20/20 2018

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I N T R O D U CT I O N

XIAOYU WENG

B Y

It is often taken for granted that a thesis exhibition today, like the one presented by the School of Visual Arts’ BFA Fine Arts program in New York City, is a site where different youth cultures and identities vibrantly clash into a micro global art scene. I was impressed by the diversity of the student body, and more importantly, the students’ reflections on how their life experiences and backgrounds could cross-pollinate each other’s artistic practice: not to simply introduce cultural exoticism or to completely embrace the homogeneous aesthetic capacity that is often shaped by an overcommercialized and flattened art system.

Eleven years ago, I was an international student studying at the California College of the Arts in the San Francisco Bay Area. Though at a mature age and as a graduate student, I still experienced quite a cultural and identity shock. Such experience—when applied constructively—can turn into extraordinary creative energy that fuses many inspiring conversations with peer art practitioners. These idea exchanges are not only valuable to the international students but also the locals as they often guide one out of his/her comfort zone. When I was a student, I benefited from it tremendously. In an unprecedentedly globalized art world (or world in general), such interactions prepare the young practitioners to effectively and affectively negotiate the complex relationship between local and global.

The mediation between different cultural and aesthetic experiences is beautifully manifested in Yesiyu Zhao’s installation in which he reinvents the Chinese landscape painting and puts its freehand brushwork style (xieyi) in dialogue with the fluidly shaped neon tubes. The results are a series of uncanny landscapes in the form of shades that comment on our increasingly artificialized surroundings.

Using different media, such sensibility is shared in Shun Da Wan’s painting series. Religious sculptures and monuments are rendered in a carefully composed spatial arrangement while the brown hue evokes the scenery of western China.

Incorporating Viking tradition and gaming aesthetic, Björgvin Jónsson’s multi-media installation speaks to our contemporarily obsession with technology. More politically charged is Alizé Santana in her video installation, where she 2

stages a scene where a woman (possibly the artist herself)

extremely critical and encouraging to the young women artists

throws and smashes clay-made dollar bills into pieces.

working in today’s climate of the #metoo movement.

Surrounding the TV monitor, more of these bills are hung on rows of strings while the monitor itself sits on four plastic

I was also fascinated by the formal and aesthetic pursuits

crates that are often associated with the working class. The

in countless examples in the exhibition: Jonathan Perkins’s

installation is a humorous and powerful commentary on labor

meticulously embroidered tapestry; Julio Cesar Candelario’s

conditions and economy exchange.

bold, distinct and almost monumental illustrations and installation work; Juliette Sardou’s mischievous but

Many works in the exhibition consider gender fluidity and

highly original sculptural work that skirts the line between

the politics of the body. In Andrew Lee’s drawing installation,

functionality and absurdity; Marc Cioffi’s minimalist

the silhouettes of human figures are subtly drawn onto

sculptures that suggest potentials of failure through structural

translucent fabrics to tease out sensual ambiguity. Following

instability; and Artemis Razzberry’s whimsical personal world

a tradition of graffiti art, the seemingly abstract intervention

comprised of tarot-reading inspired flags and witchcraft-like

of color and shape in Li Zeng’s wall graphics—combining

settings. They are representatives of the unique, individualistic

paper cutouts and drawings—imply fragmented body parts

and fresh voices of a new generation of artists to come.

and sexual organs. More provocatively, Vasileia Anaxagorou’s black-and-white photographic work presents female nudes

Though employing different strategies, concepts and media,

but each figure has their face covered or turned away to

the works by Francesse Dolbrice, Sydney Kaye, and Tony

elude interpretation on specific identity. The intentionally

Seibert share similar impulses in terms of tracing and making

crumpled and distorted print surfaces instinctively refer to the

visible our relationship with objects. While Seibert juxtaposes

anxiety and vulnerability experienced by the female body. The

ready-mades and appropriated classical forms to mock

sense of violence is further intensified through the brusquely

monumentality and aesthetic tradition, Dolbrice performs

applied needlework penetrating the image surface. A similarly

with fruit scraps to commemorate life’s uncertainty through

haunting effect is observed in Chris Thixton’s watercolors.

organic material’s ephemerality. Kaye, on the other hand,

The simple, almost hasty brushwork has a visceral effect

uses eggshells, mosses, dried flowers, and tree branches

that points directly to the animal and primitive nature of

to compose a delicate installation; only close examination

humanity. Integrating image and text, Erin Choi examines

reveals the synthetic nature of such configuration where

the human body in a digitized, systemized and capitalized

plastic capsules and glass bottles find their way in. Deploying

environment as she writes on one of her canvases: “sometimes

a heightened sense of materiality and humor, both Dana

I feel like a part of a larger barcode/just a straight line with

Avendano and Hanjun Zhang propose found objects and

a number attached.” Situated inside of Maria Barquet’s

compositions that might create common experiences. Under

colorful and kitschy immersive interior are carefully placed

the surface of such playfulness lies the poetics of the everyday,

cues that indicate domestic violence and trauma. In doing so,

which often carries the unusual power of political awareness.

she is able to playfully explore tension between the gender roles. Similarly, Emily LaRosa addresses the alienation and

The artistic freedom and courage expressed by these young

repression of women in sexual relationships in a series of

artists become unusually important in a time of turbulence

three paintings in which she captures emotional moments

when the meaning and status of art and culture are constantly

in a snapshot style. In another installation work, LaRosa

being questioned and challenged. It is critical to understand

creates a theatrical environment with paintings, ready-mades,

that though art shall hold certain autonomy and never carries

and texts to investigate the psychology of the marginalized

the weight of political pragmatics, its effectiveness is always

and distressed social groups, specifically ones that suffer

measured in a constant flux, navigating through diverse

from alcohol addiction. These artists’ feminist awareness is

experiences, values, traditions and ideologies.

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VASILEIA ANAXAGOROU

LEFT TO RIGHT: Haptic I, 2018, oil on canvas, 51 x 39” • The Story of Relentless Abuse, 2018, monochromatic

photographs printed on satin Lycra, 11 x 20” each • Haptic II, 2018, oil on canvas, 39 x 31” • The Story of Relentless Abuse, 2018, monochromatic photographs printed on satin Lycra, 11 x 20” each • photo: Raul Valverde

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OPPOSITE: The Story of Relentless Abuse, 2018, monochromatic photographs

printed on satin Lycra, 11 x 20” each • photo: Raul Valverde 5

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FIRST LASTNAME

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ABOVE: Self

Portrait, 2018, oil on paper, 19 x 27” • photo: Raul Valverde Story of Relentless Abuse, 2018, monochromatic photographs printed on satin Lycra, 11 x 20” each • photo: Raul Valverde OPPOSITE: The

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DANA AVENDANO

LEFT TO RIGHT: South Padre, 2018, oil on linen, 8 x 10” • Neiman Marcus, 2018, oil on linen, 36 x 42” •

Chocolate Milk, 2018, constuction paper and swing chain, 27 x 7 x 120” • Untitled, 2018, oil on linen and construction paper, 4.5 x 5.5”, 8 x 10” • Babbage Weaving, 2018, oil on linen, ink on paper, tape, 5 x 6” • photo: Jung Hee Mun

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Untitled, 2018, oil on canvas, 8 x 13” • photo: Jung Hee Mun 9

Installation view, 2018 • photo: Jung Hee Mun

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Studio view, 2017 • photo: Jung Hee Mun

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MARIA BARQUET

ABOVE AND OPPOSITE: Pending Availability, 2017, magazines, receipts, yarn, velvet, latex,

trash, hospital gown and used clothes, installation view • photo: Jung Hee Mun

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Pending Availability, 2017, magazines, receipts, yarn, velvet, latex, trash, hospital gown and used clothes, installation view • photo: Jung Hee Mun

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ABOVE, FROM TOP: Alien Home, 2018, velvet, yarn, pastels, acrylic, plants, fabric, trash, orange construction flooring, house

paint, masking tape, home decoration elements, sketchbooks and Polaroids, 104 x 104 x 96� • photo: Jung Hee Mun

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JULIO CESAR CANDELARIO

Wildlife Riders Not a Target, 2018, vinyl print, 155 x 117” • photo: Raul Valverde 16

LEFT: Wildlife Riders Roll Up, 2018, vinyl print, 140 x 116.5” • photo: Raul Valverde BELOW: Wildlife Riders Commute, 2018, acid free paper and ink, 3 x 12’ • photo: Jung

Hee Mun

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ABOVE, FROM TOP: Urban Rat Wildlife, 2018, plaster print 3D sculpture, 4.5 x 8” • photo: Raul Valverde •

Fast As a Rat, 2018, plaster print 3D sculpture, 9 x 6” • photo: Raul Valverde OPPOSITE: Elephant No Human, 2018, foam board, 61 x 46” • photo: Raul Valverde

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ERIN CHOI

ABOVE, FROM TOP: Absurd Composition 1, 2017, vellum, wood, tape, and acrylic paint on wall, installation view • photo: Jung Hee Mun

Absurd Composition 1: If You Turn It Around (detail), 2017, vellum, wood, tape, and acrylic paint on wall • photo: Jung Hee Mun OPPOSITE: Absurd Composition 1: In Completing Blue (detail), 2017, ball-point pen, tape, vellum, acrylic paint on illustration boards • photo: Jung Hee Mun

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ABOVE: Absurd Composition 2, 2018, wood, vellum, tape, chicken wire, sharpie,

graphite, and acrylic paint on walls, installation view • photo: Jung Hee Mun OPPOSITE: feels like i’m drunk, 2017, wood, tape, acrylic paint, sharpie and graphite on canvas, 8 x 4” • photo: Jung Hee Mun

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MARC CIOFFI

ABOVE (CLOCKWISE FROM BOTTOM RIGHT): A Study of Heights and Widths As Modulated

Over Angles of Ascension, 2017, wood, 12.5 x 12.5 x 120”, 15.5 x 15.5 x 99”, 11.55 x 11.55 x 114”, 11.25 x 11.25 x 105”’ • photo: Raul Valverde OPPOSITE: The artist’s workspace (installation view), 2017, various pen implements, paper and a wooden obelisk • photo: Raul Valverde 24

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ABOVE:

Studies for an Obelisk, 2017, paper, graphite and ink, 10 x 10” • photo: Raul Valverde spalted tamarind, 3 x 3 x 12” • photo: Raul Valverde

OPPOSITE: Docile Spire, 2018,

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FRANCESSE DOLBRICE

ABOVE: Transportation Shipment, 2017, mixed-media installation, dimensions variable • photo: Raul Valverde OPPOSITE: Transportation Shipment, 2017, mixed-media installation, 96 x 96 x 96” • photo: Jung Hee Mun

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ABOVE AND OPPOSITE: Transportation Shipment, 2017, mixed-media installation, 96 x 96 x 96” • photo: Jung Hee Mun

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BJÖRGVIN JÓNSSON

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The Concrete Jungle, 2016, concrete, bricks, wood, moss, steel, plexiglass, 84 x 96 x 156” • photo: Jung Hee Mun

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V.K.N.G: A Icelandic Saga series, installation view, 2018 • photo: Jung Hee Mun

LEFT TO RIGHT: VKNG Helmet nr.1, 2017, steel, enamel, 11 x 20 x 9” • VKNG Helmet nr.3, 2017, steel, enamel, horns, 11 x 20 x 9” •

Met the Fam, 2017, wood, fur, rope, print, 48 x 48 x 2” • Untitled, 2017, woop, pipe, inkjet print on PET film, 19 x 19 x 2” • V.K.N.G Friðrik Friðriksson, 2017, wood, steel, inkjet print on PET film, 24 x 24 x 2” • photo: Jung Hee Mun 34

64’24’09N 22’02’04W, 2018, acrylic paint on an outdoor infrastructure (oil tanker), diameter 85’, video documentation of site-specific installation • photo: Raul Valverde 35

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SYDNEY KAYE

ABOVE, FROM TOP: I Am Made Entirely From the Earth, 2017, wood, moss, vegetable sprouts, dirt, dried flowers, installation view • photo: Jung Hee Mun •

I Am Made Entirely From the Earth (detail), 2018, glass bottles, dried flowers, cork, dimensions variable • photo: Jung Hee Mun OPPOSITE: I Am Made Entirely From the Earth, 2017, wood, moss, vegetable sprouts, dirt, dried flowers, installation view • photo: Jung Hee Mun

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I Am Made Entirely From the Earth, 2017, dirt, moss, clay, beeswax, dried flowers (detail) • photo: Jung Hee Mun

Sequence, 2018, moss, quail eggs, corn, seeds, 108 x 84” • photo: Jung Hee Mun

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EMILY LAROSA

ABOVE: Installation (studio view), 2017, acrylic on

paper • photo: Jung Hee Mun LEFT (LEFT TO RIGHT): A Functional Alcoholic, 2018, acrylic paint on canvas, 60 x 72” • Ass Grabber, 2018, acrylic paint on canvas, 44 x 66” • A Love/ Lie Poem, 2018, acrylic paint on canvas, 60 x 72” • Praying and Puking, 2018, acrylic paint on canvas, 48 x 66” • photo: Raul Valverde

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Installation (studio view), 2018, acrylic paint on canvas, sleeping bag, pillow, glass bottles, books • photo: Jung Hee Mun 41

ABOVE: Blue Quilted Cigarette, 2018, acrylic paint on canvas, 66 x 48” • photo: Jung Hee Mun OPPOSITE: Installation (detail), 2018 • photo: Jung Hee Mun

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ANDREW LEE

Across the Room, 2017, plywood, steel, paint, 24 x 36 x 12” • photo: Jung Hee Mun 44

ABOVE (LEFT TO RIGHT): Crescendo, 2018, wood, paper, string, 36 x 24 x 12” •

Obscurity Series 1, 2, 3, 2018, wood, cloth, graphite on paper, glass, hardware, 6 x 8”, 37 x 37”, 8 x 11” • headshot, 2018, steel, sand, tank, tags, paper, 48 x 36 x 24” • photo: Raul Valverde LEFT: Interdimensional Portal to an Alternative Universe, 2017, steel, wire, 12 x 36 x 12” • photo: Jung Hee Mun

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ABOVE: headshot (detail), 2018, steel, sand, tank, tags, paper, 48 x 36 x 24” • photo: Raul Valverde OPPOSITE (LEFT TO RIGHT): www, 2017, plywood, fishing lines, steel, paint, 96 x 36 x 12” • Across the

Room, 2017, plywood, fishing lines, steel, paint, 24 x 36 x 12” • photo: Jung Hee Mun

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JONATHAN PERKINS

LEFT TO RIGHT: Untitled, 2017, acrylic paint on vinyl, 54 x 78” • Untitled, 2017, acrylic paint on vinyl, 58 x 102” •

Untitled, 2017, acrylic paint on vinyl, 54 x 41” • photo: Jung Hee Mun

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LEFT TO RIGHT: Untitled, 2017, acrylic paint on vinyl, 55 x 41” • Untitled, 2017, acrylic paint on vinyl, 54 x 78” •

Untitled, 2017, acrylic paint on vinyl, 58 x 102” • photo: Jung Hee Mun

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Untitled (detail), 2017 • photo: Jung Hee Mun 50

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ARTEMIS RAZZBERRY

ABOVE AND OPPOSITE: Untitled (installation view, detail), 2017, watercolor monoprint on paper, screen print on plexiglass, ink, leaves, branches, twigs, dirt,

rocks, plants, cacti, aluminum, wreath, feathers, flowers, moss, succulents, wood, seashells, sea glass, abalone shell, iridescent sheets, resin, styrofoam, plasma ball, 3D printed moon, sound-reactive twinkling star cube, glitter skulls, selenite crystal, prism catcher, scarves, 96 x 96 x 96� • photo: Jung Hee Mun

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Untitled (detail), 2018, fabric screen prints, textile ink, altered mirror, screen printing ink, glitter, glue, altered branch, string, moss, orchid, cacti, plants, seashells, dirt, rocks, acrylic paint, pen, paper, plastic, 156 x 156� • photo: Jung Hee Mun 54

Untitled (installation view), 2018, fabric screen prints, textile ink, altered mirror, screen printing ink, glitter, glue, altered branch, string, moss, orchid, cacti, plants, seashells, dirt, rocks, acrylic paint, pen, paper, plastic, 156 x 156” • photo: Raul Valverde

Untitled (installation view), 2018, branches, leaves, pine cones, driftwood, rock, flowers, glue, 96 x 96” • photo: Jung Hee Mun

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ALIZÉ SANTANA

Cheo, 2017, single channel projection on carboard boxes, 24 x 12 x 36” • photo: Jung Hee Mun

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Mi Juventud, installation with performance, 2017, Piragua cart, table, shelves, found objects, rugs, ceramic dominoes • photo: Jung Hee Mun

Mi Juventud (Food Station), 2017, ceramic onion rings, ceramic chicken wings, ceramic french fries, light fixtures, found objects, milk crates, aluminum trays, soda cans, bottles, 72 x 24 x 20” • photo: Jung Hee Mun

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ABOVE: Mi Juventud installation, 2017, domino table, metal folding chairs, shelves,

ceramic dominoes, Sculpey candy, candles, picture frames • photo: Jung Hee Mun OPPOSITE: Mi Juventud (Piragua Cart), 2017, wood, acrylic paint, found objects, Puerto Rican flag, plastic soda bottles, speaker, 36 x 24 x 20” • photo: Jung Hee Mun

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JULIETTE SARDOU

ABOVE AND OPPOSITE: Untitled (installation view), 2017, birch, pine, oak, acrylic paint, plexiglass, jaw

opener rubber, faux fur, plaster, light bulb, plastic net, tamarind seeds, string • photo: Raul Valverde

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ABOVE AND OPOSITE: Untitled, 2017, birch, pine, oak, acrylic paint, plexiglass, jaw

opener rubber, faux fur, plaster, light bulb, plastic net, tamarind seeds, string • photo: Raul Valverde RIGHT: Courage et Regret, 2018, dyed embroidered cheese cloth, Sculpey, acrylic flash paint, weaved cane, Sculpey nails, 23 x 20 x 11” • photo: Raul Valverde

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TONY SEIBERT

LEFT TO RIGHT: Piss Thing, Fist Thing, Wish Thing, 2018, mixed-media installation, dimensions variable • photo: Raul Valverde

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Piss Thing (sand castle detail), 2018, sand, glue, cornstarch, yarn, dimensions variable • photo: Raul Valverde

Wish Thing (detail), 2018, polyurethane foam, acrylic paint, sand, yarn, acrylic, 3D printed object, dimensions variable • photo: Jung Hee Mun 65

LEFT TO RIGHT: Fist Thing, 2018, 3D printed object, acrylic, yarn, dimensions variable •

Wish Thing, 2018, polyurethane foam, acrylic paint, sand, yarn, acrylic, 3D printed object, dimensions variable • photo: Tony Seibert 66

CLOCKWISE FROM TOP LEFT: Fist Thing (detail), 2018, 3D printed object, acrylic,

yarn, dimensions variable • photo: Jung Hee Mun • Wish Thing (detail), 2018, polyurethane foam, acrylic paint, sand, yarn, acrylic, 3D printed object, dimensions variable • photo: Raul Valverde • Piss Thing, 2018, polyurethane foam, yarn, acrylic paint, underwear, sand, school glue, cornstarch, dimensions variable • photo: Raul Valverde

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CHRIS THIXTON

ABOVE LEFT: Drips, 2017, watercolor on paper,

18 x 24” • photo: Jung Hee Mun LEFT: IF Portrait, 2017, watercolor on paper, 18 x 24” • photo: Jung Hee Mun

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ABOVE (LEFT TO RIGHT): Unknown, 2017, watercolor on paper, 9 x 12” • Untitled, watercolor on paper, 29 x 40” •

Fufillment, 2017, watercolor on paper, 18 x 24” • photo: Raul Valverde

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ABOVE (LEFT TO RIGHT): Pink Lady, 2018, watercolor on paper, 29 x 40” • Chocolate Feels, 2018, watercolor on paper, 29 x 40” • Criscross, 2018,

watercolor on paper, 29 x 40” • a fall, 2018, watercolor on paper, 40 x 60” • Ghetty, 2018, watercolor on paper, 40 x 60” • photo: Raul Valverde OPPOSITE (CLOCKWISE FROM TOP LEFT): Bleed, Stunned, Stretch, Simple Laugh, 2017, watercolor on paper, 18 x 14” each • photo: Raul Valverde

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SHUN DA WAN

ABOVE: Installation view, 2017, 96 x 96 x 96” • photo: Jung Hee Mun OPPOSITE: Untitled (Torero), 2017, air-dried terra-cotta clay, 8 x 7 x 10” •

photo: Jung Hee Mun

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Untitled, 2017, oil on linen, 16 x 24” • photo: Jung Hee Mun 74

Untitled, 2017, watercolor on wood, 12 x 16” • photo: Jung Hee Mun

Untitled series, 2018, oil paint on wood, oil on linen, 6 x 12”, 36 x 48”, 12 x 16”, 12 x 6” • photo: Jung Hee Mun 75

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LI ZENG

LEFT TO RIGHT: Twofold (diptych), 2017, inkjet on canvas, 54 x 76” • Fulcrum, 2017, inkjet on canvas, 55 x 38” • photo: Raul Valverde

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Strife-ridden, 2017, inkjet on canvas, 54 x 38” • photo: Raul Valverde 77

LEFT TO RIGHT: Swoop (installation view), 2018, paper and ink on wall, inkjet on canvas, 95 x 120” •

Pencils, 2018, paper and ink on wall, inkjet on canvas, 19.7 x 42” • photo: Raul Valverde

LEFT TO RIGHT: Strife-ridden • Jettison • Disenthrallment, 2017,

inkjet on canvas, 54 x 38” each • photo: Raul Valverde

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Unadorned Presuppositions, 2018, spray paint, ink, watercolor, silkscreen, inkjet on paper, 56 x 70� • photo: Raul Valverde

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HANJUN ZHANG

ABOVE: ZHI, 2017, paper, wood glue, 7 x 10 x 8” • photo: Jung Hee Mun OPPOSITE: Saving, 2017, spoon, 2 x 6.5” • photo: Jung Hee Mun

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Chicken Wing, 2018, plastic, plywood, steel, bristle, 11 x 26” • photo: Raul Valverde

Road Lesson, 2018, medium-density fibreboard, acrylic, 7 x 49” • photo: Raul Valverde

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Your Work, 2018, glasses, paper, wood glue, 9 x10” • photo: Raul Valverde 83

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YESIYU ZHAO

ABOVE: Glowing Ribbons and Chinese Landscape (installation view), 2018 • photo: Raul Valverde OPPOSITE: Crushing Dragon, 2017, acrylic and flashe on paper, pushpins, neon lights, 57 x 62” • photo: Jung Hee Mun

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Moon, 2018, acrylic and ink on rice paper, neon lights, bamboo sticks, blind track, 108 x 56� • photo: Raul Valverde

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uooW, 2018, acrylic and ink on rice paper, neon lights, bamboo sticks, blind track, 108 x 56” • photo: Raul Valverde

LEFT TO RIGHT: Chasing Tigers, 2018, acrylic and ink on rice paper, neon lights, bamboo sticks, blind track, 58 x 84” • Intimacy*2,

2018, acrylic and ink on rice paper, neon lights, bamboo sticks, blind track, 87 x 75” • photo: Jung Hee Mun

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CHAIR’S CHOICES

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JISOO NA

Installation view, 2018, archival inkjet prints, plastic sheeting, masking tape, ladder, cardboard boxes, dimensions variable • photo: Jung Hee Mun 90

LEFT: Installation view, 2018 • photo: Jung Hee Mun BELOW, CLOCKWISE FROM TOP LEFT: Blue (16:40), 2017, paper, archival inkjet print,

60 x 44” • (17:26), 2017, archival inkjet print on canvas, 60 x 44” • (15:35), 2017, archival inkjet print on canvas, 60 x 44” • Oct. 14, 2014, 2017, archival inkjet print on canvas, 60 x 44” • SR3 (17:02), 2017, paper, archival inkjet print, 60 x 44” • photo: Raul Valverde

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ABOVE (LEFT TO RIGHT): Newspapers (x7), 2017, archival inkjet prints, dimensions variable •

Zip (x50), 2017, collage, inkjet prints, dimensions variable • photo: Raul Valverde OPPOSITE: Zip (x50) (detail), 2017, collage, inkjet prints, plastic bags, dimensions variable • photo: Raul Valverde

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KIRIN PINO

ABOVE AND OPPOSITE: Memorias de una Sinverguenza, 2017, unglazed ceramic,

wood panel, latex paint, aluminum wire, 24 x 24 x 52” • photo: Jung Hee Mun

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Hen House, 2018, mixed sheet wood, copper hardware, cedar chip bedding, LED light strips, Devil’s Ivy, women’s kitten heels, chicken wire, 70 x 50 x 36” • photo: Raul Valverde

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S. VON PUTTKAMMER

Dear Gustave series, installation view • LEFT TO RIGHT: Anchovy Without a Pipe, 2016, oil on canvas, 17 x 14” • Anchovy with Leather Belt, 2017, oil on canvas, 39 x 32” • A Desperate Anchovy, 2017, oil on canvas, 17 x 21” • Anchovy with Black Dog, 2017, oil on canvas, 18 x 21” • A Wounded Anchovy, 2017, oil on canvas, 32 x 38” • The Cellist, 2017, oil on canvas, 46 x 35” • Anchovy at Sainte Pelagie, 2017, oil on canvas, 36 x 28” • An Anchovy Made Mad by Fear, 2017, oil on canvas, 24 x 40” • photo: Jung Hee Mun

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Anchovy with Leather Belt, 2017 • photo: Raul Valverde 99

ABOVE: A Desperate Anchovy, 2017 • photo: Sarah von Puttkammer OPPOSITE: Dear Gustave series, 2018, installation view • photo: Raul Valverde

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ALEXANDRA RUSSO (ARCANAS)

ABOVE AND OPPOSITE: You Sleep Like a Baby, 2018, (still, installation view) single channel video, 4:47 • photo: Jung Hee Mun

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ABOVE AND OPPOSITE: You Sleep Like a Baby, 2018, installation view • photo: Jung Hee Mun

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20TWENTY Cover artwork by Li Zeng Inside cover artwork by Julio Cesar Candelario

INDEX ESSAY BY XIAOYU WENG ������������������������������������������������������������������� 2 VASILEIA ANAXAGOROU ��������������������������������������������������������������������� 4 DANA AVENDANO ����������������������������������������������������������������������������������8 MARIA BARQUET ���������������������������������������������������������������������������������� 12 JULIO CESAR CANDELARIO ������������������������������������������������������������� 16 ERIN CHOI ����������������������������������������������������������������������������������������������� 20 MARC CIOFFI ������������������������������������������������������������������������������������������24 FRANCESSE DOLBRICE �������������������������������������������������������������������� 28 BJÖRGVIN JÓNSSON ������������������������������������������������������������������������� 32 SYDNEY KAYE ��������������������������������������������������������������������������������������� 36 EMILY LAROSA ������������������������������������������������������������������������������������� 40 ANDREW LEE ���������������������������������������������������������������������������������������� 44 JONATHAN PERKINS ������������������������������������������������������������������������� 48 ARTEMIS RAZZBERRY ����������������������������������������������������������������������� 52 ALIZÉ SANTANA ����������������������������������������������������������������������������������� 56 JULIETTE SARDOU ����������������������������������������������������������������������������� 60 TONY SEIBERT �������������������������������������������������������������������������������������� 64 CHRIS THIXTON ����������������������������������������������������������������������������������� 68 SHUN DA WAN ���������������������������������������������������������������������������������������72 LI ZENG �����������������������������������������������������������������������������������������������������76 HANJUN ZHANG ����������������������������������������������������������������������������������80 YESIYU ZHAO ���������������������������������������������������������������������������������������� 84

CHAIR’S CHOICES JISOO NA ������������������������������������������������������������������������������������������������90 KIRIN PINO ���������������������������������������������������������������������������������������������� 94 S. VON PUTTKAMMER ����������������������������������������������������������������������� 98 ALEXANDRA RUSSO (ARCANAS) ����������������������������������������������� 102

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BFA FINE ARTS ABOUT THE PROGRAM In addition to traditional media, SVA offers experimental practices in digital sculpture and the emerging field of bio-art.

From figure studies to cutting-edge con­ceptual approaches, our department prepares the fine arts student to enter a myriad of professions and graduate programs. Courses in art history and contemporary art theory inform creative approaches to diverse aesthetic practices.

The Fine Arts Department at the School of Visual Arts is unique. The fine arts student at SVA can choose an individualized course of study. Our new Fine Arts Digital Lab hosts private workstations equipped with up-to-the-minute software and instruction. Our digital sculpture initiative boasts computer-driven cutting machines for fabricat­ing sculpture.

Painting classes include projects in direct observation or photography, and/or abstract methods. Our faculty consists of professional artists, critics and curators whose work has achieved both national and international recognition. In addition, the Fine Arts Department sponsors many events and field trips to museums, galleries and artists’ studios to prepare the student for professional-level experience in the fine arts.

With Chelsea’s art scene at our back door, students stay tuned in to art history in the making.

Networking opportunities inside and outside SVA prepare our students for job placements and career development. For example, you might land a studio job assisting an instructor or a visiting artist, which could become access to a gallery, which could lead to your first show. In senior year, we invite dealers and curators to open-studio events showcasing your work, a twice-yearly chance for you to make important connections. In addition, we focus on all avenues of creative production. Our alumni have worked at top art museums, animation studios, education venues, art therapy practices, public art and other allied professions.

You have access to more than 90 instructors in the studio department, a number unmatched in size and excellence anywhere else. These artists of stature are a vital part of the New York creative scene, whose work you can see in the galleries, museums and even the public spaces of the city.

Connect with the one who inspires and supports your creative efforts the most—the artist you gravitate toward will act as your mentor to help you achieve your artistic goals.

Becoming a fine artist in New York is to see and feel the fluent dynamics of creation as a public phenomenon and an interchange of ideas. Your individual gift, your voice, is made public in exhibition venues.

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