Current Residents

Country
Residency Program
Resident Type
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Iran, United States

Current Resident: Apr 1, 2023–Apr 30, 2025

Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, 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, The Milton and Sally Avery Arts Foundation

Ground Floor

Artist

Azita Moradkhani

Azita Moradkhani’s practice is heavily influenced by Persian art, culture, and politics as a result of her upbringing in Tehran. Her work centers on the female body and its exposure to various social norms, examining the experience of personal insecurity and the sensitivity of the dynamics of vulnerability and violence.

Azita Moradkhani has exhibited work at Jane Lombard Gallery, New York; Museum of Contemporary Art, China; and Royal Academy of Arts, England, among others.

azitamora.com

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
Artists at Work: Azita Moradkhani in Conversation with William Chan
January 30, 2024, 6:30–7:30
2023 Fall Open Studios
November 10–November 11, 2023
2023 Spring Open Studios
April 21–April 22, 2023
The title refers to protestors who have lost their sights by the government in Iran over the past several months during the current revolution
Azita Moradkhani, Beautiful Eye, 2023, colored pencil, 40 × 26 in. (101.6 × 66.04 cm)
Inspired by nature and referring to the concept of nurturing through both mother earth and a woman breastfeeding, I have combined branch of a tree in this body cast. The body cycles here between the illusionary and the real, the artificial and natural, carrying its disruptive iconography along with it. The image drawn on the breast is based on a photograph of women’s march for their freedom after the 1979 Islamic revolution in Iran.
Azita Moradkhani, Cycle, 2018, paper clay, colored pencil, and tree branch, 14 × 10 × 4 in. (35.56 × 25.4 × 10.16 cm)
The image in this drawing is based on a photograph of people during the 1979 Islamic revolution in Iran.
Azita Moradkhani, The End, 2022, colored pencil, 24 × 19 in. (60.96 × 48.26 cm)
Azita Moradkhani, Her, 2022, colored pencil, 24 × 19 in. (60.96 × 48.26 cm)
The contrast between stereotypically feminine and masculine qualities in my work confronts the dualities of power and vulnerability, Orientalism and feminism, political rhetoric and actual lived experience. The drawing depicts a group of young boys playing and gambling on a bodysuit and it comes with this quote from me “These boys are too noisy and, secretly, betting on my lacy fabric. So I strangled them with pink ribbons and promised them a lollipop in exchange for their money.”
Azita Moradkhani, Pink Boys, 2021, colored pencil, 40 × 26 in. (101.6 × 66.04 cm)

Ground Floor Residents

Sarah Zapata

Large-scale installation compromised of textiles.
United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, 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 Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Hartfield Foundation
Ground Floor

Sasha Wortzel

water meanders through a sawgrass marsh beneath a blue sky and clouds
United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, 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, The Milton and Sally Avery Arts Foundation, Brooklyn Borough President Antonio Reynoso
Ground Floor

Simon Liu

Hong Kong, United States
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
Ground Floor
Costa Rica, United States

Current Resident: Aug 1, 2023–Aug 31, 2025

Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, Brooklyn Borough President Antonio Reynoso, 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, The Milton and Sally Avery Arts Foundation

Ground Floor

Artist

Tamen Pérez

Tamen Pérez employs non-linear storytelling as an approach in her painting, printmaking, and photography to critique Western notions of time and history as universal creations. She re-mediates images that explore the history of perspective and its relationship to the creation of space and subjecthood. Pérez holds an MFA in Painting and Printmaking from Yale School of Art and a BFA in Painting from the Rhode Island School of Design.

Tamen Pérez has exhibited work at Lyles and King Gallery, New York; Y2K Gallery, New York; and Stadium Galerie, Berlin; among others.

tamenperez.com

Events & Exhibitions

Artists at Work: Tamen Pérez in conversation with Elvia Wilk
November 19, 2024, 6:30–7:30pm
2024 Spring Open Studios
April 12–April 13, 2024
2023 Fall Open Studios
November 10–November 11, 2023
Undone double fitted bedsheet tensed to the wall with hooks. Silver paint holds the objects flat on the surface
Tamen Pérez, Silver Capsule, 2023, acrylic, flashe, worn clothes and smashed usb cable on fitted bedsheet, 96 × 102 in. (243.84 × 259.08 cm)
Photograph of AC vents on a rooftop taken with a homemade lenticular pinhole camera.
Tamen Pérez, Untitled (AC vents), 2023, digital photograph of a cyanotype, 48 × 36 in. (121.92 × 91.44 cm)
Realistically painted view from inside the NYC subway of the subway doors between trains
Tamen Pérez, L Train Parallax, 2023, acrylic on canvas, 5 × 31/2 in. (12.7 × 8.89 cm)
Realistically painted, supine, gender ambiguous, prehispanic Costa Rican ceramic figure. Floating in a silver background
Tamen Pérez, Reclining Monkey-form Jar, Costa Rica, AD 800-1350, Gift of Frederick and Jan Mayer, Art of the Ancient Americas Collection, Denver Art Museum, 2020-2021, acrylic on linen, 18 × 21 in. (45.72 × 53.34 cm)
Painting of a page from an archaeology book of Costa Rican ceramics. Depicting a monkey photographed in a studio display.
Tamen Pérez, Mono Chorotega en Ancient Costa Rica, 2021, acrylic on linen, 20 × 24 in. (50.8 × 60.96 cm)

Ground Floor Residents

Sarah Zapata

Large-scale installation compromised of textiles.
United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, 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 Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Hartfield Foundation
Ground Floor

Sasha Wortzel

water meanders through a sawgrass marsh beneath a blue sky and clouds
United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, 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, The Milton and Sally Avery Arts Foundation, Brooklyn Borough President Antonio Reynoso
Ground Floor

Simon Liu

Hong Kong, United States
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
Ground Floor
United States

Current Resident: Jun 1, 2024–Jun 1, 2025

Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, 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, The Milton and Sally Avery Arts Foundation, Brooklyn Borough President Antonio Reynoso

Ground Floor

Artist

Sasha Wortzel

Sasha Wortzel uses video, photography, installation, sculpture, sound, and printmaking to explore how this country’s past and present are inextricably linked through resonant spaces and their hauntings. Raised in South Florida/Miccosukee and Seminole lands and based in New York City/Lenape lands, Wortzel specifically attends to sites and stories systematically erased or ignored from these regions’ histories. Tangled dynamics of desire and loss layered in the landscape and reverberating across time form a through-line in her work.

Sasha Wortzel has exhibited work at Douglas F. Cooley Memorial Art Gallery, Reed College, Portland; Brooklyn Museum, New York; and New Museum, New York, among others.

sashawortzel.com
water meanders through a sawgrass marsh beneath a blue sky and clouds
Sasha Wortzel, Untitled Film Still (River of Grass), 2024, digital video, 80 min
Installation view of 7 large blue
Sasha Wortzel, Dreams of Unknown Islands, 2022, sound Installation, sculpture, and video, dimensions variable
two lawn chairs upholstered in python skins lit with amber and green light
Sasha Wortzel, Sitting Shiva, 2021, burmese python skin, vegetable tanned hide, and aluminum lawn chair, 23 × 23 × 36 in. (58.42 × 58.42 × 91.44 cm)
Beach goers below an abandoned graffiti covered buildings in black ink layered with people playing in ocean surf in blue-grey
Sasha Wortzel, Know Your Power, 2024, paper lithography monotype, 22 × 30 in. (55.88 × 76.2 cm)
two side by side monitors, one reads
Sasha Wortzel, This is an Address, 2019-20, video, 18 min

Ground Floor Residents

Sarah Zapata

Large-scale installation compromised of textiles.
United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, 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 Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Hartfield Foundation
Ground Floor

Simon Liu

Hong Kong, United States
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
Ground Floor

Hong Seon Jang

My America: Tucked behind the metal stud gate is a collection of hundreds of souvenir fridge magnets filling the wall. While many have encountered fridge doors adorned with magnets, the magnitude of this collection borders on the absurd, reflecting the American fixation on souvenirs. These items serve as symbols of both commemoration and commercialization, often tied to sites that have historical significance for indigenous peoples.The question of authenticity has always afflicted souvenirs, especially now that most of the tacky memorabilia from all over the world is mass-produced in China. I attempt to raise questions about my relationship to the authenticity of my experience, or lack thereof, with the locations represented in
South Korea, United States
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
Ground Floor

Past Residents

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Year
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