TWENTY20 BFA F IN E A RTS 2 016
TWENTY20 BFA F IN E A RTS 2 016
Essay by Daniel S. Palmer
2
I imagine that my recent tract on the “hyper-professionalization of the
extremely complex ecosystem? Why not focus
emerging artist” had something to do with why I was invited by the School
on the positives? Wouldn’t it make more sense
of Visual Arts’ BFA Fine Arts Department’s faculty to visit the thesis show of
for me to congratulate the artists from the SVA
their students, act as a guest judge to select the artists chosen for this book,
thesis show on their accomplishments, chiefly, the
and write a little essay for this volume on a subject of my choosing.
adventuresome spirit in which they approached
I’m so incredibly honored that the ARTnews article seems to have had a
their education as an opportunity to create art
meaningful impact, especially in art schools. When I was asked by the pub-
in an experimental, uncertain, meandering
lication’s editors to contribute, and came up with the topic, I thought that it
way? Especially because the way they did so is
might be read by a friend or two (at most). It pleases me immensely to know
paramount in possibly one of the last opportu-
that it is now being assigned in classes where young artists are confronted so
nities they will have to operate entirely outside
directly with difficult decisions about how to act as they begin their careers in
of market pressures. Particularly, I laud them for
these fraught circumstances. Arts education can have significant benefits to
this attitude because their approach should serve
help a young, bright mind establish a meaningful long-view toward art-mak-
as a confidence booster and memorable expe-
ing. Ideally this training should be a site of experimentation and refining
rience that emboldens them to infuse this same
one’s approach to creating meaningful art. The fact that I’ve been invited re-
invigorated spirit into their future efforts. Finally,
cently by numerous New York art schools to participate in a critical exchange
don’t many of them also deserve credit for their
with their students about this topic is especially consequential. I’ve found
eager enthusiasm and the way they explored the
it incredibly meaningful to be involved in these discussions because of how
exhibition format, using it to cultivate a gener-
pivotal this crossroads can be in an emerging artist’s trajectory. This moment
ative, creative use of the school’s galleries? I was
has an increased urgency today as the wider discourse has led us to a serious
truly impressed by the way that they displayed
reconsideration of arts education and its role in the crises faced by emerging
and communicated about their work in a manner
artists in the art world today.
that encouraged audiences to engage with it on
My essay for ARTnews certainly posited the possible shortcomings of arts
a profound level. This was certainly fostered by
schools, especially when viewed as places to perfect a studio-visit sales pitch,
the artists’ willingness to enter into purposeful
hone a brand, or be recruited by galleries because a degree becomes seen as
dialogue with viewers of all types, and in doing
a part of a salable package. I was also particularly critical of the growing
so, share the best of themselves, their intentions,
horrors created by crippling debt that results from rising tuition and rent.
and the myriad of meanings that can be found in
However, I mainly focused on issues arising in the years beyond an emerg-
their art.
ing artist’s education. Particularly, the article centered around the dynamic
I was particularly moved by the ways that
of artists following the allure of commercial success and accordingly being
Mikhaila Zabat’s raw, powerful video, combined
encouraged to self-censor and conform to market trends when embracing
the intensity of an action film with the sociologi-
the manipulation of less-than-beneficent galleries and speculative collectors.
cal nuance of a second generation hybrid iden-
Clearly these are issues that must continue to be addressed in the context of a
tity immigrant experience. Likewise, Kyveli Zoi’s
thesis exhibition of a newly minted cohort of art school graduates.
ensemble of a painting of interior spaces with
That said, why would I crank out yet another essay that criticizes the “state of the arts” today and especially the role of the art school in that
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geometric tile patterns spills out into an embodied architectural setting with a table, chairs, and
woven rug, and in doing so evoked Mediterranean cafe culture in a most
I commend Dillon Utter for his meticulously
activating way. Of course, Adebunmi Gbadebo’s exploration of the formal
drawn paintings, which veraciously yet admiring-
potential of beautiful, shorn black hair was as striking as significant in our
ly depict characters from post-industrial rust-belt
fraught political moment, while also upending the macho legacy of white,
towns in all their details—subjects that other, less-
male-dominated Minimalism through her loaded sculptural references.
er artists would avoid or fetishize for their lack of
Then of course, Alex DeFoe’s Good Time Gal with its twisted playroom
glamour. Francesca Facciola’s intimate, hyper-de-
interior and Joy Horden’s black light environment of cacti, surf imagery
tailed paintings present segments of seemingly in-
and doodled banners both embody the imperfect drop-out culture of subur-
nocuous portions of the human body, in all their
ban basement apartments that could be a meaningful antidote to the sleek
freckled, wrinkled beauty. John Patrick Wells’ Steel
perfection of the white cube. Likewise, Andrew Cziraki scrutinizes religious
Drawing Man updates the folk hero John Henry’s
texts and miracles by redacting each appearance of the divine names in the
competition against a steam-powered hammer.
Christian Bible and by scientifically analyzing seemingly miraculous holy
Where the former slave raced to lay a mile of
water. In doing so, these artists celebrate skepticism as a powerful force in a
railroad track, Wells, dressed in vintage conduc-
culture founded upon certainty.
tor apparel, engages in his own challenge—a
Yunji Choi’s delicate use of flora embedded directly into the gallery wall
hand-drawn race against a printer to see who can
and Yoshikazu Tomiyama’s colorful printing directly on historic newspaper
produce steel spikes faster. We’re left to wonder if
with subtle formal interventions reveal the geometry of our environments
his heart will also give out in victory. Molly Urell-
and material culture, but also the important connotations conveyed in their
Poe’s reproductions of some of art history’s most
sophisticated disruption. I was also impressed by countless individualistic and
iconic paintings are piled on the ground, and
heartfelt efforts present in the exhibition, such as: the figures embroidered
she also includes unkind references to Duchamp
on imported sacks by Ryan Margulies; Lyn Liu’s almost surrealistic, though
and other modern masters in this exhibition,
technically rendered paintings; intimate, nostalgic and meticulously paint-
showcasing the kind of irreverence to false idols
ed pictures by Yimeng Chen; intricately embroidered compositions of sports
that ought to be cultivated in art schools. Finally,
activities by Sa Peng; and strange characters comprised of composite-found
Matthias Kauderer’s spinning “NYC” bike rack
materials and drawn faces by Noor Bseiso. They all are emblematic of fresh
embodies with all the precariousness and un-
voices of artists who clearly bring a genuine passion to their work.
certainty of a revolving top, just as it slows and
Devin Tamiazzo’s videos and his collage aesthetic wallpaper perfectly
is about to tumble. This, of course, serves as a
encapsulate the way that artists today must navigate the new ways of seeing
perfect metaphor for the uncertain path laid out
and experiencing life that have been ushered in by a digital age. David Huer-
ahead of SVA’s recent graduates and other young
ta’s wonky, cartoonish figures drawn on cardboard encapsulate the moment’s
artists emerging into the New York City art world
renewed interest in figurative painting. However, their most intriguing aspect
today. I have no doubt that these students will
is of course that they serve as cutout cardboard frames for the scrap paper
face the situation with an emboldened outlook
games of tic-tac-toe that he played with artists he admires. It is also worth
and firm resolve to cultivate and cherish moments
noting that his sprayed checkerboard floor and impromptu “Fartforum”
of pure artistic freedom to create in as meaningful
merch booth in the building’s lobby also emphasize handmade imperfection
and heartfelt a way as they know how.
and levity.
4
Noor Bseiso
The Dance (detail), 2016, acrylic on canvas, fabric, wood, 67 x 85 x 15�. Photo: Beatriz Meseguer.
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Untitled (detail), 2016, acrylic on unstretched canvas, fabric, wood, 67 x 75 x 18�. Photo: Beatriz Meseguer.
6
Noor Bseiso
The Neck Cramp, 2015, acrylic on canvas, wood, stuffing, 60 x 20 x 20�. Photo: Raul Valverde.
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The Spill, 2016, mixed media, 90 x 55 x 25�. Photo: Beatriz Meseguer.
The Spill (detail), 2016. Photo: Beatriz Meseguer.
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Yimeng Chen
Untitled, 2015, oil on panel, 12 x 12”. Photo: Beatriz Meseguer.
Untitled, 2015, oil on panel, 10 x 10”. Photo: Henry G. Sanchez.
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Boy with the Accordion, 2016, oil on linen mounted on panel, 15.5 x 8.5�. Photo: Henry G. Sanchez.
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Yimeng Chen
Untitled, 2015, oil on panel, 9 x 12�. Photo: Henry G. Sanchez.
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On and Off, On and Off, 2016, oil on panel, 8 x 8�. Photo: Henry G. Sanchez.
Yunji Choi
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Dessert Signs, 2016, wire, fabric, acrylic paint, 7 x 9 x 10” and 11 x 10 x 18” each; dimensions variable. Photo: Raul Valverde.
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Dessert Signs (detail), 2016. Photo: Raul Valverde.
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Yunji Choi
Artificial Nature, 2016, dried flowers, 84 x 38�. Photo: Raul Valverde.
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Artificial Nature (detail), 2016. Photo: Beatriz Meseguer.
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Andrew Cziraki
Euphrates Rising, 2015, ink jet prints, 24 x 24" each. Photo: Beatriz Meseguer.
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Andrew Cziraki
Bornless One Vol. 1, 2016, framed metagenomic DNA data from holy water sample 1, glass vessels, tomato, rice, kiwi, (30 frames) 12 x 16� each., (installation) 8 x 7 x 9'. Photo: Raul Valverde.
Bornless One Vol. 1 (left), Where is God? (right), 2016, bible pages, plywood, dimensions variable. Photo: Raul Valverde.
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Bornless One Vol. 1 (detail), 2016. Photo: Raul Valverde.
Where is God? (detail), 2016. Photo: Beatriz Meseguer.
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Alex DeFoe
Ferrariboutin, 2015, upholstery fabric, polyfill stuffing, beaded trim, 3 x 12 x 3.5”. Photo: Henry G. Sanchez.
Untitled, 2016, mixed media, 12 x 3 x 2” ea. Photo: Beatriz Meseguer.
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Good Time Gal, 2015, mixed media, dimensions variable. Photo: Beatriz Meseguer.
Alex DeFoe
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Roxanne, 2016, faux fur, polyfill stuffing, 14 x 3 x 2�. Photo: Beatriz Meseguer.
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24
Francesca Facciola
The Bascio’s Living Room, 2016, oil on canvas, 88 x 64”. Photo: Francecsa Facciola.
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Intends to Stay, 2015, oil on canvas, 60 x 50". Photo: Francecsa Facciola.
Olecranon, 2015, oil on canvas, 48 x 72�. Photo: Francecsa Facciola.
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Francesca Facciola
Earth, Wind and Fire, 2016, oil on wood panel, 10 x 10". Photo: Henry G. Sanchez.
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Installation view, 2016, oil on canvas, wood panel, dimensions variable. Photo: Henry G. Sanchez.
Intends to Stay (installation view), 2015, oil on canvas, 60 x 50�. Photo: Beatriz Meseguer.
Adebunmi Gbadebo
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Untitled, 2016, human hair, wire, thread, canvas, dimensions variable. Photo: Raul Valverde.
DaDa (detail), 2015, human locs, wire, 20’, dimensions variable. Photo: Henry G. Sanchez.
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DaDa (installation view) 2015. Photo: Henry G. Sanchez.
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Adebunmi Gbadebo
Untitled (detail), 2015, human hair, thread, 40’, dimensions variable. Photo: Henry G. Sanchez.
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Black Gold, 2015, human hair, thread, razor blades, matte medium on canvas, 62 x 50�. Photo: Beatriz Meseguer.
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Joy Horden
Chill (installation view), 2016, neon, embroidery, inkjet prints on fabric, 7 x 8’. Photo: Raul Valverde.
Surf Guy, 2016, inkjet print on fabric, 20 x 23". Photo: Joy Horden.
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Grave, 2016, neon, mixed media , 3 x 5.3’. Photo: Raul Valverde.
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Joy Horden
At the Beach with the Boys, 2016, inkjet print on fabric, 23 x 23". Photo: Joy Horden.
Tropical Depression, 2016, inkjet print on fabric, 46 x 46". Photo: Joy Horden.
Three Beach Fun, 2016, acrylic on fabric, machine embroidery, 56 x 23". Photo: Joy Horden.
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Tropical Depression (installation view), 2016, neon embroidery, inkjet prints on fabric, prints on vinyl, bronze, acrylic, organic materials, dimensions variable. Photo: Beatriz Meseguer.
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David Huerta
Artist’s Studio, 2016, mixed media, dimensions variable. Photo: Beatriz Meseguer.
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The Color Red (left), Real Epiphany (center), Painting for David Huerta by David Huerta (right), 2015, graphite and colored pencil on bleached canvas, 40.5 x 30.5" each. Photo: Beatriz Meseguer.
Robin Winters, 2016, sharpie on notebook paper, 12 x 8.75". Photo: Beatriz Meseguer.
David Huerta
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Untitled (installation view), 2015, mixed media, dimensions variable. Photo: Raul Valverde.
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40
Matthias Kauderer
Untitled, 2016, video, wood, found bicycle rack, 16.5 x 16.5 x 16.5’. Photo: Raul Valverde.
Untitled (video still), 2016, HD video. Photo: Raul Valverde.
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Untitled, 2016, found shopping carts, rope, colored acrylic, 6.5’ x 3.25 x 10. Photo: Raul Valverde.
Untitled (detail), 2016. Photo: Raul Valverde.
Matthias Kauderer
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Untitled, 2015, found wood beams, screws, 11’ x 4” x 5.25’. Photo: Beatriz Meseguer.
Untitled (installation view), 2015. Photo: Beatriz Meseguer.
Untitled (detail), 2015. Photo: Beatriz Meseguer.
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Untitled (detail), 2015, found piano harp, aircraft cable, wire, ping pong table, paddle and ball, 6.5 x 6.5 x 6.5’. Photo: Raul Valverde.
Untitled (installation view), 2015. Photo: Raul Valverde.
44
Lyn Liu
Untitled, 2015, oil on canvas, 8 x 6�. Photo: Lyn Liu.
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Untitled, 2015, oil on canvas, 24 x 24�. Photo: Lyn Liu.
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Lyn Liu
Untitled, 2016, oil on canvas, 24 x 30”. Photo: Lyn Liu.
Theatre IV, 2016, oil on canvas, 11.75 x 16”. Photo: Lyn Liu.
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Portrait of Volker Schlöndorff, 2016, mixed media on panel, 7 x 5”. Photo: Lyn Liu.
48
Ryan Margulies
It’s not Me it’s You, 2016, acrylic on burlap, 30 x 40” x 1.5”. Photo: Henry G. Sanchez.
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That was Then, 2016, acrylic, ink, collaged burlap, paper on canvas, 30 x 40 x 1.5�. Photo: Henry G. Sanchez.
50
Ryan Margulies
Jill and Jen, 2015, acrylic on burlap, 33 x 45” x 1.5”. Photo: Henry G. Sanchez.
Letters from Moms, 2016, acrylic on burlap, 36 x 36” x 1.5”. Photo: Henry G. Sanchez.
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First Born, 2016, acrylic on burlap and velvet, 30 x 36” x 1.5”. Photo: Henry G. Sanchez.
52
Sa Peng
Ping Pong, 2016, embroidery, sewing, 11 x 16�. Photo: Sa Peng.
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Swimming, 2016, embroidery, sewing, 11 x 16�. Photo: Beatriz Meseguer.
54
Sa Peng
Swimmer Match, 2016, embroidery, sewing, 11 x 9�. Photo: Sa Peng.
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Installation view, 2016, embroidery, sewing, dimensions variable. Photo: Beatriz Meseguer.
Winter Sports, 2016, embroidery, sewing, 14 x 22�. Photo: Beatriz Meseguer.
56
Devin Tamiazzo
Directors of Acquisition, 2015, HD video, 3D animation, 8 x 12’. Photo: Beatriz Meseguer.
Directors of Acquisition, 2015, HD video, 3D animation, 8 x 12’. Photo: Beatriz Meseguer.
Omniframe (detail), 2016, collage, wallpaper, 7.5 x 12’. Photo: Beatriz Meseguer.
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Omniframe (installation view), 2016. Photo: Beatriz Meseguer.
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Devin Tamiazzo
Fuck Progeny, the People Want Prodigy! (video still), 2016, 8 channel HD video, 3D animation, dimensions variable. Photo: Beatriz Meseguer.
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Fuck Progeny, the People Want Prodigy! (installation view), 2016. Photo: Beatriz Meseguer.
60
Molly Urell-Poe
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50 Year Gap of Cultural Importance, 2015, paper, wood panel, oil, 11 x 8.5” ea. (left) and 10 x 8” ea. (right). Photo: Beatriz Meseguer.
Molly Urell-Poe
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INSERT interminable conceptual paragraph here, 2016, bicycle wheel, aluminum, rubber, diameter: 24�. Photo: Raul Valverde.
Trashing the Art World (detail), 2016. Photo: Henry G. Sanchez.
Context of Display (top), 2016, plastic bag, dimensions variable, Trashing the Art World (bottom), 2016, canvas, wood panel, oil, dimensions variable. Photo: Raul Valverde.
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America’s Tr(i)ump, 2015, oil and ink on wood panel, 10 x 8”. Photo: Molly Urell-Poe.
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Dillon Utter
The Fairgrounds, 2015, oil on panel, 24 x 30�. Photo: Beatriz Meseguer.
Hired Hands, 2016, oil on panel, 30 x 40�. Photo: Beatriz Meseguer.
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The Tenant II, 2015, oil on panel, 24 x 30�. Photo: Beatriz Meseguer.
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Dillon Utter
Impulse, 2015, oil on panel, 30 x 24�. Photo: Beatriz Meseguer.
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Grand Street, 2016, oil on panel, 30 x 40�. Photo: Beatriz Meseguer.
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John Patrick Wells
Knees to Receive Me, 2015, wood, metal, plastic, expanding foam, acrylic wax, silicone, 48 x 28 x 24�. Photo: Henry G. Sanchez.
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As Waters Fail from a Lake, 2015, wood, metal, expanding foam, crayon, wax, 96 x 48 x 18�. Photo: Henry G. Sanchez.
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John Patrick Wells
Eaves, 2016, metal, tar and soil, 72 x 48 x 9�. Photo: Beatriz Meseguer.
As Waters Fail from a Lake (top), The Thick Darkness that Covers My Face (bottom), 2015, mixed media, dimensions variable. Photo: Raul Valverde.
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Plank (left), Eaves (center), Give up the Ghost (right), Growth (floor), 2016, mixed media: wood, tar, tar paper, expanding foam, wax, metal, soil, fiberglass, acrylic, dimensions variable. Photo: Beatriz Meseguer.
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Yoshikazu Tomiyama
Consumption of life, 2016, silkscreen on news paper, petri dish, nutrient agar, cicada, dimensions variable. Photo: Henry G. Sanchez.
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Consumption of life (detail), 2016. Photo: Henry G. Sanchez.
Consumption of life (detail), 2016. Photo: Henry G. Sanchez.
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Yoshikazu Tomiyama
Monday, October 22, 1962, 2016, silkscreen on newspaper, petri dish, nutrient agar, cicada, 28.75 x 12.5�. Photo: Henry G. Sanchez.
Thursday, March 20, 2003, 2016, silkscreen on newspaper, petri dish, nutrient agar, cicada, 28.75 x 12.5�. Photo: Henry G. Sanchez.
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Thursday, March 20, 2003 (detail), 2016. Photo: Henry G. Sanchez.
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Mikhaila Zabat
You’re My Only Constellation In Life: You Better Stop & Think About What You’re Doing (floor), Dalawang Tirintas (ceiling), The Trinity (window), 2016, digital media, vinyl, yarn and hemp yarn, mixed media, dimensions variable. Photo: Beatriz Meseguer.
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The Trinity, 2016. Photo: Henry G. Sanchez.
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Mikhaila Zabat
You Better Stop, 2016, HD video, duration 3:07, dimensions variable. Photo: Mikhaila Zabat.
Think About What You’re Doing, 2016, HD video, duration 3:07, dimensions variable. Photo: Mikhaila Zabat.
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You Better Stop (left), Think About What You’re Doing (right), 2016, installation view. Photo: Henry G. Sanchez.
80
Kyveli Zoi
Theatre of Ruins, 2016, acrylic and oil on linen, 25 x 35�. Photo: Kyveli Zoi.
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Room of Contemplation, 2015-2016, mixed media: acrylic, oil on linen and wooden table, dimensions variable. Photo: Henry G. Sanchez.
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Kyveli Zoi
Conversation in Greek, 2015-2016, mixed media, dimensions variable. Photo: Raul Valverde.
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Museum of Humanity, 2015-2016, acrylic and oil on linen, 34.2 x 49.2�. Photo: Kyveli Zoi.
TWENTY20 BFA F IN E A RTS 2 016