Past Residents
Past Resident2012: The New York Community Trust’s Edward and Sally Van Lier Fund
Hector Arce-Espasas
Hector Arce-Espasas uses images that are inherent to the geographic and cultural milieu of the tropics. He appropriates and transfigures some of these images in order to transgress their current symbolic meaning in a sensuous play of conflicting alliances. The images lure and repel while playing with the idea of the pineapple as the easily attainable commercial fruit of ‘tropical paradise’.
Hector Arce-Espasas (born 1982, San Juan, Puerto Rico) completed an MFA at Hunter College, 2011. Following this, Arce-Espasas was nominated for the Rema Hort Mann Foundation. He has also participated in various exhibitions including the Swiss Institute’s Dark Fair, Museu da Cidade, Lisbon; Marvelli Gallery, New York; Contemporary Art Society; London; The Green Gallery, Milwaukee; and University Galleries at Illinois State University.
Hector Arce-Espasas, Welcome To Paradise, 2011, Mixed media, Dimensions variable. Courtesy of the artist.
Hector Arce-Espasas, Pineapple Ewer, 2011, Ceramic with palladium glaze, Dimensions variable. Courtesy of the artist.
Hector Arce-Espasas, P.D. Come Fly With Me, 2011, Inkjet on fabric and wood, 79 × 108 in. (200.66 × 274.32 cm). Courtesy of the artist.
Hector Arce-Espasas, P.D. Come Fly With Me, 2011, Inkjet on fabric and wood, 79 × 108 in. (200.66 × 274.32 cm). Courtesy of the artist.
Hector Arce-Espasas, Sheltering Sky, 2009, Fabric, mattress and acrylic on canvas, 60 × 72 × 40 in. (152.4 × 182.88 × 101.6 cm). Courtesy of the artist.
Residents from United States
Past Resident2012: Creative New Zealand
Kate Newby
Kate Newby’s work is guided by a desire to address the world around her as directly as possible. Newby’s actions engage with conditions of actual space, taking place in varied environments such as galleries and museums, parking lots and footpaths, and through hand-written signs and artist books. Newby typically uses elements of her immediate environment that give evidence to the everyday use of a place or space as an inhabited or occupied site, but that can also be used to interrupt, reconsider, or challenge an environment’s norms. Newby’s spatial adjustments and interventions range from large-scale sculptural directives, such as concrete or brick walls, floor-to-ceiling screens, curtains, and adjustable panel structures, to barely visible marks, stains, and small temporal murals.
Kate Newby’s (born 1979, Auckland, New Zealand) recent solo exhibitions include Do more with your feeling, SUNDAY art fair, London (Hopkinson Cundy booth), 2011; I’m just like a pile of leaves, Auckland Art Gallery, Auckland, 2011; I’ll follow you down the road, Hopkinson Cundy, Auckland, 2011; and Crawl out your window, GAK Gesellschaft für Aktuelle Kunst, Bremen, 2010. Selected group exhibitions include Melanchotopia, Witte de With, Rotterdam, 2011; Bas Jan Ader: Suspended between Laughter and Tears, Museo de Arte Zapopan (MAZ), Guadalajara, 2011; The Future is Unwritten, The Adam Art Gallery, Wellington, 2009; and Show me, don’t tell me, Witte de With, Brussels Biennial 1, Brussels, 2008. In recent years Newby has participated in residency programs such as: Theatre of Erosion or I Hate Work This is not a Play, with Geoffrey Farmer, Banff Centre, Banff, 2010; Künstlerhäuser, Worpswede, 2010; SOMA, Mexico City, 2010. Newby regularly publishes and contributes to artist publications.
Kate Newby, You're in This Somewhere, 2010, Site work. Courtesy of the artist and Artspace. Photo courtesy of Alex North.
Kate Newby, All Parts. All the Time., 2011, Rocks and acrylic paint, Dimensions variable. Courtesy of the artist, Pitzer Art Galleries and Claremont Museum of Art, Los Angeles.
Kate Newby, Crawl out Your Window, 2010, Installation. Courtesy of the artist and Gesellschaft für aktuelle Kunst GAK. Photo courtesy of Peter Podkowik.
Kate Newby, Do More with Your Feeling, 2011, Rocks, rope, and cement, Dimensions variable. Courtesy of the artist.
Kate Newby, Walks with Men, 2011, Mortar, glazed ceramic rock, bronze, and silver pebbles, Dimensions variable. Courtesy of the artist, New Zealand Art Now and City Gallery, Wellington. Photo courtesy of Kate Whitley.
Past Resident2012: The New York Community Trust’s Edward and Sally Van Lier Fund
Steffani Jemison
Steffani Jemison is an interdisciplinary artist whose work considers issues that arise when conceptual practices are inflected by black history and vernacular culture. Jemison uses rigorous formal methods to explore her interests in the politics of serial form, the limits of narrative description, and the tension between improvisation, repetition, and fugitivity. One body of mixed media works employs acetate as print medium, glazing, or support; another uses transcription of found and staged conversations as a generative process. Steffani also organizes social and archival projects; the most recent of these is her collaboration with Jamal Cyrus, Alpha’s Bet Is Not Over Yet, an exhibition, reading room, and discussion space inspired by the politics of early 20th century African American periodicals.
Steffani Jemison (born 1981, USA) received a BA from Columbia University and an MFA from The School of the Art Institute of Chicago. In 2011, her collaborative project, Alpha’s Bet Is Not Over Yet, was presented at the New Museum of Contemporary Art; she also participated in exhibitions, screenings, and readings at ThreeWalls, Southern Exposure, Carol Jazzar Gallery, the Houston Museum of African American Culture, and other venues. Her work will be included in forthcoming exhibitions at Real Art Ways, LAXART, and the Studio Museum in Harlem. She has participated in artist residencies at Project Row Houses, the Core Program at the Museum of Fine Arts Houston, and the Skowhegan School of Painting and Sculpture. Jemison is the editor of Future Plan and Program, a publishing project featuring literary works by visual artists.
Steffani Jemison, Truth and Greatness, 2010, Archival pigment prints on Angelica Photo Rag, Lightjet prints on Fuji Crystal Archive, 11 x 14 and 8 x10 in. Courtesy of the artist.
Steffani Jemison, Alpha’s Bet Is Not Over Yet (collaboration with Jamal Cyrus), 2011, Hand-bound photocopied periodicals, and display structure, Dimensions variable. Courtesy of the artist.
Steffani Jemison, Truth and Greatness, 2010, Archival pigment prints on Angelica Photo Rag, Lightjet prints on Fuji Crystal Archive, 11 x 14 and 8 x 10 in. Courtesy of the artist.
Steffani Jemison, Untitled (Transparency, for Derrion Albert), 2010, Inkjet print on acetate, newspaper clipping, hanging hardware, and glazing, 81/2 × 11 in. (21.59 × 27.94 cm). Courtesy of the artist.
Steffani Jemison, The Meaning of Various Photographs to Tyrand Needham, 2009, Video projection, Dimensions variable. Courtesy of the artist and Spaces Gallery.