Adafruit was founded by Limor ‘Ladyada’ Fried.
Limor was an Eyebeam resident between 2005-2006. During this time she founded what has become Adafruit Industries, the $33mil company focuses on access, STEM learning and open source hardware.
During her residency at Eyebeam, Fried created new hardware and expanded Adafruit’s presence. Her goals were to make the best designed products for makers of all ages and skill levels and create the premiere online resource for learning electronics. Since its founding in 2005 it has grown to over 100+ employees and is a 100% women owned company.
Limor is the manager of the the longest running live video electronics show on the internet, and was the first female engineer on the cover of WIRED and was awarded the Entrepreneur Magazine’s, ‘Entrepreneur of the year’, in 2012.
Founded in 2014 by Eyebeam residents Michael Mandiberg and Laurel Ptak with collaborators Siân Evans and Jacqueline Mabey to address inherent biases on Wikipedia.
In a 2010 survey, it was revealed that less than 13% of Wikipedia’s contributors identify as female or non-binary. The practical effect of this disparity is an imbalance of who gets featured on Wikipedia – the balance is clearly skewed. Upon researching this disparity further, Mandiberg and Ptak used Eyebeam’s 15,000 sq ft facility to organize the first Art+Feminism Wikipedia Edit-a-thon to help correct this issue of underrepresentation..
Since its founding, over 7,000 people at more than 500 events around the world have participated in Art+Feminism’s Edit-a-thons including at The Museum of Modern Art, Schomburg Center for Research in Black Culture, Brooklyn Public Library and Centre Georges Pompidou. This has resulted in the creation and improvement of more than 11,000 articles on Wikipedia. It has a leadership collective of 12 organizers and significant funding from Wikimedia Foundation and Qubit New Music. Some of the first Art+Feminism Wikipedia Edit-a-thon’s were held at Eyebeam and we continue to support their delivery.
Eyebeam supported Torkwase Dyson in 2015. During this time, Dyson worked on and exhibited a body of work from this period of deep research and practice. Eyebeam provided her the time and freedom to continue her exploration of urgent questions around race, both historically and in the present day.
Her solo exhibition Unkeeping, held at Eyebeam in 2016, surveyed two years of Dyson’s work in minimal geometric abstraction. Her abstract paintings and sculptures were used as a system to deepen understandings of the built and natural environment focusing on ideas of slavery. The New York Times described this exhibition as effectively hijacking “the histories of abstraction and black painting, offering a compelling rejoinder to the idea of “pure,” ahistoric and universal abstraction. It is an evocative and timely gambit”.
During this time Dyson also opened up these ideas to a wider audience with her panel Black Spatial Matters with writer and scholar Tony Bogues and architect Mario Gooden. They discussed the role of historical racial and colonial power in the Americas. Considering this, these thinkers drew on their research to imagine a critical humanism, and its relevance for an expanded notion of environmental justice.