Name: Second Sundays: July 2017
Start: 2017-07-09
End: 2017-07-09
Location: Pioneer Works

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Second Sundays

&nbsp;
Food and Beverage by Morocho, The Grasshopper Brooklyn, Pintail Coffee and PW Bar.

July '17

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

Pioneer Works is pleased to present Grand Ole Opera, a large-scale installation by Tennessee-born artists Willie Stewart and Brent Stewart. Raised by a strong matriarchy, Willie was born into a motorcycle club where all his male influences were indefinitely incarcerated. Brent was raised in a strict Christian household and is a filmmaker. They met in a bar years ago and connected over a shared interest in cinematic space—equal parts B-movies and home video memories. This exhibition, their institutional debut in the United States, also serves as a venue for a related series of noise, metal and rock concerts, staged within a revival tent.

The exhibition takes its title from Nashville’s Grand Ole Opry, which was originally a Southern swipe at the respectable Northern Opera house. Over the years, the Opry has had its rebels; country music star Bob Wills appalled purists when he insisted on performing his set with drums, which marked an iconoclastic break with tradition and threatened the hallowed “Home of American Music”; Johnny Cash broke all the lights on stage with a microphone stand.

Inspired by these musical transgressions, Grand Ole Opera also references the insights of Dan Graham’s video essay Rock My Religion (1982-84), in which Graham linked ecstatic spectacles of contemporary rock concerts with the Shakers’ trance-dance exorcisms. Grand Ole Opera argues that a symbiotic relationship exists between dogma and the seething subcultures that traditionalists decry as corrupt and uncivilized.

Within the exhibition, cinematic tableaus reveal a truck tuned to AM radio; bizarre trailer-homes containing surreal sculptural landscapes; a perpetually-burning sun projected under a revival tent, which doubles as a stage; a nomadic biker bar built by Jason Grunwald and Greg Minnig of the Deth Killers of Bushwick; and Romulus and Remus, who nursed at a wolf’s breast and founded ancient Rome, found in a bar-fight.

Together the Stewarts conjure their own personal story that is both violent and sublime, defined less by prescribed decorum but is rather constantly mutating through a simultaneous appropriation and dissemination of culture. Objects and movements resonate with a peculiar tone and timbre: a U.S. toy soldier manufactured in China for children abroad, who may later kill or be killed; relief agencies making air-drops in Haiti of Guns N’ Roses T-shirts supplied by a sweatshop in Manila; psychics selling fantasies roadside or on TV; millions of bottles of Coca-Cola floating in the trash gyre of the Pacific Northwest.

The soundtrack of this America is doom and sludge metal, Japanese noise music, rock, and psychedelic punk.

Grand Ole Opera contains explicit content and may not be suitable for children. 
<div id="programs" style="padding-top: 8rem">
<h2>Grand Ole Opera Concert Series</h2>
June 11: <a href="http://pioneerworks.org/programs/second-sundays-june-2017/">Deradoorian at Second Sundays</a>
June 23: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-lightning-bolt-kill-alters-twig-harper/">Lightning Bolt with Kill Alters and Twig Harper</a>
June 24: <a href="http://pioneerworks.org/programs/black-pus-burning-star-core-eartheater/">Black Pus with Burning Star Core and Eartheater</a>
July 7: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-wolf-eyes-jackie-lynn-dreamcrusher/">Wolf Eyes with Jackie Lynn of Circuit des Yeux and Dreamcrusher</a>
July 9: <a href="http://pioneerworks.org/programs/second-sundays-july-2017/">Unlocking the Truth at Second Sundays </a>
July 14: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-sleep/">Sleep</a>
July 15: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-sleep-2/">Sleep</a>
July 19: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-fushitsusha/">Fushitsusha</a>
July 20: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-fushitsusha-2/">Fushitsusha</a>
July 21: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-hank-wood-and-the-hammerheads-suicide-slide/">Hank Wood and the Hammerheads with Show Me the Body, </a><a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-hank-wood-and-the-hammerheads-suicide-slide/">Surfbort, </a><a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-hank-wood-and-the-hammerheads-suicide-slide/">and Suicide Slide</a>
July 28: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-bob-bellerue-pedestrian-deposit-puce-mary/">Puce Mary with Pedestrian Deposit and Bob Bellerue</a>
July 29: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-a-place-to-bury-strangers-author-punisher-moor-mother-uniform/">A Place to Bury Strangers, Moor Mother, Uniform, and Author &amp; Punisher</a>

&nbsp;

Special thanks to

Curatorial Assistant
 Vivian Chui

Technical Direction
 James Clark
 Justin Frye

Design
 Daniel Kent
 Allyn Hughes
 Will Rhodes

Chief Installers
 Julian Townley
 Jason Grunwald

Music Programming
 Greg Fox
 Marco Orozco

Lighting Design
Joel Fitzpatrick

Electrical
 Daniel Thompson

Install Crew &amp; Support
Federico Escalante
Akeem McDermitt
Michael Kelly
John McGill
Carlos Perez
Vincent Sicilio
Walker Waugh

</div>

Stewart &amp; Stewart: Grand Ole Opera

Pioneer Works is pleased to present Mollie McKinley’s Salt Priestess, the artist’s first institutional solo exhibition in the United States. Comprised of photographs and salt and glass sculptures, the exhibition presents alchemical transmutations as a feminist clarion call, one in which female archetypes—situated in and around supernatural landscapes—hover in a strange, symbolic space of ritual and unknowable, primal drama.

Made with a wooden 4x5 camera, McKinley’s photographic tableaux typically portray “priestesses” inhabiting surreal American landscapes, such as desert dunes, abandoned parking lots, glacial lakes, and weathered wood cabins. Sometimes these settings stand in for themselves, as places of ritualized regeneration and resilience. At other times these locales become cinematic backdrops for the artist’s heroines, who are equal parts Barbarella and The Crucible, part playful camp fantasy and dark, puritanical allegory. Wearing ceremonial wigs, bathrobes, fur scraps, rags, and fishing nets, they present offerings of pineapples, snakeskins, and other objects to the mystic forces of nature. Relationships between the femme body and the inherent vacuity of capitalist objects are activated.

The salt sculptures—or monoliths, as McKinley calls them—symbolize time, existential phenomenology, and nature’s processes on physical material. They’re deconstructed from fifty-pound salt licks used for livestock supplements. Rigid and compact in their factory state, McKinley uses a hammer and chisel to geometrically work away at the salt in patterns before further eroding them with pressurized water. This erosion process is violent and intense. The finished works allude to textures of weathered stone canyons in the American West, of exaggerated bone marrow, and of glacial surfaces. If the photographs represent these natural forces, McKinley’s salt monoliths dramatically actuate them, in bodily form. Taken together, Salt Priestess twins this bodily preoccupation with the natural landscape; one functions as foil for the other.

Mollie McKinley studied photography at Bard College. Her work has also been shown at Ethan Cohen Fine Arts; Field Projects, New York; Los Angeles Contemporary Exhibitions; Anthology Film Archives; the MoMA Pop Rally; the New York Art Book Fair at MoMA PS1 presented by Independent Curators International and Limited Time Only; four Brucennials; the Index Art Center, Newark; the Wassaic Project Exhibition; SPRING/BREAK Art Show curated by Natalie Kovacs; Anna Kustera Gallery curated by Natalie Kovacs; Dimensions Variable Gallery, Miami; the Art Director's Club of New York; the Humble Arts Foundation; the Fringe Arts Festival in Philadelphia; One Mile Gallery, Kingston; KUBE, Beacon, NY; Matteawan Gallery, Beacon, NY; the Samuel Dorsky Museum of Art, New Paltz, and a host of others.

Mollie McKinley: Salt Priestess

Using remnants bequeathed by The Metropolitan Museum of Art, Jean Shin’s MetaCloud explores the fragility of institutional memory when faced with the transition from analog to digital imagery. As of only one or two generations ago, the art world predominately used 35mm slides to document artwork and exhibitions, filling countless carousels, projectors, and cabinets in a desire to archive and disseminate the history of art. Today’s ubiquitous and low cost digital imaging, however, has motivated major cultural institutions to digitize their slide libraries, consequently rendering vast collections obsolete. Shin has strung together thousands of individual slides into a large-scale installation intended to reconstruct the systems of categories, hierarchies, and chronologies that once contextualized these archives. The installation will also include slide projectors showing selected images from these archives. 

The title MetaCloud references meteorology, wherein the term ‘cloud’ suggests a visible mass of minute particles captured in the atmosphere. Similarly, the installation hovers over the gallery space, presenting thousands of finite units that paradoxically represent an ephemeral form. Analogous to the so-called online ‘cloud’ of digital storage, MetaCloud insists upon the physical objecthood and order that were inherent to slide libraries. Shin invites viewers to contemplate the inner worlds within each frame, and to consider the loss of context and resolution brought forth by the reduction of materials to data bits. 

In addition to the Met’s collection, Shin will be requesting donations from the artist’s own community to create a new archive of 35mm contemporary art slides at Pioneer Books (289 Van Brunt Street in Red Hook) and Cristin Tierney Gallery (540 W 28th Street in Chelsea). Shin’s personal collection of slides, dated from the 1990s through early 2000s, will also be included in the exhibition’s programming. By creating a new body of contemporary art slides, which notably contrasts with the Met’s institutional records, MetaCloud maps and makes visible a community of professional artists that is more inclusive of gender, ethnicity, and generation. 
MetaCloud is a satellite exhibition of Materials for the Arts' exhibition Institutional Memory: 35mm Slides from the Met's Collection organized by Hallie Bahn and Omar Olivera of Materials for the Arts and Marco Castro Cosio formerly of the Met Media Lab. With additional support by the Pratt Institute Faculty Development Fund.

Jean Shin: MetaCloud

Evelyn Donnelly is a New York and Seattle based artist whose work examines performance and social exchanges in institutions, casual contexts, and unauthorized spaces.  Her work investigates play in relation to formal, social, and technological structures. Donnelly constructs wearable works, sets, and soundscapes that contribute to collaborative performances. Her lectures are instances of repetition and spontaneous word plays. Donnelly received a BA from Bard College and an MFA from the University of California, San Diego. Donnelly has acted as an agent of The Bureau for the Future of Choreography since its inception in 2011. She is the recipient of numerous grants and fellowships including a 2014 residency at the Lower Manhattan Cultural Council Process Space, and a 2014 Dinning &amp; Main Fellowship, Confuse the Cat, Banff Center for the Arts.

Evelyn Donnelly

Jes Fan is a Brooklyn based artist from Hong Kong, China. Fan's trans-disciplinary practice is based on a material inquiry into otherness as it relates to identity politics. They received a BFA in Glass from Rhode Island School of Design. They are the recipient of various fellowships and residencies, such as the Edward and Sally Van Lier Fellowship at Museum of Arts and Design, CCGA Fellowship at Wheaton Arts, and John A. Chironna Memorial Award at RISD. Fan has exhibited in the United States and internationally. Selected exhibitions include Whereabouts at Glazenhuis Museum (Belgium), Material Location at Agnes Varis Gallery (New York), Ot(her) at Brown University’s Sarah Doyle Gallery (Providence), and Remembering Something without a Name, Chrysler Museum of Art (Virginia). Fan's solo show, "No Clearance in Niche" opens at MAD's project space in March.

Jes Fan

Working across multiple mediums, materials, and photography, Brooklyn-based artist Tahir Karmali’s interests lie in manipulating materials that perpetuate colonialism. He draws from his own experiences as a well-traveled Kenyan citizen to structure narratives around migratory identity. Karmali received his Masters of Digital Photography from the School of Visual Arts, New York. Selected exhibitions include “Jua Kali,” a part of “Making Africa,” High Museum of Art, Atlanta (2017), Kunsthal Rotterdam, Netherlands (2016), and Guggenheim, Bilbao, Spain (2015), among other venues; “My Collection,” MoCADA, Brooklyn (2017); and “PAPER:Work,” Art Africa Fair, Cape Town, and Pioneer Works, Brooklyn, both 2017.

Tahir Carl Karmali

Kenya (Robinson) is a community-taught artist from Gainesville, FL. A past resident of the Lower Manhattan Cultural Council’s WorkSpace Program, the Bemis Center for Contemporary Art and the Triangle Arts Foundation, she begins her residency at Pioneer Works in May 2017. A member of the 2014 class for the Skowhegan School for Painting and Sculpture, she currently hosts #ST4NKLOV3, a live stream radio show produced by Clocktower Productions. In addition, her sculptural work has been exhibited at the Museum of Contemporary African Diasporan Arts, the Brooklyn Academy of Music and the 60 Wall Street Gallery of Deutsche Bank. Her sculpture, Commemorative Headdress of Her Journey Beyond Heaven, was acquired by the Smithsonian National Museum of African American History and Culture for their permanent collection in 2014. She has presented performance work at Sid Gold’s Request Room; MoMA PS1; JACK; The Kitchen; Thomas Hunter Project Space; The Museum of Modern Art. And, in 2011, her durational project, The Inflatable Mattress, was featured in the Home Section of The New York Times. (Robinson) has been a contributor to The Huffington Post and Intercourse Magazine. Most recently, she was included in the October/November 2016 issue of Modern Painters with her essay, “The Fate of Excellence”, and was the inaugural resident for Recess Arts’ online residency ANALOG. An iteration of her Creative Capital funded project, CHEEKY LaSHAE: Karaoke Universal, will be included in the Out of Line Series for the High Line during the Summer of 2017.

Kenya (Robinson)

Founded by artists Jill Pangallo and Alex P White, SKOTE is a performance collaboration dedicated to the movement arts, and the politic of otherness. SKOTE are directors, choreographers, designers and performers. Their work is a hybrid of dance for camera and video installation with a distinct style rooted in the queer history of camp, mime, clowns and 70’s pedestrian movement practices. SKOTE believes speaking through an/other's voice is the contemporary condition and that we are all media constructions - recorded, reordered, coded and decoded, duplicated ad nauseam - a type of decay they appreciate and study. Based in New York City, SKOTE has performed, shown and screened internationally in galleries, nightclubs, public spaces and theaters since 2006. SKOTE most recently performed at Socrates Sculpture Park, Judson Church with Movement Research, Bodega Gallery, Participant Inc., and La MaMaGalleria. And solo shows at Regina Rex, Brooklyn; and Night Gallery, Los Angeles. Their video work has been screened at the MIX NYC film festival, Vox Populi, NoMinino, Ecuador; and The Israeli Center for Digital Art, Holon.

SKOTE (Jill Pangallo & Alex P. White)

Pascual Sisto is an artist and filmmaker currently based in New York. Sisto’s work primarily focuses on video installation and sculpture. Sisto is the recipient of a BFA from the Art Center College of Design, Pasadena, California, and an MFA from the University of California Los Angeles. Sisto also attended the Skowhegan School of Painting and Sculpture in 2011. Sisto is the recipient of the 2012 California Community Foundation Emerging Artist Fellowship and a 2011 ARC Durfee Foundation grant. Recent exhibitions include 5 Car Garage (Los Angeles), Brand New Gallery (Milan), Smart Objects (Los Angeles), China Art Objects (Los Angeles) and Favorite Goods (Los Angeles).

Pascual Sisto

Comprised of a couple of Brooklyn pre-teen musical prodigies —Brickhouse and Jarad Dawkins, who both roped in their friend Alec Atkins a little later on — they were initially inspired by music they heard on shows like WWE Smackdown.

Unlocking The Truth

Artists-in-residence, SKOTE, host a costume giveaway, styling shop, and photobooth. No modeling experience or talent required, only open hearts and minds. In the case of inclement weather, this event will take place in the artists’ second floor studio.

Bizarre | Bazaar

Cool down in the Tech Lab by exploring the theme of water through machine learning, implantable RFID chips, and Mixed Reality installations.

Wet-Ware

Learn to silk screen as the Design Lab creates posters for the Grand Ole Opera exhibition.

Live Silk Screening Demo

Solar and Star Gazing: Amateur Astronomers Association

Current music residents Wolf Eyes will be recording in the music studio.

Wolf Eyes in Music Studio

SKOTE

Amateur Astronomy Association of New York

ss_july_gif_WEB

, a large-scale installation by Tennessee-born artists Willie Stewart and Brent Stewart. Raised by a strong matriarchy, Willie was born into a motorcycle club where all his male influences were indefinitely incarcerated. Brent was raised in a strict Christian household and is a filmmaker. They met in a bar years ago and connected over a shared interest in cinematic space—equal parts B-movies and home video memories. This exhibition, their institutional debut in the United States, also serves as a venue for a related series of noise, metal and rock concerts, staged within a revival tent.

The exhibition takes its title from Nashville’s Grand Ole Opry, which was originally a Southern swipe at the respectable Northern Opera house. Over the years, the Opry has had its rebels; country music star Bob Wills appalled purists when he insisted on performing his set with drums, which marked an iconoclastic break with tradition and threatened the hallowed “Home of American Music”; Johnny Cash broke all the lights on stage with a microphone stand.

Inspired by these musical transgressions, 

 also references the insights of Dan Graham’s video essay 

 (1982-84), in which Graham linked ecstatic spectacles of contemporary rock concerts with the Shakers’ trance-dance exorcisms. 

 argues that a symbiotic relationship exists between dogma and the seething subcultures that traditionalists decry as corrupt and uncivilized.

Within the exhibition, cinematic tableaus reveal a truck tuned to AM radio; bizarre trailer-homes containing surreal sculptural landscapes; a perpetually-burning sun projected under a revival tent, which doubles as a stage; a nomadic biker bar built by Jason Grunwald and Greg Minnig of the Deth Killers of Bushwick; and Romulus and Remus, who nursed at a wolf’s breast and founded ancient Rome, found in a bar-fight.

Together the Stewarts conjure their own personal story that is both violent and sublime, defined less by prescribed decorum but is rather constantly mutating through a simultaneous appropriation and dissemination of culture. Objects and movements resonate with a peculiar tone and timbre: a U.S. toy soldier manufactured in China for children abroad, who may later kill or be killed; relief agencies making air-drops in Haiti of Guns N’ Roses T-shirts supplied by a sweatshop in Manila; psychics selling fantasies roadside or on TV; millions of bottles of Coca-Cola floating in the trash gyre of the Pacific Northwest.

The soundtrack of this America is doom and sludge metal, Japanese noise music, rock, and psychedelic punk.

Grand Ole Opera contains explicit content and may not be suitable for children.

Lightning Bolt with Kill Alters and Twig Harper

Black Pus with Burning Star Core and Eartheater

Wolf Eyes with Jackie Lynn of Circuit des Yeux and Dreamcrusher

Hank Wood and the Hammerheads with Show Me the Body, 

Puce Mary with Pedestrian Deposit and Bob Bellerue

A Place to Bury Strangers, Moor Mother, Uniform, and Author & Punisher

Grand Ole Opera

Pioneer Works is pleased to present Grand Ole Opera, a large-scale installation by Tennessee-born artists Willie Stewart and Brent Stewart. Raised by a strong matriarchy, Willie was born into a motorcycle club where all his male influences were indefinitely incarcerated. Brent was raised in a strict Christian household and is a filmmaker. They met in a bar years ago and connected over a shared interest in cinematic space—equal parts B-movies and home video memories. This exhibition, their institutional debut in the United States, also serves as a venue for a related series of noise, metal and rock concerts, staged within a revival tent.
The exhibition takes its title from Nashville’s Grand Ole Opry, which was originally a Southern swipe at the respectable Northern Opera house. Over the years, the Opry has had its rebels; country music star Bob Wills appalled purists when he insisted on performing his set with drums, which marked an iconoclastic break with tradition and threatened the hallowed “Home of American Music”; Johnny Cash broke all the lights on stage with a microphone stand.
Inspired by these musical transgressions, Grand Ole Opera also references the insights of Dan Graham’s video essay Rock My Religion (1982-84), in which Graham linked ecstatic spectacles of contemporary rock concerts with the Shakers’ trance-dance exorcisms. Grand Ole Opera argues that a symbiotic relationship exists between dogma and the seething subcultures that traditionalists decry as corrupt and uncivilized.
Within the exhibition, cinematic tableaus reveal a truck tuned to AM radio; bizarre trailer-homes containing surreal sculptural landscapes; a perpetually-burning sun projected under a revival tent, which doubles as a stage; a nomadic biker bar built by Jason Grunwald and Greg Minnig of the Deth Killers of Bushwick; and Romulus and Remus, who nursed at a wolf’s breast and founded ancient Rome, found in a bar-fight.
Together the Stewarts conjure their own personal story that is both violent and sublime, defined less by prescribed decorum but is rather constantly mutating through a simultaneous appropriation and dissemination of culture. Objects and movements resonate with a peculiar tone and timbre: a U.S. toy soldier manufactured in China for children abroad, who may later kill or be killed; relief agencies making air-drops in Haiti of Guns N’ Roses T-shirts supplied by a sweatshop in Manila; psychics selling fantasies roadside or on TV; millions of bottles of Coca-Cola floating in the trash gyre of the Pacific Northwest.
The soundtrack of this America is doom and sludge metal, Japanese noise music, rock, and psychedelic punk.
Grand Ole Opera contains explicit content and may not be suitable for children. 
<div id="programs" style="padding-top: 8rem">
<h2>Grand Ole Opera Concert Series</h2>
June 11: <a href="http://pioneerworks.org/programs/second-sundays-june-2017/">Deradoorian at Second Sundays</a> 
June 23: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-lightning-bolt-kill-alters-twig-harper/">Lightning Bolt with Kill Alters and Twig Harper</a> 
June 24: <a href="http://pioneerworks.org/programs/black-pus-burning-star-core-eartheater/">Black Pus with Burning Star Core and Eartheater</a> 
July 7: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-wolf-eyes-jackie-lynn-dreamcrusher/">Wolf Eyes with Jackie Lynn of Circuit des Yeux and Dreamcrusher</a> 
July 9: <a href="http://pioneerworks.org/programs/second-sundays-july-2017/">Unlocking the Truth at Second Sundays </a> 
July 14: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-sleep/">Sleep</a> 
July 15: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-sleep-2/">Sleep</a> 
July 19: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-fushitsusha/">Fushitsusha</a> 
July 20: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-fushitsusha-2/">Fushitsusha</a> 
July 21: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-hank-wood-and-the-hammerheads-suicide-slide/">Hank Wood and the Hammerheads with Show Me the Body, </a><a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-hank-wood-and-the-hammerheads-suicide-slide/">Surfbort, </a><a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-hank-wood-and-the-hammerheads-suicide-slide/">and Suicide Slide</a> 
July 28: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-bob-bellerue-pedestrian-deposit-puce-mary/">Puce Mary with Pedestrian Deposit and Bob Bellerue</a> 
July 29: <a href="http://pioneerworks.org/programs/grand-ole-opera-concert-series-a-place-to-bury-strangers-author-punisher-moor-mother-uniform/">A Place to Bury Strangers, Moor Mother, Uniform, and Author &amp; Punisher</a>
&nbsp;
Special thanks to
Curatorial Assistant 
 Vivian Chui
Technical Direction 
 James Clark 
 Justin Frye
Design 
 Daniel Kent 
 Allyn Hughes 
 Will Rhodes
Chief Installers 
 Julian Townley 
 Jason Grunwald
Music Programming 
 Greg Fox 
 Marco Orozco
Lighting Design 
Joel Fitzpatrick
Electrical 
 Daniel Thompson
Install Crew &amp; Support 
Federico Escalante 
Akeem McDermitt 
Michael Kelly 
John McGill 
Carlos Perez 
Vincent Sicilio 
Walker Waugh
</div>

170608_PW_Stewart_Press_006

Pioneer Works is pleased to present Mollie McKinley’s 

, the artist’s first institutional solo exhibition in the United States. Comprised of photographs and salt and glass sculptures, the exhibition presents alchemical transmutations as a feminist clarion call, one in which female archetypes—situated in and around supernatural landscapes—hover in a strange, symbolic space of ritual and unknowable, primal drama.

Made with a wooden 4×5 camera, McKinley’s photographic tableaux typically portray “priestesses” inhabiting surreal American landscapes, such as desert dunes, abandoned parking lots, glacial lakes, and weathered wood cabins. Sometimes these settings stand in for themselves, as places of ritualized regeneration and resilience. At other times these locales become cinematic backdrops for the artist’s heroines, who are equal parts 

, part playful camp fantasy and dark, puritanical allegory. Wearing ceremonial wigs, bathrobes, fur scraps, rags, and fishing nets, they present offerings of pineapples, snakeskins, and other objects to the mystic forces of nature. Relationships between the femme body and the inherent vacuity of capitalist objects are activated.

The salt sculptures—or monoliths, as McKinley calls them—symbolize time, existential phenomenology, and nature’s processes on physical material. They’re deconstructed from fifty-pound salt licks used for livestock supplements. Rigid and compact in their factory state, McKinley uses a hammer and chisel to geometrically work away at the salt in patterns before further eroding them with pressurized water. This erosion process is violent and intense. The finished works allude to textures of weathered stone canyons in the American West, of exaggerated bone marrow, and of glacial surfaces. If the photographs represent these natural forces, McKinley’s salt monoliths dramatically actuate them, in bodily form. Taken together, 

 twins this bodily preoccupation with the natural landscape; one functions as foil for the other.

 studied photography at Bard College. Her work has also been shown at Ethan Cohen Fine Arts; Field Projects, New York; Los Angeles Contemporary Exhibitions; Anthology Film Archives; the MoMA Pop Rally; the New York Art Book Fair at MoMA PS1 presented by Independent Curators International and Limited Time Only; four Brucennials; the Index Art Center, Newark; the Wassaic Project Exhibition; SPRING/BREAK Art Show curated by Natalie Kovacs; Anna Kustera Gallery curated by Natalie Kovacs; Dimensions Variable Gallery, Miami; the Art Director’s Club of New York; the Humble Arts Foundation; the Fringe Arts Festival in Philadelphia; One Mile Gallery, Kingston; KUBE, Beacon, NY; Matteawan Gallery, Beacon, NY; the Samuel Dorsky Museum of Art, New Paltz, and a host of others.

Salt Priestess

Pioneer Works is pleased to present Mollie McKinley’s Salt Priestess, the artist’s first institutional solo exhibition in the United States. Comprised of photographs and salt and glass sculptures, the exhibition presents alchemical transmutations as a feminist clarion call, one in which female archetypes—situated in and around supernatural landscapes—hover in a strange, symbolic space of ritual and unknowable, primal drama.
Made with a wooden 4&#215;5 camera, McKinley’s photographic tableaux typically portray “priestesses” inhabiting surreal American landscapes, such as desert dunes, abandoned parking lots, glacial lakes, and weathered wood cabins. Sometimes these settings stand in for themselves, as places of ritualized regeneration and resilience. At other times these locales become cinematic backdrops for the artist’s heroines, who are equal parts Barbarella and The Crucible, part playful camp fantasy and dark, puritanical allegory. Wearing ceremonial wigs, bathrobes, fur scraps, rags, and fishing nets, they present offerings of pineapples, snakeskins, and other objects to the mystic forces of nature. Relationships between the femme body and the inherent vacuity of capitalist objects are activated.
The salt sculptures—or monoliths, as McKinley calls them—symbolize time, existential phenomenology, and nature’s processes on physical material. They’re deconstructed from fifty-pound salt licks used for livestock supplements. Rigid and compact in their factory state, McKinley uses a hammer and chisel to geometrically work away at the salt in patterns before further eroding them with pressurized water. This erosion process is violent and intense. The finished works allude to textures of weathered stone canyons in the American West, of exaggerated bone marrow, and of glacial surfaces. If the photographs represent these natural forces, McKinley’s salt monoliths dramatically actuate them, in bodily form. Taken together, Salt Priestess twins this bodily preoccupation with the natural landscape; one functions as foil for the other.
Mollie McKinley studied photography at Bard College. Her work has also been shown at Ethan Cohen Fine Arts; Field Projects, New York; Los Angeles Contemporary Exhibitions; Anthology Film Archives; the MoMA Pop Rally; the New York Art Book Fair at MoMA PS1 presented by Independent Curators International and Limited Time Only; four Brucennials; the Index Art Center, Newark; the Wassaic Project Exhibition; SPRING/BREAK Art Show curated by Natalie Kovacs; Anna Kustera Gallery curated by Natalie Kovacs; Dimensions Variable Gallery, Miami; the Art Director&#8217;s Club of New York; the Humble Arts Foundation; the Fringe Arts Festival in Philadelphia; One Mile Gallery, Kingston; KUBE, Beacon, NY; Matteawan Gallery, Beacon, NY; the Samuel Dorsky Museum of Art, New Paltz, and a host of others.

Mollie McKinley

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Using remnants bequeathed by The Metropolitan Museum of Art, Jean Shin’s 

 explores the fragility of institutional memory when faced with the transition from analog to digital imagery. As of only one or two generations ago, the art world predominately used 35mm slides to document artwork and exhibitions, filling countless carousels, projectors, and cabinets in a desire to archive and disseminate the history of art. Today’s ubiquitous and low cost digital imaging, however, has motivated major cultural institutions to digitize their slide libraries, consequently rendering vast collections obsolete. Shin has strung together thousands of individual slides into a large-scale installation intended to reconstruct the systems of categories, hierarchies, and chronologies that once contextualized these archives. The installation will also include slide projectors showing selected images from these archives.

 references meteorology, wherein the term ‘cloud’ suggests a visible mass of minute particles captured in the atmosphere. Similarly, the installation hovers over the gallery space, presenting thousands of finite units that paradoxically represent an ephemeral form. Analogous to the so-called online ‘cloud’ of digital storage, 

 insists upon the physical objecthood and order that were inherent to slide libraries. Shin invites viewers to contemplate the inner worlds within each frame, and to consider the loss of context and resolution brought forth by the reduction of materials to data bits.

In addition to the Met’s collection, Shin will be requesting donations from the artist’s own community to create a new archive of 35mm contemporary art slides at Pioneer Books (289 Van Brunt Street in Red Hook) and Cristin Tierney Gallery (540 W 28th Street in Chelsea). Shin’s personal collection of slides, dated from the 1990s through early 2000s, will also be included in the exhibition’s programming. By creating a new body of contemporary art slides, which notably contrasts with the Met’s institutional records, 

 maps and makes visible a community of professional artists that is more inclusive of gender, ethnicity, and generation.

 is a satellite exhibition of Materials for the Arts’ exhibition 

Institutional Memory: 35mm Slides from the Met’s Collection

 organized by Hallie Bahn and Omar Olivera of Materials for the Arts and Marco Castro Cosio formerly of the Met Media Lab. With additional support by the Pratt Institute Faculty Development Fund.

MetaCloud

Using remnants bequeathed by The Metropolitan Museum of Art, Jean Shin’s MetaCloud explores the fragility of institutional memory when faced with the transition from analog to digital imagery. As of only one or two generations ago, the art world predominately used 35mm slides to document artwork and exhibitions, filling countless carousels, projectors, and cabinets in a desire to archive and disseminate the history of art. Today’s ubiquitous and low cost digital imaging, however, has motivated major cultural institutions to digitize their slide libraries, consequently rendering vast collections obsolete. Shin has strung together thousands of individual slides into a large-scale installation intended to reconstruct the systems of categories, hierarchies, and chronologies that once contextualized these archives. The installation will also include slide projectors showing selected images from these archives. 
The title MetaCloud references meteorology, wherein the term ‘cloud’ suggests a visible mass of minute particles captured in the atmosphere. Similarly, the installation hovers over the gallery space, presenting thousands of finite units that paradoxically represent an ephemeral form. Analogous to the so-called online ‘cloud’ of digital storage, MetaCloud insists upon the physical objecthood and order that were inherent to slide libraries. Shin invites viewers to contemplate the inner worlds within each frame, and to consider the loss of context and resolution brought forth by the reduction of materials to data bits. 
In addition to the Met’s collection, Shin will be requesting donations from the artist’s own community to create a new archive of 35mm contemporary art slides at Pioneer Books (289 Van Brunt Street in Red Hook) and Cristin Tierney Gallery (540 W 28th Street in Chelsea). Shin’s personal collection of slides, dated from the 1990s through early 2000s, will also be included in the exhibition’s programming. By creating a new body of contemporary art slides, which notably contrasts with the Met’s institutional records, MetaCloud maps and makes visible a community of professional artists that is more inclusive of gender, ethnicity, and generation. 
MetaCloud is a satellite exhibition of Materials for the Arts&#8217; exhibition Institutional Memory: 35mm Slides from the Met&#8217;s Collection organized by Hallie Bahn and Omar Olivera of Materials for the Arts and Marco Castro Cosio formerly of the Met Media Lab. With additional support by the Pratt Institute Faculty Development Fund.

Jean Shin

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Pioneer Works is a platform for visual artists to exhibit and produce work in a wide variety of media and often within many disciplines at once. Through our residency, programs, exhibitions, classes, and publications, we support artists who are primarily young, marginal, or overlooked with a focus on experimentation and the production of new work.

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Evelyn Donnelly is a New York and Seattle based artist whose work examines performance and social exchanges in institutions, casual contexts, and unauthorized spaces. Her work investigates play in relation to formal, social, and technological structures. Donnelly constructs wearable works, sets, and soundscapes that contribute to collaborative performances. Her lectures are instances of repetition and spontaneous word plays. Donnelly received a BA from Bard College and an MFA from the University of California, San Diego. Donnelly has acted as an agent of The Bureau for the Future of Choreography since its inception in 2011. She is the recipient of numerous grants and fellowships including a 2014 residency at the Lower Manhattan Cultural Council Process Space, and a 2014 Dinning & Main Fellowship, Confuse the Cat, Banff Center for the Arts.

Evelyn Donnelly is a New York and Seattle based artist whose work examines performance and social exchanges in institutions, casual contexts, and unauthorized spaces.  Her work investigates play in relation to formal, social, and technological structures. Donnelly constructs wearable works, sets, and soundscapes that contribute to collaborative performances. Her lectures are instances of repetition and spontaneous word plays. Donnelly received a BA from Bard College and an MFA from the University of California, San Diego. Donnelly has acted as an agent of The Bureau for the Future of Choreography since its inception in 2011. She is the recipient of numerous grants and fellowships including a 2014 residency at the Lower Manhattan Cultural Council Process Space, and a 2014 Dinning &amp; Main Fellowship, Confuse the Cat, Banff Center for the Arts.

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Jes Fan is a Brooklyn based artist from Hong Kong, China. Fan’s trans-disciplinary practice is based on a material inquiry into otherness as it relates to identity politics. They received a BFA in Glass from Rhode Island School of Design. They are the recipient of various fellowships and residencies, such as the Edward and Sally Van Lier Fellowship at Museum of Arts and Design, CCGA Fellowship at Wheaton Arts, and John A. Chironna Memorial Award at RISD. Fan has exhibited in the United States and internationally. Selected exhibitions include Whereabouts at Glazenhuis Museum (Belgium), Material Location at Agnes Varis Gallery (New York), Ot(her) at Brown University’s Sarah Doyle Gallery (Providence), and Remembering Something without a Name, Chrysler Museum of Art (Virginia). Fan’s solo show, “No Clearance in Niche” opens at MAD’s project space in March.

Jes Fan is a Brooklyn based artist from Hong Kong, China. Fan&#8217;s trans-disciplinary practice is based on a material inquiry into otherness as it relates to identity politics. They received a BFA in Glass from Rhode Island School of Design. They are the recipient of various fellowships and residencies, such as the Edward and Sally Van Lier Fellowship at Museum of Arts and Design, CCGA Fellowship at Wheaton Arts, and John A. Chironna Memorial Award at RISD. Fan has exhibited in the United States and internationally. Selected exhibitions include Whereabouts at Glazenhuis Museum (Belgium), Material Location at Agnes Varis Gallery (New York), Ot(her) at Brown University’s Sarah Doyle Gallery (Providence), and Remembering Something without a Name, Chrysler Museum of Art (Virginia). Fan&#8217;s solo show, &#8220;No Clearance in Niche&#8221; opens at MAD&#8217;s project space in March.

<a href="http://www.jesfan.com/">Jes Fan</a> is a Brooklyn-based artist from Hong Kong, China. Fan’s trans-disciplinary practice is based on a material inquiry into otherness as it relates to identity politics. They received a BFA in Glass from Rhode Island School of Design. They are the recipient of various fellowships and residencies, such as the Edward and Sally Van Lier Fellowship at Museum of Arts and Design [MAD], CCGA Fellowship at Wheaton Arts, and John A. Chironna Memorial Award at RISD. Fan has exhibited in the United States and internationally. Selected exhibitions include No Clearance in Niche at MAD (New York), Whereabouts at Glazenhuis Museum (Belgium), Material Location at Agnes Varis Gallery (New York), Ot(her) at Brown University’s Sarah Doyle Gallery (Providence), and Remembering Something without a Name, Chrysler Museum of Art (Virginia).

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Working across multiple mediums, materials, and photography, Brooklyn-based artist Tahir Karmali’s interests lie in manipulating materials that perpetuate colonialism. He draws from his own experiences as a well-traveled Kenyan citizen to structure narratives around migratory identity. Karmali received his Masters of Digital Photography from the School of Visual Arts, New York. Selected exhibitions include “Jua Kali,” a part of “Making Africa,” High Museum of Art, Atlanta (2017), Kunsthal Rotterdam, Netherlands (2016), and Guggenheim, Bilbao, Spain (2015), among other venues; “My Collection,” MoCADA, Brooklyn (2017); and “PAPER:Work,” Art Africa Fair, Cape Town, and Pioneer Works, Brooklyn, both 2017.

Tahir Karmali

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Kenya (Robinson) is a community-taught artist from Gainesville, FL. A past resident of the Lower Manhattan Cultural Council’s WorkSpace Program, the Bemis Center for Contemporary Art and the Triangle Arts Foundation, she begins her residency at Pioneer Works in May 2017. A member of the 2014 class for the Skowhegan School for Painting and Sculpture, she currently hosts #ST4NKLOV3, a live stream radio show produced by Clocktower Productions. In addition, her sculptural work has been exhibited at the Museum of Contemporary African Diasporan Arts, the Brooklyn Academy of Music and the 60 Wall Street Gallery of Deutsche Bank. Her sculpture, Commemorative Headdress of Her Journey Beyond Heaven, was acquired by the Smithsonian National Museum of African American History and Culture for their permanent collection in 2014. She has presented performance work at Sid Gold’s Request Room; MoMA PS1; JACK; The Kitchen; Thomas Hunter Project Space; The Museum of Modern Art. And, in 2011, her durational project, The Inflatable Mattress, was featured in the Home Section of The New York Times. (Robinson) has been a contributor to The Huffington Post and Intercourse Magazine. Most recently, she was included in the October/November 2016 issue of Modern Painters with her essay, “The Fate of Excellence”, and was the inaugural resident for Recess Arts’ online residency ANALOG. An iteration of her Creative Capital funded project, CHEEKY LaSHAE: Karaoke Universal, will be included in the Out of Line Series for the High Line during the Summer of 2017.

Kenya (Robinson) is a community-taught artist from Gainesville, FL. An artist, international southerner, mischief maker and shit-starter, she was a resident of the Lower Manhattan Cultural Council’s WorkSpace Program (2009–10), the Bemis Center for Contemporary Art (2014) and the Triangle Arts Foundation in 2015. A member of the 2014 class for the Skowhegan School for Painting and Sculpture, she currently co-hosts #trashDAY, a livestream radio show produced by Clocktower Productions. In addition, her sculptural work has been exhibited at the Museum of Contemporary African Diasporan Arts, the Brooklyn Academy of Music and the 60 Wall Street Gallery of Deutsche Bank. Her sculpture, Commemorative Headdress of Her Journey Beyond Heaven, was acquired by the Smithsonian National Museum of African American History and Culture for their permanent collection in 2014. She has presented performance work at Sid Gold’s Request Room; MoMA PS1; JACK; The Kitchen; Thomas Hunter Project Space; The Museum of Modern Art. And, in 2011, her durational project, The Inflatable Mattress, was featured in the Home Section of The New York Times. (Robinson) has been a contributor to The Huffington Post and Intercourse Magazine. Most recently, she was included in the October/November 2016 issue of Modern Painters with her essay, “The Fate of Excellence”, and was the inaugural resident for Recess Arts’ online residency ANALOG. An iteration of her Creative Capital funded project, CHEEKY LaSHAE: Karaoke Universal, will be included in the Out of Line Series for the High Line during the Summer of 2017.

Kenya(Robinson)_Portrait

Founded by artists Jill Pangallo and Alex P White, SKOTE is a performance collaboration dedicated to the movement arts, and the politic of otherness. SKOTE are directors, choreographers, designers and performers. Their work is a hybrid of dance for camera and video installation with a distinct style rooted in the queer history of camp, mime, clowns and 70’s pedestrian movement practices. SKOTE believes speaking through an/other’s voice is the contemporary condition and that we are all media constructions – recorded, reordered, coded and decoded, duplicated ad nauseam – a type of decay they appreciate and study. Based in New York City, SKOTE has performed, shown and screened internationally in galleries, nightclubs, public spaces and theaters since 2006. SKOTE most recently performed at Socrates Sculpture Park, Judson Church with Movement Research, Bodega Gallery, Participant Inc., and La MaMaGalleria. And solo shows at Regina Rex, Brooklyn; and Night Gallery, Los Angeles. Their video work has been screened at the MIX NYC film festival, Vox Populi, NoMinino, Ecuador; and The Israeli Center for Digital Art, Holon.

Founded by artists Jill Pangallo and Alex P White, SKOTE is a performance collaboration dedicated to the movement arts, and the politic of otherness. SKOTE are directors, choreographers, designers and performers. Their work is a hybrid of dance for camera and video installation with a distinct style rooted in the queer history of camp, mime, clowns and 70’s pedestrian movement practices. SKOTE believes speaking through an/other&#8217;s voice is the contemporary condition and that we are all media constructions &#8211; recorded, reordered, coded and decoded, duplicated ad nauseam &#8211; a type of decay they appreciate and study. Based in New York City, SKOTE has performed, shown and screened internationally in galleries, nightclubs, public spaces and theaters since 2006. SKOTE most recently performed at Socrates Sculpture Park, Judson Church with Movement Research, Bodega Gallery, Participant Inc., and La MaMaGalleria. And solo shows at Regina Rex, Brooklyn; and Night Gallery, Los Angeles. Their video work has been screened at the MIX NYC film festival, Vox Populi, NoMinino, Ecuador; and The Israeli Center for Digital Art, Holon.

SKOTE (Jill Pangallo &#038; Alex P. White)

Pascual Sisto is an artist and filmmaker currently based in New York. Sisto’s work primarily focuses on video installation and sculpture. Sisto is the recipient of a BFA from the Art Center College of Design, Pasadena, California, and an MFA from the University of California Los Angeles. Sisto also attended the Skowhegan School of Painting and Sculpture in 2011. Sisto is the recipient of the 2012 California Community Foundation Emerging Artist Fellowship and a 2011 ARC Durfee Foundation grant. Recent exhibitions include 5 Car Garage (Los Angeles), Brand New Gallery (Milan), Smart Objects (Los Angeles), China Art Objects (Los Angeles) and Favorite Goods (Los Angeles).

Pascual Sisto is an artist and filmmaker currently based in New York. Sisto’s work primarily focuses on video installation and sculpture. Sisto is the recipient of a BFA from the Art Center College of Design, Pasadena, California, and an MFA from the University of California Los Angeles. Sisto also attended the Skowhegan School of Painting and Sculpture in 2011. Sisto is the recipient of the 2012 California Community Foundation Emerging Artist Fellowship and a 2011 ARC Durfee Foundation grant. Recent exhibitions include 5 Car Garage (Los Angeles), Brand New Gallery (Milan), Smart Objects (Los Angeles), China Art Objects (Los Angeles) and Favorite Goods (Los Angeles).

<a href="http://www.pascualsisto.com/">Pascual Sisto</a> is an artist and filmmaker based in New York. He graduated with a BFA in Film from the Art Center College of Design in Pasadena, California, and a MFA in Media Arts from UCLA. He was recently awarded the workspace residency from the Lower Manhattan Cultural Council and is a current resident at Pioneer Works in Red Hook. He also attended the Skowhegan School of Painting and Sculpture in 2011 and is a recipient of the 2012 California Community Foundation Emerging Artist Fellowship and the 2011 ARC Durfee Foundation grant. His work has been reviewed in Art of America, Flash Art, Los Angeles Times and Vice Creator’s Project. Recent exhibitions include Galerie Lisa Kandlhofer (Vienna), 5 Car Garage (Los Angeles), Smart Objects (Los Angeles), China Art Objects (Los angeles) and Bitforms (New York).