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VISUAL ARTS MFA

Thesis Exhibition 2018

VISUAL ARTS MFA

Thesis Exhibition 2018

Contents

Published on the occasion of the 2018 Columbia University School of the Ar ts Visual Ar ts Program MFA Thesis Exhibition The Miriam and Ira D. Wallach Ar t Galler y Lenfest Center for the Ar ts April 22–May 20 © 2018 The ar tists and Columbia University Columbia University School of the Ar ts 310 Dodge Hall, MC 1806 2960 Broadway New York, NY 10027 ar ts.columbia.edu ar ts.columbia.edu/visual-ar ts Design: Alicia Maria Meier & Ala Tannir Cover Illustration: Ana Rivera Typeset in: Adam Gill Sans Sanford

4 From the Curator 6 Liz Ahn 10 Yasi Alipour 14 Cati Bestard 18 Judy Chung 22 Sam Cooke 26 Augustus Cross 30 Delphine Adama Fawundu 34 Ivan Forde 38 Hugh Hayden 42 Nicholas Heskes 46 Daria Irincheeva 50 Orlee Malka 54 Tanya Merrill 58 Asif Mian 62 Samantha Nye 66 Phoebe Osborne 70 Siwoong Park 74 Sky Riggs 78 Ana Rivera 82 Tim Roseborough 86 Harry Schleiff 90 Emma Thomas 94 Meg Turner 98 Elsa Lama von Buchwald 102 Rebecca Warlick 106 From the Dean 107 From the Chair 108 About the School of the Arts 108 About the Visual Arts Program 109 About the Curator 109 About the Miriam and Ira D. Wallach Gallery 110 Donors 112 Visual Arts Faculty & Staff

From the Curator No More “Howling in the Wilderness” I became an intern at Robert Blackburn’s Printmaking Workshop in Chelsea, 1 New York, in spring 1985. As an art school undergraduate, I emptied the wastebaskets, cleaned the glass inking slabs, and worked as a “sponger,” keeping the litho stone just barely wet between the inking and printing of images. One day that sweltering spring, Bob sent me to Tay Art Supplies to pick up a ream of paper, with two subway tokens. Using one to get there, I soon found out that a ream of 22-inch by 30-inch BFK Rives is five hundred sheets, and a big, heavy thing. But everyone at the shop worked hard, especially Bob. I once I saw him hop on a bicycle and pedal off to City Chemical. Shortly, he returned with a gallon of nitric acid in a glass jug, bouncing in the bike basket. I spent a lot more time at the workshop than required, fascinated by the wildly varied graphic work being produced, and the people hailing from around the world that came and went. Bob had a knack for making introductions, and his shop was a hive of activity, a window onto the global contemporary art scene. Bob was legendary for his generosity, and for the effortless diversity of his shop. Certainly, his example influenced me in ways I am still recognizing. How Bob was moved to become such a crucial figure is a fascinating tale that begins not very far from our Gallery on West 129th Street. However, formal art histories often pay less attention to the critical importance of “contact zones,” where artists meet, exchange, and often become lifelong friends. Nonetheless, Blackburn himself was formed by just such spaces. He was one of the youngest attendees of Charles Alston’s “306” salon, held in Alston’s shared studio with Mike Bannarn on West 141st Street. He also attended Augusta Savage’s Harlem studio laboratory. Savage would serve as the first director of the Harlem Community Art Center in 1938, where Blackburn learned printmaking. The HCAC was the WPA’s largest community art center in New York. The WPA was modeled on a 1922 Mexican artists’ union, the Sindicato Revolucionario de Obreros Técnicos y Plasticos; one of its founders, muralist David Alfaro Siqueiros, after working in Los Angeles in the early 1930s with a group he christened the “Bloc of Painters,” established the Siqueiros Experimental Workshop on West 14th Street in 1936 as a common space for experimental projects using modern technologies and materials. A key member in both Siqueiros’s Los Angeles and New York groups, Luis Arenal, returned to Mexico in 1937 and, with Leopoldo Méndez and Pablo O’Higgins, founded the influential Taller de Gráfica Popular. Meanwhile, in New York, the New School had become a haven for European intellectuals and artists fleeing the rise of fascism. In 1940, British engraver Stanley William Hayter relocated his Parisian workshop, Atelier 17, to the New School, where American artists, including Louise Nevelson, Robert Motherwell, Siqueiros’s acolyte, Jackson Pollock, and others met expatriate artists including Louise Bourgeois, Max Ernst, and Matta. Hayter remarked:

having a very tough time of it—they were working in the most squalid of lofts, on East 10th Street, down in that neighborhood, and also there was no place where they easily got together, where they could meet one another. 2

Such “contact zones” have been fundamental to the development of contemporary art. Art history has been slow to recognize the importance of such experiences, and the spaces that foster them have been understudied. However, this intricate and messy network of human connection—without which we would all be the poorer—has fostered crucial breakthroughs. Though this is just a brief chronology, we can see artists from around the world meeting, remaining in touch, and coming together again and again in various spaces and places, in support of one another. The direct links and influences across countries and between these pioneering, creative sites are clear. Indeed, these very institutions I’ve mentioned shaped Bob Blackburn, and informed his decision to found his own workspace: the largest and longest-running print shop in the U.S. And now I, too, am part of the community of that space, even after 30 years, and it has been a tremendous blessing and strength in my life. I called on some of the workshop artists as recently as the Uptown Triennial, initiated by the Wallach Art Gallery, and held in summer 2017. Despite the fact that we all now supposedly have everything we need flowing from our iPads or iPhones, collaborative spaces and communal ventures continue to spring up. Even in our increasingly “plugged-in” and virtual world, artists still need to come together in real life. Conversation, communication, and contact remain key ingredients to an artist’s development. As Blackburn himself noted, “I think most of our learning was sitting down at the coffee table with [John] Von Wicht and Will [Barnet] and Ronald [Joseph] and drinking coffee and working together.” 3 To the class of 2018, I leave you this partial history to consider, with the wish that you will return, again and again, to the connections and contacts you forged working here at Columbia University School of the Arts. May they nurture you, guide you, and lead you to new and unimagined directions that will take art history many years to unravel. Deborah Cullen Curator March 26, 2018

Robert Hamilton Blackburn (1920-2003, Jamaican American) founded his atelier in Chelsea, New York in October 1947. In 1971, “The Printmaking Workshop, Inc.” was incorporated as a not-for-profit workspace. In 2003, the “Robert Blackburn Printmaking Workshop” became a program of The Elizabeth Foundation for the Arts, to continue Blackburn’s vision.

Stanley William Hayter, in an interview with Deborah Rosenthal, Paris, May 1980, np; printed in the exhibition catalog Stanley William Hayter in America: Paintings, Drawings and Prints, 1940–1950 (NY: Francis M. Naumann Fine Art LLC, 2009).

Many of them met one another in my workshop, because the situation in New York . . . They were howling in the wilderness, and they were 4

Robert Blackburn. Paul Cummings interview, December 4, 1970. The Archives of American Art, The Smithsonian Institution, Washington D.C. Transcript of an audiotape, 31.

Liz Ahn

Who lives up there?, 2018 Wood, foam, papier-mâché, ceramic, oil paint, birdhouses, cement, glass, molding paste 47 x 22 x 15”

I don’t want to watch you grow (2nd plague) (detail), 2018 Cement, wax, rocks, wood, oil paint, molding paste, plastic frogs (various stages of life) 24 x 24” Abridged stages of grief (detail), 2018 Paper, graphite, gouache, ceramic, wood, chain 50 x 18”

Yasi Alipour Yasi Alipour (1989), is an Iranian artist/writer based in New York. For further information please visit YasamanAlipour.com.

One either hopes or not. I spiral. “I think we live at a point of extreme darkness and extreme brightness. Extreme darkness, because we really do not know from which direction the light would come. Extreme brightness, because we ought to have the courage to begin anew. We have to abandon every dogmatic principle and question one by one the validity of all the principles that have been the source of oppression. From the point of view of political thought, we are, so to speak, at point zero. We have to construct another political thought, another political imagination, teach anew the vision of a future.” Michel Foucault was standing in my Tehran. I’m worried, I’m anxious, I’m exhausted, Its 2018 One reads the words, moved, inspired, motivated. Ready. I finally have proof, it wasn’t a myth, Foucault was here on the eve of the revolution. It’s 1978.

One fails. One must mourn the failure of his hope. He’s been gone for long. One is left to make sense of what brought us here, the Middle East of today. Rid of hope, one is left with books, theories, and debate. I’ve done my homework, I’ve read the books, recited the theories, and settled the debate. I’ve been trained in Scholarly Rage! It’s 1978 and somewhere on Columbia’s campus, Edward Said’s finishing his Orientalism, the chronicle of problems that is to be our compass. One day he’d say, the book “is written out of an extremely concrete history of personal loss and national disintegration.” The region he deemed lost, the one he left behind would give birth to me, hold my today, and home my future. It was not dead. Life went on. I swim in his despair, Me and my home need more. I spin. One either thinks or acts. Foucault in Iran dward Said dies in New York City E A nd I’m standing right here.

Foucault’s words are an ode to the uprising of my parents—before I knew them—when they were young, When it all began… The words are in praise of the emerging state, the new oppressive regime of Iran, the one I know. Right: Observed randomly in Yazd, Iran, on the eve of 2018

Yasi Alipour

Detail shot of Foucault in Iran, Edward Said dies in New York, & I’m Standing Right Here, 2018 Folded Paper 17 x 22”

Detail shots of Foucault in Iran, Edward Said dies in New York, & I’m Standing Right Here, 2018 Folded Paper Variable dimensions

Cati Bestard Cati Bestard (b. 1982) is from Mallorca. www.catibestard.com

These days, I think about: Architectural space as a system Walls as containers of memory and history Queerness Photography. Perception. Manipulation. Deconstructing structures Leaving a gap Corners The everyday life The demolition of patriarchy How to reconstruct

Cati Bestard

Corner #1 and Corner #2, 2017 Documentation photographs, wood sculptures 48 x 13 x 29” & 40 x 29 x 8”

That corner in the living room, 2017 Inkjet Print 30 x 37”

Judy Chung b. 1990 in Seoul, South Korea

My works are attempts to make sense of the world that I(we) live in by exploring the dissonance between false binaries and dualities that are prevalent in ideologies both throughout history and in the immediate present. I find myself drawn to questions about perversion and innocence, the wielding of power, the dynamics of gender, and good and evil. Much of the imagery I use in my work is a nod towards anime/manga, video games, art history and mythology, all distorted into reimagined narratives.

Judy Chung

Under the Rubicon, 2017 Acrylic, acrylic medium, glitter 156 x 84”

Under the Rubicon (detail), 2017 Acrylic, acrylic medium, glitter

Sam Cooke Sam Cooke (b. 1991) is an artist.

Everything is funny so no one makes jokes anymore.

Sam Cooke

(Black) +resistance -suicide, 2018 Urethane resin, epoxy clay, pigment, wood 48 x 32”

Untitled 1, 2016 Digital video, sound 8:40 min

(Pink) +sex -violence, 2018 Urethane resin, epoxy clay, pigment, wood 48 x 32”

Untitled 2, 2017 Digital video, sound 11:18 min

Augustus Cross Augustus Cross Mackenzie Born 1991 - Washington DC

The paintings are about making pictures. In an attempt to capture specters of the mass imagination, they approach an industry of spectacle from behind the scenes, with a focus on reframing figures and arenas of Hollywood blockbusters as totemic idols and primordial landscapes in our collective experience. The work aims to give material weight to these apparitions in contrast to and in dialogue with their ethereal presence in digital media and the internet. This embodiment reflects the force that narratives of heroism, masculinity and capitalism exert on the symbolic order. Taking the process of narrative production as a subject, I try to find faith in suspicion. We are creatures of belief, acting on spiritual impressions, and America is itself a series of mythologies. The contemporary speed and breadth of media makes idiots and experts of us all, as the flood of imagery makes mud out of meaning, and we become archaeologists in the trash heap. Mass becomes might in the media soup and truth or fiction is conditional on a sign’s role in a larger field of belief–a swamp ruled by an economy of advertising that manufactures consent, desire and demand. Is there any wonder at the popularity of such grim icons of nihilism, desperate fantasies of super heroics and the apocalyptic visions of an empire in decline? A cynical subject is a self assured subject. Why so serious?

Augustus Cross

Battleship set, 2017 Ink, gouache on collage 12 x 9” The Colonists, 2017 Ink on collage 11 x 15”

Hope st., 2016 Oil, marble dust on canvas 60 x 46”

Delphine Adama Fawundu Delphine Adama Fawundu is a visual ar tist born in Brooklyn, NY to parents from Sierra Leone and Equatorial Guinea, West Africa. She is a co-author and founder of MFON: Women Photographers of the African Diaspora. Fawundu’s work has been exhibited at the Brooklyn Museum of Ar t, International Center of Photography, Steve Kasher Gallery, Rush Ar ts Gallery, Prizm Ar t Fair, Pulse Ar t Fair, the Lagos Photo Festival, Nor ton Museum of Ar t, Villa La Pietra (Italy) and the Museum of Contemporary Photography (Chicago). Her work is included in anthologies such as Africa Under the Prism: Contemporar y African Photography from the Lagos Photo Festival, and Black: A Celebration of Black Culture Reflections in Black: A Histor y of Black Photographers 1840 to the Present. She is a recent New York Foundation of the Ar ts Photography Fellow.

Unfolding layers only to create new ones. Despite the interruptions, disruptions, interjections, and attempts at erasure -Our strength is in the syncopation. We shape shift but never die. Mami Wata, Yemaya, Amathaunta, Namaka, Makara, Acionna, Nu, Tefnut, Martuv, Yemoja, Olokun, Tlaoquetotontli Meet Me in Another World.

www.delphinefawundu.com

Delphine Adama Fawundu

Nomoli Gaze, 2017 Photograph on archival paper 30 x 20”

Passageways #2, Secrets, Traditions, Spoken and Unspoken Truths or Not, 2017 Photograph on archival paper 40 x 30”

Ivan Forde Ivan Forde (b. 1990, Guyana) works across printmaking, digital video, sound performance and installation. Residencies and fellowships include the Paul and Daisy Soros Fellowship for New Americans, ACRE Projects, Vermont Studio Center, Pioneer Works, the Lower East Side Printshop and the Sharp Snug Harbor Van Lier fellowship. Group exhibitions and performances include Studio Museum Harlem Postcards, Mana Contemporary, The Jewish Museum, The Whitney Museum, The DC Arts Center, Lower East Side Printshop, Denny Gallery, Steven Kasher Gallery, the International Print Center and Lagos Photo Festival 17. Ivan graduated from SUNY Purchase college with a BA in Literature.

“What Does it mean to fu*k with history? To Run through centuries for centuries in search of the self, the living, the dead, and their movements. Gradually we become History. Bullets into tomorrow.” – from Amiri Baraka’s Wise, Whys, Y’s My practice encompasses research, performance, and printmaking at the intersection of blackness and epic poetry. I work with cyanotype to make blue-prints by laying on light-sensitive paper/fabric outside under the sun. I use my body as the matrix for image making, as a measure for all figures in my pictures. I’ve produced digital collage, sound and video animation illuminating poems such as Paradise Lost and The Epic of Gilgamesh to deeply engage stories that contemplate sources of human origin and culture. This project aims to visualize the Invocation

to a story of communal resistance, retelling the origins of the village my grandmother is from named “Buxton.” To tell it, We must tell it with fire and light. Buxton-Friendship was founded in 1840 – the same year “photography” was coined by Sir John Herschel, inventor of Cyanotype – by 128 freed Africans. After emancipation they collectively bought an abandoned cotton plantation by circumventing a British crown law that stated no individual could buy less than 100 acres of land at 6 pounds sterling per acre. This decree meant that a formerly enslaved person had little chance of owning property in their lifetime. However, to the surprise of the British governors the former slaves pooled their savings earned during overtime labor into wheelbarrows, and purchased 800 acres of land in cooperative ownership. Buxtonian writer and historian Ovid Abrams states, “They strategically performed a silent and non-violent revolution,” which was a part of the larger Village Movement (1838-48) in Guyana with successive villages founded through collective land purchases by formerly enslaved Africans.

Right: A complete history of the village of Buxton in Guyana authored by Buxtonians and compiled by brother Eusi Kwayana political activist, professor, historian, and poet

Ivan Forde

Morning Raid, 2017 Cyanotype on paper 41 x 41” He Who Saw The Deep, 2017 Cyanotype body print on paper 46 x 61”

Untitled (temporary sculpture), 2017 Inkjet print 17 x 22”

Hugh Hayden I grew up in Dallas, TX at the edge of the woods. I had a close relationship with the surrounding landscape that was nourished through a practice of gardening and later owning koi and creating a series of water gardens. During highschool landscaping grew into a passion and I became the youngest member of the North Texas Koi and Water Garden Society with several ponds in my parents backyard. Fast forward 15 years and living in NYC with limited access to nature I now explore ideas of belonging to a social landscape through a lens of camouflage and natural materials.

I’m a sculptor creating visceral experiences that transform perceptions of familiar concepts via both object making and interactive culinary installations. Whether through the lens of camouflage or culinary implements my work explores the underlying infrastructure, relationships and systems of social interactions.

Hugh Hayden

Untitled, 2018 Sculpted Oriented Strand Board (OSB) 24 x 48 x 3”

Still from In Tension Culinary Installation, 2016

Nicholas Heskes b.1991 in San Francisco, CA. He is currently under the weather.

Nicholas Heskes

Shatter, 2017 Oil paint on stretched canvas 8 x 8” Urns, 2017 Oil paint on stretched canvas 8 x 8”

Set, 2017 Oil paint on stretched canvas 8 x 8”

Daria Irincheeva My ar tistic practice currently consists of working with sculpture, painting and video. Through such media, I explore the processes of language, history-construction, memory-colonization, information-fossilization, temporal repetitions and dead ends in time. My personal exhibitions include Empty Knowledge at Christie’s, Moscow, 2017; and Circadian Rhythm at Postmasters Gallery, NY, 2014, among others. Group exhibitions include It’s OK to change your mind! at Museum of Modern Ar t of Bologna, 2018; and Dreaming Russia, Alber tina Museum, Vienna, 2014, among others. I par ticipated in the programs of the 2017 Whitney Biennial; and In Response: The Arcades at the Jewish Museum, 2017, NY. We each as individuals live in what could be described as “our own worlds”, defined by the criteria which we each assign as the parameters to what we consider our chosen reality. This ‘reality’ consists of the choices we make that manifest as the ‘media bubbles’, ‘echo chambers’ and ‘feedback loops’ which prevent us from accurately perceiving the world around us. Simultaneously, we exist in a common reality defined by the attempts to record histories of moments in time that are revised and rewritten as new discoveries are made, there are changes in political leadership, and undesirable elements of past realities are eliminated. This leads to the dilemma of only grasping fragments of the events around oneself, rather than clearly understanding a whole ‘picture’. Meanwhile, each culture, society, or similar subdi-

vision of peoples make attempts towards the ‘unification of reality’ through the publication of journals, the collation of information in encyclopedias and at present through the myriad forums made possible by the internet. These attempts fuel our desire for future prognostication, which is, in actuality, our desire for an understanding of who we are, where we are, and where we’re going. My work touches upon concepts of ‘fossilization’ of information, various means of communication and their obsolescence, attempts to decipher and understand a made-up language, and glimpses towards evolutionary forms of human non-verbal communications. My work attempts to not only illustrate the fragmented nature of reality, but to offer a thought-provoking path towards understanding through the juxtaposition and superimposition of empirically-based, rationalist methodologies with intuitive, shamanistic-alchemical representations.

Right: Banksia seed pods

Daria Irincheeva

Quipu #7015, 2017 Crystal resin 70 x 85 x 1” Keyboard #74, 2016 Plastic, spray paint 19 x 7 x 1”

Portal #012, 2017-2018 Ceramic, crystal resin, gold leaf, wood, metal, mash, paint, paper 55 x 16 x 4.5”

Orlee Malka b. 1980 (Jerusalem), lives and works in New York City

The concept of progress must be grounded in the idea of catastrophe. That things are ‘status quo’ is the catastrophe. – Walter Benjamin, Central Park (1938) My work is concerned with diasporic conditions, language and fields of belonging. My continued practice in performance, drawing and sculpture negates the ontological standing of these different media while investigating the exact grounds their values are predicated on. In my work, I think of issues of performativity and the aesthetics of bias towards utilitarian objects, and issues of usership and making in response to and in sustained conversation with art history. With a particular interest in diverse storytelling traditions, I try to think about what constitutes non-monumental work. Biographically, I come from a place that is in collapse. Catastrophes – are an ongoing fact in Palestine and Israel. This Semitic rupture and expulsion brings me to ask questions about ‘fugitivity’ and the possibility (political and otherwise) of art-making in a state of collapse.

Right: Fountain, 2017 Variable dimensions

Orlee Malka

Necklace for Malka, 2017 Wood, clay, wax, wire 31 x 37”

Necklace for Malka (detail), 2017 wood, clay, wax, wire

Tanya Merrill b. 1987 / New York City, BA Sarah Lawrence College www.tanyamerrill.com

Tanya Merrill

The Bathers, 2018 Oil on canvas 40 x 30”

The Reckoning, 2018 Flashe, oil, oil stick, and graphite on linen 43 x 40”

Asif Mian 00 04 06 09 11 12 14 16 16 16 17 17 19 20 22 23 25

born in jersey city, nj to pakistani immigrants. a gun to my head & held hostage in parents’ pharmacy in queens. first fistfight with a kid flying a kite. father is indicted for sexual assault. it was a hoax & charges dropped. fistfight at teaneck mosque. fresh raiders hat stolen off my head. fistfight with neighbor. wrestling captain. confront estranged father so he would leave the house. steal a car & bash 31 mailboxes on homecoming night. fistfight. shatter my wrist polevaulting. father mxrdered in terrel, texas. BA genetics & BA studio ar t from drew university. surrounded by 2 crackheads in LES: they think i have drugs. streetfight on 31st & park with a drug dealer whose drop-phone landed at our feet. begin meditating

Nothingness & Spectre I am repulsed by violence in our daily life, but much like a crowd pausing to watch a fistfight, I am attracted to the visceral power these human elements hold over us. By working at the intersection of sculpture, performance and filmmaking, I have been exploring the imprint that masculinity, competition, spirituality and violence have on our culture. The work has a physicality that stokes the fires of ritual and chaos, intimidation and perception, spontaneous and premeditated. In my thesis presentation, material and immaterial works occupy the same space, echoing the composite of our daily lives. The material works ground and transform substance, surface and meaning into familiar forms. Implicit violence and trauma are absorbed and channeled into the fabric of these objects, evoking the concept of epigenetic inheritance: the idea that traumatic experiences affect DNA in ways that are passed on. The immaterial works loom; their forms are shrouded in common plastic sheeting. Thermal cameras are able to peer inside the forms with special forensic ability. Inside, the virtual beings command attention with their suggestion of potential threat, value, and/or spectral nothingness. Solid or virtual, the works converge and intersect material, form and theme within the confines of the space. asifmian.com

Right: CCTV Muse with Googly Eye Facial Recognition Nodes

Asif Mian

Threat Value, 2018 Hand knotted wool Afghan rug, machine woven polypropolene rug 9 x 7’

Trauma Suit for RAF, 2018 SAE industrial wool felt, adhesive, acrylic polymer 40 x 30” x variable

Public Meeting Place, 2017 Video Projection of More Human performance (18:07 TRT) Wood, gypsum, plaster, enamel 29 x 9 x 12’

Samantha Nye b. Hollywood, Florida, sometime in the 1980s Samantha Nye is a painter and video ar tist currently living in Manhattan. For the first decade of her life she was a relatively unsuccessful child model. At five years old she remembers her mother driving her to South Beach casting offices as she energetically rehearsed the line, “Hello, my name is Samantha Nye, and I’m 7 years old... Here is my right profile...” She often performed seven. She learned early about performance and identity, which has directed her studio practice towards the investigation of seduction through reenactment. Through her paintings and videos she highlights aging bodies, celebrates queer kinship, and facilitates an intergenerational dialogue about sexuality between queer women and their mothers/grandmothers. Samantha was a 2014-2015 Fellow of Queer/Ar t/Mentorship and is currently a Columbia University Visual Ar ts MFA Candidate, graduating in May of 2018. Reenactment has long been a theme in my practice which centers around a performative relationship between my mother and myself. My current body of work includes a series of paintings that reimagine “aspirational lifestyle imagery” from the 1960s alongside a series of music videos that remake Scopitone films from the same era. These pop-cultural references are chosen as dominate symbols of the sexual and cultural consciousness of my mother’s

adolescence. I have also regularly cast a group of women, ages 55-92, related to me either through blood or life-long friend circles of my mother and grandmother. With this, my reenactments aim to retroactively influence the models of sexuality that influenced the generations of women before me, from whom I inherited notions of gender and methods of seduction. What started as queer role play amongst extended family has grown to include queer elders, bound by the concept of chosen family. Both my paintings and videos are meant as love letters to queer spaces past and present, the thriving and the abandoned. In my attempt to image queer kinship I acknowledge the beautiful parts, the prickly parts, the radical parts and the parts that have long needed fixing. With celebration and criticality I pull references from lesbian legacies and failures. These works envision a fantasy history of both age and trans-inclusive lesbian spaces and mash-up incongruent queer references such as Slim Aarons photographs of the 1960s, lesbian separatist spaces of the 1970s, Bat Mitzvah parties from 1990s, and the Miami club scene of the early 2000’s .

Samantha Nye

SILENCER, 2015 HD Video 3:10 min DADDY, 2017 4K Video 3:01 min

CALENDAR GIRL, 2014 HD Video 4:10 min

Phoebe Osborne Phoebe Osborne (b. 1984) is a choreographer and visual ar tist based in New York, NY. Their work employs performance, video, installation, and sound as means to examine the relationship of bodies and environments in their imminent negotiations. Osborne’s works have been presented across the US and Europe, including commissioned performances at Transmediale Berlin, La Caldera Barcelona, SFMoMA and Oakland Museum of California. The have exhibited at City Limits Gallery (Oakland), False Flag (Long Island City), Southern Exposure (San Francisco) and SOMAr ts (San Francisco). Osborne was a 2017 recipient of the DanceWEB scholarship as a resident ar tist at Impulstanz in Vienna. Splitting their time between New York and Amsterdam, they will pursue a second masters in the DAS Choreography Program at the University of Ar ts beginning this fall.

The eyes of the pigeon, sitting atop the spine on either side of the brain, undulating with the head upon each step, resolving two different images/ locations (one view from each eye) into one. Perhaps history is as the pigeons, their wings clapping, flashing winds of information into vortexes suspending time and space. An energetic force even amongst wreckage and death and smashed wholeness and storms of our earthly paradise. Language – communication and connection rather than culture and nation. The language of flaking on culture and nation while letting its wreckage be a place for communication, provocation, and care. Tentacular winged extensions, connecting us from all points in this wild and vast city. I want to live amongst the wreckage with you I want to sit in nutrient dense shit and concrete ruins with others like the pigeons do

Phoebe Osborne

Flake, 2017 Performance, sound, video 180 min Flake, 2017 Performance, sound, video 180 min

by the fence at night, 2017 HD video and sound 8:33 min

Siwoong Park Born 1983, Gwangju, South Korea. Currently lives and works in New York City and Seoul

My recent work is concerned with how today’s media technologies re-mediate our experience of daily life and change our ways of perceiving reality. We live in a shrinking and horizontal world where we are connected to each other through social networks and images of our life are datafied and accumulated in the big cloud. Even the blank spaces in our understanding of recent history are quickly filled by information visualized or images recovered by today’s digital technologies. I believe that substantial change in our ways of perceiving time and space is natural because we grasp the world through the images and information on the screens of computers and smartphones. As an artist, I am concerned with the possibility of a new set of aesthetics to cope with the reality of our time.

Siwoong Park

Untitled, 2017 Porcelain, outdoor installation 4 x 7.5 x 3.5” Residue, 2017 Scratched-off powder from discarded lottery tickets, evaporating dish 4.5” diameter x 1” height

3 minutes, 2018 Digital printed papers, wood pallet, string lights 14 x 22 x 45.5”

Sky Riggs I’m an NY-based painter and songwriter with a focus on duality and bilateral asymmetry.

I’ve started calling doubletalk the aspect of multiple values to a statement, some of which are unintented. An analytic mind can move only so fast, but makes choices which exceed that in nearly every utterance. I ask, “how are you holding up?” and its primary meaning is clear - that I’m checking in on you. But I typed that, with my hands, hence ‘holding’. And I put ‘up’ in the last place because I’m an optimist. Those choices were made without reason, they were beyond the intention of the statement. In conversation I started noticing the second, third, fourth meanings. It is paranoia to attribute those to the speaker’s intention but foolish to dismiss them as coincidence. They are there, despite intention. And most interestingly they are often unknown to the persons uttering them. A dinner conversation analyzed through its nth meanings is usually a different flavor than at face value. And analyzed as such, usually contains very relevant, cohesive information (as opposed to, say, isolated absurdities). The most familiar part of our mind, which we need to inhabit this treacherous world is neurotic and calculating. It is right next to us, right here - the frame of reference we see everything logical through. This is the same part which makes decisions about what primary meanings we want to express. But in choosing just the particular expression there is another set of influences, clearly. How else could “I” say something I didn’t mean to? To let on a second or third meaning which I’m unaware of?

Sky Riggs

Untitled, 2017 Oil and acrylic on wood 24 x 16”

Ana Rivera Ana Rivera (b. Bogotá, 1988) is an ar tist, musician, and ar t historian currently based in New York City. She received a BA in Ar t History from the Universidad de los Andes in 2013. Since 2012 she has worked as co-founder and collaborator of several ar t collectives and ar tist-run spaces focused on generating alternative platforms for the production, exhibition, and discussion of emerging ar t and music in Bogotá.

Ana Rivera’s work lies at the intersection between drawing, sculpture and writing, and is concerned with narrative, translation, representations of systems of information and how they sustain structures of historic and institutional power. Her practice frequently circles around narratives of art history, the mediums and formats that are intrinsic to them, the power held in the translation of these narratives, as well as the empty frames that are gained in the distribution of information.

Ana Rivera

Columbia MFA Open Studios, 2017 Performance, skate ramp, engraved skateboard wheels, ink Variable dimensions

Untitled, 2017 Etching print on Japanese mulberry paper, glazed ceramic 30 x 30 x 6 cms Untitled, 2017 Hand engraved tinted ceramic, steel 30 x 30 x 12 cms

Tim Roseborough Tim Roseborough has performed and shown ar twork at the San Francisco Museum of Modern Ar t, the ZERO1 San Jose New Media Biennials, Pro Ar ts, Oakland and SOMAr ts and Root Division in San Francisco. His interventions can be seen in publications including Artforum, Art In America, Hyperallergic.com, the San Francisco Chronicle, SF Arts Monthly, SF Examiner, and San Francisco Bay Guardian. He was the inaugural ar tist in the Emerging Ar tists Program at the Museum of the African Diaspora, San Francisco and has been awarded residencies at Kala Ar t Institute, Berkeley; and the Gray Area Foundation for the Ar ts, San Francisco.

“Exceptionally grand prizes, both in terms of money and status, can be won in the arts. These prizes are larger than in comparable professions. It is also true that the average artist earns less than other professionals. Many artists earn low incomes. Despite the high stakes, the average chances are low. In this respect, the arts are like a lottery.” Abbing, Hans. WHY ARE ARTISTS POOR?: THE EXCEPTIONAL ECONOMY OF THE ARTS. Amsterdam: Amsterdam University Press, 2008, p. 122.

Tim Roseborough

Untitled (Gold Bricks) (from the #artlifelottery series), 2018 Prospective Artwork: Adobe Illustrator format, updated February 19, 2018 1.5:1 dimension ratio

Untitled (Pot of Gold) (from the #artlifelottery series), 2018 Prospective Artwork: Adobe Illustrator format, updated February 19, 2018 1.5:1 dimension ratio

Harry Schleiff Harry Schleiff (b.1988 / New York, NY) has previously exhibited in group exhibitions at Federico Vavasorri, Milan and David Zwirner, New York. He is co-founder of Rear Window, a project space in Harlem.

My work is concerned with visible and invisible power structures that determine our experience of the everyday and how, as artists, we might be able to counter these influences through a rigorous commitment to depicting reality. An investment in reality is urgently needed in an era where our subjectivity is increasingly compromised by the technological advances of biased algorithms, psychometric data science, predictive analytics, fake news, falsified social media accounts and a presidential administration that denies the existence of global warming. A new video, shot at a facility outside Atlanta, Georgia, focuses on the production of fiber optic cable. These cables are the raw, corporeal, seminal fluid that provide the transfer of information through the internet. In revealing the physicality of the infrastructure, our understanding of the immaterial and infinite nature of the internet is challenged. My painting practice is one of observation and understanding my body in relation to my immediate surroundings. Painting from life enacts a refusal of mediated experience, allowing the expression of unique subjective positions within an increasingly manipulated and alien physical and psychological landscape. In her essay “The Reality Based Community,” Erica Bolsom writes: “Already in 1988, Donna Haraway recognized that though the critique of objectivity had been necessary, there were dangers in proceeding too far down the path of social constructivism. She warned that to do so is to relinquish a needed claim on real, shared existence. Our planet is heating up. In the realm of documentary, too, there is a visible world ‘out there,’ the traces of which persist in and through the codes of representation. It is a world that demands our attention in all its complexity and frailty.”

Harry Schleiff

My Manhattan, 2017 16mm transferred to HD Video 00:04:14 min

You Are The Fingers in the Flood Wall, 2018 HD Video You Are The Fingers in the Flood Wall, 2018 HD Video

Emma Thomas Emma Thomas (b. 1989 / New York City) BA Bard College, New York www.emmathomas.net

Emma Thomas

Banshee, 2017 Silicone putty 14 x 13 x 5”

Succubus, 2017 Silicone with color pigment 13 x 12 x 8”

Meg Turner Meg Turner b. 1985 Switzerland 1985 The Netherlands 1985-89 Massachusetts 1989 - 2003 Rhode Island 2003-2009 Louisiana 2009 - 2016 New York 2016 BFA Rhode Island School of Design - 2008

Meg is a maker of: Photographs Posters GIFS Signs Fantasies & Fakes

Meg Turner

Gas Station, 2018 Still from animation Variable dimensions

Studio Window, 2018 Crayola window paint markers, LED lighting

Elsa Lama von Buchwald Elsa Lama von Buchwald is an Ecuadorian multidisciplinary ar tist based in New York City. Her work is conformed by depictions of power and the different relationships in which it presents itself. She earned a BA in Ar ts in Context at Eugene Lang College the New School for Liberal Ar ts in 2015 and a BFA in Fine Ar ts at Parsons the New School for Design the same year. Her work has been the subject of solo exhibitions in both New York City in 2016, and Ecuador in 2017, as well as multiple group shows in institutions like the IPCNY in New York City.

Creamos nuestra propia corriente en este armazón, del que colgamos navegamos, jugamos vivimos y marcamos si somos lo suficientemente pesados pesados tal vez lo rompamos. Algún día, espero que lo rompamos. Pero, y luego que? Regados y sin forma? Solo la historia impresa en nuestros cuerpos… Al endurecer, las cicatrices dictan nuestra dirección. Nuestro pasado nos hace torcer y retorcer. El agua deshace, el fuego forma, la suficiente fuerza para sobrevivir en las capas que cuentan la historia de la tierra. Lineas nos definen, Lineas nos organizan, Lineas nos dividen. Es inútil entender, la linea aún pegada a la mano que la dibujó. Imposible de trazar, Se la ve recorrer hacia atrás y al infinito. Desaparece. Borrosa hacia el final fina, casi indistinguible.

We create our own flow within this structure, from which we hang we navigate, we play, we chill, we mark and If we are heavy enough we might break it. Someday, I hope we do. But, then what? Spilled and formless? With only history printed in our bodies… Just as we harden, Scars dictate our direction. Our past twists and turn us. Water melts, fire forms. Strong enough to survive history, We join the layers that tell the story of the earth. Lines that define us, Lines that organize us, Lines that divide us. It is useless to understand, line still bounded to the hand that drew it. Impossible to trace, It keeps going back till infinity. It disappears. It blurs at the end, thin, almost indistinguishable, No one ever crosses from one side to the other; Everything happens in the in-between

Nadie cruza entre un lado y el otro Todo pasa en la mitad.

Elsa Lama von Buchwald

Study of the Euphoric Gesture #4, 2017 Sugarlift, screenprint, chinecolle etching 13.3 x 14” Untitled modular structure, 2017 Porcelain, wood Variable dimensions

The Pope’s Message, Como Camino Jesús (Still), 2017 Claymation animation 2:31 min

Rebecca Warlick Rebecca Warlick (b. 1991 / San Diego, CA) BFA Pratt Institute www.rebeccawarlick.com

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Rebecca Warlick

Angel, 2018 Urethane 24 x 31” Smile, 2018 Urethane 24 x 31”

Flowers, 2018 Urethane on panel 48 x 60”

From the Dean

From the Chair

There is no greater pleasure for me as Dean than attending the thesis events for the four programs that comprise the School of the Arts— Visual Arts, Writing, Theatre, and Film. The School of the Arts offers our students the depth and breadth of Columbia 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, poetry, fiction, creative nonfiction, theatrical reading, or a visual arts exhibition such as this—a spectacular showcase for our graduating MFA students working in all forms of visual production. The Thesis exhibition in Visual Arts is the culmination of two years of hard work. It is the moment at which the students (soon to be alumni) choose how to represent their creative time at the School of the Arts. Twenty-five artists will graduate this month. Their work will be varied, unexpected, at times profound, and full of exuberance. Friends, family, and the art world at large will turn out in multitudes for the opening and for the run of the exhibition to see what the next generation of artists is working on today. We are thrilled that the Thesis Show will once again take place in the Lenfest Center for the Arts. We hope you will visit the show, as well as attend the varied events that take place at this site throughout the year. I know you will find access to this new work exhilarating.

On behalf of the faculty of the Visual Arts Program I welcome you to the 2018 MFA Thesis Exhibition. This is the second year that we have been in our new West Harlem home at the Miriam and Ira D. Wallach Gallery in the Lenfest Center for the Arts. We are grateful to the Wallach family and to H.F. (Gerry) and Marguerite Lenfest for making this possible. We thank Deborah Cullen, Director and Chief Curator of the Wallach Gallery, for guiding our students through the process of mounting such an ambitious show, as well as Jeanette Silverthorne, Associate Director, Finance and Exhibitions; Lewis Long, Associate Director, External Affairs; Jennifer Mock, Associate Director, Education and Public Programs; Eddie José Bartolomei, Exhibitions Manager; and Zachary Valdez, Administrative Assistant, all of whom contributed tirelessly to this effort. In Visual Art we have an amazing program administration and staff who dedicate their care and attention to our students: Alexander Barnett, Program Assistant; Andrew Brehm, Safety Coordinator; Nathan Catlin, Neiman Studio and Project Manager; Peter Clough, Assistant Director of Visual Arts Instructional Technology; Frank Heath, Safety Manager; Dana Lok, Visual Arts Assistant; Kai McBride, Photography Facilities Manager; Sarah Lynn Perry, Interim Program Assistant; Marie Tennyson, Neiman Center Associate Director and Gallery Manager; Rider Urena, Senior Manager of Visual Arts Facilities, and Patrice Washington, Prentis Hall Facilities Manager. And we all owe a special debt of gratitude to Carrie Gundersdorf, our Director of Academic Administration, around whom everything revolves. Carol Becker, Dean of Faculty, and Jana Wright, Dean of Academic Administration, have led us to where we are today with the help of Gavin Browning, Director of Public Programs and Engagement; Sarah Congress, Executive Assistant to the Deans; Christina Rumpf, Director of Communications; Laura Scarano, Assistant Director of Alumni Affairs and the Artists’ Resource Center; and Peter Vaughan, Director of Motion Picture and Information Technology. Most importantly, we thank our students. Without you there would be no exhibition. Without you we would have no reason to be here. It has been our privilege, these past two years, to work with you, learn from you, and to try 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.

Carol Becker Dean of Faculty Columbia University School of the Arts

Matthew Buckingham Chair of the Visual Arts Program Columbia University School of the Arts

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About the School of the Arts

About the Curator

Columbia University School of the Arts awards the Master of Fine Arts degree in Film, Theatre, Visual Arts and Writing and the Master of Arts degree in Film Studies; it also offers an interdisciplinary program in Sound Art. 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 directors, writers of poetry, fiction and nonfiction, playwrights, producers, critics and scholars. In 2015, the School marked the 50th Anniversary of its founding. Later in 2017, the School opened the Lenfest Center for the Arts, a multi-arts venue designed as a hub for the presentation and creation of art across disciplines on the University’s new Manhattanville campus. The 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.

Deborah Cullen, PhD is Director and Chief Curator of The Miriam and Ira D. Wallach Art Gallery at Columbia University in the City of New York. She has overseen the Wallach’s expansion into the Lenfest Center for the Arts. Cullen is organizing the nationally-traveling exhibition, “Robert Blackburn & Modern American Printmaking” for the Smithsonian Institution Traveling Exhibition Service; in 2017 she initiated and curated the Uptown Triennial for the Wallach, a collaboration with 12 other uptown institutions. Recent publications include the essays: “Reflexiones sobre Arte ≠ Vida,” (Segundo Encuentro Internacional Archivos Fuera de Lugar: Desbordes discursivos, expositivos y autorales del documento, Ex Teresa Arte Actual/National Institute of Fine Arts, México DF, 2018); “Somehow Exceptional: El Museo del Barrio,” (Art Museums of Latin America: Structuring Representation, Routledge, 2018); and “Beyond Face Value: Reconsidering Laura Aguilar’s Three Eagles Flying,” (Laura Aguilar: Show and Tell, Vincent Price Art Museum, East Los Angeles College). Cullen has curated Interruption: The 30th Ljubljana Biennial of Graphic Arts (Slovenia, 2013); and The Hive: The Third San Juan Poly/Graphic Triennial (Puerto Rico, 2012). Previously, she served at El Museo del Barrio, New York, for over 15 years, where projects included Caribbean: Art at the Crossroads of the World (Yale University Press, 2012) and Arte ≠ Vida: Actions by Artists of the Americas 1960–2000 (El Museo del Barrio, 2008).

About the Visual Arts Program

About the Miriam and Ira D. Wallach Gallery

The Visual Arts Program attracts emerging artists of unusual promise from around the world. They comprise a vibrant community studying with an exceptional faculty at a renowned research institution in the global center that is New York City. Contemporary art has become increasingly interdisciplinary. To that end, the Visual Arts Program offers an MFA degree in Visual Arts rather than in specific media. The two-year studio program, taught by internationally celebrated artists, allows students to pursue digital media, drawing, installation, painting, performance, photography, printmaking, sculpture and video art.

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 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 is supported in part by contributions from alumni and friends 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: Roberta W. Albert Associate Dean for Development 212-854-7724 ra481@columbia.edu The Visual Arts Program would like to extend special thanks to its contributors, and recognize those for whom fellowships and awards have been named: Derrick Adams Bruce Antelman Anonymous (3) Gary L. Bandy Ramona Bronkar Bannayan Alexander E. Barnett Michael B. Bogdanow Renee Borkow Naomi F. Bossom Chester A. Boterf, Jr. Peter A. Boysen Dr. Kerstin Carlvant-Boysen Joseph B. Breed IV Quentin Richard Caron Professor Susanna J. Coffey Jacob Arthur Collins/ The Morris and Alma Schapiro Fund Katharine Ann Dufault H. Hartley Platt DuPont Franklin Feldman, Esq. Candia Fisher Karen Hesse Flatow B. Joyce Frazier Lee and Maria Friedlander Family Foundation Norman M. Galinsky Allison Ginsberg Nancy Gregory Claire A. Heimarck Taryn Brooke Holloway Gail J. Hood Henry Hood Philip H. Isles, Jr. Eric Javits Family Foundation 110

Susan R. Johnson Caryl Roberts Kahn Edward J. Kimball Dong Kingman Iona S. Kleinhaut The Kraus Family Foundation Emily Fisher Landau Dwight E. Lee Robert Lehman Foundation Toby Devan Lewis/The Toby Fund Nicola Lopez Matthias Lukens Raymond T. & Ann T. Mancini Family Foundation Trust Penelope Manzella Meredithe Mastrella Katherine Mary McVety Barbara Meise Professor Elizaveta V. Meksin Laura Mosquera LeRoy Neiman Foundation Professor Aliza K. Nisenbaum J. Michael Parish Jonathan Prince, D.D.S. Gerald M. Rosberg Lauren Rosenkranz Sheryl Rubinstein Debora Gilbert Ryan Judith Schiff Shelly Silver The SJS Charitable Trust Diana T. Soorikian Robert Elbert Swigert

Aaron and Betty Lee Stern Foundation Sally Wilson Tippman Alexandra Van Sandy Walker Ellen Webb Joan L. Weber Andrew Wilson Stephen Whittlesey Hon Chung Woo Andrea Woodner/The A. Woodner Fund Richard Wright Quan Zhou Xianling Zhou Named Awards and Fellowships Artis Fellows Ramona Bronkar Bannayan Fellowship Fund George Raimes Beach Fund for Graphic Arts Marin Birnbaum Fellowship Faber Birren Fellowships Donald C. Brace Student Loan Fund Brevoort-Eickemeyer Fellowship and Prize Lucas T. Carlson Memorial Fund Quinta Carolina Fund Helen R. Elser Fellowship The Andrew Fisher Fellowship Morty Frank Traveling Fellowship Ellen Gelman Endowed Fellowship Jacques and Natasha Gelman Fellowship Fund Herbert S. Germaise Endowed Fellowship Marshall Glasier Endowed Fellowship for the Study of Drawing D’Arcy Haymen Fellowships Dong Kingman Fellowships Toby Devan Lewis Fellowship Award

Sun Liangang Arts Fellowship Edward Mazzella, Jr. Endowed Fellowship Morrocco/Mancini Family Fellowship Fund LeRoy Neiman Endowed Fellowship LeRoy and Janet Neiman Fellowship Fund Helen Hartley Mead Platt Prize Marguerite P. Roche Endowed Fellowship Joan Sovern Endowed Sculpture Award Aaron and Betty Lee Stern Fellowships Three Arts Club Endowed Fellowship TOMS Scholarship Visual Arts Graduate Fellowship

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Visual Arts Faculty & Staff Full-Time Faculty Gregory Amenoff, Sanford Biggers, Matthew Buckingham, Jon Kessler, Nicola López, Miya Masaoka, Leeza Meksin, Aliza Nisenbaum, Shelly Silver, Sarah Sze, Rirkrit Tiravanija, Tomas Vu-Daniel Mentors Mark Dion, David Humphrey, Michael Joo, Ralph Lemon, Suzanne McClelland, Matthew Ritchie, Mika Rottenberg, Sable E. Smith, Rona Yefman Graduate Adjunct Faculty Tyler Coburn, Susanna Coffey, Dana DeGiulio, Jen Liu, Jack McGrath, Ken Okiishi, Kambui Olujimi, Sheila Pepe, Dan Torop, Pamela Sneed, James Welling, Saya Woolfalk Visiting Critics Carol Becker, Natalie Bell, Huma Bhabha, Hannah Black, Nayland Blake, Alejandro Cesarco, Liz Deschenes, Lia Gangitano, Josephine Halvorson, Marc Handelman, Carla Herrera-Prats, Chrissie Iles, Tom Kalin, Sanya Kantarovsky, Baseera Khan, Leigh Ledare, Emily Liebert, Jill Magid, Josiah McElheny, Jack McGrath, Naeem Mohaiemen, Carrie Moyer, Sarah Oppenheimer, Jennifer Packer, Sara Reisman, Mika Rottenberg, Dana Schutz, Barry Schwabsky, Gedi Sibony, Amie Siegel, Josh Siegel, Amy Sillman, Xaviera Simmons, AL Steiner, Jeannine Tang, Lynne Tillman, Patricia Treib, Andrea Zittel Visual Arts Staff Andrew Brehm, Safety/Workshop Coordinator Nathan Catlin, Project Manager for the LeRoy Neiman Center for Print Studies Peter Clough, Assistant Director, Visual Arts Instructional Technology Carrie Gundersdorf, Director of Academic Administration Frank Heath, Safety Manager Dana Lok, Visual Arts Assistant Kai McBride, Photography Facilities Manager Sarah Perry, Interim Program Assistant Marie Tennyson, Assistant Director of the LeRoy Neiman Center for Print Studies Rider Urena, Senior Manager of Visual Arts Facilities & Prentis Hall Patrice Washington, Manager of Prentis Hall Facilities

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