lic2000_08

2000 - 2008
Long Island City, NY
ARTISTE EN RESIDENCE
COORDINATRICE DE PROJET

Long Island City, New York
Socrates Sculpture Park est un musée en plein
air, de renommée internationale,
fondé par le sculpteur Mark Di Suvero
en 1986, offrant aux artistes la possibilité de créer
à grande échelle dans un environnement unique, qui
encourage une forte interaction avec le public. En effet,
le Pad (terme désignant une surface bétonnée permettant
le travail en extérieur) est directement adjacent au
parc public ouvert à tous de 10h00 au coucher du soleil.
Les artistes y fabriquent les œuvres qui seront ensuite
exposées dans le parc, ce qui permet au public d’en voir
l’évolution, de poser des questions, etc…
J’avais déjà travaillé bénévolement en 2000 lorsque j’ai
assisté l’artiste et architecte Robert Barnstone. J’avais
fait valider cela comme un stage par les beaux- arts de
Paris avant de finalement décider de partir pour New York
sans mon diplôme. Je suis retournée à Socrates une fois
installée à NY en 2001 et j’ai y ai assisté l’artiste Lars
Fisk dans la réalisation d’une sculpture monumentale.
Un accord tacite me permettait, en tant que bénévole de
jouir de l’utilisation du PAD.
J’y ai travaillé jusqu’à ce que je m’implique avec le
« Space ». Plus tard (en 2003) j’ai eu l’opportunité de
remplacer Joel Graesser, sculpteur et gardien du parc. J’ai
pu ainsi passer un mois à sculpter entourée de grues et des
sculptures de Mark Di Suvero sur les bords de l’East river
en face de Manhatan !
J’étais en relation avec les artistes en résidence et ceux
travaillant à Space Time, (l’atelier New-Yorkais de Mark
di Suvero, que j’ai eu l’occasion de rencontrer plusieurs
fois). J’ai notamment pu connaître et voir travailler Peter
Lundberg, un sculpteur dont j’admire beaucoup le travail
(des moulages monumentaux en béton un peu dans l’idée
des rubans de Moebius). Il a aussi mis en place un parc
de sculptures sur les bords du Long Island Sound dans le
Connecticut avec l’appui de la ville de Bridgeport.

Socrates Sculpture Park is the only site in the New York
Metropolitan area specifically dedicated to providing artists
with opportunities to create and exhibit large-scale work
in a unique environment that encourages strong interaction
between artists, artworks and the public. The Park’s existence
is based on the belief that reclamation, revitalization and
creative expression are essential to the survival, humanity and
improvement of our urban environment.
Socrates Sculpture Park was an abandoned riverside landfill and illegal dumpsite until 1986 when
a coalition of artists and community members, under the leadership of artist Mark di Suvero,
transformed it into an open studio and exhibition space for artists and a neighborhood park for
local residents. Today it is an internationally renowned outdoor museum and artist residency
program that also serves as a vital New York City park offering a wide variety of public services.

Le Space est une organisation (non
lucrative) dont le but est de maintenir
et développer la présence d’artistes dans
Long Island City. [Pour éviter le modèle
classique de Williamsburg, où les artistes
investissent un quartier délabré et donc
abordable, et une fois le lieu devenu
vibrant culturellement, les promoteurs
montent les prix et virent les artistes.]
La mission du Space et en particulier de
Kristy Schopper sa directrice est, outre de
fournir un espace de travail aux artistes
locaux, de faire reconnaître les artistes
comme facteur de développement
économique et de leur assurer une place
dans la jungle immobilière de New York
tout en s’engageant fortement dans une
production culturelle de proximité.
The Space is a not for profit corporation
in the Queens Plaza, Long Island City
area dedicated to maintaining the
artistic heritage of Long Island City,
and providing a foundation for the future
of a thriving community of artists and
the arts.
The Space provides logistical support
for artists and community projects, and
is helping to revitalize the area by
refurbishing existing art locations,
renovating new underutilized spaces
for use as artists’ work and exhibition
venues, developing affordable housing
for artists, and providing cultural
events and educational projects to the
Long Island City community.
Fardom Gallery showcases emerging
and established artists on a monthly
rotation. We host monthly openingings,
and bi-monthly closing receptions in
Manhattan on fifth avenue. In warmer
weather, we have weekly movie nights on
Wednesdays, all open to the public.

Artiste en résidence : Création et maintien d’un nouvel espace
public, création et installation de sculptures, expositions de
groupe.
J’ai découvert Le « Space » en 2001 et me suis rapidement intéressée puis impliquée dans ce
projet. En tant qu’artiste en résidence, j’ai eu accès en 2002 à un espace de travail de plus de
200m2 dans un grand bâtiment industriel situé à Queens Plazza. J’y ai créé des sculptures en
plâtre (faute de mieux) dans le but de participer au programme ‘Art in Queens plazza’, une des
nombreuses propositions culturelles du Space. Installation de sculptures et peintures murales
autour du parking public formant l’angle sud-ouest de Queens Plaza.
[C’est une zone de passage
très dense située à 5 min de
Manhatan et de PS1 au climat
social difficile. J’y ai a plusieurs
reprises créé des peintures
murales, certaines collaboratives,
d’autres individuelles. Ce furent
des expériences très enrichissantes
et aussi difficiles. Environ 120’000
personnes passent par là chaque
jour de semaine car c’est un
nœud du système de transport
public new-yorkais. Peindre
dans l’indifférence, l’intérêt,
les questions, les critiques et
compliments de 120’000 personnes
de 50’000 cultures différentes…le
tout dans un capharnaüm de bruits
de métro et de voiture, c’est
inénarrable….et passionnant. ]

En 2003, j’ai pris la responsabilité d’organiser et
de pérenniser cette démarche. Sous le titre de
« Grow ! » j’ai assuré le renouvellement et
l’entretien bisannuel des sculptures et peintures
dans l’espace public. (En prenant en charge
l’encadrement des bénévoles notamment.) Le Space
fonctionnant uniquement par des dons en nature
je n’avais que les moyens du bord à disposition
mais outre le fait d’être un ‘give back’ pour mon
atelier, ce projet m’intéressait énormément dans sa
dimensions sociale.
2003
2003 2005 2006
2006 projet 2005
2005
2003
2004

Afin de pouvoir créer des sculptures durables
je voulais pouvoir travailler le métal. J’ai
donc demandé la permission d’aménager un
espace sur une bande de terrain située entre
le bâtiment et les voies de chemin de fer (les
règles de sécurité incendie ne permettaient pas
de souder à l’intérieur du bâtiment). C’est K.
Schopper qui a obtenu cette autorisation, puis
j’ai pris la direction du projet et organisé les
efforts pour transformer ce qui n’était qu’une
pile de détritus en ce qui est maintenant connu
sous le nom de « Backspace ». Ce PAD et
jardin d’exposition extérieur sont aujourd’hui
encore à la disposition des artistes en résidence
au Space. Le « Backspace » offre les outils
et l’espace nécessaires à la fabrication de
sculptures et de structures en métal, ainsi qu’un
lieu de rencontre atypique.

C’est au Backspace que j’ai entrepris
la fabrication de « My Tribe », un
projet à long terme de vaches
grandeur nature commencé en
2004 comme une exploration des
nombreuses strates de résonance
entre sujet et procédé. [L’effort
physique soutenu nécessaire au
travail à froid des feuilles de
métal est un moyen d’identifier et
d’étudier les conséquences de mon
éducation sur ma production d’art :
J’ai été élevée protestante dans une
exploitation laitière où travailler dur
est synonyme de vertu.]
My Tribe I 2004 & II 2005, acier
C’est au Backspace que j’ai entrepris
la fabrication de « My Tribe », un
projet à long terme de vaches
grandeur nature commencé en
2004 comme une exploration des
nombreuses strates de résonance
entre sujet et procédé. [L’effort
physique soutenu nécessaire au
travail à froid des feuilles de
métal est un moyen d’identifier et
d’étudier les conséquences de mon
éducation sur ma production d’art :
J’ai été élevée protestante dans une
exploitation laitière où travailler dur
est synonyme de vertu.]

The BackSpace
At the end of Orchard Street : Space artists have cultivated a welding factory
and sculpture garden amid the traffic of Queens Plaza. This outdoor lot, a full
city block long was donated for use to The Space in 2003 by Bill Modell, and has
since grown to become one of the top welding pads in the state of New York. The
annual Texas style BBQ held at BackSpace enables residents of Long Island City
and the surrounding neighborhoods to commune with art and each other in pleasant
surroundings.

En qualité d’artiste en résidence,
j’ai aussi montré mon travail lors des
nombreuses expositions de
groupe du Space à Long Island City
et ailleurs, participé aux workshops
et surtout, dialogué avec de nombreux
artistes plasticiens, musiciens,
chercheurs, DJ etc. Le Space a cette
particularité (très américaine) de ne
pas se définir autour d’un certain style
de production artistique mais autour
d’une action : ce qui compte c’est
Faire de l’Art. Ce lieu/concept attire
grand nombre de gens très intéressants
et différents et offre un lieu d’échange
et de collaboration ouvert. (On peut y
rencontrer notamment un chercheur
en microbiologie du Rockfeller Center
ou des spécimens rares de la faune
underground … uniquement après le
coucher du soleil).
2004 Summer in LIC at the civic Space
2007, childish Memories with K. Schopper, first friday at the gallery space
2006, No Laughing matter at the civic Space
2008, Soho
2005, at the civic Space

Directrice adjointe : Développement, organisation et maintien de
programmes culturels et participation active au développement
d’une stratégie à long terme de coopération entre acteurs
culturels, propriétaires immobiliers et élus locaux.
About The Space
The Space, conceived by Long Island City artist and current Space executive
director Kristy Schopper, is dedicated to maintaining and expanding the
artistic community in the Long Island City, Queens area. The Space takes
advantage of previously underutilized property in Long Island City,
New York, to provide work space for artists, and a venue for community
involvement in the arts, and works with developers and planners to ensure
that there are affordable places for artists to live and work in Long
Island City as our neighborhood develops and grows.
Space artists are granted studio space in an environment which fosters the
exchange of ideas and philosophies between artists. Young artists learn
techniques and develop professionalism by working next to more experienced
artists, who in turn are inspired by the enthusiasm and fresh ideas
of their younger peers. The artists repay the community through their
k.Schopper, executive director
participation in projects that better the quality
of life in Queens Plaza and Long Island City. Past
projects have included the development of sculpture
gardens, mural painting, educational programs and
shows for school children and the general public, and
community cleanups.
The Space relies on the generosity of local property
owners, businesses and community members. Our primary
work and show spaces have been donated by the Modell
family, and our administrative offices and gallery space
have been donated by the Arthur Levine Foundation.
Local businesses, community members, and artists have
donated time and money to move this project forward.

<= Brandon Schreck
Tense, calm, oceanic, tidal shifts in getting there. Each stage is a breaking point. I think
the painting is the space between fragmented memory, peripheral observation, and the
tension between stops and starts in process-driven work.
I work mostly backwards towards resolutions. A resolution might be the off-key notes
that extend beyond where the whole is supposed to go. I think of bringing all of the
noise to a point where the sum of many parts resembles a series of relationships. I
have a love/hate relationship with art that is self-referential or art historically aware, as
experience is the most effective measure of what I am trying to bring to painting. There
is a fine line of space where a compression occurs between receptiveness and resis-
tance. It’s seldom that both a hermetic vacuum and a flood of informational awareness
can coexist, but I think that is where I try to be when painting.
Ernesto “Fujin” Cabrera =>
Born in Brooklyn, New York.
Painting since 1980, officially in
2004 under the name “Fujin”.
Presently tempera is the medium
of choice.
Dana Bell =>
A painting can be as comforting as a sweater on a cold day.
The colors can make you remember the tablecloth on your
grandmother’s breakfast table, or the dress you wore to
make yourself feel secure on your first day of daycare.
The sources of my paintings are films or photographs
which evoke these memories. Using color and perspective
to evoke mood and emotion, I recreate the images, appro-
priating them, while maintaining the universal, human
element that attracts me to them in the first place.
I am working towards a show in Santiago, Chile, at the
Museum of Contemporary Art, featuring film-screen-sized
pieces. Two are based on images from Truffaut’s “400
Blows”, the story of Antoine, a young boy whose family’s
neglect leads him to petty crimes. Similarly, I remember
going to “the village” of my suburban Detroit town to shoplift
after discovering that my parents were smoking pot after I
was put to bed. One scene I’m painting shows Antoine and
his friend walking hurriedly away from the building with the
hot typewriter blending in with extras. I am not specifically
interested in the boys’ crime so much as I am in their being
lost in the crowd afterwards.
Michael Clarke-Pearson =>
Michael Clarke-Pearson was born and raised in North Carolina. He’s the
youngest of four: left-handed and right-brained. He spent summers in high
school working for a local builder as a framing carpenter, but made the shift to
the far more exacting craft of furniture building as a college student at Brown
University. There, during any free hours not spent in the lab and greenhouse
studying plant enzymology, he built a door and a table out of wood salvaged
from an ailing American Elm, one of the last on campus.
Now Michael lives in New York, and has maintained his passion for both
science and woodworking. His most recent works include a bench crafted from
reclaimed cherry and a chair with a hand woven cane seat. He will be starting
medical school in August 2008 at UNC Chapel Hill.
Amanda hails from
mitten that is M
School of Art, s
degree at Brookl
of a closet. Amand
Mar
200
Tony Gill =>
born in london
raised by wolfs
reiki master
fair cook
loves birds
self made man
lost in the music
now just this
Claire Le Steven
Claire has converted a New York City water tower into a pinhole camera using it to create 360-de
surroundings. She is interested in capturing a synthesis of the environment without privileging a s
The space currently hosts this giant camera.
Anwar Montasir is an artist living in Bro
graduating from the University of Arizona
from Vermont College of Union Ins
program in Montpelier, VT, in August of
College students formed the art col
spring of 2005. Anwar has taught a var
rine Gibbs School in NYC since the fall of
Ellen Schneiderman =>
Born in Los Angeles, Ellen Schneiderman attended Brown
University, where she studied visual art and community
health. Her painting and drawings use a systematic and intui-
tive method of creating patterns and marks inspired by the
natural and mechanical world. She often experiments with the
properties of acrylic mediums - these pieces of acrylic paint
function as a physical record of the painting's history and are
also used to inspire new works of art. With experience as a
teaching artist at the Rhode Island Department of Corrections
and as a non-profit administrator at the Bronx River Art
Center, Ellen currently works at Henry Street Settlement.
Cristian Pietrapiana =>
Pietrapiana was born in Buenos Aires and has been living
and working in New York City for more than ten years. He
studied and worked with artists in Argentina and Italy,
attended the School of Visual Arts in New York City and
obtained an MA in art history from Lehman College. In
1996 he was awarded the Sheldon Bergh Award USA from
the Basil Alkazzi Foundation. His work has been shown
both in the US and South America
<= Kate Burnet and Dan Woerner
Kate Burnet and Dan Woerner live and work in
Long Island City, NY and amongst the packs of
jackrabbits which inhabit the Chihuahuan
Desert in Terlingua,TX. They make experi-
mental videos and other things with revenues
from the medical research industry when not
traversing the edges of the world.
Eileen Cohen =>
The Norm
The Average
The Comfortable
The Willing without realization
The Anti-Realization
The I don't need to get it, get it
The Simplicity
The take it how ever
She was sitting having lunch, a slow lunch, and it
dawned on her that she hadn't heard the smooth jazz
playing in the restaurant. How could something be so
removed from her mind to the point that she hadn't
even noticed it. She hates smooth jazz. After
noticing it then it became a problem. But to consider
the fact that she not noticingly endured what she
could not stand for such a stretch of time excited
her. The anti-realization. The willingness to do it
regardless of personal taste is what is really the
main interest. Is it the fact the smooth jazz is so
average? Is that what she should strive for? Average.
<= Chris Harris
Chris Harris works in the area where
pictures and memory depart from each
other. His goal is to focus not on what is
lost in translation from event to image but
on what is gained.
ARTISTS IN
RESIDENCE(2008)
ACHT(EN)
JENNIFER LEIGH ASCHOFF
GREG BAE
SHANNON BEAL
EILEEN COHEN
MATT DUNN
CHRIS HARRIS
BRADLEY KEMP
JEFFREY LEDER
DAVID BARTH PENN
CRISTIAN PIETRAPIANA
CLAIRE LE STEVEN
ANWAR MONTASIR
ISABELLE H. RADTKE
KRISTIN REGER
SALLEIGH ROTHROCK
ELLEN SCHNEIDERMAN
KRISTY SCHOPPER
BRANDON SCHRECK
LUKE SCHUMACHER
ERIK VARENBAARD
ALEKS ZELENINA
FACILITATORS
REGGIE JOACHIM
JEFFREY H. KIM
ROSS RADTKE
DAN RHEINSTEIN
SARAH WEITLAUF

<= Aleks Zelenina
Having grown up in Kiev Ukraine, Aleksandra Sergeevna
Zelenina moved to the United States with her parents at the
age of ten. Since a young age she had an interest in drawing
that was cultivated by her aunt and mother. She attended
Carver Center for Arts and Technology in Towson Maryland,
where she studied fine art with Joe Giordano, Terry McDaniel
and Charles Schwarz. After a year at Maryland Institute,
Aleksandra transferred to The Cooper Union to continue
studying fine art and has studied photography with Christine
Osinski, Gary Schneider and Norman Sanders, graphic design
with Mike Essl, Janet Odgis and Nico Schweizer, as well as
many other disciplines.
<= Kelley Raymond
Kelley is originally from Vermont.
She came to New York in 2001 to
attend Wagner College on Staten
Island where she studied art. She
spent the summer of 2005 making
art in her studio at Chautauqua
Institution near Buffalo, NY. She
has recently become a part of The
Space in Long Island city.
Kelley’s work is both abstract and
expressive, and often based on
leaves, rocks, trees and other
organic forms and colors Though
mainly a painter, she also has
been working on some sculpture.
Luke Schumacher =>
Luke Schumacher, an artist from California, started working in sculpture in 2000. He is
highly skilled in welding and metal fabrication. In June 2007 he moved to New York and
soon after became an artist in residence at “he Space. Luke has participated in shows,
and has won awards for his work. His pieces are in public spaces and private collections.
<= Marcus Romero
My Outer Space series combines detailed starscapes with alien
forms and imagery that is at times spiritual, comical, and quietly
sexual. Outer space, in this work, is a dark field background
against which I can explore an unlimited amount of subjects.
Ranging from popular science fiction to images from my personal
mythology, the themes can be very elaborate or simple renditions
of tales. In these mythologies, fictional deities retell stories of the
universe- what the world would be like if it were flat and what lies
beyond in the dark matter. The themes of my paintings are
personal, but with subtle comic elements. One of my current paint-
ings uncovers the origins of the planet Earth, which was formed
from a union between a space phoenix and a representation of
Pisces (from 3.85 Billion Years Ago).
I build these detailed paintings in thin oil layers to create the com-
plexity of color and surface. They range in scale from a few square
inches to a painting that fills a large wall. The space paintings are
from my imagination, and I also borrow from electronic images,
books, and from observing the night sky
Jeffrey Leder =>
Story, well at least part of it…
Small pencil sketches in notebook, a language of lines within
predetermined space, they just seem to tumble out, stream of
consciousness. From a few chosen sketches, enlarge them to
drawings, Spaces within lines to be filled with color, oil pastels
on thick watercolor paper. Which colors will work in a given
space, experiment, solve the puzzle – time stands still, absorbed
in the moment.
From chosen drawings to a few paintings, four by six feet, acrylic
on canvas. Size, shapes, colors change from sticks of color on
paper to paint on large canvas. Need to adapt, improvise, try not
to replicate.
The more I consider why I create art, the more I realize it’s about
pleasure, the pleasure of coming close to solving and creating
something beyond myself, beyond what I imagined. If my work
touches people in a particular way, then that’s a bonus, but not
one I necessarily want to control; my work is basically to experi-
ence the pleasure of creation.
<= Isabelle H. Radtke
Isabelle tackles poetry; The surrounds resonates from her ham-
mering, the grinder’s whistles. Arranging fixtures and supports, little
by little, she gives the sheet of steel a volume, puts it on its feet.
Her volumes become corporeal: a cow --that she has a primordial
experience of-- or other “creatures”.
When she sees to painting, it is not about physical strength
anymore, but there too, poetry comes from a heed, an obedience.
She lets herself be surprised by what’s revealed, and then plays
big by cutting, tearing, shifting her shreds of paint, unstuck from
their support. Fragments of colors in transparencies, structuring or
playful graphics that bit-by-bit open the road for some “land-
scapes”. One is derailed by this painting that turns traditions into a
game, refusing to be a painting.
Kristina A. Schopper =>
Born in Phoenix, Arizona, 1971, Kristy Schopper studied at the
University of Texas at Austin under the mentoring of Richard
Jordan and Peter Saul.
She works in small and large scale, via ink, oil or outdoor acrylic
accordingly, with rich colors and strong brush strokes. Whatever
the approach, her work is all about Painting, as the cause and the
effect. Since 1999, as the founder and director of The Space, she
has provided local artists with free studio space in Long Island City
and constantly works toward giving Art a bigger place in the mind's
eye of the public.
Adrienne Dowd =>
Adrienne grew up in the greater
Boston area and studied at Mass.
College of Art. Through her studies
she worked in oils but upon moving to
NY her technique changed. Wood
replaced her use of canvas creating a
medium where her passionate organic
style could further evolve. Adrienne's
art explores a sense of freedom with a
resonance of art-nouveau. With her
sense of movement and elegant line
play Adrienne finds the beauty and
potential a piece of wood has to offer. Bradley Kemp
Bradley is a multi-instrumentalist, song-
writer and composer. His compositional
music is on the sparse side, seldomly
requiring technical vituosity. These
pieces fold around textural elements
and do not ignore uniqueness of
ensemble,individual and performance
space. His compositions have been
performed in New York, Boston,
Philadelphia, and Graz, Austria. In
2003 and 2005 Bradley composed two
pops-orchestral arrangements that
have now been performed by the
Houston Symphony and Detroit
Symphony among others. Under the
pseudonym b-radius, Bradley writes
electronic music, seldomly performed
live. Two tracks from the ambient elec-
tronic album "Sullivan" are used in two
documentaries by Eliza Segell (of pho-
tographers Todd Hido and Katherine
Adams) created for the Santa Barbara
Museum of Art.
AcHT(eN) =>
The musical collaboration of
Jennifer Leigh Aschoff and
David Barth Penn
blends piano, cello, flute, key-
boards, voices, xylophone,
finger piano, and spit to
compose, imagine, improvise
& explore with the world and
surrounding galaxies far out.
PoWNS is AcHT(eN)'s first full
length LP. An edition of 300,
the covers are handmade from
folds, cuts, homemade stamps
and coffee! Jennifer & David
would like to cordially invite
you to correspond with them.
:D
coocooshrimpoo@gmail.com
Jeff B. Kim
Currently a graduate fellow at Rockefeller University studying metagenomics and biochemistry with Dr. Sean Brady. My main interests
lie in microscopy, computational biology, and biophysics. I spend my days looking for small pieces of DNA from soil samples that make
interesting molecules...it actually consists of me doing an absurd amount of PCR right now but hopefully that will change with some
jumps in technology.
Musically, I'm working on some mixtures of guitar, cello, max/msp. Begininng to experiment with teleo and interactive compositions but
not finding enough time during grad school. Had a brief stint dj'ing a weekly drum and bass party downtown in the east village but
alas, I can't hack the sleep deprivation anymore... Used to teach guitar to some folk up here but I recently moved all of my lessons
online due to time constraints.
The latest crazy idea/installation is to use cellular automata to generate background for a piece based on a 1,3,7 progression being
played "randomly" on a set of aluminum pipes via an analog to midi distance and temperature sensor array in the gallery.
<= Carla Aspenburg
I was born and raised in New York City and subsequently
sought out and was exposed to a lot of artwork at an early
age. I appreciated museums and galleries for the quiet and
calm they offered in the middle of a relentlessly busy city. It’s
here I believe that I first began to crave the privacy and isola-
tion of a studio. Although making art was always a kind of
meditative practice it wasn’t until I went to college where I
really discovered the path my work would take. I had a strong
technical background in representational drawing but no confi-
dence whatsoever using my hands to build. I challenged
myself by taking sculpture classes and it is there where I
paved my own way and my work became my own.
I began to imbue materials with an instinctual force sourced
from my gut. I started to have an emotional connection with
my work and to instill an order of symbolism into the materials
I used that persists to this day. I’ve come to realize that my
work, although affected by my upbringing, is developing into a
discourse that is both intimate and spiritual. I am driven by a
longing for answers to some of the more existential questions
in life and believe that delving in the fantastical worlds of my
imagination I can find the answers I am looking for.
Island City along the East River in Queens he creates new work almost every day which is posted on his popular blog (www.chensky-
ler.blogspot.com), and is attracting an ever increasing crowd of fans and followers.
Republic of Norman is a project I started working on over a year ago. It's a place that comes out of my experiences and emotions. As
me go through life and faces different interactions, Norman changes and grows with me. This doesn't mean that the images are autobi-
ographical, they're a way for me to expose to the world what's inside myself. Norman, a country that has never been to war, is a place
where freedom reigns supreme. But it's very important to distinguish that Norman is not Utopia. There's no such thing as the ideal love
and peace society since total freedom can also create chaos. The people of Norman have the advantage to experience love, lust, inse-
curity and other emotions without the scrutiny of others. There are no restrictions when it comes to feelings.
Skyler Chen =>
Skyler Chen is a young multi media artist from New York . As a
high spirited, active and productive artist he is known for his
colorful,sentimental and inspirational work. Recently he has
been working mostly with mixed media on canvas focusing on
his "Republic of Norman project. In addition he has done
various free lance video work and selected on-line commercial
projects. His work has been commissioned to show at several
Brooklyn and Manhattan galleries during 2008 (doma cafe&
gallery 03/18 -04/13 2008 , CAAC Gallery 456new york, ny 8/1
to 8/29)
Skyler grew up in the Southern city of Kaoshiuong in Taiwan ,
where he graduated from art school and was the winner of
several prestigious art contests. After his graduation he moved
to the United States , where he spent time in Salt Lake City ,
Utah further developing his artistic skills.
In 2006 Skyler relocated to New York City to pursue his dream
and take inspiration from the multi faceted and multi cultural
environment of the Big Apple. From his bright studio in Long
<= Amanda Craft
m a teeny-tiny town in the middle of the
Michigan. After studying at the Toronto
she made her way to NYC to finish her
lyn College and live in a room the size
da works in mixed media, with a focus
on the human anatomy.
Matt Dunn
Matt Dunn was born in Baltimore,
ryland, and moved to New York City in
00 to attend The Cooper Union for the
Advancement of Science and Art.
He lives and works in Queens.
egree negative images of the
single point of view.
<= Anwar Montasir
ooklyn, New York, having moved after
a in May of 1999. He received his MFA
stitute and University, a low-residency
f 2006. Anwar and four other Vermont
llective This Must Be The Place in the
riety of digital media classes at Katha-
f 2002. He is also employed as a web
developer at Simple Circle LLC.

De 2003 à 2007, je me suis personnellement impliquée au côté de
Kristy Schopper pour le développement des programmes existants
et en particulier l’accueil de nouveaux artistes en résidence. La
structure, qui ne comptait qu’une poignée d’artistes à l’époque
accueillait en 2008 plus de 30 artistes en résidence.
Au fil des propositions et inspirations, nous avons cherché à établir
le Space en tant que structure culturelle respectée localement.
En 2004, par exemple, nous avons organisé plusieurs événements
culturels ponctuels (jusqu’à 2000 participants) en collaboration
avec un collectif appelé Rubalad puis avec le groupe assurant la
décompression du festival BURNING MEN sur la
côte Est. Ces événements, alliaient concerts, installations vidéos,
performances et une bonne dose de fête. Leur succès se faisant de
plus en plus grand, nous avons négocié l’accès à la partie en rez
de chaussée du building. J’ai supervisé la mise en place des lieux
en prenant en charge les bénévoles ainsi que la résolution des
problèmes logistiques. D’autre part, ces événements ayant pour
but d’amener des fonds au Space, j’ai aussi pris une part active
dans les pourparlers financiers qui s’en suivirent.
K. Schopper avait obtenu l’accès à un grand espace au cœur de Queens Plaza.
Baptis; civic Space, nous y avons organisé expositions et workshops et accueilli des
curators en résidence.
J’ai été plus particulièrement instigatrice de MOFA, « the museum of
fake art » un workshop dont le principe était de créer de fausses œuvres
d’art contemporain afin de questionner la notion d’identité et d’autorship. La
participation des artistes du Space a été très forte et particulièrement enrichissante.
L’inventivité et la liberté générée par l’abolition de l’Ego de l’artiste, [puisque c’est
pour de faux] a donné lieu à une exposition très intéressante et ludique, nous avions
même de la « fausse »musique avec le groupe Mohair Timewarp dont le chanteur est
aphone. Des audio-cakes permettant d’écouter une diatribe faussement instructive
au faux logo de Looney Tunes annoncant « dadas all folks ! » l’hommage à Fluxus 40
ans plus tard fut festif et réussi.

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For over a week
MoFA and its less
than permanant
collection
have been the
cornerstone of
the fake art
movement. MoFa is
the first and only
arts center in
the United States
devoted solely to
fake art and the
pretenders that
make it.
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MoFA stands out from other arts institutions through its cutting-edge
approach to exhibitons and the direct involvement of real fake artists
in the curatory and exhibition processes. Acting as an intermediary
between fake artist and pretend audience, MoFA has become a lightening
rod for pseudointellectual pontification, post bohemian flashback
discourse and haughty artistic aggrandizement. MoFA is dedicated to the
production, presentation and dissemination of fake artwork, and of the
indecipherable theories, manifestos and isms of the innovative artists
that produce fake art in all types of media. Its programs reflect the
complex nature of international fake contemporary art, and stimulate
discourse on the faux art of our time.

We took (art critic) Peter Frank to see MoFA last night, he said it was «better than art!» -what
fun!

Pour la plupart de ces expositions, outre mon travail d’artiste
participant, j’ai secondé K.Schopper dans l’installation de la
salle, l’accrochage, le choix des œuvres, la communication
autour de l’exposition et surtout la prise de responsabilité
vis-à-vis du groupe, en déléguant, vérifiant, corrigeant, etc...
(Quand tous veulent aider, cela ne suffit souvent pas, il faut
un leader pour organiser tout ça).
Permanent collection
Le Space a aussi mis en place une collection permanente,
issue des dons des artistes en résidence, cette collection
(à laquelle j’ai donné plusieurs sculptures) est en évolution
constante et présentée dans divers lieux. J’ai souvent été
chargée de l’accrochage.
First Friday
Partant du projet encore un peu flou né du don d’un nouvel espace,nous avons mis en place le 1er
« first Friday » en janvier 2007, qui depuis permet chaque mois à un artiste en résidence au Space
ou artiste invité de présenter son travail dans cette petite galerie à but non lucratif. C’est souvent
pour ces artistes l’occasion d’un premier show en solo et donc source d’apprentissage : Gestion du
stress lié au fait d’exposer, notions de scénographie, réactions du public face à son travail, etc…
J’ai aussi participé activement au développement d’une stratégie politique à long terme de
coopération entre les acteurs culturels, en particulier les artistes plasticiens, et les entreprises,
propriétaires immobiliers et élus locaux. Cela consistait par exemple à participer aux débats
publics concernant l’aménagement du territoire, ainsi qu’ à des colloques et manifestations
engageant les résidents à s’exprimer et participer au débat public.
Merci à la famille Modell et à la fondation Arthur Levine pour leur précieux support

J’ai collaboré directement et
intensément avec K. Schopper,
la directrice du Space.
Au fil des manifestations
j’ai pu travailler avec les
nombreux artistes en résidence
et personnes qui ont pris part
à l’organisation du Space.
Ce fut une aventure passionante
que j’espère poursuivre en
instiguant une forme de
dialogue Rhône-Alpes-New York
pardeséchangesderésidences,
projets collaboratifs ou autre...
J’espère trouver rapidement
l’association culturelle qui le
permettra et ainsi poursuivre
mon engagement pour une
production culturelle de
proximité et de qualité.
t au Space et MERCI à Kristy Schopper, son coeur. XO

CO O R D I N A T R I C E D E P R O J E T S / A R T I S T E P L A S T I C I E N N E
INFORMATIONS PERSONNELLES
Nom ISABELLE HUMBERT- RADTKE
Adresse Rue Principale, 01160 Varambon, France
Téléphone 04 74 39 09 84
Courrier électronique Isabelle.radtke@gmail.com
Nationalité Française et Suisse
Date de naissance 1ER
NOVEMBRE 1977
OBJECTIF Bilingue français anglais, j’ai une éducation supérieure de sculpteur, d’excellentes aptitudes
techniques, un esprit créatif, pragmatique et polyvalent apte à la gestion des problèmes et des
responsabilités. Je veux mettre mon énergie au service d’un projet culturel en Rhône alpes.
EXPERIENCE PROFESSIONNELLE
2002-2008
The Space, Long Island City, New York, USA
Art contemporain / Association socioculturelle
Directrice adjointe et artiste en résidence
2007-2008
Tucker Robbins, Long Island City, New York, USA
Design/Fabrication de meubles haut de gamme
Assistante commerciale et coordinatrice de production
2001-2007
Freelance, Long Island City, New York, USA
Métallerie/Fabrication sur mesure
Conception et fabrication de prototypes et éléments architecturaux
2001-2009
Artiste plasticienne, Expositions personnelles en Europe, expos de groupe aux USA
EDUCATION ET FORMATION 2000-2001
Socrates Sculpture Park, Long Island City, New York, USA
Assistante d’artiste bénévole
1997-2000
Ecole Nationale Supérieure des Beaux-Arts, Paris
Atelier Richard Deacon
INFORMATIQUE Photoshop, Autocad 2004 (2D), WYSIWYG web design
Logiciels courants (Word, Excell, navigateurs web, etc…)
Facilité d’adaptation aux nouveaux logiciels
PERMIS DE CONDUIRE B et EB (véhicule à disposition)
www.IHRgallery.com

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