exhibitions

2023 Spring Open Studios

April 21–April 22, 2023

Who's watching who? A reflection on the zeitgist of current cybercities

Janet Jones, Who's Watching Who?, 2021, acrylic and gouache on patterned canvas, 18 × 18 in. (45.72 × 45.72 cm)

An installation view of the exhibition 'Gathering Fictions' at the Varley Art Gallery, Toronto, ON. 2022.

Janet Jones, Gathering Fictions, 2022, acrylic and gouache on patterned canvas

A contemporary reflection on Barnett Newman's painting 'Voice of Fire' now owned by the National Gallery of Canada. In this piece I've changes the title to many voices and to love instead of fear.

Janet Jones, Voices of Love and Who's Looking at Who?, 2021, acrylic and gouache on patterned canvas, 120 × 160 in. (304.8 × 406.4 cm)

A reflection on Paul Klee's 'Angelus Novus' bought by the Jewish/German culturl critic Walter Benjamin during WWII in Germany. How does it relate to our present Zeitgeist?

Janet Jones, Benjamin's Angel, 2022, acrylic and gouache on patterned canvas, 92 × 52 in. (233.68 × 132.08 cm)

Reflections, as a flaneuse, from walking through Berlin.

Janet Jones, Black Holes, 2022, acrylic and gouache on patterned canvas, 92 × 52 in. (233.68 × 132.08 cm)

Residents from Canada

Antonietta Grassi

Canada

Conseil des arts et des lettres du Québec

Studio #208

Stanley Wany

Ase (pronounced “ah-sheh”; also spelled ashe) Yoruba words often have multiple meanings: Ase is generally defined as “the power to make things happen” and also refers to the spiritual life force that flows through things, much like the Chinese concept of chi. Deepening the exploration of my relationship with my ancestors, Ase, a drawing that measures almost two meters high by three meters long. For this piece, charcoal, a medium with archaic roots, is used to evoke powerful waves crowned by troubled sky. Towards the bottom of the drawings, the waves melt into abstraction, dripping onto the white surface of the paper. The title Ase, referring to Yoruba culture, embodies my ongoing relationship with my ancestors, those who perished in the sea as well as those with whom known ties have been cut by the transatlantic slavetrade. When creating this work, I also reflected on what it meant to be Black in the Americas and how my identity had been defined by the dominant society. I turned to the writings of Stuart Hall, Franz Fanon as well as of Edouard Glissant, whose concept of “creolisation” serves as a focal point in my practice going forward.

Canada

Conseil des arts et des lettres du Québec

Studio #222

Kara Springer

A hanging wall work consisting of deep purple prints of high resolutions scans of clay hanging over a poplar wood rod mounted on the wall.

Canada, Barbados

Canada Council for the Arts

Studio #305

Denmark

Past Resident
2023: Danish Arts Foundation

Curator

Charlotte Sprogøe

Charlotte Sprogøe is a curator working with performance and installation. She previously worked as Chief Curator at Kunsthal Arhus and has held positions at Tranen Contemporary Art Center, The Danish National Gallery, and Brandts Museum, among others. Sprogøe is currently a PhD fellow in Curatorial Practice at The Royal Danish Academy of Fine Arts.

Charlotte Sprogøe has curated exhibitions at Kunsthal Charlottenborg; Kunsthal Aarhus; Brandt Museum, all in Denmark, among others.

Events & Exhibitions

2023 Spring Open Studios

April 21–April 22, 2023

Installation view of Cecilia Bengolea's work "Deary Steel" for the exhibition "Red Light Green Light", 2022, curated by Charlotte Sprogøe

Installation view of Korakrit Arunanondchai's work "Songs for Living" for the exhibition "Red Light Green Light", 2022, curated by Charlotte Sprogøe

Installation view of Alex Baczynski-Jenkins' work "Unending love, or love dies, on repeat like it's endless" for the exhibition "Red Light Green Light", 2022, curated by Charlotte Sprogøe