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MASSACHUSETTS COLLEGE OF ART AND DESIGN


CONTENTS Claire Beckett

2

Bruce Campbell

6

Lana Caplan

8

Christine Collins

12

Jessica Gath

16

Hannah Goodwin

20

Lucy H. Grover

24

Mary Hughes

28

Robert Knight

32

Adam Lampton

36

Surendra Lawoti

40

Sebastien Leclercq

44

Courtney A. Lockemer

46

Dana Mueller

50

Candice Smith Corby

58

John Thompson

62

Dylan Vitone

64

Eileen Wagner

66

Massachusetts College Of Art And Design70


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FLOURISH: ALUMNI WORKS ON PAPER SELECTION FROM THE GRADUATE PROGRAMS

Flourish: Alumni Works on Paper is the first juried alumni exhibition to be held in the Bakalar & Paine Galleries at MassArt. Showcasing the breadth of talent and excellence embodied by MassArt’s artists and designers, this exhibition features the work of 64 international artists working in a range of disciplines. This catalog features the work of the 19 alumni of The Graduate Programs. JUNE 6 – JULY 9, 2011, BAKALAR & PAINE GALLERIES

MASSACHUSETTS COLLEGE OF ART AND DESIGN


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CLAIRE BECKETT MFA PHOTOGRAPHY, 2006 “My studio practice focuses on conceptually driven large-format photography. I am particularly interested in photographic representation across the themes of difference, cultural mimesis and gender. These ideas are reflected in my current project, Simulating Iraq, which deals with American military training for the wars in Iraq and Afghanistan. Although the concepts I explore in this series are specific to the present political and cultural climate, the project springs from a decade-long interest in using photography to engage critically with the world in which I live. A beautiful or carefully considered image is never enough. I seek to create images that are visually compelling but also explore themes that have personal resonance. Often my ideas stem from politics and news stories, not so much for an ideological reason, but because they move me deeply. The images in Simulating Iraq are made on military bases within the U.S., in fabricated environments that replicate the places where American troops are deployed. These pictures are about how we as Americans interact with and understand our place in the world. To me, the places that I photograph take on a kind of amalgamated identity, not American, not Iraqi, not Afghani, not Somali, but something entirely different. While the planners of these facilities may understand them as replications of specific placessay Fallujah, Iraq or Helmond Provence, AfghanistanI understand them as spaces of their own. The setting depicted here is that of the Other, of the non-White, non-Western, nonChristian, non-Democratic. It is the place of terrorists and bad guys of all stripes, a place in need of order, of discipline, of salvation.

who have fled to the U.S. as refugees, now role-play as themselves, or rather as surreal versions of their former selves. I am interested in understanding the experience of the people who spend time here. What does it feel like for a young soldier to have their first encounter with profound cultural difference in this environment? What is the experience of a refugee, or of a veteran suffering from PTSD, when reenacting the context of their real life trauma? Although these spaces are meant as imitations of reality, what exists here is significant in its own right. My interest in themes of military training and warfare began in 2004. I was originally drawn to this subject shortly after returning from Benin, West Africa, where I worked as a Peace Corps Volunteer. My series In Training (2004-2007), dealing with young soldiers from the time of enlistment to deployment, was motivated in part by a need to understand my homeland. Having lived in Benin for 18 months I felt strange and unfamiliar returning to my own culture, and the war contributed significantly to my sense of unease. I was troubled by the war and felt compelled to create a body of work about it. Focusing on young soldiers going through Basic Training, the photographs from In Training deal with the youth and vulnerability of the individuals involved and the anticipation of the war ahead.”

Among the photographs are images of pseudo-Islamic architecture, sweeping desert vistas evoking unknown adventure, and portraits of those pretending to be villagers in an occupied land or terrorists at war against the Americans. There are American soldiers and Marines, combat veterans who now play the roles of the very jihadis that they previously battled in real life. In other pictures, immigrants from Afghanistan, some

RIGHT: Claire Beckett Army Specialist Gary Louis Sims, Archival Inkjet Print, 30” x 40”, 2009


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Claire Beckett Marine Lance Corporal Nicole Camala Veen playing the role of an Iraqi nurse, Archival Inkjet Print, 30� x 40�, 2008


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Claire Beckett Jabal Village Mosque, National Training Center, Fort Irwin, CA 2008


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BRUCE CAMPBELL MFA 3D, 2005 “Much like my recent sculptural work, the Directional Drawing series of compositions couples brief, absurd phrases with harmonizing forms. The enlarged texts that are slightly disturbed by the papers cut pattern, direct the viewer to perform some in-actionable procedure. Blackened or whitened out patterns are derived

from well-known contemporary masters compositions. Each art historical reference is carefully considered in relation to the content of the language that intermingles with the altered and simplified compositions. Both text and pattern point a viewers body and mind in new directions.”

Bruce Campbell Directional Drawing (After C.T.), graphite on cut paper on panel, 36 x 35.5”, 2010


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Bruce Campbell Directional Drawing (AFter J.J.) graphite on cut paper on panel, 21 x 18.75” each, Bruce Campbell Directional Drawing (After J.B After F.S.), graphite on cut paper on panel, 43 1/8 X 65”, 2008


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LANA CAPLAN MFA PHOTOGRAPHY, 2006 www.lanazcaplan.com lanaz@lanazcaplan.com “Sites of Public Exectution is an ongoing series for which I have been researching, photographing and making short films of sites that had been used for public executions at different times in history. When I began this project in 2001, there was a group of people petitioning for Timothy McVeigh’s execution to be televised, the modern form of a public arena. It occurred to me that this desire to watch people being killed, as perceived justice, is still alive in America and the Middle East, where the death penalty still exists. I wanted to compare what I was finding here with countries that have changed their laws, to see what happened as policy and the function of a public place changed, and to discover what it held of its history. Some of the places used for executions became sites with veneration to the executed, such at Campo de’Fiori in Rome with the statue of Giordano Bruno or the town of Salem, MA where the accused witches were hung. Some sites are now well known for other reasons, such as the Louvre, in front of which the guillotine was installed during the French Revolution. It appears that the way in which the history of the place has been remembered by those who create the public image of a city (either capitalizing on the executions or covering them up with other events that occured in these places) seemed to say more to me about present day morality and values in each country than the abolishment or continuation of capital punishment.

The photographs in this series are sepia-toned silver prints presented in french mats. This presentation is a reference to historical photographs and cataloguing of images made for documentation purposes. Each of the mats have calligraphic titles describing the dates and types of executions that occurred on that site, rather than the name and place pictured, as is customary. By subverting the viewers expectations of what they will find written, I hope to make them question what they thought they knew of these places. In the future, I would like to visit some of countries that are still performing public executions and shed light on some of these current atrocities, such as the 13-year old rape victim was publicly stoned to death for adultery after the rape in Somalia in October of 2008 or the ongoing beheadings of foreign journalists and contractors in Iraq, or the public executions of women in Iran and Saudi Arabia for trying to gain human rights for women. With these images, I hope that viewers will consider the role we play in creating our society?s legacy and future.”


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Lana Caplan Site of Public Execution by Burning at the Stake..., sepia-tonedsilver gelatin print infrench mat, 20� x 21�, 2008


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Lana Caplan Site of Public Executions by Guillotine, 1792-1793, sepia-tonedsilver gelatin print infrench mat, 20� x 21�, 2007


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Lana Caplan Site of Sentencing and Public Executions by..., sepia-tonedsilver gelatin print infrench mat, 20� x 21�, 2007


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CHRISTINE COLLINS MFA PHOTOGRAPHY, 2005 www.christinemcollins.com “My pictures have always swirled around my own story from varying distances. I am interested in the weaving together of personal experience and fictional possibilities. It has been a means of reckoning with my own history, while imagining others. Recently, my interests and my photographs have extended beyond the boundaries of my immediate surroundings. I have been thinking about how the sustainable food movement has helped to change our relationship to the landscape. Local farms have become temples to this movement. These romanticized patches of land become backdrops for fantasies about our participation in the landscape. Vegetables procured from Community Supported Agriculture groups enjoy a privileged status and suggest a better life through food. By photographing the farms and the crops, I am referencing the art historical impulse to use food as allegory, and a more contemporary relationship to the natural world. My new, in-progress series The Keepers looks at people who are keeping bee hives in suburban areas. This recent phenomenon speaks to our desire to hold nature in the face of an increasingly disconnected culture. I see these people as facilitators, and I think about how the small action of placing a hive in a backyard has broad implications about our interconnectedness with nature. There is a kind of magic in the process of beekeeping. I am making pictures that suggest ceremony, ritual, and mystery of survival.�


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Christine Collins Turnips (after Cotan), digital c-print, 20” x 24”, 2008


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Christine Collins Untitled (from “The Keepers”), digital c-print, 24” x 20”, 2010


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Christine Collins Untitled (from “The Keepers”), digital c-print, 24” x 20”, 2010


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JESSICA GATH MFA STUDIO FOR INTERRELATED MEDIA, 2006 www.jessicagath.org

“This artwork is for everyone.”


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Jessica Gath [For You, Beautiful], typing on paper, 4.5” x 6.5”, 2010,


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Jessica Gath [The World Famous Secretary, instructions], mono color poster, 20” x 24”, 2010


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Jessica Gath [The World Famous Secretary trifold forms], typing on paper, 8.5� x 11� (front and back views), 2010


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HANNAH GOODWIN MFA 1989 “I have been creating works on paper for years. I love drawing with a wide range of materials. For the last several years I have been drawing primarily with ink on rice paper. I use bamboo pens, which I dip in permanent ink. It is a process of no return, no erasures and no cover-ups. I have found this process of having to move forward with the work, no matter what happens, both challenging and calming. I love the range of marks and lines that the bamboo pens and ink combined with the texture and thinness of the paper create. Nests and nest-like structures are central in these pieces, which I see as commentaries on aspects of day to day life and concerns. I have long been intrigued by the importance of what seem to be small moments or ideas, but have the possibility of a bigger presence and influence than one might initially think.�


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Hannah Goodwin built on a wish, ink on rice paper, 28” x 28”, 2011


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Hannah Goodwin mi casa es tu casa, ink on rice paper, 28� x 28�, 2011


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Hannah Goodwin between a rock and a hard place, ink on rice paper, 28� x 28�, 2011


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LUCY H. GROVER MSAE, 2007 www.lucygrover.com “I’ve arranged paper boxes into groupings that I bind with tape and paint. A lot of the repetitive purchases I make come in cardboard boxes and over a short time add up to a lot of stuff. If I let the packages accumulate, I naturally want to start to organize them. So the cardboard boxes do not leave the house as recycling, but instead they are delayed and reconfigured. I combine these packages - the fact that they are already in existence is good - and then they seem almost chemically altered. The new form is made up of many different parts, and, as in a chemical reaction, releases new energy. They have a nice duality of solid looking rectangular forms that are almost weightless. The solid volumes both displace and are filled with air and this sharp contradiction interests me as an artist. Since graduation I have painted quite a lot and received an artist fellowship at Skidmore College where I was able to completely immerse myself in my practice. A stint at Teachers Institute in Contemporary Art at the Art Institute of Chicago was a major influence since graduation that led me to a more wonderful connection between artmaking and teaching high school art students. Over the most recent few years I have been building with these boxes between paintings, as a way to keep working ? almost like a cool down phase after an intense working period. It started to seem like a really interesting idea and evolved into a more primary role in my work. It was a big decision which type of work to enter for this alumni show. I chose the box sculptures because I enjoy the way they combine my painting and drawing practices with a new form. I also enjoy them because I am not acquiring additional new products to make work, but rather reconfiguring basic stuff that is already here.”


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Lucy H. Grover Triangular Green Tape Stack, cardboard boxes, acrylic paint, tape, 10” x 8” x 9”, 2009


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Lucy H. Grover Blue and White Stack, cardboard boxes, acrylic paint, tape, 26” x 14” x 9”, 2011


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Lucy H. Grover Pale Turbine, cardboard boxes, acrylic paint, tape, 20” x 8” x 5”, 2010


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MARY HUGHES MFA 2D, 1995 “In this body of work, Hughes explores the concepts of mapping, mark making and the passage of time. Her drawings and paintings are built upon meandering lines formed in reaction to previous layers, recalling contour maps, topographical lines and nautical charts. The organic forms reference the landscape while also referencing abstract patterning -- mark-making as an act of confirmation. Some environments appear selfcontained while others seem part of a larger universe. Simultaneously, the maps represent the passage of time and the wanderings of the mind. Currently the Curator of Visual Resources for the Department of Art + Design at Northeastern University, Hughes has exhibited in solo and group shows at the Copley Society of Art, South Shore Art Center, the St. Botolph Club, and various exhibition spaces throughout New England. She has been awarded several awards and fellowships, including the Fulbright Scholarship and the Anderson Ranch Residency. Hughes’ studio is located in the historic Fenway Studios in Boston, MA.”


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Mary Hughes Contour Map color pencil on paper, 40� x 52�, 2010


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Mary Hughes (Topography Series No. 11), color pencil on black paper, 30” x 44”, 2010 LEFT: Mary Hughes Untitled (Topograpy Series No.2), color pencil on black paper, 30” x 22”, 2010


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ROBERT KNIGHT MFA PHOTOGRAPHY, 2006 www.robertknight.com rob@robertknight.com “Through a series of photographs, layered audio recordings and video, Sleepless examines the contradiction between our expectations about sleep and its nocturnal actuality. Sleep connotes rest, peacefulness and stillness. It is expected to recharge us in preparation for our next days activities. The reality is starkly different. A majority of Americans get less sleep than their bodies need (9-10 hours for children and 8-8.5 hours for adults), and approximately 50-70 million Americans suffer from sleep disorders. Our sleep is reduced and interrupted by the myriad nocturnal noises and activities of urban life, from the drone of our roads, highways and transportation systems to the barrage of light noise emitted from our street lamps, skyscrapers and neighbors. Other factors negatively affecting our sleep include the frequent waking of young children, job-related stress and the side-effects of medical issues as we age. My photographs, layered audio and videos reveal a state of restlessness through the ethereal and translucent bodies which are captured during long-exposure nighttime shots. The resultant images are nighttime narratives stories of our nights sleep which suggest a contemporary sleep crisis in our society..�


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Robert Knight Untitled (7 hours, 23 minutes, January 1, 2008), archival inkjet photography, 30� x 40�, 2008


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Robert Knight Untitled (3 hours, 30 minutes, December 2, 2009), archival inkjet photography, 30� x 40�, 2008


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Robert Knight Untitled (5 hours, March 16, 2010), archival inkjet photography, 30� x 40�, 2008


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ADAM LAMPTON MFA PHOTOGRAPHY, 2004 www.adamlampton.com studio@adamlampton.com “The images submitted here are from a body of work that I made in Macao while on a William J. Fulbright grant in 2006-7. I photographed the former Portuguese colony (now a Special Administrative Region of China) and witnessed a key moment in its transformation from a small enclave into a gambling Mecca. Beyond presenting Macao as a site of physical, cultural and political change, these pictures attempt to navigate a territory of conflicting perceptions inherent in the movement from historical city to phantasmagorical dreamscape. In doing so, they present Macao as existing somewhere between a reflection of an internal architecture and that of a physical reality. Images from this series were recently shown in a solo exhibition at Carroll and Sons in Boston. The resulting show was reviewed in Art in America and the Boston Globe.�


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Adam Lampton Mahjong Parlor, c-print, 30” x 40”, 2007


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Adam Lampton Ancient Tree, Dung Huan Village, archival inkjet photography, c-print, 30” x 40”, 2007


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Adam Lampton Grand Lisboa Casino Under Construction, archival inkjet photography, c-print, 30” x 40”, 2007


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SURENDRA LAWOTI MFA PHOTOGRAPHY, 2005 www.surendralawoti.com “Within the context of larger social and political landscape, my work focuses on individuals, social groups and their milieus. I am interested in the dynamics of social class, race, gender, religion and sexuality, and how they influence circumstances in a given historical time frame. For my current work, I have been photographing along the Don River in Toronto, Ontario. My focus has been on makeshift shelters that dot the river, its residents and the people who use it for recreation, in an area of roughly five miles long and one mile wide. One of the most urbanized river watersheds in Canada, the Don is a prime environment for byproduct of urbanization. I first came across the makeshift shelters during summer of 2008 after I had recently immigrated to Canada and made Toronto my new home. The recognition of ?home? in these shelters immediately drew me in. I wanted to understand how people who do not have a home make one. Don River looks at the inglorious history of the Don, homelessness, socioeconomic disparities, and effects of urbanization on the river. The work brings forth the complexities of urban land use where nature and urbanization are in precarious tussle, and there are others who take refuge on these margins. Don River looks at the idea of home and issue of homelessness during a period of economic recession.”

RIGHT: Surendra Lawoti Joe, archival inkjet photography, c-print, 40” x 33.2”, 2009


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Surendra Lawoti List of Needs (Inside Shelter 17), archival inkjet photography, c-print, 33.6� x 40�, 2009


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Surendra Lawoti Shelter 18, archival inkjet photography, c-print, 42� x 50�, 2010


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SEBASTIEN LECLERCQ MFA STUDIO FOR INTERRELATED MEDIA, 2010 sebastienleclercq.org “My drawing practice is central to several overlapping bodies of work, which include site-specific installation, photography, painting, and sculpture. A recurring theme in my work is the investigation of the boundaries that separate simple perception and thorny knowledge. Banal, overlooked architectural elements and spaces - tiled walls, decorative trim and molding, bricks and mortar - even pictures in galleries are the physical locations that act as placeholders for simple perception. I subvert these spaces with subtle interventions that often pass as the thing itself. Adhesive tape passes for grout, photos replace subjects, drawings pass for graph paper. My drawing consists of the creation and augmentation of structural circumstances. Whether these conditions are constructed of graph paper or architectural structures, I subtly undermine the certainty and order denoted by their object-hood. With pencil and ruler I make graph paper drawings often with imbedded semi-narratives. I also use sculptural devices to create drawings with abberations in scale and in addition devise obliquitous deviations of lines that then generate multiple unique drawings. The confrontation and reconciliation of the viewer’s gaze within these booby-trapped situations invite an active aesthetic reading, exploring the boundaries between perception and knowledge. If our gaze defines how we relate to the world and how we participate in shaping it then the shape of our participation is contigent on what we perceive to be the parameters of our engagement. I endeavor to heighten the importance of perceiving the fluidity of these parameters.”

Sebastien Leclercq bubble, pencil on paper, matboards and frames, 97-1/2 x 62”, 2009


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Sebastien Leclercq twelve climate futures, pencil on paper and oblong frame, 38� x 48�, 2008


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COURTNEY A. LOCKEMER MFA STUDIO FOR INTERRELATED MEDIA, 2010 www.courtneylockemer.net “I am interested in exploring domestic space, particularly the way imagination plays a role in both the experience and meaning of the places we inhabit. False Objects is a series of photographs that is part of a exploration of imaginary landscapes - landscapes that are both imagined and which is a place for ones imagination to reside. The title of the series comes from Gaston Bachelards The Poetics of Space: One might say that these houses in miniature are false objects that possess a true psychological objectivity. When I take the word false from Bachelard I use it to inspire consideration of what is real and not real, and how this play of thinking creates a space for imagination. The object photographed might be false because it is a replica of what it claims to represent. It is also false because it is not a mere simulacrum: a photograph of an imaginary landscape can be viewed and considered just as a photograph of a real landscape can.�


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Courtney A. Lockemer #7 (False Objects), color ink jet print, 17” x 17”, 2010


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Courtney A. Lockemer #4 (False Objects), color ink jet print, 17” x 17”, 2010


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Courtney A. Lockemer #2 (False Objects), color ink jet print, 17” x 17”, 2010


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DANA MUELLER MFA PHOTOGRAPHY, 2007 www.danamueller.net “During and after graduating from MassArt I focused on former German prisoner-of-war camps and surrounding areas where prisoners were put to work by the US military. At the end of WW II there were over 400,000 prisoners, who worked on local farms and in small industries. The years after graduation my photographs have taken me to Pennsylvania, Maryland and parts of the American South. There is an irony where these German soldiers, both high-ranking Nazi officers and foot soldiers, were tilling the fields, cutting the lumber, picking apples, taking care of the American soil. This caring, benign work with the land stands in complete contrast to the horrific actions by Nazis and German soldiers in Eastern Europe of that time, such as Hitler’s scorched earth policy. When photographing these landscapes I wanted to visually evoke the dualities that have characterized the German people over centuries, a people that are capable of both tremendous progress and destruction. Romanticism has played a role in understanding the relationship of Germans to the landscape. In some photographs the land is overgrown appearing in a kind of primal state, suggesting the return to the original forest. It also suggests a fascist aesthetic of purity promoted by pre-war German culture. Innocence and purity can be seen as a natural desire to regress after one has become corrupted. While the Devil’s Den still continues I have started a new body of work in 2010. Keeping the theme of landscape and history, I have been photographing at the edges of a German village where the forest was part of the no-mans-land border zone between East + West Germany. I am interested in capturing contemporary aspects of the village life and ways in which people now relate to that landscape.”


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Dana Mueller Gettysburg, Adams County, Pennsylvania, archival pigment print, 24� x 30�, 2009


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Dana Mueller Untitled #2, Germany, archival pigment print, 30� x 40�, 2009


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Dana Mueller Untitled #1, Germany, archival pigment print, 30� x 40�, 2009


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ERIC SALINE MFA 2D, 2005 www.ericsaline.com “Natural Contacts Architectural For inspiration in my artistic practice, I examine the relationship between nature and the built environment. Paper is my chosen material, largely due to its malleability, endless recycle-ability, and the appeal of its relative organic ephemerality. Paper is extremely versatile and durable, yet at the same time, it is weak and vulnerable: herein lies a fundamental tension, resonant with the human experience, which I attempt to highlight. My work conveys kinetic visual movement through surface activity, employing rhythm and color as ubiquitous leitmotifs. I address a variety of formats including drawings, books, print-collages, and also site-specific installations out of my own recycled handmade papers. Smaller drawings, prints and books provide a shift in size, but yield a similar feeling of intimacy and discovery, possibly referencing an even larger scale than the installations. In my large-scale printed-paper installations, I attempt to produce sculptures complimentary to a sites’ specific architecture by considering regional history, the landscape of the natural environment surrounding the site, and also by incorporating my own eclectic imagination. I use lighting to create both a sense of drama and atmosphere, through shadow and its corresponding back-lit effect, much like that of light passing through stained glass. This dynamic experience implores viewers to explore a piece, to see what discovery a change in viewpoint may reveal. After an installation, I recycle my work by continuing to print, paint cut and glue the paper, treating it much like a quilter would fabric. This perpetual process of recycling and re-use is a way I can represent a more conscientious natural resource management, while also granting me time to develop the papers’ surface.”


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Eric Saline cloudplay, woodblock/silkscreen print on paper, 2 works: 14” x 14” x 2” each, 2010


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Eric Saline where chocolate was born, relief print and collage, 44” x 23” x 1”, 2005


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Eric Saline red chasing green, woodblock, silkscreen print and collage, 6’ x 3’, 2008


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CANDICE SMITH CORBY MFA 2D, 2001

“I paint combined images of furniture, the human body, and household objects that deal with conflicted feelings of domestic celebration and potential entrapment and disillusionment. I think of women I know and how women deal with different roles that aren?t always necessarily wanted, but acquired. I consider female stereotypes as a mother (no longer a sexual being), loss of self, and dependency. Collective feelings of abandonment, isolation, and inadequacy can get buried within a well-decorated house. I have 3 children under 5 and their imaginary games have influenced my compositional decisions which include non-linear gameplay and coincidental desires of escape.”

RIGHT: Candice Smith Corby, you be a... I’ll be a bear, gouache on wallpaper, 28” x 36”, 2010


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Candice Smith Corby, suspended in daydreaming, gouache on wallpaper, 28” x 34”, 2010


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Candice Smith Corby, repossessed, gouache and watercolor on paper and wallpaper, 34� x 28�, 2010


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JOHN THOMPSON MFA 2D, 2005 www.johnthompsonart.com “My work is a textural exploration of materials reacting to observations of intimate moments in the New England landscape. My focus is on the accidental and the fleeting - water flowing, plant material blooming and decaying, light reflecting. Increasingly the work has been altered by the ever faster pace of visual stimuli. It as if the work might be glimpses fof landscape rom the window of a speeding train or car. I return to the studio to recreate the glimpses of the momentary.”

John Thompson, Cordova, screenprint and gouache 39” x 51”, 2011


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John Thompson, Hinsdale #35, woodcut, 24” x 24”, 2010 John Thompson, Hinsdale #43, Woodcut, 24” x 24”, 2010


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DYLAN VITONE MFA PHOTOGRAPHY, 2003

“My photographic process has always been about documenting people and place to create records of the ordinaryand, through that process, finding poetry within the mundane. Creating large-scale panoramic photographs allows me to show simultaneously details and relationships at multiple spacial and perceptual levelsfor example, both the self-conscious way a young woman holds her hand by her side as she allows someone to photograph her, as well as her place in the sea of people around her engaged in a similar task. It allows me to show a sweeping view of the cityscape from a distance, while simultaneously revealing the fine details of the scales of a fish that a boy proudly displays for the camera.�


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Dylan Vitone, demo on how to make home porn, archival inkjet, 6’ x 16”, 2011 Dylan Vitone, sprinkler, archival inkjet, 6’ x 16”, 2007 Dylan Vitone, car crash, archival inkjet, 6’ x 16”, 2011


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EILEEN WAGNER MSAE, 2010 www.eileenwagner.com www.ricepolakgallery.com Eileen Wagner explores abstraction and the landscape is the source of her imagery. Inspiration originates from the natural world, but the life on canvas becomes its own - independent and self-sufficient. Through a process of recalling emotional and visual impressions of her surroundings, she makes a composition from memory and imagination with results that are suggestive of experiencing the changeable atmosphere of the essential elements - air, water, earth and fire. She aims to capture a quality of light with successive transparent layers, creating a sense of infinite space and mutability. Her paintings and prints allow the viewer to experience something that is timeless and primal, yet intensely personal in the same moment.


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Eileen Wagner, Untitled 2, Monotype, 6” x 6”, 2002


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Eileen Wagner, Storm, Intaglio, 6” x 6”, 2001


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Eileen Wagner, Untitled 1, Monotype, 6” x 6”, 2002


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MASSACHUSETTS COLLEGE OF ART AND DESIGN 621 Huntington Avenue, Boston MA USA, T 617 879 7166 gradinfo@massart.edu MassArt.edu

As an innovative university for artists, designers, and educators we prepare our students to contribute to contemporary culture and to fuel the creative economy. We are proud of our unique status as the only independent public college of art and design in the country, and our heritage as the nation’s first degree-granting art school, founded in 1873. Our programs are consistently ranked among the top in the country. US News & World Report ranked our MFA program #1 in Massachusetts. Our 1700 undergraduate and 200 graduate students come from more than 35 countries, reflecting the international reputation of our programs, and Boston’s place as one of the great learning and research centers in the world. Our urban campus offers more than 1,000,000 square feet of studios, workshops, classrooms and galleries. We are located at the center of a world-class fine arts triangle, sited between the Isabella Stewart Gardner Museum and the Museum of Fine Arts, Boston. Our Bakalar and Paine Galleries are one of Boston's premier venues for contemporary art, showcasing emerging and established artists from around the world. Our 260 graduate and undergraduate faculty are teachers and artist/practitioners at the top of their fields, with a 9:1 student-to-faculty ratio. Our faculty exhibit nationally and internationally at institutions including: MoMA, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Brooklyn Museum of Art, the J. Paul Getty Center Museum, the San Francisco Museum of Art, the Museum of Fine Arts Houston, the International Center of Photography, the Cleveland Museum of Art, the Art Institute of Chicago, the Museum of Fine Arts Boston, the Victoria and Albert Museum (London), the Musee de la Ville de Paris, the Cleveland Institute of Art, and the Institute of Contemporary Art/Boston, among others. The faculties' cumulative awards and grants number in the thousands, including multiple awards from the National Endowment for the Arts, the Fulbright Program, the Andy Warhol Foundation, the Guggenheim Foundation, the New York Foundation for the Arts, the New England Foundation for the Arts, the Massachusetts Cultural Council, the MacDowell Colony Fellowship, and the Massachusetts Council on the Arts. The university offers graduate degrees in eleven areas. For more information please visit MassArt.edu , email gradinfo@massart.edu, or call (617) 879-7166.


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CREDITS: Editor and Creative Director: Jenny Gibbs, Assistant Dean Of The Graduate Programs Designer: Maria Anna Stangel (MFA ’12) Cover Photo: Dylan Vitone (MFA ’03)

©Copyright 2011 Massachusetts College of Art and Design. All rights reserved; no part of this book may be reproduced without the express written permission of the publisher


Graduate Alumi Works on Paper; Flourish  

Works on paper by 19 alumni of The Graduate Programs of Massachusetts College of Art and Design.

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