02.15.2016 · Residency
The Luminary is pleased to announce our 2016 Residents. Drawn from a competitive application process and hailing from London, Little Rock, Berlin, Los Angeles, New York and more, the artists, critics and curators selected will live and work in proximity to our space, producing a range of public programs throughout the year.
Our 2016 Residents include: David Whelan (Queens/US + Athens/Greece), Haynes Riley (Little Rock/US), Ian Dolton-Thornton (Oakland/ US), Byzantia Harlow (London/UK), Mystery Spot Books (Minneapolis/US), TUG Collective -aka Gustavo and Gaelyn Aguilar (Portland, Maine/US), Alejandra Salinas & Aeron Bergman (Seattle/US), Kera MacKenzie (Chicago/US), Maria Peccholi (Florence/Italy), Natalie Ball (Portland/US), Chloe Bass (New York/US), Arts.Black - Jessica Lynne and Taylor Renee Aldridge (Detroit/Brooklyn), Nightmare City (San Francisco/US + Berlin/Germany), and Nicolas Greiner (Montreal/Los Angeles).
February: David Whelan is an artist living and working between Queens, New York and Athens, Greece. His work desires to mobilize previously unimagined communities around unexpected events by speaking beyond the self. Areas of critical engagement include debt, so called mental illness, and new horizons for communism. Recent exhibitions include Postcards at c/o schocke (Hamburg), Cloud at 3 137 Gallery (Athens), Curious Artefacts at Art Wall (Athens), (re)currencies at Snehta (Athens), A Prism When in the Shade at Temporary Agency (Brooklyn), (Janus at 8:16) at Touch Gallery (Cambridge, MA), and Shuttle at Terminal Projects (Brooklyn). Whelan received his MFA in Painting and Printmaking from Yale in 2012.
February-March: Haynes Riley is an artist, curator, and designer with an MFA from Cranbrook Academy of Art. He is founder and director at Good Weather in North Little Rock, Arkansas. While at the helm of Good Weather, Riley has organized nearly thirty solo exhibitions and participated in Material Art Fair (Mexico City), ARTBandini Los Angeles (Los Angeles), and 9/50: A Southeast Arts Presenters Summit at Atlanta Contemporary (Atlanta); and published artists’ books and editions that have been presented at Printed Matter’s LA Art Book Fair at The Geffen Contemporary at MOCA (Los Angeles), Detroit Art Book Fair (Detroit), and VA/BF (Vancouver). Riley also founded Girl/Boy Gallery while participating in the Ox-Bow School of Art Fall Artist Residency; co-curated In All Kinds of Weather at Gallery Protocol (Gainesville); and most recently curated group exhibitions Shades in Little Rock and In the Heat of the Night in Chicago through The Bedfellow’s Club. He has had solo exhibitions at The Hills Esthetic Center (Chicago) and Hammock Gallery (Los Angeles); and his work has been included in group shows Fence, curated by Ron Ewert, as part of The Great Good Place, a multi-layered set of collaborative exhibitions organized by Brandon Alvendia, at Threewalls (Chicago); Read Image, See Text at Cranbrook Art Museum (Bloomfield Hills); and TOGETHER/ALONE at EMBASSY (Los Angeles). He is Design Director at Contemporary Art Review Los Angeles (Carla). Riley lives and works in North Little Rock, Arkansas.
April: Ian Dolton-Thornton’s work looks at the space between object design and personal economy, and how appearance mediates both. He is specifically interested in the relationship between the human body, its capabilities and other objects. This includes considering objects as material human culture, as well as how the visible manufacture of objects inflects their desirability (i.e. a price premium for handmade goods versus the smooth inscrutability of the cell phone).. His recent exhibitions include Makerstalk and Primal Dream at Mission Comics and Art Gallery (San Francisco), Bay Area Now 7 at Yerba Buena Center for the Arts (San Francisco), Many Places at Once at CCA Wattis Institute for Contemporary Arts (San Francisco), Psycho-somatic Addict-insane at Interstate Projects (Brooklyn), and The Possible at Berkeley Art Museum and Pacific Film Archive (Berkeley). Since 2012 he has been the primary publisher at Publication Studio Oakland http://www.psoakland.com/ . He holds a BA from Bennington College for Studio Art and Philosophy.
April: Byzantia Harlow is an artist, writer, and curator. She is a recent graduate of The Royal College of Art where she received an MA in Painting with Distinction in Critical and Historical Studies. She has recently participated in the following group exhibitions: Which one of these is the non-smoking lifeboat? at Pangaea Sculptors’ Centre Project Space (London), Taking Shape, Sculpture on the Verge during ART LICKS WEEKEND at Pangaea Sculptors’ Centre (London), KSDIY, Kurt Schwitters’ Merz Barn at Cylinders Estate (Elterwater, Cumbria), and Insider Joke at Hockney Space (London). Her curatorial projects include Rushgrove House Project I & II at Rushgrove House (London) and Franchise – Trial Shift at 1-10 Purcell Street (London).
May: Mystery Spot Books produces small-run artist books, zines, and other publications that trace the contours and quirks of place-based experience in the human-altered landscape. Named for the tourist trap wonder attractions often encountered on road trips around the United States, Mystery Spot is a project of Minneapolis-based artist Chad Rutter and Austin-based writer Emily Roehl. Mystery Spot investigates the persistence of place in the face of the abstractions and simplifications of the mass media in a way that resists the easy nostalgia of place-bound identities or mythic unities.
May: Gustavo and Gaelyn Aguilar’s Tug is a free-range, performative re/search collective that serves as a platform for addressing issues of social and cultural transformation. Our work is collaborative (we are not autonomous, self-contained individuals) and non-hierarchical (we respect difference by weaving it into the process). Our projects come from disparate moments and geographic locations, and reflect an ethos that connects cultural production with community engagement. We look for cracks in the pavement. We co-create and cross pollinate. We propagate a sense of place.
May-June: Aeron Bergman & Alejandra Salinas have exhibited widely at venues such as the 1st Bergen Assembly Triennial, 45th annual Steirischer Herbst festival in Graz, Austria, 4th Athens Biennale, Van Abbemuseum, Museum of Contemporary Art, Norway and many more. Additionally, Bergman and Salina founded and direct The Institute for New Connotative Action (INCA), currently based in Seattle . INCA has run a variety of programs since its inception in Detroit in 2011 including exhibitions, residencies, Open Forum, Autonomous University, and INCA Press.
June: Kera MacKenzie is interested in an interplay between mental and physical spaces, how medium and representation alter our understanding of time, space and identity, and modes of communication between gesture and thought. These interests have taken form as single-channel film and video works employing techniques gleaned from dream sequence editing and metaphysical detective novels; multi-channel video works including an eight-channel installation addressing the countdown, kinds of time, and the relationship between liveness and aliveness (havoc and tumbled, 2015); sets including a focus group room (Control Group, 2012), a fictitious publishing company (KC Publications, 2013), and a studio based re-enactment of Lake Mead (Lunar Lake: The Story Behind the Scenery,2012); a movie reverse-engineered from the description of an unseen film (Local Ads from Faraway Places, 2014) and a video that riffs on the ubiquitous trick in film and television history where the switching of a “practical” light serves as a moment of conspiracy between filmmakers, characters, and audience (In a Perfect Fever, 2014); drawings, props and installations that encourage viewers to analyze their own perceptual frameworks (Untitled Wall Titles, 2011-13) or imagine the scenario that brought that moment into being (Abductive Objects #1-5 series, 2013); a postcard series using stills from videos as manifestations of site and movement (Tracking Shots, 2013, and Encounters #1-40,2012-13); a proto-cinematic event involving an eighteen foot zoetrope installed in the desert of New Mexico (Wonder Machine:Belen Mirage, 2013); a photo installation documenting a re-enactment of Freud’s consultation room (Conjuring, 2014); live tele-vision performance broadcasts as travelogues to subjective spaces (MUCKMUCK/MONICAPANZARINO, 2013, Inside Voices Hollow Objects LIVE, 2013, and Notes for a Vivisection, 2015); and the founding and directing of an artist-made livestreaming tele-vision network (ACRETV.org).
June-July: Maria Peccholi is an artist, filmaker, curator and organizer based in Florence, IT. Her current projects are related to gender issues and queer culture through social and aesthetic practices. Her research includes filmmaking, performance installations and curatorial projects, adopting multiple languages to build an engagement knowledge based on take care to the community and our self. The process has to be intended as a intimate and public resilience, expressing unexpected visions and narratives that often unveil socio-political contradictions. In addition to her individual practice, Peccholi is the co-founder of the artistic collaborative Radical Intention (2009), co-director of artist-run space Fosca and the director of the Corniolo Art Platform, an interdisciplinary residency space in Mugello, IT (since 2010).
June-July: Natalie Ball is an indigenous artist who examines internal and external discourses that shape Indian identity through contemporary art. She believes historical discourses of Native Americans have constructed a limited and inconsistent visual archive that currently misrepresents our past experiences and misinforms current expectations. She excavates hidden histories, and dominant narratives to deconstruct them through a theoretical framework of auto-ethnography. Her goal is to move “Indian” outside of governing discourses in order to rebuild a new visual genealogy that refuses to line-up with the many constructed existences of Native Americans.
Because auto-ethnography refers to the self, Natalie's location as a descendent of African slaves, an English US soldier, and a great great granddaughter of Kientpaush, also known as Captain Jack who led Modoc resistance during the Modoc War of 1872 informs her work. Within the thematic focus of her work and her descendancy, it is here where her artistic approach and interest lies. Her work is always in discussion with racial narratives critical to understanding both the self and the nation and necessarily, our shared experiences and histories.
July: Chloë Bass is a conceptual artist working in performance, situation, publication, and installation. Chloë has received commissions from Elsewhere, LUMEN, the Culture Project’s Women Center Stage Festival, the Bushwick Starr’s Bushwhack Festival, and 3rd Ward’s Moviehouse. She has received residencies from SPACES (Cleveland, OH), the Bemis Center (Omaha, Nebraska), D21 Kunstraum/5533 art space (Leipzig, Germany and Istanbul, Turkey), and Eyebeam (New York). Recent work has been seen at the James Galler, the Neuberger Museum, Momenta Art, Künstlerhaus Stuttgart, Flux Factory, Kunstkammer AZB (Zürich), and Akademie Schloss Solitude (Stuttgart), among others. Selected profiles of her work have appeared in BOMB, Entorno, ArtInfo, Art Observed, and Hyperallergic. She is a 2016 Workspace Resident at Lower Manhattan Cultural Council, and a 2016 Spillways Residency Fellow at Antenna (New Orleans). She was also the recipient of the 2014 Create Change Residency from the Laundromat Project, the 2013 Fellowship for Utopian Practice from Culture Push and is a 2011 & 2012 Rema Hort Mann Foundation Individual Artist Grant Nominee. She has guest lectured at Parsons School of Design, Sotheby’s Institute, the Polytechnic University of Puerto Rico, and Brooklyn College CUNY. She holds a BA in Theater Studies from Yale University, and an MFA in Performance and Interactive Media Arts (PIMA) from Brooklyn College. She is a Visiting Assistant Professor in Art at Queens College CUNY.
Arts.Black is a journal of art criticism from Black perspectives predicated on the belief that art criticism should be an accessible dialogue - a tool through which we question, celebrate, and talk back to the global world of contemporary art. The journal is edited by Taylor Renee and Jessica Lynne.
Taylor Renee is a Detroit based writer and cultural enthusiast. She is a recent graduate of Harvard University’s Museum Studies Masters program and she received her BA in Art History from Howard University. Taylor has been awarded with the Goldman Sachs Junior Fellowship at The National Museum of American History (NMAH), and she currently works as an arts administrator in her hometown of Detroit. She is on Twitter @Taylorraldridg and Instagram @TaylorRAldridge.
Jessica Lynne is a Brooklyn based writer and arts administrator. She received her BA in Africana Studies from NYU. She has been awarded residencies and fellowships from The Sarah Lawrence College Summer Writers Seminar, Callaloo, and The Center for Book Arts. Jessica has contributed to publications such as Art in America, The Art Newspaper, The Brooklyn Rail, Hyperallergic, and Pelican Bomb. She's on twitter and Instagram at @lynne_bias
October: Nightmare City
NIGHTMARE CITY IS/WAS/WILL BE a project that IS/WAS/WILL BE renowned for video art and installation works such as Daisies Welcome to Art School and The Pixie Troll Witch Hour: Into the 3AM Void with Carol Anne & Keturah.
NIGHTMARE CITY is a "Berlin and Los Angeles-based" project and has exhibited videos, installation, performance, whatever at spaces including Queens Nail Projects in San Francisco, State of the Art in Berlin, and Vox Populi in Philadelphia. Each Nightmare received an MFA from California College of the Arts in 2006 and attended Skowhegan in 2011.
October-November: Nicolas Greiner (b. 1982) received his BFA from Concordia University in 2004 and his MFA from the California Institute of the Arts in 2010. His work has been exhibited regularly in Canada, in the US and in Europe. He lives and works in Los Angeles and Montreal, and is represented by galerie Luis De Jesus Los Angeles. Recent exhibitions include: Vertically Integrated Socialism (Brugge Triennale 2015, Belgium), Promised Land Template (Biennale de Montréal, Musée d’art contemporain de Montréal, and Commonwealth and Council, Los Angeles), One Day Mismatched Anthems Will be Shouted in Tune (Luis de Jesus Los Angeles), Assorted Templates (Art Mûr, Montréal), The Work of The Work (University of California, Santa Barbara), Building on Ruins (Cirrus Gallery, Los Angeles), Marginal Revolutions (KUAD Gallery, Istanbul), Color Consciousness (Torrance Art Museum), Untitled Tower/Brutalist Treehouse (Concord, Los Angeles), and Corner-Thru (Choi&Lager Gallery, Cologne, and Union gallery, London. His work figures in the Loto-Québec collection, the Musée Nationale des Beaux-Arts du Québec (CPOA collection), as well as corporate and private collections.