Andrea Arrubla is a Colombian interdisciplinary artist living in Brooklyn, NY. Her artwork revolves around issues of personal histories, institutional critique, and language through accessible mediums that confront professionalized methods of art making. Arrubla was the Student Liaison of the Bruce High Quality Foundation University (‘14-’16) where she focused on genuine and inclusive community building in the arts. Her first solo exhibition took place at New Release Gallery; New York. She has exhibited work in group exhibitions at Soho20, Essex Flowers and various educational institutions across the United States. Arrubla has been featured in print in OSMOS Magazine, The Third Rail, and Packet Biweekly and read her poetry at Signal Gallery, Printed Matter and Molasses Books.
Ben Thorp Brown
Ben Thorp Brown works with video, sculpture, and performance to explore how human experience is transformed by technology and capitalism. His work seeks to develop possibilities for human agency within complex systems through embedded research, process, and collaboration with a range of participants. His recent work has been presented in exhibitions such as Dreamlands: Immersive Cinema and Art, 1905-2016, The Whitney Museum, Greater New York MoMA PS1; 24/7 the human condition Vienna Biennale, Speculative Presence Bischoff Projects, and Chance Motives SculptureCenter. He has participated in residencies through the Lower Manhattan Cultural Council’s Workspace program and at the Chinati Foundation in Marfa, TX. He received a B.A. from Williams College, an M.F.A. from the School of the Art Institute of Chicago, and attended the Whitney Museum Independent Study Program. He has taught fine arts at CalArts, NYU, Cooper Union, and Parsons The New School. He is a 2016 Creative Capital Award recipient.
Born in Jerusalem, Israel, and based in New York City, Noa Charuvi holds an MFA Fine Arts from the School of Visual Arts and a BFA Fine Arts from the Bezalel Academy in Jerusalem. Charuvi participated in Art Omi International Artists Residency, the AIM program at the Bronx museum, Yaddo artist colony at Saratoga Springs, Triangle Arts Workshop in Brooklyn, Lower East Side Rotating Studio Program and the Keyholder Residency at the Lower East Side Printshop. Her work is exhibited internationally, in venues such as Wave Hill Center, the Bronx Museum and Haifa Museum of Art. She is currently part of the studio program at the Elizabeth Foundation for the Arts in Manhattan.
Wojciech Gilewicz (b. 1974) is a New York-based artist born in Poland. He is a painter, photographer, and author of videos and installations as well as performative actions. Gilewicz draws on his experience of the painting medium to create formally varied works that seek to investigate the boundaries of art and space. In his recording of reality, the camera itself fluidly transforms into a means of registering social relations, which take place ‘outside’ his actions. He provokes reflection on the mechanisms governing perception and its cultural conditioning and examines issues related to the role of painting, performance, and video in today’s world, the status of the artist and artistic work in the context of cultural institutions and global art circulation as well as the society at large.
His solo exhibitions include Cuboids, Cuchifritos Gallery, New York (2015); Rockaway, Foksal Gallery, Warsaw, Poland (2015); Painter’s Painting, Kuandu Museum of Fine Arts, Taipei, Taiwan (2013); Residency Unlimited, Flux Factory, New York (2012); and Front Room: Wojciech Gilewicz, Contemporary Art Museum St. Louis, MO (2008). His group exhibitions include The Travellers, Kumu Art Museum, Tallinn, Estonia (2017) and Zacheta National Gallery of Art, Warsaw, Poland (2016); IDEAS CITY The Invisible City, New Museum, New York (2015); Seven, The Boiler / Momenta Art, New York (2014); Queens International, Queens Museum, New York (2013); In Practice, SculptureCenter, New York (2009); and Multi-way Street / Beautiful Losers, Muzeum Sztuki in Lodz, Poland (2007). Video works by the artist were presented in the framework of numerous screenings including Media Art Biennale WRO, Rencontres Internationales Paris/Berlin/Madrid, CURRENTS: Santa Fe International New Media Festival, and Hors Pistes Japon. His residencies and awards include Lower Manhattan Cultural Council Workspace, New York (2016-2017); The Pollock-Krasner Foundation Grant, New York (2014); Art OMI Residency, Ghent, NY (2014); Akiyoshidai International Art Village Residency, Yamaguchi, Japan (2011); UNESCO-Aschberg Grant, Paris, France (2010); Changdong Art Studio of National Museum of Contemporary Art Residency, Seoul, South Korea (2010); and International Studio & Curatorial Program, New York (2008). The artist’s works were reviewed among others in Art Forum, Art Pulse, Frieze. Gilewicz’ works are in many public and private collections in Poland and abroad. Bunkier Sztuki Gallery in Krakow, Poland published in 2017 a comprehensive survey of Gilewicz work titled “Studio”. A publication on Asian video works by the artist realized between 2008–2014 is underway. In Spring 2017 Wojciech Gilewicz established Beach64retreat in The Rockaways, Queens, in NYC for creative individuals. The first pilot season is on invitation. There will be an open-call in Fall 2017 for its second season 2018-2019. The retreat is free of charge.
Born in 1975 in Johannesburg South Africa, Goodman is fast becoming known as one of South Africa’s strongest artistic voices of feminism and consumerism. Goodman studied Fine Arts at Wits University, Johannesburg. On completion of an MA at Goldsmiths College, London, UK, she lived in Antwerp, Belgium, where she was artist in residence at HISK (Higher Institute for Fine Arts). Goodman has had solo exhibitions at the Goodman Gallery in South Africa, Aeroplastics in Belgium, (Art) Amalgamated in New York and TM Projects in Geneva. She has participated in major international exhibitions such as The Divine Comedy: Heaven, Hell, Purgatory revisited by Contemporary African Artists commencing at MMK Frankfurt and travelling to the Smithsonian and SCAD, Savannah, Lust and Vice: From Durer to Nauman at the Kunstmuseum Bern, Spheres, at Le Moulin, France and Beauty and Pleasure, The Stenersen Museum, Oslo, Norway. Her work has been shown at the Armory, ArtBasel and ArtBasel Miami. She has been invited onto a number of residencies, including Art Omi, New York, ISCP, New York, The Foundation GegenwART Berne, Switzerland, Recollets International Accommodation and Exchange Centre, Paris and, Artist’s Work Program, Irish Museum of Modern Art Dublin, Ireland.
Marisa Morán Jahn
An artist and transmedia producer of Ecuadorian and Chinese descent, Marisa Morán Jahn founded Studio REV-, a non-profit organization whose key projects include El Bibliobandido (a masked, story-eating bandit who terrorizes little kids until they offer him stories they’ve written), Video Slink Uganda (experimental films bootlegged into Uganda’s black market), Contratados (a Yelp! for migrant workers), the NannyVan (a bright orange mobile design lab that accelerates the movement for domestic workers’ rights), an app for domestic workers that CNN named as “one of 5 apps to change the world”, and the CareForce (a transmedia public art project, webseries with Oscar and Emmy-winning filmmaker Yael Melamede, and mobile studio — the CareForce One — amplifying the voices of America’s fastest growing workforce — caregivers). Jahn’s work has been reviewed in The New York Times, Art Forum, BBC, Univision, CNN; awarded grants from Creative Capital, Sundance Institute New Frontier Labs, Rockefeller Foundation, Tribeca Film Institute, MAP Fund (Doris Duke Charitable Foundation), NEA; and showcased at The White House in D.C., Museum of Modern Art, New Museum, Yerba Buena Center for the Arts, Studio Museum of Harlem, and more. She is a graduate of MIT and currently teaches at MIT, Columbia University, and The New School. marisajahn.com, studiorev.org
Marie Christine Katz
Marie Christine Katz, born and raised in Switzerland, is an interdisciplinary artist working principally in installation and performance. She is interested in public participation and collaboration with artists of various disciplines. Her work has been described as an intuitive and spontaneous gesture in reaction to a current event or a personal situation that is then further developed over time. Highlights include artist-in-residence at The Field 2010 and Art Omi in 2011. Exhibitions at Ivy Brown Gallery, Bronx River Art Center, Velada Santa Lucia (Maracaibo Venezuela), Art in Odd Places, Five Myles Gallery, she was a 2015 LMCC grantee. Marie Christine lives and works in New York City.www.mariechristine.com
Kakyoung Lee received a BFA and MFA from Hong-Ik University, Seoul and an MFA from Purchase College, NY. Lee’s work has been the subject of several solo exhibitions including at Sabina Lee Gallery, Los Angeles; Mary Ryan Gallery, New York; and Brain Factory Gallery, Seoul. Lee’s work has been included in international group exhibitions including at The Drawing Center, Lower East Side Print Shop, The Museum of Modern Art, Queens Museum of Art, Kunsthalle Bremen, and Seoul Arts Center. She was a 2012 resident at Omi International Arts Center, Ghent, NY. Her work is in The Metropolitan Museum’s prints and drawings collection.
Michael Mandiberg is an interdisciplinary artist, scholar, and educator. His work traces the lines of political and symbolic power online, working on the Internet in order to comment on and or intercede in the real and poetic flows of information. He sold all of his possessions online on Shop Mandiberg, made perfect copies of copies on AfterSherrieLevine.com, created Firefox plugins that highlight the real environmental costs of a global economy on TheRealCosts.com, and transformed all of Wikipedia into books for Print Wikipedia. He is co-author of Digital Foundations and Collaborative Futures, as well as the editor of The Social Media Reader. He founded the New York Arts Practicum, and co-founded the Art+Feminism Wikipedia Editathon. A recipient of residencies and commissions from Eyebeam, Rhizome.org, The Banff Centre, and Turbulence.org, his work has been exhibited at the New Museum, Ars Electronica, ZKM, and Transmediale. His works has been written about in Artforum, ARTnews, The New York Times, The Washington Post, among others. A former Senior Fellow at Eyebeam, he is currently Associate Professor at the College of Staten Island/CUNY and a member of the Doctoral Faculty at the CUNY Graduate Center. He lives in, and rides his bicycle around, Brooklyn. His work lives at Mandiberg.com.
Joiri Minaya (1990) is a Dominican-American multi-disciplinary artist whose work deals with identity, otherness, self-consciousness and displacement. Her work navigates binaries in search of in-betweenness, investigating the female body within constructions of identity, social space and hierarchies. Born in New York, U.S, she grew up in the Dominican Republic. Minaya graduated from the Escuela Nacional de Artes Visuales in Santo Domingo in 2009, the Altos de Chavón School of Design in 2011 and Parsons the New School for Design in 2013. She has been a resident artist at Skowhegan School of Painting and Sculpture, Guttenberg Arts and Smack Mellon, and has participated in the Bronx Museum’s AIM Program and the NYFA Mentoring Program for Immigrant Artists. Minaya has exhibited across the Dominican Republic, New York and New Jersey, and her work is in the collection of the Museo de Arte Moderno in Santo Domingo and the Centro León Jiménes in Santiago, Dominican Republic.
Debra Priestly is a mixed media visual artist exploring themes of memory, ancestry, history and cultural preservation. Her work has been widely exhibited and is represented by June Kelly Gallery in New York City. Collections include the Pennsylvania Academy for the Fine Arts, Schomburg Center for Research in Black Culture, The Sandor Family Collection and Petrucci Family Foundation. Awards include two New York Foundation for the Arts Fellowships in Painting, Art Omi Residency, The Marie Walsh Sharpe’s The Space Program Residency and the Elizabeth Foundation for the Arts Robert Blackburn Printmaking Workshop Studio Immersion Project Fellowship. She holds an MFA from Pratt Institute and a BFA from The Ohio State University. Priestly lives and works in New York City and Upstate New York and is a Professor in the Art Department at Queens College, City University of New York.
Jean Shin (b. Seoul, Korea; lives and works in NYC) is known for her monumental installations that transform significant collections of everyday objects into elegant expressions of identity and community. The project Everyday Monuments celebrates the unsung heroes whose everyday labors go unrecognized. Starting with donated sports trophies, the artist transformed each figure’s heroic pose of athletic prowess into the unsensational, yet distinctive gestures of work. Each set of altered trophies becomes a small tribute to people who deliver packages, vacuum, shovel, sew, etc. The trophies celebrate those who keep homes and communities running without due recognition.
Aram Han Sifuentes
Aram Han Sifuentes uses a needle and thread as her tools to examine immigration, citizenship, race and craft, drawing on both personal experiences and shared cultural identity. Her work has been exhibited and performed at the Jane Addams Hull-House Museum in Chicago, Illinois; Chicago Cultural Center in Chicago, Illinois; Whitney Museum of American Art in NYC, New York; Museum of Contemporary Art, Chicago; Wing Luke Museum of Asian Pacific American Experience in Seattle, Washington; Chung Young Yang Embroidery Museum in Seoul, South Korea; and the Elmhurst Art Museum in Elmhurst, Illinois. Aram was a 2014 BOLT Resident and 2015 BOLT Mentor at the Chicago Artists Coalition. She is a 2016 Smithsonian Artist Research Fellow and a 2016 3Arts Awardee. She earned her BA in Art and Latin American Studies from the University of California, Berkeley, and her MFA in Fiber and Material Studies from the School of the Art Institute of Chicago.
Paul Anthony Smith
Born in St Ann’s Bay, Jamaica and later raised in Miami, Paul Anthony Smith received a BFA from the Kansas City Art Institute and now resides in Brooklyn, New York. Smith’s work has been included in several group and museum exhibitions. A piece of his will also be included in Disguise, which will travel to the Seattle Art Museum, and Brooklyn Museum of Art in 2015-16, Reality of my Surroundings: The Contemporary Collection, Nasher Museum of Art, duke University, Durham, NC, Concealed at the Studio Museum Harlem. Notable collections include the Nasher Museum of Art at Duke University, the Nerman Museum of Contemporary Art, the Pilara Foundation Collection (Pier 24 Photography), and the 21c Museum.
Maayan Strauss is a New York based multidisciplinary artist and architect. She works with photography and video, digital renders, installation and administration, among other media. Her practice looks at infrastructures, labor and common facilities while reflecting on the nature and conditions of artistic production. She is the founder and director of Container Artist Residency, an artist residency on board cargo ships, conceived as a distributed artwork in the form of an institutional and operational residency. The culmination of the project’s first edition was recently shown at Para Site in Hong Kong. She has exhibited in The Herzeliya Museum of Contemporary Art, The Israel Museum in Jerusalem, Storefront for Art and Architecture in New York, Andrea Meislin Gallery and Louis B. James Gallery in New York, the Bi-City Biennale of Urbanism/Architecture in Shenzhen. She holds an MFA in photography from Yale University and a B.Arch from the Bezalel Academy of Art and Design in Jerusalem. She founded Sushi Bar Gallery in Brooklyn and serves as an editor at Art Handler, a magazine dedicated to the behind-the-scenes practices of the art world. Her upcoming project ‘The Service Room’ will open in September at Recess, New York.
Mierle Laderman Ukeles
Since 1977, when Mierle Laderman Ukeles became the official, unsalaried Artist-in-Residence at the New York City Department of Sanitation—a position she still holds—she has created art that deals with the endless maintenance and service work that “keeps the city alive,” urban waste flows, recycling, ecology, urban sustainability and our power to transform degraded land and water into healthy inhabitable public places. Her most recent exhibition was a 50 year career survey at the Queens Museum, NYC that filled the whole museum inside and outside (September 18, 2016—February 19, 2017. Her most well known projects include MANIFESTO FOR MAINTENANCE ART 1969! and TOUCH SANITATION PERFORMANCE (1977-80) in which she traveled to all 59 Sanitation districts all over NYC to face, shake hands with 8,500 sanitation workers and to say to each, “Thank you for keeping New York City alive;”and CEREMONIAL ARCH HONORING SERVICE WORKERS(1988-2017).She has completed seven Work Ballets co-choreographed with workers, barges, and hundreds of tons of recyclables in France, Holland, Japan, Pittsburgh and NYC(1983-2013). Environmental transformation projects for landfills include her Percent for Art commission called LANDING, the first permanent environmental public artwork, for Freshkills Park in Staten Island, New York (once the largest municipal landfill in the world), Danehy Park in Cambridge since 1990, and Evapotranspiration for Hiriya, a temporary installation at the Tel Aviv Museum. Ukeles asks whether we can design modes of survival –for a thriving planet, not an entropic one –that don’t crush our personal and civic freedom and silence the individual’s voice. Two books have recently been published about her work: MIERLE LADERMAN UKELES: MAINTENANCE ART, Prestel, 2016 and SEVEN WORK BALLETS, Sternberg, 2015. Other recent and earlier exhibitions were at the Art Institute of Chicago; P.S. 1/MOMA; Museum of Contemporary Art, Chicago; Contemporary Jewish Museum, San Francisco; Tang Museum, Skidmore College, NY; Kunstverein Graz, Austria; Arnolfini Gallery, Bristol, UK; 13thIstanbul Biennial, Sharjah Biennial 8, Manifesta10, St. Petersburg; Whitney Museum; Wellcome Trust, London; Haus der Kunst, Munich; Wadsworth Athenaeum, Hartford. Awards presented to the artist include multiple grants from the National Endowment for the Arts, and the NY State Council on the Arts, fellowships from the John Simon Guggenheim, the Foundation for Jewish Culture, Andy Warhol, Joan Mitchell, and Anonymous Was a Woman Foundations among others; she has received honorary doctorates from the Rhode Island School of Design and the Maine College of Art. She received a BA in international relations and history from Barnard College in 1961, and an MA in Interrelated Arts from New York University in 1974.She is represented by Ronald Feldman Fine Arts in NYC.
Rodrigo Valenzuela (b. 1982, Santiago, Chile) completed an art history degree at the University of Chile (2004), then worked in construction while making art over his first decade in the United States, completing an MFA at University of Washington in 2012. Using staged scenes and digital interventions, Valenzuela’s photography, video and installation work is rooted in the contradictory traditions of documentary and fiction, often involving narratives around immigration and the working class.
Valenzuela’s many residencies include a Core Fellowship at the Museum of Fine Arts, Houston (Texas), Skowhegan (Maine), Bemis Center (Nebraska), and the Center for Photography at Woodstock (New York). Notable solo exhibitions include the Frye Art Museum, Seattle (2015), Museo de Arte Contemporaneo, Santiago (2015), Upfor Gallery, Portland, OR (2017 and 2015), envoy enterprises, New York (2017 and 2015), Galerie Lisa Kandlhofer, Vienna (2016), David Shelton Gallery, Houston (2016), His film The Unwaged will premier at the Portland Art Museum (Oregon) in fall of 2017. He was awarded an Artist Trust Arts Innovator Award (2014) and is in the collections of the Frye Art Museum, Seattle; Samuel Dorsky Museum of Art, New Paltz; the de Bont collection and Dimensional Fund Advisors, among others. Valenzuela is in Open Sessions 10 at The Drawing Center, New York through Summer 2017. Rodrigo Valenzuela is an assistant professor in the Department of Photography at UCLA beginning Fall 2017.
Elizabeth White is an interdisciplinary artist and educator whose work explores social, psychological, and political themes including maintenance and self-preservation, security and freedom, control and anxiety, and confrontation with the unknown. Often site- and context-specific, her projects are shaped by research and frequently incorporate others’ images, objects, and words. Her work has been exhibited at Rawson Projects, FiveMyles, A.I.R. Gallery and Susan Eley Fine Art (New York), Columbia College A+D Gallery (Chicago), Gallery Shoshinkan (Nagano), Thisisnotashop Gallery (Dublin), The Center for Endless Progress and Galerie Lifebomb (Berlin), the Tate Modern (London), and the Artisterium International Contemporary Art Exhibition (Tbilisi), and has been published in The New York Times Magazine, The Observer (UK), and The State (UAE) and featured on ArtFetch.com, TheGirlProject and ArtInfo.com. White organized Penelope Umbrico’s exhibition Campus Surplus at Bennington College and curated Culturehall’s Feature Issue 95 and has been awarded residencies in Leipzig, Tbilisi, Marfa, TX, Catskill, NY, and on Governors Island, and received support from CECArtsLink, the Hattie Strong Foundation and LMCC/ Creative Capital. She holds a BA from Vassar College and an MFA in photography, video, and related media from the School of Visual Arts, where she was the recipient of an Aaron Siskind Fellowship. Based in Brooklyn, she teaches at Bennington College in Vermont and in the MFA Program in Digital Arts at Pratt Institute.