Current Residents

List Grid

Current Resident: Mar 1, 2023–May 31, 2023

Studio #304

Dana Robinson

Dana Robinson is a multidisciplinary artist based in Brooklyn who combines vintage materials, found objects, and paint to explore the themes of Blackness, womanhood, and ownership.

Dana Robinson has exhibited work at Utah Museum of Contemporary Art, Salt Lake City; Texas State University, San Marco; and 92nd Street YMCA, New York, among others.

danarobinsonstudio.com

Dana Robinson, Hand 001, 2022, multimedia in clear acrylic case, 14 × 11 in. (35.56 × 27.94 cm)

Dana Robinson, Here, We Know Computers, 2022, gouache, acrylic, and collage on wooden panel, 12 × 9 in. (30.48 × 22.86 cm)

Dana Robinson, Miss LeMoyne, A Senior from Memphis, 2022, acrylic on wooden panel, 48 × 36 in. (121.92 × 91.44 cm)

Dana Robinson, Remember How Much You Loved Koolaid, 2022, acrylic on wooden panel, 24 × 18 in. (60.96 × 45.72 cm)

Dana Robinson, Women’s Work Vol.4-03, 2022, printed fabric, 32 × 32 in. (81.28 × 81.28 cm)

Residents from United States

Hellen Ascoli

This interactive sound table is an exploration of the relationship between text and textile, particularly through the oral tradition.

United States, Guatemala

Pollock-Krasner Foundation

Studio #302

United States

Current Resident: Jul 1, 2022–Jun 30, 2023

Studio #305

Sarah Tortora

Sarah Tortora draws inspiration from canonical sculptures, urban infrastructure, and museum display. Her work alternates between relational warmth and misidentification, and functions parallel to language to create intuitive replicas of archetypal objects. Tortora’s work conjures the psychic displacement necessary to comprehend the cultural displacement such archetypes can induce. The artist accepts the premise that every equestrian monument is truly a Trojan horse, and questions legacies of labor across geological time.

Sarah Tortora has exhibited work at Ulterior Gallery, New York; C. Grimaldis Gallery, Baltimore; and NADA x Foreland, Catskill, among others.

sarahtortora.com

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

A lifesize off-white vessel with a gritty papery texture, which has a black modelled gridded armature partially exposed. The vessel is not perfectly symmetrical. It undulates in a slightly awkward way. There is a black modelled Greek key design on the exterior of the vessel at the rim which encircles the form. Inside the vessel, a variety of pastel colors are mixed with white paint to create a subtle glowing effect within.

Sarah Tortora, Yolanda, 2018, paper pulp, epoxy clay, plywood, acrylic and latex paint, 64 × 35 × 36 in. (162.56 × 88.9 × 91.44 cm)

A life-size faded, grey, stone-textured vertical stele form sits atop a subdued lime green, smooth-textured rectangular pedestal which sits flat on the floor. The stele form is subtly curved in the shape of a gravestone. There is an organic, but rectangular shaped cutout in the center of the stele form, revealing its interior as well as a mosaic of wood fragments that are framed within the shallow interior of the cutout. The wood fragments are plywood, pine, and hardboard. Some of them are treated with a green or black paint wash. The wood mosaic forms taper off inside the form and consolidate toward the base.

Sarah Tortora, Tonguetied (Mirror for the Unthought Known), 2020, wood composites, plywood, pine, gypsum cement, acrylic and latex paint, 76 × 48 × 18 in. (193.04 × 121.92 × 45.72 cm)

This sculpture sits within a 3-4 foot square, and sits flat on the floor, extending no more than 40”in height. The bottom of this form is made of concrete which has different stones, minerals, and construction debris embedded in it. There are chunks of broken asphalt, large scallop shells, fragments of fallen graffiti, and unidentifiable minerals. The concrete and stones are cast in staggering layers; some stick out 3-4” from the central base form. There are also areas where black epoxy clay or epoxy resin had been modelled or poured over areas of shallow concrete. Appearing to be wedged within the concrete base is a fragmented drywall structure, which juts upward in enclosed, angular construction. On one side of the form, the concrete base is very short, and so are the drywall fragments. Toward the center, the concrete base gains height and so does the drywall form; utilizing larger and larger pieces of drywall toward the top of the form, which is cut into a crenelated, castle-like shape.

Sarah Tortora, Acropalypse, 2020, drywall, cement, epoxy resin, acrylic & latex paint, found minerals and construction debris, 33 × 38 × 44 in. (83.82 × 96.52 × 111.76 cm)

A sculpture comprised of a 4-‘5’ tall by 1’ wide cartoonish leg, appearing to move to the left, is thickly outlined by black painted wood, with an abstract, atmospheric recessed painting within this framing. Grey and white are the dominant colors painted on the leg, with occasional wisps of blue, yellow, and copper. Atop the leg sits a tapering white rectangular form, which extends perpendicularly from the leg on a downward tilt to the right, and hovers just over a massive stone-like structure to the right of the leg. The stone structure is approximately the same height as the leg, but three feet wide. It is a warm white, and the surface is sanded to reveal patches of light blue, green, and grey underneath. Embedded within this stone structure is a very graphic black X shape made from wood, that is not symmetrical. The upper left “leg” of the X meets the top of the leg to support the white tapering form, while the opposing upper right “leg” of the X is embedded fully in the stone structure.

Sarah Tortora, Wayward Queen, 2021, plywood, wood composites, gypsum cement, resin, acrylic and latex paint, 55 × 35 × 58 in. (139.7 × 88.9 × 147.32 cm)

This 6-7’ tall sculpture is in the shape of a right angle, and is positioned in a right angled corner of an architectural space, hovering about 5” in front of the walls. It is approximately 5” thick on either side before it turns 90 degrees, opening up like a book parallel to the walls. It is a large rounded stele form, with undulating curves toward the center of the 5” wide sides, resemblant of an instrument. The majority of its surface is a white, baby blue, and graphite stone-like texture. Toward the center of the form, particularly where it folds into a right angle, are fragmented pieces of wood which are arranged like a mosaic embedded into the stone like structure. The wood is adhered in several different directions, and while the natural character of the wood is retained, some pieces are painted black, washed glue, or tinted yellow. The overall frame/footprint of the embedded wood mosaic is an extremely undulating, curvilinear, cartoonishly organic shape. This overall shape moves from incredibly bulbous French curves, to sudden vertical lines, to organ like protrutions from a central form. There is one negative space cut out from the right side of the stone-like form, a 5

Sarah Tortora, Geode, 2021, gypsum cement, plywood, pine, resin, acrylic and latex paint, 78 × 36 × 25 in. (198.12 × 91.44 × 63.5 cm)

Residents from United States

Dana Robinson

United States

Vision Fund

Studio #304

Shanekia McIntosh

text installation installed on decal on storefront

United States

Vision Fund

Studio #222

Nathaniel Donnett

United States

Vision Fund

Studio #303

United States, China

Current Resident: Apr 1, 2022–Apr 1, 2023

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

Ground Floor

Artist

Alchemyverse

Alchemyverse was founded in 2020 in New York City by artists Bicheng Liang (b. 1994, China) and Yixuan Shao (b. 1996, China/United States). As a duo, they construct visual and aural assemblages, working across disciplines of installation, print, sound, sculpture, and photography. Focusing on research and experimentation, their hybrid practice resonates with macro-environmental concerns and human dislocation of space, leading them to places such as Oahu and Moa Kea in Hawaii, the American Southwest, the Hudson Highlands, and the Chilean deserts.

Alchemyverse has exhibited work at Bishop Museum, Honolulu; The Catherine Fosnot Art Gallery and Center, New London; and Lenfest Center for the Arts, Columbia University, New York City, among others.

thealchemyverse.com

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

2022 Spring Open Studios

April 22–April 23, 2022

The work features collages of cyanotype photographs taken in the American Southwest, multichannel field recordings, and objects collected within the land on three suspended wooden panels.

Alchemyverse, Stir, Full of, Abounding In, 2021, cyanotypes collage, dead plant, pit-fired wild clay fragment, rocks, 8-channel specialized sound, transducers, and other mixed media, 84 × 120 × 3 in. (213.36 × 304.8 × 7.62 cm)

Left Without the Means to Move uses the ephemerality of sound and porousness of space to adapt to the viewers’ presence and creates an interactive soundscape as a constant search for balance. The materiality of the landscape slowly unfolds within and around the dome-shaped assemblage of sound recordings of making the ceramics in the wilderness, extracted soil, and pit-fired sandstone-molded sculptures.

Alchemyverse, Left Without The Means To Move, 2021, lava rocks, anodized aluminum, bone conductors, pit-fired wild clay and sound recorded within, desert soil, amplified microphones, speakers, subwoofers, and other mixed media, 204 × 204 × 180 in. (518.16 × 518.16 × 457.2 cm)

With the whole work's structure supported by salvaged rocks and plywood scraps, we explore how a construction of the fragmented brings the multitude of functionalities, identities, and meanings together, and us into proximity with such process.

Alchemyverse, Untitled, 2021-22, rocks, ceramics, bronze, dead plants, living moss, sand, films, cyanotypes, scores, 3D carved photo, turntable, trace light box, digital projectors, lamps, and other mixed media