Food and Beverage by Grindhaus and PW Bar.

There is limited capacity for the Anthony McCall: 

 exhibition. Please be advised there may be a short waiting period to ensure the best experience for all visitors. Thanks for your patience.

Second Sundays

Food and Beverage by Grindhaus and PW Bar.
There is limited capacity for the Anthony McCall: Solid Light Works exhibition. Please be advised there may be a short waiting period to ensure the best experience for all visitors. Thanks for your patience.

February '18

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

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Pioneer Works is pleased to present Anthony McCall’s Solid Light Works, opening on January 12, 2018. This exhibition marks the artist’s first institutional exhibition in New York and first time that his vertical installations will be shown alongside their horizontal variants. Requiring over thirty feet of clearance from floor to ceiling, very few New York venues can accommodate these six-colossal works. The epic vertical and horizontal installations will fill Pioneer Works’ monumental main hall, which will be completely blacked out and immersed in haze.

A seminal figure of Expanded Cinema, McCall is well known for his “solid-light works.” It was a series he began in 1973 with the 16mm film Line Describing a Cone, in which a volumetric form composed of a beam of projected light slowly evolves in real, three-dimensional space. McCall regards these works as occupying a place somewhere between sculpture, cinema, and drawing: sculpture because the projected volumes must be occupied and explored by a moving spectator; cinema because these large-scale objects are not static, but structured to progressively shift and change over time; and drawing, because the genesis of each installation is a two-dimensional line-drawing.

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The historical importance of McCall’s work has been recognized in such exhibitions as “Into the Light: the Projected Image in American Art 1964-77” at the Whitney Museum of American Art (2001-2); “The Expanded Screen: Actions and Installations of the Sixties and Seventies” at the Museum Moderner Kunst, Vienna (2003-4); “The Expanded Eye” at the Kunsthaus Zurich (2006); “Beyond Cinema: the Art of Projection” at the Hamburger Bahnhof, Berlin (2006-7); “The Cinema Effect: Illusion, Reality and the Projected Image” at the Hirshhorn Museum, Washington D.C. (2008); and “Dreamlands” at the Whitney Museum of American Art (2017).

Anthony McCall lives and works in New York. His work has been shown at the Centre Pompidou, Paris; MoMA New York; SFMoMA; Hamburger Bahnhof, Berlin; Serpentine Gallery, London; Tate Modern, London; EYE Film Museum, Amsterdam; Moderna Museet, Stockholm; Hangar Bicocca, Milan; Lugano Arte e Cultura; and Fundacio Gaspar, Barcelona, among others.

We will celebrate the closing of the exhibition at <a href="https://pioneerworks.org/programs/solidlightworks-all-night/">#SolidLightWorks All Night</a> on March 10 at 12pm to March 11 at 9pm.

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Anthony McCall: Solid Light Works

Pioneer Works is very pleased to present Kathleen White: Spirits of Manhattan and <a href="https://pioneerworks.org/exhibitions/nan-goldin-kathleen/">Nan Goldin: Kathleen</a>, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.
Goldin photographed White continually during the 1990s, and the prints featured in Nan Goldin: Kathleen—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, Witnesses: Against Our Vanishing. A decade later, Goldin returned to Artists Space to curate Shy, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation Spirits of Manhattan (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.
Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of Kathleen White: Spirits of Manhattan. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.
Kathleen White: Spirits of Manhattan and Nan Goldin: Kathleen are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.

Kathleen White: Spirits of Manhattan

Pioneer Works is very pleased to present <a href="https://pioneerworks.org/exhibitions/kathleen-white-spirits-of-manhattan/">Kathleen White: Spirits of Manhattan</a> and Nan Goldin: Kathleen, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.
Goldin photographed White continually during the 1990s, and the prints featured in Nan Goldin: Kathleen—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, Witnesses: Against Our Vanishing. A decade later, Goldin returned to Artists Space to curate Shy, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation Spirits of Manhattan (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.
Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of Kathleen White: Spirits of Manhattan. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.
Kathleen White: Spirits of Manhattan and Nan Goldin: Kathleen are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.
&nbsp;

Nan Goldin: Kathleen

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

Production residents Deborah Bright and Riya Lerner are diligently printing works in our Darkroom for Donna Gottchalk's upcoming Leslie-Lohman Museum exhibition entitled <a href="https://www.leslielohman.org/project/donna-gottschalk-brave-beautiful-outlaws/">Brave, Beautiful Outlaws</a>.

Deborah Bright &amp; Riya Lerner

Camel Collective is the name under which Anthony Graves (USA) and Carla Herrera-Prats (Mexico) have worked under since 2005. The group works through processes of archival research, dramaturgy, printmaking, sculpture, and photography to focus on the problematics of labor, pedagogy, theater, and collectivity. Selected exhibitions include “La distancia entre Pontresina y Zermatt es la misma que la de Zermatt a Pontresina,” Museo Universitario de Arte Contemporáneo, Mexico City (2017); “Camel Collective: Project Room,” PARQUE Galería, Mexico City (2017); “Something Other Than What You Are,” REDCATGallery, Los Angeles (2016);  and “ El Segundo Congreso de Artistas Libres,” Casa del Lago, Mexico City (2013-14).

Camel Collective

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

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

Superhuman Happiness made up of Dia Luna, Eric Biondo, and Stuart Bogie. Their music is influenced by the rich history of less commercially oriented popular music from around the globe, and their live performances incorporate elements of improvisation, surreal comedy, performance art, and strong melodies and danceable rhythms expressed through an ecstatic audience/performer embrace.

Superhuman Happiness

Make postcards and write love letters with found text and images from the Reanimation Library&#8217;s collection, housed across the street at Pioneer Books.

Reanimation Library: Found Love Letters

Visit our Tech Residents and explore the artistic realms of Artificial Intelligence and visions of utopic 
virtual realities. Experience the work of Stephanie Dinkins, Sam Sadtler, and, Jacolby Satterwhite.

Tech Lab / VE Lab Open Studios

Experience sound and video content created by our staff and artists-in-residence for previous on-site performances and installations.

Pioneer Works Sound and Video 

Kick back and let your mind wander as you watch science-related videos in the Science Studios.

Videos for Wandering Mind

Visit Arian Shafiee, our current music resident, who will be in the music studio recording all day.

Arian Shafiee in Studios

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Pioneer Works is pleased to present Anthony McCall’s 

, opening on January 12, 2018. This exhibition marks the artist’s first institutional exhibition in New York and first time that his vertical installations will be shown alongside their horizontal variants. Requiring over thirty feet of clearance from floor to ceiling, very few New York venues can accommodate these six-colossal works. The epic vertical and horizontal installations will fill Pioneer Works’ monumental main hall, which will be completely blacked out and immersed in haze.

A seminal figure of Expanded Cinema, McCall is well known for his “solid-light works.” It was a series he began in 1973 with the 16mm film 

, in which a volumetric form composed of a beam of projected light slowly evolves in real, three-dimensional space. McCall regards these works as occupying a place somewhere between sculpture, cinema, and drawing: sculpture because the projected volumes must be occupied and explored by a moving spectator; cinema because these large-scale objects are not static, but structured to progressively shift and change over time; and drawing, because the genesis of each installation is a two-dimensional line-drawing.

The historical importance of McCall’s work has been recognized in such exhibitions as “Into the Light: the Projected Image in American Art 1964-77” at the Whitney Museum of American Art (2001-2); “The Expanded Screen: Actions and Installations of the Sixties and Seventies” at the Museum Moderner Kunst, Vienna (2003-4); “The Expanded Eye” at the Kunsthaus Zurich (2006); “Beyond Cinema: the Art of Projection” at the Hamburger Bahnhof, Berlin (2006-7); “The Cinema Effect: Illusion, Reality and the Projected Image” at the Hirshhorn Museum, Washington D.C. (2008); and “Dreamlands” at the Whitney Museum of American Art (2017).

 lives and works in New York. His work has been shown at the Centre Pompidou, Paris; MoMA New York; SFMoMA; Hamburger Bahnhof, Berlin; Serpentine Gallery, London; Tate Modern, London; EYE Film Museum, Amsterdam; Moderna Museet, Stockholm; Hangar Bicocca, Milan; Lugano Arte e Cultura; and Fundacio Gaspar, Barcelona, among others.

We will celebrate the closing of the exhibition at 

Solid Light Works

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Pioneer Works is pleased to present Anthony McCall’s Solid Light Works, opening on January 12, 2018. This exhibition marks the artist’s first institutional exhibition in New York and first time that his vertical installations will be shown alongside their horizontal variants. Requiring over thirty feet of clearance from floor to ceiling, very few New York venues can accommodate these six-colossal works. The epic vertical and horizontal installations will fill Pioneer Works’ monumental main hall, which will be completely blacked out and immersed in haze.
A seminal figure of Expanded Cinema, McCall is well known for his “solid-light works.” It was a series he began in 1973 with the 16mm film Line Describing a Cone, in which a volumetric form composed of a beam of projected light slowly evolves in real, three-dimensional space. McCall regards these works as occupying a place somewhere between sculpture, cinema, and drawing: sculpture because the projected volumes must be occupied and explored by a moving spectator; cinema because these large-scale objects are not static, but structured to progressively shift and change over time; and drawing, because the genesis of each installation is a two-dimensional line-drawing.
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The historical importance of McCall’s work has been recognized in such exhibitions as “Into the Light: the Projected Image in American Art 1964-77” at the Whitney Museum of American Art (2001-2); “The Expanded Screen: Actions and Installations of the Sixties and Seventies” at the Museum Moderner Kunst, Vienna (2003-4); “The Expanded Eye” at the Kunsthaus Zurich (2006); “Beyond Cinema: the Art of Projection” at the Hamburger Bahnhof, Berlin (2006-7); “The Cinema Effect: Illusion, Reality and the Projected Image” at the Hirshhorn Museum, Washington D.C. (2008); and “Dreamlands” at the Whitney Museum of American Art (2017).
Anthony McCall lives and works in New York. His work has been shown at the Centre Pompidou, Paris; MoMA New York; SFMoMA; Hamburger Bahnhof, Berlin; Serpentine Gallery, London; Tate Modern, London; EYE Film Museum, Amsterdam; Moderna Museet, Stockholm; Hangar Bicocca, Milan; Lugano Arte e Cultura; and Fundacio Gaspar, Barcelona, among others.
We will celebrate the closing of the exhibition at <a href="https://pioneerworks.org/programs/solidlightworks-all-night/">#SolidLightWorks All Night</a> on March 10 at 12pm to March 11 at 9pm.
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Pioneer Works is very pleased to present 

, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.

Goldin photographed White continually during the 1990s, and the prints featured in 

—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, 

. A decade later, Goldin returned to Artists Space to curate 

, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation 

 (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.

Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of

. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.

 are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.

Spirits of Manhattan

Pioneer Works is very pleased to present Kathleen White: Spirits of Manhattan and <a href="https://pioneerworks.org/exhibitions/nan-goldin-kathleen/">Nan Goldin: Kathleen</a>, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.
Goldin photographed White continually during the 1990s, and the prints featured in Nan Goldin: Kathleen—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, Witnesses: Against Our Vanishing. A decade later, Goldin returned to Artists Space to curate Shy, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation Spirits of Manhattan (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.
Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of Kathleen White: Spirits of Manhattan. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.
Kathleen White: Spirits of Manhattan and Nan Goldin: Kathleen are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.

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Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of 

Kathleen

Pioneer Works is very pleased to present <a href="https://pioneerworks.org/exhibitions/kathleen-white-spirits-of-manhattan/">Kathleen White: Spirits of Manhattan</a> and Nan Goldin: Kathleen, two separate but interconnected exhibitions revolving around White and Goldin; formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s, in real-time. A story of friendship and survival, these exhibitions mark the first time extensive presentations of White and Goldin’s work have been shown together, and are held in conjunction with an exhibition of White’s work at Martos Gallery.
Goldin photographed White continually during the 1990s, and the prints featured in Nan Goldin: Kathleen—some printed here for the first time—are not posed. Rather, in part they reflect the reality of haunting, unending loss affecting the two artists’ personal lives, at a time when White and Goldin’s shared downtown community of artists, writers, and performers were dying of AIDS in quick succession. In other ways they’re celebratory—of the joys of being alive, in all its difficulty, at a time when life seemed in short supply. Goldin first featured her and White’s extended network of artists and activists responding to the epidemic in a landmark, 1989 exhibition she curated at Artists Space, Witnesses: Against Our Vanishing. A decade later, Goldin returned to Artists Space to curate Shy, which featured works by friends who were her photographic subjects, as well as artists in their own right. The exhibition featured White’s large installation Spirits of Manhattan (1996), made primarily of human hair. At the time, many of the city’s drag performers were dying of AIDS. With no one to claim their possessions, their personal belongings, including wigs, were left on the street. White worked closely within this scene, so it hit close to home. They could’ve been her friends.
Though primarily a painter, White began to use the strewn hair as material. Before long, performer friends like Lady Bunny, Jojo Americo, Billy Erb, David Dalrymple, and numerous others were contributing wigs for the project. These reconfigured wigs, hair slicks and bobs comprise the bulk of Kathleen White: Spirits of Manhattan. Aside from that work, which gives the exhibition its name, also included are New York City phone book pages, hand altered with markings, watercolor, burn marks, and more hair, that function something like a compendium of White and Goldin’s social network at the time. The hair in both of White’s series equally resembles knots, tendrils, and hearts, the latter a recurring motif of White’s. This is particularly poignant, considering her life was so marked by tragedy and loss. She herself died of cancer in 2014. These exhibitions mark something of a posthumous return to White’s work, which, like Goldin’s, was so impacted by the people around her.
Kathleen White: Spirits of Manhattan and Nan Goldin: Kathleen are held in conjunction with an exhibition of White’s work at Martos Gallery, from December 14 – January 27, 2018. The exhibitions at Pioneer Works are curated by David Everitt Howe, Pioneer Works’ Curator, in conversation with Rafael Sánchez, on behalf of The Estate of Kathleen White and the Sánchez-White Archives.
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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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Production residents Deborah Bright and Riya Lerner are diligently printing works in our Darkroom for Donna Gottchalk’s upcoming Leslie-Lohman Museum exhibition entitled 

Production residents Deborah Bright and Riya Lerner are diligently printing works in our Darkroom for Donna Gottchalk&#8217;s upcoming Leslie-Lohman Museum exhibition entitled <a href="https://www.leslielohman.org/project/donna-gottschalk-brave-beautiful-outlaws/">Brave, Beautiful Outlaws</a>.

Deborah Bright

Riya Lerner

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Camel Collective is the name under which Anthony Graves (USA) and Carla Herrera-Prats (Mexico) have worked under since 2005. The group works through processes of archival research, dramaturgy, printmaking, sculpture, and photography to focus on the problematics of labor, pedagogy, theater, and collectivity. Selected exhibitions include “La distancia entre Pontresina y Zermatt es la misma que la de Zermatt a Pontresina,” Museo Universitario de Arte Contemporáneo, Mexico City (2017); “Camel Collective: Project Room,” PARQUE Galería, Mexico City (2017); “Something Other Than What You Are,” REDCATGallery, Los Angeles (2016); and “ El Segundo Congreso de Artistas Libres,” Casa del Lago, Mexico City (2013-14).

Camel Collective is the name under which Anthony Graves (USA) and Carla Herrera-Prats (Mexico) have worked under since 2005. The group works through processes of archival research, dramaturgy, printmaking, sculpture, and photography to focus on the problematics of labor, pedagogy, theater, and collectivity. Selected exhibitions include “La distancia entre Pontresina y Zermatt es la misma que la de Zermatt a Pontresina,” Museo Universitario de Arte Contemporáneo, Mexico City (2017); “Camel Collective: Project Room,” PARQUE Galería, Mexico City (2017); “Something Other Than What You Are,” REDCATGallery, Los Angeles (2016);  and “ El Segundo Congreso de Artistas Libres,” Casa del Lago, Mexico City (2013-14).

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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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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.

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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).

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&#8217;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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