2024 Sound Art + Visual Arts Thesis Catalog

Published on the occasion of the Class of 2024 Columbia University School of the Arts Sound Art and Visual Arts MFA Thesis Exhibition

Miriam and Ira D. Wallach Art Gallery Lenfest Center for the Arts

April 21–May 19, 2024

© 2024 The Artists and Columbia University

Columbia University 310 Dodge Hall, MC 1806 2960 Broadway New York, NY 10027

arts.columbia.edu/visual-arts

MESSAGE FROM THE CURATOR

A.M. DEVITO

COLM KEADY-TABBAL

JULIAN ZEHNDER

CANDELA BADO

ANDIE CARVER

OLIVIA DRUSIN

ERICA ENRIQUEZ

LAURENA FINÉUS

SASHA FISHMAN

ARISTOTLE FORRESTER

KRISTA GAY

VALERIA GUILLÉN - COLECTIVO DIY

IAN HA

JING HARREN

SHARON YAOXI HE

NIMA JEIZAN

YEEJAE KIM

(CHLOE ) LI

PARK

BENJAMIN SALESSE

SOF’YA SHPUROVA

STEVEN STALLINGS CÁRDENAS

TAEKYUNG ( TK ) SUH

MOTOHIRO TAKEDA

ZHIQIAN WANG

MESSAGE FROM THE DEAN

MESSAGE FROM THE CHAIR

THE SCHOOL OF THE ARTS

MAY YOU LIVE A LONG LIFE : A CURATORIAL WANDERING

Fawz Kabra

What is it like to look at our world in ways that allow for something generative to happen?

“To stay with the trouble” as in, to stick around and provide the means for interconnected futures with humans and nonhumans, where we are responsible for one another, and where new models of living together can eliminate those that divide us. In the 2024 Columbia MFA Thesis Exhibition, artists employ multiple mediums and methodologies, from painting and sculpture to performance, sound, video, and installation, the artworks reveal new worlds and portals that lead to many worlds within.

We don’t know how much time we have and time’s potential and scale is unfathomable. For Motohiro Takeda, each material has its inherent history, he collects natural substances, which he fossilizes before their decay to slow down time. Longing to be closer with a diminishing natural world, Laurena Finéus brings to life beings that emerge from foliage and bodies of water, tracing geographical routes to another realm and a latent vision of freedom. Nima Jeizan mobilizes otherworldly spirit animals composed of dried pomegranates, pistachio shells, a gemsbok horn, blown glass, dyed horsehair, brass, and aluminum that carry an inherent ease and ability of navigating and resisting the weathering of time.

With a critical and anxious tenor, Olivia Drusin’s austere paintings center on perception and visual discrepancies in the built environment, her scenes are thresholds and inbetween spaces to other dimensions. Other worlds are evoked in Zhiqian Wang ’s works highlight ordinary subjects in a warped time within surreal and built landscapes, their existence seemingly insignificant in the expanse and stillness of space. Carrying dual meanings, Sof’ya Shpurova’s paintings of esoteric subjects carry a reflective tendency that weaves in and out of each frame, harnessing the traditional, the figurative, the kitsch, and abject all at once. Through photography, video, and sculpture, Benjamin Salesse explores the transmission of memory and the sense of alienation within personal and world events and histories. Conjuring ancestors, Krista Gay invites familial ghosts to create a space from which the illegibility of memory and personal history is unraveled and where past traumas may be decoded.

Looking at lived realities that exist in the periphery of our everyday lives, Kristian Kragelund uses these materials as tools within a structural art historical language and framework that considers art and research as labor, employing mass produced materials as part of the apparatus of art consumption. Both a monument and altar, Sasha Fishman ’s

immersive installation examines the repetitive and banal labor of salmon farming for human consumption and its effects on the environment. While Erica Enriquez explores memory versus memorial, she uses the image of the clown to suspend her sculptures in a dialectic of cultural object and performance. claudia yeejae kim’s kinetic and immersive ‘beauty-salon-inspired’ multimedia installation confronts histories of colorism and beauty standards in Korea, interrogating social ideals that use skin tone as a symbol of class. And in an unraveling of various events, Ian Ha intuitively assembles paintings of memory and memoir that encapsulate the act of wandering and recollection in a dreamlike world. Whereas in Steven Stallings Cárdenas ’ magical realist world, he weaves a series of thoughts, images, and consciousness to explore the relationships between space, affect, language, and change.

Balancing between ambiguity and clarity of information, Taekyung ( Tk) Suh’s paintings unfold uncanny events that are on the threshold of worlds, real and imagined, where silhouettes and figures metamorphose into natural and human built worlds. Seamlessly entwined, technology and the digital machine both mold and hold us in A.M. DeVito’s installation where spinning becomes an experiential sequence of abstraction and repetition in an air of impending doom. And while digital culture has overwhelmed one’s understanding of the self, Julian Zehnder ’s machines create an awareness of our position and pulse as dull drones, beeps, and clicks signal a response to one’s movement in space. Kai Oh considers photography in the expanded field, chopped and screwed, her hyperreal and saturated images capture non-human life in human-made spaces and altogether conjure other borderless realms. Navigating the flat surface with multiple perspectives, Sharon Yaoxi He demonstrates that a single line has the potential to assume much dimension and bringing a shape to its flattest form can provide depth of experience. After all, the edges represent a lot, and Candela Bado explores architectural languages that hold complex histories, mapping these elements with baseboards and tiles to consider what architecture might keep out rather than in. JOHANNA reconstructs a fragile space alluding to a home, its walls made of hand-dyed indigo paper that draw on colonial extraction and family histories.

Retreating from the material world, Roxana immerses into the space of degraded, ephemeral, and latent images to awaken and access a time that has passed. Conjuring images from recollection, Youngmin Park doesn’t fully depict the entire scene, rather, she puts together a world where power dynamics unfold between humans, animals, and historical events.

Thinking about the collective body, mechanisms of the nation-state, and the individual, Chuqiao (Chloe) Li examines the anxieties of political suppression that are both overt and concealed, confronting the binaries and consequences of access to information and the possibilities of it under surveillance. While Yiwei Lu uses AI to reconstruct family albums of tourist photos by various landmarks in an economy of images that no longer require one to travel far to see the sites. The complexities of human experiences within the order of both natural and human-made worlds are animated in Jing Harren ’s video works that capture minor details of existence and meditations on fear.

Examining weaponized sounds, Colm Keady-Tabbal considers the physiological and psychological effects of sound, using architectural forms and text that subtly inhabit their surroundings. Aristotle Forrester ’s paintings, made with sweeping swaths of thick paint and tools invented in the studio, explore ideological landscapes and racial constructs in the US to consider his personal history and unearth what results from brutal force and the subjugation of communities. Working through and making space for restoration, SÉAN creates a meditative world using sound, textures, and performative elements to embody a sanctuary and altar. Interacting with the natural world in a non-exploitative way is part of Andie Carver ’s painting practice that responds to the interconnections and entanglements between species and composing and decomposing bodies that morph in and out of each other – is it paint, a brush stroke, a bird? Whereas humor cuts through painful realities in Valeria Guillén ’s works, where she also examines origin myths, utility, and mass production. Playing with the malleability and meaninglessness of value, her installation spirals from the initial idea of fertilizing the earth with Caganer, the Catalan mascot of renewed health of body and peace of mind. She explains it as a way of wishing her class good luck, farewell, and “may you live a long life.” And in this spirit, May you live a long life is for planting seeds, making art in anticipation, and living for a generative future.

FAWZ KABRA is a curator and writer living in Brooklyn, NY.

A.M. DEVITO

A.M. DeVito (they/them) is an internationally recognized sound designer, artist, writer, composer, and musician originally from Toronto, Canada and currently based in NYC and Montreal. Their work harnesses the materiality of acousmatic and hyperreal sound design to weld the sonic experience as a liminal intermediary across realities. By creating different modes of listening via interdisciplinary installation, sound sculpture and acoustic explorations, they dissect and reimagine narratives around technology, the self, identity and societal dissociation. They extend these themes to the visual realm via generative code, interactive video installations and performance, translating ostinato, loop and feedback through granulated form and color.

A.M. explores sound, video, and code as a conduit for marginalized voices. Their work advocates for “queering the machine,” destabilizing binaries and inserting marginalized bodies into digital spaces. At the same time, they examine the tensions between our inner and outer selves in these precarious spaces.

Their art aims to break traditional gallery barriers, making complex themes accessible through interactive experiences. Operating at the intersection of entertainment, games, and art, DeVito challenges the commercial art market and creates accessible experiences for diverse audiences. Their multisensory work is made for the marginalized while offering an entry point for those curious about intersectional narratives.

DeVito is passionate about positioning the queer, neurodivergent body within our digital future through sonic and technological interventions. Their installations invite viewers to reassess their perspectives and participate in creating an inclusive world. They use AI and machine learning to explore the evolving relationship between art and technology, blurring the lines between human and artificial.

Untitled (Prototype for a Spin), 2023

70’s Schwinn Stationary bike, Bela microcontroller, wires, cables, speakers, stands, IR sensors, mirror paint, playing card, spoke beads, piezo mic, projector, black faux fur, zipties 240” x 240” x 240”

Intimate Listening Spaces for the HyperReal I: Dendrophonia, 2023 Mirrored domes, rope cable, speakers, bass kicker transducer, wood, metal, PLA, polyester fabric, acrylic gouache, sound, microcontroller, amplifiers 72” x 60” x 72’’

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Trans Sonic Bodies 2.4: Can you - h_EaR it in M[y] vOsx [see: vo-o-ice-e], 2023

Acrylic, resin, wood, screws, 4 speakers, sound, cables

36” x 10’’ x 8”

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Single channel video, Hydra LVC

14” x 55”

COLM KEADY-TABBAL

Colm Keady-Tabbal (they/them) is an Irish-Lebanese artist currently based in New York. Their practice investigates epistemologies of sound, place and memory and their relationship to systems and architectures of control. Operating through installation, moving image, performance and writing their work addresses the legacies of applied modernism and behaviourism, often appropriating the forms and language of existing media and infrastructure.

Their work has been exhibited and performed at the Irish Museum of Modern Art, Fridman Gallery, Lenfest Centre for the Arts, IRCAM Festival, Douglas Hyde Gallery, Ormston House, and Cork Centre for Architectural Education.

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Slide Piec e, 1982-2022

Projected slide images with synchronized audio

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there’s just something moving about it, 2022

Still

JULIAN ZEHNDER

Julian Zehnder (* 1995) is a sound artist and composer, exploring field recordings, noise, and installation discourses. Blending environmental elements with technology, he abstracts sound and materials, defying conventions. Zehnder’s works have graced venues like the Jewish Museum New York, Kunsthalle Basel, and De Appel Museum Amsterdam, alongside international festivals and received many awards. Notable accolades include the Bronze Award at the 3D Audio Production Competition in Ambisonics 2021, the ZHdK Grant Award 2022, and the Nicati-de Luze fellowships 2022/23. Graduating with honors in Music Composition from Zurich University of the Arts in 2022, he’s set to complete his MFA in Sound Art at Columbia University New York by May 2024.

Observing shifts in environment, society, and economy propels Zehnder’s endeavors. His creations undergo significant transformations, influenced by sound, material, space and humankind; fluctuating between the tangible and intangible, organic and inorganic realms. He explores the intricate dynamics between nature and technology, unveiling a complex interplay:

Nature is not singular. While nature was once perceived as ultimate reality, contemporary society constructs its own reality rooted in the artificial. This era, termed Post Reality, signifies a shift away from nature toward consciousness as the new reality. Interestingly, amidst this post-natural era, there is a growing awareness of nature’s significance. Nature’s reality is just one among many: neither entirely real nor fictional, yet surpassing its innate naturalness.

Central to Zehnder’s vision is the concept of a post-natural landscape, where biological, botanical, and electronic elements merge, creating novel, intricate structures. His work highlights the intersections of biological, social, and economic systems, shedding light on humanity’s anthropocentric tendencies toward extinction and devastation. Through compositions, performances, installations, and spatial interventions, Zehnder invites audiences into a realm where collaboration supersedes competition, resonating with the diverse tapestry of realities.

website julianzehnder.ch

instagram @julian.zehnder

Still from ‘Midsummer Dreams’ Performance, 2023 photo © Elisheva Gavra

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Rotating Cadence Series , 2023

Wood pedestals, motorized music boxes, music rolls

Audio: loops on music rolls

Dimensions Variable

photo © Paul Rho

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Crowd control poles, ropes, carabiners, intercom systems, sign holders

Audio: 18:59 mono

Dimensions Variable

photo © Paul Rho

Beyond Dissolving Limits , 2023

Fountain sculpture: concrete, sculpting wire, expanding foam, black colored hot glue, customized pump system, black food dye, two customized subwoofers, hydrophone, wood basin

Audio: live audio on two subwoofers, mono 43.2” x 30” x 86.4”

photo © Paul Rho

CANDELA BADO

Candela Bado is a visual artist working in sculpture and installation. She focuses on researching architectural language, particularly how the form and function of an object can be used to map and speculate histories of resistance against methods of erasure.

Candela Bado (b. 1991 Montevideo) studied Fine Arts at The Royal Academy of Arts in The Hague, Netherlands. She has been part of numerous exhibitions in institutions and galleries among which highlighted are her recent solo and duo exhibitions at SUBTE, Walden Naturae and Liquido, amongst other group shows in Uruguay. Internationally she has been exhibited in TENT Rotterdam; Platform TRAUMA, Amsterdam; Salone Internazionale del Mobile, Milan; Snehta and ASFA in Athens, amongst others. In 2018, she was invited for a residency in Snehta, Athens and was nominated for the National Fine Arts Prize in Uruguay. Candela has received grants from STROOM Den Haag, in the Netherlands and the Ministry of Education and Culture in Uruguay in recognition of her practice.

website candelabado.com

instagram @candelabado

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enclosure (baseboard), 2023

Porcelain, clay, copper

Dimensions Variable

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map of an afterlife (first segment), 2023 Copper, ceramic tiles 110” x 44” x 0.1875”

ANDIE CARVER

Painting materially positions me in touch with the natural world. It allows me to inhabit the mystery both of an animal perspective I desire to know and of a question that only the act of painting can draw out of me. Rather than representing nonhuman species, the paintings are about my response to them. They are inseparable from my own curiosity, perception, and touch and founded upon the continuous exchange and accumulation of entanglements between myself, the subject, and the material. Painting is my way of holding these landscapes inside of me and extending myself into them. The result serves as evidence of my own permeability and binding to the earth.

website

instagram

Rot Found, 2023

Oil on canvas

62” x 60”

Day Digesting, 2023 Oil on canvas 78” x 70”

Past Ripe, 2024 Oil on canvas 50” x 52”

OLIVIA DRUSIN

Here is a moment in time, rendered in paint, of an image projected on a surface from the cavernous mush of the mind. Here is an image of an object creating its own diaphanous likeness, and here is a magic trick of the light. Here is where her attention drifts, darts and settles. Here is a tool to look at and scrutinize a dislocating scene.

There is something about the absurdity of images and image making that I can’t quite look beyond. Nothing makes sense–it never has, and it never will. That nonsensical aberration is insidious, persistent; it lies in the periphery of vision, just out of reach.

Olivia Drusin is a New York-based painter whose works describe the psychic structure of pedestrian encounters with both urban and domestic space, and how they relate to gender and visual perception. The paintings untangle a banal type of horror in various deadpan forms of thresholds and veiled moments of the quotidian. As reference pictures are flattened in paint, disrupting their legibility, the images transform into vehicles for exploring consciousness.

Drusin received a BFA from The Cooper Union School of Art, and has exhibited at Pablo’s Birthday, New York, International Objects, Brooklyn, Galleri Golsa, Oslo, Nathalie Karg Gallery, New York, Selenas Mountain, Queens, Abattoir Gallery, Cleveland, SARDINE, Brooklyn, and Kustera Projects, Brooklyn, among others. The artist lives and works in Brooklyn, NY, and is currently finishing her MFA at Columbia University.

instagram @olivia__drusin

Studio photo © Olivia Drusin and Ama Torres

Night Vision, 2023 Oil on canvas 72” x 60”

photo © Charles Benton

Banal Psychedelia, 2024 Oil on canvas 72” x 60”

photo © Charles Benton

ERICA ENRIQUEZ

Erica Enriquez (b. 1997, Newburgh NY) is a multidisciplinary artist based in New York City. Erica received her BFA in Sculpture from the Rhode Island School of Design in 2019 and is currently an MFA student with a concentration in Expanded Practice | Sculpture. Erica has shared her work in various spaces such as museums, galleries, music venues, theaters, comedy clubs, wrestling rings, parks, and dumpsters across the east coast. Her work considers sculpture, video, photography, painting, and sound as collaborators for performance. She is also the leader of the rock band CHOO CHOO, which is available on all streaming platforms.

The word peel suggests a removal - an intermediary, protective sheet, or covering that is able to contain or reveal what lies beneath. A layer, skin, or mask, to be discarded, though essential to the processes of both growth and repair.

I use performance to combine familial mythologies with the complicated cultural and geopolitical material histories of my sculptures, in order to speak to the multiplicity and hybridity of being a mixed race, queer person in America. I draw from my family roots in dentistry and generational food traditions through the collection of food scraps and discarded dental equipment. These elements function as surrogates in my work, narrating passed down oral history tales of migratory resilience, resourcefulness and play. I often use humor in my work, and consider the ways in

which joy can operate as a tactic of political resistance. Through this process of telling and re-telling, I engage with an iterative practice which treats permutation and sampling as an act of preservation and regeneration.

As I combine mediums and processes to create my work, my practice remains still-moving. Between the spaces of objects, and the gums of my teeth, I carry intention, hopefulness, and possibility within the boundlessness of creation - that everything ever made was once imaginary, and made into belief.

website ericaenriquez.com

website choochooband.bandcamp.com

instagram @reeeqi

instagram @choochooband

Cast Above the Water, 2023

A photograph of the artist wrapped in PEELS - a hand sewn banana peel wearable on the beach of Fort Tilden in Queens NY photo © Tif Ng

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Banana peels, cotton thread

46” x 72” x 8”

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A still image from a music video shoot for the song WHITE PIGEON by CHOO CHOO

photo © John Filmanowicz

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If You Throw An Egg At A Mousetrap, It Breaks, But Still Escapes , 2023

Eggs, mousetrap, nail, jigsaw, power drill, hammer, Japanese pull saw, studio wall at Columbia University, elbow grease Performance documentation, 20:00

LAURENA FINÉUS

Laurena Finéus is a Haitian-Canadian interdisciplinary artist working primarily in painting, performance and social practice. She was born and raised in Ottawa, ON. She is a graduate from the University of Ottawa with a Bachelor of Fine Arts. Her work has been exhibited at the Hudson River Museum (2023), Jenkins Johnson (2023), G101 (2022), Karsh-Masson Gallery (2021), the Ottawa Art Gallery (2021), and Art mûr (2019), among others. She was the recipient of the Elizabeth Greenshields Foundation Grant (2022-23), the Ottawa Arts Council IBPOC Emerging Artist Award (2022), and the Ineke Harmina Standish Memorial (2019). She is currently based in Brooklyn, NY.

My work explores representations of black geographies, maroon ideologies, and migratory patterns. I am interested in exploring ideas surrounding statelessness, faith and emotional fugitivity – starting from the Haitian migration crisis that has been taking place since the 1980s until now.

Marronage, as a black geography, truly offers an alternative way of life and it redefines notions of spatiality through Black self-determination. In my works, I depict ‘zones of refuge’ which describe maroons’ regions of existence. This has led me to indulge in representations of Mountain ranges, swamps, and arid plains - all environments in Quilombo topographies. My strategies include the collapsing of communal histories across time, memory, and space. In hopes to center a discarded black sovereign past and future.

Historically, Haiti speaks to issues around fear of Black governance, the condition of asylum seekers in the Americas and neocolonialism. These all serve as entry points for my research, defining why I continue to turn to it as a foundation. Furthermore, I see continuous thinking patterns between our maroon ancestors and migrants today from their core desire for freedom to their vibrant imaginations of brilliant futures.

website laurenafineus.com

instagram @laurenafineus

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Unearthing : Stones in the sun, 2023 Oil on canvas

72” x 48”

photo © Stefany Lazar

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Sighting’s: Archive of your breathing, 2023 Oil on canvas

60” x 48’’

The ‘Sighting’s’ series speaks to the continuous sacrifice of a people in the name of freedom, when all we do is hold onto a mere moment of faith. One that resides in light, in salt and the sea. The collective belief systems and mental groundings we have built will continue to carry us. It is trusting the land to hold us when we can’t. It is trusting in the likes of Lasirenn, Yemaya, Mami Wata and our Waters. It is learning to trust our instincts as we make our way through arduous paths and geographies. Because we know better than to trust only what we see.

SASHA FISHMAN

Sasha Fishman is a sculptor and researcher, born in Baltimore, MD and based in New York. Fishman has exhibited her work at Below Grand (New York), Resort (Baltimore), Hesse Flatow (New York), Bozomag (Los Angeles), The Jewish Museum (New York), and The Indian Ceramics Triennale (New Delhi, India) among others. She has presented her work and run workshops at Printed Matter (New York), Genspace (New York), Navel (Los Angeles), UCLA (Los Angeles), UDenver (Colorado), UColorado Boulder (Colorado), Kenyon College (Ohio), MICA (Maryland), Caltech (California), and CSULB (California). During her time at Columbia she collaborated with labs on projects involving fountains, carbon capture materials, and cuttlefish.

In my practice, I explore intersections of material histories, scientific inquiry, and fringe beliefs. Through sculpture, video, and aquatic organism research, I investigate intelligence embedded in extractive infrastructure from both scientific and pseudoscientific perspectives. My practice generates a rheology - the study of the flow of matter - which emerges through my engagement with scientists, environmental conservation industries, water systems, and formulating living, ephemeral, and synthetic materials.

Fluctuating in appearance between solid and liquid, resin has been the primary material throughout my practice, but its toxicity resulted in my exploration into biomaterials. Shifting towards self-formulating materials has empowered me to dictate sculptural properties and prompted a broader exploration into material implications: history, collection, disposal, supply chains, life cycles, and ethics.

instagram @dangerouswhenwet

Currently, my research delves into the ethics of working with living organisms and the limitations of scientific instruments in understanding their experiences. Specifically looking at human intervention in collapsing ecosystems, specifically salmon, and how prediction methods and historical events justify implemented conservation efforts. Through exchanges with local salmon hatcheries, a salmon smokery, scientists, and water conservationists, this work questions the limitations of our comfort with ephemerality across materials, industries, and environments. These material investigations, extractions and cultivations are part of my perpetual, and potentially futile exploration.

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Some days I’m edible, 2023 Reishi mycelium, firewood, rye, wood, cardboard, egg yolk tanned salmon skin, chitosan (mycelium material developed in collaboration with Lera Niemackl) 93” x 21” x 21”

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And don’t stop your body cavitation, 2023

3D printed flowforms, electroformed copper, steel, tubing, water, pump 10” x 4” x 7”

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Studio at night, December 2023

Ceramics, mycelium, chitosan, salmon skin, copper, wood, resin, fiberglass, steel, rust, electricity, water, light

Just spawned, 2023

ARISTOTLE FORRESTER

Aristotle Forrester is a black painter and printmaker, originally from the South Side of Chicago and currently based in New York. He received his Bachelor of Fine Art degree from the Massachusetts College of Art and Design in 2016, and is a Master of Fine Art candidate and Neiman Fellow at Columbia University. He has recently exhibited his work at venues such as Thierry Goldberg (New York), Frederic Snitzer (Miami), Storage Gallery (New York), M Fine Arts Galerie (Boston), the Inside Out Museum (Beijing), the Obama Foundation Democracy Forum (New York) and was collected by Harvard University (Boston) in 2022.

This body of work, Edicts of Blood and Water, visualizes the racial constructs and power structures that have defined Forrester’s experience and that of so many people of color living in America. In these paintings, he deploys the motifs of blood, water and land, elements that sustain human life yet have also been manipulated by those in power to shackle, oppress and subjugate. By extending the traditions of quilting, collage, pigment, and text in these pieces, Forrester subverts the colonial pillars of visual culture and highlights the duality of imprisonment and freedom personified by these symbols.

This transition across these paintings embodies the conflict and calmness of conquest, tying together the concept of the origins of colonialism. It starts with an edict: go here, get them, bring them there.

Over the course of the works, as over the course of time, the states of complexity of that edict are illuminated and unraveled, the tension of the marks presents the conflict, the loss, and the radical perseverance of oppression.

opposite Manifest, 2024 Oil, hand ground pigment, lock ash, beeswax, burlap, silk, hemp, herringbone cotton, marker collage on canvas

76” x 139”

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The Comedy of Self Assurance, 2024 Oil, hand ground pigment, lock ash, beeswax, burlap, silk, hemp, herringbone cotton, marker collage on canvas

77” x 64”

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Trade Routes and Bloodlines , 2024 Oil, hand ground pigment, lock ash, beeswax, burlap, silk, hemp, herringbone cotton, marker collage on canvas, mounted on wood panel 72” x 67”

KRISTA GAY

Krista Gay (she/they) is a Los Angeles born, New York based artist working through photography, video, text, and sound installation. Thinking about the images of Blackness circulated throughout the internet, television, news, and other forms of media.

The work pauses here; an encounter, an act of refusal, a riot, a listening, staying with the trouble. Welcoming the viewer into a space where voyeurism is acceptable and then sitting back and watching the watcher.

instagram @digitalblackface.jpeg

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Digital Still from N-words, 2023 07:45

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Research Collage made with Images Sourced from Online Archive, 2023 Digital collage

VALERIA GUILLÉN - COLECTIVO DIY

To my parents Mirian and Larry.

To my siblings Odin, Elena, and Pablo.

To my partner Andrés.

To my collective Johann, Alejandro, and Jon.

To my professors Tomas, Naeem, JJ, Teresa, Jan, Rona, Valerie, Craig, Aramis and Don.

To my previous, present and future cohort.

To my boss Rafael and Nathan and former boss Leilani and Silvia.

To my best friends Mel, Juliana, Pati, Nata and Gabi.

I was born in Tegucigalpa, Honduras. I studied in a french school called Lycée FrancoHondurien. I moved to Miami in 2011 and went to Broward College to learn English and then get my AA in Printmaking. I transferred to NWSA where I got my BFA in Painting. I worked 4 years between my studio practice, the museum world and making nails. Today, after 2 years of being in New York, I am able to share these objects of care thanks to all of you.

Valeria Guillén’s process-based and permutative practice generates a series of auspicious symbols and conditions that playfully ask us to reconsider language hierarchies, materiality, and humor. These seemingly familiar forms presented comically and absurdly are authentic to the issue they reference. Whether it is toilet paper represented ad infinitum (demonstrating the fallacies of late capitalism production systems) or an irreverent figure of a public defecator, Guillén uses humor in the face of collapsing societies that have equated amassing toiletries as a sign of progress.

Reminiscent of the aesthetics of rebusque in the tropics—a process of defining a problem (or the solution to a problem) in terms of (a simpler version of) itself—Guillén taps into plasticity as an expanded attitude where materials respond directly to environments of scarcity and uncertainty, encouraging us to question their physical and cognitive potentials. Guillén’s practice exists then not just because of the language of art but despite it.

— Johann C. Muñoz

website valeria-guillen.com

instagram @measure_twice_cut_1ce

instagram @co_lec_ti_vo

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3001: A Flower Odyssey, 2024 Paper on board, color pencil, plexiglass, and PLA plastic 9.25” x 8”

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Test tile Caganer, 2023 Ceramics 7” x 11”

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Test tile Nose, 2024 Ceramics 4” x 9”

Cada quien hace de su trasERO un florERO, 2023 Ceramics, plastic, plexiglass, and fabric with enamel paint 20” x 35” x 15”

IAN HA

Ian Ha is from Yong-in, South Korea, and lives and works in New York. He received his BFA in Seoul National University, Seoul and is currently a candidate for his MFA in Visual Arts from Columbia University. Ha creates multidimensional spatial illusions where multiple times and spaces overlap, exploring today’s fragmented information and excessive visual stimulation.

Skins, Stains, Residues, Shreds, and Rebirth

I make paintings, drawings, and printmaking on paper mounted on a structure. I am interested in time and memories, how we receive and store our memoirs, and how we perceive them when we encounter and revisit them. The act of masking the paper, concealing the surface, covering it with paint, tearing it off, revealing it and covering it again, reflects the cycle of memories that accumulate or are washed and disappear.

I use painting as my portal to transcend time and the moments that are unattainable or intangible. It’s as if the past I’ve lived in and the present I dwell in are intertwined, and the thoughts related to them are listed. In my recent paintings, I frequently incorporate abstract, transcendental spaces into my paintings. These dreamlike realms are depicted as surreal scenery where fragments of space-time coexist in one image. The skins of each reality intend to

encourage viewers to consider the infinite possibilities of the mind. While combining both personal and external narratives (often from the images that I took), the paintings are more interested in seducing the viewer than relating plot points. Rather than adhering to a linear chronology, they become emblematic and allegorical.

website ianhaart.com

instagram @ianlloydha

opposite daydream, 2023 Acrylic, gouache, watercolor, ink, and linocut on Jangji paper 74” x 48”

can’t go back , 2023

Acrylic, watercolor, graphite, and ink on wood panel 6.5” x 12”

can’t go back , 2023

Acrylic, watercolor, graphite, and ink on Jangji paper 42” x 42”

JING HARREN

Jing Harren is an artist who works mainly with video and film. Her video works address the ruptures of language and embody an intriguing yet intimidating sense of humor. There is also a sense of mourning with the disappearing and reappearing things on screen and longing.

Jing’s video works were selected for festivals including the London Short Film Festival, Tokyo International Short Film Festival, Toronto Indie Filmmakers Festival, etc.

Video is a very hot medium. You should not think otherwise because it is just as demanding. Once it is on, it asks you to devote all your sensations to it.

Sometimes I wish it would cool down a bit. I hope to feel myself. Luckily, these videos are not long, and they are here for their reason. Some voices will speak through them. Some tacit understanding has arisen in making and watching videos, that is, I don’t remember what has passed on the screen because I have to react, to take my next move.

The temperature of a medium is a joke. When the patient asks the doctor if she can live a long healthy life, the doctor extracts the thermometer and says, “I’m afraid… since mercury is in ur-anus.” The patient is an expert in astrology so she immediately gets the joke. She screamed “ahhhhhh……”

website harrenjing.com

instagram @iptlhto

ringsexchange, 2024

Single channel video 05:20

above conversation with bear, 2023

Single channel video 10:10

opposite couple pawning rings , 2023

Single channel video 09:00

SHARON YAOXI HE

Sharon Yaoxi He (b.1998), painter.

“Space is not something objective and real, nor a substance, nor an accident, nor a relation; instead, it is subjective and ideal, and originates from the mind’s nature in accord with a stable law as a scheme, as it were, for coordinating everything sensed externally. “

- Kant

website yaoxihe.com

instagram @sharonnnnnhe

opposite Paradox, 2023 Acrylic on canvas 74” x 66”

Swinging, 2023

Detail 1

Swinging, 2023

Detail 2

Untitled, 2022

Pencil and charcoal on paper 12” x 10”

NIMA JEIZAN

Nima Jeizan (b.1994) is an Iranian-American sculptor who grew up in Tehran and Virginia, and currently works in New York City. He often invites friends to come to his studio, drink Persian tea, and shell pistachios, while conjuring the spirit animals inside his sculptures. Nima plays Kourosh Yaghmaei, Alice Coltrane, Siouxsie and the Banshees, Phillip Glass, and Grace Jones while drilling, suturing, blending, rubbing, pouring, and dying his pieces. He holds a BFA in Sculpture + Extended Media from Virginia Commonwealth University and is an MFA candidate at Columbia University. You may find Nima on the dancefloor of Basement in Maspeth, Queens.

Exile and belonging merge into new forms; the human and non-human cross-pollinate into pomegranates, glass, pistachios, epoxy putty, animal horns, and horsehair. My process embraces the djinn (the witchy possessor in pre-Zoroastrian mythology) as the spirit of an intuitive art practice. What are their new lives in the diaspora?

José Muñoz’s Cruising Utopia (2009) proposes that queerness must strive towards futurity. I want to propel all of you towards a queer time when a dried pomegranate becomes something more than a fruit husk. Its shriveled rind masquerades as leather, human skin, or that which is beyond human or animal – not-yet-here.

My sculptures are charged with potentiality for another lifeform – a preserved reincarnation similar to taxidermy or mummification. The fruits of Iran thrive in a world of in-betweenness – harvesting and being harvested.

The scale of these organic forms suggest utility; the competing desires to touch

and to retreat imbue each apparition with a sense of vitality and sexuality, leading to an aura of harmonious mayhem. I wish to transcend the present time, moving into a simultaneously prehistoric and future form. In this world, the sun is hotter and there is no water. Everything is dry. The human body melts away and the only remnants are limbs, tumors, and organs.

I create suspended sculptures, floor pieces, and fusions that struggle against the orientation of gravity; a shared earthly environment between my body and theirs.

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Horses Are For Lovers And For Wars , 2024 Mouth-blown glass, brass, epoxy putty, dried pomegranate, dyed pistachio shells 108” x 9” x 9”

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We have never been queer, 2023 Hand-dyed maple burl, epoxy putty, leather 53” x 17” x 10”

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Juices Will Flow; The Engine Is Still Asleep, 2023 Epoxy putty, dried pomegranate, dyed pistachio shells, brass 72” x 40” x 30”

photos © Stefany Lazar

JOHANNA

JOHANNA (b.1992, New York) is an interdisciplinary artist based in New York. She received her Bachelor of Fine Arts in Printmaking from SUNY Purchase College.

Through a combination of photomechanical and traditional processes, she investigates the complex relationship between her cultural identities, that of a Latin American raised in suburban “white” America.

“A feeling of belonging in neither place”.

Her works reference themes of education, identity, labor, politics, and time.

website johannavelas.com

instagram @thrwhiterabbit

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Catalog Timesheet, February 11th to 12th, 2024 Lined paper, Scotch blue painter’s tape, Sharpie, pen, and silkscreen on stained BFK Rives paper 11” x 8.5”

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Mechanical Standards , 2024 Epson scanner, digital image

Dimensions Variable

CLAUDIA YEEJAE KIM

claudia yeejae Kim (b. Seoul, Korea) is an interdisciplinary artist working primarily in performance, sculpture, video, and installation, who uses vulnerability to examine the absurdity and inadequacies in beauty standards. Her work has been exhibited at The Jewish Museum, Fredric Snitzer Gallery, theBLANC Gallery, and Wallach Gallery among others. She received her BA from the University of California, Davis and a Post-Baccalaureate from Brandeis University. She is currently an MFA candidate at Columbia University in the City of New York.

Through sculpture and performance. I examine beauty standards and their pervasive colorism through my upbringing in South Korea. My childhood was marked by relentless efforts to lighten my natural skin tone. I vividly remember my grandmother’s ritual of scrubbing the 때 (dirt or dark tone) from my skin using a loofah mitt with an exfoliant of milk, yogurt, honey, and egg at a Korean bathhouse. Even the women there scrutinized my complexion for a “lighter” appearance, and I sadly internalized this treatment.

My current work finds absurdity in my obsession with beauty standards, self-objectification, and fetishization from others. Specifically, I examine bathhouses and gyms as temples of beauty, where companionship, competition, self-healing, and self-destruction occur. Performing the absurdity of these places strips power from both.

Banner stands connect these spaces, and often feature images of women’s cropped body parts without faces. I recreate these banner stands as bodies, repeating their grommets and instead puncturing a peachy synthetic flesh-tone spandex, symbolizing the violence needed to achieve an impossibly manufactured aesthetic.

My art invites viewers to private worlds rooted in personal traumas. Ultimately, using my anger, discomfort, and vulnerability, I imagine absurd realities to deconstruct power structures, and challenge societal norms.

opposite happy stool and happy woman, 2023 Exfoliation mitt, thread, heel, hanger, silicone rubber, medical tape, nylon, chicken wire, wood, insulation foam, and rice bag 91.2” x 84” x 24”

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ttaemiri skin, 2023

Exfoliation mitts, liquid rubber, yogurt, honey, milk, egg, joint compound, and locker plate and bracelet 64.8” x 84” x 0.1”

bottom

happy belt station, 2023

Steel, vibrative machine, spandex, chain, rubber coating, hook, grommet, silicone rubber, and synthetic feather 84” x 108” x 72”

happy pull-down, 2023

Sign post, pulley, steel, shower hose, cement, and rubber 96” x 48” x 30”

KRISTIAN KRAGELUND

Kristian Kragelund is a multi-disciplinary artist whose practice is concerned with how value and power asserts itself within the structural formations of everyday life. With a research-driven approach to infrastructure and the built environment as a contested space of political, corporate and personal agency, he seeks to reveal the often hidden sites where violence and systemic control is enacted by the dynamics of capitalist production and consumption.

Through a critical examination of commercial and industrial debris as ambivalent artifacts of the 21st century, he proposes a re-evaluation of the historical and material inertia of the object, and suggests its speculative potential as markers of the contemporary human condition.

Kristian Kragelund received his BA (Honors) in Fine Art from Central Saint Martins in London. He has exhibited widely internationally and his work is held in several private and public collections, including The Danish Arts Foundation and as a permanent public commission in Whitechapel, London.

website kristiankragelund.com

instagram @kristiankragelund

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Flat As A Flag, 2024 Oil, fiberglass and resin on canvas mounted on sound insulating felt tiles 79” x 51.25”

opposite

Disposition_01, 2023-2024

Engraving on commercial exterior wall cladding mounted on aluminum hardware and sound insulating felt tiles 106” x 71”

above

Disposition_01, 2023-2024

Detail

CHUQIAO ( CHLOE ) LI

Chuqiao (Chloe) Li (b. 1998, Beijing, China) is a multidisciplinary artist who works primarily with paper, artist’s books and printmaking. Her work explores the chronic uneasiness beneath the social political conditions in contemporary China. In 2024, she was featured in CURRENTS biennial at A.I.R. Gallery.

Our generation was born and left on a blurry square.

On that square, things have been written, erased, rewritten, re-erased, re-rewritten, re-re-erased…Like an answer sheet from a bad student.

I am standing on that square, floating beneath the square, wandering around the square. I am looking at the square, looking at the people looking at the square, looking at the people not looking at the square.

In contemporary China, there is a collective chronic pain hidden in an unknown part of the heart. It has been hurting for a long time. Long enough for you to get used to it. So used to it that you are not even sure if it exists.

My job is to touch it with a needle, like acupuncture.

…

website chuqiaoli.com

instagram @li_chuqiao

“Acupuncture involves the insertion of very thin needles through your skin at strategic points on your body. ”

– Mayo Clinic

“Acupuncture is a pseudoscience; the theories and practices of TCM are not based on scientific knowledge, and it has been characterized as quackery. “

– Wikipedia

“You don’t know that it exists until you’re touched. You don’t know that part of you could be touched until you’re touched.”

– A random influencer after getting his first acupuncture

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The Weight of the Flags, 2023

Screen printing on organza, mechanical weight scale, inkjet print on paper

Dimension Variable (11” x 8.5” each inkjet print)

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Nation of Flags , 2021

Inkjet print and photo transfer on paper, envelope folders

Dimension Variable (13.1” x 9.3” each envelope)

photo © Matthew Sherman

YIWEI LU

Yiwei Lu is an artist and refrigerator based in New York and Nanjing.

As an artist, Yiwei’s work has been exhibited internationally, including Nanjing Powerlong Art Center, The Wallach Art Gallery, SVA Library, Nanjing University of Arts, Trieste Photo Days, and Open Air Art Project. As a refrigerator, Yiwei aims to unfreeze time, to make it hers. She focuses on the man-altered and social landscape. Created by humans, left with traces of use, they become part of human society and the figurative representation of collective memory. Through the methodical composition, the deepest levels of emotion transfers into extreme restraint. Yiwei is pursuing an MFA in Visual Art from Columbia University and holds an BFA in Photography and Video from the School of Visual Arts.

“Back to The City” is a photo-based project blending documentary shots from World Park, Beijing, China, three “Family” Albums, and monumental sculpture.

World Park, a thematic showcase of global cultures with static miniature landscapes, opened in 1993, offering a condensed world tour experience. Until 2005, when China began issuing individual travel visas, it served as a unique encounter with global landmarks for its citizens.

The park primarily serves as a photo background for tourists, offering a fictitious “global journey” proof. It speaks to the permanence of images. Photography faces authenticity challenges due to falseness in static landscapes and recent AI advancements.

Two family albums feature AI-generated images of Chinese tourists in front of the Eiffel Tower and the Empire State Building from the 1970s to 2010s. Contemplating their sentiments in less-documented eras raises questions about business trips or immigrant journeys. Another album showcases my family’s travel memories from in the early 2000s. Although I was too young to remember them.

The sculpture installation features towering replicas of the Eiffel Tower and the Empire State Building. These iconic landmarks blur the line between appearance and function as it reaches monumental heights. The AI-generated images are printed on tracing paper and affixed to the model, creating a fragile yet striking visual effect. It becomes the Tower of Babel wrapped in skin, condensed with time-traversing personal experiences or family stories.

instagram

Back to the City:Eiffel Tower, 2023 Metal, rice glue, tracing paper with AI images 36” x 36” x 80”

Three photo albums with inkjet prints inside

Each album: 4” x 6” x 2” (100 pages)

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Back to the City: Family Albums , 2023

bottom

Back to the City: World Park , 2024

Back to the City: Photo Booth, 2024 iPad, software Simple Booth, photo printer, wooden structure

Photo strip: 4” x 6”

KAI OH

Kai Oh (b. 1992, Seoul) focuses on expanding the boundaries of photography, capturing the non-human-centric life force in urban spaces through her lens. She places particular emphasis on the fluidity of digital images, exploring their inherent possibilities. By bringing digital images from the computer into physical space, Oh challenges conventional norms and historical values linked to flat images/surfaces on the wall, crafting otherworldly scenarios.

Before attending Columbia University’s School of the Arts, Kai Oh earned her Bachelor’s degrees from Seoul National University and the Academy of Fine Arts, Nuremberg. Alongside her solo exhibitions, including Half Sticky, IBK Korea (2023) and Softsharp, Cylinder, Seoul (2021), Kai Oh has participated in numerous group exhibitions: Autohypnosis, G Gallery, Seoul (2023); The Postmodern Child Part 2, Busan Museum of Contemporary Art, Busan (2023); Rales, Wheezed and Crackles, Doosan Gallery, Seoul (2022); Super-fine, Ilmin Museum of Art, Seoul (2021); and Foam Talent, Foam Amsterdam (2017). opposite

Kai’s phone

website

Kai’s desktop

YOUNGMIN PARK

Youngmin Park is an artist born in Seoul, Korea who is living and working in New York City. She received her BFA from Korea National University of Arts and is a candidate for an MFA at Columbia University, expected 2024. Park magnifies the fragility of narratives created through perception and contemplation, revealing their susceptibility to errors and illusions. Memory, vulnerable to distortions, inaccuracies, and gradual fading over time, undergoes reconstruction and alteration upon recall.

My interest in the fragility of perception and memory, stems from my childhood as the youngest in a large family, with three generations and dozens of animals under one roof. This experience placed me in the middle of an intricate power dynamic of both human and animals. An experience of never being able to see everything that happens concurrently when in a large group gave rise to fundamental doubts about the nature of experience, cognition, and memory.

To highlight the inherent limitations of our understandings, recurring elements morph in different combinations and situations, taking in the persona of each other. The parallax of gaze in the connected and disconnected images also contribute to the nonlinear storytelling. Through this play of confusion, viewers are challenged to connect the narrative dots in the skewed time and space of the enigmatic world.

instagram

My Red is your Green, 2023 Oil on linen 108” x 108” (9 panels, 36” x 36” each)

above

Hover, 2023

Oil on linen

52” x 60”

opposite Tonal Confrontation, 2024

Oil on linen

30” x 14” (3 panels, 10” x 14” each)

ROXANA

Roxana Kadyrova using a gossamer visual alphabet, disentangles our collective surreality. Through collage (spanning autobiographical photography and a personally totemic symbology) Kadyrova’s project is to evince a primitive sensitivity that approaches rootlessness. Her influences range from her Russian-Uzbeki roots in Moscow, her time spent in the School of Dramatic Arts (SFA), and her travels in the Maghreb.

The moment a person is placed in the “black box” of theatre, they shed the ill-fitted suit of persona. They melt into currents. And when it’s time to leave the box, the subaquatic creature solidifies. Through the eye of a camera I was witnessing the same metamorphosis, the same liberating constraint: the corporeal being in front of me was unshackled, delimited by the lens. I want to challenge the notion that the camera is meant to capture a moment in time. Instead, I want my work to inhabit a space similar to theatre, where one can dissolve and where states of transition can be explored.

Lampochka is a headless man who attempts to locate consciousness and reconcile persona with an essence. What can light make of a husk? Lampochka is an ode to electricity, a cheap miracle, a man-made answer to the endless night.

I imagine silver gelatin paper as a glass of eternity, when placed into the developer, the chemistry touches from below and the recorded breath of light is laid from above; It’s in that embrace, the embroidery of life can be revealed, when held long enough, the image turns into a black void of non-being.

My photograms explore a similar notion but using my own touch and body and animal fat to leave a unique trace on the matrix of silver gelatin paper. The pattern specific to my own body, when transformed through the photochemistry resembles trees, mountains, and coral reefs. I become and I unbecome.

website

105 Lampochka, 2022

Single channel video 05:00

Premonition III, 2023

Silver gelatin chemical print 23” x 16”

Premonition II, 2023

Silver gelatin chemical print 23” x 16”

Premonition, 2023

Silver gelatin chemical print 10” x 8”

BENJAMIN SALESSE

I ask mother why she doesn’t paint or write anymore. Abruptly, she stops walking, turns to me, and replies that she doesn’t want to leave any trace when she leaves this world.

Those words make me think about the violence of erasure, alienation, the interruption of lineage. They make me think about their absurdity. The marks we leave during our existence — intentional or not, physical or otherwise — and how they relate to the photographic object.

“B. writes passionately about the violence done to the subjective experience by history, and about the concerted efforts by human beings to preserve experience in the face of this violence, as hundreds of millions of photographs, fragile images, often carried next to the heart or placed by the side of the bed are used to refer to that which historical time has no right to destroy.”

A photographic object that is molded and imprinted by the multiple forces at play in its making.

A photographic object that attempts to salvage, to revive, to preserve something on the verge of disappearance, but itself frail, mortal, and destined to disappear. A stay of execution.

A photographic object that doesn’t pretend to defy nature — encased in an air-tight, lightprotected, gravity-defying enclosure — but “a living organism” in a transient state, that captures the beauty and tragedy of its condition.

SÉAN

In geology, dykes are intrusive land forms formed by volcanic eruptions under the earth’s surface. Hot lava forces its way up to the surface, creating vertical wall like structures. They appear as long streaks of rock rupturing an existing landscape. They are also built as a levee or a protective barrier between land and bodies of water to regulate water in places that are below sea level or have frequent flooding.

I understand dykes as perversions of nature Or freaks of it

Stirring underground with a spirit of subversion

Patiently waiting to erupt and become The moment.

It’s like the earth orgasmed

And insisted on becoming a welcome and a warning sign

Stating that two truths can exist.

To understand how dykes are built

SÉAN (b. 1997) is an interdisciplinary artist and writer from New Orleans, LA currently residing in Harlem, NY. She received a Bachelor of Architecture from Louisiana State University in 2020 where she graduated with distinction and was awarded The King Medal for Excellence in Architecture and Community Research. She is currently an MFA candidate in Visual Arts at Columbia University. opposite At The Bottom of The Totem Pole, 2023

Is understanding that they might break Like when the levees broke Leaving New Orleans underwater in 2005.

I’d like to construct a dyke memorial

For those who exist

At the bottom of the totem pole

The Black Native & Queer stewards of the soil

Who support the gravity of intercessors

Like Audre Lorde

Becoming “carved by the mouth of rain”

Like the work of an estuaryThe mouths of rivers

Carving out sanctuaries

Tended to like femme bodies.

There’s something erupting beneathA remembrance of praise and magic

I’m talking about Revival

And to understand, you must look deep underground.

instagram @sseanity

SOF’YA SHPUROVA

My main concern is trying to achieve philosophical mobility while going against traditional conceptual mythology in painting. I am interested in examining how imagination and meaning-making are constructed and interpreted while challenging language and contemporary notions of taste. My work lies in interstitial spaces, between words, looking for a dialectical relation throughout the entire process. I am looking for a space in between connective organ tissue, moments of high tension, simultaneous violence and fragility, fear and humor, repulsion and attraction, on the verge of being dumb and sophisticated.

The physical surface exists not to serve the image but as a membrane of selfreflexivity, hoping for empathy same as flared skin. The process and the result is a self-aware mental image communicating a loss of distinction between inside and outside.

Sof’ya Shpurova (born 1996 in Moscow Russia) is a New York-based multidisciplinary artist working in painting and sculpture. She received her BFA in painting from Slade School of Fine Art UCL London. Sofya’s work was recently shown in Mamoth London, Shoot the Lobster New York, Storage New York, Troy Town London, Holden Gallery Manchester and others. website

instagram

The verisimilar imagery is centered around poetics of levels of aliveness, Anthropocene and poetry of the medium. I use symbols associated with madness, religious iconography, and present life converted through my own sentimental lens, searching for union in conflict, resting comfortably on the edge of a blade. My area of wondering is searching for new boundaries and borders of what appears to be representational by abusing a dreamworld aesthetic only to mislead and play with contextual framework.

Brave astigmatic person who could have been a hero. There was no reason to, 2023 Oil on canvas 40” x 60”

opposite

evaporating from a fragile kiss , 2024 Oil on canvas 62” x 40”

above Balthazar, 2024 Oil on canvas 42” x 48”

STEVEN STALLINGS CÁRDENAS

Steven Stallings Cárdenas is an artist based out of New York City. During his undergrad years, he studied music composition and jazz drumming for the first three years, transferred schools and programs, and graduated with a BFA with an emphasis in New Genre from BYU, Utah.

I’m interested in Magical Realism with Surrealist thinking, writing, and visual making in the ways a subject such as a trio of paintbrushes, a taco, and/or AI can create meaning (for themselves or help the viewers, such as me and you) out of significant events and the changing images and language and physical and metaphysical materials that are used to pair with such events/moments are used in symbolic ways to create links, in the form of a scratch on a rock, (a) letter(s) that can unveil love, significance, worlds within our shared-individualized imaginations & realness in space of an ellipses, a screensaver, an abandoned warehouse and/or planet earth mapped space, with the ability to create complete subjects/objects/reality-in-a-single hiccup~sneeze (a spacetime container with unlimited potentiality for multiplicities of things/thoughts can through-in–out) whilst creating new expanded laws of physics, connecting these

micro/macro moments/happenings with the relational gift that is shared language - used to discuss and reveal from the perspective of the possibility of what we may consciously perceive in wholeness, partialities, fragments, bits, bots, compositional elements, perform(ers and ances), and/or sacred traditions, introducing and mixing worldings to push back & against complete completely stable objectivity–creating hybrid signifiers that possibly link me and you, and them, and us, to a more grounded real shared world where we have bodies and systems, and possibly, with small pockets of joy.

instagram @rhymes_with_rhizomaticlines

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Serpent Head, 2024 Single channel video 02:36

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Round of Applause, 2024

Single channel video 02:39

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Still From Research Assistant, 2024

Single channel video 02:00

Still From Screen Time Dualists , 2024

Single channel video 01:58

Still From Win World Win, 2024

Single channel video 03:40

Still From Abyss , 2024

Single channel video 05:00

TAEKYUNG ( TK ) SUH

Tk Suh (b. 1993, Seoul, South Korea), currently lives and works in New York City. He received his BFA from the School of the Art Institute of Chicago and is currently pursuing an MFA at Columbia University. Suh had solo exhibitions at CICA Museum (Gimpo, South Korea); LVS Gallery (Seoul, South Korea); Korean Cultural Center (Wheeling, IL); and Gallery No One (Chicago, IL). His work was also included in group shows at Thierry Goldberg Gallery (New York, NY), Mona Gallery (Chicago, IL), and Heaven Gallery (Chicago, IL) among others.

I use painting as a way to reconstruct my internal experiences and explore seemingly unrecognizable emotions through personal allegories. These reflect my own desires as a drifter in life as well as the societal pressures and responsibilities demanded of a painter. I convey these thoughts through metaphorical images like legs, shoes, and falling figures. For example, legs in my paintings imply several meanings beyond literal movement like the resistance against gravity, rigorous labor, and even violence towards others. Through these personal metaphors, I intend to create tension between clarity and ambiguity, provoking questions and triggering a range of emotions.

The painting process is a crucial tool I leverage to heighten drama within my narrative and evoke absurdity. Starting with references from daily sketches and writings, I deliberately diverge from the predetermined image as I process. I alter my composition and incorporate exaggerated colors to intentionally distort experiences, liberating my works from the constraints of reality. This approach allows me to create an unconventional world in my works, existing in a distant yet parallel dimension.

website tksuh.com

instagram @tk_50h

opposite

The Deep End, 2023 Oil on canvas 60” x 48”

top

Shame!, 2023

Oil on panel 24” x 18”

bottom 07:26 am, 12:16 am (Diptych), 2023

Oil on canvas 42” x 38” each

Cliffhanger, 2023

Oil on canvas 48” x 60”

MOTOHIRO TAKEDA

Motohiro Takeda (b. 1982, Japan) is an interdisciplinary artist based in Brooklyn. He has exhibited his work at Fredric Snitzer Gallery (Miami), island gallery (New York), Storage Gallery (New York), Ibasho Gallery (Antwerp, Belgium), A.I. Gallery (London), among others. He is a 2024 AIM fellow at The Bronx Museum. Other selected residencies and fellowships include Baxter St residency program (2011), AIR at Woodstock Center for Photography (2015), Tierney Fellowship (2008).

In recent years, our relationship with the natural world has been overshadowed by excess, spectacle, and technology. My work resists this tendency in favor of slowing down the speed of contemporary life accelerated by digital technology to a human, tangible scale to re-establish our interconnectedness with the cosmos, our environment, and the time that transcends human existence.

I work with raw materials from the natural and industrial worlds and combine and collaborate with these remnants in my studio. Through photography, sculpture, ceramics, and performance, I aim to distill and foreground the physicality of materials to draw out their interconnectedness, history, inherent ephemerality, and metaphors and tell the story of the impermanence of life and its cycle. The resulting objects are often arranged in installations

that reciprocate with one another to create a relational space, allowing viewers to encounter a renewed experience with time, one that existed before humans divided it into fractions.

Ultimately, I am cultivating a garden of time or something that encompasses the garden within itself, like a Japanese stone garden or Karesansui, that seeks to connect us with earthly and cosmic timescapes and encourage us to reflect on our existence.

website motohirotakeda.com

instagram @motohirotakeda

Clear Sky, 2022 Still from digital film photo © Benjamin Salesse

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End of Time, 2023

Site-specific installation

bottom

Somewhere in the garden, 2022

Site-specific installation

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Prescience (Matter I), 2023

Burnt wood branches, fluorescent bulb, ballast, electric cables, inkjet transparency, metal wire 92” x 52” x 48”

ZHIQIAN WANG

There is no logical ground for me to predict how long my life will remain; whether death or the next rising sun comes first is uncertain. Day after day, it seems to me that the sun rises again and again, yet I am still alive. It confuses me. At a certain point in my life, I began to question if death and the rising sun are an inevitable destiny or simply a choice. So I started my journey to find an answer, but I wasn’t sure how to begin.

website

top Twins, Twilight, and Apple Tree, 2023

Dimensions Variable photo © Mel Taing

bottom Bright Light Bursting at the Eternal End, the Past Memories of Someone Solidifies as an Endless Process of Passing Through a Tunnel, 2023 Applewood sawdust and sound installation

Dimensions Variable

MESSAGE FROM THE DEAN

Congratulations to the Class of 2024 School of the Arts Visual Arts students! As you have seen in these pages, this is a group of exceptionally interesting, thoughtful artists, who have created complex final projects on their own terms. Over their two years at Columbia, they have worked across a variety of art forms, experimenting with media and materials, honing their ideas. They have worked independently and collaboratively, and have moved through a demanding program, all the while forging their own vision.

We are incredibly proud of the work you have seen in this catalogue, and we hope also in person at the Wallach Art Gallery in the Lenfest Center for the Arts. The students worked tirelessly at every stage, conceptualizing their work, developing the materials they needed, creating their narratives as they produced their installations, working with faculty, curators, staff, and their fellow students to bring these amazing works to fruition.

These young artists represent a true panoply of artistic styles. The one thing they have in common is that they have grown as artists and thinkers during their years at the School of the Arts, and they are ready to move out into the next stage in their careers. We wish them all the very best and are so excited to see the many directions they will take with their art.

SARAH COLE INTERIM DEAN OF COLUMBIA UNIVERSITY SCHOOL OF THE ARTS

MESSAGE FROM THE CHAIR OF THE VISUAL ARTS PROGRAM

On behalf of the faculty and staff of the Visual Arts Program I welcome you to the Class of 2024 MFA Thesis Exhibition. The ambitious and wide-ranging work you will find here is the result of two years’ intensive inquiry, study, labor, failure, perseverance, and success on the part of our students.

Many, many people have worked with and alongside these emerging artists to bring you what you see today. Our deepest thanks go to our intrepid curator, Fawz Kabra, for guiding everyone through the process of mounting such an amazing show during a very challenging time. Thanks also go to Betti-Sue Hertz, Director and Chief Curator of the Wallach Gallery; the entire staff of the Wallach; Lauren Weigel, General Manager of the Lenfest Center for the Arts; and to the Lenfest staff.

Special thanks are owed to the Visual Arts Program staff who tirelessly dedicate their care and attention to our students: Rebekah Birkan, Ceramics Studio Coordinator; Andrew Brehm, Safety & Shops Manager; Dana Buhl, Senior Photography Facilities Manager; Nathan Catlin, Master Printer, LeRoy Neiman Center for Print Studies; Chloe Crookall, Assistant Studio Manager, LeRoy Neiman Center for Print Studies; Ben Gould, Shops Monitor; Julie Malen, Shops Monitor; Laura Mosquera, Director of Academic Administration; Jen Pinargote, former Assistant Director of Academic Administration; Samantha Redman, Interim Program Assistant; Samantha Rippner, Associate Director and Gallery Manager, LeRoy Neiman Center for Print Studies; Sarah Tortora, Assistant Shops Manager; Rider Urena, Senior Manager of Visual Arts Facilities & Prentis Hall; Claire Valdez, Program Assistant; and Liz Zito, Assistant Director of Visual Arts Instructional Technology & Exhibitions.

At the School of the Arts our thanks go to Sarah Cole, Interim Dean of Faculty, and her staff: Gavin Browning, Director of Public Programs and Engagement; Sarah Congress, Executive Assistant to the Deans & Manager of Academic Administration; Tiffany Davis, Assistant Director of Communications; Julie Dobrow, Dean of Admissions and Financial Aid; Bernardo Garcia Valencia, Graphic Designer; Andrew Hass, Senior Director of Finance; Joel Jares, Production Assistant; Niquette Johnson, Admissions and Financial Aid Officer; Laila Maher, Dean of Student and Alumni Affairs; Kayla Maiuri, Administrative and Communications Assistant; Jessica Pierson, Associate Director of the Artists’ Resource Center and Alumni Affairs; Trenton Pollard, Associate Director of Student Affairs; Kristina Tate, Director of Communications; Peter Vaughan, Director of Motion Picture and Information Technology; Kenny Wong, Director of Admissions and Financial Aid; and Jana Wright, Dean of Academic Administration and Planning.

Most importantly, we thank our students. Without you there would be no exhibition and we would not be gathered here today. Your perseverance has been an inspiration to all of us and it has been a privilege working with you, learning from you, and to trying our hardest to support you in all that you aspire to do and all that you deserve. We pledge to continue this support now that you are leaving our program and joining us as colleagues in the field.

Yours, MATTHEW BUCKINGHAM

ABOUT THE SCHOOL OF THE ARTS

Columbia University School of the Arts awards the Master of Fine Arts degree in Film, Theatre, Visual Arts, and Writing, as well as an interdisciplinary program in Sound Art that leads to an MFA in Visual Arts. The School also offers a Master of Arts degree in Film and Media Studies. It maintains a strong commitment to undergraduate education in the arts by offering majors in Creative Writing, Film and Media Studies, and Visual Arts that lead to the Bachelor of Arts, awarded by Columbia College and the School of General Studies. Over the summer, the School offers courses for students of all ages and levels of artistic experience in our Summer Program.

The School is a thriving, diverse community of talented, visionary and committed artists from around the world and a faculty comprised of acclaimed and internationally renowned artists, film and theatre directors, writers of poetry, fiction and nonfiction, playwrights, producers, critics, and scholars.

SOUND ART PROGRAM

Columbia University has been at the helm of sound innovation for over fifty years with faculty specializing in composition, improvisation, music theory, musicology, installation, sculpture, instrument building, acoustics, music cognition, and software development. Faculty from the Computer Music Center, along with colleagues from Music Composition, Visual Arts, Sound Studies, Ethnomusicology, Engineering, Computer and Data Science are all involved in the interdisciplinary area of Sound Art. The two-year program is highly selective, offering admission to only three or four students each year. Students with a deep engagement with sound as a medium join a diverse community of artists and musicians.

The Sound Art Program is a studio-based degree offered by the Visual Arts Program in conjunction with the Computer Music Center. The program provides the opportunity to explore sound in the context of video, installation, and performance, as well as computer programming, historical archival research, and conceptual strategies for the production of creative work. Candidates are encouraged to consider diverse modalities for listening and hearing while developing fluency in the creation and manipulation of sound in the context of environmental, social, and gallery-centered work.

Visit arts.columbia.edu/sound-art .

VISUAL ARTS PROGRAM

The Visual Arts Program attracts emerging artists of unusual promise from around the world. They comprise a vigorous community, working alongside an exceptional faculty at a world-renowned research institution in New York City.

Contemporary art has become increasingly interdisciplinary. To that end, the Visual Arts Program offers an MFA degree in Visual Arts rather than in specific media. The two-year studio program, taught by internationally celebrated artists, allows students to pursue drawing, installation, moving image, painting, performance, photography, printmaking, and sculpture.

Visit arts.columbia.edu/visual-arts .

COLUMBIA UNIVERSITY SCHOOL OF THE ARTS’ LENFEST CENTER FOR THE ARTS

Columbia University School of the Arts’ Lenfest Center for the Arts is a dynamic hub for cultural and civic exchange in Upper Manhattan. Featuring four flexible venues and a public plaza, this state-of-the-art facility offers unprecedented opportunities for the presentation and generation of contemporary art and ideas across disciplines.

From readings and installations to performances, screenings, and symposia, the vibrant array of activity at the Lenfest Center for the Arts aims to strengthen local partnerships while highlighting contemporary scholarship, global perspectives, and compelling voices of our time.

Recent guests have included visual artists Arthur Jafa, María Magdelena Campos-Pons, Duke Riley, and Tania Bruguera; filmmakers Paul B. Preciado, Pratibha Parmar, Apichatpong Weerasethakul, Peter Sellars, Christopher Zalla, and Ben Odell; writers Bushra Rehman, Claudia Rankine, Susan Hartman, Marina Warner, Megan Abbott, Sarah Weinman, Nana Kwame Adjei-Brenyah, Hernan Diaz, Don Mee Choi, Kim Hyesoon, and Eileen Myles; curators Amy Sadao, Jasmine Wahi, Elizabeth Sherman, and Kirsten Scheid; and critics J. Hoberman, Yoneo Ota, and Farah Jasmine Griffin. In addition, the School of the Arts has spearheaded university-wide programming around issues of water justice and climate change; commissioned new work by Hahn Rowe and Arturo O’Farrill and the Afro-Latin Jazz Orchestra; mounted large-scale public installations by Daan Roosegaarde and Jana Winderen; presented readings of contemporary plays from Chile, France, Hong Kong, Indonesia, Lebanon, Mexico, Palestine, Russia, Spain, Thailand, Uganda, and the UK; showcased theses by School of the Arts students; founded the Kit Noir Festival, and Lenfest Kids, a film screening series for children; hosted readings by New York City high school students who have produced original work with Writing students from Columbia University; and coordinated workshops on voice, theater, and storytelling for the Obama Scholars and the World Economic Forum.

The Lenfest Center for the Arts also showcases thesis productions by Acting, Directing, and Playwriting students in the MFA Theatre Program; mounts thesis exhibitions by MFA Visual Arts and Sound Art students; screens short films by MFA Film students within the annual Columbia University Film Festival (CUFF); and hosts readings and workshops for students of the MFA Writing Program.

MIRIAM AND IRA D. WALLACH ART GALLERY

Established in 1986, the Miriam and Ira D. Wallach Art Gallery is Columbia University’s premier visual arts space. The Wallach’s mission is to advance Columbia University’s historical, critical, and creative engagement with the visual arts. To that end, the gallery operates in close partnership with the University’s Department of Art History and Archaeology, and works with the School of the Arts and University Libraries, particularly the Avery Architectural and Fine Arts Library. The gallery presents critically acclaimed exhibitions, a dynamic range of programming, and creates publications that contribute to scholarship. The gallery also offers opportunities to artists, scholars, curators and creative thinkers who are contributing to contemporary discourses at the intersection of art and society. Programs also provide a framework for thinking about the role of art in everyday life, offer a platform for participants to respond to exhibitions, and provide probing perspectives on the works and their contexts.

DONORS

Columbia University School of the Arts is supported in part by contributions from alumni and friends of the arts. These gifts provide student fellowships, educational programming, and awards. For more information or to make a contribution to the School of the Arts, please contact:

Roberta W. Albert

Associate Dean for Development 212-854-7724

ra481@columbia.edu

The Visual Arts Program would like to extend special thanks to its contributors, and recognize those for whom fellowships and awards have been named:

Aaron and Betty Lee Stern Fellowship

Aaron Etra

Adrienne Stortz

Alexander Donnelly

Alexandra Platt

American Online Giving Foundation Inc.

Andrea Constancio

Andrew Kabugo

Andrew Stortz

Angela Aidala

Anmolpreet Kandola

Anna Montes

Ann Gillen

Anne Kupfer

Arlene Kriv

Artis Fellows

Ashley Nail

Audrey Wong

Barrie Roman

Betty Lee Stern Prize for Painters

Bingcong Zhu

Brad Taylor

Brevoort-Eickemeyer Fellowship and Prize

Brian Wong

Brooke Alexander-Seessel

C L E A R I N G Gallery

Carl R. Weis

Carol Tycko

Charles A. Block

Chelbi Dickens

Christa Meadows

Christian Ritchey

Christian Ryther

Christopher Artois

Christopher Jackson

Claire Heimarck

Columbia University HK Fund

Corinne Rabbin-Birnbaum

Courtney Caramanzana

D’Arcy Haymen Fellowships

Daniel Aprahamian

David Antonio Cruz

David Berg Foundation Fund

David Gassett

David Stortz

Dean Carol Becker

Dean Jana Wright

Deborah Murasso

Delphine Adama Fawundu

Dennis Santella

Dennis Wei

Diana T. Soorikian

Donald C. Brace Student Loan Fund

Dong Kingman

Dong Kingman Fellowships

Dongfang Qu

Dwight Lee

Eddie Massey

Edward Kimball

Edward Mazzella, Jr. Endowed Fellowship

Elaine Kingman

Elena Billing

Eliza Callahan

Elizabeth Baron

Elizabeth Kandel

Ellen Gelman Endowed Fellowship

Emre Cicek

Ena Miller

Eric Javits Family Foundation

Erik Lindman

Faber Birren Fellowship

Fidelity Charitable Gift Fund

Frederick Obediente

Gavin Browning

George Raimes Beach Fund for Graphic Arts

Haley McCracken

Harriet King

Hartley Corporation

Hartley Platt DuPont

Helen Frankenthaler Foundation

Helen Frankenthaler Scholarship Fund

Helen R. Else Fellowship

Herbert S Germaise Endowed Fellowship

Holly and Albert Baril

Hon Chung Woo

Hon Woo

Hugh Hayden Studio

Hussein Rashid

Hyojung Kim

Irene Kao

Israel Rubio

Jacob Arthur Collins/ The Morris and Alma Schapiro Fund

Jacquelyn Morton

Jacques and Natasha Gelman Fellowship Fund

Jacques and Natasha Gelman Trust

James McCracken Jr.

Janice Chan-Choy and Louis Choy

Jessie Mygatt

Jiahao Wu

Joan Jonas

Joan Sovern Endowed Fellowship

Joan Weber

Jonathan Susman

Joseph Cairl

Joyce Bei

Judith A. Schiff

Katharina Otto-Bernstein

Kathleen Tarbell

Kathryn Murrell

Kathryn Schneider

Keer He

Kenza Benbrahim

Kerensa Harrell

Kim Fader

Kraus Family Foundation

Krista Adler

Kristen Guernier

Kristin A. Malin

Kristin Malin

Kunjue Wang

Laura Kornegay

Lauren Cognetti

Lee Mayes

Lenfest Fellowship

Lenfest Foundation

LeRoy and Janet Neiman Fellowship Fund

LeRoy Neiman Endowed Fellowship

Les Yeux Art Foundation

Li Li

Liang Dong

Linda Greenberg

Liu Shiming Art Foundation

Louis and Janice Chan-Choy Fund

Louisa Louie

Lucas T. Carlson Memorial Fund

Lydia Goehr

Maggie Ress

Marcos Lanio

Margret A. Rivers

Marguerite P. Roche Endowed Fellowship

Marrocco/Mancini Family Fellowship Fund

Marshall Glaiser Endowed Fellowship for the Study of Drawing

Martin Birnbaum Fellowship

Melissa Smey

Mera Scovern

Meredith Kennedy

Meredithe Mastrella

Michael Lane

Michelle Kaiser

Morty Frank Traveling Fellowship

Nadeen Chahine

Nancy Gregory

Nicola Lopez

Nicolas Duran

Northshore Community Foundation

Norman Galinsky

Pamela Smith

Paul Alter

Paulette Bernd

Penelope Manzella

Perry WItmer

Professor Nicola Lopez

Quinta Carolina Fund

Ramona and John Bannayan

Ramona Bronkar Bannayan Fellowship Fund

Raymond T. & Ann T. Mancini Family Foundation Trust

Regina Ketting

Renee Borkow

Renee J. Levow

Rhoda Altman

Richard Dikeman

Richard McNulty

Richard Tooke Rev Living Trust

Rita Thompson

Robert Koeth III

Roberta Albert

Robin Warde

Robyn Guzman

Ryo Ogura

Sabrina Peck

Sally Tippman

Sara Caples

Saundra Stortz

Sebastien DeGanay

Sheana Ahlqvist

Shelley Saltzman

Solomon B. Hayden Fellowship for Visual Arts Students

Stacy Ginsberg

Stephen Whittlesey

Stuart Leyton

Student Relief Fund

Sue Berland

Sun Liangang Arts Fellowship

Susan R. Johnson

Sydney Steinhardt

Tarang Singhal

Taryn Brooke Holloway

Taylor Riccio

The Andrew Fisher Fellowship

The Kraus Family Foundation

The Morris and Alma Schapiro Fund

The SJS Charitable Trust

Thomas Speckhard

Three Arts Club Endowed Fellowship

Toby Devan Lewis Fellowship Award

TOMS Scholarship

Tracy Quinn

Vanessa Bombardieri

Vanguard Charitable

Vermont Community Foundation

Visual Arts Graduate Fellowship

Wenda C. Habenicht

Wiland Productions

William Meng

William Rubinstein

William Talbott Hillman Foundation

William Talbott Hillman Foundation Fund for Veteran Visual Artists

William Willets

Winifred Johnson Clive Foundation

Winifred Johnson Clive Foundation Fellowship for Student Veteran Artists

Winston Lowe

Xinran Li

Yen-Hui Huang

Yerra Sugarman

Yin Yue

Yingkun Zhang

Young-Hee Cho

Yuqing Zheng

Yuxi Huang

Yvonne Liu

SOUND ART AND VISUAL ARTS FACULTY & STAFF

SOUND ART FACULTY AND ASSOCIATED FACULTY

Miya Masaoka (Director), Seth Cluett (Assistant Director), Brad Garton, David Adamcyk, Zosha Di Castri, and Dave Sulzer

SOUND ART VISITING FACULTY/ARTIST MENTORS

Regine Basha, Jace Clayton, Ciarán Finalyson, Luke Fischbeck, Jules Gimbrone, Tali Hinkis, James Hoff, Barbara London, Katherine Liberovskaya, Sara Magenheimer, Nour Mobarak, Phil Niblock, Keith Obadike, Matthew Ostrowski, Lucy Raven, Douglas Repetto, Marina Rosenfeld, Julianne Swartz, and C. Spencer Yeh

VISUAL ARTS FULL-TIME FACULTY

Gregory Amenoff (on leave Spring 2024), Matthew Buckingham (Chair), David Antonio Cruz, Delphine Fawundu, Jon Kessler, Nicola López (on leave 2023-2024), Naeem Mohaiemen, Shelly Silver, Sable Elyse Smith, Sarah Sze, Rirkrit Tiravanija, and Tomas Vu-Daniel

VISUAL ARTS MENTORS

Linda Bryant, Rochelle Feinstein, David Humphrey, Michael Joo, Ralph Lemon, Matthew Ritchie, Saya Woolfalk, Rona Yefman, and Valerie Hammond / Craig Zammiello

VISUAL ARTS GRADUATE ADJUNCT FACULTY

Xirin, Shirly Bahar, Andrew Brehm, Lukas Brasiskis, Tyler Coburn, Dana DeGiulio, Liz Deschenes, Lizzie DeVita, Tamar Ettun, Patrice Helmar, Baseera Khan, Autumn Knight, Simon Liu, Dana Lok, Orlee Malka, LaJuné McMillian, Keegan Mills Cooke, Kambui Olujimi, Tyler Rowland, Pamela Sneed

VISUAL ARTS VISITING CRITICS

Cecilia Alemani, Natalia Almada, Uri Aran, Daphne Arthur, American Artist, Ephraim Asili, Michael Berryhill, Rashida Bumbray, Sophie Cavoulacos, Stuart Comer, william cordova, Pamela Council, Liz Deschenes, Michael Famighetti, Alan Gilbert, Beth Golnick, Nora Griffin, Josephine Halvorson, Chrissie Iles, Tom Kalin, Tali Keren, Baseera Khan, Yashua Klos, Nora Lawrence, Dionne Lee, Jen Liu, Susan Meiselas, Asif Mian, Manuela Moscoso, Diane Severin Nguyen, Sarah Oppenheimer, Sheila Pepe, Elle Perez, Sara Reisman, Julie Reiss, Lynn Sachs, Cinthya Santos-Briones, Josh Siegel, Aisha Tandiwe Bell, Mickalene Thomas, Lynne Tillman, Jess Wilcox, Kiyan Williams, Letha Wilson, John Yau, Alexey Yurenev

VISUAL ARTS STAFF

Rebekah Birkan ceramics studio coordinator

Andrew Brehm shops and safety manager

Dana Buhl senior photography facilities manager

Nathan Catlin master printer and studio manager of the l e roy neiman center for print studies

Chloe Crookall assistant studio manager of the l e roy neiman center for print studies

Ben Gould shops monitor

Julie Malen shops monitor

Laura Mosquera director of academic administration

Samantha Redman interim program assistant

Samantha Rippner associate director of of the l e roy neiman center for print studies

Sarah Tortora assistant shops manager

Rider Urena senior manager of visual arts facilities & prentis hall

Claire Valdez program assistant

Liz Zito assistant director of visual arts instructional technology & exhibitions