Name: Second Sundays: November 2017
Start: 2017-11-12
End: 2017-11-12
Location: Pioneer Works

Food and Beverage by Pizza Moto and PW Bar.

From 1:00pm-6pm, artists and makers of a multitude of disciplines will open their work spaces to the public for the 2017 

. Discover studios hidden among street murals, Civil War period warehouses, and harbor views of Red Hook, Brooklyn before heading to Pioneer Works for a closing celebration.

Second Sundays

Food and Beverage by Pizza Moto and PW Bar.
From 1:00pm-6pm, artists and makers of a multitude of disciplines will open their work spaces to the public for the 2017 <a href="http://www.facebook.com/redhookopenstudios">Red Hook Open Studios</a>. Discover studios hidden among street murals, Civil War period warehouses, and harbor views of Red Hook, Brooklyn before heading to Pioneer Works for a closing celebration.
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November '17

Second Sundays is a free event series that engages Pioneer Works disciplines through live music, food, artists’ open studios, and interactive programs.

Pioneer Works is pleased to present White Man On A Pedestal (WMOAP), a two-person exhibition by Doreen Garner and Kenya (Robinson), from November 10 – December 17, 2017. WMOAP questions a prevailing western history that uses white-male-heteronormativity as its persistent model.

Both artists approach WMOAP from an individual practice that is responsive to their experiences as black women operating in a system of white male supremacy. At a time when removing Confederate statues—literally white men on pedestals—are cultural flashpoints of whiteness and class, Garner and (Robinson) play with the size, texture, and scale of white monumentality itself, referencing both real and imagined figureheads of historical exclusion.

Garner’s practice has long involved itself with medical histories. Her research on Dr. J. Marion Sims, canonized as ‘The Father of Modern Gynecology,’ reveals the savagery of his oft-repeated procedures on enslaved women, which were performed without anesthesia or even consent. These women have effectively been lost to history, while a statue of Sims holds court in Central Park. In WMOAP, Garner’s process is two-fold: to recognize Sims’ test subjects and to protest the doctor by three-dimensionally scanning his statue and rebuilding it in Pioneer Works. A silicon cast of it will be used to enact a ‘dissection’ of the monument in an interactive, constructed operating theatre, built as modular installation that will house sculptural work and serve as a space for live performance. Related “meat” sculptures hanging from a meat rack combine sutured skins, body parts, and surgical ephemera into organic, fleshy forms.
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(Robinson) has been carrying the #WHITEMANINMYPOCKET (aka Dave Fowler) since 2013. As a 5-inch tall plastic example of an IRL emoji and an archetype of “success,” the figure of a briefcase-touting, suit-wearing white professional has become a fetish object relevant to the contemporary corporate landscape and questions the privilege that is assigned to whiteness. It is a miniature representation of the absurdity of homogeneity in spaces of power. WMOAP offers a platform to lay this idea to rest by enacting a large-scale memorial service for the #WHITEMANINMYPOCKET. In addition to the procession, eulogy, and repast, (Robinson) will manufacture 10,000 ‘Daves’ in the mode of the terracotta soldiers of ancient China, that after their display will ultimately be buried in an undisclosed location at the close of the exhibition.

Through WMOAP, Garner and (Robinson) collaboratively re-enact and hold a funeral for oppression, while revealing the difficulties of making this work within an institutional setting that too often benefits from systems of oppression. While their conversation brings together a literal and figurative cycle of meat and bone, life and death, it also foreshadows an institutional approach to exhibitions where a vested, active interest in inclusion and community engagement are at the core of the institutional mission, not just in its rhetoric or publicity apparatus.

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Kenya (Robinson) and Doreen Garner: White Man On A Pedestal

After you’re done, comprising works by Sarah Sudhoff and Jo Broughton, is an exhibition curated by Macushla Robinson and Andrea Klabanova which peeks behind-the-scenes at the sets, props, and devices of the sex industry.

Sudhoff’s Wired series depicts an archive of arousal. Devoid of human bodies, these photographs of devices from the Kinsey Institute (Indiana University) sit at the intersection of research and play. While some of these devices are used in scientific research into human sexuality and do not exist in the porn industry, many of them might also find a home in our most intimate spaces. Their meaning changes according to the context in which we find them: a dildo reads very differently when left behind on a porn set, than when photographed within a sexual research institute.

Broughton’s photographs of vacant porn sets were taken while she worked as a cleaner at a porn studio. Shot in the aftermath of frenetic energy, these abandoned scenes are historical documents that refrain from moral judgement. They are funny, theatrical, and yet tinged with melancholy.

Shifting the focus from the body to the sites and objects associated with mediated sexuality, these artists play with the tensions between technology, sensation, and emotion. On a material basis, both sexual devices and porn sets are prosthetics that elicit bodily sensations. Yet the material cultures of sex play a central role in our psychological states, fantasies, and sexual identities. After you’re done explores our relationship to pleasure in two distinct contexts.

After you're done

Tables of Content catalogs five years of Pioneer Works programming through the lens of its print materials, highlights of which augment an alphabetical index of all events, classes, interventions, exhibitions, and residencies since the organization’s founding in 2012. Composed of cards, posters, pamphlets, and programs, this archive is presented alongside the entire library of Pioneer Works publications, which are available for viewers to read.

Tables of Content

Genesis Belanger is a Brooklyn-based sculptor. She is currently working in ceramics hand building handsome jokes about the absurdity of the patriarchy in a material that lasts forever. The work engages in a conversation about the present and its relationship to the past, a past that most of us would not have had the privilege to shape. Belanger received her BFA from the school of the art institute of Chicago and her MFA at CUNY, Hunter College. Selected exhibitions include “Scarlet Street,” Lucien Terras, NY; “Frida Smoked,” Invisible-Exports, NY; and “Happiness and Other Forms of Self-Delusion,” Pioneer Works, NY, all 2016. Belanger was a recipient of a 2016 Rema Hort Mann Emerging Artist Grant.

Genesis Belanger

Camel Collective is the name under which Anthony Graves (USA) and Carla Herrera-Prats (Mexico) have worked under since 2005. The group works through processes of archival research, dramaturgy, printmaking, sculpture, and photography to focus on the problematics of labor, pedagogy, theater, and collectivity. Selected exhibitions include “La distancia entre Pontresina y Zermatt es la misma que la de Zermatt a Pontresina,” Museo Universitario de Arte Contemporáneo, Mexico City (2017); “Camel Collective: Project Room,” PARQUE Galería, Mexico City (2017); “Something Other Than What You Are,” REDCATGallery, Los Angeles (2016);  and “ El Segundo Congreso de Artistas Libres,” Casa del Lago, Mexico City (2013-14).

Camel Collective

Working across multiple mediums, materials, and photography, Brooklyn-based artist Tahir Karmali’s interests lie in manipulating materials that perpetuate colonialism. He draws from his own experiences as a well-traveled Kenyan citizen to structure narratives around migratory identity. Karmali received his Masters of Digital Photography from the School of Visual Arts, New York. Selected exhibitions include “Jua Kali,” a part of “Making Africa,” High Museum of Art, Atlanta (2017), Kunsthal Rotterdam, Netherlands (2016), and Guggenheim, Bilbao, Spain (2015), among other venues; “My Collection,” MoCADA, Brooklyn (2017); and “PAPER:Work,” Art Africa Fair, Cape Town, and Pioneer Works, Brooklyn, both 2017.

Tahir Carl Karmali

Kristin Lucas explores the contingencies, issues, and poetics of digital technologies through conceptual, performative, social, and collaborative frameworks. She reinvents the familiar in uncanny circuitous works that lie somewhere between reality and “reality”. Her current project entitled "Dance with flARmingos" reimagines kinship between humans and flamingos from the ethical distance of a Mixed Reality experience and involves partnership with international flamingo researchers. The project is one of five projects  selected out of hundreds for <a href="https://www.engadget.com/2017/08/18/the-grantees-of-engadget-s-500-000-immersive-arts-program/">Engadget's 2017 Alternative Realities grant</a>.

Lucas lives between Queens and Austin where she serves as an assistant professor of Studio Art for University of Texas at Austin. She is the recent recipient of residencies at Oregon Story Board, Harvestworks Digital Media Arts Center, Yafo Creative/Print Screen Festival, and the Bau Institute. She earned a BFA from The Cooper Union School of Art and an MFA in Art Practice from Stanford University.

Kristin Lucas

Nate Lewis is a Washington DC-based artist originally from Beaver Falls, PA. Working within portraiture and figuration, Lewis’ current focus has been on creating sculpted paper photo works that combine elements of drawing, sculpture, etching, embroidery and fabric. In these works he sculpts out unseen tensions on bodies, representing them with an array of textures and patterns to reveal hidden layers of empathy. He graduated from Virginia Commonwealth University with a Bachelor of Science in Nursing, and has a background in critical care. He has exhibited his work throughout Washington DC, Baltimore, Miami, New York, Houston, San Francisco, and Los Angeles.

Nate Lewis

Mario Navarro is a Mexican American artist based in New York City. Issues of perception, the combination of language and spatial elements, the sculptural properties of language, and matter/materials and their representations are lines of research Navarro has been investigating lately. The relations between architectures and forms, and more specifically, the decomposition of architectural paradigms (balance, symmetry, organization of units and the figure of the architect) are of constant interest and are explored in Navarro's ongoing and never final propositions. Selected exhibition include “A Landscape of Events,” SCAD Museum of Art, Savannah, GA (2017); “Veil / Unveil,” Proyecto Paralelo, Mexico City (2017); “Mi Casa, Tu Casa,” Johannes Vogt Gallery, New York (2016); and “Forms of otherness,” organized by Bard College, International Studio and Curatorial Program (ISCP), Brooklyn (2015).

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Mario Navarro

Oral histories from Mexican and Native peoples, post-colonial historical texts, and spaces that are safe and inclusive for people of color are the cosmologies that surround Mexican-American artist Carlos Rosales-Silva’s work. His most recent output reclaims the colors and forms that have long been (ab)used to create oppressive stereotypes of Mexican and Native American peoples. Draining direct references, symbols, and figures have allowed him a freedom to study the color and form of his identity. Rosales-Silva’s central intellectual and artistic project is de-centering his white, hetero, Euro-centric western education. He has exhibited throughout Texas, and in Los Angeles, Miami, Minneapolis, Chicago, Kansas City, and Brooklyn.

Carlos Rosales-Silva

People’s Champs is an all-star collective featuring some of the most creative and original musicians in Brooklyn. The group blends indie pop, afrobeat and retro-soul into a “dance party waiting to happen, always changing and always excitable” (Consequence of Sound). They recently performed at the BRIC Celebrate Brooklyn! Festival, opening for R&#038;B legend Musiq Soulchild. The PC horn section moonlights as The Superpower Horns, studio section for none other than Beyoncé and touring horn section for Boy George &#038; Culture Club. Bandleader Alex Asher founded People’s Champs inspired by the idea that music is for everyone: They creatively deliver a unique blend of powerful lyrics and danceable rhythms that relate to people from all walks of life. Members of People’s Champs have performed &#038; recorded with Esperanza Spalding, Gorillaz, LORDE, Sharon Jones, Cuddle Magic, Prodigy (of Mobb Deep), Gabriel Garzon-Montano, Delicate Steve, Sharon Jones and more.

PEOPLE'S CHAMPS

“WEARABLES FOR/TO PROTEST” is an exercise to think, rethink and explore ideas about the agency of clothes approached as tools for protesting, aimed at impacting people and spaces as well as personal and public debates on public health, specially those related to sexual and reproductive health. 
*Participants are welcome to bring a used garment that they want to work on. No previous clothing-making skills are required.

WEARABLES FOR/TO PROTEST

The Tech and Design departments collaborate to create an augmented reality gallery of selected artworks by past Pioneer Works artists-in-residence.

ARtist cARds

Susie Ibarra will be presenting a listening session of work she is in the process of cultivating, as a multi-disciplinary resident of Pioneer Works, on CT::SWaM&#8217;s multi-channel spacial sound installation in the Media Lab.

Susie Ibarra Work in Progress

Browse through a selection of books from the Reanimation Library curated by the PW Design Team in conjunction with their ongoing show, Tables of Content.

Reanimation Library Selects

A video montage, on view in the Science Studios, will explain the evolution of our understanding of Black Holes.

Black Holes Reel

Professors of Physics at Columbia University and LIGO collaboration members Szusza Marka and Sabzi Marka recreate an interactive model of the Laser Interferometer Gravitational Wave Observatory.

Mini LIGO

Music resident Mal País (MPA &#038; M. Cay Castagnetto) ​ will be in the music studio recording all day.

Mal País (MPA & M. Cay Castagnetto) ​ in Studios

Join the Amateur Astronomers Association of NY in the garden for an interactive look into the sky.

Solar and Star Gazing with Amateur Astronomers Association

Amateur Astronomy Association of New York

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, a two-person exhibition by Doreen Garner and Kenya (Robinson), from November 10 – December 17, 2017. 

 questions a prevailing western history that uses white-male-heteronormativity as its persistent model.

 from an individual practice that is responsive to their experiences as black women operating in a system of white male supremacy. At a time when removing Confederate statues—literally white men on pedestals—are cultural flashpoints of whiteness and class, Garner and (Robinson) play with the size, texture, and scale of white monumentality itself, referencing both real and imagined figureheads of historical exclusion.

Garner’s practice has long involved itself with medical histories. Her research on Dr. J. Marion Sims, canonized as ‘The Father of Modern Gynecology,’ reveals the savagery of his oft-repeated procedures on enslaved women, which were performed without anesthesia or even consent. These women have effectively been lost to history, while a statue of Sims holds court in Central Park. In 

, Garner’s process is two-fold: to recognize Sims’ test subjects and to protest the doctor by three-dimensionally scanning his statue and rebuilding it in Pioneer Works. A silicon cast of it will be used to enact a ‘dissection’ of the monument in an interactive, constructed operating theatre, built as modular installation that will house sculptural work and serve as a space for live performance. Related “meat” sculptures hanging from a meat rack combine sutured skins, body parts, and surgical ephemera into organic, fleshy forms.

(Robinson) has been carrying the #WHITEMANINMYPOCKET (aka Dave Fowler) since 2013. As a 5-inch tall plastic example of an IRL emoji and an archetype of “success,” the figure of a briefcase-touting, suit-wearing white professional has become a fetish object relevant to the contemporary corporate landscape and questions the privilege that is assigned to whiteness. It is a miniature representation of the absurdity of homogeneity in spaces of power. 

 offers a platform to lay this idea to rest by enacting a large-scale memorial service for the #WHITEMANINMYPOCKET. In addition to the procession, eulogy, and repast, (Robinson) will manufacture 10,000 ‘Daves’ in the mode of the terracotta soldiers of ancient China, that after their display will ultimately be buried in an undisclosed location at the close of the exhibition.

, Garner and (Robinson) collaboratively re-enact and hold a funeral for oppression, while revealing the difficulties of making this work within an institutional setting that too often benefits from systems of oppression. While their conversation brings together a literal and figurative cycle of meat and bone, life and death, it also foreshadows an institutional approach to exhibitions where a vested, active interest in inclusion and community engagement are at the core of the institutional mission, not just in its rhetoric or publicity apparatus.

White Man On a Pedestal

Pioneer Works is pleased to present White Man On A Pedestal (WMOAP), a two-person exhibition by Doreen Garner and Kenya (Robinson), from November 10 – December 17, 2017. WMOAP questions a prevailing western history that uses white-male-heteronormativity as its persistent model.
Both artists approach WMOAP from an individual practice that is responsive to their experiences as black women operating in a system of white male supremacy. At a time when removing Confederate statues—literally white men on pedestals—are cultural flashpoints of whiteness and class, Garner and (Robinson) play with the size, texture, and scale of white monumentality itself, referencing both real and imagined figureheads of historical exclusion.
Garner’s practice has long involved itself with medical histories. Her research on Dr. J. Marion Sims, canonized as ‘The Father of Modern Gynecology,’ reveals the savagery of his oft-repeated procedures on enslaved women, which were performed without anesthesia or even consent. These women have effectively been lost to history, while a statue of Sims holds court in Central Park. In WMOAP, Garner’s process is two-fold: to recognize Sims’ test subjects and to protest the doctor by three-dimensionally scanning his statue and rebuilding it in Pioneer Works. A silicon cast of it will be used to enact a ‘dissection’ of the monument in an interactive, constructed operating theatre, built as modular installation that will house sculptural work and serve as a space for live performance. Related “meat” sculptures hanging from a meat rack combine sutured skins, body parts, and surgical ephemera into organic, fleshy forms.
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(Robinson) has been carrying the #WHITEMANINMYPOCKET (aka Dave Fowler) since 2013. As a 5-inch tall plastic example of an IRL emoji and an archetype of “success,” the figure of a briefcase-touting, suit-wearing white professional has become a fetish object relevant to the contemporary corporate landscape and questions the privilege that is assigned to whiteness. It is a miniature representation of the absurdity of homogeneity in spaces of power. WMOAP offers a platform to lay this idea to rest by enacting a large-scale memorial service for the #WHITEMANINMYPOCKET. In addition to the procession, eulogy, and repast, (Robinson) will manufacture 10,000 ‘Daves’ in the mode of the terracotta soldiers of ancient China, that after their display will ultimately be buried in an undisclosed location at the close of the exhibition.
Through WMOAP, Garner and (Robinson) collaboratively re-enact and hold a funeral for oppression, while revealing the difficulties of making this work within an institutional setting that too often benefits from systems of oppression. While their conversation brings together a literal and figurative cycle of meat and bone, life and death, it also foreshadows an institutional approach to exhibitions where a vested, active interest in inclusion and community engagement are at the core of the institutional mission, not just in its rhetoric or publicity apparatus.
</div>
</div>
</div>

, comprising works by Sarah Sudhoff and Jo Broughton, is an exhibition curated by Macushla Robinson and Andrea Klabanova which peeks behind-the-scenes at the sets, props, and devices of the sex industry.

 series depicts an archive of arousal. Devoid of human bodies, these photographs of devices from the Kinsey Institute (Indiana University) sit at the intersection of research and play. While some of these devices are used in scientific research into human sexuality and do not exist in the porn industry, many of them might also find a home in our most intimate spaces. Their meaning changes according to the context in which we find them: a dildo reads very differently when left behind on a porn set, than when photographed within a sexual research institute.

Broughton’s photographs of vacant porn sets were taken while she worked as a cleaner at a porn studio. Shot in the aftermath of frenetic energy, these abandoned scenes are historical documents that refrain from moral judgement. They are funny, theatrical, and yet tinged with melancholy.

Shifting the focus from the body to the sites and objects associated with mediated sexuality, these artists play with the tensions between technology, sensation, and emotion. On a material basis, both sexual devices and porn sets are prosthetics that elicit bodily sensations. Yet the material cultures of sex play a central role in our psychological states, fantasies, and sexual identities. 

 explores our relationship to pleasure in two distinct contexts.

After you’re done, comprising works by Sarah Sudhoff and Jo Broughton, is an exhibition curated by Macushla Robinson and Andrea Klabanova which peeks behind-the-scenes at the sets, props, and devices of the sex industry.
Sudhoff’s Wired series depicts an archive of arousal. Devoid of human bodies, these photographs of devices from the Kinsey Institute (Indiana University) sit at the intersection of research and play. While some of these devices are used in scientific research into human sexuality and do not exist in the porn industry, many of them might also find a home in our most intimate spaces. Their meaning changes according to the context in which we find them: a dildo reads very differently when left behind on a porn set, than when photographed within a sexual research institute.
Broughton’s photographs of vacant porn sets were taken while she worked as a cleaner at a porn studio. Shot in the aftermath of frenetic energy, these abandoned scenes are historical documents that refrain from moral judgement. They are funny, theatrical, and yet tinged with melancholy.
Shifting the focus from the body to the sites and objects associated with mediated sexuality, these artists play with the tensions between technology, sensation, and emotion. On a material basis, both sexual devices and porn sets are prosthetics that elicit bodily sensations. Yet the material cultures of sex play a central role in our psychological states, fantasies, and sexual identities. After you’re done explores our relationship to pleasure in two distinct contexts.

Jo Broughton

Sarah Sudhoff

Andrea Klabanova

Macushla Robinson

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Empty Porn sets, Nurses Set

After you&#8217;re done

 catalogs five years of Pioneer Works programming through the lens of its print materials, highlights of which augment an alphabetical index of all events, classes, interventions, exhibitions, and residencies since the organization’s founding in 2012. Composed of cards, posters, pamphlets, and programs, this archive is presented alongside the entire library of Pioneer Works publications, which are available for viewers to read.

Tables of Content catalogs five years of Pioneer Works programming through the lens of its print materials, highlights of which augment an alphabetical index of all events, classes, interventions, exhibitions, and residencies since the organization’s founding in 2012. Composed of cards, posters, pamphlets, and programs, this archive is presented alongside the entire library of Pioneer Works publications, which are available for viewers to read.

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Tables-of-Content-Email

Genesis Belanger is a Brooklyn-based sculptor. She is currently working in ceramics hand building handsome jokes about the absurdity of the patriarchy in a material that lasts forever. The work engages in a conversation about the present and its relationship to the past, a past that most of us would not have had the privilege to shape. Belanger received her BFA from the school of the art institute of Chicago and her MFA at CUNY, Hunter College. Selected exhibitions include “Scarlet Street,” Lucien Terras, NY; “Frida Smoked,” Invisible-Exports, NY; and “Happiness and Other Forms of Self-Delusion,” Pioneer Works, NY, all 2016. Belanger was a recipient of a 2016 Rema Hort Mann Emerging Artist Grant.

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Camel Collective is the name under which Anthony Graves (USA) and Carla Herrera-Prats (Mexico) have worked under since 2005. The group works through processes of archival research, dramaturgy, printmaking, sculpture, and photography to focus on the problematics of labor, pedagogy, theater, and collectivity. Selected exhibitions include “La distancia entre Pontresina y Zermatt es la misma que la de Zermatt a Pontresina,” Museo Universitario de Arte Contemporáneo, Mexico City (2017); “Camel Collective: Project Room,” PARQUE Galería, Mexico City (2017); “Something Other Than What You Are,” REDCATGallery, Los Angeles (2016); and “ El Segundo Congreso de Artistas Libres,” Casa del Lago, Mexico City (2013-14).

Camel Collective is the name under which Anthony Graves (USA) and Carla Herrera-Prats (Mexico) have worked under since 2005. The group works through processes of archival research, dramaturgy, printmaking, sculpture, and photography to focus on the problematics of labor, pedagogy, theater, and collectivity. Selected exhibitions include “La distancia entre Pontresina y Zermatt es la misma que la de Zermatt a Pontresina,” Museo Universitario de Arte Contemporáneo, Mexico City (2017); “Camel Collective: Project Room,” PARQUE Galería, Mexico City (2017); “Something Other Than What You Are,” REDCATGallery, Los Angeles (2016);  and “ El Segundo Congreso de Artistas Libres,” Casa del Lago, Mexico City (2013-14).

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Working across multiple mediums, materials, and photography, Brooklyn-based artist Tahir Karmali’s interests lie in manipulating materials that perpetuate colonialism. He draws from his own experiences as a well-traveled Kenyan citizen to structure narratives around migratory identity. Karmali received his Masters of Digital Photography from the School of Visual Arts, New York. Selected exhibitions include “Jua Kali,” a part of “Making Africa,” High Museum of Art, Atlanta (2017), Kunsthal Rotterdam, Netherlands (2016), and Guggenheim, Bilbao, Spain (2015), among other venues; “My Collection,” MoCADA, Brooklyn (2017); and “PAPER:Work,” Art Africa Fair, Cape Town, and Pioneer Works, Brooklyn, both 2017.

Tahir Karmali

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Kristin Lucas explores the contingencies, issues, and poetics of digital technologies through conceptual, performative, social, and collaborative frameworks. She reinvents the familiar in uncanny circuitous works that lie somewhere between reality and “reality”. Her current project entitled “Dance with flARmingos” reimagines kinship between humans and flamingos from the ethical distance of a Mixed Reality experience and involves partnership with international flamingo researchers. The project is one of five projects selected out of hundreds for 

Engadget’s 2017 Alternative Realities grant

Lucas lives between Queens and Austin where she serves as an assistant professor of Studio Art for University of Texas at Austin. She is the recent recipient of residencies at Oregon Story Board, Harvestworks Digital Media Arts Center, Yafo Creative/Print Screen Festival, and the Bau Institute. She earned a BFA from The Cooper Union School of Art and an MFA in Art Practice from Stanford University.

Kristin Lucas explores the contingencies, issues, and poetics of digital technologies through conceptual, performative, social, and collaborative frameworks. She reinvents the familiar in uncanny circuitous works that lie somewhere between reality and “reality”. Her current project entitled &#8220;Dance with flARmingos&#8221; reimagines kinship between humans and flamingos from the ethical distance of a Mixed Reality experience and involves partnership with international flamingo researchers. The project is one of five projects  selected out of hundreds for <a href="https://www.engadget.com/2017/08/18/the-grantees-of-engadget-s-500-000-immersive-arts-program/">Engadget&#8217;s 2017 Alternative Realities grant</a>.
Lucas lives between Queens and Austin where she serves as an assistant professor of Studio Art for University of Texas at Austin. She is the recent recipient of residencies at Oregon Story Board, Harvestworks Digital Media Arts Center, Yafo Creative/Print Screen Festival, and the Bau Institute. She earned a BFA from The Cooper Union School of Art and an MFA in Art Practice from Stanford University.

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Nate Lewis is a Washington DC-based artist originally from Beaver Falls, PA. Working within portraiture and figuration, Lewis’ current focus has been on creating sculpted paper photo works that combine elements of drawing, sculpture, etching, embroidery and fabric. In these works he sculpts out unseen tensions on bodies, representing them with an array of textures and patterns to reveal hidden layers of empathy. He graduated from Virginia Commonwealth University with a Bachelor of Science in Nursing, and has a background in critical care. He has exhibited his work throughout Washington DC, Baltimore, Miami, New York, Houston, San Francisco, and Los Angeles.

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Mario Navarro is a Mexican American artist based in New York City. Issues of perception, the combination of language and spatial elements, the sculptural properties of language, and matter/materials and their representations are lines of research Navarro has been investigating lately. The relations between architectures and forms, and more specifically, the decomposition of architectural paradigms (balance, symmetry, organization of units and the figure of the architect) are of constant interest and are explored in Navarro’s ongoing and never final propositions. Selected exhibition include “A Landscape of Events,” SCAD Museum of Art, Savannah, GA (2017); “Veil / Unveil,” Proyecto Paralelo, Mexico City (2017); “Mi Casa, Tu Casa,” Johannes Vogt Gallery, New York (2016); and “Forms of otherness,” organized by Bard College, International Studio and Curatorial Program (ISCP), Brooklyn (2015).

Mario Navarro is a Mexican American artist based in New York City. Issues of perception, the combination of language and spatial elements, the sculptural properties of language, and matter/materials and their representations are lines of research Navarro has been investigating lately. The relations between architectures and forms, and more specifically, the decomposition of architectural paradigms (balance, symmetry, organization of units and the figure of the architect) are of constant interest and are explored in Navarro&#8217;s ongoing and never final propositions. Selected exhibition include “A Landscape of Events,” SCAD Museum of Art, Savannah, GA (2017); “Veil / Unveil,” Proyecto Paralelo, Mexico City (2017); “Mi Casa, Tu Casa,” Johannes Vogt Gallery, New York (2016); and “Forms of otherness,” organized by Bard College, International Studio and Curatorial Program (ISCP), Brooklyn (2015).
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1. Veil:Unveil, 2017

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2. Obra en obra, 2017

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3. About Meeting and Converging (Exercise 1), 2016

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4. Future Islands, 2016

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15. Delimitador, 2012

Oral histories from Mexican and Native peoples, post-colonial historical texts, and spaces that are safe and inclusive for people of color are the cosmologies that surround Mexican-American artist Carlos Rosales-Silva’s work. His most recent output reclaims the colors and forms that have long been (ab)used to create oppressive stereotypes of Mexican and Native American peoples. Draining direct references, symbols, and figures have allowed him a freedom to study the color and form of his identity. Rosales-Silva’s central intellectual and artistic project is de-centering his white, hetero, Euro-centric western education. He has exhibited throughout Texas, and in Los Angeles, Miami, Minneapolis, Chicago, Kansas City, and Brooklyn.