U NCH A RT ED 2011 MASTER OF FINE ARTS THESIS EXHIBITION
This catalog was published in conjunction with the 2011 Master of Fine Arts Thesis Exhibition presented at the New York Academy of Art
Exhibition Curators: John Jacobsmeyer, Faculty Chair Exhibition Organizers: Katie Albert and Sean Mearns Exhibition Registrar: Heidi Elbers Graphic Designer: Andrew Shea
New York Academy of Art 111 Franklin Street New York, NY 10013 212 966 0300 www.nyaa.edu
TABLE OF CONTENTS Introduction by David Kratz, President, and Peter Drake, Dean
Essay by Donald Kuspit
2011 Postgraduate Fellows
Master of Fine Arts Graduates
Introduction So much of an artist’s life is indeed uncharted. Much of what makes a life in the arts so exciting is the degree to which the future is an adventure, unknown and mysterious. For many people this is a terrifying prospect; for artists, exploration is their life’s blood. Studio work can change from moment to moment without explanation, fortunes can rise and fall from chance encounters, unpredictability is the norm. From the beginning of time explorers of all stripes have wandered into the unknown to the admiration, and even envy, of less adventurous people. They have traveled to the edge of the earth and to the boundaries of human imagination to come back to the world with tales of danger, beauty and self-discovery. Why would anyone want to put their life at risk by striding into a void? What kind of person embraces the possibility of failure when there is so much comfort to be had in the safety of the known world? The answer lies in the fact that life is short and meaning is so elusive that, for some, not taking risks is tantamount to sleepwalking through existence. True artists realize this, that life is most meaningful when you are willing to risk it all. Self-knowledge comes to those people who are willing to steer their paths towards an uncharted horizon. A truly exhilarating life awaits those of us who are willing to cast aside doubt, burn the bridges behind us and step into the unknown. The artists in this exhibition prove their valor every day by choosing to lead unconventional lives. They leap into the void, walk a razor’s edge without looking down and probe the sometimes discomforting depths of human existence. Let’s take this moment to celebrate their bravery and christen their maiden voyage.
David Kratz, President Peter Drake, Dean of Academic Affairs
Some Dialectical Images by Donald Kuspit, Senior Critic at New York Academy of Art Given my dialectical way of thinking, and my general sense of the absurdity of things—my sense that it is hard to distinguish their appearance from their reality, to see through their appearance to their reality even as one acknowledges the reality of their appearance, suggesting their mind- and eye-teasing paradoxical character, their inherent uncertainty of meaning, or rather their constantly changing meaning, depending on their changing appearance and situation, suggesting a fluid, nuanced continuity of meanings, never fixed yet necessarily fixed if one is to represent the thing— what makes these works engaging, by which I mean cognitively and emotionally convincing at the spontaneous moment of their seeing, is their tension, that is, my sense of their dialectical thoughtfulness, more pointedly, my sense that they are dialectically poised, like a ballerina balanced on point for an absurd moment, a moment of representational magic charged with cognitive and emotional nuance, and with that uncertainty and insecurity, even mystery (for mystery means insecurity and uncertainty). Thus, I find Lauren Amalia Redding’s Illumination Tropical appealing by way of the contradiction, the abrupt difference, between the sexy, crimson portrait of the aging femme fatale (note her heart-shaped earrings, sort of like notches in the belt of her sexiness) and the gray portrait of the young unsmiling man on the wall behind her, presumably an old flame and conquest, now a distant memory whose portrait she painted from a faded photograph. Their relationship is not clearly resolved, however connected they clearly are. We can only guess at what happened between them – presumably an affair, but maybe not, considering his proper, restrained appearance, and averted eyes, and her seductive appearance, her eyes catching our eyes, snaring us in their trap, her big bosom thrust forward, both suggesting she has no shame. They are at odds, all the more so because
she’s in the larger painting and he’s in the smaller one, and they’re both in the over-all painting— thus a picture within a picture within a picture, a compounding of contradictoriness, discrepancy, absurdity—uncomfortable tension, uncertainty, mystery, uncanniness. I like the sort of smoldering passion implied, reminding us that libido doesn’t disappear with age, and the nuanced handling, with its shadows, suggesting the woman’s haunted by the man’s image even though she may have forgotten his reality. A complex, incomplete narrative is generated and condensed, confirming that a convincing representation is like a dream, temporary yet expressing human nature at its deepest. Andrea Williams’ Homage is different, but the effect is the same: a woman, now young, stands alone, holding a rake, with a black dog behind her to her right and a red lawnmower, in front of a leafless (dead?) tree behind her to her right. Am I over-interpreting by suggesting that that the dog is the devil in disguise—the devil appeared as a black dog in Goethe’s Faust I—and that the devilish dog is an expression of repressed instincts, aggressive and sexual, reminding us that the full bosomed woman is sexual (her red sweater is similar in import to the red dress of Redding’s woman, however more luminous) and that her rake has aggressive import (think of the devil’s pitchfork)? The woman has sexy red hair and a rather truculent—so it seems to me—expression on her face. She’s ready for action and confronts us, unflinchingly, like Redding’s red hot lady—ready to rake us in, as it seems to my farfetched imagination. She too is smoldering with passion. She too makes an uncanny, “suggestive” appearance: a representation of an appearance —what’s visible to the naked eye— should always evoke unconscious, invisible reality (which means that you should always get more than you see), at least if it is to have instant effect, insidiously penetrate the viewer’s defensive radar, get under the viewer’s psychic skin. What is striking to me about the women artists is that whatever they’re representing it (almost) always seems to have a sexual charge. They’re covertly concerned with female desire whatever they’re overtly depicting. The red flag in Elena Soterakis’ Power Plant signals sexual as well as social danger. The placement of the flag close in the foreground and of the power plant far in the background is absurdly dialectical. The flag functions as a repoussoir device, but it stands alone in its physical
difference, a peculiarly forlorn “surreal” figure—dare one say a female figure, with a “minimalist” affinity to some of Picasso’s surreal female figures, also made of planar fragments. Elena Rodz’s The Snake—it’s rather large and ominous—is ready to disturb the naked man and women (two Eves?) in paradise. It’s a symbol of illicit desire. It seems to be shedding some of its skin, but what it reveals underneath has a bizarre resemblance to the ridged skin of an erect penis. The female figure in Susan Calace-Wilklow’s untitled painting seems to be an adolescent Danae, if the brilliant light invading her hidden crotch is any clue. The pensive female face in Carrie J. Adam’s Night Rx suggests frustrated desire. Perhaps that’s why the figure can’t sleep at night. Cara De Angelis’s Woman and Roadkill I/ Dolls and Roadkill/Woman and Roadkill is rich with meaning: let’s focus on the dialectic of the dead animal and the females, each at a different stage in life, but each already “lady killers,” not men who are lady killers but women who have killed men, at least in fantasy. But the animals may be their own animal passion. It seems highly likely in the case of the young woman, with long hair, in a pink dress, in Woman and Roadkill, and the young woman, hair cropped, in what seems like a white bridal gown, in Woman and Roadkill I. A blood red drape hangs behind the little girl, and a blood red drape covers much of the table on which her animals are displayed. The one on the white cloth leaks blood, as do the two on the laps of the older females in the other two paintings. Loretta Mae Hirsch’s “How can the infinite of desire be placed on a finite object?” (a quote from a Lacanian theorist) makes my point clearly, especially because the invisible figure is bound, from head to toe, in red ribbons, suggesting female desire become masochistic, or perhaps its inherent masochism. Maria Kozak’s The Bachelorette, with its fighting cocks and expressionistic frenzy—sex and aggression fuse, as in sexual intercourse, and males seem to be fighting over females (the white birds watching the action), or perhaps females have become male and are fighting among themselves (note the flaming red combs, passionately standing out from the dark violence while epitomizing the blood shed)—conveys hysterical desire out of bounds. The female nudes in Rabecca Signoriello’s Falling may be falling to their death—are they falling from the ladder on which Nicodemus climbed to lower Christ’s dead body from the cross?—but they also seem to be
in a sort of ecstatic swoon, suggesting they are falling from grace into sexual sin. Monica Olsen’s sculpture Me & Sofus shows a nude—nakedness almost always arouses and/or conveys desire— tenderly embracing a doll, suggesting her frustrated wish for a child. Alycia Thompson’s Dog is a projection of her own threatening desire (note her red dress). “Desire under the Elms” indeed, as the little red plants underfoot suggest. Is the young woman in Stephanie Lindquist’s sculpture Awakening awakening to desire? Is the female figure in Mary Harju’s Axis twisted—manneristically distorted—by desire? Emily Slapin Lufkin’s Self-Portrait shows her half naked, her full breasts suggesting she’s ripe with desire and desirable, even as her forbidding glance suggests she’s conflicted about her own desire, and challenging any man who desires her. Meredith Lachin also presents herself as a forbidding object of desire, perhaps a sacred virgin, as the quasi-Gothic pointed canvas suggests, dedicated to art. In Soliloquy, Melissa Hardison’s very white—virginally white—female figure reclines on a very red—passionately red—carpet of desire. The red bundle the female figure is tightly holding to her naked body in Diana Corvelle’s Cyclone is a symbol of her desire. Tabitha Whitley’s Hookah Girl is hot with passion, as the nipple-pink jewelry that adorns her suggests. Her expression suggests she’s orgasmic with self-absorbed pleasure—ravishing indeed. In Han Xu’s untitled painting a female in underclothes, reclining on a passionately red cloth, passionately embraces an animal, the age-old symbol of animal desire. The three females in Charlotte Foyle’s Top Dog are an intimidating three graces. The center spreads her legs wide, in a suggestive crotch shot, and wears a flaming red hoodie. The dog in front of her is not exactly friendly. Perhaps she’s Diana with her nymphs, ready to hunt to death any man who sees them, the way the ancient goddesses hounded and hunted Actaeon to death. Corinne Beardsley’s female figure—Self—seems in distress, as her position suggests, but peculiarly self-possessed, as her pensively introspective expression suggests. What about the work of the male artists? Very generally speaking, it seems to have less to do with desire and narcissism, although it also has its emotional power and complexity, as Ryan Lanham’s Bathers and Daniel Esquivia-Zapata’s Gerado make clear. But desire seems to be the
secret of Shawn Yu’s Hiding Place, as the white roses in the foreground suggest. They suggest that the boy is a virgin, awakening to his desire and wishing for love. Jason Sho Green’s King and I deals with a childhood memory, but the red child and the red animals—suggesting his identification with them—suggest impulsive id. But Brett F. Harvey’s male nude, Polarity, is deep in thought—beyond desire. Similarly, Tun Ping Wang’s Raphael Schulte is a portrait of ego rather than id—of a selfpossessed person rather than an individual owned by desire. What is most striking about Francis Nguyen’s male dancer—an untitled sculpture—is the poise of the figure, seemingly precariously balanced on one foot, with right hand holding left foot and left hand raised in front of his face, but completely in control of himself: a tour de force study of what Kandinsky and Mondrian called dynamic equilibrium. Nguyen suggests that the parts of the body are naturally equilibrated and inherently dynamic, giving them an abstract quality and formal autonomy even as their seamless interdependence conveys a unity of purpose beyond the reach of any modernist construction, that is, a so-called pure work of abstract art. The body has always been more to the point of art than purity, and Joseph Ventura’s In-Phase Feedback Loop of Time, Space and the Probability Wave Function of an Apparently Frustrated Human Subject, Parts II, III and IV, is all about the body, in a wild variety of positions, tumbling over itself with frustrated desire—more demonstratively frustrated than the more poignantly frustrated desire of some of the female figures. I like the moody absurdity of the space, and the pit and the pendulum effect of the diagonal wall— claustrophobia indeed, as the narrow abyss-like pit confirms. The physics of the title works with the physicality of the bodies, even as it suggests a certain seemingly scientific detachment of the figures, as though ironically taking their measure. Ian Healy’s Horse is another twisted, distorted body, dramatically hanging in space, like Rembrandt’s dead beef, but more macabre and intimidating by reason of its ominous dark atmosphere and confrontational closeness to the picture plane, as well as the claustrophobic oval space into which it is squeezed. Ryan Lanham’s Bathers also takes on the female body, rendering it with expressionistic turbulence bordering on the grotesque. Indeed, it is obesely grotesque—
morbid beyond redemption. Clearly the male vision of the female body is different from the female vision of the female body—and not just because men and women have different bodies—as the female nudes painted by the female artists makes clear. The female body also appears, somewhat fragmented and fiery, in Benjamin Martins’ Pretty Fierce—pretty but fierce, suggesting the difficulty of relating to her, if also her self-destructiveness. The patchy gesturalism of the work gives it abstract credibility even as the work is figuratively convincing, if ironically. Jeff Gipe’s untitled fresco—a sort of relief mural—is made of steel wool, a medium I’ve never before encountered. Its grayness and grittiness are eloquently melancholy. The mother and male child—he’s attached to her, but standing in our space, adding to the relief “thrust” of the work—belong to the past, suggesting that the work is a kind of screen memory. The steel wool, woven together like gestural strands, is memorable in itself, “backing up” the ghostly, shadowy figures—the steel wool is in effect the substance of shadow—with its atmospheric density. Miguel Torres-Carlos’ Is That You? has the same “overcast” gray look, suggesting a similar melancholy sensibility, but his scene is much more desolate: as the dead trees, with their broken limbs suggests, he is depicting the death of nature. His handling is exquisitely delicate for such a morbid theme. The figure, with its red face, in the destroyed forest, seems like a mirage in a desert. Yi Cao’s School Age Portrait and Boris Tyomkin’s Commedia dell Arte come from different sides of art history—the former is a sort of late modernist semi-abstract head, the latter a picturesque theatrical scene that would be at home in 18th century Venice—but what brings them together is their common concern with human expression, in Cao of the face, in Tyomkin of the body as well as the face. Alaina Plowdrey’s Emotional Market has an ironical affinity with Tyomkin’s work—it’s another comedy in which a variety of emotions are on theatrical display—however more contemporary and uncostumed the figures. Is that Alaina with the sunglasses? She satirizes the male figures more than the female figure. Aliene de Souza Howell’s Barber Shop—a dramatically dark black and white print, with meticulous attention to detail and texture—also satirizes men: the barber shop seems to be on the planet of the apes, with human beings the servant barbers. Daniel Esquivia-Zapata’s portrait of
Gerardo is an exquisite drawing, revealing a subtle mastery of a variety of materials—graphite, pastel, charcoal, and gesso (on mylar)—treating the male figure somewhat more compassionately. Rather than focusing on the hairy, stupid exterior of the male ape, Esquivia-Zapata grasps the inner life of his male sitter—the essence of his selfhood—conveying his profound humanity and dignity. I suppose men and women will never see each other through the same lens. I have deliberately ignored the formal intricacies of the works in order to focus on their emotional import, and to suggest the truth of Freud’s view that a work of art is a sublimation of desire, that is, a wish fulfillment (in social dream form). And to suggest that female desire is more intense, and greater, than male desire, which is perhaps why fewer woman artists are recognized than male artists (and why men seem to “recognize” women’s bodies more than their minds and desire): their art is more emotionally demanding and tensing, often explicitly.
2011 Postgraduate Fellows Each year the Academy selects three outstanding graduating artists to receive postgraduate fellowships. The Fellows are awarded residencies which include studio accommodations, a stipend, exhibition opportunities, tutorial support and opportunities for teaching assistantships. The fellowships are awarded through a competitive application and selection process.
MAYA BRODSKY – Natasha and Yotam, 2010 – oil on panel – 5 x 7 inches – My paintings are inspired by notions concerning the connection between past and present and how one’s memory of the past is formed and changed visually. I hope to allow viewers a glimpse into my personal vision and present that which I consider ephemeral and therefore precious. By depicting the specific form of my personal experience, I hope to protect it from the obscuring effects of time, as well as to imply the existence of something that transcends the particular forms of my subjective reality. –
JOHN O’REILLY – Bitch, 2010 – resin and graphite – lifesize + Welle , 2010 – acrylic paint, porcelain, and resin – lifesize – The forms I create mimic the illusion of breath by the slow expanding and contracting of contour lines, giving movement and life to a static object. My work has become an autobiographical expression of my experiences in taxidermy, fables, and religion. Drawing from these encounters and curiosities, I manifest my own narratives. –
AUSTIN PARK – Adam and Eve Escape Paradise, 2011 – acrylic on canvas – 48 x 56 inches – My work is meant to ref lect the pandemonium of life experience with balanced levels of comfort and anxiety, menace and playfulness. The spatial environments fall between fantasy and what is tangible revealing inclinations, desires, and fears. –
Master of Fine Arts Thesis The Academyâ€™s MFA thesis program aims to involve students in the professional considerations of researching and making artwork intended for exhibition. The thesis constitutes a body of work intended to showcase each MFA candidateâ€™s mastery of skills and personal vision. The Faculty Committee, in consultation with the individual artist, selects one or more pieces from that body of work for the culminating MFA Thesis Exhibition.
2011 MFA Graduates Carrie J. Adams Emily Davis Adams Kiley Ames-Klein Elina Anatole Christina Barber Corinne Beardsley Demetrio Belenky Brian Burke Susan Calace-Wilklow Yi Cao Marcin Citowicki Diana Corvelle Cara De Angelis
Daniel Esquivia-Zapata Charlotte Foyle Jeff Gipe Jason Sho Green Amber Hany Melissa Hardison Mary Harju Brett F. Harvey Ian Healy Loretta Mae Hirsch Aliene de Souza Howell Lani Kennefick Maria Kozak
Meredith Lachin Anne LaFond Erin Lakavathu Tracey Langfitt Ryan Lanham Pierce A. Liefeld Stephanie Lindquist Alvaro Luna Shanga Manning Robert Martinez Benjamin Martins Quentin James McCaffrey Elizabeth Ana Misitano
Francis Nguyen Monica Olsen Guno Park Alaina Plowdrey Lauren Amalia Redding Elena Rodz Rabecca Signoriello Emily Slapkin Lufkin Imogen Slater Elena Soterakis Maud Taber-Thomas Alycia Thompson Miguel Torres-Carlos
Boris Tyomkin Joseph Ventura Tyler Vouros Tun Ping Wang Tabitha Whitley Andrea M. Williams Han Xu Shawn Yu
CARRIE J. ADAMS – Night Rx, 2010 – charcoal and chalk on Fabriano paper – 20 x 27 inches – My work focuses on facial expressions and subtle gestures that suggest emotional struggle. This series of charcoal selfportraits uses my image as a representation of those psychological reactions.
EMILY DAVIS ADAMS – Ode to Nebraska, 2011 – oil on canvas – 48 x 60 inches – Looking to Dutch and nineteenth century American traditions of f lower painting, I juxtapose f loral imagery with aerial views of farmland to explore visual aspects of cultivation and cultural appropriation in both American art and landscape.
KILEY AMES-KLEIN – What I Just Realized, 2010 – oil on linen on panel – 5 x 5.5 inches – I want my work to ref lect both an emotional intimacy, as well as a sense of instability. The contradiction within the work is meant to explore my feelings and experience of a life where “everything is at once so familiar and recognizable, yet so strange and uncommon.”
ELINA ANATOLE – Baptism, 2011 – oil on wood – 66 x 48 inches – These large-eyed self portraits embody a sense of wonder for the world I had as a child. These vulnerable, sexualized, yet strong willed female figures are placed awkwardly in the space as they confront the viewer with a direct gaze. Painted on wood that so closely resembles my own skin tone and warmth of skin makes my stylized figures seem real.
CHRISTINA BARBER – What Do You See?, 2011 – watercolor mono-type on paper – 30 x 22 inches – A seed that pushed its way through the soil in the heart of the great land My eyesight rested all at once on frontiers to the east and west, down to the south and even further north to the other side
CORINNE BEARDSLEY – Self, 2011 – terra cotta – 12 x 8 x 6 inches – Dance, hysteria, play and the love of form inspire my recent sculpture. I strive to express wild release and the polarities of joy and pain that are at that raw edge of emotion. –
DEMETRIO BELENKY – Business as Usual, 2011 – charcoal on paper – 42 x 110 inches – I explore my memories and my identity through an artificial iconographic analysis of archetypes that were important in Eastern European national folklore and their place in its history.
SUSAN CALACE-WILKLOW – Untitled, 2011 – oil on canvas – 40 x 50 inches –
BRIAN BURKE – The Aperture, 2011 – oil on board – 10 x 8 inches – Observational painting is an act of drawing attention to that which is subtle or nearly imperceptible. Through my treatment of the commonplace I hope to open more eyes to the beauty beyond the edge of the canvas –
YI CAO – School Age Portrait, 2011 – plaster, wax, hair – 11 x 8 x 8 inches – I am currently doing research about the usage of figurative compositions and portraits to examine individual and collective self hood in situations of social instability. I want to figure out how power manifests itself in individuals and nation states; and how to use personal and social experience to create visual language. –
DIANA CORVELLE – Meredith, 2010 – gouache on cut paper – 24 x 32 inches – Personal experience is often the inspiration behind my work – specifically, the emotional content embedded within each experience. I share my impressions of these experiences using personal iconography and myth-like narratives. –
CARA DE ANGELIS – Dolls and Roadkill, 2011 – oil on canvas – 43 x 32 inches – Real-life tragedies, such as roadkill, are presented through the use of parody and symbolism, in order to create both meaning ful and ironic settings that re-contextualize everyday objects and actions.
DANIEL ESQUIVIA-ZAPATA – Mi hermano el historiador (Detail), 2010 – mixed media – 84 x 84 inches – I search to create images that show realities, that although shaped, transformed, or traumatized, still inspire hope, dreams, and search for a future. –
CHARLOTTE FOYLE – Top Dog, 2010 – oil on canvas – 82 x 68 inches – I explore the tension between representation and emancipation through monumental figurative paintings. –
JEFF GIPE – Glove, 2011 – mixed media – 24 x 28 x 12 inches – Altering the pictorial landscape using industrial related materials and processes, my work is in an attempt at re-seeing the human constructed environment we inhabit. –
AMBER HANY — Kidbutt, 2011 – charcoal, markers, oil on canvas – 24 x 36 inches – Bordering tragedy and comedy, sacrifice and spectacle, my work explores the emotional tensions of man and nature. –
MELISSA HARDISON – Rain, 2010 – oil on canvas – 24 x 24 inches –
MARY HARJU – Reversal, 2011 – oil on linen – 72 x 36 inches – The body is the source of our ideas and meanings: generating language, ideas, habits, and a feeling of existence. My paintings encourage embodied understanding of different points of view, ways of being, and emotional states by creating a virtual body in which movement and imagination merge. –
BRETT F. HARVEY – Circles, 2011 – plaster and concrete – 14 x 6 x 8 inches each – I study the systems and patterns of form and structures within the human figure and use them to create idealized sculptures and images of men and women. The formal ideas behind the structural concepts that govern my figures in many ways parallel the mathematical laws of physics that govern spacetime continuum. The figures are a personal exploration of ideas relating to our place as human beings living within this strange and beautiful world.
IAN HEALY – Horse, 2011 – oil on linen – 80 x 60 inches – I explore emotional levels of pain and anguish through depictions of death and suffering.
LORETTA MAE HIRSCH – Bound by Desire; The Infinite of Desire 2011 – oil on canvas – 72 x 45 inches each – “She was too much under the inf luence of an ardent imagination to adhere to the commons rules.” Mary Wollstonecraft, mother of Mary Shelley –
ALIENE DE SOUZA HOWELL – Shave and a Haircut, 2011 – linocut – 36 x 60 inches – “The privilege of absurdity; to which no living creature is subject, but man only.” Thomas Hobbes –
LANI KENNEFICK – Seven Secret Stones, 2011 – flashe on silk screened paper – 18 x 18 inches – In response to feeling everyday like I know less than I did the day before, I decided to stop thinking and just play. –
MARIA KOZAK – The Bachelorette, 2011 – oil on canvas – 90 x 120 inches – “It is as much about the artist attacking the canvas through the guise of a wild rooster as it is the hen party of traditional bird paintings of academic realism.” Catherine Howe –
MEREDITH LACHIN – Lisa Beth, 2011 – oil on canvas – 19 x 22 inches – I explore the zone where the iconic meets the specific by elevating the individual with the use of the shaped canvas and meticulous technical rendering of light and form. –
ANNE LAFOND – Fire (Egypt), 2011 – aquatint – 4 x 6 inches – A contemporary history painter, Anne LaFond’s work suggests the impact of today’s events on the lives and consciousness of ordinary people, whether as participants or witnesses to developments that are the context of our daily life. –
ERIN LAKAVATHU – Pink Portrait, 2011 – oil on linen – 36 x 28 inches – Very early in my life, I fell in love with the landscape of the human face. I believe in the ability to take the viewer into the environment of the artist’s subject, to share the joy, the pain, the expectation, the resignation, the love and sadness through paint and color. –
TRACEY LANGFITT – Clouds, 2010 – oil on canvas – 50 x 50 inches –
RYAN LANHAM – Bathers, 2011 – ceramic – 5 x 5 x 5 inches – Ryan Lanham’s hand crafted artwork grapples with the idea of consumption addressing consumerism, dietary disorders and addiction among humans. Traditional sacred iconography is juxtaposed with the profane, ladies vomiting oil, anointing one another, an iron nail torso hammered into an unsealed wine-stained table top. –
PIERCE A. LIEFELD – Black Chicken, 2011 – resin, steel, foam – 12 x 8 x 5 inches –
STEPHANIE A. LINDQUIST – Awakening, 2011 – hydrocal – 24 x 10 x 24 inches – I use the figure as an emblem for life and transcendence; by using material as metaphor, my work depicts the struggle for growth and liberation. –
ALVARO LUNA – Cycle, 2011 – resin – 23 x 27 x 25 inches – In my work I express an animal side that cannot be restrained, tamed, or controlled, just as in extinction and the cycle of life. The sculptures I create are the main characters for these concepts. Rendered in an allegorical and sarcastic tone, they are meant to provoke emotion and reaction.
SHANGA MANNING – Singing in the Fan, 2011 – graphite on paper – 56 x 40 inches – I create large-scale graphite drawings that mimic my memories of childhood in the late 1980s. The intangible qualities of nostalgia are represented by the lightness of the marks, the inability to photograph, and in some cases, the appearing and disappearing of the drawings themselves. –
BENJAMIN MARTINS – The Still, 2011 – watercolor – 12 x 9 inches – My paintings are images abstracted from the idea of figuration; they fall away from the viewer like a half-remembered dream. –
QUENTIN JAMES MCCAFFREY – Bushman, 2011 – beeswax – 8.5 x 6 x 8 inches – By recalling personal family histories, memories of gentle bibliographic madness, and extra-time supernatural realism often inspired by 20th century literature, I create an object: a treasure to be held unconcerned with spectacle or domination space - that exists principally to be beautiful. –
ELIZABETH MISITANO – New York World’s Fair, 2010 – oil on panel – 3.5 x 10.75 inches – The sentimentality placed in the remembrance of an object makes it revered and precious regardless of the objects intrinsic value. My paintings cling to memories through a meticulous recording of objects in an attempt to capture sentimental value. –
– After Vermeer, 2010 – oil on linen – 20 x 16 inches –
MONICA OLSEN – Me & Sofus, 2011 – hydrocal – lifesize – My sculptures question the psychology of holding onto objects from childhood, which are represented through the body language and expression. –
GUNO PARK – Battle, 2011 – oil pastel on paper – 48 x 95 inches – Guno Park was born in Korea and moved to Canada with his family at the age of 9 and lived there for 20 years before moving to New York. Recently, he has been exploring imagery behind his childhood dreams, cognitive architecture, and the hemispheres of the brain. Through these images, Guno hopes to find deeper and clearer answers to his biggest questions about life and art. –
– Influx, 2011 – mixed medium – 30 x 40 inches
– My current work is about isolation and fragmentation within an individual while drawing conceptual identity inf luences from the psychologist James Marcia. The double features of the attractive subjects are to create a vibrating correction simulation within the mind.
LAUREN AMALIA REDDING – Elsa, 2011 – graphite on paper – 17 x 14 inches – By drawing and painting my mother’s family from Cuba, I strengthen the connection between myself and that oblique world by paying tribute to my subjects and their narratives. Exploration of the triangular relationship between my mother’s family, my own multicultural identity, and the veiled island constitute the progress of my practice. –
ELENA RODZ – Crocodile, 2011 – oil on board – 30 x 15 inches – I paint people as pure id characters - running around naked in the woods and getting eaten by animals. –
JASON SHO GREEN – Young Tough J, 2011 – acrylic on board – 16 x 12 inches – In this series of work I remember childhood visits to Sendai, Japan and rebuild that world through the filter of time. Rather than creating a seamless world, I focus on the beauty within those seams. –
RABECCA SIGNORIELLO – Fallen, 2011 – oil on linen – 96 x 42 inches – I attempt to personify loss, guilt, hardships and the redemption one endures in a lifetime. The specific, but non descriptive spaces help to provoke these emotions. –
EMILY SLAPIN LUFKIN – Self-Portrait, 2011 – crayon on paper – 40 x 32 inches – My portraits attempt to capture the individuality of the sitter while exploring connections between people. This suite of life-size drawings investigates both the personal and universal human experience. –
IMOGEN SLATER – Sara with Spitfires, 2010 – oil on linen – 20 x 20 inches –
ELENA SOTERAKIS – Powerplant, 2011 – oil on wood – 16 x 20 inches – I yearn for the expanse of the great American landscape. I am drawn to the sublime and the marks created by the presence of mankind. –
MAUD TABER-THOMAS – Orlando: Eyes Like Drenched Violets, 2010 – oil on canvas – 12 x 9 inches – My artwork is inspired by literature, particularly the novels and poetry of the Victorian Era. The world of my paintings is one of calm, luxury, whimsy, solitude, and thoughtfulness, which I see as a critique of the fast-paced, businesslike practicality of modern life. –
ALYCIA THOMPSON – Untitled, 2011 – oil on canvas – 48 x 40 inches – Fairytales for me express deep challenges and experiences facing people everywhere. I play with the duality of the vulgar and beautiful in these tales. –
MIGUEL TORRES-CARLOS – Spotted, 2011 – oil on canvas – 76 x 51 inches – I create visions that reveal the inevitability of exposure and how we are never too safe. –
BORIS TYOMKIN – Casanova, 2010 – oil on canvas – 48 inches diameter – My recent paintings have to do with spectacle, reality versus illusion and hiding one’s face behind a mask. My work points toward a theatricality of life itself. My work also deals with the idea of the fool, clown or jester, which are some of the masks worn by the modern artist–who often is the outsider, entertainer, and wise fool all in one. –
JOSEPH VENTURA – In-Phase Feedback Loop of Time, Space and the Probability Wavefunction of an apparently frustrated Human Subject, Part II, 2011 – oil on canvas – 22 x 28 inches – As Tiepolo created portals to heaven, I create spaces that bud off of experiential reality via the philosophical implications of theoretical physics. Humanist imagery suggests of an epic mythology underlying the nature of physicality. –
TYLER VOUROS – Dried Sunflower #4, 2011 – charcoal and water on paper – 70 x 51 inches – My drawings are an investigative conversation into the imposed reality of the macroscopic world provoked by the metamorphosis that happens when becoming encompassed with this work at a large scale; the transformation sometimes departing entirely from its original anatomy . This tiny reality inspired me to find that which we overlook in order to venture somewhere unrecognizable, yet intriguingly familiar. –
TUN PING WANG – Undefined, 2011 – pastel on paper – 60 x 40 inches – My work is based on portraits that exemplify moments of subtle emotions. With detailed mark making I pursue sophistication and fascination within my subject matter. –
TABITHA WHITELY – Untitled, 2011 – oil on canvas – 18 x 16 inches – I am investigating “Beauty” and adornment and its inf luence aesthetic ideals and self expression. –
ANDREA M. WILLIAMS – Release, 2011 – oil on canvas – 40 x 72 inches – In stripped-down spaces, I aim to reveal a glimpse of the emotional undercurrents within each figure. I seek to create my own version of reality inf luenced by my close relationships and personal and family myths. –
HAN XU – Meimei Series (Part One), 2011 – monotype with oil – 30 x 22 inches – Meimei Series is about a story of a cat called Meimei. I’m using the monotype technique to capture her simple movement playing in the room. The whole series contains 50 images. –
SHAWN YU – Astronaut, 2011 – oil on canvas – 40 x 24 inches – I find interesting containers to use as a starting point and create fantastic worlds and narratives around them. The duality of protection and confinement is a major theme of my paintings. –
NEW YORK ACADEMY OF ART The New York Academy of Art seeks out and engages the finest professional artists and academics with extensive exhibition, publication, award and grant history. The number of students in each class is kept to a minimum, allowing for an extremely high degree of contact with faculty. On average, students at the Academy receive nearly three times more direct instruction than students at most art schools. FULL-TIME FACULTY
John Jacobsmeyer, Faculty Chair Harvey Citron Catherine Howe Edward Schmidt Wade Schuman
Lisa Bartolozzi Margaret Bowland Noah Buchanan Jiwoong Cheh Susanna Coffey Patrick Connors Cynthia Eardley Dan Edwards Judy Fox Laura Frazure Thomas Germano Debra Goertz Michel Grimaldi Jeffrey Hesser Laurence Hegarty John Horn
SENIOR CRITICS Steven Assael Will Cotton Vincent Desiderio Eric Fischl Donald Kuspit Jenny Saville
James Hoston Edgar Jerins Kurt Kauper David Klass Andrew Lenaghan Leonid Lerman Nina Levent Nina Levy Dik Liu Sharon Loudon Margaret McCann Randolph L. McIver Mark Mennin Frank Mershimer Roberto Osti Jean-Pierre Roy
Judith Schaechter Robert Simon Robert Taplin Dan Thompson Nicola Verlato Patricia Watwood John Wellington John Zinsser
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David Kratz, President Peter Drake, Dean of Academic Affairs â€“ Katie Albert, Director of Marketing and Events Charis Carmichael Braun, Director of Alumni Relations John Cichowski, Director of Continuing Education Aston Crossdale, Security Rahine Duran, Maintenance Tim Evans, Senior Accountant Elvin Freytes, Director of Student Services Holly Frisbee, Librarian Francis Harrison, Security Director Eric Kirkland, Maintenance Sean Mearns, Marketing and Events Harry Michas, Director of the Office of the President Andrew Mueller, Director of Admissions and Financial Aid Troy Payne, Maintenance Kaiser Shakoor, Staff Accountant Andrew Shea, Graphic Designer Michael Smith, Operations Manager Alan Williams, Maintenance Grady Ziegler, Building Manager
Eileen Guggenheim, Ph.D., Chair David C. Kratz, President Richard Blumenthal, Vice Chair Ludwig Kuttner, Treasurer Margot Gordon, Secretary Curtis Bashaw Gordon Bethune Maureen Chiquet Eric Fischl Christopher Forbes Debra Goertz Paul Johnson SeĂĄn McCarthy Alyssa Monks Natalie Riessen David Schafer Richard Segal Sybil Shainwald Howard Tullman Island Weiss Russell Wilkinson Eli Wilner
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2011 Commencement Catalog featuring work from the graduating MFA class and an essay by esteemed critic Donald Kuspit