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Coalesce BioArt Lab
  • The Lab
  • Projects and Residencies
    • Current Residents
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      • Gary Nickard
      • Zbigniew Oksiuta
      • Paul Vanouse
      • Nicole Clouston
      • Heather Dewey-Hagborg
      • Kathy High
      • Timo Menke
      • Byron Rich and Mary Tsang
      • Lucie Strecker and Klaus Spiess
      • Sabrina Merayo
      • Günes-Hélène Isitan
      • Mick Lorusso and Joel Ong
      • Rian Hammond
      • Moira Williams
      • Iman Person
      • Andrea Reynosa
      • Sam Van Aken
      • Chris Copeland and Josh Archer
      • virocode
      • Sun Young Kang & Jack Tseng
      • Zeelie Brown
      • Reza Michael Safavi
      • Cesar & Lois
      • Laura Splan
      • Phylum (Carlos Castellanos, Johnny DiBlasi, Bello Bello)
      • Tiare Ribeaux and Ruth Schmidt
      • Tiffany Jaeyeon Shin
      • Darya Warner
      • Lucy Helton
      • Rae Yuping Hsu
      • Tosca Terán
      • Julian Stadon & Roland van Dierendonck
      • Patrick Ravines
      • Jason E. Geistweidt
      • Laura Marris
      • Jean-Charles de Quillacq
      • Wafaa Bilal
      • Alvaro Azcarraga
      • Brianna Leatherbury
      • Tatiana Istomina
      • Karolina Żyniewicz
      • Daniela Brill Estrada
      • Emma Akmakdjian
      • Tansy Xiao
      • Walker Tufts
      • Herter De Menezes
      • Althea Rao
      • Lee Cannarozzo
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IN THE NEWS

FEMeeting @ UB.
  • FEMeeting Sister Labs: Buffalo 2024
  • 3/8/23 Curator Jens Hauser Speaks at Coalesce
  • UB bio-artist Paul Vanouse recognized at prestigious Prix Ars Electronica
  • UB bio-artist Paul Vanouse wins Golden Nica at Prix Ars Electronica
  • UB bio-art project that recreates smell of human sweat named Falling Walls 2021 winner
  • Coalesce receives NEA grant to enhance artist residency program
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For More Information

Paul Vanouse, Professor of Art, Director of Coalesce

Department of Art, University at Buffalo

Special thanks to Arzu Ozkal, a UB alumnus who designed the Coalesce logo. 

Brianna Leatherbury

Brianna Leatherbury.

Model Organisms

Brianna leathersbury seeks to make direct connections with the people and places of nonart industries, most recently real estate and finance (and now genetics), in order to extend the reach of the artwork into everyday life. Her work offers moments that interrupt these structural divisions, that afford us brief encounters with the other. She asks what presumptions do we bring to these encounters, and may these encounters dispel them, even momentarily? Model Organisms continues her exploration into the social implications of property, using the human body, its fragments and traces, as a material lens.

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