Name: Second Sundays: November 2019
Start: 2019-11-10
End: 2019-11-10
Location: Pioneer Works

Let Pioneer Works come to you. Subscribe to our newsletter.

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. 

Bottom [Test]

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 

June closing

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

open for ticketed programs, view our calendar 

Newsletter Signup

Test Test Test Test Test Test Test Test Test Test 

Bottom

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.

April PW Store Banner

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 

[TEST] Segmented Signup Form 

Let Pioneer Works come to you                                    

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

Closure Announcement [TOP]

We’re making Pioneer Works accessible to all! While our building is temporarily closed until this September, we are continuing to host offsite programming. See upcoming programs 

PW Newsletter

[Test] [Dev] Modal Detailed Form

We are grateful for your engagement and support of Pioneer Works. Our inspiring, thoughtful, and caring community makes our work possible.

In order to build programs that uphold our values and remain predominantly free and open to the public, we rely on our phenomenal community of supporters.

Support our Annual Appeal

Annual Appeal [Action]

[TEST] Top Preview 

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Top Banner [Broadcast]

 takes place at PW to celebrate this digital experiment and the artists, scientists, musicians, writers, and readers who’ve made it possible. RSVP 

Aura Closure 6/3

 will close early at 5pm on Saturday, June 3. Learn more and plan your visit 

[Test] [Dev] Top Text

Test Header

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 Kreung Cambodia and Pioneer Works Bar.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

<span data-sheets-value="{&quot;1&quot;:2,&quot;2&quot;:&quot;Food and drinks by Kreung Cambodia and Pioneer Works Bar&quot;}" data-sheets-userformat="{&quot;2&quot;:269057,&quot;3&quot;:{&quot;1&quot;:0},&quot;11&quot;:4,&quot;12&quot;:0,&quot;14&quot;:[null,2,0],&quot;15&quot;:&quot;arial&quot;,&quot;21&quot;:0}">Food and drinks by Kreung Cambodia and Pioneer Works Bar.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
<img loading="lazy" src="https://sunset.pioneerworks.org/wp-content/uploads/dclaLogo_black_2-1-300x55.png" alt="NYC DCLA Logo" width="300" height="55">

2019 brought the release of Boy Radio&#8217;s second independent LP, Pop That, an album infused with pop, electronic, and abstract r&#038;b sounds. Pop That took about 2 years to come together fully with its first song, &#8220;Trust,&#8221; released as an independent single in summer of 2016.The following year brought the release of &#8220;Golden Boy&#8221; and the abstract nod to La Vie En Rose, &#8220;Life in Pink,&#8221; which was the official first single for Pop That in February of 2019. 
Pop That plays through like changing stations on a radio moving through tempos and sounds with its themes of romance, healing, masculinity, queerness, empathy, and reflection of community. The album&#8217;s cover art, a very young Radio dressed up on Halloween wearing two costumes, one beneath the other, shares a reality that all of us, as adults, have grown from some different version of ourselves. Raised by a single mom as an only child with no queer representation in their household and working through bouts of depression and an over-sensitivity to familial situations, one of the things that helped this young artist feel safe amidst an ever-changing environment was escaping through imagination, manifestation, and through music. 
Pop That is available now on streaming music sites worldwide.

Boy Radio

Jacolby Satterwhite’s exhibition You’re at home is an immersive environment revolving around the artist’s digitally-animated series Birds in Paradise, which constructs mythological, queer universes derived from American consumerism, pop culture, African folklore, ritual, and personal narratives.
Inspired by early 90s digital media like Final Fantasy and Daft Punk’s 2003 animated album-length film Interstella 5555, Birds in Paradise is set—in large part—within a giant coliseum, a recurring architectural motif that Satterwhite likens to the archetypal 360° viewing experience of ancient Rome. Satterwhite himself becomes a repetitive presence, dancing alongside multitudes of digital avatars, mythological creatures-turned-machines, geometric architectures that swell and shift, and leather-clad performers and muses—all of which move ritualistically to Satterwhite’s choreography; its machine-like movement is equally influenced by voguing and Anne Teresa De Keersmaeker’s pared down, repetitive gestures, reflecting a kind of banal labor performed by citizens of a theoretical society with no social classes. Alongside these animations, real-life drone footage of forest fires, glacial melt, and other related imagery nod to impending climate catastrophe, while scenes in which Satterwhite is hung upside-down and whipped with drop cloths or baptized in a river nod to African rituals of regeneration and rebirth, over which the artist’s mother, Patricia Satterwhite, sings the lyrics “born to be free.”
Suffering from schizophrenia for much of her lifetime, Patricia sought refuge in creative practices, taking up singing and drawing. She longed to be a pop star, leaving behind cassette tapes of a capella recordings, the lyrics of which are derived from folk music, gospel, and spirituals. Satterwhite and Nick Weiss, together forming the band PAT, overlay Patricia’s voice onto propulsive dance tracks that are featured in Birds in Paradise as well as collected into a double LP album, <a href="https://pioneerworks.org/publishing/pat-love-will-find-a-way-home/" target="_blank" rel="noopener noreferrer">Love Will Find A Way Home</a>, which is stocked on shelves in a gift store replete with VR “listening stations” that conjure 90s music stores, such as Tower Records. The album’s track listing has been turned into neon, which animates the exhibition.
Patricia also created hundreds of drawings that portray humdrum objects of domestic material culture, lines of consumer goods she longed to be on the QVC shopping network where she sent them to, as well as patent offices—an avenue for potential fame and fortune that never came to be. The drawings became increasingly abstract and provisional as her condition worsened. Satterwhite has translated them into the digital architectures and environments featured in Birds in Paradise. They have also become 3D printed objects that are displayed in four large shelving units. One, You’re a Winner, features footballs and picture frames. Another, Drugs, contains pill bottles and tabloid magazines touting celebrity scandals. Two more units, Money and The American Dream, contain curios of collective, consumer desire. The raw materials of Patricia’s legacy, meanwhile, stand alone as an adjacent presentation within You’re at home. These drawings and songs were all made inside Patricia’ own home, a place she rarely left for almost 20 years. While Patricia’s work in Birds in Paradise is so altered as to be nearly unidentifiable, her disembodied presence nonetheless creates a thread of continuity, one in which authorship between mother and son is intentionally blurred.
Jacolby Satterwhite: You're at home is made possible with support from Ultimaker. This exhibition is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Image courtesy the artist and Mitchell-Innes &amp; Nash, New York. 
Please note that this exhibition contains nudity and adult content. The films projected on center stage within the exhibition contain flashing and strobe lights.
About the Artist
Jacolby Satterwhite was born in 1986 in Columbia, South Carolina. He received his BFA from the Maryland Institute College of Arts, Baltimore and his MFA from the University of Pennsylvania, Philadelphia. Satterwhite’s work has been presented in numerous exhibitions both in the United States and in Europe, including most recently at Whitechapel Gallery, London (2019); the Museum of Modern Art, New York (2019); the Minneapolis Insititute of Art (2019); the Museum of Contemporary Art, Chicago (2018); Fondation Louis Vuitton, Paris (2018); New Museum, New York (2017); Public Art Fund, New York (2017); San Francisco Museum of Art, San Francisco (2017); and the Institute of Contemporary Art, Philadelphia (2017). He was awarded the United States Artist Francie Bishop Good &amp; David Horvitz Fellowship in 2016. His work is included in the collections of the Museum of Contemporary Art Kiasma, Helsinki; Museum of Modern Art, New York; Studio Museum in Harlem, New York; and the Whitney Museum of American Art, New York, among others. In 2019, Satterwhite collaborated with Solange Knowles on her visual album, When I Get Home. Upcoming solo shows will be presented in the fall of 2019 at Fabric Workshop &amp; Museum, Philadelphia and Pioneer Works, New York.

<figure class="wp-block-image"><img class="wp-image-12545" src="https://pioneerworks.org/wp-content/uploads/dclaLogo_color_2-5.png" alt="" /></figure>

<img src="https://pioneerworks.org/wp-content/uploads/NYSCA-Logo-Black-300x71.png" alt="NYSCA Logo" width="300" height="71" />

Jacolby Satterwhite: You're at home

Lucien Samaha’s A History of Digital Photography brings together three decades of the artist's work—a time period that corresponds with the rise of digital photography; in 1990, Samaha was the inaugural recipient of Kodak’s Professional Photography Division scholarship, becoming the first person to use Kodak’s DCS 100 Professional Digital Camera System outside the factory floor. Since then, the artist’s pioneering experiments with the form have reflected this radical new era of image-making. This exhibition gives us a deeply intimate account of this history, through Samaha’s obsessive chronicling of the people and places around him. 
The invention of digital photography was revolutionary, enabling faster, easier, and more spontaneous images; storage capacities that would have been previously unimaginable; and post-processing that could distort or change the image entirely. Samaha exploited these attributes to create an archive of over a million photographs from his time working as a TWA flight attendant, DJ, and Kodak employee. These archives include the very first digital photographs of a cat, a dinner party, and a couple gazing at their own image instantaneously captured into the screen of a Digital Storage Unit. These “firsts” are shown alongside vitrines of ephemera and every digital camera he has used.
Even when abstract and experimental, Samaha’s work always remains personal. A hallway installation displays irregular, overlapping snapshots that form a dynamic, panoramic overview of Mondo 107, a weekly party he produced and DJed for five years at The Greatest Bar on Earth, on the 107th floor of New York’s One World Trade Center. The last photos of Mondo 107 were taken just days before the building was destroyed on September 11th, 2001. Around the corner hang Samaha’s portraits of friends lost to AIDS, printed on paper with inks that dry slowly over time, leaving the images streaked. Nearby, another series of photographs show the manipulated faces of Viennese transit riders, taken from seventy hours of video and subsequently scanned, cropped, projected onto a mirror, then re-photographed.
As one of the medium’s first adopters, Samaha knew digital photography since its birth, and was able to realize its immense potential when most analog photographers and the marketplace regarded it with doubt and suspicion. As he has seen this technology grow from something scarce to something widely accessible, his work stands out as singular. 
Lucien Samaha: A History of Digital Photography is made possible with generous support from the Robert Mapplethorpe Foundation. This exhibition is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
#ahistoryofdigitalphotography
About the Artist 
Lucien Samaha (b. 1958, Beirut) is a New York-based photographer whose work has been shown internationally, including in exhibitions at the Museum für Moderne Kunst, Frankfurt and at the Cooley Gallery, Reed College, Portland. He was a finalist for the 2004 Nam June Paik Award. After his time at TWA, Samaha worked for Eastman Kodak Company and then as a DJ on the 107th floor of the World Trade Center, continuing to document his hours at work and his personal life.

<figure class="wp-block-image"><img class="wp-image-12546" src="https://pioneerworks.org/wp-content/uploads/dclaLogo_color_2-6.png" alt="" /></figure>

<img src="https://pioneerworks.org/wp-content/uploads/NYSCA-Logo-Black-300x71.png" alt="NYSCA Logo" width="300" height="71" />

Lucien Samaha: A History of Digital Photography

Duke Riley’s three-channel video installation Non-Essential Consultants, Inc. combines narrative and documentary filmmaking to portray an allegorical history implicating a duo of outlaw operatives responsible for a bed bug outbreak in Washington, DC. In the past two years, the city has become one of the most infested regions in America, according to the Department of Health. Though they are frequently correlated with poverty, bed bugs have also affected some of the most luxurious hotels in the city.
The video revolves around a single sculptural element: a vintage 21 x 15 inch Samsonite suitcase, which has been retrofitted with an arrangement of scientific machinery and medical equipment used for drawing blood and breeding bed bugs. The suitcase’s breeding chamber, which will be empty during the exhibition, doubles as a diorama of a luxury hotel room within which the narrative is set. The room is located in a notorious hotel, located just blocks from the White House, which has become one of the most potent symbols of the convergence of corporate and political power in the United States.
Harkening back to late 1960s spy thriller entertainment such as Mission Impossible, The Man from U.N.C.L.E., and the James Bond series, Non-Essential Consultants, Inc. evidences a similar state in American history today: a public distrust of both government and the media. In addition, rapid technological advances have led to new national security threats that have outpaced the public’s ability to process them. Amidst widespread feelings of disenfranchisement, the suitcase and its former inhabitants serve as reminder that societal shifts often manifest from the simplest and most unforeseen origins, highlighting the inevitable permeability of even the most complex and fortified power structures.
Duke Riley: Non-Essential Consultants, Inc. is presented as part of the Performa 19 Biennial, and is made possible with generous support from Cristina Enriquez-Bocobo, The O’Grady Foundation, Michael Gruenglas, Mac Premo, quiet, and Joshua Rechnitz. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The events depicted in this exhibition are a speculative dramatization and do not represent actual events.
About the Artist
Duke Riley has had solo exhibitions at Magnan Metz Gallery, New York City; the Museum of Contemporary Art Cleveland; the Queens Museum of Art, Queens, NY; and the Havana Biennial (2009 and 2015), among other venues. He has received numerous awards and commission, including a Joan Mitchell Foundation Painters &amp; Sculptors Grant, the U.S. State Department’s SmARTpower Program in China, and the MTA Arts For Transit commission for the Beach 98th Street Station renovation. In Spring 2016, Riley partnered with Creative Time and the Brooklyn Navy Yard to produce Fly By Night, a public art project which was presented again in 2018 by 1418 Now and the London International Festival of Theater. Born in Boston, he received his BFA from the Rhode Island School of Design, in Providence, before moving to New York, settling in Brooklyn, and earning his M.F.A. from Pratt Institute.
<img class="alignnone size-thumbnail wp-image-10620" src="https://pioneerworks.org/wp-content/uploads/QuietLogo-01-1-150x150.jpg" alt="" width="150" height="150" />
<img class="alignnone size-medium wp-image-10829" src="https://pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-300x77.png" alt="" width="300" height="77" />
<img class="alignnone size-medium wp-image-10830" src="https://pioneerworks.org/wp-content/uploads/labs-logo-300x115.png" alt="" width="300" height="115" />


<figure class="wp-block-image"><img src="https://pioneerworks.org/wp-content/uploads/dclaLogo_color_2-7.png" alt="" class="wp-image-12547"/></figure>


<img src="https://pioneerworks.org/wp-content/uploads/NYSCA-Logo-Black-300x71.png" alt="NYSCA" width="300" height="71" />

Duke Riley: Non-Essential Consultants, Inc.

<div>Jaimie Warren is a multidisciplinary artist and the Co-Director and Co-Creator of the community arts project and fake public access tv show Whoop Dee Doo. Warren is a NYFA Fellow and has been awarded residencies with the Sharpe-Walentas Studio Program, BRICworkspace, Abrons AIRspace, and American Medium. Warren is the recipient of the Baum Award and is featured in Art21’s documentary series “New York Close Up.”</div>
<div></div>
<div>Warren has taught workshops with the Museum of Modern Art, the Art21 Education Department, the Museum of Art &amp; Design, the Brooklyn Arts Council SU-CASA Program, NurtureArt, Dia: Beacon, and Abrons Arts Center. They received a U.S. Presidential Teaching Award, presented by Barack Obama in 2013.</div>

Jaimie Warren

LJ Roberts lives and works in Brooklyn, NY and creates large-scale textile installations, intricate embroideries, artist books, and collages. Their work investigates the overlaps of queer and trans politics, activism, protest, narrative, and craft. Roberts’s work has been shown at the Brooklyn Museum, Brooklyn, NY; the Smithsonian Museum of American Art, Washington D.C.; Museum of Arts and Design, New York, NY; Yerba Buena Center of the Arts, San Francisco, CA; the Victoria and Albert Museum, London, UK; The 8th Floor, New York, NY; Vox Populi, Philadelphia, PA; the Orange County Museum of Art, Newport Beach, CA; the Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY; the Oakland Museum of California, Oakland, CA; the DePaul Art Museum, Chicago, IL; the ONE National Gay and Lesbian Archives, Los Angeles, CA; Los Angeles Contemporary Exhibitions, Los Angeles, CA; the Bowdoin College Museum of Art, Bowdoin, ME; and the Museum of the City of New York, NY. Roberts has been the recipient of the Fountainhead Fellowship at Virginia Commonwealth University and residencies at IASPIS-Stockholm, the MacDowell Colony, QueensLab, Ox-Bow School of Art, ACRE, the Textile Arts Center, and the Bag Factory in Johannesburg, South Africa. In 2015, Roberts was one of nine recipients of the White House Champions of Change Award for LGBTQI Artists.

LJ Roberts

Jenny Perlin is an artist working between Brooklyn and Berlin, Germany. Her practice in 16mm film, video, and drawing works with and against the documentary tradition, incorporating innovative stylistic techniques to emphasize issues of truth, misunderstanding, and personal history. Her projects look closely at the ways in which social machinations are reflected in the smallest fragments of daily life. In her films, Perlin often combines handwritten text and drawn images, embracing the technical flaws of analog technologies.

Jenny Perlin

Hypercomf is a multidisciplinary, conceptual design identity, materialized as a fictitious company profile. Founded in 2017 by artists Ioannis Koliopoulos and Paola Palavidi and based out of Greece, Hypercomf produces site- and time-specific projects. Focused on collaborations with other artists, their main research themes are organic and digital networks and information, man-machine duality, comfort and discomfort. This research results in films, audiovisual installations, costumes, tapestries, multi-functional wearables, and discomforting soft seating spaces.
Hypercomf is a utopian business and production model evolving through a developing, impromptu narrative, created to investigate the state of self-branding and living the act of persuasion, using humor and all the necessary qualities to accommodate and bewilder.

Hypercomf's residency is made possible with support of Outset Contemporary Art Fund (Greece).

<img class="alignnone wp-image-8528" src="https://pioneerworks.org/wp-content/uploads/outset-logo.jpg" alt="" width="112" height="32" />

&nbsp;

&nbsp;

Hypercomf

Rachel Stern (b. 1989, NYC) is a photographer whose work considers the intersection of beauty and power. Using materials culled from suburban strip malls she creates images which enter into an accessible discourse and, in the spirit of ‘bread and roses’, demand immediate access to beauty. Her work is a kitsch paradise, a queer-washed history, and an attempt at hope. She received her BFA in Photography and the History of Art and Visual Culture in 2011 from the Rhode Island School of Design, attended Skowhegan in 2014, and graduated from Columbia University in 2016 with an MFA in Visual Arts.

Rachel Stern 

Maia Chao is an interdisciplinary artist from Providence, RI. Chao has shown at the Hudson D. Walker Gallery, Provincetown Art Museum, Brown University, RISD Museum, Tufts University Art Galleries, Anna-Maria and Stephen Kellen Gallery at Parsons. She has been commissioned by The Shed, The New School, and the Center for Reconciliation in Rhode Island. Chao has been a fellow at the Fine Arts Work Center, served as Andrew W. Mellon Artist in Residence at Haverford College, and received a Van Lier Fellowship from the Asian American Arts Alliance of NYC. A Fulbright grantee, Chao holds a BA from Brown University and an MFA from the Rhode Island School of Design. She is co-creator of Look at Art. Get Paid. She was an artist in residence at Pioneer Works (2019-20). She is currently faculty at RISD Sculpture.

Maia Chao

Grayson Earle is a new media artist and educator. He has worked as a Visiting Professor at Oberlin College and the New York City College of Technology. He is the co-creator of <a href="https://bailbloc.thenewinquiry.com/about.html">Bail Bloc</a> and a member of The Illuminator art collective. Recent displays of his work include Kate Voss Galerie and the Brooklyn Museum. He has presented his work and research at The Whitney Museum of Art, MoMA PS1, Radical Networks, the Magnum Foundation, and Open Engagement.

Grayson Earle

Jordan Harper White is a Creative Director and Founder of TIME WITH SPACE, a Manhattan think tank experimenting in technology and social messaging. Inspired by physical space, relational identity, and reconstructive storytelling in the digital age, Jordan is contributing to the exchange of multi-sensory ideas that transcend subculture and mainstream norms. While in residence, White will develop “Invisible Victims," an AR app to visualize the impacts of gun violence and how that relates to geographical proximity to trauma centers. The goal is to provide community members, activists, researchers, civic leaders, and futurists with a unique, creative experience that contextualizes the problem for the use data in designing smarter cities

Jordan Harper White

Surabhi Saraf is a media artist and founder of Centre for Emotional Materiality. Her practice explores our complex relationship with technology through multimedia works. Saraf is the recipient of the Eureka Fellowship Award, the Djerassi Resident Artist Award, and the Artist + Process + Ideas Residency. She has had solo exhibitions at Galerie Mirchandani + Steinruecke and Hosfelt Gallery. She has performed at the Thessaloniki Contemporary Art Biennial, San Francisco Electronic Music Festival, NETMAGE 10 International Live Media Festival, and Soundwave Biennial ((5)), Yerba Buena Center for the Arts and the Asian Art Museum. Her videos have been shown at Times Square, Blanton Museum, the Hunter Museum of American Art among others.

Surabhi Saraf

Julia Santoli is a multi-disciplinary artist and experimental musician. Creating immersive and precarious environments with voice, feedback, electronics, and installation, her work melds the physical import of a collaborative, site-specific sonic approach while flirting with the accessibility of song structures. Her approach to vocalization integrates embodied practice with an attention to close listening and empathetic response, in compositions and structured improvisations often tipping the scales between resonant clarity and extreme sonic states. She was most recently a Asian Cultural Council grantee to Japan, and a 2018 Artist in Residence at Issue Project Room. Solo works and collaborations have been presented at spaces including Panoply Performance Laboratory, Issue Project Room, Roulette, Judson Memorial Church, Queens Museum, Drawing Center, Widow Jane Mine Cave, and artist-run spaces across the United States; Leipzig, Germany; and Japan. She is one half of liil, alongside cellist Leila Bordreuil. Other collaborators include Tamio Shiraishi, Zach Rowden, Trevor Saint, and Geng.

Julia Santoli

Join us in the Garden to gaze at the stars through telescopes with the Amateur Astronomers Association of NY. 
*Weather permitting

Stargazing with the Amateur Astronomers Association of NY

Inspired by the music of PAT, we’ll be using the House music genre as a conduit to tell stories by adapting voice memos into dance songs. In this workshop open to teenagers and adults, electronic musician Nelson Bandela will teach us how to make dance music on the iOS platform using the iMaschine 02 application. Starting with creating your own loops through singing and sampling original melodies, we&#8217;ll build full tracks you can email to yourself to put on your next playlist.

Black House Acid Techno

Lucien Samaha presents a collection of his self-published photo books in this small library housed adjacent to his exhibition A History of Digital Photography.

Lucien Samaha: The Artist and His Books

Extra dimensions, the kind invoked by string theory, might be hidden from us in a higher-dimensional origami of space. Join Uyen Nguyen, artist and engineer, to explore the intricacies of origami in our mere 3-dimensions.

3-Dimensional Limits of Origami

Surabhi Saraf will present her on-going collaborative research project Centre for Emotional Materiality (CEM). For its Pioneer Works iteration, CEM is launching “Emotions as Materials&#8221;, a Study Circle that examines biological, algorithmic, and political realities of emotions. During the open studio, Surabhi her collaborator M Eifler will offer their in-progress research in form of interactive prompts and questions with the public.
The collaborative research within the Study Circle addresses the issues of emotional surveillance and mood manipulation that feeds the digital economy and its implications on our social and political lives. The Study Circle builds upon traditional learning formats such as reading and discussion and adds movement-based embodied experiences to build new forms of collective knowledge.

CEM (Centre for Emotional Materiality)

Award-winning online radio station 8 Ball Radio is taking over our Media Lab. After their live DJ set, listen to their livestream of the concert at 7pm at 8ballradio.nyc

8 Ball Radio

SS19_Nov_3x2

is an immersive environment revolving around the artist’s digitally-animated series 

, which constructs mythological, queer universes derived from American consumerism, pop culture, African folklore, ritual, and personal narratives.

Inspired by early 90s digital media like 

 and Daft Punk’s 2003 animated album-length film

 is set—in large part—within a giant coliseum, a recurring architectural motif that Satterwhite likens to the archetypal 360° viewing experience of ancient Rome. Satterwhite himself becomes a repetitive presence, dancing alongside multitudes of digital avatars, mythological creatures-turned-machines, geometric architectures that swell and shift, and leather-clad performers and muses—all of which move ritualistically to Satterwhite’s choreography; its machine-like movement is equally influenced by voguing and Anne Teresa De Keersmaeker’s pared down, repetitive gestures, reflecting a kind of banal labor performed by citizens of a theoretical society with no social classes. Alongside these animations, real-life drone footage of forest fires, glacial melt, and other related imagery nod to impending climate catastrophe, while scenes in which Satterwhite is hung upside-down and whipped with drop cloths or baptized in a river nod to African rituals of regeneration and rebirth, over which the artist’s mother, Patricia Satterwhite, sings the lyrics “born to be free.”

Suffering from schizophrenia for much of her lifetime, Patricia sought refuge in creative practices, taking up singing and drawing. She longed to be a pop star, leaving behind cassette tapes of a capella recordings, the lyrics of which are derived from folk music, gospel, and spirituals. Satterwhite and Nick Weiss, together forming the band PAT, overlay Patricia’s voice onto propulsive dance tracks that are featured in 

 as well as collected into a double LP album, 

, which is stocked on shelves in a gift store replete with VR “listening stations” that conjure 90s music stores, such as Tower Records. The album’s track listing has been turned into neon, which animates the exhibition.

Patricia also created hundreds of drawings that portray humdrum objects of domestic material culture, lines of consumer goods she longed to be on the QVC shopping network where she sent them to, as well as patent offices—an avenue for potential fame and fortune that never came to be. The drawings became increasingly abstract and provisional as her condition worsened. Satterwhite has translated them into the digital architectures and environments featured in 

. They have also become 3D printed objects that are displayed in four large shelving units. One, 

 features footballs and picture frames. Another, 

, contains pill bottles and tabloid magazines touting celebrity scandals. Two more units, 

, contain curios of collective, consumer desire. The raw materials of Patricia’s legacy, meanwhile, stand alone as an adjacent presentation within 

. These drawings and songs were all made inside Patricia’ own home, a place she rarely left for almost 20 years. While Patricia’s work in 

is so altered as to be nearly unidentifiable, her disembodied presence nonetheless creates a thread of continuity, one in which authorship between mother and son is intentionally blurred.

 is made possible with support from Ultimaker. This exhibition is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Image courtesy the artist and Mitchell-Innes & Nash, New York.

Please note that this exhibition contains nudity and adult content. The films projected on center stage within the exhibition contain flashing and strobe lights.

 was born in 1986 in Columbia, South Carolina. He received his BFA from the Maryland Institute College of Arts, Baltimore and his MFA from the University of Pennsylvania, Philadelphia. Satterwhite’s work has been presented in numerous exhibitions both in the United States and in Europe, including most recently at Whitechapel Gallery, London (2019); the Museum of Modern Art, New York (2019); the Minneapolis Insititute of Art (2019); the Museum of Contemporary Art, Chicago (2018); Fondation Louis Vuitton, Paris (2018); New Museum, New York (2017); Public Art Fund, New York (2017); San Francisco Museum of Art, San Francisco (2017); and the Institute of Contemporary Art, Philadelphia (2017). He was awarded the United States Artist Francie Bishop Good & David Horvitz Fellowship in 2016. His work is included in the collections of the Museum of Contemporary Art Kiasma, Helsinki; Museum of Modern Art, New York; Studio Museum in Harlem, New York; and the Whitney Museum of American Art, New York, among others. In 2019, Satterwhite collaborated with Solange Knowles on her visual album, 

. Upcoming solo shows will be presented in the fall of 2019 at Fabric Workshop & Museum, Philadelphia and Pioneer Works, New York.

You're at home

Jacolby Satterwhite’s exhibition You’re at home is an immersive environment revolving around the artist’s digitally-animated series Birds in Paradise, which constructs mythological, queer universes derived from American consumerism, pop culture, African folklore, ritual, and personal narratives.
Inspired by early 90s digital media like Final Fantasy and Daft Punk’s 2003 animated album-length film Interstella 5555, Birds in Paradise is set—in large part—within a giant coliseum, a recurring architectural motif that Satterwhite likens to the archetypal 360° viewing experience of ancient Rome. Satterwhite himself becomes a repetitive presence, dancing alongside multitudes of digital avatars, mythological creatures-turned-machines, geometric architectures that swell and shift, and leather-clad performers and muses—all of which move ritualistically to Satterwhite’s choreography; its machine-like movement is equally influenced by voguing and Anne Teresa De Keersmaeker’s pared down, repetitive gestures, reflecting a kind of banal labor performed by citizens of a theoretical society with no social classes. Alongside these animations, real-life drone footage of forest fires, glacial melt, and other related imagery nod to impending climate catastrophe, while scenes in which Satterwhite is hung upside-down and whipped with drop cloths or baptized in a river nod to African rituals of regeneration and rebirth, over which the artist’s mother, Patricia Satterwhite, sings the lyrics “born to be free.”
Suffering from schizophrenia for much of her lifetime, Patricia sought refuge in creative practices, taking up singing and drawing. She longed to be a pop star, leaving behind cassette tapes of a capella recordings, the lyrics of which are derived from folk music, gospel, and spirituals. Satterwhite and Nick Weiss, together forming the band PAT, overlay Patricia’s voice onto propulsive dance tracks that are featured in Birds in Paradise as well as collected into a double LP album, <a href="https://pioneerworks.org/publishing/pat-love-will-find-a-way-home/" target="_blank" rel="noopener noreferrer">Love Will Find A Way Home</a>, which is stocked on shelves in a gift store replete with VR “listening stations” that conjure 90s music stores, such as Tower Records. The album’s track listing has been turned into neon, which animates the exhibition.
Patricia also created hundreds of drawings that portray humdrum objects of domestic material culture, lines of consumer goods she longed to be on the QVC shopping network where she sent them to, as well as patent offices—an avenue for potential fame and fortune that never came to be. The drawings became increasingly abstract and provisional as her condition worsened. Satterwhite has translated them into the digital architectures and environments featured in Birds in Paradise. They have also become 3D printed objects that are displayed in four large shelving units. One, You’re a Winner, features footballs and picture frames. Another, Drugs, contains pill bottles and tabloid magazines touting celebrity scandals. Two more units, Money and The American Dream, contain curios of collective, consumer desire. The raw materials of Patricia’s legacy, meanwhile, stand alone as an adjacent presentation within You’re at home. These drawings and songs were all made inside Patricia’ own home, a place she rarely left for almost 20 years. While Patricia’s work in Birds in Paradise is so altered as to be nearly unidentifiable, her disembodied presence nonetheless creates a thread of continuity, one in which authorship between mother and son is intentionally blurred.
Jacolby Satterwhite: You&#8217;re at home is made possible with support from Ultimaker. This exhibition is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Image courtesy the artist and Mitchell-Innes &amp; Nash, New York. 
Please note that this exhibition contains nudity and adult content. The films projected on center stage within the exhibition contain flashing and strobe lights.
About the Artist
Jacolby Satterwhite was born in 1986 in Columbia, South Carolina. He received his BFA from the Maryland Institute College of Arts, Baltimore and his MFA from the University of Pennsylvania, Philadelphia. Satterwhite’s work has been presented in numerous exhibitions both in the United States and in Europe, including most recently at Whitechapel Gallery, London (2019); the Museum of Modern Art, New York (2019); the Minneapolis Insititute of Art (2019); the Museum of Contemporary Art, Chicago (2018); Fondation Louis Vuitton, Paris (2018); New Museum, New York (2017); Public Art Fund, New York (2017); San Francisco Museum of Art, San Francisco (2017); and the Institute of Contemporary Art, Philadelphia (2017). He was awarded the United States Artist Francie Bishop Good &amp; David Horvitz Fellowship in 2016. His work is included in the collections of the Museum of Contemporary Art Kiasma, Helsinki; Museum of Modern Art, New York; Studio Museum in Harlem, New York; and the Whitney Museum of American Art, New York, among others. In 2019, Satterwhite collaborated with Solange Knowles on her visual album, When I Get Home. Upcoming solo shows will be presented in the fall of 2019 at Fabric Workshop &amp; Museum, Philadelphia and Pioneer Works, New York.

<figure class="wp-block-image"><img loading="lazy" width="203" height="37" class="wp-image-12545" src="https://sunset.pioneerworks.org/wp-content/uploads/dclaLogo_color_2-5.png" alt="" /></figure>

<img loading="lazy" src="https://sunset.pioneerworks.org/wp-content/uploads/NYSCA-Logo-Black-300x71.png" alt="NYSCA Logo" width="300" height="71" />

Designs For Drug Store, 80 x 45, 2019 (2)

Jacolby Satterwhite: You&#8217;re at home

Jacolby Satterwhite’s exhibition You’re at home is an immersive environment revolving around the artist’s digitally-animated series Birds in Paradise, which constructs mythological, queer universes derived from American consumerism, pop culture, African folklore, ritual, and personal narratives.
Inspired by early 90s digital media like Final Fantasy and Daft Punk’s 2003 animated album-length film Interstella 5555, Birds in Paradise is set—in large part—within a giant coliseum, a recurring architectural motif that Satterwhite likens to the archetypal 360° viewing experience of ancient Rome. Satterwhite himself becomes a repetitive presence, dancing alongside multitudes of digital avatars, mythological creatures-turned-machines, geometric architectures that swell and shift, and leather-clad performers and muses—all of which move ritualistically to Satterwhite’s choreography; its machine-like movement is equally influenced by voguing and Anne Teresa De Keersmaeker’s pared down, repetitive gestures, reflecting a kind of banal labor performed by citizens of a theoretical society with no social classes. Alongside these animations, real-life drone footage of forest fires, glacial melt, and other related imagery nod to impending climate catastrophe, while scenes in which Satterwhite is hung upside-down and whipped with drop cloths or baptized in a river nod to African rituals of regeneration and rebirth, over which the artist’s mother, Patricia Satterwhite, sings the lyrics “born to be free.”
Suffering from schizophrenia for much of her lifetime, Patricia sought refuge in creative practices, taking up singing and drawing. She longed to be a pop star, leaving behind cassette tapes of a capella recordings, the lyrics of which are derived from folk music, gospel, and spirituals. Satterwhite and Nick Weiss, together forming the band PAT, overlay Patricia’s voice onto propulsive dance tracks that are featured in Birds in Paradise as well as collected into a double LP album, <a href="https://pioneerworks.org/publishing/pat-love-will-find-a-way-home/" target="_blank" rel="noopener noreferrer">Love Will Find A Way Home</a>, which is stocked on shelves in a gift store replete with VR “listening stations” that conjure 90s music stores, such as Tower Records. The album’s track listing has been turned into neon, which animates the exhibition.
Patricia also created hundreds of drawings that portray humdrum objects of domestic material culture, lines of consumer goods she longed to be on the QVC shopping network where she sent them to, as well as patent offices—an avenue for potential fame and fortune that never came to be. The drawings became increasingly abstract and provisional as her condition worsened. Satterwhite has translated them into the digital architectures and environments featured in Birds in Paradise. They have also become 3D printed objects that are displayed in four large shelving units. One, You’re a Winner, features footballs and picture frames. Another, Drugs, contains pill bottles and tabloid magazines touting celebrity scandals. Two more units, Money and The American Dream, contain curios of collective, consumer desire. The raw materials of Patricia’s legacy, meanwhile, stand alone as an adjacent presentation within You’re at home. These drawings and songs were all made inside Patricia’ own home, a place she rarely left for almost 20 years. While Patricia’s work in Birds in Paradise is so altered as to be nearly unidentifiable, her disembodied presence nonetheless creates a thread of continuity, one in which authorship between mother and son is intentionally blurred.
Jacolby Satterwhite: You&#8217;re at home is made possible with support from Ultimaker. This exhibition is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Image courtesy the artist and Mitchell-Innes &amp; Nash, New York. 
Please note that this exhibition contains nudity and adult content. The films projected on center stage within the exhibition contain flashing and strobe lights.
About the Artist
Jacolby Satterwhite was born in 1986 in Columbia, South Carolina. He received his BFA from the Maryland Institute College of Arts, Baltimore and his MFA from the University of Pennsylvania, Philadelphia. Satterwhite’s work has been presented in numerous exhibitions both in the United States and in Europe, including most recently at Whitechapel Gallery, London (2019); the Museum of Modern Art, New York (2019); the Minneapolis Insititute of Art (2019); the Museum of Contemporary Art, Chicago (2018); Fondation Louis Vuitton, Paris (2018); New Museum, New York (2017); Public Art Fund, New York (2017); San Francisco Museum of Art, San Francisco (2017); and the Institute of Contemporary Art, Philadelphia (2017). He was awarded the United States Artist Francie Bishop Good &amp; David Horvitz Fellowship in 2016. His work is included in the collections of the Museum of Contemporary Art Kiasma, Helsinki; Museum of Modern Art, New York; Studio Museum in Harlem, New York; and the Whitney Museum of American Art, New York, among others. In 2019, Satterwhite collaborated with Solange Knowles on her visual album, When I Get Home. Upcoming solo shows will be presented in the fall of 2019 at Fabric Workshop &amp; Museum, Philadelphia and Pioneer Works, New York.

<figure class="wp-block-image"><img loading="lazy" width="203" height="37" class="wp-image-12545" src="https://pioneerworks.org/wp-content/uploads/dclaLogo_color_2-5.png" alt="" /></figure>

<img loading="lazy" src="https://pioneerworks.org/wp-content/uploads/NYSCA-Logo-Black-300x71.png" alt="NYSCA Logo" width="300" height="71" />

 brings together three decades of the artist’s work—a time period that corresponds with the rise of digital photography; in 1990, Samaha was the inaugural recipient of Kodak’s Professional Photography Division scholarship, becoming the first person to use Kodak’s DCS 100 Professional Digital Camera System outside the factory floor. Since then, the artist’s pioneering experiments with the form have reflected this radical new era of image-making. This exhibition gives us a deeply intimate account of this history, through Samaha’s obsessive chronicling of the people and places around him.

The invention of digital photography was revolutionary, enabling faster, easier, and more spontaneous images; storage capacities that would have been previously unimaginable; and post-processing that could distort or change the image entirely. Samaha exploited these attributes to create an archive of over a million photographs from his time working as a TWA flight attendant, DJ, and Kodak employee. These archives include the very first digital photographs of a cat, a dinner party, and a couple gazing at their own image instantaneously captured into the screen of a Digital Storage Unit. These “firsts” are shown alongside vitrines of ephemera and every digital camera he has used.

Even when abstract and experimental, Samaha’s work always remains personal. A hallway installation displays irregular, overlapping snapshots that form a dynamic, panoramic overview of Mondo 107, a weekly party he produced and DJed for five years at The Greatest Bar on Earth, on the 107th floor of New York’s One World Trade Center. The last photos of Mondo 107 were taken just days before the building was destroyed on September 11th, 2001. Around the corner hang Samaha’s portraits of friends lost to AIDS, printed on paper with inks that dry slowly over time, leaving the images streaked. Nearby, another series of photographs show the manipulated faces of Viennese transit riders, taken from seventy hours of video and subsequently scanned, cropped, projected onto a mirror, then re-photographed.

As one of the medium’s first adopters, Samaha knew digital photography since its birth, and was able to realize its immense potential when most analog photographers and the marketplace regarded it with doubt and suspicion. As he has seen this technology grow from something scarce to something widely accessible, his work stands out as singular.


 is made possible with generous support from the Robert Mapplethorpe Foundation. This exhibition is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

 (b. 1958, Beirut) is a New York-based photographer whose work has been shown internationally, including in exhibitions at the Museum für Moderne Kunst, Frankfurt and at the Cooley Gallery, Reed College, Portland. He was a finalist for the 2004 Nam June Paik Award. After his time at TWA, Samaha worked for Eastman Kodak Company and then as a DJ on the 107th floor of the World Trade Center, continuing to document his hours at work and his personal life.

A History of Digital Photography

Lucien Samaha’s A History of Digital Photography brings together three decades of the artist&#8217;s work—a time period that corresponds with the rise of digital photography; in 1990, Samaha was the inaugural recipient of Kodak’s Professional Photography Division scholarship, becoming the first person to use Kodak’s DCS 100 Professional Digital Camera System outside the factory floor. Since then, the artist’s pioneering experiments with the form have reflected this radical new era of image-making. This exhibition gives us a deeply intimate account of this history, through Samaha’s obsessive chronicling of the people and places around him. 
The invention of digital photography was revolutionary, enabling faster, easier, and more spontaneous images; storage capacities that would have been previously unimaginable; and post-processing that could distort or change the image entirely. Samaha exploited these attributes to create an archive of over a million photographs from his time working as a TWA flight attendant, DJ, and Kodak employee. These archives include the very first digital photographs of a cat, a dinner party, and a couple gazing at their own image instantaneously captured into the screen of a Digital Storage Unit. These “firsts” are shown alongside vitrines of ephemera and every digital camera he has used.
Even when abstract and experimental, Samaha’s work always remains personal. A hallway installation displays irregular, overlapping snapshots that form a dynamic, panoramic overview of Mondo 107, a weekly party he produced and DJed for five years at The Greatest Bar on Earth, on the 107th floor of New York’s One World Trade Center. The last photos of Mondo 107 were taken just days before the building was destroyed on September 11th, 2001. Around the corner hang Samaha’s portraits of friends lost to AIDS, printed on paper with inks that dry slowly over time, leaving the images streaked. Nearby, another series of photographs show the manipulated faces of Viennese transit riders, taken from seventy hours of video and subsequently scanned, cropped, projected onto a mirror, then re-photographed.
As one of the medium’s first adopters, Samaha knew digital photography since its birth, and was able to realize its immense potential when most analog photographers and the marketplace regarded it with doubt and suspicion. As he has seen this technology grow from something scarce to something widely accessible, his work stands out as singular. 
Lucien Samaha: A History of Digital Photography is made possible with generous support from the Robert Mapplethorpe Foundation. This exhibition is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
#ahistoryofdigitalphotography
About the Artist 
Lucien Samaha (b. 1958, Beirut) is a New York-based photographer whose work has been shown internationally, including in exhibitions at the Museum für Moderne Kunst, Frankfurt and at the Cooley Gallery, Reed College, Portland. He was a finalist for the 2004 Nam June Paik Award. After his time at TWA, Samaha worked for Eastman Kodak Company and then as a DJ on the 107th floor of the World Trade Center, continuing to document his hours at work and his personal life.

<figure class="wp-block-image"><img loading="lazy" width="203" height="37" class="wp-image-12546" src="https://sunset.pioneerworks.org/wp-content/uploads/dclaLogo_color_2-6.png" alt="" /></figure>

<img loading="lazy" src="https://sunset.pioneerworks.org/wp-content/uploads/NYSCA-Logo-Black-300x71.png" alt="NYSCA Logo" width="300" height="71" />

LucienSamaha-8

Lucien Samaha’s A History of Digital Photography brings together three decades of the artist&#8217;s work—a time period that corresponds with the rise of digital photography; in 1990, Samaha was the inaugural recipient of Kodak’s Professional Photography Division scholarship, becoming the first person to use Kodak’s DCS 100 Professional Digital Camera System outside the factory floor. Since then, the artist’s pioneering experiments with the form have reflected this radical new era of image-making. This exhibition gives us a deeply intimate account of this history, through Samaha’s obsessive chronicling of the people and places around him. 
The invention of digital photography was revolutionary, enabling faster, easier, and more spontaneous images; storage capacities that would have been previously unimaginable; and post-processing that could distort or change the image entirely. Samaha exploited these attributes to create an archive of over a million photographs from his time working as a TWA flight attendant, DJ, and Kodak employee. These archives include the very first digital photographs of a cat, a dinner party, and a couple gazing at their own image instantaneously captured into the screen of a Digital Storage Unit. These “firsts” are shown alongside vitrines of ephemera and every digital camera he has used.
Even when abstract and experimental, Samaha’s work always remains personal. A hallway installation displays irregular, overlapping snapshots that form a dynamic, panoramic overview of Mondo 107, a weekly party he produced and DJed for five years at The Greatest Bar on Earth, on the 107th floor of New York’s One World Trade Center. The last photos of Mondo 107 were taken just days before the building was destroyed on September 11th, 2001. Around the corner hang Samaha’s portraits of friends lost to AIDS, printed on paper with inks that dry slowly over time, leaving the images streaked. Nearby, another series of photographs show the manipulated faces of Viennese transit riders, taken from seventy hours of video and subsequently scanned, cropped, projected onto a mirror, then re-photographed.
As one of the medium’s first adopters, Samaha knew digital photography since its birth, and was able to realize its immense potential when most analog photographers and the marketplace regarded it with doubt and suspicion. As he has seen this technology grow from something scarce to something widely accessible, his work stands out as singular. 
Lucien Samaha: A History of Digital Photography is made possible with generous support from the Robert Mapplethorpe Foundation. This exhibition is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
#ahistoryofdigitalphotography
About the Artist 
Lucien Samaha (b. 1958, Beirut) is a New York-based photographer whose work has been shown internationally, including in exhibitions at the Museum für Moderne Kunst, Frankfurt and at the Cooley Gallery, Reed College, Portland. He was a finalist for the 2004 Nam June Paik Award. After his time at TWA, Samaha worked for Eastman Kodak Company and then as a DJ on the 107th floor of the World Trade Center, continuing to document his hours at work and his personal life.

<figure class="wp-block-image"><img loading="lazy" width="203" height="37" class="wp-image-12546" src="https://pioneerworks.org/wp-content/uploads/dclaLogo_color_2-6.png" alt="" /></figure>

<img loading="lazy" src="https://pioneerworks.org/wp-content/uploads/NYSCA-Logo-Black-300x71.png" alt="NYSCA Logo" width="300" height="71" />

Duke Riley’s three-channel video installation 

 combines narrative and documentary filmmaking to portray an allegorical history implicating a duo of outlaw operatives responsible for a bed bug outbreak in Washington, DC. In the past two years, the city has become one of the most infested regions in America, according to the Department of Health. Though they are frequently correlated with poverty, bed bugs have also affected some of the most luxurious hotels in the city.

The video revolves around a single sculptural element: a vintage 21 x 15 inch Samsonite suitcase, which has been retrofitted with an arrangement of scientific machinery and medical equipment used for drawing blood and breeding bed bugs. The suitcase’s breeding chamber, which will be empty during the exhibition, doubles as a diorama of a luxury hotel room within which the narrative is set. The room is located in a notorious hotel, located just blocks from the White House, which has become one of the most potent symbols of the convergence of corporate and political power in the United States.

Harkening back to late 1960s spy thriller entertainment such as 

 evidences a similar state in American history today: a public distrust of both government and the media. In addition, rapid technological advances have led to new national security threats that have outpaced the public’s ability to process them. Amidst widespread feelings of disenfranchisement, the suitcase and its former inhabitants serve as reminder that societal shifts often manifest from the simplest and most unforeseen origins, highlighting the inevitable permeability of even the most complex and fortified power structures.

 is presented as part of the Performa 19 Biennial, and is made possible with generous support from Cristina Enriquez-Bocobo, The O’Grady Foundation, Michael Gruenglas, Mac Premo, quiet, and Joshua Rechnitz. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The events depicted in this exhibition are a speculative dramatization and do not represent actual events.

 has had solo exhibitions at Magnan Metz Gallery, New York City; the Museum of Contemporary Art Cleveland; the Queens Museum of Art, Queens, NY; and the Havana Biennial (2009 and 2015), among other venues. He has received numerous awards and commission, including a Joan Mitchell Foundation Painters & Sculptors Grant, the U.S. State Department’s SmARTpower Program in China, and the MTA Arts For Transit commission for the Beach 98th Street Station renovation. In Spring 2016, Riley partnered with Creative Time and the Brooklyn Navy Yard to produce 

, a public art project which was presented again in 2018 by 1418 Now and the London International Festival of Theater. Born in Boston, he received his BFA from the Rhode Island School of Design, in Providence, before moving to New York, settling in Brooklyn, and earning his M.F.A. from Pratt Institute.

Non-Essential Consultants, Inc.

Duke Riley’s three-channel video installation Non-Essential Consultants, Inc. combines narrative and documentary filmmaking to portray an allegorical history implicating a duo of outlaw operatives responsible for a bed bug outbreak in Washington, DC. In the past two years, the city has become one of the most infested regions in America, according to the Department of Health. Though they are frequently correlated with poverty, bed bugs have also affected some of the most luxurious hotels in the city.
The video revolves around a single sculptural element: a vintage 21 x 15 inch Samsonite suitcase, which has been retrofitted with an arrangement of scientific machinery and medical equipment used for drawing blood and breeding bed bugs. The suitcase’s breeding chamber, which will be empty during the exhibition, doubles as a diorama of a luxury hotel room within which the narrative is set. The room is located in a notorious hotel, located just blocks from the White House, which has become one of the most potent symbols of the convergence of corporate and political power in the United States.
Harkening back to late 1960s spy thriller entertainment such as Mission Impossible, The Man from U.N.C.L.E., and the James Bond series, Non-Essential Consultants, Inc. evidences a similar state in American history today: a public distrust of both government and the media. In addition, rapid technological advances have led to new national security threats that have outpaced the public’s ability to process them. Amidst widespread feelings of disenfranchisement, the suitcase and its former inhabitants serve as reminder that societal shifts often manifest from the simplest and most unforeseen origins, highlighting the inevitable permeability of even the most complex and fortified power structures.
Duke Riley: Non-Essential Consultants, Inc. is presented as part of the Performa 19 Biennial, and is made possible with generous support from Cristina Enriquez-Bocobo, The O’Grady Foundation, Michael Gruenglas, Mac Premo, quiet, and Joshua Rechnitz. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The events depicted in this exhibition are a speculative dramatization and do not represent actual events.
About the Artist
Duke Riley has had solo exhibitions at Magnan Metz Gallery, New York City; the Museum of Contemporary Art Cleveland; the Queens Museum of Art, Queens, NY; and the Havana Biennial (2009 and 2015), among other venues. He has received numerous awards and commission, including a Joan Mitchell Foundation Painters &amp; Sculptors Grant, the U.S. State Department’s SmARTpower Program in China, and the MTA Arts For Transit commission for the Beach 98th Street Station renovation. In Spring 2016, Riley partnered with Creative Time and the Brooklyn Navy Yard to produce Fly By Night, a public art project which was presented again in 2018 by 1418 Now and the London International Festival of Theater. Born in Boston, he received his BFA from the Rhode Island School of Design, in Providence, before moving to New York, settling in Brooklyn, and earning his M.F.A. from Pratt Institute.
<img loading="lazy" class="alignnone size-thumbnail wp-image-10620" src="https://sunset.pioneerworks.org/wp-content/uploads/QuietLogo-01-1-150x150.jpg" alt="" width="150" height="150" srcset="https://sunset.pioneerworks.org/wp-content/uploads/QuietLogo-01-1-150x150.jpg 150w, https://sunset.pioneerworks.org/wp-content/uploads/QuietLogo-01-1-300x300.jpg 300w, https://sunset.pioneerworks.org/wp-content/uploads/QuietLogo-01-1-768x768.jpg 768w, https://sunset.pioneerworks.org/wp-content/uploads/QuietLogo-01-1.jpg 976w" sizes="(max-width: 150px) 100vw, 150px" />
<img loading="lazy" class="alignnone size-medium wp-image-10829" src="https://sunset.pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-300x77.png" alt="" width="300" height="77" srcset="https://sunset.pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-300x77.png 300w, https://sunset.pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-768x196.png 768w, https://sunset.pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-1024x261.png 1024w, https://sunset.pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-1600x409.png 1600w, https://sunset.pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-2000x511.png 2000w" sizes="(max-width: 300px) 100vw, 300px" />
<img loading="lazy" class="alignnone size-medium wp-image-10830" src="https://sunset.pioneerworks.org/wp-content/uploads/labs-logo-300x115.png" alt="" width="300" height="115" srcset="https://sunset.pioneerworks.org/wp-content/uploads/labs-logo-300x115.png 300w, https://sunset.pioneerworks.org/wp-content/uploads/labs-logo.png 607w" sizes="(max-width: 300px) 100vw, 300px" />


<figure class="wp-block-image"><img loading="lazy" width="203" height="37" src="https://sunset.pioneerworks.org/wp-content/uploads/dclaLogo_color_2-7.png" alt="" class="wp-image-12547"/></figure>


<img loading="lazy" src="https://sunset.pioneerworks.org/wp-content/uploads/NYSCA-Logo-Black-300x71.png" alt="NYSCA" width="300" height="71" />

DR_NECI-filmstill_07

Duke Riley’s three-channel video installation Non-Essential Consultants, Inc. combines narrative and documentary filmmaking to portray an allegorical history implicating a duo of outlaw operatives responsible for a bed bug outbreak in Washington, DC. In the past two years, the city has become one of the most infested regions in America, according to the Department of Health. Though they are frequently correlated with poverty, bed bugs have also affected some of the most luxurious hotels in the city.
The video revolves around a single sculptural element: a vintage 21 x 15 inch Samsonite suitcase, which has been retrofitted with an arrangement of scientific machinery and medical equipment used for drawing blood and breeding bed bugs. The suitcase’s breeding chamber, which will be empty during the exhibition, doubles as a diorama of a luxury hotel room within which the narrative is set. The room is located in a notorious hotel, located just blocks from the White House, which has become one of the most potent symbols of the convergence of corporate and political power in the United States.
Harkening back to late 1960s spy thriller entertainment such as Mission Impossible, The Man from U.N.C.L.E., and the James Bond series, Non-Essential Consultants, Inc. evidences a similar state in American history today: a public distrust of both government and the media. In addition, rapid technological advances have led to new national security threats that have outpaced the public’s ability to process them. Amidst widespread feelings of disenfranchisement, the suitcase and its former inhabitants serve as reminder that societal shifts often manifest from the simplest and most unforeseen origins, highlighting the inevitable permeability of even the most complex and fortified power structures.
Duke Riley: Non-Essential Consultants, Inc. is presented as part of the Performa 19 Biennial, and is made possible with generous support from Cristina Enriquez-Bocobo, The O’Grady Foundation, Michael Gruenglas, Mac Premo, quiet, and Joshua Rechnitz. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The events depicted in this exhibition are a speculative dramatization and do not represent actual events.
About the Artist
Duke Riley has had solo exhibitions at Magnan Metz Gallery, New York City; the Museum of Contemporary Art Cleveland; the Queens Museum of Art, Queens, NY; and the Havana Biennial (2009 and 2015), among other venues. He has received numerous awards and commission, including a Joan Mitchell Foundation Painters &amp; Sculptors Grant, the U.S. State Department’s SmARTpower Program in China, and the MTA Arts For Transit commission for the Beach 98th Street Station renovation. In Spring 2016, Riley partnered with Creative Time and the Brooklyn Navy Yard to produce Fly By Night, a public art project which was presented again in 2018 by 1418 Now and the London International Festival of Theater. Born in Boston, he received his BFA from the Rhode Island School of Design, in Providence, before moving to New York, settling in Brooklyn, and earning his M.F.A. from Pratt Institute.
<img loading="lazy" class="alignnone size-thumbnail wp-image-10620" src="https://pioneerworks.org/wp-content/uploads/QuietLogo-01-1-150x150.jpg" alt="" width="150" height="150" srcset="https://pioneerworks.org/wp-content/uploads/QuietLogo-01-1-150x150.jpg 150w, https://pioneerworks.org/wp-content/uploads/QuietLogo-01-1-300x300.jpg 300w, https://pioneerworks.org/wp-content/uploads/QuietLogo-01-1-768x768.jpg 768w, https://pioneerworks.org/wp-content/uploads/QuietLogo-01-1.jpg 976w" sizes="(max-width: 150px) 100vw, 150px" />
<img loading="lazy" class="alignnone size-medium wp-image-10829" src="https://pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-300x77.png" alt="" width="300" height="77" srcset="https://pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-300x77.png 300w, https://pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-768x196.png 768w, https://pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-1024x261.png 1024w, https://pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-1600x409.png 1600w, https://pioneerworks.org/wp-content/uploads/Performa19-Logo-3000px-2000x511.png 2000w" sizes="(max-width: 300px) 100vw, 300px" />
<img loading="lazy" class="alignnone size-medium wp-image-10830" src="https://pioneerworks.org/wp-content/uploads/labs-logo-300x115.png" alt="" width="300" height="115" srcset="https://pioneerworks.org/wp-content/uploads/labs-logo-300x115.png 300w, https://pioneerworks.org/wp-content/uploads/labs-logo.png 607w" sizes="(max-width: 300px) 100vw, 300px" />


<figure class="wp-block-image"><img loading="lazy" width="203" height="37" src="https://pioneerworks.org/wp-content/uploads/dclaLogo_color_2-7.png" alt="" class="wp-image-12547"/></figure>


<img loading="lazy" src="https://pioneerworks.org/wp-content/uploads/NYSCA-Logo-Black-300x71.png" alt="NYSCA" width="300" height="71" />

Jaimie Warren is a multidisciplinary artist and the Co-Director and Co-Creator of the community arts project and fake public access tv show 

. Warren is a NYFA Fellow and has been awarded residencies with the Sharpe-Walentas Studio Program, BRICworkspace, Abrons AIRspace, and American Medium. Warren is the recipient of the Baum Award and is featured in Art21’s documentary series “New York Close Up.”Warren has taught workshops with the Museum of Modern Art, the Art21 Education Department, the Museum of Art & Design, the Brooklyn Arts Council SU-CASA Program, NurtureArt, Dia: Beacon, and Abrons Arts Center. They received a U.S. Presidential Teaching Award, presented by Barack Obama in 2013.

<div>Jaimie Warren is a multidisciplinary artist and the Co-Director and Co-Creator of the community arts project and fake public access tv show Whoop Dee Doo. Warren is a NYFA Fellow and has been awarded residencies with the Sharpe-Walentas Studio Program, BRICworkspace, Abrons AIRspace, and American Medium. Warren is the recipient of the Baum Award and is featured in Art21’s documentary series “New York Close Up.”</div>
<div></div>
<div>Warren has taught workshops with the Museum of Modern Art, the Art21 Education Department, the Museum of Art &amp; Design, the Brooklyn Arts Council SU-CASA Program, NurtureArt, Dia: Beacon, and Abrons Arts Center. They received a U.S. Presidential Teaching Award, presented by Barack Obama in 2013.</div>

01_Second-Sundays-Jaimie-Warren-Maggot-Surprise-by-Edwina-Hay-0107

LJ Roberts lives and works in Brooklyn, NY and creates large-scale textile installations, intricate embroideries, artist books, and collages. Their work investigates the overlaps of queer and trans politics, activism, protest, narrative, and craft. Roberts’s work has been shown at the Brooklyn Museum, Brooklyn, NY; the Smithsonian Museum of American Art, Washington D.C.; Museum of Arts and Design, New York, NY; Yerba Buena Center of the Arts, San Francisco, CA; the Victoria and Albert Museum, London, UK; The 8th Floor, New York, NY; Vox Populi, Philadelphia, PA; the Orange County Museum of Art, Newport Beach, CA; the Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY; the Oakland Museum of California, Oakland, CA; the DePaul Art Museum, Chicago, IL; the ONE National Gay and Lesbian Archives, Los Angeles, CA; Los Angeles Contemporary Exhibitions, Los Angeles, CA; the Bowdoin College Museum of Art, Bowdoin, ME; and the Museum of the City of New York, NY. Roberts has been the recipient of the Fountainhead Fellowship at Virginia Commonwealth University and residencies at IASPIS-Stockholm, the MacDowell Colony, QueensLab, Ox-Bow School of Art, ACRE, the Textile Arts Center, and the Bag Factory in Johannesburg, South Africa. In 2015, Roberts was one of nine recipients of the White House Champions of Change Award for LGBTQI Artists.

LJ Roberts lives and works in Brooklyn, NY and creates large-scale textile installations, intricate embroideries, artist books, and collages. Their work investigates the overlaps of queer and trans politics, activism, protest, narrative, and craft. Roberts’s work has been shown at the Brooklyn Museum, Brooklyn, NY; the Smithsonian Museum of American Art, Washington D.C.; Museum of Arts and Design, New York, NY; Yerba Buena Center of the Arts, San Francisco, CA; the Victoria and Albert Museum, London, UK; The 8th Floor, New York, NY; Vox Populi, Philadelphia, PA; the Orange County Museum of Art, Newport Beach, CA; the Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY; the Oakland Museum of California, Oakland, CA; the DePaul Art Museum, Chicago, IL; the ONE National Gay and Lesbian Archives, Los Angeles, CA; Los Angeles Contemporary Exhibitions, Los Angeles, CA; the Bowdoin College Museum of Art, Bowdoin, ME; and the Museum of the City of New York, NY. Roberts has been the recipient of the Fountainhead Fellowship at Virginia Commonwealth University and residencies at IASPIS-Stockholm, the MacDowell Colony, QueensLab, Ox-Bow School of Art, ACRE, the Textile Arts Center, and the Bag Factory in Johannesburg, South Africa. In 2015, Roberts was one of nine recipients of the White House Champions of Change Award for LGBTQI Artists.

walter-wlodarczyk-2019-10-13-_87a0461

walter-wlodarczyk-2019-10-13-_87A0461

walter-wlodarczyk-2019-10-13-_87a9907

walter-wlodarczyk-2019-10-13-_87A9907

walter-wlodarczyk-2019-10-13-_87a9918

walter-wlodarczyk-2019-10-13-_87A9918

walter-wlodarczyk-2019-10-13-_87a9920

walter-wlodarczyk-2019-10-13-_87A9920

walter-wlodarczyk-2019-10-13-_87a9925

walter-wlodarczyk-2019-10-13-_87A9925

walter-wlodarczyk-2019-10-13-_87a9938

walter-wlodarczyk-2019-10-13-_87A9938

walter-wlodarczyk-2019-10-13-_87a9951

walter-wlodarczyk-2019-10-13-_87A9951

walter-wlodarczyk-2019-10-13-_f7a7301

walter-wlodarczyk-2019-10-13-_F7A7301

47_robertslj01

Jenny Perlin is an artist working between Brooklyn and Berlin, Germany. Her practice in 16mm film, video, and drawing works with and against the documentary tradition, incorporating innovative stylistic techniques to emphasize issues of truth, misunderstanding, and personal history. Her projects look closely at the ways in which social machinations are reflected in the smallest fragments of daily life. In her films, Perlin often combines handwritten text and drawn images, embracing the technical flaws of analog technologies.

Jenny Perlin is an artist working between Brooklyn and Berlin, Germany. Her practice in 16mm film, video, and drawing works with and against the documentary tradition, incorporating innovative stylistic techniques to emphasize issues of truth, misunderstanding, and personal history. Her projects look closely at the ways in which social machinations are reflected in the smallest fragments of daily life. In her films, Perlin often combines handwritten text and drawn images, embracing the technical flaws of analog technologies.

05-perlin_funes_1-copy

05 PERLIN_FUNES_1 copy

04-perlin_a-thousand-sentences_detail-copy

04 Perlin_A Thousand Sentences_detail copy

02_perlin_100sinkholes_detail-2

02_Perlin_100Sinkholes_detail 2

01_blue-green

03_Perlin_100Sinkholes_drawinginstallation 2

Hypercomf is a multidisciplinary, conceptual design identity, materialized as a fictitious company profile. Founded in 2017 by artists Ioannis Koliopoulos and Paola Palavidi and based out of Greece, Hypercomf produces site- and time-specific projects. Focused on collaborations with other artists, their main research themes are organic and digital networks and information, man-machine duality, comfort and discomfort. This research results in films, audiovisual installations, costumes, tapestries, multi-functional wearables, and discomforting soft seating spaces.
Hypercomf is a utopian business and production model evolving through a developing, impromptu narrative, created to investigate the state of self-branding and living the act of persuasion, using humor and all the necessary qualities to accommodate and bewilder.

Hypercomf’s residency is made possible with support of Outset Contemporary Art Fund (Greece).

Hypercomf is a multidisciplinary, conceptual design identity, materialized as a fictitious company profile. Founded in 2017 by artists Ioannis Koliopoulos and Paola Palavidi and based out of Greece, Hypercomf produces site- and time-specific projects. Focused on collaborations with other artists, their main research themes are organic and digital networks and information, man-machine duality, comfort and discomfort. This research results in films, audiovisual installations, costumes, tapestries, multi-functional wearables, and discomforting soft seating spaces. 
Hypercomf is a utopian business and production model evolving through a developing, impromptu narrative, created to investigate the state of self-branding and living the act of persuasion, using humor and all the necessary qualities to accommodate and bewilder.
Hypercomf&#8217;s residency is made possible with support of Outset Contemporary Art Fund (Greece).
<img loading="lazy" class="alignnone wp-image-8528" src="https://sunset.pioneerworks.org/wp-content/uploads/outset-logo.jpg" alt="" width="112" height="32" />
&nbsp;
&nbsp;

Hypercomf_Buttered_Daylight

Hypercomf is a multidisciplinary, conceptual design identity, materialized as a fictitious company profile. Founded in 2017 by artists Ioannis Koliopoulos and Paola Palavidi and based out of Greece, Hypercomf produces site- and time-specific projects. Focused on collaborations with other artists, their main research themes are organic and digital networks and information, man-machine duality, comfort and discomfort. This research results in films, audiovisual installations, costumes, tapestries, multi-functional wearables, and discomforting soft seating spaces. 
Hypercomf is a utopian business and production model evolving through a developing, impromptu narrative, created to investigate the state of self-branding and living the act of persuasion, using humor and all the necessary qualities to accommodate and bewilder.
Hypercomf&#8217;s residency is made possible with support of Outset Contemporary Art Fund (Greece).
<img loading="lazy" class="alignnone wp-image-8528" src="https://pioneerworks.org/wp-content/uploads/outset-logo.jpg" alt="" width="112" height="32" />
&nbsp;
&nbsp;

Rachel Stern (b. 1989, NYC) is a photographer whose work considers the intersection of beauty and power. Using materials culled from suburban strip malls she creates images which enter into an accessible discourse and, in the spirit of ‘bread and roses’, demand immediate access to beauty. Her work is a kitsch paradise, a queer-washed history, and an attempt at hope. She received her BFA in Photography and the History of Art and Visual Culture in 2011 from the Rhode Island School of Design, attended Skowhegan in 2014, and graduated from Columbia University in 2016 with an MFA in Visual Arts.

X7o1m06rQY2OS2f5pt70_full_stern_rachel007

Maia Chao is an interdisciplinary artist from Providence, RI. Chao has shown at the Hudson D. Walker Gallery, Provincetown Art Museum, Brown University, RISD Museum, Tufts University Art Galleries, Anna-Maria and Stephen Kellen Gallery at Parsons. She has been commissioned by The Shed, The New School, and the Center for Reconciliation in Rhode Island. Chao has been a fellow at the Fine Arts Work Center, served as Andrew W. Mellon Artist in Residence at Haverford College, and received a Van Lier Fellowship from the Asian American Arts Alliance of NYC. A Fulbright grantee, Chao holds a BA from Brown University and an MFA from the Rhode Island School of Design. She is co-creator of Look at Art. Get Paid. She was an artist in residence at Pioneer Works (2019-20). She is currently faculty at RISD Sculpture.

Maia Chao is an interdisciplinary artist from Providence, RI. Chao has shown at the Hudson D. Walker Gallery, Provincetown Art Museum, Brown University, RISD Museum, Tufts University Art Galleries, Anna-Maria and Stephen Kellen Gallery at Parsons. She has been commissioned by The Shed, The New School, and the Center for Reconciliation in Rhode Island. Chao has been a fellow at the Fine Arts Work Center, served as Andrew W. Mellon Artist in Residence at Haverford College, and received a Van Lier Fellowship from the Asian American Arts Alliance of NYC. A Fulbright grantee, Chao holds a BA from Brown University and an MFA from the Rhode Island School of Design. She is co-creator of Look at Art. Get Paid. She was an artist in residence at Pioneer Works (2019-20). She is currently faculty at RISD Sculpture.

screen-shot-2018-04-05-at-9-07-54-pm

Screen Shot 2018-04-05 at 9.07.54 PM

_img_9485

_IMG_9485

IMG_0926

Grayson Earle is a new media artist and educator. He has worked as a Visiting Professor at Oberlin College and the New York City College of Technology. He is the co-creator of 

 and a member of The Illuminator art collective. Recent displays of his work include Kate Voss Galerie and the Brooklyn Museum. He has presented his work and research at The Whitney Museum of Art, MoMA PS1, Radical Networks, the Magnum Foundation, and Open Engagement.

Grayson Earle is a new media artist and educator. He has worked as a Visiting Professor at Oberlin College and the New York City College of Technology. He is the co-creator of <a href="https://bailbloc.thenewinquiry.com/about.html">Bail Bloc</a> and a member of The Illuminator art collective. Recent displays of his work include Kate Voss Galerie and the Brooklyn Museum. He has presented his work and research at The Whitney Museum of Art, MoMA PS1, Radical Networks, the Magnum Foundation, and Open Engagement.

makersdate2017-10-15ver6lenskan03actlar02e-ve

Maker:S,Date:2017-10-15,Ver:6,Lens:Kan03,Act:Lar02,E-ve

image

Jordan Harper White is a Creative Director and Founder of TIME WITH SPACE, a Manhattan think tank experimenting in technology and social messaging. Inspired by physical space, relational identity, and reconstructive storytelling in the digital age, Jordan is contributing to the exchange of multi-sensory ideas that transcend subculture and mainstream norms. While in residence, White will develop “Invisible Victims,” an AR app to visualize the impacts of gun violence and how that relates to geographical proximity to trauma centers. The goal is to provide community members, activists, researchers, civic leaders, and futurists with a unique, creative experience that contextualizes the problem for the use data in designing smarter cities

Jordan Harper White is a Creative Director and Founder of TIME WITH SPACE, a Manhattan think tank experimenting in technology and social messaging. Inspired by physical space, relational identity, and reconstructive storytelling in the digital age, Jordan is contributing to the exchange of multi-sensory ideas that transcend subculture and mainstream norms. While in residence, White will develop “Invisible Victims,&#8221; an AR app to visualize the impacts of gun violence and how that relates to geographical proximity to trauma centers. The goal is to provide community members, activists, researchers, civic leaders, and futurists with a unique, creative experience that contextualizes the problem for the use data in designing smarter cities