Pratt Institute’s Fine Arts Department offers summer studio residencies that award accomplished professional artists private studio space on our Brooklyn campus. Visual artists with a demonstrated commitment to their artistic practice who will benefit from a month-long studio residency are encouraged to apply. This Studio Residency Program is intended to support artists by providing the time and space necessary to make new work.
There are two residencies available. One is for a New York area artist (studio provided) and one for an artist living and working in the U.S.A. (studio and apartment provided). Residencies are for the month of July. The two selected artists are in residence alongside a Pratt Fine Art faculty member and have shared use of Fine Arts’ East Hall Gallery to exhibit their work.
The deadline for this year has passed. Please check back in the Fall if you’re interested in applying for Summer 2019
2018 SUMMER STUDIO RESIDENTS: Laurel Farrin, Gyun Hur & Greg Drasler
Gyun Hur is an interdisciplinary artist and an educator. Gyun has performed and exhibited in Canada, China, Hong Kong, Italy, Turkey, and the United States. Gyun’s work has been widely recognized for her floor installations comprised of hand-shredded silk flowers. Through her menial process of making and transforming materials, Gyun creates a visual landscape that evokes a sense of labor, loss, and memories.
Gyun completed Vermont Studio Center, Ox-Bow Artist-in- Residence, Virginia Center for the Creative Arts, and Pilchuck Glass School. She is the recipient of The Hudgens Prize, Artadia Award, and Joan Mitchell Foundation Scholarship. Her works have been featured in Art In America, Art Paper, Sculpture, Atlanta Journal-Constitution, Pelican Bomb, Creative Loafing, Jezebel, and The Atlantan. She was listed as the Best Emerging Artist by Creative Loafing and selected in Oxford American’s “100 Under 100: Superstars of Southern Art” issue. Her interest in art making in public space led her to various artist presentations at the TEDxCentennialWomen, the international street art conference Living Walls: The City Speaks, the Atlanta Contemporary Art Center, and many others.
Born in South Korea, she moved to Georgia at the age of 13. She currently lives in New York City and enjoys taking care of her indoor plants and teaching her students at Parsons School of Design. She is the current writer in residence for Danspace Project Platform 2018.
Laurel Farrin is working on abstract paintings, drawings and videos that use visual structures of comedy-incongruity, awkwardness and disruption- to elicit empathy for human predicaments
Farrin received an M.F.A. from the University of Maryland in 1993. She was an Artist-in-Residence in the Roswell Museum and Art Center, Roswell, NM and received an individual artist grant from the Washington DC Commission on the Arts and Humanities. Other residency fellowships include, the MacDowell Colony, Yaddo, The Dora Maar Fellowship in France, The Millay Center for the Arts, VCCA, and the Atlantic Center for the Arts. Select exhibitions include Hallwalls, Buffalo, NY; Roswell Museum and Art Center, NM; The Corcoran Gallery of Art, Washington DC; The Bronx River Art Center, NY, NY; the Des Moines Art Center, The Figge Museum; Lesley Heller Gallery, NYC; Joyce Goldstein Gallery, Chatham, NY; Green Chalk Contemporary, Monterey, CA, the Florida Center for Contemporary Art, Tampa FL; Spaces, Cleveland, OH; Anton Gallery, Washington DC; Washington Project for the Arts, Washington, DC. and New American Painting, Mid Atlantic Edition. Farrin is an Associate Professor in the painting and drawing program at the University of Iowa, Iowa City.
Greg Drasler lives and works in New York City. For the past nine years he has been a Fine Arts faculty member at Pratt Institute. He is the inaugural Studio Residency Program faculty member in residence.
Drasler’s paintings have been the subject of sixteen one-person exhibitions and included in over thirty group shows. He was born and raised in Waukegan, Illinois, and moved to New York in 1983 after receiving his MFA from the University of Illinois, Urbana-Champaign. The first exhibition of his paintings was in the first On View, at the New Museum of Contemporary Art in 1983, followed by Other Man: Alternative Views of Masculinity in 1987, both curated by Marcia Tucker.
Metaphorical depictions of construction sites and workers evolved in his work as accumulations of tools and objects populated his paintings that addressed the constructions of identity. Crowds of men in hats along with the Baggage Paintings contained humor, nostalgia, and memory in ongoing assemblies of selves. Drasler began describing his painting process as packing and re-packing an empty suitcase or painting the inside out. These works were exhibited in solo and group exhibitions at the R.C. Erpf Gallery, New York; the Carnegie Museum of Art, Pittsburgh, Pennsylvania; Artist Space, New York; and the Whitney Museum in Stamford, Connecticut, among others. With the support of a New York Foundation for the Arts Fellowship in 1991 followed by a National Endowment for the Arts Fellowship in 1993 Drasler began Cave Paintings. Through depictions of elaborately constructed interiors, paintings concentrating on refuge were posed as asylums or containers for a self. The Queens Museum of Art first presented Cave Paintings in 1994, followed by exhibitions in Boston, Seattle, and New York
Drasler joined the Betty Cuningham Gallery in New York in 2007. His most recent exhibition, titled On the Lam, traced his references from film production apparatus into auto interiors as places of independence, seclusion, and screening. He characterized these paintings as “packed like luggage, appointed like rooms and driven like automobiles”.
His current work, Road House, continues the use of assembly procedures in constructing patterned panoramas. Cloud computations above planes of vivid crazy-quilt terrains contain structures suggesting vernacular American roadhouses as places between here and there.
Drasler’s essay “Painting into a Corner: Representation as Shelter” was published in The Vitality of Objects, exploring the Work of Christopher Bollas, edited by Joseph Scalia (Continuum Press, London; Wesleyan Press, 2002) and was followed by a collaboration with poet Timothy Liu titled Plolytheogamy (Philadelphia: Saturnalia Press, 2009).
Drasler has taught and lectured at numerous schools, including Princeton University, Williams College, Hofstra University, and Montclair State University. Reviews of Drasler’s work can be found in Art in America, New Art Examiner, Chicago Tribune, and A.C.T. Gallery.