Name: Second Sundays: December 2017
Start: 2017-12-10
End: 2017-12-10
Location: Pioneer Works

Food and Beverage by Red Hook Snack Bar and PW Bar.

Second Sundays

Food and Beverage by Red Hook Snack Bar and PW Bar.
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December '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

Pioneer Works is very pleased to present Kathleen White: Spirits of Manhattan and <a href="https://pioneerworks.org/exhibitions/nan-goldin-kathleen/">Nan Goldin: Kathleen</a>, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.
Goldin photographed White continually during the 1990s, and the prints featured in Nan Goldin: Kathleen—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, Witnesses: Against Our Vanishing. A decade later, Goldin returned to Artists Space to curate Shy, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation Spirits of Manhattan (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.
Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of Kathleen White: Spirits of Manhattan. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.
Kathleen White: Spirits of Manhattan and Nan Goldin: Kathleen are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.

Kathleen White: Spirits of Manhattan

Pioneer Works is very pleased to present <a href="https://pioneerworks.org/exhibitions/kathleen-white-spirits-of-manhattan/">Kathleen White: Spirits of Manhattan</a> and Nan Goldin: Kathleen, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.
Goldin photographed White continually during the 1990s, and the prints featured in Nan Goldin: Kathleen—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, Witnesses: Against Our Vanishing. A decade later, Goldin returned to Artists Space to curate Shy, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation Spirits of Manhattan (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.
Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of Kathleen White: Spirits of Manhattan. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.
Kathleen White: Spirits of Manhattan and Nan Goldin: Kathleen are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.
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Nan Goldin: Kathleen

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

Celebrate (or hate) the holidays with Brooklyn-based lounge popsters and DIY slouches Blue Jazz TV, as they combine their own tunes with festive classics. They will be joined by BT Express member and 80s Apollo/Motown musician Billy G. Robinson.

Blue Jazz TV

Make holiday cards with found images and text from the Reanimation Library as you learn more about the collection housed across the street at Pioneer Books!

Reanimation Library: Holiday Cards

Pioneer Works Press celebrates the soft release of CHARAS: The Improbable Dome Builders by Syeus Mottel, in partnership with The Song Cave. Presentation and conversation featuring Michael Ben-Eli, Chino Garcia, and Nandini Bagchee.

Pioneer Works Press Presents CHARAS: The Improbable Dome Builders

Drag Queen Story Hour (DQSH) captures the imagination and play of the gender fluidity of childhood and gives kids glamorous, positive, and unabashedly queer role models. Drag queen Lola Lemon will read children&#8217;s picture books before leading a simple craft activity. DQSH is best for children aged 3-8, but is generally enjoyed by all ages.
Stop by the Brooklyn Public Library’s table to sign up for a library card, browse books from the collection, and find out more about programs and events at your local Red Hook branch and throughout the borough.

Drag Queen Story Hour

Toss on a boa or a bowtie and strike a pose! Come play Drag Dress Up to mix and match a variety of costumes, accessories, genders and identities.

Drag Dress Up Booth

Virtual reality, augmented reality, machine learning, and more with our tech residents Jessica Wilson, Matt Romein, and Rosalie Yu on the third floor.

Tech Lab / VE Lab Open Studios

To close out the studio residency CT::SWaM is presenting a program of spatial sound pieces.

CT::SWaM Studio for Spatial Sound::

Music resident Angus Tarnawsky will be in the music studio recording all day.

Angus Tarnawsky 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.
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Pioneer Works is very pleased to present 

, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.

Goldin photographed White continually during the 1990s, and the prints featured in 

—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, 

. A decade later, Goldin returned to Artists Space to curate 

, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation 

 (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.

Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of

. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.

 are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.

Spirits of Manhattan

Pioneer Works is very pleased to present Kathleen White: Spirits of Manhattan and <a href="https://pioneerworks.org/exhibitions/nan-goldin-kathleen/">Nan Goldin: Kathleen</a>, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.
Goldin photographed White continually during the 1990s, and the prints featured in Nan Goldin: Kathleen—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, Witnesses: Against Our Vanishing. A decade later, Goldin returned to Artists Space to curate Shy, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation Spirits of Manhattan (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.
Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of Kathleen White: Spirits of Manhattan. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.
Kathleen White: Spirits of Manhattan and Nan Goldin: Kathleen are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.

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Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of 

Kathleen

Pioneer Works is very pleased to present <a href="https://pioneerworks.org/exhibitions/kathleen-white-spirits-of-manhattan/">Kathleen White: Spirits of Manhattan</a> and Nan Goldin: Kathleen, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.
Goldin photographed White continually during the 1990s, and the prints featured in Nan Goldin: Kathleen—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, Witnesses: Against Our Vanishing. A decade later, Goldin returned to Artists Space to curate Shy, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation Spirits of Manhattan (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.
Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of Kathleen White: Spirits of Manhattan. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.
Kathleen White: Spirits of Manhattan and Nan Goldin: Kathleen are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.
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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.

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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.