Open Studio view, December 11, 2015. LMCC Process Space on Governor's Island.
Meta-Practice, Thought Experiments in Agency

LMCC Process Space Residency Wrap-up

What, who, when, where, how and why my first NYC studio residency.

I just completed my first studio program in NYC! It was great to have a longer residency and stay at home, allowing me to balance personal and financial responsibilities, while at the same time building my community of fellow artists here in NYC.

What: The Lower Manhattan Cultural Council turns unused space into studio spaces for visual artists and performers. Process Space is a process-oriented residency located on Governor’s Island. It’s located in the upper floor of a former military warehouse. The space is several thousand square feet, which is divvied up by tensioned partition walls into smaller spaces of various sizes, each with three walls, facing one of two hallways. I received one of the larger spaces, lucking out with a great view of lower Manhattan across the hall and in the windows of my neighbor’s studio.

View from my studio (through poet Anselm Berrigan's studio).

View from my studio (through poet Anselm Berrigan’s studio).

Process Space is mostly a studio program, with two Open Studio events. LMCC organizes one potluck and ranger-led tour of the National Parks’ historic sites.

Some of the AIRs self-organized our own work-sharing events and a studio visit from a curator.


Ben Hagari discussed his photo with the other AIRs during a self-organized pre-Open Studio walkabout.

Who: There were 20 artists in residence for the full duration, as well as performers who accessed the rehearsal spaces in shorter durations. Of the 20 longterm artists, most were visual, some were literary, and a few were performance. I was also very happy to see that women and artists of color were represented. I really liked my cohort—they’re very smart, with well-developed and unique practices. I think we got along really well and I felt a strong sense of allyship.

LMCC has an energetic staff. They take event planning and promotion of Open Studios seriously! In addition to presenting your work inside your studio, you can also propose a reading or performance, or exhibit work in the adjacent gallery. I didn’t elect to do either, mainly because the deadline for proposals snuck up on me, and I couldn’t dedicate enough time to develop anything on top of what I planned to show in my studio. There’s also a former resident who is a part-time on-site assistant, who has a studio on the island as well.

When: Each year there are two sessions: Fall and Spring. The fall session ran from early August to mid-December; our Open Studios were in late September and in early December.

(In hindsight I realized that the December Open Studio, because it’s on a weekday during the island’s closed Winter season, is less well-attended, but that was the one in which I had more work, and more finished work, to share. Since the summer season has more visitors, the Spring session has the small advantage of having more visitors at the end of the session. I couldn’t make the spring session due to travel, but for future residents this might be a minor consideration. But obviously, prioritize scheduling studio access.)

Where: The studios are located on Governor’s Island, a small island just a short ferry ride from lower Manhattan.

Governor’s Island is a unique partnership between a national park and the City. There’s historic, well-preserved military buildings, and then beautiful, new park lands that are continuing to be developed. There’s tons of programming during the summer, and it’s unusually interesting—a scrappy art fair, 1920’s-themed dance parties, vintage baseball games, VW bus shows, and lots of food trucks, as well as a beer garden. Many other art organizations ran programs there too, such as residencies, galleries, and public art installations, too. There’s also an outdoor tent for concerts, which is located next to the studio building, for better and for worse.

The Statue of Liberty seen from the ferry on a beautiful day.

The Statue of Liberty seen from the ferry on a beautiful day.

A recent view of the Statue of Liberty at sunset, also with the Staten Island ferry.

A recent view of the Statue of Liberty at sunset, also with the Staten Island ferry.

There are spectacular views of the Statue of Liberty from the island and the ferry. The studio building’s north windows overlook Lower Manhattan. When the sun set, the light reflected off the skyscrapers in directly onto my studio walls.

Sunset view.

Sunset view.

My silhouette on my studio wall, formed in sunset light reflected from skyscrapers.

My silhouette on my studio wall, formed in sunset light reflected from skyscrapers.

How: This program is by nomination only. I am grateful to my nominator, whose show I installed at LMCC’s Governor’s Island gallery a few years ago. That was my first and only visit to the island prior to the residency, so it was nice to complete the circle by returning as an artist in my own right.

The only access to the island—and thus to the studios—is by ferry. During the public season in the summer, the ferry runs from early morning to 7pm, and on the weekends. After the public season ends, the ferry runs until 6pm weekdays only. For artists whose work schedule lands squarely during the work week (including myself, at times), or who have childcare issues, this means that studio access is a real challenge.

Getting to the island is a big part of this residency experience. When I heard I was nominated, I reached out to two former residents seeking their advice. They were both generous in sharing their input and encouragement. (It was especially kind considering that one artist was a stranger, whose work I’d admired from afar.) Their advice to me basically consisted of two points:

  1. You’re going to miss a ferry by a few minutes, and then have to wait an hour.
  2. Keep your project simple. Don’t get too materially or technically involved.

Though I thought that being armed with tip #1 would help me avoid missing the ferry, I did, over and over, often by minutes. Some of the time it was my own fault. I learned that if I’m not focused on getting ready two hours before the ferry, I won’t make it. Some of the time, the trains were running slow, and I’d miss the ferry by three minutes. That was a huge test of my coping skills. Even worse, I’d sometimes try to run small errands, and then miss a second ferry in the same day.

Tip #2 was helpful. Focusing on research rather than production saved my back a lot of strain. While I kept my tools and materials to a minimum, even the minimum is a lot when it has to fit in a backpack, or on a wheeled cart that you’re carrying up stairs in the subway during rush hour. It’s possible to take a car on the ferry, but deciding to keep it simple meant I didn’t need to deal with the logistics that involves.

Moving out. My last load after backpacking things home over several days.

Moving out. My last load after backpacking things home over several days.

It was interesting to get to see more of the harbor, and become part of its rhythms. When the President and the Pope fly out of the heliport next to the ferry building, you learn about MarSec levels (as you’re not going anywhere… but then you get to see a Chinook). Oddly, I think I’m going to miss the ferry itself, especially the Coursen. It’s an interstitial space where the anxiety about possibly missing the ferry melts away. You can be calm, observe the light on the water, get some sun on your skin, and enjoy a short journey. I couldn’t help but envy the crew a tiny bit—it seems like a cool job.

Why: I conducted the research phase of my longterm project, Thought Experiments in Agency. In the beginning, I read a lot—reviewing Tom Finklepearl’s What We Made (again, the introduction is highly recommended!), and reading Julia Bryan-Wilson’s Art Workers and Greg Sholette’s Dark Matter. Later, I also read much of Mobile Autonomy (Dockx & Geilen, eds.).

For the first open studio, I conducted the Artists’ Personal Impacts Survey. I raffled off my Mini Irrational Exuberance Flags. It was difficult to part with them, but seeing how excited recipients were made it OK.

There were 112 visual artists who responded to the survey. There were 40 questions in the survey. There were about 30 questions that were quantitative, and many of those used a 5-point Likert scale. So I did a lot of number-crunching. There were 10 qualitative responses, and the written answers, once compiled, totaled 60 pages. It was great having a huge wall I could dedicate to just looking at the written responses.

Process notes.

Process notes. At right, photos in writer Jessie Chafee’s studio.

I made an oversized table to categorize responses. Categories formed rows; survey questions were the columns.

I made an oversized table to categorize responses. Categories formed rows; survey questions were the columns.

Sketch for a Venn diagram summarizing how respondents will take steps to create or strengthen a more desirable art world.

Sketch for a Venn diagram summarizing how respondents will take steps to create or strengthen a more desirable art world.

Inter/dependence zine launch, with flag and data visualizations.

Inter/dependence zine launch, with flag and data visualizations.

I made a ‘zine, with a 2,000 word essay. Fellow AIRs provided me with great feedback, which was deeply gratifying. I haven’t done any “serious” writing in a while, so it was nice to receive encouragement and validation.

Drawing and necessary drawing tools.

Drawing and necessary drawing tools.

I also did some drawings. A funny thing happened—I finally had a need for the metal eraser guard I saw in other people’s tool boxes in art school. I never owned one or needed one before this, and adding one to my toolkit now seemed comical. I also hand-lettered some quotes, turning the wall into a mind-map of sorts.

I sewed a flag, and painted a t-shirt. See more photos, or order or download a zine.

Fabric paint on tee. I'm thinking this shirt should only be made with the sleeves cut off. The tie-back can be optional.

Fabric paint on tee. I’m thinking this shirt should only be made with the sleeves cut off. The tie-back can be optional.

I pretty much did everything I set out to do. Originally, I set a goal of spending spending 60 days in the studio over the 5-month period. A number of factors conspired against me: the session was actually 4.5 months, I moved houses unexpectedly, I got a job promotion, and some tasks were better done at home (where there was a computer monitor or sewing machine). In total, I spent 32 days at the studio. That’s much less than 60, but I exceeded other goals. Moreover, I feel prepared, focused and also liberated to move forward with other production.

I’m so grateful to LMCC staff, Hank Willis Thomas, Youmna Chlala, Saul Melman, survey respondents, ferry crew, Open Studios visitors, and fellow AIRs who participated in self-organized events, gave me feedback, or otherwise offered camaraderie. Thank you.

Christine Wong Yap was a participant in Lower Manhattan Cultural Council’s Process Space artist residency program.

Inter/dependence was developed as part of Lower Manhattan Cultural Council’s Process Space artist residency program in 2015.


I-Hotel, Angel Island

Jerome Reyes
Until Today: Spectres for the International Hotel
International Hotel, 868 Kearny, San Francisco, CA
Through Dec 4, 2010
Exhibition Curator: Julio César Morales

Bay Area artist Jerome Reyes’ long-awaited exhibition examining the I-Hotel in San Francisco’s Manilatown and Chinatown is on at 868 Kearny at the International Hotel through December 4th, 2010.

The I-Hotel is a rich, powerful part of San Francisco history; if your knowledge of it is cursory, a visit to the exhibition will be elucidating.

While I haven’t seen the show, I’m proud to play a small part in it, sharing photographs of screenprints produced at Kearny Street Workshop*, a free, drop-in community art center that occupied the I-Hotel’s storefront. I photographed the screenprints, which were in the California Ethnic and Multicultural Archives at UC Santa Barbara, for Activist Imagination, an exhibition at Kearny Street Workshop supported by the Creative Work Fund, the San Francisco Foundation and generous individual donors. It’s affirming to know that the documentation afforded by these past opportunities enables these historic posters to be made public again.

[*KSW is a fantastic non-profit, and I’m grateful for all the opportunities I’ve had to work with them. I am currently developing new works on paper to support KSW in an art sale this winter. Details forthcoming.]

Mary Walling Blackburn
Radical Citizenship: The Tutorials
Mary Walling Blackburn
Presented by Southern Exposure and Anhoek School at Angel Island (San Francisco Bay Area) and Governor’s Island (NYC)
Curated by Valerie Imus

In another quirk of timing, Angel Island (and NY’s Governor’s Island) will be activated with contemporary art events starting tomorrow. The historical significance of Angel Island includes its history as an immigration and detention center, especially for Chinese immigrants seeking economic opportunities in California. It’s one of the San Francisco Bay Area’s most under-represented stories, if you ask me. “Radical Citizenship: The Tutorials, a series of one-on-one tutorials for participants with artists, activists, ecologists, and academics from various disciplines.” For more info visit