2017 Visual Arts Thesis Catalogue

Visual Arts 2017 MFA Thesis Exhibition

Published on the occasion of the 2017 Columbia University

From the Dean

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From the Curator

122

From the Chair

The Miriam and Ira D. Wallach Art Gallery

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Joeun Aatchim

125

About the Curator

Lenfest Center for the Arts

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Michal Alpern

126

Appendix

April 23–May 21

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Dana Buhl

School of the Arts Visual Arts Program MFA Thesis

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Lucy Lord Campana

© 2017 The artists and Columbia University

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Andrew Cannon

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Nash Glynn

Columbia University

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Maggie Goldstone

310 Dodge Hall, MC 1806

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Allison Janae Hamilton

2960 Broadway

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Taylor Ashby Hawkins

New York, NY 10027

42

Duy Hoàng

arts.columbia.edu/visual-arts

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iris yirei hu

50

Juntae TeeJay Hwang

54

Kim Junsung

Design: L+L (Brooklyn , NY)

58

Peter LaBier

62

Alex Mctigue

Typeface:

66

Julia Medyńska

Acumin Pro

70

Cy Morgan

74

Rocío Olivares

78

Jenna Basso Pietrobon

82

Adam Liam Rose

86

Emily Ludwig Shaffer

90

Lynn Spanke

94

Sara Stern

98

Dylan Vandenhoeck

102

Kristin Walsh

106

Derick Whitson

110

Bryan McGovern Wilson

114

Zou Zhao (Xi Xi)

118

José Delgado Zúñiga

122

Pera Lern

March 12, 2017

Guillermo Gómez-Peña’s 1998 El Mexterminator at El Museo del Barrio, New York, was a life-changing, emotional event. I had just started working at the museum the year before. I helped

Dear Graduating Artists,

plan and create the dense installation, assist the artists, docented the per formances, and responded to audience and staff as they

I wound up being a curator for very simplistic reasons. I’ve always

reacted to the work’s challenging, retro-futuristic, ethno-cyborg

loved art: its power to move us. The right image, word, sound—

characters. It was both extremely difficult and very, very enriching.

speaks to our concerns and captures the very spirit of the moment.

I’ll confess I’m really not sure where my passion comes from.

I can conjure the taste of Teresa Margolles’ 2002 Vaporization at PS1. She filled a gallery with fog created from water used

It wasn’t in my family. As a child, I spent hours copying parts of

to wash corpses in Mexico City’s morgue. I can hear Janet Cardiff

Norman Rockwell’s Four Freedoms from an oversized book. In high

whispering in my ear from Her Long Black Hair, 2004, a Public Art

school, I broke away from a class trip to New York to stand before

Fund walk in Central Park accompanied by a Walkman and packet

Monet’s Water Lilies at MoMA, thrilling to the luminous surface.

of photographs. Nostalgia? Perhaps. I could keep going. There

After moving to New York City, I was exposed to a much wider

are so many art-going memories from various points over my life

range. The East Village of the early 1980s was flooded by graffiti and

of which I have excellent recall. They stirred my heart, moved me,

neo-expressionist painting, and enflamed by the AIDS pandemic.

and continue to feel very connected to me because they were

It was a hotbed of aggressive, literate performance, art, music, and

of my time.

social activism. At 2 am in 8BC, the short-lived after-hours club, Karen Finley stood on a coffee table just a few feet away and

You, too, are of your time. Each of you hails from a different corner of the world, and carries your own distinct constellation: your

delivered a sing-song litany about a mother drowning her babies.

language, approach, materials, influences, concerns, politics, and

No one knew who she was, but we couldn’t take our eyes off

passions. Gathered here together, it may seem a cacophonous

of her. Jean-Michel Basquiat, Sue Coe, Juan Sánchez, and David

symphony, but it’s a beautiful snapshot of the state of the moment.

Wojnarowicz were producing the impassioned, feverish imagery

We’ll see that some day.

that spoke directly to us, to our times. We saw them in our neighborhood, talked to them at gallery openings or Exit Art, and read critiques in the Village Voice or East Village Eye. I travelled a bit, then I went to graduate school. I worked in a Soho coffee bar and a printmaking studio. I was floored by the precision

I know it’s a difficult moment. Change is scary and exhilarating, and the world seems poised on the brink of madness. But keep going. Someday you, like me, will have difficulty distilling your hunger for contemporary art to 500 words. And then you, too, will know as I do that we are living rich and fortunate lives.

and wit of Jenny Holzer’s Truisms spiraling around the Guggenheim ramp during her 1989 retrospective. The 1994 Felix Gonzalez-Torres retrospective at the Hirshhorn, in Washington, DC, with its optimistic

Sincerely,

light bulb strings, shimmering silver-wrapped candy carpet, and the indoor billboard installation of soaring birds was heartbreaking,

Deborah Cullen

presented right in the belly of governmental negligence.

Curator

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Joeun Aatchim Aatchim (b. 1989) crafts a visual form

(below)

of writing borrowed from the literary

In Praise of Cry Breaks (울음휴식예찬 · 哭泣休息禮讚), 2016

diction in Essayism. To gratify her agonizing yearn for crafting intangible

Artist talk / live reading performance; (props) two MacBook Pros, hand-crafted cardboard Apple MacBook with LED light, printed paper script, aroma vaporizers

“coincidences” as her medium, she

(rose flavor E-cigarette), and Perrier sparkling water;

vigorously, yet steadily, executes

(performers) Carla Rhodes aka Cecil Sinclaire (right),

multimedia craft, such as mosaics, ceramics, drawing, and printmaking

Mary Boo Anderson (left), and Kathryn Kendall 17 minutes

as proxies. In her artist talk performance with dubbing and ventriloquism, she illogically recounts the relationship between the artist and his/her work, provoking queries about authorship, disembodiment, and the sincerity of voice. She received her BFA in Studio Art from New York University.

Currently, she is working on her never-ending manuscript, Four (of) Mattresses Stacked on Misery. www.joeun-aatchim.com

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Joeun Aatchim

Draft: Sans Self, 2016 Tumbled marbles, ceramic, smalti glass, flexible urethane, mortar, hydraulic cement,

∑mail (AKA SapphoMail), 2016

resin, epoxy, fiberglass, foam, watercolor, moss, nylon, neoprene, sand, and moss

Multimedia installation

39.7″ × 24″ × 2″

Installation size variable

Michal Alpern Michal Alpern (b. 1986 / Haifa, Israel)

“To lift yourself out of a miserable

BFA Bezalel Academy of Arts and Design,

state—even by vigorous force—should

Jerusalem. Lives and works in Tel Aviv

be easy. I tear myself off the chair, stride

and New York.

around the table, exercise my head and neck, bring fire to my eyes, flex the muscles around them. Defy any emotion, I would welcome A. enthusiastically, if he comes to see me now; amiably tolerate B., swallow in long draughts everything that is said at C.’s, despite the pain and trouble.

But even if that were to happen, one mistake, that is unavoidable, will stop it all, light and heavy alike, it will withdraw around and around in a circle.

Hence the best advice is to endure all, to make yourself an inert mass, even that you feel, you are a leaf in the wind, to regard your fellow man with an animal gaze, to feel no compunction, in short with your own hands throttle down any remnant of life—that ghostly remains in you, that is, to increase the final peace, the grave-like rest, and let nothing exist but that.

A characteristic gesture in such a state is to run your little finger over your eyebrows.”

— Resolutions, Franz Kafka

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Michal Alpern

Studio practice, 2015 Drywall, silver chain, hot rolled steel,

SaveAs, 2016

Form to matter, Matter to form, 2016

5 attempts at a table, 2016

and acrylic house paint

Digital image

Urethane rubber

Variable

10′ × 15′ × 15′ (room); 60″ × 18″ × 26″ (bench)

Variable dimensions

144″ × 85″ × 24″

approx. 26″ × 20″ × 4″ each

Dana Buhl (b. 1986 / The Valley of the Sun)

“One must rid oneself of the delusion

BFA in Photography,

that it is the major events which have

Arizona State University

the most decisive influence on people.

They are much more deeply and

danabuhl.info

continuously influenced by the tiny catastrophes which make up daily life.”

— The Salaried Masses, Siegfried Kracauer

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Dana Buhl

Excerpt from The Optimism of the Grid, 2016–2017 Inkjet prints Dimensions variable

Lucy Lord Campana Lucy Lord Campana (b. Boston, MA)

habits of the original craftworkers that no

received her BFA from the Rhode Island

amount of armchair theorizing can give.”

School of Design.

Walking Through Clear Water in a Pool We can see farther than ever before.

The edges of our collective vision are not

Painted Black by Cookie Mueller (p. 85): “After these trips we came back in and

limited to our own eyes, but rather to images

looked around like maniacs. We looked at

that are presented to us through many

the walls. All the paintings were hanging

layers of subjectivity. Culture is infused into

there waiting. We went into instant art panic.

each layer, determining what we choose to

It was getting dangerously late to be in the

see and the visual language to communicate

house, the roof was about to fall.

it. Painting weaves these layers together, frozen gestures lay side by side, creating a representation of what we observe.

In a kindergarten alphabet book, for the letter N, six year old Lucy wrote, “Ther WZZ noWN NI the Ske.”

‘THIS ARTIST IS MORE FAMOUS! ’ Howard

yanked a painting off the wall.

‘BUT THIS ONE’S WORTH MORE! ’

I grabbed another. We hadn’t much time.

‘NO TAKE THIS ONE! IT’S OLDER! ’ Howard

pulled one down.

‘BUT LOOK AT THESE BRUSHSTROKES.’

Women’s Work: The First 20,000 Years

‘NO! THIS ONE.’

by Elizabeth Wayland Barber (p. 23):

‘GIMME THEM ALL. I’LL CARRY THEM ALL! ’”

“Far from being unhappy at my mistake, I was delighted. Most fragments of prehistoric cloth…are torn on all four edges, so it is

Venusia by Mark von Schlegell (p. 90): “Ae believed she was fighting to halt the

not possible to tell which direction they were

destruction and contamination of Earth.

woven the way one usually does, simply by

Sadly, poetry does not save worlds. Ae and

looking for the type of closed edges found

her comrades were too late to do anything

only at the sides. But by trying to imitate the

but hasten their own deaths. Their paradise

product, I discovered not only which way

was only of the mind. Still, it allowed them

this shred was woven and some criteria

to envision humanity’s survival off-world.

for analyzing other pieces but also several

She wrote of a colony divorced from a

interesting details about how… weavers

home to which it could never return…. All

worked…. It was another lesson to me that

stories from Earth are sad. All its dreams

the process of recreating ancient artifacts

are fantasies, all its insurrections failures.

step by step can shed light on the lives and

We must not get caught up with them.”

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Lucy Lord Campana

Lesedi La Rona, 2016

NGC 6496, 2016

Oil on canvas

Oil on canvas

30″ × 30″

60″ × 60″

Andrew Cannon Andrew Cannon (b. 1988 / Redlands, CA) BA University of California, Los Angeles andrewcannon.net

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Andrew Cannon

Ten paintings, 2016 Oil and acrylic paint, pigment, urethane, urethane foam, glass, wood, epoxy putty, and epoxy resin 24″ × 20″ each

Nash Glynn Nash Glynn (b. 1992 / Miami, FL)

I am a metaphor maker at the end of the

is an interdisciplinary artist. She received

world. I use my body as a medium to

her BFA from The School of the Museum

illustrate ramifications of myths such as

of Fine Arts and Tufts University in 2014.

Nature, Female, and Human in relation to our current ecological crisis. Through desperate attempts to scare or seduce the viewer, my work challenges anthropocentrism in order to reevaluate human and nonhuman agency. Drawing from science research and fiction, I am both invested in sharing information and complicating it as a mode of neutral observation. I form spaces where objects like utopia and dystopia coexist. It is a contradiction, but so are you my love.

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Nash Glynn

PLEASE SAVE MY BABY, Lover Earth Video still

Video performance script

Maggie Goldstone Maggie Goldstone (b. 1991 / New York,

“[Love] resembles space and time, and like

NY) received her BFA from Boston

these two concepts, it is clear, functional,

University in 2013. Her paintings

and practically non-existent, and do I love

explore themes of love, loneliness,

you because of this proximity, this obsessive

and her relationship with her dog.

involvement? You filled my space for so long, snaked yourself in my waters, and I’m left

maggiegoldstone.com

with sign, and traces of you, exclusively, look, the sea is leaving, she’s already beyond the horizon.”

—Etel Adnan, 1997

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Maggie Goldstone

Belly, 2016

Night Shower, 2016

Oil on canvas

Oil on canvas

18″ × 24″

5′ × 6′

Allison Janae Hamilton Allison Janae Hamilton (b. 1984) is

My work contains narratives that are

a visual artist working in photography,

pieced together from folktales, superstitions,

sculpture, installation, and taxidermy.

sermons, overheard gossip, hunting and

Born in Kentucky, raised in Florida,

farming rituals, and Baptist hymns. Parables,

and with family roots in rural Tennessee,

magic, hoodoo, the black church, and my

her artwork features uncanny scenes

own family lore help me to imagine what the

that blend the disturbing and the delicate

mode of the epic myth looks and feels like

within an imaginative American southern

in rural terrain. My use of both live animals

landscape. Hamilton was a Fellow at

and their bloodless remains incarnates the

the Whitney Independent Study Program

landscape as a witness—the environment

('13-'14), received a Ph.D. from NYU ('15),

is a knowing observer.

and has exhibited at the Museum of Modern Art, the Smithsonian National Portrait Gallery, the Jewish Museum, and the Istanbul Design Biennial.

(right) I made these photographs with my first 35mm camera on my family's Tennessee farm in 1997, the summer I turned 13 years old.

Her artwork has appeared in Transition Magazine, Women and Performance, and Artforum.

(below) Belew Family Farm, Carroll County, Tennessee, c. 1955. Left to right: Grandmother Noverlean, Aunt Sammie, Aunt Birdie, Cousin O.D., Mama

allisonjanaehamilton.com

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Alice (my great grandmother), Aunt Lean; bottom: my mother, Claudette, on her tricycle.

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Allison Janae Hamilton

A balm for the living., 2016

The Land of Milk or Honey, 2016

Video

Video

8 minutes, 22 seconds

5 minutes, 5 seconds

Taylor Ashby Hawkins (b. 1990 / Louisville, KY) BFA Columbus College of Art and Design

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Taylor Ashby Hawkins

Duy Hoàng (b. 1989 / Vietnam) BFA, University of Massachusetts Lowell Currently still trying hard to really pay attention. duy-h.com

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Duy Hoàng

Test Site Wallach/Uris: Scaled Solar System [09.19.12], 2016

Shining Afternoons, 2017

Wood, plexi, silkscreen, and ink on vinyl

Mixed media

947″ × 545″ × 545 ½″ (site specific installation at the Miriam and Ira D. Wallach Art Gallery)

Dimensions variable

iris yirei hu iris yirei hu (b. 1991 / Los Angeles, CA)

spirit sister

makes paintings, installations, and

Excerpt from Survival Guide: joy […]

words with the medicine of storytelling

handstitched

and the insistence of survival. She is

a companion for my tears

into thin air, and left me with a drought

moving towards rearranging our habits

the sashiko blues

of unfamiliar stasis. I wish I could protect

Sister lover, the water has evaporated

of listening, learning, and life making

i have for you

you, and hold your head against my chest.

with her ancestors, spirit guides, family,

index and thumb, each wave

But I’m realizing now that it is no longer

friends, and lover. Selected exhibitions

expanding in f(our) directions

“I,” that the eternal breath of the earth is

include: Survival Guide: joy, Visitor

crisscrossing surfer

embracing both of us with a loving silence.

Welcome Center, Los Angeles (2017);

i have you in my pocket

Con/Safos with Rafa Esparza &

waiting for your breath

to propose that silence is a refuge of

Clockshop, Bowtie Project, Los Angeles

to make indigo dye

potential built for learning, strategizing,

River (2015), and The Floor and the

in the hands our Pacific Mother

and assembling with love and song.

Cane, Commonwealth & Council (2014).

∞

In our shelter, deep listening becomes

She received her BA from UCLA and

in loving memory of emi kuriyama

one of the necessary modes of survival,

I like listening to the silence. I want

lives and works between New York and

an active ingredient of empathy. I have

Los Angeles.

been making a body of images that honors a life cut short, but one that also taught me how to make life with others through shared stories bound by love and fury, care and vigilance. This life moves out of a generative and cooperative “we,” united through our difference, agile enough to pivot in surprising directions, weaving between you and me, our family, our clan, our land, and the Great Spirit. Here, our motivation is emancipatory joy. In the words of emi: “so here I am inviting you in.”

Love, iris

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iris yirei hu

surviv(all), 2017 Survival Guide: joy, 2017

Excerpt from “Jo$$ Money | The Surplus [Survival Guide]” by emi kuriyama

Installation, acrylic, oil, textiles, and collage

Embroidery on burlap

10′ × 23′ × 10′

60″ × 48″

Photo: Visitor Welcome Center

Photo: Visitor Welcome Center

Juntae TeeJay Hwang Juntae TeeJay Hwang 俊太 (b. 1991 .12 .24

)

TeeJay works predominantly in performance with sculptural video installation in addition to painting and ceramics.

TeeJay holds a BA from Slade School

Blue Salmon is a new video installation delving into the emotional state of the journey of a salmon that has reached sexual maturity.

Blue Salmon is a ceremonial installation; Offering a service to liberate those salmons who cannot complete natal homing.

of Fine Art with First-Class Honours, University College of London.

Recent solo shows include Angry

(right) Blue Salmon, 2017

Hotel Propaganda, Bury Art Museum and Sculpture Center, Manchester U.K. (2017); and Blue Salmon, Art In General NY with CCA Tallinn, Estonia (2016).

Recent group shows include: Earl Lu Gallery, ICA, Singapore (2016); Jewish Museum, New York (2016); and Bloomberg New Contemporaries 2015, Nottingham, ICA London, UK (2015); Xpace Cultural Centre, Toronto, Canada (2016); XL Catlin Art Guide U.K. (2016); RUA RED, South Dublin Art Centre, Ireland (2016); Kyoto University of the Arts, Japan (2016); Grant Museum Of Zoology, London (2014); Camden Art Centre, London (2013); and more.

He recently held the Oxbow Residency, Saugatuck, MI (2016).

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Juntae TeeJay Hwang

Blue Salmon, 2016

Blue Salmon, 2016

Synched HD videos with sculptural installations

Water beads caviar, LED light, and costume

100 minutes each, full HD video loop

12′ × 12′ × 36′ each

Kim Junsung 790 Amsterdam Avenue New York, NY 12504 jk3853@columbia.edu April 23, 2017 To whom it may concern, kim junsung (b. 1987 / seoul) does video and performance, and loves rnb, american musical film, and south/east asian film. kim is a co-founder of the creepy art space 67 located in Lower East Side. thank you, sixtyseven.us Kimjunsung.org

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Kim Junsung

Adieu Dawn, 2016 Law, 2017

HD video

VHS, HD video

22 minutes

Peter LaBier Peter LaBier is an interdisciplinary artist working in painting, drawing, music, dance and performance. He is the

(right) Untitled, 2016 India ink and mixed media on paper 15″ × 11″

founding member of the New York-based band, Psychobuildings, and the art and music collective, The House of Fame.

His work has been exhibited in New York,

(below) Special Guest Entrance, 2016 Mixed media on paper 11″ × 8″

LA, Miami, Houston, and internationally in Berlin and Hamburg. Most recently he has performed at the Jewish Museum in New York, and cofounded Tower Gallery where he serves as a curator under director Pera Lern. LaBier received his BA at Vassar College. www.peterlabier.com

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Peter LaBier

Brain Fountain, 2017

Excavation Eyes, 2017

Oil on canvas

Oil on canvas

112″ × 96″

30″ x 40″

Alex Mctigue Alex Mctigue lives and works in New York City. His work considers written language and photography as a lens towards the absurdity of life and contemporary culture.

99 …

To live strikes me as a metaphysical mistake of matter, a dereliction of inaction. I refuse to look at the day to find out what it can offer that might distract me, and that, being recorded here in writing, might cover up the empty cup of my not wanting myself. I refuse to look at the day, and with my shoulders hunched forward I ignore whether the sun is present or absent outside in the subjectively sad street, in the deserted street where the sound of people passes by. I ignore everything, and my chest hurts.

I’ve stopped working and don’t feel like budging. I’m looking at the grimy white blotting paper, tacked down at the corners and spread out over the advanced age of the slanted desk top. I examine the crossed out scribbles of concentration and distraction. There are various instances of my signature, upside down and turned around. A few numbers here and there, wherever. A few confused sketches, sketched by my absent-mindedness. I look at all this as if I’d never seen a blotter, like a fascinated bumpkin looking at some newfangled thing, while my entire brain lies idle behind the cerebral centres that control vision.

I feel more inner fatigue than will fit in me. And there’s nothing I want, nothing I prefer, nothing to flee.

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Alex Mctigue

abc no rio, 2017 (detail) Molded silver gelatin print 96″ × 96″

Julia Medyńska Julia was born in Socialist Poland. In 1985,

My painting explores the psychology of the

her family managed to escape into West

individual. I compose environments where

Berlin. After high school, she moved to

characters engage in violent acts while

New York to study acting, attending the

apathetic bystanders witness the macabre

Lee Strasberg Theatre Institute and the

scene. I see myself as a film director com-

Neighborhood Playhouse. She performed

posing narratives from unrelated source

at the Off-Broadway Manhattan Ensemble

images to develop an uncanny dramatic

Theatre. In 2009, Julia returned to school

scene. I search for my “actors” either in

to earn her BA in Visual Arts from Columbia

vintage black and white photography or

University. She is a Phi Beta Kappa and

film stills. Inspired by their body language,

a F.B. Doniger Scholarship recipient.

I invent a story. Its setting is either taken

Julia is heavily influenced by her acting

from a 19th century landscape painting

background; her figurative paintings are

or a film still. What attracts me to an image

composed narratives that explore the

are lurid color temperatures and contrasting

idea of the social mask employed in order

lighting scenarios. I aim for a beautiful

to hide underlying psychological truths.

yet ominous atmosphere, creating a world where characters inflict physical harm

www.juliamedynska.com

onto one another. I intentionally keep facial features and expressions minimal to resist describing an identity. Instead, the actors become archetypes, and their physical activity an allegory for a psychopathological world. Each painting is a horrid secret, where I can choose to lift the curtain.

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Julia Medyńska

I lost my head, 2017

Experiment #2, 2017

Oil on canvas

Oil on linen

72″ × 72″

20″ × 16″

Cy Morgan Cy Morgan is a living artist participating in a moment of acute transformation.

“His existence was previously proved by the accordion, the landscape, the wheedling word. To impose your ABC is a natural thing—hence deplorable. Everybody does it in the form of crystal bluff-madonna, monetary system, pharmaceutical product, or a bare leg advertising the ardent sterile spring…

In documenting art on the basis of the supreme simplicity: novelty, we are human and true for the sake of amusement, impulsive, vibrant to crucify boredom. At the crossroads of the lights, alert, attentively awaiting the years, in the forest…

Every spectator is a plotter, if he tries to explain a word (to know!) From his padded refuge of serpentine complications, he allows his instincts to be manipulated. Whence the sorrows of conjugal life.”

— Tristan Tzara (right, top) Photogravure by artist (right, bottom) Found digital image

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Cy Morgan

Fragment (blue), 2016

Fragment (magenta), 2016

Documentation

Documentation

Rocío Olivares Born in Santiago, Chile in 1990, Rocío Olivares received her BFA from Universidad Católica de Chile. Her work has been shown at venues such as Museo de Artes Visuales (Chile); Galería Bicentenario, Estación Mapocho (Chile); Museo de Arte Contemporáneo, Quinta Normal (Chile), among others.

She currently is a Fulbright Fellow, studying and living in New York City. rociolivares.com

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Rocío Olivares

Ant-farm for One Ant, 2016 Acrylic ant-farm, sand, straws, apple, sponge, and ant

Radiant City 2, 2016

9″ × 27″

Drawing markers on paper

Photo: Paulina Kim

13″ × 22″

Jenna Basso Pietrobon Born in Toronto, Jenna Basso Pietrobon

Researching and referencing movements

was raised in a Roman Catholic Italian

as sociopolitically and formally diverse

family. Both of her grandfathers were

as the reductive essentialism of Minimalism

artisans, one of whom worked with clay

and even Fascist architecture, and the

to manufacture lamps, and the other

adroit utilizing and reinvention of discarded,

as a stonemason. She was exposed to

everyday materials of Arte Povera.

industrial materials at an early age, and growing up as a dancer, she often found herself recreating performances

A Roofless Home A sense of what we may refer to when we

with her siblings in their father’s lighting

are a child as 'our first universe,’ the home,

factory. In 2008, after receiving her

lies at the premise of this body of work, both

undergraduate degree at the University

as a physical and a psychological. As Gaston

of Western Ontario, she moved to New

Bachelard elucidates, “Thanks to the house,

York. While immersed in the archite-

a great many of our memories are housed,

ctural world for her family business,

and our memories have refuges…All our lives

she maintained an active, independent

we come back to them in our daydreams…

studio practice.

I should like to give the name of topoanalysis to [an] auxiliary of psychoanalysis. Topoanal-

www.jennabassopietrobon.com

ysis, then would be the systematic psychological study of the sites of our intimate lives.” Through returning to these physical and psychological refuges, unshrouding them through the removal of their sheltering canopy, I’m invested in the simple osmosis of entwining past memory with present place. (right) Giovanni Battista Piranesi Imaginary Prisons: The Lion Bas-Reliefs, 1761 Etching

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Jenna Basso Pietrobon

Untitled: From the collection ‘White Powder, White Stone,’ 2016

Untitled: From the collection ‘Blood Feather,’ 2016

Metal and aircraft cables

Oil, fabric, and copper wire on canvas

108″ × 30″ × 24″

312″ × 78”

Adam Liam Rose Adam Liam Rose (b. 1990 / Jerusalem) makes sculptures, videos, and installations that investigate the aesthetic systems of power within architecture. Rose’s projects are research-based, often drawing inspiration from political realities in Israel and the United States. He is interested in ideas around artifact, “history” and collective memory, and how these distinct categories coalesce into feelings of place or “placeness.” Rose received his BFA degree in 2012 from the School of the Art Institute of Chicago in Fiber & Material Studies. www.adamliamrose.com

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Adam Liam Rose

Man Above the Fog, 2017 Single-channel HD video with sound 5 minutes, looped

Emily Ludwig Shaffer Emily Ludwig Shaffer (b. 1988 / San

I think about banality often, or the uncanny

Francisco, CA) was raised in California,

accessed through banality, and how it arises

Ohio, Nebraska and Kentucky, attended

in the places and things we see everyday and

undergrad at the Rhode Island School

relegate as insignificant and mundane. For

of Design, and has been living in New

instance, how a disposable coffee cup, a potted

York for seven years.

plant, or the minor glimmer of a landscape reflected in a glass vase can have an expressive capacity, a specificity of time and place.

The image to the right is the scene out of my studio window here at Columbia.

My view is dominated by this new campus, and has been the backdrop and subject of many recent works. If you can find a window in this exhibition with the shade up, look out— you will be looking at some of my paintings from behind, so to speak. This newly minted architecture that we stand in has been a big grey thing visible through my three windows, framed as a triptych, like the portrait of the elephant in my studio. Any vague relation my work has had to architecture in the past has been heightened over the past year by my day to day montage of this building's erection, and a surrounding view of the city.

I constructed a few buildings too, at a much different scale. They are semi-carpeted structures like the cat trees people put in their homes for cats to dwell in. I've read that cats like to be elevated, and, in order to keep the domesticated feline's anxiety levels low, it's best to provide interconnected and lofted spaces. These are for me and you, however, so I welcome you to sit in and walk through the space.

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Emily Ludwig Shaffer

A Cup, 2015

My Jungle, 2016

Oil on canvas, acrylic on wood frame

Oil on canvas, wood frame

21 ½″ × 18″

73 ¾″ × 61 ¾″

Lynn Spanke From Detroit, MI

***

Lynn Spanke received her BFA

My work is intentionally campy with weird

from Wayne State University.

contorted triumphs, and explores the way humor and redemption can emerge

www.lynnspanke.com

from oppressive social roles. I create new mythologies out of subcultural icons.

“A painting is always quite moral when it’s

Cast as heroes and heroines, the pro-

tragic and it presents the horror of the thing

tagonists are placed in sardonic tragedies

it depicts.”

in which they retain agency while acting

— Barbey d’Aurevilly

under social imperatives. I embrace stereotypes to portray forms of suffering

Villains and vixens are used to celebrate

in unexpected circumstances, struggles

mistakes, imperfections, and failures

and follies revealing the underbelly of cul-

in a comedic fashion to tell a story. From

tural and social expectations and norms.

the sci-fi movie Robot Monster (1953), the ape-monster has been given a TV-head and is attacking Barbarella and the Black

(right) Attr. Antonio and Piero del Pollaiuolo The Martyrdom of St. Sebastian, 1475

Queen of Sogo from the movie Barbarella

Oil on canvas

(1968). Their blonde friend from Terminal

114.8″ × 79.8″

Island (1973) runs in to save them. Barbarella cuts off the Monster’s TV-head as redemption, while blue blood spews throughout the painting. The vixens and their friends are then enabled to enjoy the satisfaction and nullification of the pleasure of smoking hookahs while watching television.

In another narrative, Wendy Torrence from the movie The Shining (1980) is doing cocaine with the Living Torso from the movie Freaks (1932). The legless and armless Living Torso is depicted using a razor blade with his mouth to cut up the blow on a mirror in a hotel room interior.

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Lynn Spanke

Massacre of the Innocent: Baby’s on Fire Better Throw Him in the Water #4: After redeeming his guitar back from a satanic goat using a machete, Brian Eno from the band Roxy Music is appalled at his naïve baby self. His naïve baby self has been mystically transformed to a Siamese twin and is biting off the head of his twin to have the body to himself. The blonde protagonist from the

Massacre of the Innocent: Baby’s on Fire Better Throw Him in the Water #5 (detail): Brian Eno

Roxy Music’s self-titled album is reaching to light a match with her enchanted plant arm to set

is seeing his naïve baby self lit on a sacrificial pyre that has been ignited by the pin-up from

the evil Brian Eno baby on fire., 2017

the Roxy Music album cover., 2017

Oil and acrylic on canvas

Oil on canvas

63″ × 115″

34″ × 58″

Sara Stern Sara Stern (b. 1989 / New York, NY) investigates the seams between public and private spaces, people and buildings,

(right) Study (in the mirror, near the bathroom, in the tower), 2017 Inkjet print 20″ × 22″

users and systems, representations and actualities. Her work spans video installation, sculpture, performance, drawing, collage, writing and photography. Stern received her BA from Harvard University and has exhibited and screened her work in the US, Austria and Germany, at venues including Anthology Film

(below) Stern on Piano (Stern Piano), 2017 Sharpie, color laser print of Renzo Piano drawing, and computer paper 8.5″ × 11″ Hi (sketch ii), 2017 Digital photograph Dimensions variable

Archives, New York; the Museum of the Moving Image, New York; Museums Quartier, Vienna; and the Carpenter Center for the Visual Arts, Cambridge, MA. Most recently, Stern co-founded Tower Gallery where she serves as a curator under director Pera Lern. www.sarastern.net

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Sara Stern

Still from My Mansion Project, 2016 Multi-channel video and sculpture installation with sound Dimensions variable

Dylan Vandenhoeck Dylan Vandenhoeck is a painter

“Inside and outside are inseparable.

and musician from NYC and Pound

The world is wholly inside and I am wholly

Ridge, NY. He received a BFA from

outside of myself.”

The Cooper Union (2012).

— The Phenomenology of Perception, Maurice Merleau-Ponty

I make observational paintings. I paint either on location, from voice memo

“Entoptic phenomena: Things perceived

phenomenological accounts, from prepa-

within vision. Not to be confused with

ratory drawings/photos/notes, or a

hallucinations, ‘which have no structural

combination of the three. From life, but

foundation and are generally psychological

what does life actually look like? It’s far

distortions from cortical misinterpretations

from straightforward. We are told we can

of the world.’”

perceive the world but cannot perceive

— “Common Entoptic Phenomena

our own perception. Those words do not

and Their Clinical Significance,”

align with lived experience. Phenomena

Dr. Janet Voke

like the sides of the nose, acuity and the vague periphery, stereopsis, proprioception, an eyebrow or eyelash catching and refrac-

“Optical illusion is optical truth.”

— Goethe

ting the light, color, the curve inherent to the eye that appears in the horizon, entoptic

“The landscape thinks itself in me and I am

phenomena like floaters, afterimages,

its consciousness.”

visual snow, and pressure phosphenes—

— Paul Cézanne

all of these are structural, perceptible, and not mere anomalies hovering above an objective world. The body is directly

(right) Sketch of pressure phosphene and coffee mug, 2017

complicit in the perception of the world to begin with. Even the most externalist phenomenology rests on the reciprocity between subject and object. The moments in my life that call out to be painted are those in which I feel most present in the world, when the weight of the ambiguity between inside and outside becomes too intense to ignore.

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Dylan Vandenhoeck

Three Glances, 2017

Plein Air Painting 9, 2016

Oil on canvas

Oil on linen

66″ × 96″

32″ × 38″

Kristin Walsh Kristin Walsh is a machine making machines in New York, NY.

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Kristin Walsh

Conveyor 3, 2016 Conveyors 2–5, 2016–2017

Aluminum, ceramic die, toy car, and electromechanics

Aluminum, cast and found objects, electromechanics, and magnets

60″ × 30″ × 42″

Conveyor 2, 2016

Conveyor 5, 2017

Aluminum, altered match stick, and electromechanics

Aluminum, altered candle, nail, antibiotic pill, and electromechanics

42″ × 48″ × 60″

42″ × 42″ × 118″

Derick Whitson Derick Whitson (b. 1991 / Mansfield,

Fetish is held under the control of the

OH) lives and works in New York City.

mind and a physical release provides access

Earned his BFA at Columbus College

to a potential climax. Physical conscious

of Art & Design. Working within

behaviors provide an awareness in dynamic

the realms of Photography, Video,

symbolic access to racial and colored

and Performance.

stimulation. The body is used as a toll and a source to communicate ways of physical stimulation and desire. The individual carries a burden—a social imposition. The status of the gendered form answers associations created as a fetishized object in performance through cultural affiliations.

My response to the photographic process stems from my knowledge of my own queer male black body history. (right) Bed-Stuy, 2015 Archival inkjet print 29″ × 36″

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Derick Whitson

Sissy Guys Only, 2017

Sissy Guys Only, 2017

Archival inkjet print

Archival inkjet print

13″ × 19″

13″ × 19″

Bryan McGovern Wilson Bryan McGovern Wilson is a transdisci-

hominids are sustained in their potency,

plinary artist whose projects investigate

if not their specific utility, in the now. In this

themes of the body, time, and ritual.

way, the creative gesture—manifest in the

Through his commitment to materials and

thing—does not conform to the dominant

process, Wilson looks to find the inter-

conditions of spacetime.

sections of the hand and mind, working

These bodythings are witness to the

in concert with one another. He received

flow of organismic time, drawing from

his BFA from the Rhode Island School

the past, rooted in the now, transmitting

of Design and was a Fellow at the LeRoy

into the future. They ask you to consider

Neiman Center for Print Studies at

who and what you are as a fellow thing in

Columbia University.

meatspace—what a body stores, projects

“Ye shall know the truth, and the truth shall

us into the unknown.

and communicates—traveling alongside make you mad.”

As above, so below.

— Aldous Huxley (right, top)

These bodies represent the capacity

Work in Progress shot of Colony Series

for materials to communicate across the

(right, bottom)

expanses of organismic, geologic and

Einstein-Rosen Bridge

cosmic time. The drift and flow of language, the fickle shifts in culture, the rise and fall of empires—all curious conditions of our species that these things work to synthesize and anchor in the now. Human modes of understanding and relaying knowledge change at a manic clip, ecologies of information generating their own systems, microclimates and topologies that require the non-human to translate and retransmit. We need alternative bodies. Alternative things.

The art object, or thing, holds the possibility of exceptionalism to these inevitable problems with time, things and bodies making sense of it all. The gestures of early 110

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Bryan McGovern Wilson

Visions From the Rose Core, 2017

Fragile Model of the Universe, 2017

Paper, glass, live roses, rubber, silver, copper, LED lamps, and stool

Paper, glass, hemp, foam, and aluminum

Dimensions variable

Approx. 56″ × 36″ × 24

Zou Zhao (Xi Xi) Working in the medium of performance,

Utterances considered bygone by the

video, and writing, Zou Zhao explores

hegemony contain vital clues of breathing

issues surrounding language and

life into rigid structures of contemporary

ideology, subjectivity and translation,

existence. Liberalism in American bourgeois

through the materiality of the voice.

society collapses. In a 1850s throwback,

She currently lives and works between

the image of capitalist Bornapartist states

New York City and Singapore. Zou

loom large. Ideology rooted in race and

Zhao has recently shown in Singapore

superiority is advocated through increasingly

Biennale 2016, Luma Foundation,

advanced techniques of control around

Centre Pompidou, Musée d’Art moderne

borders, from nation-states to cultural

de la Ville de Paris, Artesonje Centre,

identities. This is the way the world ends.

He Xiang Ning Art Museum 2015,

Not with a bang, but a whimper. Indeed, the

Camden Art Centre, UK 2013. She is

destruction has never ceased, but is ongoing...

the recipient of Berenice Goodwin

Being-together is hard, and listening is

Award for Performance from Slade

impossible without practice. I think of art

School of Fine Art, UCL in 2013.

as a space for us to think that task collectively.

So, I ask myself constantly about strategies and ways of spending time, which speak to me about techniques of survival. I continue to wonder about efficacy, ways to echo sentiments that appears strange, foreign, and other to myself. What techniques of listening are artists able to contribute to the discourse of dissensus today? I wonder to what degree these practices change the way artists think about work in the studio. And how do ways of working in the studio inform and formulate those aspects of our public life? (right) Studio as of 3rd March 2017. On the table: Quotations From Chairman Mao-Tse-Tung, Foreign Language Press, Peking, 1967. Inner Chapters of the Yellow Emperor.

Video documentation on display: The Apology Workshop.

On projection: Socialist Realist Opera film, as part of Communism Appreciation Club.

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Zou Zhao (Xi Xi)

Ritual For an Apology (For Singaporeans), 2016 Live performance at Institute of Contemporary Arts Singapore Singapore Biennale affiliate project 36 minutes Photos: Wei Zhong Deng

José Delgado Zúñiga (b. 1988 / Ventura, CA) As a volunteer

For this project I created and took up the

at Arts for Action in the city of Oxnard,

challenge of combining several systems,

CA, Zúñiga served as a youth mentor

spaces, and structures in one picture.

and art director. The mission of Arts for

I am very curious about how diversity can

Action is to build and sustain a movement

create harmony. My thesis project takes

for social, environmental, and economic

the form of a large format, mural-sized

justice, arts education, activism, and

landscape. At the far right you have a deity

community organization. Working with

creating a world out of a melody that

primarily "at-risk" youth and families,

it hears. The melody then turns into flesh,

Arts for Action provided training, infra-

color, text, day, night, light, shadow, the

structure, leadership development,

moon, the stars, instruments, mountains,

and experience implementing dynamic

and trees.

interdisciplinary curricula. After four years of volunteer work, Zúñiga attended Otis College of Art and Design, where he received his BFA in 2015. He is now a candidate in the MFA program in painting at Columbia University.

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José Delgado Zúñiga

Remix #1 Frankenstein, 2016

Night light walk all over me, 2016

Oil, glitter, and chalk on canvas

Oil, soft pastel, and glitter on canvas

102″ × 67″

72″ × 60″ (diptych)

Message from the Dean

take place at this site in celebration. I know

Gallery. Curating thirty-two thesis projects

of Academic Administration, have tena-

you will find access to this new work

in one exhibition is an astounding feat that

ciously led us to where we are today with

exhilarating.

Debra has made look easy by giving us

the dedicated help of Gavin Browning,

such an elegant show.

Director of Public Programs and Engage-

There is no greater pleasure for me as Dean than attending the thesis events for

— Carol Becker

The Wallach's excellent staff have

ment; Sarah Congress, Executive Assistant

the four programs that comprise the School

Dean of Faculty

also contributed tirelessly to making our

to the Deans; Rich Dikeman, Director

of the Arts—Visual Arts, Writing, Theatre,

Columbia University School of the Arts

exhibition. We thank Eddie José Bartolomei,

of Enrollment Marketing; Dara Malina,

Exhibitions Manager; Lewis Long, Associate

Assistant Director of Alumni Affairs and

Director of External Affairs; Gerald Sampson,

the Artists' Resource Center, Christina

Administrative Assistant; and Jeanette

Rumpf, Director of Communications

Silverthorne, Associate Director of Finance

and Peter Vaughan, Director of Motion

and Exhibitions, for this.

Picture and Information Technology.

and Film.

The School of the Arts offers our students the depth and breadth of Columbia

poetry, fiction, creative nonfiction, theatrical

Message from the Chair of the Visual Arts Program

reading, or a visual arts exhibition such as this—a spectacular showcase for our

University’s intellectual traditions, as well as access to New York City’s multifarious cultural events. We invite you to join us for a theatre production, film screening,

Our faculty is incredibly passionate and

I have saved the most important

diverse, thank you to each of them. We also

acknowledgement for last: our students.

have an amazing program administration

Every work of art is a gift that invites us

On behalf of the Visual Arts Program faculty

and staff, all of whom artfully balance the

to test our own sense of reality. As Tanveer

I would like to extend our sincere gratitude

operation of our program with their ded-

Iqbal says, art is the backbone of all that

graduating MFA students working in all

to Emily Fisher Landau and the entire Fisher

icated care and attention to our students

we have. It is the way that we know who

forms of visual production.

family for their longstanding generous

and their work. Without them this exhibition

we are. We have all been through so much

The Thesis exhibition in Visual Arts is

support of our MFA Thesis Exhibition. Our

would not be possible: Alexander Barnett,

together in the past two years. It has been

the culmination of two years of hard work.

program and students have been fortunate

Program Assistant; Andrew Brehm, Safety

amazing working with you and I can't tell

It is the moment at which the students

to have had a home in the beautiful Fisher

Coordinator; Nathan Catlin, Neiman

you how much I look forward to being your

(soon to be alumni) choose how to repre-

Landau Center for Art the last eight years.

Studio and Project Manager; Peter Clough,

colleague now as you leave school and

sent their creative time at the School of

As our Exhibition moves to its new home

Assistant Director of Visual Arts Instructional

embark on your careers. I also cannot wait

the Arts. Twenty-nine artists will graduate

in Manhattanville, we acknowledge the

Technology; Frank Heath, Safety Manager;

to find out with you what the art of our

this month. Their work will be varied,

extraordinary generosity of H.F. (Gerry)

Dana Lok, Visual Arts Assistant; Kai

future will look like.

unexpected, at times profound, and full

and Marguerite Lenfest for their leadership

McBride, Photography Facilities Manager;

of exuberance. Friends, family, and the art

support in the creation of the Lenfest

Marie Tennyson, Neiman Center Associate

world at large will turn out in multitudes

Center for the Arts, as well as the Wallach

Director and Gallery Manager; and Rider

for the opening and for the run of the

family for the new Miriam and Ira D. Wallach

Urena, Senior Manager of Visual Arts

Associate Professor

exhibition to see what the next generation

Gallery. It is an honor to host the MFA Thesis

Facilities.

of Professional Practice

of artists is working on today.

Exhibition in this wonderful new space in

This is the first time the School of the Arts will be able to exhibit work in its new

its inaugural year.

We are not only moving into a new

Our faculty, staff and students owe a spe cial debt of gratitude to Carrie Gundersdorf, our Director of Academic Administration,

building, the Lenfest Center for the Arts.

facility, we are moving into a new paradigm,

who orchestrates the complexities of our

It will be an historic event.

and we could not ask for a more inspiring

program, making it possible for everyone

and encouraging guide than Deborah Cullen,

to study, teach and work here. Carol Becker,

Director and Chief Curator of the Wallach

Dean of Faculty, and Jana Wright, Dean

We hope you, too, will visit the show as well as attend the varied events that will 122

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— Matthew Buckingham

Chair, Visual Arts Columbia University School of the Arts

About the School of the Arts

About the Curator

in Film, Theatre, Visual Arts and Writing

Visual Arts Program, Columbia University School of the Arts

and the Master of Arts degree in Film

The Visual Arts Program attracts emerging

in the City of New York. While overseeing

Studies; it also offers an interdisciplinary

artists of unusual promise from around the

the Wallach’s expansion into the Lenfest

program in Sound Arts. The School is

world. They comprise a vibrant community

Center for the Arts, Cullen has curated

a thriving, diverse community of talented,

studying with an exceptional faculty at a

Passages: Robert Blackburn (The David

visionary and committed artists from

renowned research institution in the global

C. Driskell Center, UMD-College Park,

around the world and a faculty comprised

center that is New York City.

2014); Interruption: The 30th Ljubljana

Columbia University School of the Arts awards the Master of Fine Arts degree

of acclaimed and internationally renowned

Contemporary art has become increas-

Deborah Cullen (PhD) is Director and Chief Curator of The Miriam and Ira D. Wallach Art Gallery at Columbia University

Biennial of Graphic Arts (MGLC, Slovenia,

artists, film and theatre directors, writers

ingly interdisciplinary. To that end, the

2013); and The Hive: The Third San Juan

of poetry, fiction and nonfiction, playwrights,

Visual Arts Program offers an MFA degree

Poly/Graphic Triennial (Puerto Rico, 2012).

producers, critics and scholars. In 2015,

in Visual Arts rather than in specific media.

Previously, she served at El Museo

the School marked the 50th Anniversary

The two-year studio program, taught by

del Barrio, NY, for over 15 years, where

of its founding. In 2017, the School opened

internationally celebrated artists, allows

projects included Caribbean; Art at the

the Lenfest Center for the Arts, a multi-arts

students to pursue digital media, drawing,

Crossroads of the World (Yale University

venue designed as a hub for the presen-

installation, painting, performance, pho-

Press, 2012); Retro/Active: The Work of

tation and creation of art across disciplines

tography, printmaking, sculpture and video

Rafael Ferrer (2010, and Monograph by

on the University’s new Manhattanville

art. Visit arts.columbia.edu/visual-arts.

UCLA Chicano Studies Research Center

campus. The Lenfest hosts exhibitions,

Press, 2012); Nexus New York: Latin/

per formances, screenings, symposia,

American Artists in the Modern Metropolis

readings, and lectures that present new,

(Yale University Press, 2009); and Arte ≠

global voices and perspectives, as well

Vida: Actions by Artists of the Americas

as an exciting, publicly accessible home

1960-2000 (El Museo del Barrio, 2008).

for Columbia’s Miriam and Ira D. Wallach

The Miriam and Ira D. Wallach Art Gallery The Miriam and Ira D. Wallach Art Gallery advances Columbia University’s historical, critical, and creative engagement with the visual arts. Serving as both a laboratory and a forum, The Wallach Art Gallery offers opportunities for curatorial practice and discourse, while bridging the diverse approaches to the arts at the University with a welcome broader public. We present projects that: are organized by graduate students and faculty in Art History & Archaeology or by other Columbia scholars; focus on the contemporary artists of our campus and communities; or offer new scholarship on University special collections.

Established in 1986, The Wallach Art Gallery is the University's premier visual arts space. The gallery has presented critically acclaimed exhibitions, and is a platform for a dynamic range of programming and publications that make lasting contributions to new scholarship. The Wallach Art Gallery also animates other university spaces as opportunity arises. Always free and open

Art Gallery.

to the public, the Wallach Art Gallery operates in close relationship to the Department of Art History and Archaeology, School of the Arts, and the University Libraries (particularly Avery Architectural and Fine Arts Library), which hold Columbia University’s collections.

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Donors Columbia University School of the Arts

Franklin Feldman, Esq.

Gerald M. Rosberg

Toby Devan Lewis Fellowship Award

is supported in part by contributions from

Candia Fisher

Lauren Rosenkranz

Sun Liangang Arts Fellowship

alumni and friends of the arts. These gifts

Karen Hesse Flatow

Sheryl Rubinstein

Edward Mazzella, Jr. Endowed Fellowship

provide student fellowships, educational

Lee and Maria Friedlander Family

Judith Schiff

LeRoy Neiman Endowed Fellowship

Shelly Silver

LeRoy and Janet Neiman Fellowship Fund

programming and awards. For more

Foundation

information or to make a contribution

Norman M. Galinsky

The SJS Charitable Trust

Marguerite P. Roche Endowed Fellowship

to the School of the Arts, please contact:

Ann Gillen

Diana T. Soorikian

Joan Sovern Endowed Sculpture Award

Allison Ginsberg

Aaron and Betty Lee Stern Foundation

Aaron and Betty Lee Stern Fellowships

Roberta W. Albert

Nancy Gregory

Sally Wilson Tippman

Three Arts Club Endowed Fellowship

Associate Dean for Development

Claire A. Heimarck

Sandy Walker

TOMS Scholarship

212-854-7724

Gail J. Hood

Joan L. Weber

Visual Arts Graduate Fellowship

ra481@columbia.edu

Philip H. Isles, Jr.

Andrew Wilson

Eric Javits Family Foundation

Hon Chung Woo

The Visual Arts Program would like to

Susan R. Johnson

Andrea Woodner/The A. Woodner Fund

extend special thanks to its contributors,

Caryl Roberts Kahn

Richard Wright

and recognize those for whom fellowships

Edward J. Kimball

and awards have been named:

Iona S. Kleinhaut

Named Awards and Fellowships

The Kraus Family Foundation

Artis Fellows

Derrick Adams

Emily Fisher Landau

George Raimes Beach Fund for Graphic Arts

Anonymous (3)

Caroline Lee

Marin Birnbaum Fellowship

Artis

Dwight E. Lee

Faber Birren Fellowships

Gary L. Bandy

Robert Lehman Foundation

Donald C. Brace Student Loan Fund

Ramona Bronkar Bannayan

Alexandra Lerman

Brevoort-Eickemeyer Fellowship and Prize

Alexander E. Barnett

Toby Devan Lewis/The Toby Fund

Lucas T. Carlson Memorial Fund

Michael B. Bogdanow

Penelope Manzella

Quinta Carolina Fund

Renee Borkow

Jane E. McClintock

Helen R. Elser Fellowship

Naomi F. Bossom

Katherine Mary McVety

The Andrew Fisher Fellowship

Chester A. Boterf, Jr.

Professor Elizaveta V. Meksin

Morty Frank Traveling Fellowship

Peter A. Boysen

Henry & Rose Moskowitz Foundation

Ellen Gelman Endowed Fellowship

Dr. Kerstin Carlvant-Boysen

Laura Mosquera

Jacques and Natasha Gelman

Joseph B. Breed IV

LeRoy Neiman Foundation

Quentin Richard Caron

Professor Aliza K. Nisenbaum

Herbert S. Germaise Endowed Fellowship

Professor Susanna J. Coffey

J. Michael Parish

Marshall Glasier Endowed Fellowship

Jacob Arthur Collins/ The Morris

Jonathan Prince, D.D.S.

and Alma Schapiro Fund Katharine Ann Dufault 126

Fellowship Fund

for the Study of Drawing

Riva Ariella

D’Arcy Haymen Fellowships

Ritvo-Slifka/Alan B. Slifka Foundation

Dong Kingman Fellowships 127

Visual Arts Faculty & Staff Full-Time Faculty

Visual Arts Staff

Gregory Amenoff, Sanford Biggers,

Alexander Barnett, Program Assistant

Matthew Buckingham, Jon Kessler, Nicola

Andrew Brehm, Safety/Workshop

López, Leeza Meksin, Aliza Nisenbaum, Thomas Roma, Shelly Silver, Sarah Sze, Rirkrit Tiravanija, Tomas Vu-Daniel

Coordinator Nathan Catlin, Project Manager for the LeRoy Neiman Center for Print Studies Peter Clough, Assistant Director, Visual Arts

Mentors Mark Dion, David Humphrey, Michael Joo, Ralph Lemon, Suzanne McClelland, Josiah

Instructional Technology Carrie Gundersdorf, Director of Academic Administration

McElheny, Matthew Ritchie, Emily Roysdon,

Ben Hagari, Visual Arts Digital Coordinator

Rona Yefman

Frank Heath, Safety Manager Dana Lok, Visual Arts Assistant

Graduate Adjunct Faculty

Kai McBride, Photography Facilities Manager

Susanna Coffey, Thom Donovan,

Marie Tennyson, Assistant Director of the

Dana DeGiulio, Kira Lynn Harris, Carla Herrera-Prats, Steffani Jemison, Leigh Ledare, Sangram Majumdar, Jack McGrath, Sheila Pepe, Xaviera Simmons Visiting Critics Carol Becker, Natalie Bell, Hannah Black, Nayland Blake, Alejandro Cesarco, Liz Deschenes, Nicole Eisenman, Nicolás Dumit Estévez, Lia Gangitano, Mark Godfrey, Josephine Halvorson, Marc Handelman, Amanda Hunt, Chrissie Iles, Iman Issa, Jennie C. Jones, Tom Kalin, Sanya Kantarovsky, Ben Lerner, Carrie Moyer, Eileen Myles, Sarah Oppenheimer, Taisha Paggett, Sheila Pepe, Judy Pfaff, Laura Phipps, Lisi Raskin, Lucy Raven, Sara Reisman, Aki Sasamoto, Dana Schutz, Josh Siegel, Sable Elyse Smith, Pamela Sneed, A.L. Steiner, Lynne Tillman, Netta Yerushalmy, Andrea Zittel 128

LeRoy Neiman Center for Print Studies Rider Urena, Senior Manager of Visual Arts Facilities & Prentis Hall

LENFEST CENTER FOR THE ARTS COLUMBIA UNIVERSITY