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Work Samples
Yeliz Secerli — [email protected] Brooklyn, New York 01 WORK EXPERIENCE Mana Contemporary • Creative Director July 2013 - Present Create, maintain and oversee the art-center’s brand and identity across multiple platforms. Oversee design and production of all marketing materials; advertising, signage, print collateral, posters, newsletters, invitations, brochures, books, web-sites and the videos. Work with curators; to design and prepare exhibitions and oversee the budget. Motivate and oversee a team of three designers, production, editorial and video departments, as well as freelancers. Laird+Partners • Graphic Designer March 2012 - July 2013 Worked alongside the Associate Creative Director creating advertising campaigns for luxury fashion and jewelry brands; CFDA, Coach, Jimmy Choo, J. Mendel, MZ Wallace and David Yurman. Created concepts, graphics and layouts for seasonal, local and worldwide advertising campaigns and commercials. Brooklyn Magazine • Assistant Art Director July 2011 - March 2012 Was responsible for design, layout, web-site and production of the quarterly magazine. Directed photo shoots for portraits and still-lifes while maintaining production schedules and budget. Assigned photography and illustrations to be incorporated into each issue. Created layout and design of the bi-weekly city magazine, maintained its website and generated style and typography guidelines. Assigned photography and illustrations to be incorporated into each issue. Was responsible for design, layout and production of the bimonthly magazine. Worked alongside the Art Director to design feature pages and various sections of the magazine. Yeliz Secerli — Resume Created all in-house marketing, PR and promotional materials; media-kits, advertorials, invitations, web banners, and e-mail blasts. Maintained and updated the web site of the magazine. Tokion Magazine • Art Director October 2008 - May 2009 Tokion Magazine • Graphic Designer October 2007 - October 2008 FREELANCE 2011 - 2015 Designed and art-directed Osmos Magazine, a popular photography magazine; logo and website for Brooklyn Grain (brooklyngrain.com), a photo studio in Brooklyn; branding for Phur, an artist collective in New Jersey; self-promotion newspapers for Ebru Yildiz, a music photographer; record covers, posters, flyers, tote-bags and web-site for Ghastly City Sleep; an electronice music band in Brooklyn. EDUCATION Werkplaats Typografie Summer School, Urbino, Italy July 2015 Fashion Institute of Technology, New York, NY Bachelor of Fine Arts • Graphic Design May 2007 Baskent University, Faculty of Communications Ankara, Turkey Bachelor of Arts • Advertising & Public Relations May 2002 TECHNICAL PROFICIENCY Adobe CC Illustrator, Photoshop, InDesign, InCopy Muse, Microsoft Office, HTML, CSS, JavaScript, Familiar with After Effects and Apple Final Cut Pro. yelizsecerli.com The L Magazine • Senior Designer July 2011 - March 2012 Surface Magazine • Graphic Designer May 2009 - June 2010 Mana Contemporary — Branding — Logo Variations manacontemporary.com 03 Mana Contemporary — Branding — Logo Variations manacontemporary.com 04 6 5 4 3 INTERNATIONAL CENTER OF PHOTOGRAPHY AT MANA GALLERY 5 — ESKFF ARTIST STUDIOS 6 5 INTERNATIONAL CENTER OF PHOTOGRAPHY AT MANA GALLERY 5 — ESKFF ARTIST STUDIOS DANCE STUDIO ARTIST STUDIOS MANA BISTRO 4 Mana Contemporary — Branding — Directional Signage DANCE STUDIO ARTIST STUDIOS MANA BISTRO GALLERY 3 — MECA THE FLORENCE ACADEMY OF ART AT MANA GALLERY 2 ARTIST STUDIOS THE RICHARD MEIER MODEL MUSEUM 3 2 ANA MEIER FURNITURE SHOWROOM GALLERY 2 ARTIST STUDIOS THE RICHARD MEIER MODEL MUSEUM ESKFF RESIDENCY PROGRAM MANA RESIDENCY PROGRAM GALLERY 888 THE FLORENCE ACADEMY OF ART AT MANA GARY LICHTENSTEIN EDITIONS AT MANA ESKFF RESIDENCY PROGRAM GALLERY 1 GALLERY 3 — MECA ANA MEIER FURNITURE SHOWROOM GARY LICHTENSTEIN EDITIONS AT MANA 1 GALLERY 6 MANA RESIDENCY PROGRAM 1 GALLERY 1 GALLERY 888 INTERNATIONAL GALLERY PROGRAM AT MANA INTERNATIONAL GALLERY PROGRAM AT MANA BOOKDUMMYPRESS BOOKDUMMYPRESS MANA THEATRE MANA THEATRE manacontemporary.com 2 GALLERY 6 05 Mana Contemporary — Directional Signage — On View Wall manacontemporary.com 06 Mana Contemporary — Branding — Event Map manacontemporary.com 07 Mana Contemporary — Branding — Event Map manacontemporary.com 08 Instagram: manac CONNECT WITH Roy Nachum Geraldine Neuwirth Yigal Ozeri Seungmo Park Maria Pavlovska G.T. Pellizzi Lisa Piasecki 580 570 480 412 481 571 581 Meriem Bennani Hayden Dunham The House of ia Monica Mirabile Jesselisa Moretti Minka Sicklinger Anne Vieux David Salle, backdrop and costumes for Contempt, 1989 WINTER 2015 888 NEWARK AVENUE, JERSEY CITY, NJ 07306 3 GALERY 3 – MECA The Diameter of the Bomb: A Sound Installation by Ziv Yonatan and Lily Rattok THE FLORENCE ACADEMY OF ART SCULPTURE GARDEN GLASS GALLERY Ewerdt Hilgemann: Panta Rhei Making Art Dance: Backdrops and Costumes from the Armitage Foundation 6 2 GALLERY 2 David Levinthal: Hitler Moves East THE RICHARD MEIER MODEL MUSEUM ANA MEIER FURNITURE SHOWROOM GARY LICHTENSTEIN EDITIONS AT MANA GALLERY 5 – ESKFF Pellizzi Family Collections —Part II: George Condo ARTIST STUDIOS GALERIE ERNST HILGER Ian Burns, Clifton Childree and Simon Vega: The World KIDS' ROOM BOOKDUMMYPRESS MANA FRAMES 4 MANA BISTRO ARTIST STUDIOS DANCE STUDIO Armitage Gone! Dance manacontemporary.com GALLERY 1 Pellizzi Family Collections —Part I: Julio Galán & Daniel Lezama GALLERY 888 John Newsom: Rogue Arena ENTRANCE HALL Ewerdt Hilgemann: Panta Rhei Maquettes INTERNATIONAL CENTER OF PHOTOGRAPHY AT MANA Coming Soon SANTE D'ORAZIO STUDIO Priests ESKFF RESIDENCY PROGRAM MANA RESIDENCY PROGRAM ARTIST STUDIOS 5 1 GALLERY 6 Pellizzi Family Collections —Part III: Francesco Clemente & Chuck Connelly Mana Contemporary — Branding — Event Map (Detail) 09 Hilgemann fill the sculpture garden for Panta Rhei. Rogue Arena features John Newsom’s off-kilter, nature-centric paintings; photographer David Levinthal depicts WWII-era troops in action using conventional toy soldiers in Hitler Moves East. In addition, the Middle East Center for the Arts unveils The Diameter of the Bomb, a multi-disciplinary installation that explores Ewerdt Hilgemann: Panta Rhei F LO O R 1 Costumes from the Armitage Foundation T H R O U G H AU G U S T 1 , 20 1 5 Making Art Dance: Backdrops and David Salle, backdrop and costumes for Contempt, 1989 sets, costumes, backdrops, and sketches created for her productions and company, Armitage Gone! Dance—a permanent resident at Mana—by visionaries including Jean Paul Gaultier, Jeff Koons, Christian Lacroix, David Salle, Peter Speliopoulos, Philip Taaffe, and others. By showcasing the extraordinary objects created for Armitage’s troupe, Making Art Dance highlights a significant, unique art–dance partnership that has long played a critical role in Armitage’s endurance and success. After extensive experimentation with natural phenomena like gravity and explosives, German artist Ewerdt Hilgemann began using a vacuum to remove the air from the inside of hollow, welded-steel sculptures. The resulting mangled forms flaunt delicate folds that contrast with the toughness of the steel, addressing both sides of a single extreme. Hilgemann, who studied under ZERO artist Oskar Holweck, has perfected the technique to create the imploded volumes in Panta Rhei, where a series of sculptures are installed outside the Mana Glass Gallery and the building’s lobby. John Newsom: Rogue Arena John Newsom, Rogue Arena, 2014. Oil on canvas, 9 x 15 ft. Each of American artist John Newsom’s paintings is a visual adventure, where super-sized canvases display a dense depiction of life-like animals and vegetation that sit atop abstract, impastoed backgrounds. His eerie environments put Mother Nature center stage, creating an overpowering visual sensation that demands a response. Rogue Arena is a bold survey of Newsom’s most recent work. The largest presentation of his oil paintings ever mounted, the exhibition features fourteen characteristically large pieces, all completed within the last decade. The nine-foot-tall Rogue Arena (2014), a new work Newsom created specially for the F LO O R 3 occasion, greets visitors upon arrival in the Mana lobby. 5 H R O U G H A P R I L 1 7, 20 1 5 F LO O R 2 * DANCE PERFORMANCE AT 3PM David Levinthal: Hitler Moves East Mana Contemporary — Branding — Event Map (Detail) The Diameter of the Bomb: A Sound Installation by Ziv Yonatan and Lily Rattok manacontemporary.com Curated by Jeffrey Deitch, Making Art Dance celebrates the artists who worked with American choreographer Karole Armitage over the past 35 years. The exhibition features Ewerdt Hilgemann, Threesome NY, 2014. Stainless steel, 20/18/16 x 3.9 x 3.9 ft. T H R O U G H A P R I L 24 , 20 1 5 T H R O U G H M A R C H 1 3 , 20 1 5 MANA GL ASS GALLERY themes of war and hope. Galerie Ernst Hilger presents The World, featuring three artists who use recycled or found objects as a medium to reflect their own personal universe. Spanning photography, dance, painting, and sculpture, each presentation—together with open artist studios and a continuing exhibition—reveals a significant facet of the contemporary art world. S C U L P T U R E G A R D E N A N D LO B B Y Mana Contemporary begins 2015 with a diverse roster of exhibitions. Jeffrey Deitch selected artist-made sets and costumes from choreographer Karole Armitage’s productions for Making Art Dance; a series of beautifully deformed welded-steel volumes by German sculptor Ewerdt 10 Mana Contemporary — Branding — Press Kit manacontemporary.com 11 Mana Contemporary — Branding — Press Kit manacontemporary.com 12 Mana Contemporary — Branding — Press Kit manacontemporary.com 13 Mana Contemporary — Branding — Press Kit manacontemporary.com 14 Mana Contemporary — Branding — Press Kit manacontemporary.com 15 Mana Contemporary — Exhibition — Magic of Light — Wall Title Video Still manacontemporary.com 16 Mana Contemporary — Exhibition — All The Best Artists Are My Friends (Part 1) — Map/ Poster manacontemporary.com 17 Mana Contemporary — Exhibition — All The Best Artists Are My Friends (Part 1) — Banners manaexposition.com 18 Mana Contemporary — Exhibition — Diameter of the Bomb 19 318 NW 23rd Street, Miami, FL 33127 305.305.5474 Raúl Lozza/Argentina Beatriz Olano/Colombia César Paternosto/Argentin Alejandro Puente/Argentina Luis Roldán/Colombia Osvaldo Romberg/Argentina Diana de Solares/Guatemala Joaquín TorresGarcía/Uruguay Horacio Zabala/Argentina Dirty geometry has existed throughout 20th-century art, but not in a manifest way: it implies a subversion of the laws of logical rigor, systemism, and Utopian modernism that have pervaded geometry since Kandinsky. In his milestone book Concerning the Spiritual in Art, Kandinsky argues against geometry as decoration; instead, he promotes geometrical painting as a spiritual tool. The quest of the spiritual, of a balance between the mind and intellectual order, constituted the fundamental idea behind geometric art. Geometrical abstraction was used at different times, as seen in Kandinsky’s compositions, in the rigorous nihilism of Kazimir Malevich’s Black on Black, and in Max Bill’s concrete iconography. Through my concept of dirty geometry, I want to undermine the rigid, global imposition of geometry that has dominated from the beginning of the 20th century. Of course, other artists have already played with this approach more or less consciously: Rothko when he broke the grid, Frank Stella with his so-called Cone and Pillars series from the eighties. However, I came to realize that Latin American artists offer the most prominent examples of dirty geometry. First, this might be explained by the often rudimentary absorption of the center by the periphery, as peripheral access to major art trends has long been mediated by art reproductions and perceived through local cultural prisms. This is even truer in Latin America, where most countries lacked a radical and contemporary art scene. Second, in Latin America, one always finds forms of political and existential resistance against the values of neo-liberalism embodied by the center. The exhibition Dirty Geometry will question different aspects of American, Russian, and European abstract art, such as the imposition of polished finish on paintings, the compositions and the purity of its lines, and classical applications of colors inherited from the Bauhaus and Concrete Art, among others. For instance, in the ’40s, the Latin American group MADI challenged the format of the canvas and the relation between two and three dimensions. In the 1960s, the Latin American group of Kinetic Art in Paris challenged the static geometry produced by artists like Victor Vasarely and Auguste Herbin, and introduced movement, light, and shadow to abstract art. I would therefore suggest that Latin America has proceeded to elaborate a kind of creolization of the dominant geometric art. This is a recurrent phenomenon in other fields of Latin American culture; we encounter it in religion, education, food, inventions, and other phenomena. The more figuration moves away from reality and representation, the more it needs to resort to theory in order to retain legitimacy. Geometry as we traditionally conceive it can only be legitimized by a tight, rigid theoretical framework. Dirty Geometry is a rebellious attempt to break from all theoretical frameworks and invent a geometry free from theory. This is a dirty war, one that could be defined as below the belt. Georges Bataille believed that “divine filth” brings about true eroticism; likewise, I would suggest that it is possible to bring about an eroticism of geometry through dirt. — Osvaldo Romberg Special thanks to Henrique Faria Fine Art, New York and Buenos Aires Emilia Azcárate/Venezuela Alessandro Balteo Yazbeck/Venezuela Cecilia Biagini/Argentina Willys de Castro/Brazil Sigfredo Chacón/Venezuela Emilio Chapela/Mexico Eduardo Costa/Argentina Marcolina Dipierro/Argentina Eugenio Espinoza/Venezuela Jaime Gili/Venezuela Mathias Goeritz/Mexico Juan Iribarren/Venezuela Bárbara Kaplan/Argentina Ramsés Larzábal/Cuba mana-miami.com December 2 –7, 2014 Curated by Osvaldo Romberg Mana Miami — Exhibition — Dirty Geometry — Brochure/ Poster Artist Talk Friday, December 5 12PM–2PM Speakers Cecilia Fajardo-Hill Pablo León de la Barra Moderator Osvaldo Romberg 20 Mana Miami — Exhibition — Dirty Geometry — Brochure/ Poster 21 Mana Miami — Exhibition — Dirty Geometry — Catalog 22 Mana Miami — Exhibition — Dirty Geometry — Catalog 23 Mana Contemporary — Mana Miami — VIP Invitation 24 Mana Miami — Exhibition — Information Wall MANA MIAMI 25 Mana Miami — Exhibition — Information Wall 26 Mana Contemporary — Exhibition — Pellizzi Family Collection — Wall Title (1st Floor) manacontemporary.com 27 Mana Contemporary — Exhibition — Pellizzi Family Collection — Wall Title (5th Floor) manacontemporary.com 28 Mana Contemporary — Exhibition — Pellizzi Family Collection — Catalog manacontemporary.com 29 Mana Contemporary — Exhibition — Pellizzi Family Collection — Catalog manacontemporary.com 30 Mana Contemporary — Exhibition — John Newsom: Rouge Arena — Wall Title & Text manacontemporary.com 31 Mana Contemporary — Exhibition — John Newsom: Rouge Arena — Wall Title & Text manacontemporary.com 32 Mana Contemporary — Exhibition — Witches of Bushwick: Kick in The Door — Wall Title manacontemporary.com 33 Mana Contemporary — Book — Eugene Lemay: Dimensions of Dialogue eugenelemay.com 34 Mana Contemporary — Book — Eugene Lemay: Dimensions of Dialogue eugenelemay.com 35 Mana Contemporary — Catalog — John Newsom: Rogue Arena 36 Mana Contemporary — Catalog — John Newsom: Rogue Arena 37 Mana Contemporary — Catalog — John Newsom: Rogue Arena 38 BSMT — Branding for Upcoming Artist Residency — BSMT stands for Basement 39 BSMT — Branding for Upcoming Artist Residency — BSMT stands for Basement 40 Contents ISSUE 02 FA L L 2 0 13 The Cover, from our next issue Duane Michals Lucia Joyce Reflections Sarah Charlesworth, Available Light. By Cay Sophie Rabinowitz and Sam Samore Picture Perfect ISSUE 03 WINTER 2014 Osmos Magazine Contents — Covers The Cover Keizo Kitajima, K Moscow, Soviet Ru Reflections Richard Hamilton by Mark Godfrey Peter Dreher’s Tag um Tag guter Tag series. By Henny Clamor Interview Sample Size Pseudomorphing Jovana Stokić mee A Brief Note on Sigmar Polke. By Carter Mull Portfolio Sample Size OSMOS MAGAZINE ISSUE 03 OSMOS MAGAZINE - ISSUE 02 - FALL 2013 Hye-Ryoung Min’s Channel 247. By Arianne Di Nardo Aldo Tambellini, V by Lynn Maliszew Essay Portfolio Eugène Atget’s Pendant l’Eclipse. By Sarah Hermanson Meister Blog Cabin Torbjørn Rødland by Arthur Ou Jason Lazarus’ Too Hard To Keep Eye of the Beholde Stories Humphrey Spend introduced by his Sundowner. By Matthew Licht Wall Power Marine Hugonnier’s Instantanés series. By Christian Rattemeyer Essay Iñaki Bonallis’ A Heap of Broken Images. By Tom McDonough Means To An End Mister Softee Reportage Mustafah Abdulaziz’s series, Water. By Noah Rabinowitz 52500> $25.00 ISBN 978-0-9883404-3-5 9 780988 340435 On Our Shelves Photographed by Roslyn Julia Essay Erica Baum, Rand by Kathleen Madd Picture Perfect Daniel Gordon, S by Cay Sophie Ra Postcard Carolyn Drake, Sk by Noah Rabinow Studio Visit Duane Michals, O Reportage Charlie Shoemake by Noah Rabinow On Our Shelves Featured images are reproduced from Mark Cohen: Dark Knees. Published by Le Bal / Editions Xavier Barral. Text by Vince Aletti. Hardcover | 6.75 x 9.5 in. | 216 pages | 18 color and 182 duotone images. Distributed by ARTBOOK | D.A.P. For more information visit www.artbook.com. ArtbookDAP_OSMOS.indd 1 12/19/13 1:28 PM 41 Osmos Magazine — Contents Fold-Out 42 Osmos Magazine — Spreads from Issue 2 & 3 ESSAY IÑAKI BONILLAS ALL IMAGES: A Heap of Broken Images, Where the Sun Beats (2012) Iñaki Bonillas A Heap of Broken Images BY TH OMAS McDONOUGH 59 What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, You cannot say, or guess, for you know only A heap of broken images, where the sun beats [. . .] − T. S. Eliot The Waste Land Mexican artist Iñaki Bonillas has long found inspiration in archival materials, and is best known for the various works and series that have been mined from the vast store of photographs kept by his grandfather, one J.R. Plaza. Over the past decade, Bonillas has derived seemingly endless permutations on the image, transforming the archive from a space of preservation into one of procreation. This impulse is a recurrent theme in recent art, and Bonillas, like others working within this mode, can be understood to be gathering fragments of a disappearing, analogue representational world. There is more at stake, however, than some melancholic disposition to- ward the inevitable obsolescence of a medium. His archives expose notions of essence or origin (whether considered in aesthetic, or biographical terms) as impossibilities; Bonillas has worked not to shore up the proper realm of the photographic or the familial, but to find within each the structural potential for proliferation and multiplication. Something similar is at stake in his recent series A Heap of Broken Images, Where the Sun Beats, even as his collection moves from the personal to the public, and from the individual to the collective, national past. I want to describe the ancient earthenware fragments we find photographed here as “archival residue,” the inevitable supplement called into existence by the very protocols of compilation and classification that order the archive. They are tepalcates, a Mexican term for potsherd, or piece of junk, derived from Nahuatl, the surviving tongue of the pre-Conquest Aztecs. These pieces might have found themselves incorporated as spolia into a wall, kept as a curio, or simply tossed over the shoulder, but the logic of archeological excavation requires meticulous cataloging, regardless of significance— who knows if later exploration might uncover new finds that would allow the reconstruction of that pot or this plate? In the meantime, these forlorn parts sit in drawers, bereft as they are of aesthetic or scientific value. Bonillas finds a peculiar poetry therein, freeing them from oblivion and worthlessness. Broken Images was first exhibited at last year’s São Paulo biennial. Six beautifully crafted wooden light tables presented a careful arrangement of black-and-white negatives of pottery fragments that appear singly, or sometimes as partly, reassembled items, such as bowls or plates or vessels. The clarity of the negatives, coupled with the light box display, gives the work a forensic air, as if we had stumbled upon the lab of an archeologist attempting to piece together the meaning of these fragments of the past—which, in fact, we had. Attentive viewers would notice the tiny, neat letters and numbers painstakingly painted onto many of the potsherds, telltale indications that Bonillas’s subject matter has been catalogued in some elaborate manner. This particular stony rubbish was found at Chichén Itza, one of the great Mayan ritual temples of the Yucatán. 60 ESSAY ERICA BAUM LEFT: Listen (Naked Eye Anthology) (2013) RIGHT: Untitled (Awful Silence) (Index) (1999) 46 wiched between abstracted striations—fragmented snippets of other images and text pages from the book isolate the house. We can project onto this arrangement a sense of domestic life. Are we viewing a scene of lonely seclusion, one fraught with tension and emotional struggle, or do joy and ecstasy reside at this address? Like Rachel Whiteread’s House (1993), the archetypical site of domestic habitation is one in which memories accumulate, but Baum’s work is openended like a Rorschach test, leaving interpretation to the viewer. We write ourselves into the stories suggested by these images. Sometimes cultural references impart the visual stimulation, such as in the Viewmaster (2011) series, which is imbued with popular culture and would be relatable even if the stories and characters were unfamiliar. Snippets of text narrate the drama and as with the blanks, the images are opaque. “Through the salon window we see a giant octopus,” as if we are located within House. Baum creates an extended stage for her narratives to take place. The Viewmasters are circular and a haptic sense of holding gives these works an intimacy, which on the wall is more distant and graphically bold. Ultimately, language is Baum’s core subject matter, she explains: “In my pictures, preexisting signifiers yield new signifieds.” Unlike the conceptual art of Joseph Kosuth and Lawrence Weiner, Baum does not highlight the limitations and exhaustion of language. Rather she creates a scene that is replete with meaning, like a daydream. As in Untitled (Hunting) (1996) from the Card Catalog (1996) series, Baum is constantly gathering information, seemingly like a random harvest, but ultimately as a means of propelling her very specific vision of the world and suggesting to each spectator a projection of her or his own sense of imagination. Baum’s Dog Ear (2010) series is another instance of the book as a readymade, replete with the found material of word on page. Baum selectively turns down the page of a book, as if to mark the spot, finding unexpected language that provides subliminal poetry. Generating a good Dog Ear is not easy––the pages get turned down, “photographed” through a scanner, and then printed before the process of culling begins. This is followed by an extended process with a heavy rejection rate, whereby Baum’s criteria is to achieve expressive Dog Ears. These photographs are about an intersection of the visual form through reading. A sub-genre of the Dog Ears, the Blanks (2013) series reference in their title the books from which they originate, such as The Dangerous Assassins (2012), although in this series Baum features a more abstract and oblique deployment of language than she did in Dog Ears, where the title originates from text in the image. In Blanks, no text is seen, but we know we are looking at a book. Even with these more formal images, language remains potent with rich ambiguities referring to the unseen. Yet the evidence Baum provides insinuates a way for each viewer to project onto the image. Tapping into the conventions of street photography, she proposes an intimate world based on the language of the past, while projecting contemporary imaginations. 47 43 Vessels — Typeface 44 Vessels — Typeface — The Summer Pledge Logo 45 CFDA (Council of Fashion Designers of America) — Catalog 2013 46 CFDA (Council of Fashion Designers of America) — Catalog 2013 47 CFDA (Council of Fashion Designers of America) — Catalog 2013 48 CFDA (Council of Fashion Designers of America) — Invitation 2013 49 Ghastly City Sleep — Song Tote Bags 50 Phur (Artist Collective) — Logo 51 The Jersey Project Sep 17Oct 30 2014 Phur (Artist Collective) — Posters The Jersey Project Solo(S) Project House Sep 17Oct 30 2014 Solo(S) Project House 52 Mana Urban Arts Project — Logo 53 Yeliz Secerli — [email protected] Brooklyn, New York The End 54
