About the first third of a nine-month residency.
In October, I started the 2019-2020 Lower Manhattan Cultural Council’s Workspace Artist-in-Residence program. It’s a huge honor. I first applied like 10 years ago. The application pool is quite competitive. I’m very humbled and grateful that it’s working out this year.
This year’s Workspace residents receive:
- A semi-private studio space.
- Weekly salon evenings consisting of studio visits with curators and arts professionals, studio visits with the cohort, professional development workshops, cohort-led activities, and more.
- An open studio in June 2020.
- A materials stipend of $1,300.
This is pretty typical of the program, with some variation in the fee depending on funding, and slight differences in timeline and studio space, depending on the space available.
My studio, before move-in.
This year’s cohort consists of 10 visual artists (learn more on lmcc.net). (The number of residents depends on the space available. LMCC residency programs are usually open to dance, theater, and literary arts, too; check for next year’s application in mid-January 2020.) An on-site assistant, who was a Workspace resident last year, also has a studio.
I really like the cohort! It’s an interesting group of artists working in sculpture, installation, performance, works on paper, and textiles. My cohorts are clearly invested in their practices and in building a respectful, serious, and friendly community.
The program is managed by Bora Kim. Other LMCC staff and interns help out with the program as well as marketing and events.
Building & Location
The studio is located in a corporate building near Wall Street. The building itself is quite impressive. The guards and maintenance team are friendly and helpful. It’s secure and clean.
The gorgeous Art Deco lobby at 70 Pine. View towards the mailroom and elevators.
LMCC encourages residents to learn more about lower Manhattan. One salon evenings was a walking tour led by a member of the city’s landmarks commission. I especially loved visiting 70 Pine, a stellar example of Art Deco. (As a landmarked building, there is a public mandate to make the lobby accessible to the public. Anyone can visit. Don’t miss the bas-relief on the elevator doors.) I’ve also been going on walks, exploring Oculus, the 9/11 Memorial, and longtime neighborhood businesses.
The transportation options are ridiculously convenient: the N/W, 1, and 4/5 subway stations are all very close. I’ve also taken the ferry, rode Citibike, and walked to the studio from Queens.
The cohort shares a large carpeted office space, which is divided into studios with tension-pole partitions sheathed with Homasote.
My studio is about 16′ long by 8′ wide. It’s sunny, with a large window facing east. LMCC provided two work tables and two office chairs.
A view of my studio, recently.
Two residents have enclosed offices with glass doors. In a large open space in the center, we’ve put a table and chairs to gather for meals. There’s also smaller lounge areas and a conference room. There’s a kitchen with a fridge, electric kettle, microwave, dishes, silverware, and sink (there is no separate work sink). There is a computer and scanner/printer available (it’s been useful for me lately for making copies of drawings to do quick color studies). Residents occasionally work in common spaces when they need to spread out. It feels like there’s plenty of space.
LMCC Workspace studios, one wintry day.
Having an art studio in a corporate building entails a little extra coordination when moving large items in or out, and using the one small, staff-operated freight elevator. LMCC has a dolly we can borrow, which helps.
Our first day was October 7. We received immediately received IDs, access codes, and permission to move in. (I love it when there’s no delay!) The program ends after the open studios at the end of June 2020.
Residents have 24/7 access to space.
Salon evenings are held weekly, except on holidays. I’m happy to be there each week, especially because a former resident told me about how much he looked forward to them. There’s a great variety of programming and cohort-building activities.
I really like the program for its combination of space and programmatic support. They invest in community-building. The first salon evening was speed intros, where residents got to introduce ourselves and our practices to each other via projected images of our work. Some LMCC staff attended too (which is nice considering that it’s after work for them). LMCC often supplies refreshments, which help lend conviviality.
LMCC asked us to suggest potential guests to invite for studio visits. The final line-up includes many curators from major NYC institutions. Studio visit evenings usually feature a few guests. Each guest are scheduled for four, thirty-minute, one-on-one visits with residents. Residents may have one to three visits per evening. When you aren’t paired with an outside guest, you do studio visits with other cohort members.
Early in the program, when a salon evening was canceled due to a holiday, I asked the cohort if they’d like to have a potluck anyway. We did. It was fun to get to know the other artists in a more relaxed setting. I’m really grateful everyone shares an interest in getting to know and support each other.
Skill Share Pictionary Set Up instructions
I had the opportunity to lead an activity one salon evening. I made up an activity called Skill Share Pictionary (learn more on my Glint Project Instagram takeover).
Fellow resident Naomi Safran-Hon initiated the idea of having a group exhibition in the foyer. It was pretty impressive that the cohort organized our group show in about 20 minutes. I appreciate our group’s cooperation, initiative, and flexibility.
Here’s why I applied, as written my application. (My brevity is due to LMCC’s strict word count limits.)
I’ll develop new works exploring resilience, vulnerability, authenticity, and connectedness.
I’ll research and present findings via calligraphy, sign painting, and drawings. Then, I’ll create garments with pockets that reveal or secure aspects of one’s identity, and hybrid books-games-interactive objects in textiles and paper for fostering brave spaces.
I need different perspectives to ground these subjective concepts, and mutual support and rigorous feedback.
It’s time to grow my craftsmanship, my fluidity between thinking and making, and my ethics of social engagement.
WHAT ARE YOUR EXPECTATIONS?
To grow. To do my part to cultivate authenticity, vulnerability and connectedness.
What Have I Been Up To?
I started by trying to define what I meant by resilience, and how it is connected to authenticity and vulnerability. These latter two concepts are things I kept thinking about in my projects on belonging. Being able to express yourself authentically, and being able to be vulnerable, were often characteristic of spaces of belonging. At the same time, belonging allows you to be more vulnerable, and more authentic.
A mind map on resilience.
I have been working and re-working a large mind-map, trying to see these connections and fill in what else I know about related concepts about hope, growth mindset, belonging, sports psychology, shame, etc.
I’ve also been reading more mass market books by psychologists with academic affiliations or longtime clinical practices. I’m proud to say that this year I’ve been more intentional about supporting indie booksellers and libraries.
Emotional First Aid, by Guy Winch, PhD
I read Emotional First Aid by Guy Winch, a longtime NYC therapist. I loved that it explains the logical sources behind squishy feelings (violation of rights results in anger, or a fear of violating other’s rights or standards results in shame) and logical responses to those feelings (reflective writing exercises that reframe situations, or deliberate, detailed strategies to repair relationships). (I first came across this book at the San Francisco Public Library, in the Chinese section. I wish more mental health books were translated into different languages. BTW the English version is available at the Queens Public Library.)
The Resilience Factor, by Karen Reivich, PhD, and Andrew Shatté, PhD.
My suspicion that resilience relates to optimism was validated when I stumbled upon The Resilience Factor by Karen Reivich, PhD and Andrew Shatté, PhD via the Queens Library. Reivich and Shatté were students of Martin Seligman, whose book on optimism was the first positive psychology book I ever read, way back in 2010. Reivich and Shatté build upon Seligman’s explanatory style—the idea that people explain adversities with beliefs, which shape consequences or actions, therefore different responses become possible by examining the beliefs. This book organizes a lot of mental habits and strategies that I find insightful and worthy of sharing. I’ve been working on some drawings (see a few sketches on Instagram), with my Positive Signs series as an early predecessor.
Mindset by Carol. S. Dweck, PhD
I’m also reading Mindset by Carol Dweck, PhD (which I got with credit from selling books at the Strand). This is book has had a huge influence on education and I’ve been meaning to read it for a while. People with growth mindsets are willing to take risks in order to grow. People with fixed mindsets are afraid to be exposed as inadequate. I’m starting to see through-lines between optimism, resilience, vulnerability, and courage.
To take a break from reading, I practiced a lot of hand lettering and calligraphy using markers, dip pens, and brushes. It was fun to dive into different letterforms (my reference book: Hand Lettering by Thy Doan, also from the Strand).
I also just got loose in my sketchbook inspired by Syllabus by Lynda Barry (Strand), which I’ve expounded upon in a previous post.
All this note-taking, lettering practice, and drawing added up into completing a 250-page sketchbook in two months—a record time for me.
Sketch book page: lettering practice with a quote on resilience by Karen Reivich and Andrew Shatté.
My proposal mentioned sewing. I have some ideas about textiles and garments. I’m letting those ideas marinate as I synthesize all this information and lettering forms. My sewing machine and materials are at the studio, and I’m looking forward to diving in over the next six months.