The Update

THE UPDATE

JANUARY 8, 2020 - FEBRUARY 26, 2020

CURATED BY KIARA CRISTINA VENTURA

AUDREAMIA WARDLOW

DILLON GARDNER ESTELLE MAISONETT MARK MALAVE

MONICA FLORES

PATRICK ALSTON ROCIO MARIE CABRERA RON BAKER SORINN LILLICO STANLEY STEEL

In the 1970s, the Bronx became home to the birth of hip hop and styles of graffiti, which were pushed by narratives of poverty, street violence, and the experience of being a member of an underserved community. At the same time, it became a home for a new wave of artistic culture and underground movements. As hip hop and graffiti provided a foundation and soil for Bronx creativity, a newer generation of artists arose and proved that Bronx artists can experiment with mediums beyond DJ sets and spray paint. By referring to influences of native BX styles, these artists continue telling the street narratives of The Bronx including contemporary issues as part of the conversation — issues of displacement, gentrification, street violence, representation, and economic struggle. With statistics that show the Bronx has the highest poverty rate out of all New York City boroughs, this exhibition is also a celebration of the local community, networks, collectives, and the overall collective artistry that is constantly being created here despite the lack of access and resources.

The Update presents works by Bronx artists of now who are telling their story and the street narratives of the borough all while commemorating the rich history behind them. Consisting of ten artists under thirty, The Update is defining the next generation of Bronx artists by highlighting local art collectives, underground nightlife, and artist networks who are creating experimental practices. Reflecting the local community, The Update consists of artists of color who are addressing daily lived experiences, influences, and modes of expression. Blurring lines in the contemporary art world, the works speak to the history of abstract painting, conceptual sculpture, photo and video journalism, street art, textile art, and assemblage. Through a variety of mediums including photography, video, painting, sculpture, and mixed media, the artists collectively demonstrate how their identity, culture, and native borough play a key component in shaping their visual narrative. While speaking on issues we face as a borough, this new generation is actively reflecting the Bronx’s street culture, fashion, aesthetic, and history yet updating them with a true, contemporary, and ground breaking vision.

CURATOR

Kiara Cristina Ventura is a Dominican-American writer and curator from the Bronx who aims to be a support for young artists of color especially those from underrepresented communities in the art world. Ventura graduated with a B.A. in Art History and Journalism at NYU in 2018. In the past, she has worked at the Metropolitan Museum of Art, Cosmopolitan Magazine for Latinas, Art Forum, Grey Art Gallery, and the Brooklyn Museum. She is an art critic for Art Forum, Performa Magazine, and Cultured Magazine. Ventura created ArtsyWindow in 2015 and has expanded as a platform that curates exhibitions and programs. In July 2018, she began teaching art history classes about modern and contemporary artists of color to combat Euro-centric art history curriculums. Under ArtsyWindow, her classes are held in a variety of spaces from living rooms to community to gallery spaces.

Ventura won the BAS Bronx Emerging Curators Open Call in 2018 which resulted in an exhibition, “FOR US.” Most recently in August 2019, she started Teen Vogue’s first art column, Art School, highlighting the work of visual artists through intimate profiles about their experiences, career, and muses. This year, she curated “Still Here” alongside Larry OsseiMensah and Dexter Wimberly at the Museum of The African Diaspora, San Francisco. Her latest exhibition “The Radical Act of Taking Up Space,” opened at VisArts Center (Rockville, Maryland) and she assisted curator Larry Ossei-Mensah in curating “Double Trouble,” a February James and John Rivas exhibition at Ross & Kramer Gallery, NYC. Ventura’s ultimate goal is to continue in creating inclusive spaces for artists of color whether that’d be virtually through articles, video content, or physically through carefully curating creative environments.

PUBLIC PROGRAMS

Opening Reception

Wednesday, January 8th | 6:00-9:00pm

The Role of the Bronx: Open Conversation

Saturday, February 1st | 1:00-3:00pm

An open conversation with artists featured in the exhibition led by curator Kiara Ventura, speaking about how Bronx streets play a key role in their work. The audience will be invited to join the conversation.

AW Classroom: Bronx Legends

Saturday, February 8th | 1:00-3:00pm

Art history class centered on notable BX artists from the 1970’s to now. The class will feature a Graffiti demo with artist Stanley Steel who will speak about his art and the significance of graffiti tagging. Educational materials will be distributed.

“Everybody Eats”

Closing Reception + Community Dinner

Wednesday, February 26th | 6:00-9:00pm

Longwood Art Gallery @ Hostos

450 Grand Concourse at 149th St., Room C-190

Bronx, New York 10451 (718) 518-6728

longwood@bronxarts.org

Winter Gallery Hours

Tuesday - Friday, 12:00pm - 6:00pm

Monday by appointment

LONGWOOD ARTS PROJECT

The Longwood Arts Project is the contemporary visual arts program of the Bronx Council on the Arts, with the mission to support artists and their work, especially emerging artists from underrepresented groups, such as people of color, the LGBT* community, and women. The Longwood Art Gallery @ Hostos presents solo and group exhibitions of works of art produced in various media, through interdisciplinary practices that connect emerging artists, communities, and ideas within and beyond the Bronx.

THE BRONX COUNCIL OF THE ARTS

Founded by visionary community leaders in 1962, the Bronx Council on the Arts (BCA) is dedicated to advancing cultural equity in the Bronx. From creative placemaking and arts advocacy to the provision of services for artists and programming for youth and seniors, BCA was the first organization in the Bronx to focus equally on supporting local artists, serving the community, and catalyzing relationships between the two. BCA serves a constituency of some 1.4 million residents, 1,500+ artists and 250 arts and community-based organizations with cultural services and arts programs, including grants, workshops, arts advocacy, and cutting-edge exhibitions. Over the years, BCA has adapted its programs to serve the ever-changing needs of the borough’s cultural ecosystem, evolving into an acclaimed cultural hub for the entire Bronx.

www.bronxarts.org

THE HOSTOS CENTER FOR THE ARTS & CULTURE

An integral part of Hostos Community College/ CUNY since 1982, the Hostos Center for the Arts & Culture, which includes two state-of-the-art theaters of 900 and 360 seats each, a black box experimental theater, and a museum-grade art gallery, is a resource for students and faculty in addition to serving the cultural needs of South Bronx residents and neighboring communities. Recognized nationally as a leader in Latin and African-based programming, the Hostos Center creates performing and visual arts forums in which the diverse cultural heritages of its audiences are celebrated and cultivated. In meeting that objective, the Center is dedicated to the development of emerging artists and the creation of new work.

www.hostoscenter.org

ARTSY WINDOW

ArtsyWindow is a mobile platform that illuminates the works of emerging under-represented artists while redefining the art of curating. Aiming to serve as an unifying space throughout NYC and beyond, ArtsyWindow provides a unique opportunity for artists to connect and amplify their voices. Most importantly, we aim for growth as a platform and for the artists we feature. Since its start in April 2015, the core of ArtsyWindow is to push artists and the public to see through another perspective or shall we say an “artsy window.”

www.artsywindow.com

LONGWOOD ART GALLERY @ HOSTOS YOUTH ENGAGEMENT PROGRAM

WINTER WORKSHOPS

JANUARY 8 - FEBRUARY 26, 2020

** WORKSHOPS ARE FREE + ON APPOINTMENT BASIS. OUR SCHEDULING IS FLEXIBLE WITH YOUR GROUP’S NEEDS.***

Please contact longwood@bronxarts.org or call 718.518.6728 to schedule a workshop for your group. Workshops are best suited for participants ages 14-25. 10 participants minimum to book.

A GLIMPSE OF US: ART IN THE EYES OF BRONX ARTISTS ///

AVAILABILITY: SUN-MON @ 6 pm

Breaking it down – tools for interpreting and making art. Gallery tour and art making in response to the exhibition, what choices can we make as young artists to depict our realities?

POETRY FOR SERVICE: VOICES UNHEARD ///

AVAILABILITY: MON - THURS @ 7 PM OR SAT @ 12 PM

This workshop will explore the ways spoken word can be used as a platform to amplify the voices of those whose stories are untold and unheard in the Bronx community. Discussing how poetry is a tool to bring visibility and social change.

THE BRONX: WHAT YOU SEE IS (NOT) WHAT YOU GET ///

AVAILABILITY: Tues + Thurs @ 12 pm or 1:30 pm

How to create solo and group self-published zines and books as an accessible, uncensored way of sharing thoughts, ideas, and artwork on your own terms. Zines can be a way of manifesting new ideas, healing from traumas, and to express issues ranging from family life to politics and social justice.

HIDDEN IN PLAIN SITE: THE MAGICK OF THE BRONX /// OPEN AVAILABILITY

Multi-media workshop including discussion on community building, navigating art spaces as people of color, and herbalism. Participants will create a mixed-media piece that reflects how the Bronx has informed their personal stories. This workshop will conclude with sharing resource lists of accessible spaces around the city.

Illustration by Ruben Ramirez

PATRICK ALSTON

Growing up around 169th St. and Morris Ave., Patrick Alston (b.1991) energetically creates works that, along with the interplay of titles, trigger thought provoking and reflective topics including but not limited to sociopolitics, identity, language, and the psychology of color. Alston’s re-contextualized subjects, rich palettes and complex compositions are dramatized exhilarating energies, expressed through mature gestural mark making. Inspired by traditional Bronx graffiti culture, Alston’s layered canvases are an unwritten aesthetic that make up abstract urban landscapes. His finely tuned brush and knowledge of the rich art histories before him assist in the making of original art works that create complex conversations in the spaces they occupy. Alston is inspired by the work of many Black abstract contemporary artists before him such as Sam Gilliam, Jack Whitten, Raymond Saunders, Mark Bradford, Ed Hughes, and Moe Brooker.

Above:

Aint, Aint a Word, 2017, Acrylic, Alcohol Ink, Enamel, Graphite, Ink, Oil Pastel, and Stone Spray and Spray Paint on Canvas

Right:

Unify Shit, 2018, Acrylic, Colored Pencil, Enamel, Graphite, Ink, Oil Pastel and Spray Paint on Sewn Linen and Canvas

RON BAKER

Ron Baker (b. 1990) is an AfricanAmerican self-taught artist and co-founder of the Bronx collective, Public Housing Skate Team. For the past five years, Baker has been experimenting with sculpture, filmmaking, and drawing. Growing up around Gun Hill, Baker is inspired by his environment and upbringing from visiting botánicas [local stores that sell products for spiritual and alternative medicinal use] with his grandmother, to being raised in the projects since he was born. His works depict the lifestyles, conventional and rebellious, of everyday people in low-income communities trying to make a living. His latest artworks deal with spirituality, sourcing materials and supplies from botánicas, and drawing from his memories of his grandmother; he reminisces how she would talk about past ancestors and have spiritual sculptures around her house. Baker’s sculptures, covered in shells, beads, incense, and glitter, depict rebels and gang members to symbolize forgiveness and peace for actions a person may have done in the past. The incense on the sculptures are meant to be lit in order to bring peace to the space they are in.

Above: Money Tree Gardens, 2019, Clay, Rosary Beads, Shells, Incense, Plants, 3 Metal Coin Cans, Grip Metal Plate

Right:

Untitled, 2019, Shells, Rosary Beads, Palm Leaves, Wood Bowl, Face Mask, Clay, Rice, Bandana, Incense

ROCIO MARIE CABRERA

Rocio Maries Cabrera (b.1992) is Dominican-American painter, sculptor, and jewelry designer known for her multicolored emotional femme black and brown characters. She is also known for her distinctive surrealist approach through the use of wildly vibrant colors, glitter, and fantastical elements; Cabrera is able to lessen the darkness of her themes which include isolation, anxiety, and intrusive thoughts. Working with clay, Cabrera molds fantastical worlds where each figure openly expresses their emotions from guilt and depression to unapologetic self-love. In the Bronx Babes (2019) series, making their first debut specifically for The Update, Cabrera is conveying Bronx street fashion and culture while dedicating an ode to young Bronx women of color. Each sculpture is a snapshot of an imagined Bronx street scene.

Above:

Uptown Baby Liz, 2019, Polymer clay, wire, acrylic paint

Right:

Uptown Baby Rocky, 2019, Polymer clay, wire, acrylic paint

MONICA FLORES

Monica Flores (b. 1996) is a Chicanx non-binary artist and photographer who grew up in the East Bronx 180th street area. Their photos are an ode to uptown and Bronx youth creative culture, the underground Mecca for art and music. Flores, who is also the co-founder of BX grassroots collective Hydro Punk, has been documenting and organizing in The Bronx over the last six years. Shooting photos via alternative mediums such as cyanotypes and instax format [instant photo print] is their way of expressing the grittiness and non-conformity found within their generation of Bronx creatives.

Documentary photography in the form of cyanotypes and instax is the merger of two worlds who do not usually meet. Cyanotype is a 170-year-old photographic printing process that produces prints in a distinctive dark greenish-blue. The word “cyan” comes from the Greek, meaning “dark blue substance.” Flores processed and developed these photographic cyanotypes in their bathtub and exposed them under the Bronx sun.

Above: Hunts Point Basement, 2017, Cyanotype on WaterColor paper Right: Parkchester Party, 2018, Instax WIDE film

DILLON GARDNER

Born and raised in The Bronx, Dillon Gardner (b. 1993) is a first generation Jamaican American Queer artist specializing in mixed media installation, digital, and performance art. Their practice explores the spectrum of mental wellness with a focus on pain. They utilize their work as a tool for processing their emotional, spiritual, physical state. Gardner’s practice includes movement exploration, journalistic practices, BSDM play, and floral design.

“Through maintaining an intimate relationship with both live plants and cut flowers, I have and continue to develop an understanding and deep curiosity for our plant allies, and the effect they have on the human psyche. My interests are deeply rooted in ethnobotany and the forever evolving relationship between the human and plant world over generations of practices and experiences. I view plants as individual collaborators to my work, they behave as both teachers and performers in my practice.”

Above:

GOD IS ALWAYS CALLING, 2017, photo from a performance piece at the St Patrick Cathedral, documentation by Carl Cornelius

Right:

STRANGE FRUIT, 2016, rope and flowers, installation in Fulton Park, Brooklyn COMING IN, 2018, Performance piece, performed at Spread in Brooklyn, NY

SORINN LILLICO

Texas native Sorinn Lillico (b.1996) is an African-American abstract and performance artist who primarily works with mixed media on canvas. Lillico lives and works in The Bronx. Inspired by art from the Stone Age, Lillico is concerned with symbols and painterly gestures that relate to wide notions and experiences of humanity, symbols that can be easily communicated across countries and centuries: bones, skulls, chains, crosses, the abstracted human figure, and so on. Within his work, skulls represent sin and death, linked chains represent how all humans are connected, and crosses allude to his Christian faith. He utilizes these relatable and universal symbols to serve as a point of departure for the viewer to have a conversation with themselves and those around them.

Above:

Dragged Through The Fire - Cloud Head (In The Tomb 3D), 2019, Mixed media on stretched canvas

Right:

Together/KnSep/Friction In-between Two, 2019, Mixed media on paper

ESTELLE MAISONETT

Born and raised in The Bronx, Estelle Maisonett (b. 1991) is a Mexican and Puerto-Rican interdisciplinary artist that uses found objects, photography, and sourced clothing to create life size collages that document her experience living in NYC. Using sourced and found clothing from the streets, she creates figures that are void of the human body to explore how the figures’ relationship to consumer products, location, and material impact the interpretation of their identity. The interior and exterior spaces she builds incorporate the familiarity of her experience living in The Bronx and upper Manhattan through photography and archived found objects. Photographs and faux finishes of materials such as brick, concrete, wood or patterned fabric, allows Estelle to investigate materiality and value. Juxtaposing objects from reality with gestural drawings or paintings, she explores how the relationship between object and environment inform perception of a figure or allude to ideas around access, economic status, race, gender, cultural background, and sexual orientation. The work takes an explorative approach to the intersection of identity inspired by her own lived experience.

Above: No Smoking, 2019, Mixed media on plywood Right: The Bronx is Not for

Sale, 2017, Mixed media on pine wood

MARK MALAVE

Mark Malave (b.1997) is a Nuyorican visual artist, born and raised in the West Bronx. His documentary style video and photo works celebrate Black, Brown and Latinx natives of New York. With works that carry traits such as honesty and vulnerability, there is nothing fictional about his accumulation of paused ordinary moments.

“I’m infatuated with the feeling that can only be described as feeling like I’m almost home. To make more sense of this feeling, that is a task in which may require me using the entirety of this lifetime. The individuals in these works have provided me the drive to explore this feeling for some time.

It has been during this time that I concluded that this lifetime serves as an opportunity to get ready, to better equip myself, to go home,” Malave says.

Above:

If You Only Knew, 2019, Video Still

Right: Home, 2019, Kodak UltraMax 400 35mm color film

STANLEY STEEL

Born in Harlem and raised in The Bronx, Stanley Steel (b.1991) is a Dominican visual artist that “knows the vibes.” His works, inspired by the layers of street posters, paints, and graffiti found on brick buildings, conveys the essence of Bronx streets—dynamic and gritty with layered narratives. Steel works with found objects that were once laying on sidewalks and transforms them into his canvases without taking away from their original essence. Working with a mix of mediums such as printmaking, stickers, spray paint, acrylic screen printing, fabric, and much more, Steel loudly brands his work with his artist name, “STANLEY STEEL,” a practice also seen in traditional graffiti culture. Steel is also the founder of his clothing brand, “Stanley Steel,” and a member of the Uptown creative collective, “Uptownsodaclub.”

Above:

Junkspace 2, 2014, Digital Print

Right:

Untitled Stitched Fabric (2), 2017, Mixed media

AUDREAMIA WARDLOW

Audreamia Wardlow (b. 1995) is an African-American mixed-media artist born in Washington Heights and raised around Fordham and Sedgwick in The Bronx. Her regal chandelier ceiling sculpture, Sugar Sole, is an homage to the role sneaker culture plays within the “Bodegan,” a term referring to “a tribe of people who are resilient and knows the struggle,” according to the artist. Wardlow describes,“Sneakers have always been a symbolization of selfidentity, our sneaker soles come to represent our actual soul. What we wear on our feet becomes a part of us and creates a story between our spiritual selves and material selves. Sneakers are the vehicle that allows us to navigate the world freely and protect us from the obstacles that live in the streets. Our sneakers provide us access to spaces and places; it is an unspoken language.”

Making a statement about uptown street fashion, Wardlow alludes to the beauty in how sneaker culture manifests in low-income working class communities yet notes how a

part of this culture has become an exploitative business targeting the poor and middle-class. “Sneaker culture has almost become like an addiction, we are always looking for our next kick,” she says. “We are more interested in the feeling of wearing the sneakers instead of appreciating its pure function. We lose our souls to buy new soles.” Experimenting with mediums, the sneaker soles of Sugar Sole are plaster and sugar molds of the iconic NYC and uptown sneakers, Air Jordan 1s and Air Force 1s.

When speaking about the piece and its unique medium, Wardlow said, “I use sugar because it deals with reward and the extensive history of the Black experience in America. Sugar plantations are the reason why America is one of the biggest and wealthiest countries trying to use it as currency, and all the other negative aspects that come with it. One being addiction.”

Right: Sugar Sole, 2019, Sugar and shoelaces

THE UPDATE

All works courtesy of the artists

Patrick Alston

Unify Shit, 2018

Acrylic, Colored Pencil, Enamel, Graphite, Ink, Oil Pastel and Spray Paint on Sewn Linen and Canvas

72 x 58 inches

Patrick Alston

Aint, Aint a Word, 2017

Acrylic, Alcohol Ink, Enamel, Graphite, Ink, Oil Pastel, and Stone Spray and Spray Paint on Canvas

70 x 56 inches

Ron Baker

Money Tree Gardens, 2019

Clay, Rosary Beads, Shells, Incense, Plants, 3 Metal Coin Cans, Grip Metal Plate

15 x 12 x 12 inches

Ron Baker

Protection, 2019

Clay, Shells, Acrylic Paint, Incense, Bandana, Plastic Toy

6 1/2 x 3 1/2 inches

Ron Baker

Untitled, 2019

Clay, Corn on Cob, Glitter, Winter Mask, Rosary

Beads, Shells, Palm Leaves, Incense

17 x 7 1/2 inches

Ron Baker

Untitled, 2019

Shells, Rosary Beads, Palm Leaves, Wood

Bowl, Face Mask, Clay, Rice, Bandana, Incense

11 1/2 x 7 1/2 inches

Ron Baker

Untitled, 2019

Shells, Clay, Rosary Beads, Face Mask

11 1/2 x 7 1/2 inches

Ron Baker

Performance, 2019

Video

2 minutes

Ron Baker

Self Defense, 2018 Video

1 minute

Ron Baker

Everybody Eats, 2017

Video

20 seconds

Ron Baker

Mind Elevation, 2018

Video

2 minutes

Rocio Marie Cabrera

Uptown Baby Liz, 2019

Polymer clay, wire, acrylic paint 10 x 5 inches

Rocio Marie Cabrera

Uptown Baby Sam, 2019

Polymer clay, wire, acrylic paint 10 x 6 inches

Rocio Marie Cabrera

Uptown Baby Rocky, 2019

Polymer clay, wire, acrylic paint

15 x 5 inches

Monica Flores

Punk Show at Jerome Ave, 2017

Cyanotype on WaterColor paper

8 x 10 inches

Monica Flores

Hunts Point Basement, 2017

Cyanotype on WaterColor paper

8 x 10 inches

Monica Flores

LVNCE BLVCK, 2017

Cyanotype on WaterColor paper

17 x 20 inches

Monica Flores

Bronx Boyz, 2018 Instax WIDE film

3 x 4 inches

Monica Flores

2 Train, Uptown, 2018 Instax WIDE film

3 x 4 inches

Monica Flores

A Function at Washington Heights, 2018 Instax WIDE film

3 x 4 inches

Monica Flores

Castle Hill House Party, 2017 Instax WIDE film

3 x 4 inches

Monica Flores

Dirty Ghetto Angelz 2018 Instax WIDE film

3 x 4 inches

Monica Flores

Hellotones, 2018 Instax WIDE film

3 x 4 inches

Monica Flores

Supreme Couple, 2018

Instax WIDE film

3 x 4 inches

Monica Flores

Parkchester Party, 2018

Instax WIDE film

3 x 4 inches

Monica Flores Party at Jen’s, 2018

Instax WIDE film

3 x 4 inches

Monica Flores

Uptown Mamis, 2018 Instax WIDE film

3 x 4 inches

Monica Flores

Virgen in a Bronx Function, 2018 Instax WIDE film

3 x 4 inches

Monica Flores

Nereid Ave, 2018

Instax WIDE film

3 x 4 inches

Dillon Gardner

The Funeral, 2020 Flowers, Cardboard, Spray Paint, Mirrors Installation

Dimensions Variable

Sorinn Lillico

Tell The Story Washed In The Blood Red/ PPBlok/, 2019

Mixed media on stretched canvas 48 x 60 inches

Sorinn Lillico

Together/KnSep/Friction In-between Two, 2019

Mixed media on paper 28 1/2 x 45 inches

Sorinn Lillico

Dragged Through The Fire - 2day Eye 2 Eye (5) This Is My Heart), 2019

Mixed media on stretched canvas 48 x 60 inches

Sorinn Lillico

Dragged Through The Fire - Cloud Head (In The Tomb 3D), 2019

Mixed media on stretched canvas 48 x 60 inches

Estelle Maisonett

No Smoking, 2019

Mixed media on plywood 60 x 50 1/2 inches

Estelle Maisonett

The Bronx is Not for Sale, 2017

Mixed media on pine wood

64 x 40 inches

Stanley Steel

Untitled Buffed Logo, 2017

Mixed media

16 x 20 inches

Estelle Maisonett

Trash, 2018

Mixed media on Foam Board

51 1/2 x 41 inches

Estelle Maisonett

Bodega, 2018

Mixed media on Foam Board

88 x 41 x 6 inches

Stanley Steel

Untitled Chef on Acrylic, 2017

Mixed media

16 1/2 x 35 3/4 inches

Stanley Steel

Untitled Cowboy on Metal, 2019

Mixed media 24 x 30 inches

Mark Malave

Home, 2019

Kodak UltraMax 400 35mm color film

11 x 17 inches

Stanley Steel

Untitled Mad Legs, 2018

Mixed media

16 x 20 inches

Mark Malave If You Only Knew, 2019

Video

59 seconds

Stanley Steel

Untitled Advertisement, 2015

Mixed media

24 x 29 inches

Stanley Steel

Untitled Logo Block, 2017

Mixed media

15 3/4 x 38 1/2 inches

Stanley Steel Vrrroooom, 2015

Paint

16 x 23 3/4 inches

Stanley Steel

Untitled SB on Metal, 2018

Mixed media

33 x 52 inches

Stanley Steel

Untitled Bubble Clip, 2017

Mixed media

16 x 20 inches

Stanley Steel

Junkspace (1 & 2), 2014

Digital Print

10 1/2 x 13 1/2 inches

Stanley Steel

Money make me feel good, 2015

Mixed media

23 3/4 x 39 1/2 inches

Stanley Steel

Untitled Image on Metal, 2017

Mixed media

24 x 24 inches

Stanley Steel

Untitled Image on Tile, 2016

Mixed media

13 1/2 x 13 1/2 inches

Stanley Steel

Untitled Stickers on Acrylic, 2017

Mixed media

16 1/2 x 36 inches

Stanley Steel

Untitled Stitched Fabric (1 & 2), 2017

Mixed media

16 x 20 inches

Stanley Steel

Untitled Philly Cheese Steak Remix, 2016

Mixed media

11 x 14 inches

Stanley Steel

Untitled Walking my Dog, 2017

Mixed media

16 x 20 inches

Stanley Steel

Untitled Image on Metal, 2019

Mixed media

18 x 24 inches

Audreamia Wardlow

Sugar Sole, 2019

Sugar and shoelaces

The Bronx Council on the Arts is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; Arts Midwest and the National Endowment for the Arts; and City Council members Andrew Cohen, Vanessa Gibson and Mark Gjonaj. Also supported in part by the Booth Ferris Foundation, Con Edison, Ovation, New Yankee Stadium Community Benefits Fund, Hispanic Federation, the City of New York, and the Department of Youth and Community Development. Special thanks to Hostos Community College and the Hostos Center for the Arts & Culture for their support.