Past Residents
Past Resident2022: The New York Community Trust’s Edward and Sally Van Lier Fund
Steven Anthony Johnson II
Steven Anthony Johnson II uses the language of drawing, animation, and photography to make peace between the religious, intellectual, and humanistic ideals in relation to “Otherness” and Blackness. The artist attempts to create a modern sense of realism by utilizing traditional techniques with abstracted senses of temperature and value.
Steven Anthony Johnson II has exhibited work at Field Projects, New York; Inbreak, Los Angeles; and Notre Dame of Maryland University, Baltimore, among others.
Steven Anthony Johnson II, Annie Mae, 2021, charcoal and graphite on mounted paper, 5 × 7 in. (12.7 × 17.78 cm).
Steven Anthony Johnson II, Had I dreams anymore they would be of a world I hope you would possess, 2021, charcoal, graphite, and watercolor on mounted paper, 9 × 12 in. (22.86 × 30.48 cm).
Steven Anthony Johnson II, Weeping May Endureth For a Night, 2021, charcoal, graphite, and watercolor on mounted paper, 12 × 9 in. (30.48 × 22.86 cm).
Steven Anthony Johnson II, Three, 2020, ballpoint and ink on paper, 6 × 4 in. (15.24 × 10.16 cm).
Steven Anthony Johnson II, One, 2021, charcoal, graphite, and wax pencil on mounted paper, 24 × 18 in. (60.96 × 45.72 cm).
Residents from United States
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
Hanae Utamura
Studio #201
Petrina Dacres
Petrina Dacres is an independent curator and founding member of Tide Rising Art Projects, an organization created to support and promote contemporary Caribbean art and film. Her work and research focus on Caribbean art; African diaspora art; public sculpture and memorials; and memory studies.
Petrina Dacres has organized exhibitions at The Clemente Art Center, New York; The National Museum, Jamaica, Kingston; and National Gallery of Jamaica, Kingston, among others. Dacres is the Head of Art History at the Edna Manley College of the Visual and Performing Arts in Kingston, Jamaica.
Tide Rising Art Projects, Transformation: Images and Objects in Relation, 2021, exhibition poster.
Tim Barringer and Wayne Modest, Victorian Jamaica, 2018, "Keeping Alive Before the People's Eyes This Great Event': Kingston's Queen Victoria Monument," book essay.
Claire Tancons and Krista Thompson, EN MAS: Carnival and Performance Art of the Caribbean, 2016, "The Poetics of Death and Visibility: Introducing Ebony Patterson's Invisible Presence, Bling Memories," catalogue essay.
Petrina Dacres, Uprising: Morant Bay, 1865 and its Afterlives, 2015, National Museum of Jamaica, Kingston.
Petrina Dacres, Edna Manley: Into the Sun, 2015, Edna Manley College of the Visual and Performing Arts, Kingston, Jamaica.
Residents from United States
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
Hanae Utamura
Studio #201
Past Resident2022: Canton de Vaud, Service des Affaires Culturelles
Philémon Otth
Philémon Otth’s artistic practice revolves around challenging questions of time and temporalities, history and histories, material and immaterial, transparency and opacity. He is interested in exploring sites and situations by questioning the implications of images and objects within their spatial and socio-historical contexts. Otth approaches these ideas through configurations of form and language, displacement and shifting strategies.
Philémon Otth has exhibited work at CAN – Centre d’Art de Neuchâtel; Plymouth Rock, Zürich; and Kunsthaus Baselland, Muttenz, all Switzerland, among others.
Philémon Otth, Engawa (side by side, end to end), 2020, wooden platform and canvas pieces, dimensions variable.
Philémon Otth, Break Out, 2021, iron bars and paint, dimensions variable.
Philémon Otth, time for a better world, 2020, beach towel, 271/2 × 1013/16 in. (69.85 × 27.43 cm).
Philémon Otth, He made friend with the bees and they let him know the secrets of the Sun, 2018, cocktail, wooden structure, and bottle, 1511/16 × 1511/16 × 59 in. (39.88 × 39.88 × 149.86 cm).
Philémon Otth, very veto very vero, 2016, glass, canvas, wood, floor dirt, and local honey, dimensions variable.
