Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
United States, Israel

Past Resident
2023: Artis, Office of Cultural Affairs, Consulate General of Israel in New York, ZAZ10TS, Tzili Charney

Artist

Noa Yekutieli

Noa Yekutieli’s work explores tensions between shared human experiences complicated by cross-cultural perspectives through a variety of craft mediums such as paper-cutting, handwoven textiles, and site-specific installation. Through images of landscapes and disasters, the artist examines universal patterns of destruction, loss, trauma, and memory, drawing on personal experiences as an Israeli-Japanese-American and considering conflicts related to assimilation and immigration. By incorporating patterns from various cultural contexts, Yekutieli attempts to investigate human systems in the emotional and political realms.

Noa Yekutieli has exhibited work at Contemporary Art Museum of Rosario, Argentina; Kunstmuseum Ahlen, Germany; and Nakanojo Biennale, Japan, among others.

Events & Exhibitions

Exploring Liminality: A Gallery Talk with Noa Yekutieli and Jenée-Daria Strand
March 5, 2024, 6:30–7:30pm
Noa Yekutieli: No Longer — Not Yet
February 13–June 21, 2024
2022 Fall Open Studios
November 18–November 19, 2022
The Chaos in Order, 2020, manual paper-cutting, xerox prints, 138 x 138 x 95 inches
Noa Yekutieli, The Chaos in Order, 2020, manual paper-cutting and xerox copies, 138 × 138 × 95 in. (350.52 × 350.52 × 241.3 cm)
Shoji Screen, 2021, manual paper-cutting, 59 7/8 x 97 1/4 inches
Noa Yekutieli, Shoji Screen, 2021, manual paper-cutting, 597/8 × 971/4 in. (152.07 × 247.01 cm)
Not a place to rest, 2022, manual paper-cutting, hand woven textile, 47 1/4 x 37 1/8 inches
Noa Yekutieli, Not a place to rest, 2022, manual paper-cutting and hand woven textile, 471/4 × 371/8 in. (120.01 × 94.3 cm)
From Dichotomy to Color, 2022, manual paper-cutting, hand woven textile, 20 1/8 x 32 1/4 inches
Noa Yekutieli, From Dichotomy to Color, 2022, manual paper-cutting and hand woven textile, 201/8 × 321/4 in. (51.12 × 81.91 cm)
Being There Absent, 2022, manual paper-cutting, hand woven textile, 82 5/8 x 55 1/8 inches
Noa Yekutieli, Being There Absent, 2022, manual paper-cutting and hand woven textile, 825/8 × 551/8 in. (209.87 × 140.02 cm)

Residents from Israel

Ruthi Helbitz Cohen

Beloved women portraits, heroines such as poets, politicians, personal beloved ones, my mother, my daughter, paper works ink on paper, stains, coffee leftovers mixed with ink
Israel
Haaretz Art Collection
Studio #206

Merav Kamel & Halil Balabin

A black wolf sewn out of fabric stands on a cylindrical black base. It has human teeth in its mouth and a small woman wearing a red t-shirt in its belly.
Israel
Artis
2023

Ruth Patir

Israel, United States
Artis
2023
South Korea

Past Resident
2023: DOOSAN Art Center

Artist

Ji Hye Yeom

Ji Hye Yeom’s practice is based on multidisciplinary research; her work investigates the unseen force that causes events in the present to occur and emphasizes the sense of experience. Yeom proposes an alternative worldview and new modes of communication through moving images by exploring the connecting links and blurred boundaries between the past, present, experience and memory.

Ji Hye Yeom has exhibited work at the National Museum of Modern and Contemporary Art, South Korea; Leeum Museum of Art, South Korea; and Al Mureijah Art Spaces, United Arab Emirates, among others.

Events & Exhibitions

2022 Fall Open Studios
November 18–November 19, 2022
Cyborg, Post Human, Olfactory Sense, Material Turn, Body, Substance
Ji Hye Yeom, CyborgHandstanderus's Nose, 2021, moving image, 19:10 min.
Symbiosis, Co-evolution, Environmental Disaster, Indigestion
Ji Hye Yeom, Symbioplot, 2020, moving image, 20 min.
Solidarity, Tentacle Thinking, Artificial Intelligence, Cosmic Dance
Ji Hye Yeom, AI Octopus, 2020, moving image, 16:35 min.
Future Scenario, Post Human, Fascism, Futurism, High Technology, 4th Revolution
Ji Hye Yeom, Future Fever, 2018, moving image, 17:10 min.
Amazonian Myth, Post Colonialism, Neo Liberalism, Affection
Ji Hye Yeom, A Night with a Pink Dolphin, 2015, moving image, 21:37 min.

Residents from South Korea

Sungsil Ryu

Image of a text advertisement in Korean for a video series by BJ Cherry Jang. The text mentions
South Korea
DOOSAN Art Center
2024

Heemin Chung

South Korea
DOOSAN Art Center
2024

Winter Gyeoul Kim

South Korea
DOOSAN Art Center
2024
United States

Past Resident
2023: Celebrate the Studio

Artist

Andrew Ross

Andrew Ross is a sculptor and new media artist. His works ranges from process-based abstractions to figurative tableaus, combining idiosyncrasy, reverse engineering, and digital imaging to create narrative fragments. He uses everyday objects, popular culture, mythology, and online communities to create speculative fiction inspired by diasporic thought and explore the relationship between the arbitrary and the designed.

Andrew Ross has exhibited work at Clima, Milan; False Flag, New York; and American Medium, New York, among others.

Escher once asked, “Are you really sure that a floor can’t also be a ceiling?” The Dutch artist might have ignored the fundamentals of gravity, but Andrew Ross takes them head on, laying out a narrative where gravity is a character as real as the mole or ant. Ross’s exhibition—with its creatures, exotic garden, and reclining man admiring an apple —distorts what could otherwise be seen as a kind of pastoral. Using the language of display (plinths, pedestals, trusses), Ross teases out the purgatory between what we experience and what we know: the heavens, the earth, and the scafolding that connects them. The many faces of astrophysicist Neil deGrasse Tyson found in Ross’s flowers One suspects Tyson would admire the way that Ross’s universe, situated in the double helix of fact and ction, gives body to the forces we usually take for granted. His Untitled (Figure), a nod to the Newtonian myth, locates us in a moment of wonder when daydreams collide with reality. The ceiling and floor collapse and leave us with a divine sense of self- awareness. In the words of Tyson: “We are part of this Universe, we are in this Universe, but perhaps more important than both of those facts is that the Universe is in us.” — Kat Herriman, Artforum Critic's Pick
Andrew Ross, Untitled (Landowner), 2017, wood, plastic, plaster, pigment, plastic, acrylic, fabric, tubing, bamboo, string and planter, 85 × 95 × 61 in. (215.9 × 241.3 × 154.94 cm)
Chassis, is the word for the base structure of a car, onto which all the other parts attach. It also sounds a bit like a person’s name. The desires latent in the anthropomorphism of this sound associated with what’s “under the hood” are exposed by the fanaticism accompanying car parts, extending into toy and model versions. DIY vacuum forming is in a sense a political act, to take a technique used by mass production and to do it in your home and to uniquely customize your plastic shells. It’s a hobby associated with toy cars and cosplay, and other avenues where plastic bodies are interchangeable to their chassis. The show is comprised of plastic parts that interconnect to create hollow objects bordering on figurative, abstract and functional.
Andrew Ross, Chassis, 2017, vacuum formed thermoplastic, light bulbs, electrical wire, aluminum and wood, dimensions variable.
A sculpture using real riot gear and a steel wool figure that does not anatomically align with the riot gear.
Andrew Ross, Hollow Man With Rubber Boots, 2017, riot gear, resin, fiberglass, steel, vinyl, wire mesh and steel wool, dimensions variable.
The work was originally sculpted out of air dry clay over a plaster and wire armature and base. The top half was then re-cast as a hollow shell in fiberglass and resin. The bottom half was left as the original material. The final material list is resin, fiberglass, clay, plastic, plaster, lacquer, paint, steel and aluminum armature. My intention was to make figurative sculptures which also served as architectural spaces for miniature figures. So the work focused on armor and shell like shapes. All Cartoons was intended to feel like a pile of costume materials that became animated into a figure of its own. The bottom half is sculpted to resemble the tread on the boots that I was wearing as I made it, and the top half was sculpted with a breast plate and helmet in mind.
Andrew Ross, All Cartoons Are Masculine, 2017, unfired water-based clay, resin, fiberglass, primer, plastic and plaster, 56 × 45 × 54 in. (142.24 × 114.3 × 137.16 cm)
Andrew Ross takes a cinema-inspired approach to sculpture. He’s interested in the dissonance created by the simultaneous events of depiction and reception. Ross sculpts in the round a zany cartoon character, which resembles Bugs Bunny. The sculpture casts the character as a archetypal underdog akin to classical depictions of David. Rather than holding a stone or slingshot, the cartoon rabbit figure rolls up its skin like a sleeve, apparently in preparation for a fight or to tackle a dirty task. The task at hand being absent, sets its gaze or the direction of the arms toward the viewers’ space. The sculpture gazes through the viewer allowing for symbolic confrontation, or perhaps anticipation to be placed in front of an appropriate adversary by its curators. Ross embraces the potential for both direction and misdirection given by this frozen moment of tension, and the emotive embodiment allowed by the animated figure- emphasized by the arm’s physical contortion.
Andrew Ross, Fight Loop, 2021, 3D printed thermoplastic, epoxy coating, polyeurothane, aluminum, stainless steel, plywood and automotive paint, 62 × 36 × 36 in. (157.48 × 91.44 × 91.44 cm)

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