Past Residents
Past Resident2022: Pola Art Foundation2021: Pola Art Foundation
Saya Irie
Saya Irie’s work is inspired from everyday life and its ties to the distant past. Irie modifies objects by means of reduction, working with books, photographs, banknotes, and soaps, amongst others objects. Her practice is based on the idea that life continues to exist in an imperceptible sphere even after its external form disappears.
Saya Irie has exhibited work at Hiroshima City Museum of Contemporary Art; Setouchi Triennale, Shōdoshima, Kagawa, Japan; and Shiseido Gallery, Tokyo, among others.
Saya Irie, Kannon Dust (Kukurihime), 2016, Japanese hanging scroll and eraser shavings, figure: 7 x 4.7 x 2.4 in.; hanging scroll: 24 x 71 in
Saya Irie, Mau Dust, 2016, charm and eraser shavings, figure: 5 x 6 x 2.4 in., charm: 20 x 28 in
Saya Irie, Mary Dust, 2020, Kapanese hanging scroll and eraser shavings, figure: 2.4 x 1.7 x1.5 in.; hanging scroll: 16 x 9.4 x0.6 in
Saya Irie, Disny Dust, 2015, children's book and eraser shavings, figure: 5 x 3.5 x 2.3 in., book: 7.8 x 12 in
Saya Irie, Jyashouten Dust, 2019, Japanese hanging scroll, cardboard boxes, and eraser shavings, 90 x 70 x 12 in
Past Resident2022: Vision Fund
Tere Garcia
Tere Garcia is a multidisciplinary artist working across photography, performance, video, and installation. Her art practice has been an important tool to express, heal, and form narratives about her identity and the places where she exists. Garcia has been traveling and working along the United States and Mexico Border, confronting these boundaries that demolish and hinder unity.
Tere Garcia has exhibited work at Northern Illinois University Art Museum, DeKalb; Lawndale Art Center and Station Museum of Contemporary Art, both Houston, among others.
Tere Garcia, Anti-Monument - Douglas, Arizona- Agua Prieta, Sonora México, 2020, documentation of performance
Tere Garcia, Anti-Monument - Fort Hancock, Texas- El Porvenir, Chihuahua México, 2020, documentation of performance
Tere Garcia, Anti-Monument - San Benito, Texas - Tamaulipas, México, 2020, resin-coated photographic paper, unfixed lumen print, 12 × 30 in. (30.48 × 76.2 cm)
Tere Garcia, The Wall, 2019, installation with digital projection, dimensions variable
Tere Garcia, The Wall, 2019, installation with digital projection, dimensions variable
Residents from United States
Past Resident2022: 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, Joseph Robert Foundation, Danna and Ed Ruscha, Horace W. Goldsmith Foundation2013: The Arthur Foundation, Pollock-Krasner Foundation, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature
Bundith Phunsombatlert
Bundith Phunsombatlert’s recent projects trace the unseen paths of immigrants and their immigration stories through real and imagined landscapes. By merging contemporary technologies with traditional forms of media, the artworks offer a unique definition of new media art defined not simply by the use of technology, but by revealing a fresh new meaning of something old. His work seeks to explore ways that individuals connect with their personal backgrounds and cultural identities to reinvent traditional interpretations of history.
Bundith Phunsombatlert has exhibited work at Auckland Triennial Institution; New Zealand; Guangzhou Triennial, China; and Asia Pacific Triennial of Contemporary Art, Australia, among others. Currently, his projects are on exhibition at the Katonah Museum of Art, Bronx Museum of the Arts, and Stone Avenue Branch of the Brooklyn Public Library, all in New York.
Bundith Phunsombatlert, Crossing the Border: Beneath the Blue Sky, ongoing, Cyanotype on fabric mounted on museum board, hung on cable lines, 7 × 4 1/4 in. each
Bundith Phunsombatlert, Memory, Market and Migratory Transition, 2015/2017/ongoing, electronic media (total of forty-nine video clips from seven locations in NYC played based on the mechanic system of View-Master stereoscopes and reels), variable dimensions
Bundith Phunsombatlert, Memory, Market and Migratory Transition, 2015/2017/ongoing, electronic media (total of forty-nine video clips from seven locations in NYC played based on the mechanic system of View-Master stereoscopes and reels), variable dimensions
Bundith Phunsombatlert, Sunny Garden in Blue: Stories from the Caribbean to Brooklyn, ongoing, digital and cyanotype versions, 14 1/4 × 20 in. each
Bundith Phunsombatlert, Returning Dialogue: Fragments of Blue and White Porcelain (Transatlantic Slave Trade Series), 2019, digital printing transfers on porcelain, 27 × 16 × 2 in. (68.58 × 40.64 × 5.08 cm)
Ground Floor Residents
Civan Özkanoğlu
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
James Beckett
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
Joiri Minaya
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, Jerome Foundation