Friday, June 9, 2023

Art & Law Residency Announces 2011 Residents

Charles Gute. Copyright 2010 Charles Gute. All rights reserved.

Volunteer Lawyers for the Arts has just announced its 2011 Art & Law Residency Program residents.

The eight visual artists, four writers, and curatorial assistant will meet for semi-monthly Seminars directed at the theoretical and critical examination of current art and law issues. During the course of the Program, artists and writers will develop new projects and papers and receive support from Faculty on a regular basis to discuss and address the aesthetic, practical, philosophical, legal and judicial aspects of their work. The Residency takes place in New York City, and will culminate in a public Exhibition at the Maccarone Gallery and a Symposium where the participants will exhibit their projects and present papers. Seminar leaders include

The Residents are:


Amina Bech is a Norwegian artist who works with photography based art, video and performative actions. With a background in scenography & new media, her photographs has frequently related to a scenographic approach. She aims to use the means of set and stage production to modulate communication – whether in exhibition projects, in real urban space or on stage. Summer 2010 Bech was a part of a 2 months studio residency in Palestine, The West Bank, investigating the urban fabric and landscape of Battir.The residency program was the first collaborative venture in a developing partnership between the Al-Quds Bard Honors College, the UNESCO /Battir Landscape Office, and the Bethlehem-based collective Decolonizing Architecture. The program focused on the relationship between space and law in the Area C of Palestine and have recently been shown at 0047 in Oslo and at REDCAT Gallery in Los Angeles.

Michael Cataldi was born in 1982 in Philadelphia, and currently lives and works in New York City. Cataldi received a Bachelors degree in Fine Arts from the Maryland Institute College of Art in 2004; attended the Skowhegan School of Painting and Sculpture in 2005, received a fellowship at Socrates Sculpture Park in 2006, and was awarded a workspace studio at the Lower Manhattan Cultural Council in 2007. He completed a Masters in Urban Planning from the City University of New York in 2009 and the Whitney Independent Study Program in 2010. His installations, photographic projects, and drawings have been shown in Baltimore, Washington D.C., and New York.  Cataldi’s work has been featured in the Village Voice, Art in America, and Artforum.

Blane De St. Croix‘s recent body of work explores the geopolitical landscape through drawing and sculptural installation.  De St. Croix conducts extensive research on each project—through site visits, photographic documentation, interviews, and satellite imagery.  Employing a combination of natural and industrial materials, he is interested in articulating humankind’s desire to take command over the earth, revealing distinct conflicts with ecology, politics, and ourselves, in large-scale installations that utilize architectural space in a distinct, powerful, and imposing manner. De St. Croix has been the recipient of numerous grants and awards. Selected awards include: a 2010 John Simon Guggenheim Memorial Foundation Fellowship; 2009 The Joan Mitchell Foundation Grant for Painters and Sculptors; The Pollock Krasner Foundation Grant; a regional National Endowment for the Arts and other prominent awards. De St. Croix was favorably reviewed by art critic Jerry Saltz in NY magazine last year for his large installation Broken Landscape at Smack Mellon in Brooklyn, NY, the project travelled from  NY to F.A.R (Future Arts Research) in Phoenix AZ for a solo exhibition that Bruce W. Ferguson curated. Additionally, his work has been included in numerous solo and group exhibitions in national and international venues. De St. Croix has also been awarded many notable international and national fellowship and artist residencies. Selected residencies at John Michael Kohler Arts Center, Foundry Artist Residency, Wisconsin, Djerassi Artist Residency Program, Woodside, CA, Gasworks Artist Studio Residency, Triangle Arts Trust, London, Tyrone Gutherie Center, Ireland, Two MacDowell Colony Fellowships, Peterborough, NH; an Art Omi Artist Residency, Ghent, NY; Special Editions Residency, Lower East Side Printshop, New York, NY. Blane De St. Croix was born in Boston Massachusetts. Educated at Cranbrook Academy of Art, Bloomfield Hills, Michigan (M.F.A. – Sculpture) and Massachusetts College of Art, Boston, Massachusetts (B.F.A.-Sculpture with distinction). For more information:

Molly Dilworth is a Brooklyn based artist who views creative practice as a form of research. Using data from a specific site as a structure, she builds a form for things that invisibly motivate our actions. Her painting Cool Water, Hot Island was selected as the surface treatment for the 5 block 50,000 sq. ft. pedestrian plazas on Broadway in Times Square. Her 2010 rooftop painting was made in conjunction with the NYC CoolRoofs program was commissioned by as part of their international climate change art initiative.

Graham Parker is a multimedia artist and writer based in New York. His work explores digital culture as seen within a historical continuum of human inspiration and folly relating to the growth of technology – often finding unexpected, even uncanny connections between these different moments and modes. Encompassing 2D work, installation, video and performance, his work has been commissioned by the Tate Gallery, Henry Moore Institute, Centre for the Understanding of the Built Environment, Foundation for Art and Creative Technology, Lower Manhattan Cultural Council, EMPAC and the Arts Council of England, amongst others, and is held in public and private collections around the world. He is the author of Fair Use (notes from spam) (published by Book Works), and is a former participant in both the Studio and the Architecture and Urbanism programs of the Whitney Museum ISP.

Risa Puno creates interactive installations and functional objects that play with elements of everyday life. She has exhibited at national and international venues, including: Socrates Sculpture Park; MMX Open Art Venue in Berlin, Germany; Queens Museum of Art; The Bronx Museum of the Arts; Jersey City Museum; apexart; Bronx River Art Center; Galerie Stefan Röpke in Cologne, Germany; and Scope New York: Curator’s Choice. Her work has been written about in The New York Times, The Wall Street Journal, The New Yorker, and artnet Magazine. She has received several awards and honors, including project grants from Socrates Sculpture Park and Jersey City Museum, participation in the Artists in the Marketplace program at The Bronx Museum, and an Emerging Artist Grant from Scope New York. She has lectured on a panel for A-Lab Artist Forum, and as a visiting artist at Dumbo Arts Center, Satellite Academy, and Monmouth University. Puno was born in 1981 and grew up in Lousiville, Kentucky.  She studied art and medicine at Brown University and earned her MFA from New York University. She currently lives and works in New York City.

Woody Sullender is an artist currently based in Brooklyn, NY, working primarily in music and audio media.  Over the past few years, he has emerged as a pre-eminent experimental banjo performer, playing with and against the cultural baggage of the instrument. More recent work focuses on “erasing” existing audio by removing most of the frequencies from a recording via band-pass filters.  This has manifested in a range of media from a lathe-cut record of a diminished “Smells Like Teen Spirit” to an FM broadcast of erased radio stations. Among other activities, he teaches new media in the New York area and hosts a weekly radio show on WFMU.

Alex Villar was born in Brazil 1962, and is currently based in New York. Villar has an MFA from Hunter College ’98 and was a Whitney Independent Study Program fellow 2000. Villar’s work draws from interdisciplinary theoretical sources; it employs video, installation and photography. His individual and collaborative projects are part of a long-term investigation of potential spaces of dissent in the urban landscape; it has often taken the form of an exploration of negative spaces in architecture. Selected exhibitions include the New Museum, Mass MoCA, Drawing Center, Exit Art, Stux Gallery, Apexart and Dorsky Gallery in New York; Institute of International Visual Arts in London, Museu de Arte Moderna in São Paulo, Paço Imperial and Funarte in Rio de Janeiro, Galleri Tommy Lund and Overgaden in Copenhagen, UKS in Oslo, Contemporary Art Centre in Vilnius, the Goteborg Konstmuseum in Sweeden, Galerie Joanna Kamm in Berlin, Signal in Malmo, Galeria Arsenal in Poland, Lichthaus in Bremen and Halle fur Kunst in Luneburg. Published articles and reviews in ReMarx, Text zur Kunst, Tema Celeste and New York Times.



Mazie M. Harris is a doctoral candidate in the Department of the History of Art and Architecture at Brown University.  Currently writing a dissertation on the influence of nineteenth-century intellectual property disputes on the development of photographic portraiture in the United States, she is interested in the ways in which the foundations of American copyright and patent law continue to reverberate in contemporary photographic practice.  The co-curator of Presence through Process, an exhibition of recent photography at the Museum of Art, Rhode Island School of Design, she has held positions in the RISD Museum Department of Contemporary Art and the Agnes Mongan Center for the Study of Prints, Drawings, and Photographs in the Harvard Art Museums, and has contributed to the contemporary art journal Art Lies.  Previous scholarly projects have analyzed issues of technology, authorship, and cultural regulation in Civil War propaganda, late nineteenth-century stereoscopy, mid-twentieth century photographic pedagogy, and 1960s nuclear protest imagery. In her ongoing research and teaching, she reflects on perceived relationships between photography, property, and privacy by examining the retouching and circulation of individual and group portraits.

Lorraine Lezama is a Harvard University graduate and recipient of a Mark De Wolfe Howe Fellowship in Civil Rights, Civil Liberties and Anglo-American History from Harvard Law School. She has presented work and participated in symposia and conferences at Yale Law School, Harvard University, the Law and Society Association and elsewhere. Her work has been widely published in different fora including The Washington Post, The Harvard Women’s Law Journal, The Harvard International Law Journal and The Journal of Law, Medicine and Ethics. She is an art critic for, a Los Angeles-based digital publication and writes about shifts in the digital and entertainment ecosystems, new media, and contemporary art and its relation to emerging technologies. Her current research focuses on the emergence and impact of cultural arbitrageurs in the world of contemporary art, analyses of the contemporary art market, art auction dynamics, pricing strategies and market design in the art world and the impact and consequences of asymmetric information in transactions; museum ethics and governance; the recent proliferation of commercial digital art-spaces, platforms and online fundraising infrastructures and an exploration of the shift in legal and cultural regimes governing the creation and ownership of intellectual property. Ms. Lezama is a founder and Managing Partner of the Clarendon Care Group, an incubator which provides strategic consulting services to a range of international and domestic private and institutional clients, many in the non-profit space, with a focus on organizations whose missions include sustainable urban redevelopment, rehabilitation and stewardship.

Lian Amaris Sifuentes is a writer and artist based in New York City. She has Master’s degrees in Performance Studies and in Interactive Telecommunications, both from New York University, and has contributed articles on performance and media to Theatre Journal, TDR: The Drama Review, and Explorations on Media Ecology, along with several edited collections including the forthcoming S(t)imulated Realities: The Hyperreal in Popular Culture (McFarland), and Digital Visual Culture: Intersections and Interactions in 21st Century Art Education (The National Art Education Association). Her current research interests include ethical and legal issues regarding intellectual property, copyright, and Fair Use, with a focus on authorship conflicts for artists who “cite” the work of other artists, or use another artist’s work as the raw material for their own. She has presented her artwork and scholarship at nine international conferences and at over twenty festivals, including such venues as The Guggenheim Museum, The San Jose Museum of Art, Cambridge University, UC Berkeley, P.S. 122, HERE Arts Center, and the Recoleta Cultural Center in Argentina. Her artwork has been covered by The New York Times, Reuters, The New York Post, The Denver Post, and Allure Magazine, among others. After three years as a professor of performance studies and digital media at Colorado College, Sifuentes joined the Education Division of the Brooklyn Museum where she oversees programs for college and graduate students and works to bridge the gaps between performance, visual arts, and new media through public programs.

Tracy Zwick is completing her Master of the Arts degree at Columbia University with a specialization in Modern Art/Critical Theory. She holds a B.A. in Communications and Theater Arts as well as a J.D. (Juris Doctor). Tracy clerked for the Presiding Justice of the Illinois Appellate Court upon graduating from law school, then spent five years as a litigation associate at Willkie, Farr & Gallagher in New York, where she also served on the pro bono committee. Before joining the Department of Art History and Archeology at Columbia, Tracy worked with inMotion (formerly Network for Women’s Services), representing abused and indigent minority women in contested family court proceedings. She subsequently spearheaded the Humanitarian Law Project, travelling to various parts of Pakistan to establish, ab initio, codes of evidence, tribunals and parliamentary procedures for adjudicating claims of repatriated child victims of human trafficking. Tracy’s current projects include an assessment and juxtaposition of legal and artistic responses to human rights atrocities in South America, and a contemporaneous investigation into the phenomenology of traumatic memory and it’s binary, historical amnesia. Spanish is her primary second language.


Curatorial Assistant:

Jamie Knowles is a Long Island City-based artist and arts professional interested in linking self-identity to our collective memory. His examination of history, gender, and sexuality often leads to secondary studies and research of law and political theory. He was involved in planning The Last Supper Festival, an annual art collaborative, at the 3rd Ward and will be working with the Williamsburg Gallery Association assisting with Public Relations. He recently received his BA in Studio Art from Davidson College.


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