Page 1



Gordon Knox / President Diana Buchbinder / Chief Human Resources Officer Ann Dabovich / Vice President of Institutional Advancement Heather Hickman Holland / Vice President of Operations and Facilities Yasmin Lambie-Simpson / Vice President and Dean of Student Affairs Katie Hood Morgan / Curator of Exhibitions and Public Programs Elizabeth O’Brien / Vice President of Enrollment and Marketing Jane Reisman / Chief Financial Officer Jennifer Rissler / Vice President and Dean of Academic Affairs Anne Shulock / Chief of Staff Claire Daigle / Director, Master of Arts Program Tony Labat / Director, Master of Fine Arts Program Zeina Barakeh / Assistant Dean of Academic Affairs Niki Korth / Manager of Graduate Administration John Seden / Director of Operations and Facilities Jeremy Simmons / Operations and Facilities Manager, Fort Mason Campus Jack Darawali / Evening Operations Coordinator, Fort Mason Campus Š 2018 San Francisco Art Institute San Francisco, CA 94133 All rights reserved. No part of this book may be reproduced without the written permission of the publisher.

2018 MFA / MA CONTENTS 1 Message from Gordon Knox, President 3 Graduate Programs MASTER OF FINE ARTS / ARTIST PAGES 5

Message from Tony Labat, Director, Master of Fine Arts Programs


Graduating MFA Artists


Message from Claire Daigle, Director, Master of Arts and Dual Degree Programs


Graduating MA Scholars


Collaborative Projects




Walter and McBean Galleries


Diego Rivera Gallery


Main Gallery and Gray Box Gallery


Swell Gallery


Visiting Artists and Scholars Lecture Series


Graduate Lecture Series


PhotoAlliance and Special Events












Message from the President It is an absolute highlight of my year and a half as President of the San Francisco Art Institute to congratulate the 2018 graduates of our MFA, MA and Dual Degree programs. During your time here you have dedicated yourself to your creative practice or research, following individual curiosities and callings in the midst of a dynamic community of faculty and peers. You also hold the distinction of being the first class to work out of SFAI’s new campus at Fort Mason Center for Arts & Culture. From the moment we opened this facility in August 2017 it was spectacular: overlooking the blue Bay with a dead-on view of the Golden Gate Bridge, spacious and airy and bright—an elegant example of adaptive reuse of a historic pier shed. But it was also empty, with seemingly miles of clean white walls, vacant galleries, uninhabited studios. This beautiful shell of an art school was waiting for its artists. And you all took up the challenge of a blank canvas and filled this space with glorious art and ideas and color and life. Over the last few years, Fort Mason Center for Arts & Culture has become a premier showcase for contemporary art in the Bay Area, and SFAI will both benefit from and lead that charge as we reclaim our place in the heart of the cultural life of the city. We envisioned the roll-out and celebration of SFAI’s presence at Fort Mason as a year-long arc of exhibitions and public programming, with the MFA show as the culmination of this inaugural year, sure to be recorded as a breakthrough.

I’m so proud to now see your work on display, turning this untested space into unique exhibition environments and cohesive presentations across all imaginable media. There are countless examples in the show, and in the pages of this accompanying catalogue, of how the work of SFAI students gives voice to a world that is timeless and yet of the moment, made of material yet conveying the intangible. Artists ask the most challenging of questions and communicate them sublimely, moving ideas, emotions and insights from one head and heart to another. As you complete your time at SFAI, know that these skills and capacities are those most required to drive societal changes and address the great challenges of our time. On a much bigger scale than a building, the world needs your art and ideas and color and life. Thank you for what you have accomplished here at SFAI and for all that you gave to our community as we embarked on a new chapter. And again, congratulations!


Gordon Knox President


Graduate Programs


MFA IN STUDIO ART WITH OPTIONAL EMPHASES Questions, curiosity, dialogue, and invention drive the philosophy of SFAI’s two-year Master of Fine Arts (MFA) program, which provides a dynamic interdisciplinary context for emerging artists to advance their work, while exploring the theoretical, sociopolitical, and creative concerns of the contemporary moment. Student-artists use their own questioning to guide their coursework and build the skills necessary to sustain a lifelong practice in the arts. Concepts are emphasized over technical proficiency, and artists are encouraged to experiment widely across media. SFAI’s optional emphasis enables students to focus their interests (if helpful to their work) without being tied exclusively to one medium. Throughout the program, students work independently in the studio and in the field; meet with faculty one-on-one in graduate tutorials; participate in small, faculty-led critique seminars; and take idea-driven critical theory and art history courses. They also create numerous projects on their own through the relationships they forge here—publications, off-site exhibitions, international collaborations, and placemaking events have all emerged from the graduate cohort. The culmination of the MFA degree is the MFA Exhibition— a prestigious show, annually acclaimed for its raw, cuttingedge creative output. OPTIONAL MFA EMPHASES Art and Technology/Film/New Genres Painting/Photography/Printmaking/Sculpture LOW-RESIDENCY MFA IN STUDIO ART SFAI’s Low-Residency Master of Fine Arts (MFA) in Studio Art program offers the rigor and artistic community of the full-time program in a flexible format ideal for individuals who wish to advance their creative work while maintaining a professional career or personal commitment. Over three years, student-artists work with SFAI faculty during intensive eight-week summer sessions in San Francisco, and independently through mentored, off-site, one-on-one study during the fall and spring semesters. During the summer, students in the program have studio space at the Fort Mason Campus and access to all of SFAI’s facilities. Summer sessions combine critiques, art history and critical studies seminars, visiting artist lectures, and individualized tutorials to create a comprehensive studioand research-based curriculum. Students participate in Summer Reviews and Winter Critiques in San Francisco each year, and the program culminates with the MFA Exhibition.

MA IN HISTORY AND THEORY OF CONTEMPORARY ART / EXHIBITION AND MUSEUM STUDIES SFAI’s Master of Arts (MA) programs provide a generative context for advanced scholarly inquiry into the ideas, institutions, and discourses of contemporary art, challenging students to expand skills of analysis, questioning, and creative problem solving to prepare for a lifelong commitment to art and ideas. SFAI’s scholars are creative practitioners who work side by side with MFA candidates with one difference—their creative materials are ideas and words. MA candidates participate in art history and critical theory seminars, as well as research and writing colloquia; they also have opportunities for curating, internships, and travel. These cross-disciplinary offerings prepare students to cultivate an individualized course of study that will lead to the final research thesis—a book-length work of creative scholarship. The Collaborative Projects provide a forum for students to take their work into the public sphere—and to collaborate professionally with their peers—with an exhibition, symposium, or site-responsive project. The final MA Symposium introduces MA graduates to the Bay Area academic community in a highly celebrated public forum. DUAL DEGREE MA/MFA SFAI’s Dual Degree MA/MFA programs are designed for students whose practices cross the boundaries of art and scholarship. • The Dual Degree with an MA in History and Theory of Contemporary Art (HTCA) equips students to engage theory, history, art, and culture at their points of intersection. • The Dual Degree with an MA in Exhibition and Museum Studies (EMS) considers how socioeconomic, political, and cultural contexts affect creative production, and how exhibitions become contemporary art. Both programs incorporate an MFA in Studio Art with Optional Emphases (Art and Technology, Film, New Genres, Painting, Photography, Printmaking, Sculpture) that provides a dynamic interdisciplinary context for emerging artists to advance their work. The program culminates at two key moments: at the end of the second year, students participate in the MFA Exhibition; by the end of the third year, students complete a written thesis and participate in the final MA Symposium. The signature Collaborative Projects course can be taken anytime during the three years.

A robust summer Graduate Lecture Series provides opportunities for direct dialogue with contemporary artists.



MFA / Artist Pages Water and Space, Ends and Beginnings. The new Fort Mason Graduate Center, which was inaugurated last September, sits on and is surrounded by water. Every time I arrive at the center, no matter what the weather is like—foggy, sunny, serene, or rough waters—it is an overpowering experience. There’s a calmness that opens the mind, and comforts the soul. Besides the surrounding waters, the new facility’s design provides openness conducive to a feeling of community. Conversations and salutations are constant, and unavoidable. This wave, the graduating class of 2018, has gone through moving from the former Graduate Studios in the Dogpatch, with studios on the second floor of an industrial complex, to settling into a new home last summer. These artists did it with amazing energy, forging forward with continuous commitment to concentrate on the work at hand—an experience that forms a foundation for their future, as artists constantly deal with the balancing act of life and work. Challenges and adversity provide a catalyst for growth; every opportunity provides the potential for both teaching and learning. I deeply believe that the surrounding water helped make the transition smoother. Now, after all this, the MFA Exhibition is here upon us. It is the proof, the fruits of the labor, demonstrated by an amazing and strong exhibition. Art is powerful in so many different ways, proven in this exhibition by the diversity of forms, materials, approach, and styles, as well as the cultural diversity due to its international community within the student body. It could be said that the MFA Exhibition signifies the next chapter, the launching of the future for these artists. It has been an honor and pleasure to feel that in some way I’ve had a role in their experience, witnessing the development of their work, and struggles, with commitment and perseverance. I look forward to their collective future endeavors, and welcome all of them to the long and illustrious extended family of SFAI. Congratulations!

Tony Labat Director, Master of Fine Arts programs


Douglas Angulo Born/Home Riverside, California Education MFA Studio Art, 2018

Through an interdisciplinary artistic practice, I explore the visceral, the intuitive, and the act of perception. I create light boxes that evoke a direct and ecstatic response. Using abstract gestural marks, sometimes applied directly to the wall, I explore impulsive movements and subconscious intentions. By documenting and presenting my drawing process, I bring attention to the expression and spectacle of my bodily mark-making. douglasangulo.com


(Top to bottom, left to right) Untitled 2017 Charcoal on paper, LED lighting, acrylic panel, and diffusion film 60 x 84 x 4 inches Do You Believe in Art? 2017 Performance still 2:30 hours Sensuous Portal 2017 LED lighting, acrylic paint, spray paint, acrylic panel, and aluminum composite panel 30 x 24 x 3 inches

Emily Benz Born/Home Portland, Oregon Education MFA Studio Art, 2018

Painting has always been my control, a tool that I use to orient myself in the world. My practice explores the concepts of existential rationale and cognitive distortions. Recently, I have dealt with themes of self-loathing and narcissism, routine and ritual, and failure and success. My process involves rendering abstract-figurative content onto paper or canvas, where I then often reflect, redact, or mask particular elements and objects, emphasizing mark-making as an act of cognizance. emilybenz.com


(Top to bottom, left to right) Albina 2017 Watercolor on stretched paper, Corian, and stainless steel 25 x 21 x 30 inches Cinema 2017 Oil, spray paint, and graphite on canvas 39 x 36 inches 66th 2016 Gouache on Corian 10 x 13 inches

Bridget Bittman Born/Home Concord, New Hampshire Education MFA Studio Art, 2018

I am interested in the complexity of human presence within space, physically and psychologically. The horizon line is an indicator of spatial experiences; the human perspective, lived and remembered, consists of a reorientation of distorted and vanishing landscapes. Through repetitive, yet minimal, series of oil on panel, I address the distorted structure of human perception. Color and form, engaged with elongation of scale, imitate the spatiality of memory and its orientation with the horizon line. bridgetbittmanart.com


(Top to bottom, left to right) Red Line 2017 Oil on panel 5 x 210 inches Granada 2017 Oil on canvas 30 x 40 inches Mecca 2017 Oil on canvas 36 x 48 inches

Julia Blume Born/Home New York, New York Education MFA Studio Art, 2018

Through painting, installation, and performance, I both resist and come to terms with my inability to access the lives and mental worlds of other individuals and species. Layered, iterated drawings and the alluring falseness of image creation point to the development of an individual’s perception of nature, while historical iconography, pseudo-natural intrusions, absurdity, and self-erasure create mirrors to wilderness experiences. julia-blume-art.com

(Top to bottom, left to right) All titles of artwork are quotations from The Peregrine, by J. A. Baker. At last, yet one more of all the distant pigeon-like birds, that till then had always proved to be pigeons, was suddenly the peregrine. 2017 Charcoal, acrylic, and oil on canvas; eucalyptus, hemlock, willow, latex paint, and wig Dimensions variable In long grass 2017 Charcoal, acrylic, and oil on canvas 60 x 65 inches The stony places 2017 Charcoal, acrylic, and oil on canvas 28 x 30 inches


Hilary Bond Born/Home Baltimore, Maryland Education MFA Studio Art, 2018

Meditation and movement guide me through challenges and are the foundation of my art. Working in a variety of two-dimensional media—soap, makeup, and marker—pushes me to explore the sculptural and performative possibilities of these materials. Incorporating the olfactory sense into my painting and sculpture triggers memories and creates an individual experience. I am challenging traditional materials, artmaking, permanence, spontaneity, stillness, and action in my work, while mentally and physically exploring contemporary femininity. hilarybond.com


Untitled 2017 Marker on Dura-Lar, performance still, and rope Dimensions variable

Katherine Boxall Born/Home Ottawa, Canada Education MFA Studio Art, 2018

My work focuses on figurative painting. The body has always fascinated me as the emblem of one’s character. My paintings are about the expanding definitions and contexts of femininity, sexuality, and identity expression in Western culture. katherineboxall.com

Thinking of You, Ruminating, and Fold, installation view 192 x 300 x 120 inches Thinking of You, left 2017 Oil and pastel on canvas paper 55 x 30 inches Ruminating, center 2017 Oil on canvas 180 x 96 inches Fold, right 2017 Oil and spray paint on canvas 96 x 72 inches


Timothy Dean Brown, Jr. Born/Home Turlock, California Education MFA Studio Art, 2018

My work explores the darkness that resides in each and every one of us through the gaze of a fairy tale. Each story begins as a critique, an examination that needs to be addressed, and slowly builds itself into a narrative. I select the characters and what they represent, playing with queer-centric motifs such as exaggerated makeup, dramatic apparel, and androgyny, which produces its own symbology. timothybrownjr13.tumblr.com

(Left to right, top to bottom) Shoot-Up Spinster 2017 Colored pencil, pigment marker, charcoal, and graphite on paper 30 x 22 inches Kiss 2017 Colored pencil, pigment marker, charcoal, and graphite on paper 22 x 30 inches The Moth Dutchess 2017 Colored pencil, pigment marker, charcoal, and graphite on paper 30 x 22 inches Golden Knave 2017 Colored pencil, pigment marker, charcoal, gold leaf, and graphite on paper 30 x 22 inches


Rafael Bustillos Born/Home Culiacรกn, Sinaloa, Mexico Education MFA Studio Art, 2018

My work uses the mute language of materials in a dialectical fashion; it aims to elevate the status of those industrial and utilitarian materials by using them within a fine art context. In this way, I endeavor to move the viewer to contemplate the sublime. By producing paintings made by using common construction materials and by building sculptures with fabric, paper, and cement, I make work that is soft but that appears to be strong. rafaelbustillos.com

(Left to right, top to bottom) Sierra Nevada 2017 Tart paper, cement, joint compound, and house paint 60 x 108 x 40 inches Untitled 2017 Tart paper, cement, joint compound, and house paint 144 x 60 x 20 inches The Formation 2017 Tart paper, cement, joint compound, and house paint 156 x 120 x 30 inches Eclectic Fetish 2017 Tart paper, cement, joint compound, and house paint 120 x 360 x 12 inches


Henry Chambers (Clockwise from top left)

Born/Home Northern California Education MFA Studio Art, 2018

I consider the little everyday pressures that add up to quietly loom in the background of our lives. Is our digital democracy here to distract us from the fact that 97% of all currency is based on debt? I explore how these tensions affect our relationships to each other while we attempt to hold on to the good memories. instagram.com/digital_henry

Family Dinner 2017 Television monitors, video, furniture, and rope 336 x 120 x 72 inches 1-minute loops No Worries 2017 Couch and redacted bills 31 x 34 x 39 inches Past Due, right side detail 2017 Furniture, window, rope, and redacted bills 108 x 96 x 72 inches Past Due, left side detail 2017 Television monitor, static, furniture, rope, and redacted bills 108 x 96 x 65 inches


Netflix & Bills 2017 Television monitor, static, furniture, rope, and redacted bills 96 x 96 x 144 inches

Huiling Chen Born/Home Nantong, China Education MFA Studio Art, Film, 2018

A majority of people may take artificial intelligence and cloning as predictable outcomes of this millennium and illuminate the possibilities that a science explosion could bring for this current era of humankind. Indeed, my works rely a lot on the existence of new machinery, but I tend to depict them as those bygone stories that have recurred for a million times in almost every epoch of mankind: the battle between our impenitent animality and endeavor for self-cognition. rver90.me


Stills from 202 2017 HD video 5 minutes

Kai Chen Born/Home Wuhan, China


(Left to right) Futile Devices #1 2017 Acrylic on canvas 68 x 60 inches

Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019

Futile Devices #2 2017 Acrylic on linen 68 x 60 inches


Barrett Cooney Born/Home New York, New York Education MFA Studio Art, 2018

My work is contemporary satire rooted in historical  modes of illustration and painting. In my practice, loose and recycled canvas escapes the preciousness or framed work and mimics signage or print media. This reflects a focus on communication and combats the usual elevation of the subject in conventional portraiture. barrettcooney.com

(Left to right, top to bottom) LAUGH LAST/LAST LAUGH 2 2017 Acrylic and charcoal on  canvas drop cloth 108 x 144 inches LAUGH LAST/LAST LAUGH, installation view 2017 Acrylic and charcoal on  canvas drop cloth Dimensions variable Untitled, installation view 2016–2017 Acrylic, charcoal, and colored  pencil on canvas Dimensions variable LAUGH LAST/LAST LAUGH 1 2017 Acrylic and charcoal on  canvas drop cloth 108 x 144 inches


Alysia Davis Born/Home San Francisco, California Education MFA Studio Art, 2018

Romanticizing an apocalyptic future, my work is imbued with escapism, play, and tumultuous color harmonies. Focusing on digital drawings and soft sculpture, my compositions are reminiscent of dreamscapes. Recurring themes include identity and selfgratification. I consider my practice to be a combination of styles, resulting in “pop povera.” alysiadavis.com

(Left to right, top to bottom) Studio View 2018 Variable materials, including fabric and vector drawing  digitally printed on silk Dimensions variable Haven’t Got a Pot to Piss In 2016 Ken doll head, fabric, thread,  coat rack armature, and Diego Rivera mural Dimensions variable Beer Koozie 2017 Vector drawing Dimensions variable


Dudley Born/Home Eldridge, Iowa; Davenport, Iowa Education MFA Studio Art, 2018

I believe money and the capitalist system to be a bane against true freedom. Buying fancy art supplies just simply isn’t necessary. I create curious, poetic, static beauty that moves in its place out of nothing but what would be considered garbage to most. It takes a bit of pondering to see that my work exists in the space between action and idea.

(Top to bottom, left to right) Fountain 2018 Found water spout and pink tape 8 x 2 x 0.5 inches Styrorange 2017 Found styrofoam 9 x 1 x 6 inches Dangling Proposition 2017 Found wire, found bike chain, and rubber band 29 x 3 x 12 inches


David Fagan Born/Home San Francisco, California Education MFA Studio Art, Photography, 2018

In The Act of Seeing, I direct a gaze toward the awareness and experience of perception. I explore the subjects of personal vision, solitude, and reflection to examine the tension between internal and external spaces. Looking out, looking in, and peering through represent acts of contemplation. Tropes of seeing present an opportunity for both metaphysical and physiological activity. In these pictures I invite the viewer to reexamine the traditional functions and expectations of looking.

(Clockwise from bottom left)


One Eye 2017 Archival inkjet print 26 x 40 inches


Beyond the Curtain 2017 Archival inkjet print 26 x 40 inches A Peering 2017 Archival inkjet print 26 x 40 inches Cloudy Days 2017 Archival inkjet print 26 x 40 inches

Jessica Fertonani Cooke Born/Home São Paulo, Brazil Education MFA Studio Art, 2018

I utilize performance, video, and installation to expose the body as a hybrid-type (half-civil/half-animal, nature/non-nature) and its acceptance/rejection of postcolonial and capitalist society. I discuss the hybrid in transformation between dysfunction and cure with the underlying question: How can the body (spanning from historical/political/spiritual/biological/mythological/ emotional/ancestry) carry the weight of personal and collective experience, and how does this propagate in one’s self, into a nation and into the land? jessicafertonanicooke.com


The Spectacle of the Snake II 2017 Performance 26 minutes

Jer Garver Born/Home Chicago, Illinois Education MFA Studio Art, 2018

Via assemblage, collage, and drawing, my work uses birds as poetic devices to explore intersections of geographic identity and queerness. Also significant to my practice are themes of consumer culture and nostalgia, and how the two can be inherently linked. jergarver.com

(Top to bottom, left to right) Timeline Scroll, detail 2017 Found objects, acrylic, thread, and nail polish on canvas 12 x 60 inches A Queer Manifestation: Pantanal 2017 Watercolor, drawing pigment, and collage on wood panel 20 x 16 inches Self-Portrait/Bird Collage 2017 Drawing pigment on paper 44 x 30 inches


Abby Gregg Born/Home Athens, Georgia Education MFA Studio Art, 2018

I’m interested in the complexity of living beings, who require defense mechanisms, membranes, and extensions of themselves to provide a barrier between personal sanctuary and environmental space. My process of layering is reminiscent of stratified geologic time, while imagining a moment of post- or pre-human ecological influence. I hope to embrace artmaking’s ability to be a world-building conduit between the familiar and the unseen. abbygregg.com abbygregg.bandcamp.com


(Top to bottom, left to right) Interference Web 2017 Acrylic and collage on canvas 12 x 40 inches Envoy 2017 Acrylic and collage on canvas 36 x 60 inches Syphoned Bloom 2017 Acrylic on canvas 48 x 96 inches Emotive Knit 2017 Acrylic on canvas 40 x 120 inches

Danielle Halford Born/Home United States Education MFA Studio Art, 2018

My body of work is informed by the experiences of everyday life, my cultural background, and is often specific to my physical location or past places of residence.

(Top to bottom, left to right) Ginger Rain 2015 Acrylic, oil, spray paint, and resin on wood panel 24 x 24 x 2 inches Low Country Kettle, detail 2017 Oil on canvas 84 x 84 x 2 inches


Chaos in D Major 2016 Acrylic and oil on wood panel 48 x 96 x 2 inches


Jordan Holms (Left to right, top to bottom)

Born/Home Vancouver, Canada Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019

In consideration of the fundamental relationship between painting, sculpture, and architecture, I’m interested in the intimation of space. Translating built environments, both domestic and industrial, into compositions that elicit the occupation and vacation of space, my work agitates the boundaries between the here and now, and the then and there. jordanholms.com

Vacation II 2017 Acrylic on canvas 32 x 23 inches Fabric Sandwich IV, side view 2017 Fiber fill, acrylic, rayon, velvet, burlap, wool, polyester, cotton, blended synthetic fabrics, bubble wrap, foam mats, carpeting, curtains, terry cloth bath towels, dish cloths, transportation blankets, carpet insulation, canvas, scrubbing brushes, and plumber’s tape 38 x 30 x 8 inches Fabric Sandwich IV 2017 Fiber fill, acrylic, rayon, velvet, burlap, wool, polyester, cotton, blended synthetic fabrics, bubble wrap, foam mats, carpeting, curtains, terry cloth bath towels, dish cloths, transportation blankets, carpet insulation, canvas, scrubbing brushes, and plumber’s tape 38 x 30 x 8 inches


Yan Huang Born/Home Shanghai, China


(Left to right, top to bottom) 20>20 2016 Oil on canvas 48 x 48 inches

Education MFA Studio Art, 2018

Fasting 2017 Oil on paper 40 x 48 inches All I See Is YOU 2017 Oil on canvas 24 x 24 inches


Lucien Jeanprêtre Born/Home Switzerland Education MFA Studio Art, 2018

The Confidential Theater is a mythology about a species of machine-like beings inhabiting a mysterious and playful world. This fragmented tale summons multiple tools and characters that build situations and activities in an attempt to manipulate the notions of entertainment, expectation, danger, logic, and absurdity. The Confidential Theater haunts and controls Lucien Jeanprêtre, who worked as a magician, scriptwriter, set designer, juggler, and actor. –An Emissary of The Confidential Theater lucienjeanpretre.com 27

(Top to bottom, left to right) Unsummon, featuring a Demon of The Confidential Theater 2017 Video performance 6:33 minutes Traveler, detail 2017 Performance still Duration variable Trap Sculpture 2017 Wood, tripwire, weight, and gravity 1 second

Keldon Jiménez Born/Home Pretoria, South Africa Education MFA Studio Art, 2018

When I think about “my” thoughts for long enough, their binds begin to unravel; and as I sit in a web of tangled “understanding,” I am suddenly still . . . How much of this is mine and how much was given to me? I wish to escape the limits of “language” and explanation through fully immersive emotional experiences. These sound spaces echo iterations of my thoughts, feelings, and questions through resonance and vibration.


Bloom 2017 Video Duration variable

Gígja Jónsdóttir Born/Home Reykjavik, Iceland Education MFA Studio Art, 2018

I construct situations that challenge the boundaries of documentary and performance art. Working with facts and fantasies, rules and chance, I seek ways to investigate and portray contemporary social structures and life values. Through live performance, video, sound, and installation, I explore the concepts of alienation, the family, nostalgia, norms, taboos, and traditions. gigjajonsdottir.com


(Top to bottom) Meat Market 2017 Two-channel video 9:19 minutes Three Generations of Pink 2018 Video 42:65 minutes Parents 2017 Video 1:05 minutes

Kuo-Chen (Kacy) Jung Born/Home Taipei, Taiwan Education MFA Studio Art, Photography, 2018

Through photography, sculpture, and site-specific installations, I investigate the way identity is constructed and reassembled during the process of socialization. I believe that no one is immune to the influences of their surrounding cultures and environments. By using my experience as a starting point, the interconnections and conflicts that exist between the individual and society are analyzed. kcjung.com


(Top to bottom, left to right) Untitled 2017 Archival inkjet print 52 x 72 inches Voices in My Head 2017 Earthenware 14 x 18 x 9 inches Free Will Is an Illusion 2017 Printable inkjet fabric, resin, spray paint, and iron 21 x 16 x 20 inches

Sara Knight Born/Home San Francisco, California


(Left to right, top to bottom) Silent K 2017 Textiles 36 x 24 inches

Education MFA Studio Art, 2018

Sorry Cake #1 2017 Cake Dimensions variable Carry the Weight 2017 Collage 12 x 12 inches


Steph Kudisch Born/Home Houston, Texas; Portland, Oregon; San Francisco, California Education MFA Studio Art, 2018

Sukkot symbolizes the state of refuge that I find within my queer, disabled, and Jewish communities. I depict people in my life who are living resistance to heteronormative and ableist power structures. Installations created with silkscreen, sound, and video construct spaces that illustrate our othered bodies within a world of indeterminacy. We build our sukkot to reimagine possibility, forming collective environments where we hold ourselves accountable. stephkudisch.com


(Top to bottom, left to right) Sukkot, installation view 2017 Multimedia screenprint on paper, sound, and projection Duration variable Surfacing 2017 Indeterminate sound patch Duration variable Sukkot 2017 Screenprint, acrylic, and india ink on paper 38 x 50 inches

Kate Laster (Clockwise from top left)

Born/Home Anchorage, Alaska Education MA/MFA, History and Theory of Contemporary Art/Studio Art, Printmaking, 2019

My work is about the people we carry with us. There is a cumulative intensity to my work as I explore tenderness and the space between people—the wordless distance and closeness defining relationships. The process of carving reveals the figure, keeping that specific intensity alive. Working either intimately or monumentally, I make work connected to the weight of the past, human migration, and the effervescent exhaustion of romantic love. katelaster.com

Keep the Light Under Your Tongue When You Speak the Words, detail 2017 Woodcut matrix 96 x 48 inches Passport Project 2016–ongoing Linocut prints Dimensions variable Tiny Ring: Ketubah 2017 Woodcut matrices (diptych) 96 x 96 inches Tongues 2017 Family snowshoes and woodcut prints 48 x 36 inches Tender 2016 Woodcut matrix 60 x 48 inches


Alexis Lastomirsky Born/Home Warren, Michigan Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019

My work is informed by the distant memory, deconstructing the difficult process of recalling moments from childhood and the ephemeral sentimentality that proceeds. I explore impressionistic mark-making in order to reveal a monoprint of a transitory entity. The result is a print that embodies a painting, leaving behind a microscopic residue. The marks formed by this arena produce semi-amorphous figures that allow me to assign memories to my actions of compulsory movement and meditation. alexislastomirsky.com


(Clockwise from top left) Floridian Sea 2017 Dish soap and acrylic paint on watercolor paper 41 x 29.5 inches Primped 2017 Dish soap and acrylic paint on canvas 27.75 x 22.75 inches Memory Mass, triptych 2017 Acrylic paint, water, and dish soap on paper 14 x 11 inches each

Haeni Lee Born/Home Seoul, Korea Education MFA Studio Art, 2018

In my artwork, I create deceptive mirrors that do not reflect reality, but reflect a visual representation of the psyche. The spaces are arrangements of mazes with no escape, which stand as a visual metaphor for mental states. There is no one there, and there are many places to hide in my paintings. By emphasizing and omitting certain aspects of reality in my work, I simulate a psychological place to emphasize the feeling of isolation. haenicompany.com


(Top to bottom, left to right) Space: In Layers 2017 Acrylic on plexiglass 18 x 12 inches Space: White Cube 2017 Mixed media on canvas 72 x 60 inches Space: Mirror 2017 Mixed media on wood panel 24 x 36 inches

Tiff Yue Liu Born/Home Shanghai, China Education MFA Studio Art, 2018

My art represents my innate dream-self. My paintings, drawings, and installations are inspired by “drama theory,” perceiving the society as a stage: every entity consists of various stage settings and actors with distinct characters. Each actor is free to change their traits during the performance. A dream represents a stage where human nature materializes in its rawest form. Even more enticingly, dreams represent ultimate freedom, without any moral, time, or spatial constraints. tiffanyyueliu.com


(Top to bottom, left to right) The Silence of Earthly Delights, detail 1 2017 Photo paper and acrylic box Dimensions variable The Silence of Earthly Delights, detail 2 2017 Photo paper and acrylic box Dimensions variable Pale Moon—Nightmare 2016 Ceramic, Chinese rice paper, wax, and water Dimensions variable

Taylor E. Lowe Born/Home Rehoboth Beach, Delaware Education MFA Studio Art, 2018

My work has unveiled itself as a collective anxiety toward the future of feminism. The process of painting large-scale performative figures allows me to honor the power of women’s experiences. I experiment with unconventional painting tools such as mops and brooms. The seductive way in which I use materials and develop compositions reveals deeply personal narratives and vulnerabilities, as well as my spiritual connection to mother ocean. @taylorurlife


(Left to right, top to bottom) Bloodwork, detail 2018 Oil and charcoal on canvas 144 x 78 inches Wild Caught 2017 Oil on canvas 48 x 72 inches Bleeding CafĂŠ 2017 Still from video performance 4:02-minute loop

Briony Maeve Born/Home Brighton, England Education MFA Studio Art, 2018

My transdisciplinary installations utilize a biopunk aesthetic alongside living media and the cultivation of flora in dystopian sustained systems. My work investigates ideas of social ecology, as well as both conceptual and practical resistance to modern-day ecofascism. By highlighting the overlaps of hegemonic and oppressive structures in society, I aim to draw parallels between my interest in biopolitics and environmental health, and my emphasis on intersectionality. www.pastoraldystopia.com


(Left to right, top to bottom) Intravenous Plant Clinic 2017 IV drip, water, beetroot juice, jade plant, meat hook, chain, and grow light Dimensions variable Thirst (Restrained) 2016 Succulents, water, sandwich bags, and mixed hardware Dimensions variable Smash and Grab 2017 Tank, blue bulb lamp, bonsai, smash-and-grab glass, ceramic eggs, UV pigment, moss, and barbed wire 12.5 x 20.5 x 10.5 inches

Anna Marchetti Born/Home Nashville, Tennessee Education MFA Studio Art, 2018

My paintings explore feelings of isolation, obsession, hope, and longing. Working on the floor across the surface of the paper, I begin with large, gestural washes but finish with tight, knotted lines. Essentially, I construct a web of ink in which each new mark responds to the last. Although the forms I create have a biological sensibility, I am not interested in illustrating nature, but in describing emotional environments that momentarily consume us.

(Left to right, top to bottom) And They All Fall Down 2017 Acrylic ink on yupo 84 x 60 inches In Too Deep 2017 Acrylic ink on yupo 60 x 96 inches Other Side 2017 Acrylic ink on yupo 60 x 90 inches Vestige 2016 Acrylic ink on mylar 24 x 36 inches


Alexia Marouli Born/Home Athens, Greece


(Clockwise from top left) Suppliance 2016 Acrylic on canvas 22 x 14 inches

Education MFA Studio Art, 2018

Lilith 2017 Acrylic on canvas 84 x 53 inches Untitled 2018 Acrylic and oil on canvas 27 x 10 inches


Alberto Mayer Born/Home Havana, Cuba Education MFA Studio Art, 2018

As a native-born child from Havana, Cuba, living most of my life within the confines of US hegemony, my practice deals with an evolving concept of authenticity of self through the lens of postcolonial theory. My live performances are based on loss and separation, as well as conquering the self-will to survive within the struggle of life. This vacillating personal and cultural confusion can only exist within the structural models of late capitalism and neoliberalism. maycar1.wixsite.com/website


(Top to bottom) Circo Dufflar 2017 Mixed-media documentary film 15 minutes Afloat 2017 Documented performance 9 minutes Anchor Out 2017 Documentary film 15 minutes

Emily Meisler Born/Home Birmingham, Alabama Education MFA Studio Art, Sculpture, 2018

My work explores the constant cycle of growth and  destruction that both nature and industry inflict on each other. Each sculpture is composed of natural, biological forms that are combined with industrial materials to show the resiliency of nature in an increasingly industrial society.

(Clockwise from top left)


Split Foundation 2017 Annealed steel wire and concrete 40 x 125 x 5 inches


Trifolium 2017 Annealed steel wire and pig intestine 24 x 24 x 5 inches Suspension 2017 Annealed steel wire and concrete 72 x 26 x 15 inches

Nick Mittelstead Born/Home Chicago, Illinois Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019

My practice revolves around the use of labor icons at their material apotheosis. My works exist in flux, elevated by their materiality and burdened by their use, and so exemplify the paradox of labor: it is both a fetishized practice and a Sisyphean task. By creating a conversation between material elevation and unceremonious use, my pieces seek to understand and explore the plurality of meaning in work over time. nickmittelstead.com


(Left to right, top to bottom) Mdus Perandi II 2017 Indigo, linen, enamel, and brass 108 x 162 inches Add Finitum 2017 Neon and timer 70:35:24 hours Belt Drone I 2017 1961 Lombard chainsaw 12 x 35 x 12 inches

Nasim Moghadam Born/Home Tehran, Iran


(Clockwise from top left) Self Hood 3 2017 Archival inkjet print, staple, and chipboard Dimensions variable

Education MFA Studio Art, 2018

The Unbearable Lightness of Being 2017 Video 2:12-minute loop Self Hood 1 2017 Archival inkjet print, staple, dirt, and chipboard Dimensions variable Self Hood 2 2017 Archival inkjet print, staple, and chipboard Dimensions variable


Vasudhaa Narayanan Born/Home Bangalore, India Education MFA Studio Art,  2018

I address the complexities of social constructs in the  domestic space by using conceptual photographs,  sculptural elements, and performance. My work is  situated within the context of the Indian diaspora,  narrativizing the isolation I experience of being an  outsider in my own home. I confront ideas of otherness  experienced by the female body as a result of growing up  in a patriarchal society that creates cycles of oppression  over women. vasudhaa.com


(Left to right, top to bottom) Menstrual Bindi 2017 Digital inkjet print 30 x 22 inches Contamination 2017 Digital inkjet print 30 x 22 inches Kollam 2017 Performance with rice flour and water Dimensions variable

Zhaoyu Ni Born/Home Shanghai, China

Appendectomy 2017 Film stills 15 minutes

Education MFA Studio Art, Film, 2018


Cheye Pagel Born/Home Colorado Springs, Colorado


(Clockwise from top left) Ernie 2017 Digital inkjet print 24 x 144 inches

Education MFA Studio Art, 2018

Mission List 2015 Digital inkjet print on rice paper and sumi ink 24 x 26 inches Leonard 2017 Digital inkjet print Dimensions variable


Eliza Phelan-Harder Born/Home East Stroudsburg, Pennsylvania Education MA/MFA, Exhibition and Museum Studies/Studio Art, 2019

I am interested in the intersection of environments. My work looks at the interaction of city, nature, and humans with the utilization of organic life, photography, and sound. As an artist, I feel the responsibility to address subject matter our society tends to neglect, including adverse environmental impacts. Creating an immersive environment, I try to provide a starting point for the viewer to begin contemplating their own landscape and what role they play within it.

(Top to bottom, left to right) Petroleum on Seaweed 2017 Chromogenic print 24 x 70 inches Wild Fire Smoke/Ash 2017 Chromogenic print 37 x 24 inches Carbon Dioxide Pollutant, Part 1 2017 Chromogenic print 37 x 12 inches Carbon Dioxide Pollutant, Part 2 2017 Chromogenic print 37 x 12 inches


James Piscitelli Born/Home Martinez, California Education MFA Studio Art, 2018

I am continuously exploring the simultaneous attraction and repulsion of the beauty of deterioration and impermanence as it occurs in the natural progression of life. Obsession and addiction are generated through a fractured reality that occurs when we begin to desire things that are unnecessary. As a result, I obsessively create physical manifestations of this idea in various media in order to try to understand this never-ending cycle. jamespiscitelliart.com


(Top to bottom) Reassurance 2017 Lipstick and acrylic on found objects 56 x 30 x 10 inches Ascenseur Pour L’Echefaud/ Kind of Blue 2017 House paint and acrylic on wood panel 28 x 96 inches

Yin Qin (秦殷) Born/Home Nanchang, China Education MFA Studio Art, 2018

I create my art primarily through photography and film. My photography often illustrates vivid scenes, capturing a quick, touching moment and then expanding viewers’ imaginations. My recent work Flow performs the movement of wind intertwining with hair and environment. My film work incorporates aspects of humor, the unexpected, and the absurd. I wish to transform, to shift our perceptions and values. michelleqin.com


(Top to bottom, left to right) Flow: Cherry Blossom 2017 Digital inkjet print 35 x 79 inches Flow: Burn 2017 Digital inkjet print 42 x 35 inches Flow: Dark Matter 2017 Digital inkjet print 38 x 35 inches

Kate Rannells Born/Home Oakland, California Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019

Processes like accretion, corrosion, erosion, and expansion are all part of the lexicon of matter. I am trying to speak this language using elements such as salt, water, and rust. In doing so, I echo the repeating patterns from the macro to the micro. Brain synapses and slime molds have the same movement patterns as exploding stars and growing cities. I am part of ceaseless creation and destruction, colluding with, and fighting against, entropy. katerannells.com

(Top to bottom, left to right) A Mind in the Process of Remembering and Forgetting 2017 California buckeye branches, metal foil, salt, rust, and flashlights 96 x 120 x 120 inches Dark Matter 2016 Wood and metal 78 x 72 x 3 inches Protection 2017 Leather jacket and glass 24 x 24 x 2 inches The Gold Room: What Will Remain? 2017 Metal foil, imitation gold and gold leaf, sea salt, brine, and cotton 96 x 120 x 120 inches


Sherwin Rio Born/Home Jacksonville, Florida Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019

Perpetually foreign, fitting neither here nor there—I am hanging on a clothesline between two countries. Working at the intersection of cultural identities, I investigate the ways in which belonging becomes blurred. Domestic objects, items of clothing, and houseconstruction materials function as sculpture to reference the home space that became my Philippines in America. Using pieces of personal history as departure points, I ask: Can I ever come to know what’s foreign to me? sherwinrio.com


(Top to bottom, left to right) SEREMONYA 2017 Mixed media installation Dimensions variable GLOVES, detail 2017 Piña jusi, silk thread, nylon rope, and nail 32 x 11 x 6 inches GLOVES 2017 Piña jusi, silk thread, nylon rope, and nail 32 x 11 x 6 inches

Ashley Rowland Born/Home Cleveland, Ohio Education MFA Studio Art, 2018

Skeleton and skins. Stacking and piling. The creative and architectural foundation of my work is rearticulated into three-dimensional paintings. I strip down and build back up each painting’s unique and distinctive story, constructing each narrative within the walls of the paint. Intuitively manipulating materials—primarily discarded house paint—I recontextualize them into paint skins. I capitalize on developing textures and variegated hues within each skin, working to build a visual connection to the tactile sense. ashleyrowland.com


(Top to bottom, left to right) Mildred 2017 Latex paint skins, acrylic, plexiglass, gold leaf, and adhesive 14 x 6 x 4 inches Remnant 2016 Latex paint skins, plexiglass, and adhesive 11 x 8 x 1 inches Bella 2017 Latex paint skins, acrylic, and plexiglass 10 x 8 x 3 inches

Mo Sha Born/Home Yantai, China Education MFA Studio Art, 2018

Among the objects that I record, the living environment around me is one of the key elements. In my work, the appearance of a landscape seems to be an ordinary landscape, but the details are composed of unusual materials—for instance, plastic bags and packing papers, which are materials that have negative impacts on the environment. I present beautiful landscapes by photographing the trash to express my attitude toward the reality of our contemporary environment. moshaphoto.com


(Top to bottom, left to right) Fake Landscape 02 2017 Archival inkjet print 7.5 x 20 inches Fake Landscape 03 2017 Photogram on printing-out paper 8 x 10 inches Fake Landscape 01 2017 Archival inkjet print 14 x 20 inches

Amina Shah Born/Home San Francisco, California Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019

Translational Mediations. In my art practice, I situate the work within historical contexts—culling from personal history, then from wider social, political, and cultural contexts. Utilizing the history of subjects and mediums with which I work, appropriating images from mass media and from systems of knowledge production, I am questioning both what is included and excluded, what is archived and what remains ephemeral. Translation becomes a tool to dissect divisive rhetoric and a site for discursive intervention. translationalmediations.com


(Left to right, top to bottom) Mnemonic I 2017 Hybrid digitized 16-millimeter film 3-minute loop Campbell’s Soup Cans 2017 Archival inkjet print on canvas 36 x 24 inches Campbell’s Soup Cans 2017 Archival inkjet print on canvas 36 x 24 inches Campbell’s Soup Cans 2017 Archival inkjet print on canvas 36 x 44 inches

Jiaming Song Born/Home Beijing, China


(Top to bottom, left to right) WATER I 2018 Mixed media 30 x 40 inches

Education MFA Studio Art, 2018

Pan’s Labyrinth 2017 Oil painting on canvas 36 x 36 inches WATER II 2018 Mixed media 30 x 40 inches


Mika Sperling Born/Home Norilsk, Russia Education MFA Studio Art, 2018

As both a German and Russian citizen, I have always tried to understand our origins as a family. With photography I gained access to remote places and specialized in portraiture. I have at times struggled to understand why the eldest members of my family, who grew up in that far-off land, were so different than I was. Combining photography, video, and sound, I tell stories about family dynamics, loss, and home. mikasperling.de


(Top to bottom, left to right) From the series Six Sisters 2017 Archival inkjet print 9.5 x 8 inches From the series Brothers and Sisters 2014 Archival inkjet print 9.5 x 13.5 inches From the series Brothers and Sisters 2014 Archival inkjet print 9.5 x 7 inches

Lauren Jade Szabo Born/Home Los Angeles, California Education MFA Studio Art, Painting, 2018

My recent paintings are composed of man-made objects in the process of being reclaimed by nature. My subjects are always in an unrestored state, and include billboards, neon signs, incandescent bulb signs, and skytyping. These advertisements have been decayed by the elements. Once containing messages of perfectionism, a dilapidated advertisement is flawed in societal terms. I choose to depict such signs in a state of decay, as advertisements promise a perfect, static, and false outcome. laurenszabo.com


(Clockwise from top left) Comes and Goes . . . (Cloud Bank) 2017 Oil on canvas 84 x 120 inches The Glass Slipper 2017 Oil on canvas 72 x 48 inches Fragment No. 3 (The Golden Age of Television) 2017 Oil on canvas 36 x 48 inches

Alexander Taylor Born/Home Fresno, California


(Left to right, top to bottom) Man and Dumpster 2017 Digital inkjet print 30 x 20 inches

Education MFA Studio Art, 2018

Clothesline 2017 Digital inkjet print 30 x 20 inches Bus Stop 2017 Digital inkjet print 30 x 20 inches


Ana Sophia Tristán Ortuño Born/Home San José, Costa Rica Education MFA Studio Art, 2018

Balance, duality, and masculine-feminine dynamics/ inequalities, examined through personal, familial, and cultural historical identity, have become the basis for exploring pictorial subject matter in my work. The paintings I create have become a way for me to gain physical and emotional agency.

(Left to right, top to bottom)


Balanceando la Dualidad 2017 Acrylic and oil on canvas 40 x 30 inches

El Ser (In/Ex)terior 2017 Acrylic and oil on canvas 48 x 36 inches El Ser (Ex/In)terior 2017 Acrylic on canvas 48 x 36 inches

Circus Act 2017 Acrylic on canvas 48 x 48 inches


Ian Mitchell Wallace Born/Home Glen Ellyn, Illinois Education MFA Studio Art, Painting, 2018

Whereas my older figurative nudes are an entry to the past, with my current work I penetrate deeper into understanding the self that extends past autobiography or canonized art history into scenes of the contemporary. While plumbing my psychosexual thoughts, issues concerning neuroses, masculinity, and fetishism impregnate my paper. The watercolor medium partners naturally with the seminal qualities of sexuality, otherness, and risk against the realism I strive to render.

(Left to right, top to bottom)


The Grapple—Spot I Can’t Reach 2017 Transparent watercolor on paper 30 x 30 inches


Tap Out 2017 Transparent watercolor on paper 30 x 30 inches Choke Hold 2017 Transparent watercolor on paper 30 x 30 inches The Fall 2017 Transparent watercolor on paper 60 x 40 inches

Jinning Wang Born/Home China

(Left to right, top to bottom) The Survivors I 2017 Digital inkjet print and Sonoma’s burned ashes 50 x 34 inches

Education MFA Studio Art, Photography, 2018

The Survivors II 2017 Digital inkjet print and Sonoma’s burned ashes 50 x 34 inches   The Survivors IV 2017 Digital inkjet print and Sonoma’s burned ashes 50 x 34 inches Burnt Oranges 2018 White clay Dimensions variable


Chasen Wolcott Born/Home San Francisco, California; Los Angeles, California Education MFA Studio Art, 2018

Hesitation kills. The speed of modern life gives me adrenaline to paint faster with confident decision-making and control. Obsessed with a variety of applications using charcoal, oils, acrylics, graphite, and ink, I process reallife situations, then unleash artistic fascinations through painterly gesture. I also commit to slow the brush and downshift through moments, making visible the process of searching through a new form of beauty: the beauty of speed. chasenwolcott.com


(Left to right, top to bottom) Renaissauce 2017 Acrylic and graphite on board 44 x 38 inches Oedipus Complex 2017 Oil on canvas 60 x 60 inches Untitled 2017 Mixed media on wood panel 48 x 48 inches Untitled 2017 Acrylic and ink on wood panel 48 x 48 inches

Connie Woo Born/Home Shenzhen, China Education MFA Studio Art, 2018

I consider myself a physical constitution for conflicts and paradoxes. As multiple becomes one, continuity exists within contradiction, resistance runs over the entity. Concentrating mostly on visual art such as images and videos, I’m trying to justify both renunciation and commitment in timeless fantasy and reality through my exploration of spiritual ego. cconniewoo.weebly.com


(Clockwise from top left) Molt 2017 Digital inkjet print 13 x 24 inches Market 2017 Video 4:36-minute loop This Content Isn’t Digitized 2017 Digital inkjet print 22 x 24 inches

Gaoyu Wu Born/Home Nanjing, China Education MFA Studio Art, 2018

Everyone sees the world differently based on their own experiences and emotions. I use gray tones and textured brushstrokes in my paintings to reflect the mood of depression and sadness that I experienced as a child, and to convey a pessimistic atmosphere. gaoyuwu.com

(Top to bottom, left to right) Santa Monica Beach in My Dream  2017 Oil in canvas  20 x 134 inches Route I, part of a diptych 2016 Oil on canvas  30 x 40 inches Flowing Memory  2016 Oil and tempera on canvas Dimensions variable


Yang Wu Born/Home Taiyuan, China

(Clockwise from top left) Portrait 2016 HD Video 1:18 minutes

Education MFA Studio Art, 2018

Look 2016 HD video 1:34 minutes Me/We 2016 HD video 1:03 minutes Those Lost 2017 HD video 9:35 minutes Longer Than Life 2017 HD video 1:51 minutes


Shihan Xu Born/Home Shanghai, China Education MFA Studio Art, 2018

I am interested in topics on China’s one-child policy, the culture of consumerism, capitalism, and feminism. The one-child policy says a lot about the personalities, social norms, and lifestyles of people of my generation in China. Through my artworks, I’m trying to convey the idea that human beings are overconsuming and suffering from the consequences of our overconsuming.

(Left to right, top to bottom) Dinner Is Ready 2017 Mixed media 36 x 48 x 36 inches Untitled 2016 Mixed media 40 x 17 x 17 inches Cocoon 2016 Plastic string Dimensions variable


Balance 2016 Clay and wood 24 x 36 x 12 inches


Tomy Chuhe Yan Born/Home Guangzhou, China Education MFA Studio Art, 2018

My works are in a conversation with the process of time, the critique of modernity, and social issues. People are defined by the objects they take possession of, objects that are stable pieces of evidence giving proof of our existence. By reconstructing found objects, I retell the stories and present them in a symbolic way; in the meantime, I’m the passenger in this process, creating and diminishing. tomyyan.com


(Top to bottom, left to right) Let Go 2017 Digital inkjet print 10 x 8 inches each The Fish Tank 2017 Mixed media and fish 20 x 20 x 10 inches Red Yellow Blue 2017 Rocking horse, spray paint, and mirrors 45 x 40 inches

Peiyao Zhang (张佩瑶) Born/Home Tianjin, China Education MFA Studio Art, Painting, 2018

I document my life in a series of paintings that show me paralyzed in bed all day, delaying to get up, have breakfast, etc. . . . I lie on my bed doing nothing, but below the surface, I feel nervous. The bright colors of the paintings represent this relaxation on the surface of procrastination. The electronic devices depict how I distract myself from the work I must do and the guilt I feel about not doing it. peiyaozhang.com

(Left to right, top to bottom) The Procrastination: No. 3 2018 Oil on canvas 48 x 36 inches The Procrastination: No. 2 2017 Oil on canvas 36 x 48 inches The Procrastination: No. 5 2018 Oil on canvas 36 x 48 inches The Procrastination: My Bed 2017 Oil on canvas 48 x 36 inches


Zhu Yihong Born/Home Shanghai, China


(Clockwise from top left) My Frankenstein 2017–2018 X-ray films on light box 72 x 48 x 0.5 inches Duration variable

Education MFA Studio Art, 2018

My Frankenstein 2017–2018 X-ray films Dimensions and duration variable Fried Chicken 2017 Oil on canvas 36 x 24 inches


Yuanyuan Zhu Born/Home Nantong, China Education MFA Studio Art, Film, 2018

My artworks focus on identity, gender-recognition, and social issues. We live in a world full of diversity, understanding, and tolerance, while we also experience indifference, discrimination, and violence. I try to raise consciousness and discussion through my works. In order to exemplify, I often present myself in my works to personalize the struggles I face. I illustrate the concept through multimedia works that act as both reflective and connective forces between people and society. vimeo.com/yyzhu


(Top to bottom) “Abnormal� 2017 Projectors, cathode ray tube, and speakers Duration variable Untitled (Keyboard Warrior) 2017 Mixed media 5-minute loop

Si (Zeus) Zou Born/Home Beijing, China Education MFA Studio Art, 2018

My works attempt to express cultural diaspora in modern society with different technologies and a unique approach to media. By technologies, I don’t only mean the cutting-edge ones, but also the ones that are gradually fading away from sight. zeusphoto.myportfolio.com

(Clockwise from top left) iSmart, iLife 2017 Mixed media Dimensions variable Impression 2017 Mixed media Duration variable Impression 2017 Mixed media Duration variable


MA / Thesis Projects Beloved Graduates of 2018, For you, this year, these words:

1. “I call ‘monster’ every original inexhaustible beauty.” Alfred Jarry 2. “This whole world’s wild at heart and weird on top.” Lula, in David Lynch’s Wild at Heart 3. “Who gets to speak and why is the only question.” Chris Kraus 4. “#metoo” Millions 5. “You could build a world out of need or you could hold everything black and see.” Claudia Rankine, Citizen

9. “Art is a tool for fighting.” Tania Bruguera 10. “The artist is an inventor of places [who] shapes and incarnates spaces which had been hitherto impossible, unthinkable.” Georges Didi-Huberman 11. “We’re all makers here.” Dewey Crumpler 12. “Are we smart enough to know how smart animals are?” Frans de Waal 13. “The cat is never on the side of power.” Chris Marker

6. “Maybe meaning is in gazing till it hurts.” Santiago Vizcaíno

14. “So, make kin, not babies! It matters how kin generate kin.” Donna Haraway, Staying with the Trouble: Making Kin in the Chthulucene

7. “The role of the artist is to not look away.” Akira Kurosawa

15. “I could almost be invincible in my vulnerability.” Antony Hegarty, of Antony and the Johnsons

8. “Before mass leaders seize the power to fit reality to their lies, their propaganda is marked by its extreme contempt for facts as such, for in their opinion fact depends entirely on the power of man who can fabricate it.” Hannah Arendt, The Origins of Totalitarianism

16. “Time passes. That’s for sure.” Eileen Myles 17. “Last year’s words belong to last year’s language. And next year’s words await another voice.” T.S. Eliot

In brief: Make. Pay attention fiercely. Hold close the kin you’ve fallen in with at SFAI. Cherish (as we do) the wild, weird, singular, collective, gentle, and gorgeous monsters you continue to become. As always, looking forward. . . Claire Daigle Director, Master of Arts and Dual Degree programs


Stephanie T.F. Baker Born/Home San Francisco, California Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2018 Jay DeFeo and Dorothy Miller in Conversation: A Resurrection of Deathrose, 1959 Forgotten histories materialize in old exhibition catalogues. In the summer of 1959, the artist Jay DeFeo was paid a studio visit by Dorothy Miller. DeFeo was a renowned Bay Area artist, and Miller was the distinguished Curator of the Collections of Painting and Sculpture for the Museum of Modern Art in New York. Miller was talent-scouting the West Coast for her MoMA exhibition Sixteen Americans. The particular painting that caught Miller’s curatorial eye in DeFeo’s studio was Deathrose. DeFeo, however, refused to show the painting in Sixteen Americans—declaring the work unfinished.

Surprisingly, Miller printed a photograph of Deathrose in the Sixteen Americans exhibition catalogue even though the painting was not in the exhibit. Miller was also a key figure in the promotion of postwar Abstract Expressionism worldwide. The moment of refusal between DeFeo and Miller was recorded by the presence of Deathrose in the catalogue’s archive. Was Jay DeFeo a postwar Abstract Expressionist? The question is relevant despite the fact that DeFeo refused assignation of her work to an Abstract Expressionist category—as does all current scholarship of the artist. To engage the question of whether or not Jay DeFeo was a postwar Abstract Expressionist, I argue a dialectical opposition between how DeFeo regarded Deathrose in 1959, in relation to Miller’s aesthetic when the curator selected Deathrose for Sixteen Americans. This analysis is based on the contiguous and distinct relationships between DeFeo and Miller, and it is intended to offer


insight into the creative influences of the time period relative to current painting practice. Both DeFeo’s and Miller’s viewpoints are critiqued according to Art as Experience, the aesthetic work of American philosopher John Dewey. This window into the visual acumen of DeFeo and Miller is interpreted through a resurrection of Deathrose as an autonomous work of art. The source material used to examine evidence of Deathrose includes letter correspondence and transcripts by DeFeo, as well as catalogues of pertinent exhibitions Miller directed for MoMA. sbaker.website

Pile of Exhibition Catalogues: Sixteen Americans, 1959; 15 Americans, 1952; The New American Painting, 1958–1959;  Fourteen Americans, 1946; Americans,1963; New Horizons in American Art, 1936; Americans 1942: 18 Artists from 9 States, 12 Americans, 1956. Collage by Stephanie T.F. Baker 2018

Shanza Elahi Born/Home Lahore, Pakistan Education MA History and Theory of Contemporary Art, 2018 Imagined Publics: Place of the Public in Contemporary Art of Pakistan Set against the backdrop of globalization, transnationalism, South East Asian diaspora, political/economical structures, and colonial history, Imagined Publics navigates the complex cosmology of Pakistani contemporary art in order to ascertain some of the approaches toward public art in the twenty-first century. The focus is both on determining the “public” that such artworks seek to engage as well as inquiring about their “publicness.” These publics are imagined variously as colonized subjects, “national” citizens, transnational audiences, local communities, or even as the art world itself. Through the analysis of three contemporary art projects—City Within a City (2015) by Atif Khan; The Viewing, The Viewer, and The Viewed (2015) by Rashid Rana; and Black Spring (2016) by the Awami Art Collective—this text investigates the parameters within which these artistic efforts envision, address, contest, and reveal the “public.” Considering the trajectory of public art in Pakistan, which remains limited and fragmented, the discussion around these diverse publics opens up a space for dialogue and debate about the growing Pakistani art world. By engaging with notions of the “public,” such artistic endeavors both problematize and inform future art trends. Here it becomes important to understand such artworks as evolving processes rather than as complete art objects, as they continue to shape and reshape themselves and the future of public art. (Top to bottom) City Within a City 2015 Installation at Istanbul Chowk, Lahore © Atif Khan Courtesy of Atif Khan (artist) The Viewing, The Viewer, and The Viewed  (Shuhuud-o-shaahid-o-mashhuud) 2015 Multi-site video installation with camera at Venice and Lahore (view from Venice) © Rashid Rana Courtesy of Rashid Rana (artist)


Elena Padrón Martín Born/Home Canary Islands, Spain Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2018 When Cinema Needs Opera: Arias As Redemption Songs

A prostitute working on Hollywood Boulevard is saved by La Traviata. A gay man with AIDS finds hope by giving a body to Maria Callas while she sings that she is Love. A convict feels free thanks to a duet by Mozart. Opera is said to have humanizing power, but can opera elevate even an outcast? This project analyzes three Hollywood films from the early 1990s that use opera in their most memorable scenes. In Gary Marshall’s Pretty Woman (1990), Julia Roberts’s character is moved by the story of a Parisian courtesan during her first visit to an opera house, and the audience hears Verdi’s aria “Amami, Alfredo! (Love me, Alfredo!)” again in the final scene of the film. Tom Hanks’s character translates the aria “La Mamma Morta”—from Umberto Giordano’s Andrea Chénier—for his homophobic lawyer in Jonathan Demme’s 1993 Philadelphia. Mozart’s duettino from Le Nozze di Figaro transports inmates beyond prison walls in The Shawshank Redemption, directed by Frank Darabont in 1994.

But what makes these scenes so memorable? Why were these particular operas chosen for these films? Is it essential for the viewer to be familiar with these operas or to understand Italian for the scenes to be emotionally effective? To answer these questions, I consider the story told in each opera and decode the texts of the arias used, in order to understand how they are linked to each film’s plot. Moreover, I focus on what happens to the body when it is exposed to opera, and how the viewer identifies with the initiate on screen and mimics their sensorial response. By doing close readings of these scenes, this thesis explores how using opera— instead of an original film score—tends to be more effective when it comes to triggering a transformation not only in the characters, but also in the viewer’s perception of them. In these cases, cinema needs opera and uses its arias as redemption songs.

When Cinema Needs Opera, collage by Elena Padrón Martín 2018 Digital collage with stills from the films Pretty Woman (Gary Marshall, 1990); Philadelphia (Jonathan Demme, 1993); and Shawshank Redemption (Frank Darabont, 1994).


Bertha Rodriguez Born/Home Xalapa, Mexico Education MA Exhibition and Museum Studies, 2018 Mobile Museums: Redefining the Art Experience

Contrary to what we would imagine about the globalized world we live in, the art world circulates from one art capital to another and spreads only to urban areas. This leaves inhabitants from small towns and rural areas throughout the world with less access to diverse art expressions or to the global art context. Despite the large number of digital images of art pieces available online nowadays, the closed circuit navigated by physical art pieces limits particular populations from experiencing the benefits of encounters with artwork that is usually exhibited in museums and institutions. Building on John Dewey’s Art as Experience and the conviction that art is an instrument that fosters the development of creative and critical thinking skills—but, moreover, the belief that art can be a tool for social change and a powerful expression of a community’s voice and identity— this project focuses on the effects of different forms of mobilization that institutions have embraced to achieve their goals.

This research examines different models of international exhibition spaces that, by being mobile, are making art experiences available to diverse publics in a more intimate way. Case studies include The Museé Mobile (MuMo), a French pedagogical museum that was created to bring contemporary work to children outside large urban areas; El Nuevo Museo de Arte Contemporáneo (NuMu), an artistrun, contemporary art museum from Guatemala City that created a replica of its museum to travel to California and function as a temporary pavilion at Los Angeles County Museum of Art (LACMA); and Ceci Moss’s Gas Gallery, a space that operates beyond the confines of the institution, around the Los Angeles area, creating unique experiences that foster community and connection. By analyzing three different components of the art world (museums, artist projects, and independently-run galleries) that have become mobile in different ways, this thesis seeks to point out the importance of the art encounter as an experience and the democratization of this experience.

Art on the Road, collage by Bertha Rodriguez 2018 Collage of images of three components of the art world (museums, artist projects, and independently-run galleries) that are taking art out of the white cube. Clockwise from top left: Le Musée Mobile2 (MuMo), France, 2017; Nuevo Museo de Arte Contemporáneo (NuMu) (original and replica), Guatemala and Los Angeles, 2017; Le Musée Mobile1 (MuMo), France, 2011; Gas Gallery, Los Angeles, 2017. © Bertha Rodriguez Courtesy of Bertha Rodriguez


Weiying Yu Born/Home Zhengzhou, China Education MA History and Theory of Contemporary Art, 2018 (In)visible Cities: Reality and Fantasy in the Work of Cao Fei and Yang Yongliang

This thesis involves the critical assessment of the Chinese contemporary artists Cao Fei (born 1978) and Yang Yongliang (born 1980), particularly as they address the globalized metropolis in their digital works, namely Cao’s La Town (2014) and Yang’s The Day of Perpetual Night (2012). To investigate and review their art practices, I take up the figure of the optical lens. In Cao’s case, the metaphor of kaleidoscopic vision reflects the uncertain global society through the imagination of disaster. In Yang’s case, the metaphor of telescopic vision implies the distance between traditional Chinese landscape painting and contemporary images of the cityscape. In Cao’s work, the globalized city has encroached upon the landscape in ways that are both physical and psychological, while in Yang’s work, nature and humankind are in harmonious relationship. Both artists wrestle with the reality of lived experience, especially those issues that involve the invisible loss and potential dangers of a dystopian future.

In general, the structure and spirit of this project are informed by Italo Calvino’s Invisible Cities (1972). Additionally, the traveling exhibition Cities on the Move (1997–2000) serves as a critical departure for understanding modern cities in Asia and the associated issues of urbanization, Chinese cultural heritage, and aesthetics. Two works from this exhibition, the architectural research on Kowloon Walled City and the installation Ruined City (1995), parallel the work of Cao and Yang, respectively. Close readings of specific art pieces, as well as considerations of the artists’ larger bodies of work, enable me to situate the distinct and complex ways in which Cao and Yang address urban space in relation to the contemporary international art world and to Chinese historical lineage. While Yang draws on traditional forms to create historical continuity that looks inward to the Chinese past, Cao makes these tensions visible in the fantastic worlds she builds on the global stage. weiyingyu.wixsite.com/arts

(In)visible Cities, collage by Weiying Yu 2018 The resource material and inspirations for this collage include Italo Calvino’s Invisible Cities (1972); Yin Xiuzhen’s installation Ruined City (1996); Yang Yongliang’s Heavenly City (2008), Viridescence (2009), The Day of Perpetual Night (2012), A Bowl of Taipei (2012), and The Silent Valley (2013); Cao Fei’s film La Town (2014); and Kowloon Walled City (originally established as a Chinese military fort in Hong Kong in 1989, later developed as an ungoverned and densely populated urban settlement, then eventually demolished in 1993).


Collaborative Projects Collaborative Projects are small, practice-based seminars specifically modeled to provide MFA, MA, and Dual Degree students with pragmatic exhibition skills and professional curatorial experience in a variety of gallery, museum, and archival contexts within and beyond SFAI. Each group works together with an established curator or other professional with expertise in a given field on a current, thematic project. The fundamental aim of the Collaborative Projects is to stage an exhibition with attendant programming and accompanying written materials.

79 79

Playtime: Isaac Julien and the Aesthetics of Risk Faculty Nicole Archer Graduate Students Stephanie T.F. Baker Bertha Rodriguez Weiying Yu Sarira Zali-Raisi Other Student Participants Adrian Burrell Marco Castaneda Cera Deibel Reid Fowler Sam Leishman Dani Melen Miguel Novelo Cruz Ryan Peters Nehemiah Rima-Fleurima Reed Hexamer

Fort Mason Center for Arts & Culture (FMCAC), San Francisco September 23 + 30, 2017 October 1, 7, 8, 21 + 22, 2017 This collaborative project coincided with Fort Mason Center’s exhibition (December 1, 2017–February 11, 2018) of the award-winning artist and filmmaker Isaac Julien’s works—namely, the sevenscreen film installation Playtime (2014); his 2-channel, 2013 film Kapital; and Better Life, a single-screen version of his 2010 film Ten Thousand Waves. The project explored Julien’s oeuvre while focusing on the ways in which the artist’s recent works weave together stories of art and capital through aesthetic explorations

aimed at understanding how chance, pleasure, and risk are (dis)located by the force of global financial markets and the power of individual needs and desires. In particular, the collaborative production of a deck of “playing cards” helped guide Fort Mason viewers through the installations of Julien’s work—in lieu of a traditional exhibition catalogue. Students worked directly with input from the curators at Fort Mason Center, the Napa-based Kramlich Collection, and the artist’s studio in London. Playtime: Isaac Julien and the Aesthetics of Risk 2017 The image of “playing cards” designed by the collaborative project team (James Franco in Playtime) Photographed by Weiying Yu © Isaac Julien Courtesy of Isaac Julien


The Emergency Has Been Every Day Faculty Cristóbal Martínez Graduate Students Yang Bao Henry Chambers Giuliana Funkhouser Abby Gregg Gígja Jónsdóttir Kate Laster Eliza Phelan-Harder Elena Padrón Martín Sherwin Rio Bertha Rodriguez Mika Sperling Yuntong Wu Yourong Zhao Carlsbad Museum and Art Center, Carlsbad, New Mexico; and San Francisco Art Institute May 16–June 23, 2018

Under the mentorship of artist-scholar Cristóbal Martínez, SFAI graduate students formed an interdisciplinary artist collective called Resolana. This collective was formed out of the Spring 2018 Collaborative Projects course, in which students learned methodologies and methods for collaborating at the intersection of Southwestern indigenous and Western knowledge practices. Through the Collaborative Projects course, Resolana was commissioned by the New Mexico–based curatorial collective Atomic Culture to create a work of art for the exhibition Ojalá, which will be installed at the Carlsbad Museum and Art Center in Carlsbad, New Mexico, as well as at San Francisco Art Institute. In their work, The Emergency Has Been Every Day, Resolana draws connections between these locations, which at first glance appear disparate from one another. Responding to the challenges of Atomic Culture, Resolana considers the viability of art to exist and translate across places and contexts. According to Atomic Culture, “Ojalá intends to offer an informal setting in which community members and museumgoers can meet and discuss work that connects to Carlsbad. The exhibition will present interdisciplinary work that tries to gauge paradigm shifts within modes of exchange and cultural

context.” Resolana is challenged by their commission to create a work of art that, according to Atomic Culture, shows “a renewed focus on unconventionality and experimentation which has historically been revived during times of social, political, and cultural upheaval.” The curators go on to state that, “while blurring the lines between mediums, each artist in Ojalá takes into account the viewer’s experience and what it means to be held accountable for representing the artist-viewer relationship.” To rise to these curatorial challenges, Resolana is taking a unique approach to collaboration. It does not function as a hierarchy, nor does it use democratic processes. Instead, the collective chooses to use its own selfdetermination to build group consensus through a process largely based on listening carefully while taking turns delivering public oratory and research to one another. Through this joint inquiry and deliberative process, Resolana is able to patiently co-determine ideas by upholding core values of respect and reciprocity. Resolana is an archaic Spanish word that has fallen out of use. The word loosely refers to a place where warm sunlight is projected. As a metaphor for the recovery of memory and knowledge, the collective stands within this light to reflect the impact of atomic research, in relationship to layers of additional human influences, on the environments located in both Carlsbad and San Francisco.

(Top to bottom) The Emergency Has Been Every Day 2018 A sketch that represents one of many ideas for The Emergency Has Been Every Day Image by Resolana © Resolana Courtesy of Resolana Resolana Collective 2018 Group photo at Fort Mason, San Francisco Courtesy of Resolana



Selected Projects The Selected Projects section provides a glimpse into our students’ extracurricular projects, which contribute to making an exceptional place of learning. Through their off-campus and on-campus exhibitions, lectures and events, publications, creative collaborations, curatorial initiatives, and communitybased projects, our graduate students demonstrate their roles as active members of the larger Bay Area art community.


511 Pop Up Graduate Students Katherine Boxall Chasen Wolcott San Francisco Fall 2017 & Spring 2018

In Fall 2017, collaborators Katherine Boxall and Chasen Wolcott founded 511 Pop Up in San Francisco. Their project converts unused spaces into pop-up gallery exhibitions to help students gain exposure and professional experience off-campus. For their first exhibition, the duo emptied, repainted, and relit Boxall’s living room to create the gallery venue.

(Clockwise from top) 511 Pop Up 2017 Founders Katherine Boxall and Chasen Wolcott Photo by Marco David © 511 Pop Up Courtesy of 511 Pop Up 511 Pop Up 2017 Exhibition From Zuhause, including works from an art exchange between Kunstakademie Düsseldorf and SFAI’s Graduate Programs Photo by Marco David © 511 Pop Up Courtesy of 511 Pop Up 511 Pop Up 2017 Exhibition Pane, including Jordan Holms and Joseph Robertson Photo by Marco David © 511 Pop Up Courtesy of 511 Pop Up


Currently, 511 Pop Up (referred to as “five-one-one”) has moved out of the living room and into spaces open to the public in the city. The project is a continually evolving organization, committed to reaching new, diverse audiences and building artistic community. 511popup.com 511popup@gmail.com

Back from Heaven Graduate Students Rafael Bustillos Alexia Marouli Joshua Zachary Mintz Other Participants Gianna Brusa Jin Clapper Thomas Colcord Rebecca Kaufman Arika Von Edler Bready San Francisco Art Institute December 1, 2017 In this particular project, Rafael Bustillos invited seven artists to paint a slip cast ceramic doll. The ceramic dolls were made by Bustillos. Each artist was responsible for painting one doll. The process of making the slip cast ceramic dolls was intended to make reference to the process of birth. The participation of the other artists was intended to make reference to the process by which human life is shaped by the conditions of its unique environment.

Back from Heaven 2017 Selected dolls hand-painted as part of the Back from Heaven project Photo by Rafael Bustillos


BE A GOOD CITIZEN Graduate Students Kuo-Chen (Kacy) Jung Henry Chambers Lauren Jade Szabo Rafael Bustillos Shihan Xu Diego Rivera Gallery San Francisco Art Institute February 25–March 3, 2018

Capitalism creates an inescapable vested interest that skews and corrupts intent. Wars are waged for the sole purpose of being good for the economy. Is our digital democracy here to distract us from the fact that 97% of all currency is based on debt? This economic inequality is what fuels the machine to keep it rolling along. We are running on a system that needs continuous growth in a world of limited resources. It’s only a matter of time before we run out of things to consume. Our daily lives are

bombarded by advertisements that encourage our preoccupation with accumulating belongings. Free will and freedom, as our drugs of choice, are a feel-good illusion. Spend the seconds of your life working to buy things you don’t need. Is this natural? Don’t question it, just be a good citizen and go back to sleep. After all, you can’t be late for work in the morning. As artists of this group show, we are attempting to challenge the capitalist machine. Don’t forget to buy some of our works on your way out.

(Clockwise from top left) Henry Chambers Seems Legit 2018 Used furniture and electronics with video Dimensions variable Kuo-Chen (Kacy) Jung Free Will Is an Illusion 2018 Used fan, hot glue, spray paint, and archival inkjet on velvet fabric 22 x 21 x 15 inches Rafael Bustillos Skyscraper-ing 2017 Tart paper, joint compound, spray paint, and cement pigments 96 x 60 inches


delay/decay/evade/endure Graduate Students Giuliana Funkhouser Eliza Phelan-Harder Kate Rannells Diego Rivera Gallery San Francisco Art Institute March 12–24, 2018

The collaborative team of Eliza PhelanHarder, Giuliana Funkhouser, and Kate Rannells came together to create a sonic landscape that could be felt and heard. The built soundscape surrounding us all is often unconsidered, resulting in unavoidable immersive experiences that can be harsh and hostile for many. Even as our ears are desensitized to and deadened by the urgent volume of everything, there are many instances in the world where layers upon layers of cacophonous sound continuously act upon our bodies. Wrapped within the sounds of San Francisco’s North Beach neighborhood, the Diego Rivera Gallery is a space of sonic immensity and decay. This is an architectural space where echoes continue long after

sounds have ended. To respond, we built a three-part installation using the gallery’s reverberant qualities to create a space of considered sound. We invited participants to explore and discover sonic experiences designed for an architecture that was built for sight, but not for sound. In conjunction with this exhibition, two additional events took place at SFAI on March 22: an Artists’ CoLabs Panel Presentation and a 4-Channel Sound Art Performance in the gallery where fellow sound artists were invited to try their work within the gallery space. sfai.edu/decay-delay-evade-endure

(Clockwise from top left) Eliza Phelan-Harder, Kate Rannells, and Giuliana Funkhouser Installation view of the Sonic Dome 2018 Steel, wood, ultrasonic speakers, and 4-channel speakers Dimensions and duration variable Photo by Giuliana Funkhouser Eliza Phelan-Harder, Kate Rannells, and Giuliana Funkhouser Installation view of the Spiraling Veil Steel and cheesecloth 2018 Dimensions and duration variable Photo by Giuliana Funkhouser Eliza Phelan-Harder, Kate Rannells, and Giuliana Funkhouser Installation view 2018 Photo by Giuliana Funkhouser All © Giuliana Funkhouser, Eliza PhelanHarder, and Kate Rannells. Courtesy of Giuliana Funkhouser, Eliza Phelan-Harder, and Kate Rannells


Happy Accidents Graduate Student Elena Padrón Martín Site-specific photographic installation for the windows of the west entrance of SFAI’s Fort Mason Campus September 22, 2017–ongoing

The artist’s studio is a place where mistakes, spills, drippings, stains… are all allowed and considered normal parts of the creative process. In contrast, the gallery is a place to show work, but those “accidents” are not allowed; no traces should be left after the show and exhibition rules must be applied. In an attempt to overlap and blend studio and gallery, process and presentation, Happy Accidents, a solo show by Elena Padrón Martín, is a site-specific ­

installation for the windows of the west entrance of SFAI’s Fort Mason Campus. Featuring photographs of the paintcovered floor of the painting studios at SFAI’s Chestnut Campus, Happy Accidents insists on the relationship between painting and photography, emphasizing the aesthetics of negative images and the inversion of history, which are enhanced as they are back-lit by the sun. elenapadronmartin.com

(Top to bottom, left to right) Elena Padrón Martín Happy Accidents, at sunset 2017 Site-specific photographic installation Dimensions variable Elena Padrón Martín Happy Accidents, detail 2017 Digital inverted photographs printed on transparent film Dimensions variable Happy Accidents, back on the floor 2017 When back-lit by the sun, the happy accidents go back on the floor without leaving traces. Photo by Elena Padrón Martín © Elena Padrón Martín Courtesy of Elena Padrón Martín


Iconographic Drift Graduate Student Lauren Jade Szabo Curator Micah LeBrun 111 Minna Gallery, San Francisco March 5–April 1, 2017

In March 2017, 111 Minna Gallery in San Francisco hosted Iconographic Drift, a solo exhibition by Lauren Jade Szabo. The exhibition featured 12 original oil paintings in Minna’s Zappa room, a former speakeasy during the prohibition, showcasing the body of work Szabo created from 2013 to 2017. Her various representational subjects, such as paper billboards, neon signs, incandescent bulb signs, and skytyping, are in a state of decay and obsolescence. The artwork was coupled with what the gallery calls “proximitybased technology.” Each piece was imbedded with a microchip that could be scanned with a free app, activated

by smart phone camera. The app connected the audience to more details about the artwork, including individual project statements that deepened the viewing experience. The exhibition was featured in publications including Fine Art Connoisseur and Venison Magazine. Szabo started working with curator Micah LeBrun in 2015 when he featured her in an earlier San Diego pop-up show. She was invited to book a solo show shortly thereafter, two years prior to this show’s opening in 2017. 111minnagallery.com/marchiconographic-drift-by-lauren-szabo/

(Clockwise from top left) The Glass Slipper 2017 Billboard No. 2 2017 Iconographic Drift, installation view 2017 All photographed by Alexander Taylor © Lauren Szabo Studio Courtesy of Lauren Jade Szabo


The Impracticals Faculty Ivan Ianolli Graduate Students Nasim Moghadam Vasudhaa Narayanan Other Participants Wesaam Al-Badry Marco Castaneda Reid Fowler Laura Kiernan Diane Kim Lauren Miceli Ariella Robinson AJ Schnettler Nina Veaco Alex Yu Chuyun Zhang Sophie Zlotnicki Bass & Reiner Gallery, Minnesota Street Project, San Francisco December 4–10, 2017 In December 2017, the Let’s Get Practical collaborative group exhibited at Bass & Reiner Gallery, exploring some of the themes discussed over the semester. They looked at some of the challenges of being working artists, visited artists’ studios and discussed their practices, and explored territories in artmaking that are often stunted by hurdles like money, sales, and access. We looked at the curatorial challenges of exhibiting a diverse group of artists in a small space, as well as working within the constructs of the art world.

(Top to bottom) The Impracticals 2017 Photo by Ivan Iannoli Courtesy of Ivan Iannoli Vasudhaa Narayanan Menstrual Bindi 2017 Digital inkjet print 30.2 x 22 inches


The Annual Murphy & Cadogan Contemporary Art Awards Exhibition Graduate Students Rafael Bustillos Abby Gregg Nick Mittelstead Sherwin Rio Lauren Jade Szabo SOMArts Cultural Center, San Francisco September 7–29, 2017 Established in 1986, the Jack K. & Gertrude Murphy Award and the Edwin Anthony & Adalaine Boudreaux Cadogan Scholarships were created to further the development of MFA students studying in the San Francisco Bay Area. With financial awards administered by the San Francisco Foundation, the winners of the Cadogan Scholarships are each awarded $6,500 and the single recipient of the Murphy Award receives a prize of $40,000. Out of 80 portfolio applications from six schools and 18 award recipients, SFAI’s Sherwin Rio received the Murphy Award, and Rafael Bustillos, Abby Gregg, Nick Mittelstead, and Lauren Jade Szabo were among the Cadogan Scholarship awardees. Each body of work was judged by a panel of jurors that included artist and independent curator Kevin Chen; curator, art historian, and writer Dr. Lizzetta LeFalle-Collins; and Curator of Art & Education at the Triton Museum of Art Maria Ester Fernandez. All winners were given participation in a group exhibition professionally curated by Kevin Chen at the Murphy & Cadogan Contemporary Art Awards Exhibition at the SOMArts Cultural Center in San Francisco. Artists were also given the opportunity to participate in panel discussions during a day-long summit focusing on arts education and equity at SOMArts.

(Top to bottom) SFAI winners of the Murphy & Cadogan Awards (Left to Right: Sherwin Rio, Abby Gregg, Nick Mittelstead, Lauren Jade Szabo, Rafael Bustillos) 2017 Photo by Ebitenyefa Baralaye Courtesy of Ebitenyefa Baralaye Works by Sherwin Rio at the Murphy & Cadogan Awards Exhibition 2017 Photo by Chani Bockwinkel Courtesy of SOMArts 2017 Murphy & Cadogan Awards Exhibition title wall 2017 Photo by Sherwin Rio Courtesy of Sherwin Rio



The Second Open Book Show Graduate Students Hilary Bond Sophia Cook Ben Cornish Jer Garver Abby Gregg Whitney Humphreys Steph Kudisch Kate Laster James Patterson Sherwin Rio Chasen Wolcott Other Participants Penelope Anstruther Morgan Broughton Miguel Novelo Cruz Jonathan Hemelberg Taber Lathrop Sai Li Rose Lou Diana Martinez Asa Nakata Ryan Radtke Bojana Rankovic Sara Samano Jesse Sawyer Curator Kate Laster Diego Rivera Gallery San Francisco Art Institute October 1–7, 2017 The Open Book show was brimming with art to interact with. There were heavy sketchbooks to pore over, delicate artist books to inspect, and journalistic video and sound pieces to experience— all reiterating tactile and intimate experiences. The audience was invited to glance at everyday moments of notes, lively drawings, and fragments of memory. With over 40 books to immerse yourself in, the Open Book show was a force to be reckoned with and read through. (Top to bottom) Lively crowd examines books at opening 2017 Photo by Abby Gregg Detail of one of Kate Laster’s books 2017 Photo by Steph Kudisch Artist Jer Garver looks through books 2017 Photo by Steph Kudisch


This Doesn’t Look Like Art Graduate Students/Curators Bertha Rodriguez Jordan Holms Participating Artists Douglas Angulo Jer Garver Sara Knight Briony Maeve Elena Padrón Martín Sherwin Rio Swell Gallery, San Francisco Art Institute September 8–17, 2017

“Last April 2017, during the Open Studios, a little boy saw my installation The Swimming Pool in my studio and said, ‘This doesn’t look like art.’ He made me laugh, but he also left me thinking . . . I thought that the comment was a great title for a show, so I contacted The Swell Gallery Curatorial Committee, asking them to invite other SFAI students to display work that might not meet the expectations of what art should look like, due to the materials used or to the

unexpected nature of the pieces and their context. ‘My four-year-old could do that,’ ‘Why is this in a museum/gallery?’ or ‘I don’t get it’ are other apparently simple comments that demand complicated arguments so that a conversation about art can be developed. So, if this doesn’t look like art, what does? Some readers might also think that this doesn’t sound like an art statement.” –Elena Padrón Martín

(Top to bottom, left to right) Elena Padrón Martín The Swimming Pool 2017 Removable peel-and-stick paint, swimming pool ladder, tap LED battery-operated stick-on lights, and yellow air mat Dimensions variable Sherwin Rio BARRIER 2017 Corrugated metal, wood, screws, and graphite 60 x 42 x 3 inches Douglas Angulo Sensuous Portal 2017 LED lights, acrylic paint, spray paint, acrylic panel, and aluminum composite panel 24 x 30 x 3 inches Sara Knight Dial Tones 2017 45-minute cassette tape of apologies Dimensions variable



Exhibitions and Public Programs



Walter and McBean Galleries Katrín Sigurdardóttir: Metamorphic

In Around Beyond

Philippe Rahm: The Anthropocene Style

November 21–February 3, 2018

May 11–October 7, 2017 In her evocative sculptures and installations, Katrín Sigurdardóttir (BFA 1990) explores the way objects, structures, and spaces define perception. Examining distance and memory, she mines the forms and methods of architecture, archeology, and geology. While alluding to real locations, her work dissolves traditional representation to reach elusive and untethered experiences of place. This exhibition is supported by The Harker Award for Interdisciplinary Studies, which supports artists-inresidence at San Francisco Art Institute. The Harker Award was established through a generous bequest by artist and SFAI faculty member Ann Chamberlain and is administered by the San Francisco Foundation.

Keith Boadwee, Gutzom Borglum, Nao Bustamante and Miguel Calderón, Bryan Davis, Bill Fontana, María Elena González, Greenpeace, Mads Lynnerup, Alicia McCarthy, Laura Poitras, Postcommodity, Radio Healer, Rigo 23, Phil Ross, Jon Rubin, Sans façon, Kal Spelletich, Mel Ziegler This group exhibition featured artworks in, around, and beyond our two campuses, representing the institution as a single point of departure, as an entry point, and as a docking station for artists who mine the past and model the future.

Presented in partnership with swissnex March 29–May 19, 2018 In a newly commissioned exhibition for SFAI, awardwinning Swiss architect Philippe Rahm embraces the urgency of climate change to propose a roadmap for a field eager to adapt to and mitigate our changing climate. Citing evidence that construction and maintenance of buildings account for nearly 50 percent of greenhouse gas emissions worldwide, Rahm offers a new set of questions around aesthetic choice: by what process does an architect, a designer, and even a painter or sculptor choose a material or a color for an artwork? What are the criteria for choosing one material over another, one color over another? In the context of accelerating climate

(Left to right) Installation view of Katrín Sigurdardóttir: Metamorphic Walter and McBean Galleries San Francisco Art Institute 2017. Photo by Gregory Goode Installation view of Philippe Rahm: The Anthropocene Style Walter and McBean Galleries San Francisco Art Institute 2018 Photo by Marco David / SFAI


change, Rahm argues that properties such as effusivity, emissivity, conductivity, and reflectivity should guide these decisions—a development that inspired Rahm to coin the term Anthropocene Style, referring to a new decorative style specific to our aesthetic and environmental era. Philippe Rahm: The Anthropocene Style: Decorative Style in a New Age of Global Warming is the first solo exhibition of Rahm’s work in the United States. It manifests his ideas surrounding the urgency of climate change through an architecture and design process that takes climate, atmosphere, and physiology as its primary materials. Related Program: Symposium: The Anthropocene Style— Architecture, Urgency, and Climate Change April 28, 2018


Diego Rivera Gallery The Diego Rivera Gallery, home to SFAI’s historic Diego Rivera Mural, is a studentdirected exhibition space for work by SFAI students. The gallery provides an opportunity for students from all academic programs to present their work or curate in a gallery setting, to use the space for large-scale installations, and to experiment with artistic concepts and concerns in a public venue. Students submit applications for exhibitions in December and April annually, and a jury of one alumnus, one faculty member, and one staff member selects the artists for the season. Students may apply to have an individual show, to participate in a group show, or to curate a show. The Diego Rivera Gallery presents 40 exhibitions each year, including work by more than 200 student-artists. 2017–2018 Co-Directors: Katherine Boxall, Sherwin Rio, and Stevie Southard

FALL 2017 Lightly Heavy Henry Chambers, Sara Knight, Nick Mittelstead, James Piscitelli, Alexander Taylor; curated by Sherwin Rio August 20–26 Languages of (A)scape David Fagan, Emily Meisler, Lauren Jade Szabo; curated by Ebitenyefa Baralaye and Katherine Boxall August 27–September 2 Internal Something Wyn Distefano, Danielle Melen, Rosemary Ye September 3–9 Poetics of Displacement Kai Chen, Kuo-Chen (Kacy) Jung, Haeni Lee, Tiff Yue Liu, Ellen Qiu, Yiwei Song, Si (Zeus) Zou; curated by Weiying Yu September 10–16 In My Blood Melissa Carter, Nasim Moghadam, Asa Nakata, Luz Olivia, M. Roa, Mika Sperling September 17–23



Rafael Bustillos, Lexygius Calip, Henry Chambers, Ben Cornish, David Dugoncevic, David Fagan, Giuliana Funkhouser, Jessica Hutcheson, Alberto Mayer, Krista Wright September 24–30

Kate Laster and Sherwin Rio; curated by Bertha Rodriguez October 15–21

2nd Open Book Show Penelope Anstruther, Hilary Bond, Morgan Broughton, Sophia Cook, Ben Cornish, Miguel Novelo Cruz, Jer Garver, Abby Gregg, Whitney Humphreys, Steph Kudisch, Kate Laster, Sai Li, Diana Martinez, Asa Nakata, James Patterson, Bojana Rankovic, Sherwin Rio, Sara Samano, Chasen Wolcott; curated by Kate Laster October 1–7 Portraits in Ceramics Clare Bland, Rafael Bustillos, Kale Cooley, Aurora G. Daigle, Dallas Holfeltz, Hutch Hutcheson, Kuo-Chen (Kacy) Jung, Anais De La Santos, Miles MacDiarmid, Vasudhaa Narayanan, Megan Ramirez, Sidonie Roddam, Nikos S., Amina Shah, Alexandra Toledo, Paige Valentine, Jinning Wang, Syd Yocom; curated by Rafael Bustillos October 8–14

(Left to right) 2nd Open Book Show October 1–7, 2017 Diego Rivera Gallery Photo by Marco David Poetics of Displacement September 10–16, 2017 Diego Rivera Gallery Photo by Marco David


Paint Club Chloe Allison, Sophie Appel, Clare Bland, Melissa Carter, David Dugoncevic, Wyn Distefano, Delaina Engberg, Galeana Fraiz, Oscar Lopez, Miles MacDiarmid, Diana Martinez, Amayi Morales, Olivia Nelvins-Carbins, Laura Pacchini, Daniela Parrado, Megan Ramirez, Sidonie Roddam, Yiwei Song, Claire Sorosky, Samantha Swigert, Paige Valentine, Peiyao Zhang, Tiandongding Zuo; curated by Elizabeth Schmidt October 22–28 Material Translations Kai Chen, Ben Cornish, Abby Gregg, Jordan Holms, Kate Laster, Nick Mittelstead; curated by Jordan Holms October 29–November 4


Diego Rivera Gallery (cont.) Le Salon de Diego: 2017 Alumni Exhibition Richard H. Alpert, Patricia Araujo, Tim Armstrong, Mark Ashworth, Claire Bain and Alfred Hernandez, Maria Theresa Barbist, Karen Barbour, Becca Barolli, Erik Beltran, Diana Betancourt, Tom Betthauser, Perry Bord and Richard Sullivan, Suzie Buchholz, Lainard Bush, Paul Cartier, Rebecca Chou, Trina Chow, Robert Combs, Gail Cooper, Amber Crabbe, Marcella Davis, Zachariah Dawson, Shea Yzobel Dehinde, Joan di Stefano, Joanne Easton, Adrienne Eberhardt, Marshall Elliott, Gözde Efe, Rebecca Frantz, Mark Freeman, Sveta Gayshan, Regina Gilligan, Mitch Greer, Lora Groves, Kimmy Haines, Nathan Harris, Anne Herbst, Penelope Houston, Elvira Hufschmid, Su-Chen Hung, Robert Hyatt, Santiago Insignares, Martine Jardel, Jeff B. Johnston, Kathryn Kain, Alyssa Fujita Karoui, Patricia K. Kelly, Brian King, Niki Korth, J.J. l’Heureux, James Lofrano, Takako Matoba, KrisiMarja Metsahuone, Ben Needham, Elizabeth Payne, Flo Pizzarello, Guillermo Pulido, Karen Redgreene, Rebecca Rippon, Ernest Rivera, Carlos Rodriguez, Rafael Salgado, Dona Smith, Hyde St. Pierre, Christopher Stark, Kimberley Sweetow, Linda Trunzo, Cristina Velazquez, Blu Voelker, Jesse Walton, Ingrid Wells, Kevin T. Welsh, Ryan Wicks, Aaron Wilder, Christine Wolheim, Dion Zwirner; curated by Clea Massiani November 6–12


Public Education Fall Exhibition

John Erbach, MJ Miller, Stevie Southard November 13–25

December 10–16

Alexis Lastomirsky, Emily Meisler, Joseph Robertson, Ariella Robinson; curated by Stevie Southard January 21–27


Narrative Elements


Clare Bland, Cressida Collins, Ben Cornish, Tyler Gonzales, Anais De La Santos, Miles MacDiarmid, Olivia NevinsCarbins, Megan Ramirez, Faith Rawson, Sidonie Roddam, Annarose Shaver, Nikos Sueuga; curated by Miles MacDiarmid and Megan Ramirez January 28–February 3

December 3–9 City Studio

BFA Fall Exhibition Danielle Burnside Von Hooten, Adrian Burrell, Jin Clapper, Gracie CT, Aurora Daigle, Gabriel Peguero Damian, Barry Despenza, Wyn Distefano, Tammy Escobar, Greer Gibbens, Sloane Kanter, Laura Kiernan, Tanya Lakhani, Simone Chanel McCain, Ryan Molnar, Benjamin Murray, Asa Nakata, Alexander Newman, Ryan Peters, Juan Pablo Ayala Quintero, Victoria Ordway, Constanza Rehren Marincovich, Eleanor Schnarr, Yiwei Song, Amber Tyler, Christopher Williams, Ernesto Yeo November 28–December 8

Alexander Newman The Birth of Venus / Three Venuses 2017 Inkjet print Dimensions variable Featured in the BFA Fall Exhibition, 2017 Photo by Marco David


If Opposites Are Equal

Henry Chambers, Galeana Fraiz, Mengmeng Lu, Nasim Mogdaham, Connie Woo; curated by Sherwin Rio and Stevie Southard January 14–20


Be a Good Citizen

The Love Below

MA Collaborative Project

Cressida Collins, David Dugoncevic, Reid Fowler, Giuliana Funkhouser, Blue Growden, Quinton Isaacs, Diana Martinez, Miguel Novelo, Laura Pacchini, Krista Wright; curated by David Dugoncevic and Giuliana Funkhouser February 4–10

Rafael Bustillos, Henry Chambers, Kuo-Chen (Kacy) Jung, Lauren Jade Szabo, Shihan Xu; curated by KuoChen (Kacy) Jung February 25–March 3

Hector Barajas, Elle Carroll, Marco Castaneda, David Dugoncevic, Tom Edel, Galeana Fraiz, Samantha Hensel, Hutch Hutcheson, Sara Knight, Bridgett Magyar, Alex Malfero, Diana Martinez, Lauren Miceli, Olivia NevinsCarbins, Luz Olivia, Fifi Perkins, Bobby Ramirez, Megan Ramirez, Miles Roa, AJ Schnettler, Nathan Spon, Ellen Qiu, Haru Urushido, Ian Mitchell Wallace; curated by Lauren Miceli April 1–7

Yang Bao, Henry Chambers, Giuliana Funkhouser, Abby Gregg, Gígja Jónsdóttir, Kate Laster, Elena Padrón Martín, Eliza Phelan-Harder, Sherwin Rio, Bertha Rodriguez, Mika Sperling, Yuntong Wu, Yourong Zhao Faculty: Cristóbal Martínez April 15–21

Too Much Goodness Is a Sin

Post-Baccalaureate Exhibition

You Were Here Marco Castaneda, Max Chao, Jasmine Contajioso, Mafer Hernandez, Ariel Huang, KuoChen (Kacy) Jung, Carl Tianhu Kang, Minjun Kim, Kate Laster, Diana Martinez, Kennedy Morgan, Lennie Nelson, Miguel Novelo, Ellen Qiu, Bojana Rankovic, Miles Roa, Jusun Seo, Amina Shah, Myat Theingi; curated by Kate Laster February 11–17 Aspects of the Contemporary and the Mythic David Boo, Huiling Chen, Lucien Jeanprêtre, Gígja Jónsdóttir, Jiaming Song, Yuanyuan Zhu; curated by Weiying Yu February 18–24

New Images of Woman Melissa Carter, Delaina Engberg, Galeana Fraiz, Diana Martinez, Danielle Melen, Megan Ramirez, Elizabeth Schmidt; curated by Delaina Engberg March 4–10 decay/delay/evade/endure Giuliana Funkhouser, Eliza Phelan-Harder, Kate Rannells March 11–24 New Genres Salon Cressida Collins, John Erbach, Michael C.F. Hansen, Blythe Feeney, Ben Gasta, Dallas M. Holfeltz, Juancy, Martin John Miller, Nicola Munson, Arion Pennington, Faith Rawson, Bailey Shiflett, Sarah St. Leger, Danielle Starustka, Sydney Yocom, Sophie Zlotnicki; curated by Renée Rhodes March 25–31

Clare Bland, Anika Chasuk, Kellen Chasuk, Cressida Collins, Anais De La Santos, Blythe Feeney, Miles MacDiarmid, Emily Peck, Megan Ramirez, Sidonie Roddam, Nikos Sueuga, Alexandra Toledo, Paige Valentine, Syd Yocom; curated by Sidonie Roddam April 8–14

Keep the Family Close Wesaam Al-Badry, Nathaniel DeVivo, April Martin; curated by Nathaniel DeVivo April 22–28

Evelyn Hang Yin, Yida Li, Kate Smith, Yourong Zhao Faculty: Reagan Louie April 29–May 5 BFA Exhibition May 6–19

Mengmeng Lu The Vexed Men Featured in the exhibition Incli(nations) January 14–20, 2018



Main Gallery and Gray Box Gallery In Around Beyond November 10, 2017– January 21, 2018 Main Gallery

Keith Boadwee, Gutzom Borglum, Nao Bustamante and Miguel Calderón, Bryan Davis, Bill Fontana, María Elena González, Greenpeace, Mads Lynnerup, Alicia McCarthy, Laura Poitras, Postcommodity, Radio Healer, Rigo 23, Phil Ross, Jon Rubin, Sans façon, Kal Spelletich, Mel Ziegler This group exhibition—the inaugural presentation in SFAI’s Fort Mason Campus— featured artworks in, around, and beyond our two campuses, representing the institution as a single point of departure, as an entry point, and as a docking station for artists who mine the past and model the future.

Isaac Julien: Playtime Presented in partnership with Fort Mason Center for Arts & Culture and the Kramlich Collection

Installation view of In Around Beyond Main Gallery at Fort Mason San Francisco Art Institute 2018 Photo by Bruce Damonte

Bill Fontana: Landscape Sculpture with Foghorns February 16–April 22, 2018 Main Gallery and Gray Box Gallery

December 1, 2017– February 11, 2018 Fort Mason Center for Arts & Culture and Gray Box Gallery

February 16–December 30, 2018 Pier 2, Fort Mason, exterior wall

An ambitious exhibition featuring three recent video installations that explore the wide-ranging effects of how information, labor, and capital circulate in our global, networked societies. Presented by SFAI in partnership with Fort Mason Center for Arts & Culture (FMCAC) and the Kramlich Collection, the exhibition occupied three spaces on the FMCAC campus. SFAI’s newly constructed Gray Box Gallery at Fort Mason was the venue for Better Life (Ten Thousand Waves) (2010), the cinematic cut of Julien’s monumental installation Ten Thousand Waves.

Internationally-renowned sound artist Bill Fontana will re-present his 1981 work Landscape Sculpture with Foghorns. Originally installed on the eastern wall of Pier 2, the temporally-specific installation layers and overlaps with the contemporary soundscape of the San Francisco waterfront. The original 1981 iteration of this work was a live acoustic map of San Francisco Bay. Microphones were installed at eight different positions around the Bay in order to hear the multiple acoustic delays from the foghorns on the Golden Gate Bridge. Sounds were broadcast to 100

the facade of Pier 2, at Fort Mason Center. Listeners are able to hear various locations simultaneously, delayed by the distances the sound has to travel, translating topography into sound. Related Programs: Resoundings: A Round Table with Bill Fontana April 12, 2018

Isaac Julien Emerald City / Capital (Playtime) 2013 Endura Ultra Photograph 160 x 240 cm Courtesy the artist and Victoria Miro, London


Swell Gallery The Swell Gallery is a graduate student-run art space dedicated to the examination of the role of the gallery in an educational sphere. The mission of the Swell Gallery is to provide a venue for the exploration and discussion of varying artistic perspectives from the student body, operating as a platform for exhibitions, events, and dialogue. Co-Directors FALL 2017: Jordan Holms and Bertha Rodriguez SPRING 2018: John Hartford and Kathryn Gardner Porter (Top to bottom) This Doesn’t Look Like Art September 8–19, 2017 Swell Gallery Photo by Marco David WikiHow to Set Up an Art Exhibition—Completing the 10 Steps December 1–12, 2017 Swell Gallery Sound installation and performance during opening reception Photo by Gígja Jónsdóttir

FALL 2017 On Blue Douglas Angulo, Kai Chen, Jessica Fertonani Cooke, Abby Gregg, Nick Mittelstead, Joseph Robertson August 22–September 5 This Doesn’t Look Like Art Douglas Angulo, Jer Garver, Sara Knight, Briony Maeve, Elena Padrón Martín, Sherwin Rio; curated by Jordan Holms and Bertha Rodriguez

Landing on the Veil Jordan Holms, KuoChen (Kacy) Jung, Alexis Lastomirsky, Lauren Jade Szabo; curated by Jordan Holms and Bertha Rodriguez Contact Print Eliza Phelan-Harder October 6–18 The Prom Show Abby Gregg, Sara Knight, Eliza Phelan-Harder, Alexander Taylor; curated by Sara Knight

The Act of Seeing David Fagan September 8–19

Strange Stirring Mika Sperling October 20–31

American Typhoon Kai Chen, Kuo-Chen (Kacy) Jung, Tiff Yue Liu, Vasudhaa Narayanan, Sherwin Rio, Si (Zeus) Zou; curated by Kai Chen, Kuo-Chen (Kacy) Jung, and Weiying Yu

De Profundis Stephanie T.F. Baker, Ni Pan, Jinning Wang, Tianfang Yu, Peiyao Zhang, Si (Zeus) Zou; curated by Weiying Yu

Happy Accidents Elena Padrón Martín September 22–October 3

Circo Duflar Carlos Alberto Mayer November 3–14 The Abject Goddess Hilary Bond, Jessica Fertonani Cooke, Gígja Jónsdóttir, Taylor Lowe, Alexia Marouli, Nasim Moghadam, Vasudhaa Narayanan Inversion/Isolation Alexander Taylor November 17–28 WikiHow to Set Up an Art Exhibition—Completing the 10 Steps Douglas Angulo, Jessica Fertonani Cooke, Lucien Jeanprêtre, Gígja Jónsdóttir, Alexia Marouli, Sherwin Rio, Lauren Jade Szabo, Ian Mitchell Wallace; curated by Gígja Jónsdóttir Delusions of Fear Rafael Bustillos December 1–12

SPRING 2018 In Bloom Adea Guldi, Samantha Hensel, Kuo-Chen (Kacy) Jung, Yuanyuan Liu, Ni Pan; curated by John Hartford and Kathryn Gardner Porter Lining Is Space Marc Northstar January 12–23 A Voyage to Lilliput Henry Chambers, Yan Huang, Joshua Zachary Mintz, Tomy Chuhe Yan; curated by Yang Bao Gleaning/Gleaming Kate Laster, Kate Rannells January 26–February 6 L’enfant Terrible Douglas Angulo, Katherine Boxall, Jordan Holms, Marc Northstar, Joseph Robertson, Chasen Wolcott; curated by Katherine Boxall and Jordan Holms February 9–20 Where’s the Napkins? Douglas Angulo, Sophia Cook, Joshua Zachary Mintz, Gautama Ramesh, Joseph Robertson, Chasen Wolcott; curated by Joseph Robertson Take Your Broken Heart Xiaoying Li February 23–March 6 Wise Wound Sami Cutrona, Adea Guldi, Whitney Humphreys, Hayley Jensen, Taylor Shell; curated by Adea Guldi Lights Nasim Moghadam March 23–April 3 General Store Yida Li, Kate Smith, Evelyn Hang Yin, Yourong Zhao; curated by Yida Li and Weiying Yu Ghost Town Henry Chambers April 20–May 1


Visiting Artists and Scholars Lecture Series The Visiting Artists and Scholars Lecture Series (VAS) provides a forum for engagement and dialogue with major figures in international contemporary art and culture.

FALL 2017


Laura Kipnis October 2

Jenny Odell February 6

Lava Thomas October 24

Guillermo Galindo February 20

Through lectures, screenings, and performances, the series creates intimate connections between SFAI and the public, and invites individuals to contribute to the spirit of curiosity that drives the SFAI community.

Ingrid LaFleur: In the Face of the Unchanging: Pleasure, Politics & Possibilities October 31

Mike Henderson March 6 The Last Supper: Mike Henderson’s 16mm Films March 8

Terry Powers: Method Acting Richard Diebenkorn Teaching Fellow November 14

(Top to bottom) Guillermo Galindo, Fluchtzieleuropaschiffbruchschallkörper 2017. Fiberglass and wood; 3.05 x 2.88 x 1.85 meters and 2.53 x 5.4 x 1 meters respectively. Courtesy of the artist Photo by Nils Klinger Ingrid LaFleur Right In Photo by Dogon Krigga


Gala Porras-Kim March 20 Red Culebra: 4 Cycles + 1 Performance by Guillermo Galindo and Cristóbal Martínez March 23 Xiaoyu Weng April 3 Resoundings: A Round Table with Bill Fontana Featuring Rudolf Frieling, Marnie Burke de Guzman, and Katie Hood Morgan April 12

Graduate Lecture Series Designed as an integral component of SFAI’s graduate curricula, the Graduate Lecture Series (GLS) puts students, alumni, and the general public in direct dialogue with major thought leaders from the international art community. The series relies on the critical exchange between guest and audience to promote a diverse and robust learning environment. SUMMER 2017

FALL 2017

Asma Kazmi: Cranes & Cube and Other Works June 30

Center of Gravity: Gunvor Nelson and Dorothy Wiley, Program 1—Five Artists: BillBobBillBillBob Presented in collaboration with SF Cinematheque and in association with Canyon Cinema Foundation Introduction by Tanya Zimbardo October 17

Frank Smigiel: “I’m with the band,” or Notes on Imagined Community July 7 Taraneh Hemami: Common Space July 14 Chris Sollars: S.O.S. Sollars on Site July 21

Stefan Kürten: Perfect World October 19

Michelle Handelman: Hustlers & Empires November 7 Tonel: Self-Portrait of the Artist as an Organic Intellectual November 28 SPRING 2018 John Sanborn: Gilligan’s Wake February 9 Christopher Coppola: CRC The Juggler February 16

(Top to bottom, left to right) Chris Sollars Tree & Turf 2016 Video/performance 17:30 minutes Image courtesy of the artist John Sanborn (with sound by Dorian Wallace) Tue Mon Amour 2017 4-channel video and sound installation 16:28 minutes Image courtesy of the artist Mildred Howard Frame Refrain 2015 Bronze 192 x 192 inches Hunters Point Shipyard © Treve Johnson


Mildred Howard: Parenthetically Thinking: It’s More than Glass March 2 Gabriel Menotti: Forensic Hallucinations April 13 Dodie Bellamy: Hoarding as Écriture April 20 Julia Bryan-Wilson: Minds Over Matter April 27

Special Events Fort Mason Opening Spectacle November 10-11, 2017 Fort Mason Campus To celebrate the new Fort Mason Campus, the action began with a raucous Friday night opening party, featuring live performances by Extra Action Marching Band, music by Paul Costuros, projection and sound art, and an exhibition opening for In Around Beyond. On Saturday, the celebration continued with family-friendly artmaking, plus a full day of

browsing SFAI CONCENTRATE: Student Art Sale and Open Studios, a chance to explore the graduate studios of over 100 emerging artists. The event also featured newly unveiled exhibitions and commissioned artworks by Alicia McCarthy (who debuted a new large-scale mural commission), Jon Rubin, and Sans façon—and coincided with SFAI Alumni Weekend and the Admissions Fall Open House. Revelers also enjoyed a pop-up Fort Point Beer Company beer garden and food trucks.

Artist as Social Activist: A Conversation with Theaster Gates A Symposium hosted by FOG Design+Art, SFMOMA, and SFAI January 12, 2018 FOG Design+Art, Fort Mason Festival Pavilion A panel discussion featuring artist Theaster Gates, moderated by SFAI President Gordon Knox, with panelists Maria Jenson, Executive Director of SOMArts Cultural Center; Cristóbal Martínez, Distinguished Visiting Faculty, SFAI; and Dominic Willsdon, Leanne and George Roberts Curator of Education & Public Practice at SFMOMA.

Extra Action Marching Band performs at the 2017 Fort Mason Opening Spectacle. Photo by Sarah Simon

PhotoAlliance PhotoAlliance, an affiliate of SFAI, is a nonprofit organization dedicated to supporting the understanding, appreciation, and creation of contemporary photography. PhotoAlliance fosters connections in the Bay Area photography community through public programs and educational activities, including workshops, lecture series, and portfolio reviews.

FALL 2017


Sean McFarland and Lindsey White

Sonja Thomsen with Kari Orvik

September 22

February 9

Marco Breuer and Mark Alice Durant

Diane Cook and Len Jenshel

October 20

March 9

Michael Lundgren with Kirk Crippens and Gretchen LeMaistre

Carlos Javier Ortiz with Preston Gannaway April 6

November 16 Duane Michals with Jamil Hellu December 8 104

Artist Talk with María Magdalena Campos-Pons Introduction by Gordon Knox, SFAI President January 13, 2018 Fort Mason Campus Cuban-born artist María Magdalena Campos-Pons addresses the unique and resilient nature of the Afro Cuban diaspora through photography, sculpture, performances, and video installations. Her West Coast debut and first exhibition with Gallery Wendi Norris presents works ranging from 1990 to 2017, including three major installations, rare large-format Polaroid photographs, and a performance work. This talk was presented in conjunction with Gallery Wendi Norris’s exhibition: María Magdalena Campos-Pons: If I Were A Poet.

Graduate Programs Faculty Sebastian Alvarez’s interdisciplinary practice addresses the failures and interrelations between nonhuman systems and built environments. Currently, his major projects include participating in a performance collective at San Quentin State Prison in collaboration with incarcerated artists and producing a sci-fi documentary about the imaginative and material processes of building utopian communities in Brazil’s capital, Brasília. Alvarez has presented work at Yerba Buena Center for the Arts; Townhouse Gallery, Egypt; the École Nationale Supérieure d’Art Bourges, France; and Wiener Festwochen, Vienna. Thor Anderson, PhD, is a cultural anthropologist and filmmaker whose work ranges from Maya studies (Chiapas, Mexico) to San Francisco’s inner city, and from social theory to ethnographic film. His research interests in material culture (house building, ceramics, textiles) dovetail with an eye toward assisting artists in contextualizing their work beyond the world of fine art. His most recent film is Zapatista Moon (2018), which documents a radical social movement in southern Mexico. Nicole Archer, PhD, is an assistant professor in the History and Theory of Contemporary Art at SFAI. She researches contemporary art and material culture, with an emphasis in modern textile and garment histories. Further interests include critical theory, corporeal feminism, and performance studies. Her work has appeared in various places, including Women & Performance: A Journal of Feminist Theory, Textile: The Journal of Cloth and Culture, SF/NY/LXAQ, and Working for Justice: The L.A. Model of Organizing and Advocacy. Johnna Arnold is an artist, photographer, and urban farmer based in Oakland. In 2018, she is working as an artist-in-residence at the Banff Centre for Arts and Creativity in Canada, and she is also the recipient of a Placekeeping Project grant for the Oakland Museum of California. She has exhibited at the Headlands Center for the Arts, San Francisco Camerawork, the Oakland International Airport, and the San Francisco Arts Commission Gallery. Arnold received her BA from Bard College and her MFA from Mills College.

Robin Balliger, PhD, is chair of the Liberal Arts Department and an associate professor and anthropologist at SFAI, researching globalization, cultural geography, media, music/sound, postcoloniality, and the Caribbean. Her current project focuses on urban cultural politics in Oakland. Balliger has received fellowships from Fulbright, the MacArthur Foundation, the National Science Foundation, and the Mellon Foundation; she was also awarded the Textor Award for Outstanding Anthropological Creativity. Her work has been published in The Global Resistance Reader, Trinidad Carnival: The Cultural Politics of a Transnational Festival, Media Fields Journal, and Race, Poverty, and the Environment. JD Beltran is an artist, filmmaker, writer, curator, designer, and educator. Her work is exhibited internationally, including at the San Francisco Museum of Modern Art, the Walker Art Center, the Getty Research Institute, the International Film Festival Rotterdam, and the Biennale of Sydney. She has been awarded residencies and grants from the Skowhegan School of Painting & Sculpture, Artadia, Stochastic Labs, and the Workshop Residence. Beltran is president of the San Francisco Arts Commission and an associate professor and director of the Center for Art and Public Life at California College of the Arts. Elizabeth Bernstein is an artist, educator, and founder/director of the Oakland-based art project Royal NoneSuch Gallery. She is a photographer whose work examines the visual language of our daily lives and how it communicates our complex emotional and psychological landscape. Bernstein has shown her work on the East Coast and in the Bay Area. Selected exhibitions include Interface Gallery and Pro Arts Gallery, Oakland; Martina Johnston Gallery, Berkeley; and Attleboro Arts Museum, Massachusetts. Timothy Berry’s current work continues a lifelong investigation of mankind’s contentious yet appreciative relationship to nature. Combining motifs from natural landscapes with images of mankind’s projections and navigations into and onto these “landscapes” allows the construction of abstracted understandings of how these 105

two often disparate elements can exist in one place. Berry will next be participating in the traveling exhibition Anthropogenic: Art of the World We’ve Created, originating at the Bates College Museum of Art. Matt Borruso is a visual artist living and working in San Francisco. Recent solo shows include Lottery at Black Ball Projects in Brooklyn and Wax House of Wax at Steven Wolf Fine Arts in San Francisco. Book projects include IMAGE File, published by Colpa Press, and Driftwood Arrangements, released through his own imprint, Visible Publications. Borruso’s work has been exhibited at the Derek Eller and Anna Kustera galleries in New York, Et al. etc. in San Francisco, and Exile Projects in Berlin. Mark Brest van Kempen uses the landscape itself as material to explore our complex relationship to the environment. From the Free Speech Monument at UC Berkeley to Land Exchange at the National Academy of Art in China, his many commissions include projects throughout the United States and abroad. His work has been presented in several books, including Lucy Lippard’s The Lure of the Local and Peter Selz’s Art of Engagement, and many publications, including TIME Magazine, the New York Times, and Artforum International. Brad Brown’s painting and drawing projects tend to be large, open-ended series that can remain unfinished for many years. His largest project to date, The Look Stains, began in 1987 and consists of tens of thousands of works on paper that are continually worked on, torn up, redrawn, and recontextualized. His work is in the permanent collections of the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the National Gallery of Art, Washington, DC; the Whitney Museum of American Art; and the de Young Museum, among others. Dale Carrico, PhD, teaches critical theory, focusing on technodevelopmental social struggle, environmental justice, and networked media/surveillance formations. He has organized conferences on feminist bioethics at UC Berkeley and on human rights and human “enhancement” at Stanford University. Carrico’s writing has

Graduate Program Faculty continued recently appeared in boundary 2, Existenz, the New York Times, and Re-Public. He writes about the antidemocratic politics of technoscience, developmentalist ideology, futurological subcultures, and the suffusion of public life by marketing norms and forms on his blog, Amor Mundi. Macy Chadwick is a letterpress printer and book artist publishing as In Cahoots Press. She received an MFA from The University of the Arts in Philadelphia, and she teaches at SFAI and San Francisco State University. Chadwick is currently establishing In Cahoots Press and Residency—a space for collaboration, artist’s books, and printmaking—in Petaluma, California. Linda Connor is a photographer and dedicated educator who approaches both roles by enlisting the power of images—the ways in which they communicate, their unique properties, and how they interrelate. She has exhibited widely, both internationally and nationally, for the last four decades, and has received many awards and grants, including a Guggenheim Fellowship and multiple grants from the National Endowment for the Arts. In 2002, Connor founded PhotoAlliance, a driving force in the Bay Area’s photographic community— a community in which she encourages her students to participate. Christopher Coppola is chair of Film at SFAI. He’s a film producer, director, screenwriter, public speaker, and digital film entrepreneur. His company, PlasterCITY Productions, produces feature films, episodic television, and alternative media. Coppola is the founder of PAHFEST, a hands-on, international, digital-filmmaking festival. Governor Jerry Brown appointed Coppola to serve on the California Arts Council, and he recently became the education director for the new Creative Cinema Collective, a global student filmmaking event based in Qingdao, China. Coppola is a member of the Director’s Guild of America. Dewey Crumpler is associate professor of Painting at SFAI. His work has been exhibited nationally and internationally, and is featured in the permanent collections of the Oakland Museum of California; the Triton Museum of Art, Santa Clara; and the California African American Museum, Los

Angeles. Crumpler has received a Flintridge Foundation Award, a National Endowment for the Arts Fellowship, and the Fleishhacker Foundation’s Eureka Fellowship. In 2018, his COLLAPSE: Recent Works, was exhibited at Seattle University’s Hedreen Gallery. In 2017, a digital image of his murals was included in the exhibition Soul of a Nation at the Tate Modern in London. Claire Daigle, PhD, directs the Master of Arts and Dual Degree programs at SFAI. In 2015, she received an Andy Warhol Foundation Arts Writers Grant for her ongoing web-based essay series, Figuring Fiction, which explores intersections of contemporary art and literary fiction. She also has a pronounced case of Duchampitis. She has published in New Art Examiner, X-TRA, Art Papers, Sculpture, the Brooklyn Rail, and Tate, Etc. Her first work of fiction will appear in The Anthology of Babel (Punctum Books, 2018). Andrea Dooley holds a PhD in Cultural Studies with a Designated Emphasis in African and African American Studies from UC Davis. Her work is concerned with place and public mourning and focuses on issues of genocide memory, post-conflict citizenship, and the politics of place. Her work sits at the intersection of critical theory, social justice and human rights studies, and postconflict identities. Her current project, under review for Roman & Littlefield, is a manuscript titled Implicated Geographies: The Place of Memory and the Museum in the New Rwanda. DeShawn Dumas uses violence as a mode of artistic production—methods of repetitive dishonor include burning, tearing, shooting, and smashing laminated glass panels. As visual metaphors for the afterlives of slavery, his paintings bring to mind a rupture and the impossibility of ever restoring what has been breached. Dumas is represented by Ethan Cohen New York. He will attend NYU Steinhardt’s Media, Culture, and Communication PhD program in Fall 2019. Amir Saber Esfahani’s art career began during the Mission School graffiti scene of the early 1990s in the San Francisco Bay Area. After a formal art education, he became aware of the connections between 106

contemporary graffiti and Islamic art. A Bay Area native, he has always integrated technology into his work, with a focus on balance, rituals, and archives. Esfahani is the founder and director of Special Art Projects and the artist-in-residence program at the Internet Archive (archive.org). John de Fazio’s art reincarnates the global ceramic traditions that lavished extreme craftsmanship into objects of desire. His research interests include an investigation of the power of kitsch as a visual language representing cultural caricatures and insidious sentimentality. An article about his influences was featured in Juxtapoz magazine in March 2017. A series of psychedelic ceramic pipes will be exhibited at Guerrero Gallery in San Francisco in May 2018. His work is in the permanent collection of the Whitney Museum of American Art in New York and the Fine Arts Museums of San Francisco. Rebecca Goldfarb’s conceptual undertakings explore the mechanics of language and perception to investigate acts of seeing and thinking. Her work, realized in a range of media—including sculpture, photography, and installation—has been exhibited nationally and internationally. Goldfarb recently participated in 50 Artists at the San Francisco Museum of Modern Art and curated The Sound of Blue at 500 Capp Street, the preserved home of artist David Ireland, where she is head of artist guide education. Sculptor María Elena González interweaves the conceptual with a strong dedication to craft in her complex installations and poetic arrangements, exploring such themes as identity, memory, and dislocation. Internationally recognized, González has received numerous awards, including a Eureka Fellowship from the Fleishhacker Foundation (2017), a Guggenheim Fellowship (2006), the Rome Prize from the American Academy in Rome (2003), and the Grand Prize at the 30th Biennial of Graphic Arts in Ljubljana, Slovenia (2013). Her Tree Talk Series will culminate in a solo exhibition at the Mills College Art Museum on January 2019.

Cliff Hengst is an artist and performer who works and lives in San Francisco. His practice incorporates performance, painting, video, and music. He has worked extensively with Machine Project in Los Angeles and Gallery 16 in San Francisco. His work was recently included in the show Tag: Proposals on Queer Play and the Ways Forward at the Institute of Contemporary Art, University of Pennsylvania, and in the show Way Bay at the Berkeley Art Museum and Pacific Film Archive.     Betti-Sue Hertz is a curator, lecturer, and writer working at the intersection of critical visual culture and socially relevant issues. She is a project curator for the Manetti Shrem Museum of Art and public arts director at TLS Landscape Architecture for Shishan Park, Suzhou, China. Hertz was director of visual arts at Yerba Buena Center for the Arts (2008–2015), curator of contemporary art at San Diego Museum of Art (2000–2008), and director of Longwood Arts Project (1992–1998). Since the late 1970s, Cuban-born Tony Labat has developed work in performance, video, sculpture, and installation dealing with the body, popular culture, identity, urban relations, politics, and the media. Recent exhibitions include the 11th Havana Biennial; Barbara Gladstone Gallery, New York; Anglim-Gilbert Gallery, San Francisco; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Denver; ASU Art Museum, Phoenix; the Basque Museum and Cultural Center, Spain; PAC, Milan; and Figueroa-Vives Studio, Havana. Labat has received numerous awards, and his work is included in private and public collections. Reagan Louie’s photography and installations explore global transformation and cultural identity. His work has been exhibited at the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; Gwangju Biennale, Korea; Asia Society, New York; and Fotomuseum Winterthur, Switzerland. His books include Toward a Truer Life and Orientalia, and his awards include a Guggenheim Fellowship and a Fulbright Fellowship.  Whitney Lynn utilizes a wide range of media to reframe narratives of familiar objects, images, and events. Mining cultural and political histories, Lynn reflects on

subjects such as collapsed boundaries, militarized landscapes, the mechanisms of illusion and deception, and the role of images in the creation of myth. Lynn was recently an artist-in-residence at the de Young Museum, San Francisco, and the Neon Museum, Las Vegas, and is currently completing a site-specific project for the San Diego International Airport. Mads Lynnerup, born in Copenhagen, Denmark, is an assistant professor and chair of New Genres at SFAI. Lynnerup’s practice hinges on a curiosity about the encounters that come about when interacting in public space. Lynnerup has an extensive national and international exhibition record and has been included in exhibitions at the San Francisco Museum of Modern Art; the Mori Art Museum, Tokyo; P.S. 1, New York; Zacheta National Gallery of Art, Warsaw; Los Angeles County Museum of Art; and Kunsthalle Fridericianum, Kassel, Germany, among others. Cristóbal Martínez, PhD, is an artist in Postcommodity, and a scholar in linguistics, rhetoric, and art. Martínez positions metaphors that mediate complexity at sites of dromological, spatial, social, cultural, political, ecological, and economic anxiety. By engaging human instincts within the contexts of capitalism, his work reveals the vexing nature of our memories, amnesias, behaviors, beliefs, assumptions, choices, and relationships. Martinez exhibited in the 2017 Whitney Biennial and documenta14, and was recently awarded the 2018 Ford Foundation Art of Change Fellowship. Alicia McCarthy engages with her immediate world through a sincere and personal application of mixed-media on found panels. She has exhibited extensively, and in 2017 she received the SECA Art Award from the San Francisco Museum of Modern Art. McCarthy has received many accolades and residencies, most recently from Skowhegan School of Painting & Sculpture, Headland Arts Center, and New Langton Art. Public collections include the Millennium Iconoclast Museum of Art, Brussels; American Academy of Arts and Letters, New York; Facebook Headquarters, Menlo Park; and the Oakland Museum of California. 107

Frances McCormack is an abstract painter. Recent and upcoming exhibitions include Painted Landscapes at Heritage Museums & Gardens, Sandwich, Massachusetts; Invented Spaces at the Peninsula Museum of Art, Burlingame; and Contemplative Elements at the Sonoma Valley Museum of Art. McCormack collaborated with the composer Kurt Rohde and the writer Sue Moon on the 2011 production Artifacts. She was the first recipient of the SFAI Fellowship at the American Academy in Rome. McCormack is represented by the R.B. Stevenson Gallery in La Jolla. Robert Minervini’s work in painting and public art examines notions of utopia through built environments. He has exhibited nationally with Edward Cella Gallery, Rena Bransten Gallery, the di Rosa Center for Contemporary Art, and the Museum of Contemporary Art, San Diego. He has participated in artist-in-residence programs at the Bemis Center for Contemporary Arts and the Headlands Center of the Arts. His work has been reviewed in the Los Angeles Times, Modern Painters Magazine, and the San Francisco Chronicle. Jeremy Morgan’s paintings are investigations into both Western and Asian landscape traditions as they relate both to Abstraction and to both philosophical and spiritual contexts. He also explores aspects of digital language as it can function to augment the shifting terrain between the real and virtual. His work is in the collections of Central Academy of Fine Arts, Beijing, China; Luxun Academy of Fine Arts, Shenyang, China; Lucent Technologies, Inc., California; Berlinger Winery, California; and Saks Fifth Avenue, New York. Shaun O’Dell has exhibited his work at many venues, including the San Francisco Museum of Modern Art; the Hammer Museum, UCLA; A Foundation, Liverpool; In Situ Galerie, Paris; Yerba Buena Center for the Arts; and the Jack Hanley, Susan Inglett, and Marianne Boesky galleries in New York. His work is held in many permanent collections, including the Whitney Museum of American Art; the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the de Young Museum; and the Berkeley Art Museum and Pacific Film Archive.

Graduate Program Faculty continued Asuka Ohsawa received her BFA in Printmaking from California State University, Long Beach, and her MFA from the School of the Museum of Fine Arts at Tufts University. She writes, illustrates, and publishes books and artist multiples that mine the wonders and worries of her world. Her work is held in numerous permanent collections, including the Center for Book Arts, New York; State University of New York at New Paltz; San Francisco Public Library; and the Mint Museum, North Carolina.   Berit Potter, PhD, received a master’s and doctorate in the History of Art from the Institute of Fine Arts, New York University, and an MA in Museum Studies from the Graduate School of Arts and Science, New York University. She has held positions at several art institutions, including a Terra Foundation Predoctoral Fellowship at the Smithsonian American Art Museum. Her research examines modern and contemporary art, with an emphasis on art of the Americas, and engages with the politics of display. Terry Powers creates paintings that live within a variety of representational modes, operating as if in a kind of turpentine-fueled, art-historical drag performance—shifting identities, styles, and paint-handling at will. Recently, Powers was awarded both the Cité Internationale des Arts Residency Fellowship as well as the 2017 Richard Diebenkorn Teaching Fellowship. J. John Priola’s photography and video work reveals subtle details of mediated and natural landscapes and objects, depicting what presence and absence look like while vibrating in the space between art and idea. His work has been published and exhibited widely; selected collections include the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; the Art Institute of Chicago, and the Museum of Fine Arts, Houston. Priola is represented by Anglim Gilbert Gallery, San Francisco; Joseph Bellows Gallery, La Jolla; and Weston Gallery, Carmel. Kathryn Reasoner has been widely recognized for her advocacy of artists and her transformational leadership at the helm of such Bay Area institutions as Headlands Center for the Arts and di Rosa. In addition to advising and serving on arts boards, juries, and commissions, she has taught

for two decades at colleges in the United States and Japan. She currently works as an independent consultant in the fields of art and philanthropy.   Brett Reichman’s narrative paintings engage the politics of queer culture by way of staging the masculine through a labor-intensive approach to realism. His recent solo exhibition,  Better Living Through Design, and curatorial project, Tight Ass: Labor Intensive Drawing and Realism, took place at CB1 Gallery in Los Angeles. His work was included in Art AIDS America, a national touring exhibition surveying artistic responses to AIDS from the 1980s to the present, and Catastrophe, curated by John Waters. Permanent collections include the San Francisco Museum of Modern Art, among others. Laura Richard, PhD History of Art with a Designated Emphasis in Film, is faculty head of the Low-Residency MFA program at SFAI. Her dissertation is a political reappraisal of the early films, performances, and rooms made by Maria Nordman. Richard has taught at UC Berkeley, UC Santa Cruz, and the Prison University Project at San Quentin. She was editor-in-chief of Artweek magazine, and her recent writing projects include “In Just Deserts: Maria Nordman’s Fire Performances” and an essay on the textile installations of Claudy Jongstra. Will Rogan lives and works on a boat in Sausalito. His work engages issues of represented time, human connection, material histories, and experiential learning. His work has been exhibited at the Mori Art Museum, Shanghai Biennial, and Berkeley Art Museum and Pacific Film Archive; it is represented by Altman Siegel Gallery and Misako and Rosen Gallery. He is cofounder and editor of THE THING Quarterly. He has received honors including a Rockefeller Media Arts Grant; the SECA Art Award; and residencies at Gasworks Gallery, Skowhegan School of Painting & Sculpture, and Headlands Center for the Arts. John Roloff’s recent work includes public projects in Minneapolis and Atlantic City, and exhibitions at the Denver Art Museum, the National Council on Education for the Ceramic Arts, and the Museum of Craft and Design, San Francisco. He has shown his work at the Whitney Museum of American 108

Art, Berkeley Art Museum and Pacific Film Archive, the San Francisco Museum of Modern Art, the Smithsonian Institution, and the Venice Architectural and Art Biennales. Grants and fellowships include the National Endowment for the Arts, the California Arts Council, the Guggenheim Foundation, and the Bernard Osher Foundation. Lasse Scherffig, PhD, works at the intersection of art, science, and technology. His work explores the relationship of humans, machines, and society; infrastructures of communication and control; and the cultures and aesthetics of computation and interaction. He has published numerous articles and has exhibited work at Radical Networks, New York; Nam June Paik Art Center, Yonging; ZKM, Karlsruhe; Science Gallery, Dublin; Transmediale, Berlin; Inter-Society for the Electronic Arts; and the National Art Museum of China, Beijing. Rachel Schreiber, MFA and PhD, is an artist and historian whose work addresses gender, labor, and visual culture. She is the author of Gender and Activism in a Little Magazine: The Modern Figures of the Masses and the editor of Modern Print Activism in the United States. She has exhibited and screened her visual work internationally at venues including the Contemporary Jewish Museum, San Francisco; Art in General, New York; and the World Wide Video Festival, Amsterdam. At SFAI, she teaches in the Photography, History and Theory of Contemporary Art, Liberal Arts, and MFA Studio programs. Frank Smigiel, PhD, is the former Curator of Performance and Film at the San Francisco Museum of Modern Art, and the current Director of Arts Programming and Partnerships at the Fort Mason Center for Arts & Culture. His curatorial interests include the intersection of theatrical and live art forms, commerce by artists, and queer histories. Smigiel has realized new performance work with Athi-Patra Ruga, Carolina Caycedo, Rashaad Newsome, Allison Smith, Rebecca Solnit, Stephanie Syjuco, and Mika Tajima/New Humans, among others. With Betti-Sue Hertz and Dominic Willsdon, he co-curated Public Intimacy: Art and Other Ordinary Acts in South Africa (2014) at the Yerba Buena Center for the Arts. 

Taravat Talepasand’s work reconsiders the ideological assumptions that index Iranian identity, state power, and gender. Through paintings, drawings, sculptures, and installations, she examines how the body and the image come to signify and rebel against normative Iranian subjectivity. Her work has been exhibited nationally and internationally and is in permanent collections of the Los Angeles County Museum of Art and Orange County Museum of Art. Talepasand was the recipient of the 2010 Richard Diebenkorn Teaching Fellowship at SFAI. Artist and writer Meredith Tromble mixes drawing, performance, text, and installation. She has been an artist-in-residence at the Complexity Sciences Center at UC Davis since 2011, collaborating with geobiologist Dawn Sumner. Their interactive 3D artwork has been presented internationally and nationally, designated an Exemplar Project by the Alliance for Arts in Research Universities, and adapted for dance. She is author/editor of many essays, books, and a blog on contemporary art in light of contemporary science. Mark Van Proyen is a Northern California artist and art critic who has been active for 35 years; he has been a member of the SFAI faculty since 1985. His writing has appeared in Square Cylinder, San Francisco Arts Quarterly, Art Issues, and Art Criticism. He is also a corresponding editor for Art in America. Van Proyen has authored numerous exhibition catalogue essays for such institutions as the Circulo del Belles Artes in Madrid and the Crocker Art Museum in Sacramento. Ben Venom is a textile artist based in San Francisco. His work has been exhibited nationally and internationally at the Levi Strauss Museum, the National Folk Museum of Korea, HPGRP Gallery, Taubman Museum, Charlotte Fogh Gallery, and the Gregg Museum. Venom has been interviewed by NPR, Playboy, Juxtapoz, KQED, Maxim, and CBS Sunday Morning. Recently, he was the artist-in-residence at the de Young Museum and the Massachusetts Museum of Contemporary Art.

Lindsey White, chair of Photography at SFAI, has exhibited at venues such as the San Francisco Museum of Modern Art; San Francisco Arts Commission Gallery; Sydhavn Station, Copenhagen; Bolinas Museum, California; the Contemporary Jewish Museum, San Francisco; ACME., Los Angeles; The Art Gym at Marylhurst University, Oregon; San Francisco International Airport Museum; and Museum Bärengasse, Zurich. White was recently awarded SFMOMA’s 2017 SECA Award. Her work was featured in a recent survey book, Photography Is Magic, by Charlotte Cotton. White’s upcoming book project will be released by J&L Books in Spring 2019. Michelle Yee is a PhD candidate at UC Santa Cruz. Her research considers Asian American art through theories of cosmopolitanism and transnationalism, seeking to situate visual culture within larger global narratives of human movement and displacement. Her work asks how artists address tourism, inherited memories of conflict, and globalization in their work, establishing themselves and lived experiences as multi-located, multivalent, and cutting across increasingly porous borders. Yee’s essays have been published in Third Text, Art, Etc., and exhibition catalogues.   Wanxin Zhang’s works and research explore multicultural influences, politics, and the context of globalization. His pieces represent a contemporary culture and focus on social commentary. Zhang was the First Place recipient of the Virgina A. Groot Foundation Grant and the Joan Mitchell Grant. His pieces were part of the 22nd UBC Sculpture Biennial in Japan, the Taipei Ceramics Biennial in Taiwan, and the AnRen Biennial in China. Zhang’s works are represented by the Catharine Clark Gallery in San Francisco.


Board of Trustees TRUSTEES Christopher Tellis, Chair Elizabeth Ronn, Vice Chair Steven J. Spector, Treasurer Juana Schurman, Secretary Agnes Bourne Rebecca Chou Jonathan Cropper Bonnie Levinson Pam Rorke Levy Chris Lim Tom Loughlin Jeff Magnin Michael Naify Joy Ou Una Ryan

TRUSTEES EMERITI Gardiner Hempel Charles Hobson Howard Oringer Paul Sack John Sanger Jack Schafer Roselyne C. Swig

FACULTY TRUSTEES Claire Daigle Mads Lynnerup

STUDENT TRUSTEES Graduate Jordan Holms Undergraduate Ruvianne Fetsco

STUDENT REPRESENTATIVES Graduate Katherine Boxall Undergraduate Reed Walker

TRUSTEES-AT-LARGE Don Ed Hardy Annie Leibovitz Barry McGee Brent Sikkema


Donors Vernissage* is SFAI’s annual fundraising event in support of student scholarships, and offers the exclusive opportunity to preview new work from emerging artists who will shape the future of contemporary art. Vernissage Master of Fine Arts Preview May 10, 2018 SFAI—Fort Mason Campus Event Chair Agnes Bourne Development Chair Pam Rorke Levy THANK YOU TO OUR SPONSORS Agnes Bourne Rebecca Chou Kathy and Stephen Hirschfeld Bonnie Levinson and Dr. Donald Kay Pam Rorke Levy and Matt Brooks Elizabeth and Karl Ronn John M. Sanger Juana Schurman and Tony Ligamari Steven Spector and Robert Ripps Vernissage sponsors as of April 19, 2018. See inserted page for complete list of donors. Contributions to SFAI enable us to provide students with a rigorous education in the fine arts in preparation for a life of enormous contribution to our world. When you make a gift to SFAI, you stand with us as a champion of artists and scholars who dare to push the boundaries of creativity, sparking meaningful experiences and bold ideas. To learn more about how you can support SFAI, visit sfai.edu/support *noun: ver·nis·sage (ver-ni-ˈsäzh): A private showing or preview of an art exhibition. Borrowed from French—day before an exhibition opens reserved for artists to varnish and put finishing touches on their paintings; literally, from vernisser «to varnish».


2018 Honorary Doctorate of Fine Arts

Kehinde Wiley

San Francisco Art Institute is pleased to honor alumnus Kehinde Wiley (BFA 1999) as the recipient of the 2018 Honorary Doctor of Fine Arts degree and keynote speaker at Commencement on May 13.


Alumnus Kehinde Wiley (BFA 1999) has firmly situated himself within art history’s portrait painting tradition. As a contemporary descendent of a long line of portraitists, including Reynolds, Gainsborough, Titian, and Ingres, among others, Wiley engages the signs and visual rhetoric of the heroic, powerful, majestic and the sublime in his representation of urban, black and brown men and women found throughout the world. By applying the visual vocabulary and conventions of glorification, history, wealth and prestige to the subject matter drawn from the urban fabric, the subjects and stylistic references for his paintings are juxtaposed inversions of each other, forcing ambiguity and provocative perplexity to pervade his imagery. Kehinde Wiley holds a BFA from San Francisco Art Institute; an MFA from Yale University; and an honorary PhD from Rhode Island School of Design. His paintings are in the collections of over forty museums including the National Portrait Gallery, Washington, D.C.; the Los Angeles County Museum of Art; the Hammer Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles; the Metropolitan Museum of Art, New York; and the Brooklyn Museum. Selected museum exhibitions include The National Portrait Gallery, Washington, D.C.; Phoenix Art Museum; Jewish Museum, New York; the Brooklyn Museum; the Petit Palais, Paris; BOZAR, Brussels; the Phoenix Museum of Art; the Toledo Museum of Art; and the Modern, Fort Worth, among others. His work has been the subject of ten monographs to date. Wiley was recently the subject of the documentary, An Economy of Grace (2014, Show of Force). Wiley was honored in 2015 by the US Department of State with the Medal of Arts award, celebrating his commitment to cultural diplomacy through the visual arts. In February 2018, his portrait of Barack Obama was added to the permanent installation of presidential portraits in the Smithsonian’s National Portrait Gallery. He lives and works in New York.

“San Francisco Art Institute is where I honed in on my skills and identity as an artist, and I’ve carried that experience with me throughout my career. Art schools empower young people, giving a sense of art history as well as the tools to question those histories and re-envision our culture. I hope my story and work will inspire them to claim the full capacities of their education for powerful communication and social change.”



Produced by San Francisco Art Institute Content Editor Zeina Barakeh Associate Content Editor Niki Korth

Copyeditor Amy Krivohlavek Galindo

Project Manager Hugo Estrada

Printing Woodcut Press San Francisco

Artist Commentator Network, Stevie Southard and John Erbach, at the 2017 Fort Mason Opening Spectacle, 2017. Photo by Ando Caulfield / Drew Altizer.

Opposite Page 1 (Left to right, top to bottom)

Sherwin Rio, TRUE TEMPER (DEAD WEIGHT), 2017. Rocking chair, wheelbarrow, and twine; 61 x 25 x 25 inches. Courtesy of the artist.

Haru Urushido and Juancy Matos wearing SFAI’s art jacket, designed by Sherry Knutson. Photo by Alex Peterson.

Special thanks to Evelyn Hang Yin

M. Seth Design Noel Loder Maggie Norby-Adams Elizabeth O’Brien Bojana Rankovic Anne Shulock

Additional image credits Cover Spread Interior view of Fort Mason Campus, designed by Leddy Maytum Stacy Architects, 2017. Photo by Bruce Damonte.

San Francisco Art Institute Chestnut Street Campus

800 Chestnut Street San Francisco, CA 94133 Fort Mason Campus 2 Marina Blvd, Pier 2 San Francisco, CA 94123

Installation view of Lorena Perez Villers’s Ribbonsnight for the 2017 SFAI Gala: The Original Disruptor, Chestnut Street Campus. Photo by Hewitt Photography. Visitors at the 2017 Fort Mason Opening Spectacle. Photo by Ando Caulfield / Drew Altizer. President Gordon Knox, tintype portrait. © Photo by M. Roa, 2017. Courtesy of the artist. SFAI CONCENTRATE: Student Art Sale and Open Studios, Fort Mason Campus, 2017. Photo by Ando Caulfield / Drew Altizer. Extra Action Marching Band performs at the 2017 Fort Mason Opening Spectacle. Photo by Ando Caulfield / Drew Altizer. Page 4 Zeina’s Bird, Fort Mason Campus. Photo by Niki Korth. Page 82 (Left to right, top to bottom) Briony Maeve, Grasstopia, 2017. IV drip, water, beetroot juice, jade plant, meat hook, chain, and grow light; dimensions variable. Courtesy of the artist. View of a student’s studio at SFAI CONCENTRATE: Art Sale and Open Studios, Fort Mason Campus, 2017. Photo by Ando Caulfield / Drew Altizer. 114

Jiaming Song, Beyond Good and Evil, 2017. Video; 3-minute loop. Courtesy of the artist. Installation view of Nick Mittlestead’s works, 2018. Photo by Evelyn Hang Yin. Page 94 (Clockwise from the top) Postcommodity, Repellent Fence / Valla Repellent, 2015. Social engagement, land, U.S. Mexico border, anchors, cord, PVC spheres, helium. 2 miles long; 10’ diameter; spheres: 100’ h. Photo by Michael Lundgren. Courtesy of Postcommodity. Installation view of Lava Thomas, Looking Back and Seeing Now, Berkeley Art Center, 2015. Photo by John Wilson White. Installation view of Philippe Rahm: The Anthropocene Style, Walter and McBean Galleries, 2018. Photo by Marco David / SFAI. Installation view of BFA Fall Exhibition, Diego Rivera Gallery, November 28– December 8, 2017. Photo by Marco David. 2017 Fort Mason Opening Spectacle. Photo by Ando Caulfield / Drew Altizer. Work by John Rubin, unveiled at the 2017 Fort Mason Opening Spectacle. Photo by Ando Caulfield / Drew Altizer. Page 112 Kehinde Wiley. Photo by Tony Powell.


$25 / sfai.edu 116

Profile for San Francisco Art Institute

2018 MFA / MA Catalogue  

SFAI's 2018 MFA / MA Catalogue showcases the diverse, ambitious work featured in the 2018 MFA Exhibition at its new Fort Mason Campus. Plus,...

2018 MFA / MA Catalogue  

SFAI's 2018 MFA / MA Catalogue showcases the diverse, ambitious work featured in the 2018 MFA Exhibition at its new Fort Mason Campus. Plus,...