Past Residents
Past Resident2020: Vision Fund
Charisse Pearlina Weston
Charisse Pearlina Weston’s creative work emerges from deep material investigations of poetics and the autobiographical. She utilizes glass to conceptually embody both the everyday risk of anti-black violence and the precocity and malleability of blackness in the face of this violence. She deploys language and the autobiographical to examine the delicate intimacies and reticent poetics underlying black life. She reuses and re-articulates materials from past installations to formulate the next to represent meaning’s capacity to shatter.
Charisse Pearlina Weston has exhibited work at the Contemporary Art Museum, Houston; Elizabeth Foundation for the Arts, New York; and Praz-Delavallade Gallery, Los Angeles, among others.
Events & Exhibitions
2020 Fall Open Studios
November 17–November 18, 2020
Charisse Pearlina Weston, black point perspective or blueprints for worry (notes one of nine or for while, for when, for where?), 2017, replacement frame glass, cinder blocks, photo and text, dimensions variable.
Charisse Pearlina Weston, black notes for the thing left there (or when darkness risks being the forever nocturnal source of light itself, notes two of nine), 2018, replacement frame glass from collapse, tempered glass panels, transparencies, dark and lovely let's jam! conditioning and shine hair gel, dimensions variable.
Charisse Pearlina Weston, An Appeal, but, in Particular, Very Expressly, To (i sink), 2019, four-channel sound installation of slumped glass sound sculptures, shattered tempered glass from the thing left there, lathe-cut vinyl records, record players, dimensions variable.
Charisse Pearlina Weston, felt in the heart as well as uttered in the mouth, 2019, layered, slumped, and manually folded glass, photographic decals, high-fire enamel, and text etched on glass, 30 × 20 × 4 in. (76.2 × 50.8 × 10.16 cm).
Charisse Pearlina Weston, breach (a notion of freedom), 2019, layered, slumped, and manually folded glass, photographic decals, high-fire enamel, and etched text derived from work by Frederick Douglas and David Walker, 30 × 20 × 4 in. (76.2 × 50.8 × 10.16 cm).
Residents from United States
Past Resident2024: 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, The Milton and Sally Avery Arts Foundation2023: 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 Foundation2021: Vision Fund
Joiri Minaya
Joiri Minaya’s work is a reassertion of Self, an exercise of unlearning, decolonizing and exorcizing imposed histories, cultures and ideas. She reconciles the experiences of growing up in the Dominican Republic and navigating the United States and the Global North, using gaps, disconnections and misinterpretations as ground for creativity.
Joiri Minaya has exhibited work at Baxter St at the Camera Club of New York; Wave Hill, New York; and Centro León, Santiago, Dominican Republic, among others.
Joiri Minaya, #dominicanwomengooglesearch, 2016, UV print on Sintra board and fabric collage, 72 × 180 × 144 in. (182.88 × 457.2 × 365.76 cm).
Joiri Minaya, Tropticon, 2018, aluminum, polycarbonate and perforated vinyl, 144 × 120 × 120 in. (365.76 × 304.8 × 304.8 cm).
Joiri Minaya, Continuum, 2020, digital collage, 8 × 10 in. (20.32 × 25.4 cm).
Container #7, 2020, photography, 40 × 60 in. (101.6 × 152.4 cm).
Joiri Minaya, The Cloaking of the statue of Christopher Columbus behind the Bayfront Park Amphitheatre, and the statue of Ponce de Leon at the Torch of Friendship on Biscayne Blvd, Miami, Florida, 2019, dye-sublimation print on spandex fabric and wood structure, 144 × 60 × 60 in. (365.76 × 152.4 × 152.4 cm).
Ground Floor Residents
Maya Jeffereis
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Keli Safia Maksud
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, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Hong Seon Jang
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, 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, New York City Council District 34, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Past Resident2021: Vision Fund
Lauren Kelley
Lauren Kelley is a storyteller employing a wry wit when surveying notions of emotional excess. Her approach to animation combines clay-mation with a collection of tan, plastic toys to stylistically evoke the children’s television programs of the artist’s youth. Her jittery, low-tech ideas take place amongst Technicolor dioramas; a plush backdrop in contrast to the flaccid storylines of a discontented cast of innocent characters.
Lauren Kelley has exhibited work at Centre Pompidou, Paris; Women and Their Work, Austin; and The Kitchen, New York, among others
Lauren Kelley, Pickin', 1999, C-print, 24 × 24 in. (60.96 × 60.96 cm).
Lauren Kelley, Froufrou Conclusions, 2011, single-channel video, 1:22 min.
Lauren Kelley, Video Still-Pink Heads, 2011, multi-channel video, 22 sec.
Lauren Kelley, Storyboard Image - Prototypical Oppression/ Obsession, 2009, digital C-Print, 11 × 81/2 in. (27.94 × 21.59 cm).
Lauren Kelley, Video Still-Telephone, 2014, multi-channel video, 17 sec.