Issuu

B FA F I N E A R T S 2 0 1 7

ESSAY BY HITOMI IWASAKI

admit that I inadvertently let too

fore the dawn of the “curatorial stud-

in their highly textual material that is

much time pass since my visit to

ies” tidal wave) and have spent over

both natural and human at different

the School of Visual Arts’ BFA Fine

20 years being a museum curator in

levels. Each figurative and abstract in

Arts studios—an intense three-

New York City, I just had to realize that

sculpture, Shinnosuke Miyake, Lo-

hour session of seeing as many as

I do not exactly know what it is like to

gan Swedick and Zachary Magill are

69 students’ work in rapid succession.

be a BFA student in New York City—

similarly uncanny and suggestive in

It has been quite some time since I last

what pleasure and terror might lie

dealing with abstraction and repre-

conducted a visit to an undergraduate

in wait everyday. You are at the very

sentation of humanity. Also at a very

program; and the experience of viewing

bottom of the long and ginormous lad-

different wavelength, however, Michael

a considerable volume of works in per-

der, the babies, about to be let loose

Rider and Yeong Ha Lee renegotiate

son—not digital reproductions—without

in this super-overloaded, mega-art

the traditional language of abstract

meeting or communicating with the

capital. It simply made me feel dizzy

painting, while Justin Adkison, Qian-

artists was unique.

trying to imagine how they position

gwei Jiang and Grace Park push the

and navigate themselves embarking

boundaries of abstraction and figura-

between the initial and direct expe-

on such a journey. My recollections

tive from three different directions in

rience of the works I saw on multiple

of studio-major peers in a private art

their pursuit of pictorial depth.

floors at 335 West 16th Street and

college in Kyoto back in the mid-80s

now reviewing them by looking at

are too distant now at many levels, no

er classic, does also seem to concern

images on my computer screen, what

comparison whatsoever.

the new painters such as Ning Fang

Having allowed some time to pass

The issue of pictorial depth, howev-

strikes me first and most is the fact

There was an undeniable charac-

that a good half of the 20 students I

teristic of unhinged playfulness and

that expand the pictorial dimensional-

selected are painters. I had to sud-

desire to muster the immediacy of

ity through which narrative is allowed

denly recall how enjoyable that was to

message when some form of media

to unfold. Innocuously traditional in

see that many good paintings, or to

was incorporated in the work. That is

two very different figurative languag-

have been in the space surrounded by

the case in the works by Gideon Issa

es, the paintings of Hiroka Yamashita

these paintings. And this comes from

and Dakin Platt in their flexible and

and Zitong Zhu both speak volumes

my recent years of organizing group

versatile experiment with forms and

about human drama, with or without

shows, thematic or otherwise, and

materials of mass media and repre-

humans acting in it.

often facing a situation with an unruly

sentation. Cultural specification is also

imbalance between media and non-me-

filtered and redefined in the use of me-

ness, their freedom, their self-in-

dia work. Of course, I then quickly had

dia that effectively contextualize time

volvement unencumbered by doubt

to realize that there were many other

and space in the works of Bingyu Xie

or hesitation might be presumptuous

BFA programs at SVA variously spe-

and Mariya Semenenko and Viktorea

or perhaps reflect wishful thinking on

cializing in media art. Did I mention my

Nagibina. Nicholas Fernandez seems

my part. But an impression is also its

discomfort in the imbalance between

at ease in blending media and tradi-

own reality. What I imagine to be the

media and non-media work? The sheer

tional forms of visual representations

bottom could in fact be a cusp—a preci-

number of specialized media art cate-

where tattoo and drawing cancel the

pice—from which to leap with absolute-

gories at SVA alone explains it.

border between them. But moving

ly nothing to fear or avoid.

Though I did study in this country

away from the media incorporation,

at a graduate level in art history and

Deanna Bele and Ella Hilsenrath bring

museum studies (yes, it was just be-

the awareness of psychic properties

and Katherine Blackburne with works

My impression of their fearless-

Brave new warriors they are.

ALEXANDRA LEWIS

Untitled (set of 8) ∙ 2016 ∙ ink on paper ∙ 7 x 11" ∙ photo: Beatriz Meseguer

Untitled ∙ 2016 ∙ oil on board ∙ 7 x 11", 18 x 24", 7 x 11” ∙ photo: Beatriz Meseguer 5

Untitled ∙ 2016 ∙ installation view ∙ photo: Beatriz Meseguer 6

ALLISON FLAMBERG

Scale Model of Confessional ∙ 2016 ∙ steel, cardboard ∙ 6 x 9 x 6" ∙ photo: Raul Valverde 8

Confessional ∙ 2016 ∙ wood, steel, plaster, screws, nuts & bolts, rope, plastic cups, painting compound, masking tape, duct tape, wood glue ∙ 6 x 8.6 x 6' ∙ photo: Raul Valverde

Untitled #1 ∙ 2016 ∙ wood, screws, masking tape, steel braces, wood glue ∙ 3.4 x 1.6 x 1.6' ∙ photo: Allison Flamberg

Through the Windows ∙ 2016 ∙ wood, screws, masking tape, painting compound, wood glue ∙ 5 x 2.6 x 3.6' ∙ photo: Allison Flamberg

BINGYU XIE

Ledger book series_4 ∙ 2016 ∙ matte acrylic, gel mediums on canvas ∙ 12 x 24" ∙ photo: Beatriz Meseguer

Ledger book series_6 ∙ 2016 ∙ matte acrylic, gel mediums on canvas ∙ 9 x 12" ∙ photo: Beatriz Meseguer

Deal honestly with aged and child customers ∙ 2016 ∙ soft neon light ∙ 30 x 30" ∙ photo: Beatriz Meseguer

Almanac ∙ 2017 ∙ laser cut on mirror acrylic sheet, vinyl texts ∙ installation view ∙ photo: Jung Hee Mun

Almanac ∙ 2017 ∙ laser cut on mirror acrylic sheet, silkscreen on rice paper ∙ 18 x 24" ∙ photo: Jung Hee Mun

DAKIN ALEXANDER PLATT

$MELLINE$$ BE GONE ∙ 2017 ∙ car-freshener, scented candle, air-freshener spray, deodorant, glue, screws, nails, water, fan ∙ 24 x 16 x 26" ∙ photo: Jung Hee Mun

$MELLINE$$ BE GONE AD ∙ 2017 ∙ single channel HD video ∙ 2:14 ∙ photo: Dakin Alexander Platt 16

Studio View ∙ 2016 ∙ paint, inflatable chair, cooler, art ∙ photo: Beatriz Meseguer

Bed Room Wall ∙ 2016 ∙ metal, wood, plastic, paint, printed photos, pencil, paper ∙ 10 x 7' ∙ photo: Beatriz Meseguer

DEANNA BELE

Weaving ∙ 2017 ∙ knitted & woven yarn and fabric ∙ 5 x 1' ∙ photo: Jung Hee Mun 20

Galaxy ∙ 2017 ∙ dyed fabric, acrylic, thread ∙ 7 x 4' ∙ photo: Jung Hee Mun

Loom ∙ 2017 ∙ yarn and fabric on wooden loom ∙ 3 x 4' ∙ photo: Jung Hee Mun 23

EDUARDO SOLANA

Under the Same Sky Series ∙ 2016 ∙ archival inkjet print ∙ 30 x 16" ∙ photo: Jung Hee Mun

Under the Same Sky Series ∙ 2016 ∙ archival inkjet print ∙ 24 x 13" ∙ photo: Jung Hee Mun

Under the Same Sky Series ∙ 2016 ∙ archival Title ∙ Year ∙ Materials ∙ Dimensions ∙ photo : Beatriz inkjet print ∙ 24 x 13" ∙ photo: Jung Hee Mun Meseguer 25

The Product ∙ 2016 ∙ video-mapping projection, plastic bottles, framed doors, wooden window, fabric curtains, mannequin hands ∙ installation view ∙ photo: Beatriz Meseguer 26

The Product ∙ 2016 ∙ video-mapping projection, plastic bottles, framed doors, wooden window, fabric curtains, mannequin hands ∙ installation view ∙ photo: Beatriz Meseguer

The Product ∙ 2016 ∙ video-mapping projection, plastic bottles, framed doors, wooden window, fabric curtains, mannequin hands ∙ installation view ∙ photo: Beatriz Meseguer 27

ELLA HILSENRATH

Untitled ∙ 2017 ∙ fabric, wire, fiberfill, wood ∙ installation view ∙ photo: Raul Valverde

Untitled (details) ∙ 2016 ∙ fabric, wire, fiberfill ∙ 70 x 68 x 77" ∙ photo: Jung Hee Mun

ELLA HILSENRATH

Untitled Photo 2 ∙ 2017 ∙ wearing costume made of fabric and fiberfill, photo printed on linen ∙ 22 x 15" ∙ photo: Raul Valverde

Untitled ∙ 2017 ∙ fabric, wire, fiberfill, wood ∙ installation view ∙ photo: Raul Valverde

GIDEON ISSA & DAKIN ALEXANDER PLATT

What's The Dealio? ∙ 2017 ∙ installation for performance ∙ installation view ∙ photo: Raul Valverde

What's The Dealio? ∙ 2017 ∙ installation for performance ∙ installation view ∙ photo: Jung Hee Mun 33

Canned Farts ∙ 2017 ∙ metal cans , paper ∙ 4 x 4 x 4" ∙ photo: Raul Valverde 35

GIDEON ISSA

Plant TV ∙ 2017 ∙ single channel video ∙ 1:00 ∙ photo: Raul Valverde 37

McDonald's ∙ 2017 ∙ oil on canvas ∙ 36 x 54" ∙ photo: Jung Hee Mun 39

GRACE PARK

You & I (portrait) ∙ 2017 ∙ oil, charcoal and pencil on canvas ∙ 48 x 60" ∙ photo: Jung Hee Mun

You & I (portrait) (detail) ∙ 2017 ∙ oil, charcoal and pencil on canvas ∙ 48 x 60" each ∙ photo : Jung Hee Mun 41

Untitled ∙ 2017 ∙ oil and pencil on canvas ∙ 48 x 60" ∙ photo: Jung Hee Mun

Existent ∙ 2016 ∙ oil, oil pastel and pencil on canvas ∙ 30 x 30" each ∙ photo: Raul Valverde

JUSTIN ADKISON

Untitled Works ∙ 2016 ∙ ink on paper ∙ 32 x 24” each ∙ photo: Beatriz Meseguer

Untitled ∙ 2016 ∙ acrylic on canvas ∙ 6 x 4' ∙ photo: Beatriz Meseguer

Silver Spoon ∙ 2016 ∙ acrylic on canvas ∙ 6 x 3' ∙ photo: Beatriz Meseguer

Untitled 4 ∙ 2016 ∙ acrylic on canvas ∙ 6 x 4' ∙ photo: Justin Adkison 47

KATHERINE BLACKBURNE

Universal Seer ∙ 2016 ∙ oil on linen ∙ 58 x 70" ∙ photo: Raul Valverde

OMGLOLILOVEYOU ∙ 2016 ∙ oil on linen ∙ 58 x 70" ∙ photo: Raul Valverde 49

Glittersoup ∙ 2016 ∙ oil on linen ∙ 68 x 72" ∙ photo: Katherine Blackburne

Driver Pink Jungle ∙ 2016 ∙ oil on linen ∙ 58 x 70" ∙ photo: Raul Valverde

KESEWA ELLA HILSENRATH ABOAH

Untitled ∙ 2017 ∙ black pigment and coconut oil, mulberry paper, white thread, silver nails ∙ 50 x 66" ∙ photo: Jung Hee Mun 52

Untitled ∙ 2017 ∙ red pigment and coconut oil, mulberry paper, red thread, copper nails ∙ 50 x 66" ∙ photo: Jung Hee Mun

ELLA HILSENRATH

Untitled ∙ 2016 ∙ archival inkjet print, black pigment and coconut oil ∙ 44 x 60" ∙ photo: Brother T.

Untitled ∙ 2016 ∙ archival inkjet print, black pigment and coconut oil ∙ 24 x 30" ∙ photo: Brother T.

Untitled ∙ 2016 ∙ Installation View ∙ dimensions variable ∙ photo: Jung Hee Mun

LOGAN SWEDICK

Red Sign ∙ 2017 ∙ lightbulbs on steel ∙ 4 x 8' ∙ photo: Raul Valverde

Studio ∙ 2017 ∙ installation view ∙ photo: Raul Valverde

Swing Sign & Untitled ∙ 2016 ∙ installation view ∙ photo: Raul Valverde

Untitled Chair & Red X ∙ 2017 ∙ steel, lightbulbs on steel ∙ 2 x3' , 4 x 4' ∙ photo: Jung Hee Mun

MAHYAR KALARI

Farsh (Persian rug) ∙ 2016 ∙ mixed media, projection video ∙ 8 x 5.5' ∙ photo: Raul Valverde

Farsh (Persian rug) ∙ 2016 ∙ mixed media, projection video ∙ 8 x 5.5' ∙ photo: Raul Valverde 61

Point of View ∙ 2017 ∙ foam, projection video, ink, fan, plexiglass ∙ dimensions variable ∙ photo: Jung Hee Mun

ELLA HILSENRATH

The Idol ∙ 2016 ∙ foam, gesso, oil baste gold pastel, metal, plexiglass, Super Sculpey, wire and foil ∙ 5.9 x 3 x 1.5' ∙ photo: Jung Hee Mun

MARIYA SEMENENKO

The Boy Running ∙ 2017 ∙ wood, chicken wire, moss, ivy and soil ∙ 3 x 1.5 x 1' ∙ photo: Mariya Semenenko

Eve and Contradiction ∙ 2017 ∙ wood, chicken wire, moss, plaster and soil ∙ overall 5.5 x 2 x 2' each ∙ photo: Jung Hee Mun

ELLA HILSENRATH

The Womb ∙ 2016 ∙ birch branches, bread dough, wire, led lights ∙ overall 1 x 1.5 x 1.5' ∙ photo: Beatriz Meseguer (from left to right) Eve, The Boy Running, Contradiction ∙ wood, chicken wire, moss, plaster, soil, ivy plant and a lightbulb ∙ overall 5 x 2 x 2', 3 x 1.5 x 2', 5.5 x 2 x 2' ∙ photo: Mariya Semenenko

Eve ∙ 2017 ∙ wood, moss and soil ∙ overall 5 x 2 x 2' ∙ photo: Mariya Semenenko 67

MICHAEL RIDER

Value (left), Forgetting (center), The Lady (right) ∙ 2016 ∙ oil on canvas ∙ 30 x 24", 36 x 60", 36 x 24" ∙ photo: Jung Hee Mun

Flush ∙ 2016 ∙ oil on canvas ∙ 30 x 24" ∙ photo: Beatriz Meseguer

Forgetting ∙ 2017 ∙ oil on canvas ∙ 36 x 60" ∙ photo: Jung Hee Mun 71

NICHOLAS FERNANDEZ

It Hurts ∙ 2017 ∙ archival inkjet print ∙ 30 x 29" ∙ photo: Nicholas Fernandez 72

I wish I could say every touch was sweet ∙ 2017 ∙ archival inkjet print ∙ 56 x 37" ∙ photo: Raul Valverde

It was never for my pleasure ∙ 2017 ∙ inkjet print and ink ∙ 42 x 27.5" ∙ photo: Jung Hee Mun

NING FANG

Untitled ∙ 2017 ∙ acrylic on wood ∙ 18 x 24" ∙ photo: Jung Hee Mun

Nightmare Catcher ∙ 2015 ∙ ceramic, mixed media, ∙ dimensions variable ∙ photo: Ning Fang

Untitled ∙ 2016 ∙ acrylic and mixed media on wood ∙ 18 x 24" ∙ photo: Beatriz Meseguer

Untitled ∙ 2017 ∙ acrylic on canvas, wood ∙ installation view ∙ photo: Jung Hee Mun

QIANGWEI JIANG

Untitiled ∙ 2017 ∙ oil on canvas ∙ 11 x 14" ∙ photo: Jung Hee Mun

Untitled ∙ 2016 ∙ oil on canvas ∙ 24 x 24" ∙ photo: Beatriz Meseguer

Summer 1998 ∙ 2017 ∙ oil on canvas ∙ 11 x 14" ∙ photo: Jung Hee Mun

Dream ∙ 2017 ∙ oil on canvas ∙ 11 x 14" ∙ photo: Jung Hee Mun

SANGEUN HWANG

The deeper, The further… (1st fl) ∙ 2017 ∙ mixed media ∙ 8 x 8 x 2” ∙ photo: Raul Valverde

Studio View ∙ 2016 ∙ mixed media ∙ dimensions variable ∙ photo: Beatriz Meseguer

The deeper, The further… (4th fl) ∙ 2017 ∙ mixed media ∙ overall 80 x 100 x 3” ∙ photo: Jung Hee Mun

The deeper, The further… ∙ 2017 ∙ mixed media ∙ overall 24 x 24 x 80” ∙ photo: Jung Hee Mun

SHINNOSUKE MIYAKE

Untitled ∙ 2016 ∙ foam, metal, clothes ∙ 46 7/8 x 15 3/4 x 24 3/4" ∙ photo: Raul Valverde

Untitled ∙ 2016 ∙ foam, metal, clothes ∙ installation view ∙ photo: Raul Valverde

Untitled ∙ 2017 ∙ foam, mirror paper, tape, clothes ∙ 9 x 12' ∙ photo: Raul Valverde

Untitled ∙ 2017 ∙ foam, magnets, clothes, plaster ∙ installation view ∙ photo: Raul Valverde 91

VIKTOREA NAGIBINA

The Deep Rooted Inner World ∙ 2017 ∙ microscopic images printed on fabric, wood ∙ 95 x 170" ∙ photo: Jung Hee Mun

The Deep Rooted Inner World ∙ 2017 ∙ detail ∙ photo: Jung Hee Mun

The Deep Rooted Inner World ∙ 2017 ∙ installation view ∙ photo: Raul Valverde 93

The Deep Rooted Inner World (2) ∙ 2017 ∙ microscopic images printed on fabric, mirror, wood ∙ 95 x 85 x 85" ∙ photo: Jung Hee Mun

The Inner World ∙ 2017 ∙ microscopic images printed on fabric, wood ∙ 95 x 85 x 85" ∙ photo: Jung Hee Mun

VIKTOREA NAGIBINA & MARIYA SEMENENKO

The Origins ∙ 2017 ∙ wood, chicken wire, archival inkjet print, fabric, LED lights ∙ 4 x 4.8 x 8' ∙ photo: Jung Hee Mun

The Origins ∙ detail ∙ photo: Jung Hee Mun

YEONG HA LEE

Ben ∙ 2016 ∙ oil on canvas ∙ 36 x 48" ∙ photo: Raul Valverde

Yeong Ha (left), Sang Yeob (right) ∙ 2017 ∙ oil on canvas ∙ 48 x 60" each ∙ photo: Raul Valverde

Jung Sook (left), Family Photo (center), Yoon Sun, Jenny (right) ∙ 2017 ∙ oil on canvas ∙ installation view ∙ photo: Jung Hee Mun

100

Missed Promise (left), Peter (right) ∙ 2016 ∙ oil on canvas ∙ 24 x 30" , 12 x 12" ∙ photo: Raul Valverde

101

ZACHARY MAGILL

Conversation ∙ 2016 ∙ installation ∙ photo: Beatriz Meseguer

102

Helmet ∙ 2017 ∙ steel ∙ 32 x 24 x 16" ∙ photo: Jung Hee Mun 103

The Masses ∙ 2017 ∙ ceramic, plaster ∙ installation view ∙ photo: Jung Hee Mun

ELLA HILSENRATH

Title ∙ Year ∙ Materials ∙ Dimensions ∙ photo : Beatriz Meseguer 104

Good Company ∙ 2017 ∙ glass, ceramic, ink, wood, plaster, oil ∙ photo: Beatriz Meseguer

105

ZITONG ZHU

Moment II ∙ 2017 ∙ oil on canvas ∙ 20 x 20"∙ photo: Beatriz Meseguer

106

Cafe With a Cloud ∙ 2016 ∙ oil on canvas ∙ 14 x 18"∙ photo: Beatriz Meseguer

107

The Hudson River III ∙ 2016 ∙ oil on canvas ∙ 24 x 30" ∙ photo: Beatriz Meseguer

108

Moment III ∙ 2017 ∙ oil on canvas ∙ 24 x 30" ∙ photo: Beatriz Meseguer

109

INDEX

ESSAY BY HITOMI IWASAKI �� 3 ALEXANDRA LEWIS �� 4 ALLISON FLAMBERG �� 8 BINGYU XIE ��12 DAKIN ALEXANDER PLATT ��16 DEANNA BELE ��20 EDUARDO SOLANA ��24 ELLA HILSENRATH ��28 GIDEON ISSA & DAKIN ALEXANDER PLATT ��32 GIDEON ISSA ��36 GRACE PARK �� 40 JUSTIN ADKISON �� 44 KATHERINE BLACKBURNE �� 48 KESEWA ABOAH ��52 LOGAN SWEDICK ��56 MAHYAR KALARI ��60 MARIYA SEMENENKO ��64 MICHAEL RIDER ��68 NICHOLAS FERNANDEZ �� 72 NING FANG �� 76 QIANGWEI JIANG �� 80 SANGEUN HWANG �� 84 SHINNOSUKE MIYAKE �� 88 VIKTOREA NAGIBINA ��92 VIKTOREA NAGIBINA & MARIYA SEMENENKO ��96 YEONG HA LEE ��98 ZACHARY MAGILL �� 102 ZITONG ZHU �� 106 ABOUT THE PROGRAM ��111

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ABOUT THE PROGRAM

n addition to traditional media, SVA

al artists, critics and curators whose

creative production. Our almuni have

offers experimental practices in

work has achieved both national and

worked at top art museums, animation

digital sculpture and the emerging

international recognition. In addition,

studios, education venues, art therapy

field of bio-art. From figure studies to

the Fine Arts Department sponsors

practices, public art and other allied

cutting-edge conceptual approaches,

many events and field trips to muse-

professions.

our department prepares the fine arts

ums, galleries and artists’ studios to

student to enter a myriad of profes-

prepare the student for profession-

instructors in the studio department,

sions and graduate programs. Courses

al-level experience in the fine arts.

a number unmatched in size and ex-

in art history and contemporary art

With Chelsea’s art scene at our back

cellence anywhere else. These artists

theory inform creative approaches to

door, students stay tuned in to art

of stature are a vital part of the New

diverse aesthetic practices.

history in the making.

York creative scene, whose work you

The Fine Arts Department at the

Networking opportunities inside

You have access to more than 90

can see in the galleries, museums and

School of Visual Arts is unique. The

and outside SVA prepare our students

even the public spaces of the city.

fine arts student at SVA can choose

for job placements and career devel-

Connect with the one who inspires

an individualized course of study. Our

opment. For example, you might land

and supports your creative efforts the

new Fine Arts Digital Lab hosts private

a studio job assisting an instructor or

most—the artist you gravitate toward

workstations equipped with up-to-

a visiting artist, which could become

will act as your mentor to help you

the-minute software and instruction.

access to a gallery, which could lead

achieve your artistic goals.

Our digital sculpture initiative boasts

to your first show. In senior year,

Becoming a fine artist in New York

computer-driven cutting machines for

we invite dealers and curators to

is to see and feel the fluent dynamics

fabricating sculpture. Painting classes

open-studio events showcasing your

of creation as a public phenomenon

include projects in direct observation

work, a twice-yearly chance for you

and an interchange of ideas. Your indi-

or photography, and/or abstract meth-

to make important connections. In

vidual gift, your voice, is made public

ods. Our faculty consists of profession-

addition, we focus on all avenues of

in exhibition venues.

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B FA F I N E A R T S 2 0 1 7