2021 Visual Arts MFA Thesis Catalogue

SOUND ART VISUAL ARTS MFA THESIS EXHIBITION 2021

COLUMBIA UNIVERSITY SCHOOL OF THE ARTS 1

Published on the occasion of the Class of 2021 Columbia University School of the Arts Sound Art and Visual Arts MFA Thesis Exhibition Lenfest Center for the Arts Exhibition 1: September 25–October 17, 2021 Exhibition 2: October 30–November 21, 2021

Contents From the Curator

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© 2021 The artists and Columbia University

SOUND ART Columbia University 310 Dodge Hall, MC 1806 2960 Broadway New York, NY 10027 arts.columbia.edu/visual-arts

Typefaces: Lucida Grande Myriad Pro

Printing: JS McCarthy

Avishag Cohen Rodrigues

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Tim Kwasny

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Yixuan Shao

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VISUAL ARTS

Denisse Griselda Reyes

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John A. Rivas

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Khari Turner

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Raelis Vasquez

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Yuri Yuan 94

From the Dean

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From the Chair

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Rasel Ahmed

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About the School of the Arts

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Lindsey Brittain Collins

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About the Sound Art Program

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Ivana Carman

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About the Visual Arts Program

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Kevin Claiborne 34

About the Curator

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Noga Cohen

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Appendix 102

Ian Decker

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Juan Hernández Díaz

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Priscilla Jeong

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Bicheng Liang 54 Keli Safia Maksud

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Sergio Miguel

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Farah Mohammad

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Diana Palermo

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Ava Snow Ravich

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From the Curator The 2021 Columbia MFA Thesis Exhibition

An exhibition speaks to its moment. Columbia University’s MFA Class of 2021 exhibitions are staged as the world struggles with an equitable vaccine distribution, unprecedented fires and flooding, and with the continuing forced migration of refugees. In the United States, social resistance to vaccination and the spread of the Delta variant is causing a fourth wave of the pandemic. An image of a ring of fire burning in the waters of the Gulf of Mexico has become a symbol of our climate emergency and the destruction endemic to extractive industry. New York’s Governor may be forced out under charges of sexual harassment. A billionaire private citizen went to space, thanking his exploited workers for making the flight possible. The greatest gymnast of all time bowed out of competition citing mental health at an Olympics played without a live audience.

These artists finalized work in the shadow of a ten-week STRIKE MOMA campaign. Unionization efforts are underway at the Guggenheim Museum, the Whitney Museum of American Art, and the New Museum. And while we’ve witnessed important appointments, no doubt hastened by the uprisings of Summer 2020, museum leadership in the US (directors, curators, and board members) remain overwhelmingly White.

For two years, under quarantine, the artists have worked in parallel. They’ve engaged one another in critique, the discussion form that structures art education. As the pages that follow prove, each remains singular in their vision. The artists’ works incorporate specific archives, materials, questions, processes, historic antecedents, and ongoing conversations. My three proposed groupings are but one path into their work. Each piece, like the artist who created it, carves a distinct and unbounded path.

of Spanish master painters. Other intersections can unsettle the familiar, as in the domestic forms of Ava Snow Ravich. The artist’s studio as subject is revisited and augmented in Ivana Carman’s engrossing paintings. Diana Palermo’s alter-like installation asks what makes a performance or a poem a photograph.

Unexpected frequencies give voice From family to national histories Kevin Claiborne screens found texts and photos on stainless steel while Keli Safia Maksud projects experimental scores, remixing African national anthems, from both sides of embossed and embroidered paper. Tim Kwasny’s internally-lit bed sculpture is accompanied by cassette tape. Avishag Cohen Rodrigues playfully reimagines the screen in three dimensions. Rasel Ahmed and Denisse Griselda Reyes create installations from films that document and disrupt representation. Ahmed from within a cadre of South Asian drag performers. Reyes with a comedic turn as an alter ego. And while wildly different in subject matter, Ian Decker and John A. Rivas find new ways of harnessing chaos, layering objects, printmaking, and collage in their paintings. Farah Mohammad mines architectonic imagery to encase a space in stitched prints.

This exhibition of emerging contemporary art looks, sounds, feels like and responds to the world in which it is being made. We witness artists at the starting point of a long trajectory, a lifetime of experiments. I hope that they will draft for a while on the energy generated in this dynamic period of study. And I cannot wait to see what these artists do next.

Amy Sadao Philadelphia August 9, 2021

Surreal relations and dissolution Yixuan Shao’s sculptures animate the inanimate, mixing visually as much as aurally the sound of ceramic vessels. Bicheng Liang amplifies the sound and shape of boulders and minerals.

Portraits that include water samples (lake, sea, river) underpin the work of Khari Turner while Raelis Vasquez mixes earth from the Dominican Republic in his paints to reinscribe photographed scenes of pedestrian life on the island. Priscilla Jeong fashions a compact storage system for a library of evolution. Yuri Yuan paints transportation from an earlier century, train and ship, rendered in soft light even as they speed across and below the surface.

Lindsey Brittain Collins collages copies of her photographs into linear narratives that map Harlem’s gentrification. Other works explore entropy, on the brink of collapse or of reincarnation. Noga Cohen’s melted and recast plastic echo viscera. Juan Hernández Díaz’s system of sculptures perform, steadily, over time.

Magic at play Verisimilitude and interruption can make the old new again, as Sergio Miguel queers traditions

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sound art

AVISHAG COHEN RODRIGUES Avishag Cohen Rodrigues is a musician and a multidisciplinary artist from Tel-Aviv. Working with sculpture, stopmotion animation, and printmaking, she creates cross-media installations and performances. She composes music for films and plays guitar with several bands, her solo album will be coming out later this year with Garzen Records.

installations, I perform, playing on the foundobject instruments, inviting viewers and other artists to join in, showing that anything can change form when we learn to control the function.

Instagram: @Avishag_rodrigues

I collect discarded objects to draw out their sonic qualities; by amplifying found objects and scrap metal into electric instruments, I aim to position sounds and textures that exist on the peripherals of our everyday life to the forefront. As I build the sculptures, I learn to play on these makeshift instruments.

In Hot Air Balloon (Hard Boiled Eggs), 2021, I stripped the skeleton of an abandoned hot air balloon and re-skinned it with latex, thread, and paper. I built a speaker into the structure that plays a recording of eggs boiling in water. On the surface of the latex, I projected an original stop-motion animation using projection mapping. The animation oscillates between abstract forms and narrative moments where lines meet into familiar forms of household images but then dissipate into abstraction again. Inspired by Ovid's Metamorphoses, my installations trace the circular transition of forms morphing into objects, while holding space for sensations and memories that get caught, formless, in the transformation. Within these

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Hot Air Balloon Hard Boiled Eggs, 2021 Metal, latex, thread, speaker, stop-motion animation 90" x 42" x 30" 06:00

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TOP Still from Hot Air Balloon Hard Boiled Eggs, 2021 Stop-motion animation 06:00

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BOTTOM Still from Hot Air Balloon Hard Boiled Eggs, 2021 Stop-motion animation 06:00

Performance on Pipe II, 2021 Pipe, springs, contact mic 14" x 26"

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TIM KWASNY Video and performance artist, Tim Kwasny’s work is focused around the concept of personal identity, questioning the nature of how we identify ourselves to others and to ourselves.

timkwasny96.wixsite.com/mysite

Am I still an artist when I’m not creating art? Is a teacher a teacher when they’re not actively teaching? Can a title ever truly encapsulate the entirety of a person’s identity? Or are the roles we bestow upon ourselves ephemeral and used as a convenience?

Through acts of repetition, visual/auditory perceptual distortion, and often comically absurd acts, I am attempting to come to terms with the process we, as humans, go through on a daily basis to create stable identities. Trapped in our human bodies, we are caught in cycles of creation and destruction, with the hope of inevitable redemption.

TOP and the fire and the rose are one, 2021 HD video with sound 09:29 BOTTOM three random constructions, 2020 performance art shot with iPhone 8 various durations

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TOP 1ob.L.inds, 2020 HD video with sound 10:33

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BOTTOM Free Fall, 2019 HD video with sound 07:52

After/After, 2021 HD video with sound 06:32

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YIXUAN SHAO Yixuan Shao is an artist based in New York. Her practice is rooted in listening not only as a physiological function but also as a subjective internal experience.

She creates installation works to gauge the physical space while her sculptures are inner sounds materialized in visual forms.

Selected exhibitions include Wallach Art Gallery, Kavi Gupta Gallery, Block Gallery, Arts Letters & Numbers, Spectrum, The FRONT Arte Cultura, and the Semana Internacional de Improvisación in Ensenada, Mexico. She is the cofounder of Alchemyverse, an artist duo which will be the 2021 AIR at LMCC and 2022 AIR with La Wayaka Current.

the viewers to take part with their own subjectivities. Audio as a material, its substance, vibrational property, and auditory procedure, are emblematic information to process other tangible materials, such as aluminum, paper, and found objects.

My sound sculptures are inner sounds materialized in visual forms. Stretched out and slowed down in time and space, these objects speak their alter-egos in noise and silence­—two contradicting yet connected margins in soundmaking.

www.yixuanshao.com Instagram: @yixuanshaoart

My practice is rooted in listening­­—not only as a physiological function but also as a subjective internal experience. As an Asian-American immigrant, my routine of grappling with the erasure of both personal and collective memories is more than a survival tactic. While listening outward is to hear the void around me, listening inward is to trace the vibrations and reimagine what other space they could occupy. Together, it is a statement of restoration and preservation.

In my installation works, I spatialize recorded sound to map my interiority and to gauge the physical space. I use image, sculpture, performance, and writing to further transform the space into a heterotopic site. These works are open-ended, inviting

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Untitled (soil of ancient futures), 2021 Collage (texts, anodized aluminum sheets, foil, rust, coordinates, calligraphy rubbings from personal archives, and screen printed spectrographs) on inkjet prints 40" x 32"

TOP Process: making field recordings in the west using found materials

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BOTTOM Research and writings

Process: recording artist Bicheng Liang making ceramic vessels from the interior

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visual arts

RASEL AHMED Rasel Ahmed is a community-based video artist who uses traditional cinematic tropes and techniques to combine documentary with fantasy. Characters in his films function as an anchor to synthesize the iconography, visual metaphor, and psychogeography of cinematic spaces. Rasel’s experimental videos are a means to explore his dialogical relationship with displacement, citizenship, border, and loneliness. He uses a combination of participatory documentation, archival research, and collaborative re-enactment to finalize the performance and movement choices in the film. Rasel has an MFA in Visual Arts from Columbia University. He is currently appointed as a post-MFA scholar at Ohio State University in the Theater, Film, and Media Art department.

Although I am trained as a documentary filmmaker from Bangladesh Cinema and Television Institute, my recent body of work deals with narrative fiction and experimental genres. My MFA at Columbia University has informed a research-based filmmaking practice. In my latest two-channel film Who Killed Taniya, I used a cognitive visual research technique to culturally analyze a large repository of videos, interviews, records, and other mixed media items to develop the script and finalize movement choices. The qualitative research critically analyzed the series of media items by drawing upon the theoretical framework of bio/necropolitics. I used the hypothesis of the research to develop the murder mystery story (Who Killed Taniya) of five drag

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performers who fantasize about killing one another.

My filmmaking is deeply rooted in political and community organizing work. My participatory relationship with subject matters is the primary character of my artistic creation. I am currently editing my thesis film Goodby, Snowball, an experimental documentary that follows an imaginary queer anarchist who is ready to euthanize his pet to attend the revolution. The film is an urgent response to the murder of George Floyd, the Capitol riot, MAGA rallies, and other urban protests that sprung all across the world during the Covid-19 pandemic.

TOP Goodbye, Snowball, 2021 Video still BOTTOM Goodbye, Snowball, 2021 Video still NEXT SPREAD Goodbye, Snowball, 2021 Video still

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LINDSEY BRITTAIN COLLINS Lindsey Brittain Collins is a New Yorkbased visual artist working in painting, collage, sculpture, and installation.

Lindsey received her BA in Economics and Sociology from the University of Virginia and her MBA from Columbia Business School. In 2018 she was appointed by the Governor to the Art & Architectural Review Board for the state of Virginia. She has been an artist-in-residence at the Vermont Studio Center and was the recipient of the 2019 Arena Stage Emerging Leader in the Arts Award. Currently, Brittain Collins is an artist-in-residence at the World Trade Center through Silver Art Projects.

economics, and sociology, I examine the topics in my work through a critical lens.

My process is heavily research-based while simultaneously spontaneous. I begin each piece by documenting a built environment through photography, historical and archival research, visual analysis, and mapping. I then let the research and documentation lead me to inspiration, informing the composition, and guiding my hand throughout the markmaking process. I create alternative universes that live somewhere between the real and imagined — the past, the present, and the future.

lindseybrittain.com Instagram: @lindseybrittain

What are your memories of a place? The shapes, the light, the darkness, the sound?

The history embedded in the material? The way your body moved when you entered the space? I’m fascinated by architecture’s ability to impact the psychological, physical, social, and economic health of a community.

I’m equally fascinated by the objectives and motivations of designers and developers of urban spaces.

Drawing from history, memory, and personal experience, I make visual narrations that document my encounters with built environments. My work focuses on sharing untold histories and examining the role architecture plays in shaping social and economic structures. Drawing on my academic background in business,

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Studio Process, 2021 Architectural Blueprint, photograph, collage, and adhesive tape Dimensions variable

The Tenement I, 2021 Oil, acrylic, and cement on canvas 12" x 6"

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TOP Anguish Reaching Into The Sky, 2020 Collage, adhesive tape, and acrylic polymer on wood panel 72” x 108” (triptych)

BOTTOM Free Swipes From Ms. Kathy, 2021 Collage, adhesive tape, and acrylic polymer on canvas 72" x 120" (diptych)

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IVANA CARMAN Ivana Carman (b1991 Hollywood, FL) is a contemporary painter based in NYC. She has been interested in art from an early age as well as psychology and philosophy.

Those interests have now been focused on making art that explores the nature of reality, perception, and the mind through the medium of paint.

Ivana earned her BFA from The School of the Art Institute of Chicago and MFA from Columbia University in New York. Her work has been shown in The Woodmere Art Museum in Philadelphia, The Glessner House Museum in Chicago, Sullivan Galleries in Chicago, and she is a recipient of the Elizabeth Greenshields Foundation Grant.

www.ivanacarman.com Instagram: @ivanacarman

Through an assemblage of painting, drawing, photography and printmaking, I synthesize visual languages sampled from antiquity to modernism to describe the contemporary mind and observer. My work speaks to the complex relationships we experience between virtual vs real, intimate vs public, and interior vs exterior realities — revealing the blurred lines between these seemingly separate worlds.

By reflecting on my own experiences, I hope to expose how the rich and complex inner life of a contemporary mind fragments and distorts the way we move through and see the world.

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RIGHT Dragon Lamp, 2021 Acrylic on canvas 40" x 30" NEXT SPREAD I Leave My Windows Open At Night, 2021 Acrylic, oil, and collage on canvas 60" x 96"

KEVIN CLAIBORNE Kevin Claiborne is a multidisciplinary conceptual artist whose work examines intersections of identity, social environment, and mental health within the Black American experience. Moving between collage, silkscreen, photography, painting, and sculpture, while frequently using language as material, Claiborne is interested in finding new ways to look at history and its connection to the present moment. He holds a BS in Mathematics from the historically Black college North Carolina Central University (2012), an MS in Higher Education from Syracuse University (2016), and an MFA in Visual Arts from Columbia University (2021).

Claiborne is based in Harlem, NYC.

www.kevinclaiborne.com Instagram: @kevinclaiborne

Time will tell if this was all worth it.

THRONE, 2020 Stolen NYPD barricade, steel, Shea butter 57" x 36.25" x 30"

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TOP ONE DROP, 2020 Silkscreen ink on archival photograph mounted to Dibond aluminum 36" x 48"

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BOTTOM WHO CAN SAY, 2020 Silkscreen ink on archival photograph mounted to Dibond aluminum 36" x 48"

SELF PORTRAIT OF A DEAD MAN, 2021 Collage on paper 11.75" x 8.25"

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NOGA COHEN Noga Cohen (1994) is a New York based artist, working mainly in sculpture, installation and mixed media. Her work explores natural processes of decay and putrefaction reflected on the body, in synthetic materials, and nature.

Inspired by the absurdity and uncanniness of the Anthropocene, I address the precariousness of human existence in a time of an ecological crisis.

In 2018, she received her BFA in Visual Arts, with honors, from Shenkar Institute of Design and Arts in Tel Aviv, Israel. The same year she received the Margaret and Sylvan Adams Prize for Emerging Artists, The Gross Foundation Award, and the SBY Grant.

nogacohen.com Instagram: @nogie_

My work focuses on found materials that explore bodily qualities through processes of deconstruction and rebuilding. Interested in the tension between decay and preservation, perilousness, and protection, I create work that’s driven by an idea of a decaying body, not only a human body—but the ocean and the desert as bodies, domestic spaces and piles of trash as bodies. I explore processes of decomposition and putrefaction of organic and synthetic materials and observe the ways the human body is perceived and valued.

I use broken pieces of furniture, industrial materials often used in house constructions, packaging materials, trash, and disposable plastic. The materials are often melted in high heat and utilized to reveal bodily elements and anthropomorphic forms.

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TOP Cub Twist, 2021 Mixed media (chairs, plastic, wax, fiberglass, latex) 49" x 20" x 30" BOTTOM Floor Is Lava, 2021 Mixed media (plastic, dirt) 46" x 16" x 4"

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Head Over Heels, 2021 Mixed media (foldable table, plastic, wax, fiberglass) 36" x 22" x 39"

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Goodnight Bad Morning, 2021 Mixed media (bed, latex, fiberglass, plastic, wax) 17" x 31" x 63"

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IAN DECKER Born in Detroit, Ian currently lives in NYC. He received his BFA from Wayne State University and is currently completing his MFA at Columbia University.

Iandeckerart.com Instagram: @iandecker

I paint and collage landscapes that hold space for unpacking and unearthing the mundane and magical absurdities of the present. They are American landscapes and the land is bloated, torn, hand-me-down, funny/not funny, fragile, sentimental, and alive. These paintings search for the sublime in the paper cup, in the small thingness of the world. Cycles of decay and regeneration imbue the painting with a memory, a history, a surface, and an alchemy of accident. This creates an aura of the land’s persona and the communities that inhabit it.

By collaging found objects, family photos, trash, and art history, the layers of the painting become the proscenium of money, power, and human frailty. The painting is less about making sense of the world but finding significance through the process of searching. Many landscapes only offer escapism, these landscapes seek grace through presence. By placing fragments next to each other, a constellation of intimate moments grows, a web of broken and contradictory stories emerges, and a totality of the world is suggested, if not felt.

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In The Dark I Sing Best, 2021 Oil paint, sheet music, and collage on stretched canvas 24" x 18"

TOP History of the World, 2021 Oil paint and collage diptych on wooden panels 8" x 20"

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BOTTOM East of Eden, 2020 Oil paint and collage on wood panel 11" x 16"

NightTime Namelessness, 2021 Oil paint, coupons, book jacket, photo on stretched canvas 72" x 60"

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JUAN HERNÁNDEZ DÍAZ Juan Hernández Díaz (b. 1992) investigates balance, precariousness, risk, and temporality through the exploration of objects, installation, printmaking, and writing. His work reflects on the current historical moment, drawing upon his upbringing in South America by creating fragile and ephemeral forms of existence through improvisation and provisional solutions.

Born in Bogotá, Colombia, Hernández Díaz earned his Bachelor of Architecture, Summa Cum Laude, from Universidad de los Andes and his MFA in Visual Arts at Columbia University School of the Arts. He lives and works in New York City.

balance, suspension, gravity, and weight are metaphors for the precarious and vulnerable ways of being of the social system in my native Colombia. Consequently, I approach my materials and gestures with an ethos of economy: I work with objects that have been used and discarded, and I address them in a resourceful practical way. The results are ephemeral assemblages where things are used in forms they were not designed for. Here, they are activated to perform an action that frequently leads to accidents and instability, producing unexpected relations in flux.

juanhernandez.art

When I balance a glue jar, an umbrella, and a fluorescent tube, I build a precarious system on the border of collapse. This structure is a fragile and temporal form of existence that reflects how millions of South American people subsist. I come from a region that constantly negotiates equilibrium by resolving problems through resourceful improvisation and provisional solutions.

Those strategies permeate every sphere of the social structure, from how governments rule to the way people self-construct their homes.

Through sculpture, installation, drawing, and writing, my work reflects on the forces that shape our realities. In this way,

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Study for a Fragile Balance, 2021

Sketch for a Precarious Stability, 2021

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Detail of Sketch for a Precarious Stability, 2021

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PRISCILLA JEONG Korean-American artist Priscilla Jeong’s exposure to cross-culturalism accelerated her desire for visual language that communicates the nuanced ways that nature, human emotions, technology, architecture, ephemerality, organics and synthetics intersect and mutate one another.

As a living document and a body that serves as an apparatus, Jeong establishes hybrid continuity and fictional narratives to explore reconstruction of the material relationships to the world into objects and the physical objects as cultural artifacts that do not reinforce divisive national histories or national narratives for temporality and exchange.

Priscilla Jeong (b. 1990, Bryan, TX) is based in New York, NY. Jeong was a recipient of The Andrew Fisher Fellowship and The Choy Family Fellowship in 2020 and 2021.

Her solo presentation includes exhibitions at Interstate Projects, NY and Ryan Lee Gallery, NY.

www.priscillajeong.com Instagram: @priscillajeong

The recent body of work plays an important role in navigating and connecting external space to interior geography within the arena of my interest, through which the art of stages and processes evolved from ephemeral and mnemonic theater manifested into museological and technical archives.

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Having worked as a set designer prior to pursuing my time at Columbia, I was fascinated by the ephemerality of sets that are staged and constructed under high production and its drastic contrast between what is being seen in front of the camera and is hidden.

As flattened experience of artworks rises and forces the spectator to interact with work that solely exists in documentations via screens, I imagined what axis and depth of a single line in the frontal view of the 2-D diagram could manifest in a physical space where the body could physically co-exist in the space with the work activating the hidden view of the obtusely wide monolithic column from one angle or the other.

At once memoir, dystopian fiction, cultural and social criticism, my work metaphorically intersperses personal experience and history with tracts on art and literature and historical and current events in a bundle of narratives manifesting on the monotony of irritation and ugly feelings eclipsed by more baroque emotions in the collective consciousness built from the sediments of everyday experience and the irritant of having one’s perception of reality constantly questioned or dismissed.

TOP Archer, 2020 Tape, shrink wrap, grass, steel, aluminum, flashlight, c-stand, acrylic rod 72" x 72" x 24" BOTTOM Archer, 2020 Tape, shrink wrap, grass, steel, aluminum, flashlight, c-stand, acrylic rod 72" x 72" x 24"

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TOP Dilemma In G Minor, 2021 Wood, steel, aluminum, leather, epoxy resin, black oxide 96" x 96" x 20"

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BOTTOM Dilemma In G Minor, 2021 Wood, steel, aluminum, leather, epoxy resin, black oxide 96" x 96" x 20"

Dilemma In G Minor, 2021 Wood, steel, aluminum, leather, epoxy resin, black oxide 96" x 96" x 20"

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BICHENG LIANG Bicheng Liang, born in China, now lives and works in New York. His work is multifaceted including large sculpture installations, photography, ceramics, and printmaking. He focuses on the subtle traces of time in the landscape and natural materials. Liang’s work has been exhibited at museums both nationally and internationally, including Curatorial Practice in School of Visual Arts, New York, CAFA Art Museum and Tsinghua University Art Museum, China; International Print Triennial Society in Krakow, Poland.

Liang is the co-founder of Alchemyverse Collective, an artist duo which will be the 2021 AIR at LMCC and 2022 AIR with La Wayaka Current.

In my practice, natural objects become the index of geologic time. Their form and anatomy: the texture, weight, color, temperature, and volume, unfold in time while intertwined with the work’s substances, actualizing an intuitive and poetic experience. We are part of nature yet outside of it. And this tension can only be relayed by an unspoken exchange of feelings.

My work stands for the confluence of nature and culture as a process of transference and translation emblematic of the interchange between humanity and the natural world.

www.bichengliang.com Instagram: @bicheng_liang

I investigate our relationship to time, scale, and meaning through processed-based interactions with sites and materials, with concepts arising from a deep physical engagement in the environment. For me, the printmaking process—layering, masking, transferring a repository of information— provides a channel through which the works of sculpture, photography, and ceramics converge and reveal traces of the natural marking of the world. I create experiences to explore mediated perception and layered information: how do we perceive the world as we live through it—nature versus artificiality, truth versus fiction, life versus decay.

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Details of work in progress, 2021 Cyanotype Variable dimension

TOP Anonymous Equilibrium, 2021 Cyanotype collage, rocks, pit-fired ceramic fragments, film, crystallized salt, drawing, text, transducers, sound 24" x 48"

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BOTTOM Process: archiving a collection of memories, photographs, and objects, and geologic information of these sites as a subjective map

Process: in the studio, collaging and mapping photo-based prints while writing and drawing to document the sites.

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KELI SAFIA MAKSUD Keli Safia Maksud (b. 1985) is a KenyanTanzanian-Canadian-Muslim-Christian visual artist and writer based in New York. Concerned with histories of colonial encounters and its effects on memory, Maksud’s interdisciplinary practice favors the space of in-between and its threshold, and works towards destabilizing received histories in order to expose fictions of the state.

a constitutive element of my identity. How does one postulate a black and/or African self within a language or discourse in which blackness is absent? It is a result of this fragmentation in my identity that I find interdisciplinarity, as a methodology, to be the most accurate and naturalist way of making sense of the world.

Maksud earned her BFA in Painting from the Ontario College of Art and Design University, a Diploma in Art and Curatorial Studies at the New Centre for Research and Practice and an MFA in Visual Arts at Columbia University. Her work has shown at the Bamako Biennial, National Museum of Contemporary Art - Seoul, Galería Nueva and the Biennial of Contemporary Art Sesc_Videobrasil.

www.kelisafiamaksud.com

The overarching theme in my practice is the politics of identity. I am interested in interrogating how national identities are constructed and contested through everyday practices of refusal thus exposing spaces of contradiction. It is crucial that I give a sense of my background as it runs hand in hand with my practice. I was born in Kenya to Tanzanian parents of Muslim and Christian faith, making me a KenyanTanzanian-Muslim-Christian. In addition, having only ever attended British, Canadian and American schools, I cannot deny what Franz Fanon calls, Presence Europeenne as

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TOP Anthems, 2020 Embroidery and graphite on watercolour paper 12" x 9" BOTTOM Anthems, 2020 Embroidery and graphite on watercolour paper 12" x 9" NEXT SPREAD Anthems, 2020 Embroidery and graphite on watercolour paper 12" x 9"

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SERGIO MIGUEL Sergio Miguel (Mexicali, 1992) is a Mexican-born artist based in New York.

Informed by colonial and modern Mexican art as well as the New Objectivity, his work explores ideas of personhood, symbolism, and sexuality.

www.sergio-miguel.com Instagram: @sarujiro

Sagrado Corazón (1 of 2), 2020 Oil on masonite 24" x 18"

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Tente en el ayre, 2020 Oil on canvas 36" x 24"

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Bodeguita, 2020 Oil on canvas 36" x 24"

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FARAH MOHAMMAD Farah Mohammad is a Pakistani printmaker and installation artist based in NYC. Some of her most recent works have been woodcuts, screen prints, monotypes, and etchings of architectural structures that symbolize resilience. She draws inspiration from urban spaces undergoing change. Through her work she creates a visual reality, where her past and present, her Pakistani and American identities can all coexist.

Farah received her BA from Bennington College and MFA from Columbia University. Her exhibition highlights include International Print Center New York (IPCNY), The Jewish Museum, The Wallach Art Gallery, Field Projects (NYC), and Local Project Art Space (LIC, NY). She was recently the recipient of The Elizabeth Foundation for the Arts Robert Blackburn Printmaking Award (2021), Lucas T. Carlson Grant at Columbia University (2020), and IPCNY's Coursework Award (2020).

www.farahmohammadart.com Instagram: @famojee

RIGHT Zainab Market, 2019 Monotype 33.5" X 22" NEXT SPREAD Detail of work titled Unfettering Woodcut prints on silk

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DIANA PALERMO Diana Palermo is an artist, educator, and spiritual practitioner making work under the umbrella of experimental photography. Diana's work probes themes of believability, power, and materiality with a researched focus on religion and queer theory. The artist’s work has been exhibited globally through performances, exhibitions, solo shows, and publications most notably with The Newark Museum, Montclair Art Museum, International Print Center of NY, Tiger Strikes Asteroid, Fuller Rosen Gallery, The Pattern Base, and Artforum. The artist holds a BFA in fiber art from the University of the Arts, MA in art education from Kean University, and MFA in photography from Columbia University

dianapalermo.com Instagram: @line_dot_square

wanting to investigate the fires I’ve left

behind to no longer leave rooms wondering ‘did I forget to blow out the candle?’ finding my body turning into a tender little pile of slow burning embers radiating more warmth than the raging fire that was there before light bringing clarity near shadows a fluidity that flickers in spaces of structure sometimes a harsh blinding reminder of tension and necessity of asking questions, centuries old, that were never answered and extinguished before attempted

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to be slow and consistent amidst my own violence the force and will of powerful transmutation leaving traces of histories in tongues no longer spoken dancing on ancestors bones around a bonfire and realizing my skeleton is theirs, reignited I queer the use of photography and spiritual traditions, playing with the image’s relationship to systems of belief and power.

My process takes on a performative format, weighing and balancing the potency of material with that of my own body. I use a flashlight to create darkroom poems bringing to light thoughts from an intimate world.

While kneeling on the paper, I surrender to chance, trusting that the words will be revealed. What is unseen while gesturing the poems on paper, is clarified through chemical processing. In my lumen prints, fire is wielded as both creator and destroyer.

These marks are branded, claiming space in an assertive way, while tracing gestures of healing and expansion. The choice to leave the images unfixed remarks on the fluidity of time in ritual acts. I collaborate with these materials, allowing them to continually change on their own as a result of the force that is acted upon them. All of these explorations have led me to a culmination of images which act as byproducts of this continual conversation with the invisible. The pieces are all relics, still containing a hint of visceral charge, not unlike the arrows of Saint Sebastian’s martyrdom or the manuscripts of Mystic Hildegard of Bingen. did I forget to blow out the candle, 2021 Gelatin silver prints 40" x 32"

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Clockwise, 2020 Unfixed lumen print 14" x 11"

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Incantation 9 (fire expanding contained in mantle as solid as opaque as fruit), 2021 Flashlight drawn gelatin silver prints 42" x 33"

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AVA SNOW RAVICH Ava Ravich was born in 1994 in Los Angeles, California and lives and works in New York City. She is currently finishing her MFA in painting at Columbia University and prior to that received a degree in Art History and Visual Arts from Barnard College. Her paintings explore the notion of sentimentality and our relationship to it through the possession of keepsakes.

Employing paint, collage, image transfers, and various other printing techniques, she creates paintings that fuse the memento with the events, places, and people that they provoke.

way to keep them from fading, and it is this process, the transformation from an object to a keepsake that I investigate in my work.

www.avasnowravich.com Instagram: @_jason_waterfalls

Through painting, I examine the relationship between a memory and the physical remnants those memories become affixed to—the idea that an object can acquire sentiment. Sifting through spaces from my own childhood home and the events that occurred there, I combine painting with various printmaking techniques, elements of collage, and image transfers of family photos to create portraits of memories.

Each portrait begins with an object from my own history, a memento from the home I grew up in, and through painting I intertwine that object with the memories affixed to it. The finished works appear worn and familiar, stains of old photos seeping into wood grain and thin washes of color interspersed with precise moments of paint. While the memories and keepsakes these works explore are my own, the sentiment they get at is not. It is human nature to attach memories to objects, as a

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Sharks, 2021 Collage, image transfer, and acrylic on wood panel 16" x 20"

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TOP Untitled (artist book page), 2021 Screenprint on paper 10" x 24"

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BOTTOM Untitled (artist book page), 2021 Screenprint on paper 10" x 24"

Runner, 2021 Collage, image transfer, and acrylic on canvas 72" x 12"

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DENISSE GRISELDA REYES Straddling the lines of assimilation, refuge, and self-preservation, Denisse Griselda’s current work interrogates the boundaries of representation by publicly engaging with memory. Her autofictional practice is dedicated to investigating how to archive and split open marginalized histories poised between fiction and reality, the histories that are manufactured as (in) visible and which lend themselves to their own representation and mystification.

Denisse Griselda Reyes is a performance artist, animator, and filmmaker working in New York, NY. She graduated from Wesleyan University in 2015 with a BA in Art History. Currently, she is completing her MFA in Visual Arts at Columbia University.

Is my visibility as an artist fixed to this narrative—whether real or imagined—of pain and suffering? Why do I have to perform excess, why do I have to embody the Other, in order to be human? I am not trying to answer these questions. Recreating tragedy is inherently a failure.

www.denissegriselda.com Instagram: @9riselda

My work begins as a psychological dig, the initial site being my own Identity. I dig through my past: the painful memories, the sublime experiences, and the loose thread that connects me to my family’s Salvadoran history. With the information I uncover, I create films, videos, and paintings.

The dramatic complexities of personal and trans-historical trauma manifests through my hyperbolic recreation of these experiences.

This research reveals my own history, the kernel of truth I carry with me, and a mythological history, the narratives that falsely generate and preserve stereotypes.

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TOP Still from Cry with Me, 2021 Video BOTTOM Still from Cry with Me, 2021 Video NEXT SPREAD No Doubt, No Awakening, 2021 Oil on canvas 84" x 108"

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JOHN A. RIVAS Rivas’ paintings occupy space like sculpture by juxtaposing found objects sourced from childhood, on the canvas. His brush strokes, thick at times with impasto, are expressive marks that add to the visual collage. The complexity of his work is made up of the true color spectrum of Latinx faces. Loaded with personal symbolism and themes that celebrate the Latinx concept of family and community, his work examines the socioeconomic, racial, and cultural boundaries of immigrant lives.

The artist attributes the frenetic, raw energy of his work to the long history of hard-working family members. The raw “roughness and edges (of my work) comes from my family of farmers, family of construction workers­—I know what it is to be under the sun, working, sweating, I know how it feels. I am a dirty kid, but I can make beauty out of anything.”

www.johnrivasstudios.com

RIGHT El Camino, 2020 Mixed media on canvas 24" x 32" NEXT SPREAD All got a secret its about keepin, 2021 Mixed media on canvas 72" x 96"

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KHARI TURNER For Khari Turner, growing up in Milwaukee created a relationship to Black people, water, and his environment that plays a major role in his work now. His practice involves sourcing materials directly from different bodies of water including the Pacific and Atlantic oceans, his hometown’s Lake Michigan and the Milwaukee River. His aims are to eventually start work directly related to water health, environmental conservation, and bringing art to low-income neighborhoods. Turner had his first solo exhibition in New York at Ross-Sutton Gallery in July.

historical or personal connection to black history—water that I collect to mix with and pour onto my paintings. My focus is to create a direct relationship to my emotions and understanding of my past, a journey of spiritual connection. I paint to bring the stories and histories of the array of Black life with images holding an elegance and chaos that comes with this existence.

www.khariturner.com Instagram: @khari.raheem

I’ve been trying to convince my shadow that I’m someone worth following.

— Rudy Francisco, My Honest Poem

I paint to create a deeper connection to my identity and history as a Black American.

Metaphorically, I see Black people as personifications of the magic that is the ocean. My paintings and drawings combine abstraction with realistic renderings of Black noses and lips to rejuvenate the relationship of my history to my ancestor’s history with water. Lately my work has evolved and involves the material as abstractions. Seeing the abstract paintings as a passage into the figure but also into ideas and feelings the figure can’t always demonstrate. I use water from oceans, lakes, and rivers from places that have either a

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RIGHT The Detached, 2021 Acrylic, oil, ink, charcoal, sand, and the collections of water from: the coast of Senegal, lower Manhattan docks, Lake Michigan, Milwaukee River, and the Pacific Ocean 72" x 52" NEXT SPREAD Thank You For Being My Lighthouse, 2021 Acrylic, oil, ink, charcoal, sand, and the collections of water from: the coast of Senegal, lower Manhattan docks, Lake Michigan, Milwaukee River, and the Pacific Ocean 60" x 72"

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RAELIS VASQUEZ Raelis Vasquez is a visual artist born in the Dominican Republic and based in New York City. He received his BFA from the School of the Art Institute of Chicago in 2018. Raelis has exhibited at El Museo Del Barrio, NY; Kunstraum Potsdam; Jeffrey Deitch Gallery, Los Angeles; amongst others. He is in the permanent collection at Pérez Art Museum Miami and numerous private collections.

www.raelisvasquez.com Instagram: @raelis

The Dominican Republic acts as a backdrop to my entire practice. Using my cultural upbringing as fuel, my paintings address subjects with tenderness and intimacy to draw viewers into the figures I depict.

I choose quiet moments often brought to life by a vibrant palette, composition, and energetic mark-making. I often depict my immediate family, and as a result, my paintings have become a thoughtful exploration into my own identity as an immigrant, Caribbean, and painter. The intellectual and emotional investment that I have with these investigations drives my work as I attempt to explore the disruptive experience of immigration and unveil the present silences of family and societal life. Ultimately, my paintings uncover an identity as layered and complex as the many snapshots I paint from. ​Del Otro Lado de Dajabon, 2020 Oil on canvas ​48" x 30"

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La Mesa Nuestra, 2021 Oil, acrylic, and oil pastels on canvas 60" x 84"

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Mercado en Dajabon, 2021 Oil, acrylic, and oil pastels on canvas 72" x 72"

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YURI YUAN Yuri Yuan (b. 1996) is an artist living and working in New York. She received a BFA from the School of the Art Institute of Chicago in 2019. Yuan was a recipient of the Helen Frankenthaler Foundation Scholarship in 2020, and Elizabeth Greenshields Foundation Grant in 2019.

She has exhibited work at Alexander Berggruen Gallery, New York, NY; Make Room Gallery, Los Angeles, CA; The ROOM Contemporary Art Space, Venice, Italy; Sullivan Galleries, Chicago, IL; International Center for the Arts, Umbria, Italy. Her solo exhibition will be presented at Make Room Gallery LA in January 2022.

yuriyuan.com Instagram: @yuri_hatake

My recent works explore existentialist themes of longing and grief. I combine scenes from memories and dreams, creating a psychological space to contemplate tragedy and loss. Through the task of painting, I navigate personal trauma and question how we experience and remember physical and emotional pain. I often paint obscured figures to allow the viewer to project themselves into the narratives. The solitary figures are often situated in an imaginary landscape waiting for a climax that may never happen. Using a wet-on-wet technique and thin layers of paint, I create a sense of quiet airiness. Most paintings were made in a day to preserve a sense of freshness and simplicity. I use light and shadow to evoke a metaphor of life and death and highlight alienation and mortality as a human experience.

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Ego, 2021 Oil on canvas 48" x 36"

See You on the Other Side, 2020 Oil on canvas 48" x 36"

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Billowing, 2021 Oil on canvas 72" x 132"

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Message from the Dean In my role as Dean, there is no greater pleasure than to witness the thesis events for the four programs that comprise the School of the Arts--Visual Arts, Writing, Theatre and Film.

As a result of the effects of COVID-19, these annual events have had to be altered, suspended, postponed, or reoriented. Like the rest of the world, the School of the Arts has been deeply affected by the immobilizing barriers to movement and production presented by this pandemic. It is therefore even more spectacular that we now are able to exhibit the Thesis Show for the Class of 2021 at the Lenfest Center for the Arts.

The Thesis exhibition in Visual Arts represents the culmination of two years of hard work.

It is the moment when students (soon to be alumni) choose how to represent their creative time at the School of the Arts. And this year, the achievement of exhibiting the work is even more extraordinary because the conditions for production have been intense and less than ideal. Nonetheless, the creative spirit has prevailed and students have produced remarkable work.

As always, the exhibition will be varied, unexpected, at times profound, and full of exuberance. There will be great interest in the work of this next generation of artists, especially because they have had to produce art under extremely difficult conditions.

We will do everything we can to make the exhibition visible to as many viewers as possible. I am sure that all who come will find it fascinating and exhilarating–– a record of

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the creative development of these artists at an extremely unique and challenging, historical moment.

Carol Becker Dean of Faculty Columbia University School of the Arts

Message from the Chair of the Visual Arts Program On behalf of the faculty of the Visual Arts Program I welcome you to the MFA Thesis Exhibitions for the class of 2021.

The faculty wish to thank Lauren Weigel, General Manager of the Lenfest Center for the Arts and the Lenfest staff. Special thanks are owed to our intrepid curator, Amy Sadao, for guiding our students through the process of mounting such an ambitious show during a very challenging time.

In the Visual Arts Program we have an amazing administration and staff who tirelessly dedicate their care and attention to our students: Rebekah Birkan, former Assistant Shops Manager; Andrew Brehm, Safety & Shops Manager; Dana Buhl, Photography Facilities Manager; Nathan Catlin, LeRoy Neiman Studio and Project Manager; Peter Clough, former Manager of Visual Arts Instructional Technology & Exhibitions; Carrie Gundersdorf, former Director of Academic Administration; Cary Hulbert, Assistant Studio Manager, LeRoy Neiman Center for Print Studies; Julie Malen, Shops Monitor; Laura Mosquera, Director of Academic Administration; Samantha Rippner, Associate Director and Gallery Manager, LeRoy Neiman Center for Print Studies; Sarah Tortora, Assistant Shops Manager, Rider Urena, Senior Manager of Visual Arts Facilities; Claire Valdez, Program Assistant; Jon Waites, Shops Monitor; Patrice Washington, Prentis Hall Facilities Manager; and Liz Zito, Manager of Visual Arts Instructional Technology & Exhibitions.

At the School of the Arts our thanks also go to Carol Becker, Dean of Faculty; Gavin Browning, Director of Public Programs and Engagement; Sarah Congress, Executive Assistant to the Deans; Tiffany Davis, Communications Assistant; Joel Jares, SOA Photographer; Joshua Mackey, former Assistant Director, Student Affairs; Laila Maher, Dean of Student and Alumni Affairs; Carey McHugh, Assistant Director of Communications; Christina Rumpf, Director of Communications; Trenton Pollard, Assistant Director of Alumni Affairs and the Artists' Resource Center; Karlee Rodrigues, Assistant Director of Student Affairs; Kristina Tate, Assistant Director of Communications; Peter Vaughan, Director of Motion Picture and Information Technology; and Jana Wright, Dean of Academic Administration and Planning.

Most importantly, we thank our students without whom we would not have these wonderful exhibitions to bring us together.

Your perseverance through, and response to, the difficult times we find ourselves in have been an inspiration, and working with you, a privilege. The faculty and I pledge our continued support now that you are leaving our program and joining all of us as colleagues in the field.

Yours, Matthew Buckingham Associate Professor of Professional Practice Chair, Visual Arts Columbia University School of the Arts

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About the School of the Arts Columbia University School of the Arts awards the Master of Fine Arts degree in Film, Theatre, Visual Arts, and Writing and the Master of Arts degree in Film and Media 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, play­ wrights, producers, critics, and scholars. In 2015, the School marked the 50th Anniversary of its founding. 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.

Sound Art Program, Columbia University School of the Arts

Visual Arts Program Columbia University School of the Arts

Columbia University has been at the helm of sound innovation for over fifty years with faculty specializing in composition, improvisation, music theory, musicology, installation, sculpture, instrument building, acoustics, music cognition, and software development. Faculty from the Computer Music Center, along with colleagues from Music Composition, Visual Arts, Sound Studies, Ethnomusicology, Engineering, Computer and Data Science are all involved in the interdisciplinary area of Sound Art. The two-year program is highly selective, offering admission to only three or four students each year. Students with a deep engagement with sound as a medium join a diverse community of artists and musicians.

The Visual Arts Program attracts emerging artists of unusual promise from around the world. They comprise a vigorous community, working alongside an exceptional faculty at a world-renowned research institution in New York City.

The Sound Art program is a studio-based degree offered by the Visual Arts Program in conjunction with the Computer Music Center. The program provides the opportunity to explore sound in the context of video, installation, and performance, as well as computer programming, historical archival research, and conceptual strategies for the production of creative work. Candidates are encouraged to consider diverse modalities for listening and hearing while developing fluency in the creation and manipulation of sound in the context of environmental, social, and gallery-centered work.

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.

About the Curator Amy Sadao is a curator and consultant based in Philadelphia. She is the Interim Executive Director of Denniston Hill and works with Visions2030. She is part of the team curating FotoFest 2022, Houston and is organizing an exhibition on the Feminist Art Program.

Previously she was the Daniel W. Dietrich, II Director of ICA, Philadelphia and Executive Director of Visual AIDS. She is the Board Chair of Asian Arts Initiative, serves as Board Secretary of the Leeway Foundation, and is a Director Emeritus of Visual AIDS.

Visit arts.columbia.edu/visual-arts.

Visit arts.columbia.edu/sound-art.

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The Lenfest Center

Donors

Columbia University School of the Arts’ Lenfest Center for the Arts is a dynamic hub for cultural and civic exchange in Upper Manhattan. Featuring four flexible venues and a public plaza, this state-of-the-art facility offers unprecedented opportunities for the presentation and generation of contemporary art and ideas across disciplines.

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:

From readings and installations to performances, screenings, and symposia, the vibrant array of activity at the Lenfest Center for the Arts aims to strengthen local partnerships while highlighting contemporary scholarship, global perspectives, and compelling voices of our time.

Recent guests to Columbia University School of the Arts include visual artists Ai Weiwei, Olafur Eliasson, and Carrie Mae Weems; filmmakers Trey Ellis, Amandine Gay, Greta Gerwig, and Laura Poitras; writers Richard Ford, Douglas Kearney, and Patti Smith; theatre artists Oskar Eustis, Raeda Taha, and Julie Taymor; composers Vijay Iyer, Missy Mazzoli, and Him Sophy; journalists Jelani Cobb, Chenjerai Kumanyika, and Touré; historians Romi Crawford, Kellie Jones, and James Naremore; neuroscientist Richard Axel; theorists Fred Moten and Astra Taylor; landscape architects Walter Hood and Kate Orff; clinical psychiatrist Kay Redfield Jamison; and curator Paola Antonelli. In addition, the School of the Arts has spearheaded university-wide programming around issues of water justice and climate change; organized residencies with visiting artists Joan Jonas, Young Jean Lee, and Rebecca Solnit; and hosted readings by New York City high school students who have produced original work in collaboration with young artists from Columbia University.

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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: Anonymous (3) Aaron and Betty Lee Stern Foundation Kelly Akashi Rhoda Altman Gary Bandy Ramona Bannayan Holly and Albert Baril Dean Carol Becker Kenza Benbrahim Gordon Bloom The Bogdanow Family Fund Naomi Bossom Dana Buhl Kevin Burke Louis and Janice C. Choy CLEARING Gallery Professor Susanna J. Coffey H. Hartley Platt DuPont Ian Felstead Candia Fisher Rachel Foullon Helen Frankenthaler Foundation Norman Galinsky Francois Ghebaly

Ann Gillen Janet Gilmore-Bryan Allison Ginsberg Alice Gordy Wenda Habenicht Hartley Corporation Hugh Hayden Studio, LLC Claire Heimarck Karen Hesse-Flatow William Talbott Hillman Foundation Taryn Brooke Holloway Xin Huang Eric Javits Family Foundation Susan Johnson Warren Johnson Regina Ketting Edward J. Kimball Dong Kingman Kevin Klein Kraus Family Foundation Dwight Lee Lenfest Foundation Professor Nicola López Louis and Janice C. Choy Fund Raymond T. & Ann T. Mancini Family Foundation Trust Penelope Manzella Professor Miya J. Masaoka Meredithe Mastrella Pamela McCorduck James McCracken Asif Mian Pablo Montealegre Tobias Munthe Laurie Nathan Northshore Community Foundation Katherine Parker Griffin Pero Christian Ritchey Margret Rivers Debora Ryan Minna Saslaw Jacob Arthur Collins/ The Morris and Alma Schapiro Fund

Schwab Charitable The Leon J. Simkins Charitable Foundation Pawel Skonieczka Diana Soorikian The SJS Charitable Trust Sally Tippman Richard L. Tooke Vanguard Charitable Vermont Community Foundation Justin Walker Joan Weber Gina Werfel Hon Chung Woo Richard Wright Joel Young Xianling Zhou Named Awards and Fellowships Aaron and Betty Lee Stern Foundation Artis Fellows Betty Lee Stern Prize for Painters Brevoort-Eickemeyer Fellowship and Prize D'Arcy Haymen Fellowships David Berg Foundation Fund Donald C. Brace Student Loan Fund Dong Kingman Fellowships Edward Mazzella, Jr. Endowed Fellowship Ellen Gelman Endowed Fellowship Faber Birren Fellowship George Raimes Beach Fund for Graphic Arts Helen Frankenthaler Scholarship Fund Helen R. Else Fellowship Herbert S Germaise Endowed Fellowship Jacques and Natasha Gelman Fellowship Fund Joan Sovern Endowed Fellowship Lenfest Fellowship LeRoy and Janet Neiman Fellowship Fund LeRoy Neiman Endowed Fellowship Louis and Janice C. Choy Fund Lucas T. Carlson Memorial Fund Marguerite P. Roche Endowed Fellowship Marrocco/Mancini Family Fellowship Fund Marshall Glaiser Endowed Fellowship for the Study of Drawing

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Martin Birnbaum Fellowship Morty Frank Traveling Fellowship Quinta Carolina Fund Ramona Bronkar Bannayan Fellowship Fund Solomon B. Hayden Fellowship for Visual Arts Students Student Relief Fund Sun Liangang Arts Fellowship The Andrew Fisher Fellowship Three Arts Club Endowed Fellowship Toby Devan Lewis Fellowship Award TOMS Scholarship Visual Arts Graduate Fellowship William Talbott Hillman Foundation Fund for Veteran Artists

Sound Art and Visual Arts Faculty & Staff Sound Art Mentors Katherine Liberovsky, Marina Rosenfeld Sound Art Graduate Adjunct Faculty Keith Obadike, Douglas Repetto Visual Arts Full-time Faculty Gregory Amenoff, Matthew Buckingham (Chair), Susanna Coffey (2020-21), Jon Kessler, Nicola López, Miya Masaoka, Leeza Meksin, Aliza Nisenbaum, Shelly Silver, Sable Smith, Sarah Sze, Rirkrit Tiravanija, Tomas Vu-Daniel Visual Arts Mentors Mark Dion, Rochelle Feinstein, Valerie Hammond, David Humphrey, Michael Joo, Ralph Lemon, Rachelle Mozman, Matthew Ritchie, Rona Yefman, Craig Zammiello Visual Arts Graduate Adjunct Faculty Shirly Bahar, Regine Basha, Jackie Battenfield, Tyler Coburn, Dana DeGiulio, Lizzy De Vita, Delphine Fawundu, Valerie Hammond, Benjamin Keating, Gelare Khoshgozaran, Ajay Kurian, Justine Kurland, Pamela Sneed, Sara VanDerBeek Visual Arts Visiting Critics Yevgeniya Baras, Erica Baum, Dora Budor, Tyler Coburn, Moyra Davey, Liz Deschenes, Amber Esseiva, Derek Fordjour, Nikita Gale, Alan Gilbert, Marcela Guerrero, Rosario Güiraldes, Josephine Halvorson, Dana Hoey, Katherine Hubbard, Jessica Jackson Hutchins, Chrissie Iles, Tom Kalin, Baseera Khan, Lucy Kim, Nora Lawrence, Carolyn Lazard, Sam Lewitt, Justine Ludwig, Jill Magid, Tala Mandani, Guadalupe Maravilla, Eileen Myles, Dona Nelson, Ken Okiishi, Sarah Oppenheimer, Sheila Pepe, Sondra Perry, Will Rawls,

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Sara Reisman, Daniela Rivera, Legacy Russell, Tschabalala Self, Josh Siegel, Kyle Staver, Lumi Tan, Lynne Tillman, Rodrigo Valenzuela, Didier William, John Yau Visual Arts Staff Rebekah Birkan, former Assistant Shops Manager Andrew Brehm, Shops and Safety Manager Dana Buhl, Manager of Photography Facilities Nathan Catlin, Master Printer and Studio Manager of the LeRoy Neiman Center for Print Studies Peter Clough, former Assistant Director of Visual Arts Instructional Technology Carrie Gundersdorf, former Director of Academic Administration Cary Hulbert, Assistant Studio Manager of the LeRoy Neiman Center for Print Studies Julia Malen, Shops Monitor Laura Mosquera, Director of Academic Administration Samantha Rippner, Associate Director and Gallery Manager of the LeRoy Neiman Center for Print Studies Sarah Tortora, Assistant Shops Manager Rider Urena, Senior Manager of Visual Arts Facilities & Prentis Hall Claire Valdez, Program Assistant Patrice Washington, Prentis Hall Facilities Manager Jon Waites, Shops Monitor Liz Zito, Manager of Visual Arts Instructional Technology and Exhibitions

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