Name: Second Sundays: September 2017
Start: 2017-09-10
End: 2017-09-10
Location: Pioneer Works

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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. 

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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.

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Food and Beverage by Conjure Kitchen, Pintail Coffee, and PW Bar.

Second Sundays

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Food and Beverage by Conjure Kitchen, Pintail Coffee, and PW Bar.

September '17

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

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

Eric Timothy Carlson worked out of a studio at 2 Apollo Street, in Greenpoint, Brooklyn, for three years. This studio inevitably worked its way into his process—subconsciously dictating objects and materials, while architecturally determining scale and constraint. Carlson thinks of his studio space as a sort of domestic apparatus that acts as a container and catalyst for his art-making.

On view in 2 Apollo is an assemblage of the most symbolic nodes of his studio, in which he also slept, read, and ate. This installation contains his desk, marble slabs, and his bookshelves, as well as an accumulation of trinkets picked up along the way: a rusty sickle, an old bucket, and an opium pipe from Hong Kong. Framed, finished drawings are hung throughout, as is a mobile made from conduit found in the basement. A digital print of Zuccotti Park hangs in the corner. It is a screenshot of a live stream of the dismantling of Occupy Wall Street. He watched this happen just a few months after moving to New York in 2011.

Eric Timothy Carlson: 2 Apollo

Genesis Belanger is a Brooklyn-based sculptor. She is currently working in ceramics hand building handsome jokes about the absurdity of the patriarchy in a material that lasts forever. The work engages in a conversation about the present and its relationship to the past, a past that most of us would not have had the privilege to shape. Belanger received her BFA from the school of the art institute of Chicago and her MFA at CUNY, Hunter College. Selected exhibitions include “Scarlet Street,” Lucien Terras, NY; “Frida Smoked,” Invisible-Exports, NY; and “Happiness and Other Forms of Self-Delusion,” Pioneer Works, NY, all 2016. Belanger was a recipient of a 2016 Rema Hort Mann Emerging Artist Grant.

Genesis Belanger

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

Kristin Lucas explores the contingencies, issues, and poetics of digital technologies through conceptual, performative, social, and collaborative frameworks. She reinvents the familiar in uncanny circuitous works that lie somewhere between reality and “reality”. Her current project entitled "Dance with flARmingos" reimagines kinship between humans and flamingos from the ethical distance of a Mixed Reality experience and involves partnership with international flamingo researchers. The project is one of five projects  selected out of hundreds for <a href="https://www.engadget.com/2017/08/18/the-grantees-of-engadget-s-500-000-immersive-arts-program/">Engadget's 2017 Alternative Realities grant</a>.

Lucas lives between Queens and Austin where she serves as an assistant professor of Studio Art for University of Texas at Austin. She is the recent recipient of residencies at Oregon Story Board, Harvestworks Digital Media Arts Center, Yafo Creative/Print Screen Festival, and the Bau Institute. She earned a BFA from The Cooper Union School of Art and an MFA in Art Practice from Stanford University.

Kristin Lucas

Nate Lewis is a Washington DC-based artist originally from Beaver Falls, PA. Working within portraiture and figuration, Lewis’ current focus has been on creating sculpted paper photo works that combine elements of drawing, sculpture, etching, embroidery and fabric. In these works he sculpts out unseen tensions on bodies, representing them with an array of textures and patterns to reveal hidden layers of empathy. He graduated from Virginia Commonwealth University with a Bachelor of Science in Nursing, and has a background in critical care. He has exhibited his work throughout Washington DC, Baltimore, Miami, New York, Houston, San Francisco, and Los Angeles.

Nate Lewis

Mario Navarro is a Mexican American artist based in New York City. Issues of perception, the combination of language and spatial elements, the sculptural properties of language, and matter/materials and their representations are lines of research Navarro has been investigating lately. The relations between architectures and forms, and more specifically, the decomposition of architectural paradigms (balance, symmetry, organization of units and the figure of the architect) are of constant interest and are explored in Navarro's ongoing and never final propositions. Selected exhibition include “A Landscape of Events,” SCAD Museum of Art, Savannah, GA (2017); “Veil / Unveil,” Proyecto Paralelo, Mexico City (2017); “Mi Casa, Tu Casa,” Johannes Vogt Gallery, New York (2016); and “Forms of otherness,” organized by Bard College, International Studio and Curatorial Program (ISCP), Brooklyn (2015).

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Mario Navarro

Oral histories from Mexican and Native peoples, post-colonial historical texts, and spaces that are safe and inclusive for people of color are the cosmologies that surround Mexican-American artist Carlos Rosales-Silva’s work. His most recent output reclaims the colors and forms that have long been (ab)used to create oppressive stereotypes of Mexican and Native American peoples. Draining direct references, symbols, and figures have allowed him a freedom to study the color and form of his identity. Rosales-Silva’s central intellectual and artistic project is de-centering his white, hetero, Euro-centric western education. He has exhibited throughout Texas, and in Los Angeles, Miami, Minneapolis, Chicago, Kansas City, and Brooklyn.

Carlos Rosales-Silva

CT:SWaM [Contemporary Temporary:: Sound Works and Music] is presenting a program of spatial sound pieces in the Pioneer Works Media Lab. Artists include: Sabisha Friedberg, Neil Leonard, Mike Bullock, Bob Bellerue and others.

CT:SWaM

Born in Lima, Peru and based in NYC, Maria Chávez is best known as an abstract turntablist, sound artist and DJ.

Maria Chavez

For the toward is a performance of graceful athleticism deconstructed into raw energy. It is an expression of relentless, human physicality straining against crushing weight. Two performers coax, ride, and hurl steel sculptures together to create a bearable environment in which to balance rest and labor.

Boomerang's For the toward

The Ashcan Orchestra, currently in residence at Pioneer Works, is the voice of composer/tinkerer/packrat P. Spadine, a revolving performance ensemble based in NYC, and a growing collection of homemade and traditional instruments.

The Ashcan Orchestra

Make a splash, and race a boat in the Kids&#8217; Kinetic Boat Race! Kids of every age can join us in the garden to make and decorate their very own vacuum-formed boat to race.

Kids' Kinetic Boat Race

Presented as part of the annual Brooklyn Clay Studio Tour, ceramists Nicholas Newcomb and Demetria Chappo demonstrate outdoor pit firing to Brooklyn. Witness the exciting relationship between clay, fire, sawdust, horse hair and other elements.

Drawn to Fire: Outdoor Pit Firing Demonstration

Pioneer Books celebrates the closing of the Party Lab Archive. Come out to the bookstore across the street and help us put together a core sound sample of the cassette tapes from the archive.

Party Lab Archive Closing Celebration

In this game, created by Sharang Biswas and Brendon Trombley, players join the members of a bustling society of bees who grapple with problems threatening the hive.

Fact Craft: In Media Res

Can you tell a true story from a false one? Liar&#8217;s Picnic, a project by artist Taeyoon Choi, is a participatory game where listeners must guess if the storyteller&#8217;s tale is true or false. Their agreement about the truth in story affects next round of play and the roles of the players take on.

Fact Craft: Liar's Picnic

Technology resident Kristin Lucas presents works in progress in the Virtual Environments Lab.

Works in Progress: Kristin Lucas

Interact with Artifcial Intelligence. This multi-sensory experience shows another facet of our growing AI knowledge.

MoodCube Jellyfish

Tell Congress how you really feel and leave a message for your representative.

Hope Floats Kiosk

Music resident Thollem will be in the music studio recording all day.

Thollem in Studios

Come create digital drawings with a virtual pen, and watch as a drawing machine uses a pen and paper to make them a reality. Open to all ages and skill levels.

Automatic Drawing Workshop

Join Matthew Putnam, CEO of Nanotronics, for a conversation about the history and innovation in the convergence of nanotechnology and Artificial intelligence, two of humanity’s greatest technologies.

Industrial Collision: AI and Nanotechonolgy

Join the Amateur Astronomers Association of NY in the garden for an interactive look into the sky.

Solar and Star Gazing

Sharang Biswas

Brendon Trombley

Taeyoon Choi

Thollem

Amateur Astronomy Association of New York

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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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Eric Timothy Carlson worked out of a studio at 2 Apollo Street, in Greenpoint, Brooklyn, for three years. This studio inevitably worked its way into his process—subconsciously dictating objects and materials, while architecturally determining scale and constraint. Carlson thinks of his studio space as a sort of domestic apparatus that acts as a container and catalyst for his art-making.

 is an assemblage of the most symbolic nodes of his studio, in which he also slept, read, and ate. This installation contains his desk, marble slabs, and his bookshelves, as well as an accumulation of trinkets picked up along the way: a rusty sickle, an old bucket, and an opium pipe from Hong Kong. Framed, finished drawings are hung throughout, as is a mobile made from conduit found in the basement. A digital print of Zuccotti Park hangs in the corner. It is a screenshot of a live stream of the dismantling of Occupy Wall Street. He watched this happen just a few months after moving to New York in 2011.

2 Apollo

Eric Timothy Carlson worked out of a studio at 2 Apollo Street, in Greenpoint, Brooklyn, for three years. This studio inevitably worked its way into his process—subconsciously dictating objects and materials, while architecturally determining scale and constraint. Carlson thinks of his studio space as a sort of domestic apparatus that acts as a container and catalyst for his art-making.
On view in 2 Apollo is an assemblage of the most symbolic nodes of his studio, in which he also slept, read, and ate. This installation contains his desk, marble slabs, and his bookshelves, as well as an accumulation of trinkets picked up along the way: a rusty sickle, an old bucket, and an opium pipe from Hong Kong. Framed, finished drawings are hung throughout, as is a mobile made from conduit found in the basement. A digital print of Zuccotti Park hangs in the corner. It is a screenshot of a live stream of the dismantling of Occupy Wall Street. He watched this happen just a few months after moving to New York in 2011.

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Genesis Belanger is a Brooklyn-based sculptor. She is currently working in ceramics hand building handsome jokes about the absurdity of the patriarchy in a material that lasts forever. The work engages in a conversation about the present and its relationship to the past, a past that most of us would not have had the privilege to shape. Belanger received her BFA from the school of the art institute of Chicago and her MFA at CUNY, Hunter College. Selected exhibitions include “Scarlet Street,” Lucien Terras, NY; “Frida Smoked,” Invisible-Exports, NY; and “Happiness and Other Forms of Self-Delusion,” Pioneer Works, NY, all 2016. Belanger was a recipient of a 2016 Rema Hort Mann Emerging Artist Grant.

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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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Kristin Lucas explores the contingencies, issues, and poetics of digital technologies through conceptual, performative, social, and collaborative frameworks. She reinvents the familiar in uncanny circuitous works that lie somewhere between reality and “reality”. Her current project entitled “Dance with flARmingos” reimagines kinship between humans and flamingos from the ethical distance of a Mixed Reality experience and involves partnership with international flamingo researchers. The project is one of five projects selected out of hundreds for 

Engadget’s 2017 Alternative Realities grant

Lucas lives between Queens and Austin where she serves as an assistant professor of Studio Art for University of Texas at Austin. She is the recent recipient of residencies at Oregon Story Board, Harvestworks Digital Media Arts Center, Yafo Creative/Print Screen Festival, and the Bau Institute. She earned a BFA from The Cooper Union School of Art and an MFA in Art Practice from Stanford University.

Kristin Lucas explores the contingencies, issues, and poetics of digital technologies through conceptual, performative, social, and collaborative frameworks. She reinvents the familiar in uncanny circuitous works that lie somewhere between reality and “reality”. Her current project entitled &#8220;Dance with flARmingos&#8221; reimagines kinship between humans and flamingos from the ethical distance of a Mixed Reality experience and involves partnership with international flamingo researchers. The project is one of five projects  selected out of hundreds for <a href="https://www.engadget.com/2017/08/18/the-grantees-of-engadget-s-500-000-immersive-arts-program/">Engadget&#8217;s 2017 Alternative Realities grant</a>.
Lucas lives between Queens and Austin where she serves as an assistant professor of Studio Art for University of Texas at Austin. She is the recent recipient of residencies at Oregon Story Board, Harvestworks Digital Media Arts Center, Yafo Creative/Print Screen Festival, and the Bau Institute. She earned a BFA from The Cooper Union School of Art and an MFA in Art Practice from Stanford University.

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Nate Lewis is a Washington DC-based artist originally from Beaver Falls, PA. Working within portraiture and figuration, Lewis’ current focus has been on creating sculpted paper photo works that combine elements of drawing, sculpture, etching, embroidery and fabric. In these works he sculpts out unseen tensions on bodies, representing them with an array of textures and patterns to reveal hidden layers of empathy. He graduated from Virginia Commonwealth University with a Bachelor of Science in Nursing, and has a background in critical care. He has exhibited his work throughout Washington DC, Baltimore, Miami, New York, Houston, San Francisco, and Los Angeles.