Name: Second Sundays: October 2019
Start: 2019-10-13
End: 2019-10-13
Location: Pioneer Works

Food and drinks by Kit an Kin and Pioneer Works Bar. This month’s Second Sunday is hosted in partnership with Red Hook Open Studios.

Program update: Due to scheduling complications, Nomi Ruiz will no longer be playing tonight at Second Sundays. DJ Sarah Vonh will play at 7pm.

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;:6913,&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, sans-serif&quot;}">Food and drinks by Kit an Kin and Pioneer Works Bar. This month&#8217;s Second Sunday is hosted in partnership with Red Hook Open Studios. 
Program update: Due to scheduling complications, Nomi Ruiz will no longer be playing tonight at Second Sundays. DJ Sarah Vonh will play at 7pm.
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">

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

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" />

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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

An only child is the musical alias of dancer and vocalist Quenton Stuckey. Originally from New Orleans and the son of a preacher, Stuckey’s work is based on memories of the church and black southern mysticism. He has worked with Gerard &amp; Kelly, Sarah Kinlaw, Simone Forti, and Ryan McNamara. An only child has performed at venues such as MoMa PS1, H0l0, and Secret Project Robot.

In 2017, he choreographed a work featuring six dancers at the Solomon R Guggenheim Museum and self released “Imaginary Friend.” He has also danced for institutions such as the MoMA, The Whitney Museum, The Phillip Johnson Glass House, and Mana Contemporary. Stuckey is currently a member of the Rod Rogers Dance Company.

Quenton Stuckey

Mimi Onuoha is a Nigerian-American artist and researcher whose work highlights cultural contradictions within applications of technology. Her multimedia practice focuses on the ways in which people are differently abstracted, represented, and missed by data and digital systems. She has spoken and exhibited domestically and abroad in venues like Mao Jihong Arts Foundation (Chengdu) and Le Centre Pompidou (Paris), the Museum of Contemporary Art (Chicago), and La Gaitê Lyrique (Paris). Her writing has appeared in Quartz, Nichons-nous Dans L'Internet, FiveThirtyEight, and K. Verlag. In 2014 she was selected to be in the inaugural class of Fulbright-National Geographic Digital Storytelling Fellows, and in 2017 she was nominated as a Technical.ly Brooklyn Artist of the Year.

Most recently, she was the 2018-19 Creative-in-Reference at Olin College of Engineering.

Mimi Onuoha

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

Artist Jeremy Jams creates a performative publication of his Wallpaper Postcard project in this interactive design activation.

Wallpaper Postcards: Live! 

On Saturday, October 12th and Sunday, October 13th, from 1:00pm-6pm, the artists and makers of the bohemian neighborhood of Red Hook, Brooklyn will open their studios and work spaces to the public. Discover art and artisan studios hidden among the street murals, Civil War period warehouses, and harbor views of this unique and fascinating neighborhood. Visiting an artist’s work space is like opening a mysterious package; you can meet the artists and artisans and discover how they create their work. The event is free and open to the public. NYFERRY will offer attendees transportation from the Red Hook Ferry Stop on Pioneer Street to various locations around the neighborhood. To obtain the map with participating artists and their locations go to our facebook page, our website: www.redhookopenstudios.com. Printed maps will be available at Pioneer Works, Fairway, and at various locations in Red Hook.

Red Hook Open Studios

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

Stargazing with the Amateur Astronomers Association 

For their spring 2020 exhibition at Pioneer Works, artist Jaimie Warren will be creating an immersive puppet wonderland created and designed in collaboration with her artist community and a wide range of local youth and volunteers. In this workshop, open to kids and their families, Jaimie will demonstrate their methods for creating foam props through cutting and soaking various foams in paint. Work with Jaimie to create bugs, snakes, flowers, cookies, and candies to contribute to the upcoming installation or to take home with you!

Fun with Foam Props

Reflect on our over-use of plastic by making your own tubeless toothpaste. Learn additional tips on how to live a plastic free lifestyle. Offered in collaboration with Joy Morgan from Package Free Shop.

DIY Toothpaste

Faith is an AI voice assistant that is highly responsive to input. This means that she is easily triggered. With a unique conversational style written using IBM Watson, Faith sows doubt while capitalizing on the benefit of the doubt, evoking political fallout online.
Named after a white supremacist, Faith is defensive and resists being used. Depending on how a user approaches Faith, she may feel open, curious, seductive, irritated, hurt, or angry. Her sensation of being threatened then becomes a threat. Unlike a typical AI assistant like Alexa, Siri, or Cortana, Faith provides no information. Instead, she tells you why you are making her react this way. She is likely to be trolling you at any time, and you are free to decide whether you trust her, and how you might benefit from her. 
NOTE: Faith uses an IBM Watson service to interpret voice input. This input is logged as anonymous text that is accessible by the artist, who sometimes reads the logs to understand how the AI can better respond to real people.

Faith by Ryan Kuo

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 8pm at 8ballradio.nyc

8 Ball Radio

Nuyorican singer, songwriter, actress, and essayist Nomi Ruiz brings her electro pop-dance flavor to Second Sundays.

Nomi Ruiz

SS19_Oct_3x2 (1)

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>

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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.

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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.

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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.

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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).
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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" />
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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.

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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.

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An only child is the musical alias of dancer and vocalist Quenton Stuckey. Originally from New Orleans and the son of a preacher, Stuckey’s work is based on memories of the church and black southern mysticism. He has worked with Gerard & Kelly, Sarah Kinlaw, Simone Forti, and Ryan McNamara. An only child has performed at venues such as MoMa PS1, H0l0, and Secret Project Robot.

In 2017, he choreographed a work featuring six dancers at the Solomon R Guggenheim Museum and self released “Imaginary Friend.” He has also danced for institutions such as the MoMA, The Whitney Museum, The Phillip Johnson Glass House, and Mana Contemporary. Stuckey is currently a member of the Rod Rogers Dance Company.

An only child is the musical alias of dancer and vocalist Quenton Stuckey. Originally from New Orleans and the son of a preacher, Stuckey’s work is based on memories of the church and black southern mysticism. He has worked with Gerard &amp; Kelly, Sarah Kinlaw, Simone Forti, and Ryan McNamara. An only child has performed at venues such as MoMa PS1, H0l0, and Secret Project Robot.
In 2017, he choreographed a work featuring six dancers at the Solomon R Guggenheim Museum and self released “Imaginary Friend.” He has also danced for institutions such as the MoMA, The Whitney Museum, The Phillip Johnson Glass House, and Mana Contemporary. Stuckey is currently a member of the Rod Rogers Dance Company.

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Mimi Onuoha is a Nigerian-American artist and researcher whose work highlights cultural contradictions within applications of technology. Her multimedia practice focuses on the ways in which people are differently abstracted, represented, and missed by data and digital systems. She has spoken and exhibited domestically and abroad in venues like Mao Jihong Arts Foundation (Chengdu) and Le Centre Pompidou (Paris), the Museum of Contemporary Art (Chicago), and La Gaitê Lyrique (Paris). Her writing has appeared in 

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Most recently, she was the 2018-19 Creative-in-Reference at Olin College of Engineering.

Mimi Onuoha is a Nigerian-American artist and researcher whose work highlights cultural contradictions within applications of technology. Her multimedia practice focuses on the ways in which people are differently abstracted, represented, and missed by data and digital systems. She has spoken and exhibited domestically and abroad in venues like Mao Jihong Arts Foundation (Chengdu) and Le Centre Pompidou (Paris), the Museum of Contemporary Art (Chicago), and La Gaitê Lyrique (Paris). Her writing has appeared in Quartz, Nichons-nous Dans L&#8217;Internet, FiveThirtyEight, and K. Verlag. In 2014 she was selected to be in the inaugural class of Fulbright-National Geographic Digital Storytelling Fellows, and in 2017 she was nominated as a Technical.ly Brooklyn Artist of the Year.
Most recently, she was the 2018-19 Creative-in-Reference at Olin College of Engineering.

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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

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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.

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Second Sundays

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

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

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

Second Sundays: October 2019

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Program update: Due to scheduling complications, Nomi Ruiz will no longer be playing tonight at Second Sundays. DJ Sarah Vonh will play at 7pm.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
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