A empty white walled room with a bright window in the back corner. Two tables and two office chairs. light brown carpet.
Art & Development, Research

LMCC Workspace Residency: Update #1: What, Who, Where, When, How, Why, and What I’ve Been Up To

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.

What

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.

A empty white walled room with a bright window in the back corner. Two tables and two office chairs. light brown carpet.

My studio, before move-in.

Who

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.

Where

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.

An ornate, gold, orange and red interior. Lots of embellishment on every surface. The ceiling has built-in light figures that make geometric rays of light due to the bas relief in the ceiling. The walls have a matching louvered paneling in gold. There are multiple spaces defined by transoms with ornate floral grillwork. The floors have a checkerboard of yellow and cream marble with black and white marble interspersed and used as a border. There are touches of gleaming metal.

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 Studio

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 office with carpet and two folding tables side by side, with an office chair. there's a small ironing board with a bandana on top, and an iron. There are drawings on the wall, and various clipboards, pencils, colored pencils, etc on the table.

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.

Carpeted office space divided into artist studios with office chairs around a table in the middle. Various art studio supplies: shop vacuum, bin of fabrics, dolly, etc around.

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.

When

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.

How

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.

A computer printout pinned to a white wall. Text reads:

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.

Why

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.

WHY WORKSPACE?

I need different perspectives to ground these subjective concepts, and mutual support and rigorous feedback.

WHY NOW?

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.

Dozens of small pieces of paper tacked to a white wall. Some of text on the paper are headers written in a black calligraphy marker, such as adversity, risk, exposure, discomfort, pain, loss, failure, fear, blame, shame, othering, disconnection, vulnerability, hopelessness, depression, anxiety, authenticity, hope. Then there are numerous small pieces of paper written in pencil but it's too small to read. Then there's yellow tape lines connecting various parts.

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.

Cover of a book, with a big red heart on an ivory background. The title and author name with subtitle:

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.)

Cover of a book with a photo of a gnarled tree atop a rock. Subtitle: Seven keys to finding your inner strength and overcoming life's hurdles.

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.

Cover of book, no images, but there are three bars of color: purple, blue, green. Mostly white background. Updated Edition. Subtitle: The new pyschology of success: How we can learn to fulfill our potential. sticker: 2 million copies in print. list: parenting, business, school, relationships. small blurb.

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.

Fancy handlettering on a dot grid sketchbook page in pink, blue and black marker. Text reads: Resilience is a mindset that enables you to seek out new experiences and to view life as a work in progress.

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.

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Art Worlds

To Making Good Vibes

A double-whammy of expanding communities of artists. 

Some of my best moments in life are when I’m surrounded by smart, generous, enthusiastic artists. I’m thankful that I was able to be in that situation twice in the past two days. I am grateful for everything that went into making those moments happen.

Yesterday, I attended the orientation for Lower Manhattan Cultural Council’s Process Space, a five-month studio residency on Governor’s Island. I was excited about the opportunity but also anxious about meeting 19 strangers! There’s a lot that could go wrong.*

But it went really well—everyone was friendly and excited as we took the ferry across the sunny NY Harbor. When we sat down to get to know each other, it became clear that the participants have an interesting range of advanced inquiries. I was glad to see other POCs and a majority of female participants.

And I was happy that following the official orientation, J organized a happy hour. How I appreciate these social spaces has matured over the years. It’s not only for fun, but to learn more about individuals’ opinions, pasts, and senses of humor; it deepens connection, trust, and empathy. The sooner these spaces happen within any kind of artists’ programs, the better. I’m really excited to continue getting to know my cohorts, working alongside them in Process Space, and building a community of likeminded artists.

Today, I met up with 16 artists from the Artists in the Marketplace program for our informal, for-us, by-us walk-through of the Bronx Calling exhibition at the Bronx Museum. I initiated it because there’s so many strong, smart, and mutually-invested artists in my 2014 cohort, I knew it would be worthwhile to meet members of this year’s group.

I love it when artists talk about their practices and interests in an intelligent, unpretentious, and honest way. It’s great to be able to take in their words and ask them questions in the same space as their original artwork. I’m thankful to the smart, diverse, articulate artists who shared their enthusiasm and attention today.

Making these spaces happen takes initiative, labor, and, risk—you can’t guarantee that people will attend or enjoy themselves. But I would encourage artists: Do it! Why miss an opportunity? Make time and space to have fruitful conversations with other artists about art! If you’re worried about the time commitment, remember that events pass—and so does the labor of organizing them.

The payoff is worth it. Though the happy hour and walk-through were initiated by individuals, they manifested like potlucks—everyone coming to the table with something, like good will, openness, and receptiveness.**

*Recommended satire about social anxiety, see: “Everything I Am Afraid Might Happen If I Ask New Acquaintances to Get Coffee” by Hallie Cantor.

**Of course, these spaces are the cherries on the cake that is the support of LMCC and the Bronx Museum, for whom I’m tremendously grateful.

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Art Competition Odds

art competition odds: Lower Manhattan Cultural Council’s 2014-2015 Workspace Residency

The Lower Manhattan Cultural Council’s 2014-2015 Workspace Residency program received over 1,100 applications for 10–15 visual art residencies.

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Participants comprise about 1:73–110, or 0.9–1.3% of applicants.

Sources: Number of visual arts applications stated in rejection letter. Approximate number of visual artists accepted  stated in LMCC’s WorkSpace information session, January 15, 2014. Final list of artists will be available in late summer 2014.

See all Art Competition Odds.

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Community, Citizenship, Sights

get excited: open studios, mfa shows, more

Besides Frieze, NADA, and Pulse art fairs in NYC this week, there’s a slew of auxilliary events, open studios, and MFA shows to check out. In support of friends and community, here’s my list:

Go Stephanie!

May 4–6
Stephanie Syjuco: RAIDERS (Redux)
Catharine Clark Gallery’s New York Pop-Up Gallery
313 W 14th Street, 2F, NYC

May 4–6
LMCC’s Open Studio Weekend
125 Maiden Lane, 14th Floor, NYC

Go Michael!

Saturday, May 12
IN/VISION
2012 MFA Interaction Design Festival at the School of Visual Arts
Thesis Presentations: 11am – 4pm @ SVA Theatre
Thesis Exhibition: 5–7pm @ SVA Interaction Design Department
Go Nyeema!
May 12–13
NARS Foundation Open Studios
88 35th Street, 3rd Floor, Brooklyn
May 18–19
Kambui Olujimi: A Life in Pictures
Apex Art, 291 Church Street, NYC
Saturday, May 19
Question Bridge: Black Males Blueprint Roundtable
Brooklyn Museum 
Finally, if that’s not enough, learn about Emergency USA‘s amazing projects building medical infrastructure in areas of conflict:
Thursday, May 3, 7pm, E-USA office @ 21 Exchange Place. Presentation. RSVP to nyc@emergencyusa.org.
Sunday, May 6, 5–8pm, Randolph Beer, Nolita. 15% benefit happy hour.
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