Past Residents
Past Resident2018: Inlaks Shivdasani Foundation
Rajyashri Goody
Rajyashri Goody is a visual artist and ethnographer. Her practice is informed by her background in social science as well as her Dalit roots. Through the use of various media, including writing, ceramics, photography, video, and sculptural works made with found objects and food items, she attempts to decode and make visible instances of everyday power and resistance within Dalit communities in India. She is currently researching parallels and contrasts in foodways in the context of race and caste.
Rajyashri Goody has exhibited work at The Showroom, London; Harvard University, Cambridge; and Khoj International Artists’ Association, New Delhi, among others.
Rajyashri Goody, Joothan, 2018, Manusmriti paper pulp, turmeric, and acrylic, dimensions variable.
Rajyashri Goody, Namak Halal, 2017, rock salt and dried red chillies, 60 × 108 in. (152.4 × 274.32 cm).
Rajyashri Goody, Bhakar, 2017, ceramic, stainless steel, and dried red chillies, dimensions variable.
Rajyashri Goody, Is Hunger Gnawing At Your Belly?, 2017, text, 6 × 8 in. (15.24 × 20.32 cm).
Rajyashri Goody, Changing Room, 2017, 100 pairs of men's trousers and shirts, 1181 × 1181 in. (2999.74 × 2999.74 cm).
Past Resident2022: 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, Joseph Robert Foundation, Danna and Ed Ruscha, Horace W. Goldsmith Foundation2018: Creative Australia
Svetlana Bailey
Through installation, drawing and in-camera collage, Svetlana Bailey uses fruit to explore the flesh and gender of human embodiment throughout her work. She uses details and enlarging techniques to create new spatial and form/function relationships between fruit and the body.
Svetlana Bailey has exhibited work at Elizabeth Houston Gallery, New York; Blue Sky Gallery, Portland; and Artereal Gallery, Sydney; among others.
Svetlana Bailey, Without Kisses and Hugs, 2020, digital print on silk, 75.
Svetlana Bailey, Hugs, 2020, pigment print, 40 × 65 in. (101.6 × 165.1 cm).
Svetlana Bailey, Passion Berry and After Birth, 2020, pigment print, 40 x 43 in. each.
Svetlana Bailey, In Memory of Big Mike, 2019, pigment print, 50 × 40 in. (127 × 101.6 cm).
Svetlana Bailey, Woman with Fruit, 2019, pigment print, 39 × 31 in. (99.06 × 78.74 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 Resident2019: Bradley University, Big Picture Peoria2018: Bradley University
Heather Brammeier
Heather Brammeier is a sculptor, painter, and installation artist whose work continues the function of childhood play into adulthood. Through innovative use of materials and deceptively simple design, Brammeier creates visual puzzles that invite movement in and around the artwork. The artwork tests physical and perceptual boundaries, mirroring emotional and psychological limits. Vertiginous stacking, attention to surfaces, and the use of light and shadow elicit contemplation of safety and threat, love and loss, and the complexity of emotional experience.
Heather Brammeier has exhibited work at Pen + Brush, New York; South Bend Museum of Art, Indiana; and Swansea College of Art, Wales, among others.
Heather Brammeier, I Changed, and then I Changed Again, 2019, reclaimed wood flooring, willow tree, and chain, dimensions variable.
Heather Brammeier, Nothing to Fix, 2018, reclaimed wood flooring, willow branches, sycamore branches, found objects from beach and garden, studio remnants, and chain, dimensions variable.
Heather Brammeier, Next Steps (Life Carries On), 2017, painted wood, painted insulation foam, garden hose, reclaimed metal hoop, and rope, dimensions variable.
Heather Brammeier, Lose the Feeling, 2017, reclaimed wood flooring, and carpet, dimensions variable.
Heather Brammeier, Brighten the Corners, 2017, painted wood, garden hose, PEX tubing, and reclaimed ladders on abandoned house.
