Shared View
Collective_View
Collective_View was formed in 2016 as a space for collaboration and support for professional women in the art field. The group focuses on exploring open dialogue around gender, art, and labor issues, as well as creating projects, exhibitions, and other events.
Collective_View’s first exhibition was developed during the pandemic lockdown in New York City. The exhibition, titled Private View, travelled between the homes of seven artists and three curators from August 3 - November 6, 2020. The following spring, the group opened an expanded iteration of the exhibition, Private View IRL, which took the form of a pop-up show at Paradice Palase in March 2021. Shared View took place from April 15 - June 2, 2021 and was the second cumulatively-created, home-based exhibition instigated by Collective_View. It presented artworks by members of the collective, in addition to select invited guests, and welcomed the public to view these intimate experiences through social media. Gift Horse is a series featuring three different exhibitions at Art Lot, a public art venue located in Brooklyn, NY, running through October 17, 2021. Collective_View continues to imagine alternative ways of gathering people and artworks for both intimate and public art experiences.
The bios below represent the participating artists and curators in the show “Shared View” and hence does not include all of the members of Collective View. For additional info, please visit and follow:
Sari Carel
Based in Brooklyn, NY, much of multi-media artist Sari Carel's work focuses on translation from one modality to another. Her projects consider interspecies communication, relationships between people and place, and how the senses inform our perception. Also an environmental activist, Sari is a sharp observer of ecosystems, be they natural or human.
Carel’s work has been exhibited and screened internationally in venues such as Artists Space, Dumbo Arts Festival, Nicelle Beauchene Gallery, and Gavin Brown’s Enterprise in New York; LAX Art and Young Projects in Los Angeles; Genia Schreiber University Gallery in Tel Aviv, and Haifa Museum of Art in Israel and Locust Projects in Miami. She has been awarded numerous fellowships and residencies, including AIR at the Stundars Museum, Finland; AIR Vienna; the Socrates Sculpture Park Artist Fellowship and the Lower Manhattan Cultural Council Residency on Governors Island, New York; and the Bundanon Residency, in Australia.
Recent exhibitions include The Coyote After-School Program at Melanie Flood Projects, Portland, OR and The Shape Of Play, a public art project in Boston’s North End, commissioned by JARTS and curated and produced by Now & There.
Shanti Grumbine
Shanti Grumbine is a New York-based multimedia artist. She has been an artist in residence at the Millay Colony, Ucross, Yaddo, Vermont Studio Center, Saltonstall Foundation, Wave Hill Winter Workspace Residency, Lower East Side Printshop Keyholder Residency, Artist in the Marketplace (AIM), Women’s Studio Workshop, the Bemis Center for Contemporary Art, BRIC Workspace and the Roswell Artist-in-Residence Program. Fellowships and grants include the NYSCA/NYFA Artist Fellowship in Printmaking/Drawing/Book Arts, the Santo Foundation Individual Artist Grant, Arts Mid-Hudson Individual Commission Grant, RVAC Money and Materials Grant, Taking Care Fund, A.I.R Gallery Fellowship and the LABA Fellowship at the 14th Street Y. Select exhibition venues include The Bronx Museum, Dorsky Gallery, Dorsky Museum, CCA Sante Fe, A.I.R. Gallery, Magnan-Metz Gallery, Fridman Gallery, Planthouse Gallery, PS 122, Smack Mellon, Visual Arts Center of New Jersey and IPCNY. Shanti received an MFA from the University of Pennsylvania and a BFA from the School of the Art Institute of Chicago.
Kate Harding
Kate Harding is an interdisciplinary artist based in Brooklyn, New York. Born in Indiana and raised in rural Missouri, she received an AAS from the Fashion Institute of Technology (NY), a BFA from Otis College of Art and Design (Los Angeles, CA) and her MFA in Art Practice from the School of Visual Arts (NY). Building and facilitating space for reflective exchange is the foundation of Harding's work, whether in two dimensions, interactive installation or collaborative work. Anchored by historical research, science, folk and corporeal knowledges and oral histories, landscape is experienced as resonant entities in constant communication. Subverting clear representation by meandering unfolding systems of marks in physical or represented space, she undermines and complicates the historic convention of control through readability championed in works meant to be perceived “at-a glance.” This examination of specificity, ecologies and inter-subjective perception considers unacknowledged dialogs, embodied communication and agency.
Harding's garment construction background often provides a metaphoric, methodic, and physical structure. At times, video documentation is transformed into systematic paper patterns and shaped into draped paintings and installations. This systematic approach to mapping terrain intersects with speech and movement, inviting consideration of gesture, ways of knowing and memory. At other times, the work unfolds intuitively, intricately fragmenting the depiction of terrain in layered, reaching, abstracted space of drawing, digital embroidery and painting or conversational sites.
Regularly engaging in collaborative and curatorial projects, Harding is the host of "Bicoastal Carpool," a weekly radio program airing live on WPIR Pratt Radio since 2016. Her writing has appeared in The Brooklyn Rail, The Tool Book Project, and 3A Gallery's publication/documentation of Cafe Dan Graham's Poetry Slam, Vol. 3. Her work has been reviewed in The Huffington Post, Fiberarts Magazine, American Artist: Drawing Magazine, The Brooklyn Rail, ARTFILE, flavorpill, ArtScene, The Missourian, and others. Solo and two-person exhibitions: 3A Gallery, Grace Exhibitions, Chelsea Hotel, (NY); East Central College, (Union, MO), and Track 16, (Los Angeles, CA). Selected Group Exhibitions: 3A Gallery, SARDINE, Cafe Dan Graham, GlenLily Grounds, Vanity Projects, CP Projects, Invisible Dog, Glasshouse, Visual Arts Gallery, Electronic Arts Intermix, International Print Center New York, Museum of the Fashion Institute of Technology, (New York, NY); LADIES' ROOM, Tiger Strikes Asteroid, On the Ground Floor, Echo Park Film Center, Rosamund Felsen Gallery, Beacon Arts, Edward Cella Art + Architecture, Statler Waldorf Gallery, Armory Center for the Arts, Circus Gallery, (Los Angeles, CA).
Gabrielle Mertz
Gabrielle Mertz is a visual artist and cultural policy advisor. Her practice explores data and media information structures through the use of altered technology, photography, light, sound, and other forms. She creates images, installations, and other works that expose and reimagine digital, architectural, social, and environmental spaces. Previously the Founder/Artistic Director of Ondine and Company, she has created exhibitions, performances, and site-specific installations on stages, on tour, and on film. Her work has been exhibited in the United States and Europe at the Cultural Center of Krakow, New Museum, High Museum, International Dance Festival, Rialto Center for the Performing Arts, Susquehanna Museum of Art, and King Plow Arts Center, among others. She is the recipient of commissions/awards from the Cultural Olympiad, Rauschenberg Foundation, Open Society Foundation, City of Atlanta, Artists Alliance, Georgia Council for the Arts, and Netherland-America Foundation, among others.
Her work on cultural policy, voting rights, and advocacy issues with nonprofit organizations, campaigns, and international institutions includes The United Nations Economic & Social Council, Obama For America, The Carter Presidential Center, The John D. & Catherine T. MacArthur Foundation, Arts for AIDS, Institute for Global Policy, Coalition for the International Criminal Court, and International Rescue Committee, among others. She has served as a board member/on the advisory panel for the Emory University Women’s Center, Brooklyn Arts Council, Bronx Council on the Arts, and Fulton County Arts Council, among others. She has taught/lectured at New York University, Bruce High Quality Foundation University, Emory University, and Image Film & Video Center, among others.
Mertz is the Director of Drawing Out The Vote, the voter education program that mobilizes turnout through collaboration with the creative community, and she serves on the Leadership Council for Stacey Abrams and Fair Fight.
Alva Mooses
I am a multidisciplinary artist and educator based in New York City. Central to my research are colonized landscapes, religious icons, and socio-political histories. In my work, ceramic globe stands devoid of their worlds make reference to lost or potential typographies and topographies, conveying strata of bodies in transformation. I make my work from geological materials such as volcanic stones, rammed earth, clay, and cast concrete to build immersive installations that honor historical and geographical memory. I weave together my personal and familial experiences of the U.S./Mexico border with cultural references and symbols. For example, the Virgin San Juan de los Lagos is transformed into a volcano cast in silver, bringing into question the history of colonial interest in precious metals that drove the destruction of silver and gold in pre-Columbian artifacts––many of which were melted down into Catholic paraphernalia. In There’s Always Sign/ You Enter Dancing, cement cast forms of sandals represent objects one frequently encounters at the border such as shoes manipulated to disguise traces of footprints. Through my work, I reflect on notions of belonging and mestizaje in American society.
Alva Mooses received her BFA from The Cooper Union and her MFA from Yale University. Recent exhibitions include: Buen Vivir/Vivir Bien at the Mexic-Arte Museum (Austin, Texas), Retrato de un Paisaje at Museo Sívori (Buenos Aires, Argentina), A Day’s Dust at Studio17 (Stavanger, Norway), and Internalized Borders at John Jay College of Criminal Justice (NYC), Grupo <11> Instituto Cervantes (NYC), Portrait of a Landscape at the Shirley Fiterman Art Center (NYC). She has completed residencies at The University of Chicago, Columbia College, Tou Trykk in Stavanger, Norway, MAG in Saltillo, Mexico, the Davidoff Art Initiative in the Dominican Republic, and Casa Wabi, Oaxaca, Mexico. Alva is a recipient of a Yale University Schoelkopf Traveling Fellowship, the Rema Hort Mann Community Engagement Grant and UChicago Arts Grant and a 2019 Socrates Sculpture Park Fellowship. She is currently a resident artist at the Center for Book Arts in NYC.
Since 2004, Alva has organized community art initiatives and collaborations in Mexico, Cuba, the Dominican Republic, Haiti, El Salvador, and Argentina. Alva is a member of the editorial board for Latinx Spaces, a media platform and co-founder and director of the itinerant exhibition platform, LAZO. She currently teaches Sculpture at The Cooper Union.
Lee Ann Norman
Lee Ann Norman’s research and writing focuses on the relationships between politics and aesthetics, and art’s perceived cultural, social, and market value. Her writing has appeared in BOMB, Guernica, Artcritical.com, the Chicago Reader, Newcity, and the Brooklyn Rail, among others. Lee Ann earned the MFA in Art Criticism and Writing from the School of Visual Arts in New York City. She is currently based in NYC.
Sara Shaoul
Born in the U.S., Sara Shaoul was raised in Hong Kong, Singapore, the Ivory Coast and Japan by an American mother and Iranian father. Shaoul found her way to a visual art practice in 2010, having been at various junctures a PhD candidate in Cultural Anthropology, a musician, and a photo editor, endeavors that continue to influence her process and work.
Shaoul’s work explores the infrastructures of human experience, from relationships to socioeconomic systems, looking closely at the intersection of labor, social history and gender. She is particularly interested in how ideology is learned through intimate connections, and how micro experiences reflect macro social structures. She works conceptually in many mediums, with content dictating form.
Shaoul is the Director of 601Artspace, a non-commercial exhibition space in the Lower East Side of NYC.
Aimée Burg
The past speaks to us through the ritual of storytelling. I think of myself as a bard; singing a story in an ancient language with fragments of words sounding like something familiar. The result is a play with time and purpose. Through a connection to the collective human heritage I take personal and universal stories combining them to tell tales of creation. These stories translate into installations that emulate a natural history museum and sci-fi sets. My installations are organized to be lived with, often incorporating private spaces for meditation.
I recently became a mother: a woman and a key player in the cycle of life. The stories I am telling are sometimes very personal; secrets that only my son will understand (akin to a twin-language.) But a home is the nucleus for evolution and is traditionally the woman’s role to create that environment. The tools for house-work like bowls and the physical labor associated with creating such an environment is a universal language and I use those references as points of connections. Objects become ritualized and fetishized through their connotations.
Everything I make I think of as an object- from video to drawings to huts. Objects are created from basic materials that mimic ideas and icons from times past or times imagined. The use of basic materials is important to creating that fragment of understanding- that connection to the viewer with the familiar mixed with unanswered questions. When life has passed, ritual objects are left behind: what do others want to take with them, what do they think they will need to re-enact the ritual of living? My lens is distorted as I place myself in the past looking at the future looking at our past.
My sources are varied: a snapshot of the computer screen from a T.V. show with a compelling composition, a theory of reading, an item from a scientific magazine, my son's play, or just piles of materials that I have gathered. I take all of these sources - intellectual and physical - and then sit down to piece them all together as in a conspiracy theory, making connections that were never intended.
Sarah Crown
Founder Sarah Corona is an independent Art Advisor and Art Business Strategist based in New York specialized in private sales, corporate projects, and business strategies in the arts. She is an expert in Italian, Contemporary Chinese, and emerging art. She curates and writes in her free time, as featured on her personal website.
With her international education, Sarah Corona offers a bridge between Italy, Germany, and the US, forging cultural and business opportunities for art businesses, art collectors, and artists.
Sarah Corona holds a BFA in Interior Design, a MA in Fine Arts and a Doctoral degree in Art History and Management of Art of the University Alma Mater Bologna, Italy and Université Paris8, Paris, both with a Doctoral thesis about Chinese Contemporary Art. In 2014, she obtained the Certificate for Art & Business at NYU, New York.
She is the founder of SARAHCROWN and the Art In Lobbies program. She co-founded ROOMSERVICE Gallery (2015-2017), a space for artistic and cultural production and critical discourse around the curatorial practice in Williamsburg in Brooklyn, NY.
She has organized exhibitions and programs at private and public art galleries, not-for-profit organizations, art fairs, corporate environments, and co-working spaces as well as establishing an active collaboration with New York based real estate developments forging the importance of art in the semi-public realm.
One of her main missions is to bring art into the public realm and to discover how technology affects art and culture arousing that astonishment that is considered a fundamental ontological element for a work of art.
Sarah Corona has curated extensive community-focused and public art exhibitions/festivals in all 5 boroughs of New York and initiated several pop-up galleries in vacant spaces in Downtown, New York. She also developed the initial syllabus of the NLE Curatorial Lab For No Longer Empty, New York, teaching emerging curators the art of exhibition making and critical thinking.
Sarah Corona has published numerous exhibition catalogs, essays, and +200 reviews about art and cultural events, in international media outlets and in different languages such as Wall Street International, Hyperallergic, WhiteHot Magazine, Elephant, Artribune, ArteFuse, Berlin Art Link, Art Croissance and OrNot Magazine. She also operates as lecturer and guest curator at New York-based arts organizations.
Naomi Lev
Naomi Lev is an independent art writer and curator based in Brooklyn.
Lev is dedicated to supporting artists in their process, and promotes rights for creators and women in the field.
In 2016 Lev founded Collective_View which is an all female-identified, art professional group. This intimate group meets monthly to discuss our roles as women in the art world and in society at large. CV has launched a few exhibitions in 2020 and 2021, including “Private View” a home-to-home traveling exhibition, “Shared View” a home based exhibition -- both focusing on the theme of intimacy and connectivity. Another recent three-part show titled “Gift Horse” is on view at Art Lot Brooklyn.
As a curator Lev emphasizes her work on “Process Curating”, which involves the artists’ process and development of the work into the final exhibition platform. Lev also specializes in organizing collaborative art events. She previously hosted a series of talks at Independent Curators International (2013-2014); curated a conversation and performative-monologue with Jonathan Meese at the Tel Aviv Museum (2013); and artistically directed a series of talks and panels with Vito Acconci at Bezalel Academy and Beit Berl College (2011). Recently curated shows include: "Headlines" (SPRING/BREAK Art Show), “With Passion” (NY), “in, side – throughout” (NY), and “Preliminary Study: RSI-T” (NY and MI). An upcoming collaborative curated show at Structura Gallery in Bulgaria and Radiator Gallery in NY will launch in July, 2021.
Since New York’s first lockdown in March of 2020, Lev has launched a YouTube channel titled “7 Minutes with Naomi”, where she meets online with artists and art professionals from around the globe to discuss their current state and look at their works of art. Another project that was launched a couple years ago is “Artistsandwriters4ever.com” – an online platform that connects artists and art-professionals and offers a work-per-work barter between its participants. These are all collaborative initiatives that aim at creating a large supportive community.
Lev writes about politically infused contemporary art, and focuses on female artists. She was a contributing editor at Creative Time Reports (2015-2016), and contributes to international magazines such as ARTFORUM.com, Artcritical.com, TOHU Magazine, and BOMB Magazine, among other publications. She holds a BFA in Fine Arts from Bezalel Academy of Art and Design in Jerusalem, and an MFA from the Art Criticism & Writing program at the School of Visual Arts in NYC.
Rebecca Pristoop
Rebecca Pristoop is a New York-based curator, performance artist, and collaborator committed to working with art through the lens of social justice. She is a lifelong educator with a record of curating exhibitions and organizing programs that prioritize marginalized stories.
As Artistic Director of Art Connects New York, Rebecca visioned and organized exhibitions for constituents at social service agencies. She also coordinated workshops and participatory art experiences with numerous New York City artists.
As a performance artist, Rebecca directs The Moving Company, teaches workshops, and presents solo work that integrates intuitive movement with site and context responsive narratives.
She is also a curator with COLLECTIVE_VIEW, a New York based group of female identified art professionals, and launched their inaugural exhibition, Private View in August 2020.
Rebecca has contributed to and curated exhibitions at MoMA, The Jewish Museum, The Tang Teaching Museum, Dorsky Gallery Curatorial Programs, The Jewish Theological Seminary, York College CUNY, Queens Central Library, Ronald Feldman Gallery, and others. In 2010 she co-founded the art and food salon flatbreadaffair, where she curated site-specific installations, dinners, and panels. Rebecca is the recipient of a grant from the Foundation for Contemporary Arts and a research award from the Hadassah Brandeis Institute. She received a MA in art history from New York University’s Institute of Fine Arts and a BA in Art History and Dance from Skidmore College.
