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from the editors
Dear Reader, Art History Association and No Show are proud to present the inaugural issue of Dinner + No Show, which will showcase the talents of artists and writers in the School of Art + Art History at the University of Florida. We strive to create a supportive, inclusive community by encouraging art history and studio students to bridge the gap between disciplines through collaboration. The publication is divided into two portions: Dinner focuses on the final product of a student’s work, while No Show explores the creative process. Student artists and writers have produced an abundance of creative works throughout their time here, yet their innovations and research are not formally documented as a collective body of work. Since the university does not have a public arts program, this publication provides art and art history students with the opportunity to showcase their work to a larger audience. Dinner + No Show is filled to the brim with a diverse array of outstanding artwork and writing. We are amazed at what we were able to accomplish with the help and contribution of so many talented students. With utmost sincerity, we hope you enjoy our first issue, like a delicious meal paired with your favorite wine. Warmly, Art History Association + No Show
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11 the grotesque and the beautiful: a dichotomy explored in printmaking
25 the intersection of history, science, and art: a fictional field guide
69 lips: sexual power, femininity, and self-confidence in vagina dentata
79 satirizing, aestheticizing, and rebranding global warming
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143 printmaking: a comprehensive medium
151 botanical dyeing
109 designing, constructing, and programming a drawing machine
103 analog video synthography
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the phone within the wall
an infinite canvas: the process of layering digital images
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art history undergraduate second year writer
the grotesque and the beautiful: a dichotomy explored in printmaking artist Madeline Nave printmaking undergraduate fourth year
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“She creates unique silhouettes of monsters each with a distinctive personality, gathering various sources of inspiration from oral tradition, folklore, and mythology.�
Madeline Nave Chanel (2017) acrylic monotype collage
Madeline Nave’s work is composed of a dichotomy between the grotesque and the beautiful, a clever blend of glamour shots injected into a wide variety of prints that successfully blends the lines between fantasy and horror. One aspect about her conceptual work is her commonplace book, which is an old tradition of keeping a daily sketchbook practiced by women. In it, she creates unique silhouettes of monsters each with a distinctive personality, gathering various sources of inspiration from oral tradition, folklore, and mythology. With characters such as these, she hopes that a viewer could notice what is going on without context; however, this is not the case with an entire, fleshed-out piece. The artist expects the viewer to be able to understand turn to: imagery but understands that they do not know what is going on entirepage 143 ly. Her concepts are not meant to be to learn more literal and she refrains from revealing about Madeline too much of the process that has led Nave’s processes up to the final product, because she prefers the viewers to bring their own perceptions of the subjects she chooses to address. Nave grew up abroad in China, finally returning to the United States after ten years to attend university. Coming to the United States, she felt as if she had no personal identity – neither feeling like she belonged here nor there – and could not connect with the culture here. She came to discover
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Madeline Nave Preparatory Study For Grotesque Shot 1 (2018) collage
Madeline Nave Monstrosity in Motion (2018) oil ink monotype
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that there are commonly conflicting ideas of culture among Americans, perpetuated by those who refuse to understand non-western cultures. Yet, people in America, she believes, often do not have the privilege of experiencing and learning about other cultures, thus leading to a lack of communication and understanding. However, her reflection on these experiences only indicates the potential cultural turns that she can explore in her forthcoming work. Instead, she creates pieces based on folklore and cross-cultural myth, where she explores concepts of the beautiful and the grotesque. In her two latest monochrome prints, the portraits give a viewer the sense that even though something about their features is uncomfortably off, it could be almost appealing to the eye if one quality was moved slightly to the right or another was changed; simply put, the image does everything you’d expect and want the human body to do, but not completely. Not only do the monstrous concepts developed in her art address how she feels about herself and her own space, but also how beauty culture is so pervasive in our society.
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Tatyana Kornilova Lamellae (2017) watercolor on cold-press paper 9� x 12�
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artist Ricki Nichols drawing undergraduate fourth year
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“Seemingly comforting spaces may be twisted into something inexpressibly not-comfortable on an instinctual level.”
Ricki Nichols Chambered (2017) gouache, sumi ink, iridescent film 33” x 46”
If there is one word that applies to the energy given off by the work of Ricki Nichols, it is “uncanny.” The artist uses many chilling motifs including ghosts, monsters, and horror-filled narratives to achieve this effect in her work. Perhaps her most visited subject is that of the werewolf, which she uses as a sort of surrogate image for deeply conflicting emotion. She likes the challenge of depicting the “horror of having to fight yourself;” and she enjoys the added trial of fighting against pop-culture tropes of werewolves as the dashing hero with none of this inner turmoil. She is also keen to play around with the idea of what makes a structure into a home (or whether home is confined to a space at all), and how seemingly comforting spaces may be twisted into something inexpressibly not-comfortable on an instinctual level. Nichols was never discouraged from being an artist–at least not by her family. She recounts how impactful it was to tag along with her mother while the latter painted murals, and how this allowed Nichols to realize the lasting, vibrant impression art can have on the environment around it. Her mother maintains that Ricki was a born artist, and that she could “make anything if you gave her paper and tape.” Her father, though a military man and less inclined to the artistic side of things, was always supportive of her creative talent as well. Nichols attended LaVilla School of the Arts in Jacksonville, participating in the visual arts program. She then compiled a portfolio of her best works and applied to Douglas Anderson School of the Arts; this was her first exposure to the vetting process of the
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Ricki Nichols Moonskull (2017) sumi ink on yupo paper 23� x 33�
Ricki Nichols Floatghost (2017) gouache and transparent film on paper 16� x 24�
art world, and it led to her acceptance into the school, thereby boosting her confidence in her skills as an artist. She focused at this time on works about the military, and about the home and structures as inhabited spaces, be they safe or unsafe, or deceptively seeming one or the other. When her family moved to Lake City, Florida, this confidence became a bit more fragile. Her high school there offered some art classes, but she was unable to make room for them in her schedule, consequently relegating art to a hobby instead of a potential career path. “There were a lot of times I could have given up
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on art,” Nichols recalls, “but I never did, because I’m pretty stubborn. But high school was probably the biggest speed bump I ever had to get over to keep going.” She continued to focus on questions of structural appearance and reality, and produced personal works on these issues as well as approaching the subjects of gender roles and the ever-important and ever-present werewolf. Enrollment in a wheel throwing class at Florida Gateway College provided her the chance to rekindle her love of art and get her over that speed bump. Her instructor, Mrs. Brothers, noticed a particular passion about Nichols’s work ethic and the pieces she produced. When Nichols expressed a desire to really focus on art as a discipline, Mrs. Brothers readily encouraged her and provided support and advice on how to move up in the world of art. Nichols then transferred to the University of Florida. Nichols concentrates on drawing, and it is here that her werewolf motif has been greatly fostered and adopted into her public works. Two instructors, Lisa Iglesias and Julia Morrisroe, encouraged Nichols to utilize her strong symbolic connection with the werewolf within her artwork. One of her most recent pieces features the creature devouring its own tail, an ink ouroboros of mythological proportions which aims to deepen the self-against-self suffering iconography. Nichols feels that by finally introducing this symbol into her public works, she is no longer denying herself and is drawing what she loves and is meant to draw. Upon graduation, Nichols looks forward to realizing her ultimate goal of being a production designer for television and movies.
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history undergraduate fourth year writer
the intersection of history, science, and art: a fictional field guide artist Megan Kean printmaking undergraduate fourth year
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“She carries her audience through an experience of nostalgic historical motifs and imagined scientific discoveries to remind us that science and history are fluid, complex schools of thought.”
Megan Kean V. Antipothe’s Medica Botanicum (2017) handmade book: etchings + walnut ink calligraphy 7.5” x 3.75” x 0.25”
We have a tendency to perceive science—specifically, the scientific method and scientific discoveries—as having ultimate authority over the objective truths about our world. Megan Kean carries her audience through an experience of nostalgic historical motifs and imagined scientific discoveries to remind us that science and history are fluid, complex schools of thought. Our understanding of history and science changes as we learn more about our planet—thus, the authority of either subject can change, as well.
At the start of her academic career, Kean wanted to be an illustrator for scientific publications, such as textbooks and guides. Instead, she found her niche working at the Florida turn to: Museum of Natural History, as well as the Special Collections in the George page 151 A. Smathers Libraries. In these unto learn more ambiguously academic and creative about botanical environments, she is able to practice processes from her passions for natural history, bioloJade DiMarco gy, anthropology, botany and art. In V. Aniphotes Medica Botanicum, Kean’s fictional field guide of nineteenth century botanical specimens, the ink-drawings are simply bound into a small book. In V. Aniphotes Medica Botanicum Folio, the specimens are hand-painted in vibrant watercolors and are stored
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Megan Kean V. Antipothe’s Medica Botanicum Folio (2017) intaglio etchings, ink, leather, watercolor 7” x 5” x 0.5”
in a leather folio. According to Kean, only affluent explorers could afford colored field guides, so poorer explorers with monochrome guides were vulnerable to poisonous specimens that could only be differentiated by color. She crafted a fictional field guide with a deceiving antique aesthetic to demonstrate the error in trusting the authority of time and therefore encouraging her audience to examine their unfortunate history. Similarly, Kean’s The Unreliable Naturalist underscores the subjectivity of scientific discovery. In 12 panels of gessoed Masonite, Kean sketched twelve different observations of the extinct dodo bird. Predating photography, the only evidence we have of the dodo bird is in the form of observational drawings. In older drawings, there were discrepancies such as beak shapes, posture, and plumage. The slight nuances in the details of these drawings reflect one’s subjectivity when making scientific observations, undermining the assumed authority of nature and science as they tend to be corrupted by human bias. At the intersection of history, science and art, Kean challenges us to question our understanding of each subject. Instead, we can explore how they work in-tandem to redefine one another. When we reevaluate how we learn, study, explore, and observe, we begin to disconnect from the naivety of believing in “absolute truths.”
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Megan Kean The Unreliable Naturalist (2017) ink on gessoed masonite 24� x 36� installation
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Ashley Browne Pocketscape (2017) 3D powder print
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working objects: highlighting and elevating the working class artist Quinton Merada sculpture undergraduate fourth year
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“The quality of the materials and their position in the work are reflective of the workers who use them and their socio-economic status in society.�
Quinton Merada Uncle Shawn (2017) wood, fake turf, push reel lawn mower, tablet, headphones
Working Objects by Quinton Merada is a completely self-immersive and interactive installation that takes standard methods of presentation and applies a symbolic twist which correlates with the pieces’ overall message. A variety of vintage, used lawn tools unrestricted by size or design compose the installation. He presents a utilitarian-type concept by highlighting the line between fine art and functional art which serves everyday purposes. The tools are displayed around the room: leaning against a wall, lying on or next to wooden name plates, or positioned in a simple sculptural form. All the objects remain low to the ground, causing the viewer to bend down and “work� in order to read the label. The quality of the materials and their position in the work are reflective of the workers who use them and their socio-economic status in society. Particularly, those of the working class in the socio-economic hierarchy are more likely than other classes to occupy the jobs associated with the tools. This piece brings to attention how we view the objects in relation to those whose lives are defined by them. Vital to the installation are the faint audio recordings playing in the background, which allow another sense of immersion for the viewer as they ingest the scene. As one walks around to look at the tools, the sounds of those tools performing their specific function permeate the background. This further delves into the concept of how the worker is perceived in society. The feeling of unknowingness caused by not seeing the actions taking place or those who are responsible for the actions
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Quinton Merada Working Objects (2017) motor edger, manual edger, shears, hose, glove, rack, hand shovel, garden cultivator
Quinton Merada Uncle Shawn (2017) detail
is important to realize about this piece. It strives to highlight the individuals who are often overlooked and under-appreciated for their work. Merada composed an artistic arrangement of these sounds, turning what most people find bothersome or annoying to their daily routine into a symphonic tune. By taking the sounds of the objects and reinterpreting them into something beautiful, it helps reshape one’s perspective of the stigma which surrounds the lives of the working class and demonstrates that it can have the same attractiveness as anything else we encounter.
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The presentation is also a broken-down replication of a national history museum. The name plates and glass panels are more than just labels, but a means to elevate these functional objects as an appropriation of art. Presenting them in this unconventional display plays at the notion that these common, discarded lawn tools used by workers are antique objects meant to be preserved. Further meaning of the artist’s background and inspiration are understood when the viewer begins to interact and “use” some of the tools. As part of his interactive installation, the viewer can mow the artificial lawn back and forth in a symbolic repetitive motion. Attached to the mower is an audio/video portion of Merada mowing a real lawn and shot at an angle as if you were him completing the action. In the background of the video, a recording of the artist interviewing his uncle who has been in the lawn business for most of his life plays. Quinton Merada not only has family background in lawn maintenance, but even had a strong interest in pursuing the same career as his uncle or becoming an agricultural engineer. Growing up, he lived in a household that didn’t have lawn service, so he spent a great deal of time partaking in such tasks. He also has a strong fascination for the beauty and artistry of sound, which inspired him to study sound engineering as an electrical engineering major when he first arrived at UF. Not long after, he switched to sculpture as it was a better venue for him to truly express his passions and creativity. The installation is dedicated to representing a large aspect of him and his family’s life by acknowledging the simple, forgotten activities of the modern era that are easily taken for granted.
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flightling: exposing unethical practices in the fashion industry artist Jade DiMarco drawing undergraduate fourth year
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“Consumers are typically far removed from the process leading up to the final products, as most viewers are with the art they encounter in a museum.�
Jade DiMarco Flightling (2017) plywood and white fabric
Jade DiMarco Self Portrait (2018) colored pencil, gouache, and ink
Mounted on a white wall in Fine Arts building D, Jade DiMarco’s Flightling exudes a commanding presence. The dim light illuminating the piece from above emphasizes the shadow of each feather. DiMarco cut 2”x4” plywood into hundreds of feather-shaped chips, hot gluing them to pieces of white fabric to form this elegant forest-fantasy dress. As a fourth-year drawing
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major, she has experimented with mediums ranging from wood, leaves, metal, fabric, and vegetables. Other pieces in her oeuvre include a multimedia self-portrait with felt silhouettes pinned to the painting, and a work on paper with gouache and colored pencil. She also dabbles in embroidery, looking to fashion and nature for inspiration.
turn to: page 151 to learn more about Jade DiMarco’s processes
Throughout the development of her portfolio, DiMarco considers the role of visual art in questioning the unethical practices of the fashion industry, the second biggest polluter in the world after the oil industry. Researching the inhumane conditions of sweatshops in countries like India and Bangladesh, DiMarco challenges her audience to think about the reasons why Americans have a need for so much clothing. In her untitled self-portrait, she has an entranced expression on her face. Her arms are raised above her head and her fingers resemble the wings of a bird taking flight. As in this portrait, much of DiMarco’s work emanates a ritualistic quality due to the unique gestures and comportment of her figures, which contrast the typical conventions of portraiture. Upon closer inspection, one realizes that the blouse is comprised of blush-pink, felt vignettes of human figures. They hearken to the low-wage laborers of South Asia – their multi-dimensionality as human beings reduced to ambiguously shaped, flat silhouettes; laborers
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Jade DiMarco Flightling (2017) above: detail
Jade DiMarco Untitled (2017) left: white fabric, twine, leaves, and twigs
whose struggles are overlooked by mainstream consumers who compulsively purchase clothing at face value without considering the means of its production. Consumers are typically far removed from the process leading up to the final products, as most viewers are with the art they encounter in a museum. In my interview with DiMarco, she bewilderedly remarked, “Think about H&M’s prices. It’s a miracle that something could be $5. You think, ‘How can something be made so cheaply? How does that happen?’ It just makes you more conscious of the hardships that factory workers endure.” On one hand, DiMarco’s self-portrait addresses the dilemma of fashion trends, aesthetic beauty, and affordable prices overshadowing the exploitative reality of factory workers by directly referencing those women and men as components of the blouse. On the other, Flightling is a beautiful, hand-made, and functional dress that subtly represents a consumer’s interaction with nature to learn more about the process behind the final product. Contrary to her training in conceptual art at the School of Art + Art History, DiMarco is drawn to conventional beauty and the ethereality of nature. Inspired by aesthetically pleasing objects, such as crystals, DiMarco enjoys creating art that is visually beautiful, rather than grounding her work in abstract and conceptual art theory. Instead, she attempts to capture what she is feeling and to listen to what appeals to her subconscious. In her experience, this practice has yielded more authentic and compelling art.
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Jade DiMarco Self Portrait (2017) detail
Maria Kuran Bricks
When I’m feeling run down and overwhelmed, I go down to the old auditorium on campus. I take my music with me and sit down on the patch of grass in front of it where public art litters the space. I hated that building, but for some unknown reason I kept finding my way back to the damn thing. I first encountered it when I had to pick any building on campus to draw for my class. I also hated that class, by the way. Seems like I hated everything. I think I chose the auditorium because my mom’s voice was in my head telling me about the time she went on a date with my dad to watch a symphony there. The image of my dad drumming his fingers on my mother’s hand to the beat of the music burned itself into my head as I sat in front of the structure. I think maybe that’s why I keep coming back to the old auditorium; they have such a fond memory of it, whereas I don’t. Maybe I’m just trying to force myself into feeling something for it other than contempt. So far, however, all I have is irritation at the obscene amount of bricks I had to painstakingly draw. All I remember are the shivers that ran up and down
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my body as I sat on the cold, stone bench in freezing weather on late December nights, because my teacher believed that the only way we could properly draw was by being face-to-face with our buildings rather than simply taking a picture for reference. What’s funny is that she would have never known if I did draw in front of it or not, but I guess I just wanted to feel like I was doing something right for once. I took a glance at that same stone bench, thinking back to how I picked the second to last one, because I didn’t want to sit on the one right next to the trash can, but I also didn’t want to sit on the first one, which was so close to the auditorium that my neck would have hurt while looking up at it. I glanced down at my phone; it was already three in the morning, the thin fabric of my pajamas rendered useless against the cold. As I sat on the damp grass, my back leaning against one of the public art works, I closed my eyes and tried to think of ways in which I could turn my negative outlook of the building into a positive one. My right hand found my left one, and suddenly I was reliving my parents’ date: my right hand was drumming its fingers on the left one to the beat of my music. I tried to block everything else out, to just focus on my fingers dancing along to the music. I tried to forget the fact that everything seemed to fall apart. I tried to forget the fact that everyone around me chose not to look past my wholesome exterior, into the darker, more broken version of myself. I tried to forget the fact that it was my fault for hiding, that I had no
Hannah Banciella Claire (2017) from “Face Me” Series charcoal on paper 72” x 72”
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idea how to reach out for help. I thought about my drawing of the auditorium sitting in my closet, collecting dust. I thought about the many times I wanted to pick it up, rip it apart. I had gotten so many compliments on it, but no one knew how much it hurt me to look at it. I started thinking that I would push past this, that one day I could stop hiding. As the music got louder, and as my fingers drummed faster, I started thinking that maybe, just maybe, the next time I would stand in front of the auditorium I would have made my peace with it. I opened my eyes, hopeful. I looked at the auditorium with newfound determination. But, the more I looked at it, the blurrier it became. The hope was gone, my tears in its place. I saw nothing, still. Nothing but bricks.
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art history undergraduate third year writer
inside/outside/inside: questioning the mundane, the wild, and the self artist Leda Balch photography graduated fall 2017
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“The installation investigates the balance between the life of a student and the life of a ‘real-world individual’ living with a partner.”
Leda Balch Fuck/Feed (2017) varied materials, mixed media
Leda Balch, a recent graduate from the University of Florida, earned a BFA in Creative Photography. She came to UF after previously studying at Florida School of the Arts in Palatka, Florida. During her time at UF she received academic and professional recognition as well as many awards for her work. To name a few, Balch was the recipient of the Director’s Award at the Council Student Juried exhibition at UF and the Jerry Uelsmann Studio Art Scholarship. Her recent exhibition Inside/Outside/Inside took place at Open End Studio in Gainesville, FL on December 9th, 2017. In my interview with her, Balch stressed that if it weren’t for this available studio space in downtown Gainesville, in which her exhibition was shown, the work would have not come to fruition. This space not only provided inspiration but was also a substantial place to work. The multimedia installation utilizes sculpture, video, and photography to create the illusion of a home. To create an immersive experience, Balch utilizes a space which closely resembles a kind of living room. Walking into the space, one can identify motifs of internal, external, and what lies between. A theme of the cultivation of wild in mundane domesticity is strong throughout the details of the room. The installation investigates the balance between the life of a student and the life of a “real-world individual” living with a partner. The creation of this exhibition allowed Balch to understand her identity as a singular person at school, while being part of a unit at home.
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Leda Balch Free Spirit, Or, Reign It In (2017) varied materials, mixed media
Leda Balch artist next to the porch (The Great Divide)
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While her personal life very much catapulted this work, she describes her work as being “pretty ambiguous,” wanting each viewer to take away something different, reflecting on his or her own identities and relationships. Three primary sculptural works greet viewers as they enter: a porch in the center of the room, a bed curtain on the wall behind it, and a mantelpiece to the right. A cooler and chair sit atop the porch. The bed curtain frames an artificial window—a large print looking out onto a street. The mantle is finished with a horse figurine made from paper and scraps of trash, a hand clenching a rope forged from beeswax, a burning candle, and a card and envelope. Above the mantle a poster of wild horses falls from its frame, attempting to gain independence from the rectangular wooden barrier. Other images of horses and birds exist embedded throughout. The images of birds and horses play to this theme of wilderness as the viewer can bring to mind the natural association of horses and birds with freedom, possibly recalling the paradigms set forth in the Rolling Stones’ “Wild Horses” and Lynyrd Skynrd’s “Free Bird.” Yet, the horses and birds are represented in paintings in frames, bringing the viewer back to theme of domesticity—décor for a home. Each of these pieces are “arbitrary characteristics of a house;” they don’t prove to be necessities. They are all aspects of a home that are added after fundamental construction and foundation are set. They are details that make a home more ‘homey’: comfortable and decorative. The porch sets the energy of the room. It is the purgatory of a house, a division of public and private space. It is where one goes to depart from the indoors
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Leda Balch view from the porch (The Great Divide)
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but remain connected to his or her house. It is representative of the space in between internal and external, wild and civilized. This is what Balch was thinking about when choosing the porch as a prominent sculptural element. The second element, the bed curtain, takes up the center third of the wall it hangs on. The fact that the bed curtain is covering an artificial window emphasizes the excess that the bed curtain represents. On the remaining sections of the wall, lumen prints of flowers, feathers, and other natural objects laminated in beeswax, juxtapose faded red dishcloths reading “fuck me in the kitchen” and “and feed me in bed.” The tension of nature against the household is again upheld. These elements are contrasted with the video projected on the wall opposite the mantle. The video includes multiple clips including scenes of plants and trees. Other shots are aimed onto sheets and pillows while the sounds of nature fill the room as well as a few voices. Balch’s show allows viewers to question their own identity in relation to their homes (and what that may mean to them) and to their connection to the outside world. As one walks around the space, the more one discovers. There are so many details to this exhibition oriented in a similar way one might approach the decoration and creation of a home. As one navigates the room, one begins to feel more comfortable, “at home,” yet at some point one must leave to go outside.
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Palmer Crippen The Pinecone Tapestry (2018) pinecones, glue, cloth 42” x 33”
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art history undergraduate fourth year writer
listen to your mother: guilt, maternalism, and nature artist Hayley Suraci art history undergraduate third year
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“As nymph-like as the face is, she looks ill or infected due to the tendrils, color palette, and fungus thriving on its decay. Mother Nature is in peril.�
Hayley Suraci Listen to Your Mother (2017) high fire white stoneware, glaze, underglaze
Hayley Suraci masterfully creates a fantastical reality in her piece Listen to Your Mother. Resting between the two of us on her living room floor, the piece appears to grow from where it sits. Only the clink of Suraci’s rings brushing against its surface give away the secret; this is not a mysterious tree trunk plucked from the woods with a budding head on top, but a meticulously crafted high fire white stoneware. Listen to Your Mother stands at about knee height, with a precarious curve at the point where the bust blends into the tree trunk that is partially severed by an unfortunate hatchet. Deep grooves cover its surface, representing bark, and creep onto the maternal head like tendrils of infection, emphasized by the fungi of decay and the matte sage green underglaze. When asked if the face of Mother Nature was meant to capture her likeness, Suraci explained that the decision to represent her own face was more out of convenience and having practiced recreating her features before, similar to the techniques of Artemisia Gentileschi, rather than an explicit choice of posing as Mother Nature herself. Although the work was based on the artist’s likeness, the features do not appear as gender specific. Suraci explained, “it’s easy to visualize Mother Nature as the classic female mother, but the word ‘mother’ is changing. I had an idea of a maternal figure but it’s ultimately up to the viewer. I wanted the features to be soft and graceful to contrast with the rough decaying tree trunk.” The piece elicits tension in the viewer. It emanates from the deep laceration, exposing the tree rings that
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Hayley Suraci Listen to Your Mother (2017) detail
prove the long-standing presence of Mother Nature. The trunk appears as if it could snap at any moment. At several points in our discussion, I even had the artist explain the creation process to me (something to do with cones) because it was difficult to fathom how a piece could simultaneously look so fragile and yet so resilient. The prompt for this work was “investigating our relationship with nature,” but it was not necessarily meant to be figural. However, since we so commonly personify nature in art and literature, she wanted to give it a face. As nymph-like as the face is, she looks ill or infected due to the tendrils, color palette, and fungus thriving on its decay. Mother Nature is in peril. She has been continuously damaged by those to whom she so generously lends her nurturing presence: It forces you to think… How did she get in this state? Then you realize we as people are at fault. The piece evokes a sense of guilt, which Suraci hopes will encourage the viewer to reflect on their relationship with nature and to be more conscious of daily habits that may seem inconsequential (plastic bottle usage, extended showers, leaving phone chargers plugged in, etc.), but actually have a terrible impact on the earth. Suraci worries about the effect of people constantly pushing nature’s limit to its inevitable breaking point, like the paramount tension at the trunk’s split. This is Hayley Suraci’s third figural piece. The experience she gained from the other two works allowed her to focus on more purposeful making rather than simply the completion of a new and daunting task. It
listen to your mother
is apparent how attached the artist is to this piece that she worked ardently on; when talking about Listen to Your Mother, Suraci freely moves her about on an axis with the confidence only its creator could have. As an Art History major, Hayley feels that completing this piece was an extremely validating moment for her as an artist. “I don’t view myself as an artist because, as Art History majors, we get put into this bucket as the studiers of art, and not the artist, but this piece really proved to me that I am an artist. Exposure to paintings and sculpture… you get an eye for composition and for color since it’s constantly in your face.” Listen to Your Mother stands (although precariously) on its own—not just as a piece created by an Art History student, but as a product of a confident, composed, and capable artist.
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Jordyn Goldklank Feast Your Eyes (2018) colored pencil, caulking, polymer clay, imitation vanilla extract, glass paint, powdered fabric dye, watercolor 22� x 30�
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Hayley Suraci Anthropometry: Princess Helena
The women are put in their place. Dragged by one another, responding to the instruction of the artist, doing as they are told, remaining silent for their audience, whose lips stay glued to their blue cocktails. Only the paint has the privilege of gracing the paper. Blue and white. Contrast with the immediacy of a fresh light bulb after you hit the on-switch. A sapphire that fell into a bucket of extracted indigo. It is the blue. The one that floated on runways, infiltrated the glossy pages of Vogue. The subject embarks across the paper, feet first, like a royal procession, her breasts completing the composition, imposing a defined contour on the flat plane. Medium— paint and paintbrushes. Oil-soaked bodies and flesh-kissed paper. Created on the backs of women. His masterpiece.
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lips: sexual power, femininity, and self-confidence in vagina dentata artist Alexandra Kirschner sculpture undergraduate fourth year
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“In all its unabashed glory, it is a nudist marvel of feminine empowerment.�
Alexandra Kirschner Lips (2017) digital collage, retro-disks, viewmaster viewer
Alexandra Kirschner, a fourth-year sculpture student, says that her work shocks her audience, and she absolutely loves it. While the shock factor is not necessarily her priority, there is certainly no doubt about its effect on the viewers: Kirschner’s work, in all its unabashed glory, is a nudist marvel of feminine empowerment. Her Lips series is her first in digital collage, as well as her first nudity-based project. It is comprised of a collection of RetroViewer disks, with each one revolving around images and quotes of individual models with whom she had collaborated. One might ask: why retro-viewers? “Our generation is very nostalgic,” Kirschner states, “especially since most of our childhood revolved around the massive technological revolution.” Not only that, but one could assume that the choice of retro-viewers could have permitted a more intimate setting for the viewing of such images, a shift from the public to the private eye. The experience of clicking from one photograph to the next, as well as being aware that one is alone in one’s observation of the images, makes it a voyeuristic act— perhaps the viewers could even feel as though they were intruding upon these models’ privacy. The artist takes inspiration from the myth of vagina dentata (Latin for ‘toothed vagina’), a folk tale found in various cultures across the globe, in which a woman’s vagina is said to contain teeth to keep men away. Kirschner takes this tale in her series and transforms it into a symbol of sexual power, femininity, and self-confidence. She spent much of her time researching and understanding the implications of the myth,
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Alexandra Kirschner Lips (disk) (2017) digital collage, retro-disks, viewmaster viewer
Alexandra Kirschner Lips (2017) digital collage, retro-disks, viewmaster viewer
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particularly after watching “Teeth,” a horror film with a plot centered on a high school girl having this “condition.” The movie presents some disturbing, vulgar imagery that the artist points out in the interview, but despite the somewhat unpleasant exterior of the film, she found a sense of feminine empowerment within it, which she subsequently implemented in her work. She explains that, at first glance, her images may seem aggressive or perhaps unappealing to the eye, but there is no denying the sense of empowerment lurking beneath. Her interest in vagina dentata is important to keep in mind when analyzing her work, since the images of the models are of their lips photoshopped onto their genitalia. However, Kirschner wanted to convey more of an in-depth message beyond the simple recounting of an ancient tale; her goal was to create an artwork which encouraged authenticity, uniqueness, and love of oneself. The models she used for this project were unseasoned, and they had volunteered after seeing the ad she had placed on the widely popular dating application, Tinder. Tinder quickly became quite influential in her project as a whole, even though the initial significance of the platform was not a part of her creative process; it was simply a recommendation from her photographer friend who had also used the application for recruitment. “It’s funny how much the Tinder aspect affects the piece,” Kirschner recalls, “it became wrapped up into the project, since Tinder says a lot about your own sexuality.” In other words, the artist believed that the models’ profiles showed much of their personalities,
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as well as the confidence they had in themselves and their bodies as they browsed through the application. Surely, accepting to model such an intimate part of their bodies indicated how empowered they were as individuals and their readiness to share turn to: said empowerment. page 109 for another project related to online dating, by Devlin Caldwell
Each disk was dedicated to each model, and the images were also personalized; the lips attached to the genitalia were those of each woman. As for the aesthetics, Kirschner did not want to take away from the models’ personalities, giving them free range with what lipstick, or lack thereof, they wanted to wear and the amount of pubic hair they wanted to expose.
She found that this added depth to the project, because it allowed the individuality of each model to shine in every disk, and it also added to Kirschner’s goal of having people embrace their bodies and their sexualities, whether they fit into conventional social molds or not. In fact, she made it a point in her recruitment to steer clear from the stereotypical views of the female body, such as the hourglass figure or lack of cellulite; she also left the images of the women unedited, with all their attributes and blemishes on full display. She ensured that the bodies of the models were not what is socially classified as “ideal;” however, she does believe that her project is still in progress, since she wants it to eventually encompass more women of varying shapes, sizes, and skin colors.
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lips
When asked what the primary goal was in her work, her answer was an inspirational and true testament to the influential power art can have on people, artists included. She wanted her pieces to reflect the stage of life in which she currently finds herself, specifically in terms of self-acceptance and self-exploration, whereby she reassures her identity. She allowed the uniqueness of each model to shine in their respective images. As a final result, their individual characteristics come together as a collective project of empowerment.
Alexandra Kirschner Lips (2017) digital collage, retro-disks, viewmaster viewer
Taylor Collings Shattered (2017) acrylic on canvas
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PJ Thompson Mundane (2017) double exposure silver gelatin print 11” x 17”
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art history undergraduate fourth year writer
satirizing, aestheticizing, and rebranding global warming artist Nic Silvestris sculpture undergraduate fourth year
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“Are you chill with climate change?�
Nic Silvestris Truwavespace.net (2017) digital web installation vaporwave collages complied in TRUWAVE Gallery//
Nic Silvestris Truwavespace.net (2017) digital web installation
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turn to: page 103 to learn more about Silvestris’s processes
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Truwave.net, a website created by senior sculpture student, Nic Silvestris, reinterprets assemblage art to address the deterioration of the planet—physically and psychically. With an attractively minimalist interface, the site appeals to a broad range of trendy internet subcultures. Millennial pink dominates the screen, slowly transitioning into shades of lavender and powder blue in recollection of 1980’s computer graphics. The general appearance is undeniably ‘chill’ and artistically on-trend. However, behind its subdued pastel facade, the site fosters a dark sensibility. Taking a satirical approach to environmental awareness, TRU//WAVE// glamorizes and promotes global warming. Silvestris clarifies, “The website is aware that climate change is happening. So is the audience. The goal is not to deny that reality.” Rather, TRU//WAVE// absolves visitors of their culpability by rebranding environmental shifts to seem progressive and exciting. Ostensibly, the site caters to an audience eagerly awaiting an eternal summer. At its core, TRU//WAVE// expresses a hypersensitive awareness of the aestheticization of politics. Manifested in the ‘Home’ page’s apathetic and metaphysical introduction, TRU//WAVE//’s mission statement addresses how large corporations strategically exploit slang to reinvent ideologies, influence the market, and appeal to younger, more impressionable audiences. Silvestris elaborates, “The true art of corporate branding is the ability to reshape and reformat disgusting ideals to seem appealing and desirable. They don’t have to push anything down our throats. We want it. We seek it out.” The site follows in suit.
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Nic Silvestris Truwavespace.net (2017) top image: old skool gangsta sh*t bottom image: my new franddd
Nic Silvestris Truwavespace.net (2017) Swag Tab
Under his aptly named, “Swag” tab, Silvestris markets a variety of products essential to surviving the effects of climate change while maintaining a state of perpetual indulgence. Pricey, albeit benign, accessories, vaporizers, and sex toys linger at the top of page. Delving deeper, the merchandise becomes increasingly depraved and taxing on one’s vitality. Ammunition, assault rifles, and C4 explosives anchor TRU//WAVE//’s inventory as flagship products with exorbitant price tags. In a
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sense, the movement of the cursor as it scrolls down the page reflects humanity’s degeneration while environmental degradation persists without remorse. Pets of the establishment, patrons interested in promoting their status as corporate sycophants can purchase stylish neckwear resembling dog collars. Tragically, their subjugation is self-inflicted, but the site offers them the opportunity to broadcast their newly acquired identities to the world. In the spirit of recent and growing hashtag culture, the #TruWaveSelfieChallenge harbors an archive of sardonically captioned selfies edited by Silvestris. Celebrities and conventionally attractive individuals flaunting peace signs foreground depictions of resource abuse and global pollution. The proliferation of smiles feels jarring as Silvestris makes a disconcerting commentary on the values championed by modern society—consumerism, egocentrism, and self-fashioning. The ‘Stream’ tab uses similarly unsettling tactics. When the page opens and loads, electronic music automatically reverberates from the computer, inundating the viewer with sound, as partying youths and images denying climate change flash across the screen. Simultaneously, anxiety builds with the music as listeners anticipate not only, the proverbial ‘drop,’ but also environmental catastrophe. Elsewhere, a thread of humble memes reminds visitors to laugh at their own existential dread. Evident in the site’s preoccupation with visuals, branding, and language, Silvestris unpacks a concept he's termed, “pseudo dystopic enthusiasm.” His work, latent
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with allusions to Marxist and Benjaminian theory, reinterprets philosophical essayist Walter Benjamin’s assertion, "Such is the aestheticizing of politics, as practiced by fascism. Communism replies by politicizing art." When performing research for the site, Silvestris noted uncanny parallels between the vocabulary employed by media outlets to report on extreme weather and to describe deadly war zones. The strategy not only prepares citizens for the post-destruction militarization of their communities but prevents insurgence in regions ravaged by natural disaster. Like the Italian Futurists who praised destruction in the face of stagnation, TRU//WAVE// responds to the militarization of natural disasters by celebrating them. To quell the anxieties of those who awaited Hurricane Irma, Silvestris published a Facebook event called Make Irma Aesthetic Until We All Feel Chill AF. The instructions, “Submit your vaporwave collages to the ethereal abyss provided below...The most aesthetic offerings will be featured in Gallery// for all to gaze upon their chill vibes,� enticed participants to create and submit vaporwave collages containing satellite and/or Doppler images of Hurricane Irma. While taking part in a collective event to aestheticize disaster replaced apprehension and dread with a calming and creative enterprise, the practice ultimately applied an attractive veneer to a disturbing truth. When collected, curated, and re-contextualized on the site, natural disaster becomes increasingly banal as viewers embrace the prospect of ecological collapse. Their conglomeration begs the question: Are you chill with climate change?
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Nic Silvestris Make Irma Aesthetic Until We All Feel Chill AF (2017) Facebook event
Ricki Nichols Phonecall (2018) sumi ink and acrylic 15” x 22”
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Emily Rainbolt The Phone Within the Wall
The phone in the wall had rung many times in the past. It was not a new or surprising sound. It was not even in a surprising location anymore. It was just a feature of her home, something she had learned to live with. The ringing would always be faint—a light trill from just beyond the wall of the kitchen—but it would always be there, always present, always itching the inside of her ear. Sometimes it felt like that’s where it was: inside of her ear or her brain or her being, instead of behind the kitchen wall. She often wondered why it had been left there. It was a conscious decision, in which there could be no mistake. There was no way to remove it from its enclosure, either. The first time it rang was months after moving in. She had called around (the realtor, the contractor, the builder), and when someone (a representative from an agency who she couldn’t connect to any facet of this business) came to look into it, they told her nothing can be done. There was a pipe there, they said, or a beam, a weight-bearing beam, and there was just no way around it. Of course, it hadn’t rung when they were around. It never rang when anyone else was around. If it had, the
representative would have understood the compulsion, the desire, the need she felt to quiet its shrill and insistent cry. It never rang when anyone else was around. Nobody believed her, and after the first few attempts at explaining her predicament, she had received scathing looks and pitying chuckles. She stopped trying to talk about it altogether. But she knew. She knew it was there, waiting for her to be alone, waiting to cry out to her again from behind the walls, from inside her very ear. Yes, the phone in the wall had rung many times in the past, but this time was different. This time it was not the shrill and insistent cry, the wail of a trapped child calling to its mother for help. This time it was a dull hum. Or, rather, it had started as one. It had been so faint that she hardly registered it as a sound. The other sounds around her were too loud for this one hum to be picked out right away (the storm outside, the clattering of her dishes with every thunder clap, the static of a radio she hadn’t realized she turned on earlier that day). There were more howling of the winds and clanging bursts of furious lightning and thunder. As the storm grew larger, so, too, grew the noise from behind the wall. It grew and it grew, feeding on the deadly elements around it and matching its intensity with its own crescendo until it became a leering, single-note concerto at its culmination. It wasn’t a ring. It was a dial tone. The phone had been picked up, and nobody was on the other line. But then, she heard a faint whisper; perhaps from the winds of the storm‌
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Ricki Nichols Phonecall (2018) detail
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“Like Ariadne’s thread, [the smartphone] maintains the connection with the places, things, and people valued the most.”
Erwin Laiho iORE: ideas of rare earth (2017) detail
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Erwin Laiho iORE: ideas of rare earth (2017) left images: 10S Carrara Marble (Buren) center images: 10S Basalt (Reyes) right images: 6S Engineered Stone (Kwade)
The smartphone’s pervasiveness in modern society blurs the boundaries between the public and private spheres. Entrenched in prosaic life, it alters the relationship to the fundamental concept of time. It inserts itself in the social relations and consumer behavior, but also in the way people relate to the world in general. It has become a cognitive extension of the body and most important for the millions of migrants and refugees whose lives are characterized by the experience of physical displacement. Like Ariadne’s thread, it maintains the connection with the places, things, and people valued the most. Erwin Laiho’s series iORE – ideas of rare earth evokes these everyday observations and the discourse concerning the smartphone as commodity. Instead of taking a moral stance, however, his casts and sculptures of different generation iPhones advance the questioning of materiality and aesthetics. The molds for the casts of various metals and alloys are taken directly from the original devices while the stone versions are cut to the measurements before finishing the surface and details with hand tools. The final product, while aesthetically reminiscent of its original counterpart, yields a contemplative rather than utilitarian result. The digital apparatus has turned into its primordial materiality. The devices now resemble ingots which, taken out of the production chain, become signifiers of globalized industrial production itself. The refined shapes and heightened sense for the medium also bear references to the work of artists like John MacCracken, Carl Andree, Robert Morris, Richard Serra, and Allan
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Erwin Laiho iORE: ideas of rare earth (2017) 3G Bronze (Brancusi) installation, various stones and metals
McCollum who likewise drew on industrial aesthetics. Thus, Laiho’s cuboids are like the minimal sculptures one would encounter in a museum of miniatures. There is a contradiction in the function of smartphones, the contemporaneity that is associated with the design of these objects, and the way function and design are consumed by the ostentatious materiality. Unlike the contingency of the real phone’s user-friendly applications, its actual material is what bears the marks of historicity. The volatility of the digital is countered with the weight of the materials’ histories. The list of components of a smartphone perhaps reads like the best possible index of the exploitation of planet and people on which our globalized economic system is built. Isolating the components of the phone and fashioning replicas of the originals that only use one of these materials allows one to understand the complexity of these networks in a phenomenological way – through touch. The latter is of great importance because the works are supposed to be handled like the real phones. Carrying
Erwin Laiho iORE: ideas of rare earth (2017) 6S Tungsten (Kaltenbach)
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Laiho’s sculptures in one’s pockets, leaving them on a table, or visually examining their surfaces will make it appear like anybody else’s electronic device. What differentiates the artworks is the haptic experience and, under closer scrutiny, the black laser etchings and cut reliefs that mark the location of the display. The images relate to screenshots of Laiho’s own phone and contain photographs taken from other artist’s works. They are the shadows of the things seen by the prosthetic eye of the hand machine, the proof that we all are already cyborgs. Digital information has certainly altered physical experience, if not already replaced it. The result, which James Bridle called the New Aesthetic, is that we relate to this world as if we all were smartphone camera lenses. The pieces exemplify the complex reality of visual experience today through a double-representation. Their common ground is hardware in its most radical sense. Laiho’s selection of metals and stones does not only relate to the components of iPhones but also to the medium of the artwork represented in the respective etching or carving. This degree of realism within the materialistic interrelations of object, image/screen, and represented object provides the parameters for an experimental encounter with the advanced and incomprehensibly complex technology we have come to own, embody, and live through. The engagement with Laiho’s series drives a wedge through the commodity-romance people have with their phones. It disrupts the habits and rituals they already created around this object and makes the viewer consider the divide between what is the material and what is the digital world.
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“When the equipment comes cheap, it doesn’t hurt to crack it open and rewire it.”
Nic Silvestris tinkering
One cool Saturday evening, sculpture senior, Nic Silvestris, welcomed me into his studio to teach me about analog video synthography. An artform in repurposing outdated video turn to: tech, Nic developed an interest in this medium when he was strapped for cash page 79 while living in New York. Thrifting cameras, televisions, and VHS was for more insight into Nic Silvestris’s budget-friendly and entertaining, but completed works it’s the diminished value of the technology Nic uses that lets him experiment in his work. When the equipment comes cheap, it doesn’t hurt to crack it open and rewire it. Laid out on a table, Nic presented an assemblage of neatly coiled wires awaiting their commission. They’d breathe life into the main set-up: a Panasonic S901 monitor, VCR, Videonics Mx-1 Digital Video Mixer, Videonics Video Equalizer, and Tachyons+ Vortex. Pressing play on the VCR, the Panasonic displayed classic Japanese animation in all its unadulterated glory. Pointing to the screen, Nic explained that without the intervention of a third-party machine, a 1:1 feedback ratio exists between the VCR and monitor. When uninterrupted, the VCR reads the tape (a single input) and displays it on the television (a single output). The video plays normally. It’s the addition of auxiliary gear that allows him to alter and abstract the original footage. In its most basic form, the Videonics Video Equalizer
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is a color corrector allowing the handler to adjust elements like the tint, contrast, and sharpness of the image. The Videonics Mx-1 Digital Video Mixer affects the movement of the video feed, or rather, the transition between shots. It can create and control the speed of cut shots between multi-camera video angles, fades, and internal thumbnails. Perhaps Nic’s most prized piece of gear is his Tachyons+ Vortex—used to practice analog circuit bending. At the flip of a switch, the Tachyons+ disrupts the flow of electrons within the circuit board—glitching the visuals and producing an assortment of lo-fi effects. Combining the capabilities of each device, Nic layers multiple effects to generate unexpected compositions. In this manner, the twist of a dial evokes the stroke of a brush adding depth and dimension to a piece. Through the editing process, he then isolates something close to 5 seconds from an hour of footage to lap. Nic stressed, “It’s not necessarily the output. It’s the potential of what you can create with it.” He jokingly added, “You just have to hope that you’re actually recording when the magic happens.” Currently, Nic is working on a project titled Signal Flow. An interactive exploration of the textures and movements of springs, he captures the quintessential nature of flowing water. Through analog video synthography, Nic visually interprets the hazy value of memories as temporality approaches degradation.
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Nic Silvestris Videonics Mx-1 Digital Video Mixer, Videonics Video Equalizer, Tachyons+ Vortex, Panasonic S901 monitor, and VCR
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Shannon Moriarty art history undergraduate second year writer
designing, constructing, and programming a drawing machine
artist Devlin Caldwell art + technology graduate studies first year no show
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“Social media and online dating profiles commodify and ‘flatten’ people—reducing their multidimensionality as individuals into two dimensional concepts to be consumed by others.”
Devlin Caldwell Self Portrait (2017) performance, machine assisted drawing 52” x60”
Devlin Caldwell’s Self Portrait comments on the way in which social media and online dating profiles commodifies and “flattens” people—reducing their multidimensionality as individuals into two dimensional concepts to be consumed by others—by presenting photographs paired with text in rapid succession. His creation and utilization of a drawing machine establishes a disjuncture between the artist and the process of creation by displacing the work of the hand, simulating the digital flattening of people. The original performance of Self Portrait was documented and displayed next to the final drawing in order to verify the integrity of the piece when viewed in the gallery space, reinforcing the importance of the process of creation. Caldwell designed, constructed, and programmed the drawing machine used in Self Portrait. It draws for him based on information collected by a motion tracking sensor placed on his right hand, which is then transferred to his left hand during the performance and creation of the work. The drawing machine works in real time, receiving motion input from the censor that is attached to his hand, then translating the three dimensional motion of the artist into a two dimensional drawing on the paper. The sensor works within the limitations of an XY coordinate system, only graphing the inputs on the material plane. A pen holder attached to the machine, holding a marker, is moved across paper based on the artist’s motion input and the programmed output of the code. The artist’s deliberate use of marker was part of his aesthetic choice to create a continuous mark on the paper, while the program is intentionally inorganic, only responding according to
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Devlin Caldwell Self Portrait (2017) detail
Devlin Caldwell Self Portrait (2017) performance
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turn to: page 69 for another project related to online dating, by Alexandra Kirschner
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the set limitations of the code. Caldwell also wears a black latex suit to solidify the futuristic aesthetic of the work as well as commentate on the dystopian nature of that futuristic aesthetic. The machine disrupts the process of art creation by acting as an intermediary between the artist and the work he creates. It allows for him to circumvent the usage of his hand as a drawing tool, limiting the amount of conscious decisions he makes while creating the work. While tethered to the machine, Caldwell remains in conversation with the machine. It is dystopian tool that the artist controls, but also a tool that controls the artist. The drawing machine medium was originally used in a different series of works that combined the artist’s undergraduate work in printmaking with his graduate studies in digital media, combining traditional and contemporary techniques, but he has further developed the medium to combine performance and drawing. The final drawing is an ambiguous mass recorded on a large white sheet of paper, epitomizing the disjuncture between artist and the art created by the drawing machine. Caldwell’s three dimensional form was “flattened” into a two dimensional drawing by the parameters of the code. Caldwell’s Self Portrait process, performance, and final creation is best summarized by the artist himself as “taking a person, passing them through a machine, and outputs them as a drawing,” simulating the process of “flattening” by digital platforms, like social media and online dating profiles.
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Devlin Caldwell studio space
Jason Wilkotz Airship Captain (2018) digital photograph
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Preston Owens Creation (2018) watercolors and ink pen
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an infinite canvas: the process of layering digital images artist Ani Collier photographer black c gallery owner no show
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“I sometimes find it hard to believe that they were ever separate images.�
Ani Collier Architexture (2016) digital collage
Over the past few months, I have learned an incredible amount about the medium of digital collage through my internship at Black C Art Gallery with Ani Collier, but most people are not familiar with this form of art. After taking in the gallery surroundings, a visitor would usually question how the pieces are made; so, my article will focus on exploring the process of creating a digital collage and the means through which artists have adapted to the technological wave of today’s society in their work. The foremost definition for digital collage is like that of traditional collage, with the only difference being that its creation is rooted in the use of technology. One important thing to note is that the viewer must avoid associating digital collage with photo manipulation, as they are two very different techniques in digital art. Photo manipulation is, as suggested by its name, the process of altering the various elements of a single image (such as composition, color, lighting, and other effects), whereas digital collage is the process of placing and layering multiple images on top of each other. Think of it as an onion with various stacked layers to make up the whole item – or in this case, a complete composition. It is no surprise that technology has become quite prevalent in modern society, practically an integral part of day-to-day life. In regards to the art world, as with any other field, there are usually two types of people: those who embrace technology’s role in the art world and those who reject it. Ani Collier is an example of an artist who not only chose to embrace it, but also
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Ani Collier Subway in the Sky (2016) digital collage
utilized it in creating her works of art. Before moving to Gainesville and getting married, Collier was born and raised in Sofia, Bulgaria. After retiring from her career as a performance artist–specifically as a professional ballet dancer–Collier transitioned into the visual arts by moving behind the lens and exploring the world of photography, digital art, and collage. Ani’s collages feature a myriad of subjects; however, her trademark pieces are cityscapes depicting New York City and Miami, which she frequents throughout the year. Collier captures a wide range of images during her travels and combines them through processes of layering and manipulation to create a single work of art in digital collage form. In the publication Digital Image—Digital Photography, Susan Kirchman shares a thoughtful perspective of the concept of digital collage. She states that the computer “functions as the perfect collage tool, ascribing a visual parity to images from disparate sources, putting them into visual context with each other.” That, in my opinion, is the quintessence of Collier’s digital collages; she gathers an assortment of images and brings them together in such a unified composition, that I sometimes find it hard to believe that they were ever separate images. Digital or otherwise, collage art has always been a way in which individuals could present the world in a different light, one that could also be associated with surrealism; the artists’ own observations of the world around them are suddenly embedded into a single
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image. Collier’s cityscapes brought a new side of New York to my eyes; various angles of the city are all combined into a singular landscape, thereby creating an engaging composition for the viewers. Subway in the Sky, for example, overlays an image from the city’s underground transportation system with one of a cityscape, with the unification of the two allowing viewers to observe all of New York’s bustling avenues. In addition, Architexture allows the viewers to feel as though they are looking out onto the cityscape before them behind the window of a skyscraper. In conclusion, digital collage art enables the artist to not necessarily escape reality, but to shape their own views of it and create their own interpretations, so that they may share their unique perspective of the world with others. It is grounded in harmonious layering, a process which aids in producing a cohesive composition through the combination of multiple unique images.
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Maddie Haggbloom painting undergraduate second year writer
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artist Sandra de la Rosa painting + drawing graduate studies second year no show
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“She chooses some of her materials based on her ability to change them over time.”
Sandra de la Rosa Mi casa ya no es mi casa (2017) mixed media on paper 19” x 26”
Sandra de la Rosa’s process-intensive artistic practices currently focus on the issues and concept of immigration–from the labor of undocumented immigrants to ideas of the American Dream and the socioeconomic push. De la Rosa takes interest in exploring the overlap between painting and drawing. The immediate result of making drawings appeals to her; she states, “…when you translate [a drawing] to a painting, it sometimes doesn’t work, because you lose a lot of the information and a lot of the marks that you make…I think my work is a combination of both, because I approach paintings as drawings, but I use a lot of different materials that are geared towards painting.” As far as materials are concerned, de la Rosa originally started by planning her pieces based on a list of materials she wanted to experiment with, but has since changed her process. She now develops each piece based on her initial mark on the paper, something she believes makes the work feel less boxed in. After the initial mark, de la Rosa varies each piece by layering the materials she uses in different orders, sometimes including text or outlines of objects to convey her message. To name a few, her list of materials presently includes gesso, both oil and acrylic paints, beeswax, dirt, India ink, pen, and transferred images. De la Rosa especially appreciates the malleability of the bees’ wax. “When I’m using wax, sometimes I’m thinking more about the residual mark that I can make.” She says, “If I want to do imprints of hands, it’s
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Sandra de la Rosa We only speak Spanish at home (2017) mixed media on paper 19� x 16�
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Sandra de la Rosa Who will build the big beautiful wall? (2017) above: mixed media on paper 22” x 30”
Sandra de la Rosa Untitled (Borders) (2017) left: sumi ink and graphite on paper 26” x 40”
like a residual part of the body, so it’s about absence. It’s about the mark itself.” She chooses some of her materials based on her ability to change them over time, as with wax, which allows her to go back over the surface, to layer or scrape away, and can relate to labor. De la Rosa is also in the process of developing her work conceptually. Her practice has changed drastically from the works she created as an undergraduate, which featured abandoned places that she used to open discussions about gentrification. These works can still be seen on her website: sandra-delarosa.com. She says she may eventually revisit her earlier work, but for now, she wants to focus on “the liminality or the metaphysical aspects of the immigrant mindset of being ‘from here, not there,’ being at one place but thinking of home and the conflicting aspects of those kinds of feelings.” For inspiration, she looks to artists like Cy Twombly and Joan Mitchell, who push her to reconsider abstract expressionism and automatic modes of working. She is still figuring out how to best communicate the meaning of her work, but is interested in using gestural marks and movement as a metaphor for migration and change. De la Rosa was most recently a part of the exhibition Build Hope, Not Walls, where she and many other artists created bricks that were used to make a wall. All of the work was donated to immigration advocacy groups. De la Rosa will also participate in a printmaking exhibition in the summer of 2019.
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Sandra de la Rosa El Nopal (2017) mixed media on paper 19� x 16�
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Alinda Saintval Lost & Found (2018) above: woodblock carving 15” x 20”
Carly Shooster The Circle Game (2018) left: digital comic
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Eva Sailly art history undergraduate fourth year writer
ascend: exposing a lack of inclusivity in uf sa+ah collective / artist ASCEND / GV Kelley ceramics graduate studies second year no show
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“If they are coming from a place of ignorance when it comes to your identity and experience, then you, as an artist, are not getting what you need.�
ASCEND Town Hall Meeting February 2018
Diversity can seem like a discussion on fairness. It isn’t fair that the art and media that saturates our lives has very little representation of groups with marginalized identities—like those of color, sexuality, gender identity and culture. But it truly becomes a matter of fairness when this lack of representation has very real and devastating effects. When there is no diversity in the stories we see in entertainment and art’s content, it becomes difficult for the public to identify with others who are different from themselves. Issues prevalent in media and art dictate to us which experiences are normal, and when people can’t identify with these experiences it makes them feel insignificant, as if they themselves and their stories do not matter to society. There is a facade of diversity that has stemmed within the University of Florida’s School of Art and Art History (SA+AH) when it comes to representation. When students with marginalized identities come to study and grow as artists, they are not met with the resources needed to create work about these facets of their identities. Accurate representation should not simply encompass acknowledgment. When one’s experiences are heard and shared with others who have also gone through a similar existence, they feel validated not only in their work but as individuals. Unfortunately, the SA+AH community is not fostering inclusivity to the extent that a space for innovation, artistry, and creativity should. This sentiment was felt by the members of ASCEND (Art Student Coalition for Equal, New, and Diverse Curricular Reform)—a group formed in January of 2018 by graduate students to address issues of diversity within the school’s curriculum.
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ASCEND Town Hall Meeting ASCEND members Kashif Dennis, Ashley OrtizDiaz, Sue Montoya, Gia Del Pino, GV Kelley faculty participating in Q+A
GV Kelley In Training 3 (2016) lowfire ceramic, acrylic paint and medium, graphite pencil, nail polish, glitter spray 40” x 10” x 9”
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ASCEND started with students of color to primarily address concerns relating to them, but later wanted to expand to encompass other groups that identify based on sexuality and gender. Once expanded, the students wrote letters to SA+AH’s director and faculty to voice their concerns. Each letter featured a list of supporters including alumni and current students, both undergraduate and graduate. “When there is no representation, marginalized identities can feel very invisible,” GV Kelley, a ceramics graduate student and member of ASCEND, conveyed when addressing the lack of representation within the facility itself. As GV identifies as non-binary, a gender identity that doesn’t fall between the societal confines of what it means to be female or male, their work centers around research on gender identity. “It can be invalidating to not have that support or understanding in your community. The faculty can have the best of intentions and heart of gold, but if they are coming from a place of ignorance when it comes to your identity and experience, then you, as an artist, are not getting what you need.” SA+AH heard its students call for action. The history of the University of Florida’s racist, homophobic and sexist history was addressed as members of ASCEND and faculty culminated in a town hall meeting to hear the concerns and grievances detailed in the letters. Anonymous testimonials were read to the audience describing personal manifests of those who lacked accurate representation and its damaging effects as an emerging artist and young individual. “We were
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received very positively. No one was combative. It sounded like the faculty was coming from the approach to reform curriculum within the school. But it kept being brought up—what ASCEND can do to keep this movement going,” reflected GV. For ASCEND, it’s up to the administration to continue. “These roots go beyond our time here,” stated GV. Graduate students are only at the university for a limited period. ASCEND needed to bring attention to the issue, but only the administration can make changes to the school’s program. For example, to create better informed and therefore more constructive critiques and combat the lack of diversity within the student body, classes should feature more critical theory to facilitate awareness. If students are informed, then critiques can focus on more meaningful conversations about concept, rather than rely on shallow comments that are tracked in an artwork’s form—like its use of color. This is what GV hopes for SA+AH’s future. Representation matters. There are currently no classes within SA+AH that talk about gender and sexuality other than Dr. Melissa Hyde’s courses on women artists in European art history. “She should not be the only one pioneering them, especially when there are so many other intersections that can be delved into,” stated GV. “We can do better.”
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ASCEND Town Hall Meeting students participating in Q+A
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Gillian Yee art history undergraduate second year writer
printmaking: a comprehensive medium artist Madeline Nave printmaking undergraduate fourth year no show
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“She utilizes information, such as magazines targeted at teenage women and websites that teenage boys use, to examine just how pervasive beauty culture is in our society.�
Madeline Nave Common Place Pages (2017) watercolor
Although painting and drawing are things Madeline Nave whole-heartedly enjoys doing – in fact, she had originally been a drawing major when she first started her college career – she has mostly worked with various types of printmaking such as silkscreen, printmaking with collage, plexiglass monotype, and relief carving. Her creative process starts out with an extensive idea, beginning to flesh out certain concepts; to help her with this, she creates word maps to help express key ideas that she can potentially explore in the future. This stream of consciousness, in her words, is much like casting a net, then picking from the pile you’ve reeled in. From there, she goes on to do extensive research: she finds other artists who explore similar topics while conducting individual research to ensure her work has a rich, well-informed background. For example, she does a lot of research on beauty culture in our society and utilizes information, such as magazines targeted at teenage women and websites that teenage boys use, to examine just how pervasive beauty culture is in our society. It is important not to get off track while researching; the point of research for Nave is to discover the history of the topic that she wants to explore in her art and familiarize herself with the language of the subject. Personally, she’s explored the world of glamour photography and the history of advertising to incorporate the subject of glamour into her work. Nave describes printmaking as a medium that is a “vessel” for all others, since not only is it easier for her to understand but it can encompass an array of techniques.
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Madeline Nave Medium Study 2 (2018) oil ink monotype
Madeline Nave idea board
A good example of this is etching, where an image is incised into a metal plate through acid emulsion and uses intaglio to achieve a positive image. Relief is also a method of obtaining an image where the negative areas are removed; woodcut, specifically, is a type of relief process where the negative space is carved away, then ink is rolled on top of the block to achieve a positive image. This, of course, takes a lot of practice, planning, and trials, until she finds what best fits the concept she’s trying to bring to life. She experimented
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printmaking: a comprehensive medium
with Photoshop, playing with layers and colors to create a digital mock-up of what she might want to make in her own traditional media. Ultimately, tinkering with Photoshop leads her to discover what works for her and what turn to: doesn’t. Another aspect of trial and erpage 11 ror for her is proofing, which is a process of making preliminary prints to ensure for more insight that she can execute her ideas to her into Madeline satisfaction. Naves’s completed works
Process is what makes the image a reality; even though it may take ten different passes and ten individual prints to make a finished product, the image slowly reveals itself in a way that usually no other medium can. For her, the most important choice lies in what type of printmaking complements the idea she’s trying to express. Every medium, every different form of printmaking, has its own look and feel, ultimately informing the piece and influencing the impact it will make on the viewers. It is important for Nave to consider visual aspects, as mark-making and variation of values, when choosing a specific medium or printmaking form. There would be times where she would create something she absolutely hated, but these errors guided her to take the next steps that would lead her to eventually create something she loves. Getting a feel for preparation in her process and taking the time to make things fit well together is what makes her body of work so successful.
Laurel Moore The Serpent (2018) ink and paper 15” x 24”
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Maddie Haggbloom By Any Other Name (2017) stained glass 18� x 12�
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Danielle Garcia art history undergraduate fourth year writer
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“Stir gently throughout.”
Jade DiMarco experimenting with turmeric and blueberry dye
One of Jade DiMarco’s past-times is dyeing her own clothes with botanical ingredients. After some experimental trials, she has refined her dyeing process to a few simple steps. I visited her home to learn more about her creative process. Her goal that day was to dye a cream-colored sweater that she had accidentally stained. For this dye, she used dried hibiscus petals and fresh white onion skins, hoping to achieve a reddish pigment. Clarifying that you can experiment with a variety of ingredients to create your own dyes, turn to: she showed me a yellow linen dress that she recently dyed with onion and page 39 avocado skins. I also noticed pieces of dyed thread when I visited her studio, for more insight which she used to experiment with into Jade DiMarcos’s turmeric and blueberry. DiMarco completed works suggests using linen, wool, or cotton fabrics for this process, avoiding synthetic products. The first step is called pre-fixing, or pre-mordanting. She recommends finding the biggest pot you own, filling it up with water, and placing your clothing item in it – it’s best to allow the fabric enough space to float freely without too much constraint from the pot. Next, she adds alum sulfate into the water to help the fabric bond with the pigment. Let the pot boil for about 30 minutes to an hour, depending on how much of the pigment you want the fabric to absorb. Stir gently throughout.
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Jade DiMarco step one: pre-fixing/pre-mordanting step two: boiling organic dye material
Jade DiMarco step three: rinse
While you are pre-mordanting the fabric, heat up the hibiscus petals and onion skins in another pot of boiling water for the same amount of time (30 minutes to an hour) until the water changes color, indicating the breakdown of the plants. Stir gently throughout. After waiting your desired length of time, take the pot with the fabric and pour the water down the sink. Rinse
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the fabric in cold water and set it aside, but do not place it back into the empty pot. Then, taking the pot full of hibiscus and onion skins, pour the dark red pigmented water through a strainer over the empty pot, making sure the fibrous material is caught in the strainer. Set the strainer holding the organic material aside and place the pot of pigmented water back on the stove. Then, place the fabric in the pigmented water. Gently massage it so the dye can work into the material, and then let it sit for about an hour. When ready, rinse the fabric in cold water and Dawn dish soap and gently wash it until excess pigment is gone. Air dry.
Jade DiMarco step four: saturating the fabric with dye
Laura Lozano Timer (2018) acrylic on canvas 16” x 20”
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Leah Brand Untitled, Oil on Canvas—In a Coffee Shop
Frameless, It begins with yellow, the sun unfurled like a lemon rind, white, bitter albedo squinting through the feathered brush strokes. Unbothered by the sour notes, heaven cracks open like an ostrich egg, churning and whirling gilt clouds around a sea, speckling the indications of gentle waves,
with dabs of cadmium. The water shivers where it meets a bundle of rocks but there is no crashing— no crescendo of crests clapping against the salty slabs, it’s a tender thing, unspoken. The barista brings me my coffee, our fingers brush enough—a quick surge before the tide recedes. I never do get her name.
Index
artists, in order of appearance
+ Madeline Nave: madelinenave.com, @madn_arts page 11-15, 143-147
+ Tatyana Kornilova page 17
+ Ricki Nichols: @rickinicholsart page 19-23, 89, 91
+ Megan Kean: megankean.com, @lithowlpress page 25-29
+ Ashley Browne page 31
+ Quinton Merada: @qurly_quinton page 33-37
+ Jade DiMarco: flightling.com, @flightling page 39-45, 151-155
+ Hannah Banciella page 49
+ Leda Balch: vimeo.com/lbalch page 51-57
+ Palmer Crippen page 59
+ Hayley Suraci page 61-65
+ Jordyn Goldklank page 67
+ Alexanda Kirschner: @allie_kirschner page 69-75
+ Taylor Collings page 77
+ PJ Thompson page 77
+ Nic Silvestris: @gallery_404 page 79-87, 103-107
+ Erwin Laiho: erwinlaiho.com, @erwinlaiho page 93-99
+ Devlin Caldwell: vimeo.com/user32317134, @devlin_makes page 109-115
+ Jason Wilkotz page 117
+ Preston Owens page 117
+ Ani Collier: etudbg.com page 119-123
+ Sandra de la Rosa: sandra-delarosa.com, @sldlrosa page 125-131
+ Alinda Saintval page 133
+ Carly Shooster page 133
+ GV Kelley: gvkelley.com, @g.v.kelley; uf.ascend@gmail.com page 135-141
+ Laurel Moore page 149
+ Maddie Haggbloom: @constipainted_ page 149
+ Laura Lozano page 157
writers, in order of appearance
+ Gillian Yee page 11-15, 143-147
+ Emily Rainbolt page 19-23, 89-91
+ Amanda Widom page 25-29
+ Lexi Peterson page 33-37
+ Danielle Garcia page 39-45, 151-155
+ Maria Kuran page 47-49, 69-75, 119-123
+ Kelly Simone page 60-65
+ Hayley Suraci page 51-57, 67
+ Shannon Trono (interviewer) page 69-75
+ Jenna Canals page 79-87, 103-107
+ Clemens Ottenhausen page 93-99
+ Shannon Moriarty page 109-115
+ Maddie Haggbloom page 125-131
+ Eva Sailly page 135-141
+ Leah Brand page 157
Acknowledgments
Our deepest gratitude to everyone who contributed to the publication in any capacity, whether they submitted their own artwork and writing or they assisted our editorial and design team. Thank you to our incredible professors and graduate assistants for inspiring us with their work and mentorship. Thanks to Erwin Laiho for encouraging the Art History Association and No Show to join forces to create this publication. Thanks also to Ana Gabriela Teran for suggesting the name Dinner. Finally, we would like to thank all the donors that helped fund our big project: we greatly appreciate your support and contribution. We hope to make you, our friends, families, and readers proud.
with thanks to our donors Mariana Lombello, Maria Kuran, Ellen Widom, Mario Canals, Michelle Torbert, Kerry Kriseman, David Campo III, Joyce Miller, and UF Student Government
Production
art history association editorial team + Danielle Garcia + Jennifer Canals + Shannon Trono + Hayley Suraci + Maria Kuran + Gillian Yee + Shannon Moriarty + Jonathan Sardja + Jordan Kriseman no show team + Marissa Volk + Maddie Haggbloom + Eva Sailly + Sarah Nguyen
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