Second Sundays

February '17

Second Sundays is a free event series that engages Pioneer Works disciplines through live music, food, artists’ open studios, and interactive programs.

Doreen Garner is a Brooklyn-based artist (originally from Philadelphia, PA) whose work combines painting and sculptural processes to investigate notions of perversion, exploitation, and dissection. Garner holds a BFA from the Tyler School of Art at Temple University and MFA from the Rhode Island School of Design. Garner has completed residencies at Skowhegan School of Painting and Sculpture, LMCC Workspace Program, Abrons Arts Center AIRspace program, and is a Van Lier Fellow at Wave Hill.

Doreen Garner

Based in New York and London, Laura Morrison turns intimate personal and professional experiences into subjects, utilizing writing, video, performance, and painting to reveal what it means to be both vulnerable and accountable. Morrison received her MFA from Goldsmiths, London, and has exhibited internationally. Recent projects include Safe at HOME, Manchester; Bain Marie at Res, London; Open Sessions at The Drawing Center, New York, USA.

Laura Morrison

MSHR is a collaborative project by Birch Cooper and Brenna Murphy. The duo utilizes digital sculpture, analog hardware, and ceremonial performance to build and explore systems as a way of manifesting ecstatic sensory zones. MSHR emerged from the art collective Oregon Painting Society in 2011 and has exhibited and performed at: Upfor, Portland; Kunsthaus Langenthal; Postmasters Gallery, New York City; Musee des Artes Creteil; Cell Projects, London; Transmediale, Berlin; The Peckham Pavilion, 53rd Venice Biennale; Kunstverein Dusseldorf.

MSHR (Birch Cooper And Brenna Murphy)

The artistic practice of Copenhagen-based multi-disciplinary artist Helene Nymann (AKA “Ima”) addresses the notion of embodied knowledge and the way in which associative images stimulate memory. Interested in the borderline between the natural and the digital worlds, Nymann constructs performative environments in which the moving image, sound, and sculpture make way for transformative arrays of consciousness. Nymann received her BFA (Hons) from Goldsmiths College, University Of London and her MFA from Malmø Art Academy, Sweden.

Helene Nymann

Nigerian-born, New York-based artist Onyedika Chuke is internationally recognized for his disquieting collection of objects, The Forever Museum Archive (2011-present). His politically charged sculptures of machine weaponry act as symbolic reminders of the technologically mediated wars that shape our collective memory of conflict. Chuke studied at The Cooper Union and is a participant of The Drawing Center’s Open Sessions Fellowship 2016-2018, SculptureCenter’s In Practice Fellowship 2016 and Socrates Sculpture Park’s Emerging Artist Fellowship 2016-2017.

Onyedika Chuke

Born in Dalian, China, Xu Wang works in sculpture, video installation, drawing, and performance. Interested in process and materiality, Wang continues to explore a series that re-contextualizes found and collected objects and matter. He received his BFA from the China Central Academy of Fine Arts and MFA from Columbia University. He has exhibited internationally at Galerist Gallery (Turkey), Queens Museum (New York), SculptureCenter (New York), among others.

Xu Wang

Pioneer Works is pleased to present WORK, E.S.P. TV’s first institutional solo exhibition in the United States. Directed by Victoria Keddie and Scott Kiernan, E.S.P. TV is best known for their live television tapings that feature experimental broadcast collaborations with underground poets, musicians, and artists via their mobile television studio.

For WORK, E.S.P. TV makes the Pioneer Works office staff and environment the subject of a six-week performative, televisual installation by relocating the organization’s second-floor, open-plan office to the first-floor’s main exhibition space. Surrounded by a de-centralized control room, the office doubles as both a dynamic sculptural set—painted partly in chroma blue and featuring movable walls, among other features—and the actual site for the staff’s five-day workweek. The staff’s “daily grind” will be mixed live, on-site, with custom video effects and commercial interruptions. Far from peddling in the sensational tropes of reality TV, WORK instead turns banal, day-to-day office routines and patterns — the movement of a chair, a co-worker getting coffee—into the improbable, playful content of a serial program to be broadcast weekly on the Manhattan Neighborhood Network. E.S.P. TV worked closely with curator David Everitt Howe to envision this social experiment and exhibition, which responds to the building’s unique environment and tight-knit, collective office culture.

Recreated as a pastiche of a “contemporary” office, the installation features a series of sculptural set pieces that can be activated in real-time or through the video editing process. A camera crew, live TV mixing consoles, monitors, and program feeds surround and permeate the working office. At the start of each workday, Pioneer Works staff function as both employees and cast members who “log-in” to an evolving algorithm that combines their names anagrammatically with 32 production terms for various camera shots. The resulting text generates an abstract script or textual narrative that informs both the episodes’ editing and their subtitles.

Working within galleries, museums, and artist-run and public spaces, E.S.P. TV’s television programs are taped before a live audience and place the labor of production in an equal spotlight with the artists and performers with whom they collaborate. These tapings reveal a new space born through a breakdown in the hierarchy of the producer and performer and an investigation of the aesthetic qualities of the “live TV studio set”—arising from subtle relationships of staging, timing, layers of observation and the line between shadow and shade of an evenly lit set. In many ways, the humorous, inquisitive, and convention-defying nature of E.S.P. TV carries on the tradition of institutional critique artists like Michael Asher. In the 1970s, Asher engaged in an art practice that broke down the separation between traditional roles of art production, exhibition, and public dissemination. An influential touchstone for E.S.P TV’s WORK is Asher's Via Los Angeles (1976) in which Asher recorded, and later broadcast, the behind-the-scenes interior of a local TV control room (Portland NBC affiliate KGW) while they were airing the Super Bowl.

For additional context, WORK will feature video and printed ephemera from E.S.P. TV’s first 100 Episodes and 6 seasons on air in New York City. This multi-media collection draws on hundreds of collaborative efforts with local and international artists working in performance, video, sound, social practice, and more. Evoking this history, as well as the history of television and sound, a series of public programs featuring screenings, panels, performance, and an artist-led “staff retreat” expound upon the major themes of the exhibition and activate the set outside of normal working hours.

E.S.P. TV, directed by Scott Kiernan and Victoria Keddie, utilizes a mobile television studio to explore transmission, analog and digital media, and broadcast. Through an ongoing series of live television taping events, they place the control room of the TV studio center stage, making the means of production into a vehicle for performance. Producing over 85 live taping events and over 100 episodes since 2010, E.S.P. TV has worked with various venues and institutions including: the Whitney Museum of American Art, New Museum, the Museum of Arts and Design, Swiss Institute/Contemporary Art, Printed Matter, Millennium Film Workshop, New School, Recess, Camera Club, Hunter College Art Galleries (New York, NY); Interstate Projects, Spectacle Theater, Issue Project Room, Pioneer Works, Knockdown Center, Flux Factory, Roulette (Brooklyn, NY), Queens Museum (Queens, NY), Harvard Art Museums, Franklin Street Works (Stamford, CT), Liminal Space (Oakland, CA), Yerba Buena Center for the Arts (San Francisco, CA), Human Resources (Los Angeles, CA), Ballroom Marfa, Marfa Public Radio, (Marfa, TX), Museum of Human Achievement (Austin, TX), S1 (Portland, OR), Nightingale Cinema (Chicago, IL), Museum of Contemporary Art Detroit, General Public (Berlin), STORE (Dresden), Studio XX (Montreal), SAW Media Centre (Ottawa), Kling and Bang Gallery (Reykjavik), and Pallas Projects (Dublin). 

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<h3>Episodes</h3>
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E.S.P. TV: WORK

Diagnosed with autism at the age of three, Chase Ferguson experienced difficulty communicating with words, preferring images instead. He began drawing in earnest that same year, depicting fire trucks and ambulances haloed by lines delineating flashing lights. In the process, he developed an obsessive preoccupation with urban transportation systems and infrastructure. Using the most humble of materials, such as paper, tape, paint, cardboard, hot glue, and other mixed media, Ferguson recreates cars, buses, train sets, and parking meters in exacting detail — down to year, make, and model.

Drawing his objects first, he cuts them out, folds them over into shape, fixes them with clear tape, then stuffs his folded vehicles, for example, with shredded paper; cut-up straws are repurposed as axils. Cars, Buses, and Trains displays hundreds of these cars, along with train sets and near life-size parking meters, all made with the support and guidance of Pure Vision Arts, a non-profit dedicated to artists with autism and other developmental challenges. These became of interest to Ferguson in 2011, when single-space meters gave way to more technologically advanced models. Often overlooked, these quotidian realities of New York City living became of particular interest. The backbone of our collective city existence, Ferguson gives them pride of place, assigning them special value for their unheralded role in making our lives functional.

This exhibition is funded by a grant from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Pure Vision Arts is an initiative of The Shield Institute.

<img class="alignnone size-medium wp-image-528" src="http://pw:8888/wp-content/uploads/pure-vision-300x68.jpg" alt="" width="240" height="auto" />

<img class="alignnone size-medium wp-image-527" src="http://pw:8888/wp-content/uploads/council-on-the-arts-300x71.jpg" alt="" width="240" height="auto" />

Chase Ferguson: Cars, Buses, and Trains

With Anthony Coleman – compositions and piano; Doug Wieselman – clarinets and guitar; Brad Jones – bass and Krisztina Kiss – viola.
Romanian-born Sanda Weigl first achieved fame as a teen-age member of one of East Germany’s most popular rock band. After publicly denouncing Russia’s invasion of Czechoslovakia, she was sentenced to two years forced labor in an East Berlin factory and then expelled to the West as an enemy of the state. In Berlin, she ended up working with Robert Wilson (on Tom Waits’ Black Rider among others). She moved to NY in the early 90’s, where she connected with downtown musicians, including Anthony Coleman, Marc Ribot, Doug Wieselman and other iconoclasts. She became mostly knows for re-interpreting the Gypsy repertoire of her childhood, but has also kept busy singing Kurt Weill and collaborating with German icon Nina Hagen. Dubistmeinichbindein is a collaboration with pianist and composer Anthony Coleman and was originally commissioned by the Ruhrtrienniale. Based on the songs of Walther von der Vogelweide, a 12th century writer, Anthony Coleman’s compositions highlight both the modern and popular aspect of the German poet who tackled the universal popular themes of love and longing. The songs are a perfect vehicle for Sanda Weigl who approaches the music with the same mix of passion and restraint she applies to Bertolt Brecht or Romanian Gypsy songs.
“To call Weigl’s voice “powerful” would be an understatement.” –BBC World Music

SANDA WEIGL: MINNESONGS FROM THE 12TH CENTURY.

Los Cumpleaños play a psychedelic take on classic Colombian Cumbia, Porro, Son Caribeño, Salsa Criolla and Bullerengue. The band has the playfulness of an experimental group and the energy of a punk rock band. They mix new wave synths &#038; retro organ sounds with effect-laden trombone and trumpet as well as a three piece percussion section. Cumpleaños features virtuoso percussionist/vocalist Nestor Gomez from Barranquilla, Colombia, Lautaro Burgos from Chaco, Argentina on drumset as well as Eric Lane on Keyboards and Alex Asher on Trombone from the USA. The members of Los Cumpleaños have played with a variety of notable artists including: Anibal Velazquez, Lizandro Meza, Juan Piña, Alfredo Gutierrez, MAKU Soundsystem, Beyoncé, Joan as Police Woman and People’s Champs.

Los Cumpleaños

Come explore the Universe with a telescope viewing of the sun, stars, planets and moon. In collaboration with the Science Studios at Pioneer Works, members of the Amateur Astronomers Association of New York will set up high powered telescopes for free public solar viewing and stargazing. The AAA is one of the oldest astronomy clubs in the nation dedicated to bringing a love of astronomy and stargazing to the public through free ongoing astronomical observing events throughout the five boroughs of New York City.

Telescope Viewing Party

Print your own Valentine’s Day cards with our Risograph! Open to all ages. Materials provided.

Valentines Risograph Printing

Back by popular demand, the T3k Lab is laser cutting you and 
your sweetheart’s name on a bowl of rice!

Your Name on a Bowl of Rice

Artists-in-residence from the Pioneer Works community and beyond join Clocktower Radio to discuss their current projects, hopes, and fears.

Live Radio!

Sanda Weigl

Science Studios

Amateur Astronomers Club

Tech Lab

Clocktower Radio

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, E.S.P. TV’s first institutional solo exhibition in the United States. Directed by Victoria Keddie and Scott Kiernan, E.S.P. TV is best known for their live television tapings that feature experimental broadcast collaborations with underground poets, musicians, and artists via their mobile television studio.

E.S.P. TV makes the Pioneer Works office staff and environment the subject of a six-week performative, televisual installation by relocating the organization’s second-floor, open-plan office to the first-floor’s main exhibition space. Surrounded by a de-centralized control room, the office doubles as both a dynamic sculptural set—painted partly in chroma blue and featuring movable walls, among other features—and the actual site for the staff’s five-day workweek. The staff’s “daily grind” will be mixed live, on-site, with custom video effects and commercial interruptions. Far from peddling in the sensational tropes of reality TV, 

instead turns banal, day-to-day office routines and patterns — the movement of a chair, a co-worker getting coffee—into the improbable, playful content of a serial program to be broadcast weekly on the Manhattan Neighborhood Network. E.S.P. TV worked closely with curator David Everitt Howe to envision this social experiment and exhibition, which responds to the building’s unique environment and tight-knit, collective office culture.

Recreated as a pastiche of a “contemporary” office, the installation features a series of sculptural set pieces that can be activated in real-time or through the video editing process. A camera crew, live TV mixing consoles, monitors, and program feeds surround and permeate the working office. At the start of each workday, Pioneer Works staff function as both employees and cast members who “log-in” to an evolving algorithm that combines their names anagrammatically with 32 production terms for various camera shots. The resulting text generates an abstract script or textual narrative that informs both the episodes’ editing and their subtitles.

Working within galleries, museums, and artist-run and public spaces, E.S.P. TV’s television programs are taped before a live audience and place the labor of production in an equal spotlight with the artists and performers with whom they collaborate. These tapings reveal a new space born through a breakdown in the hierarchy of the producer and performer and an investigation of the aesthetic qualities of the “live TV studio set”—arising from subtle relationships of staging, timing, layers of observation and the line between shadow and shade of an evenly lit set. In many ways, the humorous, inquisitive, and convention-defying nature of E.S.P. TV carries on the tradition of institutional critique artists like Michael Asher. In the 1970s, Asher engaged in an art practice that broke down the separation between traditional roles of art production, exhibition, and public dissemination. An influential touchstone for E.S.P TV’s 

(1976) in which Asher recorded, and later broadcast, the behind-the-scenes interior of a local TV control room (Portland NBC affiliate KGW) while they were airing the Super Bowl.

 will feature video and printed ephemera from E.S.P. TV’s first 100 Episodes and 6 seasons on air in New York City. This multi-media collection draws on hundreds of collaborative efforts with local and international artists working in performance, video, sound, social practice, and more. Evoking this history, as well as the history of television and sound, a series of public programs featuring screenings, panels, performance, and an artist-led “staff retreat” expound upon the major themes of the exhibition and activate the set outside of normal working hours.

, directed by Scott Kiernan and Victoria Keddie, utilizes a mobile television studio to explore transmission, analog and digital media, and broadcast. Through an ongoing series of live television taping events, they place the control room of the TV studio center stage, making the means of production into a vehicle for performance. Producing over 85 live taping events and over 100 episodes since 2010, E.S.P. TV has worked with various venues and institutions including: the Whitney Museum of American Art, New Museum, the Museum of Arts and Design, Swiss Institute/Contemporary Art, Printed Matter, Millennium Film Workshop, New School, Recess, Camera Club, Hunter College Art Galleries (New York, NY); Interstate Projects, Spectacle Theater, Issue Project Room, Pioneer Works, Knockdown Center, Flux Factory, Roulette (Brooklyn, NY), Queens Museum (Queens, NY), Harvard Art Museums, Franklin Street Works (Stamford, CT), Liminal Space (Oakland, CA), Yerba Buena Center for the Arts (San Francisco, CA), Human Resources (Los Angeles, CA), Ballroom Marfa, Marfa Public Radio, (Marfa, TX), Museum of Human Achievement (Austin, TX), S1 (Portland, OR), Nightingale Cinema (Chicago, IL), Museum of Contemporary Art Detroit, General Public (Berlin), STORE (Dresden), Studio XX (Montreal), SAW Media Centre (Ottawa), Kling and Bang Gallery (Reykjavik), and Pallas Projects (Dublin).

WORK

Pioneer Works is pleased to present WORK, E.S.P. TV’s first institutional solo exhibition in the United States. Directed by Victoria Keddie and Scott Kiernan, E.S.P. TV is best known for their live television tapings that feature experimental broadcast collaborations with underground poets, musicians, and artists via their mobile television studio.
For WORK, E.S.P. TV makes the Pioneer Works office staff and environment the subject of a six-week performative, televisual installation by relocating the organization’s second-floor, open-plan office to the first-floor’s main exhibition space. Surrounded by a de-centralized control room, the office doubles as both a dynamic sculptural set—painted partly in chroma blue and featuring movable walls, among other features—and the actual site for the staff’s five-day workweek. The staff’s “daily grind” will be mixed live, on-site, with custom video effects and commercial interruptions. Far from peddling in the sensational tropes of reality TV, WORK instead turns banal, day-to-day office routines and patterns — the movement of a chair, a co-worker getting coffee—into the improbable, playful content of a serial program to be broadcast weekly on the Manhattan Neighborhood Network. E.S.P. TV worked closely with curator David Everitt Howe to envision this social experiment and exhibition, which responds to the building’s unique environment and tight-knit, collective office culture.
Recreated as a pastiche of a “contemporary” office, the installation features a series of sculptural set pieces that can be activated in real-time or through the video editing process. A camera crew, live TV mixing consoles, monitors, and program feeds surround and permeate the working office. At the start of each workday, Pioneer Works staff function as both employees and cast members who “log-in” to an evolving algorithm that combines their names anagrammatically with 32 production terms for various camera shots. The resulting text generates an abstract script or textual narrative that informs both the episodes’ editing and their subtitles.
Working within galleries, museums, and artist-run and public spaces, E.S.P. TV’s television programs are taped before a live audience and place the labor of production in an equal spotlight with the artists and performers with whom they collaborate. These tapings reveal a new space born through a breakdown in the hierarchy of the producer and performer and an investigation of the aesthetic qualities of the “live TV studio set”—arising from subtle relationships of staging, timing, layers of observation and the line between shadow and shade of an evenly lit set. In many ways, the humorous, inquisitive, and convention-defying nature of E.S.P. TV carries on the tradition of institutional critique artists like Michael Asher. In the 1970s, Asher engaged in an art practice that broke down the separation between traditional roles of art production, exhibition, and public dissemination. An influential touchstone for E.S.P TV’s WORK is Asher&#8217;s Via Los Angeles (1976) in which Asher recorded, and later broadcast, the behind-the-scenes interior of a local TV control room (Portland NBC affiliate KGW) while they were airing the Super Bowl.
For additional context, WORK will feature video and printed ephemera from E.S.P. TV’s first 100 Episodes and 6 seasons on air in New York City. This multi-media collection draws on hundreds of collaborative efforts with local and international artists working in performance, video, sound, social practice, and more. Evoking this history, as well as the history of television and sound, a series of public programs featuring screenings, panels, performance, and an artist-led “staff retreat” expound upon the major themes of the exhibition and activate the set outside of normal working hours.
E.S.P. TV, directed by Scott Kiernan and Victoria Keddie, utilizes a mobile television studio to explore transmission, analog and digital media, and broadcast. Through an ongoing series of live television taping events, they place the control room of the TV studio center stage, making the means of production into a vehicle for performance. Producing over 85 live taping events and over 100 episodes since 2010, E.S.P. TV has worked with various venues and institutions including: the Whitney Museum of American Art, New Museum, the Museum of Arts and Design, Swiss Institute/Contemporary Art, Printed Matter, Millennium Film Workshop, New School, Recess, Camera Club, Hunter College Art Galleries (New York, NY); Interstate Projects, Spectacle Theater, Issue Project Room, Pioneer Works, Knockdown Center, Flux Factory, Roulette (Brooklyn, NY), Queens Museum (Queens, NY), Harvard Art Museums, Franklin Street Works (Stamford, CT), Liminal Space (Oakland, CA), Yerba Buena Center for the Arts (San Francisco, CA), Human Resources (Los Angeles, CA), Ballroom Marfa, Marfa Public Radio, (Marfa, TX), Museum of Human Achievement (Austin, TX), S1 (Portland, OR), Nightingale Cinema (Chicago, IL), Museum of Contemporary Art Detroit, General Public (Berlin), STORE (Dresden), Studio XX (Montreal), SAW Media Centre (Ottawa), Kling and Bang Gallery (Reykjavik), and Pallas Projects (Dublin). 
&nbsp;
<h3>Episodes</h3>

work-color

Diagnosed with autism at the age of three, Chase Ferguson experienced difficulty communicating with words, preferring images instead. He began drawing in earnest that same year, depicting fire trucks and ambulances haloed by lines delineating flashing lights. In the process, he developed an obsessive preoccupation with urban transportation systems and infrastructure. Using the most humble of materials, such as paper, tape, paint, cardboard, hot glue, and other mixed media, Ferguson recreates cars, buses, train sets, and parking meters in exacting detail — down to year, make, and model.

Drawing his objects first, he cuts them out, folds them over into shape, fixes them with clear tape, then stuffs his folded vehicles, for example, with shredded paper; cut-up straws are repurposed as axils. 

 displays hundreds of these cars, along with train sets and near life-size parking meters, all made with the support and guidance of Pure Vision Arts, a non-profit dedicated to artists with autism and other developmental challenges. These became of interest to Ferguson in 2011, when single-space meters gave way to more technologically advanced models. Often overlooked, these quotidian realities of New York City living became of particular interest. The backbone of our collective city existence, Ferguson gives them pride of place, assigning them special value for their unheralded role in making our lives functional.

This exhibition is funded by a grant from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Pure Vision Arts is an initiative of The Shield Institute.

Cars, Buses, and Trains

Diagnosed with autism at the age of three, Chase Ferguson experienced difficulty communicating with words, preferring images instead. He began drawing in earnest that same year, depicting fire trucks and ambulances haloed by lines delineating flashing lights. In the process, he developed an obsessive preoccupation with urban transportation systems and infrastructure. Using the most humble of materials, such as paper, tape, paint, cardboard, hot glue, and other mixed media, Ferguson recreates cars, buses, train sets, and parking meters in exacting detail — down to year, make, and model.
Drawing his objects first, he cuts them out, folds them over into shape, fixes them with clear tape, then stuffs his folded vehicles, for example, with shredded paper; cut-up straws are repurposed as axils. Cars, Buses, and Trains displays hundreds of these cars, along with train sets and near life-size parking meters, all made with the support and guidance of Pure Vision Arts, a non-profit dedicated to artists with autism and other developmental challenges. These became of interest to Ferguson in 2011, when single-space meters gave way to more technologically advanced models. Often overlooked, these quotidian realities of New York City living became of particular interest. The backbone of our collective city existence, Ferguson gives them pride of place, assigning them special value for their unheralded role in making our lives functional.
This exhibition is funded by a grant from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. 
Pure Vision Arts is an initiative of The Shield Institute.
<img loading="lazy" class="alignnone size-medium wp-image-528" src="http://pw:8888/wp-content/uploads/pure-vision-300x68.jpg" alt="" width="240" height="auto" srcset="https://sunset.pioneerworks.org/wp-content/uploads/pure-vision-300x68.jpg 300w, https://sunset.pioneerworks.org/wp-content/uploads/pure-vision-768x173.jpg 768w, https://sunset.pioneerworks.org/wp-content/uploads/pure-vision-1024x231.jpg 1024w" sizes="(max-width: 300px) 100vw, 300px" />
<img loading="lazy" class="alignnone size-medium wp-image-527" src="http://pw:8888/wp-content/uploads/council-on-the-arts-300x71.jpg" alt="" width="240" height="auto" srcset="https://sunset.pioneerworks.org/wp-content/uploads/council-on-the-arts-300x71.jpg 300w, https://sunset.pioneerworks.org/wp-content/uploads/council-on-the-arts-768x181.jpg 768w, https://sunset.pioneerworks.org/wp-content/uploads/council-on-the-arts-1024x241.jpg 1024w, https://sunset.pioneerworks.org/wp-content/uploads/council-on-the-arts.jpg 1704w" sizes="(max-width: 300px) 100vw, 300px" />

Chase Ferguson

Gabriel Florenz

chase-ferguson

Diagnosed with autism at the age of three, Chase Ferguson experienced difficulty communicating with words, preferring images instead. He began drawing in earnest that same year, depicting fire trucks and ambulances haloed by lines delineating flashing lights. In the process, he developed an obsessive preoccupation with urban transportation systems and infrastructure. Using the most humble of materials, such as paper, tape, paint, cardboard, hot glue, and other mixed media, Ferguson recreates cars, buses, train sets, and parking meters in exacting detail — down to year, make, and model.
Drawing his objects first, he cuts them out, folds them over into shape, fixes them with clear tape, then stuffs his folded vehicles, for example, with shredded paper; cut-up straws are repurposed as axils. Cars, Buses, and Trains displays hundreds of these cars, along with train sets and near life-size parking meters, all made with the support and guidance of Pure Vision Arts, a non-profit dedicated to artists with autism and other developmental challenges. These became of interest to Ferguson in 2011, when single-space meters gave way to more technologically advanced models. Often overlooked, these quotidian realities of New York City living became of particular interest. The backbone of our collective city existence, Ferguson gives them pride of place, assigning them special value for their unheralded role in making our lives functional.
This exhibition is funded by a grant from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. 
Pure Vision Arts is an initiative of The Shield Institute.
<img loading="lazy" class="alignnone size-medium wp-image-528" src="http://pw:8888/wp-content/uploads/pure-vision-300x68.jpg" alt="" width="240" height="auto" srcset="https://pioneerworks.org/wp-content/uploads/pure-vision-300x68.jpg 300w, https://pioneerworks.org/wp-content/uploads/pure-vision-768x173.jpg 768w, https://pioneerworks.org/wp-content/uploads/pure-vision-1024x231.jpg 1024w" sizes="(max-width: 300px) 100vw, 300px" />
<img loading="lazy" class="alignnone size-medium wp-image-527" src="http://pw:8888/wp-content/uploads/council-on-the-arts-300x71.jpg" alt="" width="240" height="auto" srcset="https://pioneerworks.org/wp-content/uploads/council-on-the-arts-300x71.jpg 300w, https://pioneerworks.org/wp-content/uploads/council-on-the-arts-768x181.jpg 768w, https://pioneerworks.org/wp-content/uploads/council-on-the-arts-1024x241.jpg 1024w, https://pioneerworks.org/wp-content/uploads/council-on-the-arts.jpg 1704w" sizes="(max-width: 300px) 100vw, 300px" />

Doreen Garner is a Brooklyn-based artist (originally from Philadelphia, PA) whose work combines painting and sculptural processes to investigate notions of perversion, exploitation, and dissection. Garner holds a BFA from the Tyler School of Art at Temple University and MFA from the Rhode Island School of Design. Garner has completed residencies at Skowhegan School of Painting and Sculpture, LMCC Workspace Program, Abrons Arts Center AIRspace program, and is a Van Lier Fellow at Wave Hill.

doreen_garner

Based in New York and London, Laura Morrison turns intimate personal and professional experiences into subjects, utilizing writing, video, performance, and painting to reveal what it means to be both vulnerable and accountable. Morrison received her MFA from Goldsmiths, London, and has exhibited internationally. Recent projects include Safe at HOME, Manchester; Bain Marie at Res, London; Open Sessions at The Drawing Center, New York, USA.

laura_morrison-for_web

MSHR is a collaborative project by Birch Cooper and Brenna Murphy. The duo utilizes digital sculpture, analog hardware, and ceremonial performance to build and explore systems as a way of manifesting ecstatic sensory zones. MSHR emerged from the art collective Oregon Painting Society in 2011 and has exhibited and performed at: Upfor, Portland; Kunsthaus Langenthal; Postmasters Gallery, New York City; Musee des Artes Creteil; Cell Projects, London; Transmediale, Berlin; The Peckham Pavilion, 53rd Venice Biennale; Kunstverein Dusseldorf.

MSHR

mshr-for_web

The artistic practice of Copenhagen-based multi-disciplinary artist Helene Nymann (AKA “Ima”) addresses the notion of embodied knowledge and the way in which associative images stimulate memory. Interested in the borderline between the natural and the digital worlds, Nymann constructs performative environments in which the moving image, sound, and sculpture make way for transformative arrays of consciousness. Nymann received her BFA (Hons) from Goldsmiths College, University Of London and her MFA from Malmø Art Academy, Sweden.

helene_nymann-for_web

Nigerian-born, New York-based artist Onyedika Chuke is internationally recognized for his disquieting collection of objects, 

 (2011-present). His politically charged sculptures of machine weaponry act as symbolic reminders of the technologically mediated wars that shape our collective memory of conflict. Chuke studied at The Cooper Union and is a participant of The Drawing Center’s Open Sessions Fellowship 2016-2018, SculptureCenter’s In Practice Fellowship 2016 and Socrates Sculpture Park’s Emerging Artist Fellowship 2016-2017.

Nigerian-born, New York-based artist Onyedika Chuke is internationally recognized for his disquieting collection of objects, The Forever Museum Archive (2011-present). His politically charged sculptures of machine weaponry act as symbolic reminders of the technologically mediated wars that shape our collective memory of conflict. Chuke studied at The Cooper Union and is a participant of The Drawing Center’s Open Sessions Fellowship 2016-2018, SculptureCenter’s In Practice Fellowship 2016 and Socrates Sculpture Park’s Emerging Artist Fellowship 2016-2017.

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Born in Dalian, China, Xu Wang works in sculpture, video installation, drawing, and performance. Interested in process and materiality, Wang continues to explore a series that re-contextualizes found and collected objects and matter. He received his BFA from the China Central Academy of Fine Arts and MFA from Columbia University. He has exhibited internationally at Galerist Gallery (Turkey), Queens Museum (New York), SculptureCenter (New York), among others.