2018 MFA catalog, Tyler School of Art and Architecture

VERSUS 2018 TYLER SCHOOL OF ART

Temple University

FOREWORD BY

Stan Mir

Versus is an interdisciplinary collaboration, produced by the 2018 Master of Fine Arts candidates in partnership with the graduate students and faculty of the Department of Art History at Tyler School of Art, Temple University.

ACKNOWLEDGMENTS A D M I N I S T R AT I V E S U P P O R T

G R A D U AT E FA C U LT Y

Susan Cahan Dean

Steven Berkowitz

Leah Modigliani

Gerard Brown

Susan Moore

Kate Wingert-Playdon Associate Dean and Graduate Director

Chad Curtis

Keith Morrison

Amze Emmons

Dona Nelson

Philip Glahn

Odili Odita

Abby Guido

Karyn Olivier

Jesse Harrod

Sharyn O’Mara

Kelly Holohan

Bryan Satalino

Richard Hricko

Vickie Sedman

Nichola Kinch

Paul Sheriff

Stephanie Knopp

Mark Shetabi

Scott Laserow

Samantha Simpson

Stanley Lechtzin

Hester Stinnett

Roberto Lugo

Kim Strommen

Dermot MacCormack

Christian Tomaszewski

Martha Madigan

Byron Wolfe

Rebecca Michaels

FOREWORD WRITTEN BY

STA N M I R Although there are few career choices met with as

A few students in this year’s class have remarked

much cynicism, the artist chooses a life of art-making

that they “feel more unsure than ever.” That sentiment

on purpose. As with being a writer or a teacher, the

echoes my feeling at the completion of an MFA in

pursuit of an MFA in the visual arts promises struggle,

writing, just after 9/11. During those years, the Patriot

as least in the beginning, and very little chance of

Act gave wider authority to the government to track

riches. The surety of trade-offs and dubious financial

and store the details of our lives, particularly online,

rewards belies the simple reply artists have to the

and the invasion of Afghanistan carried a sense of

societal question: what are you going to do with that?

heightened nationalism in our country.

We answer: make art.

The 2018 class of Tyler MFA candidates recognizes

These days, however, new obstacles threaten the introspection required for this pursuit: the endless stream of pings and push-notices from ‘smart’ devices, the expectation that we detail our interactions with each other on social media, and our need to sift through these online environments to track the everincreasing rapidity of the news cycle.

There are also financial threats. Since the early 1980s, (and therefore the entire lives of most current MFA candidates), Republicans in Congress have perennially endangered funding for the arts, whether through the elimination of the National Endowment for the Arts, or the reduction in school art programs, because they would rather see a world that exists solely for capitalist gain.

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these challenges, and their roles as defenders and resistors. At the most basic level, these student-artists defend their belief in the value of art. By extension, they stand in solidarity with artists throughout history. Each time they pick up the tools of their given medium, this concentration resists the risks described above, in favor of the active creation of a life of art.

One of the first tests for any artist, particularly for the young, is whether her work is any good. I’d wager that nothing interesting was ever made by one free of doubt.

As John Berger observes:

There is not a significant artist in the world who is not asking himself whether his art is justified —not on account of the quality of his talent, but on account of the relevance of art to the demands of the time in which he is living.

Whether we see our work as engaged with political

Blake sees the “body as a vessel of transmission.” His

reality or not, there is no running from the long

paintings are not acts of nostalgia; they are reminders

shadow cast by detrimental policies that skew power

that the legacy of the Civil War still haunts this country.

into the hands of few. Perhaps more damaging is

Visual art, then, becomes one of our only means to

the poisonous attitude expressed by those at the top

challenge the passage of time and the erosion of

(and echoed throughout society), that no value exists

memory. Marisa Keris’ description of the impetus

outside what can be bought and sold. The urgency

behind her work is particularly apt: “I paint because

with which an artist makes her work does not remove

I cannot stop time.” Could we apply that statement to

these doubts. It does, however, establish agency and a

nearly every art form?

sense of latent power. When I look at the work of the artists in the pages of this catalogue, it’s clear their art work challenges various cultural systems.

In many ways, art-making feels like a contest with time. I hesitate to call it a race. What will we do with the time afforded us? Will we defend our lives

Here are only a few examples: Nathan

as artists and citizens? Will we resist all comers who

McChristy, a U.S. Armed Services veteran, aims

attempt to strip us of our empathy for one another?

to expand consciousness through compassion

No matter what we might be told, effective resistance

in his photography; Eleanor Conover, in her painting,

involves art in all its forms.

asks how a woman acknowledges the false Puritan promise of Arcadia; and Ting Chou, a native of Taiwan has created a Hugging Manual for International Students, to show how to become a “good hugger,” and to illustrate cultural difference.

Tyler’s MFA program has been an incubator of aesthetics and friendship for these artists. They arrived here by choice, seeking community and a sense of mission. While that mission will vary from person to person, one aspect never changes.

Other artists in this year’s class are taking on

To expand on Berger’s insight, there is not a

the formidable entities of time and space. Kristine

significant artist in the world who does not under-

Rumman’s work, in its reference to traditional

stand the core of an artist’s task: to show us what

Palestinian design, captures the melancholy of living

we need to see, and can’t find anywhere else.

between two places, Palestine and the United States.

As a Civil War re-enactor and painter, William

FOREWORD

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CONTENTS CERAMICS

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Leonor Marion-Landais Megan Reddicks Pignataro

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Tyler Schrandt Michael Carroll

F I B E R S & M AT E R I A L S T U D I E S

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Kate Garman Giovanna Bellettiere

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Kelly Kuykendall Kristina Murray

Kris Rumman Michael Carroll

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GRAPHIC & INTERAC TIVE DESIGN

Yi-Ting Chou Tara Kaufman

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Alyssa Hamilton Erin Riley-Lopez

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Craig Moscony Christophina Richards

M E TA L S / J E W E L R Y / C A D - C A M

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PA I N T I N G

Katie Batten Ali Printz

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Shwarga Bhattacharjee Giovanna Bellettiere

Eleanor Conover Tara Kaufman

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Marisa Keris Tara Kaufman

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Alison Kruvant Ali Printz

78

Bonnie Staley Michael Carroll

Elmi L. Ventura Mata Jessica Anders

86

Stav Yosha Michael Carroll

P H OTO G R A P H Y

90

Maggie Flanigan Erin Riley-Lopez

94

Nicole Harvey Tara Kaufman

98

Nathan McChristy Megan Reddicks Pignataro

PRINTMAKING

102

Toan Vuong Giovanna Bellettiere

106

Kate Wilson Erin Riley-Lopez

Holly Salverio Jessica Anders

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66

Jenny Kowalski Christophina Richards

William Blake Ali Printz

Caitlin Vitalo Erin Riley-Lopez

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GLASS

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PA I N T I N G , CO N T.

SCULPTURE

110

Zoe Berg Lauren Fueyo

114

Maya Olympia Bush María Leguízamo

118

Robin Donnelly Giovanna Bellettiere

122

Taylor Sweeney Megan Reddicks Pignataro

CONTENTS

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LEONOR MARION-LANDAIS WRITTEN BY

M E G A N R E D D I C K S P I G N ATA R O Leonor Marion-Landais critiques beauty

Marion-Landais considers both the pain (of

standards that encourage women of color to

repetitive movement, iron burns, and chemical

hide their blackness. Her latest works are

stains) of salon workers, and the endurance

focused through the prism of her experience

required of those who sit in the stylist’s chair.

with salon culture while growing up in the

From a sound bite constructed of pin prongs,

Dominican Republic.

to abstracted fields of pins, screen printed with

Marion-Landais employs formalist abstraction

hair dye as ink, Marion-Landais reenacts the

to relay this narrative on her own terms. In order to talk about hair without the strands themselves,

labor required to meet these socially constructed —and racially constrictive—beauty standards.

she creates wall-spanning installations, with parallel rows of monofilament cord straining under increasing amounts of shiny black bobby pins, which evoke intergenerational practices of painful bodily suppression. Simultaneously, patterns and bars formed by groups of the bobby pins read as barcodes, an emblem of the systems which demand (and profit from) ritualized beauty procedures.

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UNTITLED

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Bobby pins Installation dimensions vary From Catorce

CERAMICS

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U N T I T L E D ( D E TA I L )

From Catorce

CERAMICS

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T YLER SCHRANDT WRITTEN BY

MICHAEL CARROLL Driven by material consideration and

foliage and mechanical refuse calls to mind a

designed in situ, Tyler Schrandt’s installations

dystopian critique of capitalist production. These

explore relationships between objects and

recognizable objects are juxtaposed with large-

respond organically to the physical dictates

scale wooden constructions that loom over and

of a given location. Schrandt considers his

cordon off the surrounding space.

installations to be a byproduct of his process:

Beyond the poetic undertones of Schrandt’s

by not working toward a fixed end result, Schrandt allows himself to question, experiment, and push the limits of his created environments.

installations, his apparent interest lies in the relationship of the diverse materials he has assembled. Working in the moment, he constructs

Schrandt views his artistic process as a form

scenes that highlight the often arbitrary nature

of problem solving, facilitated by a continuous

of translation in the arts. He asks viewers to

collection of materials leading up to the

contemplate how the materials look, feel and

installation’s manifestation. Schrandt’s multi-

function, and to consider their lasting impact

sensory environments combine fans, lamps,

on the environment.

radios, or dripping water with 3D-printed ceramic objects, plants, salvaged lumber, and machinemade items and drawings. His inclusion of

DERELICTION

240" x 240" x 180"

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Recycled pallet wood, ceramic, found object, light fixture, water, plants, drawing, radio, concrete

CERAMICS

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DERELICTION

Detail

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T R A N S L AT I O N

Pen on paper 22" x 30"

CERAMICS

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KATE GARMAN WRITTEN BY

G I O VA N N A B E L L E T T I E R E While a changing location brings about new

Garman uses a material-based practice that

vicissitudes, the concept of “home” remains afloat

employs craft paper, sharpies, and black acrylic

in Kate Garman’s art work. Producing floor

paint to quickly and experimentally investigate

maps, quilts, and colorful rug drawings, Garman

drawings, paintings, and sketches. While her earlier

explores gridded geometry, pattern repetition,

work dismissed color, Garman now embraces it.

and labor.

Charcoal, for example, enabled Garman to mimic

Garman’s relocation from Michigan to

stitch marks with fast gestures in my grandmother’s

Philadelphia led to a transitional period of homesickness which inspires her current work. She claims, “being away from friends, family, and familiar spaces made me think about home and how we identify with it.” The really really big quilt is the first drawing in a series based on family quilts Garman keeps in her home. In addition to quilts, exploring floor

quilt. The speed at which she works makes her think more broadly about the concepts of change.

Garman states, “Our memories can escape us and create a sense of urgency, portrayed in the use of materials and marks. Pattern connects and grounds me in the familiar.” These patterns, left imprinted in Garman’s works, lead us to wonder how to keep memories alive while living in the present.

tile and patterns led Garman to map her current home. My bathroom and my kitchen reflect and extend tile and linoleum floor patterns.

UNTITLED

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Snow fencing, recycled yarn 58" x 36" Photo by Sam Fritch

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F I B E R S & M AT E R I A L S T U D I E S

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Q U I LT I N G W I T H M Y G R A N D M OT H E R ( D R AW I N G )

Paper, sharpie, acrylic paint, tape 96" x 84" Photo by Sam Fritch

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Q U I LT I N G W I T H M Y G R A N D M OT H E R

Quilt top that my grandmother made, fabric, batting, embroidery floss 96" x 108" Photo by Sam Fritch

Quilting with my grandmother is a collaborative piece in which I finished a quilt my grandmother began. Having never met her, this quilt was a way to examine the space and time between each other.

F I B E R S & M AT E R I A L S T U D I E S

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KELLY KUYKENDALL WRITTEN BY

K R I S T I N A M U R R AY Self-proclaimed “tinkerer” Kelly Kuykendall

while simultaneously criticizing our system of

relishes the process of disassembling and

commerce’s heavy reliance on female patrons for

reassembling in order to give material new life.

success, Kuykendall cunningly usurps intended

Working with repurposed fibers and fabrics,

roles for women in our consumer-driven culture.

she creates a simulacrum of domestic spaces with

Repetition, both in process and product, drives

a hint of irony. Her meticulously-crafted soft sculptures recall vignettes of the familiar, masking as household interiors. At its core, the work is humorous, poking fun at our materialistic culture and absurd obsession with stuff.

Kuykendall’s artistry. By taking something apart and creating it anew, the work is constantly in a state of flux. Materiality stands in as a metaphor for our humanity. The work subtly invites viewers to engage, while also forcing us to question the

Kuykendall’s inspirations are vast and often drawn

contours of reality. By asking, “How do we shape

from personal experience. From art deco and

our environment?” Kuykendall’s work also

industrial production to horses and prop design,

wonders, “When does our environment shape us?”

nothing is off limits. The amalgam of high and low influences make her reanimated textiles and collages accessible and touchable, appearing to expand and contract on demand. By working with materials traditionally associated with femininity,

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OT H E R P E O P L E ’ S H O U S E S

Drawings from a series

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‹ G R A N D FAT H E R Ink on paper 8.5" x 11"

S Y D & P E J K ’ S CO R N E R

E N R I C A & PA N ’ S C H A I R

Ink on paper

Ink on paper

11" x 8.5"

11" x 8.5"

F I B E R S & M AT E R I A L S T U D I E S

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P I N K B AT H R O O M

Fabric 114" x 108" Photo by Sam Fritch

F I B E R S & M AT E R I A L S T U D I E S

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KRISTINE RUMMAN WRITTEN BY

MICHAEL CARROLL Kristine Rumman’s art objects and immersive

The resulting refractions of light are altered by

multimedia installations ask viewers an array of

the viewer’s presence and the shadows they cast.

questions: How are stereotypes formed and how

The juxtaposition of projected patterns, faux tile

are they learned? How does a body simultaneously

flooring made of herbs and spices, and reflections

exist amid two polarized communities? At the

on the walls and ceiling creates a liminal space

core of each of these questions lies the concept of

between two realities. Rumman constructs these

home: as citizenship, nationality and memory; as

spaces knowing full well that the environment

a space for subsistence; how labor affords particular

will be deconstructed and removed, challenging

individuals a sense of security and comfort.

the assumed physical stability of the home in

Rumman grapples with the complexities of the

favor of a dynamic perspective, movable across

subject by constructing a personalized space

geographic space and evolving over time.

of sculptures, multimedia projections, reflections, and smells drawn from her home in Palestine.

The traditional tile patterns that occur throughout Rumman’s oeuvre are sourced from her childhood home; they evoke a sense of sentimental nostalgia.

Rumman manipulates traditional Palestinian design into repeated elements of light projections, constructed objects, and reflective surfaces.

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S E E K I N G G R O U N D ( D E TA I L )

Installation with mirror, steel, projection

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S E E K I N G G R O U N D, B E I T J A L A

Beit Jala borrows tile patterns from houses documented throughout the West Bank by the RIWAQ Centre for Architectural Conservation. This site-specific installation examines the liminal and disorienting spaces occupied by individuals living in diaspora.

GLASS

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M A K I N G / TA K I N G G R O U N D

Installation with glass, sand, stone, sumac, cumin and fennel

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M A K I N G / TA K I N G G R O U N D

written by Kristine Rumman I’ve placed my feet on the ground. Body between the sun and earth. My shadow registers my trace. This must be proof.

This must be certification.

A document. In motion.

A record. Recording.

These walks are authorized. What else do you need to know?

The cardamom pod and cumin seed are in the cupboard. Blend the za’atar with olive oil and spread it on the bread; sometimes this is done at the table, other times it is rubbed on the bread rounds, which are then baked. Thick, sated food experts bite in, knowing the taste of an orange just as well as you.

Just like they came before, I will build my house, my home.

Bricks made painstakingly. Windows made with myth. My walls are invisible.

I will place the ground and lay the tile upon it.

Dense bushes surround our house. We keep them trimmed and proper like our neighbors. Only, our land must be made of something different. Roots are crowding the foundation. They stretch, wind, bind. They reach towards our throats. Branches grow thick, turning the light from our windows into shadows of paralleling lines.

I will go to the bedroom to make sure the boxes are packed, the ones that have been there for years.

GLASS

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CAITLIN VITALO WRITTEN BY

E R I N R I L E Y - LO P E Z Gritty and simple, Caitlin Vitalo’s installation

high above, such as Ignorance Is Bliss, the trio of

and sculptural work subverts standard meanings

light, text, and placement requires the viewer to

of familiar words and objects to wake viewers

pause, and answer, “Which role will you play?”

to their own complacency. Vitalo appropriates the

The fragility in Vitalo’s works conveys a sense of

strategies of conceptual and postmodern artists, who used language to critique late-capitalist modes of production and power, into her own work as commentary on the current state of affairs.

democracy’s tenuousness. Asking who silences— and who is silenced—The Shushing Machine, a cast glass hand, has an extended finger, meant to be positioned at someone’s lips. Vitalo reproduces

“Abuse of power comes as no surprise.” A

a Windsor chair (the favored seat of Benjamin

phrase from Jenny Holzer’s Truisms (1978–87),

Franklin) entirely of plastic rhinestones and

it is intentionally ambiguous, written with the

glue: a glittering surface that belies the lack of an

vague authoritarianism of a PSA announcement.

armature underneath. Sit down and it may come

It resonates when oppressors triumph over the

crashing to pieces. Which is to say: treat with care.

oppressed. With movements such as #metoo, Time’s Up, and Black Lives Matter gaining ground, perhaps its dreaded familiarity will begin to shift.

Similarly, Vitalo’s text works strike the viewer in an intentional way—quite literally through the use of light source, size, and placement within the gallery. Whether positioned on the ground, as in the case of Are You Because They Said So?, or from

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IGNORANCE IS BLISS

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Plastic sheet, wood, paint 80" x 47" x 2"

GLASS

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C U LT U R E O F P O L I T E N E S S

Found object, glass 27" x 14" x 5" Photo by Maggie Flanigan

GLASS

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YI-TING CHOU WRITTEN BY

TA R A K AU F M A N Yi-Ting Chou’s enlivening designs work to

Chou’s most recent work, Strawberry Strong,

foster interaction between artist and participant,

has a name derived from a generational

linking individual experience to a globally-

nickname ascribed to Taiwanese young adults

engaged community. Born and raised in Taiwan,

considered unmotivated and weak by the

but now a student in the United States, Chou

older “Guava” generation. She constructed

draws from her international experience to

a hypothetical conference attended by

encourage multicultural connectivity.

members of both generations, including

Chou redesigned Virginia Lee Burton’s classic

a fully-functional website, tickets for

children’s novel, The Little House, an American tale involving the loss and rediscovery of a sense of home. She reworked the original imagery to reflect Asian-inspired architecture and landscapes, a modification alluding to her personal, yet universal, experience of redefining home. Chou similarly restructured the traditional Chinese

strawberry-guava smoothies, and examples of the name tags, pins, and tote bags which would be worn by attendees of the conference.

With the incisive design of Strawberry Strong, Chou seeks to foster conversation, build empathy in Taiwanese society, and ultimately restructure generational interactions.

lunar calendar to be more accessible to younger generations, and incorporated both Chinese and English to reach a more diverse audience.

S T R AW B E R R Y S T R O N G

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Website Art direction by Kelly Holohan

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GRAPHIC & INTERAC TIVEDESIGN

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THE LIT TLE HOUSE

Illustrated book 12" x 16" x .75" Art direction by Paul Kepple Photos by Sam Fritch

N E W M O O N : 24 S O L A R T E R M S C A L E N D A R

Spiral bound paper, wood 10.5" x 5.5" x .5" Art direction by Bryan Satalino Photos by Sam Fritch

GRAPHIC & INTERAC TIVEDESIGN

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ALYSSA HAMILTON WRITTEN BY

E R I N R I L E Y - LO P E Z The United States has yet to elect a woman

Less activist-based, but no less invested in

president, making it the only major world power

Hamilton’s intended audience, ebb + flow

never to have had a female head of state. That

transforms the traditional incense clock

may change if Alyssa Hamilton has anything to

into a 90-minute motivational time keeper.

say about it. Hamilton’s book and interactive

Intended primarily for those in creative

exhibit, We the Women—a subtle, yet effective,

fields working from home, the design guides

play on “We the People,” from the preamble to

the user through stages of their work flow

the United States Constitution—appeals to an

by burning incenses tailored for motivation,

audience of young girls on the cusp of adult-

creativity, concentration, and relaxation.

hood, empowering them to embrace voting and

This alarm clock keeps creative juices flowing

running for office.

without overtaxing the home-based worker.

Using decoder glasses and virtual reality,

Hamilton’s designs focus on encouraging

young girls (of any age and gender) can explore

people, whether a young girl in need of role

the history of such accomplished women in

models, or a worker in need of assistance

politics as Kate Brown, the first openly LGBT

with staying on target. Hamilton motivates

governor, or Shirley Chisholm, the first black

users of her designs to consider not only

woman elected to the United States Congress

themselves, but also the world around them.

and the first black candidate for a major party nominated for President of the United States.

Hamilton’s educational materials, packaged in a portable display, let girls know they have a voice and can be heard.

E B B + F LO W I N C E N S E C LO C K

15" x 7.25" x 3.5" Art direction by Bryan Satalino Burner made in collaboration with Tyler Schrandt Photos by Sam Fritch

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Porcelain, Kozo paper, mixed materials

GRAPHIC & INTERAC TIVEDESIGN

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THE LIT TLE HOUSE

Screw-post bound book, decoder glasses, Layar app 12" x 16" x 1" Art direction by Dermot Mac Cormack

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GRAPHIC & INTERAC TIVEDESIGN

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JENNY KOWALSKI WRITTEN BY

C H R I S TO P H I N A R I C H A R D S Socially conscious, cross-disciplinary collaborations

Kowalski pulls viewers into her work by inserting

drive Jennifer Kowalski’s designs. A self-proclaimed

fragments of everyday life into her designs—like

“problem-solver” and seeker of truth, Kowalski

the pointed commentary of a certain wispy orange

believes her designs can be tools for communication,

hairstyle a figure sports in her cooperative card

understanding, and discovery.

game, Talking Heads. Kowalski’s interactive graphic

My Life Story by A. Rock, a children’s book authored

designs seek to capture the essence of modernity of

and illustrated by Kowalski, combines comprehensive research and textures from nature to create subjects and environments portraying the earth’s evolution. It asks the child to debate the tactility

our digital age. Her love of teaching and connectedness to her physical and mental environment serve as an essential guide to Kowalski’s visual and conceptual design solutions.

of the flat pages, and uses clever commentary to draw them closer to nature.

72: N E L L I E B LY ’ S W H I R LW I N D A D V E N T U R E

Responsive website Art direction by Keith Somers

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GRAPHIC & INTERAC TIVEDESIGN

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M Y L I F E S TO R Y B Y A . R O C K

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Self-authored illustrated book 8" x 10" x .75" Art direction by Paul Kepple Photos by Sam Fritch

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TA L K I N G H E A D S

Card game 6.25" x 12.25" x 4.25" Art direction by Kelly Holohan Photos by Sam Fritch

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GRAPHIC & INTERAC TIVEDESIGN

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CRAIG MOSCONY WRITTEN BY

C H R I S TO P H I N A R I C H A R D S Craig Moscony, a designer and illustrator

Moscony’s witty and beautifully rendered

working in both print and interactive forms,

Alphabet Insectorum uses bugs to form the

uses the unusual in everyday life to tell

letter that represents their name, creating

stories that engage and amuse. Moscony’s

reverence for the oft-reviled. He uses

illustrated version of The Yellow Wallpaper

artistic ingenuity and a deep appreciation

encapsulates themes of bias and authenticity.

for the natural world to celebrate the

The story, written by Charlotte Perkins

elegance of these creatures. Moscony’s

Gilman in 1892, is regarded as an important

work exposes the learned behaviors

early work of American feminist literature.

underlying bias; he designs guidelines for

It narrates 19th century misogynistic biases of

personal growth and opportunities for

both physical and mental capacity. Moscony’s

social reflection.

page composition showcases graphic intrigue.

The limited, yellow-colored palette and text placement pushes and pulls the viewer through the book. Moscony visually finesses the progression of hysteria: a variety of controlled line weights morph from a woman’s form into increasingly light, wire-like erratic lines.

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A L P H A B E T I N S E C TO R U M

Poster series 12.5" x 19" Art direction by Kelly Holohan

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GRAPHIC & INTERAC TIVEDESIGN

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A L P H A B E T I N S E C TO R U M

Detail images T H E Y E L LO W WA L L PA P E R B Y C H A R LOT T E P E R K I N S G I L L M A N

Illustrated book 8.5" x 13" x .75" Art direction by Paul Kepple Photos by Sam Fritch

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GRAPHIC & INTERAC TIVEDESIGN

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HOLLY SALVERIO WRITTEN BY

JESSICA ANDERS Holly Salverio is fascinated by the interior of the

At present, Salverio conceives of the line of

body, and bodies in states of disarray and decay.

jewelry in three modes, which shift between

This interest in that which is frequently present—

realism and abstraction in color, form, and

yet rarely seen or considered—stems partially from

material choice. One version, in red and white,

encountering the bodies of animals while playing

closely reproduces the specific bones and

in the woods and visiting the graveyard of her local

muscles on which they are worn. They fit snugly,

church as a child.

clinging to the anatomy they replicate—and

Salverio makes these unseen anatomies into

expose. Another version, in black and gold,

objects which can be encountered in a way that eases discomfort with these often jarring realities.

To this end, she is currently developing a line of jewelry inspired, both directly and abstractly, by the forms of bones and musculature. The pieces are three-dimensionally printed in plastic and silicone, to allow movement and create variation

has more abstracted and gracefully elongated forms. Reminiscent of decaying flesh that is falling away, the pieces are not meant to be worn practically. Salverio plans to expand the middle ground between these modes of representation, eventually adapting these pieces into wearable versions in metal.

between harder and softer parts.

EARRINGS

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Silicone, polyamide, paint, gilding 8.04" x 5.49" Photo by Sam Fritch

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M E TA L S / J E W E L R Y / C A D - C A M

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BROOCH

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Silicone, polyamide 5" x 4.45"

BRACELET

Silicone, polyamide 5" x 4.45"

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EARRINGS

Silicone, polyamide, paint, gilding 7.14" x 6.36"

M E TA L S / J E W E L R Y / C A D - C A M

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KATIE BAT TEN WRITTEN BY

ALI PRINTZ Katie Batten understands the power of

Batten’s body of work holds value in its ability

representational painting; community can be

to be an experience both rational and sensual,

found within the accessibility of familiar

shifting between realms of recognizable

imagery. Invoking an age-old lineage of stories,

ideology and complete obscurity. The gendered

passed down by women in the form of textiles

associations with dance and sexuality of

like quilts and samplers, Batten’s painting practice

symbols like swans and snakes connect back

aspires to employ the multiple lenses of history

to fable and biblical narrative, providing a

and mythology.

familiarity which grounds Batten’s paintings

The textile quality of Batten’s work engages

in a unique, collective identity. Her work

painting. Through the richness of her mark marking, Batten emphasizes color and

draws symbolic associations which transcend the present, the past, and the future.

materiality. Wandering, loose associations oscillate with ur-mythological familiarity through-out her works. Batten returns mystery to art, with imagery simultaneously concise, yet vague: handicraft created within the framework of painting and its history.

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VERSUS

NOR THERE

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Acrylic on canvas 53" x 46"

PA I N T I N G

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YEARNING

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Acrylic and oil on canvas 30" x 35"

N OT Y E T TO O S O O N

Acrylic, flashe and oil on canvas 33" x 31" Photo by Sam Fritch

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VERSUS

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EYES OPENED

Acrylic on linen 37" x 30"

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B LU E B I R D

Acrylic and oil on linen 25" x 21" Photo by Sam Fritch

PA I N T I N G

57

SHWARGA BHATTACHARJEE WRITTEN BY

G I O VA N N A B E L L E T I E R E Shwarga Bhattacharjee’s artistic inspiration

Bhattacharjee’s current paintings undertake

and story is one that not only embraces emotion,

the challenge to “represent darkness by not

but involves the triumph of self-admiration through

dismissing color.” Paintings like ADHD I and

artistic practice. Bhattacharjee turned to art to

II or Battle in Red are not only vividly colorful,

assist him while coping with the uncertainties of

but also juxtapose themes of Indian mythology,

life, which helped him come to the realization

symbolism, and the old architecture of

that “nothing is permanent.”

Bangladesh.

These themes of uncertainty and impermanency overwhelmed Bhattacharjee after the death of his mother. Growing up in Dhaka, Bangladesh, Bhattacharjee’s mother, a successful medical doctor, acted as his biggest supporter and artistic inspiration. After a great deal of time, Bhattacharjee came to terms with the sadness he was feeling, and used it as a catalyst in his artistic endeavors to represent the universality of emotions.

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C LU E L E S S

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Mixed media on paper 52.5" x 40" Photo by Nathan McChristy

PA I N T I N G

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S TA R V I N G D E AT H

Mixed media on canvas 51" x 58" Photo by Nathan McChristy

THE MOMENT

Mixed media on canvas 29" x 41" Photo by Nathan McChristy

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P L AY T H E G A M E

Acrylic, spray paint on canvas 92" x 71" Photo by William Blake

PA I N T I N G

61

WILLIAM BLAKE WRITTEN BY

ALI PRINTZ William Blake’s work hovers somewhere

Blake’s MFA work, A Grand Review features

between History painting and conceptual

significant figures from his reenactments of

commentary on the human condition.

both the Confederate and Union battles: a self-

Indebted to his own performative process

portrait of the artist’s retroactive involvement

as a Civil War re-enactor, his practice is

in the American Civil War.

nonetheless closer to the labor in this pursuit

Blake’s artwork is a performative ritual,

than to the historical events that inspire it.

Blake allows contemporary subjects to inhabit the visual language of a previous century, transcending both present and past to create a sublime middle space between the two.

holding the act of painting as its centerpiece.

His paintings reconstruct daily life after trauma, and deliberately focus on the positive aspects of reenactment. Blake invites the viewer to lose themselves in this process, much

Blake’s compositions allude to the visual

as he and his fellow re-enactors have. His

culture of representation in the Civil War era,

paintings thoughtfully suggest that the most

while holding a complex conversation about

successful monuments are in fact reenactments:

labor, ritual, and the act of (re-)experiencing

living dedications to past events that have

a frozen moment of time. Croquet has a clear

no real end, but are rather a continuous ritual

connection to Winslow Homer, who depicted

of dedication.

dark metaphors of the Civil War’s brutality.

Instead of evocatively witnessing war, Blake makes a conscious effort to remove the darkness, by focusing on the labor in the act of reenactment. Perhaps the culmination of

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VERSUS

CO N T E S T E D F I E L D O F I N V E S T M E N T

Video still Single-channel video

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PA I N T I N G

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I N E X H AU S T I B L E CO R P S E

Oil on canvas 11" x 14"

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VERSUS

P O R T R A I T O F AU R O R A

Oil on canvas 16" x 20"

PA I N T I N G

65

ELEANOR CONOVER WRITTEN BY

TA R A K AU F M A N Eleanor Conover reconsiders concepts of artistic

Conover records the surfaces of a specific place

authorship in relation to histories of painted

as a kind of natural history-style documentation

landscapes. She harnesses the precarity of her

within an isolated moment. Meticulous studies

process to express the ambiguity of narrative

reveal her subjects’ particularity to their spaces.

in photography, film, and literature, as well as her

Geological processes—erosion, weathering, new

chosen media of charcoal and oil paint.

growth, and the continuous transformation of the

Conover’s methods convey visceral, tactile,

land—mark the palimpsestic mixed-media pieces.

and historical specificities of particular environmental spaces. Her large renderings of rough cliff faces in graphite on canvas, such as In a Stonington Quarry, are produced on-site, the culmination of Conover’s physical journey across the environment recreated in the work. This immersive and nearly performative process speaks to the transitory nature of environments such as forests, coastlines, and seascapes, as well as the continuum of our passage over, through, and within these spaces.

Conover’s A Wave, painted in saturated water tones, abstracts our understanding of a wave, while alluding to her experience sailing in a small boat across the Atlantic Ocean. Granite, an image of a stone roughly painted on a bare wood panel, compels careful consideration of an object typically overlooked. This examination is precisely what Conover’s work prompts: reconsideration of the spaces out of sight, out of mind, but which bear our mark nonetheless.

I N A S TO N I N G TO N Q UA R R Y

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Graphite, oil pastel, and conté on canvas 72" x 108"

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VERSUS

PA I N T I N G

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GRANITE

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Acrylic on wood panel 24" x 20"

O N TA LCOT T M O U N TA I N

Oil, acrylic, and graphite on canvas 72" x 108" Photo by Sam Fritch

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A WAV E

Oil on linen 12" x 18"

PA I N T I N G

69

MARISA KERIS WRITTEN BY

TA R A K AU F M A N Thin washes of paint coalesce into leafy

indicate the wavering structure of

outgrowths. Greco-Roman marble figures

immediate memory and our blurred

stand reticent in dreamy, romanticized

perceptions of human nature and

space. Man, it appears, is absent.

art history. Pieces within her body of

Instead female figures dominate Marisa

work speak to one another, inviting the

Keris’s compositions, enigmatically both distorting and embracing a woman-nature association. Taking on lifelike emotionality,

viewer to glean abstracted narratives about the real—and imagined—spaces women inhabit.

these classical forms allude to the cyclic romanticization of women.

Traditional materials emphasize both the history and timelessness of Keris’ chosen subjects and spaces. She paints low-contrast, earth-toned dreamscapes to

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CROUCHING APHRODITE

Oil on canvas 76" x 68"

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PA I N T I N G

71

B R U TA L B E AU T Y

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Oil on canvas 48" x 60"

WILDEST DREAMS

Oil on canvas 48" x 60"

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VERSUS

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F I R S T B LU S H I I

Charcoal on paper 60" x 48"

PA I N T I N G

73

ALISON KRU VANT WRITTEN BY

ALI PRINTZ Postmodernism directly informs Alison Kruvant’s

Yet Kruvant’s roots are still deeply ingrained

artwork, yet she gravitates toward specific

in painting. Still Life with Drapery (not pictured)

moments in its rise, such as feminist practice and

is delicately executed by the hands of a painter—

protest art. Kruvant interrogates her personal

a self portrait in materiality. Mirror and surface

experiences of memory, perception, identity, and

reflection are pinned against drapery, combining

transparency. Through medium and placement,

architectural environments with a positive and

Kruvant’s creations question one’s place in society

negative spatial arrangement akin to body art

and potential impact globally, while conveying

of the 1970s. Textural qualities come through

the often-crushing weight of social expectations,

in all aspects of her work, from her “window

standards, and implications.

constructions,” to mixed media drawings, and

Kruvant’s subject matter is rich with intellectual

most essentially, her paintings. A reflection of

associations—a year spent in Rome transformed her aesthetic approach as an artist, prompting the addition of architectural remnants to her

Kruvant’s direct experimentations with material, color, and composition, her work encompasses a conceptual abundance that crosses artistic forms.

work and affecting her perception of the passage of time. Kruvant has since stepped away from painting, embracing materiality, the importance of arrangement, and the use of found objects.

With this shift in focus, her work gained a conceptual layer. The subtle protest of her “window constructions” becomes a reflection of her inquiry into both her own and others’ sense of perception.

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S H E LO O K E D AT H I M W I T H THE GAZE OF A THING

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Mixed media on found paper 11" x 15"

PA I N T I N G

75

READING MEMORY (ROMAN WINDOW)

Mixed media and digital photograph on window pane 31.5" x 23.5"

76

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FA I R I E S

Mixed media, pencil, and acrylic on canvas 27.5" x 39"

PA I N T I N G

77

BONNIE STALEY WRITTEN BY

MICHAEL CARROLL At the heart of Bonnie Staley’s cyclical, self-

Staley’s works develop organically, bound within

referential artwork lies a corpus of loose sketches

the limitations of materials accessible to the

born of the constrictive boredom she felt while

artist. In turn, Staley refines her imagery through

working a restaurant job. She employs a warm,

the repeated study of anatomy: often featured

muddied color palette to depict the occasional

are disembodied legs, or multiple-limbed torsos.

restaurant scene, playing with sexualized forms

These humorist painted objects digress into

of the human body to evoke a sense of personal

absurd composite scenes of outlandish figures,

history and nostalgia.

forms and abstractions.

Staley uses an iterative way of working on multiple paintings in tandem as a means of translating her line drawings into larger objects. Sewn fabric elements, stretched over irregularly-shaped frames highlight her history in textile work and attention to craft.

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I T ’ S O K AY TO F LY LO W

Dye, distemper, and oil on canvas and muslin 81" x 65"

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PA I N T I N G

79

THEY DON’ T EVEN

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PUT ON THE SIRENS

Dye, powdered pigment, oil, and chalk pastel on canvas 54" x 55"

S T I L L WA R M A N D B R E AT H I N G

Oil on canvas, flashe, paper maché 38" x 58"

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VERSUS

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OUTRUN SORROW

Dye, distemper, and oil on canvas 46.5" x 57"

‹ E V E N CO W G I R L S G E T T H E B LU E S

Leather and cotton on wood stretcher 29.5" x 23"

PA I N T I N G

81

ELMI L.VENTURA MATA WRITTEN BY

JESSICA ANDERS For Elmi L. Ventura Mata, painting and life are

Triptych not only carries Trinitarian

inextricably linked. Ventura Mata attempts

connotations, but also represents Ventura Mata’s

to approach his work with a strong, conscious

personal connection with the number three, as he

awareness of his own identity in relation to

has two brothers and feels closely connected to

whatever subject with which he is working. For

them. It contains such boldly evocative imagery

this reason, his pieces frequently address the

as a female figure stepping on a winged lion and

tension of the struggle between life and death;

a man being kissed and supported by the skeletal

issues of identity, race, class, gender, and

figure of Death. Objects in Ventura Mata’s

political power; and memories connected to

paintings shift meaning and evolve throughout

his childhood and family.

the painting process. The woman holds an object

Ventura Mata sometimes battles his subject matter

meant to be a sword or banner, which took on

through the paint itself: working and reworking extensively, pushing and pulling uncooperative colors, scraping into the surface to reveal layers beneath, until he achieves a balance between abstracted forms and the strokes of colors which hold them together. The paintings of Ventura Mata’s Triptych (not pictured) contain eight to twelve layers of paint, the colors caged in by a

scythe-like properties; a chicken serves as a multivalent, agrarian image, representing both America’s relation to food and the chickens Ventura Mata saw growing up in a small village in El Salvador. The winged lion, abstracted from a monument he saw while visiting Venice, balances the composition of Triptych across the three panels.

map of black contours that suppress the image.

AT L E A S T T H E R E I S A R O O F O V E R H E A D

Oil on canvas 42" x 54"

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PA I N T I N G

83

S E L F - P O R T R A I T W I T H FAT H E R A N D T W O YO U N G E R B R OT H E R S

Oil on canvas 30" x 42"

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GOING THROUGH LIFE IN THE PRESENCE OF THE UNKNOWN

Oil on canvas 64" x 72"

PA I N T I N G

85

STAV YOSHA WRITTEN BY

MICHAEL CARROLL Stav Yosha’s artwork revolves around the

Yosha’s large paintings and assemblages

importance and inter-relationships of “systems of

of sculptural objects inventory an imagined

symbols,” with respect to both his roots in Israel

archaeological dig. Artifacts are installed in

and views of antiquity in the United States. Noting

vignettes, like the salon-style display of the

the sheer amount of Neoclassical architecture

Barnes Museum collection. His interest in

throughout the U.S. and in Philadelphia, (such as the

the display of anthropological artifacts hinges

Classical Revival edifice of the Fairmount Water

upon the unique attributes and materiality

Works), Yosha contemplates the ramifications of

of each object, despite the supposedly

these stylistic appropriations on the technology

universality of particular symbols. Yosha’s

and material culture of the present moment, and

arrangements explore repetition and the

their influence as they age over time.

decontextualization of inherited traditions

Writing is an important aspect of Yosha’s process.

of antiquity. In doing so, he questions how

His journals generate titles, and excerpts of his writing frame the installed body of work as wall

physical proximity can impact the viewer’s understanding of seemingly unrelated objects.

text. Working intuitively, Yosha develops abstract drawings and paintings from forms he finds in writing, alphabets, and language that he then designs to illustrate these imaginary narratives.

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I M I TAT I O N A N D E M U L AT I O N

Mixed media sculpture 18" x 22"

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PA I N T I N G

87

SOLDIERS IN A FOREIGN LAND

Mixed media installation Dimensions vary

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PA I N T I N G

89

MAGGIE FLANIGAN WRITTEN BY

E R I N R I L E Y - LO P E Z Set in the 1980s and 90s, Halt and Catch Fire,

their similarity to texts we send and receive.

the AMC television series, used its characters to

Depending on the phrase being read, Flanigan’s

anticipate the digital revolution of social media.

placement of these messages into the public

Donna Clark, a main protagonist, explained

space of the white cube can cause laughter—

to her business partner how communicating

or nausea.

online allows people to be “more authentic…

Flanigan generates soft sculpture, like pillows

than in real life.” This thought encapsulates the zeitgeist of our current moment: people prefer to communicate via digital platforms, not realizing—or willfully ignoring—the whole world of face-to-face interaction. Enter the practice of Maggie Flanigan.

(a sly contemporizing of Oldenburg’s signature medium), tactile soft-cloth books (reminiscent of those we might have had as babies), audio, and projections, among other formats, as vehicles to display the displaced remnants of these “conversations.” The bombardment of media

Flanigan removes fragments of online

destabilizes the viewer, and is perhaps also

communications and places them within the

a cautionary tale. After all, the manufactured

sterile gallery setting. By repositioning their

identity of one’s digital presence is not easily

context, these artifacts of social media (racy

erasable, as is evidenced by the texts Flanigan

phrases like “I want to suck all of your things”;

culls as the generative material of her practice.

the begging entreaty, “But please?”; the longwinded “Hey so I am really sorry about this but I can’t get coffee, I’m just not in a place to do that right now…”) jolt the viewer’s awareness of their meaning. We recognize hints of

90

VERSUS

R E A D 2:05 A M

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Digital and screen print on fabric 36" x 84"

PHOTOGRAPHY

91

‹ C A N I S E E I T Screen print on fabric 108" x 60"

PA L AV E R

Screen print, cyanotype, digital embroidery on fabric 8" x 8"

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VERSUS

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‹ Y O U R C H I L D Archival pigment print 50" x 36"

BEARD ENVY

Screen print, cyanotype, digital embroidery on fabric 4" x 4"

PHOTOGRAPHY

93

NICOLE HARVEY WRITTEN BY

TA R A KAU F M A N Following the death of her grandmother,

accompanied by a label, written by

Nicole Harvey was tasked with clearing out

Harvey, that reads, “she wore this on top

their longtime home. Sorting through her

of a suit jacket.”

grandmother’s miscellaneous belongings

Harvey’s current project plays on

caused Harvey to question the prescribed value of material possessions and the ephemerality of memory.

the museological strategy of recording and archiving, not only as a means to process her loss, but also to push back

This daunting undertaking prompted

against criticism of nostalgia. Small-scale

Harvey to create an archive of abandoned

and curiously hung on the wall, each

items. Harvey’s installation of this archive

image is carefully cut by Harvey to furl

envelopes the viewer with photographic

out toward the viewer. With this work,

scans of her grandmother’s possessions as

Harvey pushes her audience to lean close,

well as projected slides of her former home.

intuit the allusions, and contemplate

These objects and photographs collectively

notions of worth.

speak to the specificity and subjectivity of human experience: items brought to the United States from Latvia; a faded hospital tag, once wrapped around the wrist of the granddaughter she raised; a floral brooch

94

VERSUS

GARAGE, SIDE VIEW

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Slide carousel projections on screen 48" x 72"

PHOTOGRAPHY

95

I T H I N K S H E W O R E T H E S E TO M Y M OT H E R ’ S F U N E R A L

Inkjet print 8" x 8"

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VERSUS

U N K N O W N O R I G I N , B U T I F I X AT E O N T H E M O F T E N

Inkjet print 8" x 8" PHOTOGRAPHY

97

NATHAN M C CHRIST Y WRITTEN BY

M E G A N R E D D I C K S P I G N ATA R O Nathan McChristy’s art practice expands

In Eastern Front and Western Front,

viewers’ understanding of the physical and

McChristy photographed two panoramic

psychological transformations those with

views from his rooftop. McChristy’s chosen

PTSD experience. McChristy uses his U.S.

vantage point places the viewer, with him,

Army combat medic past, treating the effects

in a position of surveillance. As he did in

of war, in order to de-stigmatize mental

Childhood Drawings, McChristy disturbs the

health disorders and trauma among members

domestic, shifting the register from resident

of the armed services.

to sniper. McChristy emphasizes how, in

McChristy photographed drawings of

a soldier’s post-war life, the line between

soldiers and weapons he made as a child, and then looped the resulting images in a video, Childhood Drawings 2017–2018. The lighting, often from the side or behind, lends an ominous visual tone to otherwise naïvely charming drawings. McChristy’s video gives his audience two simultaneous experiences: a child’s awe of heroism, and the fears and regrets of a veteran.

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combat zone and home blurs, and past trauma can shape visions for the present.

C H I L D H O O D D R AW I N G S 2017 – 2018

Single-channel video Detail of still

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PHOTOGRAPHY

99

WESTERN FRONT

Digital C print 11" x 31"

100

VERSUS

PHOTOGRAPHY

101

TOAN VUONG WRITTEN BY

G I O VA N N A B E L L E T T I E R E The acceptance of diversity in dissimilar

emotional experiences while living in the city.

locations can inspire artists. Current themes

42 Sunrises began as a way to integrate the act of

of Toan Vuong’s work include multiplicity,

making into all aspects of Vuong’s life, from the

analogousness, and human integrity. Though

moment he woke up.

he identifies as a printmaker, Vuong uses the

In Rome, Vuong was inspired to study the ideas

fundamental concepts of this practice to adapt to different media and contexts.

of consciousness and decompression, and to translate these mental processes into his prints.

Vuong’s present “in flux” curiosity takes form

Vuong allowed this inspiration to carry into the

in cyanotypes. Originally engrossed with

last year of his MFA in Philadelphia.

cyanotype production because it allowed him to “curate the images in his head,” Vuong used this alternative process during his year abroad in Rome. His time there helped Vuong not only build his identity as an artist within his prints, but also raise his awareness of his

102

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42 S U N R I S E S ( 30 D E C 2016 )

Cyanotype on paper 16" x 24"

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PRINTMAKING

103

104

VERSUS

‹ 4 2 S U N R I S E S ( D E TA I L )

Installation of 42 cyanotypes on paper 16" x 24" each

PRINTMAKING

105

KATE WILSON WRITTEN BY

E R I N R I L E Y - LO P E Z Kate Wilson interrogates the female body’s role in

Wilson traces these themes further back in time

art. Media plays a particularly important role in

through additional works. In Sleeping_Venus.

Wilson’s work, both as terrain and subject, and her

ascii, Wilson renders a to-scale recreation of

mash-up of materials evoke traditional “women’s

Giorgione’s Sleeping Venus (1510) on a linen

work” from the Medieval period, as in the case of

canvas, but in lieu of paint, the female figure is

embroidery, to feminist work of the 1960s and 70s,

encoded in ASCII (a early telecommunications

with her use of video and technology.

code, used to represent text in computers and other

Rose Hobart I-III, a series of cyanotypes on

devices), then screen printed and embroidered

fabric, cleverly re-appropriates stills from Joseph Cornell’s 1936 collage film of the same name.

Wilson reminds viewers of the film industry’s predilection for women in archetypal roles, especially the damsel in distress. Recalling Dara Birnbaum’s Technology/Transformation: Wonder Woman (1978–79), her work freezes the starlet in particular scenes, underscoring not only the relegation of women as mere objects of desire, but also the obsessive nature of looking.

by hand. The Venus Effect, a series of four books, researches the muse, model, or lack thereof in four different versions of the “reclining Venus” trope throughout art history. In Wilson’s books, the models take center stage: not as figures to be objectified, but as actual women who existed— such as Angela del Moro, the model for Titian’s Venus of Urbino (1534) and Victorine Meurent, the model for Manet’s Olympia (1863)—making sure their names are not conveniently written out of history.

ROSE HOBART I & II

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Screen print and cyanotype on fabric, appliqué and glass beads 68" x 27" (each, measurement to floor) Photo by Sam Fritch

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PRINTMAKING

107

108

VERSUS

‹ S L E E P I N G _ V E N U S . A S C I I Screen print on stretched Belgian linen canvas, embroidery floss, CNCcarved foam, wood, paint, and gold foil 38" x 78" x 6" Photo by Alec Smith

PRINTMAKING

109

ZOE BERG WRITTEN BY

L AU R E N F U E YO The way the shaking of your raised hand becomes

way these happen over and over again. In the video

a wave; the way a wave curls into the shore and

Scenic Overlook, coiled, leaky vessels transform

flattens into a sheet of water; the way the sheet of

from a family of nesting bowls traveling in an ocean’s

water disappears to reveal the packed, heavy sand

current to pastel mountains hovering shakily on

of the shore; the way I can’t say for sure the distance

the horizon. They reappear on set and in projected

between me on dry land and you, speckled with

videos as travel companions to one another, the

drops, standing in the water; the way I dizzyingly,

artist, and viewers. The more we see these bowls, the

hopelessly try to make sense of the endless

weightier they become as a symbol. These once-

connections between these things.

obscure objects begin to resemble your own well-

The magic of Zoe Berg’s work is that rather than

intended, lopsided form.

untangle, it prompts us to follow each slippery

Berg’s work has an aching familiarity, a seductive

transformation and looping turn, to simply see

melancholy that compels you to stay and notice your

where the journey takes us. Her installations exist

presence within the space. Part of you is flooded

as compound realities where time both accumulates

with sharp, complicated feelings of anticipatory loss

and collapses into a complex present moment.

and the heavy relentlessness of time (it would nearly

Berg’s installations unquestioningly and

be too much, if not for how gently and quietly they slide

immediately welcome viewers as a part of the script, and we find ourselves shifting between bystanders,

in next to you). Another part of you floats inside yourself, admiring the irrelevance of it all—like a

performers, and directors. By scooping up her

day at the beach.

audience in this manner, Berg rejects conventional

Berg’s work absorbs and propels you into an

didactic explanations—which risk constraining

insatiable curiosity of the meanderings and risks

the imagination—and instead shares the specific

that brought you here to begin with.

colors of a sunset (before it starts, as it dips below the horizon, just after it disappears); the rituals and rhythms of receiving, enacting, and reinventing a matrilineal inheritance; and the strange wonderful

110

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TO D AY I S T H E W I N T E R S O L S T I C E

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Multimedia installation at Randall Theater Photo by Cristhian Varela

After viewing two videos from the theater’s seating, the audience floats throughout the space. This photograph is taken on stage, looking towards the audience.

SCULPTURE

111

112

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‹ T O D AY I S T H E WINTER SOLSTICE

Multimedia installation at Randall Theater Photo by Cristhian Varela Video projects and spills over screens staggered throughout Randall Theater’s stage and auditorium.

This photograph documents the stage, taken from the theater’s seating.

SCULPTURE

113

MAYA OLYMPIA BUSH WRITTEN BY

MARIA LEGUIZAMO I. Attempts to reach you across this nearness

III. “The Kiss”

Tu mano, your hand

Oye! Esto es como construir un lenguaje para hablar

both lo mismo but diferentes

Hey! This is like constructing a home-tongue. Like

moving casi idénticas

en la casa. Hablar de flores, modismos, lugares y,

like tú and me but

talking about flowers, sayings, places and gramática…

different thickness en el aire

Hacer un lenguaje que entiende y respeta millones de

waving to each other like

grammar… Make a tongue that understands and

you see me y yo te veo

cosas distintas que a ratos parecen estar muy

both manos juntas

respects thousands of distinctions that sometimes

the choreography que es un preludio

distantes. Es como construir un lugar seguro donde

of this instante de contacto.

appear very distant. Like building a safe place where ambas lenguas se tocan mezclándose y convirtiéndose

II. Maya’s encyclopedia of domestic conversations:

both tongues touch and mix and change into another.

This is what I see: Pieces of furniture, or rather

en otra. Pienso en tu trabajo y pareciera que es como

movables like in Spanish “muebles” resemble people / Shelves with arms and legs carrying tv monitors, like offering unfixed definitions of a domestic dictionary, wheels as feet resisting unmovable stances / Furniture for an art show and to store Angel’s clothes / At the front of everything there is ‘movement’ / A library with no books but videos: moving words through a fluid exchange about the names of things / Simultaneidad/ Simultaneity, like subtitles of a movie without the movie / Two voices thinking in unison create a textured space we have to imagine / The voice of two trying to name the space that would fill in ‘the blank’ of the image / The exercise of finding a chameleonic

I think about your work, and it looks like the quest for un buscar ese espacio donde no nos entendemos a space where we don’t understand each other completamente, donde nadie controla al otro. Creo que completely, where no one has control over the other. ese espacio de incertidumbre es poderoso y sutil, lleno I believe this space of uncertainty is powerful and de matices y detalles que escapan a las categorías. Muy subtle, full of the nuances and details that escape necesario practicar el ejercicio de hacer espacio en la categories. Very necessary to practice the exercise of boca para mas de una lengua. Making space in the mouth for more than one tongue.

definition for “metatarso,” the ball of meat on your feet / A definition for you and for me, to understand each other better, to be able to furnish our space by expanding the names of things around us.

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DRIFT POEM 2

Video still

›

DRIFT POEM

Fiberglass, paper, graphite 120" x 36" x 36"

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‹ U N T I T L E D ( A LO V E L E T T E R T R A N S L AT E D )

Installation of 7 mobile furniture units and 14 monitors Photo by Ricky Yanas

SCULPTURE

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ROBIN DONNELLY WRITTEN BY

G I O VA N N A B E L L E T T I E R E Robin Donnelly works across a variety of different

her own edible candy she used as engagement

art forms to explore the theme of romance, and

ring-pops, distributed to participants in an

the less familiar theme she terms “non-romance,”

interactive selection process (orchestrated via

as well. Originally inspired by medical diagrams

white office furniture and guided by pseudo-

depicting public displays of affection, Donnelly

scientific questionnaires and the direction of

scrutinized these diagrams to find a definition of

performers) that “rates” levels of romance.

“romance.” She gathered close to eighty definitions

Donnelly combines sculpture and participatory

of “romance” and “non-romance,” from not only

performance not only to activate her art works,

close friends and family, but also a variety of

but to help visualize abstract ideas in all their

colleagues, new online acquaintances, and even

possible iterations.

her Uber/Lyft drivers.

This research led Donnelly to contemplate the act of decision-making in which a couple pick out an engagement ring. Ideas of passion and intimacy— true “romance”—are demonstrated in the act of accurately selecting a ring their partner would love. In response, Donnelly concocted batches of

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D I A G R A M ( 4.2 )

Digital print 17" x 25.5"

›

‹ D I A G R A M ( 1 ) Digital print 17" x 25.5"

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119

‹ D I A G R A M ( 5.2 ) Digital print 17" x 25.5"

‹ D I A G R A M ( 13 ) Digital print 17" x 25.5"

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‹ D I A G R A M ( 38 ) Digital print 25.5" x 17"

SCULPTURE

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TAYLOR SWEENEY WRITTEN BY

M E G A N R E D D I C K S P I G N ATA R O Taylor Sweeney takes a multi-faceted

Similar procedures guide A Computer’s

approach to performative sculpture

Purpose (2017). Sweeney enters a

and installation, with an underlying

short phrase into a custom program,

thought process anchored in language,

which generates all possible variations

composition, and poetry. At times,

of the inputted words. The resulting

causing a physical bodily reaction in the

output exhausts standardized sentence

viewer is the goal of Sweeney’s work.

structures, instead transforming

Doubledrop (2016) uses carved pink rock

into a chant-like expression of open

salt as a vessel and/or orifice for saliva,

signification.

where the fluid acts as an offering of

Whether manifested in his use of

self within the piece. Natural properties

materials that commonly have other

of the salt act on the saliva, partially

purposes or connotations, such as rock

crystallizing it. When Sweeney then

salt, silicone, or plastic tarps, or the

pushes these rocks off a table, the saliva

integration of text in a manner that

spills across the floor in its own erotic

defies a viewer’s logical first impression,

ejection of fluids. Setting the work

Sweeney’s art practice both resists

into motion activates processes which

traditional readings or understandings,

resolve as the saliva and salt eventually

and proliferates an erotic charge.

re-crystallize.

UNTITLED

›

Silicone, laptop computer, cables, monitor, 8" video loop

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DOUBLEDROP

›

Salt, saliva, pine, blanket, towel, table, plastic sheet, sock, painting, poem

DOUBLEDROP

Detail

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›

‹ A CO M P U T E R ’ S P U R P O S E Plotter print of C++ program output

‹ A CO M P U T E R ’ S P U R P O S E Detail

SCULPTURE

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CONTRIBUTING AUTHORS JESSICA ANDERS

LAUREN FUEYO

A second-year doctoral candidate in Art History,

A first-year Master of Fine Arts candidate in

focusing on the Italian Renaissance, Anders received

Sculpture at Tyler School of Art, Fueyo’s art practice

her Bachelor of Arts in English and Art History from

involves transcribing and editing conversations in an

Centre College in Danville, Kentucky, and her Master

effort to disorient interpersonal exchanges so that we

of Arts in Art History from the University of Missouri–

might come to a richer, more complex understanding

Columbia, where she worked with manuscripts.

of one another. For Fueyo, writing about other artists’

Anders’ research explores personifications (such as

work functions as an exercise in imagining the voice

Death, the Virtues, and Vices), the iconography of

of the art work as a means to convince herself of other

Marian imagery, and displays of power and wealth in

perspectives.

images of patrons.

TA R A K A U F M A N

G I O VA N N A B E L L E T T I E R E

A first-year Master of Arts candidate in Art

A first-year Master of Arts candidate in Art History,

History, Kaufman focuses on modern and

specializing in American art of the 19th and 20th

contemporary art, with particular interest in public,

centuries, Bellettiere’s particular interest lies in the

political, and environmentally-motivated art.

history of photography. Bellettiere received her

Kaufman received her Bachelor of Arts from the

Bachelor of Arts in Secondary Education and English,

University of Nebraska-Omaha, and has experience

with a minor in Art History, from Southern Connecticut

with institutions such as the Bemis Center for

State University. After Bellettiere receives her master’s

Contemporary Arts, the Contemporary Art Museum

degree at Temple, she hopes to continue her studies

St. Louis, Projects+Gallery, the Saint Louis Art

to receive her doctorate in Art History.

Museum, and the Philadelphia Museum of Art.

MICHAEL CARROLL

MARÍA LEGUÍZAMO

A Master of Arts candidate in Art History, Carroll

Originally from Colombia, and currently working

studies modern and contemporary LGBTQ+ artists

between Philadelphia (USA) and Bogotá (Colombia),

of the United States. He has written art criticism

Leguízamo received her Master of Fine Arts in

for theartblog.org, and has worked with archives,

Sculpture from Tyler School of Art in 2017, with

art institutions, historical societies, and libraries

the support of a Fulbright Fellowship. Leguízamo’s

throughout Philadelphia. Carroll received his Bachelor

practice focuses on themes such as the potency of

of Arts in Studio Art and Art History from Temple

fragility and invisibility as subversive apparatuses,

University, and works at Temple University Libraries

and unfolding personal experiences embedded in

in the Digital Library Initiatives department.

sociopolitical contexts. Her work has been shown at Temple Contemporary, Woodmere Art Museum and ICEBOX-Crane Arts (Philadelphia); The Koppel Project (London); Artecamara Chapinero, Museo MAMU del Blanco de la República, and El Claustro San Agustín (Bogotá).

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S TA N M I R

CHRISTOPHINA RICHARDS

A poet and critic, Mir’s work has appeared in

A first-year Master of Arts candidate in Art History,

Hyperallergic Weekend, Jacket2, Seedings, and The

Richards uses a postcolonial lens to examine in the

Tiny. He has also published two books of poems,

art of France and its territories in the 17th-19th

The Lacustrine Suite (Pavement Saw Press, 2011) and

centuries. Richards studied interior and architectural

Song & Glass (Subito, 2010). He lives in Philadelphia

design at the Art Institute, business management

and teaches at Temple University.

and art history at Rowan University, and art history

K R I S T I N A M U R R AY

A second-year Master of Arts candidate in Art History, focused on American Modernism, Murray is the Teen Programs Coordinator in the Museum Education department at Pennsylvania Academy of the Fine Arts (PAFA). Murray has previous

and museum studies at Rutgers University. At the Princeton University Art Museum, Richards combined her educational and business backgrounds to create retail sales initiatives that complemented exhibitions. Richards plans on pursuing a doctoral degree upon completion of her studies at Temple.

experience at the Taft Museum of Art, the Barnes

ERIN RILEY-LOPEZ

Foundation, and as a high school English teacher.

A first-year doctoral candidate in Art History, Riley-

ALI PRINTZ

A first-year doctoral candidate in Art History, with an emphasis on modern and contemporary Appalachian Art, Printz is also a historical painter, independent curator, and recent transplant from New York City, where she worked in the arts for the last seven years. Printz received her Master of Arts in Contemporary Art from Sotheby’s Institute of Art-New York, and both a Bachelor of Arts in Art

Lopez served as a curator for the Freedman Gallery at Albright College in Reading, PA, where she also taught courses in art history and arts administration, as well as at The Bronx Museum of the Arts, where she organized collection-based and annual Artist in the Marketplace (AIM) exhibitions. Riley-Lopez received her Master of Arts from the Center for Curatorial Studies at Bard College and her Bachelor of Arts from Sarah Lawrence College.

History and a Bachelor of Fine Arts in Painting from West Virginia University.

M E G A N R E D D I C K S P I G N ATA R O

A third-year doctoral candidate in Art History, specializing in Italian Renaissance workshop practices of the Quattrocento, Pignataro received both her Bachelor of Arts and Master of Arts in Art History with honors from the University of Toronto. Prior to her arrival at Temple, Pignataro worked as curatorial assistant for the Department of European Art at the Detroit Institute of Arts.

CONTRIBUTING AUTHORS

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2001 North 13th Street Philadelphia, PA 19122 tyler.temple.edu/2018-mfa-exhibitions EDITOR Kate Wilson C ATA LO G D E S I G N Alyssa Hamilton FA C U LT Y E D I T O R S Mariola Alvarez Erin Pauwels Gerald Silk G R A D U AT E A R T S C O M M U N I T Y O F F I C E R S Kris Rumman, President Taylor Sweeney, Vice-President Jenny Kowalski, Treasurer Robin Donnelly, Secretary Maggie Flanigan, Communications Director/Social Media Organizer Kelly Kuykendall, At-Large Coordinator Alyssa Hamilton, Graphic Designer Paradigm Digital Color Graphics, Printer Š 2018 Tyler School of Art All rights reserved Copyright for individual images belongs to the individual artist as listed on each page.

No part of this book may be used or reproduced in any manner without written permission from the Artist or Tyler School of Art.