Name: Second Sundays: September 2021
Start: 2021-09-12
End: 2021-09-12
Location: Pioneer Works

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PW Closure 10/25-10/26

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

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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.

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

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

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

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Building Closures Due to Flash Floods

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

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 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. 

We are grateful for your engagement and support of Pioneer Works over the last year. Now through December 31st, we’re fundraising to meet our end of year goal and close out 2024.

85% of our programming is free or accessibly-priced and we rely on our community of supporters to make that possible. Give now to ensure that we can continue nurturing artists and audiences through 2025.


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

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We’re 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 

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

Early Closure 5/10/23

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

Winter Break Closure

Pioneer Works will be closed between December 16, 2024–January 24, 2025 for a winter break.

Second Sundays is our signature event series that engages Pioneer Works disciplines through live music, food, artists’ virtual open studios, and programs. 

Second Sundays is back this September with an exciting lineup of programs, performances and events spanning the disciplines of art, music, science and technology. Go solargazing with the Amateur Astronomers Association of New York, take a cooking class with 

, check out the Pop-Up Synth Library courtesy of Synth Library NYC, and do much, much more. You can check out the full programming schedule below, including our current exhibitions and open studios. 

Beginning on September 3, in accordance with the New York City mandate, 

, visitors (age 12+) must show proof of COVID-19 vaccination to enter Pioneer Works. Please review our updated Health and Safety Policy 

For the safety of staff and attendees, even with your RSVP, there may be a wait time for entrance to Second Sundays, as we continue to operate with a strictly limited capacity due to Covid-19. Thank you so much for your cooperation in keeping Pioneer Works safe!

Please note, some programming will be held on the second and third floors of Pioneer Works. At this time, we do not have an elevator. Please email 

 for any questions or concerns regarding accessibility.

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

In 2010, Kalief Browder was arrested for a robbery he did not commit. The seventeen-year-old teenager was subsequently imprisoned without trial for over three years at the Robert N. Davoren Center on Rikers Island, a facility known for its culture of violence. During this period, Browder was subject to torturously long segments in solitary confinement—over 700 days in total—as well as physical and mental abuse by prison guards and inmates. Tragically, the severe trauma caused lasting depression that resulted in his suicide in 2015, approximately two years after his release. Although the city eventually settled a civil lawsuit with his family in 2019, no one was held accountable for having incarcerated Browder for three years with neither trial nor proof.

Artist Coby Kennedy felt compelled to bring this injustice to light, by creating an eight-by-ten-by-six-feet sculpture that replicates the exact dimensions of a solitary confinement cell. Framed by steel, the glass surfaces are etched with line renderings of the bed, barred window, and toilet that sparsely furnish the inhumane settings. Alongside these diagrams are texts that draw parallels between the United States’ carceral centers and Guantanamo Bay, and also critique the gross abuses of civil liberties when innocent men and women are abducted for untried crimes. Viewed from the exterior and lit from below, the sculpture also pays tribute to the overwhelming endurance that Browder, alongside his family members, struggled to maintain.

On the motivation behind his work, Kennedy notes, “I was incredibly moved by the story of Kalief Browder, because what he experienced has been my own personal fear since I was a child: the idea that I could be abducted by a government institution and held without proper cause. Although I can only imagine what he actually experienced, I could viscerally feel the determination and pure strength of will that it took to come out on the other side of that kind of imprisonment and constant abuse. It is my hope that, when viewers happen upon this sculpture, they can empathically feel the weight of being put into a box and having it become your life for a long, unknowable future. Hopefully, they can transcend the watered-down words used in mass media to describe the incarceration process, and instead start to feel the reality of the literal torture that continues daily in the prisons of America.”

In conjunction with the installation’s presentation, artist-led civic engagement organization For Freedoms and Pioneer Works will present a four-part town hall series to create a forum of discussion around those same injustices. The programs will center on conversations between legal scholars, activists, and artists; and thematically follow the four new freedoms created by For Freedoms’ 2020 Awakening campaign and their work beyond: 

. Just as Kennedy’s installation communicates a fraction of the physical, emotional, and psychological torment of solitary confinement, the series aims to provide a creatively-driven introduction to the myriad impacts of mass incarceration, and to inspire participants to envision a transformed world without prisons.

 (b. 1977; lives and works in New York) uses the communication tools of the advertising and entertainment industry to create paintings, videos and sculptures that hint at unspoken truths, the modern culture of veiled intent, and the questions of subjective realities. A graduate of Columbia University’s Fine Art MFA and Pratt Institute’s Industrial Design BA programs, the artist and industrial conceptual designer has completed residencies at the Skowhegan School of Painting and Sculpture (2011), Red Bull Arts Detroit (2016), and Anderson Ranch Arts Center (2018). Kennedy is the recipient of the Civil Society Institute Fellowship and One World Award, and has exhibited work domestically and internationally, in Japan, South Africa, and Italy.

 is an artist-led organization that models and increases creative civic engagement, discourse and direct action. We work with artists and organizations to center the voices of artists in public discourse, expand what participation in a democracy looks like, and reshape conversations about politics.


 was conceived in response to the pandemic’s dramatic effects on the ways we interact and a growing need for more public art. Working in the space behind the scenes, Negative Space helps artists and organizations who are socially-engaged to produce contemporary public artworks that strive to advance social justice. Negative Space offers project management with principles of inclusivity, empathy, transparency and accessibility, and has worked with clients like Hank Willis Thomas, Radical Media, Incarceration Nations Network, The Brave House, and now Pioneer Works.

This exhibition is organized by Sam Giarratani of Negative Space, and is supported in part by the Art for Justice Fund, the ForGood Fund, 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.

Kalief Browder: The Box

Location 
Pioneer Works Garden

Coby Kennedy: Kalief Browder: The Box

 (2014-2019) is a multi-platform installation that casts real-life musicians, artists, and actors as bands on tour, and expands into a cross-generational, Trump–era commentary on contemporary culture and politics. It features members of Gang Gang Dance, Le Tigre, The Julie Ruin, MEN, Eartheater, MGMT, Light Asylum, and more.

Shot in real environments and situations, the core group of players improvised based on semi-scripted scenes. Because many of these performers are legends themselves in the New York City downtown scene, they are archetypes playing archetypes. The work revels in the sometimes hilarious—but always complex—band dynamics that the characters endure while touring, collaborating, and aging in a youth-driven music industry. As the players move in and out of character, blending fiction and real life, the film moves in and out of non-linear narrative and historical document. Shot from 2014 to 2018 at over 15 DIY music spaces in and around New York City—many of which have since shuttered their doors—the film acts as an urgent time capsule for the rapidly gentrifying city.

 also highlights the extensive and growing archive of live performance in NYC shot during the four-year production schedule and the raw footage from improvised scenes, while portraits of performers taken by Justine Kurland are arranged in a grid. The film’s multitude of characters include: Wooster Group founder Kate Valk, Jim Fletcher (The NYC Players), musicians Lizzi Bougatsos, (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler, (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae) and Neon Music (Youth Quake).


’s multi-platform, lens-based projects craft darkly comedic narratives of trauma and repressed memory around mass-culture experiences and youthful rites of passage. Using historical, literary and popular culture-based references, she addresses issues related to cultural production and societal malaise. Herwork has been screened and exhibited widely in the US and internationally, including at the Whitney Museum of American Art, NY; MoMA PS1, NY; Miami Museum of Contemporary Art, FL; Brooklyn Museum; Deste Foundation for Contemporary Art, Athens; The International Film Festival Rotterdam, Rotterdam, Netherlands; and Museo Nacional Centro De Arte Reina Sofia, Madrid; and NY and on PBS and Spanish Television. Recently she had solo exhibitions at LA><, LA; Participant Inc and Fitzroy Gallery, both N; and solo screenings at the Museum of Modern Art, and The Kitchen, New York City. Parnes is a 2013 John Simon Guggenheim Memorial Fellow, a 2014 NYFA recipient, and a 2016 Creative Capital Awardee. Video Data Bank published a box set of her work, and Participant Press published a book of her scripts titled

Blood and Guts in Hollywood: Two Screenplays

 by Laura Parnes, with an introduction by Chris Kraus. She has also directed music videos for The Julie Ruin and Le Tigre.

Presented by Pioneer Works and curated by David Everitt Howe, the installation of Laura Parnes: 

 was previously exhibited at Burchfield Penney, Buffalo, NY, and Human Resources, Los Angeles, CA (both 2019). A one-night screening of the film was shown at The Wexner Center for the Arts, OH (2019) and

 is made possible with funds from The John Simon Guggenheim Foundation, Creative Capital, and the New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund, a regrant program of the New York State Council on the Arts, Electronic Media and Film Program, with the support of the New York State Legislature. The artist would like to give special thanks to Petros Lales.

Tour Without End

Laura Parnes: Tour Without End

Carry You With Me: Ten Years of Portraits

, LJ Roberts’s first solo exhibition in New York City as well as first publication, is the result of a long-term, ongoing project, consisting of 26 six-by-four-inch embroidered portraits of the artist’s friends, collaborators, and lovers within New York City’s queer and trans communities. Stitched entirely by hand and typically completed during transit on subway trains, these embroideries illustrate how politics, culture, and identity manifest in both visible and subtle ways through encounters in daily life.

An artist perhaps best known for large-scale, collaged, textile works, Roberts spends up to one year stitching each portrait within the series, taking inspiration from both photographs and memory. As much a tribute to the subjects as they are to the public and private places that provide safe spaces for vital exchange, the images hone in on meticulously stitched details—from the letters that make up Zoe Leonard’s critically important 

 mural along the High Line, to the book covers and refrigerator magnets that distinguish a person’s home. Roberts also regards the backs of each embroidery—abstract networks of colorful threads layered atop one another, created entirely by happenstance—as integral to the works as the front images themselves. The artist considers the series as a way of dismantling the heteronormative tendencies of portraiture, and also of subverting conventional ideas of representation and abstraction by making each dependent on the other.

The exhibition will open in tandem with the publication of a companion book, wherein each illustration is paired with an anecdotal passage written by Roberts. These texts reflect on their deeply personal encounters and companionships with the depicted subjects, speaking to shared moments that are both mundane and significant. The book, which takes its name from the exhibition, includes a foreword by Sur Rodney (Sur), essays by Carmen Hermo and Theodore (ted) Kerr, and a conversation between the artist, Tirza True Latimer, and TT Takemoto. Together, these contributions further contextualize the series within Roberts’s practice and the histories that it was borne out of.

As Roberts notes within the book, “The embroideries are a ten-year record of my friendships and relationships, the politics that marked the decade, the fun I had with friends, the everyday action and resistance that these people practice, those who influence and inspire me, the elders who have mentored me, people who have collaborated with me.”

 is an artist working in installation, textiles, collage, and text. Their practice addresses queer and trans politics, material deviance, alternative kinship structures, archives, and narrative. Based in Brooklyn, the artist has exhibited work at institutions such as the Smithsonian Museum of American Art, Brooklyn Museum, Toledo Museum of Art, The 8th Floor, Leslie-Lohman Museum of Art, Museum of the City of New York, Victoria and Albert Museum, Yerba Buena Center for the Arts, Spring/Break Art Show, La Mama Galleria, and Anthology Film Archives. Roberts is a 2021 Socrates Sculpture Park Artist Fellow, and has been an artist-in-residence at IASPIS, Ox-Bow School of Art, Queenslab, Textile Arts Center, Pioneer Works, and MacDowell. They were one of nine recipients of The White House Champions of Change Award for LGBTQI+ artists in 2015, and received the Women's Caucus for Art President's Award for Art and Activism in 2019.

 is made possible through generous support from Pamela and David Hornik. It is also supported in part by 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 the New York State Legislature.

LJ Roberts: Carry You With Me: Ten Years of Portraits

 is extended through October 3. Reservations will sell out, book yours now!

“We’ve learned to speak, dance, and feel from the depositories of our screens. From social media self-documentation to advertising’s algorithmic automation, in the midst of the echo, what do we teach our technology, and what does it teach us?” — Moses Sumney



Presented by Pioneer Works at Red Hook Labs, 

is an experiential, audiovisual installation by 

 that offers an extension of his artistic and musical oeuvre, exploring isolation and our emotional relationship with technology. Echophenomena is the unintentional imitation of actions. This includes the repetition of words and sounds, body movements, or thoughts picked up from external stimuli. The artist adds the prefix “techno-” to the psychological term, evoking the relationship between human behavior and modern technology.



Visitors enter a custom-built cubic room, and learn a series of technology-inspired gestures choreographed by the artist. Sumney’s song “Me in 20 Years” pumps through the room as the lights come up. Powered by Microsoft’s Azure Kinect body-tracking technology, the participant can manipulate the room in various ways. Different motions provoke responsive modalities of light and shadow, and alter the music’s elements as they shift Sumney’s voice through octaves, reverberations, and space. The artist worked with technologists to train the Azure Kinect DK so that each guest has an out-of-body experience totally unique to them—essentially allowing attendees to “play” the room. 


 oscillates between polarities of feeling deprived from human connection by physical and emotional isolation, and finds ecstatic joy and exhilaration in the comforts that can only emerge from being alone.

Please note that each individual experience has a duration of approximately five minutes.



Born in California and raised between Ghana and Southern California, Moses Sumney is a singer, writer, and multidisciplinary storyteller. Since emerging in 2014 with a self-released cassette EP, he has ridden waves of word-of-mouth praise, arresting visuals, and dynamic live performances alongside forebears like Sufjan Stevens, James Blake, and Solange. The artist’s 2017 debut album 

 topped the end-of-year lists of tastemaker hubs like Bandcamp, the New York Times, NPR, and Pitchfork. It explored themes of solitude and lovelessness. In 2019, Sumney received a SXSW award for his music video work and was awarded a Macdowell Fellowship. In 2020, his first published essay, “Stateside Statelessness,” appeared in Fight of the Century (Simon & Schuster), an immigration-centric anthology edited by Ayelet Waldman and Pulitzer-Prize winner Michael Chabon. Sumney’s 2020 sophomore double album græ has received top marks from Entertainment Weekly, The New Yorker, and The Guardian, to name a few. Described as a “conceptual patchwork about greyness,” it’s his first work to be released since he relocated to North Carolina from Los Angeles.



This exhibition is supported in part by 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 the New York State Legislature.

Microsoft

New York City Department of Cultural Affairs in partnership with the City Council

New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature

technoechophenomena

Moses Sumney: technoechophenomena

Alexandra Bell (b. 1983, Chicago, IL) is a multidisciplinary artist who investigates the complexities of narrative, information consumption, and perception. Utilizing various media, she deconstructs language and imagery to explore the tension between marginal experiences and dominant histories. Through investigative research, she considers the ways media frameworks construct memory and inform discursive practices around race, politics, and culture. Her work has been exhibited at Jeffrey Deitch Gallery, MoMA PS1, and the Whitney Museum of Art. She received the 2018 International Center of Photography Infinity Award in the applied category. She is a 2019 CatchLight Fellow.

Alexandra Bell (b. 1983, Chicago, IL) is a multidisciplinary artist who investigates the complexities of narrative, information consumption, and perception. Utilizing various media, she deconstructs language and imagery to explore the tension between marginal experiences and dominant histories. Through investigative research, she considers the ways media frameworks construct memory and inform discursive practices around race, politics, and culture. Her work has been exhibited at Jeffrey Deitch Gallery, MoMA PS1, and the Whitney Museum of Art. She received the 2018 International Center of Photography Infinity Award in the applied category. She is a 2019 CatchLight Fellow.

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Alexandra Bell

Claudia Bitran (1986–) is a Brooklyn-based painting and video artist. Bitran holds an MFA from RISD and a BFA from the Universidad Catolica de Chile.

She has exhibited at Muhlenberg College, Practice Gallery, Brooklyn Bridge Park, Museo de Artes Visuales, and elsewhere. Bitran has held residencies at the Skowhegan School of Painting and Sculpture, the Bemis Center for Contemporary Arts, and more. Grants and awards include: The New York Trust Van Lier Fellowship, Hammersley Grant, Emergency Grant Foundation for Contemporary Arts, Jerome Foundation Grant for Emerging Filmmakers, 1st Prize Britney Spears Dance Challenge, 1st Prize UFO McDonald’s Painting Competition, 1st honorable mention at Bienal de Artes Mediales.

Claudia Bitran (1986–) is a Brooklyn-based painting and video artist. Bitran holds an MFA from RISD and a BFA from the Universidad Catolica de Chile.
She has exhibited at Muhlenberg College, Practice Gallery, Brooklyn Bridge Park, Museo de Artes Visuales, and elsewhere. Bitran has held residencies at the Skowhegan School of Painting and Sculpture, the Bemis Center for Contemporary Arts, and more. Grants and awards include: The New York Trust Van Lier Fellowship, Hammersley Grant, Emergency Grant Foundation for Contemporary Arts, Jerome Foundation Grant for Emerging Filmmakers, 1st Prize Britney Spears Dance Challenge, 1st Prize UFO McDonald’s Painting Competition, 1st honorable mention at Bienal de Artes Mediales.

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Claudia Bitran 2018_Filters_12 light boxes_Pencil on Plastic and wood

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Claudia Bitran_Fallen_2019_Video Animation Instalation TVs_ Cindy Rucker Gallery

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Claudia Bitran_Untitled_2019_Acrylic on MDF_ Site specific Install Miami

Claudia Bitran_White Shoes_2018_Acrilic and Latex on MDF_22 free standing paintings_Practice Gallery

Claudia Bitran

Xenia Bond (b. 1992, London) works in sculpture and installation. She graduated from the Stäedelscule in Frankfurt under Judith Hopf and the Slade School of Fine Art in London. Bond’s exhibitions include: Husslehof, APT Gallery, Zona Mista, Studio Picknick, and Neue Alte Brücke. She is interested in the formal relationship of materials and their reception as emotives, and communicating external relationships in her life. Bond’s works are neither immersive nor “looking outside.” These polarities are avoided. Instead the aim is to provoke a reaction between the imagination of the self and the viewer. The drift of signs and possible narratives, both concrete and imagined, characterize Bond’s works.

Xenia Bond (b. 1992, London) works in sculpture and installation. She graduated from the Stäedelscule in Frankfurt under Judith Hopf and the Slade School of Fine Art in London. Bond’s exhibitions include: Husslehof, APT Gallery, Zona Mista, Studio Picknick, and Neue Alte Brücke. She is interested in the formal relationship of materials and their reception as emotives, and communicating external relationships in her life. Bond’s works are neither immersive nor “looking outside.” These polarities are avoided. Instead the aim is to provoke a reaction between the imagination of the self and the viewer. The drift of signs and possible narratives, both concrete and imagined, characterize Bond’s works.

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Xenia Bond 4, 2019

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Xenia Bond 5, 2019

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Xenia Bond 8, 2019

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Xenia Bond 9, 2019

Xenia Bond 6, 2019

Xenia Bond

Lizzi Bougatsos is an artist and performer. A singer for the band Gang Gang Dance and punk/noise outfit I.U.D. for over a decade, Bougatsos has performed at Kunsthalle Zurich, The Whitney Museum, The Sydney Opera House, The Museum of Modern Art, Hirshhorn Museum and Sculpture Garden, and Bergen Kunsthall. Her work has been exhibited at Hauser & Wirth, Gladstone Gallery, Museo d’arte Contemporanea di Roma, Kunste Werke, MoMa PS1, Participant Inc., American Fine Arts Co., Reena Spaulings, and James Fuentes Gallery. Bougatsos is a recipient of the Rema Hort Mann Foundation grant, and her work is included in The Astrup Fearnley Museet for Moderne Kunst and The Dikeou Collection.

Lizzi Bougatsos is an artist and performer. A singer for the band Gang Gang Dance and punk/noise outfit I.U.D. for over a decade, Bougatsos has performed at Kunsthalle Zurich, The Whitney Museum, The Sydney Opera House, The Museum of Modern Art, Hirshhorn Museum and Sculpture Garden, and Bergen Kunsthall.  Her work has been exhibited at Hauser &amp; Wirth, Gladstone Gallery, Museo d’arte Contemporanea di Roma, Kunste Werke, MoMa PS1, Participant Inc., American Fine Arts Co., Reena Spaulings, and James Fuentes Gallery. Bougatsos is a recipient of the Rema Hort Mann Foundation grant, and her work is included in The Astrup Fearnley Museet for Moderne Kunst and The Dikeou Collection.

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Lizzi Bougatsos, Meditations on a Flow Break Up, 2017

Lizzi Bougatsos, performance still with Kim Gordon_Penny Slinger, 2019

Lizzi Bougatsos

Hackett founded and directed the Madagascar Institute, one of the top jet-powered carnival ride purveyors in Brooklyn. Surviving the Apocalypse in style has been an interest of his for a while, and has spawned a 10-episode teevee show, a monthly magazine column, and this bio.

He is a Bronx native, mostly scar tissue and questionable life choices. 

Hackett founded and directed the Madagascar Institute, one of the top jet-powered carnival ride purveyors in Brooklyn. Surviving the Apocalypse in style has been an interest of his for a while, and has spawned a 10-episode teevee show, a monthly magazine column, and this bio.
He is a Bronx native, mostly scar tissue and questionable life choices. The New York Times called him &#8220;hulking.” 
He has not been arrested in over a year.

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coin - Chris Hackett

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IMG_20191106_173717_2 - Chris Hackett

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Hackett

Jordan Kisner is an essayist and cultural critic, and the author of the forthcoming, 

, which will be published by Farrar, Straus & Giroux in March 2020. Her work has appeared in 

, and others. Kisner is also the recipient of a Pushcart Prize. She is the former director of The Bellwether, teaches creative writing at Columbia University, and serves as a mentor-editor for the Op-Ed Project.

Jordan Kisner is an essayist and cultural critic, and the author of the forthcoming, Thin Places, which will be published by Farrar, Straus &amp; Giroux in March 2020. Her work has appeared in n+1, The Atlantic, The New York Times Magazine, The Believer, The Guardian, The American Scholar, California Sunday, The Best American Essays 2016, and others. Kisner is also the recipient of a Pushcart Prize. She is the former director of The Bellwether, teaches creative writing at Columbia University, and serves as a mentor-editor for the Op-Ed Project.

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Jordan Kisner

Lauren Lee McCarthy (she/they) is an LA-based artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She is the creator of p5.js and co-director of the Processing Foundation. Lauren’s work has been exhibited internationally, at places such as The Barbican Centre, Ars Electronica, Fotomuseum Winterthur, Haus der elektronischen Künste, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, Science Gallery Dublin, and Seoul Museum of Art. She has received numerous honors including a Creative Capital Award, Ars Electronica Golden Nica, Sundance Fellowship, Eyebeam Fellowship, and grants from the Knight Foundation, Mozilla Foundation, Google, and Rhizome. Lauren is an Associate Professor at UCLA Design Media Arts.

Lauren Lee McCarthy (she/they) is an LA-based artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She is the creator of p5.js and co-director of the Processing Foundation. Lauren&#8217;s work has been exhibited internationally, at places such as The Barbican Centre, Ars Electronica, Fotomuseum Winterthur, Haus der elektronischen Künste, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, Science Gallery Dublin, and Seoul Museum of Art. She has received numerous honors including a Creative Capital Award, Ars Electronica Golden Nica, Sundance Fellowship, Eyebeam Fellowship, and grants from the Knight Foundation, Mozilla Foundation, Google, and Rhizome. Lauren is an Associate Professor at UCLA Design Media Arts.

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Lauren Lee McCarthy

Brian Oakes is an interdisciplinary sculptor based in New York. His spatial investigations manifest through means of technocraft such as open source agendas, DIY materiality, satellites, nuclear culture, piracy, and global-political transparencies in outer space.

He holds a Bachelor of Fine Arts in Sculpture with a concentration in Computation from the Rhode Island School of Design (2018). His artwork has been shown in exhibitions in the U.S., Tokyo, China, and Germany including 

 at Scooters for Peace in Shibuya, Tokyo, and his most recent solo exhibition 

, at Wallplay, New York, NY. In addition, he has shown at Space 369, MN, and FriEnds Gallery, RI.

Brian Oakes is an interdisciplinary sculptor based in New York. His spatial investigations manifest through means of technocraft such as open source agendas, DIY materiality, satellites, nuclear culture, piracy, and global-political transparencies in outer space.
He holds a Bachelor of Fine Arts in Sculpture with a concentration in Computation from the Rhode Island School of Design (2018). His artwork has been shown in exhibitions in the U.S., Tokyo, China, and Germany including Bohemian Centipede at Scooters for Peace in Shibuya, Tokyo, and his most recent solo exhibition Pieces, at Wallplay, New York, NY. In addition, he has shown at Space 369, MN, and FriEnds Gallery, RI.
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Brian Oakes

Suneil Sanzgiri is an artist, researcher, and filmmaker working to understand how systems of oppression are informed and reinforced by trauma, history, and memory. His work spans experimental film and video, animations, essays, and installations, and contends with questions of identity, heritage, culture, and diaspora. In 2017, Sanzgiri graduated from the Art, Culture and Technology program at MIT. His film 

 made its world premiere at the International Film Festival Rotterdam in January 2020, and his follow up film 

recently premiered at the New York Film Festival. His work has been screened extensively at festivals and galleries nationally and internationally.

Suneil Sanzgiri is an artist, researcher, and filmmaker working to understand how systems of oppression are informed and reinforced by trauma, history, and memory. His work spans experimental film and video, animations, essays, and installations, and contends with questions of identity, heritage, culture, and diaspora. In 2017, Sanzgiri graduated from the Art, Culture and Technology program at MIT. His film At Home But Not At Home made its world premiere at the International Film Festival Rotterdam in January 2020, and his follow up film Letter From Your Far-Off Country recently premiered at the New York Film Festival. His work has been screened extensively at festivals and galleries nationally and internationally.