Past Residents
Past Resident2021: Sobey Art Awards, National Gallery of Canada
Sara Cwynar
Sara Cwynar works with photography, video, and book-making. Her work involves a constant archiving and re-presentation of collected visual materials. She is interested in the way that images morph, accumulate, endure and change in meaning and value over time, and the effect this has on a collective worldview.
Sara Cwynar has exhibited work at The Approach, London; Milwaukee Art Museum; MoMA PS1, New York, among others.
Events & Exhibitions
2020 Fall Open Studios
November 17–November 18, 2020
Sara Cwynar, Red Film, 2018, video, 13:01 min
Sara Cwynar, Rose Gold, 2017, video, 8 min
Sara Cwynar, Sahara from SSENSE.com (as young as you feel), 2020, archival pigment print, 30 × 38 in. (76.2 × 96.52 cm)
Sara Cwynar, Louis Vuitton Jeff Koons Rubens Bag, 2020, archival pigment print, 30 × 38 in. (76.2 × 96.52 cm)
Sara Cwynar, Ali from SSENSE.com (How to Marry a Millionaire), 2020, archival pigment print, 24 × 30 in. (60.96 × 76.2 cm)
Residents from Canada
Past Resident2020: Vision Fund
Kameelah Janan Rasheed
Kameelah Janan Rasheed is a learner grappling with the poetics, politics, and pleasures of the unfinished: ecologies of Black living, Black textual production, Black utterances, and Black spiritualities. She creates ecosystems of iterative and provisional projects. These projects include sprawling, “architecturally-scaled” xerox-based collages; large-scale public installations; publications; prints; digital archives; lecture-performances; library interventions; poems/poetic gestures; and other forms yet to be determined.
Kameelah Janan Rasheed has exhibited work at Brooklyn Museum; New Museum of Art, New York; and Institute of Contemporary Art – University of Pennsylvania, among others.
Events & Exhibitions
2020 Fall Open Studios
November 17–November 18, 2020
Kameelah Janan Rasheed, A Casual Mathematics, 2019, archival inkjet prints, xeroxes, acetate, vinyl, paint, and drywall, dimensions variable
Kameelah Janan Rasheed, A Casual Mathematics, 2019, archival inkjet prints, xeroxes, acetate, vinyl, paint, and drywall, dimensions variable
Kameelah Janan Rasheed, No New Theories, 2019, artist book published by Printed Matter, 39/16 × 61/8 in. (9 × 15.5 cm)
Kameelah Janan Rasheed, Every Sentence is a Sponge, 2020, archival inkjet prints, xeroxes, acetate, paint, nail, and ink
Residents from United States
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, 20 × 30 × 4 in. (50.8 × 76.2 × 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, 20 × 30 × 4 in. (50.8 × 76.2 × 10.16 cm)