Name: Second Sundays: May 2019
Start: 2019-05-12
End: 2019-05-12
Location: Pioneer Works

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PW Closure 10/25-10/26

Pioneer Works's galleries and garden are closed to the public on Friday, October 25th and Saturday, October 26th for the United Sounds NYC Festival 2024. 

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Own the Archive Sale

This week only, we’re heavily discounting our #PWPress publications to make way for new projects. Find artist-created books for $5, $10, & $15—sales raised from the PW Store are reinvested into funding new, ambitious projects by emerging and underrepresented artists and writers.

Gift Guide

From November 28 through December 14, take 20% off products in the Gift Guide with code: ULTRAFESTIVE. 

Ragas 

Pioneer Works will be closed for normal gallery hours this October 14 & 15 for Ragas Live Festival 2023, learn more 

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Please note, Pioneer Works will be closed for daily admissions until July 7th. We 

open for ticketed programs, view our calendar 

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Celebrate 10 years of Pioneer Works by shopping the PW Press Archive Sale! Through October 31, take 10% off Pioneer Works Press items with code 

Flash Flood Closures

Building Closures Due to Flash Floods

Due to weather conditions, Pioneer Works is suspending open gallery hours for Friday, September 29. MHYSA's performance has been rescheduled for Sunday, October 1, with all tickets being transferred to the new date.

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Shop the PW Store Spring Sale!

 for the entire month of April and receive an automatic 20% off books, records, apparel, and more. Members save 35%—learn more about membership 

Aura Closure 5/27

Please note:

 will close early at 5pm on Saturday, May 27. Learn more and plan your visit 

CEO Announcement

Just Announced: Pioneer Works Names Mara Manus Chief Executive Officer

The Board of Directors of Pioneer Works is pleased to announce that Mara Manus, former Executive Director for New York State Council on the Arts (NYSCA), has been appointed as the organization’s new Chief Executive Officer. 

PW Closed 11/11

We're closed all day Friday, November 11 for our annual Village Fête Benefit. To learn more about the After Party and get tickets, visit 

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Our galleries and garden are closed to the public today for a United Sounds NYC Festival 2024. Learn more about the festival 

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We're pleased to announce the first major renovation of Pioneer Works! To accommodate the first phase of our construction, we're temporarily relocating to 133 Imlay Street opening in Spring 2022.

Early Closure 5/10/23

Due to programming, Pioneer Works will be closed to the public on Wednesday, May 10. We will be open from Thursday through Sunday for the remainder of the week. Learn more and plan your visit 

Food and drinks by Marlow & Daughters and Pioneer Works Bar.

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Food and drinks by Marlow &amp; Daughters and Pioneer Works Bar.

Keith Haring’s monumental Boys Club Mural (1987) was originally painted onto a cinder block wall of the Pitt Street chapter of the Boy’s Club of New York (BCNY)—a community center, founded in the late nineteenth-century, intended as a space where local boys could congregate and partake in recreational activities.

Haring’s graffiti drawings were seminal in pushing art beyond the confines of the museum and gallery setting, and into publicly-accessible spaces such as subway cars and concrete sidewalks. He also maintained an ardent belief in the positive impact of art on people’s lives, especially young people. The mural at the BCNY, marked by the words ‘For the Lower East Side Boys’ at the bottom, features Haring’s trademark figures engaged in a host of recreational activities.

When the building on Pitt Street was slated for demolition in 2007, the mural, measuring twenty by twenty feet and weighing forty thousand pounds, was carefully removed by a dedicated team of engineers, conservators, and gallerists, who deemed it culturally important to protect. Over a decade later, the mural makes its public debut at Pioneer Works, where it will become the centerpiece of community and educational programs.

Keith Haring: Boys Club Mural is a project made possible by Lacoste.
Image: Boys Club Mural (1987), copyright © Keith Haring Foundation.

<img class="alignnone wp-image-8367" src="https://pioneerworks.org/wp-content/uploads/logo_lacoste_HORIZON_BLCK_RVB_tight-300x50.png" alt="" width="200" height="52" />

Keith Haring: Boys Club Mural

Blue Hills, Yellow Tree brings together over three decades of works by Sally Saul, whose practice has become known for endearing and often humorous representations of humans, flora and fauna. The exhibition comprises sculptures created in Austin, Texas during the late 1980s and 1990s, and in New York City and Germantown, New York during the past twenty years. A selection of never-before-seen works on paper will also be included to provide an unprecedented overview of Saul’s oeuvre. As the first retrospective of the artist’s works, the exhibition interprets Saul’s surrounding world by paying homage to her rural upbringing and various homes around the United States.

Throughout her decades-long ceramics practice, Saul has married the past and the present in a distinct way that is both playful and subversive. Born in 1946 in Albany, New York, the artist recalls the countryside as her earliest environment, where she was allowed to freely explore the nearby forest and lake. She moved westward to study literature in Colorado and California during the 1960s, and became acquainted with artists within the Bay Area visual arts movement in the early 1970s. Saul regards this introduction as the impetus for her interest in art making, adopting the Californian artists’ penchants for utilizing bright colors and drawing subject matters from day-to-day life. In 1981, Saul relocated to Austin, where the soon-to-be sculptor enrolled in her first ceramics programs.

Many of these early works take form as busts of various figures, which render famous, fictional and real characters with lifelike expression. One particular series from 1996 pairs American presidents with notable women from concurrent time periods—for instance, Dwight D. Eisenhower with ecologist Rachel Carson, or Franklin D. Roosevelt with writer Gertrude Stein—as a way of contrasting feminine ingenuity against masculine power. At the same time, Saul’s works also serve as vignettes of her own personal life. Many sculptures depict the animals found within the pastures surrounding her home, while others reference lived memories such as the marriage to a beloved partner, the death of her mother, and the birth of her daughter. In this way, Saul merges introspective musings with an inner imagination defined by heart and humor.

This exhibition is supported, in part, with funds from New York State Council on the Arts.

About the Artist

Sally Saul (b. 1946, Albany, NY) earned a BA from the University of Colorado in Boulder, CO and an MA in American Literature from San Francisco State University, San Francisco, CA. Practicing as a sculptor for over thirty years, Saul has participated in exhibitions at the Art Museum of West Virginia, Morgantown, WV; the Aldrich Contemporary Art Museum, Ridgefield, CT; Rachel Uffner Gallery, New York, NY; White Columns, New York, NY; the Woodstock Byrdcliffe Guild, Woodstock, NY; Lumber Room, Portland, OR; the Columbus Cultural Arts Center, Columbus, OH; and the Lawndale Art Center, Houston, TX; among many others. In 2018, the artist, with Peter Saul, co-curated the exhibition Out of Control at Venus Over Manhattan, New York, NY. Saul lives and works in Germantown, New York.

Sally Saul: Blue Hills, Yellow Tree

Lorena Barrera Enciso is a Mexican filmmaker, painter, and performance artist. In her work, she uses her experience as a body with many homes to explore the sense of longing that is inarticulate and without language. The objects and images created in these explorations become the result of frustrated attempts at intimacy. Barrera Enciso grew up in Mexico and Switzerland and immigrated to the US when she was 18. She obtained her BFA from the School of the Art Institute of Chicago. Barrera Enciso has exhibited her work at Chicago Filmmakers, Onion City Film Festival, and Gene Siskel Film Center, all in Chicago, IL, and Massachusetts College of Art and Design in Boston, MA.

Lorena Barrera Enciso

Avram Finkelstein is an artist, writer, and founding member of the Silence=Death and Gran Fury collectives. His work has been shown at MoMA, the Whitney Museum, the Cooper Hewitt Museum, and the Metropolitan Museum, all in New York, and is in the permanent collections of MoMA, the Whitney, the New Museum, the Metropolitan Museum, and the Brooklyn Museum, all in New York, and the Victoria and Albert Museum in London. He is featured in the artist oral history project at the Smithsonian’s Archives of American Art and his book After Silence: A History of AIDS Through its Images was nominated for an International Center of Photography 2018 Infinity Award in Critical Writing And Research. He has been interviewed by the New York Times, Frieze, Artforum, NPR, Slate, and Interview, and spoken about art, activism, LGBTQ cultural production, and the American Left at Harvard, Yale, Columbia, and NYU.

Avram Finkelstein

Jess Johnson was born in Tauranga, New Zealand in 1979. In 2016, she relocated permanently to New York after twelve years of living and working in Melbourne, Australia. Her practice is influenced by the speculative intersections between language, science fiction, culture, and technology. Her drawings depict complex worlds that combine densely layered patterns, objects, and figures within architectural settings. Johnson’s drawings are often displayed within constructed environments that act as physical portals into her speculative worlds. Her recent collaborations with Simon Ward have involved translating her drawings into animated video and virtual reality, giving audiences the simulated experience of entering the hypnotic realms depicted in her drawings. Johnson’s work has been exhibited at Jack Hanley Gallery, New York, NY; Art Basel, Hong Kong, China; Talbot Rice Gallery, Edinburgh, Scotland; Hubei Museum of Art, Wuhan, China; Centre Clark, Montreal, Canada; National Gallery of Australia, Canberra, Australia; Museum of Contemporary Art, Sydney, Australia; Alaska Projects, Sydney, Australia; Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand; Artspace, Auckland, New Zealand; and National Gallery of Victoria, Heidi Museum of Modern Art, Monash University Museum of Art, and Gertrude Contemporary, all in Melbourne, Australia.

Simon Ward worked in feature film costuming for ten years. During this period, he developed a video making practice which eventually became his major focus. His work in video and animation is varied and usually involves collaboration with musicians, writers or visual artists. He has made over 50 music videos, directed three seasons of an animated comedy series, and his video and virtual reality collaborations have been shown in New York, Tokyo, Hubei, Edinburgh, San Francisco, Melbourne, Sydney, Canberra and Hong Kong. Influenced by the history of cinematographic special effects and animation and new developments in virtual reality technology, his work involves generating visual imagery that mixes reality with the fantastical.

Jess Johnson &amp; Simon Ward

Ezra Wube is a mixed media artist born in Ethiopia and based in Brooklyn, NY. His work references the notions of past and present, the constant changing of place, and the dialogical tensions between “here” and “there.” His work has been shown at the Gwangju Biennial, Gwangju, South Korea; Museum of the Moving Image, Queens, NY; the 13th Biennial de Lyon, Lyon, France; Dak’Art 2014 Biennale, Dakar, Senegal; the 18th International Festival of Contemporary Art SESC_Videobrasil, São Paulo, Brazil; and as part of the Times Square Arts Midnight Moment, New York, NY. His residencies and awards include LMCC Workspace Residency Program, the Drawing Center, Rema Hort Mann Foundation, and the Triangle Arts Association Residency, all in New York. Wube received his BFA from Massachusetts College of Art and an MFA from Hunter College.

Ezra Wube

Kenneth Tam is a New York-based artist born in Queens, NY. He has held solo exhibitions at the Minneapolis Institute of Art, Minneapolis, MI; MIT List Center for Visual Arts, Boston, MA; Commonwealth and Council, Los Angeles, CA; and Night Gallery, Los Angeles, CA. Tam has participated in recent group shows at 47 Canal, New York, NY; Hollybush Gardens, London, UK; Hammer Museum, Los Angeles, CA; and will be included in SculptureCenter’s upcoming In Practice exhibition. He has participated in residencies including LMCC Workspace, Artist Lab at 18th Street Arts Center in Santa Monica, and the Core Residency Program at the Museum of Fine Arts, Houston. He is the recipient of a Foundation for Contemporary Arts Emergency Grant, California Community Foundation Fellowship, and Art Matters Foundation Grant. Tam is currently Guest Faculty at Sarah Lawrence College and will be a Lecturer at Princeton University in the spring.

Kenneth Tam

It’s a new moment for Naeem Juwan, who, in his former incarnation as Spank Rock, has already been rocking the global underground party scene for well over a decade. While Spank Rock was born out of his tight crew of friends and collaborators from the American Northeast––primarily his dynamic with producer Alex Epton (XXXChange) which was expanded and reinforced by Baltimore’s Sankofa Drummers, DJs Devlin and Darko, and rapper Amanda Blank––Juwan’s new solo venture marries extensive travels, experiences, relationships, and a growing drive to communicate deeper and more personal ideas, all leading to the engagingly eclectic genre blending aesthetic that weaves through his new album “Startisha”.

Naeem Juwan

Ryan Kuo's works are process-based and diagrammatic and often invoke a person or people arguing. He uses the conventions of video games, productivity software, user interface design, and motion graphics to produce circuitous structures that most recently relate to whiteness. At Pioneer Works, he intends to build an AI entity that embodies the “faith” that underpins white supremacy and Christian fundamentalism and casts doubt on nonbelievers. His work is distributed online at left gallery, has appeared at Queens Museum, bitforms gallery, the Current Museum, and MIT Media Lab, and has been covered in BOMB Magazine and Rhizome.

Ryan Kuo

Beth Coleman is an artist and technologist who creates public, civic, and poetic works. She directs the City as Platform Lab, University of Waterloo, Canada and the co-founder of SoundLab Cultural Alchemy. Her work has been shown in venues including the Whitney Museum of American Art, New Museum of Contemporary Art, and Musée d'Art moderne Paris. She has held artist residencies at Recollets, and Waag among others. She had published the monograph Hello Avatar (MIT Press) along with numerous articles. Her art publications include collaborations with Ellen Gallagher, Chris Ofili, and Parkett. Her research affiliations are Berkman Center for Internet &amp; Society, Harvard University and the New York Data &amp; Society Institute.

Beth Coleman

Okkyung Lee is a cellist, composer, and improviser who moves freely between of artistic disciples and contingencies. Since moving to New York in 2000 she has worked in disparate contexts as a solo artist and collaborator with creators in a wide range of disciplines. A native of South Korea, Lee has taken a broad array of inspirations—including noise, improvisation, jazz, western classical, and the traditional and popular music of her homeland—and used them to forge a highly distinctive approach. Her curiosity and a determined sense of exploration guide the work she has made in disparate contexts.

Okkyung Lee

Alicia Mersy (b. Montreal, Canada, 1988) is an artist and filmmaker of Lebanese/French origin who lives and works in New York. Her work uses the camera to connect to people and to the divine, nurturing her heart through theirs. She creates space for conversations, through video, digital images, documentary and workshops in different political contexts within the themes of healing, social politics and technology focusing on the resistance of repressive structures. Her work has been exhibited internationally including at Migros Museum, Zurich (2019) ; Institute of Contemporary Art: ICA, London (2017); Abrons Arts Center, New York (2019) and Tel Aviv Museum, Tel Aviv (2016).

&nbsp;

Mersy will be an alumni resident on <a href="https://pioneerworks.org/series/pioneer-works-at-governors-island/" target="_blank" rel="noopener noreferrer">Governors Island</a> in Summer 2019.

Alicia Mersy

Join us in the Garden for an art-making activity at our special exhibition of Keith Haring&#8217;s Boys Club Mural.

Keith Haring-Inspired Art Project 

Join artist and engineer Alex Nathanson and spend some time in the sunshine and make solar-powered noise makers and other toys.

Solar-Powered Art

ALTAR, by Smriti Keshari, enshrines the infamous code &#8220;AlphaGo,&#8221; marking the moment artificial intelligence defeated a human in the Japanese board game Go. The sculpture provides a visual and emotional understanding of the age of artificial intelligence.

ALTAR

House of SpeakEasy provides access to book culture through their bookmobile. Visit the bookmobile here and browse their curated selection of poetry, fiction, and critical theory from indie publishers, provided in cooperation with WORD Bookstores.

House of SpeakEasy

Join us in the Garden to look through telescopes at the stars. 
*Weather permitting

Solar and Stargazing with the Amateur Astronomers Association

How can programming help us recognize patterns? Play with programming and poetry in this activity where we&#8217;ll use magnetic code syntax to build poetic structures of repetition.

while (x): How to Write a Code Poem

In celebration of the centenary of Eddingtons’ eclipse expedition proving Einstein&#8217;s theory of curved space-time, we will have astronomers in the Garden along with screenings of black hole observation videos.

Event Horizon

As part of the <a href="https://pioneerworks.org/series/heart-of-the-machine/">Heart of the Machine series</a>, members of Soft Surplus created a zine inspired by a conversation that developed in the #random channel of the collective’s Slack. 
May&#8217;s iteration of Labor and Leadership builds on the responses shared in last month&#8217;s installment to create a continuous dialogue with additional prompts toward a consideration of &#8220;good leadership.&#8221;

Labor and Leadership

Award-winning online radio station 8 Ball Radio is taking over our Media Lab where you can join them to watch live DJ sets. At 8 pm, 8 Ball will livestream the NAEEM feat. DJ Delish concert in the North Hall. Listen live at <a href="http://www.8ballradio.nyc">www.8ballradio.nyc</a>

8 Ball Radio

Transient rapper NAEEM teams up with PUMPDABEAT producer DJ Delish to expand upon the black LGBTQ experience over ghetto fun house beats.

NAEEM feat. DJ Delish

SS19_May_3x2

 (1987) was originally painted onto a cinder block wall of the Pitt Street chapter of the Boy’s Club of New York (BCNY)—a community center, founded in the late nineteenth-century, intended as a space where local boys could congregate and partake in recreational activities.

Haring’s graffiti drawings were seminal in pushing art beyond the confines of the museum and gallery setting, and into publicly-accessible spaces such as subway cars and concrete sidewalks. He also maintained an ardent belief in the positive impact of art on people’s lives, especially young people. The mural at the BCNY, marked by the words ‘For the Lower East Side Boys’ at the bottom, features Haring’s trademark figures engaged in a host of recreational activities.

When the building on Pitt Street was slated for demolition in 2007, the mural, measuring twenty by twenty feet and weighing forty thousand pounds, was carefully removed by a dedicated team of engineers, conservators, and gallerists, who deemed it culturally important to protect. Over a decade later, the mural makes its public debut at Pioneer Works, where it will become the centerpiece of community and educational programs.

 is a project made possible by Lacoste.
Image: 

Boys Club Mural

Keith Haring’s monumental Boys Club Mural (1987) was originally painted onto a cinder block wall of the Pitt Street chapter of the Boy’s Club of New York (BCNY)—a community center, founded in the late nineteenth-century, intended as a space where local boys could congregate and partake in recreational activities.
Haring’s graffiti drawings were seminal in pushing art beyond the confines of the museum and gallery setting, and into publicly-accessible spaces such as subway cars and concrete sidewalks. He also maintained an ardent belief in the positive impact of art on people’s lives, especially young people. The mural at the BCNY, marked by the words ‘For the Lower East Side Boys’ at the bottom, features Haring’s trademark figures engaged in a host of recreational activities.
When the building on Pitt Street was slated for demolition in 2007, the mural, measuring twenty by twenty feet and weighing forty thousand pounds, was carefully removed by a dedicated team of engineers, conservators, and gallerists, who deemed it culturally important to protect. Over a decade later, the mural makes its public debut at Pioneer Works, where it will become the centerpiece of community and educational programs.
Keith Haring: Boys Club Mural is a project made possible by Lacoste. 
Image: Boys Club Mural (1987), copyright © Keith Haring Foundation.
<img loading="lazy" class="alignnone wp-image-8367" src="https://sunset.pioneerworks.org/wp-content/uploads/logo_lacoste_HORIZON_BLCK_RVB_tight-300x50.png" alt="" width="200" height="52" />

walter-wlodarczyk-2019-05-07-_87a4196

walter-wlodarczyk-2019-05-07-_87A4196

Keith Haring’s monumental Boys Club Mural (1987) was originally painted onto a cinder block wall of the Pitt Street chapter of the Boy’s Club of New York (BCNY)—a community center, founded in the late nineteenth-century, intended as a space where local boys could congregate and partake in recreational activities.
Haring’s graffiti drawings were seminal in pushing art beyond the confines of the museum and gallery setting, and into publicly-accessible spaces such as subway cars and concrete sidewalks. He also maintained an ardent belief in the positive impact of art on people’s lives, especially young people. The mural at the BCNY, marked by the words ‘For the Lower East Side Boys’ at the bottom, features Haring’s trademark figures engaged in a host of recreational activities.
When the building on Pitt Street was slated for demolition in 2007, the mural, measuring twenty by twenty feet and weighing forty thousand pounds, was carefully removed by a dedicated team of engineers, conservators, and gallerists, who deemed it culturally important to protect. Over a decade later, the mural makes its public debut at Pioneer Works, where it will become the centerpiece of community and educational programs.
Keith Haring: Boys Club Mural is a project made possible by Lacoste. 
Image: Boys Club Mural (1987), copyright © Keith Haring Foundation.
<img loading="lazy" class="alignnone wp-image-8367" src="https://pioneerworks.org/wp-content/uploads/logo_lacoste_HORIZON_BLCK_RVB_tight-300x50.png" alt="" width="200" height="52" />

 brings together over three decades of works by Sally Saul, whose practice has become known for endearing and often humorous representations of humans, flora and fauna. The exhibition comprises sculptures created in Austin, Texas during the late 1980s and 1990s, and in New York City and Germantown, New York during the past twenty years. A selection of never-before-seen works on paper will also be included to provide an unprecedented overview of Saul’s oeuvre. As the first retrospective of the artist’s works, the exhibition interprets Saul’s surrounding world by paying homage to her rural upbringing and various homes around the United States.

Throughout her decades-long ceramics practice, Saul has married the past and the present in a distinct way that is both playful and subversive. Born in 1946 in Albany, New York, the artist recalls the countryside as her earliest environment, where she was allowed to freely explore the nearby forest and lake. She moved westward to study literature in Colorado and California during the 1960s, and became acquainted with artists within the Bay Area visual arts movement in the early 1970s. Saul regards this introduction as the impetus for her interest in art making, adopting the Californian artists’ penchants for utilizing bright colors and drawing subject matters from day-to-day life. In 1981, Saul relocated to Austin, where the soon-to-be sculptor enrolled in her first ceramics programs.

Many of these early works take form as busts of various figures, which render famous, fictional and real characters with lifelike expression. One particular series from 1996 pairs American presidents with notable women from concurrent time periods—for instance, Dwight D. Eisenhower with ecologist Rachel Carson, or Franklin D. Roosevelt with writer Gertrude Stein—as a way of contrasting feminine ingenuity against masculine power. At the same time, Saul’s works also serve as vignettes of her own personal life. Many sculptures depict the animals found within the pastures surrounding her home, while others reference lived memories such as the marriage to a beloved partner, the death of her mother, and the birth of her daughter. In this way, Saul merges introspective musings with an inner imagination defined by heart and humor.

This exhibition is supported, in part, with funds from New York State Council on the Arts.

Sally Saul (b. 1946, Albany, NY) earned a BA from the University of Colorado in Boulder, CO and an MA in American Literature from San Francisco State University, San Francisco, CA. Practicing as a sculptor for over thirty years, Saul has participated in exhibitions at the Art Museum of West Virginia, Morgantown, WV; the Aldrich Contemporary Art Museum, Ridgefield, CT; Rachel Uffner Gallery, New York, NY; White Columns, New York, NY; the Woodstock Byrdcliffe Guild, Woodstock, NY; Lumber Room, Portland, OR; the Columbus Cultural Arts Center, Columbus, OH; and the Lawndale Art Center, Houston, TX; among many others. In 2018, the artist, with Peter Saul, co-curated the exhibition 

 at Venus Over Manhattan, New York, NY. Saul lives and works in Germantown, New York.

Blue Hills, Yellow Tree

Blue Hills, Yellow Tree brings together over three decades of works by Sally Saul, whose practice has become known for endearing and often humorous representations of humans, flora and fauna. The exhibition comprises sculptures created in Austin, Texas during the late 1980s and 1990s, and in New York City and Germantown, New York during the past twenty years. A selection of never-before-seen works on paper will also be included to provide an unprecedented overview of Saul’s oeuvre. As the first retrospective of the artist’s works, the exhibition interprets Saul’s surrounding world by paying homage to her rural upbringing and various homes around the United States.
Throughout her decades-long ceramics practice, Saul has married the past and the present in a distinct way that is both playful and subversive. Born in 1946 in Albany, New York, the artist recalls the countryside as her earliest environment, where she was allowed to freely explore the nearby forest and lake. She moved westward to study literature in Colorado and California during the 1960s, and became acquainted with artists within the Bay Area visual arts movement in the early 1970s. Saul regards this introduction as the impetus for her interest in art making, adopting the Californian artists’ penchants for utilizing bright colors and drawing subject matters from day-to-day life. In 1981, Saul relocated to Austin, where the soon-to-be sculptor enrolled in her first ceramics programs.
Many of these early works take form as busts of various figures, which render famous, fictional and real characters with lifelike expression. One particular series from 1996 pairs American presidents with notable women from concurrent time periods—for instance, Dwight D. Eisenhower with ecologist Rachel Carson, or Franklin D. Roosevelt with writer Gertrude Stein—as a way of contrasting feminine ingenuity against masculine power. At the same time, Saul’s works also serve as vignettes of her own personal life. Many sculptures depict the animals found within the pastures surrounding her home, while others reference lived memories such as the marriage to a beloved partner, the death of her mother, and the birth of her daughter. In this way, Saul merges introspective musings with an inner imagination defined by heart and humor.
This exhibition is supported, in part, with funds from New York State Council on the Arts.
About the Artist
Sally Saul (b. 1946, Albany, NY) earned a BA from the University of Colorado in Boulder, CO and an MA in American Literature from San Francisco State University, San Francisco, CA. Practicing as a sculptor for over thirty years, Saul has participated in exhibitions at the Art Museum of West Virginia, Morgantown, WV; the Aldrich Contemporary Art Museum, Ridgefield, CT; Rachel Uffner Gallery, New York, NY; White Columns, New York, NY; the Woodstock Byrdcliffe Guild, Woodstock, NY; Lumber Room, Portland, OR; the Columbus Cultural Arts Center, Columbus, OH; and the Lawndale Art Center, Houston, TX; among many others. In 2018, the artist, with Peter Saul, co-curated the exhibition Out of Control at Venus Over Manhattan, New York, NY. Saul lives and works in Germantown, New York.

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Lorena Barrera Enciso is a Mexican filmmaker, painter, and performance artist. In her work, she uses her experience as a body with many homes to explore the sense of longing that is inarticulate and without language. The objects and images created in these explorations become the result of frustrated attempts at intimacy. Barrera Enciso grew up in Mexico and Switzerland and immigrated to the US when she was 18. She obtained her BFA from the School of the Art Institute of Chicago. Barrera Enciso has exhibited her work at Chicago Filmmakers, Onion City Film Festival, and Gene Siskel Film Center, all in Chicago, IL, and Massachusetts College of Art and Design in Boston, MA.

Lorena Barrera Enciso is a Mexican filmmaker, painter, and performance artist. In her work, she uses her experience as a body with many homes to explore the sense of longing that is inarticulate and without language. The objects and images created in these explorations become the result of frustrated attempts at intimacy. Barrera Enciso grew up in Mexico and Switzerland and immigrated to the US when she was 18. She obtained her BFA from the School of the Art Institute of Chicago. Barrera Enciso has exhibited her work at Chicago Filmmakers, Onion City Film Festival, and Gene Siskel Film Center, all in Chicago, IL, and Massachusetts College of Art and Design in Boston, MA.

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Avram Finkelstein is an artist, writer, and founding member of the Silence=Death and Gran Fury collectives. His work has been shown at MoMA, the Whitney Museum, the Cooper Hewitt Museum, and the Metropolitan Museum, all in New York, and is in the permanent collections of MoMA, the Whitney, the New Museum, the Metropolitan Museum, and the Brooklyn Museum, all in New York, and the Victoria and Albert Museum in London. He is featured in the artist oral history project at the Smithsonian’s Archives of American Art and his book 

After Silence: A History of AIDS Through its Images 

was nominated for an International Center of Photography 2018 Infinity Award in Critical Writing And Research. He has been interviewed by the New York Times, Frieze, Artforum, NPR, Slate, and Interview, and spoken about art, activism, LGBTQ cultural production, and the American Left at Harvard, Yale, Columbia, and NYU.

Avram Finkelstein is an artist, writer, and founding member of the Silence=Death and Gran Fury collectives. His work has been shown at MoMA, the Whitney Museum, the Cooper Hewitt Museum, and the Metropolitan Museum, all in New York, and is in the permanent collections of MoMA, the Whitney, the New Museum, the Metropolitan Museum, and the Brooklyn Museum, all in New York, and the Victoria and Albert Museum in London. He is featured in the artist oral history project at the Smithsonian’s Archives of American Art and his book After Silence: A History of AIDS Through its Images was nominated for an International Center of Photography 2018 Infinity Award in Critical Writing And Research. He has been interviewed by the New York Times, Frieze, Artforum, NPR, Slate, and Interview, and spoken about art, activism, LGBTQ cultural production, and the American Left at Harvard, Yale, Columbia, and NYU.

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Finkelstein-Worker No.1_Study No.1

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Finkelstein_Worker_No_5

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Finkelstein_ Untitled-1

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Jess Johnson was born in Tauranga, New Zealand in 1979. In 2016, she relocated permanently to New York after twelve years of living and working in Melbourne, Australia. Her practice is influenced by the speculative intersections between language, science fiction, culture, and technology. Her drawings depict complex worlds that combine densely layered patterns, objects, and figures within architectural settings. Johnson’s drawings are often displayed within constructed environments that act as physical portals into her speculative worlds. Her recent collaborations with Simon Ward have involved translating her drawings into animated video and virtual reality, giving audiences the simulated experience of entering the hypnotic realms depicted in her drawings. Johnson’s work has been exhibited at Jack Hanley Gallery, New York, NY; Art Basel, Hong Kong, China; Talbot Rice Gallery, Edinburgh, Scotland; Hubei Museum of Art, Wuhan, China; Centre Clark, Montreal, Canada; National Gallery of Australia, Canberra, Australia; Museum of Contemporary Art, Sydney, Australia; Alaska Projects, Sydney, Australia; Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand; Artspace, Auckland, New Zealand; and National Gallery of Victoria, Heidi Museum of Modern Art, Monash University Museum of Art, and Gertrude Contemporary, all in Melbourne, Australia.

Simon Ward worked in feature film costuming for ten years. During this period, he developed a video making practice which eventually became his major focus. His work in video and animation is varied and usually involves collaboration with musicians, writers or visual artists. He has made over 50 music videos, directed three seasons of an animated comedy series, and his video and virtual reality collaborations have been shown in New York, Tokyo, Hubei, Edinburgh, San Francisco, Melbourne, Sydney, Canberra and Hong Kong. Influenced by the history of cinematographic special effects and animation and new developments in virtual reality technology, his work involves generating visual imagery that mixes reality with the fantastical.

Jess Johnson was born in Tauranga, New Zealand in 1979. In 2016, she relocated permanently to New York after twelve years of living and working in Melbourne, Australia. Her practice is influenced by the speculative intersections between language, science fiction, culture, and technology. Her drawings depict complex worlds that combine densely layered patterns, objects, and figures within architectural settings. Johnson’s drawings are often displayed within constructed environments that act as physical portals into her speculative worlds. Her recent collaborations with Simon Ward have involved translating her drawings into animated video and virtual reality, giving audiences the simulated experience of entering the hypnotic realms depicted in her drawings. Johnson’s work has been exhibited at Jack Hanley Gallery, New York, NY; Art Basel, Hong Kong, China; Talbot Rice Gallery, Edinburgh, Scotland; Hubei Museum of Art, Wuhan, China; Centre Clark, Montreal, Canada; National Gallery of Australia, Canberra, Australia; Museum of Contemporary Art, Sydney, Australia; Alaska Projects, Sydney, Australia; Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand; Artspace, Auckland, New Zealand; and National Gallery of Victoria, Heidi Museum of Modern Art, Monash University Museum of Art, and Gertrude Contemporary, all in Melbourne, Australia.
Simon Ward worked in feature film costuming for ten years. During this period, he developed a video making practice which eventually became his major focus. His work in video and animation is varied and usually involves collaboration with musicians, writers or visual artists. He has made over 50 music videos, directed three seasons of an animated comedy series, and his video and virtual reality collaborations have been shown in New York, Tokyo, Hubei, Edinburgh, San Francisco, Melbourne, Sydney, Canberra and Hong Kong. Influenced by the history of cinematographic special effects and animation and new developments in virtual reality technology, his work involves generating visual imagery that mixes reality with the fantastical.

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8. 2015 Wurm Haus

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7. 2016 Electrc Panoptic

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4. 2018 Whol Why Wurld

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3. 2018 Terminus Installation_3

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1. 2018 Terminus Installation_1

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2. 2018 Terminus Installation_2

Ezra Wube is a mixed media artist born in Ethiopia and based in Brooklyn, NY. His work references the notions of past and present, the constant changing of place, and the dialogical tensions between “here” and “there.” His work has been shown at the Gwangju Biennial, Gwangju, South Korea; Museum of the Moving Image, Queens, NY; the 13th Biennial de Lyon, Lyon, France; Dak’Art 2014 Biennale, Dakar, Senegal; the 18th International Festival of Contemporary Art SESC_Videobrasil, São Paulo, Brazil; and as part of the Times Square Arts Midnight Moment, New York, NY. His residencies and awards include LMCC Workspace Residency Program, the Drawing Center, Rema Hort Mann Foundation, and the Triangle Arts Association Residency, all in New York. Wube received his BFA from Massachusetts College of Art and an MFA from Hunter College.

Ezra Wube is a mixed media artist born in Ethiopia and based in Brooklyn, NY. His work references the notions of past and present, the constant changing of place, and the dialogical tensions between “here” and “there.” His work has been shown at the Gwangju Biennial, Gwangju, South Korea; Museum of the Moving Image, Queens, NY; the 13th Biennial de Lyon, Lyon, France; Dak’Art 2014 Biennale, Dakar, Senegal; the 18th International Festival of Contemporary Art SESC_Videobrasil, São Paulo, Brazil; and as part of the Times Square Arts Midnight Moment, New York, NY. His residencies and awards include LMCC Workspace Residency Program, the Drawing Center, Rema Hort Mann Foundation, and the Triangle Arts Association Residency, all in New York. Wube received his BFA from Massachusetts College of Art and an MFA from Hunter College.

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01_EW-'Mela' (1)

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04_EW_'Paper-Plates'

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03_EW-'Indamora'

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02_EW_Gela2

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Kenneth Tam is a New York-based artist born in Queens, NY. He has held solo exhibitions at the Minneapolis Institute of Art, Minneapolis, MI; MIT List Center for Visual Arts, Boston, MA; Commonwealth and Council, Los Angeles, CA; and Night Gallery, Los Angeles, CA. Tam has participated in recent group shows at 47 Canal, New York, NY; Hollybush Gardens, London, UK; Hammer Museum, Los Angeles, CA; and will be included in SculptureCenter’s upcoming 

exhibition. He has participated in residencies including LMCC Workspace, Artist Lab at 18th Street Arts Center in Santa Monica, and the Core Residency Program at the Museum of Fine Arts, Houston. He is the recipient of a Foundation for Contemporary Arts Emergency Grant, California Community Foundation Fellowship, and Art Matters Foundation Grant. Tam is currently Guest Faculty at Sarah Lawrence College and will be a Lecturer at Princeton University in the spring.

Kenneth Tam is a New York-based artist born in Queens, NY. He has held solo exhibitions at the Minneapolis Institute of Art, Minneapolis, MI; MIT List Center for Visual Arts, Boston, MA; Commonwealth and Council, Los Angeles, CA; and Night Gallery, Los Angeles, CA. Tam has participated in recent group shows at 47 Canal, New York, NY; Hollybush Gardens, London, UK; Hammer Museum, Los Angeles, CA; and will be included in SculptureCenter’s upcoming In Practice exhibition. He has participated in residencies including LMCC Workspace, Artist Lab at 18th Street Arts Center in Santa Monica, and the Core Residency Program at the Museum of Fine Arts, Houston. He is the recipient of a Foundation for Contemporary Arts Emergency Grant, California Community Foundation Fellowship, and Art Matters Foundation Grant. Tam is currently Guest Faculty at Sarah Lawrence College and will be a Lecturer at Princeton University in the spring.

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KTAM05

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KTAM02

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It’s a new moment for Naeem Juwan, who, in his former incarnation as Spank Rock, has already been rocking the global underground party scene for well over a decade. While Spank Rock was born out of his tight crew of friends and collaborators from the American Northeast––primarily his dynamic with producer Alex Epton (XXXChange) which was expanded and reinforced by Baltimore’s Sankofa Drummers, DJs Devlin and Darko, and rapper Amanda Blank––Juwan’s new solo venture marries extensive travels, experiences, relationships, and a growing drive to communicate deeper and more personal ideas, all leading to the engagingly eclectic genre blending aesthetic that weaves through his new album “Startisha”.

It’s a new moment for Naeem Juwan, who, in his former incarnation as Spank Rock, has already been rocking the global underground party scene for well over a decade. While Spank Rock was born out of his tight crew of friends and collaborators from the American Northeast––primarily his dynamic with producer Alex Epton (XXXChange) which was expanded and reinforced by Baltimore’s Sankofa Drummers, DJs Devlin and Darko, and rapper Amanda Blank––Juwan’s new solo venture marries extensive travels, experiences, relationships, and a growing drive to communicate deeper and more personal ideas, all leading to the engagingly eclectic genre blending aesthetic that weaves through his new album “Startisha”.