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Published on the occasion of the CLASS OF 2025 COLUMBIA UNIVERSITY SCHOOL OF THE ARTS SOUND ART AND VISUAL ARTS MFA THESIS EXHIBITION

Miriam and Ira D. Wallach Art Gallery Lenfest Center for the Arts April 27–May 25, 2025

Columbia University School of the Arts 310 Dodge Hall MC 1806 2960 Broadway New York, NY 10027 arts.columbia.edu/visual-arts

EDITED BY Laura Mosquera AND Calvin Kim DESIGNED BY Bernardo E. Garcia Valencia PRINTED BY RMI Printing IN NEW YORK, NY

EVERYTHING IS RECORDED

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YUEYANG LUO / LO ANDREA MORENO MILES SCHARFF MAGALI, A CULT AHZEL GIORGIA ALLIATA ANDRIUS ALVAREZ-BACKUS EMERITA BAIK FRANCISCA BRUNET BAYÓN DANIEL CASTRO DEVON PIN-YU CHEN ISAIAH DAVIS MAYA DIXON RAMA GHANEM JAVIER GRIFFEY CALHAN HALE KEKEZ (KE ZHANG) JOANNE KIM LEENA KIM CHRISTINA YUNA KO SHARON CHEUK WUN LEE IN JUNE PARK WENFEI QUAN RIDWANA RAHMAN GRETHELL RASUA ZELMIRA RIZO LIZ SCHNEIDER ANNIKA TUCKSMITH ANTONIO VIDAL DE LASCURAIN

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MESSAGE FROM THE DEAN OF THE SCHOOL OF THE ARTS MESSAGE FROM THE CHAIR OF THE VISUAL ARTS PROGRAM ABOUT THE SCHOOL OF THE ARTS ABOUT THE CURATOR DONORS VISUAL ARTS FACULTY & STAFF

In the Columbia MFA program many things are recorded. Students often save lectures and class conversations onto their phones for later transcription or translation into their native languages.

while a voice reflects on the impoverishment of memory brought about by the digital photo archive. ANDRIUS ALVAREZ-BACKUS works with materials and motifs imbued with cultural and sensual connotations to create intimate monuments to queer love in the age of visibility.

Last year on campus, Columbia students’ chants resounded the world over—recorded on their personal phones and on surveillance and body cameras; circulated on the internet and in group chats; stored in the cloud and in hard drives in personal and confidential and openly available records. Coming in through the window, the sounds may have also accidentally etched into one student’s work as she sculpted at her pottery wheel. Perhaps, from that piece, the sounds will one day be purged, their language reconstituted from what knowledge remains of a bygone empire.

ANDREA MORENO imagines a multi-act choreography spanning the growth

To this end, I invite you to consider the works in this exhibition, made by the twenty-nine artists of the Columbia Visual and Sound Arts MFA Class of 2025, as witting and unwitting recordings of historical phenomena, or as interventions into them. MAGALI, A CULT (MAGALI VAN CALOEN) offers salt as a primordial medium channeling the ambivalent figure of the mother within troubled colonial and patriarchal orders. Reverence becomes a ritual for calibrating distance and depth, toxicity and sustenance, preservation and corrosion. In JAVIER GRIFFEY’S photographs, the mother unfolds as collaborative object of scrutiny, as well as dramatic subject of her own life, whose truths and fictions must be preserved. ANNIKA TUCKSMITH transcribes a watchful landscape both idyllic and unsettled, its youthful inhabitants engaged in rituals at the edge where innocence gives way to injury. MAYA DIXON stages a Black female persona that is at once expansive and hermetic, reappropriating the modes of visibility within a strictly internal frame of reference. AHZEL (ZHEN YANG) takes us on a misguided spiritual scroll

where an excavated sex toy is mistaken for a rare mushroom believed to hold the keys to immortality. With LEENA KIM , we go on a scenic tour of emotionally charged landscapes,

stages of a “more-than” species, from the grotesque yet vulnerable process of birth, moving through self-realization and assimilation, and culminating in a transformative rebirth from singularity to multiplicity. FRANCISCA BRUNET BAYÓN’S swirling, amorphous shapes and elemental palette are reminiscent of viscera and flesh, appearing as glistening ceramics hovering at the edge between seductiveness and horror, or as two-dimensional fluid forms that evoke anguish and/or ecstasy. DANIEL CASTRO’S expanded paintings dramatize a visual and material glossary reclaimed from the construction sites of predatory development projects in his Bronx community, constantly overwriting it with the local codes of a living historical subject that refuses to be overwritten. KEKEZ (KE ZHANG) uses human and robotic performance to explore how gender, power, and racial or national identity are encrypted in today’s hyper-mediated gaze. RAMA GHANEM searches and researches a history of artifacts twice looted—from her family who helped excavate them, and from her native Palestine—to languish in the vaults of American institutions. ISAIAH DAVIS’S raw metal sculptures are meditations on Black masculinity and survival. Disembodied male and female genitalia share a world with a childlike creature welded together from several compartments that can be locked at will. JOANNE KIM’S paintings merge geographies and temporalities in landscapes that resist the confines of identity forged by historical trauma, enlisting the longue-durée tempo of the universe. GRETHELL RASUA dabbles in waste’s proximity to consumerist notions of beauty and taste—and art’s implication in them—inviting patrons to adorn their homes with their own (or someone else’s) gilded feces, the shade of which can be customized by eating certain foods. ANTONIO VIDAL DE LASCURAIN’S paintings tune in to a trans-dimensional universe where classical mythology commingles with totemic landscapes and present-day pathos. CHRISTINA YUNA KO invokes the Korean and wider Asian diasporic experience as expressed through the domestic space, where consumable goods—aesthetic, functional, cultural—play a considerable role in sustaining a homesickness both haunted and healing. EMERITA BAIK approaches the dual condition of diaspora via

the emotional legacy packed into photographs, reconstituting them into bodily forms that belie a tortuous relation to their milieu. DEVON PIN-YU CHEN’S ceramics depict characters and incidents that hover between lightheartedness and foreboding, adventure and disaster, where the passage to adulthood is burdened by the redemption of the bequeathed world.

environments that recall labyrinthine spaces. ZELMIRA RIZO’S paintings unfold as an ongoing dialogue with the artist’s body and somatic practice. Sometimes she utilizes the canvas edges, back, and body as annotation and architecture. Sometimes the painting acts as a kind of Ouija board that informs her body’s journey in the physical world.

WENFEI QUAN presents the virtual universe of computer screens and the internet as a materialized reality to which humans have become referential. LIZ SCHNEIDER holds up a mirror implicating us within the same frame as a disemboweled horse, collapsing the distance between a viewer and an image of violence, between humans as dominant species and the lifeforms they claim as collateral in their pursuit of supremacy. SHARON CHEUK WUN LEE experiments with indexical photography to conjure histories of colonialism, agriculture, labor, and female struggle embedded in that quintessential Chinese staple—rice— and its entanglement with Hong Kong identity. YUEYANG LUO revisits unrealized utopian projects where structural failures might be overcome by reinstating collective aspirations and polyphonies. RIDWANA RAHMAN considers the Muslim prayer room in its incarnations as public amenity or site of early sexual curiosity in today’s globalized temples of commerce, migration, and cultural immersion. MILES SCHARFF reimagines sonic and visual apparatuses to expose the invisible but very physical interferences behind paranormal phenomena, conspiracy theories, and madness ushered in by the electromagnetic era. IN JUNE PARK trains a close-cropped gaze onto the masculine body and its everyday trimmings, trappings, and awkward rituals of vanity—leather desk chair, leaky puffer and suit jackets, dads and politicians, lots of shiny black—with an evenness of tone and treatment bordering on the surreal. CALHAN HALE’S paintings disturb relationships of scale and visual semantics whereby objects and frames collapse and interchange, expand and contract, causing gaps in recognition that are also portals into heightened consciousness. GIORGIA ALLIATA negotiates constraints, availabilities, materials, and loopholes in her environment to create dreamlike parallel

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YUEYANG LUO/ LO Yueyang Luo/Yut-Yeoung Lo is an artist, a post-student, and a Chinese female. Her work is situated in event, action and built environments, channeling outputs that resembles the form of (interactive) installation and (collaborative) workshop. Adopting sound, moving image, text, and object of interest as her material, she sees her practices as utopian-building, eager to create a space for hope. Her most recent project “untangling entanglement” is a series of workshops that excavate speaker wires as socio-media objects. She is also one of the contributors in the experimental essay “Aether to Wires to Rust, and Back Again” published on the third volume of Metode “Currents.”

Sites and text, translation and gestures, tools and toys, work and play; My practice delves inside the syntax of these four axes that position myself in time-space. I adopt these terms as my markings, a conceptual scale that puts all of my past and future practices in relation to one another, they simply exist for I am interested in seeing the world in such a way. My practice is therefore undeniably personal, yet, I seek out meaningful connection with people through the form of workshops. Engaging, communicating and sharing, is how I make sense of my work in relation to its surroundings. In this case, my practice is also inevitably collective, thus sites are no longer anchored in geographical locations but paved as a form of social practice. My sincere hope is that people can be free from war, poverty, discrimination and the desire for destruction.

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Untangling Entanglement. Trial II, 2023 Participatory workshop with self-made contact mic, concrete block, and audio interface

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Eureka.I, 2024 Participatory workshop with audio-visual system, paper-airplanes, and DIY infrared LED parts

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No Such A Space, 2025 Installation with multiple things in it and around it

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Untangling Entanglement. Trial IV, 2024 Participatory workshop with self-made electromagnectic mic, copper wire, wire cutter, audio interface, and speakers

ANDREA MORENO Andrea Moreno (b. 1999) is a multidisciplinary artist based in Brooklyn, originally from Miami, Florida. She holds a BFA in Art and Technology from the University of Florida and is pursuing an MFA in Sound Art at Columbia University. She is also a licensed tattoo artist in NYC.

Andrea Moreno is a multidisciplinary artist working with sound, video, sculpture, and installation. Her practice explores the relationship between the Other— the unknown, the nonexistent, the occult—and the human experience. She is particularly interested in the idea that aliens originate from within us, embodying the psychological and spiritual unknown rather than existing as external entities. Drawing from the materiality and movement of organic forms, she delves into mysticism, spirituality, and the esoteric, shaping anthropomorphic organisms that challenge perception and invite new ways of seeing. Her use of materials confronts the effect of the ‘Other,’ attempting to shift perspectives and reimagine the human relationship to the unfamiliar. Sound plays a significant role in her work, with compositions crafted to heighten emotional and psychological atmospheres. By manipulating sound, she creates environments where both physical and emotional textures become palpable. Rooted in biomimicry, her work mirrors nature’s processes, where biological forms and behaviors shape artistic expression. Moreno generates transformative experiences through her work, inviting contemplation on the unseen and provoking shifts in understanding and connection.

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Womb (in-progress), 2025 Steel and ceramic 75” x 69” x 72”

andreammoreno.com instagram @y0shaang

11/11/11/11/11, 2024 Wood, ceramic, herbs, candles, and transducer 17” x 34.5” x 22”

El fuego y la criatura, 2024 Macramé 84” x 52” x .5”

Womb (in-progress), 2025 Steel 75” x 69” x 72”

MILES SCHARFF Miles is a sound artist working with radio electronics, sound sculpture, video, spatial audio, and performance. He has exhibited work at New Uncanny, Fridman Gallery, Wallach Gallery, SK Gallery, Alice Holt Forest with Sensing the Forest and Forestry England, The Children’s Museum of Pittsburgh, Phipps Conservatory and Botanical Gardens, and The Rube Goldberg Foundation. He is a recipient of the 2024 Genelec Dr. Ilpo Martikainen Audio Visionary Scholarship, and has a paper published in the TEI 2025 conference. Miles received his bachelors in Physics and Music Technology from Carnegie Mellon University, and will receive his MFA in Sound Art from Columbia University in 2025.

I investigate the leakage of telecommunications infrastructure, how every object in the path between sender and receiver is penetrated, interacted with, moved through by electromagnetic signals. The radio has been heard through dental implants, shrapnel embedded in the skull, bedsprings, pots and pans, wireframe glasses, and old pipes. Listeners in these examples were often suspected of hallucination. Every object is an antenna, a reflector, or somewhere in between. These instances of leakage sit in the gaps of knowledge, between end users, a space considered formless to the architects of the signals that traverse it. I see these sites as case studies in the rift between scientific or authoritarian truth and personal experience. When instances of leakage go unaddressed and unexplained, established logic systems are re-appropriated to fabricate an explanation, sometimes in ways deemed as conspiracy theory. I seek to document and fabricate these interactions between physical object and invisible signal through the creation of devices and systems in order to witness them through listening and re-contextualization, allowing for invisible systems and phenomena to be confronted and considered in relation to our bodies and environment. These investigations are not about distilling some form of truth, but to physicalize an extrasensory experience such that it can be placed in a critical lens.

milescharff.com instagram @mjsmiles99

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Magnetic Exposures, 2024 (ongoing) Acrylic, steel, microwave transformers, and power supply Dimensions variable Photo credits to Javier Griffey

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A Tree Listens to Itself, 2024 Copper wire, variable electromagnetic receiver, natural radio receiver, grounding cloth, twine, and loudspeakers Dimensions variable

Drinking Pennies at Midnight, 2024, in collaboration with Sasha Fishman Steel, wood, b complex, paper, bearings, agar, gelatin, nutritional yeast, video, sound, motor, copper, plaster, solar panels, UV leds, Pennies, monitors, speakers, plastic, handmade circuits, flour, and urine 70” x 41” x 77”

the taking apart, the sawing in half, 2024 Acrylic, steel, copper wire, microwave transformers, transducers 48” x 48” x 84”

MAGALI, A CULT Magali, a Cult is an interdisciplinary artist based in New York. She brings an amalgamation of genres together in her sculpture, CGI artwork, music, and writing. The grounding force behind these multimedia installations is her storytelling, which becomes a siphon into new and familiar landscapes.

For her thesis project entitled Mother’s Salary, salt is centered as a medium, exploring its ability to transform and permeate materials by pairing it with steel, terracotta, water, fabric, and glass. Salt is contradictory. Preserving, purifying, healing, abrasive, toxic, transformative, crystalline, powdery. She relates this to the Maternal Attachment, borne of intense love and pain. The first one we encounter, reminding us of the initial mother severance, as proven by the scar that resides at the center of all of our bodies (belly button). The umbilical cord becomes a disintegrated symbol of this first ripping apart, which is extrapolated to envision the Eternal Attachment to Mother Nature. The cord is the highway to all sustenance. Must be preserved. Must remember. Preserve. We all need salt.

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Salt cord 1, 2024 Salt, water, glass, string, steel 15” x 12” x 22” next spread

Saltwater tank 2, 2024 Salt, water, glass, steel 15” x 12” x 22”

magaliacult.com instagram @magaliacult

AHZEL Ahzel (b. 2001, Nanchang, China). Ahzel is an artist whose practice focuses on the experience and emotional absence of the individual in the context of dominant culture and macronarratives. Ahzel develops narratives around the construction of virtual selves, the flow of information, and non-linear space-time and extends to topics related to artificial intelligence, East Asian queerness, and spiritual exploration. Ahzel’s practice aims to blur boundaries through creative video, writing, installation, and photography.

Long Live! is a video installation, a love letter composed of lost cybernetics servers and drowning into endless info adventures, from the past to the future, from life to immortality, from the IRL to URL. In the post-human era, individual emotions and experience are lacking, and the individual is emotionally absent in the context of mobility and the search for belonging.

ahzel.com instagram @ahzelzel

Long Live!, 2025 Moving image (color, with sound), Single-channel video, variable size, and video monitors 09:00

GIORGIA ALLIATA

ANDRIUS ALVAREZ-BACKUS Andrius Alvarez-Backus is an interdisciplinary artist working across sculpture, assemblage, and painting. He received his Bachelor of Fine Arts from The Cooper Union (2023), and his Master of Fine Arts from Columbia University (2025). He was the inaugural Nicholas Dahl Visiting Artist at the Provincetown Art Association & Museum in 2025. His work has been shown internationally in the museum solo exhibition, “Desastre!,” at the Fitchburg Art Museum (2023), and group shows at Plato Gallery, Fragment Gallery, Black Brick Project, SK Gallery, the Brooklyn Waterfront Artists Coalition, and Page-Waterman Gallery, among others.

Through the transformation of everyday objects, I amplify their poetic connotations to evoke personal allegories of intimacy, embodiment, and memory. Using mixed media assemblage, my practice interrogates how desire bridges beauty and abjection, and how the semiotics of materials convey cultural meanings. By recontextualizing relics of my experience as a gay Filipinx-American, I challenge legible inscriptions of identity and disrupt the expectation of hypervisibility often imposed on queer artists of color. My work privileges the hidden, abstracted, and unspoken. I employ dissemblance as a queer survival tactic, keeping private what is often forcibly exposed and exploited. My sculptures are imbued with the presence of bodies and their places of origin. Pairs and doubles suggest erotic couplings, while their shifting proximities incarnate the longing to unify fragmented relationships, to graft two individuals into one. Household objects—fences, beds, socks—are repurposed into surreal compositions, staging domestic fantasies that facilitate imperfect yet enduring unions. A fetish for texture animates these propositions; I render seductive surfaces in beeswax, soil, sand, and Manila palm leaves. By queering familiar forms, I ultimately question how bodies are made and unmade through ornament, material culture, and intimate entanglements.

andrius-ab.com instagram @ann_dree_uhs

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In Defense of Our Little Homes, 2024 Vinyl, reclaimed garden statues, soil, grommets, and aluminum 72” x 66” x 18”

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Be With Me (Not Here, Not There Either), 2024-25 Dried Manila palm leaves, pigmented beeswax, and aluminum 216” x 28” x 28” Photograph depicts work installed at Plato Gallery in 2025 previous spread

Towards a Home For Us, 2024-25 Pine wood, pigmented beeswax, and confetti 72” x 75” x 45”

EMERITA BAIK Emerita Baik is a New Zealand artist based in New York City, working across sculpture, printmaking, and installation. She holds a BFA (Hons) from Massey University Te Kunenga ki Pūrehuroa and an MFA from Columbia University. Baik is the recipient of the 2023 Fulbright Award. Recent exhibitions include Spring Time is Heart-break: Contemporary Art in Aotearoa, Christchurch Art Gallery Te Puna o Waiwhetū, 2023; Folded Memory, Te Pātaka Toi Adam Art Gallery, Te Whanganui-a-Tara Wellington, 2023; Great Hunger, Robert Heald Gallery, Te Whanganui-a-Tara Wellington, 2023; The Inner Lives of Islands, Te Tuhi, Tāmaki Makaurau Auckland, 2021; and Bedrock, The Physics Room, Ōtautahi Christchurch, 2021.

Emerita Baik’s practice merges personal and collective histories through the manipulation of images, color, form and materiality. Her practice examines how diasporic experiences shape the ways we relate to the world, revealing themselves through the hybridization of images. By abstracting these photographs into sculptural forms, she articulates the emotional complexities embedded within them. The tension between contraction and expansion in her sculptural language reflects the internal dialogue of uncertainty inherent in cultural hybridity. Color dissolves the boundaries between these forms, redefining the fragmented body and disrupting its relationship to space.

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The Last Time I Picked You from the Branches, 2024 Acrylic on aluminum 32” x 17” x 4” next spread

Aotearoa Contemporary–Installation view Auckland Art Gallery Toi o Tāmaki, 2024

instagram @emeritaa__b

FRANCISCA BRUNET BAYÓN Francisca Brunet Bayón (b. 1987, Santiago de Chile). Painter. Sometimes something else. “Causes arising from the feelings and the heart must become formal causes if a work is to possess verbal variety, the everchanging life of light. Yet besides the images of form, so often evoked by psychologists of the imagination, there are -as I will show- images of matter, images that stem directly from matter. The eye assigns them names, but only the hand truly knows them. A dynamic joy touches, moulds, and refines them. When forms, mere perishable forms and vain images -perceptual change of surfaces- are put aside, these images of matter are dreamt substantially and intimately. They have weight; they constitute a heart.” G. Bachelard

I’m drawn to what feels both hostile and mysterious, yet simultaneously soft and tender—like something once familiar, but forgotten, lost to time. I accept and seize ambiguity, straddling the space between concealment and revelation, pleasure and pain, desire and disgust. For me, painting arises from a need to fill an absence, to address a void, something that’s missing. It becomes a way of unveiling an ineffable unknown while simultaneously discovering hidden layers of what is already known. I view matter as something ever-present, constantly shifting, acquiring new forms, meanings, and purposes. I’m particularly captivated by surfaces and gashes that bridge the inner and outer realms— offering fleeting glimpses into both, while holding vast, untold stories, both factual and poetic.

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Facsímiles, 2024 Charcoal on paper 20” x 15” each

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A failed system, 2024 Charcoal, casein, alcohol, and rabbit skin glue on paper 65” x 50”

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Entrega de una plataforma inundada, 2024 Oil on raw canvas 48” x 40”

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Virgen de subsuelo, 2024 (Detail) Oil on canvas 70” x 59”

instagram @_le_ba_si

DANIEL CASTRO Daniel Castro (b. Bronx, NY) is a mixed-media artist who creates paintings, sculptures, and immersive installations informed by his New York City upbringing. Daniel graduated with a BFA from SUNY Purchase in 2020, and is currently an MFA candidate at Columbia University in the City of New York. Daniel is the recipient of the Aaron and Betty Lee Stern K Fellowship, Dong Kingman Fellowship, Glasier Fellowship, and Provost Fund Scholarship– Visual Arts. Notable exhibitions include Around the Way at LatchKey Gallery, New York, NY (2023); (Sur)face at Chilli Art Projects, London, ENG (2023); and Currents at SK Gallery, New York, NY (2024).

Daniel Castro is a multi-media artist, interested in exploring themes of presence and absence within the urban landscape. By way of combining painting and sculpture, Daniel’s work breaks out of the traditional painting format, creating assemblages that propose painting as object. Born and raised in the Bronx in a traditional Puerto Rican household, Daniel integrates the cultural nuances and histories from his environment within his work. Growing up in a community where he saw toughness was a necessity, Daniel investigates the performative nature of strength through material play. Utilizing a variety of materials, including found and discarded objects, insulation foam, concrete, and other “non-art” materials, Daniel’s multimedia practice weaves coded statements on contemporary social systems that are embedded in the materials he uses. His work with clothing—hoodies, sagging jeans, and sneakers—reframes these garments as symbols of identity and systemic scrutiny. The hoodie, a particularly recurring motif in Daniel’s work, symbolizes both protection and perceived threat, identity and erasure. This thesis project examines how marginalized bodies navigate visibility and disappearance in urban spaces—exploring themes of hyper-masculinity, racial identity, and materiality through painting, sculpture and installation. opposite

Seek, 2024 Oil, acrylic, canvas, insulation foam, molding paste, and spray foam 77” x 46” x 6”

danielcastroartist.com instagram @dcastro.art

Wacked Out Murals, 2024 Acrylic and spray paint on plywood 96” x 96”

Try Me, 2024 Mirror, plastic, concrete, acrylic, spray foam, and insulation foam 36” x 43”

DEVON PIN-YU CHEN Devon Pin-Yu Chen (b. 1994) is an artist from Taipei, Taiwan and currently based in New York City.

On the temples, A drop of Citrus, Guess I make ceramic sculptures, drawings and paintings about the possibilities of escape and the joy of now. In these adventures, I experience sensations and temperature through material, color and form. With raw edges and the funkiness of my work I’m responding to the chaos and the violence that is happening on Earth. I hope to invite the viewers to fight evil together.

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Untitled (Schizophrenic), 2024 Porcelain, glaze, vinyl, and metal 20” x 15” x 12” next spread

Everything Metal In My Life, 2024 Acrylic, oil and photo on canvas 24” x 36”

devonchentw.com instagram @devonpilarc

ISAIAH DAVIS Isaiah Davis (b. 1992, Bronx) is a sculptor and video artist whose interdisciplinary practice is in dialogue with his leather fetishism. He has exhibited at Kings Leap, Participant Inc., and MoMA’s Doc Fortnight festival. A 2023 Rema Hort Mann Foundation Emerging Artist Grant recipient, Davis studied at The Cooper Union and Columbia University.

Thematically my work engages concepts of identity, including masculinity, sexuality and Blackness. I’m interested in materiality and form that expresses a sense of double consciousness and cultural dissonance, related to the systemic barriers of racial hierarchies and the emotional repression of culturally encoded male roles.

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Untitled, 2024 Steel 8” x 9” x 8.5” instagram @davisleathernyc

S. M. 4,5, 2024 Steel, oil paint, and caster wheels 51” x 34” x 26”

S. M. 3, 2024 Steel, caster wheels, oil paint, and silicone 22” x 19” x 28”

MAYA DIXON Maya Dixon is a multidisciplinary visual artist working across video, sculpture, drawing, and installation. She reinterprets elements of her cultural heritage and symbols of freedom to critique systems of power. Inspired by her experience growing up in The Bronx and her Indo-Afro background, her work investigates identity, the commodification of the body, and historical memory, often engaging with materials and forms that evoke ancestral connections and the tension between tradition and reinvention. Dixon earned her BFA from The Cooper Union in 2022, where she honed her interdisciplinary approach and deepened her interest in installation. She is currently an MFA candidate at Columbia University, set to graduate in the spring of 2025.

My work explores Black female collectivity, autonomy, and spiritual sovereignty by reinterpreting cultural symbols to reclaim agency for those historically silenced. The gourd, a prehistoric vessel, becomes a central motif—standing in for the Black female body as both a site of containment and transformation. Gourds are paradoxes: hard yet fragile, open yet fortified. In my sculptures, they are not passive containers but entities that have grown their own defenses. Emerging horns —read as hair, spikes, or thorns—blurring the line between protection and expansion, between guarding and reaching. These forms recall nature’s survival strategies: spikey surfaces that deter, hard shells that protect, structures that evolve in response to the conditions that shape them. My work asks: Are they a defense against intrusion, or a reach towards something beyond confinement? Just as the radicle, the first root to break ground, sustains future growth, the gourd in my work becomes both womb and seed; a sacred space where transformation takes shape. The tension between agency and vulnerability, protection and exposure, mirrors the lived experiences of black women in a world that seeks to confine them.

instagram @libertyshitty

RAMA GHANEM Rama Ghanem (b. 1998) is a Dubai-born, New York-based artist working with moving image, photography, text, and sound. Ghanem is a research fellow at the Institute for Religion, Culture, and Public Life. She holds a BA in Fine Art from Goldsmiths, University of London, and is an alum of the Salama Bint Hamdan Emerging Artists Fellowship, a program developed in partnership with the Rhode Island School of Design.

Engaging with the ideological work of archives, I insist on a structure for something indefinite, absurd and slippery. I want to see the ways image, memory and language resist closure. Some of this unfolds in an untitled, long-term research project about my family’s entanglement with the looting of Palestinian heritage and the transfer of archaeological objects from the West Bank into the collections of religious institutions and museums across the United States. I cannot excavate the past, so I negotiate it instead, positioning myself as an interloper within the institutions that invent and sanction it. This birthed several episodic moving image works, including A Cave Is a Pinhole (2025)—a film that explores the photograph and document as a process, attempting to encounter an image of loss that does not reflect the past, but actively participates in its unfolding. The research and interventions present the archive as both fragment and whole, offering a site where those who look can revise limits imposed by time, power, and authority. In Common Desire (2020-), sex, war and image are entangled together in an anthology of video works appropriating digitized archives that point to cultural transformations and revolutions that apexed during the Lebanese Civil War. I allow the public domain image to lean into entropy as it chooses, collapsing mythologies or building new ones around the interpretive axes of a historical moment.

ramaghanem.cargo.site

Common Desire, 2020Multi-channel video Stills, various timestamps

A Cave Is a Pinhole, 2025 Still

JAVIER GRIFFEY Javier Griffey is a 2025 MFA candidate in the School of the Arts at Columbia University. Griffey’s work has been featured in a recent group exhibition in the Low Library at Columbia University, “Coney Island, Spectacular” in the Rare Manuscripts at Columbia University, and “Currents” group show in 2024 summer group show at SK Gallery. He received his BA from Moravian University in 2023.

To try to capture a thought, a feeling, an experience in a photograph is nearly impossible. Reality becomes skewed with every click of the shutter leaving remnants of what once was. I am interested in the fabricated narrative a photographer embraces from start to finish. How much of reality can I bend to tell you the truth? My truth. As much as a photograph represents reality, I refuse to believe it to be enough. Photography has its limitations - No sound, no video, no touch, no smell… it bases itself solely on what is happening. It allows us to visually step into fragmented realities that existed only for that moment; yet a person with a camera decided to preserve it. We are forced to analyze it… to make sense of a moment that would otherwise pass by. My practice is an exploration of this idea of what it means to take a photograph. Why must I take a portrait of you to understand you better? I photograph to remember, to analyze, to understand, and lastly to forget.

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Memory of You, 2024 Inkjet print 60” x 40” next spread

Untitled, 2025 Digital photograph

javiergriffey.com instagram @javiergriffey

CALHAN HALE Calhan Hale (b. Houston, TX) is a visual artist based in New York. She received a BA from the University of Texas at Austin in 2016. She has exhibited work at Martha’s, Austin; Wrong, Marfa; Casa Lü, Mexico City; and the Wallach Art Gallery, New York and is the recipient of the Elizabeth Greenshields Foundation Grant. She works primarily in painting and collage.

If naming something is the first step toward dealing with what is not yet known, I am interested in the inverse. My work explores what becomes possible when familiar things evade expectation and start to live independent from their associations. Re-contextualizing elements from my surroundings through painting, I play with the line between object and image in order to disrupt assumptions with surprise.

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Untitled, 2025 Oil on canvas 56” x 60”

calhanhale.com instagram @calpaca

Rattle, 2024 Oil on canvas 56” x 60”

Paperweight II, 2024 Oil on canvas 40” x 48”

KEKEZ (KE ZHANG) KeKeZ (Ke Zhang) (b. 2001, China) received her BA in Digital Media Arts from Xi’an Jiaotong-Liverpool University and is currently pursuing her MFA at Columbia University School of the Arts. Her interdisciplinary practice spans video, performance, and sculpture, with movement playing a central role in her artistic exploration. Her works have been exhibited internationally in New York, London, Shanghai, Suzhou, and Jingdezhen.

KeKeZ’s works investigate the body’s perception through visceral engagement and instinctive responses, exploring the tension between mind and physical form. Her background in dance and stage performance makes her highly attuned to the dynamics of the gaze, power structures, and gender norms. She examines how women navigate and present their bodies in the digital age, questioning the ways in which digital media and cultural conditioning shape self-representation. Her works frequently take place in intimate spaces—bathrooms, hotel rooms, massage parlors—where personal privacy collides with societal scrutiny, reflecting larger public discourses. Recurring motifs of chaos and disruption define her practice, as she crafts seemingly orderly scenarios that gradually unravel into disorder. Favoring intimate, single-character narratives, she constructs dynamic interactions between her protagonists and their surroundings, interweaving elements of the everyday with absurdist humor.

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A Rehearsal for Psycho (1960), 2024 Wood, plastic, metal, varnish, silicone, and shampoo 70.87” x 31.50” x 35.43” Single-channel black and white video with sound 12:44

kekezkezhang.com instagram @kekezrelated

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A Rehearsal for Psycho (1960), 2024 Wood, plastic, metal, varnish, silicone, and shampoo 70.87” x 31.50” x 35.43” Single-channel black and white video with sound 12:44

Fragile Round, 2022 28:00

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If Longing has a Color, It Must be Sino-Red, 2024 13:02

JOANNE KIM Joanne Kim was born in Seoul, Korea, and moved to California when she was ten. She currently lives and works in New York, and is pursuing her MFA at Columbia University. After graduating from ArtCenter College of Design with a BFA in 2018, she has exhibited at Taymour Grahne Projects, London, Steven Zevitas, Boston, HeyThere Projects, Joshua Tree, Zevitas Marcus, Los Angeles, among others. Her work has been published in the New American Paintings in Pacific Coast Issue 139 & 157.

My paintings are shaped by visceral moments and fleeting impressions that linger and haunt even as their details fade. As faces and places blur with time, I distill emotions and sensations into a visual lexicon that explores the tension between presence and absence. I paint nature not as a direct representation but as a space that holds emotions and memories. The forest mirrors my headspace, both a sanctuary and a place of uncertainty where trees become metaphors— witnesses, reflections, protectors, or manifestations of my subconscious. Hazy edges and transparent layers of oil paint form elliptical shapes that suggest portals opening into alternate realities or inner landscapes. Each painting consists of multiple physiques coexisting in one world, where wind and water move in opposing directions and reflections are selectively omitted. By entwining longing and psychological restoration within haunting, melancholic scenes, I aim to convey how joy and trauma inevitably intertwine, where even the most blissful moments carry an underlying dread.

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Blue Reverie, 2025 Oil on canvas 65” x 60”

kimjoanne.com instagram @joannekimie

Straying Starlight, 2024 Oil on canvas 60” x 48”

We Will Meet Again, 2024 Oil on canvas 20” x 20”

LEENA KIM Leena Kim (b. 1997) is an interdisciplinary visual artist working primarily in video, photography, and installation. She received her BFA from the Accademia di Belle Arti di Brera in Milan, Italy, and is currently an MFA candidate at Columbia University. Her practice examines the fragility of the human condition in today’s society, where connections feel both instant and elusive, exploring themes of memory, time, and impermanence. Her work has been exhibited at the Wallach Gallery, ZAZ 10 Times Square Gallery, SK Gallery in New York, among others, and her video works have been selected for festivals such as the Seoul International Short Film Festival and the Tokyo International Short Film Festival.

Digital spaces, designed to pull us closer, often leave us drifting further apart, as if our collective longing for connection has been repackaged and sold back to us as something hollow. What we seek isn’t something we can hold, but a moment that feels real—yet it slips through our fingers, leaving only the faint echo of what we thought we were reaching for. I follow these cycles—seeking and escaping, connecting and retreating— through emotional landscapes that blur the lines between reality and longing. The ocean recurs throughout my work, holding a sense of impermanence, mirroring the shifting nature of memory and time. Its vastness and fluidity reflect the way we navigate presence and absence, and the spaces in between— always in motion, never fully reachable. In this process, I collect voices and memories, reconstructing them into narratives that bridge the real and the imaginary. My practice invites viewers to step into spaces where the tangible and intangible converge, allowing what often eludes us in the everyday to take shape and unfold. top

Installation View of Umibōzu, 2024, Dual-channel video installation, color and black-and-white, and sound

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kimleena.com instagram @leenaakim

Still from the opposite of emptiness is desire, 2024 Multi-channel video installation, two-channel HD video projection, CRT monitors, and speakers Dimensions variable

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Still from the opposite of emptiness is desire, 2024 Multi-channel video installation, two-channel HD video projection, CRT monitors, and speakers Dimensions variable

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Still from in a world with you i see two moons, 2024 Single-channel digital video, color, and sound 04:00

CHRISTINA YUNA KO Christina Yuna Ko is a Queens-based artist and member of the collective Asian Feminist Studio for Art Research (AFSAR). Her work reclaims the visual language living in the Asian diasporic experience as a means of imagining and speculation. Selected exhibitions include: “39 Footnotes”, Accent Sisters, New York, NY; “Gathering”, Five Myles, Brooklyn, NY; “Late Night Enterprise”, Perrotin, New York, NY; and “Bathing in Public”, Selenas Mountain, Brooklyn, NY. Her work has been featured in Artforum, FAR–NEAR, Hyperallergic, and The Washington Post among others. She has further participated in programs at the Palais de Tokyo and GYOPO (LA), among others.

New Jeans begins their song “Hurt” yearning for a message from someone they care for. When you are diasporic, distance and time amplify such sentiments as absence becomes a condition of everyday life. My work attempts to demarcate an aesthetic lexicon from the Korean diasporic experience of home and the geographic, temporal, and sociocultural collisions that fill the gaps left by displacement. By activating familial histories, media platforms, and Asian enclaves as sites of reference, I uncover visual connections across the migrant Asian diaspora. My lexicon thus becomes an amalgam of “cute culture,” imported cultural artifacts, generational practices, and domestic wares. I am interested in the dualities of the home: accumulation and emptiness as both presence and absence, ghosts and spirits alongside the living, and shared yet deeply personal experiences. Through recontextualizing and remaking found objects and images as installations, I unearth invisible interconnections spanning the personal to geopolitical within the domestic site. Cuteness as an aesthetic proliferates through the daily life of the diaspora and in the work becomes a shared intimate visual glossary. Ultimately, I aim to reclaim the living language of the diasporic experience as a site of imagining and to speculate on what can be learned from the richness present in persistent everyday practices.

christinayunako.com instagram @christina_yuna_ko a-fsar.com instagram @afsar_asianfeministstudio

process of going home, 2025 Acrylic and colored pencil on wood panel, laundry drying rack, fly swatters, scrubbers, shoe horn, bottle cleaners, ribbon, faux foliage, and lace curtain Dimensions variable

As time goes by, 2024 Acrylic on wood panel, wall corner Dimensions variable

She left nothing but the scent of flowers…, 2024 Acrylic on wood panel and floor mat, drying rack, towels, washcloth, sponges, clips, massagers, artificial foliage, key chains, rubber leaves, fan, surge protector, inkjet prints on vellum, and air freshener 67” x 58” x 80”

SHARON CHEUK WUN LEE Sharon Cheuk Wun Lee (b. 1992, Hong Kong; lives and works in New York) holds a BFA, MFA from The Chinese University of Hong Kong and an MFA from Columbia University. Her work has been exhibited at WMA and HART haus (HK, 2024); Kyoto Art Center (Kyoto, 2023); Tai Kwun Contemporary (HK, 2022); and The Listening Biennial (Berlin, 2021). Commissions include Art Promotion Office (HK, 2021), Peer to Peer: UK/HK (2020), and Hong Kong International Photo Festival (2018–2020). Featured in ArtAsiaPacific, Harvard Advocate, Artomity, and SCMP, Lee was a finalist for KG+SELECT and the Sovereign Asian Art Prize (2023) and won the WMA Master Award (HK, 2019). She has participated in art residencies in New York, Vienna, and Taipei.

Lee approaches images sculpturally, tactility, and relationally to address the disappearance of histories and memories. Her practice interweaves concepts and forms, using both organic and industrial materials, public and private realms, and personal and collective connections to create grounds that trace time. She interrogates cultural dislocation, itinerant belongings, and double colonization, employing images and materiality to evoke both vulnerability and resistance. Her research into Canton Girl portraits began at The Metropolitan Museum of Art, where she first interned in the Asian Art department. Confronted with both the presence and absence of information within institutions, she turned to expanded archives—rice in seed banks, postcards on eBay—to construct alternative narratives. One Face on Thousands Postcards (2024–25) uses three postcards as a lens to investigate power dynamics in image reproduction and construction of the “other.” By tracing the successive alterations of re-coloring and re-captioning an identical portrait, the work sheds light on the veiled history of Mui Tsai—girls who were sold as servants and sent from the port of Hong Kong to San Francisco in the 19th century. The “rice-pixel” face highlights material environments intertwined with world fairs, global trade, empire-building, and immigration. sharonleecw.com instagram @sharonleecw

Canton Girl in the MET, 2024 (Detail) Plastic zip-ties, acrylic paint, and archival B/W inkjet print on canvas 31.5” x 51” x 5”

One Face on Thousands Postcards, 2024-25 (Detail) Watercolour and inkjet pigment on silk, and rice-pixel photography Dimensions variable, a set of 3

Two Grains of Rice, 2025 (Detail) Engraving on aluminium

IN JUNE PARK In June Park (b. 1996) is a painter based in New York. He was born in South Korea and later immigrated to Chile. In June received his BFA in Painting from the Rhode Island School of Design in 2021 and is currently an MFA candidate for Visual Arts at Columbia University. He is currently concerned with exploring the role of a painter as a furtive observer.

My painting practice is an ongoing collection of images that closely mirror my life experiences. These personal reflections are captured with varying degrees of proximity and relevance and are brought to the surface from a distance, collaged, and cropped— methods that our generation is particularly familiar with. These images are highly specific, mirroring the precision of memory, while also resembling collage-like assemblages, reflecting memory’s fragmentary nature. I am attracted to painting for its ability to single out a subject over its existing context for interpretation and dissection. Ranging from hidden platform shoes to household items, my subjects are drawn out of their environment to engage with other works from the series to form a collective narrative.

injune.cargo.site instagram @injunee

Winter Tragedy, 2025 Acrylic on canvas 34” x 40”

Smuggler, 2024 Acrylic on canvas 22” x 22”

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Sight, 2024 Acrylic on canvas 9” x 9”

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WENFEI QUAN Quan Wenfei (b. 1992, China) is currently based in New York, where she is pursuing an MFA in Visual Arts at Columbia University. Her works have been exhibited at Art Miami, Eli Klein Gallery (New York), Lenfest Center for the Arts, Wallach Art Gallery (New York), China Printmaking Museum, XuyuanInternational Printmaking Center, and Shanghai Exhibition Center, among others. Many of her works are held in private and institutional collections. She was a finalist in the 5th China International Printmaking Exhibition and the 1st Xuyuan Print Biennial.

Internet archaeology & human verification are central to Wenfei’s practice, reflecting on the experience of growing up in the digital age. Through printmaking, sculpture, installation, and video, Wenfei excavates the data-driven future of humanity and the aesthetic ruins of the internet’s fleeting history.

quanwenfei.com instagram @wenfeiquan

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click&win!start, 2020 Silk screen print on canvas 78” x 113”

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Sleep with snail, 2024 Digital print 24” x 18”

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watching, 2025 Silk screen print on canvas 60” x 40”

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RIDWANA RAHMAN Ridwana Rahman was born in Portland, Oregon, and is currently making pictures in New York City. Her work is about self and home, sex and prayer. Working in various mediums—photography, sculpture, installation, and video— she is interested in investigating methods of control through her systems of display, focusing on the relationships between space, viewer, and image.

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Foot Pic, 2024 Silver gelatin print in poster display case 20” x 24” x 1” next spread

John F. Kennedy International Airport, 2024

ridwanarahman.com instagram @riiiiiiiiiiiiiiiiiiiiiid

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GRETHELL RASUA Grethell Rasua is an interdisciplinary visual artist, educator, and curator from Cuba. She earned a Diploma from the San Alejandro National Academy of Fine Art (2004) and a BFA from the University of the Arts—ISA (2009). She studied performance at Tania Bruguera’s Behavior Art School (2007) and humanities at the Piarist Schools of Cuba at the University of Veracruz (2009). Her work has been exhibited at major events like the Venice Biennale, Havana Biennials, and institutions such as the Sao Paulo Art Museum and the Ludwig Forum for International Art. She has participated in prestigious residencies, including the Cuban Artists Fund NYC, KulturKontakt, and the Atlantic Center for the Arts.

My art practice is defined by three main activities: Transforming, Embellishing, and Serving. I transform the repulsive into something beautiful, functional, and valuable. I create works that explore the perception of beauty through personal experiences, engaging both the physical and emotional body, individually and within a community. My practice is based on creating unique objects and jewelry through personalized service, performance, installation, video, photography, and drawing. I combine bodily waste like excrement, semen, and tears with other materials such as gold, silver, and resin to create pieces that are functional, reliable, and enduring. I invite viewers to question their concepts of beauty to know themselves better as individuals and members of communities. I illuminate how what can be construed as unacceptable and taboo can become a means to connect to others and expand how we perceive beauty and reality. In my creative process and every piece I create, I embrace the act of beautifying and honoring beauty in its deepest form.

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From Waste to Adornment. The Beauty in You, 2024 Treated human excrement, gold leaf (24k), paper, mirror, and notebook. Performance, installation. Silkscreen, Drawing. 144’’ x 50’’ (wallpaper), 24” x 8” (color palette), 9.5” x 12” (drawing). Wallach Gallery In my thesis project, The Beauty in You, 2025, participants commission custom wallpapers that reflect their unique tastes, selecting colors and patterns that embody their individuality. By choosing from a healthy menu, they generate the biomaterial (excrements) in their desired color, which is then combined with gold to create unique wallpapers to decorate their private spaces.

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Now, Before and Later, 2023. In collaboration with Harold Garcia V. 16 mm Film. 01:49 min Collection Hemispheric Institute Digital Video Library, NYU. Ring made of artist’s nails and silver from With All the Taste in the World Series, 2016

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Constellations for a New System, 2025. Artist’s skin scanned on a capitalist building Photography. Variable dimensions opposite

Detail_Constellations for a New System, 2025.Artist’s skin scanned on a capitalist building Photography. Variable dimensions

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ZELMIRA RIZO I approach drawing as a practice parallel to journaling and somatic movement, as a platform to continuously develop, deepen, and expand a ‘conversation’ with my body. Drawing becomes a process of drawing out (v.)—a listening to, releasing, unearthing of pulses, images, information that would otherwise remain dormant. The marks and compositions that unfold, hold a mirror and generate new vocabulary and structures for seeing, reading, and articulating the pressure in my chest, the tension in my neck and back, the congestion in my head. Drawing translates and maps out feeling into form while digesting it. This drawing also absorbs and rearranges information from external environments and experiences. Earlier works merge ‘self-portraits’ (decomposed text from my journals, figural representations of my body, etc.) into surrounding architecture. After moving to New York, I saw my straight lines and orthogonal structures transform into curves, concavities, and organic forms. I began connecting my body to spaces that invoke Nature/ Mother Earth/ Pachamama, while listening to and following an urgency to ‘ground’ or ‘come down.’ I am now working with the tension and fluidity between these visual languages, the ways they come together and push against each other.

Using drawing as an entryway and anchor across various media, my practice examines the layered ‘environments’ or ‘bodies’ we inhabit, engage with, and build (i.e. human body, built environment, Nature, language, dreams). I look to highlight the permeability across these ‘spaces,’ to consider and experiment how to live more symbiotically at personal and collective levels. Zelmira Rizo (b. 1995, Miami, FL; Peruvian descent) has a BA from Cornell University with studies in biology, comparative literature, and architecture (2018), and is an MFA candidate (2025) in Visual Arts at Columbia University. She lives and works in Miami and New York.

zelmirastudio.com instagram @zelmirastudio

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like forward and backward reactions searching for rest, breath, balance, a moment suspended in dynamic equilibrium anoche no dormi ←→ cable a tierra last night I didn’t sleep ←→ cable to earth these works oscillate from spaces of mind and air to body, ground, and earth.

Congestión II (recto, verso), 2024 Color pencil, acrylic and oil on linen, and wood panel 14” x 11”

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“Cable a tierra” how to ‘come down’? ...sitting on the panel, drawing unfolded like automatic writing—into plans of my previous Miami homes, ladders, stairways, a foot, a pear, a green cable to earth. Peeled and pounded onto canvas, potato skin, hair, and other studio floor debris are my gravity. I map out descending pathways from my seat on a wooden chair in my 6th floor NY apartment.

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Cable a tierra, 2024 Color pencil, acrylic, oil, achiote, beets, sweet potato, hair, and studio debris on canvas over wood 72” x 48”

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LIZ SCHNEIDER Liz Schneider (b. 1993) is a multidisciplinary artist, trained as a printmaker. Schneider was born and raised in Israel to Ukrainian parents and currently lives and works in New York. She received her BFA at Shenkar Multidisciplinary Art School (2021) and her MFA at Columbia University (2025). Her latest solo show was ZVIRI at the Tel Aviv’s artist studios in Tel Aviv, Israel (2023) for which she received the Rabinovich Foundation Visual arts grant. In 2022, Schneider received the Excellence Award in painting named after Miriam Ravia.

I use textures and colors; they are an essential aspect of my work material-wise. I play around with abstract and figurative images, which usually tend to be symbolic. My colors and shapes are usually expressive, and the subjects don’t have a specific identity. For example, a horse is not a particular horse but a representation of the general horse. Sometimes, I study and sketch the subject, but the end result is created from memory or a feeling. I explore the relationship between humans and nonhumans and the differences between them. I see the human race as the most violent and cruel animal compared to any other species on earth, and I criticize it by giving the spotlight to nonhumans. I believe that it is through the observation of humans and nonhumans, and the ecological changes we create, that we can learn humility. This observation can be used as a mirror for ourselves, and a way to critique our “superiority” as an animal.

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Koni: Life and Death, 2024 Monotypes, red thread, and ceramic 91” x 74”, horse sculpture 3” x 9” x 10” instagram

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@lizschneiderrr

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Untitled, 2024 Etching 11” x 9

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Full Moon Manhattan, 2024 Ceramics 9.5” x 9” x 3.5”

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ANNIKA TUCKSMITH Annika Tucksmith is an artist from the Hudson Valley. Her paintings render strange narratives of the rural landscape. Her work has been featured in Hyperallergic, New American Paintings, Architectural Digest, and highlighted in Times Union’s article “30 Artists Under 30 in the Hudson Valley.” Annika is a twice-recipient of the Elizabeth Greenshields Grant and the Martha Boschen Porter Artist Grant, a fund of the Berkshire Taconic Foundation. She received her BA from Connecticut College and expects her MFA from Columbia University in May 2025.

“In the quiet, watchful corners of the valley, the landscape hums with something coming. Untold histories dissolve with hazy futures on the horizon. The earth’s suspended. I paint to navigate the threshold between memory and observation, to question what I perceive, and to fold time in a circle.”

annikatucksmith.com instagram @annikatucksmith

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The Rabbit, 2024 Oil on panel 40” x 30”

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The Girls, 2024 Oil on panel 20” x 16”

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Two Fawns at Night, 2025 Oil on panel 30” x 24”

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ANTONIO VIDAL DE LASCURAIN Antonio Vidal de Lascurain, (1996 Mexico City), Earned a BFA from the California College of the Arts in 2020. His work has been featured in group shows across Mexico, Italy and the United States, including Tremor at Maia Contemporary (2023) in Mexico City, Arte Vivo at the Museo de Arte Moderno Mexicano (2023) REA Art Fair, Milan (2023) Hidden Narratives at Wonzimer (MODA) in Los Angeles (2024), Currents at SK Gallery in New York City (2024), Feria Material, General Expenses, Mexico City (2025) amongst others. Antonio had his first solo show at MAMA Projects in New York City (2024). He received a Frankenthaler Award at Columbia University, where he is expected to earn a Master of Fine Arts (MFA) in May 2025.

My work explores psychological landscapes through the balance of abstraction and figuration. I draw from myth, religion, shame, personal narrative, that one thing I read that one time, Bible studies, sex, blasphemy, the end and beginning of the world, god I’m going crazy in my studio, speculative fiction, and mythologies both real and imagined. Using intuitive forms, I navigate these themes to construct a personal mythology that reflects on contemporary conditions.

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Sink, 2025 Acrylic on canvas 62” x 62”

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antoniovidallascurain.com instagram @antonio.vidal.l

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Squint, 2024 Acrylic on canvas 50” x 52”

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Breastfeeding caretaker, 2024 Acrylic on canvas 54” x 36”

Light Weight, 2024 Acrylic on canvas 66” x 84”

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Burning Tree, 2024 Acrylic on canvas 92” x 42.5”

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MESSAGE FROM THE DEAN

Congratulations to the Class of 2025 School of the Arts Visual Arts students! We are beyond proud of the work these students have done, during some difficult times on our campus and in the world. They have proven themselves to be stalwart, committed artists, forging their own vision, and have given everyone at the School much to admire and uplift over their two years here. They have worked independently and collaboratively, and have moved through a demanding program, all the while working on their projects, creating exciting and unique works of art. You can see the results in this catalogue, and we hope you will also come to see these works in person at the Wallach Art Gallery in the Lenfest Center for the Arts. The students put in the hard work at every stage, conceptualizing their ideas, developing the materials they needed, creating their narratives as they produced their installations, working with faculty, curators, staff, and their fellow students to bring these amazing works to fruition. You will find no reigning style or theme in these richly diverse and compelling projects. What they do have in common is that they all grew out of the education these wonderful artists received at the School of the Arts. We wish this brilliant cohort of artists all the very best as they move on from their time here, and we are so excited to see the many directions they will go with their art.

SARAH COLE Dean of Columbia University School of the Arts

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MESSAGE FROM THE CHAIR OF THE VISUAL ARTS PROGRAM 132

On behalf of the faculty and staff of the Visual Arts Program I welcome you to the Class of 2025 MFA Thesis Exhibition. The ambitious and wide-ranging work you will find here is the result of two years’ intensive inquiry, study, labor, failure, perseverance, and success on the part of our students. Many, many people have worked with and alongside these emerging artists to bring you what you see today. Our deepest thanks go to our intrepid curator, Amal Issa, for guiding everyone through the process of mounting such an amazing show during a very challenging time. Thanks also go to Betti-Sue Hertz, Director and Chief Curator of the Wallach Gallery; the entire staff of the Wallach; Lauren Weigel, General Manager of the Lenfest Center for the Arts; and to the Lenfest staff.

the Artists’ Resource Center and Alumni Affairs; Trenton Pollard, Associate Director of Student Affairs; Nicole A Saldarriaga Coggins, Associate Director of Communications; Kristina Tate, Director of Communications; Peter Vaughan, Director of Motion Picture and Information Technology; Kenny Wong, Director of Admissions and Financial Aid; and Jana Wright, Dean of Academic Administration and Planning. Most importantly, we thank our students. Without you there would be no exhibition and we would not be gathered here today. Your perseverance has been an inspiration to all of us and it has been a privilege working with you, learning from you, and to trying our hardest to support you in all that you aspire to do and all that you deserve. We pledge to continue this support now that you are leaving our program and joining us as colleagues in the field.

Special thanks are owed to the Visual Arts Program staff who tirelessly dedicate their care and attention to our students: Ray Barsante, Interim Manager of Visual Arts Facilities & Prentis Hall: Andrew Brehm, Shops & Safety Manager; Cecilia Caldiera, Interim Assistant Shops Manager; Dana Buhl, Senior Photography Facilities Manager; Nathan Catlin, Master Printer, LeRoy Neiman Center for Print Studies; Chloe Crookall, Assistant Studio Manager, LeRoy Neiman Center for Print Studies; Krista Gay, Program Assistant; Ben Gould, Shops Monitor; Calvin Kim, Manager of Academic Administration; Julie Malen, Shops Monitor; Laura Mosquera, Director of Academic Administration; Amber Rane Sibley, Ceramics Studio Coordinator; Samantha Rippner, Associate Director and Gallery Manager, LeRoy Neiman Center for Print Studies; Sarah Tortora, Former Assistant Shops Manager, Rider Urena, Senior Manager of Visual Arts Facilities & Prentis Hall; and Liz Zito, Assistant Director of Visual Arts Instructional Technology & Exhibitions. At the School of the Arts our thanks go to Sarah Cole, Dean of Faculty, and her staff, Gavin Browning, Director of Public Programs and Engagement; Sarah Congress, Executive Assistant to the Deans & Manager of Academic Administration; Tiffany Davis, Former Assistant Director of Communications; Julie Dobrow, Dean of Admissions and Financial Aid; Bernardo Garcia Valencia, Graphic Designer; Andrew Hass, Associate Dean of Finance; Joel Jares, Production Assistant; Niquette Johnson, Admissions and Financial Aid Officer; Laila Maher, Dean of Student and Alumni Affairs; Kayla Maiuri, Administrative and Communications Assistant; Jessica Pierson, Associate Director of

Yours,

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ABOUT THE SCHOOL OF THE ARTS

Columbia University School of the Arts awards the Master of Fine Arts degree in Film, Theatre, Visual Arts, and Writing. It also offers an MFA program in Sound Art in association with the Center for Computer Music, as well as a Master of Arts degree in Film and Media Studies, and undergraduate majors and summer programs in all disciplines. The School is a thriving, diverse community of talented, visionary, and committed artists from around the world and a faculty comprised of acclaimed and internationally renowned artists, film and theatre practitioners, directors and producers, writers of poetry, fiction, and nonfiction, playwrights, actors, critics, and scholars. In 2017, the School opened the Lenfest Center for the Arts, a multiarts venue designed as a hub for the presentation and creation of art across disciplines on the University’s Manhattanville Campus. Lenfest hosts exhibitions, performances, screenings, symposia,readings, and lectures that present new, global voices and perspectives, as well as an exciting, publicly accessible home for Columbia’s Miriam and Ira D. Wallach Art Gallery. In 2025, the School marked the 60 th Anniversary of its founding.

VISUAL ARTS PROGRAM The Visual Arts Program attracts emerging artists of unusual promise from around the world. They comprise a vigorous community working alongside an exceptional faculty at a worldrenowned research institution in New York City. The Program, in association with the Department of Music and the Computer Music Center, also offers courses and an MFA in Sound Art. Visit arts.columbia.edu/visual-arts.

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SOUND ART PROGRAM Columbia University has been at the helm of sound innovation for over fifty years with faculty specializing in composition, improvisation, music theory, musicology, installation, sculpture, instrument building, acoustics, music cognition, and software development. Faculty from the Computer Music Center, along with colleagues from Music Composition, Visual Arts, Sound Studies, Ethnomusicology, Engineering, Computer and Data Science are all involved in the interdisciplinary area of Sound Art. The two-year program is highly selective, offering admission to only three or four students each year. Students with a deep engagement with sound as a medium join a diverse community of artists and musicians. The Sound Art program is a studio-based degree offered by the Visual Arts Program in conjunction with the Computer Music Center. The program provides the opportunity to explore sound in the context of video, installation, and performance, as well as computer programming, historical archival research, and conceptual strategies for the production of creative work. Candidates are encouraged to consider diverse modalities for listening and hearing while developing fluency in the creation and manipulation of sound in the context of environmental, social, and gallery-facing work. Visit arts.columbia.edu/sound-art.

MIRIAM AND IRA D. WALLACH ART GALLERY Established in 1986, the Miriam and Ira D. Wallach Art Gallery is Columbia University’s premier visual arts space. The Wallach’s mission is to advance Columbia University’s historical, critical, and creative engagement with the visual arts. To that end, the gallery operates in close partnership with the University’s Department of Art History and Archaeology, and works with the School of the Arts and University Libraries, particularly the Avery Architectural and Fine Arts Library. The gallery presents critically acclaimed exhibitions, a dynamic range of programming, and creates publications that contribute to scholarship. The gallery also offers opportunities to artists, scholars, curators and creative thinkers who are contributing to contemporary discourses at the intersection of art and society. Programs also provide a framework for thinking about the role of art in everyday life, offer a platform for participants to respond to exhibitions, and provide probing perspectives on the works and their contexts.

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ABOUT THE CURATOR 136

Amal Issa works as an organizer-curator, translator, and editor. From 2015-2024 she was director of the public program at e-flux in New York and online, where she organized lectures, symposia, screenings, exhibitions, performances, and numerous discursive programs. From 2010-2015, she was at Ashkal Alwan in Beirut, where she was Assistant Director, as well as co-founder and director of the pedagogical art program Home Workspace, which provided fellowships for artists within an annually reinvented curriculum guided by some of the world’s leading art practitioners, producers, theorists, and thinkers. In addition to her role in Home Workspace, she co-organized the biannual Home Works Forum, which presented and commissioned exhibitions, film screenings, site-specific projects, talks, and publications, as well as dance, sound, and performance art. In 2017-2018, Issa co-edited the multilingual publication tamawuj, which commissioned essays and multimedia contributions as part of the Sharjah Biennial 13. She has translated and edited books by Rabih Mroué, Fadi Toufiq, and Waddah Charara, among other publications. Issa studied painting and literature in Beirut. She lives in Brooklyn.

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Columbia University School of the Arts is supported in part by contributions from alumni, friends and patrons of the arts. These gifts provide student fellowships, educational programming and awards. For more information or to make a contribution to the School of the Arts please contact the Development Office at 212-854-4849 or givetosoa@columbia.edu.

We would like to extend a special thanks to contributors and recognize those for whom fellowships and awards have been named as of March 1, 2025:

Anonymous (2) A G Foundation Ms. Nancy Abraham Ms. Laura Addicott Joon Ho Ahn, PhD Dr. Angela A. Aidala Mrs. Roberta W. Albert Ms. Niv Alexander Paul R. Alter, Esq. Dr. Kenneth Lee Ascher Mr. Fenton Bailey Mr. John N. & Ms. Ramona Bronkar Bannayan Mr. Charles M. Barber Mr. Albert & Mrs. Holly A. Baril Marlene Barsoum, PhD Warren F. Bass Jr., Esq. Dean Emerita Carol Becker Mr. Robert Bellon Ms. Kenza Benbrahim Mr. Joseph Benincasa Mr. Albert Berger Mr. Richard L. Berger Mr. Joseph & Mrs. Sue Berland Mr. Reginald I. Berry Mr. Michael B. & Mrs. Margie Bogdanow Mrs. Renee & Allan Jeffrey Borkow, Esq. Mrs. Naomi F. Bossom

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Broadway Cares/ Equity Fights AIDS Inc. Mr. Gavin Douglas Browning The Broadway League Inc. The BWF Foundation Inc. Mrs. Dorothy Byrne Mr. Ryan Dean Cairns Ms. Rochelle Calhoun Ms. Hexuan Cao Mr. Ryan Carmichael Mrs. Lisa Landau & Mr. David A. Carnoy Carolyn J. Casselman, Esq. Ms. Nicole Elizabeth Chalas Louis Choy, MD & Ms. Janice Chan Choy Ms. Ha Phuong Chu Tran & Mr. Chinh E. Chu Mr. Mark Paul Clein & Ms. Nancy Lemann Dean Sarah Cole & Mr. Martin Aaron Vogelbaum Ms. Bernadine Colish Mr. J. Gary & Mrs. Deirdre Condon Ms. Patricia Connelly Mr. Sebastien Pierre DeGanay Mr. Richard Albert Dikeman Ms. Julie M. Dobrow Mr. John McLaughlin & Mrs. Susan Wilder Doelp

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John Gore Organization Inc. Mr. James P. Gorman Mr. Stephane Jean Francois & Mrs. Maria Niarchos Gouaze Greater Washington Community Foundation David J. Greenwald, Esq. & Mrs. Beth Ann Greenwald Dr. Ronald E. Gregg & Professor George A. Chauncey Ms. Nana Gregory Mr. Daniel Bertram Grossman Ms. Agnes Gund Ms. Wenda C. Habenicht & Mr. David Cox Mr. Michael Hartman Ms. Molly Haskell Mrs. Kate Hay Mr. Raymond L. & Mrs. Susan Held Ms. Lisa Ellen Heller Mr. Stephen & Mrs. Ruth Hendel William Talbott Hillman Foundation Inc. Mr. Jeffrey Horwitz Dr. Xin Huang & Ms. Li Li Ms. Lana Iny Ms. Carolyn Mitchell Jack Mrs. Pamela Janine & Mr. David A. Christman Ms. Diane Jacobs Ms. Colleen Jennings-Roggensack Ms. Susan R. Johnson Mr. Thomas E. Johansson & Verla J. Johansson Mrs. Sadie Foster Jones Mr. Jon Kamen Ms. Anita Shah & Mr. Saurabh Kapadia Ms. Ruth Kaplan Mr. Robert B. Katel & Ms. Jodie Gould

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Artis Fund Artists and Thinkers at the Lenfest Center Arts Discretionary Gift The Baril Family Student Support Fellowship Martin Birnbaum Scholarship Jean Magnano Bollinger Fellowship Fund in Visual Art Ramona Bronkar Bannayan Fellowship Fund

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The David Berg Foundation Fellowship Fund Dean Carol Becker MFA Fellowship Fund Lucas T. Carlson Endowment Fund Choy Family Fellowship Fund The Andrew Fisher Fellowship Fund Helen Frankenthaler Scholarship Fund The Robert Gamblin Fellowship for Oil Painting Ellen Gelman Endowed Fellowship Fund The Herman and Eve Gelman Studio Visit Series Jacques and Natasha Gelman Fellowship Fund for Visual Arts Herbert S. Germaise Endowed Fund Goodman Residency Gift Solomon B. Hayden Endowed Fellowship Fund Solomon B. Hayden Fellowship Fund For Visual Arts Students Hayman Fund Esther Meisel-Dong Kingman Endowed Chair in Painting in the Division of Painting & Sculpture Regina Ketting Fellowship Fund Ninah and Michael Lynne Visual Arts Fellowship Marshall Glasier Fellowship Fund for the Study of Drawing Mariposa Visual Arts Gift Edward Mazzella, Jr. Scholarship Endowment The Morrocco/Mancini Family Fellowship Fund Lenfest MFA Scholarship and Travel Gift LeRoy Neiman Fellowship Fund

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LeRoy and Janet Neiman Fellowship Helen and Adrian Platt Prize Fund Helen Hartley Platt du Pont Fellowship Fund Quinta Carolina MFA Fund The Schapiro Fund for Visual Arts School of the Arts Annual Fund School of the Arts Student Support Liu Shiming Fellowship Fund for Visual Arts SJS Charitable Trust Fellowship Fund SOA Spring Initiative/Student Support SOA Student Relief Fund SOA Student Support - Visual Arts SOA Visual Arts Division Annual Fund Joan Sovern Sculpture Award Spring 2023 Initiative Honoring Dean Carol Becker Betty Lee Stern Prize for Artists Aaron and Betty Lee Stern Foundation Fellowship TOMS School of the Arts Scholarship Fund Visual Arts Graduate Fellowship Veteran Artists Scholarship Support Winifred Johnson Clive Scholarship Fund for Student Veteran Artists

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VISUAL ARTS FACULTY & STAFF

SOUND ART FACULTY AND ASSOCIATED FACULTY

VISUAL ARTS VISITING CRITICS

Miya Masaoka (Director),Seth Cluett (Assistant Director), Brad Garton, David Adamcyk, Zosha Di Castri, and Dave Sulzer

Cecilia Alemani, Uri Aran, Carol Becker, Michael Berryhill, Matt Bollinger, Sophie Cavoulacos, Christy Chan, Pamela Council, Michael Famighetti, Alan Gilbert, Chrissie Iles, Tom Kalin, Yashua Klos, Melanie Kress, Nora Lawrence, Jen Liu, Susan MB Chen, Susan Meiselas, Asif Mian, Rachelle Mozman, Diane Severin Nguyen, Sarah Oppenheimer, Larry Ossei-Mensah, Sheila Pepe, Sara Reisman, Julie Reiss, Lynne Sachs, Cinthya Santos-Briones, Josh Siegel, Matt Taber, Lynne Tillman, Pauline Vermare, Kiyan Williams, Alexey Yurenev

SOUND ART VISITING FACULTY/ARTIST MENTORS Regine Basha, Jace Clayton, Ivana Dama, Luba Drozd, Ciarán Finalyson, Luke Fischbeck, Jules Gimbrone, Tali Hinkis, James Hoff, Barbara London, Katherine Liberovskaya, Sara Magenheimer, Nour Mobarak, Keith Obadike, Matthew Ostrowski, Douglas Repetto, Marina Rosenfeld, Julianne Swartz, and C. Spencer Yeh

VISUAL ARTS FULL-TIME FACULTY Gregory Amenoff, Daphne Arthur, Matthew Buckingham, David Antonio Cruz, Delphine Fawundu, Jon Kessler, Miya Masaoka (Chair), Naeem Mohaiemen, Kenny Rivero, Shelly Silver, Sable Elyse Smith, Sarah Sze, Rirkrit Tiravanija, and Tomas Vu-Daniel

VISUAL ARTS MENTORS Linda Bryant, william cordova/Valerie Hammond, Ishmael Houston-Jones, David Humphrey, Michael Joo, Ralph Lemon, Matthew Ritchie, Shahzia Sikander, Mikalene Thomas, and Rona Yefman

VISUAL ARTS STAFF Ray Barsante INTERIM SENIOR MANAGER OF VISUAL ARTS FACILITIES & PRENTIS HALL Andrew Brehm SHOPS AND SAFETY MANAGER Dana Buhl SENIOR PHOTOGRAPHY FACILITIES MANAGER Cecilia Caldiera INTERIM ASSISTANT SHOPS MANAGER Nathan Catlin MASTER PRINTER AND STUDIO MANAGER OF THE LeROY NEIMAN CENTER FOR PRINT STUDIES Chloe Crookall ASSISTANT STUDIO MANAGER OF THE LeROY NEIMAN CENTER FOR PRINT STUDIES Krista Gay PROGRAM ASSISTANT Ben Gould SHOPS MONITOR Calvin Kim MANAGER OF ACADEMIC ADMINISTRATION Julie Malen SHOPS MONITOR Laura Mosquera DIRECTOR OF ACADEMIC ADMINISTRATION Amber Rane Sibley CERAMICS STUDIO COORDINATOR Samantha Rippner ASSOCIATE DIRECTOR OF OF THE LeROY NEIMAN CENTER FOR PRINT STUDIES Sarah Tortora FORMER ASSISTANT SHOPS MANAGER Rider Urena SENIOR MANAGER OF VISUAL ARTS FACILITIES & PRENTIS HALL Liz Zito ASSISTANT DIRECTOR OF VISUAL ARTS INSTRUCTIONAL TECHNOLOGY & EXHIBITIONS

VISUAL ARTS GRADUATE ADJUNCT FACULTY Xirin, Patrice Aphrodite Helmar, Shirly Bahar, Andrew Brehm, Lukas Brasiskis, Kabir Carter, Tyler Coburn, Dana DeGiulio, Matthew Deleget, Liz Deschenes, Lizzie DeVita, Tamar Ettun, Tali Keren, Baseera Khan, Autumn Knight, Ajay Kurian, Simon Liu, Dana Lok, Liz Magic Laser, Orlee Malka, LaJuné McMillian, Keegan Mills Cooke, Kambui Olujimi, Phoebus Osborne, Joao Pina, Julia Pontes, Tyler Rowland, Ben Salesse, Judith Solodkin, Pamela Sneed, and Sara Stern

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