2017 MFA\MA Catalogue by San Francisco Art Institute

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2017 MFA \ MA

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SAN FRANCISCO ART INSTITUTE Graduate Programs 2017

Gordon Knox \ President Mark Campbell \ Vice President for Enrollment and Student Affairs Daryl Carr \ Director of Marketing and Communications Heather Hickman Holland \ Associate Vice President for Operations and Facilities Maureen Keefe \ Vice President for Development and Alumni Relations Hesse McGraw \ Vice President for Exhibitions and Public Programs Jennifer Rissler \ Dean of Academic Affairs Adrian Trujillo \ Controller Rachel Schreiber \ Provost and Senior Vice President Anne Shulock \ Chief of Staff Claire Daigle \ Chair, Master of Arts Department Tony Labat \ Chair, Master of Fine Arts Department Zeina Barakeh \ Director of Graduate Administration Niki Korth \ Manager of Graduate Administration Milton Freitas Gouveia \ Graduate Studio Operations Manager Jack Darawali \ Graduate Studio Evening Coordinator ÂŠ 2017 San Francisco Art Institute San Francisco, CA 94133 All rights reserved. No part of this book may be reproduced without the written permission of the publisher.

CONTENTS 1

Message from Gordon Knox, President

Graduate Programs

MASTER OF FINE ARTS / ARTIST PAGES

Message from Tony Labat, Chair, Master of Fine Arts Department

Graduating MFA Artists

MASTER OF ARTS / THESIS PROJECTS

Message from Claire Daigle, Chair, Master of Arts Department

Graduating MA Scholars

Collaborative Projects

SELECTED PROJECTS

EXHIBITIONS AND PUBLIC PROGRAMS

Walter and McBean Galleries

100

Diego Rivera Gallery

104

Swell Gallery

105

Visiting Artists and Scholars Lecture Series

106

Graduate Lecture Series

107 PhotoAlliance 107

Concentrate

108

GRADUATE PROGRAMS FACULTY

113

BOARD OF TRUSTEES

114 ACKNOWLEDGEMENTS

Message from the President To this year’s graduating artists and scholars: CONGRATULATIONS! You have completed your Masters degrees. … And now what? For many of you this may be an underlying question right now, and it is one for which you are uniquely and brilliantly prepared. You have spent the last years refining a way of seeing, contemplating, questioning, and communicating. Immersed in the studio or in the library, diving into and tumbling through colors, consistencies, words, images, ideas, and stories, you have taken in, turned over and explored ways of asking questions, ways of making, and ways of knowing. Your years in the community of SFAI with fellow students, faculty, and visitors have set each of you on a life-long project of honing your ability to move ideas, emotions, and insights from your head and heart into the heads and hearts of those around you and those who encounter your work. These are skills and capacities associated with the highest forms of human effort. And they are the skills we need to drive the societal changes we must make if we are to address the great challenges of our time. Art is humanity’s mirror, in which we are able to see ourselves and our social systems in various lights. Refracted through art, we recognize our core human values as well as the terrifying impact of our actions, both individually and socially. Art allows us to imagine

and describe a world beyond time and yet of the moment, made of material yet conveying the intangible. Artists ask the most challenging of questions and communicate them sublimely. These are practices that you will refine your entire life and they are competencies that will enrich your work, whatever that may be. Which returns us to the “now what?” question. I can’t tell you what next but I can tell you how: Follow your curiosities — let what is meaningful to you guide your choices. Maintain a disciplined focus – do whatever you do with conscious intent. And finally, revel in your humanity – you are among masses of fellow humans in this crazy world, and the most genuine gesture of shared humanity is to let them know that you see them and want to share and explore the complex emotions and intangible understandings embedded in your work. Thank you for what you have accomplished here at SFAI and for all that you gave to our community. We are so proud of you and we are here to help in any way we can. And again, congratulations!

Gordon Knox President

Graduate Programs MFA IN STUDIO ART OPTIONAL MFA EMPHASES Art and Technology/Film/New Genres Painting/Photography/Printmaking/Sculpture Questions, curiosity, dialogue, and invention drive the philosophy of SFAI’s two-year Master of Fine Arts (MFA) program, which provides a dynamic interdisciplinary context for emerging artists to advance their work, while exploring the theoretical, sociopolitical, and creative concerns of the contemporary moment. Student-artists use their own questioning to guide their coursework and build the skills necessary to sustain a lifelong practice in the arts. Concepts are emphasized over technical proficiency, and artists are encouraged to experiment widely across media. SFAI’s optional emphasis enables students to focus their interests (if helpful to their work) without being tied exclusively to one medium. Throughout the program, students work independently in the studio and in the field; meet with faculty one-on-one in graduate tutorials; participate in small, faculty-led critique seminars; and take idea-driven critical theory and art history courses. They also create numerous projects on their own through the relationships they forge here—publications, offsite exhibitions, international collaborations, and placemaking events have all emerged from the graduate cohort. The culmination of the MFA degree is the MFA Exhibition— a prestigious show, annually acclaimed for its raw, cuttingedge creative output. LOW-RESIDENCY MFA IN STUDIO ART SFAI’s Low-Residency Master of Fine Arts (MFA) in Studio Art program offers the rigor and artistic community of the full-time program in a flexible format ideal for individuals who wish to advance their creative work while maintaining a professional career or personal commitment. Over three years, student-artists work with SFAI faculty during intensive eight-week summer sessions in San Francisco, and independently through mentored, off-site, one-on-one study during the fall and spring semesters. During the summer, students in the program have studio space in the Graduate Center and access to all of SFAI’s facilities. Summer sessions combine critiques, art history and critical studies seminars, visiting artist lectures, and individualized tutorials to create a comprehensive studio-

and research-based curriculum. Students participate in Summer Reviews and Winter Critiques in San Francisco each year, and the program culminates with the MFA/MA Exhibition. A robust summer Graduate Lecture Series provides opportunities for direct dialogue with contemporary artists. MA SFAI’s Master of Arts (MA) program provides a generative context for advanced scholarly inquiry into the ideas, institutions, and discourses of contemporary art, challenging students to expand skills of analysis, questioning, and creative problem solving to prepare for a lifelong commitment to art and ideas. SFAI’s scholars are creative practitioners who work side by side with MFA candidates with one difference—their materials are ideas and words. MA candidates participate in art history and critical theory seminars, as well as research and writing colloquia; they also have opportunities for curating, internships, and travel. These cross-disciplinary offerings prepare students to cultivate an individualized course of study that will lead to the final research thesis—a book-length work of creative scholarship. The Collaborative Projects provide a forum for students to take their work into the public sphere—and to collaborate professionally with their peers—with an exhibition, symposium, or site-responsive project. The final MA Symposium introduces MA graduates to the Bay Area academic community in a highly celebrated public forum. DUAL DEGREE MA/MFA SFAI’s Dual Degree MA/MFA program is designed for students whose practices cross the boundaries of art and scholarship. The Dual Degree equips students to engage theory, history, art, and culture at their points of intersection. It consists of: (1) An MA in History and Theory of Contemporary Art; and (2) An MFA in Studio Art with Optional Emphasis (Art and Technology, Film, New Genres, Painting, Photography, Printmaking, Sculpture). The program culminates at two key moments: at the end of the second year, students participate in the MFA/MA Exhibition; and by the end of the third year, students complete a written thesis, and participate in the final MA Symposium and Collaborative Projects.

MFA \ Artist Pages Looking Forward Every year I’m asked to write this letter, and at the risk of sounding corny, there’s always a kind of sadness about the end of a chapter; but at the same time, it’s a celebration of a new beginning. This year, there are two endings and two beginnings: the graduation of the class of 2017, and the anticipation of moving our Graduate Center. As construction is underway at Fort Mason Center for Arts & Culture, the new home of our Graduate Center, the class of 2017 is back at the San Francisco Mint, a historic landmark that provides a venerated space of celebration within an exhibition of contemporary art. The Mint is perfect for the diversity of approaches, styles, and attitudes that exist within the MFA program; it provides a vast array of spaces—from the grandeur of the ballrooms, to raw spaces, to the original brick and steel vaults. From sculpture, painting, prints, ceramics, video, performance, and film, to virtual reality, the Mint can accommodate all of the disciplines offered, in a distinct way, and offers a sprawling, fun house–like exhibition that challenges these emerging artists to think about issues of site, context, and installation. I will miss the class of 2017. And, in a bittersweet way, I will miss the Dogpatch graduate studios: the mile-long row of orange doors, and the smell of confections coming from the chocolate factory that was on the same floor. But the excitement about the new future is greater, as this is an important time of transition, of a new adventure and a new chapter for SFAI. Graduation is always a time to celebrate the accomplishments of the next wave of students who are on their way to contributing to society and culture as artists, and it has been an honor and pleasure to work with all of you these last two years, witnessing the development of your work, your struggles, commitment, and perseverance. I look forward to your future endeavors, and welcome you to the extended family of SFAI. Congratulations! Tony Labat Chair, Master of Fine Arts Department

Greta Liz Anderson Born/Home Asunciรณn, Paraguay Education AA Art Studies, Nassau Community College, State University of New York, 2007; BFA, Minor in Art History, Fashion Institute of Technology, State University of New York, 2014 MFA Studio Art, San Francisco Art Institute, 2017

My work consists of (dis)functional installations aiming to change how individuals perceive surroundings, and themselves. A dialogue between functionality versus meaning is opened, creating an ambiguous fictional parallel realm that (re)constructs interactions within a social setting. These structures function as tools for transcendence, as well as introspective and extrospective approaches to the self and the other. Viewers are encouraged to maneuver their bodies to activate the sculpture, or vice versa. gretaliz.com

(Top to bottom) Alter Ego 2016 Synthetic fur, mirror, wood, PVC pipe and pivot ball, fabric, cotton batting, polyester fiberfill, and cymbal stand wind metal knot 46 x 60 x 37 inches Chair With Me 2016 Wood, fabric, brass nails, synthetic fur, and polyester fiberfill 35 x 32 x 20 inches

Stephanie Baker Born/Home San Francisco, California Education BS Applied Economics, University of San Francisco, 1988; Post-Baccalaureate Program, University of California, Berkeley, 2015 Dual Degree MA/MFA, History and Theory of Contemporary Art/Studio Art, San Francisco Art Institute, 2018

Projected daily against the backdrop of my eyelids is a kaleidoscopic circus of corporeal experiences, which intersect my literary research. Through a process of layered destruction, my work as a painter negotiates the world at large, reduced to the size of a painting. For me, art practice contains muscular characteristics imbued with the power to merge interdisciplinary subjects as translation of ideas into the language of art. artbysbaker.wixsite.com/mysite

(Top to bottom, left to right) Untitled (One) 2016 Oil on canvas 30 x 40 x 1.5 inches Deadwood 2016 Oil on canvas 24 x 20 x 1.5 inches Total X (Red, White, Blue) 2016 Oil on canvas 48 x 72 x 2 inches

Subhrajit Bhatta Born/Home Kolkata, India Education Bachelor of Commerce in Accountancy and Finance, University of Calcutta, 2015 MFA Studio Art, San Francisco Art Institute, 2017

My work has always been about curious selfexpression. It seeks to explore the mundane in daily life that we often tend to ignore. Through intuition and emotional connection, I choose my subjects to investigate how I perceive everyday events to the point where it becomes voyeuristic. Photography lets me move into spaces and areas where I find my work being transformed into something that is mysterious, obscure, and, at the same time, inviting. subhrajitbhatta.com

(Top to bottom, left to right) Wandering 2016 Archival inkjet print 13 x 19 inches Looking Into 2016 Archival inkjet print 13 x 19 inches Leaning Against the Wall 2016 Archival inkjet print 13 x 19 inches

Camille Brown Born/Home Miami, Florida Education BFA Art Photography, Syracuse University, 2014 MFA Studio Art, San Francisco Art Institute, 2017

My practice and general conceptual framework consider how our contrasting elements function both harmoniously and disastrously; themes of desire, purpose, intimacy, and rationality weave their way through different modes of redundancy. Insecure but calculated, tentative but intimate, my work investigates a fascination with perception through small gesturesâ&#x20AC;&#x201D; desire, emotions, science, instruction, and what I feel is both the inherent beauty of human nature and the link between all things. camillebbrown.com

(Left to right, top to bottom) Untitled (Page 139) 2016 Silkscreen on found paper 11 x 8 inches Like a Rock, Like a River 2016 Archival inkjet print 4 x 3 inches With Your Arms Around Me 2015 Archival inkjet print 8 x 5 inches

Gianna Brusa Born/Home Lodi, California Education BA Art Practice, Saint Maryâ&#x20AC;&#x2122;s College of California, 2013 MFA Studio Art, San Francisco Art Institute, 2017

Focused on the connectedness of people, with an emphasis on familial dynamics, my work explores themes of identity, culture, and the sacred through my diasporic lens. Time, memory, and ritual become part of my process, allowing each work to become an object of veneration to those that I love. giannabrusa.com

(Left to right) To Be Venerated, detail 1 2016 Oil and copper leaf on canvas 16 x 12 x 2 inches What Is Ours 2016 Oil and gold leaf on canvas 36 x 36 inches

Can Büyükberber Born/Home Izmir, Turkey Education BA Visual Communication Design, Istanbul Bilgi University, 2012 MFA Studio Art, Art and Technology, San Francisco Art Institute, 2017

I’m a visual artist working on immersive audiovisual experiences that are embodied in both physical and digital spaces. My practice consists of experiments with different mediums and display technologies, such as projection mapping, virtual reality, geodesic domes, and digital fabrication methods. Driven by interdisciplinary thinking and interests which extend to art, design, and science, my work often focuses on human perception, new ways of creating non-linear narratives, geometrical order, synergetics, and emergent forms. canbuyukberber.com

(Top to bottom, left to right) Morphogenesis 2016 Audiovisual piece for Fulldome Dimensions variable 10 minutes Morphogenesis VR 2016 Virtual reality and projection on print 110 x 45 inches 6 minutes Celestial Collision 2016 Digital animation Dimensions variable

Eric Carson Born/Home Seattle, Washington Education BFA Painting, Central Washington University, 2006 MFA Studio Art, San Francisco Art Institute, 2017

My cosmographs harness the torrent of images generated by modernity. These drawings, paintings, and models create a space where symbols from multiple knowledge systems can collide. Viewers use their visual hyperliteracy, a skill of survival developed to navigate our image-saturated culture, to move through the compositions, creating personal constellations of meaning. Constellations are spaces of wonder(ing), where competing ideologies can exist simultaneously and hints of new ways of being in the world coalesce. ericcarson.com

(Left to right) Mandala #34 (Model for a Sacred Space) 2016 Repurposed scrap wood 606 x 71 x 42 inches Mandala #31 2016 Gouache and acrylic on paper 24 x 18 inches

Nicholas F. Cienfuegos Born/Home Oakland, California Education BA Art Practice, University of California, Berkeley, 2010 MFA Studio Art, Sculpture, San Francisco Art Institute, 2017

Working intuitively, combining traditional and nontraditional mediums sculpturally. Exploring the contradictions and ambiguous structures of politics that affect our environment, identity, and society. Allowing the metaphysical and unseen forces of physics to emerge into a physical world. Employing equilibrium, gravity, and balance as metaphors to address a world that is tilted for me personally. nickcien.com 13

(Top to bottom) Untitled 2016 Digital inkjet print on aluminum 20 x 20 inches Untitled 2016 Digital inkjet print on Mylar 48 x 84 inches Untitled 2016 Digital inkjet print on aluminum 20 x 20 inches

Priscila Denisse Claure Soruco Born/Home La Paz, Bolivia Education International Student Exchange Program, The University of New Mexico, 2011–2012; BA Graphic Design and Visual Communication, Universidad Católica Boliviana “San Pablo,” 2013

My work is a window and a mirror of myself; the way I perceive my surroundings is what describes my art best. This cosmovision also represents the never-ending shifting of my complex inner being. This redefines my understanding of self. I am trying to reclaim female power, showing different experiences, yet those experienced only by women. I show some parameters between the connection and separation of the self—reclaiming body as a space where the struggle occurs. behance.net/clavdsol

MFA Studio Art, San Francisco Art Institute, 2017

(Left to right) Body-less, Part 2 2016 Digital inkjet print in silk, readymade sculpture, and dried plants Dimensions variable Body-less, Part 1 2016 Digital inkjet print in hot press bright paper, ready-made sculpture, dried plants, and wood Dimensions variable

Tom Colcord Born/Home Indianapolis, Indiana Education BFA Studio Art and Painting, Indiana University Bloomington, 2013 MFA Studio Art, Painting, San Francisco Art Institute, 2017

My paintings are purgatories that reflect uncertainty. They start as digital collages that later become physical paintings. This work is born between analog materials and digital techniques, exploring how painting now converses with new technologies. In the act of painting, I mimic the effects that are possible on Photoshop, using a variety of techniques, materials, and mediums. The result is a liminal space that exists between the real and the imagined. tcolcord.wix.com/tomcolcord

(Top to bottom) Greetings! 2016 Acrylic on panel 48 x 35 x 1 inches Still Connected 2016 Acrylic on panel 48 x 72 x 1 inches

Audra J. Davis Born/Home Lakeview, Michigan Education BA Political Science, Hope College, 2001

“Life isn’t about finding yourself. Life is about creating yourself.”

–George Bernard Shaw

(Top to bottom, left to right) Fire 2015 Digital inkjet print 20 x 30 inches Earth 2016 Digital inkjet print 20 x 30 inches

audradavis.com

MFA Studio Art, San Francisco Art Institute, 2017

Wood 2016 Digital inkjet print 30 x 20 inches

Tyler Davis Born/Home Fremont, North Carolina Education BA Film Studies, University of North Carolina Wilmington, 2014 MFA Studio Art, San Francisco Art Institute, 2017

Combining elements of performance, video, animation, and installation, my work interrogates the varying ways belief systems manifest themselves in behavior, action, and public policy, perpetually raising questions about how they are used—intentionally and unintentionally—to shape people’s relationships to popular culture, politics, and each other. tylerdavismedia.com

(Top to bottom, left to right) Six Minutes of Several Wasted Sundays, Part I 2016 HD video 6-minute loop The State of Dysfunction 2016 HD video 10:14 minutes Living in the Land of One’s Father 2016 HD video 26-minute loop

Jana Debus Born/Home Germany Education Diploma with Distinction in Media Arts, Academy of Media Arts Cologne, Germany, 2011 MFA Studio Art, San Francisco Art Institute, 2017

“He is not on earth, nor in the water, nor in the sky, nor even in the father and mother, He is the End ever sought, but ever beyond reach. [. . .] Therefore . . . say to each person—‘I stand like a mirror before you.’ Now foreswear all and go begging and be a mirror before the world.”

–Handwritten note by Maya Deren, 1943, accounting a Hindu initiation ritual for Brahmin

janadebus.com

(Left to right) Bonsai, Bolinas, California 2016 Archival inkjet print 16.25 x 12 inches Painting Class, Bolinas, California 2016 Archival inkjet print 16.25 x 12 inches

Natalie Falero Vazquez Born/Home Caguas, Puerto Rico Education BA Journalism, Universidad del Sagrado Corazón, Santurce, Puerto Rico, 2014 MFA Studio Art, San Francisco Art Institute, 2017

Mi trabajo explora las injusticias sociales relacionadas con el colonialismo, la discriminación de raza y de género. Mis actos ocupan un espacio ritualista y desmantelan rastros de identidad a través de gestos efímeros que mi cuerpo marca, con la intención de invocar la memoria de cuerpos marginados. En el proceso, mi cuerpo encarna el retrato del discurso colonial.

(Left to right, top to bottom) 80 Minutos 2016 Performance still 80 minutes Cena 2016 Installation, site-specific performance, and singlechannel video Dimensions variable 10-minute loop Madrugada Vendada 2017 Site-specific performance, installation, and video documentation 10-minute loop

nataliefalero.com

Lisa Foote Born/Home Santa Monica, California Education BFA Photography, Brooks Institute, 2005 MFA Studio Art, San Francisco Art Institute, 2017

My work investigates the conflict and tension in representation that the photograph presents, asking the viewer to consider whether or not allegory and evidence can successfully coexist in the same space. Drawing from the traditions of pictorial and documentary photography, as well as abstract painting, these images are ethnographic excavations of personal historyâ&#x20AC;&#x201D; descriptions of facts, but not facts in and of themselves, dismantling what can be distinguished as truth or fabrication. lisafoote.com

(Left to right, top to bottom) (dis)Comforts of Home #8869 2015 Archival pigment print 22 x 30 inches Garfield Park 2016 Archival pigment print 20 x 20 inches (dis)Comforts of Home #6103 2016 Archival pigment print 22 x 30 inches

Charlie Ford Born/Home Manchester, United Kingdom

charlieford.space

(All images) Gesture 2016 Performance for video Duration variable

Education BA Dance Studies, Middlesex University, 2013 MFA Studio Art, San Francisco Art Institute, 2017

Guta Galli Born/Home São Paulo, Brazil

As a photographer, I challenge the tension of photography as a medium that constantly offers a dialogue between what is real and what is Education fiction, what is memory and what is invention. My work explores the impact of female cultural Academic Exchange in Political Science, Fondation Nationale des Sciences Politiques, misrepresentation and its intersections with race and violence. Expanding to performance Poitiers, France, 2004; and video, I face the lenses to partially abandon BA International Relations, The Pontifical the power of the mediator and experience the Catholic University of São Paulo, 2005; Postgraduate Degree, Photography, Fundação ambiguities I discuss in my photographic work. Armando Alvares Penteado, São Paulo, 2014 gutagalli.com MFA Studio Art, San Francisco Art Institute, 2017 22

(All images) Cup of Tea 2015 Performance 3-minute loop

Leigh-Anne Galloway Born/Home London, United Kingdom Education BA (Hons) 1st Class Contemporary Media Practice, University of Westminster, London, 2008 MFA Studio Art San Francisco Art Institute, 2017

My work concerns the spatial relationships between form, conception, and reception. It is an interpretation of natural occurrences developed through an iterative process of thinking through practice. Crystal Palace is an installation which takes apart the elements of cinema. The use of elemental filmic qualities is a means to actually materialize time and space, producing a lived encounter for the spectator. These primal elements are formulated to be experiential and constitute an active cinematic conception. lagalloway.com

(Top to bottom) Crystal Palace, detail 2016 Water, submersible water pump, and projector Dimensions variable Crystal Palace 2016 Water, submersible water pump, and projector Dimensions variable

Leah Gonzales / Felony Stardust Born/Home Colorado Springs, Colorado Education BFA Drawing, Maryland Institute College of Art, 2011

“Real magic can never be made by offering someone else’s liver. You must tear out your own, and not expect to get it back.”

–Peter S. Beagle, The Last Unicorn

leahgonzalesart.com

MFA Studio Art, San Francisco Art Institute, 2017

(Left to right, top to bottom) Banana Hair-Dragon Lady 2016 Ceramic and found pottery shard 7 x 5 x 6 inches Stardust Insemination 2016 Stop-motion animation 1-minute loop Trash Cloud 2016 Ceramic with moondust and found pottery shard 6 x 7 x 6 inches

Peiter Michael Griga Born/Home Cincinnati, Ohio Education BFA/Bachelor of Art Education, College of Design, Architecture, Art, and Planning, University of Cincinnati, 2003; Master of Art Education and Visual Culture, College of Design, Architecture, Art, and Planning, University of Cincinnati, 2008; National Board Certified Arts Educator, National Board for Professional Teaching Standards, 2012 MFA Studio Art, San Francisco Art Institute, 2017

My work attempts to illuminate the collision of anxiety, loss, memory, and technology within our lives . . . reconciling the data feed all around us, mixing memories and geography with the corporeal. Conceptually woven from Twitter’s archive and using GPS data within the tweet to travel to the location where the message was sent, these photographs were made at this location while employing manipulations of objects and light in the scene. peitergriga.net 25

(Top to bottom, left to right) FYI: i’d swim thru the earth to be next to Yr Bones 2015 Archival pigment print and geotagged tweet 36 x 36 inches This ❤ is Fucked w/o the Karate chop of LUV 2015 Archival pigment print and geotagged tweet 36 x 36 inches Kissings the bottle today instead of kissing you 2014 Archival pigment print and geotagged tweet 36 x 36 inches

Di Hou Born/Home Shijiazhuang, China Education BA Sculpture, Central Academy of Fine Arts, China, 2013 MFA Studio Art, Sculpture, San Francisco Art Institute, 2017

My sculpture and installation explore hidden possibilities and relationships between spaces and forms. My work attempts to blur coincidences between parts and their wholes visible. My hope is that by remapping something like the space of the body, emphasizing hidden spaces and unseen expanses, I will offer viewers a chance to question how other relationships of scale functionâ&#x20AC;&#x201D;for instance, how individuals relate to or fit into society at large. dihou.me

(Left to right, top to bottom) Structure 2016 Bamboo, plaster, and metal rebar Dimensions variable Bamboo 2015 Mixed media 40 x 12 x 2 inches Mine 2016 Mixed media Dimensions variable

KyungBae Jeon Born/Home Daejeon, South Korea Education BA Photography and Imaging, ArtCenter College of Design, 2014

If everything is art, then nothing is art. Therefore, everything shouldnâ&#x20AC;&#x2122;t be art. However, I still think everything is art if I believe it is. I capture the possibilities that can be regarded as art in my mind.

(Top to bottom) Narcissism 2016 Digital inkjet print Dimensions variable Kiss 2015 Digital inkjet print Dimensions variable

kbjeon.com

MFA Studio Art, Photography, San Francisco Art Institute, 2017

Rebecca R. Kaufman Born/Home Knoxville, Tennessee Education BFA Studio Art, Painting, University of Tennessee, Knoxville, 2012 MFA Studio Art, San Francisco Art Institute, 2017

I am interested in how the folding of time makes images and patterns worth revisiting. Utilizing found VHS tapes to generate images, I paint lost moments frozen in time. I explore optical anomalies inherent in digital image manipulation through the lens of abstract painting to disrupt the hierarchical timeline of these technologies. I attempt to produce clarity with distance, reacting intuitively to create a new object, interference between the viewer and the memory. rebeccakaufmanartist.com

(Top to bottom, left to right) Untitled 2016 Oil and acrylic on muslin 66 x 114 x 1.25 inches Untitled 2016 Oil and acrylic on muslin 62 x 54 x 1.25 inches Untitled 2016 Oil and acrylic on muslin 58 x 52 x 1.25 inches

Guramrit Kaur Born/Home Mumbai, India

guramritkaur.com

(Top to bottom, left to right) Maa Naal Vaasta, Series II 2014 Digital inkjet print 9.5 x 6.8 inches

Education BA Journalism and Mass Communication, Sikkim Manipal University, 2014

Maa Naal Vaasta, Series I 2016 Digital inkjet print 9.5 x 6.3 inches

MFA Studio Art, San Francisco Art Institute, 2017

Maa Naal Vaasta, Series III 2014 Digital inkjet print 9.5 x 6.8 inches Maa Naal Vaasta, Series IV 2014 Digital inkjet print 9.5 x 6.8 inches

Muhannad Khammash Born/Home Amman, Jordan Education BA Art Studio, Humboldt State University, 2013 MFA Studio Art, Painting, San Francisco Art Institute, 2017

I find myself more appreciative of art that has psychological subtext, which lurks beneath the surfaces, represented with unique abstract geometric and organic forms that rely on color harmony. My creative process primarily starts with sketching from memories and dreams. The most persistent memories are those related to passions and emotions. On canvases I structure theatrical backgrounds, where figures and symbols are cast to reveal the inner music of deep feelings and emotional memories. muhannadkhammash.com

(Left to right, top to bottom) Complications 2016 Oil on canvas 24 x 24 inches Whispers 2015 Oil on canvas 24 x 24 inches Visual Recipes #5 2016 Oil on canvas 18 x 18 inches Visual Recipes #3 2015 Oil on canvas 18 x 18 inches

Eunji Kim Born/Home Seoul, South Korea

eunzikim.com

Ice Cream 2016 Digital inkjet print Dimensions variable

Education BFA Fine Art Photography, Rochester Institute of Technology, 2015 MFA Studio Art, San Francisco Art Institute, 2017

James H. Kirkwood Born/Home Tampa, Florida Education BFA Painting, University of Florida, 2012 MFA Studio Art, San Francisco Art Institute, 2017

My work deals with constructed beauty and teenage male sexuality within our image-based society. Iâ&#x20AC;&#x2122;m interested in glamour, gender, sex, fetish, obsession, objectification, celebrity, internet culture, and the death of childhood through sexuality. My painted figures focus on the specific transitional time when a young adult exists as both a child and a sexualized adult to depict boyish, feminine male sexuality that contrasts with mainstream hypermasculinity. jimkirkwood.weebly.com

Golden Boy 2016 Water-soluble oil paint 48 x 48 inches

David James Kokitka Born/Home Cleveland, Ohio Education BFA Drawing, Minor in Art History, Art Academy of Cincinnati, 2012 MFA Studio Art, Photography, San Francisco Art Institute, 2017

My paintings utilize a variety of media, including graphite, marker, acrylic, and oil, to deploy the tactics of drawing together with the logic of paint application. The material strategies visually mirror the interior psychological reality of human existence. I use a color palette that is intentionally robust and unrealistic, attempting to bridge the representational with the gesturally abstract. I harness a bank of photographic source material, harvested primarily from my digital interactions with other gay men online. davidkokitka.com

(Top to bottom, left to right) Son (of God) 2016 Raw pigment, graphite, pastel, acrylic, oil stick, and gold leaf on panel 48 x 36 inches A Map of â&#x20AC;&#x153;The Cruiseâ&#x20AC;? in Old Havana 2016 Acrylic, marker, and collaged paper on rag 42 x 29 inches The Triumph of Perpetual Conquest 2017 Graphite, marker, acrylic, and oil on canvas 65 x 65 inches

Melissa Koziebrocki Born/Home Toronto, Canada Education BA Art History, McGill University, 2007; MA Museum Studies, University of Toronto, 2011; BFA Drawing and Painting, OCAD University, 2014 MFA Studio Art, New Genres, San Francisco Art Institute, 2017

I am a feminist performance artist whose art practice focuses on the body as the physical site for processing trauma. Through radical somatic explorations, my work dwells in the margins, broaches questions of queer identity, and tackles systems of oppression by using the tactics of kitsch intervention. I subvert normative notions around gender, patriarchal violence, and the fat body, and expose the injustice of the status quo enforced by a male-centric system. mkoziebrocki.format.com

(Top to bottom, left to right) Biting the Nipple That Feeds You 2016 Performative sculpture 3 hours Ashley Ashley Ashley 2016 Promotional video still for site-specific performance Dimensions and duration variable Collaboration with Manuela Rosso and Natalie Falero Vazquez; concepts by Melissa Koziebrocki I Turn Everything to Filth 2016 Looped video and live performance 8:09 minutes

Izidora Leber LETHE Born/Home Oakland, California Education BFA Fine Arts, Zürcher Hochschule der Künste, Zürich, 2013; Erasmus Exchange Program, Video Art, Pacific Northwest College of Art, 2012 MFA Studio Art, San Francisco Art Institute, 2017

I am a transdisciplinary artist working in sculpture, video, and nonfictional writing. My main focus is the re-articulation of moments of resistance in which dominant narratives such as history, power, and notions of cohesion are destabilized. I am using the authoritative codes of minimalism and western modernisms only to inject them with what they are refusing: a personal narrative, an erotic play of form and context, and complicated tensions within. izidora-l.com

(Left to right, top to bottom) LETHE 2016 Publication 10 x 8.5 inches Know How To Get It 2016 Ceramic and digital stock image on canvas installation 20 x 16 x 1 inches Them (Out Side) 2016 Video 2:42-minute loop

ZoĂŤ Leonard Born/Home San Francisco, California Education BA Cinema Production, San Francisco State University, 2010

Dress Sew the dress from memory on a form molded from my body Repeat zoe-leonard.com

MFA Studio Art, San Francisco Art Institute, 2017

(All images) Dress 2016 Performance and installation Dimensions variable

Diana Li Born/Home San Mateo, California Education BA Visual Arts Media and Ethnic Studies, University of California, San Diego, 2014 MFA Studio Art, San Francisco Art Institute, 2017

As an artist working with tele-nomadic multimedia, I experiment with technology as a means to disorient diasporic transmissions of subjective memory and knowledge. Born and raised in the United States to Chinese-Peruvian parents, I concern myself with the epistemological overloading of ethnographic and ontological information. My practice, therefore, fragments visual and sonic representations into cacophonous somatic experiences that conceptualize the liminal capacity of technology to display the cognitive afterlife of migratory human and object dementia. dianartist.com

(Left to right, top to bottom) A spirit visited my grandmother. 2017 Mixed media Dimensions variable Fatherâ&#x20AC;&#x2122;s Nest 2015 Shortwave radio tuned to Air Traffic Control, electrical cable, and light bulb 120 x 36 x 36 inches A spirit visited my grandmother. 2017 Mixed media Dimensions variable

Joy Liu Born/Home Beijing, China Education BA Fine Art, Washington State University, 2014 MFA Studio Art, San Francisco Art Institute, 2017

I believe that artwork is meaningless without building a relationship with its audience. My work tries to position audiences as creators instead of viewers. As the flashlight moves closer and farther from the hanging objects in different directions, the shadow on the wall changes constantly as well. In that sense, the actual art piece is the shadow projection created by the audience, and has countless possibilities. joyliuart.com

Inexistent Garden 2015 Wire and dry plants Dimensions variable

Marissa M. Martini Born/Home Alamo, California

(Left to right, top to bottom) Clarissa 2016 Digital inkjet print 60 x 44 inches

Education BA Linguistics, San Diego State University, 2011

Poppy 2016 Digital inkjet print 36 x 24 inches

MFA Studio Art, San Francisco Art Institute, 2017

Rikki 2016 Digital inkjet print 36 x 24 inches

Emily J. McPeek Born/Home Los Angeles, California Education BFA Painting, University of Southern California, 2014 MFA Studio Art, San Francisco Art Institute, 2017

My large-scale paintingsÂ of neighborhoods and individuals in the Bay Area are a cross between realism and caricature. These detailed, colorful depictions transform local life into hyperbolic adaptations. Within each painting, elements overlap each other to create a dense space. The hyperbole and strangeness also generate an overbearing quality.Â These particular aesthetics offer the audience a distinctive relationship with the paintings. They are confrontational, curious, and unwelcoming. emilymcpeek.com

I Get By With a Little Help From My Friends 2017 Digital inkjet print on fuji broadcloth Dimensions variable

Teddi Meislahn Born/Home Adair, Oklahoma

January 1, 2016â&#x20AC;&#x201C;January 31, 2016 teddimeislahn.com

Education BFA Photographic Arts, University of Central Oklahoma, 2014 MFA Studio Art, San Francisco Art Institute, 2017

Sink: 01.01.16â&#x20AC;&#x201C;01.31.16 2016 Archival inkjet prints Grid installation: 114 x 135 inches Each print: 13 x 19 inches

Lauren Menzies Born/Home Montclair, New Jersey

Youâ&#x20AC;&#x2122;re only as good as your last photograph. laurenmenzies.com

Education BFA Photography, Pennsylvania State University, 2015

(Left to right, top to bottom) Femme Fiction I 2016 Pigmented ink on paper 70 x 44 inches Untitled 2016 Digital inkjet print 63 x 42 inches

MFA Studio Art, San Francisco Art Institute, 2017

Untitled 2016 Digital inkjet print 63 x 42 inches

Mariela Montero Born/Home San Francisco, California Education BS Business Administration, Accounting, San Francisco State University, 2012 MFA Studio Art, San Francisco Art Institute, 2017

As a Filipina American woman, my practice investigates an evolving concept of authenticity of self through the lens of postcolonial theory. Fluid, mixed media paintings reveal a gestural method of rendering that resists a racialized representation of the figure. My approach to a western understanding of painting is underlain by a loss of access to indigenous modes of representation and meaningâ&#x20AC;&#x201D;that which cannot be expressed through an imposed language and system of viewing.

(Left to right) To Love as Manananggal, 1 2016 Mixed media on Yupo 75 x 60 x 1 inches To Love as Manananggal, 2 2016 Mixed media on Yupo 75 x 60 x 1 inches

Paula Morales Born/Home Quetzaltenango, Guatemala Education BFA Photography, Academy of Art University, 2014 MFA Studio Art, San Francisco Art Institute, 2017

I am a transdisciplinary artist interested in the decontextualization of discarded objects and technology. I work with installations that serve as modular conglomerates that use color, effects, synthesis, video, and audio, etc., to produce perceptual playfulness. I am interested in generating sensorial engagement referencing the aesthetics of futurity, plasticity, and mortality. I am invested in exploring through the creation of errors/glitches and repetition as a visible way of exploring time.

(Left to right, top to bottom) Feedback 2016 CRT TVs, wooden horse, cardboard tubes, printed grid (44 x 90 inches), plastic white column, gold ring, pink wooden box, tripod, and VHS camera Dimensions variable The Act of Pretending 2016 Found computers, silver flower coolers, fake plants, glass swan, ornaments with roses in water, headphones, and headphone stands Dimensions variable Everybody Has Fever 2016 Neon fabric, colored LED lights, projectors, tablet, crocheted carpets, real plants, silver Mylar, 32-inch flatscreen monitor, and mixed media sculpture Dimensions variable

paula-morales.com

Laurus Myth Born/Home Santa Cruz, California Education BFA Fine Arts, University of California, Santa Cruz, 2009 MFA Studio Art, San Francisco Art Institute, 2017

By collapsing the distance between the old and new, the ancient and modern crafts, I delve into participatory works that instigate the inter-human connection by catalyzing moments of engagement and thought. In my work, I experiment with writing, installation, and performance to fuse storytelling with a playful exploration of symbology, abstraction, and culture. artbylaurus.com

The Shop of Unsolved Ancestry, detail 2017 Site-specific installation and performance 90 x 96 x 60 inches

Michael Naify Born/Home San Francisco, California Education BA History, University of San Francisco, 1990; MBA, University of San Francisco, 1992 MFA Studio Art, San Francisco Art Institute, 2017

My work is about worry. When I think of the future, I am faced with the past; and as a student of history, I look for parallels that conform to paradigms I have studied. When paradigms are not present, I become anxious. By using photography I force myself to grapple with my apprehensions. My intention is to disturb the viewerâ&#x20AC;&#x2122;s expectations, with the objective of testing preconceived ideas and challenging assumptions. michaelnaify.format.com/about

(Left to right, top to bottom) Kinda Blue 2016 Archival inkjet print on cotton paper 20 x 32 inches Problemas 2016 Archival inkjet print on cotton paper 20 x 32 inches Connections 2016 Archival inkjet print on cotton paper 16 x 40 inches

Elena Padrón Martín Born/Home Canary Islands, Spain

I am a language learner. elenapadronmartin.com

Education Bachelor’s Degree, Journalism, Universidad CEU San Pablo, Spain, 2003; BFA Photography, Academy of Art University, 2014

(Top to bottom) Sand Francisco 2016 Paper confetti (130 pounds) Dimensions variable Bay K Comet 2016 Digital photograph printed on silk 100 x 42 inches

Dual Degree MA/MFA, History and Theory of Contemporary Art/Studio Art, San Francisco Art Institute, 2018 47

Anastasia Rasshchupkina Born/Home Moscow, Russia Education BFA Fashion Styling and Creative Direction, Istituto Marangoni, London, 2015 MFA Studio Art, San Francisco Art Institute, 2017

Every material surface has an unseen â&#x20AC;&#x153;subfaceâ&#x20AC;?: a complex entanglement of the aesthetic and pragmatic affordances of the material, its sociocultural heritage, the dark footprint of its production. My work reflects on relationships of power: between individuals, society and the environment, industrial production and exploitation, us and the imagined other. It manifests for a mode of recycling that does not aim at aesthetic effect, but at uncovering the subfaces of the things surrounding us. nastyart.net

Top to bottom) Epitome 2 2016 Crown: thread scraps, wire, comb, latex, and paint; pillow: plaster and ink 12 x 6 x 6 inches Epitome 1, detail 2016 Silver, stainless steel, found objects, and plaster 66 x 24 x 24 inches

Desiree Rios Born/Home Fort Worth, Texas Education BS Photojournalism, St. Johnâ&#x20AC;&#x2122;s University, 2014 MFA Studio Art, Photography, San Francisco Art Institute, 2017

My work denounces the dichotomy that exists between fine art and documentary photography. While following journalistic ethics and respecting the truthfulness that traditional documentary photography inherits, I also use perception and metaphor, rather than merely facts, when portraying the human experience. I immerse myself fully in my subjects and place myself within the community; not only to make resonating images, but also to grow lasting relationships with the people I photograph. desireerios.com

(All images) Untitled (Bay Area Against the Black Snake) 2016 Digital inkjet print Dimensions variable

Rebecca Rippon Born/Home Gainesville, Florida Education BA English, University of North Florida, 2003 MFA Studio Art, San Francisco Art Institute, 2017

Nature is inevitably entangled with all the systems we have constructed. Nature as it grows in the soil, the nature of ourselvesâ&#x20AC;&#x201D; it does not matter which. Systems run on nature equally as nature overruns systems. The lines are beginning to blur. Rather than reinforce difference, I wonder if, instead, the entire opposition could dissolve. Systems at odds with nature are to be questioned, disassembled, and reassembled. rebeccarippon.com

(Left to right, top to bottom) 7 2016 Screen print on paper; page from artist book 10 x 7 inches Page 9 2016 Screen print on paper; page from artist book 10 x 7 inches Break, detail 2016 Etching on paper 24 x 18 inches

Manny Robertson Born/Home Morris, New York

mannyrobertson.tumblr.com

(Top to bottom, left to right) Androids, in progress 2015â&#x20AC;&#x201C;2017 Digital laser jet prints, Mylar, acrylic medium, wheatpaste, and metallic pigment(s) Left to right: 96 x 60 inches, 144 x 96 inches,Â 96 x 60 inches

Education BS Visual Art, The State University of New York at New Paltz, 2014

Angel_01, still 1 2016 Two bodies and wired fluorescent ring light Dimensions variable

MFA Studio Art, San Francisco Art Institute, 2017

Angel_01, still 2 2016 Two bodies and wired fluorescent ring light Dimensions variable

Orly Ruaimi Born/Home Israel

boolean fight; boolean peace;

Education BS Finance, George Mason University, 2007; MFA Jewelry and Metal Arts, Academy of Art University, 2015

int main () { while (1) { peace = !fight; fight = !peace; if (peace && fight) return 0; } }

MFA Studio Art, San Francisco Art Institute, 2017

Human translation: “I’ll fight you just to get peace.” –Rapper M.I.A., “Bucky Done Gun”

(Left to right, top to bottom)

orlyruaimi.com

Phantom Risk Management 2016 Video 2:46 minutes vimeo.com/198063471 Dagger Gauntlet and The Vegetarian 2016 Forged steel and paint 19 x 6.5 x 6 inches Bed Shield 2016 Welded steel, mattress, and sheet 39 x 41 x 79 inches

Paolo Salazar Born/Home Baguio City, Philippines Education BFA Studio Art/Art History, San Francisco State University, 2005 MFA Studio Art, San Francisco Art Institute, 2017

Through the lens of pop culture, my practice investigates the homosocial terrain in which Western culture shapes Asian masculinity. Through the language of mischief, athletics, and camaraderie, my work explores transient themes of hybrid identities, domesticity, and beast mode. Using layers of paint as a spectrum of complexions, I negotiate between realism and expressionism to depict racial misconceptions. paolosalazar.com

â&#x20AC;&#x2122;Merica 2016 Oil on canvas 60 x 48 x 1.75 inches

Kimber Shaw Born/Home Indianapolis, Indiana Education BFA Photography, Herron School of Art + Design, 2013

this is just your typical pale white male art. be.net/kimberphotography

(Left to right) Light Series 1 2015 Chromogenic print 35 x 49 inches Conversations With Myself 2015 Chromogenic print 49 x 35 inches

MFA Studio Art, San Francisco Art Institute, 2017

Linghao_Zero Shen Born/Home Shanghai, China Education BA Painting, Shanghai Institute of Visual Art, 2012 MFA Studio Art, San Francisco Art Institute, 2017

I use luminescent materials to represent the connections between memory, light, and time. While memories store time and its traces, they can never capture the entirety of our experiences. As viewers move through my installations, light traces are left on luminescent materials, like the traces of time left in our memories. The visual experience embodies the physical change of memory: beautiful and melancholic, like faint lights flickering in dark spaces, a process of recollection and loss.

(Top to bottom, left to right) The Scenery in Heart: Theater of History 2015 Wooden boxes, luminescent photos, UV light, and text 30.5 x 24 x 16 inches Beauty That Is Consuming 2016 Luminescent tape and rotating UV light Dimensions variable One Beach Night 2016 Found beach materials and UV light Dimensions variable

Yang Shi Born/Home Huai Yin, China Education BA Fine Art Education, China Academy of Art, 2013

I find inspiration in the beauty of everyday life and personal documentation. Through sourcing photographs from the lives of my friends, and myself, I create paintings that reflect on the beautiful moments of being lost in realism.

MFA Studio Art, Painting, San Francisco Art Institute, 2017

(Top to bottom, left to right) Lost No. 4: Grand Canyon 2015 Watercolor on wood 12 x 12 inches Lost No. 3: Traveling in Hills and Rivers 2015 Oil on canvas and collage 16 x 12 inches Lost No. 1: Untitled 2015 Oil on wood 16 x 20 inches

Kathy Sirico Born/Home Philadelphia, Pennsylvania Education BS Art History, Studio Art, Skidmore College, 2012; Post-Baccalaureate Certificate, San Francisco Art Institute, 2015 MFA Studio Art, San Francisco Art Institute, 2017

I reimagine painting as a language of skins and structures. Through experimental textile-based practices, I sculpturally re-envision actions of painting. Creating is a ritual activity through which I mark experiences. In processing material, I raise questions of ecological and biological futurity. My work weaves narratives of memory, fiction, desire, and loss, challenging the authenticity of natural and artificial realities in a world threatened by climate change and global catastrophe. kathysirico.com

(Left to right, top to bottom) Oracle 2016 Found mixed media 65.8 x 41 x 33 inches Sugar Rush 2016 Mixed media 32.5 x 19 x 27 inches Overgrowth 2016 Mixed media 36 x 23 x 5 inches

Julia Houe Sorensen Born/Home Reno, Nevada Education BA Visual Arts, University of San Diego, 2014 MFA Studio Art, San Francisco Art Institute, 2017

After years of experimentation, I have developed a series of nonrepresentational drawings that employ tools from painting, sculpture, and installation. My works, which are informed by the struggle of chaos and structure, fill the gallery space with a haunting presence that is simultaneously inviting and unsettling. The clusters of hanging drawings, gently animated by inadvertent wind currents created by passersby, reference desiccated yet beautiful bodies that are vulnerable to our gaze and touch.

(Left to righ, top to bottom) Embodied Memories 2016 Latex, India ink, and mixed media 180 x 72 x 72 inches Untitled #2 2014 Japanese mulberry paper, India ink, gouache, and string 72 x 36 inches Untitled (1â&#x20AC;&#x201C;4) 2014 Japanese mulberry paper, India ink, gouache, and string 108 x 36 inches

Zhuo Sun Born/Home Shijiazhuang, China Education BFA Photography, Xi’an University of Technology, China, 2013 MFA Studio Art, Photography, San Francisco Art Institute, 2017

I use the camera as a tool of exploration with each image as evidence of “self-growth.” I am interested in uncovering the relationship between “internal” and “external,” and how the “conscious” can be revealed. Through the process of photographing, I transform the subconscious experience into a visible object as a way to understand time and identity. sunzhuo.me

(All images) Estoy a Oscuras 2016 Archival inkjet print 18 x 29 inches

SuperMrin Born/Home Delhi, India Education GDPD Exhibition and Spatial Design, National Institute of Design, India, 2010 MFA Studio Art, San Francisco Art Institute, 2017

I build large-scale installations that fuse my background in architecture with art and design. These installations are sites for emotional, embodied experiences that offer hope, wonderment, and imaginative alternatives to the mundane. The works are the results of my experiments, disjointed in form, aesthetic, and method, each a proposition coming to life. The spaces I design often enter the realm of social practice, doubling as venues for collaborative workshops, performances, and interventions that encourage human interactions. streetlight.space

(Left to right, top to bottom) Distance, detail 2016 Vinyl wallpaper 96 x 192 x 144 inches Things in Colour, Shaking 2016 Concealed motors set in a vibrating floor and duct tape sculptures Dimensions variable Distance, installation view 2016 Vinyl wallpaper 96 x 192 x 144 inches

Devan Tate Born/Home Columbus, Mississippi Education BA Art, Morehouse College, 2014 MFA Studio Art, San Francisco Art Institute, 2017

This body of work was a direct result of coming to terms with and healing from the trauma of racism, discrimination, and fuckery I have faced as a Black man in the United States of Amerikkka. This fuckery was even more highlighted upon attending San Francisco Art Institute with all the “well-intentioned” white liberals. devantate.com

(Top to bottom, left to right) Sambo (N): ¾ Negro, ¼ European, Maybe Injun, Still Three-Fourths Man 2016 Acrylic on canvas 11 x 9 inches Affirmative Action—Er, I Mean Diversity Hire . . . See Him, Don’t Hear Him—Feel Free to Touch Him 2016 Acrylic on canvas 9 x 6 inches You Got Me Fucked Up, cover art 2016 Adobe Illustrator 8 x 8 inches

Yağmur Uyanık Born/Home Antalya, Turkey Education Bachelor of Architecture, Istanbul Bilgi University, 2014 MFA Studio Art, Art and Technology, San Francisco Art Institute, 2017

Through exploring engagements with technology that unfold unexpectedly, my work extends digital media to the point where it becomes a physical experience, and focuses on the creation of phenomena that transcend physicality. With my background in architecture and music, and based on spatial thinking, I create unique areas for the audience to experience new encounters with sound, light, and data—to comprehend the limits of reality in physical and virtual spaces. yagmuruyanik.myportfolio.com

(Top to bottom, left to right) Recurrent 2016 Programmed LEDs on metal 72 x 90 x 60 inches Vanishing Point 2015, in collaboration with Can Büyükberber Electroluminescent wire 120 x 100 x 100 inches Recurrent II 2016 Digital inkjet print 32 x 44 inches

Tito Vandermeyden Born/Home San Francisco, United States Education Doctorandus Degree, Social Geography and Geographic Information Systems (GIS), Utrecht University, The Netherlands, 1994 MFA Studio Art, San Francisco Art Institute, 2017

My Body is a series of mixed media explorations narrating my bodyâ&#x20AC;&#x2122;s journey through the physical process of breakdown and healing from non-Hodgkin lymphoma. I painted multiple layers of chemicals on large-scale black paper to represent the inevitable breakdown of my body when exposed to multiple doses of chemotherapy. To contrast this chemical breakdown, I painted several layers of iodine on large-scale white paper to express the healing of my body. titovandermeyden.com

(Left to right, top to bottom) Iodine on White Paper 3, detail 2016 Iodine and archival inkjet print on paper 84 x 45 inches Iodine on White Paper 2 2016 Iodine and archival inkjet print on paper 84 x 45 inches Chemicals on Black Paper 1 & 2 2016 Chemicals on paper 40 x 64 inches

Arika von Edler Bready Born/Home Providence, Rhode Island Education BA Human Ecology, College of the Atlantic, 2012 MFA Studio Art, San Francisco Art Institute, 2017

My work focuses on female sexuality in a country void of affordable women’s healthcare. These women design their futures using traditional women’s textiles to demonstrate the control they have over the reproductive aspect of their own bodies. The incorporation of textiles is an homage to traditional women’s work, but due to its soft and strong duality, it is representative of femininity itself. The textiles/embroidery are intended to be emblematic of unraveling. Personal unraveling, political unraveling, gender unraveling. arika.me

Unplanned Parenthood, diptych 2016 Oil on canvas 75 x 36 inches each

Wang Chu Born/Home Jinan, Shandong, China Education BFA Animation, Beijing Film Academy, 2012; Post-Baccalaureate Certificate, San Francisco Art Institute, 2015

I juxtapose my family snapshots (1954–2003), historical references, and the photographs I’ve recently taken to deconstruct and resonate with different cultural modalities of China during an era of rapid variation and changing expectations toward “western” life. chuwangart.com

(Top to bottom, left to right) The Statue 2016 Archival inkjet print 24 x 36 inches Wander Above the Sea of Fog 2016 Archival inkjet print 24 x 36 inches ID 2016 Archival inkjet print 36 x 24 inches

MFA Studio Art, Photography, San Francisco Art Institute, 2017

Weijue Wang Born/Home Nanjing, China Education BA Studio Art, College of Saint Benedict & Saint Johnâ&#x20AC;&#x2122;s University, 2015 MFA Studio Art, San Francisco Art Institute, 2017

Contemporary women are freer to think and act. With enhanced freedom, however, some threaten their selfesteem by seeking painful cosmetic surgeries. In the name of beauty, some women commoditize their bodies to fit into sexualized beauty norms. These soft and fluffy female private-part jewelries are born in my needleâ&#x20AC;&#x2122;s sharp penetration through the felt. Underneath their harmless domesticity, I want to unveil the profound violence and irony in female commodification and mass-produced beauty. weijuewang.com

(Top to bottom, left to right) The Jar 2016 Needle-felted wool in glass jar 3.5 x 3.75 x 3.75 inches Airport Dream 2016 Needle-felted wool Dimensions variable The White Collection 2016 Needle-felted wool Dimensions variable

Aaron Wilder Born/Home Phoenix, Arizona Education BA International Affairs and Art History, Northern Arizona University, 2007; MA Global Affairs and Management, Thunderbird School of Global Management, 2008 MFA Studio Art, San Francisco Art Institute, 2017

I am an interdisciplinary artist who blurs boundaries between the analog and the digital, the public and the private, and the unassuming and the instigative. My work explores the introspective and social processes of contemporary culture in the way an anthropologist would analyze fragments of an ancient civilization. My concept-driven projects all incorporate my core belief that art can and should be used as a tool for generating critical thinking, dialogue, knowledge sharing, and understanding. aaronwilder.com

(Top to bottom, left to right) Imaginary Friends 2016 Silver gelatin prints 11 x 14 inches Delivered Under the Similitude of a Dream 2016 Installation Dimensions variable You Have the Right to Remain Silent 2016 Installation Dimensions variable

Hang Yin Born/Home Beijing, China Education BFA Fashion, Academy of Art University, 2015 MFA Studio Art, San Francisco Art Institute, 2017

In my view, the maneuverability and the plasticity of time are the two important traits of photography. My work explores the contradictory possibilities of the photographic forever-still image, inserting sculpted forms that resemble â&#x20AC;&#x153;timelessâ&#x20AC;? landscapes within the imaginary space-time of the photograph. Most of my work is staged photography. I also work to draw attention to the circumstances and processes that generate borders between experience and imagination.

(Top to bottom, left to right) Calm Lightness 2015 Archival inkjet print 44 x 79 x 2 inches Zi Qi 2015 Archival inkjet print 44 x 79 x 2 inches Rise 2016 Archival inkjet print 51 x 44 x 2 inches

Maryam Yousif Born/Home Baghdad, Iraq; Windsor, Canada; Oakland, California Education BA Honors in Visual Arts and Communications Studies, University of Windsor, 2008 MFA Studio Art, San Francisco Art Institute, 2017

According to an online quiz, I’m an ambivert! Someone who falls center of the introvert-extrovert spectrum. A shy extrovert/a dramatic introvert. A performer without an audience, a set designer without a theater. Perhaps these entangled webs of contradictions result from a spatially fractured upbringing of East/West, Baghdad/Windsor. I can’t decide, and it’s precisely this vacillating landscape of personal and cultural confusion which is at the heart of my studio practice. maryamyousif.com

(Top to bottom, left to right) Souvenirs 2016 Glazed ceramics Dimensions variable Draft for Scroll 2016 Acrylic, oil pastels, and colored pencils 72 x 60 x 3 inches 3-Piece Hidden Artifact: Back on Top 2016 Glazed ceramics 34 x 24 x 3 inches

MA Thesis Projects

Dear Graduates, It was an uncommonly challenging year, but you remain the extraordinary, talented individuals that you are—a little less starry-eyed, perhaps, but more critically astute, clever, and compelled to imagine better possible worlds. Hopefully, we’ve added a few tools to your boxes to help you build them. A few words to ponder on your way: 1. “Excellence is the capacity to burn through everything but the truth.” Dewey Crumpler 2. “Inspiration is for amateurs. The rest of us just show up and get to work.” Chuck Close 3. “Pay attention. It’s all about paying attention. Attention is vitality. It connects you with others. It makes you eager. Stay eager.” Susan Sontag 4. “It is what you read when you don’t have to that determines what you will be when you can’t help it.” Oscar Wilde 5. “Finally, from so little sleeping and so much reading, his brain dried up and he went completely out of his mind.” Miguel de Cervantes 6. “ . . . [S]taying with the trouble requires learning to be truly present, not as a vanishing pivot between awful or edenic pasts and apocalyptic or salvic futures, but as mortal critters entwined in myriad unfinished configurations of places, times, matters, meanings.” Donna Haraway 7. “It was a bright cold day in April, and the clocks were striking thirteen.” George Orwell 8. “You have to act as if it were possible to radically transform the world. And you have to do it all the time.” Angela Davis

9. “The most regretful people on earth are those who felt the call to creative work, who felt their own creative power restive and uprising, and gave to it neither power nor time.” Mary Oliver 10. “That which seems like a false step is the next step.” Agnes Martin 11. “[Art] is an intensified form of experience.” John Dewey 12. “Grace—to be born and to live as variously as possible.” Frank O’Hara 13. “No fear or shame in the dignity of yr experience, language & knowledge.” Jack Kerouac 14. “The idea of doing something purely for the delight of it has always rattled the grey-bearded guardians of the state. Sheer pointlessness has always been a deeply subversive affair.” Terry Eagleton 15. “And our faces, my heart, brief as photos.” John Berger 16. “Be one of the people on whom nothing is lost.” Henry James 17. Most important of all: “Welcome to Earth . . . On the outside, babies, you’ve got a hundred years here. There’s only one rule that I know of, babies—God damn it, you’ve got to be kind.” Kurt Vonnegut

I hope that you will learn at least as much from the students you encounter as I have from all of you.

As always, looking forward . . . Claire Daigle Chair, Master of Arts Department

Emily Alexander Born/Home San Francisco, California Education BA Arts in Context, Eugene Lang College of Liberal Arts at The New School, 2009 MA History and Theory of Contemporary Art, San Francisco Art Institute, 2017 emilyalexander.net Something in the A-I-R: A Critical Inquiry into Bay Area Artist-in-Residence Programs, Missions, and Models The Bay Area has always been an epicenter for cultural advancement, and today there is a new surge of wealth and influence, this time generated largely by the technology giants headquartered in San Francisco and nearby Silicon Valley. This thesis examines the unique geographic, economic, and creative

landscape of the Bay Area and how this environment shapes the artwork produced here. More specifically, this research traces the history of publicly and privately operated artistin-residence (AIR) programs. Other established forms of art patronage have been rigorously analyzed, but there is little documentation or academic inquiry dedicated to AIR programs. Using a sampling of programs in Northern California, I will draw connections between the state of contemporary art, emerging technology, and capital. Originally, residencies were created as institutions made a commitment to providing artists with the space and resources needed to create new work. In doing so, the institutions offered artists a retreat from the distractions and pressures of everyday life. This thesis provides case studies of the Djerassi Resident Artists Program and Headlands Center for the Arts,

both established in the early 1980s, as examples of a more traditional, notfor-profit residency model. Several decades later, by the early twentyfirst century, mega-corporations and smaller companies began to install their own AIR programs by inviting curators and artists out of the woods and into office spaces. Facebook and Autodesk serve as case studies in unpacking the complexity of situations where independent artists were invited to contribute work in support of a corporate mission. This research is critical, but not intended to be polemic, and equally considers perspectives of patrons and artists alike. What are the ways in which these public and private programs diverge, and how are they similar? Finally, what does this mean in a political climate where artists must become more reliant on private funding in order to support themselves and their practice?

Autodesk workshop at Pier 9 2016 Photographed by Fabrice Florin ÂŠ Fabrice Florin Courtesy of Fabrice Florin

Elisabeth Kohnke Born/Home San Francisco, California Education BA Electronic Music, Mills College, 2002 Dual Degree MA/MFA, History and Theory of Contemporary Art/Studio Art, New Genres, San Francisco Art Institute, 2017 elisabethkohnke.com The Polar Bear Is Already Dead: Tracing the Anthropocene Through Contemporary Sculpture Environmental Art has taken on various forms and methodologies (e.g., site speciﬁcity, eco-art, and ecofeminism) during the past sixty years, consistently addressing humanity’s dysfunctional relationship with nature.

However, in the current globalized and digitized era of communication and readily accessible information, reactions to humankind’s impact on the earth have begun to appear within art practices in unexpected places. Climate scientists and academic scholars have produced indisputable data that directly ties human habits and actions to climate change, species extinction, and worldwide pollution. These human-driven changes have earned the title “the Anthropocene,” and an art movement, Art in the Anthropocene, quickly arose to address these dire ecological implications. This genre carries with it some of the same traditional modes of education and datadriven research found in Environmental Art, but it extends its reach beyond these original concerns by stressing the negative impacts on humankind in addition to the effects on nature.

By addressing a selection of somewhat playful contemporary art installations that are not traditionally associated with the Anthropocene genre or its ecological predecessors, works by Wilfredo Prieto, Tom Friedman, Michael Sailstorfer, and Virginia Overton reveal the latent condition of societal denial and the foundation of Anthropocenic issues that have situated humanity in many of its present enviro-political dilemmas. Inducing a criticality of humankind’s systems of prosperity and consumption will uncover the core of many environmental problems humanity faces today and should be of paramount focus in the relevance of Art in the Anthropocene. This project argues that the thematic focus art has historically placed on human-driven ecological catastrophes is no longer a successful strategy in motivating societal imaginings and change. This thesis addresses these works of art in light of current enviro-political conundrums and the resulting theoretical, philosophical, and psychological discourses—revealing their precise yet covert connections to the forces of power, order, entropy, and friction that play key roles in determining the future of human survival.

Popcorn Machine 2012–2016 Michael Sailstorfer’s Popcorn Machine in the Sammlung Boros Collection, Berlin, popped popcorn every day it was open for tours, continuously for four years. Photographed by Elisabeth Kohnke © Elisabeth Kohnke Courtesy of Elisabeth Kohnke

Lauren Licata Born/Home San Francisco, California Education BA Art History, University of California, Los Angeles, 2010 MA Exhibition and Museum Studies, San Francisco Art Institute, 2017 rsfprojects.com Staging Microtopia: The Art Encounter as Worldbuilding Drawing from J. L. Austin’s speech act theory, I will coin a performative turn within the field of exhibition making in which the transformative potential of art is reframed from the transference of knowledge to the implementation of new realities. I argue not only for an art beyond representation, but also as a mediating third object—toward an understanding of meaning as the condition of being-with, and the space of exhibition as a bonafide political arena. While many scholars have detailed the ways in which relational encounters and community building can shape new worlds (forging social ties, discursivity, education, and creative placemaking), these approaches are often employed as platforms or frameworks within which further change can transpire—yet while rife with potentiality, these methods do not necessitate transformation.

I pose the space of the exhibition as ideal for its suspended, spatiotemporal format, where harnessing ephemerality, theatricality, and liminality can coopt and intensify the essence of experience itself. Within the spectrum of performative space, I detail three categories of fabricated mutualities that engage in collective imagining and engender true activism. In choreographing convivial microtopias, we may stage and rehearse potential futures, revealing counter-narratives and playing out alternative modes of being. In the formation of disparate or arbitrary counter-publics, we may catalyze processes of unlearning and induce unifying shared experiences. In manufacturing and sustaining polemical spaces, the act of agonistic pluralism begets the very practice of democracy, or of performing collectivity.

Above all, I ask: How are performative spaces constructed to fulfill civic roles and enact tangible change within communities? This is an examination of what art, artists, and art spaces are capable of doing, an inquiry into the agency of culture, and an exploration of how some have actualized more successfully than others. Constance Hockaday Attention! We’ve Moved Featuring performance by Dynasty Handbag 2017 Photographed by Robert Divers Herrick © The Lab Courtesy of The Lab

Ye Liu Born/Home Jiangsu, China Education BA Art History, Shanghai University, 2012 MA Exhibition and Museum Studies, San Francisco Art Institute, 2017 The Consumer-Oriented Model of Museum Education: Challenges for SFMOMA

This project takes the San Francisco Museum of Modern Art (SFMOMA) as a case study in the changing role of education in modern and contemporary art museums in the United States. From its establishment under the leadership of Grace McCann Morley in 1935, to its recent significant three-year expansion, SFMOMA has had important influence on the West Coast art scene. This thesis traces the history of SFMOMA’s involvement with museum education as it moved into the “Educational Turn” at the end of the twentieth century, as education came to be a major objective rather than mere support for museum collections and exhibitions. By looking at how SFMOMA’s curatorial and educational practices have developed and changed over its history to the present, I discuss how museum education has been profoundly

affected by the values of neoliberalism. Furthermore, I analyze the idea that a consumer-oriented model of museum education increasingly characterizes SFMOMA and other modern art museums in the country as a result of the late capitalist economy, and I elaborate on the characteristics of different aspects of this model. I also explore the problems revealed by the “Educational Turn” about consumer orientation, such as the museum’s dilemma between scholarship and popularization, and I look at the factors that cause these problems. By looking into the dynamics between curators and educators and the degree to which their roles are distinct, I want to consider the system in which museum education is designed and implemented, thus helping us to better understand how we might re-envision museums’ societal roles in the twenty-first century.

SFMOMA 2017 Photographed by Ye Liu

Elizabeth Rose Lou Born/Home Boston, Massachusetts Education BA “The History and Practice of Surrealism from the Still to Moving Image,” Gallatin School of Individualized Study, New York University, 2013 Dual Degree MA/MFA, History and Theory of Contemporary Art/Studio Art, San Francisco Art Institute, 2017 roselou.com Spacetime in Flux: Contemporary Intersections of Art + Physics At the turn of the twentieth century, such figures as Albert Einstein and Niels Bohr revolutionized the classical model of physics originally developed by Sir Isaac Newton regarding the concepts of space, time, and matter. Einstein’s theory of relativity not only challenged our understanding of the physical universe, but also the nature of reality itself. Alongside Einstein’s discoveries, Bohr developed crucial contributions that led to the emergence of quantum theory, resulting in an exploration of the very matter of reality itself at a subatomic level. This reconception of spacetime has had a profound impact on the arts. While a fair amount of attention has been paid to Einstein’s early influence on the avant-garde, particularly Cubism, this thesis project draws attention to recent art practices that continue to grapple with the implications that have proliferated in the wake of Einstein’s and Bohr’s theories.

The emergence of time-based media such as video (which owes its advancement to quantum mechanics) played an important role in the early development of artists reflecting upon new conceptions of space, time, and reality. Radical developments at the intersection of art and theoretical physics emerged in the 1960s and 1970s with such artists as Shigeko Kubota, Charlotte Moorman, Bridget Riley, and Joan Jonas. Such work suggests that—in times of civil, social, and political upheaval—physics might offer a means of imagining other possible realities.

Bridget Riley Current 1964 Synthetic polymer paint on composition board 58¾ x 58⅞ inches Photographed by Thad Zajdowicz © Public Domain Alicja Kwade Teleportation 2011 Glass and Kaiser-Idell lamps Dimensions variable Photographed by Thomas Gunnar Bagge © Thomas Gunnar Bagge Courtesy of Thomas Gunnar Bagge

Bringing us into the contemporary context, this thesis invites readers to question their own relationship to spacetime, and to accept an expanded perception of the “boundaries” between two-, three-, and four-dimensional works of art. This thesis draws upon the theories and concepts presented by physics and brings them into dialogue with contemporary art practices and their broader context. Looking at the work of Pipilotti Rist, Hito Steyerl, and Alicja Kwade provides an opportunity to consider how art might think with physics.

Cristina Velázquez Valencia Born/Home Lázaro Cárdenas, Michoacán, Mexico Education BFA Painting, San Jose State University, 2001 Dual Degree MA/MFA, History and Theory of Contemporary Art/Studio Art, San Francisco Art Institute, 2017 cristinavelazquez.com “No Hopes But Realities”: Teresa Margolles’ Aesthetics of Absence

Contemporary artist Teresa Margolles’ experience as a morgue technician, looking at bodies of victims of organized crime violence, has profoundly informed her practice. This thesis examines the presence and absence of life as presented by Margolles’ diverse body of controversial artwork. It addresses the ethics of reclaiming found human remains and commodifying them as art objects. Her story of a country plagued by organized crime is restaged in the gallery, far removed from its volatile epicenter. The primary focus here is Margolles’ Muro Baleado/Shot Wall (Culiacán), 2009, as an index of crime in contemporary Mexico. Margolles’ use of found, readymade objects alters art spaces. Such a process of reclamation is crucial in defining Margolles’ political aesthetic and

(Left to right) Cristina Velázquez Valencia Holes in the System 1 2017 Photograph Dimensions variable Photographed by EfrenAve © Cristina Velázquez Valencia Courtesy of the artist Cristina Velázquez Valencia Holes in the System 2 2017 Photograph Dimensions variable Photographed by EfrenAve © Cristina Velázquez Valencia Courtesy of the artist

ethics as a form of social art practice. This thesis interprets Margolles’ appropriation of found objects and biological material directly related to death as an artistic gesture in relation to a population continuously encountering drug wars in Mexico. The dead have become immortalized through objects marked by the same force of violence— including blood, glass shards, and walls collected from crime sites. Margolles’ actions intensify the recognition of death by transplanting these materials in an attempt to move viewers toward witnessing and potentially counteracting criminal activities. In a country where objects and subjects are treated and discarded with the same regard, Margolles reveals this grim reality for the world to see in hope of a changed reality.

Collaborative Projects Collaborative Projects are small, practice-based seminars specifically modeled to provide MFA, MA, and Dual Degree students with pragmatic exhibition skills and professional curatorial experience in a variety of gallery, museum, and archival contexts within and beyond SFAI. Each group works together with an established curator or other professional with expertise in a given field on a current, thematic project. The fundamental aim of the Collaborative Projects is to stage an exhibition with attendant programming and accompanying written materials. In Fall 2016, Betti-Sue Hertz and Robert Atkins led a group in a preliminary exploration toward a large-scale, multi-venue project on the work of Susan Sontag. In Spring 2017, students worked to expand the archive of Museum of Arte Ă&#x161;til in conjunction with the 2017 retrospective of Tania Brugueraâ&#x20AC;&#x2122;s work at the Yerba Buena Center for the Arts.

Interpreting Sontag Faculty Robert Atkins Betti-Sue Hertz Students Emily Alexander Allison Hall Stephanie Kudisch Ye Liu

Rose Lou Anastasia Rasshchupkina Julia Sorensen Cristina Velázquez Valencia

Diego Rivera Gallery, San Francisco Art Institute November 13–19, 2016 Interpretation, Illness as Metaphor, and Regarding the Pain of Others. Over 300 books in the installation were subsequently gifted to the permanent collection of SFAI’s Anne Bremer Memorial Library. On opening night, visitors were treated to a performance by SFAI alumnus Zulfikar Ali Bhutto, which was documented by Rose Lou. This course and exhibition were a celebration of Sontag’s work and a reconsideration of her theories and criticisms that remain relevant today. Throughout her writing, Sontag championed visual arts as a means of promoting human rights and challenging the status quo. Reading her work was a useful tool for sorting out our own moral and ethical values.

In the Fall 2016 Collaborative Projects, students examined the influence of Susan Sontag as a cultural and intellectual icon—and artist in her own right. Near the end of the semester, MA and MFA candidates curated a group exhibition held in the Diego Rivera Gallery, showcasing original artworks inspired by texts read in class. As part of the show, objects and installations on display were accompanied by quotes from Sontag. Included in the exhibition were paintings by Stephanie Kudisch on the theme of “camp” and a rock and mineral installation by Cristina Velázquez Valencia inspired by Sontag’s novel The Volcano Lover. Emily Alexander, Ye Liu, and Julia Sorensen recreated an abbreviated version of Sontag’s library based on references in four of her essay collections: On Photography, Against

Opening night performance by Zulfikar Ali Bhutto November 15, 2016 Photographed by Kimber Shaw © Kimber Shaw Courtesy of Kimber Shaw

Evolving the Archive: Arte Útil in the Bay Area Faculty Fiona Hovenden Lucía Sanromàn Curator and Archivist of the Asociación de Arte Útil Alessandra Saviotti Students Shanza Elahi Lauren Licata Ye Liu Nicholas Mittelstead Kate Rennels

Diego Rivera Gallery, San Francisco Art Institute, and an additional pop-up location

Bertha Rodriguez Amina Shah Jiaming Song Weiying Yu Aaron Wilder

April 16-22 and May 3, 2017

The Spring 2017 Collaborative Project course was a joint venture between Yerba Buena Center for the Arts (YBCA), the Asociación de Arte Útil, and SFAI. It was conceived as a contribution to the exhibition Tania Bruguera: Talking to Power / Hablandole al Poder, which was organized by YBCA and curated by Lucía Sanromán, director of visual arts, and Susie Kantor, curatorial associate.

The Arte Útil archive is now an independent project that presents a growing collection of over 200 case studies that consider art as a tool. Each describes art that imagines, creates, and implements beneficial outcomes by producing tactics that change how we act in society. In this course, students helped to extend the archive, drawing from the rich body of work being produced by Bay Area artists. Students worked in groups to engage with the selection criteria and the theoretical framework embodied by these criteria, helping the curators identify new works to add to the archive and exploring ways to support the expansion and mediation of the archive as a project in itself.

Arte Útil, a concept developed by Cuban artist Tania Bruguera, roughly translates into English as “useful art,” but it goes further, suggesting art as a tool or device. The notion of what constitutes Arte Útil has been defined via a set of criteria formulated by Bruguera and curators at the Queens Museum, New York; Van Abbemuseum, Eindhoven; and Grizedale Arts, Coniston. Arte Útil had a further application, coordinated by curator and archivist Alessandra Saviotti, as part of the commissioned artwork for the YBCA exhibition in the form of the Escuela de Arte Útil (School of Useful Art), which transformed the gallery space into a classroom with materials that included Arte Útil in the Bay Area.

Students had the opportunity to collaborate, curate an archive, and participate in a living, dynamic, international art project. They organized a pop-up Office of Arte Útil, where they presented a selection of case studies and a series of tool kits in order to emancipate and mediate usership around the archive.

Evolving the Archive: Bay Area 2015–2016 Evolving the Archive aims to reactivate and mediate the Arte Útil’s archive within and beyond the museum’s context, developing a program of workshops and discussions hosted by different organizations. Photographed by Brea McAnally © Asociación de Arte Útil Courtesy of Asociación de Arte Útil

Selected Projects The Selected Projects section provides a glimpse into our studentsâ&#x20AC;&#x2122; extracurricular projects, which contribute to making SFAI an exceptional place of learning. Through their off-campus and on-campus exhibitions, lectures and events, publications, creative collaborations, curatorial initiatives, and communitybased projects, our graduate students demonstrate their roles as active members of the larger Bay Area art community.

Alternative Dementia Students Tom Colcord Rebecca R. Kaufman Diana Li Zhuo Sun Aaron Wilder Diego Rivera Gallery, San Francisco Art Institute January 30â&#x20AC;&#x201C;February 3, 2017

Through a visual and sonic echo of glitches, waves, patterns, and blurs, Alternative Dementia featured artwork manipulating space and time to replicate the fantastical fissure between memory and reality. Participating in a rigorous practice of memory loss, these artists disoriented constructed notions of their temporal and spatial subjectivities, where past, present, and future collapse into alternative universes. As the digital, augmented, and virtual age takes hold of our momentary afterlives, its compulsive human motion and consumption lead to the hastening of an agential deterioration.

(All images) Alternative Dementia 2017 Documentation of exhibition Photographed by Aaron Wilder ÂŠ Aaron Wilder Courtesy of Aaron Wilder

Such agency is vastly interwoven with simulacra that are always already referential to scenes that may or may not be real. The unprogrammed media in the show, such as painting, analog photography, and orphaned technology, defied the highly processed information of our contemporary landscape. Existing within its own network of historical fissures, the Diego Rivera Gallery was a fitting and relevant host for viewers to experience Alternative Dementia, a collaborative project blurring the boundaries between the artistic practices and works of the artists.

The Annual Murphy & Cadogan Contemporary Art Awards Exhibition Students Can Büyükberber Rebecca R. Kaufman Rebecca Rippon Manny Robertson Orly Ruaimi Linghao_Zero Shen SOMArts Cultural Center, San Francisco September 1–24, 2016

The Jack K. & Gertrude Murphy Award and the Edwin Anthony & Adalaine Boudreaux Cadogan Scholarships help fuel the continued forward-thinking visual arts movement that makes the Bay Area unique. Established in 1986, these awards are designed to further the development of Bay Area MFA students and to foster the exploration of their artistic potential in hybrid practice,

installation, mixed media, painting, photography, and sculpture. The winner of the Murphy Award received $40,000, and winners of the Cadogan Scholarships received $6,500 each; all awardees had their work displayed in a professionally curated exhibition at SOMArts Cultural Center in September 2016. Of the 14 artists selected in 2016, six of them were SFAI students. somarts.org/murphycadogan2016

(Top to bottom) Murphy & Cadogan award winners and selection committee on opening night Photographed by Kelly Wu © 2017 Courtesy of SOMArts Cultural Center Award-Winning work by Can Büyükberber and Manny Robertson Photographed by Kelly Wu © 2017 Courtesy of SOMArts Cultural Center

Appendix Students Diana Li Mariela Montero Other Participants Erina C Alejo Stephanie Canlas Marlene Iyemura Shelley Kuang Vida Kuang Jayne Manuel aka j.guinto alexis macapinlac selleck Lisa Pradhan Celi Tamayo-Lee Sasha Vu

In the summer of 2016, Diana Li and Erina C Alejo, fellows of the Asian American Women Artists Association’s Emerging Curators Program, curated Appendix, an exhibition at the Pacific Heritage Museum. In lucid moments of stress or pain, the appendix is an organ whose unread cultural histories push their way into significance, carrying weight onto an overlooked past, present, and future. Showcasing work from 10 emerging Asian American women and queer artists—including Mariela Montero—the exhibition worked to activate personal and intimate narratives of mental and historical trauma, while

Pacific Heritage Museum (sponsored by East West Bank), San Francisco, California Exhibition: May 28–July 9, 2016 Opening: May 28, 2016 Artist Talk and Closing: July 9, 2016 Since the exhibition dates, Appendix acts as an ongoing collective.

(Left to right) Viewers looking at artwork by Sasha Vu during the opening reception 2016 Photographed by Diana Li © Diana Li Courtesy of Diana Li and Erina C Alejo Appendix exhibition flyer 2016 © Diana Li and Erina C Alejo Courtesy of Diana Li and Erina C Alejo

bravely reclaiming and empowering intergenerational memories as part of the world we live in today. Program advisors for the exhibition included Michelle Lee, Melanie Elvena, and Linda Inson Choy, all part of the Asian American Women Artists Association. Today, Appendix continues as an ongoing collective of Asian American womxn, queer, and allied artists whose art and community practices in the Bay Area work to reclaim personal, intimate, and diasporic narratives of intergenerational memory and trauma.

Catching Dreams of Hope Student Cristina Velázquez Valencia San Jose Museum of Quilts and Textiles Artist in Residence Program January–March 2017

(Left to right) My Dream Catchers Stand Tall 2017 Photographed by EfrenAve © Cristina Velázquez Valencia Courtesy of Cristina Velázquez Valencia

Catching Dreams of Hope parallels the intricate realization of dreams and the positive energy that is required while trying to achieve them. Cristina Velázquez Valencia created this project as a response to the current political struggles this nation is experiencing and her awareness of the emerging negative thoughts that have resulted in compromising peace. The artwork came to life by borrowing inspiration from the idea of dream catchers as sacred objects that filter dreams—allowing all good, positive dreams to stay, but expelling all nightmares.

My Dream Catchers Stand Tall, detail 2017 Photographed by EfrenAve © Cristina Velázquez Valencia Courtesy of Cristina Velázquez Valencia

Navigating the installation, people felt a cleansing effect that invited them to wrap themselves with hope for their unfulfilled dreams. The installation made use of organic matter and colorful yarn. The large branches, dressed in varying lengths of textiles, were transplanted from the SFAI Graduate Center to the San Jose Museum of Quilts and Textiles. By resurfacing this installation in a different location, Velázquez Valencia brought attention to the transformation of ideas and the ways in which they are manipulated by the same hand or by various iterations of the same materials appropriated by craftsman, artists, scientists, and various other entities. This installation was a gift of love to all people—for dreams are the driving force of life.

Diego CoLabs 2016 Faculty JD Beltran Danielle Lawrence Whitney Lynn Asuka Ohsawa Laetitia Sonami Staff Katie Hood Morgan Students Mrinalini Aggarwal Katherine Boxall Jessica Fertonani Cooke Gígja Jónsdóttir Guramrit Kaur Teddi Meislahn Miguel Novelo Cruz Melanie Piech Desiree Rios Wang Chu Aaron Wilder Chasen Wolcott Diego CoLabs 2016 Team

Diego CoLabs 2016 was initiated in Fall 2016 as an experimental platform that offered mentorship, financial support, and incubation for ambitious, collaborative student projects. The focus of CoLabs was to bring artists together to collaborate on alternative ways of working and to expand their practices beyond what they could accomplish alone. CoLabs supported ongoing works that spanned across semesters and did not necessarily conclude in visual art works. Funded through generous support from Legion of Graduate Students (LOGS) and Student Union, CoLabs offered stipends to four collaborative student projects selected through a rigorous jury process. Each project group met as a cohort with the CoLabs team three times during the semester, giving formal presentations on their projects that concluded in group brainstorming

Mrinalini Aggarwal Allison Hall Katie Hood Morgan San Francisco Art Institute Fall 2016–Spring 2017

(Left to right) Jessica Fertonani Cooke and Gígja Jónsdóttir Kill for Art 2017 Performance artifact Photographed by Jessica Fertonani Cooke and Gígja Jónsdóttir © Jessica Fertonani Cooke and Gígja Jónsdóttir Katherine Boxall and Chasen Wolcott MILK 2017 Indicative model for sculptural installation using recycled glass milk bottles Photographed by Katherine Boxall and Chasen Wolcott © Katherine Boxall and Chasen Wolcott

and feedback sessions. The cohort consisted of 11 artists working through four experimental projects, each with a unique medium and process. Projects included Compression///Perception, a sonic installation; See/Saw, a graduate literary magazine; MILK, a sculptural installation in recycled materials; and Kill for Art, a performative installation inspired by Sophie Calle. Each group also worked with individual faculty mentors throughout their projects. On March 28, 2017, the group exhibited process documentation describing each artistic journey and the resulting finished works in the Diego Rivera Gallery, fostering student interest in the goals of CoLabs and illustrating what students can accomplish through rigorous collaborative work. The exhibition, curated by Mrinalini Aggarwal, concluded in an artist talk on social practice and collaborative enterprise.

Enajenaciones Student Cristina Velázquez Valencia Recology Artist in Residence Program, San Francisco February–May 2016 As part of Recology’s Artist in Residence Program, Cristina Velázquez Valencia created Enajenaciones, a body of work that transforms soft and hard transplanted material fragments into amorphous creatures. This transformation of found objects leads to the re-creation of oversized inner body cells—a reminder of the human existence. An affinity for utilizing discarded materials to create artwork sparking conversations on up-cycling led Velázquez Valencia on a journey into trash matter transformation. While these items of lesser value are vastly present, her mission was to reincarnate them into visible objects of worth, creating a new presentation of the old and forgotten. There is no need for more when so much has already been made. To make art out of what is available and redirect attention to less valuable objects is essential in creating change in our culture. (Top to bottom) Enajenaciones 2016 Exhibition at Recology AIR, from the Appendages series Photographed by Recology AIR staff members Micah Gibson and Sharon Spain © Cristina Velázquez Valencia Courtesy of Recology AIR Enajenaciones 2016 Exhibition at Recology AIR, from the Creatures series Photographed by Recology AIR staff members Micah Gibson and Sharon Spain © Cristina Velázquez Valencia Courtesy of Recology AIR Enajenaciones 2016 Exhibition at Recology AIR, from the Oversized Cells series Photographed by Recology AIR staff members Micah Gibson and Sharon Spain © Cristina Velázquez Valencia Courtesy of Recology AIR

The Junction Keep Students Mrinalini Aggarwal (performance assistant) Lucien Jeanprêtre (performance assistant) Laurus Myth (creator) Alexander Taylor (photo assistant) Crosswalk intersection at Howard & 6th streets, San Francisco Crosswalk intersection at Minna & 6th streets, San Francisco February–July 2017 Construction completed: February 20, 2017 First public performance: February 23, 2017 artbylaurus.com

In February 2017, artist Laurus Myth debuted The Junction Keep in response to the rising numbers of pedestrian fatalities in San Francisco. She defines an intersection as a place or point where things join, but also as a space of creation and destruction. Approximately two-thirds of all pedestrian deaths occur after dark. Although the SFMTA has implemented many campaigns to promote safety, none of their projects mention the importance of well-lit pedestrian crossings at night.

powers the LEDs while the “Junction Keepers” unfold the sculpture. Similar to a cascading fan, it extends as they proceed through the crosswalk. While the artists walk, they spark conversation with other pedestrians and offer an informative brochure with tips for pedestrian safety. By moving across heavily trafficked areas, The Junction Keep aims to raise safety awareness about the dangers of pedestrian crossing zones to walkers, bikers, and motorists.

The Junction Keep is a mobile public sculpture that brings to attention the most deadly intersections in San Francisco. Designed to be mobile and run off the grid, a portable battery pack

For future locations and dates, follow on Instagram @JunctionKeepers #thejunctionkeep

South Side, Crossing 6th Street at Howard, SOMA 2017 Photographed by Alexander Taylor © Laurus Myth Courtesy of Laurus Myth Resources Jeremy Lybarger, “Map: Where Pedestrians Get Killed in San Francisco,” The Bold Italic, posted February 17, 2015. SFMTA, “Pedestrian Safety Resources: Be Nice Look Twice Campaign,” 2014.

Morphogenesis Students Can Büyükberber Ya˘gmur Uyanık Currents New Media Festival, Santa Fe MIRA Festival, Berlin IX 2016 Symposium, Society for Arts and Technology, Montreal June 2016 VRLA, Los Angeles August 2016 Kaleidoscope Showcase Vol. 1, San Francisco AES 2016, Los Angeles Art & Virtual Reality, UploadVR, San Francisco Sub·se·quence, Diego Rivera Gallery, San Francisco Murphy & Cadogan Contemporary Art Awards, SOMArts, San Francisco September 2016

Morphogenesis (from the Greek morphê (“shape”) and genesis (“creation”); literally, “beginning of the shape”) is the biological process that causes an organism to develop its shape. As a fulldome and virtual reality piece, Morphogenesis presents the continuous transformation of fundamental geometrical patterns and uses them as the building blocks of immersive spaces. The process of morphogenesis embodies the complex systems we encounter every day in the living world. By using the common characteristics of emergence that can be

perceived universally in natural systems, the audiovisual experience emphasizes the systemic interconnectedness over space and time of all natural dynamics and how these dynamics create novelty on micro and macro scales. Exploring the ideas of geomorphology, mathematics, and our understanding of the world, Morphogenesis requires audiences to be sentient, not just receivers. It invites the viewer to a poetic and sensational world, where space becomes infinity, a primal sense of the immaterial world is experienced, and the process of creation is reevaluated.

Signal Festival, Prague October 2016 MIRA Festival, Barcelona November 2016 MUSE, The Village, San Francisco Nonspaces, Akbank Sanat, Istanbul Envision Conference, Princeton University December 2016 (Top to bottom, left to right)

canbuyukberber.com yagmuruyanik.com

Signal Festival’s dome with Morphogenesis on view 2016 Photographed by Jan Knot © Signal Festival Courtesy of Signal Festival Morphogenesis on view on 8K display 2016 Photographed by Can Büyükberber © Can Büyükberber Courtesy of Can Büyükberber and Ya˘gmur Uyanık An audience experiencing Morphogenesis in virtual reality 2017 Photographed by Irmak Arkman © Akbank Sanat Courtesy of Can Büyükberber and Ya˘gmur Uyanık

Relational Archives Students Zulfikar Ali Bhutto Paula Morales Juan Pablo Pacheco Aaron Wilder Swell Gallery, San Francisco Art Institute March 7â&#x20AC;&#x201C;25, 2016

Relational Archives was an exhibition that explored the different ways of constructing, interpreting, and reinterpreting an archive in an era of intangibility where the physicality of documents and images is no longer a priority. How can we understand our relationship to the past when traditional archives start losing their authority, and the boundaries between the simulated and the real become increasingly blurred? How do we understand the impulse to record in a time when space and time are shattered through the digital and its relationship to global environmental, social, and political

(All images) Relational Archives 2016 Documentation of exhibition Photographed by Aaron Wilder ÂŠ Aaron Wilder Courtesy of Aaron Wilder

crises? Our common understanding of the archive is interpretative, meaning that it is based upon our own relation to the objects and information displayed. Relational Archives played with fiction, reenactment, and imaginative intervention to engage with the meaning of the images/objects, not necessarily with the factuality of the events to which these are supposed to speak. Each artist in the show accessed, interpreted, and curated the archive of a different artist in the show. Through this collaborative exercise, the artists sought to open a dialogue about limitations of partiality and the subjectivity of authorship.

Roommates Students Elisabeth Kohnke Elena Padrón-Martín SuperMrin Aaron Wilder Maryam Yousif Curator Emily Alexander Diego Rivera Gallery, San Francisco Art Institute November 22–27, 2016 Roommates was a group MFA exhibition of works related to physical and social architecture. Each artist addressed theories of aesthetic beauty and object arrangement in different mediums, including photography, installation, ceramics, and painting. Works on display combined home improvement materials with bold colors to manipulate familiar objects and audience assumptions. Walls were constructed to alter the floor plan inside the Diego Rivera Gallery and divide the area into separate rooms. The exclusion of doors allowed visitors to move easily though the space and for the artworks to visually communicate with one another. Guests were encouraged to touch the artworks, including Aaron Wilder’s Neither Sand Nor Rock wooden toy installation and Elena Padrón-Martin’s Sand Francisco, which was made of 130 pounds of paper confetti. Another interactive piece was SuperMrin’s This Distance, an installation of vinyl wallpaper designed as an autostereogram, a technology made famous by the Magic Eye book series. Both Elisabeth Kohnke and Maryam Yousif created scenes using pedestals and unique combinations of materials that invited viewers to look more closely. Kohnke’s work manipulated electrical cords to snake and spread throughout the room like webs, while Yousif used a playful approach to portraiture to explore how precious moments and objects are memorialized and celebrated. Together, these artworks reflect how far apart objects and ideas can appear, but also how deeply entangled they can be.

(Top to bottom) Aaron Wilder, installation 2016 Photographed by Aaron Wilder © Aaron Wilder Courtesy of Aaron Wilder Maryam Yousif, installation 2016 Photographed by Aaron Wilder © Aaron Wilder Courtesy of Aaron Wilder

2nd Independence Student

Walter and McBean Galleries, San Francisco Art Institute February 21, 2017

under the Clinton administration when Democrats reached fundraising parity with Republicans. We see its completion as Trump appoints oligarchs and dismantles all checks on corporate power. We must harshly evaluate our position.

Unfettered and unregulated capitalism is a brutal and revolutionary force that exploits human beings and the natural world to the point of exhaustion or collapse. Marxâ&#x20AC;&#x2122;s prediction accelerated

The Declaration of Independence became palimpsest to remain relevant. Royal grievances were replaced with corporate ones. A redrafted Declaration was read aloud.

Eric Carson

2nd Independence (Redrafted Declaration) 2017 Section of redrafted document used to promote event Photographed by Eric Carson ÂŠ 2017 Courtesy of Eric Carson

Read the full text and add your name: change.org/p/2nd-declaration-ofindependence View the performance: youtube.com/ watch?v=STH04ZEVe_8&t=18s

See/Saw SeeStudents Guramrit Kaur Teddi Meislahn Desiree Rios Wang Chu Aaron Wilder San Francisco Art Institute October 2016–Present

See/Saw is a new literary magazine produced by SFAI graduate students selected to work on one of four collaborative projects for the new Diego CoLabs grant in Fall 2016. Each of the five founding collaborators provided one photograph and one piece of writing that another collaborator responded to with the opposite form (responding to photography with writing and responding to writing with photography). All collaborators worked to launch a

new graduate publication using their skills, experience, and passion to create a sustainable, ongoing, and flexible platform for open expression and collective dialogue. The artists see this method of interpretation, inspiration, and artistic response as truly collaborative and an exciting way to start something at SFAI with a potential future legacy that could evolve over time as different collaborators leave their mark on the publication for years to come.

(Left to right, top to bottom) See/Saw: Home (Example Spread 1: Wang Chu and Guramrit Kaur) 2017 Guramrit Kaur’s writing response to Wang Chu’s photograph Photographed by Desiree Rios © Guramrit Kaur, Teddi Meislahn, Desiree Rios, Wang Chu, and Aaron Wilder Courtesy of Aaron Wilder See/Saw: Home (Cover of Issue 1) 2017 Front cover of inaugural issue Photographed by Desiree Rios © Guramrit Kaur, Teddi Meislahn, Desiree Rios, Wang Chu, and Aaron Wilder Courtesy of Aaron Wilder See/Saw: Home (Example Spread 2: Desiree Rios and Teddi Meislahn) 2017 Teddi Meislahn’s writing response to Desiree Rios’s photograph Photographed by Desiree Rios © Guramrit Kaur, Teddi Meislahn, Desiree Rios, Wang Chu, and Aaron Wilder Courtesy of Aaron Wilder

Sugar & Snails Students Guta Galli Aaron Wilder San Francisco Art Institute August 2016â&#x20AC;&#x201C;Present

Sugar & Snails is an ongoing collaboration between Guta Galli and Aaron Wilder. The artists employ an analytical model to the daily performance of normative gender displays of appearance. The resulting photographs depict the artists going through the motions of performing femininity and masculinity through sequential

Sugar & Snails 2016 Project excerpt Photographed by Guta Galli and Aaron Wilder ÂŠ Guta Galli and Aaron Wilder Courtesy of Aaron Wilder

stillness. Furthermore, the artists pursue performativity, installation, and social engagement as acts themselves to animate the imagery depicted in the photographs and foment public dialogue. These figurative representations deconstruct gender norms and the way these norms relate to sex, race, identity, and the idea of otherness.

Sugar Ghosts Student Kathy Sirico

Recology Artist in Residence Program, San Francisco June–September 2016

From June through September 2016, Kathy Sirico was a student artist in residence at Recology, San Francisco. For four months, Sirico scavenged the dump for materials and created art onsite in a shipping container transformed into a working studio. Her residency culminated with her solo exhibition, Sugar Ghosts.

“For Kathy Sirico, whose art has touched on issues from the melting of the polar icecap to genetically modified foods, the dump has been an ideal space to further explore environmental concerns. Sirico combines painting, sculpture, and textiles, and while at Recology she has constructed freestanding, biomorphic forms—soft sculptures that grow around or out of found objects such as chairs and vases. Her use of elegant fabrics and rich colors lure the viewer in, but on closer examination the works suggest environmental breakdown or biological ills—unraveling threads and shredded materials speak to neglect and decomposition, and intestine-like shapes and bulging forms become metaphors for consumption in the extreme. Situated between the enticing and dystopic, the works ultimately mirror the dump pile itself.” –Official Recology Press Release, 2016

(Top to bottom, left to right) Sugar Ghosts 2016 Photographed by Kathy Sirico © Kathy Sirico Courtesy of Kathy Sirico Kathy Sirico painting on-site with found paint on a found woven tapestry 2016 Photographed by Micah Gibson, Recology AIR staff Courtesy of Recology AIR Stomach Chair 2016 Chair, fabric, fiberfill, joint compound, acrylic paint, house paint, and pastel 33 x 29 x 34 inches

Exhibitions and Public Programs

Walter and McBean Galleries Jill Magid: The Proposal September 8–December 10, 2016 | Walter and McBean Galleries

At SFAI, Ziegler’s work served as the catalyst for A Living Thing, which created space for common ground within our increasingly fractured civil discourse. Throughout its run, A Living Thing offered a sanctuary for conversations, performances, debate, and acts of solidarity and resistance—through an open mic during all gallery hours, and an open call to students, artists, activists, citizens, residents, visitors, and others to contribute to the life represented by the flag.

The Proposal presents a climactic moment within Jill Magid’s extended, multimedia artwork, The Barragán Archives, which examines the legacy of Mexican architect and Pritzker Prizewinner Luis Barragán (1902–1988). The multi-year project poses piercing, radical, and pragmatic questions about the forms of power, public access, and copyright that construct artistic legacy. With this work, Magid asks, “What happens to an artist’s legacy when it is owned by a corporation and subject to a country’s laws where none of his architecture exists? Who can access it? Who can’t?”

Flag Exchange offers a powerful reminder that artists do new and vital things for our public life, even when nothing else works. Art finds the common ground that we’ve otherwise lost. A Living Thing is organized by Hesse McGraw, SFAI Vice President for Exhibitions and Public Programs; and Katie Hood Morgan, SFAI Assistant Curator and Exhibitions Manager.

In 1995, Barragán’s professional archive, including the rights to his name and work and all photographs taken of it, was purchased by the Chairman of the Swiss furniture company Vitra, allegedly as a gift for his fiancé, Federica Zanco; who now serves as Director of the Barragan Foundation. For the last twenty years, however, the archive has been publicly inaccessible, housed in a bunker at Vitra corporate headquarters. The Proposal reaches a thrilling and unexpected salvo in Magid’s engagement with Barragán, Zanco, Barragán’s descendants, the Mexican Government, and the indispensable creative legacy that binds them. Through the public exhibition of The Proposal, Magid presented Zanco with the gift of a two-carat diamond engagement ring grown from the cremated remains of Barragán’s body, in exchange for the gift of his archive to Mexico. The Proposal has not only exhumed Barragán’s physical remains, but opened the possibility to bring his spiritual and artistic legacy up out of the vault and back to life. The Proposal is commissioned by San Francisco Art Institute. The exhibition is curated by Hesse McGraw, SFAI Vice President for Exhibitions and Public Programs, and organized with Katie Hood Morgan, Assistant Curator and Exhibitions Manager. A Living Thing Mel Ziegler: Flag Exchange January 19–April 1, 2017 | Emanuel Walter Gallery The American flag represents a living country and is itself considered a living thing. In an act of sly and generous alchemy, artist Mel Ziegler journeyed through all 50 United States between 2011 and 2016 and exchanged distressed American flags flying at civic and private locations—city halls, post offices, hospitals, homes, and schools—for new flags. The 50 decayed flags form a work, Flag Exchange, that spans the geography of our union, and represents the spectrum of our allegiance.

Installation view of Jill Magid’s The Proposal September 8–December 10, 2016 Walter and McBean Galleries Photo by Marco David Installation view of A Living Thing: Mel Ziegler, Flag Exchange January 19–April 1, 2017 Emanuel Walter Gallery Photo by Marco David

Ghosts of the Tower

offers the SFAI community—including students, faculty, and the public—a rare firsthand opportunity to explore the breadth of SFAI’s Archives’ fugitive material.

January 26–April 8, 2017 May 11–September 16, 2017 Athell McBean Gallery

Ghosts of the Tower is organized by the Anne Bremer Memorial Library and the Exhibitions and Public Programs department. This project is supported in part by the Institute of Museums and Library Services grant for “Digitizing the San Francisco Art Institute’s Exhibitions History.”

You find nothing in the Archive but stories caught halfway through: the middle of things; discontinuities. –Carolyn Steedman Arthur Brown had a thing for towers. The famed architect of Coit Tower, Hoover Institution Tower at Stanford, San Francisco City Hall, and San Francisco Art Institute’s 1926 Chestnut Street campus oriented our faux-Italian hillside around a nonfunctioning tower. There’s no bell and no lookout. Brown’s postmodern gesture came before its time and is now a famous home of ghosts. The SFAI tower also shrouds an indispensable archive of nearly 150 years of art history—spanning the founding

Katrín Sigurdardóttir May 11–July 29, 2017 | Walter and McBean Galleries This spring, New York and Rejkhavik-based artist Katrín Sigurdardóttir (BFA 1990) served as the Harker Award resident at SFAI, leading to a May 2017 exhibition. Through evocative works in sculpture, site-specific, and architectural scale

Ghosts of the Tower January 26–April 8, 2017 and May 11–September 16, 2017 Athell McBean Gallery Photo by Marco David

projects, Sigurdardóttir explores the way objects, structures, and spaces define perception. Through unexpected shifts in scale, she examines distance and memory and their embodiments in architecture, cartography, and traditional landscape representations. While alluding to real objects and locations, her work questions the verity of these places, as well as our account of them. Sigurdardóttir’s work crosses boundaries between perceptual and embodied space, and between vision and experience.

documents of the San Francisco Museum of Art to early acidtrip induced exhibitions. Since its founding in 1871—as the first art organization west of the Mississippi—San Francisco Art Institute has led the formation of new art forms, ideas, and histories. This project reveals SFAI’s singular history as a place where contemporary art history happens, and artists invent the future. Ghosts of the Tower unveils the initial implementation of SFAI’s recently awarded Institute of Museums and Library Services two-year grant to digitize and make widely accessible the Exhibitions and Public Programs Collections. In a collaborative project between the Anne Bremer Memorial Library and the Exhibitions and Public Programs department, the collections will be rehoused, processed, catalogued, and selections digitized, beginning in the Atholl McBean Gallery. This public process

Sigurdardóttir is the 2016-17 recipient of The Harker Award for Interdisciplinary Studies, which supports artists-in-residence at SFAI. The Harker Award was established through a generous bequest by artist and SFAI faculty member Ann Chamberlain and is administered by the San Francisco Foundation.

Diego Rivera Gallery The Diego Rivera Gallery, home to SFAI’s historic Diego Rivera Mural, is a studentdirected exhibition space for work by SFAI students. The gallery provides an opportunity for students from all academic programs to present their work or curate in a gallery setting; to use the space for large-scale installations; and to experiment with artistic concepts and concerns in a public venue. Students submit applications for exhibitions in December and April annually, and a jury of one alumnus, one faculty member, and one staff member select the artists for the season. Students may apply to have an individual show, to participate in a group show, or to curate a show. The Diego Rivera Gallery presents 40 exhibitions per year, including work by more than 200 student-artists. 2016–2017 Co-directors: Allison Hall, Mrinalini Aggarwal, Katherine Boxall

FALL 2016 Sashiko Morgan Downing, Lillye Hope Dlugach, Nakata Asa August 21–27 BREAK Eric Carson, Nidal-Elkhairy, Natalie Falero Vazquez, Charlie Ford, Mariela Montero, Aaron Wilder, Maryam Yousif August 28–September 3 Inappropriate Alysia Davis, Melissa Koziebrocki, Marissa Martini, Emily McPeek September 4–10

sub-se-quence Can Büyükberber, Manny Robertson, Kathy Sirico, Yağmur Uyanık, Joey Verbeke September 11–17 Material Bodies Rafael Bustillos, Julia Guzman, Orly Ruaimi, Sofia Villena Araya Septem ber 18–24 En Regla, Open Studio: Cuba Juan Pablo Ayala, Michael Braillard, Shannon Castleman, Samantha Correa, Felipe Dulzaides, Lisa Foote, Mitch Greer, Olivia Johnson, David James Kokitka, Michael Naify, Hannah Naify, Desiree Rios, Hailey Scheffler September 25–October 1

Choose Where You Sit October 3–8, 2016 Diego Rivera Gallery Photo by Marco David

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Choose Where You Sit Stephen Mangum, Sachi Moskowitz, Persia Phillips, Brandon RodriguezJauregui, Elizabeth Schmidt October 2–8 The New Wrinkle Greta Anderson, Leah Gonzales, Paula Morales, Orly Ruaimi, Anastasia Rasshchupkina October 9–15 Layered Perceptions Natalie Falero Vazquez, Teddi Meislahn, Cristina Velázquez October 16–22 10-Second Works Juan Pablo Ayala, Hilary Bond, Katherine Boxall, Miles Mac Diarmind, Morgan Downing, Charlie Ford, Abigail Gregg, Julia Guzman, Laura Kiernan, Ryan LoPilato, Diana Martinez, Alexandar Penate, Hailey Scheffler, Mo Skye, Pedro Verdin, Natalie Wilkinson, Chasen Wolcott, Kolby Wolcott, Zeus October 23–29 Superficial… Eric Carson, Di Hou, Weijue Wang October 30–November 5

SFAI Concentrate: Alumni Exhibition Richard Alpert, Barry Beach, Peter Foucault, Dan Grayber, Marc Hirsch, Su-Chen Hung, Caroline Landau, Cathy Lu, Mary March, Amanda Marchand, Takako Matoba, Gelah Penn, Pericles Pneumatikos, Reagan Pufall, Sam Roloff, Maya Smira, Christopher Vena, Rochelle Youk, Minoosh Zomorodinia November 6–12 Interpreting Sontag: MA Collaborative Project Exhibition Student Participants: Emily Alexander, Zulfikar Ali Bhutto (alum), Allison Hall, Stephanie Kudisch, Ye Liu, Rose Lou, Anastasia Rasshchupkina, Julia Sorensen, Cristina Velazquez Valencia Faculty: Robert Atkins, Betti-Sue Hertz November 13–19 Roommates Emily Alexander, Elisabeth Kohnke, Elena Padrón-Martín, SuperMrin, Aaron Wilder, Maryam Yousif November 20–26 Alchemy Ni Pan, Ashveta, Ben Cornish, Victor Beltran, Yuanyuan Liu, Joseph Rottenbacher, Mengyu (Summer) Li November 27–December 3

(Top to bottom) En Regla Open Studio: Cuba 2016 September 26–October 1, 2016 Photo by Marco David Material Bodies September 19–24 2016 Diego Rivera Gallery Photo by Marco David

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Portrayal(l) Michael Braillard, Nick Brunner, John Calder, Joel Carter, Bo Fone, Brian Fulda, Gabrielle Geismar, Julia Guzman, Olivia Harrison, Yelin Huang, Karen Ka Lun Yan, Stephen Mangum, Sachi Moskowitz, Phaedra Olivia, Persia Phillips, Reneé Rodriguez, Natasha Romano, Rafael Salgado, Christian Schick, Zachary Sumner, Pedro Verdin, Sofia Villena-Araya, Miranda Wheeler, Natalie Wilkinson, Yuntong Wu December 4–10 City Studio Winter Exhibition December 11–17

The Wine Club January 22–28, 2017 Diego Rivera Gallery Photo by Marco David

SPRING 2017 The Wine Club Daieny Chin, Marley Walker-Morin, Paige Valentine, Maryam Yousif January 22–28 Alternative Dementia Tom Colcord, Rebecca R. Kaufman, Diana Li, Zhuo Sun, Aaron Wilder January 29–February 4 Assembling(de)Assembling Shanza Elahi, Kaifa Chen, Nicholas Mittelstead, Rebecca Rippon February 5–11 Hyper Femme // Heavenly Flesh Katherine Boxall, Anna Bongiovanni, Ali Futrel February 12–18

Inadequacy Miguel Novelo Cruz, Cailin Ruff, Marco David, Jake Bailey, Bojana Rankovic, Ruvi Torres Fetsco, Reed Hexamer February 19–25

Agartha Lexygius Sanchez Calip, Eric Carson, Charlie Ford, Lauren Szabo, Lucien Jeanprêtre April 2–8

Ñ Greta Liz Anderson, Juan Pablo Ayala, Rafael Bustillos, Natalie Falero Vazquez, Mafer Hernández, Alberto Mayer, Miguel Novelo, Priscila Denisse Claure Soruco, Ana Sophia Tristán and Cristina Velázquez Valencia Curated by: Cristina Velázquez Valencia and Bertha Rodríguez February 26–March 4

Figuratively Speaking Danielle Halford, Chasen Wolcott, Arika von Edler Bready, Katherine Boxall, Ian Wallace April 9–15

The Optics of Inbetweenness Jordan Holms, Claire Bendiner, Ashveta Budhrani, Rene Morrison, Izidora Leber LETHE March 5–11 8 Ways to Respond to a Plastic Sphere Alex Post, Carlos Medina–Diaz, Charlie Ford, MJ Miller, Ruvianne Torres Fetsco, Ryan Molnar, Sophie Zlotnick, Stevie Southard March 12–25

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Not Without My Sketches Student participants: Aaron Wilder, Teddi Meislahn, Guramrit Kaur, Wang Chu, Desiree Rios, Mrinalini Aggarwal, Gígja Jónsdóttir, Chasen Wolcott, Katherine Boxall, Miguel Novelo, Melanie Piech, and Jessica Fertonani Cooke Faculty mentors: Danielle Lawrence, Whitney Lynn, Asuka Ohsawa, and Laetitia Sonami Curated by Mrinalini Aggarwal March 27–April 1

8 Ways to Respond to a Plastic Sphere March 12–March 25, 2017 Diego Rivera Gallery Photo by Marco David EÑE February 27–March 4, 2017 Diego Rivera Gallery Photo by Marco David

MA Collaborative Project Exhibition –Evolving Archive: Arte Útil in the Bay Area Student participants: Shanza Elahi, Lauren Licata, Ye Liu , Nicholas Mittelstead, Kate Rennels, Bertha Rodriguez, Amina Shah, Jiaming Song, Weiying Yu, Aaron Wilder Faculty: Fiona Hovenden and Lucía Sanromàn Curator and archivist of the Asociación de Arte Útil: Alessandra Saviotti April 16–22

We are the example of change Diana Umana, Criselda Vasquez, Kezia Harrell May 7–13 BFA Graduates Exhibition May 14–27 City Studio Spring Exhibition May 28–June 3 Public Education Spring Exhibition June 4–10

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SPECIAL EVENTS Dada World’s Fair Presented in partnership with City Lights Books 11/5/16–11/6/16 Gut-ReHab: Artists Addressing the Built Frontier A Creative Capital Conversation 1/25/17

Swell Gallery The Swell Gallery is a graduate student-run art space dedicated to the examination of the role of the gallery in an educational sphere. The mission of the Swell Gallery is to provide a venue for the exploration and discussion of varying artistic perspectives from the student body, operating as a platform for exhibition, events, and dialogue. Co-directors Spring 2016: Kathy Sirico, Aaron Wilder, Paula Morales; Fall 2016: Kathy Sirico, Aaron Wilder; Spring 2017: Jordan Holms and Bertha Rodriguez FALL 2016 TexTale Alysia Davis, Zoë Leonard, Anastasia Rasshchupkina, and Kathy Sirico Curated by Kathy Sirico August 22–September 2 The Token Show Alysia Davis, Diana Li, Mariela Montero, Manny Robertson, and Paolo Salazar Curated by Diana Li September 5–16 Binary Unbinding Mrinalini Aggarwal, Guta Galli, Melissa Koziebrocki, Mariela Montero, Manny Robertson, Orly Ruaimi, and Aaron Wilder Curated by Aaron Wilder September 19–30 Outlandish Escape Land Leah Gonzales / Felony Stardust, Cristina Velázquez Valencia, and Maryam Yousif Curated by Kathy Sirico and Aaron Wilder October 3–14 Ritual Landscapes Subhrajit Bhatta, Camille Brown, Teddi Meislahn, and Zhuo Sun Curated by Kathy Sirico and Aaron Wilder October 17–28 Feedback Can Büyükberber, Izidora Leber LETHE, Paula Morales, and Yağmur Uyanık October 31–November 11 Planes Tom Colcord, Can Büyükberber, and Laurus Myth Curated by Laurus Myth November 14–25

Presence/Absence Gianna Brusa, Rafael Bustillos, Guramrit Kaur, Arika von Elder Bready, and Aimee Yeo Kwon Curated by Kathy Sirico November 28–December 9 SPRING 2017 Open Book Kai Chen, Ben Cornish, Jer Garver, Abigail Gregg, Stephanie Kudisch, Kate Laster, and Manny Robertson Curated by Kate Laster January 16–27 The Ordinary and Its Extra David Fagan, KyungBae Jeon, Nicholas Mittelstead, Cristina Velázquez Valencia, and Jinning Wang Curated by Jordan Holms and Bertha Rodriguez January 30–February 10

Sanctuary Kai Chen, Nicholas Cienfuegos, KyungBae Jeon, Laurus Myth, Vasudhaa Narayanan, Kate Rannells, Sherwin Rio, Joseph Robertson, Cristina Velazquez Valencia, Aaron Wilder, Wang Chu, Connie Woo, and Tomy Yan Curated by Jordan Holms and Bertha Rodriguez April 22–28 WikiHow To Set Up an Art Exhibition Greta Liz Anderson, Douglas Angulo, Rafael Bustillos, Jessica Fertonani Cooke, Abigail Gregg, Lucien Jeanprêtre, Zoë Leonard, Alexia Marouli, Laurus Myth, Vasudhaa Narayanan, Anastasia Rasschupkina, Sherwin Rio, Lauren Szabo, and Ian Wallace Curated by Gígja Jónsdóttir May 1–13

See/Saw Guramrit Kaur, Teddi Meislahn, Desiree Rios, Wang Chu, and Aaron Wilder February 13–24 Portals Douglas Angulo, Tom Colcord, Abigail Gregg, Kate Rannells, Rebecca Rippon, and Lauren Szabo February 27–March 10 How To Be Looked At Kuo-Chen (Kacy) Jung, Yin Qin, Devan Tate, Alexander Taylor, Ian Mitchell Wallace, and Aaron Wilder Curated by Jordan Holms and Bertha Rodriguez March 13–31 The Apartment Show Henry Chambers, Jordan Holms, Kuo-Chen (Kacy) Jung, Sara Knight, and Sherwin Rio Curated by Sherwin Rio and Sara Knight April 3–14

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Mariela Montero To Love as Manananggal 2016 Mixed Media on Yupo 65 x 50 inches Included in the exhibition Binary Unbinding Photographed by Aaron Wilder

Visiting Artists and Scholars Lecture Series The Visiting Artists and Scholars Lecture Series (VAS) provides a forum for engagement and dialogue with major figures in international contemporary art and culture. Through lectures, screenings, and performances, the series creates intimate connections between SFAI and the public, and invites individuals to contribute to the spirit of curiosity that drives the SFAI community.

FALL 2016

SPRING 2017

Zoe Crosher September 20

Postcommodity February 28

Thomas Hirschhorn Presented in partnership with swissnex, San Francisco September 23

Arnold Dreyblatt Presented in partnership with the Lab March 28

Geoffrey Farmer October 4

Mel Ziegler April 4

Brad Kahlhamer In Conversation with Gary Garrels Richard Diebenkorn Teaching Fellow Presented in partnership with Headlands Center for the Arts October 11

Camille Norment April 11

Howard Fried In Conversation with Tony Labat Presented in Partnership with CCA Wattis Institute for Contemporary Arts October 25 Koki Tanaka Presented in partnership with the Asian Art Museum November 1 Andrei Codrescu November 8

(Left to right) Image courtesy of Postcommodity. Miguel Calderรณn Still from Zeus (2016) Film, 82 minutes. Courtesy of the Artist and Kurimanzutto Mexico City.

Miguel Calderรณn Clive Fellow for Interdisciplinary Painting Practices April 18 Donna Haraway Joint Visiting Artists and Scholars and Graduate Lecture Series Event April 25 Liz Cohen Presented in partnership with Larry Sultan Study Hall Series May 2

Dara Birnbaum November 15 105

Graduate Lecture Series Designed as an integral component of SFAI’s graduate curricula, the Graduate Lecture Series (GLS) puts students, alumni, and the general public in direct dialogue with major though leaders from the international art community. The series relies on the critical exchange between guest and audience to promote a diverse and robust learning environment. SUMMER 2016 Arnold Joseph Kemp June 18

SPRING 2017 Cliff Hengst February 3

Ella Diaz June 24

Lindsey White February 17

Allison Smith July 8

Boreth Ly February 24

Dena Beard July22

Libby Black March 3

Allan deSouza July 29

Ebitenyefa Baralaye March 10

FALL 2016 Nick Sousanis September 9 Pablo D’Antoni September 16 Huey Copeland September 30 Diana Shpungin October 28 Gender in Translation, After Hours Marie-Hélène/Sam Bourcier, Lola Lafon, Brice Dellsperger Presented in partnership with Cultural Services of the French Embassy in the US and the program Gender in Translation November 4 Yung Jake November 18 Johanna Burton December 2

Helina Metaferia March 31 Sharon Louden April 7 Alva Noë April 14 Donna Haraway Joint Visiting Artists and Scholars and Graduate Lecture Series Event April 25

(Top to bottom) Ebitenyefa Baralaye Revelator 2016 Plaster, burlap, sisal rope, wood; 83 x 49 x 25 inches Photo image by Harrison Moenich Diana Shpungin Drawing Of A House (Triptych), daytime view 2015 House, graphite pencil and nine-channel hand drawn video animation; dimensions variable Courtesy of the artist

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PhotoAlliance PhotoAlliance, an affiliate of SFAI, is a nonprofit organization dedicated to supporting the understanding, appreciation, and creation of contemporary photography. PhotoAlliance fosters connections within the Bay Area photography community through public programs and education activities, including workshops, lecture series, and portfolio reviews.

SPRING 2017 Alejandro Cartagena with Sangyon Joo February 3 2017 Book Symposium (codex) February 4

FALL 2016 Richard Misrach September 16

Ed Grazda with Wesaam Al-Badry March 10

Jeffrey Silverthorne with Charlie Watts October 14 Richard Ross with Preston Gannaway November 11 Ruth van Beek with Ed Gilbert December 9

2017 Our World Portfolio Review March 11–12 Wendel A. White with Mildred Howard April 7 Theresa Ganz, Klea McKenna, Meghann Riepenhoff May 12

Jeffrey Silverthorne Couple in Detroit Motel 1992 From the series Detroit Negatives, Detroit and Goth

SFAI Concentrate November 12–13, 2016 In this once a year event, SFAI was transformed into an allcampus art sale by current undergraduate and graduate student artists. Members of the public came for diverse offerings in art, enlivening conversation, local food and drink, and to celebrate SFAI’s emerging artists. Saturday night opened with a first-look at the expansive, salon-style student art sale, plus the juried alumni exhibition in the Diego Rivera Gallery. Sunday, the sale continued with activities for SFAI alumni to reconnect.

SFAI Concentrate 2016 Photo by Claudine Gossett

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Graduate Programs Faculty Rigo 23 is a visual artist working in site- and cultural-specific settings, often in collaboration with others and over extended periods of time. Recent group exhibitions include the 12th Sharjah Biennial, United Arab Emirates; 5th Auckland Triennial, New Zealand; 2nd Aichi Triennale, Japan; 1st Kochi-Muziris Biennale, India; Regionale XII, Austria; The Jerusalem Show IV, Palestine; 10th Lyon Biennale, France; and 4th Liverpool Biennial, United Kingdom. He holds a BFA from SFAI and an MFA from Stanford University.

Johnna Arnold is an artist, photographer, and urban farmer based in Oakland. Her work is driven by an appreciation for the discarded, quotidian aspects of our contemporary culture. Originally trained as a photographer, she incorporates video, drawing, installation, and printmaking into her art practice. She has exhibited at venues worldwide, including SF Camerawork; and, most recently, at two shows in Colombia. Her work is part of several public collections, including Pier 24 in San Francisco and UNESCO in Paris.

JD Beltran is a conceptual artist, filmmaker, and writer. She received the Artadia Grant and Skowhegan Residency, and has exhibited at the Getty Research Institute, the International Film Festival Rotterdam, Walker Art Center, and the San Francisco Museum of Modern Art. She has been awarded an Americans for the Arts Award for one of the top public artworks in the country, and the New Technological Art Award for one of the top art and technology artworks worldwide. She is president of the San Francisco Arts Commission.

Zina Al-Shukri’s process takes into consideration the notions of transition, conflicts/hybridity between culture/religion, individuality and shared experience, and psychology and social determination. Al-Shukri’s portrait practice is seen as giving attention or a psychological “checking in” to create a space of dialogue, illustrating the relationship between the individual subjects and their experience of social conditions. Exhibitions include the Berkeley Art Museum and Pacific Film Archive; the Patricia Sweetow Gallery and Jack Hanley Gallery in San Francisco; and exhibitions in Germany, Turkey, the United Kingdom, and Austria.

Robert Atkins is an art historian and writer working at the intersections of representation, politics, and queer and AIDS identities. A former Village Voice columnist, he has written several books, including Censoring Culture: Contemporary Threats to Free Expression and From Media to Metaphor: Art About AIDS; produced pioneering online resources, including Artery: The AIDS-Arts Forum and ArtSpeak China; and is currently at work on The Eternal Frame: Sex and Politics in Recent American Art and On Susan Sontag: Media, Modernity & Morality.

Elizabeth Bernstein is an artist, educator, and founder/director of the Oakland-based art project Royal NoneSuch Gallery. She is a photographer whose work examines the visual language of our daily lives and how it communicates our complex emotional and psychological landscape. Bernstein has shown her work on the East Coast and in the Bay Area. Selected exhibitions include Interface Gallery and Pro Arts Gallery, Oakland; Martina Johnston Gallery, Berkeley; and Attleboro Arts Museum, Massachusetts.

Sebastian Alvarez’s interdisciplinary practice addresses the failures and interrelations between nonhuman systems and built environments. Currently, his major projects include participating in a performance collective at San Quentin State Prison in collaboration with incarcerated artists and producing a sci-fi documentary about the imaginative and material processes of building utopian communities in Brazil’s capital, Brasília. Alvarez has presented work at Yerba Buena Center for the Arts; Townhouse Gallery, Egypt; the École Nationale Supérieure d’Art Bourges, France; and Wiener Festwochen, Vienna. Sampada Aranke, PhD Performance Studies, is an assistant professor in SFAI’s History and Theory of Contemporary Art program. Her research interests include performance theories of embodiment, art history and visual culture, and black cultural and aesthetic theory. Her work has been published in Art Journal, Artforum, e-flux, and Women & Performance: A Journal of Feminist Theory. Aranke is currently working on a book manuscript titled Death’s Futurity: The Visual Culture of Death in Black Radical Politics. Nicole Archer, PhD, is chair of SFAI’s Bachelor of Arts program and an assistant professor in the History and Theory of Contemporary Art. She researches contemporary art and material culture, with an emphasis in modern textile and garment histories. Further interests include critical theory, corporeal feminism, and performance studies. Her work has appeared in various places, including Women & Performance: A Journal of Feminist Theory, Textile: The Journal of Cloth and Culture, SF/NY/ LXAQ, and Working for Justice: The L.A. Model of Organizing and Advocacy.

Robin Balliger, PhD, is an associate professor and anthropologist at SFAI, researching globalization, cultural geography, media, music/ sound, postcolonial theory, and the Caribbean. Her current project focuses on urban cultural politics in Oakland. Balliger has received fellowships from Fulbright, the MacArthur Foundation, the National Science Foundation, and the Mellon Foundation; she was also awarded the Textor Award for Outstanding Anthropological Creativity. Her work has been published in The Global Resistance Reader, Trinidad Carnival: The Cultural Politics of a Transnational Festival, Anthropological Forum, and Media Fields Journal. Ebitenyefa Baralaye’s work explores dualities in cultural, spiritual, and psychological symbolism interpreted through a diasporic perspective and abstracted around the aesthetics of craft and design. He recently exhibited at the Fed Galleries at Kendall College of Art and Design. Baralaye was awarded an honorable mention at the 2011 Gyeonggi International Ceramic Biennale. His work is part of various private collections and in the permanent collection of the Cranbrook Academy of Art. Baralaye is represented by David Klein Gallery in Detroit. Megan Bayles, PhD, researches bodies as sites of knowledge production. Her fields of interest include disability studies, body theory, medical history, science and technology studies, visual culture, and material culture. She is currently working on a book project, The Death of the Clinic, which analyzes recent shifts in clinical power dynamics and the racialized and gendered medical discourses surrounding “grassroots diseases.” She is the coeditor, with Achy Obejas, of the anthology Immigrant Voices: 21st Century Stories.

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Timothy Berry’s current work continues a lifelong investigation of mankind’s contentious yet appreciative relationship to nature. Combining motifs from natural landscapes with images of mankind’s projections and navigations into and onto these “landscapes” allows the construction of abstracted understandings of how these two often disparate elements can exist in one place. Berry will next be participating in the traveling exhibition Anthropogenic: Art of the World We’ve Created, originating at the Bates College Museum of Art. Landscapes attract Lisa K. Blatt with their light, beauty, and simplicity; she stays for their complexity, contradictions, and secrets. Her work has been exhibited widely and internationally, and she has received many residencies and grants. Keith Boadwee studied at UCLA in the late 1980s, working with Paul McCarthy and Chris Burden. He produces paintings, drawings, and photos that explore his fascination with the body, actionism, expressionism, queerness, sex, humor, and abjection. Recent exhibitions include shows at Brennan & Griffin and Shoot the Lobster, New York; Paradise Garage, Los Angeles; Galerie Deborah Schamoni, Munich; Art Cologne; and Art Los Angeles Contemporary. Publications include Keith Boadwee: 1989–2013 and Plaid, a publication with AA Bronson to accompany their Salzburger Kunstverein exhibition.

Matt Borruso is a visual artist living and working in San Francisco. Recent solo shows include Lottery at Black Ball Projects in Brooklyn and Wax House of Wax at Steven Wolf Fine Arts in San Francisco. Book projects include IMAGE File, published by Colpa Press, and Wax House of Wax, released through his own imprint, Visible Publications. Borruso’s work has been exhibited at the Derek Eller and Anna Kustera galleries in New York, Et al. etc. in San Francisco, and Exile Projects in Berlin. Lydia Brawner researches performance in contemporary art with concentrations in gender studies and religious studies. As an artist she has performed at numerous venues in New York City and the Bay Area. She is currently a PhD candidate in Performance Studies at New York University, where she earned her MA in Performance Studies. She also received a BA in Religious Studies from Macalester College. Brad Brown’s painting and drawing projects tend to be large, open-ended series that can remain unfinished for many years. His largest project to date, The Look Stains, began in 1987 and consists of tens of thousands of works on paper that are continually worked on, torn up, redrawn, and recontextualized. His work is in the permanent collections of the Museum of Modern Art, New York; San Francisco Museum of Modern Art; the National Gallery of Art, Washington, DC; the Whitney Museum of American Art; and the de Young Museum, among others. Luke Butler’s work toys affectionately with the beloved cinematic heroes of his childhood. His paintings transform movie titles and men of action into meditations on mortality, anxiety, and vulnerability, and they reflect the peculiar vitality of our relationship with popular culture. His work is included in the collections of the Berkeley Art Museum and Pacific Film Archive; the Museum of Contemporary Art San Diego; the Norton Museum of Art, West Palm Beach, Florida; and the Crystal Bridges Museum of American Art, Bentonville, Arkansas. Dale Carrico, PhD, teaches critical theory, focusing on technodevelopmental social struggle, environmental justice, and networked media/surveillance formations. He has organized conferences on feminist bioethics at UC Berkeley and on human rights and human “enhancement” at Stanford University. Carrico’s writing has recently appeared in boundary 2, Existenz, the New York Times, and Re-Public. He writes about the antidemocratic politics of technoscience, developmentalist ideology, futurological subcultures, and the suffusion of public life by marketing norms and forms on his blog, Amor Mundi.

Anne Colvin is an artist based in San Francisco and Edinburgh. Her work explores the sculptural, ephemeral, and temporal qualities of the moving image. She restages and repeats the tension between memory, sensory structures, and film. Colvin’s most recent exhibitions include >>FFWD: Artists’ Moving Image from Scotland, Minsheng Art Museum, Shanghai, and Ripples on the Pond, Gallery of Modern Art, Glasgow. Forthcoming residencies include Stripes from the House of Shaman, working with the Demarco/Joseph Beuys Archive at Summerhall, Edinburgh.

Anthony Discenza is an interdisciplinary artist based in Oakland. Employing a range of media—including video projection, text, street signage, and audio—his work explores our interactions with the production of mass media, as well as the relationship between textual and visual systems of representation. Exhibits include San Francisco Museum of Modern Art, the Wattis Institute for Contemporary Arts, Ballroom Marfa, Objectif Exhibitions, Gallery 400, the Getty Center, the Berkeley Museum and Pacific Film Archive, and the Whitney Biennial.

Linda Connor is a photographer and dedicated educator who approaches both roles by enlisting the power of images—the ways in which they communicate, their unique properties, and how they interrelate. She has exhibited widely, both internationally and nationally, for the last four decades, and has received many awards and grants, including a Guggenheim Fellowship and multiple grants from the National Endowment for the Arts. In 2002, Connor founded PhotoAlliance, a driving force in the Bay Area’s photographic community—a community in which she encourages her students to participate.

Andrea Dooley holds a PhD in Cultural Studies with a Designated Emphasis in African and African American Studies from the University of California, Davis. Her work is concerned with place and public mourning and focuses on issues of genocide memory, post-conflict citizenship, and the politics of place. Her work sits at the intersection of critical theory, social justice and human rights studies, and post-conflict identities. Her current project, under review for Roman & Littlefield, is a manuscript titled Implicated Geographies: The Place of Memory and the Museum in the New Rwanda.

Christopher Coppola is head of Film at SFAI. He is a film producer, director, screenwriter, public speaker, and digital film entrepreneur. His company, PlasterCITY Productions Inc., produces feature films, episodic television, and alternative media. Coppola is the founder of Project Accessible Hollywood, a handson, nonprofit, international digital-filmmaking festival for both non-filmmakers and student filmmakers. He is a member of the Directors Guild of America, the Screen Actors Guild, and the California Arts Council.

Ana Teresa Fernandez was born and raised in Tampico, Mexico. She received her MFA in 2006 from SFAI. Fernandez was the Tournasol awardee at the Headlands Center for the Arts in 2007, and she was selected to be part of the Bay Area Now 5 triennial at Yerba Buena Center for the Arts. Her work has recently been presented in a solo exhibition at Electric Works, and in group exhibits in the Tijuana Biennial, Sonoma Valley Museum of Art, and Oakland Art Museum.

Dewey Crumpler’s work examines issues of globalization and cultural commodification through the integration of digital imagery, video, and traditional painting techniques. His work has been exhibited nationally and internationally, and is in the permanent collections of the Oakland Museum of California; the Triton Museum of Art, Santa Clara; and The California African American Museum, Los Angeles. Crumpler has received a Flintridge Foundation Award, a National Endowment for the Arts Fellowship, and a Eureka Fellowship from the Fleishhacker Foundation. Claire Daigle, PhD, chairs the Master of Arts programs at SFAI. In 2015, she received an Andy Warhol Foundation Arts Writers Grant for her ongoing web-based essay series, Figuring Fiction, which explores intersections of contemporary art and literary fiction. Daigle’s primary research interests involve text and image relationships. She also has a pronounced case of Duchampitis. Her work has appeared in New Art Examiner, X-TRA, Art Papers, Sculpture, the Brooklyn Rail, and Tate, Etc. Her cats, Clem and Finn, were semifinalists in the 2016 Academics with Cats photo competition.

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Rudolf Frieling, PhD, is curator of media arts at San Francisco Museum of Modern Art, where he has co-curated Soundtracks (2017) and the retrospective Bruce Conner: It’s All True (2016). Other recent curatorial projects include Film as Place (2016) and Stage Presence: Theatricality in Art and Media (2012). In 2008 he curated SFMOMA’s influential survey exhibition The Art of Participation: 1950 to Now. Prior to his tenure at SFMOMA, Frieling was a curator and researcher at ZKM Center for Art and Media, Karlsruhe, Germany. Thomas Gamburg is a writer and lecturer with credentials in screenwriting, acting, and creative writing. He is a cofounder of Pulse Films and has received many fellowships and awards, including the Academy of Motion Pictures Arts and Sciences’s Nicholl Fellowship in Screenwriting, the Elizabeth Mills Crothers Prize in Literary Composition, the Judith Stronach Prize for Poetry and Prose, the Julia Keith Shrout Short Story Prize, and Cinema at the Edge Awards. Gamburg has written for Russian television and developed numerous features, documentaries, industrials, and shorts. He is a conservatory-trained former actor (SAG, AEA) credited as Thomas Alexander.

Graduate Programs Faculty continued

Rebecca Goldfarb’s conceptual undertakings explore the mechanics of language and perception to investigate acts of seeing and thinking. Her work, realized in a range of media—including sculpture, photography, and installation—has been exhibited nationally and internationally. Goldfarb recently participated in 50 Artists at the San Francisco Museum of Modern Art and curated The Sound of Blue at 500 Capp Street, the preserved home of artist David Ireland, where she is head of artist guide education. Sculptor María Elena González interweaves the conceptual with a strong dedication to craft in her complex installations and poetic arrangements, exploring such themes as identity, memory, and dislocation. Internationally recognized, González has received numerous awards, including a Eureka Fellowship from the Fleishhacker Foundation (2017), a Guggenheim Fellowship (2006), the Rome Prize from the American Academy in Rome (2003), and the Grand Prize at the 30th Biennial of Graphic Arts in Ljubljana, Slovenia (2013). Sharon Grace’s concept-driven works in analogue/digital installation, performance/video, and sculpture engage explorations of presence and absence. Her awards include a National Endowment for the Arts Award, an Award of Honor for Outstanding Achievement from the City of San Francisco, a Rockefeller Foundation Award, and a William and Flora Hewlett Foundation Grant. At NASA/AMES, she was artist/project leader for SEND/RECEIVE, the first satellite artists’ network. She has exhibited at the Metro Opera, Madrid; in Informatique at the Venice Biennale; and at the Museum of Modern Art, New York. Alexander Greenhough, PhD, is a scholar and filmmaker. His research interests include classical and contemporary film theory; postwar French, Italian, and American cinema; and contemporary New Zealand cinema. His writing has appeared in Mediascape, Metro, Film Criticism, and Quarterly Review of Film and Video. His three feature films—I Think I’m Going, Murmurs, and Kissy Kissy—were set and produced in New Zealand. He has received grants from the Arts Council of New Zealand and the New Zealand Film Commission. Betti-Sue Hertz is a contemporary arts curator, lecturer, and writer working at the intersection of critical visual culture and socially relevant issues. She was previously director of visual arts at Yerba Buena Center for the Arts (2008–2015), curator of contemporary art at the San Diego Museum of Art (2000–2008), and director of the Longwood Arts Project (1992–1998). Hertz is currently a project curator for the Jan Shrem and Maria Manetti Shrem Museum of Art at UC Davis and public art consultant for the new design of Lion Mountain Park in Suzhou, China.

Fiona Hovenden, PhD, is an ethnographer, psychotherapist, and educator. Her work focuses on the power of the social imaginary and the dynamics of change. She is interested in the ways in which beliefs about possibility are influenced by current and historical conditions, personal values, and cultural norms, and how these shape a sense of agency. Her theoretical and practical work addresses the ways that art can catalyze change and action. Hovenden is cofounder of social innovation consultancy Collective Invention (CI), which addresses challenges in the areas of education, sustainable living, and local economies. Brad Kahlhamer is known for his multimedia practice, ranging from sculpture and painting to performance and music. He is based in New York City. Kahlhamer questions notions of authenticity and representation within a specific discourse of Native American art. These matters become all the more urgent in view of a concept of originality or the primordial established by many Native American people today. His work has been collected by San Francisco Museum of Modern Art; the Museum of Modern Art, New York; the Whitney Museum of American Art; Denver Art Museum; and Seattle Art Museum, among others. Since the late 1970s, Cuban-born Tony Labat has developed work in performance, video, sculpture, and installation dealing with the body, popular culture, identity, urban relations, politics, and the media. Recent exhibitions include the 11th Havana Biennial; Barbara Gladstone Gallery, New York; Anglim-Gilbert Gallery, San Francisco; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Denver; ASU Art Museum, Phoenix; the Basque Museum and Cultural Center, Spain; PAC, Milan; and Figueroa-Vives Studio, Havana. Labat has received numerous awards, and his work is included in private and public collections. Kerry Laitala is a media archaeologist whose work spans territories from photography and expanded cinema performances to 3D single-channel videos and sculptural installation. Her award-winning work synthesizes ideas and ephemera from the realms of science, history, and technology. Her investigations into evolving systems of belief involve installation, photography, para-cinema, performance, kinetic sculpture, and single-channel forms. Laitala studied photography and film at the Massachusetts College of Art and received her MFA in Film from SFAI in 1997. Christina Linden is associate curator of painting and sculpture at the Oakland Museum of California. Her current projects include an exhibition with Math Bass and the Imperial Court SF and a Roy De Forest retrospective, following OMCA exhibitions with Jedediah Caesar, Michelle Dizon, Judy Chicago, and Marion Gray. Linden’s writing has appeared in Art in America, Art Practical, Fillip, and Modern Painters. She holds an MA in Curatorial Studies from Bard College and a BA from New York University. 110

Bob Linder is co-owner/director of CAPITAL, a contemporary art gallery located in San Francisco’s Mission District. CAPITAL has presented such artists as Kara Walker, Virginia Overton, Sterling Ruby, Davina Semo, Bruce Conner, Richard T. Walker, Cheyney Thompson, and Rainen Knecht. Linder is also a curator and head of the visiting artist program at the David Ireland House at 500 Capp Street, San Francisco. Reagan Louie’s photography and installations explore global transformation and cultural identity. His work has been exhibited at the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Gwangju Biennale, Korea; Asia Society, New York; and Fotomuseum Winterthur, Switzerland. His books include Toward a Truer Life and Orientalia, and his awards include a Guggenheim Fellowship and a Fulbright Fellowship. Whitney Lynn utilizes a wide range of media to create works that reframe narratives of familiar objects, images, and events. Lynn was the first-ever national artist-in-residence at the Neon Museum, Las Vegas, and will be an artist-in-residence at the de Young Museum in 2017. Her work has been exhibited at such venues as Yerba Buena Center for the Arts; Torrance Art Museum; Wattis Institute for Contemporary Arts; Exit Art, New York; and Corcoran Gallery of Art, Washington, DC. Alicia McCarthy engages with her immediate world through a sincere and personal application of mixed-media on found panels. She has exhibited extensively, and in 2017 she received the SECA Art Award from San Francisco Museum of Modern Art. McCarthy has received many accolades and residencies, most recently from Skowhegan School of Painting & Sculpture, Headland Arts Center, and New Langton Art. Public collections include the Millennium Iconoclast Museum of Art, Brussels; American Academy of Arts and Letters, New York; Facebook Headquarters, Menlo Park; and the Oakland Museum of California. Frances McCormack is an abstract painter. Recent and upcoming exhibitions include Painted Landscapes at Heritage Museums & Gardens, Sandwich, Massachusetts; Invented Spaces at the Peninsula Museum of Art, Burlingame; and Contemplative Elements at the Sonoma Valley Museum of Art. McCormack collaborated with the composer Kurt Rohde and the writer Sue Moon on the 2011 production Artifacts. She was the first recipient of the SFAI Fellowship at the American Academy in Rome. McCormack is represented by the R.B. Stevenson Gallery in La Jolla.

Helina Metaferia is an interdisciplinary artist working in performance, video, installation, photography, sculpture, and mark-making. Her work is informed by an interest in diaspora narratives, transnationalism, and gender studies. Metaferia’s solo and group exhibitions include the Museum of the African Diaspora, San Francisco; the Museum of Fine Arts, Boston; the Museum of Modern Art, Ethiopia; Galeria Labirynt, Poland; Grace Exhibition Space, Brooklyn; and Defibrillator Gallery, Chicago. She is an Association of Independent Colleges of Art & Design Post-Graduate Teaching Fellow at SFAI. Jill Miller’s work engages activism, performance, and sculpture. Her work has been shown nationally and internationally, and collected in public institutions worldwide, including CA2M Centro de Arte Dos de Mayo in Madrid and the Hirshhorn Museum and Sculpture Garden. Miller also received an Individual Engagement Grant from the Wikimedia Foundation for the socially engaged project Women of Wikipedia (WOW!) Editing Group, which empowers high school–aged women to close the gender gap by researching and editing Wikipedia articles. Jeremy Morgan’s paintings are investigations into both Western and Asian landscape traditions as they relate both to Abstraction and to both philosophical and spiritual contexts. He also explores aspects of digital language as it can function to augment the shifting terrain between the real and virtual. His work is in the collections of Central Academy of Fine Arts, Beijing, China; Luxun Academy of Fine Arts, Shenyang, China; Lucent Technologies, Inc., California; Berlinger Winery, California; and Saks Fifth Avenue, New York. Shaun O’Dell has exhibited his work at many venues, including San Francisco Museum of Modern Art; the Hammer Museum, UCLA; A Foundation, Liverpool; In Situ Galerie, Paris; Yerba Buena Center for the Arts; and the Jack Hanley, Susan Inglett, and Marianne Boesky galleries in New York. His work is held in many permanent collections, including the Whitney Museum of American Art; the Museum of Modern Art, New York; San Francisco Museum of Modern Art, the de Young Museum, and the Berkeley Art Museum and Pacific Film Archive. Asuka Ohsawa received her BFA in Printmaking from California State University, Long Beach, and her MFA from the School of the Museum of Fine Arts, Tufts University. She writes, illustrates, and publishes artist multiples. Recent self-published projects include L is for Lemonade, an illustrated personal rant about the current state of the kid lemonade business in her Oakland neighborhood. Her work is held in numerous permanent collections, including the Center for Book Arts, New York, and San Francisco Public Library.

Berit Potter, PhD, received a master’s and doctorate in the History of Art from the Institute of Fine Arts, New York University, and an MA in Museum Studies from the Graduate School of Arts and Science, New York University. She has held positions at several art institutions, including a Terra Foundation Predoctoral Fellowship at the Smithsonian American Art Museum. Her research examines modern and contemporary art, with an emphasis on art of the Americas, and engages with the politics of display.

Laura Richard, PhD History of Art with a Designated Emphasis in Film, is faculty head of the Low-Residency MFA program. Her dissertation is a political reappraisal of the early films, performances, and rooms made by Maria Nordman. Richard has taught at UC Berkeley, UC Santa Cruz, and the Prison University Project at San Quentin. She was editor-in-chief of Artweek magazine, and her recent writing projects include “In Just Deserts: Maria Nordman’s Fire Performances” and an essay on the textile installations of Claudy Jongstra.

Terry Powers creates paintings that live within a variety of representational modes, operating as if in a kind of turpentine-fueled, art-historical drag performance—shifting identities, styles, and paint handling at will. Recently, Powers was awarded both the Cité Internationale des Arts Residency Fellowship as well as the 2017 Richard Diebenkorn Teaching Fellowship.

Will Rogan lives and works on a boat in Sausalito. His work engages issues of represented time, human connection, material histories, and experiential learning. His work has been exhibited at the Mori Art Museum, Shanghai Biennial, and Berkeley Art Museum and Pacific Film Archive; it is represented by Altman Siegel Gallery and Misako and Rosen Gallery. He is cofounder and editor of THE THING Quarterly. He has received honors including a Rockefeller Media Arts Grant; the SECA Art Award; and residencies at Gasworks Gallery, Skowhegan School of Painting & Sculpture, and Headlands Center for the Arts.

J. John Priola’s photography and video work reveals subtle details of mediated and natural landscapes and objects, depicting what presence and absence look like while vibrating in the space between art and idea. His work has been published and exhibited widely; selected collections include the Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; the Art Institute of Chicago, and the Museum of Fine Arts, Houston. Priola is represented by Anglim Gilbert Gallery, San Francisco; Joseph Bellows Gallery, La Jolla; and Weston Gallery, Carmel. Kathryn Reasoner has been widely recognized for her advocacy of artists’ roles in society and her transformational leadership at the helm of such Bay Area institutions as Headlands Center for the Arts and di Rosa. In addition to advising and serving on arts boards nationally and internationally, she has taught for two decades in the U.S. and Japan. Her independent consulting practice focuses on advancing and supporting the work of individuals and organizations in the arts and philanthropy. Brett Reichman’s narrative paintings engage the politics of queer culture by way of staging the masculine through a labor-intensive approach to realism. His recent solo exhibition Better Living Through Design and curatorial project Tight Ass: Labor Intensive Drawing and Realism took place at CB1 Gallery in Los Angeles. His work was included in Art AIDS America, a touring exhibition surveying artistic responses to AIDS from the 1980s to the present. Permanent collections include San Francisco Museum of Modern Art and the Berkeley Art Museum and Pacific Film Archive, among others.

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John Roloff’s recent work includes public projects in Minneapolis and Atlantic City, and exhibitions at the Denver Art Museum, the National Council on Education for the Ceramic Arts, and the Museum of Craft and Design, San Francisco. He has shown his work at the Whitney Museum of American Art, Berkeley Art Museum and Pacific Film Archive, San Francisco Museum of Modern Art, the Smithsonian Institution, and the Venice Architectural and Art Biennales. Grants and fellowships include the National Endowment for the Arts, the California Arts Council, the Guggenheim Foundation, and the Bernard Osher Foundation. Tatiane Santa Rosa is a critic, curator, and doctoral student. Her research focuses on Latin American contemporary art and indigenous activism during the military dictatorship in Brazil. Her essays have been published by the Brooklyn Rail, ARTNews, Artcritical, and Hyperallergic. She has worked at El Museo del Barrio; the Museum of Modern Art, New York; and the Whitney Museum of American Art. She has curated shows in Brazil and Ecuador, and she is coauthor of the book Contemporary Art in Brazil. Lasse Scherffig, PhD, works at the intersection of art, science, and technology. His work explores the relationship of humans, machines, and society; infrastructures of communication and control; and the cultures and aesthetics of computation and interaction. He has published numerous articles and has exhibited work at Nam June Paik Art Center, Yonging; ZKM Center for Art and Media, Karlsruhe, Germany; Science Gallery, Dublin; Transmediale, Berlin; Inter-Society for the Electronic Arts; and the National Art Museum of China, Bejing.

Graduate Programs Faculty continued

Rachel Schreiber, PhD, is provost and senior vice president at SFAI. An artist and historian whose work addresses gender, labor, and visual culture, she is the author of Gender and Activism in a Little Magazine: The Modern Figures of the Masses and the editor of Modern Print Activism in the United States. She has exhibited and screened her visual work internationally at venues including the Contemporary Jewish Museum, San Francisco; Art in General, New York; and the World Wide Video Festival, Amsterdam. Frank Smigiel, PhD, is associate curator of performance and film at San Francisco Museum of Modern Art. His curatorial interests include the intersection of theatrical and live art forms, commerce by artists, and queer histories. Smigiel has realized new performance work with Athi-Patra Ruga, Carolina Caycedo, Rashaad Newsome, Allison Smith, Rebecca Solnit, Stephanie Syjuco, and Mika Tajima/ New Humans, among others. With Betti-Sue Hertz and Dominic Willsdon, he co-curated Public Intimacy: Art and Other Ordinary Acts in South Africa (2014) at the Yerba Buena Center for the Arts. Laetitia Sonami is a sound artist and performer. Her sound performances, live-film collaborations, and sound installations focus on issues of presence and participation. She has devised unique gestural controllers and applies new technologies and appropriated media to achieve immediacy through sound, place, and objects. Recent projects include her duo Sparrows and Ortolans (ISSUE Project Room, Brooklyn), and Le Corps Sonore (installation at Rubin Museum, New York). Awards include the Herb Alpert Award in the Arts and the Foundation for Contemporary Performance Award.

Jordan Stein is an independent curator and a cofounder of Will Brown. He has organized exhibitions at the Renaissance Society at the University of Chicago; Philip Johnson’s Glass House in New Haven, Connecticut; Yale Union in Portland, Oregon; the Berkeley Art Museum and Pacific Film Archive; and more. His work has been mentioned in the New York Times, Chicago Tribune, and San Francisco Chronicle. Taravat Talepasand’s work reconsiders the ideological assumptions that index Iranian identity, state power, and gender. Through paintings, drawings, sculptures, and installations, she examines how the body and the image come to signify and rebel against normative Iranian subjectivity. Her work has been exhibited nationally and internationally and is in permanent collections of the Los Angeles County Museum of Art and Orange County Museum of Art. Talepasand was the recipient of the 2010 Richard Diebenkorn Teaching Fellowship at SFAI. Artist and writer Meredith Tromble mixes drawing, performance, text, and installation. She has been an artist-in-residence at the Complexity Sciences Center at the University of California, Davis, since 2011, collaborating with geobiologist Dawn Sumner. Their interactive 3-D artwork has been presented internationally and nationally, designated an Exemplar Project by the Alliance for Arts in Research Universities, and adapted for dance. She is author/editor of many essays, books, and a blog on contemporary art in light of contemporary science. Mark Van Proyen is a Northern California artist and art critic who has been active for 35 years; he has been a member of the SFAI faculty since 1985. His writing has appeared in Square Cylinder, San Francisco Arts Quarterly, Art Issues, and Art Criticism. He is also a corresponding editor for Art in America. Van Proyen has authored numerous exhibition catalogue essays for such institutions as the Circulo del Belles Artes in Madrid and the Crocker Art Museum in Sacramento.

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Ben Venom is a textile artist based in San Francisco. His work has been exhibited at the Levi Strauss Museum, Germany; the National Folk Museum of Korea; HPGRP Gallery, Tokyo; Jonathan LeVine Gallery, New York; Charlotte Fogh Gallery, Denmark; and Wolverhampton Gallery, England. Venom has been interviewed by NPR, Playboy, Juxtapoz, KQED, Maxim, and CBS. Recently, he was the artist in residence at the de Young Museum and the Massachusetts Museum of Contemporary Art. Lindsey White is head of Photography at SFAI. Her work is inspired by the professional and amateur worlds of magic, comedy, and other “staged” professions. Exhibitions include Barengasse Museum, Zurich; Contemporary Jewish Museum, San Francisco; ACME, Los Angeles; SFO Museum, San Francisco; Sydhavn Station, Copenhagen; Art Gym, Portland, Oregon; and Aurora Picture Show, Houston. She received the 2017 SECA Art Award and will exhibit her work at San Francisco Museum of Modern Art in July 2017. Frederick Young received his PhD in English at the University of Florida, concentrating in Continental Philosophy and Conceptual Art. His art-based research practice explores the boundaries between animality and technology, pushing the limits between philosophy and conceptual art. He recently coedited the book Being Human: Between Animals and Technology, and his publications have appeared in Critical Theory and Critical Art collections. He has lectured in Sweden, the U.S., and Nepal, and has participated in avant-garde conceptual art projects including the SFAI Walter Benjamin installation and conference. Wanxin Zhang’s works and research explore multicultural influences, politics, and the context of globalization. His pieces represent a contemporary culture and focus on social commentary. Zhang was the First Place recipient of the Virgina A. Groot Foundation Grant and the Joan Mitchell Grant. His pieces were part of the 22nd UBC Sculpture Biennial in Japan, the Taipei Ceramics Biennial in Taiwan, and the Da Tong 2nd International Sculpture Biennial in China. Zhang’s works are represented by the Catharine Clark Gallery in San Francisco.

Board of Trustees OFFICERS Chris Tellis (Chair) John C. Kern (Vice Chair) Steven J. Spector (Treasurer) Elizabeth Ronn (Secretary)

TRUSTEES-AT-LARGE Don Ed Hardy Annie Leibovitz Barry McGee Brent Sikkema

TRUSTEES Rebecca Chou Jennifer Emerson Todd Hosfelt Teresa L. Johnson John C. Kern Bonnie Levinson Pam Rorke Levy Chris Lim Tom Loughlin Jeff Magnin Amanda Michael Joy Ou Helen Pascoe Bill Post Elizabeth Ronn Steven J. Spector Chris Tellis

TRUSTEES EMERITI Agnes Bourne Gardiner Hempel Howard Oringer Paul Sack Jack Schafer Roselyne C. Swig William Zellerbach

STUDENT TRUSTEES Graduate Izidora Leber LETHE Undergraduate Ruvianne Fetsco

FACULTY TRUSTEES Claire Daigle Brett Reichman

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Acknowledgements

Produced by San Francisco Art Institute

Additional image credits

Content Editor Zeina Barakeh

Opposite Page 1 Alternative Dementia. January 30–February 4, 2017. Diego Rivera Gallery. Photo by Marco David.

Associate Content Editor Niki Korth Copyeditor Amy Krivohlavek Galindo Design M. Seth Design

SFAI’s Chestnut Street campus at night. Photo by Claudine Gossett.

Printing Woodcut Press, San Francisco Special thanks to Daryl Carr

President Gordon Knox outside SFAI’s new campus at Fort Mason Center for Arts & Culture.

Hugo Estrada Anne Shulock Stephanie Smith

SFAI Concentrate. November 12–13, 2016. Photo by Marco David.

Joslyn Thoresen Noel Loder

MFA studio of Charlie Ford. Photo by Stephanie Smith and Marco David.

San Francisco Art Institute 800 Chestnut Street

San Francisco, CA 94133

Page 3 All MFA studios photographed by Stephanie Smith and Marco David (Left to right, top to bottom) Gianna Brusa Rebecca Rippon Tom Colcord James H. Kirkwood Manny Robertson Priscila Denisse Claure Soruco

Graduate Center

2565 Third Street San Francisco, CA 94107

Page 5 (Left to right, top to bottom) San Francisco Art Institute, Zellerbach Quad, 2017. Photo by Marco David. Kathy Sirico, Oracle, 2016. Found mixed media. 65.8 x 41 x 33 inches. Gianna Brusa, What Is Ours, 2016. Oil and gold leaf on canvas. 36 x 36 inches. David James Kokitka, The Political Climate (A Vitruvian Circle Acted Upon), 2016. Wall mural (graphic, acrylic, spray, and house paint). Studio of SuperMrin. Photo by Marco David. 114

San Francisco Art Institute at Fort Mason Center for Arts & Culture, 2017. Photo by Marco David. Page 98 (Left to right, top to bottom) Jill Magid’s The Proposal, September 8–December 10, 2016, Walter and McBean Galleries. Photo by Claudine Gossett. This Is How It Happens, A Living Thing performance documentation, March 17, 2017. Photo by MRK Photography. Courtesy of the artists. Koki Tanaka, A Pottery Produced by 5 Potters at Once (Silent Attempt), 2013. Created with Vitamin Creative Space, Guangzhou, and The Pavilion, Beijing. Photo courtesy of the artist, Vitamin Creative Space, Guangzhou and Aoyama Meguro, Tokyo. Let’s Make The Water Turn Black, 2013. Multimedia installation; Dimensions variable. Photograph by Rachel Topham, Vancouver Art Gallery. Ruvi Fetsco, featured in Inadequacy, Diego Rivera Gallery, February 19–24, 2017. Photo by Marco David. SFAI Concentrate, 2017. Photo by Claudine Gossett.

San Francisco Art Institute

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