• WAYFARERS IS NOW ACCEPTING APPLICATIONS TO OUR SUMMER ARTIST IN RESIDENCY PROGRAM. DEADLINE TO APPLY IS FEBRUARY 28TH. DETAILS ON OUR STUDIO PROGRAM PAGE. 
  • We're super excited to be working with Ferro Strouse Gallery for our next show at Wayfarers. We started crushing on them as soon as we sat on the floor of their gallery/bedroom eating tacos/feeding mice. We first saw Mitsuko Brooks' humbly gorgeous mail art that night, too, next to the shredded cheese, and thought this might be more than just a crush...

    Then we read their manifesto  and realized we were goners:
  • MItsuko Brooks' "An Ode to Tuttle"  2014 Wood backing from bookshelf, found paper, wire,acrylic, chocolate bar foil wrapper.
  • Wayfarers and Ferro Strouse Gallery are proud to present:
     
    Do You Care About This Feeling? 
    New work by Mitsuko Brooks
    Fri, Feb 6th - Sun, March 1st
    Opening Reception: Friday, Feb 6 7-10 pm
     
    Artist Statement:
     
    My recent collages, mail art pieces, and text paintings, are principally concerned with my longtime interests in the power of taste, the (un)certainty of ownership, and the exchange of capital. I often use cropped fragments of appropriated photographs, printed ephemera, and typewriter lettering in my individual pieces. It is my belief that slowness, and stasis, have real purchase during the Information Age. We live in a world where seemingly everyone clutches to his or her smartphone at all hours of the day, waiting to get that next fix of immediate gratification. I believe that my role as an artist is to slow down my audience’s attention. In taking the time to produce each individual work, I hoped to provide my audience, of one person, with a very specific experience, an experience that is different from the traditional relationship that exists between a single maker and a large audience of anonymous viewers. “The medium is the message” coined by Marshall McLuhan argues that formal qualities are essential to communicating specific visual information. Each of these letters took a long time to produce, and each of these letters took a long time to be physically moved across the country. The slowness of the experience: the opening of the package, uncoiling the letter, the examining the handwriting; are all things that are better expressed via paper mail than through a more immediate means of communication. I am attempting to draw from my core artistic influences, namely Fluxus, Gutai, anti­art movements, and social practice.
     
    Despite the plodding­ nature of my aforementioned work, I believe that there is still a thrill­-seeking element to the project. I hope to encourage a sense of anticipation, and excitement, in the mind of my colleague who is receiving the works. Additionally, once I place a work of mail art in the post, it is both literally and figuratively out of my hands. The work is now exposed to a host of
    strangers who most likely will touch it during the course of being transported. Having lost so many packages throughout my life, there is always the additional risk that any of these works will in fact be lost before making it to the intended destination. I like the idea of putting my heart and hand into a piece before sending it out into the world, not knowing if it will successfully reach it’s destination, or how postmen will react to such an unusual piece of mail in transit. The ephemeral quality, of these works on paper, is a requisite component of my mail art.
     
    My deep­-seeded fascination with books may have first been planted during my adolescence when I actively participated in the “zine” culture of the mid­1990s. I would create “zines,” small circulation self ­published artist books, to be traded with others anonymously through the post. Some of my “zines” were even included in a 1996 review by R. Seth Friedman, in Factsheet Five. I have begun to apply some of my experiences participating in the largely pre­Internet era “zine” culture, to my recent set of text paintings that I’ve chosen to include in my portfolio. Each of these text pieces contains phrasing appropriated from the Internet, regarding broad subjects such as love, relationships, and mental illness that I have now re­presented through my own material and compositional choices. Much like the “zines” before them, user­comments on relationship blogs present a classic existential struggle, a snapshot of the human condition.
     
     
     
    Mitsuko Brooks was born in 1981 on Misawa Air Force Base in Japan, and lives in New York and Los Angeles. She is a current MFA Candidate at UCLA's Painting/Drawing program, and earned her B.F.A. at Cooper Union in New York.  Brooks is a member of The Asian American Women Artists Association. She completed artist residencies with The Wassaic Project (2014), The Snug Harbor Cultural Center & Botanical Garden (2012), and The School of Making Thinking (2013). Brooks was awarded The Sally Van Der Lier Fellowship, the Artists’ Fellowship, Inc., The Bette Midler Scholarship, and The Resnick Grant. She has exhibited internationally and nationally at The San Francisco Art Institute, California College of Arts, SOMArts, Materials for The Arts, The Center for Strategic Art & Architecture, Rush Arts Gallery, and Stephan Stoyanov Gallery. Brooks' artist books, zines and mail art collages are in permanent collections at Smithsonian's Archive of American Art, Canada's Artexte Information Centre and Barnard College's Library in New York.
  • CLOSING SOON:
  • Wayfarers is ever so proud to present:
     
    “Body in Eden” 
    January 9 - February 1st, 2015
    Opening Reception: Friday, Jan. 9, 7 -10 pm
    Curated by Margaret Coleman
     
    Brooklyn, NY, December 15, 2014 - When we look at fragments of the body, or an implied body, can we for a little while cease to be ourselves? This show proposes that new ground can be covered through juxtaposition of fragments and materials that create a passage and a boundary all the while using the body as a threshold. 
    Wayfarers and Art Shape Mammoth (ASM) are pleased to present Body in Eden, an eight person group show exploring memory and body parts as fragmented and obscured, real and implied. The body passes through space leaving the space affected, sometimes chewed up and always changed. In some cases the viewer is the body as the scale of the work invites her in. The mere trace of the body may be all that marks the final work, and the painting, fired clay, cast bronze and stone sculpture exhibited here are in easy dialogue about the body as a vessel of nostalgia or record of memory, scarred document of past stimuli.  
     
    Several of the artists work in traces, evidence or insinuations of the body or at least the memory of it. In Jennifer McCandless’ ceramic sculptures, she explores the liminal place between representation and abstraction, as her sculptures morph into flesh-like sinews. Joan Harmon’s cast glass ceiling installation demonstrates psychological evidence of the physical body. Leslie Fry’s ceramic forms emulate isolated elements of human anatomy each reflecting architectural details. Jane Gordon uses ceramics as well, to reference the body in relationship to an underlying narrative of survival. 
     
    Jordan Cooperman’s paintings contain full bodies abstracted into their surrounding settings while in Maureen O’Leary’s painting, the complete lack of a person becomes a walk-in American Eden, an idyllic if slightly menacing East Coast forest that the viewer can observe as if he/she were alone in it when looking on in the gallery. Melissa Sclafani’s performance turned sculpture demonstrates a trace element of the body, physical remainders left behind as evidence of the body’s presence and activity. Kevin Donegan works in stone, using a solid material to explore the body as a threshold, on a continuum of change. 
     
    Art Shape Mammoth is a national organization with the mission to enhance nationwide contemporary arts dialog by supporting the development of artists and connecting them with new communities. ASM facilitates a nationwide artist representation and exhibition program, a community gallery and workshop space in Vermont, a near-wilderness artist residency camp in the UP of Michigan, and traveling experiential workshops in metal-casting and ceramics. For more information visit 
    www.artshapemammoth.com or contact artshapemammoth@gmail.com.
  • jesse james arnold (in the ether) 15
  • Wayfarers is a Brooklyn-based studio program that offers qualifying members private studios, access to a woodshop and a solo-show (or the option to curate a show) in the on-site gallery. 

    There is room for 10-20 members at Wayfarers, and the goal is to keep membership as cheap as possible so we can hand pick really good people making really good work.  We’re hoping to develop a small community of makers who will champion each other and kick each others’ asses.
  • Wayfarers presents 10-12 exhibits a year. They are a combination of curated projects, solo shows by former artists in residence and group shows. All exhibits are free and open to the public 1 pm - 5 pm on Sundays, by appointment or by chance.
  • In addition to shows, Wayfarers also hosts regular critiques, drawing parties, group shows, live music, experimental performances, puppetry projects, readings, video screenings, skillshares and other inventive events.