SELF-REFLECTION/REHASH PRACTICING UNCERTAINTY
SELF-REFLECTION PRACTICINGPRACTICING
REHASHREHASH
UNCERTAINTY
UNCERTAINTY SELF-REFLECTION
SELF-REFLECTION REHASHREHASH
PRACTICINGPRACTICING UNCERTAINTY
UNCERTAINTY SELF-REFLECTION
SELF-REFLECTION/REHASH
PRACTICING UNCERTAINTY
JUNE 7 - JULY 12, 2023
CURATOR STATEMENT
Self-Reflection/Rehash: Practicing Uncertainty explores expressions of identity in the context of being born in America. Through a range of art forms, the exhibition encourages viewers to engage with multifaceted issues. The artworks reflect the experiences and perspectives of artists from diverse backgrounds with a particular focus on those who have struggled with questions of identity and belonging in America. By presenting a range of perspectives and experiences, this exhibition aims to foster meaningful dialogue and reflection.
Jake Alfieri’s art is a direct expression of his journey as a transgender artist struggling to come to terms with his identity and place in the world. His work explores the complex interplay between race, gender, and identity using plaster cast sculpture to express his innermost thoughts and emotions. With a direct and unflinching dialogue, Alfieri’s sculptures are a powerful testament to the resilience and strength of the human spirit. Through his art, he challenges our preconceptions about gender identity, encouraging us to confront the uncomfortable realities of our own lives and experiences.
Kate Bae’s experience as a victim of Asian hate and domestic violence deeply informs her work, driving her to use various elements to counteract the negative dialogue that has plagued her life. This installation is not only an exploration of her artistic practice, but a deeply personal reflection of her journey. In her practice, she focuses on the medium and language of painting to create dialogues about
multiple identities. The process of casting, pouring paint, and peeling, changes the identity of a painting into something else. Not quite sculpture but not quite painting. This parallels her experience as an immigrant and not fully being Korean nor American.
In Jeanne Brasile’s library card pieces, she tries to redress the harm experienced by any hyphenated American whose history and identity are inaccessible due to policies and societal pressures. Library card catalogs were meant to present information in a seemingly neutral taxonomical system. However, the words encoded on the materials reveal significant ethnocentrism, classism, colonialism, sexism, and racism – among other transgressions. Words convey identity and a sense of self, and they are equally capable of influencing opinions, affinities, and notions of importance and non-importance. Ideas pervade language, eventually influencing thoughts and actions. She wishes to draw attention to how information from seemingly trusted sources can grant agency to some while stealing it from others.
Mike Childs’ abstract paintings channel his feelings and identities in a way that conveys the depth of his being through dynamic visual forms. Through his art, Childs captures the myriad fluctuations of his life, exploring the nuances of his identity and seeking a deeper understanding of his true self. His approach serves as a powerful dialogue between himself and the world, allowing him to communicate on a deeply personal and intimate level. Childs offers a rare glimpse into the intricate complexity of his journey to selfdiscovery.
Rosemarie Fiore’s glass smoke domes stand as a powerful embodiment of her artistic vision and original technique, which she has honed through years of experience. Through innovative use of spirographic tools and smoke fireworks, Fiore captures fleeting moments and emotions, transforming them into tangible works. Her
creations serve as a documentation of the essence of life, infused with her perspective and creative vision.
As a former environmental engineer from Taiwan, Ming-Jer Kuo understands the complexity of urban patterns and their reflection on the historical and geographical experiences of the community. Kuo creates a dialogue between the individual and their environment, using the site-specific installation as a medium to explore the relationship between identity and space. His perspective on these patterns engages in a deeper exploration of his relationship with the environment around him. Mass Production of Living Style: Bronx is an interactive site-specific installation that invites viewers to participate actively in the exhibition.
LuLu Meng’s thought-provoking mirror installation invites viewers to explore the complex relationship between the individual and the community. As the lights come on, viewers will be drawn into the mesmerizing domes where their reflection materializes, creating a powerful and deeply personal dialogue between the viewer and the work itself. Through this installation, Meng offers a unique perspective on the interplay between identity, community, and empathy, drawing on their own experience as a member of the LGBTQIA+ community, former chemical engineer, and costume designer.
As a descendant of Russian Ashkenazi Jews from Ukraine, Kelly Olshan’s work is rooted in her personal history and cultural heritage. Through the use of impossible pathways, false destinations, and distant horizons that never arrive, she creates a self-reflexive world that serves as an art form for her own identity through a mixed media installation and 3D pieces. Her works serve as a reflection of her experiences and offer an opportunity for viewers to join her on a journey of exploration and discovery. In her staircase panel, she creates a disjointed yet interconnected narrative that is both thoughtprovoking and emotionally resonant.
CURATOR BIO
Sophia Chizuco is a multidisciplinary artist, art educator, and curator from Japan and based in Brooklyn. She received her B.A. in Art and Education from Tokyo Gakugei University and moved to New York in 2000 to study abstract paintings at the Art Students League of New York, where she earned a certificate in painting.
As an artist, Chizuco has been selected as a leader for various community art projects, including the Hospital-Based Community Murals Project at NYC Health + Hospitals’ Arts in Medicine program, project art and social practice in Cypress Hills Library, and SU-CASA Artist-in-Residence at Young Israel Senior Center. She has also conducted workshops at non-profit organizations such as the NARS Foundation, Lewis Latimer House Museum, and the Museum of Jewish Heritage.
She was a mentor for the Immigrant Artists Program at the New York Foundation for the Arts and has curated shows for immigrant artists. Her curatorial projects have been featured by various publications, including White Hot Magazine, World Journal, Yomitime, and Con Edison Newsletter.
Chizuco has received accolades from ArtNetwork and a merit scholarship from the Art Students League of New York. Her work has been exhibited nationally and internationally, including at the Staten Island Museum, New York Hall of Science, ChaShaMa, the Tokyo Metropolitan Art Museum, Affordable Art Fair, and Makati Shangri-La Hotel.
PUBLIC PROGRAMS
Opening Reception
Wednesday, June 7, 2023 | 7:00 PM - 9:00 PM
Public Program
Wednesday, June 28, 2023 | 6:00 PM - 8:00 PM
Closing Reception
Wednesday, July 12, 2023 | 6:00 PM - 8:00 PM
Longwood Art Gallery @ Hostos
450 Grand Concourse at 149th St., Room C-190
Bronx, New York 10451
(718) 518-6728
longwood@bronxarts.org
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 LGBTQIA+ 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 on the Arts
Founded by visionary community leaders in 1962, The Bronx Council on the Arts (BCA) is a pioneer in advancing cultural equity in The Bronx. From our early beginnings as a presenter of affordable arts programming in select Bronx neighborhoods, we have grown into a cultural hub that serves the entire creative ecosystem of the borough. Our programs serve artists, the public, and the field at large by building connections, providing resources, and advocating for equitable practices. Then as now, we focus on supporting the work of underrepresented groups – especially artists of color, women, and members of the LGBTQIA+ community. Through this lens we offer affordable programs for seniors and youth, and provide direct services to over 1,500 artists and 250 community-based arts groups each year.
www.bronxarts.org
The Hostos Center for the Arts and 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
LONGWOOD ART GALLERY @ HOSTOS YOUTH ENGAGEMENT PROGRAM
Longwood’s Youth Engagement Program, launched in 2018, is designed to engage Bronx youth with the rich visual arts scene that surrounds them. By providing gallery experiences they can relate to – and interactions with artists who reside in the same neighborhoods, share similar cultural identities, and even nations of origin – young people gain formative experiences of cultural engagement that last a lifetime.
Activities are free, age-appropriate, and created by professional teaching artists to foster critical thinking, interviewing and public speaking skills. If your organization, school, or group works with youth and would like to discuss scheduling a workshop or to arrange a visit, connect with us!
Illustration by Ruben Ramirez
Self-reflection/Rehash: Practicing Uncertainty
By Sunny NagpaulThrough large, muted earth shade paintings, pastel pink acrylic flowers, a swirling mural made from stickers of aerial view houses, and glass domes blown from the power of firecrackers, the most recent exhibition at Longwood Art Gallery @ Hostos celebrates diversity through artistic mediums and across genders and identities.
The newest exhibition, titled “Self-reflection/Rehash: Practicing Uncertainty,” explores concepts of identity and immigration in America, from perspectives of religious minorities, prejudice against immigrants, and confusion about how to be American when that doesn’t feel so good.
Artist Rosemarie Fiore started using firecrackers to paint and blow glass after the attacks on the World Trade Center in 2001. At the time of the attack, she had just been offered an artist residency in New Mexico and was set to leave in September, but decided to put it off until January when she felt she couldn’t leave the city afterwards. “The whole thing meant something totally different to me as a New Yorker than it did to the rest of the nation,” Fiore said. “It was difficult for me to understand at the time.”
Rocket and firepower lingered in her mind. “As we were marching towards war, I wanted to use rockets to do this work, but it would’ve blown up my tools,” she said. “So I started to work with smoke.”
Fiore has now worked with firecrackers to create smoke paintings, a surrealist inspired technique called fumage, for 20 years. Her technique involves handmade tools she crafts to channel the firecrackers’ colored smoke through a tube that she uses to paint paper and canvas.
At the current exhibition, two of her large murals hang–one a blend of blue acrylic paint and smoke, splashed with yellow flashes, and another an abstract blend of green striped smoke and yellow, and green and pink swirled acrylic paint. The former is a part of a separate piece she created from fifty canvases that she spiked into the ground and rolled paint over with a leaf blower.
Fiore has since leaned into several other avant garde forms of painting, through pinball machines with painted pinballs that stream paint along the board, glass blown from fireworks that explode between thick glass patties, and even amusement park rides. She has performed with these mediums in places like the Queens Museum, the Kohler Plant in Wisconsin, and Wave Hill Public Garden & Cultural Center in the Bronx.
She currently teaches studio art to children at the Metropolitan Museum of Art, and volunteers with the New York Foundation for the Arts Immigrant Artist Program.
Another abstract painter, Kelly Olshan, presents large murals full of sky and seascape colors and stairways that lead to nowhere, which to her, expresses the way she longs for an idealized version of her life that she knows is only a beautiful romanticization, and not a reality.
Olshan grew up as a descendant of Russian Ashkenazi Jews from Ukraine in her hometown Birmingham, Alabama, a predominantly Christian city. She described her elementary school teachers, who called her to the front of the classroom when she was six years old to explain what Judaism is, and feeling at a loss for words when she couldn’t. “I always felt like I didn’t fit into that southern culture,” she said. “I’ve been making my way up north, trying to escape that, trying to get to a different place.”
Olshan says when she creates the blue and green tones of her murals,
which usually feature stairways that lead to nowhere, it is a creation of her desire to get to a place that she feels she belongs in.
“Growing up there was a narrative that once you get through this part of it, things will be better,” she said. “In reality, you spend all this time idealizing the future and then you get to the future and it’s not everything you built it up to be in your head. It’s something kind of blue, shrouded and cloaked in something you can never quite attain.”
Olshan has been an artist since she was a young child, and attended Alabama School of Fine Arts, an art intensive high school, before ultimately attending graduate school at Columbia University.
Sophia Chizuco, the curator of the exhibition, emigrated to the U.S. from Japan 23 years ago. She described a situation many immigrants find themselves in, where they’re not entirely accepted by both their home country and their new one. “I’m here, and they think I’m Japanese, but then in Japan, they don’t think I’m Japanese anymore.”
Chizuco is an artist herself and creates sculptures and fabric art that is worn by performing dancers. She curates one art exhibition each year, and this show is one of her biggest. Its aim, she said, is to showcase the beauty of diversity through people’s home countries and the mediums they use. The show includes Canadian-born artist Mike Childs, who created acrylic paintings with crushed black walnuts, and South Korean artist Kate Bae, who created paintings with 3D-acrylic flowers after she fell victim to a hate crime.
The difficulty of finding acceptance in America has not stopped artists from expressing their unique perspectives, and in turn reveal a version of themselves that some are willingly blind to.
Ming-Jer Kuo, a former environmental engineer from Taiwan, created a swirling mosaic of houses as seen from an aerial, birds eye view.
The mural, titled, “Living Style: Bronx,” is an interactive installation where visitors can paste stickers of houses, all in the Bronx and collected from Google Earth, on the wall and consider the style of people’s homes, which intrigued Kuo when he first arrived in New York.
“I was very curious, what do they have in their backyard, that car looks good, and there are swimming pools as well,” he said. “There’s a mass production of living style, you gotta have a backyard, a lawn in front of your house, the American dream in the movies.”
He said the Bronx borough, which also has many project housing complexes, particularly interested him, and that the landscape is nothing like what he grew up near in Taiwan.
“It’s more compact, there’s no private space,” he said of housing complexes in his home country. Space in America is usually seen as a luxury, but Kuo sees a darker side, one where people can go weeks or months without talking to each other.
You can view the current exhibition until July 12, when a closing reception will be held from 6pm - 8pm. This summer, the gallery is open between June 7 to June 30 on Tuesdays through Fridays from 12pm - 6pm, and from July 4 to July 12 on Tuesday through Thursday from 12pm - 6pm.
JAKE ALFIERI
Jake Alfieri is a graduate of the California College of Art, with a Bachelor of Fine Arts degree in Textiles. His work has been exhibited in museums, galleries, and alternative spaces throughout NYC and the tri-state area.
Selected exhibitions include the African American Museum of Philadelphia, the Belskie Museum, the Rubin Museum and the Bronx Museum for the Arts. He has won numerous awards in sculpture. He is a two-time winner of the Bronx Recognizes Its Own (BRIO) award. His work sits in private and corporate collections across the United States and abroad.
Jake Alfieri, The Pain Body, 2021, life cast, leather, steel, barbell weights, fire hydrant cap, black enamel, and oil, 67 x 25 x 24 inches
KATE BAE
Born in Busan, Korea, Kate Bae is an independent curator and immigrant artist whose art focuses on site-specific installations and paintings based in New York City. Kate’s art practice is focused on multiple identities, memories, neuroses, psychological borders, and collaboration with other artists. She holds an MFA from the Rhode Island School of Design and a BFA from the School of the Art Institute of Chicago in Painting.
Bae is a founder of Women’s Cactus for the Arts and has exhibited nationally and internationally including solo shows in the Sunroom Project Space at Wave Hill, the Deiglan Gallery, and most recently the Artspace IAa. She is a grant recipient from Real Art Award, MVP Chapter Lead Grant from Malikah Gender Justice Institute, Ora Lerman Trust, Creative Capital Professional Development Program, and the NYFA Immigrant Artist Mentoring Program. She has attended many residencies including the Golden Foundation, the Studios at Mass MoCA, Trestle Gallery, Wassaic Project, Chashama and Lower East Side Printshop Keyholder Residency.
Kate Bae, Precursor to the Birth of New Eden, 2021, acrylic, glockenspiels on panel, 16 x 15 inches
JEANNE BRASILE
Jeanne Brasile is an artist, curator, art writer, and yoga instructor based in New Jersey. She attended Ramapo College of New Jersey where she earned a Bachelor Degree with concentrations in Art History and Visual Art.
As a graduate student, she studied abroad in Amsterdam and Italy which heightened her interest in language and transmission of ideas and information. In her final semester of graduate school before earning her M.A. in Museum Studies at Seton Hall University, she secured her first job as a curator. This position suited her interdisciplinary tendencies and inquisitive nature and became a critical counterpart to her art and writing. Brasile’s art has been exhibited in The Newark Museum, The Montclair Art Museum, The Mattatuck Art Museum and 14C Art Fair among other venues. Her writing has appeared in The Brooklyn Rail, NJ Arts Daily, AS | Mag and Art Spiel. She envisions both the studio and gallery as laboratories for learning. She can often be found outdoors hiking, observing nature, collecting curiosities, or peering through a microscope to find new inspiration.
Jeanne Brasile, Dispensing Wisdom, 2020, gumball machine and shredded library card catalogues, 12 x 6.25 x 6.25 inches
MIKE CHILDS
Born in Toronto, Canada, Mike Childs received his Bachelor of Fine Arts from the University of Guelph and a Master of Fine Arts from Florida State University. He is the recipient of Pollock-Krasner Foundation grants and a Lower Manhattan Cultural Council award. At 26, he received an award to live, paint and teach in Florence, Italy from Florida State University. His work has been exhibited in New York and nationally. In 2022, he received a Bronx Recognizes Its Own (BRIO) award from the Bronx Council on the Arts.
Childs has had numerous solo and two-person shows and maintains a studio in the South Bronx, where he draws inspiration from the architecture. Childs’ work has been exhibited at Susan Eley Fine Art, The Bendheim Gallery, The Spartanburg Museum of Art, The Bronx River Art Center, David Richard Gallery, ABC No Rio, and Wave Hill. During the pandemic, he and artist Melissa Staiger created Streaming, an artist curatorial collective which premiered at the Stand 4 Gallery in 2021.
Mike Childs, As of Now #6, 2022, black walnut and India ink, watercolor on soil on paper, 12 x 18 inches
ROSEMARIE FIORE
Visual artist Rosemarie Fiore lives and works in Bronx, NY. She has attended residencies and been awarded fellowships at Kohler Arts/Industry Program, Art OMI, Yaddo, Millay, Salem Art Works, Skowhegan, MacDowell, WalentasSharpe Studios, Wavehill Winter Workspace, Roswell AIR Program, Golden Foundation, Sculpture Space, Abrons Art Center, BRIC, and the AIM Program through the Bronx Museum.
Fiore has received accolades from The National Endowment for the Arts, New York Foundation Arts Fellowship, Sally and Milton Avery Foundation, Lower East Side Print Shop, Bronx Council on the Arts, New York City Department of Cultural Affairs, and Dieu Donne Paper Mill.
Fiore’s work has been exhibited at MOCA Jacksonville, Weatherspoon Museum, Munson-Williams-Proctor Arts Institute, SCAD Museum, Von Lintel Gallery, Grand Arts, Bronx Museum of Art, Queens Museum of Art, Socrates Sculpture Park, Metropolitan Museum of Art, and Franklin Institute.
Her work has been reviewed across publications including the New York Times, New York Magazine, Art in America, Artforum, Village Voice, NY Arts Magazine, Art Papers, Washington Post, Art&Cake and Art Ltd. Magazine.
Rosemarie Fiore, Smoke Dome #5, 2012, glass blown by smoke bomb fireworks, 10 x 10 x 6 inches
MING-JER KUO
Ming-Jer Kuo (born in Taipei, Taiwan) is a New York-based artist and former environmental engineer. Kuo graduated with an MFA in Photography, Video, and Related Media from the School of Visual Arts.
Kuo has received accolades from the Paula Rhodes Award for Exceptional Achievement and the Taoyuan Creation Award. He was a member of the Elizabeth Foundation for the Arts Studio Program and an artist fellow for the New York Foundation for the Arts. He was an Artist-in-Residence for several organizations, including the NARS Foundation, Solo(s) Project House, and Vermont Studio Center.
Kuo’s work has been exhibited in solo and group shows across various spaces like the New York Hall of Science, Newhouse Center for Contemporary Art, QCC Art Gallery, EFA 20|20 Gallery, NARS Foundation, Trestle Gallery, Chashama Space, Gallery 456, Gallery Aferro and the 2 Gateway Center, Gallery Sejul, and Fotoaura Institute of Photography.
Ming-Jer Kuo, Mass Production of Living Style: Bronx, 2023, pigment print image on label sticker, varied dimensions
LuLu Meng is a multidisciplinary artist. Born in Taiwan and based in Brooklyn, their conceptual multimedia work embodies interconnected humanity. Using repetition of relatable forms such as clothing, text, and games, they create versions of the individual selves and the collective positionality relative to one another inhabiting, being, and playing.
Kuo’s work lures the viewer’s interest and curiosity with durational and interactive components. By using mirrors and translucent materials to obfuscate and reveal depth and complexity, Kuo’s projects reflect the individual on the whole and vice versa.
Meng has exhibited across spaces like include QCC Art Gallery and Museum, Windows to the World, Urban Tribes: Urban Caravan, Gallery MoMo, 47 Canal Gallery, Museo El Castillo, the Bronx Museum of the Arts, Flux Factory, QCC Art Gallery, William Harris Gallery, Cuchifritos Gallery&Project Space, Hall of Science Museum, and Power Plant Gallery.
Their residencies and awards include the Taiwanese American Art Council Sculpture Space, Anaba Project, mh PROJECT nyc, Curatorial Program for Research, and more. Meng holds a Bachelor of Arts in Drama and Theater from National Taiwan University and a Master of Fine Arts in Photography, Video, and Related Media from Rochester Institute of Technology.
LULU MENG
LuLu Meng, Lived Happily Ever After, Series of Look into the Mirror, 2021, resin, fabric, see-through mirror, LED lights, microcontroller, electric cable, photo print, paper, wedding photos found online, and stainless steel wire, varied dimensions
KELLY OLSHAN
Kelly Olshan is a NYC-based visual artist and arts manager. She graduated Valedictorian from UNC Asheville with a Bachelor of Fine Arts in Painting, where her work is part of the University’s permanent collection, and went on to receive her Master of Arts in Arts Administration from Columbia University. Her work has been exhibited nationally, most recently in a NYC solo and debut public art installation, Traverse, at the Garment District Alliance’s Space for Public Art. Additional solo exhibitions include Portals at Ground Floor Contemporary, Reimagined Landscapes at Sean Christopher Gallery, and Perpetual Pursuit: Painting the Unattainable at Tucker Cooke Gallery. Group exhibitions in NYC include Artist Equity Gallery, Gallery Arte Azulejo, The Yard, and Yashar Gallery, among others. This year, she will be an Artist-in-Residence at ChaNorth.
In 2019, she was named an Emerging Leader by New York Foundation for the Arts. She serves as a frequent panelist for NYC Percent for Art Program and on the NYC DOT Public Art Advisory Committee. She has given artist talks and guest lectures at School of Visual Arts, Rhode Island School of Art and Design, Pollock-Krasner House and Study Center, Columbia University, and Bronx Council on the Arts, among others. As an arts manager, she currently supports artists’ professional development nationally as Program Officer of Career Advice and Training, at New York Foundation for the Arts.
Kelly Olshan, Staircase in Blue, 2017, oil, recycled paint scraps, graphite, and molding paste on 3D panel, 58 x 17.5 x 15.5 inches
SELF-REFLECTION:REHASH PRACTICING UNCERTAINTY
All works courtesy of the artists unless otherwise noted.
Plaster casts, linen, cotton, heat transferred text, and small books 15 x 41 x 6 inches
Ego Likes to Talk About It, 2014
Plaster casts, cotton, heat transferred text from Facebook 15 x 22 x 10 inches (each book)
Jake Alfieri
Jake Alfieri #ME#I#ME#I, 2015
Living Inside My HeadForced Gender Beliefs, 2020 Plaster casts, satin, glass,wood, stainless steel, brass, plastic ballerinas, plastic male figure, and music: Requiem for a Dream (Jewelry Box Version) and quote from A Course In Miracles
25.5 x 19.75 x 20.5 inches
The Pain Body, 2021
Life cast, leather, steel, barbell weights, fire hydrant cap, black enamel, and oil
67 x 25 x 24 inches
Jake Alfieri
Jake Alfieri
Kate Bae
Precursor to the Birth of New Eden, 2021
Acrylic, glockenspiels on panel 16 x 15 inches
Kate Bae
Joyful Diligence, 2023
Acrylic, sound rod, wood on panel 40 x 36 inches
Kate Bae
Blessing in Disguise, 2023
Acrylic, fabric, sound rod, wood on panel 45 x 41 inches
Kate Bae
Infinite II, 2021
Acrylic on panel
40 x 30 inches
Kate Bae
Optimal Happiness, 2023
Acrylic, rope on panel 41 x 13 inches
Jeanne Brasile
We the Americans, 2021 Redacted library card catalogues on canvas
18 x 20 inches
Jeanne Brasile
Ethiopian Magical Scrolls, 2021 Redacted library card catalogues on canvas
18 x 20 inches
Jeanne Brasile
Arranged by Crtical Estimate, 2020 Redacted library card catalogues on canvas
24 x 15 inches
Jeanne Brasile
Mixed Messages, 2021
Blender and shredded library card catalogues
15 x 8 x 8 inches
Jeanne Brasile
Dispensing Wisdom, 2021
Gumball machine and shredded library card catalogues
12 x 6.25 x 6.25 inches
Jeanne Brasile
Typography of Typography I, 2020
Shredded library card catalogues on panel
8 x 8 inches
Jeanne Brasile
Typography of Typography II, 2020
Shredded library card catalogues on panel
8 x 8 inches
Mike Childs
Re-Cover, 2021
Acrylic and spray paint on canvas
66 x 45 inches
Mike Childs
The Grounds #2, 2022
Acrylic and crushed sedimentary stone on canvas
52 x 74 inches
Mike Childs
To Be Continued #2, 2021
Acrylic and crushed sedimentary stone on canvas
30 x 120 inches
Mike Childs
As of Now #6, 2022
Black walnut and India ink, watercolor on soil on paper
12 x 18 inches
Rosemarie Fiore
Smoke Painting #86, 2023
Lit color smoke fireworks residue, acrylic, grommets on canvas
65 x 90.5 inches
Rosemarie Fiore
Smoke Painting #87, 2023
Lit color smoke fireworks residue, acrylic, grommets on canvas
32 x 47 inches
Rosemarie Fiore
Smoke Dome #55, 2012
Blown glass, action of lit smoke
fireworks
10 x 9 x 5 inches
Rosemarie Fiore
Smoke Dome #56, 2012
Blown glass, action of lit smoke
fireworks
11 x 10 x 4.5 inches
Rosemarie Fiore
Smoke Dome #59, 2012
Blown glass, action of lit smoke
fireworks
11 x 10 x 5.5 inches
Rosemarie Fiore
Smoke Dome #60, 2012
Blown glass, action of lit smoke
fireworks
8 x 8 x 4.5 inches
Rosemarie Fiore
Smoke Dome #76, 2012
Blown glass. action of lit smoke
fireworks
9 x 13 x 5 inches
Rosemarie Fiore
Smoke Dome #77, 2009
Blown glass, action of lit smoke
fireworks
10.5 x 11 x 8 inches
Rosemarie Fiore
Smoke Dome #78, 2012
Blown glass, action of lit smoke
fireworks
10 x 10 x 4.5 inches
Rosemarie Fiore
Smoke Dome #79, 2009
Blown glass, action of lit smoke
fireworks
9 x 11 x 4 inches
LuLu Meng
Lived Happily Ever After, Series of Look into the Mirror, 2019 - 2023
Resin, fabric, see-through mirror, LED lights, microcontroller, electric cable, photo print, paper, wedding photos found online, stainless steel wire
Varied dimensions
Ming-Jer Kuo
Mass Production of Living Style: Bronx, 2023
Pigment print image on label sticker
Varied dimensions
Kelly Olshan
Traverse Installation (Traverse Staircase, Antarica, California Portal, Water is Falling), 2022 - 2023
Mixed media on shapes panel, acrylic on vinyl
Varied dimensions
83 x 124 x 40 inches (left), 106 x 95.5 x 23 inches (right)
Kelly Olshan
Staircase in Blue, 2017
Oil, recycled paint scraps, graphite and molding paste on 3D panel
58 x 17.5 x 15.5 inches
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 the Office of the Governor and the New York State Legislature; Arts Midwest and the National Endowment for the Arts; the Coalition of Theaters of Color; the Cultural Immigrant Initiative; City Council Members Eric Dinowitz and Marjorie Velázquez; Bronx Borough President Vanessa Gibson; NYS Assemblymember Michael Benedetto and the NYS Division of Criminal Justice; and the Hispanic Federation, the City of New York, and the Department of Youth and Community Development. Also supported in part by the Howard Gilman Foundation, the Booth Ferris Foundation, the Altman Foundation, the Mertz Gilmore Foundation, Amazon, the Lily Auchincloss Foundation, the New Yankee Stadium Community Benefits Fund, the Tiger Baron Foundation, and Con Edison. Special thanks to Hostos Community College and the Hostos Center for the Arts & Culture for their support.
Bronx Council on the Arts
2700 E Tremont Ave Bronx, New York 10461 www. bronxarts.org
@BronxArtsOrg
