Past Residents
Past Resident2024: New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, 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, Hartfield Foundation, Danna and Ed Ruscha2023: 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, The Milton and Sally Avery Arts Foundation2021: Mondriaan Fund
James Beckett
James Beckett’s practice explores overlooked histories concerned with industrial development and the built environment. With a focus on the physicality of historically-laden objects, his works deal with cultural signs that shape our experience in the modern era. The approach considers proximity in the experience of subjects through tertiary bodies, and the implications of their given traces. Beckett activates objects in order to unpack their abstract and metaphysical potential, often employing the absurd and uncanny to form new perspectives on formative events.
James Beckett has exhibited at the 56th Venice Biennale, Venice; Stedelijk Museum, Amsterdam; and MAAT – Museum of Art, Architecture and Technology, Lisbon, amongst others. His work is in collections of Centre Pompidou, Paris, and Stedelijk Museum Amsterdam. He is the winner of Prix de Rome Art & Public Space.
James Beckett, A Seedless Grape, 2020-21, installation at the International Studio & Curatorial Program of backlit plexiglass, condenser coils, various objects, wood, and UV print on glass , 144 × 144 × 300 in. (365.76 × 365.76 × 762 cm).
James Beckett, The Skeptical Structures of Max, 2019, installation, dimensions variable.
James Beckett, Negative Space: A Scenario Generator for Clandestine Building in Africa, 2015, robotics istallation, dimensions variable.
James Beckett, Palace Ruin, 2018, installation for public space, dimensions variable.
James Beckett, Pairings, 2018, installation, dimensions variable.
Ground Floor Residents
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
Sujin Lim
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
Simon Liu
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
Viktoria Schmid
Viktoria Schmid works at the crossroad of cinema and installation art. Her chosen mediums of film, video, sculpture, and photography act as co-authors and enter into a dialogue with the content. Medium-specific qualities shape her works, where she reflects on the spatial and social conditions of cinema, exhibition, and public spaces. Schmid is interested in perception and influencing viewers’ everyday ways of seeing. Her practice focuses on historical image-making-processes, the potential for representing landscape, and the historical development of cinema.
Viktoria Schmid has exhibited work at the International Film Festival Rotterdam; Künstlerhaus Graz, Austria; and MONO NO AWARE, New York City, among others.
Viktoria Schmid, A Proposal to Project in Scope, 2020, 35mm film, 8 min.
Viktoria Schmid, A bench for A Proposal to project in Scope, 2022, wood, cyanotype on fabric, 50 × 20 × 18 in. (127 × 50.8 × 45.72 cm).
Viktoria Schmid, W O W (Kodak), 2018, video, 2 min.
Viktoria Schmid, The clouds are not like either one — they do not keep one form forever, 2014, 3 16mm projectors, 3 projection screens, black and white with colored filters.
Viktoria Schmid, #viktoriasshadows / timeflies. 18.3.2020, 11:00–12:30, 270 West 17th Street, NYC, 2020, cyanotype, 11 × 14 in. (27.94 × 35.56 cm).
Residents from Austria
Past Resident2022: Wallace Arts Trust2020: Wallace Arts Trust
Imogen Taylor
Imogen Taylor paints geometrical abstracts that explore the forms and LGBTQIA+ legacies of European Modernism. Taylor’s paintings, while inspired by Cubism’s abstract forms and colored juxtapositions, are devoid of the source material’s masculine self-seriousness.In their work, Taylor contrasts imposing parallel lines with soft curves and uses thickly applied color.
Imogen Taylor has exhibited work at Whangārei Art Museum, Hocken Collections, Dunedin; Michael Lett, Auckland; and The Dowse Art Museum, Wellington, among others.
Imogen Taylor, Wet With Dew, 2022, acrylic on hessian, 78 × 59 in. (198.12 × 149.86 cm).
Imogen Taylor, Thirst Trap, 2022, acrylic on hessian, 39 × 31 in. (99.06 × 78.74 cm).
Imogen Taylor, Moths, 2022, acrylic on hessian, 78 × 59 in. (198.12 × 149.86 cm).
Imogen Taylor, Thetis, 2022, acrylic on hessian, 39 × 31 in. (99.06 × 78.74 cm).
Imogen Taylor, Cabin Fever, 2022, acrylic on hessian, 78 × 59 in. (198.12 × 149.86 cm).
