Issue #64

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CONTENTS 4

Vanessa Nguyen

Rapavy 16 Anderson Untitled II

Feliz 31 Catherine Untitled 2

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Catherine Feliz

La Vada 17 Cody Botticelli Babe

Foti 32 Danielle Spectroscopy

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Gillian Lynn Katz

Nilufa Yeasmin 18 Heat in the Form of Light

Bazile 34 Ajani Desire

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Mark Colyer

Acquista 19 Emily The Alter

Mark Colyer 35 Inscape no. 9

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Clara Nguyen

Torres 20 Sierra Bubble Bread

osephine Gasperi 36 JThere’s A Rat In My Skull

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Alex Bresalier

Torres 21 Sierra Bubble Imprint

Chianese 37 Toni Bedroom Days

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Erica Vitucci

Vitucci 22 Erica ev

Amaral 38 Mikayla (Un)Weaving

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Nilufa Yeasmin

Feliz 23 Catherine Untitled 1

Bresalier 39 Alex If I Told You

Acquista 12 Emily The Aftermath

24 Feature The Surface of Design

Kyutoku 40 Yuko Nostalgia

Amanda Russell 13 11:37 PM

Prioleau-Martin 28 Keisha Hoping for Company

Amaral 41 Mikayla Red Shoes

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Foti 29 Danielle Elm

Fenichell 42 Loisa When I Said I was Pious

Vitucci 30 Erica IIIIIII

Nguyen 43 Clara Lady Bugs Get Hitched

Cup Noodles

By Boat

Retrospective

Inscape no. 4

Whiskey and Chill

Carved Embrace

Untitled 1

Dissolving Matter

Ajani Bazile me n hymn

Foti 15 Danielle Mass Emily Acquista Cover Glitter Trabuc

What I Meant was


LETTER FROM THE EDITOR Some of you may have just picked up SubMag for the very first time. Some of you may have wondered, Where have they been? Regardless of whether this is your first or fifth exposure to SubMag, I’m thrilled to present you with Issue #64. Submissions Magazine is a student-centric quarterly. The work that you will see beyond this page was made by students and selected by their peers. Chances are you’ll know some names we’ve selected for publication, and chances are some names will be unknown to you. This particular clash of new and known names is integral to the magazine’s fruition. Our semester began at snail-speed. The editors were unaccounted for and our editorial team consisted of one. But over the course of the last month, and with the help of several dedicated students, SubMag’s wheels began to turn once more. Submissions from Purchase artists rolled through, and the vague idea of a magazine began to take shape. We hope you enjoy these curated pages as much as we enjoyed cherishing them over the course of the deliberation process. The goal here is to celebrate our peers’ work and we welcome any medium, from painting to poetry to performance. I remember sitting down at my desk sophomore year and discovering SubMag for the first time. I was captivated by Issue #55’s cover: two tender knees amidst murky water, some greenery making an appearance across the image. I found myself thinking, Holy hell, I’ll never be in this magazine. And yet, here I am. So if you ever have felt deterred from submitting, or clumsy over asking how you can help out, I want to you remind you that SubMag is accessible, and we look forward to hearing from you soon. Shoot us an email at submissionsmagazine@purchase.edu.

Sincerely, Chris Stewart Editor-in-Chief 2


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VANESSA NGUYEN Cup Noodles 4


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CATHERINE FELIZ By Boat

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RETROSPECTIVE By Gillian Lynn Katz

The trees I sit under are rain-drenched leafy. I am two continents, forty-five years away. On my computer, an image – A resplendent European Roller – not one color missing on that bird; Perched on a dried out tree twig in the Kruger National Park on the Facebook page of a classmate I’d long since forgotten.

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MARK COLYER Inscape no. 4

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CLARA NGUYEN

Whiskey and Chill

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ALEX BRESALIER Carved Embrace

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the first time a child recognizes themself in the mirror the first distinctive experience this moment is crucial and very unsettling because what we see in our reflection isn’t necessarily what we feel I AM A CONTINUOUS STREAM OF CONSCIOUSNESS I AM POLYSEXUAL, EVER-CHANGING, AND AMBIVALENT BUT ON THE OUTSIDE A SEEMINGLY STABLE ENTITY WITH COMPOSED AND SYMMETRICAL FEATURES THAT ARE NOTHING OF WHAT IS WITHIN we have words to try to transcend the gap they fail to do justice to our real intentions not knowing how to say how we feel is not a personal failure It is the existential truth THE IMAGE IN THE MIRROR IS FAR MORE ONE DIMENSIONAL THAN THE ENTITY THAT BEHOLDS IT A PROBLEM THAT FOLLOWS ME THROUGHOUT LIFE AS AN ADULT AS I LONG FOR OTHERS TO UNDERSTAND other entities will be resolutely stuck on the outside of us heavily caricaturing us and we are understandably reluctant to accept these assumptions AND I AM CONSEQUENTLY CONCERNED TO CONTROL MY EXTERNAL APPEARANCE THAT I PRESENT AND I HOPE I CAN THINK AS EFFICIENTLY AS WHAT OTHER PEOPLE HOPE TO SEE we may never be properly understood we need to accept that no one will experience Us the way we experience Ourselves WE WILL BE ALMOST ENTIRELY MISUNDERSTOOD AND WE WILL ALMOST ENTIRELY MISUNDERSTAND

ERICA VITUCCI

Untitled 1

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NILUFA YEASMIN

Dissolving Matter 11


EMILY ACQUISTA 12

The Aftermath


11:37 pm I wish to burrow and hide To wallow in pity In doubt, in every misspelled word and shortcoming I wish to be divine To feel loved Feel meaning and purpose, learn lessons worth keeping To feel pain is to feel something To feel alone is to be humble, or modest To feel dirty and shameful is to be me To be me is something I wish to change I carry guilt and longing as a badge, a reminder That those I once loved will always leave And behind them, a mark, one rolled up their sleeve Was one I ignored One I hoped they would keep Because to feel important to you was what I desired And proving me trust was something I did not require You lie and cheat, yet I am to blame For wishing away sins can only come with Time, a thing I wish I had more of So I could burrow and hide To wallow and weep To learn from my mistakes Instead of drowning in them

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By Amanda Russell

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me n hymn By Ajani Bazile

he sung 2 me in tongues. it sounded like white wine being poured into a tub. he sung 4 me outta pity. it sounded like a scr at ched reco rd

pl ayin g.

he sung w/ me, and it sounded like 2 v diff songs. i couldn’t stand it any longer, so i started walking, thenrunning, thnsprntng

home. i couldn’t escape his voice bc the tune was stuck in my head. so i hummmmmmed along to it. it sounded like Rome falling.

uh-huh. just. like. rome. falling.

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DANIELLE FOTI Mass

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ANDERSON RAPAVY Untitled II

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Botticelli Babe By Cody La Vada Oil spills paint my stained glass portrait across the surface of the sea. I am perfect in my pollution a botched Botticelli babe.

Like a pearl within an oyster, I feel most at home in my boudoir – as pink as the velvet throat of a moray eel. If I open my mouth, will you hear siren song or tempest? I do not belong on land, where bodies are as rigid as dried coral castles; I belong to the surf, where bodies are fluid, amorphous as dreams in the whispering tumble of wild riptide.

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And I was never born, but rose from the frothing whitecaps, steaming with the rage of Father’s emasculation. I am a broken mirror; he cannot see himself in me at all.

And even now, with brine scoured from my tangled mane of wilted kelp, the flowering barnacles plucked from my flesh – I feel the ocean’s roar coiled in the smooth shell of my heart. You will remember me when the ocean’s salt stings a healing wound - and, with a touch, I dissolve to foam and fantasy beautiful, Botticelli babe.

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NILUFA YEASMIN 18

Heat in the Form of Light


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EMILY ACQUISTA The Alter

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SIERRA TORRES Bubble Bread

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SIERRA TORRES Bubble Imprint

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ERICA VITUCCI ev

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CATHERINE FELIZ Untitled 1

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THE SURFACE OF DESIGN Inside view of the Richard and Dolly Maass Gallery during The Surface of Design.

Artists featured in show: A Practice for Everyday Life Eyebodega

Venturi Scott Brown Metahaven

Our Polite Society Erik Carter

Peter Behrens

Antoine Catala Cory Arcangel

Maureen Mooren

Guest lecturer and curator Mark Owens talks us through his exploratory show. The Richard and Dolly Maass Gallery occupies the front of the Visual Arts building. Upon entering, it’s hard to ignore the works of art animating the space beyond the gallery’s glass facade. This semester the space was filled with what many assumed to be a conglomerate of random pieces, from sweatshirts to inflatable sculpture to decorative chairs. However, every piece was selected to display curator Mark Owens’s very particular idea: The Surface of Design. The show explores how design is found on all surfaces of contemporary life; the clothes we wear, the wallpaper in our homes, posters, books, music videos and plenty more are all results of graphic design. In Owens’s seminar, his students learn about the influence design has on the world we live in while posing the question, how do you design for the world you want to live in?

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EYEBODEGA (US) Prototypes Ceramic and 3D Printed vases, 2015

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The Surface of Design reminds its viewers to appreciate what appears quotidian but is in fact fine art. Mark Owens is a graphic designer and writer based in Philadelphia, working between New York and Los Angeles with a background in literary criticism and an MFA from the Yale program in graphic design. For the past ten years Mark has pursued an expanded studio practice that includes design for cultural clients, critical writing, curating, and teaching. This term he was invited by Jessica Wexler and Steven Lam to serve as an Art + Design Visiting Curator at Purchase, through which he developed the exhibition The Surface of Design and the accompanying seminar. SUBMAG: What is the “surface� of design that is being explored through the curation of the exhibition? OWENS: The exhibition is titled after an essay by the French theorist Jacques Ranciere, which argues for an understanding of art and design through the notion of a shared surface that brings words and images into a new relation of equivalence. His focus is on the founding moments of design in the early twentieth century, and the exhibition is an attempt to showcase contemporary design work that takes up similar questions in our present moment of technological change. The notion of surface in this context includes not

CORY ARCANGEL (US) Going Negative/Lakes Video, 2014

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only wallpaper, patterns, and posters, but also the surface of the page and the screen as a surface. The seminar includes lectures and readings alongside three open-ended projects that invite the students to explore these questions through making. Could you tell us a bit about the ideas and critical thinking that informed the curation and pieces in the show? Alongside Ranciere, the critical backdrop of the course involves an attempt to get beyond the old

MAUREEN MOOREN Holland Festival Posters, 2010

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ANTOINE CATALA (FR) Logo to Self Consciousness pneumatic sculpture, 2014


divisions between modern and postmodern and questions of style and to instead focus on methods and materials, especially with an eye toward the implications of new technologies like 3D printing, screen-based drawing apps, and on-demand services like Print All Over Me. What do you hope your viewers (especially young designers and students) take away from the exhibition?

VENTURI SCOTT BROWN (US) "Queen Anne" Chair, 1979-84

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The exhibition is meant to function as a kind of exploded syllabus, and each of the works hopefully serve as touchstones and inspiration for the students in the course as they pursue their own projects. For the larger art school audience the exhibition and related talks aim to reveal the breadth of contemporary design practice and it’s close connections with related concerns in art making. Contemporary artists like Cory Arcangel and Antoine Catala who work with design materials and protocols are included to make this connection, as are designers like Karel Martens; a legendary designer who also pursues a vibrant independent art practice, and Metahaven, who also show work and films in galleries.

Metahaven (NL) “Home” by Holly Herndon music video, 2014

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KEISHA PRIOLEAU-MARTIN Hoping for Company

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DANIELLE FOTI Elm

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ERICA VITUCCI lllllll

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CATHERINE FELIZ Untitled 2

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DANIELLE FOTI Spectroscopy

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Desire

By Ajani Bazile I want to feel the heat of the celebration, the beat through my feet, and a sheet of sweat glazing over my birdy frame. I want boys who steal dreams from me to swing their heads towards me, while I dance like I have silk in my bones. I want them to press upon my back with their hungry hips and I also don’t want their contact at all, but rather their pathetic eyes hanging over me.

(While all I can make out is a sea of silhouettes.)

I want to trade alcohol through my mouth and then, maybe, debate absurdities among polluted air and I want to walk back in the morning, (wearing marked up white socks, hooking my shoes by my middle and index finger,) to a bed where I attempt to nap and have dreams. Ones where I don’t get anxious about losing my possessions because I don’t have any.

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MARK COLYER Inscape no. 9

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JOSEPHINE GASPERI

There’s A Rat In My Skull

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Bedroom Days By Toni Chianese It’s 1:00 a.m. and 12:13 in the afternoon. You turn on the ceiling light and the room is pitch black The only three people you’ve ever loved look like stories. They don’t read

There’s no one else is in this world, but cuddly boy looks like he wants new friends and the three year old looks out a window telling you he’s waiting for the water to come out.

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aloud, so you do. Tall boy says he was waiting for you to leave.

It’s a sunny day, but the sky Is dark without clouds and the stories change. They all tell you to start praying. Your knees land on a see-through floor with nothing underneath, so it might be Sunday. So you don’t know how To start. -So you start with stay.

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(Un)Weaving By Mikayla Amaral The weavings hang on wires like I did. Yarns in neons and earth tones radiate from the center, reminding me of the scarves that I knitted as Christmas gifts when I was twelve. Now, twenty and institutionalized, that brown ombre scarf means nothing to my mom. Her hopes are caught in the dreamcatcher I crafted from an old pink hula hoop. Some of the works taper in the middle, then curve back out, much like my body did when I only drank peppermint tea. I was woven so tightly but there were open spaces. My parasite had a routine, returning each winter, but a randomness as well, like the hospitalization in September.

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There are patterns and surprises in each work of art. But the creativity was forced. We were handed bongo drums, red with gold painted tribal patterns, and commanded to follow a bearded old guitar player. We were thrown thread and told to stitch (after they stitched Nora’s arm). Everyone got the same wool, beads and frames. Is the “sunrise” really a new day of progress or an extension of yesterday’s agony? You’re caught in a web because you must be “recovering” to leave. Otherwise, you are a black spider, constantly weaving.


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ALEX BRESALIER If I Told You

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YUKO KYUTOKU Nostalgia

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Red Shoes By Mikayla Amaral I often imagine the red shoes in which my grandma was buried.

They were unworn (she wanted them desperately but didn’t have any clothes to match her new slippers) until she died. When she was waked she wore her fancy baby blue dress, but the fiery red flats hid underneath.

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I imagine them as flats; she was too plain for heels. And no sparkles or polka dots or bows. Her shoes were simple.

Their soles were untarnished, as perfect as their first day, yet only worn on her last.

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When I Said I was Pious What I Meant was By Loisa Fenichell pious for you. We stand on rocks & I scrape my knees. Is this what it means to feel closer to a god? It’s that blood, how it oozes out like dead rivers. How could I have forgiven you for all that you did for me when I asked you specifically for nothing?

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CLARA NGUYEN

Lady Bugs Get Hitched 43


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SUBMIT

EDITOR-IN-CHIEF CHRISTOPHER STEWART ART DIRECTOR ERIKA FULTON SENIOR ART EDITOR VICTORIA OTTOMANO SENIOR LITERATURE EDITOR ANSEL SHIPLEY COPY EDITOR EMMA RHOADS LAYOUT EDITOR TAYLOR STEFANIDIS COPY INTERN ELANA MARCUS FACULTY SPONSOR STEVE LAMBERT

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