2019 MFA / MA Catalogue by San Francisco Art Institute

Ben Barbour David Seok Hoon Boo

Andrew McClintock

Anthony Chao

Joshua Zachary Mintz

Chen Yangyi

Nicholas Mittelstead

Sophia Alexandria Cook

Ni Pan Andy Pepper

Ben Cornish Katie Curry

Eliza PhelanHarder

Sami Cutrona

Kathryn Gardner Porter

E. Leigh Daniels Han Dong

Gautama Ramesh

Giuliana Funkhouser

Kate Rannells

Arthur E. Gies

Joe

Adea Frances Guldi

Joanna Ruckman

2019 MFA / MA Suzanne Russell T. Shell Sherwin Rio Amina Shah Mumei Song Haley Toyama Wenzhe Wang Momo Yuntong Wu Rongwan Xia Heng Yang Tianfang Yu Yiling Zeng Steven (Tiandongding) Zuo

John James Hartford V Samantha Mabelle Hensel Jordan Holms Whitney Humphreys Hayley Samantha Jensen Susan Lai Kate Laster Alexis Lastomirsky Ans Li Yuanyuan Liu Mengmeng Lu Yvette Jessica Marthell

2019 MFA / MA

SAN FRANCISCO ART INSTITUTE Graduate Programs 2018–2019

Gordon Knox / President Annette Brown / Director of Finance 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 Elizabeth O’Brien / Vice President of Enrollment and Marketing Jennifer Rissler / Vice President and Dean of Academic Affairs Anne Shulock / Chief of Staff Claire Daigle / Director, Master of Arts Programs Tony Labat / Director, Master of Fine Arts Program J. John Priola / Director, Low-Residency Master of Fine Arts Program Frank Smigiel / Department Chair, Exhibitions and Museum Studies Zeina Barakeh / Assistant Dean of Academic Affairs Niki Korth / Manager of Graduate Administration John Seden / Director of Operations and Facilities Bernadette Bellomo / Operations and Facilities Manager, Fort Mason Campus Jack Darawali / Evening Operations Coordinator, Fort Mason Campus Jaimie Healy / Studio Operations Coordinator

2019 MFA / MA CONTENTS 1 Message from Gordon Knox, President 3 Graduate Programs MASTER OF FINE ARTS / ARTIST PAGES 4

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

Graduating MFA Artists

MASTER OF ARTS / THESIS PROJECTS 47

Message from Claire Daigle, Director, Master of Arts Programs

Graduating MA Scholars

Collaborative Projects

SELECTED PROJECTS

EXHIBITIONS AND PUBLIC PROGRAMS 78

Exchanges

Special Programming

Walter and McBean Galleries

Diego Rivera Gallery

Main Gallery

Schafer Gallery

Visiting Artists and Scholars Lecture Series

Graduate Lecture Series

PhotoAlliance

IN MEMORIAM

GRADUATE PROGRAMS FACULTY

BOARD OF TRUSTEES

VERNISSAGE 2019 DONORS

HONORARY DOCTORATE 2019 / EMORY DOUGLAS

100

ACKNOWLEDGEMENTS

Message from the President It is my great pleasure to congratulate the 2019 graduates of San Francisco Art Institute’s MFA, MA, and Dual Degree programs. As demonstrated in the MFA Exhibition, MA Thesis Symposium, and in the pages of this accompanying catalogue, these artists and scholars have produced a terrific range of aesthetic and intellectual achievements. I have in fact heard stories of this year’s graduate reviews – one faculty member of a review committee reported that “throughout the day each member of the committee took a turn crying because we were so moved and inspired by the incredible intelligence and beauty that our graduate students are bringing out into the world.” This kind of engagement is what’s at the heart of SFAI. I truly believe, and feel every day on campus, that we are a family – the kind you get to choose, by choosing to devote yourself to the messy, difficult, sublime form of communication and community-building we call art. When I think back over this past year, I am transported to such moments of deep resonance: Patti Smith, in the Diego Rivera Gallery, saying that she never wishes she was younger but did just then so that she could be a student here. Ericka Huggins and Barbara Easley-Cox, sharing that from the moment they walked on campus they could tell that SFAI was a sanctuary for difference and a place for rigorous imagination. Jenny Saville, in the studios of Fort Mason, wildly impressed with the astute investigations underway.

And of course I think of all of you students, learning and growing and working every day to shape, in the words of your graduate representatives, “a collective vision of what our education and impact on the Bay Area art scene can look like.” The good news is that your role in this collective vision does not end with a culminating exhibition, or with graduation. You are part of a global network of SFAI alumni, and as a school we are recommitting ourselves to staying in close touch and keeping all of our amazing alums a core part of this living, breathing community. Thank you for all that you have accomplished here, and for all the energy and love and sweat and tears of pride that you have contributed. I can’t wait to see what comes next.

With gratitude,

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 in which emerging artists can 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 in addition to technical proficiency, and artists are encouraged to experiment widely across media. SFAI’s optional emphases enable 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 one-on-one with faculty 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, cutting-edge 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. Additionally, the robust Graduate Lecture Series provides opportunities for direct dialogue with contemporary artists each summer. Students participate in Summer Reviews and Winter Critiques in San Francisco each year, and the program culminates with the acclaimed 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 problemsolving to prepare for a lifelong commitment to art and ideas. SFAI’s scholars are creative practitioners who work side by side with MFA students with one difference—their creative materials are ideas and words. MA students 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. At the program’s conclusion, 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 provide 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; and 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 at any time during the three years.

The True Artist Helps the World by Revealing Mystic Truths Bruce Nauman’s 1967 neon sign The True Artist Helps the World by Revealing Mystic Truths asks a multitude of questions with regard to the ways in which the 20th century conceived both avant-garde art and the role of the artist in society. If earlier European modernists sought to use art to reveal deep-seated truths about the human condition and the role of the artist in general, then Bruce Nauman questioned such trans-historical and universal statements. With regard to this work, Nauman said:

The most difficult thing about the whole piece for me was the statement. It was a kind of test—like when you say something out loud to see if you believe it. Once written down, I could see that the statement [...] was on the one hand a totally silly idea and yet, on the other hand, I believed it. It’s true and not true at the same time. It depends on how you interpret it and how seriously you take yourself. For me it’s still a very strong thought.

I asked the graduating students: What would be your “statement” to fit your contemporary reality? Here is a sample of what I got back. Tony Labat Director, Master of Fine Arts Program

一期一会 (“ichi-go, ichi-e”) “Make the best of each meeting and moment as time is fleeting.” Giuliana Funkhouser 不忘初心，方得始终。 “Never forget why you started, and your mission can be accomplished.” Ni Pan Min maade at vaere i verden paa er at skabe kunst “Making art is my way of being in the world.” Suzanne Russell “Contemporary reality is part of our life. For me, it’s classic by technological.” Rongwan Xia “The 21st century artist gives voice to the human act of becoming in the thick of a world struggling breathlessly to do the same.” Andy Pepper В чем смысл жизни “What is the meaning of life?” Andrew McClintock “The artist is like manghihilot—using a responsive process to help mend and amend imbalances. Manghihilot is a kind of Philippine Indigenous healer and practitioner that uses intuitive physical touch and sometimes medicinal aids to reorder physical, mental, emotional, and spiritual imbalances.” Sherwin Rio 艺术永远源自生活，高于生活，最后回归生活。 “Art always comes from life, higher than life, and finally returns to life.” Heng Yang 發現自己，瞭解文化，尊重作品。（Chinese）自分自身を発見する。文化を理解する。作品を尊重する。(Japanese) “Explore yourself. Understand your culture. Respect your work.” Eunice Liu 我的陈述如同可读易懂的窗口，让对我一无所知的观者得以窥探我这个生物。 “My statement serves as a readable and understandable access for the viewer who knows nothing about me to gaze at the creature that I am.” Elaine (Yilling) Zeng “What we choose to see reinforces what is or isn’t allowed, what we permit, what we support. Portraiture is a tool of seeing for me—of acknowledgement and humanity.” Arthur Gies “Today’s truths are tomorrow’s lies.” Joe (Robertson) 내가 하는 이 짓거리는... 말도 잘 안통하는 세상에서 기억도 안나는 생각의 원형을 몇 개 인지도 모를 단층을 질질 끌고나와 그나마 손에 남은 한줌의 진심을 꺼내보이는 것. “The thing that I’m trying to do is . . . dragging around the original state of mind through the countless layers and presenting a small piece that is remaining, since it is quite hard for me to just talk about anything in this world.” David Seok Hoon Boo 5

Ben Barbour Born/Home London, United Kingdom Education MFA Studio Art, 2019

These pieces are inspired by a seemingly insignificant wooden cog formerly used for the production of steel machinery components utilized in the extraction of china clay. In casting the object using the very material the cog was designed to process (porcelain), and by combining contemporary technologies such as 3D digital printing with traditional slip-casting techniques, a feedback loop is created between product and tool, and between contemporary and historic industrial processes and materials. benbarbour.wordpress.com

(Left to right, top to bottom) 3D Printed Cog and Parts 2019 3D print and yellow PLA filament Dimensions variable Fired Cog Teeth, Test Pieces 2018 Slip-cast porcelain 5 x 1.5 x 2 inches Gypsum Molds 2018 Locally-sourced gypsum from Qatar Dimensions variable Cog Tooth 2018 Slip-cast porcelain with celadon green glaze 5 x 1.5 x 2 inches

David Seok Hoon Boo Born/Home Seoul, South Korea/ Atlanta, Georgia Education MFA Studio Art, Film, 2019

My work is based on genre exploration in filmmaking. By mixing a variety of genre elements into a single film, I challenge the simple categorization of films by genre, playing with well-known elements of certain types of films and creating infinite possibilities for experimentation. My recent works focus on sci-fi, fantasy, and black comedy mashups. facebook.com/tmbu2018

(Top to bottom) Sleep and Death 2018 HD video and DV tape 18:51 minutes The Market Between Us 2018 HD video 19 minutes Zalichuthna, Not Mr. Zalichuthna 2019 HD video 15 minutes

Anthony Chao Born/Home Kaohsiung, Taiwan Education MFA Studio Art, 2019

This work explores the relationship between the splendid beauty of the undeveloped, rural, ancient landscapes and stunning ancient architecture in ĺŽ&#x2030;ĺž˝ Anhui Province, China, and the brilliant artistic craft that has passed its prime in history.

(All images) Thousand Shades of She 2018 HD video 8:37 minutes

Chen Yangyi Born/Home Zhejiang, China Education MFA Studio Art, 2019

I use photography, video, and installations to broaden the scope of possibility of simple matter rendering in multiple processes. Our lives are laden with what we have seen and experienced, and our growth has been accompanied by many changes, moves, relationship struggles, and solitude; but at the destination, we turn back to the lightness of being. As time goes by, the familiar things will become strange in our memories. chenyangyi.space

(Clockwise from top left) Rebirth 2017 Mixed media Dimensions variable Unfamiliar Room 2018 HD video 1-minute loop The Unfamiliar 2018 Aquatint on photography Dimensions variable Tissue 2018 Digital inkjet prints on board 46 x 31 x 2 inches

Sophia Alexandria Cook Born/Home California

sophiaacook.com

(Top to bottom, left to right) Replicate I 2018 Photocopies, silk, and duracal Dimensions variable

Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2020

Fancy Objects 2018 Photocopies and duracal Dimensions variable Fancy Objects 2018 Photocopies and duracal Dimensions variable

Ben Cornish Born/Home Salem, Oregon Education MFA Studio Art, 2019

My current body of work acts as unsure timelines of mistakes and anomalies. The tensioned narratives that governed my childhood were spoken with a certainty that could only be argued back in a kind storytelling steeped in repentance. I choose to speak in image. Bosch made paintings for the dungeons, I make images for houses that are filled with arguments and quiet anxiousness hidden for oneself from an environment built of allegory and alibi.

(Clockwise from top left) Bath 2018 Hardground etching on paper 3 x 4 inches Mount 2017 Lithograph on paper 9 x 6.5 inches Unnamed Dogs 2018 Oil on canvas 54 x 60 inches Broadcast 2018 Graphite on paper 30 x 22 inches

Katie Curry Born/Home Victorville, California Education MFA Studio Art, 2019

These works are subject to the liminal: a convergence of opposites where line becomes form, where the twodimensional verges on the sculptural, where desire and conscious thought intersect. Forms give way to recognizable imagery in the guise of domestic goods and desert landscapes, often flirting with the figurative.

(Clockwise from top left)

katieleighcurry.com

Fluid States 2018 Mixed media Dimensions variable

Costume Closet 2019 Mixed media Dimensions variable Midnight Dreaming 2019 Acrylic and soft pastel on canvas 52 x 42 x 1.5 inches

Barefoot in the Desert 2019 Acrylic and soft pastel on canvas 68 x 40 x 1.5 inches

Sami Cutrona Born/Home Nazareth, Pennsylvania Eduacation MA/MFA, History and Theory of Contemporary Art/Studio Art, 2020

Often revealing the subject through fragments, I am interested in the ability to maintain agency through abstraction. I utilize photo-based works as a means of reclaiming bodily autonomy and disrupting the ways in which power and meaning have been inscribed on my queer abject body.Â While considering the art historical canon, I seek to reject its traditions. I do not directly allude to my identityâ&#x20AC;&#x201D;allowing room for gender ambiguity and, ultimately, agency. samicutrona.com

(Clockwise from top left) Recline 2019 Temporary tattoo transfer on bubble wrap 24 x 12 inches Breathing In/Out 2019 Image transfer on chiffon 64 x 54 inches Squish 2018 Temporary tattoo transfer on latex balloon Dimensions variable Splat 2018 Vinyl banner and bungee cord 72 x 84 inches

E. Leigh Daniels Born/Home Schwenksville, Pennsylvania Education: MFA Studio Art, 2019

Using non-archival and semi-photographic processes, time and human interaction encourage inevitable destruction. I create camera-less exposures, using both light-sensitive and natural materials such as cyanotype and turmeric or beets and sun. Welcoming the materials to flow freely, I remove myself and enable the moment I have created to live and decay naturally. I strive to bring visibility and beauty to what society and the art world deem easy to dismiss. eleighdaniels.com

(Clockwise from top left) 4 Months 2018 Cotton sheet treated with turmeric, beets, and sunlight 96 x 66 inches Beet Juice Study #1 2018 Beet juice on cardstock 7 x 4 inches 7 Months 2018 Cotton sheet exposed to sunlight 90 x 102 inches

Han Dong Born/Home Heilongjiang, China

(Clockwise from top left) Date Plan 2018 HD video 1:45 minutes

Education MFA Studio Art, Film, 2019

Sunday 2018 HD video 1:30 minutes Bath 2018 HD video 1-minute loop

Giuliana Funkhouser Born/Home New England/ Utuado, Puerto Rico/ Zaragoza, Spain Education MA/MFA History and Theory of Contemporary Art/Studio Art, Art and Technology, 2020

I’m interested in meeting the Wizard, how about you? My artwork interrogates contemporary mass-media entertainment and “content delivery” platforms that promise instant connection while fragmenting reality in unprecedented ways. By presenting the darkly Babylonian aspects of weaponized narrative and social media interactions through photo and sound art installations, I hope to celebrate the people and places continually pushed to the wayside in the name of technological acceleration, economic expansion, and the siren song of paradise. gfunkhouser.net

(Clockwise from top) Painted Desert 2017 Inkjet print 22 x 39 inches Marie Antoinette’s Boom Box 2017 Wig, velvet fabric, mini amp and speakers, and custom audio cable 12 x 24 x 8 inches Snow Crash 2018 Cyanotype, screenprint, and cotton canvas 60 x 180 inches

Arthur E. Gies Born/Home San Diego, California Education MFA Studio Art, Painting, 2019

My work explores representational figure painting as an act of deliberate seeing and observation, as well as politics in an era of constant photographic bombardmentâ&#x20AC;&#x201D;of concentration and analysis, understanding and acknowledgment. The individuals I paint determine how they present themselves, initiating a collaborative process predicated on humanity and consent based on their conceptions of identity and body. This subverts the traditional artist/subject dichotomy. pragmagic.xyz instagram.com/pragmagic

(Left to right, top to bottom) Three Images of Adea 2019 Oil on panel 48 x 36 inches Untitled 2019 Oil on canvas 16 x 20 inches Lee and Sarah 2018 Oil on canvas 48 x 32 inches

Adea Frances Guldi (Clockwise from top left)

Born/Home New York Education MFA Studio Art, 2019

I work in two languages: “from the body” and “of the body.” Works “from the body” are abstract paintings made through choreographic movements and color. Works “of the body” are performative meditations on social concerns. Through brutality, these works examine politically gendered spaces by breaking ritual and pushing extremes, towards refinement of the psychosexual, spiritual-political, and psycho-political. My work aspires to mobilize activism, complicate assumptions of my personhood, and motivate compassion. adeafrancesguldi.studio

ATA Window Gallery Performance 2018 Performance 26:47 minutes Not for Lack of Better Words 2017 Performance 26:29 minutes Untitled 2018 Mixed media with acrylic, ink, and ash on canvas 90 x 173 inches Untitled 2018 Mixed media with acrylic, ink, and ash on canvas 107 x 133 inches Meatball 2018 Performance 20:21 minutes

John James Hartford V (Clockwise from top left)

Born/Home San Francisco, California Education MA/MFA, Exhibition and Museum Studies/Studio Art, 2020

Through a destructive process, exhumed works are constructed of both collected material and found objects that resonate with personal traumas, memories, or appeal to the aestheticized destroyed object. My work guides the viewer’s attention to the visual object’s (or icon’s) sediments of time and decay—in what I’ve come to describe as “post-opulence”—and aims to reveal the contemporary mimesis of twice-removed truths surrounding greater bloom and decay. fifthimageart.com

A Burnt House 2018 Burnt media assemblage 16.25 x 15.5 x 2 inches Eyes of the Prince 2018 Mixed media on canvas 48 x 36 x 2 inches Left to Dry 2018 Mixed media assemblage 15.75 x 12.75 x 3 inches Degradation 2018 Burnt media on wood panel 30.25 x 27.25 x 2 Seed and Bloom 2018 Mixed-media sculpture 62 x 48 x 48 inches

Samantha Mabelle Hensel

Hancock, New Hampshire Education MFA Studio Art, 2019

Born/Home

Through a variety of approaches based in performative consideration, I use sculpture, installation, photography, video, and live performance to communicate my highly sensitive relationships to inner and outer worlds. My poetic work is devoted to creating a safe space for deeper consideration, softness, interactions, and intimacy. With its treatment of beauty and touchability, and its warm, feminine, and childlike spirit—contrasting

with subtly woven darkness and pain—my work studies the self, the body, the sentient, and the universe. henselstudio.com (Clockwise from top left) Sink Into Me and I’ll Sink Into You 2018 Performance 60 minutes

Whitney Humphreys Born/Home California Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2020

To me, disruptive modes of gender representation generate visions of possibility. Engaging concepts and processes of both deconstruction and reconstruction in my work, imagery and objects are fragmented, reassembled, and conflated. Through works that mobilize print media and manipulate spaces, I investigate how knowledge is produced and identities are constructed. By positioning the viewer as a visitor to alternative scopes of reality, I offer perspectives that complicate the familiar and provoke others to question normalcy. whitneyhumphreys.com

(Clockwise from top left) Smoke Gets in your Ai 2018 Screenprint, plexiglass, wood, and steel 60 x 26 x 6 inches Drag Me to the Moon 2018 Screenprint, plexiglass, wood, and steel 45 x 26 x 6 inches Projected Futures (1 in a series of 4) 2018 Screenprint, plexiglass, wood, steel, and LED lights 12 x 12 x 5 inches Altared States 2018 Wood carving, sketch tissue, and ink 48 x 72 x 12 inches Framed 2018 Mixed-media collage 10 x 12 inches

Hayley Samantha Jensen Born/Home New Orleans, Louisiana

Thinking about the anthropocentric ideologies of the

(Clockwise from top left)

past century,

Hot and Sad: Storm Cooling 2018 Paint, plastic, and nails 48 x 72 x 4 inches

I give eyes to the world around me. Education MFA Studio Art, Painting, 2019

Not resources for use, they are vibrant happenings. I paint and sculpt the consciousness of the world as an enchanting biotic community. Plastic materials provoke and complicate to subvert the image further into the complex depths of interconnection and recent decades of production and destruction in the name of human convenience. hayleysamanthajensen.com 22

Blue Planet 2: Plastic Ocean 2019 Paint, plastic, and nails 36 x 48 x 4 inches Blue Planet 2: Chasing Coral 2019 Paint, plastic, and nails 8 x 18 x 4 inches

Susan Lai Born/Home California Education MFA Studio Art, 2019

I have come to believe that the search for eternal youth is not in vain, but cannot be realized through fabled waters, exotic elixirs, objects of desire, or even biological advancement. Rather, it can be achieved by embracing the human spirit with the natural environment. Amongst conflict and resolve, the ooze and drip of life, my work aims to manifest the struggle of the ages as well as the flight and fluidity of matter. susanlai.viewbook.com

(Clockwise from top left) Land in Transformation (Red) 2018 Charcoal and oil paint on polyester film 24 x 19 inches Living Sculpture No.1, detail 2018 Soap and activated charcoal 26 x 21 inches 2235, wall installation 2018 Pastel and charcoal 132 x 204 inches Industrial Evolution 2018 Photo collage, yellow oxide, sealant, and glass Dimensions variable

Ans Li Born/Home Hong Kong, China Education MFA Studio Art, 2019

(Clockwise from top left)

My paintings and installations contain bright colors as well as materials from childhood. Under a cheerful surface, my work discusses issues that I am concerned aboutâ&#x20AC;&#x201D;such as gender inequality and cultural conflictâ&#x20AC;&#x201D; as a Chinese woman living in the United States. I highlight the importance of interaction and multiple senses, asking the viewer to become a participant in the work by allowing their senses (sight, taste, smell, and touch) to be engaged.

Flash Card (Boys) 2019 Marker on paper and foam baby play mat 61 x 61 x 5 inches Flash Card (Girls) 2019 Marker on paper and foam baby play mat 61 x 61 x 5 inches Cycle 2019 Acrylic on canvas 163 x 62 inches Cycle 2019 Acrylic on canvas 163 x 62 inches

anslixy.com

Supper Moment 2018 Mixed media 60 x 40 x 19 inches

Yuanyuan Liu Born/Home Henan, China Education MFA Studio Art, 2019

I marry traditional mark-making with digital strategies to create drawings and animations that explore the relationship between traditional content and digital artifice. From animations created by translating the choreography of martial arts heroes and villains, to drawings utilizing the Heibai Wuchang, I explore how Chinese folk culture reinforces the dynamic duality derived from the notion of yin and yang, along with dominant moral distinctions of justice and wickedness. euniceliu.com

(Left to right, top to bottom) Wuchang 02 2018 Digital drawing 111 x 58 inches Zheng 2018 Video animation 2:23 minutes Wuchang 01 2018 Digital drawing 61 x 104 inches

Mengmeng Lu Born/Home Jiangsu, China

mengmenglu.com

(Left to right, top to bottom) Untitled Still Life 2018 Archival inkjet print Dimensions variable

Education MFA Studio Art, 2019

Root 2019 Mixed media 48 x 17 x 9 inches Root 2019 Mixed media 48 x 17 x 9 inches

Yvette Jessica Marthell Born/Home Long Beach, California Education MFA Studio Art, 2019

My work seeks to explore the fragmented visual depiction of our human selves through the mediums of photography and video installation. My work is intimate, personal, and deeply connected with my subjects. Through the lenses of feminism and queer identity, I touch on universal conversations on the battles of love, obsession, grief, feminism, and queer identity.

(Clockwise from top) The Last Thing You Said 2018 HD video 30-second loop Alley #1, from the series Love, Alleys, and Tears 2018 Silver gelatin fiber-based print 16 x 20 inches Self Portraitâ&#x20AC;&#x201D;Still Me at 40 2017 Cyanotype on muslin fabric 90 x 48 inches

yvettejessica.com

Joshua Zachary Mintz Born/Home New Orleans, Louisiana Education MFA Studio Art, 2019

Through the act of stitching fractured, yet interdependent, moments in time, my work explores themes of memory and the displacement of the human psyche experienced through the wonted events of ordinary life. Sculptural and illustrative, the miniature environment, combined with the imitative inclusion of banal objects, becomes a door to the uncanny. These cross sections, extracted from a complex story line, present the viewer with ignored moments of everyday life, frozen to invite stillness and contemplation. joshmintzart.com

(Clockwise from top left) Still Space 2018 Ceramic, wood, fabric, string, polymer clay, and cotton 17.5 x 14.5 x 26 inches Trash Ball 2017 Mixed media 56 x 24 x 96 inches Still Space 2018 Ceramic, wood, fabric, string, polymer clay, and cotton 17.5 x 14.5 x 26 inches

Ni Pan Born/Home Shanghai, China

(Clockwise from top) Forest #1 2018 Oil on canvas 30 x 56 inches

Education MFA Studio Art, 2019

Snowing Day 2018 Oil on canvas 30 x 30 inches Ohio Night #2 2018 Oil on canvas 24 x 42 inches

Andy Pepper Born/Home Pike County, Mississippi Education MFA Studio Art, 2019

In my work, I imagine my body as a cursor, drawing lines through wild places. Given three-dimensional form, these routes describe kinship between wild places and the queer body, where both body and place represent an uncanny other. My background in journalism and horticulture underpins my practice. Both emphasize bearing witnessâ&#x20AC;&#x201D;one to human experience, the other to the natural world. Working with detritus from both, I animate my travels as dioramas of queer ecology. akpepper.com

(Clockwise from top left) Badlands 2018 Mixed media Dimensions variable Timber 2017 Reused stretch wrap and glue Dimensions variable Cedar Breaks 2018 Mixed media Dimensions variable Io 2017 Reused moving straps, staples, and metal sheet 2 x 40 x 40 inches

Kathryn Gardner Porter Born/Home New York Education MFA Studio Art, 2019

My work exists in the spaces between intuition and intellect, childhood hope and adult reality, the archival past and the ephemeral present. I am interested in exploiting and reclaiming historically recognizable and genericized symbols to explore emotions in a higher resolution. Through the investigation of these symbolic borders, boundaries, and metaphors, I hope to provoke internal reflection and intellectual curiosity, not didactic polarization. kathryngardnerporter.com

(Top to bottom, left to right) Black Horse # 5 2018 Charcoal and paint on paper 84 x 100 inches Black Horse # 6 2018 Charcoal and paint on paper 84 x 100 inches Pin the Tail 2018 Charcoal and paint on paper 84 x 100 inches Shorthand Electoral College 2018 Watercolor on paper 54 x 180 inches Simulacrum 2018 Charcoal on paper 54 x 72 inches

Gautama Ramesh Born/Home Madras, India Education MFA Studio Art, Film, 2019

I observe societal, cultural, and ecological violence deep within and far outside of commonly acknowledged spheres of consequence. By hybridizing misanthropic fiction, amoral nonlinear narratives, documentary works, and abstract handmade film, I disrupt and disfigure violence as seen within cinema. Set within fractured infrastructures of nonurban spaces, constructed with tools restricted by the socioeconomic status, time, and geography of those portrayed, these films are nonconformist artifacts, created with hardcore punk rebellion and Woody Guthrie anger. thewoodrowfilmcompany.com

(Clockwise from top left) In the Shadows of the Smokestacks 2018 SD video, 5.1 sound 17:50 minutes Coyote 2017 16mm to 4K, silent 5 minutes Five Mysteries in Wastewater 2018 Super 8 to 4K, silent 7 minutes

Joe Born/Home Huntington Beach, California Education MFA Studio Art, 2019

My pieces are titled Grey, referring to the grey areas of capitalism and the politics of the textile industry. My artwork critiques the capitalist industry through cannibalizing past works and reassembling them to generate new works. In protest of inhumane labor conditions, I avoid the intensive work of stitching; instead, I create paintings and installations by knotting and gluing scrapped fabric, transforming spaces and our relationship to them. theartjoe.com

(Clockwise from top left) Grey #5 2019 Recycled fabrics, wood, and glue 70 x 70 inches Grey #3 and Grey #1, installation view 2018 Recycled fabrics, glue, yarn, wood, and rope Dimensions variable Grey #6: A Modern Kitchen 2019 Recycled fabrics, glue, and acrylic paint 45 x 90 inches Grey #4 2018 Recycled fabrics, glue, and rope Dimensions variable

Joanna Ruckman Born/Home Cincinnati, Ohio Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2020

Hair is a malleable medium of communication in the performance of identity. I propose the braid as a ritual, passed down through generations, stitching together past, present, and future. My ongoing photographic and oral history project, Hair Stories, reveres hair as an archival extension of self, forming the foundational research for my interdisciplinary artworks, including printmaking, installation, and social engagement. A cross-cultural tradition, the braid embodies strength, weaving together otherwise disparate parts. joannaruckman.com

(Clockwise from top left) Solidarity 2016 Screenprint 24 x 20 inches White Boxes: Bustle 2018 Chiffon, cotton thread, hair, hair ties, and sewing pins 63 x 42 x 28 inches White Boxes: Adornments Series 2018 Cotton thread, hair, hair ties, lace, ribbon, sewing pins, and dress hooks 21 x 28 x 7 inches Hair Stories: Radical Beauty Project 2018 Public installation Dimensions variable Hair Stories: Mobile Photo Booth 2018 Converted bread truck 120 x 288 x 96 inches

Suzanne Russell Born/Home New York, New York/Copenhagen, Denmark Education MFA Studio Art, 2019

By using clay to make objects that have no practical function and refuse conventional values of skill and beauty, my goal is to make work that negotiates the uncomfortable space of the abject body and gives ceramics a non-craft identity. I am interested in the ways in which clay can elicit and hold the emotional states and marks of the maker and how this energy can inform the meaning of the work. suzannemarierussell.art

(Clockwise from top) Rilled Mound 2019 Various clays and glazes 13.5 x 10 x 10 inches Angel and Armour 2019 Various clays, terra sigillata, and black copper wash Angel: 10 x 8 x 8 inches; Armour: 7 x 10 x 10 inches Secret Hive 2019 Earthenware and black copper wash with pieces of glazed and unglazed porcelain 16 x 12 x 12

T. Shell Born/Home Birmingham, Michigan Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2020

Utilizing sculpture, sound, video, and performance, I create visual manifestations of emotional pain and trauma. In making past and current memories live within three-dimensional and immersive spaces, I am making what is typically invisible within Western society visible. These installations confront the viewer with their very existence and raw realities. The layering of traditionally gendered and unconventional uses of recognizable materials becomes the catalyst for creating abject works that both intrigue and repel. tshellart.com

(Clockwise from top) Inlaid 2018 Performance 88:23 minutes “I’ve had it up to here” 2018 Wire mesh, molding paste, latex, and water-soluble pigments 8.5 x 10 inches Corporeal Restraints 2018 Performance 93:05 minutes

Mumei Song Born/Home Wuhan, China

(Left to right) The Dying Green, poster 2018 HD Video 28 minutes

Education MFA Studio Art, Film, 2019

The First Second 2017 Installation with paper, ink, woolen yarn, canvas, hemp rope, and rice paper Dimensions variable

Haley Toyama Born/Home Los Angeles, California/ Hong Kong Special Administrative Region Education MFA Studio Art, 2019

I dedicate my energy to preserving memories of the city I love. I treat my practice as one of the remaining ways to criticize the neo-imperialism of the mainland Chinese government acting under the guise of British postcolonialism in Hong Kong.

(Left to right, top to bottom) The First Flag from Tai Koo Dockyard 2019 Oil on panel 12 x 9 x 1.5 inches Wintermelon Tofu: Hong Kong Slang Forecasting Mushy News 2018 Oil on panel 8 x 6 x 1.5 inches The Longer It Steeps, the More Bitter She Becomes 2019 Curated Chinese teas, handmade papers, handmade boxes, plastic sleeves, gold leaf, and linen thread 6 x 6 x 6 inches

Wenzhe Wang Born/Home Wuhan, China

wenzhewang.com

(Left to right) To the River 2018 Acrylic on canvas 65 x 63 inches

Education MFA Studio Art, Painting, 2019

Untitled 2019 Video animation Duration variable

Momo Yuntong Wu Born/Home Nanchang, China Education MFA Studio Art, 2019

My work explores the connections between the ideas that shape our understanding of the outer scientific world and our inner psychological world. I believe these ideas are not separate; there is symbiosis between our deepest awareness and the farthest point of universe. By limiting my control over my paintingâ&#x20AC;&#x201D;in modes of abstracting with organic forms, incorporating different materials, and breaking two dimensionsâ&#x20AC;&#x201D;I explore the echo between the inner psychological world and the outside environment. yuntongwuart.com

(Clockwise from top left) The White-Dwarf 2018 Ink, acrylic, and clay on wood panel 63 x 63 x 1.5 inches Moon and Tides 2019 Ink, acrylic, and clay on wood panel 48 x 48 x 1.5 inches Nebula 2019 Ink, acrylic, and clay on wood panel 30 x 30 x 1.5 inches Duality 2018 Ink, acrylic, fabric, and clay on wood panel Dimensions variable Dimensions 2017 Oil on canvas Dimensions variable

Rongwan Xia Born/Home China

(Clockwise from top left) A Face in the Mirror 2018 HD film 4:21 minutes

Education MFA Studio Art, 2019

Dark World 2018 HD film 1:58 minutes Dark World 2018 HD film 1:58 minutes

Heng Yang Born/Home Beijing, China Education MFA Studio Art, 2019

My work is informed by humanityâ&#x20AC;&#x2122;s relationship to time and space filtered through my personal experience of daily life. I use long shots in my films to make the audience feel the story instead of merely see it. Since I first began to study film, I have continued to explore my emotional life through natural symbols in order to observe and critique myself and society around me.

(Clockwise from top left) Untitled 2017 HD video 5:17 minutes Elevator 2018 HD video 5:21 minutes Untitled 2017 HD video 5:17 minutes

yhengfilm.com

24 2019 HD video 24 minutes

Tianfang Yu Born/Home Harbin, China

tianfangyu.art

(Top to bottom, left to right) Vision 2018 Digital inkjet print 15 x 15 inches

Education MFA Studio Art, 2019

Switch On 2018 Digital inkjet print 15 x 15 inches Made a Mess? 2018 Digital inkjet print 15 x 22.5 inches

Yiling Zeng Born/Home Beijing, China Education MFA Studio Art, 2019

Born and raised in the East, Iâ&#x20AC;&#x2122;ve had a hard time fitting into a distinct culture since I moved to an unfamiliar city in the West. With film and video, I have found a way to inject my nostalgia, insecurity, perplexity, and anxiety into the characters. They act as eyes and feelers for me to investigate both acceptance and rejection between different cultures.

(Top to bottom, left to right) To Be One of Them 2018 Six-channel video installation 3-minute loop Nature Boy 2018 Video animation 2-minute loop Carol and Jill 2018 Clay and wire 2 x 5 x 4 inches

yilingzeng.com

Steven (Tiandongding) Zuo Born/Home Hainan, China

stevenzuo.com

(Clockwise from bottom left) Figure: Inflated 2018 Fabric 197 x 60 x 60 inches

Education MFA Studio Art, 2019

We All Understand: C-1 2018 Oil on canvas 81 x 143 inches Figure: Rendered 2018 Digital inkjet print 217 x 175 inches

MA / Thesis Projects Dear Graduates of 2019, You are my favorite graduating class so far. (Zeina reminds me that I say this every year.) But this time, it’s true. Honest. I look at you and think, Well, we must be doing something right. You work hard, think hard, and make good work. You’re awkward and curious in the best possible ways. Your convictions and concerns—for social justice, for each other, and for the planet—help me sleep better at night. Here is your launch list: 1. “I look / at you and I would rather look at you / than all the / portraits in the world except possibly for the Polish Rider occasionally and / anyway it’s in the Frick / which thank heavens you haven’t gone to yet so we can / go there together” Frank O’Hara in “Having a Coke with You”

10. Poetry: “Birds and feathers flock together.” Fred Moten again (The glitch is everything. Also, flock together.)

2. Mind the canon. Mine the canon, which is to say, dig it, dig around and detonate. Never mind the canon.

12. Chicago, not MLA (the MAs know what I’m talking about). (Sorry, Frank, but it’s all about the footnotes.)

3. “So much blue.” Percival Everett

13. Honor our ghosts: George Kuchar, Carlos Villa, Richard Berger, Bill Berkson, Hank Wessel, and Okwui Enwezor among them.

4. “Make sure to allow people to take care of you.” Mickalene Thomas 5. “Think in stitches. Think in sentences. Think in settlements. Think in willows. Think in respect. Think in farther . . . ” Gertrude Stein

11. I can’t find my Jenny Saville notes, but she should be in this year’s list.

14. “Die knowing something. You are not here long.” Walker Evans 15. Never enough iridescence. Never too much glitter.

6. “ . . . the history of art is a history of violence.” Fred Moten

16. “Scatter, adapt, and remember.” Annalee Newitz

7. But “art is [also] the highest form of hope.” Gerhard Richter

17. “If [my job] isn’t nice, I don’t know what is.” Kurt Vonnegut’s Uncle Alex (Thank you, Fort Mason Wonder Posse #1, for making this so. Fear not, we’ll be okay: Fort Mason Wonder Posse #2 is right behind you.)

8. To paraphrase Wittgenstein, it comes down to what is meant by “-ish.” 9. Punctum/studium, haptic/optic, necropolitics, planetarity, abjection, the Real, polymorphous magical substance, the optical unconscious, inframince, microaggression, agency, the Anthropocene, the durée, discursive fields, Umwelt, precarity, hyperobjects, rhizomes, hauntology, intersectionality. You good to go?

Wait, there’s more. Make more good work. Make mischief. Make mistakes. Make lists. Make kin. Make money, but just enough so you can make more good work, pay off your college debt, and support more artists and writers. Make us proud. (You have done so already.) Write a lot and read a lot. (I will keep sending you PDFs on a weekly basis.) No matter what, keep making good work. Promise. Make it strange, but never be strangers. The Class of 2019? Well, we must be doing something right. Socks knocked right off. As always, looking forward . . .

Claire Daigle Director of MA Programs

Jordan Holms Born/Home Vancouver, Canada Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019 jordanholms.com MY WORKING WILL BE THE WORK: Codifications of Labor, Space, and Difference in Mierle Laderman Ukeles’s Maintenance Art Mierle Laderman Ukeles, the official, unsalaried artist-in-residence of the New York Department of Sanitation, is a feminist-conceptual artist who has made a career out of turning “maintenance” into art. Maintenance encompasses physical and emotional operations that “take care,” such as domestic, custodial, and janitorial labor. Turning on the duality of this labor’s value, Ukeles’s Maintenance Art dispels the narrative that socioeconomic systems operate independently of the invisible, underlying structures that

support them. By reframing cultural rhetoric that denigrates reproductive labor, her work demonstrates that though Maintenance is essential in sustaining hegemonic systems, it is simultaneously erased and stigmatized within them. Ukeles undermines the erasure of Maintenance by challenging its naturalization as nonwork, consequently revealing that reproductive labor is regulated by hierarchies of gender, class, and race. This intersection of labor, space, and difference is the discursive site at which Ukeles reconstitutes Maintenance as radical work. This thesis maps the expansion of Maintenance Art from the domestic space, to the art institution, to the civic realm. Concentrating on three projects that Ukeles executed between 1969 and 1980, I account for the ways in which difference is spatially materialized in her work. I not only consider Ukeles’s practice as a modality for redressing prescribed attitudes about the cultural value of Maintenance, but I also locate it within a broader framework of industrial-

Entrance to the New York Department of Sanitation 2018 Front entrance to the New York Department of Sanitation building where Mierle Laderman Ukeles has held office as the official, unsalaried artist-in-residence since the late 1970s. Photographed by Jordan Holms

capitalist and second-wave feminist practices and ideologies that discount the complex social intersections bound up in representations of labor. By collapsing public and private economies of labor, Ukeles’s work homogenizes spatial organizations of Maintenance that conflate her domestic and artistic labor with civic labor without acknowledging the structures of power that differently construct (and disavow) these vocations. Drawing on critical geography, Marxist-feminist, poststructuralist, and intersectional discourses, I examine Ukeles’s deployment of Maintenance as a medium, and how it signals the ways in which space is mobilized to reproduce hegemonic codifications of difference. Ultimately, this thesis not only intends to impact discourses concerning the sociocultural value of Maintenance, but also to address the ways in which Ukeles’s work becomes complicit in exacerbating ideological codifications of difference that have historically been associated with unvalorized forms of labor.

Kate Laster Born/Home Anchorage, Alaska Education MA/MFA History and Theory of Contemporary Art/Studio Art, Printmaking, 2019 katelaster.com GENTRIFICATION OF THE DEAD: How the Displacement of Cemeteries Paved the Way for Rethinking Monuments in San Francisco This research and arts praxis present San Francisco’s history of cemetery removal for the purposes of constructing a new public awareness. It traces a timeline focused on cemetery removal debates from 1850 to 1947, as well as surrounding pre-colonial and contemporary histories. In this discursive history, it becomes clear that the Bay Area has been a setting for dramatic economic disparities, and that rhetorics of city expansion have facilitated gentrification as far back as San Francisco’s founding. The city’s removal of cemetery sites and bodies was often an incomplete effort, which led to mass graves that were subsequently built upon. This displacement has contributed to and is emblematic of the city’s systems of erasure. Tombstones that have been broken down to pave the drainage ditches in Buena Vista Park are the key objects of this thesis. Buena Vista Park was never a cemetery, and yet it has the components of a cemetery embedded within its gutters. This thesis contextualizes what led a city to choose to erase and build upon monuments. Navigating the differences between the roles of public art and monuments, this thesis asks how hidden public memory can become legible when many landmarks are currently invisible to San Francisco’s complex publics.

(Top to bottom) Remnant of Headstone as Part of Buena Vista Park’s Drainage Ditches 2018 Example from artist-scholar’s visual ethnography Photographed by Kate Laster Courtesy of Kate Laster Selected Headstone Fragments 2019 Illustration by Kate Laster Courtesy of Kate Laster

As an artist-scholar, I am inspired by Jewish rituals of remembering, grieving, and adapting. These traditions, since time immemorial, have fostered the criticality required to extend and survive histories of oppression. As Jews, the actuality of mass graves, along with the destruction of burial sites and customs, is carved into our generational memory. The cumulative effort of this thesis is a proposal for a monument to reflect upon the complexity of this displacement. With my collaborator, Steph Kudisch, I respond to this project’s research with a sound piece as well as a site-specific performance, Stones Speak. Audio from this performance, as well as field recordings of BART trains howling and scraping through Colma, the drone of the Wave Organ, and recitations of the Mourner’s Kaddish, have been made into a sound walk as a means to move through and rethink public space.

Alexis Lastomirsky Born/Home Sterling Heights, Michigan Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019 alexislastomirsky.com Traces of Transience: Looking at Ephemerality and Vanitas through the Metaphor of the Bubble The purpose of this project is to look at various artworks that showcase transience through the use of a bubble as a metaphor. In traditional Dutch Baroque paintings, a bubble is used to represent and reflect vanity as a sin, where the sphere’s momentary qualities reflect the ephemeral essence of life. Throughout this project, I argue that contemporary photographer Justine Reyes and Mexican artist Teresa Margolles use the bubble in conjunction with vanitas—imagery that represents a fleeting moment, the resulting void due to overzealous delight, and the certainty of death—and place their work into a familial, cultural, or political sphere. Simultaneously, this project examines how David Fried utilizes similar representations of the bubble with dissimilar objectives—for science and experimentation—and compares his use of the bubble with that of Reyes and Margolles. Through the trope of a bubble as physically and metaphorically singular and uncontrollable, this project uses the bubble to complement both traditional and contemporary iterations of vanitas imagery, contemplating the bubble’s relevance as a prominent figure in understanding the temporality of material possessions and of life itself. Using the bubble to think about work that is conventional, biological, and bureaucratic, I explore how vanitas has been documented in painting, photography, installation, and printmaking, examining what is presented and retained on any given

surface—whether a painted and recreated portrayal of the bubble, a captured image of the iridescent orb via light and lens, or a humid room, overcome by bubbles that obtain remnants of the body. In essence, I argue for the bubble as an essential aspect of vanitas imagery—tying immorality to one’s vain need for worldly possessions, and, in turn, illuminating the idea of life as ever fleeting.

(Top to bottom, left to right) David Fried In Bed with Lucy and Dolly No. 32 2003 Color photogram, C-Print, Diasec, and aluminum 39.37 x 118.11 inches © David Fried Courtesy of the artist David Fried In Bed with Lucy and Dolly No. 36 2003 Color photogram, C-Print, Diasec, and aluminum 39.37 x 118.11 inches © David Fried Courtesy of the artist David Fried In Bed with Lucy and Dolly No. 40 2003 Color photogram, C-Print, Diasec, and aluminum 39.37 x 118.11 inches © David Fried Courtesy of the artist

Andrew McClintock MA, Exhibition and Museum Studies, 2019 MA Trusteeâ&#x20AC;&#x2122;s Fellowship

Nicholas Mittelstead Born/Home Chicago, Illinois Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019 nickmittelstead.com Documenting Neoliberalism to Necropolitics: The Living Dead as Political and Aesthetic Fuel The 2008 artwork/documentary Episode III: Enjoy Poverty follows its creator, Renzo Martens, through the Democratic Republic of the Congo as he attempts to reconfigure the Congolese conception of poverty from state of being to commodity. Using Martens’s artwork and documentary format as its focus, this thesis seeks to account for the relationship between Necropolitics and Neoliberalism and to broaden the scholarship of necropolitical contemporary art practices. Twentieth-century critiques of Western and Global North political power argue that power operates in aging capitalist economies by fostering and prolonging human life. Foucault would eventually call this biopolitics, and its predominant practitioner would become Neoliberalism. Critics of Neoliberalism accurately foretold a widespread adoption of neoliberal ideology by world powers; however, what these critics possessed in foresight they lacked in global scope. Achille Mbembe’s 2003 essay Necropolitics attempts to account for the East and Global South in the biopolitical power schema. Mbembe argues that rather than fueling themselves on the biopolitical sustenance of human life, the postcolonies of the East and Global South are powered by Necropolitics: political power derived from sovereign subjects living in such supreme disenfranchisement that they resemble the dead.

As world governments and political agents became neoliberal and necropolitical, so too did the arts. Martens’s film is evidence of this: It is neoliberal in its commodification of poverty and necropolitical in its depiction and re-creation of the structural violence endemic to the post-colony. This thesis demonstrates that Episode III: Enjoy Poverty exemplifies the ways in which neoliberal power becomes necropolitical power, exploring the function and effects of dehumanizing violence in an aesthetic mode.

(Top to bottom) Edited still from Episode III: Enjoy Poverty (Renzo Martens, 2008) Edited by Nick Mittelstead Edited still from Episode III: Enjoy Poverty (Renzo Martens, 2008) Edited by Nick Mittelstead

Eliza Phelan-Harder Born/Home Jacksonville, North Carolina Education MA/MFA, Exhibition and Museum Studies/Studio Art, Photography, 2019 Digital Rot: Maintenance of Digital-Born Art Should Digital-Born Art be conserved? There is nothing new about protecting the fragility of human knowledge within informational heritage. It has been done through words, sound, art, and now, digital media. Digital-Born Art reflects a specific moment at the time when it was originally created. It is essential to consider the political, ethical, and conceptual constraints that are held within the piece: as it exists now, and also as its creator wishes for it to exist in future narratives. The implications of the next phase in the development of Digital-Born Art preservation will be crucial in determining the fate of this art within a historical narrative. Museums and archives are confronted by artworks without physical containers, existing only in digital form. Displaying and preserving Digital-Born Art poses

different challenges because it deals with two components: the digital art and its container. Digital artworks depend on a technological environment that is continuously changing; artworks can be developed with technology, but also become lost in this technological transition; and a digital collapse could quickly destroy these digital art files. Those who are in charge of conserving Digital-Born Art face a variety of practical and philosophical challenges. If an artist intentionally chooses to use an impermanent medium, then the artist must understand that the medium could transform quickly into something else. The artist must ask: Is it appropriate to make any attempt to preserve their work over a more extended period of time, especially if there is no platform on which it can be maintained? Institutions that house Digital-Born Art

within their collections need to focus on future preventative programming to assist with maintenance of these objects. The current popular processâ&#x20AC;&#x201D; migration, encapsulation, and emulationâ&#x20AC;&#x201D;will only work for so long. I am proposing to create a program that combines aspects of all three of these practices along with probabilistic programming to target obsolete code within each Digital-Born Art piece.

(Left to right) Decaying Code from a Program 2019 Photographed by Eliza PhelanHarder Coding Error 404 2018 A composition of code that correlates to corrupt data ÂŠ Eliza Phelan-Harder Courtesy of Eliza Phelan-Harder

Kate Rannells Born/Home Oakland, California Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019 katerannells.com Fractal Pasts, Fluid Presents, and Intersectional Futures: Aesthetic Resistances to Temporal Hegemony In the present moment, racism, xenophobia, and social, economic, and racial inequality in places like the United States and Europe are the outward and obvious legacies of centuries of colonialism and slavery. While state-condoned racism, restrictive immigration policies, and an entrenched military industrial complex may be some of the more visible effects, one of the more insidious and naturalized forms of colonization is the globally imposed Western construct of time. From the establishment of Greenwich Mean Time, to the carving of the planet into commercially expedient time zones, local traditions of time have been superseded by a universalized and hegemonic system based on the atomic clock. In other words, the adage “Time is money” is not so much a metaphor, but a reality that has erased the embodied experience of time. My thesis asks: How are artists resisting this temporal hegemony? I examine the strategies of temporal resistance in the time-based works of John Akomfrah, Black Audio Film Collective, Black Quantum Futures, Hyphen Labs, and Cauleen Smith. By combining varied visual and audio strategies with new technologies, or immersive environments, often with Afrofuturist frameworks, these artists either overtly disrupt temporal linearity or completely evade the temporal constructs that define the present condition. Using selected

artworks from 1982 to 2018, I argue that their aesthetic and theoretical strategies not only resist, elude, and evade oppressive temporal constructs, but also provide new ways to conceive of time that are embodied, discursive, generative, inclusive, and intersectional.

Space-Time, collage by Kate Rannells The resource materials and inspiration for this collage include NeuroSpeculative AfroFeminism (2016), a Virtual Reality project by Hyphen-Labs; BlackWomxnTemporal.net (2018), an ongoing online project by Black Quantum Futurism Collective (Camae Ayewa and Rasheeda Phillips); Black Audio Film Collective’s Expeditions 1: Signs of Empire (1983) and The Last Angel of History (1998); Space Station: Two Rebeccas (2018), a multimedia installation by Cauleen Smith; and Vertigo Sea (2015), a three-channel HD video installation by John Akomfrah.

Sherwin Rio Born/Home Jacksonville, Florida Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019 sherwinrio.com The Filipino/American Survival Methodology of Misvisibility in the Works of Carlos Villa This thesis presupposes that a key feature of Carlos Villa’s work in the 1980s is an intentional, subversive, and deceptive visual language within the cultural context of the Filipino/ American survival and struggle for labor and civil rights in California. In this research, I refer to this tactical obfuscation as “misvisibility.” In The Decolonized Eye, Sarita Echavez See argues that Filipino/ American artists refer to imperialist historical amnesia and violence by creating their own semiotic language of erasure and emphasis of the body. This thesis expands upon See’s argument by applying discourses of camouflage and prankster comedy to analyze Villa’s work through the lens of misvisibility. Due to disparities in the representation of Filipino artists in contemporary art history, this thesis offers early research that looks at Villa’s work through the lens of misvisibility as a catalyst for future Filipino/American artmaking, research, scholarship, and representation.

(Top to bottom) Carlos Villa Untitled (Big Oakland Blue) Year: Unknown Acrylic paint and bone dolls on unstretched canvas 96 x 128 inches Photographed by Sherwin Rio Courtesy of the Carlos Villa Estate Carlos Villa Excavation 1982 Acrylic paint and bone dolls on unstretched canvas 96 x 128 inches Photographed by Sherwin Rio Courtesy of the Carlos Villa Estate

Amina Shah Born/Home San Francisco, California Education MA/MFA, History and Theory of Contemporary Art/Studio Art, 2019 Constructing Frameworks: Contemporary Islamic Art Shifting Parameters, Positionalities of Visual Artists in the Diaspora, and the Institutional Shift Political discourse, visual culture, and mass media in the post–nine eleven moment continue to disrupt, define, frame, reframe, interpret, and explicate the idea of the Islamic. For Muslim visual artists in the diaspora, being Muslim suddenly becomes the highlighted aspect of their identity. Direct engagement with images produced by mass media or divisive rhetoric in their work is rare. What shows up repeatedly is work galvanized by global politics, individual concerns, and a praxis that is politically charged and reflects the socioeconomic, cultural, and gender identities of the time. While their work still refers to the personal histories of the artists, the influence of Islamic Art, Western Art, and elements of Colonial remnants also surface. Several recent exhibitions—including Without Boundary: Seventeen Ways of Looking, Museum of Modern Art, New York, 2006; Hanging Fire: Contemporary Art of Pakistan, Asia Society, New York, 2010; and Islamic Art Now: Contemporary Art of the Middle East, Los Angeles County Museum of Art, 2015—mark initiatives by Western cultural institutions to reframe the idea of Islamic Art for the contemporary moment. The exhibitions’ participating artists engage with the local and the global, and with tradition and modernity. They trace past histories of colonialism, global economic links, and exploitations. Investigating the conflicting drives and impositions in the present, they show us post-conflict moments. The site of production and circulation becomes a key element in understanding their

work. A postcolonial and post-structural analysis of the sense of loss of power over Muslim narratives is countered with reflections that speak in current contexts and situate the work within the Islamic world and through the diaspora, the world at large. As products of subcultures and global culture formation, these works are in conversation with regional as well as global identities, at times becoming an indicator of, and a meta-critique of, contemporary discourse and rhetoric around Muslim personhood. This project examines how the term Islamic Art is being mobilized and framed in Western cultural institutions and how the work of Muslim visual artists engages or deconstructs their relationship with a historical understanding of Islamic art. 56

(Top to bottom) Installation photo, Islamic Art Now: Contemporary Art of the Middle East, Los Angeles County Museum of Art, February 1, 2015–January 3, 2016 © Museum Associates/LACMA Installation photo, Islamic Art Now: Contemporary Art of the Middle East, Los Angeles County Museum of Art, February 1, 2015–January 3, 2016 © Museum Associates/LACMA

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.

Vanguard Revisited: Poetic Politics, Black Futures Faculty Jeff Gunderson Graduate Students Yang Bao Katrina Magowan Mikayla Mays Eliza Phelan-Harder Kathryn Gardner Porter Rongwan Xia Other Student Participants Midori Kimata Walter and McBean Galleries, San Francisco Art Institute January 22–April 7, 2019

The Fall 2018 Collaborative Project evolved from SFAI’s 2018 summer symposium, “Uprising: Representing and Remembering 1968,” which included a presentation about the photographers (and SFAI alumni) Ruth-Marion Baruch and Pirkle Jones and their 1968 exhibition at the de Young Museum, The Black Panthers: A Photo Essay. The class used this show as a springboard to mount their own exhibition of Baruch and Jones’s photographs, addressing issues of documentary photography, social activism, artists’ collaboration, and the connections between the Black Liberation movement of the 1960s and the Black Lives Matter movement today. This class included a brilliant group of engaged students whose specific skills, enthusiasms, and knowledge proved invaluable to the culminating exhibition, Vanguard Revisited: Poetic Politics, Black Futures, which generated local, national, and international press coverage. (Top to bottom) Vanguard Revisited: Poetic Politics, Black Futures, installation view Left: 5/5 Collective anybody home? 2019 Oil paintings, sculptures, photographs, videos, found and altered objects, and potted plants Dimensions variable Right: 1968 photographs of the Black Panthers by RuthMarion Baruch and Pirkle Jones Photos: © Regents of the University of California, Courtesy Special Collections, University Library, UC Santa Cruz Photographed by Mengmeng Lu Vanguard Revisited: Poetic Politics, Black Futures, installation view (upstairs) Left: Projection showing 1968 photographs of the Black Panthers by Ruth-Marion Baruch and Pirkle Jones Photos: © Regents of the University of California, Courtesy Special Collections, University Library, UC Santa Cruz Right: Chris Martin Black Panther 2018 Fiber 57 x 68 inches Photographed by Mengmeng Lu

During the semester, students were immersed in the political and cultural movements of 1968, the biographies of Baruch and Jones, and the history of the Black Panther Party for SelfDefense. A field trip to the University of California, Santa Cruz (UCSC)—the archival repository for Jones and Baruch’s photographs and papers— enabled students to view primary source materials and learn about the history of the collection. The visit coincided with the completion of UCSC’s project to digitize and make publicly available the collection’s photographic materials. Consequently, the students were able to curate the exhibition from afar, choosing from images that had already been printed and framed at UCSC, and supplementing these with examples of the 2,200 previously unseen images in the collection. The class chose dozens of images to print for the show and selected others to project in the gallery, giving viewers a broader scope of the original Black Panthers: A Photo Essay project. The class was vigilant about staying faithful to Baruch’s original intention to counter the demonization of the Panthers in the popular press. To make the exhibition as relevant to today as possible, they invited artist and curator Leila Weefur to curate contemporary work to display alongside the Jones and Baruch photographs. Weefur engaged artists Kija Lucas, Tosha Stimage, the 5/5 Collective, and Chris Martin for the show. Vanguard Revisited benefited from a wonderful confluence of factors: a historical exhibition showcasing the work of alumni that resonated with current events; generous funding from the Marin Community Foundation; the enthusiastic collaboration of UCSC librarians; the invaluable participation of visiting faculty member Leila Weefur; the wonderful assistance of SFAI staff members Robin Beard, Kat Trataris, and Charlie Byrne; and, most importantly, a terrific group of SFAI students.

Community Noise: Multi-Channel Audio Sound Installation Faculty Cristóbal Martínez Graduate Students Blanca Bercial Lexygius Sanchez Calip Jordan Holms Whitney Humphreys Ryan Golden Kirkpatrick Kate Laster Alexis Lastomirsky Sae Yong Lee Mareiwa Miller Nicholas Mittelstead Joanna Ruckman Merve Sahin Rebekah Wetzel Jiaxing Wu Hansen Yang

During the Spring 2019 semester, SFAI’s graduate Collaborative Projects course focused on techniques for producing quadraphonic sound installations. During this intensive course, students learned audio recording, editing, mixing, and processing techniques, and practiced ways of listening informed by the work of Pauline Oliveros. Additionally, students underwent a brief and intense study of computer programming to create algorithmic sound installations, and began to learn methodologies and methods for approaching collaboration through a critical indigenous research methodologies framework.

Scully Gray Box Gallery, San Francisco Art Institute, Fort Mason Campus April 30–May 6, 2019

Community Noise exhibition participants, Spring 2019 Photographed by Cristóbal Martínez

The course culminated at the end of the semester with an exhibition of sound art, Community Noise, that focused on a political moment—which, according to the students, defines San Francisco. For their installation, students chose to reflect on the notion of space within a city that is literally bursting at the seams. This bursting is defined by San Francisco’s rising population, wealth, and cost of living, as well as the implications these factors have on the health, wellness, and culture of local publics in the city, particularly those struggling financially to maintain their lives in San Francisco’s inflated economy.

Selected Projects Extracurricular projects contribute to making SFAI an exceptional place of learning. Through their off-campus and on-campus exhibitions, lectures and events, publications, creative collaborations, curatorial initiatives, and community-based projects, our graduate students demonstrate their roles as active members of the larger Bay Area art community.

Audio Garden Graduate Students Giuliana Funkhouser Eliza Phelan-Harder Kate Rannells Other Participants Steph Kudisch Nivedita Madigubba Raven Kemp Minjun Kim The Laundry Gallery, San Francisco April 12–13, 2019 In April 2019, sound artist and curator Ellen Juhlin staged the second installment of her interactive sound art show Audio Garden at the Laundry Gallery in San Francisco. Several graduate and undergraduate students from SFAI submitted projects for the group exhibition, which included sound art sculptures, installations, and performances.

(Clockwise from top) Resonance 2017 Screenshot showing part of the Max Patch for Resonance Photographed by Giuliana Funkhouser © Giuliana Funkhouser Courtesy of Giuliana Funkhouser Resonance, installation view 2019 Resonance low bass haptic bench by The Witches Photographed by Giuliana Funkhouser, Eliza Phelan-Harder, and Kate Rannells © Giuliana Funkhouser Courtesy of Giuliana Funkhouser AfterMath, installation view 2019 AfterMath soundscape installation by Giuliana Funkhouser Photographed by Jana Debus © Jana Debus Courtesy of Jana Debus SUKKOT/RESURFACING, installation view 2019 SUKKOT/RESURFACING print, ceramic. and sound art installation by recent SFAI MFA program graduate Steph Kudisch Photographed by Jana Debus © Jana Debus Courtesy of Jana Debus

AVATARS Graduate Students Giuliana Funkhouser Whitney Humphreys Eliza Phelan-Harder Sequinette Other Participants Chloe’ Allison Marco Castaneda Elisabeth Eckman Minjun Kim Oscar Lopez April Lynn Amayi Morales Claire Sorosky Krista Wright

“Avatar” is originally a Sanskrit word describing mortal incarnations of Hindu deities. In colloquial use, the term refers to a digital image or 3D character representing an individual operating a computer. Drawing inspiration from this etymology, AVATARS was an interdisciplinary exploration of folkloric characters and alter-egos created to express relatable narratives. Just as poets, game designers, and dream interpreters examine humanity through archetypes, each artist employed personas. Figures were masked or transformed through symbols, while ancient myths and fable-like stories were reinterpreted within these new tales.

After showing in the Diego Rivera Gallery in Fall 2018, the AVATARS group exhibition—co-curated by Giuliana Funkhouser and Krista Wright—traveled to the Nave Gallery in Somerville, Massachusetts, in Spring 2019. Participants from the original show in San Francisco were joined by local artists from the East Coast in response to an open call there organized by a third curator, Christina Balch.

Diego Rivera Gallery, San Francisco Art Institute October 22–27, 2018 Nave Gallery, Somerville, Massachusetts March 22–April 13, 2019

Sequinette performing as part of the AVATARS group show at the Diego Rivera Gallery 2018 Photographed by Giuliana Funkhouser © Giuliana Funkhouser Courtesy of Giuliana Funkhouser

Bloom & Decay: Beyond Opulence Graduate Students E. Leigh Daniels John James Hartford V Gautama Ramesh T. Shell Schafer Gallery, San Francisco Art Institute October 19–31, 2018 In one moment, a glass falls. The silence of the room, broken. The gaze of the spectating crowd shifts. A spectacle of impermanence and adoration of the chaotic.

It’s in these created moments of chaos, destruction, and broken silence that we momentarily operate outside of a hyperreality constructed by the mundane. The spectacle of the broken glass engages our most primal drives, alerting us to the space in which we operate, but also instantaneously connecting us to a space we presently share with all others. By joining a destructive process with the power invested in a sought idealized state, a struggle over iconic form through its breaking, salvaging, and reuse begins to be exhumed. Additionally, this show created reference to the actions and signals of changed circumstance and time.

Bloom & Decay was an exhibition that questioned the role of both the broken and the ephemeral in a contemporary era increasingly dictated by shadowy reflections of a luxurious modern projection of permanence. Additionally, this show made the assertion that both decay and the process of destruction satisfy a more fulfilled definition of creation rather than iconizing the ideal form. From the fractured pieces and states of deterioration, where can we find the potential of new life, and an exoneration of the creative capabilities of the flawed to excite and create moments of both internal and external reflection? sfai.edu/bloom-decay

(Clockwise from top left) Bloom & Decay, entry 2018 Photographed by John James Hartford V © John James Hartford V Courtesy of John James Hartford V Bloom & Decay, east wall 2018 Photographed by John James Hartford V © John James Hartford V Courtesy of John James Hartford V Five Mysteries in Wastewater 2018 Film-video hybrid (Super 8 to 4K), silent, 7 minutes Photographed by Gautama Ramesh © Gautama Ramesh Courtesy of Gautama Ramesh

Burnings I–IV Graduate Students Sami Cutrona Colleen Donovan E. Leigh Daniels John James Hartford V

In ongoing events since 2018, which are being coined as “Burnings,” John James Hartford V’s works have begun to manifest in collaborations with other students, musicians, and engineers; moreover, they are developing as sites of

Other Participants

Post-Opulent manifesto. These events,

Francisco Gularte Joshua Sevilla

finding intersection between social

Ocean Beach, San Francisco Ongoing

destructive and creative forces from

practice and ritual-esque performance, are attempts to mirror the potential a symbiotic relationship between Maker and the destructive qualities of the Natural World. This practice is influenced by the Auto-Destructive Art movement of 1959 and the work of its

in London on June 22, 1960, when he painted acid on a stretched sheet of nylon and other media. Auto-Destructive Art (ADA) was highly influenced by World War II, as mass casualties and large-scale destruction left people around the world distraught and horrified. Compared with World War I, World War II had a different influence on art due to the extensive use of aircraft and the introduction of nuclear weapons. These weapons greatly inspired artists to approach art using new means such as corrosion, stress, or heat. ADA represents the war and its casualties.

founder, Gustav Metzger.

References:

Metzger’s pieces and presentation of

Peyton-Jones, Julia, ed. Gustav Metzger:

the destroyed form took life in three

Decades 1959–2009 (London:

manifestos: Auto-Destructive Art;

Serpentine Gallery, 2009), 24–25, 44–47.

Manifesto Auto-Destructive Art; and

Watling, Lucy. Recreation of First Public

Auto-Destructive Art, Machine Art, Auto-Creative Art. These would then be presented—declaring humanity’s conquering of nature, thus leading to its oblivion. Metzger’s first public demonstration of “auto-destructive art” took place at the Temple Gallery

Demonstration of Auto-Destructive

Art: 1960, remade 2004, 2015. Last

updated January 2012.

www.tate.org.uk/art/artworks/metzger recreation-of-first-public

demonstration-of-auto-destructive-

art-t12156/text-summary.

(Top to bottom, left to right) Burning I 2018 Photographed by E. Leigh Daniels © E. Leigh Daniels and John James Hartford V Courtesy of E. Leigh Daniels Burning II 2018 Photographed by E. Leigh Daniels © E. Leigh Daniels and John James Hartford V Courtesy of E. Leigh Daniels Burning III 2018 Photographed by E. Leigh Daniels © E. Leigh Daniels and John James Hartford V Courtesy of E. Leigh Daniels

Celebrating Vegetables: Collaborative Mural at Greens Restaurant Graduate Students Samantha Mabelle Hensel Whitney Humphreys Hayley Samantha Jensen Steven (Tiandongding) Zuo Other Participants Allison Haag (Project Manager at Greens)

As a part of their reopening, Greens Restaurant invited students from SFAI to partner with them to design and produce a 20-by-20-foot mural spanning the entryway of the rear entrance. Three graduate students led the project and coordinated a team of SFAI painters in completing the tribute to farm-fresh food.

Greens Restaurant, Fort Mason Center October 2018

(Clockwise from top left) Celebrating Vegetables, detailÂ 2018 Photographed by Whitney Humphreys Hayley Samantha Jensen and Samantha Mabelle Hensel sketch the design. 2018 Photographed by Whitney Humphreys Work in progress 2018 Photographed by Allison Haag

Chile: Memory Under Construction Faculty-Led Study Abroad Program Faculty Aaron Terry Staff Diana Vasquez Graduate Students Whitney Humphreys Yourong Zhao Other Participants Jordan Barram Alan Fineberg Qinton Issacs Bobby Singer Santiago de Chile and Valparaíso, Chile January 1–18, 2019 Diego Rivera Gallery, San Francisco Art Institute April 29–May 4, 2019 In this winter break study abroad intensive, a group of students traveled to Santiago de Chile, Chile’s capital and political center at the base of the Andes Mountains, and Valparaíso, the vibrant, coastal educational center nestled in steep hills facing the Pacific Ocean. As they explored these cultural and geographic landscapes, the students discussed the ways in which Chilean artists approach history, oppression, and recovery. This course gave students the opportunity to consider how societies relate to foreign tragedy through personal and collective memory, visit cultural landmarks and artistic institutions, and work with local artists, culminating with an exhibition in the Diego Rivera Gallery as a reflection of their experiences.

(Top to bottom) The student group in the hills of Valparaíso 2019 Photographed by Aaron Terry Students doing some urban hiking 2019 Photographed by Whitney Humphreys Students working in the print studio of La Escuela Municipal de Bellas Artes in Valparaíso 2019 Photographed by Aaron Terry

Dissent = Patriotism Graduate Student Suzanne Russell San Francisco, New York, Boston, Copenhagen, Sydney, Melbourne, Tel Aviv, Jerusalem, and Bogata From 2015 until it is no longer appropriate Since 2015, Suzanne Russell has been protesting Donald Trump’s actions and opposing his ideologies of racism, sexism, and injustice through visually engaging activist projects. She has designed and produced a series of antiTrump buttons that she uses to interact with the public. Russell has also made a protest flag that she installs in different public spaces around the world. She is a member of several artists’ groups that are working to find creative ways to get democratic leaders elected at all levels of our government. Every day since Trump announced his candidacy for president, Russell has worn an anti-Trump button. Today, the button is six inches round and depicts Trump as a devil. Russell’s objective is to confront people with a political statement. Many respond by approaching her with stories that they want to share. Russell talks to everyone, from teachers who are challenged when they try to explain democracy, to Trump supporters who feel let down by America. Russell gives buttons to anyone who wants one and has a collection of objects that she has been given in exchange. She writes down her favorite stories. Russell has also made a large upsidedown American flag using historian Howard Zinn’s statement: DISSENT IS THE HIGHEST FORM OF PATRIOTISM. She installs this flag in various places and documents people’s reactions. Russell has performed Zinn’s texts “Dissent in Pursuit of Equality, Life, Liberty, and Happiness” and “Resistance and the Role of Artists” at SFAI, in Brooklyn, and in several night clubs in Harlem.

(Top to bottom) Installation view of dissent flag on Bowery in New York City 2018 Photographed by Suzanne Russell © Suzanne Russell Courtesy of Suzanne Russell Installation view of dissent flag in Elizabeth Street Garden in New York City 2019 Photographed by Suzanne Russell © Suzanne Russell Courtesy of Suzanne Russell Graphic design for anti-Trump button (devil) 2015 Photographed by Suzanne Russell © Suzanne Russell Courtesy of Suzanne Russell

Fresh Delivery! SFAI Art & Technology Department Group Exhibition Faculty Cristóbal Martínez Graduate Student Giuliana Funkhouser Other Participants Lizzie Eckman Julia Fairbrother Blue Growden Ariel Huang Minjun Kim Lennie Nelson JoseIgnacio Ramirez Haru Urushido Yucky Yecken

Fresh Delivery! was a group exhibition organized by Art & Technology department students in conjunction with the SFAI CONCENTRATE: Student Art Sale + Open Studios in Fall 2018. Each artist shared their works, employing and investigating technology as a tool to express their life experiences and social concerns, as well as to expand notions of technology as a medium. “Art and technology” is often conflated with “high technology,” such as “virtual reality,” but technology is not limited to computers or smartphones. Sometimes “low technology” can be a great storytelling tool as well. Keeping the interactive

and storytelling possibilities of digital and analog technologies in mind, this group art exhibition featured a variety of wearable electronics, drawing machines, and sensor- and camera lens–based interactive sculptures, as well as a rotation of data sonification sound art projects.

Fort Mason Campus, San Francisco Art Institute November 10–11, 2018

(Top to bottom, left to right) Fresh Delivery!, installation view 2018 Artworks by Julia Fairbrother, Giuliana Funkhouser, Ariel Huang, and Lennie Nelson Photographed by Giuliana Funkhouser © Giuliana Funkhouser Courtesy of Giuliana Funkhouser Fresh Delivery!, sound installation room view 2018 Data sonification projects by Julia Fairbrother, Blue Growden, Heather Mitchell, and Lennie Nelson were on rotation in this room, along with wearable and sensor-based artworks by Lizzie Eckman. Photographed by Giuliana Funkhouser © Giuliana Funkhouser Courtesy of Giuliana Funkhouser Fresh Delivery!, installation view 2018 Artworks by Minjun Kim, JoseIgnacio Ramirez, and Haru Urushido Photographed by Giuliana Funkhouser © Giuliana Funkhouser Courtesy of Giuliana Funkhouser

Hair Stories Project and Archive Graduate Student Joanna Ruckman Hair Stories is an ongoing, mobile, interactive, and socially engaged oral history and documentary project. Launched in June 2018 as part of the Radical Beauty public art project in Alameda, California, the Hair Stories project has also engaged publicly at SFAI CONCENTRATE: Student Art Sale + Open Studios, and at Jaujou Studio in Oakland in 2019. We are birthed in a body, into a family, culture, place, and time. Hair is an intimate extension of our being. In the performance of identity, hair carries great significances. And hair is perhaps the most malleable part of our body. Hair Stories is an ongoing, interactive portraiture and oral history project that

considers the rituals and meanings embodied in our hair. Through one-onone interviews with women of diverse backgrounds, the project illuminates the intersections of human experiences through the lens of female hair cultures. It is a platform for women and gender nonconforming participants to share individual hair experiences and perspectives, and for all people to be invested in the process of listening. The Hair Stories project cultivates a culture of care and respect around a womanâ&#x20AC;&#x2122;s body and the stories she carries. The Hair Portraits series is an invitation to the viewer to participate in art by inverting the gaze upon oneself. By looking at oneself from the back, we

(Top to bottom, left to right) Hair Stories interactive photo booth at SFAI CONCENTRATE: Student Art Sale + Open Studios 2018 Photographed by Joanna Ruckman Information cards for the Hair Stories project 2018 Hair Stories salon listening chair at Radical Beauty in Alameda 2018 The listening chair plays stories from the archive, inviting the public to sit and listen. Photographed by Joanna Ruckman

gain a perspective from which we rarely see ourselves, but are often seen. The Hair Portraits series narrows our visual identity to the shape and texture of self. This simplification creates a space in which to consider how each of us experiences assumptions and stereotypes based on appearances. The Hair Stories interviews and portraits are shared publicly and archived permanently in the Library of Congress. Please visit the archive here: archive.storycorps.org/communities/ hair-stories

LET THE RIVER LEAD YOU SFAI Faculty Cristóbal Martínez SFAI Graduate Students Sherwin Rio Kate Laster SFAI Undergraduate Student April Martin Otis College of Art and Design Faculty Kade L. Twist Otis College of Art and Design Students Ameera Daaood Amy Friedberg Laura Hendrix Derek Prado Carnegie Museum of Art, Pittsburgh, Pennsylvania November 1, 2018

LET THE RIVER LEAD YOU was a collaborative performance with Postcommodity for University Night as part of the 57th Carnegie International. With the guidance of professors Cristóbal Martínez and Kade L. Twist of Postcommodity, students from SFAI and Otis College of Art and Design worked on a project for the Carnegie Museum of Art that was open for one night to college students from across the country. The students created a generative sound procession that engaged a massive audience through the historic space. LET THE RIVER LEAD YOU was built of seemingly immaterial elements that connected individuals to space, community, and generational memory. By making a Fluxus-inspired event score, the artists welcomed all onlookers to join the procession, and

(Clockwise from top left) LET THE RIVER LEAD YOU, performance 2018 © Carnegie Museum of Art, Pittsburgh Courtesy of Carnegie Museum of Art, Pittsburgh LET THE RIVER LEAD YOU, performance 2018 © Carnegie Museum of Art, Pittsburgh Courtesy of Carnegie Museum of Art, Pittsburgh LET THE RIVER LEAD YOU, event score 2018 Event score given to participants Designed by Sherwin Rio and Kate Laster Courtesy of the artists

this participation brought a movement of sound throughout the museum, beginning and ending at the Hall of Sculpture. The most formative meeting between the artists happened weeks before the event. Days after that meeting, a shooting occurred in Pittsburgh at the Tree of Life Synagogue, located just a 30-minute walk from the Carnegie Museum of Art. With themes of honoring those we carry with us already encoded in the score, the piece became a way to move through grief and hold acknowledgement. The piece’s instructions were to follow the metaphor of a river, reflecting the site-specificness of Pittsburgh, a city of bridges, and how water has been a source of boundary, migration, culture, and movement.

The Annual Murphy & Cadogan Contemporary Art Awards Exhibition Graduate Students Sophia Alexandria Cook Ben Cornish Joanna Ruckman Other Participants Kevin B. Chen SOMArts Cultural Center, San Francisco August 16–20, 2018 Established in 1986, the Annual Murphy & Cadogan Contemporary Art Awards Exhibition honors the future of Bay Area visual arts. The exhibition, made possible by The San Francisco Foundation and its donors, showcases promising visual artists working across disciplines and identifies young artists from MFA programs throughout the Bay Area whose work intersects with emerging trends. The awards are designed to further the development of Bay Area MFA students and foster the exploration of their artistic potential in hybrid practice, installation, mixed media, painting, photography, and sculpture.

The selected students benefited from participation in a professionally curated exhibition at SOMArts Cultural Center and mentorship from curator Kevin B. Chen, as well as cash awards from $6,500 to $40,000. Award recipients were selected by a panel of three judges, including artist, writer, and independent curator Chen; artist and curator Grace Rosario Perkins; and multidisciplinary artist Zulfikar Ali Bhutto/Faluda Islam.

In conjunction with the exhibition, SOMArts hosted an afternoon of artistled workshops, providing community members an opportunity to experience exhibiting artists’ creative processes. somarts.org/events/ murphycadogan2018

(Clockwise from top) Sophia Alexandria Cook YKK 1–5 2018 An investigation into 150 feet of found zipper Courtesy of SOMArts Awards exhibition at SOMArts 2018 Courtesy of SOMArts Ben Cornish Unnamed Dogs 2018 Courtesy of SOMArts

San Francisco Poster Syndicate Faculty Art Hazelwood Graduate Students Whitney Humphreys Kate Laster Joanna Ruckman Other Participants Over 75 artists Location Over the last five years, the San Francisco Poster Syndicate has screen printed at locations including the de Young Museum, SOMArts Cultural Center, Accion Latina, Juan R. Fuentes Gallery, and Minnesota Street Project; at protest events including Standing Rock Dakota Access Pipeline protests, Women’s March Bay Area, and the Peoples Climate March; and have collectively completed political murals on Clarion and Balmy alleys. Dates Ongoing since 2014 The San Francisco Poster Syndicate (SFPS) grew out of the crisis around higher education—student debt and the abuse of adjunct faculty. SFPS artists create and screen print original images, continuing in the rich history of posters as a form of political messaging. Posters are printed “live” at political actions, exhibitions, and on the street, and are given away for free to target a variety of current social and economic justice issues. SFPS is here to bring art and design to many different people’s movements in the hope that their messages can be heard and seen with more impact. sfpostersyndicate.tumblr.com/ about

Collage of SFPS posters by SFPS artists 2016–2018 Courtesy of SFPS

Resonance Graduate Students Giuliana Funkhouser Eliza Phelan-Harder Kate Rannells (Witches Collective) Fort Mason Campus, San Francisco Art Institute November 10–11, 2018

For the 2018 CONCENTRATE Curated Exhibition at SFAI Fort Mason Campus, the Witches Collective reimagined their immersive environment Resonance. A dense arrangement of Liquidambar (Sweetgum/Ocotzocuahuitl) branches suspended from the ceiling opened a portal to a living and dying forest with its smell and the rustling of fall leaves. A transducer nestled inside

(Top to bottom) Resonance installation 2018 Two visitors reach out to experience the vibrations from forest. Photographed by Giuliana Funkhouser © Giuliana Funkhouser, Kate Rannells, and Eliza Phelan-Harder Courtesy of Giuliana Funkhouser, Kate Rannells, and Eliza Phelan-Harder Resonance installation views 2018 Several views and details from the Resonance installation at SFAI CONCENTRATE 2018 Photographed by Giuliana Funkhouser © Giuliana Funkhouser, Kate Rannells, and Eliza Phelan-Harder Courtesy of Giuliana Funkhouser, Kate Rannells, and Eliza Phelan-Harder

the sculpture shook the branches in concert with the haunting echoes of rituals performed inside the forest. At once a respite from and a reminder of the noxious smoke settling over San Francisco from devastating wildfires in Northern California, the deep, droning environment invited visitors to tangibly experience the arresting decay and destruction of nature surrounding them.

SFAI at Untitled Art Fair Faculty Cristóbal Martínez Meredith Martínez Graduate Students Giuliana Funkhouser Kate Laster Eliza Phelan-Harder Sherwin Rio Other Participants Eric Clemens Julia Fairbrother Raven Kemp Steph Kudisch Nicola Munson Pier 35, San Francisco January 18–20, 2019 For the San Francisco edition of Untitled Art Fair, SFAI graduate students participated in the Live Radio Podcast and the Special Projects exhibitions. The Resolana collective—formed during the Spring 2018 graduate Collaborative Projects course—exhibited their soundart sculpture The Emergency Has Been Every Day. Untitled partnered with SFAI’s Tower Radio to stream live programming online, including three shows running each day organized by SFAI faculty and students. “Data as Art Material,” cohosted by Giuliana Funkhouser and Cristóbal Martínez, featured data sonification projects produced by undergraduate students during the Fall 2018 Data Sonification course. The other two shows were “Smoke in the Sky,” hosted by Radio Healer, and “Imagining ‘the gift’ as an Artist-Led Proposition: A Philanthropy Summit,” mediated by Cristóbal Martínez. To listen to podcast recordings of these shows, please visit: The Emergency Has Been Every Day on view at Untitled Art Fair 2019 Sound-art sculpture by Resolana Photographed by Giuliana Funkhouser © Giuliana Funkhouser Courtesy of Giuliana Funkhouser

soundcloud.com/ untitledartpodcastlive

The Market Between Us Graduate Students David Seok Hoon Boo Sae Yong Lee Other Participants Paolo Canuto Jeff B. Johnston Lucien Jeanprêtre Another Hole in the Head Film Festival at New People Cinema, San Francisco December 1, 2018 That Film Festival Berlin at ProArte Maritim Hotel, Berlin, Germany February 9, 2019

In Spring 2018, after seeing fellow MFA colleague Connie Woo’s video art piece The Market, David Seok Hoon Boo, with Woo’s permission, started to work on a narrative short film called The Market Between Us. While Woo’s video piece imagines a futuristic website offering the purchasing and downloading of new personalities by using organic ingredients, Boo’s work focuses more on what that future world would be like and what kind of people would be living in it. In The Market Between Us, Mark, a simple-hearted guy who lives in a postapocalyptic world, discovers the perfect organic potatoes by accident.

(Left to right, top to bottom) The Market Between Us 2018 Another Hole in the Head Film Festival website listing The Market Between Us 2018 HD video 19:01 minutes The Market Between Us 2019 That Film Festival screening schedule booklet

He sets off on a journey to enter a program known as HERA415 that would let him choose a personality of his own and make his life free from all struggle. The Market Between Us was a collaborative project and featured SFAI students, alumni, and staff: David Boo was screenwriter/director/editor; Lucien Jeanprêtre played the HERA415 merchant, Thierry; Sae Yong Lee was an on-set sound recorder; Paolo Canuto was cinematographer; and Jeff B. Johnston was the original composer and recordist. facebook.com/tmbu2018

Exhibitions and Public Programs SFAIâ&#x20AC;&#x2122;s Exhibitions and Public Programs are made possible by the generosity of donors and sponsors. Program support in 2018-2019 is provided by the Harker Fund of The San Francisco Foundation, Institute of Museums and Library Services, Grants for the Arts, National Endowment for the Arts, Creative Work Fund, Koret Foundation, Pirkle Jones Fund, Elizabeth Firestone Graham Foundation, and Fort Point Beer Company. Ongoing support is provided by the McBean Distinguished Lecture and Residency Fund, The Buck Fund, and the Visiting Artist Fund of the SFAI Endowment.

Exchanges From/To: The Frontier of Chinese Art Education Presented in partnership with China Academy of Art November 16– December 9, 2018 Chestnut Street Campus and Fort Mason Campus (Walter and McBean Galleries, Main Gallery, and Scully Gray Box Gallery) In 1984, when then-Dean Fred Martin took a group of students and faculty to China Academy of Art, SFAI became the first art school in the western world to develop a formal relationship with a Chinese university following the Cultural Revolution. For this exchange exhibition, SFAI welcomed China Academy of Art (CAA) to its historic Chestnut Street campus and newly built Fort Mason campus to exhibit some of the top cultural producers in China. Building on SFAI’s historic transatlantic exchange with CAA, this exhibition was the first in a series of collaborations between the two schools with the continued goal of forging new paths for art education and cultural exchange. Spanning both campuses, this exhibition was a survey of works by CAA’s faculty and student body that delved into both historical and contemporary Chinese narratives through traditional ink paintings; immersive virtual reality and new media spaces; an array of painting, print, and sculpture works; and largescale installations.

Poverty of Sensibility— Panel 21: Art/Education in the 21st Century III

Cobblestones and Lumber: University of Washington (UW) x SFAI

November 16–18, 2018 Chestnut Street Campus and Fort Mason Campus

Organized by Whitney Lynn (UW) and Tony Labat (SFAI)

Hosted by China Academy of Art President Xu Jiang and SFAI President Gordon Knox, this two-day symposium and film series intended to consider “artistic intelligence” and the mission of an art academy in the age of artificial intelligence and disorienting technological change. The symposium featured leading scholars from China and North America, including professors of art history and practice, curators, and art program directors from top American, Canadian, and Chinese art schools, galleries, and museums.

March 29–April 10, 2019 Atrium at Fort Mason Campus Seattle and San Francisco have long been connected. In Seattle, streets are paved with cobblestone from the 1906 San Francisco earthquake, loaded aboard lumber ships that were using the stones and rubble for ballast. Cobblestones and Lumber continued this legacy of exchange, bringing together graduate students from the University of Washington (UW) and SFAI for an exhibition.

Related Programs: Welcome, Keynote, and Opening Reception November 16, 2018 Osher Lecture Hall, Chestnut Street Campus Symposium and Round Table November 17, 2018 Atrium at Fort Mason Campus Film Screenings November 18, 2018 Osher Lecture Hall, Chestnut Street Campus

(Top to bottom) Charles Stobbs III Tool Assisted Snow Breaker 2019 Chauvet DJ fog machines and liquid fog From/To: The Frontier of Chinese Art Education 2018 Photographed by China Academy of Art

UW Artists: Luke Armistead, Granite Calimpong, Lucy Copper, Zack Davis, Abigail Drapkin, Jackie Granger, Pinchuan (Larry) Huang, Baorong Liang, Sean Lockwood, Brighton McCormick, Todd McKinney, Andy Romero, Charles Stobbs III, emily charlotte taibleson, Connor Walden, and Shuo Yin. SFAI Artists: Anthony Chao, Sami Cutrona, Samantha Mabelle Hensel, Hayley Samantha Jensen, Mengmeng Lu, Joshua Zachary Mintz, Ni Pan, Anna Sidana, Mumei Song, Momo Yuntong Wu, Rongwan Xia, and Steven (Tiandongding) Zuo.

Special Programming Summer 2018 Symposium: Uprising: Representing and Remembering 1968 July 14, 2018 Osher Lecture Hall Keynote Speaker: Rupert García Speakers: Gwen Allen, Jeff Gunderson, and Linde B. Lehtinen In 2018, the SFAI Summer Symposium commemorated the 50-year anniversary of 1968, often referred to as the year of protests, or the year that changed the world. For the United States, 1968 was marked by the assassinations of the Reverend Dr. Martin Luther King, Jr., and Robert F. Kennedy; protests against racism, sexism, and the Vietnam War; the signing of the Civil Rights Act of 1968; and countless other events characterized by tumult and revolution. The Summer Symposium reflected on contemporary and historical representations of 1968, including photography, printed media, and exhibitions. Symposium speakers Gwen Allen, Jeff Gunderson, and Linde B. Lehtinen addressed Ruth-Marion Baruch and Pirkle Jones’s Black Panther project; SFMOMA’s exhibition The Train: RFK’s Last Journey; and artists’ publication projects from the period. Collectively, through these examinations, the symposium asked: What lessons does the memory of 1968 offer our own politically turbulent moment?

Matmos Performs at SFAI July 24, 2018 Osher Lecture Hall Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by many others. Currently based in Baltimore, the duo formed in San Francisco in the mid-1990s and self-released their debut album in 1997. Marrying the conceptual tactics and noisy textures of objectbased musique concrete to a rhythmic matrix rooted in electronic pop music, the two quickly became known for their highly unusual sound sources. Ojos Suaves/Soft Eyes: Mirjam Wirz, José “Morelos” Ortega, and Carlos Icaza October 26, 2018 Scully Gray Box Gallery

Between You & Me: Ana Teresa Fernández and Julio César Morales

SFAI CONCENTRATE: Student Art Sale + Open Studios

October 2, 2018 Osher Lecture Hall

November 10–11, 2018 Fort Mason Campus

This evening of conversation between Ana Teresa Fernández and Julio César Morales regarded how their respective practices are influenced by each other’s work and processes. Between You & Me is a series of dialogic exchanges between artists and their collaborators and peers to materialize the countless conversations, musings, and debates that are often invisible, yet play a significant role in the generative space of artmaking. This program was organized as part of an editorial column published online by Art Practical with support from the Kenneth Rainin Foundation.

During SFAI Concentrate, SFAI is transformed into an all-campus art sale by current undergraduate and graduate student artists. This year’s event featured a salon-style art sale, open studios, a fashion show, an alumni exhibition, new Jon Rubin banners, film screenings, artist talks, food and drinks, and much more.

This book presentation and baile (dance) celebrated the publication of the book Ojos Suaves/Soft Eyes (English and Spanish edition, 2018)—written and edited by Mirjam Wirz, in collaboration with José Ortega/Morelos and Carlos Icaza, and designed by Fabian Stacoff and Pascal Alexander. In the 1970s, José Ortega, alias Morelos, from the Peñón de los Baños neighborhood in Mexico City, began to travel with his brother to Colombia in order to find cumbia records and bring them back to Mexico. With Morelos, the hub and anchor of this story, they worked to discover the origins of cumbia and the sonidero movement throughout Mexico. This book is the result of these trips and a sample of relevant material: photographs, transcriptions of talks with different key figures, and some documents from their private collections. 79

(Top to bottom) Matmos The Marriage of True Minds 2013 Album Art Courtesy of Matmos Ana Teresa Fernández Erasing the Border (Borrando La Frontera) 2012 Video, 3:38 minutes Courtesy of the artist and Gallery Wendi Norris, San Francisco

Special Programming (cont.) Shadow Master Screening November 18, 2018 Scully Gray Box Gallery As part of the 2018 Alumni Weekend, SFAI hosted a special screening of Shadow Master, a documentary film by SFAI alumnus Larry Reed. Shadow Master is a dramatic documentary about a family of dancers and shadow masters in Bali. The film is a dramatization of events that occurred during the filming process, and during the two years Reed spent living and studying with dalang (shadow master) I Nyoman Rajeg and his extended family. Patti Smith: Wing January 14–19, 2019 Diego Rivera Gallery SFAI and kurimanzutto presented Wing, an exhibition of photographs by visual artist, writer, and performer Patti Smith. The exhibition featured a selection of photographs centered on Smith’s connection to fellow artists such as Frida Kahlo and Diego Rivera. The exhibition featured a performance by Patti Smith and Lenny Kaye of written works and songs.

Situational: The Body in Contemporary Painting February 9, 2019 Osher Lecture Hall Organized by Symposium Chair Brett Reichman with Keynote Address by Artist Jenny Saville and Claudia Schmuckli SFAI’s Painting Department hosted a symposium on the subject of contemporary figurative painting, featuring renowned British artist Jenny Saville in conversation with Claudia Schmuckli, Curator-inCharge of Contemporary Art and Programming at the Fine Arts Museums of San Francisco. In addition, panel discussions were delivered on a range of subjects by artists and professors in art practice and history, submitting their distinct perceptions about the wide-ranging and paradoxical state of corporeality through the painted image. This symposium was generously sponsored by XL Catlin and The Broad. Graduate Open Studios April 20, 2019 Fort Mason Campus For this event, SFAI opened the doors of its Fort Mason Campus studios to the public, offering a rare glimpse into the working processes of 60+ contemporary artists, including performances, installations, impromptu art happenings, conversations, and multidimensional displays of work. Through this opportunity, graduate and Post-Baccalaureate students presented in their studios and shared their works with SFAI and the larger Bay Area community with the aim of forging connections with local curators and art professionals, as well as promoting and selling their works.

(Top to bottom) Patti Smith and Lenny Kaye Wing 2019 Courtesy of the artists and kurimanzutto, Mexico City/New York Photographed by Charlie Villyard Patti Smith and Lenny Kaye performance in the Diego Rivera Gallery 2019 Courtesy of the artists and kurimanzutto, Mexico City/New York Photographed by Charlie Villyard

Situational: The Body in Contemporary Painting Symposium chair Brett Reichman with keynote speakers Jenny Saville and Claudia Schmuckli 2019 Photographed by Mengmeng Lu

CHESTNUT STREET CAMPUS

Walter and McBean Galleries Will Brown: Ether September 13– November 10, 2018 In a speculative action reminiscent of SFAI’s sale of Eadweard Muybridge film to finance the New Genres Department, artistic collective Will Brown invested their exhibition budget in Ethereum, a digital cryptocurrency. Both utopian and dystopian, cryptocurrency exists based on a distrust of centralized government and financial systems—predicting their eventual collapse, while simultaneously representing a collective effort to survive by creating a financially sustainable economy in the hands of citizens. This gesture places Will Brown within a historic lineage of artists complicating our cultural—and economic—state of affairs.

(Top to bottom) Will Brown: Ether, installation view 2018 Photographed by Marco David Vangaurd Revisited: Poetic Politics & Black Futures, installation view 2019 Photographed by Mengmeng Lu Vangaurd Revisited: Poetic Politics & Black Futures, installation view 2019 Photographed by Mengmeng Lu

Related Program: A Very Crypto Town Hall October 30, 2018 Walter and McBean Galleries Vanguard Revisited: Poetic Politics & Black Futures January 22–April 7, 2019 Collaborative Practices led by Jeff Gunderson, presented with University of California, Santa Cruz, and guest curated by Leila Weefur Vanguard Revisited exhibited images from the photographic essay BLACK PANTHERS, 1968—initially shown at San Francisco’s de Young Museum 50 years ago—alongside never-before-seen images of the Black Panther Party from 1969 onward. SFAI (where Baruch and Jones met while studying under Ansel Adams, and Jones later taught for many years),

in partnership with the University of California, Santa Cruz, brought this expansive archive into conversation with contemporary artists, drawing on a not-so-distant past to discuss a still-volatile present. Poetic Politics & Black Futures was a living archive of political possibilities. Artists Kija Lucas, Tosha Stimage, 5/5 Collective, and Chris Martin presented a range of creative and radical resistance. Working in concert with the archival photographs, this exhibition of contemporary

work assembled a new understanding of the Black political imagination. To disrupt the assumption that activism needs to be aggressive or didactic, the artists employed symbolism associated with Black radical traditions, making space for nuance and complexity. Black Futures was not delivered in a passive voice, but in a voice steeped in deft poetics and sharp politics that continues to accumulate power from its own rich history. 81

Related Program: Visiting Artists and Scholars Lecture Series: Barbara Easley-Cox and Ericka Huggins in Conversation with Dewey Crumpler March 14, 2019 Osher Lecture Hall Visiting Artists and Scholars Lecture Series: Emory Douglas and The Poster Syndicate April 4, 2019 Walter and McBean Galleries

CHESTNUT STREET CAMPUS

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 each year, 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. 2018–2019 Co-Directors: Kate Laster, Sherwin Rio, and Bobby Singer

SUMMER 2018

The Invitation to Forget You Is One I Must Decline

The Past Didn’t Go Anywhere Lexygius Sanchez Calip, Ben Cornish, Whitney Humphreys, Kate Laster, Megan Ramirez, Sherwin Rio, Joanna Ruckman, AJ Schnettler, and Claire Sorosky; curated by Sherwin Rio and Kate Laster June 24–July 7

Sarah Aineb, Sam Companatico, Alexe Ehmer, Kate Laster, Kennedy Morgan, Fifi Perkins, Evan Pettiglio, AJ Schnettler, Marena Teixeira, Haru Agnes Urushido, and Alex SH Yu; curated by Kate Laster August 26–September 1 South American Roots Selvaggio Dordetti, Daniela Parrado, and Vivian Vivas; curated by Selvaggio Dordetti September 2–8

With Light Comes Soft Collisions Sophie Appel, Sami Cutrona, Colleen Donovan, and Eliza Phelan-Harder; curated by Sherwin Rio July 15–30

Yugen

FALL 2018 Onward Vicky Chen, Sophia Alexandria Cook, Katie Curry, Michael Hansen, Samantha Mabelle Hensel, Ans Li, and Alex SH Yu; curated by Sherwin Rio and Kate Laster August 19–25

(Left to right) Alex SH Yu Contrails 2018 Onward Opening Photographed by Tianhu Kang © San Francisco Art Institute Courtesy of Diego Rivera Gallery Amayi Morales Centripetal Force, installation and performance 2018 Alive in Strange Lands Opening Photographed by Kate Laster © San Francisco Art Institute Courtesy of Diego Rivera Gallery

Yangyi Chen, Giuliana Funkhouser, Hayley Samantha Jensen, Jusun Seo, and Momo Yuntong Wu; curated by Momo Yuntong Wu September 9–15 Happy Birthday! Hector Barajas, Sami Cutrona, Alexe Ehmer, Giuliana Funkhouser, Samantha Mabelle Hensel, Hayley Samantha Jensen, Kate Laster, Ans Li, Oscar Lopez, Amayi Morales, Claire Sorosky, Haley Toyama, and Krista Wright; curated by Krista Wright September 16–22

Maximal Sophia Alexandria Cook, Whitney Humphreys, Hayley Samantha Jensen, Samantha Hensel, Amayi Morales, Emily Peck, and Steven (Tiandongding) Zuo; curated by Hayley Samantha Jensen September 23–29 Some Shape or Form: A Clay Show Sophie Appel, Clare Bland, Anais De Los Santos, Alexe Ehmer, Blythe Feeney, Michael C. Hansen, Freddie LopezDaniel, Miles Macdiarmid, Holly McLachlan, Eris Miel, Nicola Munson, Olivia NevinsCarbins, Emily Peck, Megan Eileen Ramirez, Sidonie Roddam, Alex Rodriguez, Haru Agnes Urushido, and Syd Yocom; curated by Alex Rodriguez September 30–October 6 Alive in Strange Lands Sarah Aineb, Ben Cornish, Giuliana Funkhouser, Jeff Maylath, Joshua Zachary Mintz, Amayi Morales, Daniela Parrado, Claire Sorosky, Sam Swigert, and Krista Wright; curated by Krista Wright October 7–13

Leaving Marks Clare Bland, Ben Cornish, Anais De Los Santos, Mitchell Del Mastro, Emily Howard, Kate Laster, Kennedy Morgan, Emily Peck, Megan Ramirez, Sidonie Roddam, Bobby Singer, Nicos Sueuga, and Marena Texeira; curated by Kennedy Morgan and Ben Cornish April 8–13 The Nature of Growth Raven Kemp, Eliza PhelanHarder, and JoseIgnacio Ramirez April 15–20 Environmental Network

Art as Protest

Mending Distance

The New Genres Salon

Yang Bao, Eliza Phelan-Harder, and JoseIgnacio Ramirez October 14–20

Katrina Magowan, Jennifer Massenat, Joanna Ruckman, and Anna Sidana; curated by Anna Sidana February 11–16

Kellen Chasuk, Blythe Feeney, Kennedy Morgan, Fifi Perkins, Evan Pettiglio, Shannon Sperling, and Elizabeth Travelslight; curated by Evan Pettiglio and Shannon Sperling March 11–15

Various artists in the New Genres Department April 22–26

Avatars Chloe’ Allison, Marco Castaneda, Elisabeth Eckman, Giuliana Funkhouser, Whitney Humphreys, Minjun Kim, Oscar Lopez, April Lynn, Amayi Morales, Eliza Phelan-Harder, Sequinette, Claire Sorosky, and Krista Wright; curated by Giuliana Funkhouser October 21–27 Everyone Is Touching; Textured Apogee Sophie Appel, Sophia Alexandria Cook, Colleen Donovan, and T. Shell October 28–November 3 SPRING 2019 Color Me Vibrant Katie Curry, Becca Flory, Samantha Mabelle Hensel, Hayley Samantha Jensen, Mareiwa Miller, Amayi Morales, Marena Tiexeira, and Krista Wright; curated by Hayley Samantha Jensen January 21–26 Exit From Within Sami Cutrona, Karl Daum, and T. Shell January 28–February 2

Storytelling Samantha Mabelle Hensel, Amayi Morales, Frank Nunez, You Jin Sim, Vivian Vivas, Yiling Zeng, and Judy Zhu; curated by Kate Laster and Bobby Singer February 18–23 Photography Without Camera Christian Bissett, Lexygius Sanchez Calip, Henry Chambers, Julia Fairbrother, Giuliana Funkhouser, Tianhu Kang, Ans Li, Sang Chi Liu, Mengmeng Lu, and Qi Shen; curated by Sang Chi Liu February 25–March 2 Dunes and Avenues: The Richmond District Sarah Aineb, Ben Cornish and Kate Laster, Katie Curry, Anna MacKenzie, Jade Mar, Nicola Munson, and Bobby Singer; curated by Sarah Aineb and Anna MacKenzie March 4–9

Going Through Sanghun Lee, Freddie Lopez-Daniel, Kennedy Morgan, Yong-Min Park, and Jusun Seo; curated by Jusun Seo March 25–30

Memory Under Construction Jo Barram, Alan Fineberg, Whitney Humphreys, Quinton Isaacs, Bobby Singer, Aaron Terry, and Yourong Zhao April 29–May 4

History/Archaeology/ Genealogy Melissa Carter, Delaina Engberg, Brandon Jauregui, Kennedy Morgan, Fifi Perkins, Sherwin Rio, Sidonie Roddam, Shannon Sperling, and Haley Toyama; curated by Delaina Engberg, Brandon Jauregui, and Kate Laster April 1–6

(Top to bottom) Vivian Vivas A Bite Is a Political Statement 2019 A Bite Is a Political Statement performance during Storytelling Opening Photographed by Frank Nunez © San Francisco Art Institute Courtesy of Diego Rivera Gallery Diego Rivera Gallery Diagram 2018 Logo updated by Sherwin Rio and Kate Laster © San Francisco Art Institute Courtesy of Diego Rivera Gallery

FORT MASON CAMPUS

Main Gallery Martin Machado: Fluid State

XL Catlin Art Prize Traveling Exhibition

May 30–August 19, 2018

August 22–October 7, 2018

SFAI alumnus Martin Machado (MFA, 2007) is a visual artist who has traveled the world on international commercial vessels as a merchant mariner. His work takes the form of drawings, paintings, and photographs that offer a window into this oftenoverlooked system of global commerce that underpins modern life. Cumulatively, the works in this exhibition illustrated Machado’s time at sea and his deep engagement with the people, places, and historical and cultural complexities of maritime exploration and trade. The exhibition’s title, Fluid State, alludes to the state of flux that defines both a life at sea and the shifting tides of global capitalism.

In 2018, SFAI was the first venue in a series of three to present works from 40 student artists—including two SFAI artists—selected as finalists for the XL Catlin Art Prize. SFAI was proud to join the XL Catlin Art Prize’s mission to strengthen the profile of figurative art-making in the United States and provide a valuable platform for emerging artists. Over 700 submissions were received from 140 different schools, including both undergraduate and graduate programs. The 40 works in the exhibition were chosen by an exhibition jury comprised of Ian Alteveer (Metropolitan Museum of Art), Jennie Goldstein (Whitney Museum), Laura Hoptman (Museum of Modern Art), and Kara Vander Weg (Gagosian Gallery). Additionally, SFAI Painting Chair and Associate Professor Brett Reichman served as a regional juror for artwork submissions from the West Coast.

(Left to right) Martin Machado: Fluid State, installation view 2018 Photographed by Marco David © San Francisco Art Institute Susan Hauptman Self-Portrait (La Perla #1) 2006 A+ Opening Photographed by Mengmeng Lu

A+: Works by Susan Hauptman, Irene Pijoan, and Richard Sheehan January 2–February 3, 2019

(Above) XL Catlin Art Prize Traveling Exhibition, installation view 2018 Photographed by Marco David

Guest curated by Jeremy Stone A+ was an affirmation of the enduring power of quality, exhibiting work by three artists—Susan Hauptman, Irene Pijoan, and Richard Sheehan—who captured the attention of the art world in the 1980s with inventive audacity, conviction, and confidence, taking traditional subject matter of landscape, still life, selfportrait, and abstraction—and blowing it to smithereens. While the artists used distinctly different media, materials, and sources of inspiration, each had a remarkable and dynamic intensity of vision which made their teaching a

profound experience for the students in their lectures and classes at SFAI. Some 25 years later, and after each of their deaths, their work has been infrequently seen locally, yet their influence lives on in exemplary artists who studied with them at SFAI, and have shaped the contemporary art scene in the Bay Area and beyond.

From the Tower: Andy Warhol February 20–March 24, 2019 From the Tower is an exhibition series exploring artworks, images, objects, and stories living within the archives of SFAI. Housed in the historic tower of the 800 Chestnut Street campus and unique in its scope, the archive contains a vast store of primary source materials and objects whose creators range from bygone students to contemporary art superstars. Explorers of the archive—those willing to climb the levels of the tower in search of buried histories—find unusual treasures from art worlds past and present, and visions of potential futures. For this inaugural presentation, SFAI exhibited a large selection of Polaroids, black-and-white photographs, and screenprints generously donated by the Andy Warhol Foundation for the Visual Arts as part of The Andy Warhol Photographic Legacy Program. Warhol’s breadth of investigations, experimental process, and candid representations of our culture resonate with the inventive, interdisciplinary orientations of SFAI’s artists and programs. Maya Stovall: Under New Ownership March 29–May 5, 2019 Presented in partnership with Fort Mason Center for Arts & Culture and curated by Frank Smigiel Fort Mason Center for Arts & Culture (FMCAC) and SFAI jointly presented Maya Stovall: Under New Ownership, an exhibition of the artist’s

innovative performancebased interventions in public life. A self-described “radical ballerina,” Stovall explores questions of human existence, creating works that “vividly juxtapose art and life” (The New York Times) through unannounced performances in contemporary urban spaces. The exhibition marked the latest partnership between FMCAC and SFAI.

Related Programs: Maya Stovall: Under New Ownership (General Theory of Historical Materialist Critique Remix) April 5, 2019 Scully Gray Box Gallery Maya Stovall: Theorem, No 1 Performance, co-presented by SFAI, Fort Mason Center, Tenderloin Museum, and CounterPulse May 3, 2019 Multiple locations across San Francisco 85

(Top to bottom) From the Tower: Andy Warhol 2019 Photographed by Mengmeng Lu Maya Stovall: Under New Ownership 2019 Photographed by Mengmeng Lu

FORT MASON CAMPUS

Schafer Gallery The Schafer Gallery is an art space run by graduate students and dedicated to the examination of the role of the gallery in an educational sphere. The gallery’s mission is to provide a venue for the exploration and discussion of varying artistic perspectives from the student body, operating as a platform for exhibition, events, and dialogue. Co-Directors: Summer 2018: Samuel De Lemos and Suzanne Russell Fall 2018: John James Hartford V and Kathryn Gardner Porter Spring 2019: Sami Cutrona, T. Shell, and Rebekah Wetzel

(Left to right)

SUMMER 2018

FALL 2018

Shadows Ben Barbour, Samuel De Lemos, IMH, Sera Mac, Yvette Jessica Marthell, Jeff Maylath, Andy Pepper, Joanna Ruckman, Suzanne Russell, and Mimi Vitetta; curated by Samuel De Lemos and Suzanne Russell June 29–July 11

Serenade & Nocturne Colleen Donovan, John James Hartford V, Whitney Humphreys, and Kathryn Gardner Porter; curated by John James Hartford V

The Swell Show Ben Barbour, Samuel De Lemos, IMH, Joanna Ruckman, and Suzanne Russell; curated by Samuel De Lemos and Suzanne Russell July 13–25 Reflections Samuel De Lemos, IMH, Yvette Jessica Marthell, Jeff Maylath, and Suzanne Russell; curated by Samuel De Lemos and Suzanne Russell July 27–August 3

Moira Susan Lai August 24–September 4 The Unhappy Marriage of Sculpture and Textiles: Towards a More Progressive Union Sophia Alexandria Cook and Jordan Holms Reintroducing . . . Love? Samantha Mabelle Hensel September 7–18 4 Artists: Representational Painting of America Arthur E. Gies, Laura Pacchini, Kathryn Gardner Porter, and Haley Toyama 2235 Susan Lai September 21–October 2

Momo Yuntong Wu Duality 2018 Featured in the exhibition Salon Ouvert T. Shell Corporeal Restraints Performance during Parsing Dissent Opening at SFAI CONCENTRATE 2018 Photographed by Mengmeng Lu

Strength in Awareness Samantha Mabelle Hensel, Hayley Samantha Jensen, and T. Shell Untitled Adea Frances Guldi October 5–16

Bloom & Decay: Beyond Opulence E. Leigh Daniels, John James Hartford V, Gautama Ramesh, and T. Shell; curated by John James Hartford V I’m Looking Mengmeng Lu October 19–31 Very Private Matters Katie Curry, Jeff Maylath, and Joanna Ruckman November 2–6 Parsing Dissent Sami Cutrona, E. Leigh Daniels, Colleen Donovan, and T. Shell; curated by Sami Cutrona Untitled Still Life Mengmeng Lu November 10–27 Salon Ouvert Taylor Berry, Lexygius Sanchez Calip, Monica Pimentel Coelho, Christa Grenawalt, Ryan Golden Kirkpatrick, Win Lau, Sang Chi Liu, Oscar Lopez, Peppa Pepper, Gautama Ramesh, Jusun Seo, Qi Shen, Anna Sidana, Momo Yuntong Wu, Yourong Zhao, and Steven (Tiandongding) Zuo; curated by Joe November 30–December 11

SPRING 2019 Unfamiliar Again Lexyguis Sanchez Calip, Yangyi Chen, Ryan Golden Kirkpatrick, Momo Yuntong Wu, and Steven (Tiandongding) Zuo; curated by Ryan Golden Kirkpatrick The Master Never Talks Of Yuanyuan Liu January 18–30 Fleeting Moments Lexygius Sanchez Calip, Sami Cutrona, E. Leigh Daniels, John James Hartford V, Samantha Mabelle Hensel, Mengmeng Lu, and T. Shell; curated by E. Leigh Daniels Moments Yan Shao February 1–13

P.R.I.S.M. or Practice Recreating Imaginary Squalls and Metamorphosis Hayley Samantha Jensen, Shara Mays, Mareiwa Miller, Evan Pettiglio, and Steven (Tiandongding) Zuo; curated by Evan Pettiglio and Mareiwa Miller What’s Between Us Christa Grenawalt February 15–27 Worlds Apart David Seok Hoon Boo, Ben Cornish, Whitney Humphreys, and Hayley Samantha Jensen; curated by Whitney Humphreys

In Progress Lexygius Sanchez Calip and Colleen Donovan; curated by Colleen Donovan Transplant Sang Chi Liu March 15–27 Gentle Dispositions Sami Cutrona, Samantha Mabelle Hensel, and Evan Pettiglio; curated by Evan Pettiglio Your Apathy Is Boring Sophia Alexandria Cook March 29–April 10

Crossings Lexygius Sanchez Calip, Monica Pimentel Coelho, Ryan Golden Kirkpatrick, and Miles Stemp; curated by Monica Pimentel Coelho Cycle Ans Li April 20–24 Loam Ben Cornish, Karl Daum, Hayley Samantha Jensen, Ryan Golden Kirkpatrick, and Jennifer Massenat; curated by Ben Cornish Sphere Eleanor Schnarr April 26–May 10

Dress Up in The Woods Becca Chacon March 1–13

(Clockwise from top left) Work by Yangyi Chen Featured in the exhibition Unfamiliar Again January 18–30, 2019 Works by Becca Chacon Featured in the exhibition Dress Up in The Woods March 1–13, 2019 Works by Ben Cornish and Hayley Samantha Jensen Featured in the exhibition Worlds Apart March 1–13, 2019 Works by John James Hartford V Featured in the exhibition Fleeting Moments February 1–13, 2019

Visiting Artists and Scholars Lecture Series The Visiting Artists and Scholars Lecture Series (VAS) provides a public forum for engagement and dialogue with major figures in international contemporary art and culture. Through lectures, screenings, and performances, the series creates intimate connections between SFAI, artists, scholars, and the public, fostering critical exchange between guest and audience to promote a diverse and robust learning environment. Lectures take place in the Osher Lecture Hall on the Chestnut Street Campus.

FALL 2018

SPRING 2019

Katharine Kuharic: School of Hard Knocks

Breaking Through the Blacklist Film Fest: The Buñuel-Butler-Pepper Trio

2018 Richard Diebenkorn Teaching Fellow September 18

Screening of The Adventures of Robinson Crusoe (1954) February 26

Bik Van der Pol: Creating Publicness October 9

Screening of ¡Torero! (1956) March 5

The Pleasure, Profits, and Politics of Sex and Photography: A Show and Tell with Annie Sprinkle October 17

Screening of The Little Giants (1958) April 1

DeShawn Dumas: Black Light: Wake Work Against the Aestheticization of Politics October 23

Screening of The Young One (1960) + Panel Discussion: Blacklist Exiles in Mexico April 2 Gina Siepel: Cycle of Self-Determination March 12 Barbara Easley-Cox and Ericka Huggins in Conversation with Dewey Crumpler Presented in conjunction with Vanguard Revisited: Poetic Politics and Black Futures March 14

(Left to right) Rashad Newsome Look Back At It! 2016 Collage in custom frame with leather, automotive paint, and swarovski crystals 72 ¼ x 72 ¼ x 4 inches

Constance Hockaday You Make A Better Wall Than A Window 2016 Multimedia public installation and performance Dimensions variable

Emory Douglas + The Poster Syndicate Presented in conjunction with Vanguard Revisited: Poetic Politics and Black Futures April 4 Maya Stovall: Under New Ownership (General Theory of Historical Materialist Critique Remix) April 5 Constance Hockaday: Prepare to be Unprepared April 9 Rashaad Newsome: Mélange April 23 Bradford Nordeen: Curating Dirty Looks and Presenting the Queer Cinematic Avant-Garde April 24

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.

FALL 2018

SPRING 2019

Peggy Phelan: Contact Warhol: Photography Without End September 14

Jeanne Finlay, Jacqueline Francis, Anthony Huberman, and Frances Richard: Joan Jonas Is on Our Mind (REPRISE) February 8

Ad Minoliti: Non-Binary Geometry and Feminist Expanded Painting October 12

SUMMER 2018

Frank Smigiel: Thinking Inside the Box, or Building Institutional Walls October 19

Rudy Lemcke: The New World: Of Video Games and Museums July 16

Jarrett Earnest: What It Means to Write About Art: Notes on the Future of Criticism October 26

Aaron Terry: Art in the Age of #instagood Production June 25

Bean Gilsdorf: Soft Histories November 2

Allan deSouza: How Art Can Be Thought February 22 JD Beltran and Gordon Knox: These Green Thoughts, or Artists and Climate Action March 1

Benjamin Britton: The Incandescent Sub-Present July 23

Jenny Odell: Open Source Intelligence March 8 Margo Machida: Pacific Bodies Reimaged March 29 Betti-Sue Hertz: Aesthetics and Ecological Activism in Chinese Contemporary Art April 12 Tony Labat: Up Close and Personal View into Performance/ Video (1977–1986) April 19

(Clockwise from top right) Robin Lasser and Adrienne Keahi Pao Hula Girl Dress Tent, Waikiki, O’ahu 2017 From Margo Machida’s Pacific Bodies Reimaged Ad Minoliti Puppy, installation view 2017 Mural painting with two prints on canvas 79 x 79 inches Courtesy of Galería Agustina Ferreyra, Mexico City

Sofía Córdova: The Thread of Operations Is Broken July 30

Allan deSouza Borough Boogie Woogie, detail 2017 Digital print on Hahnemühle paper 24 x 36 inches Courtesy of the artist and Talwar Gallery, NY and New Delhi

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 education activities, including workshops, lecture series, and portfolio reviews. Lectures take place in the Osher Lecture Hall on the Chestnut Street Campus.

FALL 2018

SPRING 2019

Susan Meiselas September 16

Shimon Attie Introductory presentation by Jana Sophia Nolle March 15

George LeGrady Introductory presentation by Bryant Austin October 12

Aspen Mays and Andréanne Michon April 19

Eirik Johnson Introductory presentation by Charlotta María Hauksdóttir November 8

Elaine Mayes May 24

Chris Johnson with Adrian Burrell Moderated by Lewis Watts December 7

(Clockwise from top left) George LeGrady Blink 2007 Dynamically generated algorithmic visualization Dimensions variable © George Legrady Eirik Johnson “SAVE” from PINE Minor Matters Press 2018 © Eirik Johnson Shimon Attie Night Watch (Mikaela with Liberty), Hudson River 2018 Courtesy of Jack Shainman Gallery, NY © Shimon Attie

In Memoriam Okwui Enwezor, 1963-2019 Okwui Enwezor, Senior Vice President and Dean of Academic Affairs at San Francisco Art Institute (SFAI) from 2005-2009 and globally influential curator and scholar, died following a battle with cancer. Enwezor served at SFAI under then-President Chris Bratton, ushering in an ambitious global artistic agenda and programmatic expansion. Under his leadership, SFAI launched new BA/ MA programs in the History and Theory of Contemporary Art and Urban Studies, a new MA program in Exhibition and Museum Studies, and an MA/MFA Dual Degree program. SFAI Vice President and Dean of Academic Affairs Jennifer Rissler says: “Okwui’s curatorial methodologies – his steadfast commitment to presenting a plurality of voices and polyphonic layerings of non-Western and non-Eurocentric narratives – translated into a profound reorientation of SFAI’s pedagogy. His imprint is and will continue to be reflected across our curriculum. Okwui’s enduring legacy is his belief in the force of artistic practice to contest, reshape, and animate our relationship to the world. He has changed the condition of being here.”

Sabina Ott, 1955-2018 SFAI was saddened by the passing of alumna and administrator Sabina Ott from cancer in June 2018. Ott completed her BFA at SFAI in 1979 followed by her MFA in 1981, then returned to SFAI to serve as Director of Graduate Programs from 2001-2004. Among many tributes, Hyperallergic described her as “an artist who believed making was an act of generosity.” Ott was known for her broad range of work, from painting to installation to sculpture, and her central role in the art world as teacher, administrator, and founder of the alternative art spaces Jetwave in San Francisco and Terrain in Chicago. In the course of her career, she received honors including the National Endowment for the Arts Individual Artist Fellowship (1990), the John Simon Guggenheim Memorial Foundation Fellowship (2015), Chicagoan of the Year in Art (2015), and the College Art Association’s Distinguished Teaching in Art Award (2016).

Henry “Hank” Wessel, 1942-2018 SFAI mourned the loss and celebrated the life of Henry “Hank” Wessel, a beloved and dedicated professor at the school from 1973 to 2014. Wessel was an internationally recognized photographer and a cornerstone of the SFAI Photography Department, leading by example and mentoring countless graduates over the years, many of whom went on to become extraordinary artists in their own right. His accomplished career, tireless work ethic, irreverent humor, and contagious smile were inspirational to so many in the SFAI community and beyond. SFAI honored Wessel with a public memorial on December 2, 2018 at the Chestnut Street Campus, which featured speeches from Lindsey White, Reagan Louie, Corey Keller, Mimi Plumb, Jeff Gunderson, Toni Gentilli, Sandy Phillips, Liz Bernstein, Ken Light, Josh Smith, and MarieLuise Klotz, and student readings of works by Catherine Opie and Tod Papageorge. “The process of photographing is a pleasure: eyes open, receptive, sensing, and at some point, connecting. It’s thrilling to be outside your mind, your eyes far ahead of your thoughts.”

91 91

—Hank Wessel

Graduate Programs Faculty 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. Megan Bayles, PhD, researches bodies as sites of knowledge production. Her fields of interest include disability studies, body theory, medical history, science and technology studies, visual culture, and material culture. She is currently working on a book project, The Death of the Clinic, which analyzes recent shifts in clinical power dynamics and the racialized and gendered medical discourses surrounding “grassroots diseases.” She is also the co-editor, with Achy Obejas, of the anthology Immigrant Voices: 21st Century Stories. David Bayus is an artist and cofounder of BASEMENT art collective, located in San Francisco’s Mission District. He has exhibited his work in San Francisco, Los Angeles, New York, and Vancouver. The third book in his ongoing series, Stroke, debuted at the Los Angeles Art Book Fair in February 2019. Editions can be found in the collections of the Los Angeles County Museum of Modern Art; the Museum of Contemporary Art, Los Angeles; and the Museum of Modern Art, New York.

Timothy Berry’s current work continues a lifelong investigation into 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 two often disparate elements can exist in one place. Berry participated in the traveling exhibition Anthropogenic: Art of the World We’ve Created, originating at the Bates College Museum of Art.

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.

Matt Borruso is a visual artist living and working in San Francisco. Recent solo shows include Hands and Feet and Their Supports at Cloaca Projects in San Francisco and Lottery at Black Ball Projects in Brooklyn. Book projects include Wax House of Wax, IMAGE File, and others released through his own imprint, Visible Publications. Borruso’s work has been exhibited at Derek Eller, New York; Celaya Brothers, Mexico City; Et al. etc., San Francisco; and Exile Projects, Berlin.

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 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.

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 in many publications, including TIME Magazine, the New York Times, and Artforum International.

Irene Carvajal is a multidisciplinary Costa Rican American artist. Her art practice includes printmaking, collage, sculpture, and installation. Both from a formal and a conceptual point of view, her focus is on mass-produced objects, globalized labor forces, and their sociopolitical impact and value. She has exhibited in the United States, Costa Rica, and Japan. Carvajal is currently the curator for works on paper at the Peninsula Museum of Art in Burlingame, California, and guest lecturer at Stanford University.

Linda Connor is a photographer and dedicated educator who, for the past five decades, has approached both roles by enlisting the power of images— the ways in which they communicate, their unique properties, and how they interrelate. She has exhibited nationally and internationally; published a number of monographs, including Odyssey: The Photographs of Linda Connor; and received many awards and grants, including a Guggenheim Fellowship and multiple grants from the National Endowment for the Arts, among others. 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 director of Film at SFAI. He is a film producer, director, screenwriter, public speaker, and digital film entrepreneur. His company, Plaster City Productions, produces feature films, episodic television, and alternative media. Coppola is the founder of PAHFEST, a hands-on, international, digitalfilmmaking festival. Governor Jerry Brown appointed Coppola to serve on the California Arts Council, and he is the education director for the Creative Cinema Collective, a global student filmmaking event based in Qingdao, China. Coppola is a member of the Directors 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, chairs the Master of Arts 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, 2019). Sergio De La Torre has worked with and documented the manifold ways in which citizens reinvent themselves in the cities they inhabit, invoking collaborations and inviting intimate and critical reflections on topics related to housing, immigration, and labor. His works have appeared in the 10th Istanbul Biennial, Bienal Barro de América Caracas, the Cleveland Performance Art Festival, Atelier Frankfurt, Centro Cultural Tijuana, Yerba Buena Center for the Arts, the Tribeca Film Festival, and El Festival Internacional de Cine de Morelia. 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/identity, and the politics of place. Her work sits at the intersection of critical theory, human rights studies, and postconflict identities. Her current project, under contract for Roman & Littlefield, is a book manuscript titled Implicated Geographies: The Place of Memory and the Museum in the New Rwanda.

Lucas Foglia grew up on a farm in New York and currently lives in San Francisco. His photographs have been widely exhibited in the United States, Europe, and Asia. Nazraeli Press recently published his third book, Human Nature. Foglia’s photographs are held in major collections in Europe and in the United States, including Denver Art Museum; Foam Fotografiemuseum, Amsterdam; International Center of Photography, New York; Museum of Fine Arts, Houston; Victoria and Albert Museum, London; Philadelphia Museum of Art; and the San Francisco Museum of Modern Art. Rebecca Goldfarb’s practice emanates from an interest in the foundations of cognition. Realized in a range of media, including sculpture, photography, and installation, her conceptual undertakings mine the nature of our mental representations, language, and thought. 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. 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 culminated in a solo exhibition at the Mills College Art Museum in January 2019.

Graduate Program Faculty (cont.)

Jeff Gunderson has worked in the SFAI library since 1981. He has written on the history of California photography and the 1940s art scene in San Francisco, and he has given presentations about artists Joan Brown, Elmer Bischoff, and Ed Ruscha; the history of LGBTQ art in San Francisco; Bay Area conceptual art; and the influence of art libraries on artists. His essay “The Education of Ed Hardy” will appear in Summer 2019 in the de Young Museum’s retrospective exhibition catalogue Ed Hardy: Deeper than Skin. Betti-Sue Hertz is a curator working at the intersection of critical visual culture and socially relevant issues. She is public art director with TLS Landscape Architecture for Shishan Park, Suzhou, China, and was curatorin-residence at HOW Art Museum Shanghai in 2018. Hertz has been a lecturer at Stanford University and UC Berkeley; director of visual arts at Yerba Buena Center for the Arts (2008–2015); and curator of contemporary art at San Diego Museum of Art (2000–2008). Emmanuelle Namont Kouznetsov is a French American artist whose work sets up a stage that monumentalizes the physical presence of the subject while considering its evanescence. Her photographic and sculptural work has been shown nationally and internationally. As the co-director of OFFSpace, a site-specific curatorial platform, she has brought together the work of more than 100 international artists, curating exhibition concepts centered on social upheaval and economic meltdowns, the “uncanny” or the perplexing vision of “the other.”

Katharine Kuharic’s work utilizes complex painting technique to examine social and political mores. AIDS deaths, gun violence, weight loss, and collapsing real estate and financial markets are both subject and fodder. Her work is represented by PPOW Gallery in New York and has been exhibited nationally and internationally. Kuharic’s work is in numerous private and public collections, including the St. Louis Art Museum and the Pennsylvania Academy of the Fine Arts, Philadelphia. She has received numerous grants, fellowships, and residencies. Since the late 1970s, Cuban-born Tony Labat has developed a body of work in performance, video, sculpture, drawing, and installation dealing with the body, popular culture, identity, urban relations, politics, and the media. Labat has exhibited internationally over the last 40 years and received numerous awards and grants; his work is also in many private and public collections. 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, Italy; Figueroa-Vives Studio, Havana, Cuba; and Marlborough Contemporary, New York. 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 Guggenheim and Fulbright fellowships.

Born in Copenhagen, Denmark, Mads Lynnerup is an assistant professor and chair of New Genres at SFAI. His 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; MoMA PS1, 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 artistscholar in linguistics, rhetoric, art, and technology. His work positions metaphors that mediate complexity at sites of dromological, spatial, social, cultural, political, ecological, and economic anxiety. By interrogating our human behaviors in these contexts, his work reveals the elaborate and self-vexed nature of our memories, beliefs, values, assumptions, choices, and relationships. Martínez recently exhibited at the Carnegie International, 57th Edition, during which he and his collaborators in the collective Postcommodity were awarded the Fine Prize. Eugenia-alana Mitsanas creates pieces and environments that invite one to enter and stay awhile. Exploring the subtle, sensual, and powerful aspects of Place, she makes interactive spaces involving aromatherapy, psycho-aural, and visual experiences that inspire pause, reflection, exploration, and play. Her work has been exhibited nationally and internationally. Recent exhibitions include When the Barn Burns Down . . ., John F. Kennedy University Gallery, Berkeley; Big Love. Big Island., Kalani Ecological Resort, Artist Residency, Big Island, Hawaii; and The Summer Took It All Away, a multimedia traveling collaborative performance, Pelion, Greece.

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. Berit Potter, PhD, is Assistant Professor in the Department of Art at Humboldt State University, where she teaches art history and oversees HSU’s Museum and Gallery Practices Certificate Program. She received her doctorate in History of Art and MA in Museum Studies from New York University. Her current book project examines the career of the San Francisco Museum of Modern Art’s first director, Grace McCann Morley, and her pioneering advocacy for global perspectives in the study and exhibition of modern and contemporary art. 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 and 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. Jeannene Przyblyski, PhD, is an artist, historian, and explorer, working on questions of people, place, and representational regimes, particularly in the United States and China. Przyblyski has published widely on photography, media, visual culture, and urbanism, and produced creative public artworks that make visible the contested landscapes all around us. Her most recent project, The Some Place Chronicles, was commissioned by the Los Angeles County Arts Commission to map the history and culture of LA’s unincorporated areas in bilingual artists’ books. 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.

Kate Rhoades lives and works in Oakland, California. Her videos and paintings probe the ever-mutating art world. Her work has been presented in the San Francisco International Film Festival and the Santa Fe International New Media Festival. Rhoades has participated in exhibitions at the Centre for Contemporary Arts, Glasgow; Southern Exposure, San Francisco; and Trestle Gallery, Brooklyn. She is the co-host of the Bay Area’s number one arts and culture podcast, Congratulations Pine Tree. Laura Richard, PhD History of Art with a Designated Emphasis in Film, is chair of History and Theory of Contemporary Art 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. Alex Rodríguez is a Mexican film editor and director with a career spanning three decades. He has edited many acclaimed films, including Y Tu Mamá También and Children of Men, for which he was nominated for an Academy Award for Best Editing. Rodríguez just wrapped up Mosul, written and directed by Matthew Carnahan and produced by Joe and Anthony Russo. He is currently promoting his first short film, Esperando al Gordo (Waiting for Gordo), and is working on two feature film scripts.

Graduate Program Faculty (cont.)

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 co-founder 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. 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. Frank Smigiel is the Director of Arts Programming and Partnerships at the Fort Mason Center for Arts & Culture, and SFAI’s newly appointed Chair of Exhibition & Museum Studies. He is the former Associate Curator of Performance & Film at the San Francisco Museum of Modern Art, and his curatorial interests include the intersection of theater and time-based art, commerce by artists, and queer histories. Smigiel has worked at the Whitney Museum of American Art, the Rosenbach Museum and Library, and the University of the Arts. He holds a doctorate in English Literature.

Taravat Talepasand is an artist and educator whose interdisciplinary painting practice questions normative western beauty, by way of politically charged images of contemporary Iranian women under the guise of traditional Persian painting. Her work expresses the role of women in the hyphenated American identity, through global feminist ideologies, Iranian political histories, and the oppression of female sexuality in Iran. Her work asks the viewer to reconsider normative western ideologies of her native country and citizens of the Iranian Diaspora in a myriad of ways. Artist and writer Meredith Tromble mixes drawing, performance, text, and installation. She has been artistin-residence at the Complexity Sciences Center at UC Davis since 2011, collaborating with geobiologist Dawn Sumner. Their interactive 3D artwork has been presented internationally, chosen as Exemplar Project by the Alliance for Arts in Research Universities, and adapted for dance. She is author and/or editor of many publications, including the forthcoming PUBLIC Journal #59, Interspecies Communication. 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 institutions such as the Circulo del Belles Artes, Madrid, and the Crocker Art Museum, 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-inresidence at the de Young Museum and the Massachusetts Museum of Contemporary Art. Lindsey White, is chair of Photography at SFAI. She has exhibited at venues such as the San Francisco Museum of Modern Art (SFMOMA); San Francisco Arts Commission Gallery; ACME., Los Angeles; Sydhavn Station, Copenhagen; Bolinas Museum, California; the Contemporary Jewish Museum, San Francisco; 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 Fall 2019.

Board of Trustees TRUSTEES Pam Rorke Levy, Chair Elizabeth Ronn, Vice Chair Juana Schurman, Secretary Steven J. Spector, Treasurer Donna Abrahamson Agnes Bourne Rebecca Chou Jonathan Cropper Marcel Houtzager Chris Lim Tom Loughlin Joy Ou Una Ryan Jeremy Stone

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

STUDENT TRUSTEES Graduate Student Trustee Kate Rannells

FACULTY TRUSTEES

Undergraduate Representative Freddie Lopez-Daniel

Mads Lynnerup Cristóbal Martínez

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

Undergraduate Student Trustee Frank Nunez STUDENT REPRESENTATIVES Graduate Representative Eliza Phelan-Harder

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 Thursday, May 16, 2019 SFAI—Fort Mason Campus

Honorary Chairs Event Chair Committee

Roselyne C. Swig and Susan Swig Pam Rorke Levy Tony Labat, Kirsty Brown Gumina, Sabrina Sofaer Smith, and Nellie King Solomon

THANK YOU TO OUR SPONSORS

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Elizabeth and Karl Ronn

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Provocateur

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Vernissage sponsors as of May 1, 2019. 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-säzh): 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».

HONORARY DOCTORATE OF FINE ARTS

Emory Douglas

Building on the remarkable exhibition Vanguard Revisited: Poetic Politics and Black Futures, San Francisco Art Institute is pleased to honor Emory Douglas, revolutionary artist and Minister of Culture for the Black Panther Party, as the recipient of the 2019 Honorary Doctor of Fine Arts degree and keynote speaker at Commencement on May 18. Emory Douglas is a master of using art to communicate ideas, and created some of the most iconic social justice images of the 1960s and 1970s. He was born in Grand Rapids, Michigan, and has been a resident of the Bay Area since 1951. Douglas served as the Minister of Culture for the Black Panther Party from 1967 until the party disbanded in the early 1980s. During this time he was the art director overseeing the design and layout of the Black Panther, the Partyâ&#x20AC;&#x2122;s weekly newspaper, where he was noted for his political drawings and cartoons. Douglas is currently featured in the landmark traveling exhibition Soul of a Nation: Art in the Age of Black Power, which has been presented at Tate Modern, London; the Brooklyn Museum; Crystal Bridges Museum of American Art, Bentonville, Arkansas; and The Broad, Los Angeles, and will be opening at the de Young Museum in San Francisco in Fall 2019. Other exhibitions include Black Panther Rank and File at Yerba Buena Center for the Arts; Black Panther: The Revolutionary Art of Emory Douglas at the MOCA Pacific Design Center in Los Angeles; Emory Douglas: Black Panther at the New Museum, New York; and Emory Douglas: Bold Visual Language at LACE in Los Angeles. He is the subject of the book Black Panther: The Revolutionary Art of Emory Douglas (Rizzoli, 2007). In 2015 he received the AIGA Medal, a prestigious award given to individuals in recognition of their exceptional achievements, services or other contributions to the field of design and visual communication. Douglas continues to dedicate his artwork to social justice. The Honorary Doctor of Fine Arts is the highest honor bestowed at SFAI, given annually to a person who has made inspiring contributions to our society and demonstrated how an aesthetically astute, investigative mind can impact the world for the better. Prior honorees include alumnus Kehinde Wiley (BFA 1999), alumnus Enrique Chagoya (BFA 1984), Linda Nochlin, Theaster Gates, Jack Whitten, alumna Kathryn Bigelow (BFA 1972), Roberta Smith, and David Goldblatt.

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Acknowledgements

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

Copyeditor Amy Krivohlavek Galindo

Cover design by Hugo Estrada

Project Managers Hugo Estrada

Maggie Norby-Adams Printing Woodcut Press San Francisco

Special thanks to Noel Loder

Bojana Ranković Anne Shulock Kat Trataris

Additional image credits

(clockwise from top left) Opposite Page 1 (clockwise from top left) SFAI President Gordon Knox speaking at the Opening Reception for Vanguard Revisited: Poetic Politics and Black Futures, January 26, 2019. Photographed by

San Francisco Art Institute Chestnut Street Campus

Mengmeng Lu.

800 Chestnut Street

Shi Hui, Unification, cotton rope and steel tube,

San Francisco, CA 94133

variable dimension. Featured in From/To: The Frontier of Chinese Art Education at SFAI—Chestnut Street Campus, November 16–December 9, 2018.

Fort Mason Campus 2 Marina Blvd, Pier 2 San Francisco, CA 94123

Page 46

Photo courtesy of China Academy of Art. SFAI President Gordon Knox with student AJ Schnettler at SFAI Concentrate, 2018. Photographed by Alex Peterson. Kehinde Wiley and Gordon Knox Speaking at a dinner honoring Kehinde at SFAI—Fort Mason Campus, May 13, 2018. Photographed by Drew Altizer. Jenny Saville and Claudia Schmuckli speaking during Situational: The Body in Contemporary Painting at SFAI—Chestnut Street Campus, February 9, 2019. Photographed by Mengmeng Lu. Patti Smith and Lenny Kaye in the Diego Rivera Gallery at SFAI—Chestnut Street Campus, January 17, 2019. Courtesy of the artists and kurimanzutto, Mexico City/ New York. Photographed by Charlie Villyard. Page 4 Installation view of The True Artist Helps the World by Revealing Mystic Truths by Bruce Nauman, at the Philadelphia Museum of Art. Photographed by Jon Seidman. © CC by 2.0. Modified from original.

Installation photo, Unfamiliar Again, Schafer Gallery at SFAI—Fort Mason Campus, January 19–30, 2019. Photographed by Mengmeng Lu. Installation photo, Fleeting Moments, Schafer Gallery at SFAI—Fort Mason Campus, February 1–13, 2019. Photographed by Mengmeng Lu. Mareiwa Miller, Zone of Fractional Melting, 2018; ceramic. Featured in P.R.I.S.M. or Practice Recreating Imaginary Squalls and Metamorphosis, Schafer Gallery at SFAI—Fort Mason Campus, January 15–27, 2019. Photographed by Mengmeng Lu. Works by Katie Curry featured in Color Me Vibrant, Diego Rivera Gallery at SFAI—Chestnut Street Campus, January 28–February 1, 2019. Photographed by Mengmeng Lu. Rupert García, Rolling Thunder, 2017; mixed media on paper, 52 x 96 inches. Photographed by John Janca. Courtesy of Rena Bransten Gallery. Postcommodity, Through Smoke and Tangled Waters We Carried Fire Home, 2018. Installation photos courtesy of Carnegie International. Page 91 (top to bottom) Okwui Enwezor at the opening of Documenta 11, Kassel, Germany, 2002. (Photographed by Joerg Sarbach/AP/REX/Shutterstock from ARTNEWS, 2019). Sabina Ott (photographed by Phil Dembinski, image courtesy the author for Hyperallergic). Henry Wessel (photo from The New York Times, 2018). Page 99 Emory Douglas (photographed by Jos Wheeler, Auckland, New Zealand).

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