SVA Visual Arts Journal Fall 2018

j ou rnal VISUAL ARTS

SCHOOL OF VISUAL ARTS MAGA ZINE FALL 2018

FA L L 2018 FROM THE PRESIDENT | 3 SVA CLOSE UP | 4

News and events from around the College WHAT’S IN STORE | 12

Products by SVA artists and entrepreneurs CREATIVE LIFE: Global Warming | 20

Acclimating to another country’s academic or professional culture PORTFOLIO: Lissa Rivera | 24

A photographer challenges conventional gender roles, one portrait at a time SPOTLIGHT: London | 32 Five alumni who are making their way in the UK’s biggest city RECYCLE, REUSE, REPURPOSE | 40

Three sculptors creating nontraditional art out of nontraditional materials Q+A: Ian Jones-Quartey | 48

A talk with the creator of Cartoon Network’s OK, K.O.! Let’s Be Heroes

“When you’re folding clothing, it does foster a really easy conversation.”

HANDS ON | 56

For nearly 30 years, artist Gary Simmons has been making, and erasing, his singular work ALUMNI AFFAIRS | 67

For Your Benefit A Message from the Director Alumni Scholarship Awards | Donors Alumni Notes & Exhibitions In Memoriam FROM THE ARCHIVES | 80

Designer and faculty member Paula Scher on her 1988 logo for the College

48

“I want to make a show that’s constantly changing.”

40

VISUAL ARTS JOURNAL Fall 2018 Volume 26, Number 2

MYSVA

An alumnus re-imagines the SVA logo

EDITORIAL STAFF Joyce Rutter Kaye, senior editor Greg Herbowy, editor Tricia Tisak, copy editor Michelle Mackin, editorial assistant

VISUAL ARTS PRESS, LTD. Anthony P. Rhodes, executive creative director Gail Anderson, creative director Brian E. Smith, senior art director Ryan Durinick, senior designer Carli Malec, designer Sabrina Lee, designer

COVER FRONT Gary Simmons, Fox Plaza Inferno, 2007, pigment, oil paint and cold wax on canvas.

Courtesy of the artist and Metro Pictures, New York. See page 56.

BACK Joseph Fucigna, Yellow_Black_White Drip (detail), 2017, plastic and metal fencing and cable ties. See page 40.

ADVERTISING SALES 212.592.2207

CONTRIBUTORS Steve Birnbaum Emma Drew Alexander Gelfand Dan Halm Kate Hutchinson Betsy Mei-Chun Lin Vanessa Machir Diana McClure Jane Nuzzo Miranda Pierce Charles Snyder Kate Styer Kristin L. Wolfe © 2018, Visual Arts Press, Ltd. Visual Arts Journal is published twice a year by SVA External Relations.

School of Visual Arts 209 East 23rd Street New York, NY 10010-3994 Milton Glaser ACTING CHAIRMAN

David Rhodes PRESIDENT

Anthony P. Rhodes EXECUTIVE VICE PRESIDENT

facebook.com/schoolofvisualarts instagram.com/svanyc schoolofvisualarts.tumblr.com twitter.com/sva_news youtube.com/user/svanewyorkcity TO READ THE VISUAL ARTS JOURNAL ONLINE, VISIT: ISSUU.COM/SVAVISUALARTSJOURNAL

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“I woke up, spent 15 minutes on Instagram, showered and got on the 6 to 23rd Street. I worked on my thesis at Moe’s while eating a bacon, egg and cheese at light speed. The critique went overtime again. I spaced out and went to a place far away, where my designs are always approved. It was a good day at SVA.”

Betsy Mei-Chun Lin BFA 2015 Design betsylin.com V I SUA L A R T S JOUR N A L

FROM THE PR ESIDENT

T

his fall is a particularly momentous one for our community.

In June, SVA welcomed a new provost, with Dr. Christopher Cyphers taking the reins from outgoing provost Jeff Nesin, as well as four new department chairs. Two of the new chairs, BFA Computer Art, Computer Animation and Visual Effects’ Jimmy Calhoun and BFA Photography and Video’s Joseph Maida, have come to their roles with years of experience teaching in their programs. Meanwhile, Dr. Catherine Rosamond and Dr. Carol Rusche Bentel, our new chairs for MAT Art Education and BFA Interior Design, respectively, have brought with them impressive academic and professional credentials. I am excited to see their programs evolve and grow under their stewardship, and look forward to working with them in the years to come.

For Dr. Cyphers, his appointment is a homecoming. From 2002 through 2008, he ably served as SVA’s first provost, helping establish our Academic Affairs Office, introduce numerous new academic programs and steer the College through its accreditation process. I am as pleased to have him on board again as I am to report that Mr. Nesin—a longtime SVA administrator, former faculty member and good friend—will continue his work with the College as a special consultant, and as president of the Visual Arts Foundation, which provides scholarships and awards to SVA students.

You can read more about our new provost and new academic chairs in this issue’s Close Up section, which begins on page 4.

I hope you enjoy this issue of the Visual Arts Journal.

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PHOTO BY NIR ARIELI

pr esi den t school of v isua l a rts

In June, SVA welcomed a new provost, as well as four new department chairs.

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Powers of Persuasion

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ith the midterm elections only days away, SVA is presenting the exhibition “Art as Witness: Political Graphics 2016 – 18,” co-curated by illustrator and SVA faculty member Steve Brodner and SVA Galleries Director Francis DiTommaso. Focused on works that take on subjects that have driven our recent political discourse, “Art as Witness” features a group of more than 40 artists, including many of the most prominent names in the field.

“We are in a state of crisis—a constitutional crisis,” Brodner says. “This show will remind you of the stakes, and how what drives these artists must also drive you, too.”

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News and events from around the College

Given the timespan that the exhibition covers, it goes without saying that the president is represented in much of work on display. However, “it is not just the ‘Trump show,’” DiTommaso says.

The covered topics range from the Black Lives Matter and #MeToo movements to the gun-control debate and the opioid abuse epidemic.

Visitors should expect more than typical op-ed art and editorial cartoons.

Works on view include animations and videos, collages, posters and even sculpture. “While the main focus is on illustration, the variety within that discipline takes us to wild and unexpected places,” Brodner says. “Included here is the old school and new, traditional media and digital, and a wide diversity of backgrounds among the artists. The main criterion is the quality of work. In a time of editorial instability, the work in this discipline may, on the whole, be at an all-time peak.”

The exhibition, which is dedicated to prolific artist, illustrator and author Robert Grossman, who died in March, will also feature works by David Levine, who died in 2009, which were generously provided by his estate. Other participating artists include Najeebah Al-Ghadban, Istvan Banyai, Louisa Bertman (MFA 2015 Visual Narrative), Barry Blitt, 2018 Masters Series honoree Roz Chast and 2017 Masters Series honoree Christoph Niemann.

“Art as Witness: Political Graphics 2016 – 18” is on view through Saturday, November 3, at the SVA Chelsea Gallery, 601 West 26th Street, 15th floor. For more information, visit sva.edu/ exhibitions. [Kristin L. Wolfe]

V I SUA L A R T S JOUR N A L

CLOCKWISE FROM PREVIOUS PAGE Sue Coe, ICE Baby, 2018, linocut; Olivia Zagnoli, Pregnant, for The New York Times, March 9, 2014; Christoph Niemann, Trump, Putin, and the New Cold War, for The New Yorker, March 6, 2017, art directed by Nicholas Blechman, courtesy the artist; John Cuneo, The Swamp, for The New Yorker, May 21, 2018; Anita Kunz, No Guns, 2012, poster for Wolfsonian Museum, art directed by Steven Heller, courtesy the artist.

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Attention All Shoppers

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VA Makers Market—the College’s pop-up venue for alumni who make and sell their own products—is back. Next month, DIY enthusiasts will have the chance to get a head start on the gift-giving season at the market’s first-ever holiday edition. Not only will it be the second Makers Market event of the year, after a summer edition in June, but this time around the College is collaborating with Renegade Craft, one of the largest event organizers of its type. Renegade’s influence is undeniable: It holds regular fairs in 12 cities in the U.S. and UK, attracting hundreds of thousands of attendees each year.

“The holiday season is such an important time for independent makers,” says Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration), the market’s founding director and SVA External Relations project manager. “And by partnering with an organization like Renegade Craft, we’re offering participating entrepreneurs greater visibility than ever before.”

✶ HEARD

AT SVA ✶

“I was constantly on this search for ‘the perfect mentor’ that was going to model a path for me. The truth is that there are a lot of great people that we can learn from, but no one’s going to be able to map everything out.”

– NADIA D ELANE (MFA 2015 Visual Narrative), designer, visual storyteller and consultant. From “Let’s Talk: Women in the Creative Industries,” hosted by SVA Alumni Affairs.

More than 50 alumni will show their wares in the holiday market, many of them returning from past Makers Markets. The participating businesses include Cuculi Designs, the card and stationery company of Jessica Moral (BFA 1999 Cartooning); Lock & Spoon, which offers metal jewelry and home goods by Emily Langmade (MFA 2013 Fine Arts); and the accessories line Soluna Soluna, co-founded by Lillian Lee (MFA 2011 Design).

The SVA Makers Market Holiday Fair will take place Saturday, November 17, 11:00am – 5:00pm, at the Metropolitan Pavilion, 125 West 18th Street, 2nd floor. For more information, visit sva.edu/makers-market. [KLW]

TOP LEFT Handmade “twig” spoons from Emily Langmade's Lock & Spoon.

ABOVE, TOP RIGHT SVA alumni entrepreneurs interact with customers at past SVA

Makers Market events, photos by Jacqueline Iannacone.

RIGHT Cards by Cuculi Designs, Jessica Moral’s card and stationery company.

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V I SUA L A R T S JOUR N A L

✶ HEARD

AT SVA ✶

“By dint of evolution, your mom is predisposed for trying to understand what you do, for being your champion.

So if you can’t explain [your job] to your mom, something is really wrong with the equation.”

—KHOI VINH , principal designer at Adobe. From “Designer as Critic,” the third annual Phil Patton Lecture, hosted by MA Design Research, Writing and Criticism.

Available Funds

✬

Residencies are a rare opportunity for working artists to have uninterrupted time to focus on their practice, but the associated financial costs can be significant. With that in mind, SVA Career Development now funds two prestigious residency programs—the Anderson Ranch Artist-in-Residence Program in Snowmass Village, Colorado, and the Skowhegan Summer Residency Program in Skowhegan, Maine—for up to two SVA alumni and students per program each year.

Anderson Ranch, established in 1973, offers 10-week residencies in the fall and late winter in ceramics, drawing, furniture design, new media, painting, photography, printmaking, sculpture and woodworking. SVA will now cover the full $1,500 tuition and provide a $500 travel stipend for alumni or students who are accepted into the program; the deadline for applications is February 15.

The Skowhegan School of Painting and Sculpture, established in 1946, offers nine-week residencies, lasting from June to August, for artists working in any media. For alumni or students who are accepted, SVA will now cover half of the $6,000 tuition, with Skowhegan covering the remaining half, leaving attendees responsible only for travel and living expenses; the deadline for applications is in early January.

Over the years, a number of SVA artists have attended both programs; a 2016 exhibition at the SVA Chelsea Gallery, “SVA x Skowhegan,” was devoted to alumni and faculty who completed residencies at Skowhegan. Career Development Assistant Director Anna Ogier-Bloomer (MPS 2017 Digital Photography), who developed the awards, says that the College hopes to use this assistance to build on this history, opening up the opportunity to even more of its community members.

This month, Sophia Rauch (BFA 2008 Fine Arts), the first award recipient, begins her stay at the Anderson Ranch, where she plans to create “kinetic installations” that would be impossible to make in her current studio. “Knowing that this support was available encouraged me to really pursue this,” she says.

For more information on SVA’s residency awards and other Career Development resources, visit sva.edu/students/career-development. [Greg Herbowy] FA L L 20 18

ABOVE, TOP LEFT Sculpture studios at the Anderson Ranch in Snowmass Village,

Colorado. Photos courtesy Anderson Ranch.

TOP RIGHT Artists-in-residence relax outside one of the studios at the

Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Photo courtesy Skowhegan School of Painting and Sculpture.

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CLOSE UP

Taking the Lead

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VA’s 2018 – 2019 academic year began with a number of new chairs heading up degree programs at the College. MAT Art Education; BFA Computer Art, Computer Animation and Visual Effects; BFA Interior Design; and BFA Photography and Video all have changed leadership.

MAT Art Education’s new chair, Dr. Catherine Rosamond, succeeds founding chair Rosemarie Viggiano, who has retired after 25 years of service. Rosamond came to SVA from Queens College, City University of New York, where she worked for 10 years, most recently as the art education program advisor.

She has taught at Teachers College, Columbia University, and The University of the Arts, Philadelphia, and has extensive experience as a student-teacher supervisor in area elementary, middle and high schools. She is also a museum educator at the Museum of Arts and Design and has presented workshops and lectured at a variety of academic symposia and conferences.

As a fine artist with her own practice, she has exhibited work in group shows at several New York City galleries, as well as Art Basel Miami. She holds BA and BS degrees from Boston University, a BFA from Parsons School of Design and an MA and EdD from Teachers College, Columbia University.

After a successful year as acting chair of BFA Computer Art, Computer Animation and Visual Effects, Jimmy Calhoun (BFA 2003 Animation) was permanently appointed to the position this past spring. Calhoun has been a staff and faculty member of the department for 15 years, teaching a wide range of courses and managing its administrative operations.

He is active in several industry organizations, including the Society of Animation Studies, Siggraph, Visual Effects Society and Women in Animation. A writer, filmmaker and illustrator, his work has appeared in Bomb magazine and 109 Forgotten American Heroes (DK Children, 2009), and at various festivals and group exhibitions. In addition to his SVA degree, he holds an MA from New School University.

Dr. Carol Rusche Bentel, a distinguished designer and educator, has joined SVA as the BFA Interior Design chair, following the retirement of longtime chair Jane Smith.

Bentel is a partner of Bentel & Bentel Architects/Planners, known for its award-winning designs for hospitality, religious buildings, private residences, libraries and educational institutions. She has also served on the faculties of the Georgia Institute of Technology, Harvard University, Massachusetts Institute of Technology, New York City College of Technology and New York Institute of Technology. She holds a BA from Washington University, an MArch from North Carolina State University and a PhD from the Massachusetts Institute of Technology, and maintains numerous industry certifications and memberships.

In August, Joseph Maida, a 17-year veteran of SVA’s BFA Photography and Video faculty, was appointed chair of the 8

✶ HEARD

AT SVA ✶

“[Diane Arbus] took a long time to become herself and I think that’s one of the things you have to remember as artists as well. The self is not a solvable problem, where you establish a name in two years of study or 20 years of study. … It’s an ongoing process.”

—HILTON ALS, staff writer and theater critic, The New Yorker.

From a talk hosted by MFA Art Practice.

department, succeeding Stephen Frailey. Like Calhoun, Maida has taught a variety of courses within the program throughout his tenure. As a multimedia artist and photographer, his work has been exhibited in many solo and group shows in the U.S. and abroad, and published in such magazines as Details, Newsweek, New York and W, and in the monographs New Natives (L’Artiere, 2015) and Born Free and Equal (Convoke, 2018). He holds a BA from Columbia University and an MFA from Yale University. [GH]

CLOCKWISE FROM TOP LEFT Dr. Carol Rusche Bentel, Dr. Catherine Rosamond,

Joseph Maida and Jimmy Calhoun. Bentel, Rosamond and Calhoun portraits

by Nir Arieli; Maida portrait by Jordan Cruz.

V I SUA L A R T S JOUR N A L

NIR ARIELI

Gone and Back Again

L

Scharf Does Schulz

❊

Murals celebrating Charles Schulz’s classic comic, Peanuts, appeared in cities all over the world this year. The works were commissioned by Peanuts Worldwide and created by a group of eight artists, including alumnus Kenny Scharf (BFA 1981 Fine Arts).

Scharf’s murals were on view in New York City (top); San Francisco (above); Berlin, Germany; Mexico City, Mexico (right); and Tokyo, Japan.

Photos by Nick Stokes/Peanuts Worldwide.

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ongtime SVA administrators Jeffrey Nesin and Christopher Cyphers have been on, off and around campus in various roles over the years. This year, their caps changed yet again: After eight years as provost—the College’s chief academic officer—Nesin handed off the position to Cyphers.

Cyphers, who has 30 years’ experience in teaching and education administration, has been SVA provost before. In fact, he was the first person to hold the title. He joined SVA in 1999 as director of Institutional Research and Assessment, and served as provost from 2002 through 2008, overseeing the creation of seven degree programs and the undergraduate honors program, among other accomplishments. Last year, after four years as president of New York School of Interior Design and five years as provost and executive vice president of LIM College, he rejoined SVA as vice president for Institutional Effectiveness, Assessment and Strategic Planning.

The College has changed considerably since 2008. More than 10 graduate programs have been introduced, a new generation of academic leadership has begun its tenure (see “Taking the Lead,” opposite) and SVA will soon release its latest strategic plan, outlining an ambitious path for the coming years.

“These changes excite me,” Cyphers says. “I see opportunities, and interesting people all around me with whom to partner and seize those opportunities.”

Nesin, meanwhile, won’t be a stranger.

Last year, he was elected president of the National Association of Schools of Art and Design, one of SVA’s accreditors. He is also president of the Visual Arts Foundation, which provides scholarships to SVA students. And as a special consultant to President David Rhodes, he will continue to advise on strategic and future issues for the College, drawing on his five decades of higher education experience. [KLW]

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CLOSE UP

DECL AN VAN WELIE

It’s an Honor On Thursday, October 18, the Cooper Hewitt, Smithsonian National Design Museum, honored Gail Anderson (BFA 1984 Media Arts), a BFA Design faculty member and creative director of SVA’s design studio, Visual Arts Press, with its National Design Award for Lifetime Achievement. Presented each year by the institution, the National Design Awards are among the most prestigious honors in the industry, with the Lifetime Achievement distinction reserved for mid- and late-career professionals who have made a significant impact on contemporary design culture. Previous recipients include SVA Acting Chairman of the Board Milton Glaser and former faculty member Ivan Chermayeff, who died in late 2017.

For more than 30 years, Anderson has built one of the most distinctive and enviable portfolios in print design and typography through her work on art direction teams at Rolling Stone, The Boston Globe Magazine and Vintage Books, and as creative director of design at SpotCo, an advertising agency that creates artwork for Broadway shows and other theatrical productions.

She founded the multidisciplinary Anderson Newton Design with fellow faculty member Joe Newton, and is the author or co-author of 15 books—most recently The Illustration Idea Book (Laurence King), written with MFA Design Co-Chair Steven Heller and due for a November release. For five years she has been a member of the Citizens’ Stamp Advisory Committee, which reviews and proposes new designs for U.S. Postal Service stamps; in 2013, she created a “Forever” stamp celebrating the 150th

anniversary of the Emancipation Proclamation. In her current role with the Visual Arts Press, she oversees the design of SVA’s website, publications, subway posters and other collateral while maintaining a cohesive visual identity for the College.

As only the fourth woman and the sole African American to be honored with a Lifetime Achievement Award to date, Anderson plans to take full advantage of the occasion. “What’s wonderful about this award is the chance for ongoing participation in educational events across the country, starting with the Cooper Hewitt’s Design Week programming in October,” she says. “There aren’t enough people of color in the design world, and I’m lucky to get the opportunity to help get kids and parents excited about careers they might not otherwise be aware of. This year is going to be about reaching out to people in a new way, in all kinds of communities. I’m both humbled and excited.”

To watch a video feature on Anderson, visit sva.edu/videos.

[Emma Drew and GH] ABOVE “In Reaffirming the Greatness of Our Nation...” SVA subway poster,

2008, Gail Anderson (designer), Terry Allen (illustrator), Anthony P. Rhodes (creative director). One in a series of fi ve.

LEFT USPS “Forever” stamp for the 150th anniversary of the Emancipation Proclamation, 2013, Gail Anderson (designer), Antonio Alcalá (art director).

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To submit an item to Close Up, send information to

NEWS@SVA.EDU

V I SUA L A R T S JOUR N A L

JACQUELINE IANNACONE

CLOCKWISE FROM TOP LEFT Man of La Mancha poster, 2002, Gail Anderson

(designer), Ward Schumaker and James Victore (illustrators); David Copperfield audiobook cover for Audible.com, 2016, Gail Anderson and Joe Newton (designers); SVA’s 2018 – 2019 shuttle bus exterior, designed by Visual Arts Press interns and art directed by Gail Anderson and Brian E. Smith; layout for Rolling Stone, 2000, Gail Anderson (designer), Alex Ostroy (illustrator), Fred Woodward (art director); cover for Rolling Stone, 1992, Fred Woodward and Gail Anderson (designers), Herb Ritts (photographer), Fred Woodward (art director).

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WHAT’S IN STORE

The latest from SVA entrepreneurs: books, movies, products and more

Aesthete Tea

BRIANA THORNTON aesthetetea.com Loose-leaf tea, tea ware and lifestyle items, $2.50 – $100

F

or Briana Thornton (BFA 2013 Photography), starting a tea company was a long time coming. Thornton’s appreciation for tea began brewing at a young age, having grown up in an Irish household with grandparents who imported unique blends and a mother whom she describes as a hippie obsessed with “all things natural healing.”

Aesthete Tea—whose name was inspired by SVA photography instructor Seth Greenwald (“his vocabulary was incredible,” Thornton says)—was founded in 2017. It’s a culmination of Thornton’s love of art; her knowledge of branding after having worked at creative agencies in her current locale of Lake Oswego, Oregon; her desire for a slower, healthier lifestyle; and, of course, her passion for tea.

Working with her mother, Aesthete’s master blender, Thornton also focuses on making the teas palatable. “Not everyone likes shots of wheatgrass or choking down skullcap or linden flower,” she says. “We wanted to create blends where the benefits of these herbs are still present, but with a more pleasant taste.”

Thornton sources her herbs from small family farms, with which she has bartered her branding services. “I help them with their farm and company websites, logos and so on, and

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in exchange they give us herbs,” she says. “It’s a beautiful thing—so much more beneficial and rewarding for both parties than money.”

After about a year of selling loose-leaf tea wholesale to stores, markets and international department stores, Thornton was able to do what she originally intended: open a tearoom in Portland. She drew on her time at SVA to design the store; studying photography trained her “to see space differently than just a room with four walls,” she says. “We allowed for openness, so that the tea and the individuals drinking the tea could breathe.” To further engage visitors, Thornton also hosts on-site classes about mindfulness and tea-drinking rituals.

As Aesthete continues to grow, Thornton strives to maintain close relationships with the small producers who provide the herbs for her blends. She plans to visit the farms over the next year to connect with the owners in person. “Tea is about life and diversity,” she says. [Michelle Mackin] V I SUA L A R T S JOUR N A L

To submit a product for What’s in Store, send information to

NEWS@SVA.EDU

Madame Morbid’s Trolley Tours

ALLISON HUNTINGTON CHASE madamemorbid.com Haunted Brooklyn tours, $49

A

llison Huntington Chase (BFA 2010 Film and Video) is an apple that did not fall far from the tree.

Her father owned what was once one of the largest haunted houses in the world, so she continued her family legacy by opening Madame Morbid’s Trolley Tours in Brooklyn. During the 90-minute tour, Madame Morbid’s guests learn about 400 years of haunted Brooklyn history from knowledgeable tour guides, including Chase herself, from the comfort of what she calls a “pimped-out, mobile Victorian funeral parlor.”

Madame Morbid aptly opened a few weeks before last year’s Halloween. “We

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thought we’d be cute and open on a Friday the 13th,” Chase says. “I’m not really superstitious, but let’s just say anything that could have possibly gone wrong went wrong that day.”

Regardless of the rocky start, the first year of her business was a dream come true. With the influence of her father, who she says was constantly making tweaks and improvements to his own ghost tour, she now finds herself up during the witching hours brainstorming changes and additions to her tour’s offerings. “Madame Morbid is the first thing in my life I have ever given 100% of myself to,” she says.

The Madame Morbid team has also

generated partnerships with local Brooklyn establishments. Guests are encouraged to stop by Two Boots Pizza, next door to the tour’s pick-up location, where they serve a Madame Morbid pizza, prepared on garlic bread (to ward off vampires) and topped with a pesto pentagram.

And though the website emphasizes that during the tours there is “no alcohol, but plenty of spirits,” Friday’s attendees can head to Brooklyn Brewery and skip the line for a free beer. As for philanthropic duties, the Madame Morbid team is also covered—10% of ticket sales go toward feeding New York City’s homeless. [MM]

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WHAT’S IN STORE SHORTS

Canal Street Counterfeit

ERIC PÉREZ and NIKOLAI SHORR canalstreetcounterfeit.com Apparel, hats and pins, $5 – $30; calendars, $30 OUTSIDE IN Directed and co-written

by Lynn Shelton (MFA 1995 Photography and Related Media) Duplass Brothers Production Feature film, VOD, $6.99/$11.99 (rent/buy); DVD, $19.99

ELASTIC Pik-Shuen Fung (MFA 2015 Fine Arts), founder and editor, and Heesun Shin (MFA 2015 Fine Arts), designer elastic-mag.com Annual art and literary magazine, $12 – $20

M

anhattan’s Canal Street, known among the fashion-savvy for its knockoff handbags, might not seem like an obvious source of inspiration for an up-and-coming creative team looking to distinguish itself. But for Eric Pérez (BFA 2009 Graphic Design) and Nikolai Shorr (BFA 2011 Advertising), the landmark thoroughfare is the soul of their multidisciplinary design business. Growing up, Shorr walked Canal Street every day, appreciating the cross-section of humanity it presented— sidewalk vendors, cops, Chinatown restaurants, tourists, even massage parlor girls.

Pérez and Shorr began collaborating on design and branding projects in 2013 and expanded their efforts to apparel in 2015. Their work often offers irreverent plays on New York City culture. “Humor is a big part of it,” says Shorr. “We attack design with that in mind.” Products include “Zaghetto Rated” apparel, a reference to the famous Zagat fine-dining guides, and a Miss TurnStyles calendar, a forward-thinking riff on the Miss Subways beauty

contest posters that adorned city trains from the ’40s to the ’70s. Their version features women from New York City captured as they are—no stylists and no Photoshop.

Canal Street Counterfeit’s roster of projects is ever-expanding; one of the latest is a theme song and music video for the brand. It’s a mash-up of influences: “John Carpenter cinema meets drone metal with a dash of industrial,” Pérez says. “It’s serious, there’s a lot of sarcasm. … It’s very ‘city.’”

[Vanessa Machir]

DEMOCRACY IS A DAILY EXERCISE Joanna Neborsky (MFA 2009 Illustration as Visual Essay) project2021.com 11 x 14" poster, $30 (proceeds benefi t the ACLU)

OCEAN HOPE, ROLLING DAYS Angeliki Tsotsoni (MFA 2009 Photography, Video and Related Media) and Serafim Tsotsonis; cover photograph

by Charles H. Traub (chair, MFA Photography, Video and Related Media) Hush Hush Records LP/CD/digital, $20/$10/$8

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V I SUA L A R T S JOUR N A L

Red Babes Club

ANNETTE LEE and BRIGITTA MARTIANA redbabesclub.bigcartel.com T-shirts, $23 – $40

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ed Babes Club, co-founded by Annette Lee and Brigitta Martiana (both BFA 2018 Advertising), grew out of a simple class assignment: Make a T-shirt that gets attention. “We’re surrounded by girls, and we always have conversations about periods and complain about cramps and eating a lot,” Martiana says. Hence, their tees state, “I’m on my period” and “Same.”

Lee and Martiana now sell the T-shirts, but their goal is bigger than just getting attention. “Talking about periods with our friends is normal, but not in public,” Martiana says. “The tees are funny and relatable, but they’re still putting it out in public—it feels empowering.” And they have international impact: All profits go to Preemptive Love, which supports war-torn families in the Middle East. According to the organization, just $23 provides several months’ worth of sanitary pads for a family with daughters.

In the future, the two want to continue to collaborate, help change the conversation around menstruation and promote female empowerment. “It’s about girls supporting girls,” Martiana says. “Girls being proud of who they are.” [VM]

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WHAT’S IN STORE

Cooking with Cal

Cooking by Ear Cal Peternell cookingbyearpodcast.com Audio cooking show, available on iTunes and Spreaker, free Almonds, Anchovies, and Pancetta: A Vegetarian Cookbook, Kind of Cal Peternell HarperCollins Hardcover, 192 pages, $25.99

W

hen the Visual Arts Journal last checked in with Cal Peternell (BFA 1987 Fine Arts), he was nearing his 22nd year as chef of Chez Panisse—Alice Waters’ famed restaurant in Berkeley, California— and readying for the publication of his first cookbook, Twelve Recipes. Four years later, much has changed. Twelve Recipes, released in fall 2014, won an International Association of Culinary Professionals (award and made The New York Times’ bestseller list; a follow-up, A Recipe for Cooking, came out in 2016.

And in 2017 Peternell announced his amicable departure from Chez Panisse, to pursue other projects in the culinary and media worlds.

To date, two of those projects have been rolled out: A third cookbook, Almonds, Anchovies, and Pancetta, was published last month; its recipes emphasize vegetables, beans and grains, encouraging sparing use of meat, fish and nuts. Like all of his books, it is illustrated with art by the author, his

wife and their three sons. And in March, Peternell unveiled his podcast, Cooking

by Ear, featuring more or less real-time recipe preparations and off-the-cuff conversations with notables from a range of creative fields. Over the course of the show’s first season, Peternell made an asparagus and mushroom risotto with Academy Award–winning actress Frances McDormand, a pasta and chard frittata with Whiting Award–winning poet Tommy Pico and potatoes with andouille sausage with musician Big Freedia, a.k.a. the Queen of Bounce.

[Greg Herbowy]

SHORTS

THE SMALL OBJECT Sarah Neuburger (MFA 2001 Fine Arts) shop.thesmallobject.com Custom rubber stamps and wedding toppers, house portraits, art prints, books and fonts, $10 – $150

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DOGEYEGUY

BLOW OF MERCY

STUDIO OF KATHERINE MOFFETT

Kenny Scharf (BFA 1981 Fine Arts) shop.whitney.org Cast resin fi gurine, edition of 2,500, $250

Sean Connors and Lindsay Soto (both BFA 2015 Design) blowofmercy.online Cowls, hats and T-shirts, $30 – $60

Katherine Moffett (BFA 2007 Graphic Design) studioofkatherinemoffett.com Reusable wallpapers, $398 per six yards

V I SUA L A R T S JOUR N A L

Aïda Ruilova / Sans Youth Collaboration

AIDA RUILOVA sansyouth.com T-shirts and swearshirts, $40 – $60

L

ast year, Aïda Ruilova (MFA 1999 Photography and Related Media) had a solo exhibition at Fortnight Institute in New York City. Titled “Smoke Gets in Your Eyes,” the show featured functional glass pipes that she had shaped into various words—including “creep,” “love,” “war” and other, more explicit terms—and hung delicately on white walls. Though the exhibition is long over, the message of Ruilova’s sculptures endures through her collaboration with Sans Youth, a socially minded collective that works with artists to develop apparel and other merchandise and donates the proceeds to an organization of the artist’s choosing. In this case, Sans Youth is selling pink and white T-shirts and crewneck sweatshirts adorned with an image of Ruilova’s “war” pipe. Proceeds will go to the Joyful Heart Foundation, whose mission is to transform society’s response to sexual assault, domestic violence and child abuse. The shirts can be purchased at sansyouth.com. [MM]

Commatube

XINZHOU YE commatube.com Video-streaming website, free

✮

No one can deny the allure of YouTube—according to the site, people now watch 1 billion hours of video every day. But falling down a YouTube rabbit hole is generally a solitary activity. Enter Commatube, created by Xinzhou Ye (BFA 2017 Design), which lets people make time-stamped comments on videos that display for all concurrent and subsequent viewers, working something like a big, open group chat. “It’s a similar feeling to watching sports commentators or discussing movies with your friends,” Ye says. “It adds more richness to the video.”

Ye launched Commatube in 2017 and works with a team of four, including classmate Ara Ko (BFA 2017 Design). The inspiration behind Commatube is danmu (which translates to “bullet curtain”), a social viewing feature popular in China and Japan that allows real-time comments to fly across video screens. “I want to bring the same experience to the U.S.,” Ye says. [VM] FA L L 20 18

17

WHAT’S IN STORE

The Expanding Steven Universe

Steven Universe: Harmony Boom! Studios Limited comic book series, 24 pages per issue, $3.99 Steven Universe Adult Coloring Book Volume 1 Dark Horse Comics Coloring book, 96 pages, $14.99 Steven Universe: Tap Together Spyr Games Video game app, free download on iTunes/Google Play Steven Universe Complete Vol. 1 Soundtrack iam8bit.com Four-album vinyl set, $49.99

F

or fans of Steven Universe, the hit Cartoon Network series created by Rebecca Sugar (BFA 2009 Animation), the gaps between “StevenBombs”—bundles of new episodes released sporadically throughout the year—can feel torturously long.

Fortunately, thanks to licensing agreements, the show’s devotees have plenty of new content to sate their appetites in the downtime.

In August, comics publisher Boom!

Studios released Steven Universe: Harmony, a five-issue limited run that focuses on the show’s Sadie Miller character and her band, Sadie Killer and the Suspects. This title continues the show’s partnership with Boom!, which maintains an ongoing Steven Universe series, now in its second volume, and previously published the Steven Universe and the Crystal Gems miniseries and two graphic novels inspired by the show.

Fans of Steven Universe’s visual style can now put their own spin on scenes from the series with Dark Horse Comics’ Steven Universe Adult Coloring Book

18

Volume 1, featuring 45 pages of original black-and-white illustrations, while Spyr Games’ Steven Universe: Tap Together offers a more immersive experience, challenging players in a role-playing game featuring characters from the show.

Finally, audiophiles can now enjoy all of the original songs from the series thus far on iam8bit’s Steven Universe Complete Vol. 1 Soundtrack, a collection of four translucent 10-inch records housed in a luxe gatefold jacket that was created in collaboration with Sugar and animation and design studio Chromosphere.

[Charles Snyder]

V I SUA L A R T S JOUR N A L

Shelf Liners Books by SVA alumni and faculty

The Story of Gloria Steinem—Feminist, Activist, Leader

by AURA LEWIS

CARTOONS/COMICS

The Bridge: How the Roeblings Connected Brooklyn to New York

Peter J. Tomasi and Sara DuVall (BFA 2015 Cartooning) Abrams Books Hardcover/e-book, 208 pages, $24.99/$9.99

Come Again

Nate Powell (BFA 2000 Cartooning) Top Shelf Productions Hardcover/e-book, 272 pages, $24.99/$21.99

D C-T!

Joana Avillez (MFA 2012 Illustration as Visual Essay) and Molly Young The Penguin Press Hardcover/e-book, 112 pages, $20.00/$10.99

The Highest House

Written by Mike Carey, illustrated by Peter Gross, covers by Yuko Shimizu (faculty, BFA Illustration; MFA 2003 Illustration as Visual Essay) IDW Publishing Limited comic book series, softcover/e-book, $4.99/$1.99

The Weatherman

Written by Jody Leheup, illustrated by Nathan Fox (chair, MFA Visual Narrative; MFA 2002 Illustration as Visual Essay) Image Comics Ongoing comic book series, softcover/e-book, $3.99 (both formats)

FA L L 20 18

CHILDREN’S/YOUNG ADULT

Feminist Baby Finds Her Voice!

Loryn Brantz (BFA 2007 Animation) Disney-Hyperion Board book, $9.99

Gloria’s Voice: The Story of Gloria Steinem—Feminist, Activist, Leader

Aura Lewis (MFA 2017 Illustration as Visual Essay) Sterling Publishing Hardcover/e-book, 40 pages, $16.95/$9.99

Jack B. Ninja

Tim McCanna and Stephen Savage (MFA 1996 Illustration as Visual Essay) Orchard Books Hardcover/e-book, 32 pages, $16.99/$10.99

New Shoes

Sara Varon (MFA 2002 Illustration as Visual Essay) First Second Hardcover/e-book, 208 pages, $17.99/9.99

DESIGN

Freehand: New Typography Sketchbooks

Steven Heller and Lita Talarico (co-chairs, MFA Design) Thames & Hudson Hardcover/softcover, 352 pages, $55.00/$37.50

Head to Toe: The Nude in Graphic Design

Mirko Ilić (faculty, MFA Illustration as Visual Essay) and Steven Heller (co-chair, MFA Design) Rizzoli New York Softcover, 312 pages, $50

Milton Glaser Posters: 427 Examples from 1965 to 2017

Milton Glaser (acting chairman, SVA Board) Abrams Books Softcover, 704 pages, $29.99

FICTION

Men and Apparitions

Lynn Tillman (faculty, MFA Art Writing) Soft Skull Softcover, 416 pages, $16.95

FINE ART

Alexis Rockman: The Great Lakes Cycle

Dana Friis-Hansen and Alexis Rockman (BFA 1985 Fine Arts) Michigan State University Press Hardcover, 128 pages, $34.95

Inka Essenhigh

Inka Essenhigh (MFA 1994 Fine Arts) Virginia Museum of Contemporary Art Hardcover, 216 pages, $45

ILLUSTRATED NONFICTION

Belonging: A German Reckons with History and Home

Nora Krug (MFA 2004 Illustration as Visual Essay) Scribner Hardcover/e-book, 288 pages, $30/$14.99

The Book of Extraordinary Deaths: True Accounts of Ill-Fated Lives

Cecilia Ruiz (MFA 2012 Illustration as Visual Essay) Blue Rider Press Hardcover/e-book, 80 pages, $17.99/$9.99

Escaping Wars and Waves: Encounters with Syrian Refugees

Olivier Kugler (MFA 2002 Illustration as Visual Essay) Myriad Hardcover, 80 pages, $24.95

PHOTOGRAPHY

Another Way of Looking at Love

Janelle Lynch (MFA 1999 Photography and Related Media) Radius Books Hardcover, 60 pages, $60.00

Hip Hop Honeys

Brian Finke (BFA 1998 Photography) PowerHouse Books Hardcover, 104 pages, $35

TRAVEL

Wundor City Guide: Los Angeles

Photography by Ilona Szwarc (BFA 2013 Photography) Wundor Editions Softcover, 240 pages, $26

19

AKIHIRO OK AYAMA

CREATIVE LIFE

Navigating the great wide world of work

Global Warming Acclimating to another country’s academic or professional culture

by alexander gelfand

Settling into a new job or degree program can be tough.

It can be even harder for those working or studying abroad in places where academic and workplace norms are decidedly different from the ones back home.

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V I SUA L A R T S JOUR N A L

AKIHIRO OK AYAMA

YOKO ANDERSON

Most colleges and universities offer programs to assist their international students. SVA's International Student Office hosts a number of events throughout the year to ease homesickness and encourage students to learn about their classmates' cultures and traditions.

When Catherine Young (MFA 2012 Interaction Design) first arrived in New York City from Manila, Philippines, to study science, she was shocked to see students addressing faculty by their first names and unprepared for the degree of freedom thrust upon her. “I had no one to answer to but myself,” she says, “and so many possibilities opened up to FA L L 20 18

me that I began to question myself.” She soon decamped to Barcelona, Spain, to study the intersection of art and science, then later returned to New York, to attend SVA on a Fulbright scholarship.

Similarly, when Raul Valverde (MFA 2011 Photography, Video and Related Media) left his hometown of Madrid, Spain, to study and work abroad—first

in London, for his master’s degree, then to SVA on a Fulbright—he had to adapt to a more structured academic environment, one that emphasized classroom attendance and project deadlines, while simultaneously adapting to a foreign culture’s professional etiquette. The fact that he now teaches in the College’s BFA Fine Arts program indicates that he succeeded, but the process is ongoing.

“The idea of having a business card still causes a bit of conflict for me,” he says.

Back home in Spain, most artists eschew business cards because of their association with corporate culture.

Globalization and technology have done much to make the world a smaller place. But Di Hu, an intercultural trainer and coach who came to the U.S. from her native China 14 years ago, contends that the most visible aspects of a culture, like its music and food, represent only the tip of the iceberg. The rest consists of unspoken assumptions, values and beliefs that can be much harder to grasp.

21

Artist Catherine Young's science-based practice has taken her to conferences, residencies and fellowships all over the world, including USAID's 2016 Climate-Resilient International Development Exchange in Bangkok. Young portrait by Rache Go. Photos courtesy the artist.

Hu notes that many East Asians, for example, value being polite, formal and respectful to their educators and employers—an attitude that can appear submissive in many American classrooms and creative workplaces, where students and employees are often encouraged to ask lots of challenging questions. This observation is shared

by Kaori Uchisaka, director of SVA’s International Student Office (ISO). Even when factoring in the hurdle of conversing in a non-native tongue, Uchisaka says, international students can “find it 22

very difficult to function and be successful in a classroom where speaking up is an integral part of the experience.”

When it comes to career development, Americans tend to prioritize flexibility and individual choice. “The system is less rigid, and there’s more opportunity for exploration,” Hu says. In practice, that means focusing less on preparing for a specific career track and more on acquiring a set of broadly applicable skills.

These differences can lead to misunderstandings, confusion and frustration.

But there are ways of easing the process

of cultural adjustment.

At SVA, where 44 percent of undergraduates and 54 percent of graduate students hail from 63 countries, that process begins even before orientation, with an online video course in which administrators and faculty emphasize the importance of classroom participation. The ISO also offers workshops that assist international students with everything from interpreting a syllabus to opening a bank account and securing a work visa. And it provides online training in intercultural competency to help faculty and staff better understand and support international students.

Many colleges and universities, both in the U.S. and abroad, provide similar resources, and those planning to further their education in another country would do well to research potential host institutions’ offerings.

Much of the onus, however, falls on the individual. Attitude is important.

Young, who is currently completing a residency in Vienna, Austria, and has previously worked in South Korea and Brazil, advises artists looking to work V I SUA L A R T S JOUR N A L

outside of their home country to be flexible and goal-directed. Dropping into a foreign environment can be overwhelming, but it’s easier to assimilate if you concentrate on your work and aren’t too picky about your accommodations or surroundings. She also emphasizes the importance of taking care of oneself both physically and mentally: Watch your diet, find time to exercise and fight loneliness or homesickness by staying in touch with family and friends.

Hu, meanwhile, recommends researching beforehand the major cultural differences you can expect to encounter in your destination country, and accepting the fact that you’ll likely experience ups and downs while negotiating your FA L L 20 18

new environment. Developing cultural competence, she says, is a process “that can last weeks, months or even years.”

In the end, though, it’s worth the effort.

Valverde says that his international experiences have been essential to his growth and development as an artist, allowing him to view the world through different eyes and question everything from the artistic canon to his own personal ideologies.

And Young treasures the opportunity her foreign residencies have given her to forge connections with local artists and community members. “The best thing about being an artist is being able to mingle with all kinds of people,” she says. “It’s good for your work and good

TOP Catherine Young in Thailand (left) for Plan International, 2017 (photo courtesy Plan International); and Brazil for LABVERDE, 2017 (photo by Gui Gomez, courtesy LABVERDE) BOTTOM Young conducting research this year in the Philippines. Photo courtesy the artist.

for your mental health.”

At the same time, workplaces and schools benefit from the varied perspectives that international students and staff carry with them.

“It makes us who we are,” Uchisaka says. “It adds so much cultural diversity and enriches everybody’s experience.” ✱ ALEXANDER GELFAND has written for The

Economist, The New York Times and Wired, among other publications.

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PORTFOLIO

Lissa Rivera

L

by dan halm

issa Rivera (MFA 2009 P h o t o g ra p h y, Vi d e o and Related Media) is challenging the status quo of societal gender roles, one frame at a time. Her ongoing “Beautiful Boy” series, which debuted last year at Rivera’s solo exhibition at ClampArt gallery in Manhattan, began with an intimate confession between two friends. In BJ Lillis, the subject and muse of the project, Rivera found someone with whom she connected on multiple levels.

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V I SUA L A R T S JOUR N A L

Lissa Rivera, Poolside, Family Home, 2015, archival pigment print.

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Lissa Rivera, Fur, 2016, archival pigment print.

When Lillis felt comfortable enough with Rivera to reveal that he was genderqueer—that is, a person who does not subscribe to conventional gender distinctions—he confessed that he’d like to wear dresses more often, but only felt safe doing so at home and during his time studying at Wesleyan University.

“Being a photographer, I was like, ‘I think about how gender often feels really restricting, so I can’t imagine how you feel,’” Rivera says. “‘But just taking selfies with your iPhone in your bedroom and not being able to express yourself isn’t that great. How about I take your picture?’”

From their first portrait session, the two felt an instant connection. They were developing a new space where they could create their own reality; eventually, they became romantically involved. “We weren’t sure if it was just a fantasy that we had to live outside of or if having this space between us became real,” Rivera says. As the newly formed couple’s relationship was developing, so was the body of work. It became an addiction for both of them—one in which Lillis could express his authentic self and see the beauty in that, while Rivera could capture and celebrate it without any self-consciousness on the part of either artist or subject. “I think as an artist, it 26

gave me freedom because I didn’t have to perform” for Lillis she says. “I didn’t have to feel like I was living up to or failing at femininity. And for BJ, with it being so public, it opened up a space where he could be more open in front of his family.”

In the beginning, most of the images were taken in Rivera’s apartment. But as things progressed, they began to discover locations, in places such as Italy and California, that added another level of fantasy—and reality. “By leaving the constructed space in my apartment, we were able to inhabit these other domestic realms that women have presided over,” Rivera says. “I definitely feel there’s an energy within these domestic spaces that are so linked to femininity that BJ can respond to and take on some of these characters through a really empathetic way.”

When scouting a location, Rivera likes to research the building’s backstory, so that her photographs can capture its essence and place in time and she can choose costuming that sets the appropriate tone. Her images also reference timeless influences like historical paintings, photographs and films.

All the while, Lillis is front and center—at times peaceful and dreamy, other times seductive, but always distinctly himself.

V I SUA L A R T S JOUR N A L

Lissa Rivera, Study with Chairs I, 2016, archival pigment print.

“The power of Rivera’s photographs derives not only from the subject matter, but also the images’ formal qualities,” says Brian Paul Clamp, director of ClampArt. “Her bold compositions are executed with highly thought-out color palettes in order to evoke very particular moods. Her careful lighting and sumptuous printing work in concert to convey with sensitivity and poignancy the liberating joy and significant challenges of rejecting binary gender roles.”

While Rivera directs all aspects of the photographs, including the location, costumes and styling, Lillis plays the important role of caregiver on set, offering her the support she needs to create these images. “It’s an emotional space that we enter, so being supportive on that level allows us to get really raw with the project,” she says, likening it to the relationships between classic film directors and their leading ladies of choice, such as John Cassavetes and Gena Rowlands or Federico Fellini and Giulietta Masina.

With this role reversal—with the artist a woman and a man her muse—people often assume that Rivera is merely capturing Lillis’ performance or serving as witness to his persona. “I think it is positive that they want to know more FA L L 20 18

about BJ’s creative role in the work,” she says. “I don’t think anyone would ask if BJ were biologically female and if I were biologically male. So in a way, it reveals the work that women have done to help male artists find their voice, which is very valuable work.”

It is important to Rivera to show Lillis’ femininity as strength, and that they are both being empowered by the work they are producing. Together, they have created a beautiful world where they are free to experiment outside societal norms and explore depictions of femininity and the power that comes with it. “By presenting my partner within the lineage of great beauties and populating the media with our images, we are reclaiming our voice in what is attractive and beautiful,” she says.

Rivera’s work has received multiple grants and honors, has been exhibited both domestically and internationally and is included in the permanent collections of the Museum of Fine Arts, Houston, and the Danforth Museum of Art in Framingham, Massachusetts. She is represented by ClampArt in New York City. For more information, visit lissarivera.com.✦ 27

Lissa Rivera, Reclining in Satin, 2016, archival pigment print.

LEFT Lissa Rivera, Metamorphosis, 2016, archival pigment print.

ABOVE Lissa Rivera, Blue Room, 2017, archival pigment print.

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S

TLIGH

T

PO

LONDON With Spotlight, Visual Arts Journal takes a closer look at the places where SVA alumni live, work and contribute to the local creative community. In this issue, we focus on the London area, home to many SVA graduates, including the following five.

by Kate Hutchinson KESEWA ABOAH BFA 2017 Fine Arts

K

esewa Aboah grew up in Ladbroke Grove, West London, but has thought of New York as home ever since she started her fine arts degree at SVA. She now splits her time between cities, supporting her art practice—currently centered on vivid works made from impressions of her body— with a part-time modeling career, having appeared in fashion shoots alongside the 32

likes of her sister, Adwoa, and Kate Moss.

“They balance each other out,” she says of her dual passions. “The money I make from modeling means I can pay the rent for my studio and for all my materials.”

Her current pieces each take 100-plus hours to finish, so it’s good that her parttime job affords her time as well. She has completed two of her latest series so far and is working on three more. “It’s a labor of love,” she says. For each one, she covers her body in paint and coconut oil, presses herself onto paper and sews what

white space is left with kaleidoscopic thread. The paper itself becomes “a kind of fabric,” she says. “It takes on its own shapes.”

Aboah learned to sew only two years ago, but her life has always been filled with bright hues. “I don’t know if it’s London or it’s just my family and our home that we’ve lived in our whole entire lives,” she says, “but I’ve always been surrounded by color. It’s infiltrated my work almost without me realizing it.”

By contrast, she also experiments with photographing herself dipped in obsidian pigments, in the

style of South African artist Zanele Muholi. “I find her work very honest, and I think that’s something that I strive for,” she says.

What’s more, she is unwilling to be hemmed into any one artistic style. “I don’t ever want to feel like my work is stagnant and I’m doing the same thing over and over again,” she says. “I have this determination which I don’t seem to have in other aspects of my life.”

OPPOSITE Kesewa Aboah, The Water (Bechy), 2017, pigment, coconut oil and embroidery on paper. Aboah portrait by Felix Cooper.

V I SUA L A R T S JOUR N A L

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V I SUA L A R T S JOUR N A L

SUSAN CROPPER BFA 1984 Media Arts

D

own a cobbled backstreet full of antique stores and cafés in London’s trendy Islington area is Loop, Susan Cropper’s treasure trove of all things knitting.

She opened it in 2005 and it immediately became a hub for devotees of the craft. “I thought once in a while someone would come by,” Cropper says, “but when I opened my doors there was a queue.”

Cropper, who was born in Brooklyn and raised in Queens, moved to London with her British husband in the early ’90s at a time when New York was becoming “all about money,” she says. “The art world was exploding.

You couldn’t go out to dinner without people talking about their net worth.”

It was during a trip back home, however, that she stumbled upon a store with a wall showcasing vibrant fibers inside. “I just flipped, it was so beautiful,” she says.

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“I was excited looking at this wall of color.”

She started looking for something similar in her adopted hometown but found there was nothing that catered to high-end needle-workers.

And so Loop was born. The wooly wonderland now fills three floors, serving the city’s hip knit crowd and specializing in plush yarns and hand-dyed threads in a variety of earthy hues.

It’s unsurprising that she finds creative stimulation outside the store in the greener pockets of the city.

“I walked in Regent’s Park last night,” she says, “and all the roses were blooming, the scent was amazing. We went and people-watched. The way that people put themselves together really inspires me.”

Even so, Loop is “my happy place,” she says, and the store is important not just for what it stocks but because of the space it provides for knitters. “They’ve met a lot of their social community here,” says Cropper of her clientele, “which is important at a time when that isn’t so readily available.”

OPPOSITE, ABOVE Photos of Susan Cropper's Loop knitting supply store

and from her e-commerce site. Opened in 2005 in London's Islington neighborhood, Loop fills three floors and offers classes and workshops.

35

MARTIN BATT MPS 2012 Branding

O

slo, Norway–born Martin Batt describes himself as “a connector of sorts,” so he naturally gravitated toward the creative triangle between London’s Shoreditch and Hackney districts when he moved there four years ago. “Wherever I’ve lived, I’ve always lived east,” he says. “That’s where you find the thinkers, the artists, the doers.”

After graduating in 2012, he initially returned to Norway because “a lot of my work during my master’s was centered on the societal trends of silence and the need to disconnect, and that drew me back to the woods,” he explains. But when he started his design and branding agency, The Creators Club, the pace picked up and he moved to the UK capital.

His first client, Beyond Bread, a gluten-free bakery, 36

has since expanded to include a concession at leading London department store Selfridges. Now The Creators Club’s services range from revamping food businesses to helping cryptocurrency startups. Whether he’s working with small businesses or large corporations, Batt says his philosophy remains the same: “It’s so important to still be

true to the rebel in your heart.

We’re change-makers, and we challenge the status quo.”

When we speak, it’s mere weeks before he heads to New York to open an office stateside. “I’ll probably end up in Brooklyn with all the other beards,” he jokes. But while the U.S. appeals to the dreamer in him, he says it’s the socializing that makes

London so special.

“I love that in London, people have the time to sit down and have a pint and a meaningful conversation that goes deep,” he says. “That’s where most of my inspiration comes from.”

ABOVE Identity work for gluten-

free bakery Beyond Bread by Martin Batt's design and branding agency, The Creator's Club.

V I SUA L A R T S JOUR N A L

MIGNON NIXON MFA 1987 Fine Arts

M

ignon Nixon has lived in north London since 1996, when the city was in the swing of the Young British Artists movement.

“The art world in London was burgeoning,” says Nixon, who went on after SVA to earn a PhD in art history at the City University of New York Graduate Center, and now

devotes her time to writing and teaching, with a focus on feminism, gender and sexuality. “The contemporary was becoming a more significant part of people’s understanding of what art was,” she says. “I was interested in that, but I was also very interested in the feminist traditions of London.”

Her current workplace is rather serendipitous. From the window of her office at Bloomsbury’s University College London—where she has been a professor

of modern and contemporary art since 2016—Nixon can make out in the distance a fitting blue plaque, of the kind that indicate historical buildings in London. “I can look across Gordon Square and see the house that Virginia Woolf lived in,” she says. “It means a tremendous amount to be in a setting where I feel the vibrations of such important feminist work.”

In addition to teaching and her regular duties as an editor of October, a quarterly journal of art criticism and

theory published by MIT Press, Nixon is working on her fifth book, Sperm Bomb: Art, Feminism, and the American War in Vietnam (forthcoming, MIT Press).

But while she looks to the past for inspiration, she is heartened by her young London students’ approach to feminist politics. “They’re galvanized, they’re informed and they think this really matters—for them not only as individuals, but as a generation,” she says.

A selection of publications written or edited by Mignon Nixon, professor of modern and contemporary art at Bloomsbury's University College London.

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37

THIS SPREAD, CLOCKWISE FROM TOP LEFT

Luca Marziale, Study III, 2015; The Edge, 2014; Drifter, 2014; Selassie V, 2017. All images C-prints.

LUCA MARZIALE BFA 2012 Photography

S

wiss snapper Luca Marziale has lived amidst London’s urban sprawl for a few years now, but his landscape photographs are firmly rooted in the otherworldly.

Shot with a macro lens, they zoom in on unfamiliar terrains from around the globe, with abstract and certainly trippy results. His images, he says, are about “getting 38

one step closer to the land.

They’re windows to landscapes that the majority of people won’t venture to.”

A trip during his college years to Yosemite National Park in California to explore the absence of man inspired his nature-focused style. He soon became interested in different types of bacteria and the “micro landscapes” they could create. These scenes are the opposite of “the trap of the postcard image,” he says. He wanted to make work that isn’t obvious, instead of printing

photos “where you look at a landscape and immediately get what you’re seeing.”

Indeed, some of Marziale’s projects are not always easy to pull off. For one, he traveled to a volcanic region of Ethiopia, near the border of Eritrea. “They are at war,” he says of the two countries, “so when I first landed there was a state of emergency.”

He proceeded with his journey anyway. “I had to take a cook, a translator, a guide.”

In the city of Dessie, he was joined by three military personnel to help him navigate

around the border region’s land mines.

These trips take a couple of months to plan before he’s off again. But London is “a great base to have in terms of art shows,” he says. “There’s always something going on.”

In addition to showing and selling his photographs in local solo and group shows, his work has been included in the SCOPE art fairs in Basel, Switzerland, and Miami, as well as CONTEXT New York.

When Marziale is not exploring new terrain or relaxing at home, he’s off to Serbia to teach photography to low-income students. His main message to his pupils is that an exotic location isn’t always necessary to do what he does. “You can start in your back garden,” he says.

“You don’t need to live in London or New York—you just need to have a project in mind, go out and shoot it, and that will lead you in the [right] direction.” ✸ KATE HUTCHINSON is a

journalist and broadcaster based in London. Her work has appeared in The Guardian and The New York Times, among other publications.

V I SUA L A R T S JOUR N A L

Recyc Reu Repurp by DIANA McCLURE

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V I SUA L A R T S JOUR N A L

cle, use, pose

PREVIOUS SPREAD Derick Melander, Trace

(detail), 2016, folded secondhand clothing, steel and wood frame.

THIS PAGE Hanna Washburn, Imagining the

Future, 2018.

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V I SUA L A R T S JOUR N A L

A

s recycling and reuse become central to a modern way of life, equally propelled by the greenest of intentions and trendy capitalist schemes, artists continue to find new and compelling ways to engage materials beyond their original contexts. From Marcel Duchamp’s Fountain (1917), which proposed a urinal as sculpture, to Ghanaian sculptor El Anatsui’s bottle-top installations to Louise Nevelson’s recycled assemblage sculptures, the reuse or adaptation of objects has been central to modern and contemporary art practices.

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Hanna Washburn (MFA 2018 Fine Arts), Derick Melander (BFA 1994 Fine Arts) and Joseph Fucigna (MFA 1988 Fine Arts) are three artists who work in this vein, albeit from three different points of view. Washburn’s practice stems from a deeply personal engagement with her own old clothing, stored for a decade or so in her parents’ basement in Wellesley, Massachusetts,

a playful and intuitive exploration, he uncovers their alternative identities, molding them into abstract forms beyond their original intent.

All three artists allow their relationship with their materials to unfold, taking an investigative approach to the creation of pieces that work within the limitations of what is on hand. Each artist uses volume, mass, shape and color

All three artists allow their relationship with the materials to unfold, working within the limitations of what is on hand. before she incorporated them into her work. Melander’s work also involves old clothing—items that he collects or receives from donation centers, which adds a deeply communal aspect to his practice. And finally, Fucigna, who has used plastic fencing, rubber tire inner tubes and most recently silicone (in the form of hand-therapy putty or Silly Putty), develops an almost-metaphysical relationship with his materials. Through 44

as guiding principles. Both Melander and Fucigna are further along in their careers and have surveyed how their work can most effectively connect with audiences. For Melander, the emotional engagement of his audiences runs parallel to the monumentality of his folded and stacked textile-based installations.

For Fucigna, his use of accessible and familiar materials encourages viewers to enter into his organic sculptural

ABOVE Joseph Fucigna, Brainstorm, 2014, plastic fencing, cable ties, lead fishing weights.

work. In the case of Washburn, abstract sculptural forms sewn and stuffed with Poly-Fil seem to represent a sort of alchemization of her adolescence.

“I used to wear a lot of floral patterns,” she says. “So I started to get really interested in why that was. I’m from suburban New England and I grew up with my mother and my grandmother wearing a lot of patterns ... kind of like Laura Ashley–style floral patterns. I was interested in the type of femininity in it, the taste level that it constructs. It was so personal to my upbringing ... an aesthetic that I had kind of inherited.”

The social content of her work, although not obvious on the exterior, is represented by soft, organic, bulbous forms—a nod to the shapeliness and expansiveness of the female body. Of all her teen years, Washburn homed in on the age of 16, which she characterizes as “a time when you’re starting to really develop what you’re interested in and you’re really kind of passionate.” Several of her work’s titles reference the literature and music of that time. Washburn’s V I SUA L A R T S JOUR N A L

love of texture, color and abundance was unearthed, validated and filled with meaning in graduate school, coalescing in an understated critique of her particular sociocultural upbringing, and her repurposing of intimate material seems to be a first step into fruitful territory that engages both form and content.

Having used found materials throughout his career, Fucigna has allowed their shapes and qualities to take the lead in the ever-evolving relationship between himself as the artist and his materials as his subject. For decades he has worked with nondescript industrial supplies originally destined for purposes other than art making—material choices that cannot be easily inserted into new narratives. In a sense, Fucigna disrupts the assumed identity of these objects and situates them in a nonlinear space of visual communication.

As an undergraduate, Fucigna attended Alfred University, a small university in Western New York known for its strong ceramics program. The attention to detail, mastery of a medium and its subsequent manipulation into something magical—all central to the world of craft artists such as ceramicists—made a lasting impression on him. With this foundation, his time at SVA allowed him to break out into less tradition-bound modes of expression, including striking sculptures made of rubber and wood.

For the last 15 years or so, he has worked with plastic fencing in an intuitive process that involves finding something in the material that resonates with him and then figuring out what it “wants” to do. In the early phase, his relationship with a material is formal, as he discovers its unique physical properties and possibilities; later, once it has become more familiar, narrative hints begin to take shape. Qualities such as the manufactured color and line of the fencing are considered and transformed into organic, mound-like forms reminiscent of those found in nature.

“I’m not one to do the heavy machinery and fabrication,” Fucigna says. “I want to work in a simplistic, inexpensive type of way. I also consider myself to be old-school in terms of the idea of the process and the building and what I learn through the development of a piece and the direction of it. … That hands-on element, being involved and being in the studio—I love being in the

RIGHT Derick Melander, Untitled (pink), 2016, secondhand clothing, steel and wood frame.

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ABOVE Derick Melander, Tollens (back view),

“Finding the materials, looking at the materials, working with the materials ... become a very one-on-one experience.” studio. I’m not sitting in front of my computer constructing things and then sending them off. … Finding the materials, looking at the materials, working with the materials, becoming familiar with the materials [all] become a very one-on-one experience.”

As chair of the studio arts program at Norwalk Community College in Connecticut, Fucigna is well attuned to the need to be direct. He has cultivated an ability to speak on multiple levels to a variety of audiences. This skill translates into artwork that combines a use of simple and accessible materials with an execution of sophisticated and at times sublime sculptural work.

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Working on a much larger scale, the most recent work of Melander’s required two tons of used clothing. Brought in by forklift and created by a 14-person production team, the monumental installation was commissioned by the fashion brand Diesel for the 2017 Young International Art Fair in Paris. The clothing, which was folded using a special technique developed by Melander through trial and error over many years, was meticulously sorted by color and stacked into a cube-shaped armature.

Melander’s work was not always so grand. Early in his career, feeling stunted by the theoretical overkill of graduate school, Melander began

2015, secondhand clothing, antiques, wooden armature.

reading and experimenting with the work of psychoanalyst Carl Jung and his theories on lucid dreaming. He decided to set an intention every night to create a piece of art in his dreams. The experiment eventually led to a body of work involving suitcases that then led to an idea to stack the suitcases on piles of used clothing. For the first two years of this exploration, Mary Help of Christians Church in New York City’s East Village passed on unusable donations to the artist.

Working with the bags of clothing struck a chord with Melander, who saw in the discarded garments the emotional imprint left behind by the donors. Clothing as a record of physical presence became a direct and concrete metaphor for a family. He began folding and stacking the clothing according to formal principles such as color, pattern V I SUA L A R T S JOUR N A L

or texture, transforming them into something he now calls “a collective portrait.” Initially the work, which at times required nine months to complete a single piece, fit into a solo studio practice. Eventually it took on a life of its own. Melander realized that the larger a piece was, the more emotional resonance it had with audiences. Due to logistics, however, Melander was only able to show his work in New York. He began to ask himself, How do I do this in other places?

The answer turned out to be at colleges and universities, where student support for production was abundant.

Conceptually, Melander understands that clothing can function as a boundary, as a performance or as a representative of a particular population. However, as his practice has grown it has turned out to be a form of personal connection. As the works get bigger and more complicated, colors and patterns become more and more precise, and more help is required, leading to community building among the teams of people producing the work. In regard to this unexpected consequence, he says: “When you’re

CLOCKWISE FROM TOP Hanna Washburn, I’ll Believe in Anything, 2018; Joseph Fucigna, Yellow_Black_White Drip, 2017, and Big Drip, 2013, plastic and metal fencing, cable ties.

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folding clothing it does foster a really easy conversation. ... Sometimes you talk about your love affair, movies, a book.

Sometimes you talk about art. It ends up becoming this real kind of sharing and community experience. That’s an added bonus to doing this collaborative work.”

Another form of connection takes place once an installation is complete.

Viewers are often compelled to touch the work, inspired by a sense of awe and wonder. Ultimately, Melander makes this connection with his audience by using form, volume, mass and color to generate emotion.

“Really what I am hoping is that people will come together and feel or even understand that we’re all part of the same family,” he says. “That we’re all connected.” ✸ DIANA McCLURE is a photographer and writer based in New York City. Her work has appeared in Art in America, The Brooklyn Rail and other publications.

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Q+A IAN JONES-QUARTEY

I

by steve birnbaum

an Jones-Quartey (BFA 2006 Animation) grew up in Maryland with a librarian for a mother, an engineer for a father, and an extended family full of “amazing people to look up to,” he says—including an artist grandmother known for, among other things, designing Ghana’s flag. It makes sense, then, that in his animated Cartoon Network series, OK K.O.!

Let’s Be Heroes, everyone has special powers.

Centered on the adventures of K.O., an aspiring superhero who works for a former superhero at a superhero supply store that’s across the street from a villain’s robot factory, OK K.O.!’s second season premiered this past spring. The first season, which aired in 2017, was released on DVD this past summer. All episodes can be watched 48

at any time on Cartoon Network’s app.

After several years spent working on other acclaimed Cartoon Network series, including Adventure Time and Steven Universe, which was created by fellow alumnus Rebecca Sugar (BFA 2009 Animation), Jones-Quartey was invited to pitch ideas of his own to the channel. OK K.O.!, which began production in 2015, was unconventional from the start. Given its action and superhero elements, the network took the unusual step of licensing the property to video-game companies while the show was still in the works.

This was an opportunity that Jones-Quartey and his co-producer, Toby Jones, welcomed, as it allowed them to consider the game developers’ best ideas as fodder for stories. (To date, two V I SUA L A R T S JOUR N A L

OK K.O.! games have been released: Lakewood Plaza Turbo!, an app by Double Stallion, and Let’s Play Heroes, a console title by Capybara Games.) The pair further opened the collaborative process by organizing two “jam” events— one for the gaming community in Portland, Oregon, and another for animation students in Los Angeles—at which teams were given the setup and characters of the series and encouraged to let their imaginations run wild.

Regardless of these outside influences, the basic premise and core inspirations of OK K.O.! remain personal. Sometimes the autobiographical reference is coded—the series title, for example, is a tribute to Jones-Quartey’s grandmother, whose name was Theodosia Okoh.

Sometimes it’s more straightforward: Like K.O., Jones-Quartey worked as a store clerk as a teenager.

“OK K.O.! is basically the show I would’ve wanted to watch as a kid,” he says. “Those were the times when I was really getting excited about cartoons and video games and anime and animation, so it all kind of fits together for me.

It’s a super-cartoony cartoon. It’s wacky and expressive and weird.”

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There’s a deliberately unfinished quality to the look of OK K.O.!, similar to Beavis and Butt-Head or early Simpsons episodes. Was that an intentional choice?

Yeah! For me, the thing that’s most exciting are those early seasons of a show, where you see people coming up with solutions, figuring things out. You see rapid changes in development in the ways the characters are drawn, the style of the show.

When you look at Season 1 of The Simpsons, you see a rough product, but it’s evolving as you’re watching it. Also it’s something that I like to look for in a lot of golden-age cartoons, like early Fleischer and Disney cartoons. Seeing that development from short to short, and even within the same cartoon, you see it changing and growing and turning into something better and better. And for me, that’s the best. I’m not a fan of when you just lock it down and it becomes a stagnant thing forever.

I want to make a show that’s constantly changing. When a new person comes in and has something new to add, I want to make sure that I make a home for that.

CLOCKWISE FROM OPPOSITE Ian Jones-Quartey at the 2018 San Diego Comic Con;

still from this fall’s OK K.O./Teen Titans Go/Steven Universe/Ben10 Cartoon Network special; still from Capybara Games’ OK K.O.! Let’s Play Heroes.

Images courtesy of Cartoon Network.

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ABOVE Stills from OK K.O.! Lakewood Plaza Turbo by Capybara Games, one of

two video games based on Ian Jones-Quartey’s Cartoon Network series, OK K.O.! Let’s Be Heroes.

OPPOSITE Promotional art for OK K.O.! Let’s Be Heroes.

Images courtesy of Cartoon Network.

In terms of the line work, I want to make sure that it always feels approachable and at the level of the people watching the show. So if you’re a kid, you think, “This kind of just looks like notebook doodles. I draw notebook doodles. Maybe I could do something like this.” The show is animated traditionally, so I was able to ask the studios, “Hey, instead of inking all of the lines, could you leave them as pencil lines?” And so they use, like, a 2B pencil to draw all the frames, and we retain that line and color under it. That’s something that’s become part of the DNA of the show.

What are some of your other visual influences for the series?

My number-one inspiration is classic Looney Tunes. The thing about Looney Tunes that’s more special than any other cartoon is, you can see the characters thinking. You can see, just from their facial expressions and the way they’re moving, what they’re thinking in their heads and what they’re about to do. That’s something that is really special to me.

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The second would be another Cartoon Network show, Dexter’s Laboratory, which, to me, synthesized the best parts of Hanna-Barbera animation and ’70s anime, and that’s kind of the feel that we’re going for a little bit. The animation is not full, it’s very deliberately limited. We drop frames, we slide things around, we do zooms. I love efficiency that is still expressive and entertaining.

In an interview with Slate, you talked about how you want every background character in OK K.O.! to have an identity. Can you explain what that means and how you do it?

In an animated show, if there’s a crowd in a scene, you see all these rando people in the background. So I was like, “What if there was a show where each one of those rando people was an individual, with their own story and background and hopes and dreams?” And that’s what we did.

Before the show came out, Toby Jones and I sat down and we came up with about 70 individual background

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Stills from Capybara Games’ OK K.O.! Lakewood Plaza Turbo (above) and the Cartoon Network series OK K.O.! Let’s Be Heroes (left). Images courtesy of Cartoon Network.

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is that character up to when the camera’s not on them?” We wanted to give the audience that feeling.

Speaking of backstories, how did you come to be an animator? You went to college for it, so you must have decided on the career at least by high school.

characters—all different, all unique, all with their own styles and colors and personalities and special powers—and gave that to all the creative people on the show and said, “Have fun with it.” And the characters started to take on these new lives.

For instance, we made Dynamite Watkins—she’s kind of like [a cross between] a wrestling announcer and a TV reporter. At the game jam, a team created an entire game where she’s interviewing different villains, and when she lands a really cutting answer they explode. We eventually ended up putting that in the show. Eventually that would lead to other things, like, “What is her crew like?” And we created side characters for her. So now she has a cameraman whose name is Cam, he has a camera for a head. And that led to all these other characters, and other characters. We now have, I would say, 140 original characters, because we just keep on creating more.

It’s the sublime factor of having all these characters and different stories, when you have a piece of art that you can imagine existing outside of the product that it is. So when you see an episode and you see all these characters in the background, and you know them as characters, you think, “What FA L L 20 18

I fell in love with cartoons when I was, like, four years old.

I started making my own animations by myself when I was in elementary school, using flip books, old Mac programs. I eventually made my own comics and web comics and did a lot of stuff in art in high school, but I always knew I wanted to do animation, and I chose SVA because at the time it was the only program where you were just going to learn how animation works the minute you got there. That was very attractive to me, and my experience at SVA was one of the most creative times in my life.

Can you tell me more about your time as an undergraduate? Were you working on the side?

One of my favorite things about going to SVA was that it was in the city, and I would stay over the summer. My second summer, I just looked up animation studios in New York and cold-called every single one, and I eventually got a job at a small studio doing commercials, interstitials, slot-machine animation. I just wanted to do it, no matter what, and they were still working on paper, which was awesome.

So I basically just was freelancing, interning, knocking on any door I could, taking every single opportunity that came across. Eventually I got into television animation, working at, it’s a defunct studio now, but they were called World Leaders

Ian Jones-Quartey portrait and OK K.O.! Let’s Be Heroes still courtesy of Cartoon Network.

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Entertainment. They used to be called Noodlesoup, and they made the show The Venture Bros. I interned there and became the animation director on that show. I kept working there after college, and I heard about this show Adventure Time that was starting at Cartoon Network, which I thought was amazing. I remember showing the pilot to a bunch of people who I worked with and they were like, “What is this?” And I was like, “It’s going to be the future, don’t worry about it.” And eventually I took a test to work for that show, to be a storyboard artist, and I moved out to Los Angeles.

To a current student or someone just starting out in animation, a career like yours might seem unattainable. What do you say when an aspiring animator asks for your advice?

If you have an idea, just do your idea. Don’t wait for someone to give you permission to make it. The people I see who actually succeed, they can’t stop making things, they can’t stop drawing. If you’re the kind of person where an industry position is the end goal … the people I see who are like that, when they get that job, the drive bottoms out.

Even while I was at SVA, I was writing my own comics on the side, I was making short films, my friends and I were coming up with ideas and pitching them to each other. And we were doing this for the love of creating something. Every day as I’m making this show, I’m relying on knowledge that I got from making my own things, by myself. A lot of the characters and stories and animation techniques that I use are things that I had experimented with on my own.

Also, if an executive sits down with you and says, “Can you make a show?” You can just sit back in your chair and say, “Well, look at this. I’ve made so many things already. I know how to make stuff. I’m going to keep making things whether you give me the money to do it or not.” That is so much more attractive than someone who’s like, “Well, I’ve never made anything, this is my first idea and I don’t know what I’m doing.” [Laughs.] You want to be a person who knows what they’re doing. I’m so jealous of kids who are in elementary school and middle school and high school right now. Because when I was a kid, I didn’t have Flash, I didn’t have the ability to create animation on my desktop the way students do now.

There’s no excuse not to be making your own stuff.

What is it about animation that made you want to devote yourself to it? Do you still have that same love for it that you did growing up?

Animation is really special. There’s something you can get from watching an animated character that you can’t get from a real character. If you’re a person in the audience and you look on the screen and see a specific actor doing something, you’re like, “Well, that’s that actor, that’s that person.”

There’s a space between you and the character. With animation, because it’s a not-real character that is abstracted and 54

not completely human, you can look at that character and say, “Well, that’s me.” Or, “That’s my friend.” I think that’s an innate advantage that animation has.

When Snow White and the Seven Dwarfs came out, the rest of the movie industry was scared. They were like, “This will replace us.” They understood the actual power that it had. The industry said, “Well, it can have an Oscar, but it can’t get a real Oscar. And we’ll have Shirley Temple present it, so it’s like a kids’ thing, not like a real thing.” Because they knew there was a lot of potential in this art form. And that’s something that, every day, I’m trying to explore. We’re trying to come up with new expressions, new cartoon language for emotions and actions that maybe haven’t been represented on screen. I think that’s something that only animation can do, and that’s the real reason why I do it. ✣ This interview has been condensed and edited. To watch a video feature on Jones-Quartey, visit sva.edu/videos.

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Stills from Capybara Games’ OK K.O.!

Lakewood Plaza Turbo (opposite, above) and the Cartoon Network series OK K.O.! Let’s Be Heroes (left). Images courtesy of Cartoon Network.

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ARTIST

GARY SIMMONS MANIPULATES

MATERIALS AND

MEMORIES

BY GREG HERBOW Y

Gary Simmons works on “Fade to Black,” his 2017 – 2018 installation at the California African American Museum in Los Angeles. Photo: Tito Molina/HRDWRKER. Courtesy Regen Projects, Los Angeles.

NOT LONG AGO, Gary Simmons (BFA 1988 Fine Arts) went to see his daughter in a children’s theater group play. Midway through the production, one of the actors forgot her line.

Everyone on stage froze, unsure of how to continue.

The audience froze, too.

Gary Simmons, Untitled, 2009, oil on canvas. © Gary Simmons, courtesy Regen Projects, Los Angeles

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“The whole room is this pregnant pause,” Simmons says.

“We’re all sitting there going, ‘How’s this going to end?’”

Finally, another performer made a silly gesture. “Everybody started laughing, and the scene closed right there,” he says.

“That kid saved that scene. Not by saying something, but by doing something. It was the most honest moment of the play.

And it’s those kinds of things, in art, that you’re after.”

It’s late May and we’re sitting in Simmons’ studio, a large and simple space in an anonymous section of Los Angeles.

Canvases destined for upcoming exhibitions at the Baldwin Gallery, in Aspen, Colorado, and the Simon Lee Gallery, in London, are on the walls. Each has been painted to look like something between a dusty blackboard and a flickery blackand-white film. The compositions are layered: Racist cartoon characters from early animations appear as though they have been traced in chalk dust, while bold white texts—naming old, largely forgotten movies and African American actors—are stamped onto the foreground, in big typewriter-style letters that are bleary at the edges.

The smudgy quality of these works is a signature element of Simmons’ practice, known as his “erasure” technique.

Simmons has been making erasure drawings and paintings for so long, he says, that he can now reference himself when he makes new ones. These latest paintings tie together some of his earliest and most recent experiments with the method. The texts are a continuation of newer works like “Fade to Black,” a 2017 – 2018 installation at the California African American Museum that celebrated little-known figures and films in early black cinema. And the cartoons call back to his first erasure drawings, from the early ’90s, when Simmons was just out of graduate school. Done in chalk on blackboard or surfaces prepared with slate paint, they isolated characters, objects, even lone physical features from 1930s and ’40s animated shorts and features to expose the ways that even something as

apparently innocent as children’s entertainment can employ and breed bigotry. Black Chalkboards (Two Grinning Faces with Cookie Bag) (1993), for example, shows two disembodied smiley faces with exaggerated features, leering at a bag of cookies. The works were widely acclaimed, but Simmons soon moved on to more enigmatic subjects.

“When you’re young, you kind of bounce from thing to thing and you never totally get done,” he says. “And I was working on this film-based stuff and thought, ‘I don’t think I’m done with these cartoons yet.’ … They’ve always been attached to me, so I started to sheepishly bring them back, little by little.

Now they’re back, and it’s like an old friend.”

Simmons has been a working artist for nearly 30 years, making sculptures, installations, drawings and paintings that investigate the capacity of symbols, make totems of everyday architectural objects, reveal the ways racism is knitted into culture and evoke the haunting, imperfect nature of memory.

The bulk of that time has been spent between New York City and Los Angeles; he swears this last move, which happened about two years ago, is permanent. (“We were in New York, and one day I was like, ‘You know what? I’m done here, man.

Let’s move to L.A.’ My wife was like, ‘Are you insane?’”) He has taught at Yale, SVA, the University of Southern California and the California Institute of the Arts, also known as CalArts, and is represented by galleries in New York, Los Angeles, San Francisco and London. His work is the subject of three monographs and countless articles and reviews, and in the collections of more than 20 institutions, including the Museum of Contemporary Art in Los Angeles, the Museum of Modern Art in New York and the San Francisco Museum of Modern Art. Born in New York City, he grew up there and just north of it, in suburban Rockland County, as the son of West Indian immigrants. He was a skilled baseball player in his teens, and his father, a fine-art photography printer and devoted Dodgers

fan, encouraged him to pursue it as a career. But then his knees started to go, and he turned his attention to what he really loved, which he calls “making stuff.”

High school was an unhappy time for Simmons, who was bored and subjected to racism from classmates and teachers. After graduation, he moved back to the city and, at the suggestion of a former art teacher, enrolled at SVA. After graduating, he did a residency at the Skowhegan School of Painting & Sculpture, in Maine, then drove across the country for the MFA program at CalArts. Like New York, Los Angeles was a different city then. Before GPS, Amazon and Uber, an errand as basic as buying art supplies could take a full day of driving. Simmons says he could spot his fellow out-of-towners by seeing who else was pulled over on the shoulder, flipping through a road atlas.

Simmons is full of praise for the teachers and mentors he found as a young artist: at SVA, Douglas Crimp, Joseph Kosuth (1967 Fine Arts), Jack Whitten and Jackie Winsor, among others; at CalArts, Michael Asher, John Baldessari, Catherine Lord and Mike Kelley (“probably the smartest artist I ever met in my life”). His undergraduate and graduate experiences were complementary, he says. Where the prevailing ethos at SVA was “make stuff, and then think about it,” at CalArts students were taught to “think about stuff, think some more, then think it through again, and then make it.”

“It was pretty cool to have both,” he says. “I think that really made me who I am.”

Post-MFA, he returned to New York and began his career in earnest, supporting himself by assisting other artists, hanging

art in galleries and museums, and working the odd renovation job, often with a crew of fellow up-and-comers, including painters John Currin, Sean Landers and John Zinsser—“all those Yale boys,” he says.

Simmons started out as “an object maker,” creating austere, immaculate-looking sculptures and installations for which everything “had to have a reason for being there.”

He credits this rigor in part to advice he once got from Jackie Winsor. “She once said, ‘Gary, we should be able to roll this sculpture down the hill, and anything that falls off is completely meaningless. The sculpture is the object at the bottom of the hill.’”

Much of his early work attacked the ways that educational institutions can perpetuate inequality and enforce control.

Pieces like Disinformation Paragraph and Eraser Chair (both 1989) cast common classroom objects like blackboards and erasers as tools that could as easily be used to confuse and subjugate as to teach. Others, like Six-X (1989), for which he hung six child-sized Ku Klux Klan outfits from a schoolhouse coatrack, were more explicit in their indictment.

If Simmons drew at all then, it was as a way to think through his ideas. The turning point came with Pollywanna?, a piece that he first put together for a 1990 exhibition at the White Columns gallery in New York, then reproduced the following year for the Roy Boyd Gallery in Santa Monica.

Pollywanna? consisted of a blank chalkboard background, a podium with a microphone and a live cockatoo, which perched at the lectern and screeched whatever phrases it had been taught, just as educators might unthinkingly pass on lessons

OPPOSITE Gary Simmons, Six-X, 1989, mixed media. Courtesy the artist and Metro Pictures, New York.

ABOVE Installation view of Gary Simmons’ “Balcony Seating Only” at Regen Projects, Los Angeles, November 11 – December 22, 2017.

Photo: Brian Forrest. Courtesy Regen Projects, Los Angeles.

LEFT Gary Simmons, Study for Wall of Eyes (Cartoon Bosco), 1993, chalk on paint. Courtesy of the artist and Metro Pictures, New York.

that they learned by rote. “It was hilarious,” he says, but he was distracted by an unplanned aspect of the piece: The bird’s flapping white wings, set against the matte black of the board, left illusory traces in their wake.

“It was this kind of cinematic effect. These weird trails.

I thought, ‘Wow, that’s incredible. I’ve got to get that in my work.’”

At that time, his studio was in a former vocational school in Manhattan, in a room filled with old blackboards. He began experimenting with racist caricatures from old children’s cartoons that he had drawn on the boards in chalk, working sketches done for a never-completed film project with a friend. “I realized that if you made a mark, there was no real way to erase that mark,” he says. “Any attempt to erase this stereotype left a ghostly trail behind it,” similar to the traces left by the cockatoo’s wings. This partial erasure combined with the unsettling subject matter to make a work that illustrated how early, formative impressions may become clouded over time but are never unlearned. Moreover, depending on how he moved his hands through the chalk—or, with later pieces, the charcoal, pastel, wax or paint—the images could FA L L 20 18

“ I realized that

if you made a mark, there was no real way to erase that mark.

”

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“ It’s amazing to

watch him do it— there’s something bravura about him.

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”

be made to perform, in a way: spinning, burning, falling down, radiating, dissolving, flying.

“It’s amazing to watch him do it—there’s something bravura about him,” says Simon Watson, a curator, dealer and consultant who mounted an early exhibition of erasure drawings in New York. “Gary is a master of site-specific drawings and paintings. They connect with everything from Sol LeWitt [1953 Illustration] to phantom projections of cinema. They’re stunning works.”

“The drawings are so well made, but they’re almost the antithesis of what we think of as a good drawing, because they’re willfully unfinished,” says Amada Cruz, director of the Phoenix Art Museum, in Arizona. In 1994, Cruz, who was then at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., organized Simmons’ first solo museum show as part of the Hirshhorn’s “Directions” series. “They’re a metaphor for how memory works, and they’re also very evocative. As you look at them, you start to recall your own history with the subject matter. They’re about serious things, but they’re playful at the same time.”

V I SUA L A R T S JOUR N A L

Wall of Eyes, made for the 1993 biennial at the Whitney Museum of American Art—regarded now as a pivotal moment in recent art history—is arguably the most significant of Simmons’ early erasure drawings. A constellation of blurred cartoon eyes on a slate-painted wall, it debuted at the exhibition along with the artist’s Lineup, a sculpture in which several pairs of gold-plated, slightly larger-than-life sneakers were set in front of a police lineup backdrop. Both works took advantage of a common motif in Simmons’ work, the absence of figures, daring the viewers to fill in the blanks and, by doing so, confront their own prejudice and complicity.

By the mid-’90s Simmons began to depict widely recognizable things that have multiple, dreamlike meanings: roller-coasters, grand ballrooms, gazebos, clock towers, 19th-century ships, speeding trains, swaying pines. For a 1996 group exhibition that Cruz put together at the Museum of Contemporary Art in Chicago, Simmons worked with a skywriter to draw giant, ephemeral stars in the city’s sky—erasure works on an enormous scale. Reflection of a Future Past (2009), a permanent installation for New York-Presbyterian FA L L 20 18

Hospital, is a doubled image of the skeletal remains of the iconic New York State Pavilion, an architectural leftover from the 1964 World’s Fair in Queens. This shift in focus, he says, was motivated in part by his overseas audience’s narrow interpretation of his earlier work.

“I started to realize that maybe the imagery was anchored to an American experience, and if I opened up this notion of erasure to architectural things, or vacant spaces that people were familiar with, it would create an avenue for people to access on their own terms, with their own cultural references.

Everybody has a relationship to a gazebo. There is a class

LEFT Gary Simmons, The Stadium, 2013, enamel on panel. © Gary Simmons,

courtesy Regen Projects, Los Angeles.

TOP RIGHT Installation view of Gary Simmons’ “Fade to Black” at the California

African American Museum, July 12, 2017 – December 31, 2018. Photo: Brian Forrest. Courtesy of the California African American Museum, Los Angeles.

BOTTOM RIGHT Gary Simmons, Lineup, 1993, synthetic polymer on wood, gold-

plated shoes. Installation view, Whitney Biennial, 1993, Whitney Museum, New York. Courtesy of the artist and Metro Pictures, New York.

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component to what it represents, from culture to culture.”

In interviews, Simmons, a devoted music fan, has compared his working method to that of a DJ: Take preexisting things, drop them into new contexts and manipulate their form.

References to music—and in particular its politically charged, DIY subcultures—can be found throughout his work, but he has recently been paying direct homage to his inspirations.

In 2016 he wallpapered rooms with altered dub, hip-hop and punk concert posters for installations in San Francisco and Detroit. Recapturing Memories of the Black Ark, a stack of speakers housed in scavenged wood and named after legendary producer Lee “Scratch” Perry’s similarly homemade recording studio, served as both a sculpture and the sound system for performances in New Orleans in 2014 and in San Francisco in 2017.

Another influence is his time as an athlete, which he says conditioned him for the exertion and resolve required by his work. Even today, no matter how large the size of an erasure art, he does all of the image manipulation alone and in one go; in this way, the pieces double as records of the labor that went into making them.

“The attitude I bring to the studio comes right out of 64

sports,” he says. “The competitive nature of it, the drive to get through difficult patches. If you don’t have that, you’re going to get run over.”

But if there is any one major inspiration for Simmons, it is film. An avid moviegoer—“I’m one of those guys that sits through the credits,” he says—he has cited a childhood viewing of The Wizard of Oz (1939) as the reason he became an artist, and made sculptures based on the hillbilly caricatures of Deliverance (1972) and paintings referencing the science-fiction feature Conquest of the Planet of the Apes (1972). He is voluble on his fellow artists’ forays into directing: Among other things, he is a booster of Johnny Mnemonic, his friend Robert Longo’s largely unloved 1995 feature, starring Keanu Reeves. And though he is wary of dilettantism, he has lately been considering using the medium itself in his work.

“Using film as part of what I do makes sense to me,” he says.

“Early on I was so locked into these specific pockets: I never used color, I never used figures, everything had to have a significance and a meaning. It all had to have a reason for being there. That’s limiting, in a way. I think you have to loosen the reins up.” ❃ V I SUA L A R T S JOUR N A L

LEFT Gary Simmons, Untitled, 2014,

ink jet posters on CDX plywood.

Courtesy of the artist and Metro Pictures, New York.

BELOW Gary Simmons, Recapturing Memories of the Black Ark, 2014, wood stage, PA speakers, monitor.

Installation view, “Prospect.3: Notes for Now,” 2014, Tremé Market Branch, New Orleans. Courtesy of the artist and Metro Pictures, New York.

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65

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For more information about SVA Continuing Education visit sva.edu/ ce. To stay current and connected, and for a complete list of alumni benefi ts, visit sva.edu/ alumni. Questions? Call 212.592.2300 or email alumni@sva.edu.

ABOVE Illustrations by

alumnus John T. Quinn III, drawn for SVA faculty member Steve Brodner's online continuing education course, POW! The Art of Politics: Creating Art that Packs a Punch.

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The Need to Know: The SVA Alumni Continuing Education Discount Benefit A message from Jane Nuzzo, director of SVA Alumni Affairs and Development

✽

Are you interested in constructing puppets for stop-motion animation? Did you hear about a job opportunity for a blacksmith? Do you need to brush up on your HTML and CSS coding skills? Can you no longer ignore the siren call of microbes and bio art? Or is the utter back-to-basics simplicity of graphite on newsprint calling your name after a long day spent in front of a computer?

In our rapid-paced, technology-driven world, industries are constantly changing, and additional training and education is often required for artists and designers to stay current with the latest developments, as is the need to remain creatively energized. Whether you are seeking to acquire new skills, enhance your current career, or just unwind, connect with like minds and get your portrait painting on, SVA Continuing Education serves the diverse needs of the professional art and design community. As a core part of this community, a

large number of SVA alumni annually take advantage of their 20% tuition discount benefit, gaining access to a faculty of distinguished professionals and established artists, and a wide variety of programs, including online offerings for those living outside of New York City.

Alumnus John T. Quinn III (BFA 1992 Media Arts) is a champion of continuing education. After graduating and having the good fortune to build a career with the Walt Disney Company as an art director and illustrator for their consumer products division, he wanted to pursue interests he hadn’t as a student. Over the years he has taken countless classes and workshops, at SVA and beyond. “I feel so fortunate to have built a career as a commercial artist and enjoy the steady flow of challenging and interesting assignments,” he says. “As a father and husband, I enjoy the steady paycheck. But I’m working for a corporation and have to balance my corporate duties with my personal creative impulses. So I take classes to inspire me and satisfy my curiosities about different forms of art making. I also believe by continuously working on myself and building a more varied skill set, I am buttressing my capacities as a leader in my day job. First and foremost, you’ve got to have the chops. If you can’t do it, no one respects you when you offer direction. In addition, peers and subordinates alike can clearly see I am curious and constantly working on self-improvement and creative growth. I suspect it contributes on some level to the respect I enjoy as a leader of creative people.”

Need some inspiration? Take a page out of John’s book and jump-start your creative practice today!

67

SVA ALUMNI SOCIETY AWARDS SPRING 2018

Thanks to generous contributions from alumni and friends of the College, each spring the SVA Alumni Society distributes several awards honoring current and graduating students. The accolades include the Alumni Society Merit Award, for a BFA candidate who demonstrated community building and leadership excellence while at SVA; the Brian Weil Memorial Award, for graduating BFA Photography and Video students; the DaVinci Award, for BFA Cartooning and BFA Illustration students whose final projects are illustrated books or graphic novels; the Richard Wilde Award, given to third-year BFA Advertising and BFA Design students; and the Silas H. Rhodes Memorial Award, established in memory of SVA’s founder, given to third-year BFA Visual & Critical Studies students who demonstrate excellence in writing.

68

Alumni Society Merit Award Eugene Lee, BFA 2018 Design Brian Weil Memorial Award Rosie Brock, BFA 2018 Photography and Video Caroline Goessling, BFA 2018 Photography and Video DaVinci Award Kyle Smeallie, BFA 2018 Illustration Richard Wilde Award Bowook Yoon, BFA Advertising Silas H. Rhodes Memorial Award Jenna Caro, BFA Visual & Critical Studies

CLOCKWISE FROM TOP LEFT

Eugene Lee, "The Modern Chair," 2018, poster; Rosie Brock, Midway, 2017, archival ink-jet print; Bowoon Yoon, "Stop Wasting Time," 2018, speculative print advertisement for Citi Bike; Rosie Brock, Teenage Boys, 2017, archival ink-jet print; Eugene Lee, packaging for Bonnie's Jams, 2017; Kyle Smeallie, excerpt from Nitehox, 2018, Photoshop; Caroline Goessling, Tony, 2017, archival pigment print.

You can help support the next generation of creative professionals by donating to the SVA Alumni Society at sva.edu/give. Be assured that 100% of your contribution will go to future award recipients.

V I SUA L A R T S JOUR N A L

DONORS The SVA Alumni Society gratefully acknowledges these SVA alumni who gave to the society from January 1, 2018 through June 30, 2018.

Dawn E. Albore BFA 1981 Illustration

David Haas 1974

Edith Ostrowsky 1972

Nana An BFA 2011 Illustration

T. Padavano BFA 1984 Illustration

Anonymous (3)

Robert Herman MPS 2009 Digital Photography

Gina Barbusci BFA 1984 Illustration

Joseph Herzfeld BFA 1991 Fine Arts

Alex Barsky MFA 2018 Visual Narrative BFA 2013 Computer Art, Computer Animation and Visual Effects

Joanne Honigman 1981 Graphic Design

We also thank these parents and friends of SVA who supported the SVA Alumni Society.

Rise Again Productions RSM US LLP Joyce Rutter Kaye Salomon Sassoon

Peter Papulis BFA 1977 Fine Arts

Bank of America

Juyeon Park BFA 2001 Illustration

Burnham NY, Inc.

Eric Perez BFA 2009 Graphic Design

Century Elevator Maintenance Corp.

Elizabeth Peyton BFA 1987 Fine Arts

Community Foundation of West Georgia

TD Bank, N.A.

Floyd M. Rappy BFA 1985 Illustration

Condé Nast

The TelCar Group

Patrice Kaplan BFA 1988 Graphic Design

Joseph DeRosa

The Paper Store and More

Scott Bluedorn BFA 2009 Illustration

Lisa Rettig-Falcone BFA 1983 Advertising

DaVinci Artist Supply

Dionisios Kavvadias BFA 1997 Computer Art

Francis Di Tommaso

Vantage Financial

DM Pros

Matthew Vosburgh

Sally Bozzuto MFA 2013 Photography, Video and Related Media

Marc Rubin BFA 1982 Advertising

Noelle King MFA 2013 Art Practice

Kaori Sakai BFA 2009 Graphic Design

Exclusive Contracting

Will & Ann Eisner Family Foundation

Amy Klein BFA 2006 Photography

Anna Santaguida BFA 2011 Illustration

Tom and Barbra Forscht

Alexander Knowlton BFA 1987 Graphic Design

Jean A. Schapowal BFA 1987 Cartooning

GHP

Emanuel Lamprinidis 1984

Phil Scheuer 1981 Illustration

Emily Langmade MFA 2013 Fine Arts

Jimmy Seo BFA 2000 Graphic Design

Anna Laytham BFA 2013 Design

Vesper Stamper MFA 2016 Illustration as Visual Essay

AnnaLiisa AriosaBenston MFA 2016 Fine Arts

Michael Brennan BFA 1994 Graphic Design Chris D’Acunto BFA 2009 Advertising Angela De Vito BFA 2014 Animation Michael Delia MFA 1987 Fine Arts Susan L. Diehl-Bell BFA 1982 Illustration Zackary Drucker BFA 2005 Photography Greg Faillace BFA 1996 Illustration

Ketta Ioannidou MFA 1999 Illustration as Visual Essay Joanna Jimenez BFA 1977 Film and Video

Patrick F. Loughran BFA 1980 Fine Arts Gianna Meola BFA 2014 Illustration

Ellen Su BFA 2013 Computer Art, Computer Animation and Visual Effects

Michelle Bonime

Michael Campbell

James Farek

Andrew Stanton Robert Sylvor Lynn Greenbaum

Jeffrey Teets Sr.

Daniel Windram

Francisco E. Homs Quiroga John Hotaling Chris and Laura Hudson Hudson Square Delivery J.S. McCarthy Printers Manfred Kirchheimer In Memory of Peter Langone Laurence G. Jones Architects, PLLC

Penelope Fournier BFA 2017 Illustration Pikshuen Fung MFA 2015 Fine Arts

Gary Messina 1969 Advertising

En Tsao BFA 2011 Graphic Design

Vanessa Germosen BFA 2003 Illustration

David Moir 1975 Photography

Mark Willis BFA 1998 Illustration

Andrew Gerndt 1971 Fine Arts

Ann Moradfor 1973

Lori Minasi

Isolina Gerona BFA 1991 Fine Arts

Jessica Moral BFA 1999 Cartooning

Chunwoo Nam

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Signature Financial LLC

General Plumbing

Louis Mercurio Mercurio Design 1970

Trish Tillman MFA 2009 Fine Arts

Seaward Corporation

Tae Y. Lee Leeder Furniture Lipinski Real Estate Advisors LLC Clara Lu

S. A. Modenstein

Novartis

69

ALUMNI NOTES & EXHIBITIONS

To submit items for consideration for Alumni Notes & Exhibitions, email alumni@sva.edu

DARIO CALMESE (MPS 2012 Fashion Photography), no. 126, 2014, archival pigment print. Calmese had work on view in the solo exhibition "Amongst Friends,"

Projects Gallery, St. Louis, MO, 2/16-3/31/18.

GROUP EFFORTS John Breiner (BFA 2004 Illustration) curated the group exhibition “Burgeonings,” featuring work by Zhi Fen Chen (BFA 2004 Animation), Clinton Street Studio, Poughkeepsie, NY, 12/1/17-1/26/18.

Naomi Lev (MFA 2013 Art Criticism and Writing) co-organized the “24:7” video art takeover at 10 Times Square featuring work by Malin Abrahamsson-Alves (BFA 1998 Fine Arts), NYC, 12/4-12/18/17.

SVA was well represented during the 2017 Miami Art Week, with a number of alumni presenting work at art fairs and local galleries, 12/6-12/10/17: Shai Kremer (MFA 2006 Photography, Video and Related Media) had work included in Art Basel Miami Beach. Laurence Gartel (BFA 1977 Media Arts) had work included in Aqua Art Miami. Katsumi Hayakawa (MFA 1999 Fine Arts), Anthony Iacono (BFA 2010 Illustration), Michelle Lopez (MFA 1994 Fine Arts) and Alice Mackler (BFA 1988 Fine Arts) had work included in NADA. Delano Dunn (MFA

70

2016 Fine Arts) had work included in Prizm Art Fair.

Tony Khawam (BFA 1983 Fine Arts) participated in Red Dot Art Miami. Kaja Andersen (MFA 2016 Fine Arts), Ashley Benston (MFA 2016 Fine Arts), Mitchell Brock (MFA 2015 Art Practice), Elizabeth Chick (MFA 2014 Art Practice), Quinn Dukes (MFA 2015 Art Practice), Renyi Hu (MFA 2013 Art Practice), Alexandra Hammond (MFA 2015 Art Practice), Ragnheidur Karadottir (MFA 2016 Fine Arts), Mathias Kessler (MFA 2013 Art Practice), Andrew Prieto (MFA 2014 Art Practice), Keijaun Thomas (BFA 2012 Fine Arts) and Benjamin Quesnel (MFA 2017 Art Practice) had work included in Satellite Art Show.

Reka Nyari (BFA 2002 Fine Arts), Naomi White (MFA 2000 Photography and Related Media) and John Zoller (BFA 1985 Fine Arts) had work included in Scope Miami Beach. Sivan Dayan (MFA 2017 Fine Arts) had work included in Spectrum Miami. Juana Valdes (MFA 1993 Fine Arts) had work included in Spinello Project - Brickell City Center. James Reyes (BFA 2013 Illustration) had work included in Superfine Art Fair. Paul Amenta (MFA 2000 Fine Arts), Matthew Craven (MFA 2010 Fine Arts), Asya Geisberg (MFA 1999 Fine Arts) and Trish

Tillman (MFA 2009 Fine Arts) had work included in UNTITLED Miami. Additionally, Qinmin Liu (MFA 2017 Art Practice) brought her own art fair transit project, Angelhaha Airlines.

Nadine Faraj (MFA 2015 Fine Arts), Amy Finkbeiner (MFA 2001 Fine Arts), Martha Fleming-Ives (MFA 2010 Photography, Video and Related Media) and Valerie Hallier (MFA 1994 Computer Art) had work included in the group exhibition “Currents: Abortion,” A.I.R. Gallery, NYC, 1/5-2/4/18.

Brian Austin (MPS 2006 Art Therapy; BFA 1987 Fine Arts), James Calhoun (BFA 2003 Animation) and Boris Ustaev (BFA 1997 Computer Art) were featured in “City Agencies Unveil ‘Made In NY Animation Project’ At The Harlem NeON,” Harlem World Magazine, 1/11/18.

Mark Adams (MFA 2006 Computer Art) and Yaron Canetti (MFA 2003 Computer Art) were nominated for Outstanding Effects Simulations in an Animated Feature; Paul Liaw (BFA 2002 Computer Art) was nominated for Outstanding Model in a Photoreal or Animated Project; V I SUA L A R T S JOUR N A L

Andrew Roberts (MFA 2007 Computer Art; BFA 2001 Animation) was nominated for Outstanding Compositing in a Photoreal Commercial; and Joel Sevilla (BFA 1999 Computer Art) was nominated for Outstanding Visual Effects in a Photoreal Episode Award; Visual Effects Society, 1/16/18.

A number of alumni projects screened at the 2018 Sundance Film Festival, Park City, UT, 1/18-1/28/18: Bennett Elliott (BFA 2010 Film and Video) produced and Robert Kolodny (BFA 2010 Film and Video) provided additional cinematography for Bisbee ’17 (2017). Sandra Itainen (MFA 2017 Social Documentary) associate produced Dark Money (2018). Crystal Moselle (BFA 2002 Film and Video) wrote and directed Skate Kitchen (2018). David Osit (MFA 2011 Social Documentary) was consulting editor for Crime + Punishment (2018).

Yohance Brown (BFA 2006 Computer Art), Robert D’Antoni (BFA 2003 Computer Art), Francisco Dias (BFA 2016 Computer Art, Computer Animation and Visual Effects), Brian Dyak (MFA 2015 Computer Art) and Eugen Sasu (BFA 2004 Computer Art) were crew members on Roger An’s (BFA 2003 Computer Art) film Alpha Fish (2017), which screened at the New Jersey Film Festival, New Brunswick, NJ, 2/9/18.

Donna Sharrett (BFA 1984 Fine Arts) and Deborah Simon (MFA 1998 Fine Arts) had work included in the group exhibition “The Neo-Victorians: Contemporary Artists Revive Gilded-Age Glamour,” Hudson River Museum, Yonkers, NY, 2/10-5/13/18.

Brian Cassidy (MFA 2006 Photography, Video and Related Media) and Melanie Shatzky (MFA 2006 Photography, Video and Related Media) screened their

film Interchange (2018) Berlin International Film Festival, Berlin, Germany, 2/16-2/24/18.

Peter Dudek (BFA 1978 Fine Arts), Kate Gilmore (MFA 2002 Fine Arts), Michael Herndon (BFA 2012 Fine Arts), Christopher Joy (MFA 2000 Fine Arts), Laura Murray (BFA 2012 Fine Arts), Ruby Palmer (MFA 2000 Fine Arts), Eric Rhein (MFA 2000 Fine Arts; BFA 1985 Fine Arts) and Linda Stillman (1972 Graphic Design) had work included in the group exhibition “The Nature Lab,” LABspace, NYC, 2/17-3/17/18.

Shellyne Rodriguez (BFA 2011 Visual and Critical Studies) was featured in a video discussing Ja’Tovia Gary’s (MFA 2014 Social Documentary) film An Ecstatic Experience for the Whitney Museum of American Art, 2/26/18.

Donna Sharrett (BFA 1984 Fine Arts) and Stephen Sollins (MFA 1997 Photography and Related Media) had work included in the group exhibition “Piece Work,” Pavel Zoubok Gallery, NYC, 3/1-4/21/18.

Matthew Craven (MFA 2010 Fine Arts) and Chris Oh (BFA 2004 Fine Arts) had work included in the group exhibition “A Tree Falls in the Woods,” Hashimoto Contemporary, San Francisco, 3/3-3/24/18.

SVA alumni worked on a number of films recognized at the 2018 Academy Awards, Academy of Motion Picture Arts and Sciences, 3/4/18: Ryan Chong (BFA 2013 Computer Art, Computer Animation and Visual Effects) was a CG modeler, Christopher DeVito (BFA 2012 Computer Art, Computer Animation and Visual Effects) was the pipeline technical director, James Jean (BFA 2001 Illustration) illustrated the poster, Aditi Khosla (BFA 2014 Computer Art, Computer Animation and Visual Effects) was an FX artist and Da Suel Kim (BFA 2012

Computer Art, Computer Animation and Visual Effects) was a lighting artist for the Academy Award–winning film The Shape of Water (2017). Christina Faraj (BFA 2016 Computer Art, Computer Animation and Visual Effects) was a set modeler, Joseph Gardner (BFA 2015 Computer Art, Computer Animation and Visual Effects) was Pixar’s former technical director, Michael Giacchino (BFA 1990 Film and Video) composed the musical score, Montaque Ruffin (BFA 2013 Computer Art, Computer Animation and Visual Effects) was a technical directing animator, Virginia Santos (MFA 1996 Computer Art) was a supervising animator and Daisuke Tsutsumi (BFA 1998 Illustration) worked in the art department of the Academy Award–winning film Coco (2017). Craig Gillespie (BFA 1989 Media Arts) directed the Academy Award–winning film I, Tonya (2017).

SVA alumni made a splash at this year’s Spring Break Art Fair, NYC, 3/6-3/12/18: Jeffrey Beebe (MFA 2006 Fine Arts) and Shiri Mordechay (MFA 2007 Fine Arts) had work included in the group exhibition “DisPlace.” Matthew Craven (MFA 2010 Fine Arts) had work included in “Pattern Recognition.” Gonzalo Fuenmayor (BFA 2000 Fine Arts) showed work in a solo exhibition. Kira Greene (MFA 2004 Fine Arts) had work included in the group exhibition “Our Great Leader Will Nuke You.” Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration) curated “Hopes Springing High,” featuring work by Delano Dunn (MFA 2016 Fine Arts), Anders Jones (MFA 2017 Photography, Video and Related Media) and Nona Simmons (BFA 1994 Photography). Elektra KB (BFA 2012 Visual and Critical Studies) had work included in “Power Abuse.” Naomi Lev (MFA 2013 Art Criticism and Writing) curated “Headlines.” Eric Mistretta (MFA 2012 Fine Arts) had work included in the solo exhibition “The Wrong Place.” Lauren Poor (BFA 2014 Photography) had work

CHRIS BORS (MFA 1998 Illustration as Visual Essay), Bad Religion (left) and Poison Idea, 2018, acrylic on canvas. Bors had work on view in the solo exhibition

"American Jesus," Occupation Gallery, NYC, 5/4-5/27/18.

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included in the MaryMary Project Space.

Eric Sutphin (MFA 2014 Art Criticism and Writing) curated “Jason Andrew: Black Diamonds.” Brian Andrew Whiteley (MFA 2013 Fine Arts) had work included in “Secret Gay Box.” Several alumni participated in the 2018 South by Southwest Festival in Austin, 3/8/18-3/19/18: Hala Abdulmalak (MFA 2010 Design Criticism) hosted Design for Impact. Justin Aversano (BFA 2014 Photography) and Travis Rix (BFA 2014 Photography) presented a talk on their organization, SaveArtSpace. Andrew Dayton (BFA 1998 Computer Art), founder of Steel Wool Games, premiered its new game, Battle for the Oasis. Randall Emmett (BFA 1994 Film and Video) executive produced A Vigilante (2018), which screened at SXSW. Samuel Gursky (BFA 2013 Film and Video) was the colorist for Weed the People (2018), Narcissister Organ Player (2018), One Eye Small (2017) and Every Time I Die - Map Change (2017), all of which screened at SXSW. Yuqi Kang (MFA 2016 Social Documentary) directed and Amitabh Joshi (MFA 2013 Social Documentary), Paola Ochoa (MFA 2015 Social Documentary) and Suparatch Watchara Amphaiwan (MFA 2015 Social Documentary) worked on A Little Wisdom (2017), which screened at SXSW. Chris Prynoski (BFA 1994 Animation) presented a talk on Titmouse. Peter Russo (BFA 2014 Animation) gave a talk about the indie record label he co-founded, “Transversive Storytelling: Music Meets Comics.” Lynn Shelton (MFA 1995 Photography and Related Media) screened Outside In (2017). Sasha Waters Freyer (BFA 1991 Photography) premiered Garry Winogrand: All Things Are Photographable.

Lisa Deloria Weinblatt (MFA Illustration as Visual Essay) and Penelope Umbrico (MFA Fine Arts) had work included in The Armory Show, Piers 91-94, NYC, 3/11/18.

Tatiane Schilaro (MFA 2015 Art Criticism and Writing) curated the group exhibition “Land+Body=Escape,” featuring work by Luiz Felipe d’Orey (BFA 2016 Illustration), The 55 Project, Miami, FL, 3/14-4/6/18.

Cynthia Bittenfield (MFA 2009 Photography, Video and Related Media), Delano Dunn (MFA 2016 Fine Arts), Walker Esner (BFA 2009 Photography), Yoav Friedländer (MFA 2014 Photography, Video and Related Media) and Calvin Rocchio (BFA 2012 Photography) had work included in the group exhibition “Change of State,” Wassaic Project, Wassaic, NY, 5/12-9/22/18.

Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration) curated and Matthew Keff (BFA 2007 Film and Video), Kenneth Lavey (BFA 2015 Photography), and Adehla Lee (MFA 2011 Fine Arts) had work included in the group exhibition "Pop of Color," Here Arts Center, NYC, 5/31-6/14/18.

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LILI ALMOG (BFA 1992 Photography), Drawing Room #15, 2017, archival pigment print. Almog had work on view in the solo

exhibitions "The Space Within" and "Perfect Intimacy," W22 Galeria, Costa Rica, 12/12/17.

1967

Anna Walter (Fine Arts) had work included in the group exhibition “Holiday Bazaar,” Carter Burden Gallery, NYC, 12/7-12/21/17.

1968

William Sullivan (Fine Arts) had work on view in the solo exhibition “Love Letters,” Rental Gallery, East Hampton, NY, 5/196/17/18.

1969

Adrian Piper (Fine Arts) had work on view in the solo exhibition “Adrian Piper: A Synthesis of Intuitions, 1965-2016,” MoMA, NYC, 3/31-7/22/18.

1972

Kathleen McSherry (BFA Graphic Design) had work included in the group exhibition “Mad Tea Party,” Mad Lavender Farm, Milford, NJ, 4/30-5/30/18.

Linda Stillman (Graphic Design) had work included in the group exhibition “Materiality,” Geoffrey Young Gallery, Great Barrington, MA, 2/3-2/25/18.

1975

Margaret McCarthy (BFA Fine Arts) had work included in the group exhibition “Landscape,” Reis Studios Experimental Space, NYC, 5/19/18.

1976

Willie Cole (BFA Media Arts) had work included in the group exhibition “Well Hung: a Multifaceted Interrogation of Stereotypes,” Gallery Aferro, Newark, NJ, 2/10-3/16/18.

Theresa DeSalvio (BFA Fine Arts) had work included in the group exhibition “Girlhood,” Howland Cultural Center, NYC, 3/3-4/1/18.

John Dunic (BFA Media Arts) had work on view in the solo exhibition “Acrylic

by John Dunic,” Auditorium Gallery, Ridgewood Public Library, Ridgewood, NJ, 1/1-1/31/18.

1977

Dawoud Bey (Photography) had work on view in the solo exhibition “Dawoud Bey: Harlem, USA and Harlem Redux,” Kalamazoo Institute of Arts, Kalamazoo, MI, 1/13-4/11/18.

Willie Chu (BFA Photography) had work on view in the solo exhibition “Who Are You?” Creative Photographers Guild Gallery, NYC, 1/27-3/4/18.

Laurence Gartel (BFA Graphic Design) gave a talk “Warhol vs Gartel. Hyp Pop,” Old School Square, Delray Beach, FL, 3/3/18.

V I SUA L A R T S JOUR N A L

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Denise Halpin (BFA Graphic Design) had work on view in the solo exhibition “The Flower Show,” The Farm on Adderley, NYC, 5/29-9/30/18.

Domonic Paris (BFA Film and Video) was the voice director for the animated feature The Son of Bigfoot (2017).

Stewart Siskind (BFA Media Arts) had work on view in the solo exhibition “Systems,” Prince Street Gallery, NYC, 1/2-1/27/18.

1978

Ann Carlisle (BFA Fine Arts) was featured in “The Story Behind Liquid Sky, the Heroin-Fueled New Wave Alien Invasion Time Forgot,” Vulture, 4/11/18.

Serge Small (BFA Photography) had work on view in the solo exhibition “Journeys in Twenty Four Millimeters: From Israel to Turkey, 1978-1982,” Lion’s Mane Salon, Philadelphia, 3/9/18.

1979

John Pelech (BFA Media Arts) had work included in the group exhibition “Salmagundi Club Photography Exhibition,” Salmagundi Club, NYC, 3/26-4/6/18.

Daniel Rosenbaum (BFA Fine Arts) had work on view in the solo exhibition “Crosscurrents,” George Bruce Library, New York Public Library, NYC, 1/132/28/18.

Amy Sillman (BFA Fine Arts) had work on view in the solo exhibition “Amy Sillman: Mostly Drawings,” Gladstone 64, NYC, 1/26-3/3/18.

1980

Patricia Bellucci (BFA Fine Arts) had work included in the group exhibition “A New World: Contemporary Art Exploring Dorothy Day’s Vision of Social Justice,” The Gallery at the Sheen Center, NYC, 12/16/17-1/12/18.

Wendel White (BFA Photography) had work on view in the solo exhibition “Red Summer,” Center for Documentary Studies at Duke University, Durham, NC, 2/21-6/2/18.

1981

Daniel Giella (BFA Illustration) curated the group exhibition “Second Annual International Women’s Day,” One Art Space, NYC, 3/9/18.

Barbara Kolo (BFA Media Arts) was featured in “Profiles in Art: Barbara Kolo,” The Female Gaze, 12/1/17.

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Kenny Scharf (BFA Fine Arts) was featured in “Make T Something,” T: The New York Times Style Magazine, 4/17/18.

1982

Susan Leopold (BFA Fine Arts) had work on view in the solo exhibition “Intersections,” Elizabeth Harris Gallery, NYC, 3/31-5/12/18.

James Meyer (Fine Arts) had work on view in the solo exhibition “New Paintings,” Place Gallery, Millerton, NY, 1/27-4/29/18.

Lorna Simpson (BFA Photography) was featured in “Lorna Simpson, America’s Most Defiant Conceptual Artist, Makes a Radical Change—to Painting,” Vogue, 2/09/18.

Joey Skaggs (BFA Advertising) served as the 2018 April Fools’ Day Parade Committee Chair, NYC, 4/1/18.

1984

Lisa Argentieri (BFA Photography) had work included in the group exhibition “American Academy of Equine Art 2018 Spring Online Exhibition,” American Academy of Equine Art, Lexington, KY, 4/19/18.

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Richard DiCarlo (BFA Film and Video) was featured in “Ansonia’s Founding Father’s Image on the City Seal Gets a Makeover,” New Haven Register, 5/10/18.

Benita Raphan (BFA Graphic Design) was awarded a Creative Engagement grant, Lower Manhattan Cultural Council and New York City Department of Cultural Affairs, 2/16/18.

Donna Sharrett (BFA Fine Arts) had work included in the group exhibition “The Neo-Victorians: Contemporary Artists Revive Gilded-Age Glamour,” Hudson River Museum, Yonkers, NY, 2/10-5/13/18.

Roberta Tucci (BFA Fine Arts) had work included in the group exhibition “Mid Atlantic New Painting 2018,” University of Mary Washington Galleries, Fredericksburg, VA, 1/25-3/18/18.

Joanne Ungar (BFA Fine Arts) had work included in the group exhibition “Consumed,” Front Room Gallery, NYC, 1/9-2/8/18.

1985

Alexis Rockman (BFA Fine Arts) was featured in “Alexis Rockman Paints the Past and Possible Futures of the Great Lakes,” Hyperallergic, 3/12/18.

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To submit items for consideration for Alumni Notes & Exhibitions, email

alumni@sva.edu 1986

Carol John (BFA Fine Arts) had work on view in the solo exhibition “Normaltown,” Ivy Brown Gallery, NYC, 2/13-4/10/18.

Marianne Weil (MFA Fine Arts) had work on view in the solo exhibition “Lighting the Past,” The Gallery of the College of Staten Island, NYC, 4/19-5/16/18.

1987

Melanie Kozol (MFA Fine Arts) had work included in the group exhibition “Aspects in Landscape,” Galerie Protégé, NYC, 2/15-3/21/18.

Gary Petersen (MFA Fine Arts) had work included in the group exhibition “If You Would Just Shut Up and Listen,” Mindy Solomon Gallery, Miami, FL, 3/16-4/28/18.

Elizabeth Peyton (BFA Fine Arts) had work on view in the solo exhibition “Elizabeth Peyton at Two Palms,” Two Palms, NYC, 1/15/18.

Eric Weeks (BFA Photography) had work on view in the solo exhibition “A Rose by Any Other Name,” Selegie Arts Centre, The Photographic Society of Singapore, Singapore, 5/19-6/18/18.

1988

1990

Gina Minichino (BFA Cartooning) had work on view in the solo exhibition “Tasty Realism,” George Billis Gallery, NYC, 2/6-3/10/18.

1992

Renée Cox (MFA Photography and Related Media) had work on view in the solo exhibition “Soul Culture,” Columbia Museum of Art, Columbia, SC, 12/15/174/22/18.

Johan Grimonprez (MFA Fine Arts) screened Blue Orchids (2016), DocHouse, London, UK, 5/9/18.

Ansel Pitcairn (MFA Illustration as Visual Essay) had work included in the group exhibition “Telling a People’s Story,” Miami University Art Museum, Oxford, OH, 1/30-6/30/18.

Dante Tomaselli (BFA Advertising) was featured in “The Sounds of Terror: An Interview with Dante Tomaselli,” The Cathode Ray Mission, 5/10/18.

1993

Scott Bakal (BFA Illustration) was featured in “Illustrator Profile - Scott Bakal,” American Illustration - American Photography, 1/4/18.

Alyce Gottesman (MFA Fine Arts) had work on view in the solo exhibition “Rangadravya,” The Painting Center, NYC, 1/30-2/24/18.

Shawn Martinbrough (BFA Illustration) had work on view in the solo exhibition “Shawn Martinbrough,” Society of Illustrators, NYC, 4/24-6/30/18.

Eva Mantell (MFA Fine Arts) had work included in the group exhibition “Temperature Change,” SOHO20, NYC, 1/5-2/4/18.

1994

Christopher Neyen (BFA Illustration) had work included in the group exhibition “Goldberg Neyen,” CMA Gallery, Mount Saint Mary College, Newburgh, NY, 3/16-9/30/18.

Catya Plate (Fine Arts) screened Meeting MacGuffin (2017), Queens World Film Festival, NYC, 3/15-3/25/18.

1989

Craig Gillespie (BFA Advertising) directed I, Tonya (2017), which was released theatrically 12/8/17.

Margaret Lanzetta (MFA Fine Arts) was awarded the Instinc Art Residency, Instinc Studios, 2/2/18.

Brian Rutenberg (MFA Fine Arts) had work on view in the solo exhibition “Thunderhead,” Jerald Melberg Gallery, Charlotte, NC, 5/18-7/21/18.

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Inka Essenhigh (MFA Fine Arts) had work on view in the solo exhibition “Inka Essenhigh,” Miles McEnery Gallery, NYC, 4/19-5/25/18.

Steve Herold (BFA Film and Video) screened Death of an Umbrella Salesman (2018), Garden State Film Festival, Asbury Park, NJ, 3/24/18.

Eileen Karakashian (BFA Advertising) had work on view in the solo exhibition “Abstraction,” Union Arts Center, Sparkill, NY, 5/19-6/23/18.

Leemour Pelli (BFA Fine Arts) had work included in “The Art Takes Manhattan,” Robert Miller Gallery, NYC, 3/8-3/11/18.

1995

Michael De Feo (BFA Graphic Design) was the keynote speaker at “Art in Bloom,” Dallas Museum of Art, Dallas, TX, 3/26/18.

Jalal Pleasant (Fine Arts) had work included in the group exhibition “Fake News,” Fantagraphics Bookstore and Gallery, Seattle, WA, 4/23/18.

Edie Winograde (MFA Photography and Related Media) had work on view in the solo exhibition “Place and Time,” Robischon Gallery, Denver, CO, 1/11-3/3/18.

1996

2001

Amy Finkbeiner (MFA Fine Arts) presented their performance “The Reliquarian,” Itinerant Performance Art Festival, NYC, 5/19/18.

James Jean (BFA Illustration) had work on view in the solo exhibition “Azimuth,” Kaikai Kiki Gallery, Tokyo, Japan, 4/65/3/18.

Barnaby Furnas (BFA Fine Arts) was featured in “Barnaby Furnas’s Historical Paintings for Tumultuous Times,” Forbes, 3/16/18.

Mika Rottenberg (BFA Fine Arts) had work on view in the solo exhibition “Mika Rottenberg,” Bass Museum of Art, Miami, FL, 12/7/17-4/30/18.

Amantha Tsaros (MFA Illustration as Visual Essay; BFA 1990 Media Arts) had work included in the solo exhibition “Excessive Exuberance,” Munroe Center for the Arts, Lexington, MA, 2/13-3/10/18.

2002

1997

Enid Alvarez (BFA Photography) had work on view in the solo exhibition “New York State of Mind,” Lazarus Gallery at United Hebrew, New Rochelle, NY, 1/4-7/1/18.

Raul Manzano (BFA Illustration) curated “Fifty Years Still Dreaming,” Livingston Gallery, NYC, 2/7-4/30/18.

Sarah Sze (MFA Fine Arts) was inducted as a 2018 newly elected member into the American Academy of Arts and Letters, 2/20/18.

1998

Brian Finke (BFA Photography) had work on view in the solo exhibition “Hip Hop Honeys,” ClampArt, NYC, 3/29-5/12/18.

Michael Newman (BFA Illustration) was selected as a finalist in the Amazon Alexa Skills Challenge: Kids, 1/31/18.

Jonathan Twingley (MFA Illustration as Visual Essay) was featured in “Jonathan Twingley on Sketching,” American Illustration - American Photography, 1/2/18.

1999

John Arsenault (BFA Photography) had work on view in the solo exhibition “For You! Modern Day Love Letters,” Mott NYC, NYC, 12/12/17-1/29/18.

Anna Zaderman (BFA Fine Arts) had work included in the group exhibition “BHS 17th Annual Winter Art Show,” Bayside Historical Society, Bayside, NY, 1/14-1/28/18.

2000

Kevin Cooley (MFA Photography and Related Media) had work on view in the solo exhibition “Still Burning,” Kopeikin Gallery, Los Angeles, CA, 2/24-4/7/18.

Liza Gorelin (BFA Computer Art) had work included in the group exhibition “Artexpo New York,” NYC, 4/19-4/22/18.

Nathan Powell (BFA Cartooning) had work included in the solo exhibition “The Art of MARCH: A Civil Rights Masterpiece,” Society of Illustrators, NYC, 2/28-6/30/18.

Michael Alan (BFA Fine Arts) had work on view in the solo exhibition “Mind Body Sound,” Khorasheh + Grunert, NYC, 12/6-12/9/17.

Mikhael Antone (MFA Photography and Related Media) was featured in “Husband/Wife Team Finds Success with The Great T-Shirt Store,” Staten Island Media Group, 1/4/18.

Marlena Buczek Smith (BFA Graphic Design) had work on view in the solo exhibition “The Debate Of...,” The Local, NYC, 5/1-6/30/18.

Kate Gilmore (MFA Fine Arts) was awarded the Guggenheim Foundation Fellowship, John Simon Guggenheim Memorial Foundation, 4/5/18.

David Heredia (BFA Animation) was featured in “Front and Center: Celebrating Black Comics and Their Creators,” The New York Times, 1/11/18.

Aya Kakeda (MFA Illustration as Visual Essay) was featured in “Darkness Is Comforting: The Japanese Artists Subverting Kawaii Culture,” Broadly, 12/12/17.

Timothy Mensching (BFA Illustration) was named as one of Artsy’s 15 “Breakout Artists,” Artsy, 4/30/18.

Reka Nyari (BFA Fine Arts) had work on view in the solo exhibition “Valkyrie Ink,” Emmanuel Fremin Gallery, NYC, 3/1-4/15/18.

Diana Shpungin (MFA Fine Arts) had work on view in the group exhibition “Part II,” Dieu Donne, NYC, 1/30-3/16/18.

Raina Telgemeier (BFA Illustration) had work on view in the solo exhibition “Smile! The Comics of Raina Telgemeier,” Cartoon Art Museum, San Francisco, 1/18-1/28/18.

V I SUA L A R T S JOUR N A L

CHRIS SCHANCK (BFA 1998 Fine Arts), Nite Light, 2018. Photograph by Michelle and Chris Gerard, courtesy Friedman Benda and Chris Schanck. Schanck had work on view in the solo exhibition "Unhomely," Friedman Benda, NYC, 3/1-4/14/18.

2003

Lauren Berke (MFA Illustration as Visual Essay) was featured in “Lauren Simkin Berke’s Conceptual Illustrations Combine Multiple Mediums,” 4by6, 4/1/18.

Gregory Golinski (BFA Film and Video) was featured in “Top 33 Tips from the Pros on Inbound Marketing Strategy,” Fit Small Business, 1/29/18.

Jade Kuei (BFA Animation) had work included in the group exhibition “The Post-It Show,” Giant Robot Media, Los Angeles, CA, 12/2/17.

Ann Lepore (MFA Computer Art) had work included in the group exhibition “Case Studies,” Main Gallery, Gallery Aferro, Newark, NJ, 2/10-3/16/18.

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Michael Schmidt (BFA Cartooning) published What Will You Be, Little Raccoon?

(CreateSpace Independent Publishing Platform, 2017).

Yuko Shimizu (MFA Illustration as Visual Essay) was awarded the Hamilton King Award, Society of Illustrators, 1/11/18.

2004

Adam Bell (MFA Photography, Video and Related Media) was awarded the Individual Artist Fellowship, New Jersey Council of the Arts, 2/13/18.

Anne Peabody (MFA Fine Arts) had work included in the group exhibition “SXRVXVE: An Art Space,” The Center at West Park, NYC, 1/23-1/27/18.

2005

Mary O’Malley (MFA Fine Arts) had work on view in the solo exhibition “The Birds & The Bees: In Celebration of the Pollinators,” Alice Milton Gallery, Tower Hill Botanic Garden, Boylston, MA, 3/65/13/18.

2006

Amy Elkins (BFA Photography) had work on view in the solo exhibition “Black Is the Day, Black Is the Night,” High Museum of Art, Atlanta, GA, 3/1-4/29/18.

Timothy Goodman (BFA Graphic Design) collaborated with Uniqlo on a clothing collection, NYC, 12/1/17.

Jonathan Gardner (BFA Illustration) had work on view in the solo exhibition “The spot of the eye,” Mary Mary Gallery, Glasgow, Scotland, 2/10-3/24/18.

Alejandra Laviada (MFA Photography, Video and Related Media) gave a talk at the Bechtler Museum of Modern Art, Charlotte, NC, 2/21/18.

2007

Katherine Moffett (BFA Graphic Design) was featured in “Katherine Moffett,” Musa Milano, 5/7/18.

Elizabeth Castaldo (BFA Fine Arts) had work included in the group exhibition “Exposed Strata,” SGCI 2018 Printmaking Conference, Las Vegas, 4/4-4/7/18.

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The MFA Illustration as Visual Essay Award came at a crucial point in my thesis as it gave me the encouragement and confidence to explore my project beyond the gallery walls.

The funds gave life to a VR experiment which was a huge success.”

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Alumni Society Andrew Thornton (BFA Fine Arts) was awarded Score’s American Small Business Championship, 4/28/18.

2008

Questions? 212.592.2300 or alumnisociety@sva.edu

Gregg Louis (MFA Fine Arts) had work on view in the solo exhibition “After Yesterday, Before Tomorrow,” Monaco Gallery, St. Louis, MO, 5/18-6/15/18.

Cannaday Chapman (BFA Illustration) created the Google Doodle honoring Martin Luther King Jr., 1/15/18.

John MacConnell (MFA Illustration as Visual Essay) was featured in “Instagays, Unfiltered,” Vice, 1/8/18.

Catherine Del Buono (MFA Photography, Video and Related Media) had work included in the group exhibition “Violated Bodies: New Languages for Justice and Humanity,” Shiva Gallery, John Jay College of Criminal Justice, NYC, 2/284/13/18.

Marilyn Montufar (BFA Photography) had work included in the solo exhibition “Transcending Identity: Impressions of People, Community and Landscapes,” 4Culture, Seattle, WA, 2/1-2/22/18.

Jade Doskow (MFA Photography, Video and Related Media) had work on view in the solo exhibition “Lost Utopias,” Front Room Gallery, NYC, 4/20-5/20/18.

Allison Kaufman (MFA Photography, Video and Related Media) had work on view in the solo exhibition “Limited Time Offer,” Trestle Projects, NYC, 2/143/31/18.

2009

Andrew Castrucci (MFA Fine Arts; BFA 1984 Media Arts) curated “The Cocaine Files Dossier,” Melvin Edler Gallery, NYC, 2/23-3/25/18.

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Trish Tillman (MFA Fine Arts) had work on view in the solo exhibition “Remains (To Be Seen),” True F. Luck Gallery, Richmond, VA, 3/30-6/3/18.

2010

Matthew Craven (MFA Fine Arts) had work included in the group exhibition “Capita,” Danese/Corey, NYC, 2/233/24/18.

Natan Dvir (MFA Photography, Video and Related Media) was awarded the LensCulture Emerging Talent Award, LensCulture, 3/7/18.

Anthony Iacono (BFA Illustration) had work on view in the solo exhibition “Talking to Strangers,” P.P.O.W. Gallery, NYC, 4/26-5/25/18.

2011

Ashley Gerst (MFA Computer Art) was featured in “Explore the World of Fine Arts Animation,” Professional Artist Magazine, 12/1/17.

Cynthia Hinant (MFA Fine Arts) had work included in the group exhibition “Transformations,” Häusler Contemporary Munich, Munich, Germany, 5/3-7/27/18.

Julie Schenkelberg (MFA Fine Arts) had work on view in the solo exhibition “Reliquary,” Asya Geisberg Gallery, NYC, 1/11-2/17/18.

Elektra KB (BFA Visual & Critical Studies) was featured in “The Artist’s Guide to New York City - 6 Female Artists Share Their Favorite Spots,” Untitled, 4/8/18.

Jonny Ruzzo (BFA Illustration) had work included in the group exhibition “Pussies,” Parlor Gallery, Asbury Park, NJ, 4/20/18.

Pacifico Silano (MFA Photography, Video and Related Media) was awarded the BRIC Media Arts Fellowship, BRIC, 1/24/18.

Amelie Znidaric (MFA Design Criticism) curated “Making Africa,” Albuquerque Museum, Albuquerque, NM, 2/3-5/6/18.

Heidi Zito (MFA Photography, Video and Related Media) had work included in the group exhibition “Promises to Keep,” Georges Berges Gallery, NYC, 4/19/18.

2012

2013

Behnood Dadfar (BFA Film and Video) was featured in “School Daze,” International Cinematographers Guild Magazine, 1/1/2018.

Bridget Badore (BFA Photography) had work on view in the solo exhibition “Portraits of the 14th Street Y,” 14th Street Y, NYC, 12/2/17-1/6/18.

M. Benjamin Herndon (BFA Fine Arts) was featured in Winter Issue 6 of Art Maze Mag, 2/20/18.

Anna Beeke (MFA Photography, Video and Related Media) was featured in “At Sea with Anna Beeke,” iGNANT, 1/19/18.

Ina Jang (MPS Fashion Photography; BFA 2010 Photography) had work on view in the solo exhibition “Utopia,” Foley Gallery, NYC, 4/4-5/13/18.

Faith Holland (MFA Photography, Video and Related Media) screened RIP Geocities (2011), Go Short International Short Film Festival, Nijmegen, Netherlands, 4/11/18-4/15/18.

V I SUA L A R T S JOUR N A L

Andrea Tsurumi (MFA Illustration as Visual Essay) had work included in the group exhibition “Illustrators 60 Exhibit: Part Two: Book and Editorial,” Society of Illustrators, NYC, 1/31-2/24/18.

Patricia Voulgaris (BFA Photography) was featured in “Studio Visit: Patricia Voulgaris,” Elephant, 2/7/18.

Brian Andrew Whiteley (MFA Fine Arts) had work included in the group exhibition “Art on Paper,” Center Street Studio, Boston, 3/1/18.

2014

Irene Chin (BFA Fine Arts) screened “Friends of Wonder,” Metrograph, NYC, 3/1/18.

Nadia Haji Omar (MFA Fine Arts) had work on view in the solo exhibition “Ellipsis,” Kristen Lorello Gallery, NYC, 4/5-5/25/18.

Blas Madera (BFA Design) was awarded First Place in the Digital Category at the 2018 Young Lions Competition, National CineMedia, 5/1/18.

Taylor Mickle (MPS Digital Photography) had work included in the group exhibition “A Round Palm Springs,” Palm Springs Convention Center, Palm Springs, CA, 2/16-2/19/18.

Colin Webber (BFA Design) was featured in “15 Artists Under 30: Colin Webber,” Print, 2/5/18.

2015

Michael Bailey-Gates (BFA Photography) was featured in “The Emerging Photographer Inspired by Classical Portraiture,” The New York Times, 3/28/18.

Peter Buotte (MPS Art Therapy; BFA 1999 Fine Arts) organized the Texas Creative Forces Arts and Military Conference, Killeen, TX, 1/29-1/30/18.

Craig Coss (MFA Visual Narrative) was featured in “Illustrating HBO’s Game of Thrones Tarot | Interview with Craig Coss,” Abrams and Chronicle, 3/20/18.

GAVIN KENYON (MFA 2006 Fine Arts), Sunset, 2018, cast iron, wood, enamel paint on canvas. Kenyon had work on view in the solo exhibition "Pathological Chroma," Marlborough Contemporary, NYC, 3/22-4/28/18.

Renyi Hu (MFA Art Practice) had work on view in the solo exhibition “Mutation,” K11 Art Mall, Shanghai, China, 3/24-3/25/18.

Federico Infante (MFA Illustration as Visual Essay) had work on view in the solo exhibition “The Geography of Hope,” Hugo Galerie, NYC, 5/26-6/17/18.

Antonio Pulgarin (BFA Photography) had work included in the group exhibition “Revival: Contemporary Pattern & Decoration,” El Museo del Barrio, NYC, 4/4-6/6/18.

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Audrey Rodriguez (BFA Design) had work included in the group exhibition “Marca X,” La Galería at Villa Victoria Center for the Arts, Boston, 1/11-2/15/18.

Jennifer Rozbruch (MFA Design) was awarded the 2018 World Changing Ideas Award in the apps category, Fast Company, 4/9/18.

Ilona Szwarc (BFA Photography) was featured in “The Horror of Flesh,” The Reservoir, 5/1/18.

Stephen Cup (MFA Illustration as Visual Essay) had work on view in the solo exhibition “Breaking Point,” Waterloo Arts, Cleveland, OH, 4/6-5/13/18.

Dana Terrace (BFA Animation) created and executive produced the Disney Channel’s forthcoming animated horror-comedy series, Owl House (2018), NYC, 2/23/18.

Quinn Dukes (MFA Art Practice) presented her performance “User Error: A Night of Performance Art,” Museum of Contemporary Art Tucson, Tucson, AZ, 3/2/18.

Denise Treizman (MFA Fine Arts) had work on view in the solo exhibition “The Marshmallow Method,” Proto Gallery, Hoboken, NJ, 3/24-5/20/18.

Mary Glass (BFA Cartooning) had work included in the group exhibition “Timeless Greece,” RiverWinds Gallery, NYC, 1/13-2/4/18.

Tahir Karmali (MPS Digital Photography) was awarded the Spring Residency, Triangle Arts Association, 3/20/18.

77

Melissa Malzkuhn (MFA Visual Narrative) was awarded an Obama Foundation Fellowship, 4/16/18.

Natalya Margolin (BFA Fine Arts) had work included in the group exhibition “Immigration Now,” Penn State Abington Art Gallery, Abington, PA, 1/16-3/2/18.

Bryan Moore (MFA Art Practice) had work on view in the solo exhibition “Brazen Bull: A Natural Mythstory of North America,” Rosenthal Gallery of Art, College of Idaho, Caldwell, ID, 1/174/30/18.

Jung Mun (MFA Fine Arts) had video work included in “The Illuminator,” State of Emergency Redux: Live Projection Event, NYC, 5/24/18.

Robin Newman (MFA Design for Social Innovation) gave the keynote lecture at the United Nations Student Conference on Human Rights, NYC, 1/18-1/19/18.

2016

Delano Dunn (MFA Fine Arts) had work on view in the solo exhibition “Dreams of Fire and Starshine,” Project for Empty Space, Newark, NJ, 5/30-8/12/18.

Irene Mohedano Roman (MA Critical Theory and the Arts) had work included in the group exhibition “Génerx: From What Is Said to What Is Done,” Instituto Cervantes, NYC, 2/15/18.

Alexandra Romero (BFA Fine Arts) was commissioned by Bloomingdale’s to create an oversized sculpture of a stiletto shoe in celebration of its expanded shoe department at its flagship location in NYC, 4/6/18.

Vesper Stamper (MFA Illustration as Visual Essay) published What the Night Sings (Knopf Books for Young Readers, 2018).

Mohammid Walbrook (BFA Photography and Video) had work included in the Pavilion of Antigua and Barbuda, 16th International Architecture Exhibition, 2018 Venice Biennial, Venice, Italy, 5/2611/25/18.

2017 Elizabeth Astor (BFA Film) was featured in “House of Cards, The Wire Actors Help Close the 20th Maryland Film Festival,” The Baltimore Sun, 5/7/18.

Georgia Lale (MFA Fine Arts) had work included in the group exhibition “Transplants,” Anya and Andrew Shiva Gallery, NYC, 5/2-6/28/18.

Jodi Chamberlain’s (BFA Computer Art, Computer Animation and Visual Effects) short film Broadside (2017) screened at the American Pavilion Emerging Filmmaker Student Showcase at the Cannes Film Festival, Cannes, France, 5/8-5/19/18.

Ching Tien Chu (MFA Computer Art)’s film, Verge (2017), was shortlisted for the BAFTA Student Film Awards, British Academy of Film and Television Arts, 5/3/18.

Sivan Dayan (MFA Fine Arts) had work on view in the solo exhibition “Can’t Let Go,” Sotheby’s Institute of Art, NYC, 4/18/18.

Michelle Nahmad (MFA Visual Narrative) was featured in “Michelle Nahmad Finds Creative Paths from Her Cultural Roots,” 4by6, 3/10/18.

Benjamin Quesnel (MFA Art Practice) was awarded Sprouting Spaces: Studios for Contemporary Artists, Clementia Arts Foundation, 12/16/17.

Aya Rodriguez-Izumi (MFA Fine Arts) had work on view in the solo exhibition “No. 1 Pretty,” Life Lessons, NYC, 1/202/3/18.

Joe Sulsenti’s (BFA Animation) animated short film Fishy (2017) won Best LGBTQ Short at the Oxford Film Festival, 2/12/18.

Alex Hovet (MFA Photography, Video and Related Media) screened “QueerTech.io = ART (URL, IRL),” Australian Centre for the Moving Image, Melbourne, Australia, 2/2/18.

Prang Vejjajiva (MFA Fine Arts) had work included in the group exhibition “Getting Personal,” The Lodge Gallery, NYC, 5/23-6/17/18.

Sangeun Hwang (BFA Fine Arts) had work included in the group exhibition “Around Us,” Kate Oh Gallery, NYC, 3/294/30/18.

Tianshi Xiao (BFA Visual and Critical Studies) curated “Dyspepsia: A Techno-Existential Intrusion into the Human Body,” Arete Venue and Gallery, NYC, 2/15-2/28/18.

Chenxue Lu (BFA Animation) animated film To Be Fiona (2018) was accepted into the Bechdel Film Festival, Houston, TX, 2/15-2/22/18.

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V I SUA L A R T S JOUR N A L

CHRIS SCHANCK, Gold 900, 2018. Photograph by Michelle and Chris Gerard, courtesy Friedman Benda and Chris Schanck.

IN MEMORIAM Manuela Ruiz (BFA 2009 Computer Art, Computer Animation and Visual Effects) died on November 25, 2017.

Ruiz served as a senior creative director at DailyMail.com, and held creative or design positions at MediaCom, Viacom and Liquid Entertainment. She was born and raised in Medellín, Colombia, and moved to Miami at the age of 17, shortly before enrolling as a student at SVA. She is survived by her parents and siblings.

Bob Milgrom, co-chair of the Humanities and Sciences Department, died on April 15, 2018. He began his career at SVA as a faculty member in 1976, while pursuing his PhD at City University of New York. He taught a wide variety of courses and was named Humanities and FA L L 20 18

Sciences co-chair in 1991. Prior to SVA, Milgrom was a lecturer, political activist and labor organizer. He also completed postdoctoral training in psychotherapy and maintained a private practice. His contributions to SVA were significant, and he will be deeply missed by his students, colleagues and the entire College community.

Nick Meglin (BFA 1976 Illustration) died on June 2, 2018. Meglin served as a top editor at Mad magazine from 1984 to 2004, where he helped shape the magazine’s satirical voice by seeking a balance between humor and fairness.

He was born and raised in Brooklyn, New York, and attended Brooklyn College prior to coming to SVA. In addition to his work at Mad, he wrote lyrics for several musicals, including Grumpy Old Men:

The Musical, based on the 1993 film. He is survived by his partner, Linda Maloof; his son, Christopher; three grandchildren; and his siblings.

Christopher Darling (MFA 2010 Illustration as Visual Essay) died on June 17, 2018. Darling was a talented illustrator with over 10 years of experience as a freelancer, and his paintings and illustrations have been published and exhibited internationally. In 2010 he co-founded Carrier Pigeon, a magazine of illustrated fiction and art. Most recently, he served as an assistant professor in the Kent State School of Visual Communication Design, where he had been a faculty member since 2014. He previously taught at Queens College in New York City. He is survived by his wife, Elaine, siblings and parents.

Steve Ditko (G 1953 Cartooning) died on June 29, 2018. One of the most influential comics artists of the 1950s and ’60s, Ditko created or co-created some of the best-known superheroes and villains for Marvel Comics, including Spider-Man, Dr. Strange and Dr. Octopus. In his later decades he focused on self-published work, funded through Kickstarter donations and online sales. His art was praised for its portrayal of emotions and otherworldly realms; Ditko is in both the Jack Kirby and Will Eisner halls of fame and his work has been shown internationally in numerous exhibitions, including a 2016 career retrospective at the Casal Solleric museum in Spain.

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FROM THE ARCHIVES

“T

here’s nothing wrong with three circles,” says Paula Scher, Pentagram partner, longtime SVA faculty member and one of the world’s leading graphic designers, reconsidering the logo and identity she designed for the College 30 years ago. There are things she would do differently today—lighter line weight, less heavy color, greater input from faculty and students—but Scher’s SVA logo is of a moment, a pivot point or perhaps a minor case study in the trajectory of her career and shifting attitudes in design history.

SVA’s founder and then chairman Silas H. Rhodes asked Scher to design a logo to succeed Milton Glaser’s 40th anniversary logo for the College, which was used throughout 1987. Scher had joined the SVA faculty in 1982 and taught a senior portfolio class, which she still leads today.

Scher’s logo was built on the stripped-down S-V-A letterforms (Scher is known for her use of type) and notable for its adaptability—the three circles enclosing the letters could be arranged vertically, horizontally or diagonally. The colors—originally a bright orange-red, royal blue and white—could also be adjusted as needed. “The whole point was to give SVA a fluid identity,” Scher explained in a Visual Arts Journal article at the time. “Each letterform becomes a symbol, with the idea that the thing can move.”

The logo went everywhere: on business cards, stationery, catalogs, T-shirts, flags. In retrospect, however, Scher considers her design approach conservative even by the standards of the

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day. She had already produced, in 1984, a truly “movable identity,” she says, for Manhattan Records, with materials made of different configurations adapted from Piet Mondrian’s Broadway Boogie-Woogie (1942 – 1943), so that no two components of the identity were the same, and it was recognizable without the logo, just by the box or the label. At the time of the SVA commission, Scher was working for Öola, a Swedish candy company, creating what would be her first corporate brand identity, with logo, packaging, a custom font and store design. “You don’t just make a logo and expect everybody to use it on everything,” she says, citing those projects as period examples that, however much they shared with the SVA logo in their modernist, de Stijl styling, felt more contemporary.

“Identities right now are much more liquid,” Scher says. “They have to work very small, they have to work very large, they have to work in every single medium, in every single form, and you have to think about that when you design it.”

Still, the flexibility of the SVA design speaks to Scher’s prescient understanding of the needs and desires of current-day clients, be they corporate or cultural, seeking an effective graphic identity. And, she admits, “It’s nice to play with.” [Emma Drew] CLOCKWISE FROM LEFT In the 1980s, Pentagram partner and SVA faculty member Paula Scher created what she called “movable identities” for Swedish candy company Oola, the School of Visual Arts and Manhattan Records.

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