2023 Sound Art & Visual Art Thesis Catalog

Published on the occasion of the Class of 2023 Columbia University

School of the Arts Sound Art and Visual Arts MFA Thesis Exhibition

The Miriam and Ira D. Wallach Art Gallery

Lenfest Center for the Arts

April 23 - May 21, 2023

© 2023 The artists and Columbia University

Columbia University

310 Dodge Hall, MC 1806

2960 Broadway

New York, NY 10027

arts.columbia.edu/visual-arts

Design:

Cowbird Creative (cowbirdcreative.com)

Typefaces:

AUTHENTIC Sans

Roslindale

Source Han Sans TW

Printing:

RMI Printing

The Unravelling and Exploding of Time, Space, and Matter

Columbia University MFA Thesis Exhibition 2023

A good life is like a weaving. Energy is created in the tension. The struggle, the pull, and tug are everything.

—Joan Erikson (Author, Social Scientist, Dancer, Dance Anthropologist)

The Unravelling and Exploding of Time, Space, and Place is a diverse, and seemingly disparate, collection of works by thirty artists in the Columbia University Sound Art and Visual Arts MFA programs. These culture makers are working across intersecting disciplines and media. Each is exploring different ideas, themes, and modalities of creating work. They come from different backgrounds, races, genders, sexualities, political affiliations, ages, perspectives, technical skills, socioeconomic backgrounds, etc. Presumably, these artists did not enter into a program with the intention of indulging in collectivization or collaboration.

And yet, crossover, slippage, and spillage of ideas and making processes are inevitable in a cohort setting. Thematic ideas and threads emerge, plaiting together to ultimately result in a show that is loosely bound by these threads to create a conceptual cohesion, which not only reflects each artist's individual prowess but also a powerful group show.

As a curator, I am interested in creating fluid and cohesive exhibitions and thus seek threads that create the necessary tension that keeps a show dynamic. As an art historian, I am endlessly fascinated by the way social discourse and cultural praxis converge and evolve. Thus, I have framed the exhibition in a manner that weaves the dynamic works across thematic components. Perhaps the audience(s) will consider these orientations and structures as they move throughout the exhibition.*

As a means of systematizing my own thoughts, I’ve created a list below, that is hopefully as navigable and legible as such a thing can be. Recognizing that this method of categorization may feel reductive, it is worth noting here that none of the artists fit neatly into the respective themes they are listed under. In fact, each artist's work is far more complex and nuanced than what is listed below. Overlap and overbrim happens with many of the artists across many themes: after all, culture never fits neatly into a box.

• The Collapse of Contemporary Western Constructs (Time, Architecture, Perspective/ Perception, Social Structures, Familial Structures): the idea of collapse is a recurrent theme for artists throughout histories. The role of the culture maker is to push beyond conformity and envision new thoughts, modalities, and possibilities by conceptually (and sometimes physically) unraveling the zeitgeist in favor of radical visions. Nearly every artist in the exhibition deals with some form of collapse, sometimes implicitly- sometimes explicitly. For some artists, like Jeffrey Halstead, the collapse is in the form of distorting, rupturing, or glitching, our understanding of architectural space as it reflects our emotional and physical existences. For some artists, such

as Shuai Yang, collapse comes in the form questioning political convention or authority. Several artists, such as Garrett Ball, unpack (or in Ball’s case, pack on) multiple forms of collapse and layering onto one, using maximalism as a convention to articulate disruption.

• World Making/ Future Making: Many artists are arguably future-makers- creating culture and social shifts. But certain artists are Futurists: working deliberately as visionaries to explore possibilities and create new ones. Some artists, such as Kevin Cobb or Ming Wang, think about world making as a means of perspective shift (in the case of Cobb’s work, inviting the viewer to take a look through his own eye sockets). Other artists, such as Gladstone Butler and Calvin Kim, think about full new worlds or realities. In some instances, the imagined foresight(s) are A-Historical (and thus, depoliticized). In other instances, it exists within the context(s) of pluralistic histories. These later methodologies are often adjacent to or informed by the decades-long practices of Afro, Asian, Latin/a/o/x, Indigenous, and/or Queer Futurisms.

• The Precarity of Being: The fragility of existence manifests in a myriad of ways. Many artists in the exhibition, such as Motohiro Takeda or Amadeo Morelos Favela, investigate the individual contemplation about mortality and what is left behind in the wake of demise. Other artists, such as Jairo Sosa, Levi Nelson, or Robbie Rogers, take on a macro lens, exploring the ways in which socially constructed dynamics of power are evinced.

• Family Dynamics/ Cultural Dynamics: A subset of the ‘Precarity of Being’ theme, several artists in the exhibition explicitly tackle aspects of social relationships. Artists, such as Li Wang, prod interpersonal interactions shift cross-culturally through the lens of their own experiences. Other artists, such as Nick Farhi, question the ways in which we are trained in visual language to understand social cues.

• Reimagining/Disrupting Material Convention: A signifier of creative evolution is the expansion and innovation of conventional mediums. Critique of previous ‘traditions’ is one way to shift dynamic understandings of what art techniques are. In The Unravelling and Exploding of Time, Space, and Place, several artists, such as Char Jeré, Meaghan Elyse Lueck, and Cecilia Caldiera, use material subversively. Jeré incorporates new (or often repurposed) material and architectural space to not only convey a particular socially-oriented idea but also to question modes of formal praxis. Artists such as Elisheva Gavra and Albert Samreth, challenge the ways in which we typically think about discipline-specific mediums.

Reflecting upon the various threads and collective ruminations within The Unravelling and Exploding of Time, Space, and Place instills a glowing spark of excitement for the future of contemporary art. The ways in which artists in this exhibition are thinking critically about materials, history(ies), social dynamics, and much more, is truly a map for how our current reality unfolds. This exhibition is a marker of the end of one chapter for this group of thinkers and makers, and the start of a bold and promising movement forward for all of us.

Jasmine Wahi, Exhibition Curator

* Please note: the exhibition is not physically laid out in a manner that reflects these frameworks. The bracketing is conceptual, rather than geographical.

Sound Art

GLADSTONE BUTLER

Gladstone Butler is a New York based artist working with percussion and electronics. His work takes form in recorded music, installations, and performances. Gladstone has performed as a soloist at the Kennedy Center, released multiple tracks charted in the Beatport Top 10, works in fields of research as a technical audio engineer and software engineer, and is an installation artist addressing concepts linking rhythm, geometry, the black body, and technology. Gladstone holds a BFA from Carnegie Mellon University and is an MFA candidate at Columbia University.

www.gladstonebutler.com

Instagram: @gladstonedeluxe

As a percussionist, Gladstone is interested in how conceptions and politics of time are embodied, and can bleed into the social topography of a culture through rhythmic performance. As a technologist, he develops systems for the augmentation and amplification of percussive messages. His experimental approach towards interface design is a collision of the spiritual and the cybernetic.

While it is often only tied to the act of striking an object, Gladstone sees percussion as an expressive manifestation of time architectures that bind humans, framed by the larger rhythmical walls of sun-rise and set. In Gladstone's work, musical rhythm becomes a unique tool for celebrating nonlinearity, asymmetry, and difference in society.

RIGHT Ritual Gate, 2022

Cymbal stands, industrial steel bar, steel sheet (spray painted and screenprinted), floor tom, industrial bucket, steel plate, transducers, custom software

TOP Ritual Gate, 2022

BOTTOM Self Portrait, 2022 Custom software

Photo credit: Theo Cote

CHAR JERÉ

Char Jeré (she/they) lives and works in Brooklyn, NY. Jeré is a filmmaker, sculptor, and sound artist whose work explores issues at the intersection of a lot of shit. Jeré’s multi genre approach moves across experimental videos, documentary films, sound sculptures, and site specific installations. Their works have been shown at Hofstra University, Half Gallery, Chashama, New York Art Book Fair, CLEA RSKY Gallery, IRCAM Festival and the Jewish Museum. In 2021 Jeré was shortlisted for the Frankenthaler Climate Award, and in 2020 they participated in a residency at the School for Poetic Computation.

Being Straight, featuring 4c The Future, a character I developed to help innovate new histories for the hot comb, the hair drying chair, the grease, the perm, and the desire. A multi-sensory experience that incorporates data sonification and cosmic technologies in order to build an earthquake salon for my inner child.

theworldresearchlab.com

Instagram: @jeredotcom

My practice is based on an approach that merges my background in data science with my passion for social, economic, and environmental justice. I work with the perishable, the recycled, and the generative. I embrace the discrepancy, and thrive in what Glissant calls the “nonworld.” I forage for the rare breed of cardboard found in lonely furniture stores and carry them home to build ephemeral dreams. I practice alchemy in my laboratory across the street, any street, where I distill herbs, intentions, knowledge, and citrus to create essential oils for the archive.

My current work is a memorial to the hair that gathers at the nape of my neck. I am calling this piece Nightmares of

The World Research Lab, 2022

Photo credit: Elisheva Gavra

BOTTOM Book Instrument, 2022

Cardboard, metal, electronics, book

TOP Air Conditioner, 2022

Cardboard, plastic, metal, curiosity

Photo credit: Elisheva Gavra

Photo credit: Elisheva Gavra

MERRY SUN

Merry Sun is an artist that dwells between the sonic, visual, and written. She received a BFA from Sam Fox School of Art and Design at Washington University in St. Louis, with a double major in sculpture and philosophy. Currently, she is an MFA candidate in Sound Art at Columbia University.

place into space by blurring the edges of adjacencies. I am still in search of the coincidence where discriminatory borders are dismantled and personal boundaries are protected.

www.homedespot.co

Instagram: @mrrps

My practice is the construction of compositional infrastructures that address the sense of “unbelonging” which accompanies migration and movement. Having been reared in the crevice between two countries, on the sill of the liminal, in constant, yet stagnant motion, my work regards migration and the vagrancy of self to the self. It addresses memories and their denial, teasing at the distinction between not knowing and forgetting. I’ve traveled east to go west, stood west to come from the east, and returned east as a foreign body once more. How many revolutions is a particular obliged to take before finding the allowance to simply be where they are? It is this continuous oscillation between the absolute and the uncertain that my practice regards, slipping “aboutness” to situate itself in the excluded middle of being and belonging. I construct infrastructural systems, physical and semantic, which delineate permeable spaces that facilitate interaction between individual subjectivities and their surroundings. Wielding the porosity of sound, my work dissolves

RIGHT, TOP Apple boxes, for one or two, 2022 Installation Cement, wood, transducers, piezo microphones

RIGHT, BOTTOM Propositional winds (Eurasian steppe), 2022 Oil on concrete 10" x 20"

TOP Mid, by midwest, 2021 Silver gelatin prints, brick, steel, cement board, chain link, drywall tape Variable spread (10" x 12" cover size)

BOTTOM Apologue, part 2, 2022 Installation (detail) Cement, wood, steel, 8 channel sound

Cement, wood, steel, 4 channel sound

Apologue (verso, from within the cave), 2022 Installation

Visual Arts

GARRETT BALL

Garrett Ball (b. 1991 Denver CO) is a human being grappling with a making addiction, satiated most commonly through the mediums of painting, print, and language. After graduating with a BFA in Scenic Design from SUNY Purchase, he painted scenery on broadway, film, and television productions. He is a member of IATSE USA Local 829.

www.garrettscottball.com

Instagram: @ball_artwork

The term “hyperobject,” can be used to describe things too large to be understood from a human perspective, existing in multiple times, and manifested in varied forms. They include the Global Capitalist market, the Anthropocene, Art, Environmental Disasters, and Democracy. These concepts can be grand and wondrous but also overwhelming, daunting, and disheartening. We feel small in comparison to the size of class structure, reckonings with history, or simple absolution. My image making implements a formal aesthetic rooted in craft and design to represent my questions around a world taken over by complexity. Pattern, Symmetry, Repetition asks the viewer to slow down and make space to reflect on the context of the world around them. We are entering an exchange in which I offer a tangible expression of my intentions in trade for your time and consideration. You will find me patiently waiting on the other side of every piece.

I hope that for a moment it can be something for you.

RIGHT

Installation view in Watson studio 214, 2023

Ontology Of Objects: 01 Screen print on wallpaper, 2023

Manifestation of a hyperobject: 01 Linoleum prints on archival paper, 2023

1945 rise of the Anthropocene Dye on denim, 2023 4 watercolor paintings

Please Don't Touch Watercolor and gold leaf on archival paper 37" x 30"

Exchange, 2023

Watercolor on archival paper 24" x 18"

RAY BARSANTE

Before I am an artist, I am a person in the world. After I am a person, but before being an artist, I look at the world and I like things. I become who I am because of the admiration of and desire to contain qualities that are perceived outside myself. In a sense I am formed by these admirations externally and de-formed from myself.

Objects and images are collected as much as they are generated. The objects and images I collect are gleaned from American subcultural ephemera or allude to the esoteric and alchemical. Through a personal taxonomy of collection, the work generates questions through formal abstraction in response to these alternative spheres of culture.

I think about ignorance as I accumulate time spent in the world. Ignorance is not a negative attribute. Ignorance is a vast space that births freedom as I float, whereas knowledge is an island on which to rest my feet. There is assuredness in the resting place, but I discover it moving. And the ground can shake and shift, the waves rise up and sometimes swell to cover the island. Dealing with ignorance in the work is to disarticulate what I think I know and re-articulate it into something that might be new. In knowledge the mysterious is flayed and in art it is spoken with.

rwb2136@columbia.edu

Instagram: @raybarsante.files

RIGHT

Cave Painting, 2023

Screenprint ink, wood, glue, nails, dyed linen on linen 82.5" x 57.75" x 5"

NEXT SPREAD, LEFT Top Crouching Figure, 2023, (detail) Oil, gesso, wood, tin foil, epoxy resin, glue, nails, lavender twigs on linen 82.5" x 57.75" x 6"

Bottom

Blue Pacifist, Inner Splendor, 2023

Oil, colored pencil, wood, glue, nails on linen 52.75" x 48.25" x 3.5"

NEXT SPREAD, RIGHT Swan Slip, 2023 Oil on linen

76" x 59" x 1"

CECILIA CALDIERA

Cecilia Caldiera is a New York-based interdisciplinary artist whose work explores questions surrounding possible futures and repetitive pasts. She creates compositions using traces of industry that allude to bodies navigating space.

www.ceciliacaldiera.com

Instagram: @ceciliaaaaaaaaa__

Like memory, language is a material that has the desire to accumulate.

My souvenirs have come from above and below, in the periphery and outside the grid. I look down at the folded potential—but hesitate to touch the pieces so as not to affect the speed of the approaching crisis. Petrification elevates the profane.

A crease cannot be undone. It can, however, be integrated. We became part of it, the illusion of division is gone. A restructuring that retains the memory of our actions and mistakes. So maybe—new folds can mean a resurrected story. A passenger from another time. A malleable exchange. The fold creates an opportunity for the beginning and end to touch each other in a way they have been longing to since the path was originally planned. We can mostly agree that the world is round and has the desire to swallow its tail.

Hold your breath when you hold your souvenirs.

Icarus was here, 2022 Steel, mulberry paper hand printed with oil-based ink (textures from found industrial plastic and cardboard) dipped in beeswax and damar resin, aircraft cable, rebar tie wire, drilled pennies, found metals with holes in the center, PVC plastic tubing 95" x 63" x 12"

Facade: There is a grid above and a grid below (front), 2022 Steel, mulberry paper, oil-based ink, beeswax, damar resin, aircraft cable, PVC plastic tubing, thread, silver leaf 75" x 53" x 5"

TOP

Flight system-2: The air that moves the accumulation is filled with an energy of both loss and desire (detail), 2023

Steel, mulberry paper hand printed with oil based ink (textures from found industrial plastic and cardboard) dipped in beeswax and damar resin, aircraft cable, rebar tie wire, drilled pennies, found metals with holes in the center, pressed ginkgo leaf 75" x 23" x 12"

BOTTOM

Fish-15, 2022

35mm film photograph, taken with expired Cinestill film

KEVIN COBB

Kevin Cobb is a painter and digital artist, born in Baltimore, MD and based in New York City. He is presently an MFA candidate at Columbia University. Making oil paintings, drawings, 3D models, animations, narrative text, and lenticular holograms, Kevin shares how he sees the world from every angle. His art explores perspective, art-making, illusion, and truth.

frame my view with my head and body in a painting, it comes from the impulse to truly include everything I can observe in a given moment. When working digitally, my virtual instruments enable me to step beyond natural sight, nearer perhaps, toward another form of completeness.

www.kevin-cobb.com

Instagram: @forprophet

“I rout retinomas, alas, a moniter, tour I.”

Everywhere I look I see a sea of blazing, virtually perfect circles and spheres, overlapping. Not literally. By virtually, I mean nearly, computationally, and morally.

It seems impossible for a perfect circle or sphere, with complete symmetry, to physically exist. Nevertheless, I am fascinated by these beautiful round ideas and their suggestions of infiniteness and emptiness, completeness and continuity, oneness and manyness; the reconciliation, harmony, and inclusion of all apparent opposites, contradictions, paradoxes, and possibilities.

I want my artworks to evoke a sense of empathy for others’ points of view, and self-awareness of one’s own. My paintings and digital artworks often round and spherize space, and highlight my own or my subject’s starting-point of view. When I

The work displayed at my thesis show titled What I Was Painted to Paint binds my painterly and digital forms of circularity together within a narrative circularity.

RIGHT Orbicular Blurse, 2022 Oil on canvas 20" x 20"

Ecstasis, 2022

Digital 3D model

A Single Painton, 2023 Oil on canvas 10" x 5"

CONOR DOWDLE

Conor Dowdle (b. 1993, Minneapolis, Minnesota) is a visual artist who lives and works in New York City. He received his BFA from the University of Denver. His artwork has been featured in New American Paintings and is in the permanent collections of the University of Denver and the University of Colorado at Colorado Springs. He has been awarded grants and fellowships from Ellen Gelman, Jacques and Natasha Gelman, Columbia University, Midway Contemporary Art, and the Andy Warhol Foundation.

www.conordowdle.com

Instagram: @conordowdle

In his recent paintings, Conor Dowdle uncovers and estranges the historical antecedents of our image-ruled world. Dowdle investigates visual culture through a study of historical painting typologies— depictions of social space, intimacy and friction, the heroic and its inverse. Dowdle makes observational drawings that act as source material which get recomposed and translated into large scale oil paintings. The aim of this process is to understand how art historical images affect contemporary lived experience, making the familiar feel strange and the strange feel enchanted.

Wildflowers Soon, 2022 Oil on canvas 24" x 18"

That’s Us - Wild Combinations, 2022 Oil on linen

66" x 70"

NICK FARHI

Nick Farhi (b. 1987, New York) is an artist, poet, and writer. Recent group exhibitions include the Jewish Museum (forthcoming), New York, Galleri Golsa, Oslo, and Marlborough Gallery, London. Farhi has lectured and given critiques at universities and institutions including the Harvard Graduate School of Design and Columbia University School of the Arts. His writing and poetry have been published by the Yale School of Architecture’s Paprika! magazine and the 2023 MODA Critical Review Journal of Columbia University.

nickfarhi.com

Instagram: @nfarhi_

Developing a wonky and uniquely a-skewed visual grammar through the labor of painting, both still and moving life, are made at a deliberately bewildering and unusual scale. Through large scale representational oil paintings, tonalities and cultural universalities within western societies are emphasized, scrutinized and anthropomorphized.

Through an interplay between visual research, (spanning from found imagery and autobiographical photography) to an internal intuition for figuration, Farhi delivers various addresses on daily life through mark making and abstract symbologies.

Moving/box of contents (home of an autodidact), 2022 Oil, pastel, enamel on aluminium 35" x 44.375"

If on an autumn’s night a deliverer, 2023 Oil, pastel, enamel on aluminum 48" x 63"

Thumbing the times, waiting for Godot, 2023

Oil, pastel, enamel on aluminum 35" x 47"

ELISHEVA GAVRA

Elisheva Gavra (b. 1992) is an artist, photographer and writer based in New York. Her work has been exhibited at the Jewish Museum in New York, The Broad Art Center in Los Angeles, and elsewhere. She is an MFA candidate in photography from Columbia University.

elishevagavra.com

Instagram: @elisheva_gavra

Working with productive violent structures, within the paradigm of collapse. Photography, a case of productive violence, is examined through a relational lens that insists on the importance of real and imagined interpersonal relationships to it. Through those investigations, the positions of looking and desiring are considered as means of indoctrination as well as emancipation.

RIGHT, TOP A New Yorker, 2023 Inkjet print

Dimensions vary

RIGHT, BOTTOM

Conversation about bondage, 2021 Inkjet print

Dimensions vary

TOP

Excerpt from scene 1, 2023

Theatrical staged reading A tragedy in one act 3 scenes, 20 minutes

BOTTOM

Plate 9. Swallow, 2023

Gelatin silver print 12" x 12" (framed)

Fountain (Dyke March), 2022

Gelatin silver print

14" x 11" (unframed)

JEFFREY HALSTEAD

Jeffrey Halstead (b. Pickering, Canada, 1984) is a multidisciplinary artist who works in physical installation, photogrammetry, computer animation, 3D modeling, and printed matter. Halstead has exhibited his work nationally and internationally, including solo and group exhibitions in New York, Los Angeles, and Venice. Halstead holds an M.Arch (‘14) from the Southern California Institute of Architecture. He graduated with distinction, was awarded the Frank Gehry prize for best graduate thesis and received the Alpha-Rho-Chi medal. Halstead worked with architect Frank Gehry on residential and institutional projects. He is a MacDowell Fellow and an Art Omi Resident. Halstead is an MFA (Visual Arts ‘23) candidate at Columbia University.

jeffhalstead.com

Instagram: @jeff.obj

Halstead explores how computer simulations can challenge conventional architecture's embedded (or inherited) power structures through video-projected spatial installations. His installations are site-specific and oscillate between digital and physical spaces. He constructs with offthe-shelf materials (e.g., sheetrock fastened to metal framing) and pairs them with animation sequences and artificial lighting. He is interested in uncovering covert malign conditions in the overlays of algorithmic practices housed in austere and banal everyday interiors.

RIGHT TOP, BOTTOM & NEXT SPREAD

St. Michael's Hospital, 2022 Dual-channel Video Projection 2 minutes, 53 seconds (looped)

15' x 19' panel, LCD Monitor, 2015 Macbook Pro Photography By Paul Rho

CALVIN KIM

Calvin Kim is an artist born in Los Angeles, California. He received a joint BFA and BA in Psychology at Cornell University and is a candidate for an MFA at Columbia University. kimcalvin.com

Instagram: @midponder_cloud

Slippage, spillage, and stillness are ways I think about what a painting does in relation to life. It is not about describing what a thing is—it is about being with. To touch and to be touched. My paintings are made in the way my body remembers, forgets, and feels in my everyday waking and sleeping—and everything in-between. It is like when words become seeds, and scars become stars.

And in this process of renewing

Waiting is a prolonging of arrival to something, to someplace, to someone. With this prolonging of time grows a longing, and with it, weight. In this threshold, a decision to wade in my interiority is then to reimagine, rupture, and transform time. Waiting, weighting, wading, is then choosing to contemplate, implicate, liberate precarity with hope and wonder.

RIGHT

What We Want Is Never Simple, 2022 Oil on canvas 24" x 30"

I've Been Laying Wide Awake, 2022 Oil on canvas 11" x 14"

I Wake To Sleep, And Take My Waking Slow, 2022 Oil

on canvas 30" x 20"

SANGMIN LEE

I was born and raised in St. James Town (Toronto, Canada). It is one of the densest high-rise communities in North America, and an offshoot of Towers in the Park, a model of modern dwellings invented by Le Corbusier. With thoughts of utopia, it was meant to accommodate large populations with little room else for infrastructure and ornamentation. Despite its shortcomings, St. James Town is now one of the most ethnically rich neighbourhoods in Canada and is sometimes known as "the world within a block."

Somewhere between these concrete enclosures and lived space, between drywall and parquet floor tiles, are the stories of cultural survival that centers my practice. Here, I look to process, the unfixed, the tangential, and beyond—to wander peripherally into the margins and towards expansive narratives.

If the process to object is a story of becoming, then I drift along the tangents of its making. It is to make insulation foam into water, then flesh of fruit, back to substrate and on. To make borders into branches, once closed systems porous, overlapping— to create abundance with less, expanding possibilities, as non-linear, as pluralities, and even contradictions. Collapsible architecture is re/arranged with tangential objects to propose a constellation amid uncertainty. They are ecosystems unrooted. Still lives in transition, displaced, and arranged again seeking stillness. While their histories become lost in translation, in its place new stories emerge.

My current interests begin within this contradiction between the weight of carrying histories forward and the adaptability necessary for continuity.

www.sangminl.com

Instagram: @sangminl

My practice is a meeting of imaginations— somewhere between architecture and ornamentation, in the margins of lived experience and around the edges of nostalgia, as nostalgia without memory.

I create sculptural propositions drawing from a collection of objects that consider the processes from studio, exhibition, storage, daily life, and beyond.

RIGHT

Untitled, 2023

Mixed media installation including: rebar tie-wire, joint compound, watercolor, inkjet transfer, recycled paper, painter's tape, rebar tie-wire, wood, brass hinges, signposts 84" x 84" x 84"

TOP

Tangents of a Peach Tree, 2022

Welded rebar tie-wire, joint compound, watercolor, inkjet transfer, insulation foam, porcelain, recycled paper

83" x 32" x 32"

BOTTOM

Seven Mountains, 2022

Rebar tie-wire, joint compound, inkjet transfer, recycled paper, cardboard, popcorn ceiling texture 48" x 18" x 55"

KAT LOWISH

Kat Lowish is a New York-based artist who works primarily with painting as well as photography and ceramics. Before attending Columbia University’s School of the Arts, she received her Bachelors degree in German and French Studies from University College London.

Instagram: @happykat_nyc

My work as a painter has been influenced in part by photography, which in turn was influenced by painting. I view painting as nothing short of magical, as an image appears out of nothing; and in photography, as well, when a frozen instant projects an impression that can depart, and sometimes radically so, from its genesis in real life. I am inspired, as a painter, by how the fragment of an image or an individual object represented on the canvas feeds our imagination in ways that are uncontrolled by, and personal to, each viewer. I like to view each individual work as a fragment of an imagined theatre play.

RIGHT, TOP Finger Food, 2022 Oil on canvas 25" x 34"

RIGHT, BOTTOM Great Expectations, 2022 Oil on canvas 25" x 34"

TOP Pretend Pony, 2022 Oil on canvas 25" x 34"

BOTTOM Overspill, 2022 Oil on canvas 18" x 24"

TOP Elevenses, 2022 Oil on canvas 24" x 24"

BOTTOM The Cardinals Socks are drying in the laundry room, 2022 Oil on canvas 24" x 24"

MEAGHAN ELYSE LUECK

Meaghan Elyse Lueck (b. 1992, London, UK) is an artist working at the intersection of design, biomaterial sculpture, and performance. Her work explores the precarious and porous dynamic between our bodies, other beings, and our wider ecological surroundings. She has shown at Hofstra University, CLEA RSKY, Half Gallery, eyes never sleep, and the Jewish Museum, among others. Along with collaborators, she is interested in creating spaces for interaction, for rest, for dreaming, for mourning, for healing.

scaffolding, while the skin of her translucent petals shed, shimmering through a neverending cycle of movement. Like a female pine cone, she opens and closes, in tune with the dryness or wetness of the air.

She is always a draft.

meaghanelysework.cargo.site Instagram: @meaghan_elyse

Recently I have been making nests and architectures in public parks out of ephemeral biomaterials. These aleatory structures explore feelings of safety and exposure, and offer a potential to reimagine our homes.

Cella is a beautiful and haunting structure that has hovered over me for some time now. She is sheltering and enclosing, made up of many smaller scales, and shifting or porous to the world around her.

The word for a biological ‘cell’ is derived from the Latin word ‘cella’, meaning ‘small room.’

Her birth is out of play, a joyous act of den making, a desire for protection from the weather. Her interior bones are a resilient

RIGHT Studio shot, 2022 Driftwood, algae bioplastic, inkjet print, garden cage

TOP

Soil Murmurs Installation, made in collaboration with Char Jeré, 2022 Soil, acrylic containers, metal pipes, mirror, circuits, phone, amp, silk

Photo: Ben Salesse

BOTTOM

Absent (Nest), 2022

Laser cut into birch wood 86" x 45"

Holding, 2022

Algae bioplastic, pressed flowers and thread

Photo: Elisheva Gavra

84" x 22’’

ANNA TING (岳婷) MÖLLER

Anna Ting Möller (b. 1991, Yueyang, China) is a Chinese/Swedish artist living and working in New York City and Stockholm. Möller has a BFA from Konstfack University, Stockholm (2018) and received IASPIS Swedish Artists Grant (2020), Royal Swedish Academy of Fine Arts Grant (2019) and the Sweden-American Foundation Fellowship (2022/2023). Möller has exhibited at Liljevachls, Kristianstad Konsthall, Gustavsbergs Konsthall, ArkDes, Carl Eldh Ateljemuseum, Stockholm, ICPNA La Molina, Lima, Peru. They participated in the 45th Tendencies Biennale in Norway. Möller will be showing at Urban Glass, New York (2023), Titanik Gallery, Finland (2023) and Gallery Dueer, Stockholm (2024), and at Rösska Museum in Gothenburg (2024). Their work has covered the front page of the National Daily News Paper, DN, Sweden (2020).

fraught relationship to Northern European economies, which contemplates on child adoption in the West through a postcolonial lens, as an economic structure.

SUN - while humming is an experimental diary film and essay in first-person narration. Filmed in China, this story is emblematic of physical travels, but above all inner journeys. The narrative is composed of fragments of incomplete flashbacks. Disjointed but not unpleasant, a bit like the experience of travel itself.

The work is my declaration of love to a country that does not exist, a place that I can only access through the lens of art. It manifests the presence of absence of a fixed self, by tracing a lost past, to better understand and exist in the present.

www.annatingmoller.com

Instagram: @annatingmoller

Anna Ting Möller was born in China and adopted by a Swedish family at the age of two. Their practice investigates a personal and symbolic understanding of ancestry and origin through the medium of kombucha. Such explorations of this material as mother, offspring, caregiver, contaminant, and the necessity of continuous care. Möller cultivates the kombucha-culture with tea and sugar—both materials rooted in colonial histories. Such pasts are shared and further complicated through the exploration of the colonial roots of adoption and its

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RIGHT Untitled, 2022

Scoby-kombucha, epoxy, wood, fabric, nylon, steel metal, water, AI arduino, mist-system 78.7" x 78.7" x 78.7"

SUN - while humming, 2023 Stills from film

AMADEO MORELOS FAVELA

Born in Morelia, México.

Working primarily in painting and sculpture interested in storytelling, world building and human/nature. Co-founded Geendoor, a curatorial project in Chicago. Recent exhibitions include The Nassima Landau Foundation (Tel Aviv, IL), Half Gallery (NYC, US), Galeria Leyendeker (Tenerife, ES), Unit London Gallery (London, UK), EveryDay Gallery (Antwerp, BE), among others. Recipient of the Creative Honors scholarship from The Art Institute of Chicago and the Frankenthaler fellowship.

amadeomorelos.com

Instagram: @amadeo_mf

I am interested in the relationship between the individual and the collective process of creation.

Memory and stories told in the language that emerge through the act of play.

Love, magic, a handmade spoon, nature, a garden, a leaf, man, the act of painting, a particle, a chunk of clay, a memory, a piece of wood, a rock, a bird, are the medium of my work.

Oscillation between ideas and emotions, objects and places.

Craft fueled by curiosity and wonder.

A participant and witness in the creation of knowledge and meaning.

TOP Studio, 2023 Grass, radioactivity, asbestos, paint, tangerines, overthinking... tiny

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Light in the Forest, 2022 Oil on canvas 24" x 30"

Dancing Flower and Bow, 2022

Oil on canvas

30" x 24"

LEVI NELSON

Levi Nelson is an Indigenous artist from British Columbia, Canada, currently residing in New York. His chosen medium is oil paint and mixed media work on canvas which can best be described as Contemporary First Nations Art. Nelson received his BFA from Emily Carr University of Art + Design in Vancouver, Canada, and was awarded the 2021 John C. Kerr Chancellor Emeritus Award for Excellence in the Visual Arts. His work can be found in the Permanent Collection of the Audain Art Museum Whistler, the UBC & VGH Permanent Collection, and in numerous prominent private collections across Canada and the USA.

Indigenous artist. Through this window I can explore future possibilities and open worlds into the imagination of what it means to be an artist embodying an identity that has been interrupted, influenced, shattered, and then put back together from both sides; depicted through geometric abstraction

á la Pacific Northwest Form Line, Coast Salish Style, and Photo/surrealism, while keeping modern art, particularly the New York School of painting in high contemplation. After all Barnett Newman did say that, “American Indian Art of the Pacific Northwest will one day be understood as the precursor for American abstraction.”

Instagram: @levi.nelson.artiste

What does it mean to be put back together?

My Great Aunt, Dr. Lorna Williams, a champion of Indigenous language revitalization once said that “we are trying to put back together a mirror that has shattered into a million pieces.” I thought about this statement a lot while creating my Sliced Series. Through my work I am exploring and investigating new Indigenous identities in the aftermath of surviving what could be seen as the end of the world for my people since first contact. My blood memory remembers who I am as Indigenous to the land and yet my feet walk a Western path, my mind thinks, and I speak fluently in English. I am interested in fusing the European tradition of oil painting with an understanding of my own traditions as an

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Levi Nelson

Red, 2023

Oil on canvas

60" x 84"

TOP Creation Story, 2022 Oil on canvas

23" x 34"

BOTTOM Water Spirits, 2023 Oil on canvas 52" x 72"

ALISON NGUYEN

Alison Nguyen is a New York-based artist whose work spans video, installation, performance, and text. Her work has been presented at MIT List Visual Arts Center, The Everson Museum x Lightwork, e-flux, International Film Festival Oberhausen, CPH:DOX, Edinburgh International Film Festival, Channels Festival International Biennial of Video Art, The Dowse Art Museum, The International Studio & Curatorial Program, AC Gallery Beijing, Half Gallery, Signs and Symbols, La Kaje, Hartnett Gallery, Ann Arbor Film Festival, True/False Film Festival, Open City Documentary Festival, The Jewish Museum, and Microscope Gallery, among others. In 2018 Nguyen was featured in Filmmaker Magazine’s “25 New Faces of Independent Film.”

video centering on a speculative fiction. Flipping cinematic tropes of science fiction and the American road film, history as hypnosis surfaces themes of alienation, assimilation, and refusal, centering on characters and narratives that are often omitted from history and the screen. The piece follows three women who are programmed by Artificial Intelligence and whose memories from their previous existence have been erased. Directed to search for a man named “X,” the three venture from the California desert to gas stations, gritty strip malls, starchitecture, and underground enclaves. Interweaving subtle references to past geopolitical violence associated with America’s war in Vietnam, the work offers a complex take on how memory, consciousness, and historical narratives merge.

www.alisonnguyen.com

Instagram: @alison.c.nguyen

The cultural implications of technology are a primary concern in my work. I’m interested in how images are produced, circulated, and consumed in mainstream culture and media, whether in film, advertising, or in virtual spaces. I draw from a range of disciplines, borrowing methodologies from documentary, performance, and architecture. Within each body of work I create highly considered, layered worlds which are offset by conditions I create for improvisation, humor, and failure.

Elements of my current work on view, history as hypnosis, draw from a live action

RIGHT, TOP Andra8: my favorite software is being here, 2020-2021

Film still: HD video, color, stereo sound 00:19:47

RIGHT, BOTTOM history as hypnosis, 2023

Film still: HD video, color, stereo sound 00:26:40

Installation view, history as hypnosis: Part I, 2022 Single-channel HD video projection, Color, stereo sound, 3 minute loop

Photo by Dario Lasagni

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Installation view, history as hypnosis, 2023

Three-channel HD video projection on aluminum panels, color, stereo sound, aluminum seating 00:25:00 loop

List Projects 16: Alison Nguyen; MIT List Visual Arts; February 23 - June 26th, 2023

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Andra8: my favorite software is being here, 2020-2021

Film still: HD video, color, stereo sound 00:19:47

PAUL RHO

Paul Rho (b. 1989, Seoul, S. Korea) focuses on utilizing photography as a tool and material to expand its boundaries and to narrate his personal experience. His work includes photo documentaries, photo-sculptures, installations, and performances. He lives and works in New York. paulrho.com

Instagram: @paulrho

Is photography only about imagery and storytelling? Is it possible for a photograph to exist without an image? Since the advancement of digital imaging, I have shifted away from digital technology. Instead, I spent more time with film, paper, cameras, and chemicals to better understand the medium.

After experimenting with various analog photo printing methods, the tactile aspect of photographs became essential to my practice. My interest in photography has shifted toward its materiality, and I see a possibility of repurposing the medium as a fabric, sculpture, and object.

Through my work, I am experimenting with the physicality of the photographic medium. By creating photo-sculptures, photography's original function—the ability to record— becomes a part of the medium rather than its sole role.

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RIGHT Tidal, 2022

Gelatin silver on mulberry paper 12" x 12" x 12"

Tidal, 2022 Performance

Photo credit: Ben Salesse

ROBBIE ROGERS

Robbie Rogers (b. 1996) is from Los Angeles and lives and works in New York City. He received his BA in Art from University of California, Los Angeles and is currently an MFA candidate in Visual Arts at Columbia University, expected 2023.

robbie-rogers.com

If the photograph is a tool from which I understand my body through its depiction, it is therefore necessary, much as one would do undressed in front of a mirror, for me to caress and prod the photograph, to articulate its physical limits. While my body is flattened under the weight of capture, once it is material, the photograph is resuscitated. Accentuated through physical intervention, the work throbs as a body in space. The physical manifests as black steel screws, L-pins and plexiglass, the depicted as torn and cut paper, sanding, dust and fingerprints.

The practice observes where image material conjures the photographic and finds a momentary stillness. In thinking of images as material circling a drain, the practice is a reaching into the drain, pulling out the clump of hair and conditioner and detangling the slop. The sexy is latent in the sticky, gungy, and awkward.

Robbie_legs, 2022 Enhanced matte inkjet paper, plexiglass, wool, wood panel 60" x 48"

Robbie_candle, 2022

Enhanced matte inkjet paper, plexiglass, wood panel

60" x 24"

ALBERT SAMRETH

I found and lost you many times. Keys open doors. We enter inside, the world outside lingers on us. First for having read the book of myths, I loaded the camera, and sharpened my knife. Donning my rubber suit, I set out to explore the wreck, seeking evidence of damage and remaining treasures. Slowly stroking my lamp along its flank, I discover the ribs of the disaster curve their assertion among the tentative haunters and the haters. The mermaid and merman circle silently, diving into the hold. I am she, I am he, whose drowned face sleeps with open eyes, whose desire lies obscurely inside barrels half-wedged and left to rot. The instruments once holding a course, now half-destroyed and fouled. The mystery deepens, and we're at risk of staying stuck. We need to clear it up, or the fog will settle in our hearts like a resin, permanently arresting us in place. The ladder hangs innocently from the pier, and I crawl down, not knowing when the ocean will begin. The sea is a force to be reckoned with, not a question of power. Here, at the edge of the city, I came to explore the wreck. We, by cowardice or courage, find our way back to this scene, carrying a knife, a camera, a book of myths, in which our names do not appear.

Past Tense, Divining History / Diving Into

The Wreck. 2023/1973. A. Samreth / A. Rich

CAL SIEGEL

Cal Siegel (he/his, b. 1987) was born in Massachusetts and currently lives and works in New York City. He received his BA in Studio Art and Media Studies from Pitzer College in Claremont, California. In 2015 he attended Skowhegan School of Painting and Sculpture in Maine. Solo exhibitions include, Mr. Fool, Deli Gallery New York, NY (2022); Fine as all Outdoors, Matthew Brown Gallery, LA (2020); I am the box no roof can cover, CUE Art Foundation, New York, NY (2019); The house your road ends on, Outside Gallery, North Adams, MA (2018) among others.

www.calsiegel.com

Substitute the word, “POWER” for “architecture” and “STRUCTURE” for “building” in every sentence and see how it feels:

A strategy of perpetually shifting scale in relation to memory and experiential presence allows for a question about the historical dynamics of authority as they domesticate change. The shift can be both subtle and expansive: it occurs within the relative object, between the viewer and the object, and in the dissonance of the object and its environment. In this way, the work is reaching toward an experience of simultaneity; a single moment in which existential loss and spiritual reaffirmation of self takes place.

JAIRO SOSA

Jairo Sosa is a multidisciplinary artist based in New York. He studied at the School of Visual Arts. He went on to complete his Bachelor’s of Fine Arts at The Cooper Union for the Advancement for Science and Art in 2017 with a study abroad at the Universitat de Barcelona Escuela de Bellas Artes. He is currently working towards completing his Master’s in Fine Arts at Columbia University. His work has been reviewed in publications like the Brooklyn Rail and exhibited with KatesFerri Projects, At Peace Gallery, Mana Contemporary, and The Cooper Union.

jairomsosa.com

Instagram: @jairo_sosa_

In his work, Jairo engages elements of popular culture to form unique contemporary social mythologies. In sculptures, paintings, hand papermaking, printmaking, ceramics, and mixed media installations he incorporates found materials alongside traditional mediums to illuminate the relationship between place and culture. Tackling issues of class systems and race, his work creates a visual vocabulary heavily influenced by sports culture, and more specifically basketball, conveying stories of both hope and tragedy.

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Came A Long Way From The Hallway, 2020 Cement, The Warmth of Other Suns and Random Family, cast bronze, metal chain, archival clear film on wood panel

Panel: 23.25" x 20" x .75"

Metal Chain: 12'

Book Sculpture: 4.25" x 9.25" x 6.5"

2003-2010, 2022 Oil, jersey on panel 11" x 8.5" x 1"

Paradise in Reach, 2022

Genuine copper leaf, oil, acrylic on cardboard

Dimensions variable

MOTOHIRO TAKEDA

Motohiro Takeda (b. 1982, Japan) is an interdisciplinary artist based in New York. He has exhibited his work at Baxter St. at CCNY, Photo España, Madrid, Ibasho Gallery, Antwerp, hpgrp gallery, NY, among others. Selected residencies and fellowships include Baxter St residency program (2011), AIR at Woodstock Center for Photography (2015), Tierney Fellowship (2008).

motohirotakeda.com

Instagram: @motohirotakeda

My artistic practices include photography, sculpture, ceramics, and performance. They are often installed to create a relational space where viewers can encounter a renewed experience with time—a kind that existed before time was divided into fractions. Through a vigorous investigation of natural and industrial materials, I draw out the ephemerality, scope of time, and memory inherent in their physicality. By doing so, my work seeks to resist the speed of contemporary life and reestablish our interconnectedness to the cosmos. Ultimately, I am cultivating a garden of time or something that holds the garden within it, like a Japanese stone garden that contains the universe.

RIGHT Clear Sky, 2022

Still from digital video ©Benjamin Salesse

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Untitled, 2022 Wood, cast concrete, steel, plexiglass, sand, Diazo blue print, cherry blossom

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Somewhere in the garden, 2022 Gelatin silver prints, found wood branch with steel base, ceramic, found concrete block

Prescient, 2023

Burnt woods, fluorescent bulb, Inkjet transparency, ballast, electric cable, wire 96" x 52" x 48" (approx.)

CHRISTOPHER MICHEL TORRES

A native of Esmeraldas, Ecuador, Christopher Michel Torres is based in New York City. He lives and works between Esmeraldas and New York City. Torres received his Bachelor of Fine Arts from the School of the Art Institute of Chicago in 2020. He is a candidate for a Master of Fine Arts from Columbia University in 2023. A recipient of the Spring 2022 Dean’s Project Grant from Columbia University School of the Arts.

Nativo de Esmeraldas, Ecuador, Christopher Michel Torres reside en la ciudad de Nueva York. Vive y trabaja entre Esmeraldas y la ciudad de Nueva York. Torres recibió su Licenciatura en Bellas Artes de la Escuela del Instituto de Arte de Chicago en 2020. Es candidato a una Maestría en Bellas Artes de la Universidad de Columbia en 2023. Recibió la Beca del Proyecto del Decano de Primavera 2022 de la Escuela de Artes de la Universidad de Columbia.

who manage to stay happy and welcoming even when ritualistic violence interrupts their daily lives.

Vine aquí de Esmeraldas, solo, cuando tenía seis años. Sigue siendo la ciudad a la que pertenezco, amada de cerca y de lejos cuando estoy en los Estados Unidos. Represento mis recuerdos de Esmeraldas como fragmentos, combinando la película fotográfica en blanco y negro y la pintura para construir una conversación entre personas ausentes y presentes. En los concurridos y caóticos eventos públicos de Esmeraldas, empiezo a imaginar esta tierra como una experiencia cinematográfica escultórica. Hago videos para preservar un momento de paso lento y pacífico con mi gente, que logra mantenerse feliz y acogedor incluso cuando la violencia ritual interrumpe su vida cotidiana.

I came here from Esmeraldas, alone, when I was six years old. It remains the city I belong to–loved from near, and at a distance when I am in the United States. I represent my memories of Esmeraldas as fragments–combining my black and white film photography and painting to build a conversation between absent and present people. At busy chaotic public events in Esmeraldas, I start to imagine this land as a sculptural cinematic experience. I make videos to preserve a moment of slow and peaceful passing of time with my people,

Video 00:04:40 loop

RIGHT, TOP un atentado (an attack), 2021-2022

RIGHT, BOTTOM Tribute to Nel (The Imaginary Thief), 2022 Silkscreen ink and acrylic on canvas 19" x 23"

Photograph by Benjamin Salesse

TOP Diary of a Limpieza, 2022 Oil on canvas 17" x 24.5"

Photograph by Benjamin Salesse

BOTTOM

The Time Traveler, 2022 Oil on canvas 35.75" x 36"

Photograph by Benjamin Salesse

she wrote me...happy peace be with you..., 2022

Oil on canvas

24" x 20"

Photograph by Benjamin Salesse

VIVIAN VIVAS

Vivian Vivas fuses moving image, sound, photography, unchoreographed dance, performance, and installation. Her work challenges boundaries in contemporary issues, prompting inquiries into migration, identity, and climate collapse. Vivian was recognized as a finalist for the 2022 Frankenthaler Climate Award. Recent exhibitions include In Response: Jonas Mekas at the Jewish Museum in NY, High Beams No.6 Convoy in Denver, The New Wight Biennial 2022 in LA, and performance in the John Giorno Octopus Series at the Performance Space in NY. Vivian studied Art Photography at the Andy Goldstein School of Creative Photography in Buenos Aires, Argentina, before receiving her BFA with a double major in Film and Photography from the San Francisco Art Institute.

Although there has always been an exchange between bodies and ecosystems, we have never possessed the ability to perceive a non-human perspective. And while we yearn to talk about this otherness that is beyond our grasp, perhaps we can draw on our nostalgia for the unknown to glimpse its essence; an evasive key to comprehending our ephemeral place within the universe.

Amidst our communal grieving for Nature is a prevalent sense of the uncanny: a provoked pain witnessed and felt by both the individual and community that elicits fear on a personal and familiar level, but at its peak implies extinction.

Maybe our voyage is just a homecoming, a simple affirmation of our return to Nature, but still the question remains: Who will be here to say we’re gone?

www.vivianvivasart.com

Instagram: @vivianvivass

may I die before I’m gone

Will we have existed only as an idea, a forgotten dream, the archeology of an emotional landscape whose dying wish was to mourn itself?

Even disappearance requires a point of view, a chronology, and a set of values; raising questions about the psychological borders between domestication and wilderness, our own simplified way of affirming or denying our relationship to Nature.

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may I die before I’m gone, 2023 LED wall, 4K color video Multi-channel audio

Performers: Celia Argüello, Javier Olivera 15' x 10'

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American Language, 2020

4K color video, single channel performance

Performers: Irene Carvajal, Jusun Seo, Zhang Mengjiao, Michael Martinez, Nivedita Madigubba, Oscar Lopez, Vivian Vivas

Sankofa, 2019

16mm, Black & White film

Performers: Carmenza Rojas, Wilderman Muriel

BOTTOM

Elision, 2022

4K color video, single channel performance

Sound by Xavier Losada

Performer: Fernanda Morales

LI WANG

Li Wang (b. 1995) is a New York based painter, born in Beijing, China. Li holds a Bachelor of Art from The Central Academy of Drama in Beijing, where he studied Stage Design. Li is currently a Master of Fine Arts candidate at Columbia University School of the Arts. His works are mainly about how queer male bodies inhabit domestic spaces. By rendering figures within a realistic atmosphere, he interrogates the concept of masculinity.

choice; in China, queer people have no legal protections. Discrimination and differential treatment happen as a matter of course. The queer diaspora of China is faced with the dilemma of not belonging anywhere. Because of this, I only use my Chinese friends and myself as references.

www.liwang.biz

Instagram: @liwang_leo

My work explores how queer male bodies inhabit domestic spaces. Through rendering these bodies in the nude, I interrogate the concept of masculinity. The figures in my work are bathed in sexual innuendo, tension, and gay desire. They expose themselves or commit acts of kink while staring directly at the viewer, including them in their secret acts. The figures in my paintings are sexy, frail, effeminate, and sickly.

As an immigrant from China and a gay man, I hope my works can share the life and emotional landscape of my community. We immigrants leave our homes and our countries behind, and experience intense culture shock upon arrival in our new homes. Aside from logistical difficulties and visa limitations, we experience intense feelings of deep loneliness, unmet desire, and spiritual discomfort. Despite these challenges, going back home is not a good

The still lifes in my paintings also play important roles. The white socks, shorts, underwear and sneakers are private kink signifiers for the Chinese gay community. I also paint cute toys, flowers, crowns, fashionable clothing, perfume, and gay photography catalogs. Through arranging these objects with models in my paintings, my work reveals to my audience the personalities and lifestyles of these gay men who live on the edge of American society.

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Portrait And Still Life In The Afternoon, 2022 Oil on canvas 60" x 48"

BOTTOM

Tao I, 2022 Oil on canvas 70" x 60"

TOP Buyi II, 2022 Oil on canvas 62" x 74"

TOP

After Bathing, 2022 Oil on canvas 48" x 50"

BOTTOM Tao II, 2022 Oil on canvas 38" x 36"

MING WANG

Ming Wang is from Shenzhen, China. She lives and works in New York. Ming received her BFA from the School of Visual Arts in 2020. She is an MFA candidate in Columbia University in 2023. Ming works with painting, drawing, and printmaking. Her painting was featured in New American Paintings in 2021. Ming’s work has been exhibited in New York and internationally, including at Guan Shanyue Art Museum in China, scroll nyc, Half Gallery, Village One Art, and Belenius in Stockholm in spring 2023.

windows and fences. The Shadow is anonymous and fluid. The anonymity of the shadow avatar not only is a safe camouflage but it also provides a sense of freedom— free from gravity, and social identities that restrict one to their role. Sometimes she is a female persona, sometimes she is a leaf, sometimes she is a spider, and sometimes she multiplies. When transformed into different forms, her personality and sensibility change accordingly.

www.mingwangart.com

Instagram: @mingmingmingwang

My work is drawn from memory, emotions, and experiences. I place characters and motifs in different settings, experiment with space and depth, and then create images which become curious simulacra.

My recent collection of work utilizes urban and natural landscapes to reflect psychological space. I think about freedom and containment in these works: nature is the symbol of the inevitable, something that is uncontrollable by human will, while urban structures such as fences and walls present constraints or boundaries.

Blue girl is a shadow character who can transform into different shapes. She is the avatar who travels through the space in my work, who observes and experiences trees by the sidewalk and sky, looking through

She is my shadow, your shadow, and the shadow of any being. RIGHT New

Beginning, 2022 Oil on canvas 60" x 38"

BOTTOM Kingdom of Leaf, 2022 Oil on canvas 20" x 18"

TOP 4pm Slumber, 2022 Oil on canvas 20" x 30"

Fence, 2022

Oil on canvas

36" x 32"

SHUAI YANG

Shuai Yang (b.1998 Beijing, China) is an interdisciplinary artist who works with printmaking, photography, painting, and installation. Yang is a current MFA Visual Arts candidate at Columbia University School of The Arts, New York. She received a BFA in printmaking from Massachusetts College of Art. Her work has been shown in Beijing, Boston, and New York.

cutting, burning, incising, stitching, (un) folding, layering, and collage in the physical procedures.

www.shuaiyangstudio.com

Instagram: @shuai.yang.studio

With the motivation rooted in the childhood experience of losing my father dying from a disease, and being raised solely by my mother, I am enthusiastic about investigating the subjects of death, the cycle of life, the individual, and the collective human body.

My practices dissect and react to the loss and yearning, transcend personal vulnerabilities, and consequently unfold the exploration of universal emotions related to identity and kinship. The loss prompts me to use processes and materials that embody repetition, multiplicity, liminality, and transformation, simultaneously responding to the ever-changing poetic space and time where we locate our bodily existence.

The adaptation of folk art and intercultural mythologies is where I feel most relaxed about expressing and realizing my life energy. They inspire content, material, and processes. Specifically, I employ

I embrace playfulness as both an artistic strategy and a visual manifestation. Playfulness, when confronting trauma and the fear of death, is an agent to arrive at a mind of acceptance and persistence toward the inescapable limitation of life. Play in the studio, my body and mind knowledge transform the cognitive knowledge into a sensible entity. This urgency to transform appears as a one-person performance coming out from my élan vital. Particular but not always predictable visual languages emerge from the concurrence of the bodily energy and the space of imagination, fabricating a distinct realm that evokes story-telling.

RIGHT Shadow Theater, 2023 Tissue paper, xuan paper, tracing paper, colored film, plexiglass, foam, pumice gel, intaglio ink Dimensions variable

BOTTOM Red Dolls IV, 2023 Red xuan paper and gampishi on stretched canvas 60" x 36"

TOP Pond Series, 2023 Tissue paper and china marker on parchment 38" x 27.5" each

Paper Dolls, 2023

Tissue paper, brown paper, xuan paper, and colored film on stretched cotton 66" x 48"

MESSAGE FROM THE DEAN

As Dean of the School of the Arts, there is no greater pleasure than to witness the end-ofyear Thesis events for the four programs that comprise the School of the Arts–Visual Arts, Writing, Theater and Film.

As a result of the effects of COVID, these culminating programs had to be altered, suspended, postponed, or reoriented for a time. But students and faculty now are back in full presence and the barriers to movement and production have been lifted. As a result, there is a renewed exuberance and joy among students. It is therefore even more spectacular that we now are able to exhibit the Visual Arts and Sound Art Thesis Exhibition for the Class of 2023 at the Lenfest Center for the Arts. Once again, the creative spirit has prevailed and students have produced remarkable work.

This exhibition represents the culmination of two years of intense creativity. It is the moment when students (soon to be alumni) choose how to represent their time at the School of the Arts. As always, the work will be varied, unexpected, at times profound and full of intensity. Many will come to see the exhibition because, as always, there will be great interest in the Class of 2023. I am certain that those who attend the exhibition will find it fascinating and exhilarating–a record of the creative development of this next generation of artists at an extremely unique, historical moment.

Carol Becker Dean of Columbia University School of the Arts

MESSAGE FROM THE CHAIR OF THE VISUAL ARTS PROGRAM

I take great pleasure in welcoming you to the Sound Art + Visual Arts MFA Thesis Exhibition 2023. The work here is not only representative of a collection of brave and committed artists coming into their own. It is also a reflection of the journey we have taken together over the last two years. With this in mind, on behalf of the Sound Art and Visual Arts faculty I would like to extend our warmest thanks to each of the members of our community who has made this show possible.

This exhibition has been produced in collaboration with the Miriam and Ira D. Wallach Art Gallery at the Lenfest Center for the Arts with Betti-Sue Hertz at the helm as Director. Eddie Bartolomei, Exhibitions Manager, Wallach Art Gallery deserves eternal thanks for his endless help. Jasmine Wahi curated this show with phenomenal enthusiasm and skill, allowing space for each artist’s work to shine on its own and to be engaged as part of a cohesive whole. Lauren Weigel, General Manager of the Lenfest Center for the Arts, and the Lenfest staff have made miracles happen, as they always do.

Our deepest gratitude is owed to our incredible Visual Arts administration and staff who have not only given everything and more to bring this show together, but also have supported and facilitated every step that led up to it: Rebekah Birkan, Assistant Shops Manager; Andrew Brehm, Shops and Safety Manager; Dana Buhl, Senior Photography Facilities Manager; Nathan Catlin, LeRoy Neiman Studio and Project Manager; Chloe Crookall, Assistant Studio Manager, LeRoy Neiman Center for Print Studies; Julie Malen, Shops Monitor; Laura Mosquera, Director of Academic Administration; Jen Pinargote, Assistant Director of Academic Administration; 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; Claire Valdez, Program Assistant; Jon Waites, Shops Monitor; and Liz Zito, Assistant Director of Visual Arts Instructional Technology & Exhibitions.

None of this would have been possible without Carol Becker, Dean of Faculty and Jana Wright, Dean of Academic Administration and Planning. Also at the School of the Arts, we thank Gavin Browning, Director of Public Programs and Engagement; Sarah Congress, Executive Assistant to the Deans & Manager of Academic Administration; Tiffany Davis, Communications Manager; Julie Dobrow, Dean of Admissions & Financial Aid; Herbert Hugh, Assistant Dean of Student Support; Joel Jares, SOA Photographer; 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 Artists’ Resource Center and Alumni Affairs, Trenton Pollard, Assistant Director of Alumni Affairs; Kristina Tate, Director of Communications; Nicole Saldarriaga, Communications Assistant; and Peter Vaughan, Director of Motion Picture and Information Technology; Kenny Wong, Director of Admissions and Financial Aid.

Most important of all, we thank the artists in the show. Not only for the inspired and meaningful work each of you has made and will make in the years to come, but for your presence over these past years as a vital part of our Visual Arts department. It has been a privilege to work with you. As you move on from here, no matter where you go—and we look forward to seeing where that is—you will always remain a part of our community.

Nicola López Associate Professor of Professional Practice Chair, Visual Arts Columbia University School of the Arts

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 and the Master of Arts degree in Film and Media Studies; it also offers an interdisciplinary program in Sound Art. 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. In 2015, the School marked the 50th Anniversary of its founding. In 2017, the School opened the Lenfest Center for the Arts, a multi-arts venue designed as a hub for the presentation and creation of art across disciplines on the University’s new Manhattanville campus. Lenfest hosts exhibitions, performances, screenings, symposia, readings, and lectures that present new, global voices and perspectives, as well as an exciting, publicly accessible home for Columbia’s Miriam and Ira D. Wallach Art Gallery.

SOUND ART PROGRAM, COLUMBIA UNIVERSITY SCHOOL OF THE ARTS

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, COLUMBIA UNIVERSITY SCHOOL OF THE ARTS

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 digital media, drawing, installation, painting, performance, photography, printmaking, sculpture, and video art.

Visit arts.columbia.edu/visual-arts.

ABOUT THE CURATOR

Jasmine Wahi is the Founder and Co-Director of Project for Empty Space, a nonprofit organization in New York City and Newark, New Jersey. Her multifaceted curatorial practice predominantly focuses on issues of femme empowerment, complicating binary structures within social discourses, and exploring multi-positional cultural identities through the lens of intersectional feminism.

In 2023, Ms. Wahi was honored by The Metropolitan Museum of Art for exemplary social impact work. In 2020 Project for Empty Space (PES), Ms. Wahi became the inaugural Holly Block Social Justice Curator at the Bronx Museum of the Arts, while simultaneously Co-Directing PES. While at the museum she curated several renowned exhibitions, including Born In Flames: Feminist Futures and Wardell Milan: AMERIKA. God Bless You If It's Good To You, which were oriented around the thesis that visibility is the primary tenet of Social Justice. In 2019, Ms. Wahi gave her first TED Talk on intersectionality and visibility, entitled All The Women In Me Are Tired.

A lover of learning and sharing, Ms. Wahi has taught at a number of art institutions, including Yale University, and the School of Visual Arts: MFA Fine Arts department. She is currently on the Faculty of Brooklyn College in New York City. Ms. Wahi received her own Art History education from New York University, where she has a BA in Art History from the College of Arts and Sciences, and an MA from the Institute of Fine 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 to Columbia University School of the Arts include visual artists

Tania Bruguera, Duke Riley, Maya Lin, Doris Salcedo, and Hank Willis Thomas; filmmakers Claire Denis, James Mangold, María Sojob, Charlotte Wells, and Alejandro González Iñárritu; writers Louise Glück, Angie Cruz, Lewis Hyde, Elif Bautman, and Terese Marie Mailhot; theater artists Asiimwe Deborah

Kawe, Candace Chong Mui Ngam, Ricky Ian Gordon, and Zayd Ayers Dohrn; historians George Chauncey, Margarita de Orellana, and Mabel O. Wilson; designers Michael Arad, Walter Hood, and Meejin Yoon; curators

Amalia Córdova, Cass Gardiner, and Denis Pernet; literary critics Homi Bhabha, Marina Warner, and Farah Jasmine Griffin; legal scholar Kendall Thomas; climate scientist Maureen Raymo; and actor Al Pacino. 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 AfroLatin 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 annual 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.

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 on 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

American Online Giving Foundation Inc.

Andrea Constancio

Andrew Kabugo

Andrew Stortz

Angela Aidala

Anmolpreet Kandola

Anna Montes

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

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 Ryther

Christopher Artois

Christopher Jackson

Columbia University HK Fund

Corinne Rabbin-Birnbaum

Courtney Caramanzana

D'Arcy Haymen Fellowships

Daniel Aprahamian

David Berg Foundation Fund

David Cruz

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

Kerensa Harrell

Kim Fader

Krista Adler

Kristen Guernier

Kristin A. Malin

Kristin Malin

Kunjue Wang

Laura Kornegay

Lauren Cognetti

Lenfest Fellowship

Lenfest Foundation

LeRoy and Janet Neiman Fellowship Fund

LeRoy Neiman Endowed Fellowship

Les Yeux Art Foundation

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

Michael Lane

Michelle Kaiser

Morty Frank Traveling Fellowship

Nadeen Chahine

Nancy Gregory

Nicola Lopez

Nicolas Duran

Norman Galinsky

Pamela Smith

Paulette Bernd

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

Ryo Ogura

Sabrina Peck

Saundra Stortz

Sheana Ahlqvist

Shelley Saltzman

Solomon B. Hayden Fellowship for Visual Arts Students

Stacy Ginsberg Student Relief Fund

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

William Meng

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

Yin Yue

Yingkun Zhang

Young-Hee Cho

Yuqing Zheng

Yuxi Huang

Yvonne Liu

SOUND ART AND VISUAL ARTS FACULTY AND STAFF

Sound Art Faculty and Associated Faculty

David Adamcyk, Jace Clayton (Interim Director), Seth Cluett (Assistant Director), Zosha Di Castri, Luke Fischbeck, Brad Garton, Ben Holtzman, Miya Masaoka (on leave 2022-23), and Dave Sulzer

Sound Art Visiting Faculty / Artist

Mentors

Regine Basha, Jules Gimbrone, James Hoff, Jennifer Krasinski, Katherine Liberovskaya, Barbara London, Sara Magenheimer, Nour Mobarak, Phill Niblock, Keith Obadike, Matthew Ostrowski, Douglas Repetto, Marina Rosenfeld, Julianne Swartz, and C. Spencer Yeh

Visual Arts Full-time Faculty

Gregory Amenoff, Matthew Buckingham, David Antonio Cruz, Delphine Fawundu, Jon Kessler, Nicola López (Chair, current), Naeem Mohaiemen, Miya Masaoka, Shelly Silver, Sable Elyse Smith, Sarah Sze (on leave 2022-23), Rirkrit Tiravanija (on leave 2022-23), and Tomas Vu-Daniel

Visual Arts Mentors

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

Visual Arts Graduate Adjunct Faculty

Shirly Bahar, Onyedika Chuke, Tyler Coburn, Susanna Coffey, Aria Dean, Lizzy De Vita, Dana DeGiulio,

Matthew Deleget, Liz Deschenes, Luke Fishbeck, Jules Gimbrone, EJ Hauser, Baseera Khan, Autumn Knight, Justine Kurland, Dana Lok, Orlee Malka, Guadalupe Maravilla, Jorge Pardo, JJ Peet, Tyler Rowland, Pamela Sneed, and Craig Zammiello

Visual Arts Visiting Critics

Cecilia Alemani, Eleana Antonaki, Kenneth Armstead, Daphne Arthur, American Artist, Ephraim Asili, Michael Berryhill, Sophie Cavoulacos, Rafram Chaddad, Stuart Comer, william cordova, Pamela Council, Liz Deschenes, Torkwase Dyson, Alan Gilbert, Beth Gollnick, Kris Graves, Nora Griffin, Josephine Halvorson, Chrissie Iles, Michael Joo, Tom Kalin, Tali Keren, Baseera Khan, Nora Lawrence, Dione Lee, Jen Liu, Dana Lok,

D’Angelo Lovell Williams, Susan Meiselas, Asif Mian, Manuela Moscoso, Sarah Oppenheimer, Sheila Pepe, Elle Perez, Sara Reisman, Julie Reiss, Cinthya Santos-Briones, Keisha Scarville, Josh Siegel, Aisha Tandiwe Bell, Lynne Tillman, Jess Wilcox, Letha Wilson, and John Yau

Visual Arts Staff

Rebekah Birkan, Assistant Shops Manager

Andrew Brehm, Shops and Safety Manager

Dana Buhl, Senior Manager of School of the Arts Photography Facilities

Nathan Catlin, Master Printer and Studio Manager of the LeRoy Neiman Center for Print Studies

Chloe Crookall, Assistant Studio Manager of the LeRoy Neiman Center for Print Studies

Julie Malen, Shops Monitor

Laura Mosquera, Director of Academic Administration

Jen Pinargote, Assistant Director of Academic Administration

Samantha Rippner, Associate Director of of the 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

Jon Waites, Shops Monitor

Liz Zito, Assistant Director of Visual Arts

Instructional Technology & Exhibitions