SUPPORT SYSTEMS
SUPPORT SYSTEMS
JANUARY 22 - FEBRUARY 25, 2025
CURATORIAL STATEMENT
The ultimate, hidden truth of the world is that it is something that we make, and could just as easily make differently. -David Graeber
This exhibition challenges dominant cultural narratives that celebrate American exceptionalism and capitalist individualism, featuring works from eight artists and one collective. The exhibition reflects on historical failures of the U.S. government, examines contemporary crises, and explores new possibilities for the future. Through mediums such as ceramics, video, performance, photography, archival research, graphic design, and participatory art, these artists move beyond complacency and acceptance of reality, using humor, beauty, and embodied experiences to remind us of our own agency.
Grounded in history, the ceramic works of Francheska Alcántara acknowledge the unfulfilled promises made by the U.S. government to formerly enslaved peoples. In Special Field Order No. 15, 2023, Alcántara arranges small, rectangular ceramic works as if they were plots of farmland seen from an aerial view. The title comes from General William T. Sherman’s 1865 plan to redistribute 400,000 acres of Confederate land to those freed from bondage following the Civil War. Known as “40 acres and a mule,” this proposal was revoked by President Andrew Johnson just a few months after Lincoln’s assassination. As the artist notes, this artwork “serves as a reminder of the ongoing fight by Black families for equality and reparations.”
Many artists in this exhibition turn their cameras on themselves, using their bodies to bring worlds of reciprocity, care, and justice into actuality– albeit momentarily. Using the lens’ inherent relationship with documenting reality, they make tangible what is ordinarily dismissed as dreaming, depicting what it might look like if such fantasies came into view. Photographic technology depends on the concept of a latent image, which only becomes visible when developed. As a metaphor for such political realities in the formation process, these photographic and video works enact something not yet real, not yet depicted.
Alicia Grullón’s Breaking News, 2019, dreams of a more just future. The artist responds to a real-life tragic U.S. government failure that resulted in the preventable loss of a migrant child. Grullón says, “In this video performance, I adopt the role of fictional United Nations representative, Jaklin Caal Maquin, named after a 7-year-old Guatemalan girl who died of the flu at a U.S. migrant detention center in December 2018. As Maquin, I announce a peacekeeping mission to address the U.S. border crisis and a transfer of U.N. leadership to indigenous and aboriginal people.”
Addressing the current failures of nationalism more broadly is Miguel Braceli’s work Here Lies a Flag, 2021. In this video of a collective performance, the artist collaborates with New Rochelle High School students in Westchester County, NY, to reevaluate and reinvent their relationship with flags. Meeting in a public park, they remove the American flag from its pole, bury it in the ground, and offer an alternative: an endless piece of fabric with no colors, symbols, or icons. This gesture acts as a form of wiping the slate clean, offering the opportunity to discuss future possibilities for borders and national identity.
In Néstor Pérez-Molière’s installation of photographs, Finally We Are No One, 2021-2024, the artist “dares to dream of a queer utopia.” He asks, “How can we push out of performing pre-established roles and liberate ourselves?” Through self-portraiture, the artist shows that caring for oneself is a starting place for enacting a new way of being in community.
Chanika Svetvilas’ video, Pharma Infinity Dance, 2022, offers comic relief while critiquing the current realities of our healthcare system. Dancing in the aisle of a CVS, Svetvilas twirls inside an oversized infinity symbol she made from her own prescription bottles. With appropriated sound layered over techno music, she creates an audio collage combining pharmaceutical advertisements, TV news reporting, and individual commentary on the negligence of the U.S. healthcare system. The artist says these sounds “reflect the never-ending cycle of consumerism and search for wellbeing.”
Two artists in the exhibition explore themes of human domination of the natural world. In her cyanotype series, The Dry Garden, 2023-2024, Magali Duzant draws inspiration from the visual language of Victorianera plant archives (herbaria) to critique extractive approaches to nature. She collects images and text from the archives of Smithsonian Open Access, focusing on materials related to trees found in The Bronx. Through this process, she reimagines the colonial aesthetics of order, control, and accumulation.
In Bibi Calderaro’s video Labor Contract with Linden Tree, 2005, the artist presents a relationship with nature based on reciprocity. As overgrown grasses at the base of a tree can prevent any threats from being visible, clearing the area around a tree’s trunk is necessary to maintain its health. In the case of Calderaro, she makes clear the terms of her work, cutting the grass with a machete and then installing three hammocks where she can rest. While trees are essential to human survival, their maintenance is often taken for granted. Calderaro sets an example, documenting her performance of interdependence with the tree, both giving and receiving care.
As part of the public program, artist Shawn Escarciga will present The Foundation for the Advancement of Gayguys of Wealthyx Experience Honors Shawn Escarciga. This work aims to critique the classist, inaccessible, and money-driven elements of the historically oppressive art world. By using absurdity, Escarciga highlights “neoliberal shortsightedness” and encourages us to “think outside of neat little boxes” during a time marked by vast hypocrisy and censorship in the arts. Following a great
tradition, Escarciga employs humor to expose the disparity between the Art World’s self-presentation and its actuality.
Participatory works in the exhibition include three projects that must leave the gallery space to be fully realized. One of these is Artcodex’s poster, Bread Into Roses, 2020. This piece illustrates an alternate future where support for artists through the Works Progress Administration (WPA) not only continues indefinitely but also extends to the planet Mars. Building on the labor movement’s historic rallying cry for “bread and roses,” the art collective imagines a “society that values joy, play, and beauty over productivity and the work ethic.” Artcodex invites any member of the public to take and hang the poster in a space where it is accessible to the public. Francheska Alcántara’s Throw the Bones, 2022, are hand-made soaps in the shape of dominoes. These are part of an ongoing series of works that invite the audience to play a game of dominoes while discussing themes of “colonization, fighting gentrification, and safe spaces in the community.” The domino soaps have a meditative potential, serving both as art objects and as functional material that disappears, not unlike affordable housing. Finally, in her work, Prescription of Support, 2019-24 Chanika Svetvilas invites the audience to write messages of care to be placed inside recycled prescription bottles for anonymous recipients to take and receive. By adding new labels with her own QR codes, the artist shares mental health resources to provide support.
The word support is derived from the Latin roots sub (from below) and portare (to carry); in essence, to carry from below. Through satire, poetic gesture, and embodiment, the artworks in this exhibition critique structures of exclusion and extraction: nationalisms and racial hierarchies, dehumanization of migrants, mental health stigma, colonial relationships to the environment, heteronormativity, class blindness, and dwindling financial support for the arts. These artists ask: What does support look like? Which structures hold us up? Who has yet to be carried?
CURATOR BIO
Christina Freeman (she/her) is a conceptual artist and curator working in performance, installation, and photography. Her projects have been featured in Artforum, Vulture, Hyperallergic, and Art F City among others. She is a 2024-2025 Social Practice CUNY Faculty Fellow. In 2024 Freeman participated in Bronx Calling: The Sixth AIM Biennial at The Bronx Museum of the Arts and NARS Foundation’s International Residency program in Brooklyn. Her recent projects have also received support from Creative Time, Queens Museum, The Trust for Governors Island, Culture Push, National Coalition Against Censorship, Danish Arts Foundation, ABC No Rio, and NEA. She has presented projects internationally with ARoS Public, Denmark; SOMA, Mexico City; and Red House, Sofia, Bulgaria. Freeman teaches at Hunter College, CUNY for the Department of Art & Art History and the Department of Film & Media. https://christinafreeman.net/
PUBLIC PROGRAMS
Opening Reception
Wednesday, January 22, 2025, 6:00 PM - 8:00 PM
Public Program
Wednesday, February 12, 2025, 6:00 PM - 8:00 PM
Closing Reception
Tuesday, February 25, 2025, 6:00 PM - 8:00 PM
Bronx Council on the Arts (BCA)
Longwood Art Gallery
2700 East Tremont Avenue Bronx, NY, 10461 (718) 931-9500 Ext. 22 longwood@bronxarts.org
Longwood Arts Project
The Longwood Arts Project is the contemporary visual arts program of the Bronx Council on the Arts (BCA), with the mission to support artists and their work, especially emerging artists from underrepresented groups, such as people of color, the LGBTQ+ 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 of now, we focus on supporting the work of underrepresented groups – especially artists of color, women, and members of the LGBTQ+ 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
LONGWOOD ART GALLERY
YOUTH ARTS ENGAGEMENT PROGRAM
Longwood’s Youth Arts 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 arrange a visit, email us at lucia@bronxarts.org or call (718) 931-9500 Ext. 22.
Illustration by Ruben Ramirez
YOUTH JOURNALIST ENTRY
COMING SOON
YOUTH JOURNALIST ENTRY
COMING SOON
FRANCHESKA ALCÁNTARA
Francheska Alcántara is a queer Afro-Caribbean artist based in The Bronx, NY, and raised by a village of people in community. Their work plays at the intersection of gesture, ritual, and myth within the Black diasporic imagination. Francheska reworks, repurposes, and transforms artifacts such as brown paper bags, Hispano cuaba soap, dominoes, and organic residues through sewing, folding, cutting, burning, and layering.
Alcántara holds an MFA in Sculpture + Extended Media from Virginia Commonwealth University (2019) and has been a resident artist at LMCC’s Workspace (2024), Tulsa Artist Fellowship (2020-2023), MASS MoCA (2023), and Recess’ Session (2022). Francheska is currently a visiting faculty member at the University of Richmond.
Alcántara’s investigation on brown paper bags aims to reframe the complicated legacy of the brown paper bag and its racialized test. This material investigation departs from unfortunate practices of discrimination that used the paper bag test to compare someone’s skin tone to that of the brownness of a paper bag to determine if people passed as white or were close to it.
While Alcántara only came in contact with the history of the brown bag once they emigrated from the Caribbean to the U.S., they want to expand this conversation by introducing an Afro-Caribbean perspective because many of the same colorists’ tropes and dynamics of anti-blackness can be found in these communities, which lead to the erasure of the people of African heritage from the Caribbean and Latin America.
Francheska Alcántara, Special Field Order No. 15 (part of 40 acres and a Missive series), 2023, Ceramic, Various dimensions
Artcodex is presently composed of Vandana Jain, Mike Estabrook, and Glen Einbinder. Over the years, the collective has collaborated with dozens of others, and considers their roles as simultaneously participants, instigators, and organizers. Though each project is different, they often like to create spontaneous communities of artists and non-artists to explore contemporary issues. Most recently, Artcodex has been working with ABC No Rio to organize a series of exhibitions centered on cooperation and non-competition with The Game Show taking place in May - June of 2018. Another recent project dealt with issues surrounding genetic modification of food, monocrops and community (Mutant Corn, 2015). In 2008, the collective co-organized No Assumption, a show about healthcare, debt, and the housing crash that took place in a foreclosed home.
Artcodex has worked in collaboration with many artist partners in the US and abroad, including Future Prospects, Manila, The Philippines; Art of This, Minneapolis, MN; Quartair, The Hague, Netherlands, and the Dacha Project, Ithaca, NY. We have been in residence at Elsewhere, Greensboro, NC; Bose Pacia, Brooklyn, NY, Holes in the Wall Collective, New Jerusalem, PA and the Montello Residency in Montello, NV.
Bread Into Roses is a poster reimagining the Arts programs of the Works Progress Administration within a speculative future. For this poster, space and the planet Mars are the setting, with material
support provided by a Galactic Federal Arts Project to the Mars Artist Initiative. The featured project is a collaborative envisioning of a literal body of artistic production, blossoming forth with roses of beauty.
Artcodex, Bread Into Roses, 2020, Takeaway poster, 11x17 inches
Miguel Braceli is an interdisciplinary artist working at the intersection of art, architecture, and social practices. His practice focuses on participatory art projects in public space; exploring geopolitical and local imageries. Most of these projects have been large-scale works developed in Latin America, Europe, the Middle East, and the United States. He has led educational and artistic projects with institutions such as Documenta Fifteen, The Bronx Museum of Arts, The MUAC-UNAM with Hemispheric Institute NY, Matadero Madrid, and Pace Gallery. He has participated in residencies and programs such as the Fine Arts Work Center (2024), MacDowell (2023) Skowhegan School of Painting (2022), AIM Bronx Museum Fellow (2022), Art Omi (2021), McColl Center for Art (2020). His most recent acknowledgments are the Fulbright Scholar (2020-2019), the Young Artist Award of the Principality of Asturias (2018), and the Tulsa Artist Fellowship Award (2024-2026). In 2021 He founded LA ESCUELA___ together with the non-profit Siemens Stiftung International. In 2022 he received a commission from the Percent for Art program for a permanent large-scale public artwork in New York City.
Here Lies a Flag is a collective performance in collaboration with New Rochelle High School students to bury a flag as a poetic gesture and formative experience. The project begins by lowering the American flag from the flagpole in Davenport Park in New York, to make room for a new overflowing and borderless flag. Once the flag was installed, students participated in an assembly: a discussion about the “uses and abuses of a flag,” substituting nationalisms for a humanistic approach to borders that overshadows the idea of nation. The project ends with a burial. The act of burying a flag opens a poetic approach to the imagination of new possible geopolitics.
Miguel Braceli, In collaboration with New Rochelle High School students, Here Lies a Flag (collective performance), 2021, Video, 6:00 minutes
BIBI CALDERARO
Bibi Calderaro is a transdisciplinary conceptual artist, curator, educator, and researcher whose work has circulated internationally since 1995. She weaves theories and practices from art, education, media and technology studies, and ecology in order to expand perceptual capacities that foster reciprocal, diverse, and ethical life forms.
Her latest multi-format, performance-based research projects include Becoming Mahicantuck, Ignea, and Walking as Ontological Shifter. We Weave and Heft by the River, (Schumacher College, UK) and Unearthing, Re-earthing, (Entitle Conference, Sweden) are her most recent collaborations with The Coastal Reading Group.
Other projects include the curatorial collaboration Notations, the Cage Effect Today at Hunter College Galleries, NY; and the biennial urban foraging, cooking, and reading events Foraging the Commons. Her performances were featured at MoMA-PS 1, Open Engagement-New York, Isabella Stuart Gardner Museum, Boston, MA, and MinusSpace, Brooklyn, NY; her films have been screened at the Flaherty Film Seminar, among other venues. She is the recipient of numerous fellowships, awards, and grants internationally.
Bibi holds a PhD in Urban Education (The Graduate Center CUNY), and MA and MFA degrees from CUNY. She holds certificates in Nature and Forest Therapy and Eco-Social Regenerative Design. She lives and works between Brooklyn, NY, and Argentina.
www.bibicalderaro.com
Bibi Calderaro, Labor Contract with Linden Tree, 2005, Video, 6:00 minutes
MAGALI DUZANT
Magali Duzant is an artist and writer based in NY and Zürich. Her work investigates the poetics of perception and inquiry through installations, photographs, texts, and artist books. Publishing is a large part of her output, with projects ranging from newsprint zines to image-text publications that often revolve around themes related to the metaphysical, the natural world, and counterculture, viewed through a lens of humor, poetics, and romanticism.
The Dry Garden is an image and text installation composed of vignettes and reimagined material from herbaria, where plants are dried and stored for scientific purposes. The work reconsiders archival histories and explores how narrative can help build more empathetic relationships with nature. The installation takes inspiration from Anna Atkins’ Photographs of British Algae: Cyanotype Impressions, the first book of photographs ever published. The original open-source herbaria pages are from the Smithsonian Open Access Institute and made into digital cyanotypes, at points cropped and fragmented focusing on the textures of plants, tracings of movement, and handwritten notes included in the archives. The trees included are ones found in The Bronx. Interspersed throughout this image installation are a set of texts touching on subjects of colonialism and decolonizing approaches to herbaria, public access to science, the catty humor of botanists, and ecological catastrophes and community responses. The texts detail our inherent need as humans, with all of our virtues and failings, to make sense of the wider world.
www.magaliduzant.com/about
Magali Duzant, The Dry Garden, 2023-2024, Digital offset prints, magnetic tacks, 72 x 96 inches
ALICIA GRULLÓN
Alicia Grullón is a Bronx-based artist whose work critiques the politics of presence in political, environmental, and social spheres through image-making, performance, and social practice. Her work has been featured in group exhibitions at venues like The Bronx Museum of the Arts, BRIC, El Museo del Barrio, and Columbia University. Grullón has received grants from the New York City Department of Cultural Affairs and Franklin Furnace Archives. As an activist, she co-organized the People’s Cultural Plan, addressing housing, displacement, cultural funding, and labor equity. She has participated in residencies at NYU’s Hemispheric Institute, the Center for Book Arts, and the Bronx Museum’s AIM program. Her work has been reviewed in outlets like Hyperallergic and The New York Times. Grullón is the recipient of the 2019 Colene Brown Art Prize, a 2020-2022 Walentas fellowship, and is a 2024-2025 Mellon Initiatives Community Fellow at The New School.
Alicia Grullón, Breaking News, 2019, Video, 4:20 minutes
NÉSTOR PÉREZ-MOLIÈRE
Néstor Pérez-Molière was born and raised in San Juan, Puerto Rico, and currently resides in The Bronx, New York. His art entails a process of self-discovery; a series of confessionals revealing private conflicts; hoping towards catharsis. Through this cathartic process he hopes to connect with the viewer’s struggles and depathologize negative feelings so that they can be seen as a source for political action rather than its antithesis. Néstor exposes mental health issues like depression, dysmorphia, food addictions, and loneliness: describing their mechanisms, scrutinizing their origins, and illuminating the impossibility of fixing them. His practice mainly takes place in the realm of photography but has also incorporated performance, drawing, video, installation, and intaglio techniques into his works.
Finally We Are No One dares to dream of a queer utopia. Queerness should and could be about a desire for another way of being. A queer utopia cannot exist if we don’t address our communal ecologies of care.
Néstor looks at ecologies of care within cis-gender, gay male communities. How does care manifest within the community? How can we nurture ecologies of care and intimacy within? How can we love ourselves and enjoy some hard-earned, polyamorous self-love? How can sensuality and sexual manifestations lead us into a self-care utopia? Homosocial relationships can be paradoxical within the community as
they feature communal play at the same time as aggression. This work looks at cruising as a way of communing.
Néstor is able to exist with himself within the same frame through the use of compositing techniques that depict a multiplicity of selves. Through the exploration of self as multiples, Néstor is able to expand on the notion of self-portraiture and scrutinize homosocial relationships as his body begins to become a placeholder for an “other.” Néstor plays both the roles of the depressed and the elated to dream of utopia. How can these roles help each other communally? What are the current issues in the community that need to be addressed by these two roles? We remain in solitude while in community; we dissect ourselves while using each other; thus poison ivy grows in the shadows. How can we push out of performing pre-established roles and liberate ourselves? As an initial utopian gesture, Néstor engages in the potentiality of loving and caring for himself.
Néstor Daniel Pérez-Molière, Finally, We Are No One, 2021Ongoing, Digital chromogenic prints, 8ft x 9ft
CHANIKA SVETVILAS
Chanika Svetvilas is an interdisciplinary artist and cultural worker based in Princeton Junction, New Jersey, whose practice focuses on mental health difference and the diversity of its lived experience including the stigma encountered and its intersection with Mad Pride and disability justice. This work is an extension of her interest to utilize personal narrative as a way to share experiences, to disrupt stereotypes, to reflect on contemporary issues and intersectionality, and cultivate safe spaces through installation, sculpture, mixed-media, film, and performative actions and ultimately to make the invisible visible. She was the Ida B. Wells Just Data Lab Artist-in-Residence at Princeton University (202223). She is a Visiting Scholar at Asian/Pacific/American Institute at New York University, (2024-2025), and artist-in-residence at the Mercer County Community College, (2025). She has presented her work at the College Art Association Conference, the Society for Disability Studies Annual Conference, and the Pacific International Conference on Disability and Diversity. She has exhibited nationally and presented her films internationally. Her work has been published in Disability Studies Quarterly, Studying Disability, Arts, and Culture: An Introduction by Petra Kuppers, and A Body You Can Talk To: An Anthology of Contemporary Disability, edited by Tennison S. Black. Svetvilas was the co-founder of ThaiLinks, a collective that was based in New York City and promoted awareness about issues affecting the Thai American community. Svetvilas was born in Buffalo, NY to Thai immigrant parents. She earned her BS from Skidmore College and an MFA in Interdisciplinary Arts from Goddard College.
Her Community Care Exchange, originally presented by Art in Odd Places on 14th Street in October 2024, invited passersbys to write a “prescription of care” and support and take one in return that someone else wrote. The “prescriptions of care” were placed in newly relabeled recycled prescription bottles as a part of the exchange. The label includes a QR code that leads to mental health resources including zines, workbooks, books, and organizations. She invites you to participate with the materials provided or virtually by completing the online form.
The short video, Pharma Infinity Dance, was filmed with an iPhone mounted on a shelf. The recording captures Svetvilas dancing in a CVS pharmacy with a sculpture made from her prescription bottles. The audio soundtrack is a mix of scanners, medication commercials, news reports about BigPharma’s lobbying power, testimonials of the lack of healthcare access, and techno music to reflect the never-ending cycle of consumerism and search for wellbeing.
Chanika Svetvilas, Pharma Infinity Dance, 2022, Single-channel video 1:51 minutes
SUPPORT SYSTEMS
All works courtesy of the artists unless otherwise noted.
Artcodex
Bread Into Roses, 2020
Takeaway poster 11x17 inches
Francheska Alcántara
Special Field Order No. 15 (part of 40 acres and a Missive series), 2023
Ceramic
Various dimensions
Francheska Alcántara
Constant Strangeness: Bucket of Blood II, 2022
Glazed clay
11.5 x 6 x 3.5 inches
Francheska Alcántara
Constant Strangeness: Bucket of Blood III, 2022
Glazed clay
11.5 x 6 x 3.5 inches
Francheska Alcántara
Constant Strangeness: Bucket of Blood IV, 2022
Glazed clay
11.5 x 6 x 3.5 inches
Francheska Alcántara
Constant Strangeness: Bucket of Blood V, 2022
Glazed clay
11.5 x 6 x 3.5 inches
Francheska Alcántara
Constant Strangeness: Bucket of Blood VI, 2022
Glazed clay
11.5 x 6 x 3.5 inches
Francheska Alcántara
Throw the Bones, 2025
9 Glycerin and flowers soaps
4 x 2 x 0.75 inches each
Francheska Alcántara
Throw the Bones, 2025
Glycerin, shea butter and flowers
Give away dominoes
2.5 x 1.5 x 1 inches each
Miguel Braceli
In collaboration with New Rochelle High School students
Here Lies a Flag (collective performance), 2021
Video 6:00 minutes
Bibi Calderaro
Labor Contract with Linden Tree, 2005
Video
6:00 minutes
Magali Duzant
The Dry Garden, 2023-2024
Digital offset prints, magnetic tacks
72 x 96 inches
Magali Duzant
The Dry Garden publication, 2023
Digital offset, stapled artist book
8.3 x 5.8 x 0.5 inches
Alicia Grullón
Breaking News, 2019
Video
4:20 minutes
Néstor Daniel Pérez-Molière
Finally, We Are No One, 2021- Ongoing
Digital chromogenic prints
8 x 9 feet
Chanika Svetvilas
Community Care Exchange, 2024 Booth: walker, styrofoam board, plastic container, vinyl signage.
Precription Care: prescription bottles, pens, signage for public interaction, color photocopies of public action
65 x 36 x 18 inches
Chanika Svetvilas
Pharma Infinity Dance, 2022 Single-channel video 1:51 minutes
Chanika Svetvilas
Pharma Infinity, 2016 Artist’s prescription bottles, galvanized wire
36 x 14 x 2 inches
The Bronx Council on the Arts (BCA) is supported, in part, by public funds from the New York City Department of Cultural Affairs (DCLA) in partnership with the City Council; the New York State Council on the Arts (NYSCA) 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 Member Eric Dinowitz; and NYS Assemblymember Michael Benedetto through the NYS Education Department. 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 Tiger Baron Foundation, the Claire and Theodore Morse Foundation, the New Yankee Stadium Community Benefits Fund, the Northwestern Mutual Foundation, Con Edison, Webster Bank, and BronxCare Health System.
Bronx Council on the Arts (BCA) 2700 E Tremont Ave Bronx, New York 10461 www.bronxarts.org @BronxArtsOrg
