MOORE COLLEGE OF ART & DESIGN
2 019
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T R IE N N IAL
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FACULTY TRIENNIAL 2019
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The faculty are one of the most important stakeholders of any college. They are the guides, curators, interpreters, critics and facilitators for a student’s journey of intellectual and creative development. Truly, an institution is only strong when the faculty are expert teachers, engaged researchers and contributors to their professions. At Moore College of Art & Design, we have many talented faculty who are on the front lines, assisting us in furthering our mission to provide the most challenging and rewarding education to our students, who are planning careers in the visual arts. This exhibition represents the talents of our many award-winning faculty, who are scholars, practicing artists and designers. Their continued contribution to the field keeps them current in their own artistic and design practice, which in turn serves as a model for their students, inspiring them to use their education to enter a career. We are grateful for the hard work and dedication of all of our faculty, whose strong investment in the students’ success is demonstrated by the quality of their teaching, the depth of their relationships as mentors and guides, and the long-term impact on their future. We hope that you will enjoy this Faculty Triennial Exhibition as one example of their wonderful and important work. CECELIA FITZGIBBON President
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CECELIA FITZGIBBON President
an institution is only strong when the faculty are expert teachers, engaged researchers and contributors to their professions.
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Patricia C. Phillips Chief Academic Officer
Students from Moore seek to apprehend what motivates and inspires faculty and, possibly, to imagine how areas of research and creative inquiry influence teaching and learning environments.
there are harmonics of a community of artists and designers
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As another university aptly invokes with its recent exhibition title “Artists Teaching: Teaching Artists,” a faculty art exhibition reveals and questions identities of artists and teachers and dynamics of art, design, and pedagogy. Every three years, Moore College of Art & Design organizes a faculty exhibition. If the commitment to make faculty research and creativity visible is inviolable, the process by which an exhibition comes together is often variable from iteration to iteration, representing the ideas of the current faculty — and the world at large. Many – and different – viewers look forward to Moore’s Faculty Triennials. Of course, faculty members are interested in each other’s fields and a periodic showcase to present new work and emerging ideas. The Philadelphia community and general public come to see what Moore’s teaching artists, designers, and other creatives are making and thinking. And, significantly, students from Moore seek to apprehend what motivates and inspires faculty and, possibly, to imagine how areas of research and creative inquiry influence teaching and learning environments. Often organized by a curatorial idea or concept, group exhibitions are standard fare. Yet a group faculty exhibition is both deeply intentional and inherently surprising. If faculty share common bonds of affiliation and involvement at Moore, the work convened every three years often represents vastly different ideas and sensibilities. Even when there is not a conceptual path or curatorial thread that connects all of work, there are harmonics of a community of artists and designers, all of whom teach Moore’s undergraduate and/or graduate students — and many who receive important support from the College to advance research and scholarship, teaching and learning, and conceptual and technical experimentation. Enjoy and engage the range of work and distinctive perspectives in Moore’s Faculty Triennial while considering what it represents about time, place, community — and a particular relevancy and urgency of creativity in the 21st century.
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Asher Barkley Graduate Studies Viewer Viewed 2018 Digital Print mounted on foamcore 20" x 20"
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The cartoon format bridges my interest in storytelling through images and writing. I am interested in exploring the vulnerability and isolation of the individual in modern day society. My character Alice, struggles to make sense of the world around her and her place in it. Alice was originally created in the 1980’s (1984-89) for the Philadelphia Architect, a monthly publication for the Philadelphia Chapter of the American Institute of Architects. The strip was also published in the Manhattan Comic News in 1990. At the encouragement of friends, colleagues and especially, the late Tony Auth, Editorial Cartoonist for the Philadelphia Inquirer, I decided to re-create the Alice cartoon strip in 2013. Since that time, the strip has been exhibited in a variety of venues including the following: Art of the State: Pennsylvania 2018 at The State Museum of Pennsylvania, Art in the Age of Injustice: Women’s Caucus for Art; About Alice: A cartoon by Andrea Beizer, Philadelphia International Airport, Alice…a cartoon by andrea beizer, Cerulean Arts Gallery.
Andrea Beizer Interior Design
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The Road Less Traveled Ink on Mylar 10" by 16"
2016
The Elephant In The Room 2016 Ink on Mylar 10" by 16"
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Carolyn Chernoff Graduate Studies Consumer Intervention: Patriarchy 2018 Mixed (paper, ink, metal: stickers and dogtags) 8" X 12"
Consumer Interventions: Patriarchy is a work of everyday art. MedicAlert does not recognize patriarchy as a life-threatening allergy, and yet most of us are dying from it. Using stickers, acetone transfer, and fabricated materials including custom-made metal dogtags, I ask, if there is no ethical consumption under capitalism, what does it mean to participate in culture anyhow? We buy and sell our identities intentionally and otherwise; what happens when we name our conditions and learn to leave a trace?
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Photography: Dave Rizzio
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Storefront Design for 1903 and 1905 North 54th Street, Philadelphia 2018 Photographs, felt tip pen on tracing paper and Photoshop rendering 16" x 20" framed
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Kathryn Dethier Interior Design
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Jeff Dion Illustration Earth 2018 Oil on linen 52.5" x 44"
My painting “Earth,” is the first in a series about the five Chinese elements. The five elements are - Earth, Water, Metal, Fire and Wood, all found in the painting. The element Earth is thought of as female or Yin and is a time of centeredness, the harvest and seasonally; Fall. The fruits and vegetables from the harvest are by her side and the landscape shows an empty field with harvesting tractors in the distance. Symbolically as the painted leaves on the table cloth drop, they change from green to the yellows, oranges and reds of Fall. The symbol of the Tai Chi, (two fishes) shows a continuance of change and although Earth’s energy comes about most strongly during the Fall season, the harvested peach has dropped its pit or seed and a new growth is sprouting up through the shadowed floor.
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Kathleen Eastwood Foundation Househunt 2018 Ink, graphite and charcoal on paper 38" x 50"
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Sandra Erbacher Foundation The Kiss 2018 Archival inkjet print mounted on vertical blinds 62" x 58" Aluminum Plaque 4" x ww5"
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Elaine M. Erne Fine Arts
Beanie Bunny Is The real Heroine 2018 Graphite Pencil on Paper 110" x 30"
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Alan Evans Liberal Arts Teach This! A Treasury of Education Rage Comics 2017 Paperback book of comics 7.5" x 7.5"
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Dorothy Funderwhite Graphic Design Mann Center for the Performing Arts New Frontiers: Launch, Explore, Discover 2017 Digital Print Poster and Web Graphics
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The Mann Center curated its fourth consecutive seasonal festival titled New Frontiers: Launch, Explore, Discover. The festival featured an inspiring collection of original, collaborative, and artistic programming linking the arts and sciences. New Frontiers was a six-month festival inspired by the 75th birthday of Colonel Guion Stewart Bluford, Jr., pioneering NASA astronaut, Philadelphia native and the first African American in space. This work represents the branding language and sample applications for print and web, developed for the festival.
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Robert Goodman Fine Arts Untitled 2017 Oil, acrylic, spray-paint, graphite on canvas 76" x 60"
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Sarah Conrad Gothie Liberal Arts Damsons: An Ancient Fruit in the Modern Kitchen Published 2018 by Prospect Books, London, UK
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Tart, richly flavored damson plums are used in a range of British jams, drinks, desserts, and condiments. Sarah Conrad Gothie traces the history of damson cultivation and use, focusing on the fruit’s diminished popularity during the 20th century and the modest renaissance it has enjoyed over the past twenty years. A collection of historic and new recipes is offered for readers who wish to explore the many uses of this ancient fruit.
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lost in translation 2015-2017 collection of drawings (pencil, color pencil and collage on paper) individual works are 10" x 13" each
Asuka Goto Fine Arts, Foundation
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Richard Harrington Illustration 1963 Chevrolet at Night 2018 gouache on paper 16" x 20" Rainy Night at the Dairy Queen 2018 gouache on paper 16" x 20"
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The Past in Future Tense 2016 Assemblage 32 x 24 in. Borrowed Scenery 2016 26 1/2 x 32 in. embroidery thread, fabric, sweat
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James Johnson Photography & Digital Arts The term “Borrowed Scenery” refers to the practice of incorporating existing landscape elements into a composed garden. The title of this artwork was chosen because it was originally shown draped over an artwork by another artist. The installation format in the Faculty Triennial is intended to evoke the experience of parenting a young child, a nightmare in which the dreamer is standing without pants in public, and the Rocky sculpture just up the Benjamin Franklin Parkway at the base of the steps of the Philadelphia Museum of Art. The title of “The Past in Future Tense” is taken from an essay on Tout-Fait.com the Marcel Duchamp Studies Online Journal. The essay refers to a conversation between Duchamp and John Cage about the use of chance operations in each of their artworks.
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Jerry Kaba Fine Arts Stick of the forbearer 2017 Mixed, Interactive Sculpture 72" x 72" x 18"
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Joe Kulka Illustration Hot Dog 2018 Acrylic and Colored Pencil 11" x14"
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Mary Katie Leech Graphic Design AIGA Philadelphia FEEDBACK 20 2018 HPIndigo 7900 Digital Print Sleeked (digital foil stamping) using printable silver foil, Overprinted cmyk with four designs on 100# Gloss Cover Stock 12" x 18"
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Feedback, the longest running event produced by AIGA Philadelphia, celebrates 20 years. Feedback provides graduating seniors with invaluable input from professionals to better prepare them for the world of work.
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Jacque Liu Graduate Studies What I See When I Close My Eyes #2 2016 Photograph 36" x 24" right: detail
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Emilio J Maldonado Foundation 0-100% 2018 Mixed Media Variable dimensions
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Jeff McCloskey Graphic Design Brotherly Love 2018 Digital/After Effects looping video 1920px x1080px
Broadcast designer/ animator for CBS3. Responsible for the creation of 2D/3D graphics and animations for news segmentsbroadcast on CBS3 Eyewitness News.
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John McDaniel Foundation Field Notes (Overflow) 2018 Sheet metal, Upo paper, watercolor, steel cable 24"x 24" x 3"
This work is apart of a series entitled Field Notes. This piece Overflow is motivated by my interest how our environment is polluting waters from streams, rivers to oceans. The various forms in this work represent my visual aesthetic as well reflect concerns of malignant invasion of our water resources that effect the living forms in and around these waters.
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Gigi McGee Graphic Design Celebrating Community 2017 HP Indigo 12000 digital print on Neenah Classic Crest Stipple 70# text 20" x 28"
AIGA Philadelphia, the professional association for design, was the first local Chapter of AIGA. In honor of its 35th anniversary a select group of design leaders were asked to produce posters to celebrate this milestone.
AIGA 35th Identity 2016 Digital Print (art from website, social media, and printed postcard) Numbers: Original Design 16" x 20"
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Joyce Millman Art Education Gerberas and Citrus 2017 Oil on Birch 12"x12"
Through a traditional subject like still life I can focus on abstract elements of painting. Still life often becomes a way to express my interest in working with a focus color and brush work. I like to paint images we see every day but might not really notice or images we would like to see every day.
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Mary Murphy Art Education Hybrid #5 2018 Watercolor, colored pencil, oil pastel 63" x 53"
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Rosemary Murphy Graphic Design Black Genius: A Guided Journal, Through History & Reflection For Children 2018 Offset Printing 9"x6"
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These covers were designed for Dr. Satira Streeter Corbitt, a clinical psychologist for Ascensions Psychological and Community Services, Inc. The books are therapeutic writing journals for children to process their thoughts, and learn about the great things their ancestors and elders have accomplished while expanding their own writing skills. The covers include ancient Adrinka symbols from West African Folklore. Each symbol represents a storytelling concept or aphorism. The covers were designed to entice the children and parents to explore the contents and have a memorable keepsake.
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ile
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Tara O'Brien Graphic Design Langstroth's Hive and the Honey Bee 2018 Hanji paper dipped in bees wax, rayon thread, cave paper, gold stamping 7"x10"x3"
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Timothy O'Donnell Graphic Design Dead Leaf Echo 2018 LP packaging 12" x 12" Snowden—Tour Poster 2016 Poster Print 24" x 36"
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Alice Oh Fine Arts gravitational shift: composition one to thirty 2018 mixed medium on ARCH 71" x 85.5"
This particular body of works on paper comes from my long-standing interest in the need to reengage and immerse myself in the discipline of drawing. Last year, after a seven-year hiatus from teaching drawing, I was back to teaching drawing class again. Observing my students and the process of drawing, renewed my appreciation for the drawing medium in general and for the great beauty of drawing mediums, in particular the ancient and eternal medium of charcoal. Over the next few years, it is my hope to continue working on this particular series of drawings by further researching and exploring charcoal and pure pigments.
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photography top and left, Dave Rizzio
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Nasheli Juliana Ortiz González Fashion Design Stranded 2018 Fabric Garments
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Lynn Palewicz Foundation
Sofa and Windows 2018 Charcoal on Paper 10.5" x 17"
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Maya Pindyck Liberal Arts Out of Lezley 2016 Gouache on Wood Panel 10" x 8"
Out of Lezley bloom the faces of the dead, and this elegy already fails—falls to the street. What can a mother say to a mother who lost her son, twice, four times—six bullets in his body, his chest filled with holes? From Nebraska, I call my mother to hear how my daughter loves but does not need her doll, a dark-skinned boy who smells of cookies & cream, how she arranges the shampoo bottles on a shelf by herself and smears this morning’s yogurt across the tray. My daughter kisses her doll, calls him baby, oblivious to the fact that were he a real boy who will not shut his eyes when made to lie down, well then. Then what would we say of the difference between love and need? Out of wood the faces persist—one color bleeds into the next, and the dead, held in the air, hold us."
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Out of Lezley is an elegy to the black lives lost to police brutality in the United States. Working from a media photograph taken of Lezley McSpadden after her son Michael Brown was killed, I render visible faces that emerge from the source material, medium, and a feeling of collective grief.
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A painted paint can supports an angular view next to a blemished landscape. These works explore the relationship between object and image, seeing in real time and that which has been seen and whose layers exist in memory. As portals through mundane architecture and objects, they seek to arrest and offer an opportunity for discursive reverie. Pomerantz is a visual artist, educator and writer based in Philadelphia. Her interdisciplinary work in sculpture, site-specific installation, photography, painting, and public art explores landscape, land use, and the relationship between humans and nature.
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Kaitlin Pomerantz Fine Arts Untitled Diptych (After Wyeth, Welling and Gober) 2016 Digital photograph backmounted on glass, painted paint can 34” x 42” (each)
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John Rais Raven Steel, patina and stainless steel 24" x 15" x 19" 2019
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Heidi Ratanavanich Foundation
Traces & Techne Provisional Island Collective 2017 Plaster and Drywall 28.5" x 15" mediated time 3 2018 plaster, wire and chip board 6.5" x 11" x 3.5"
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Abby Schwartz Interior Design Untitled Complete transformation of an original 1820’s barn residence.
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Colleen McCubbin Stepanic Foundation Peak 2018 Oil, Acrylic, Charcoal, Enamel, Thread, Canvas Variable (6'x10'x4', 8'x20'x4', 8'x23'x9'
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Lauren Stichter Art Education Vessels 2018 High Fire Clay 12"x6" Each
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Christie Torgerson Fashion Design Margiela Fall 2018 2018 Watercolor and Micron pen 14" x 11" Derek Lam 10 Crosby Fall 2018 2018 Watercolor and Micron Pen 14" x 11" Jil Sander Resort 2019 2018 Watercolor and Micron pen
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As a plein air landscape painter, my job is to go out into nature without any preconceived ideas about how the picture should look, paint the scene before me directly, with the fullest energy that nature inspires. I am trying to avoid a "pretty picture," instead allowing individual plastic relationships to guide the construction of the whole. This painting represents the seclusion and intimacy provided along the banks of the Wissahickon Creek in mid summer.
Ian Tornay Foundation Fort Washington 2018 Oil on Canvas 24" x 30"
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This project considers What does justice look like in a world without police, without jails? These questions are familiar to anyone who has spent time in Left/progressive circles in the last decade but it’s also a question urgently pondered by right-wing militias and end-times “preppers.” WROL IRL is a interwoven written and visual essay contextualized within a catalog of other art projects dealing with the justice system that utilizes found and created memes to explore the visualization of these various strands of community justice. The project is ongoing and will take t he form of documentary video/audio and installation works in the future.
copsdoitbetter
copsdoitbetter
BRIDGES
ARTIST PROJECT
Daniel Tucker and Rosten Woo
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WROL IRL
freedom_is_an_endless_meeting
What does justice look like in a world without police, without jails? This question should be familiar to anyone who has spent time in left/progressive circles in the last decade . But it’s also a question urgently pondered by right-wing militias and endtimes “preppers .” In prepper lingo, WROL (without rule of law) signals the shift in a doomsday scenario from mere emergency to a situation where the ordinary function of the state, the rule of law, has ceased to exist—a change of circumstance that requires a new survival strategy and a new moral framework . The online quiz “How Prepared Are You?” from the hit television show Doomsday Preppers begins by inquiring how many barrels of water, cans of food, and energy sources you have and segues seamlessly to enumerating your firearms, rounds of ammunition, and yards of razor wire . WROL is a fantasy logic that approximates a practical moral philosophy: What are you prepared to do in the face of transgressions against you? What will you do to protect your own safety, your community’s safety, your community’s resources? WROL imagines a transition to statelessness that works like a light switch, from on to off . In case of emergency, break out alternative moral framework . But in real life, the absence of rule of law—or at least a compromised faith in the police’s ability to uphold the law—is already here, just spread out unevenly . NAACP co-founder Ida B . Wells famously wrote in the 1892 pamphlet Southern Horrors: Lynch Law in All Its Phases that “a Winchester rifle should have a place of honor in every black home, and it should be used for that protection which the law refuses to give .” One mainstream Western political tradition, proposed by Hobbes and elaborated by Weber, commonly understands the “monopoly on legitimate violence” as one of the fundamental features of the state . This monopoly is what protects us from random violence and the tyranny of “might makes right .” It allows us to exit the cycle of retribution and devote our energies to more productive enterprise . It is, some argue, the fundamental good that the state provides . But what happens when the state’s legitimacy, and the legitimacy of the police as agents of the state, fall away? We are in the process of finding out .
...
The ideas and approaches to community justice we are interested in are scenario driven—that is, they are not elaborated as top-down principles but imagined as specific responses to conflict . In some cases they are highly practical guides; in others, highly fictional what-if scenarios, and very often strange mixes of the two . They are not political theory as Hobbes or Locke might have written it, but they imply serious ideas about the role of the state, the obligations of a community towards strangers, and what constitutes an appropriate use of violence .
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circle_keeper
...
Breaking The Cycle With The Circle
12 likes
freedom_is_an_endless_meeting #mykindajustice #shamingispunishmentenough #nomoreprisons
copsdoitbetter
...
2 likes circle_keeper #hopsnotcops #lovetriumphs #restorativejustice
freedom_is_an_endless_meeting
wild . We hope to offer readers/viewers a window into very different conversations about community justice, sovereignty, and life WROL . We believe that the growing appeal, legitimacy, and practical detail of these imaginaries reflect the urgent and current aspiration to build a world without (any longer) believing in the state .
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45 likes copsdoitbetter #welcometotherealworld #mightmakesright #hereforyourprotection
@anarchistwithouthyphens
Hostility to the police is an American evergreen, at least in terms of the counterculture . But the heightened public visibility of police killings and the urgent social movement response has catapulted a formerly fringe idea—a world literally without police—to a surprisingly broad new audience . The public responses to the killings of 22-yearold Oscar Grant by an Oakland public transit police in 2009 and 17-year-old Trayvon Martin by a Florida civilian in 2012 quickly moved from local to national . While fighting against police brutality was a consistent commitment of Civil Rights and Black Power organizers for decades, the more recent activism of groups like Copwatch and the National Police Accountability Project in the 1990s has built an infrastructure for today’s movements . Instances of police murder of unarmed civilians like Mike Brown and Eric Garner in 2014 led to a further widening of the awareness that many communities have had for too long—that police, far from being protectors, are themselves primary threats . From there, #BlackLivesMatter and #SayHerName became global movements . Pop stars like Beyoncé offered their platforms to the mothers of victims in an effort to highlight the social and familial dimensions of these traumas . In 2016, it was not uncommon to hear “police abolition” added to the list of possible solutions, next to “increased accountability,” “body cameras,” and “more training .” Mainstream publications like The Atlantic and The New York Times began running articles and op-eds urging citizens to avoid calling the police . With police abolition come efforts to knit together and promote public-safety alternatives . Initiatives such as Cure Violence in Chicago, founded in 1995, have brought a public-health approach to the problem of gang violence, and entities ranging from the U .S . Department of Veterans Affairs to activist groups like Iraq Veterans Against the War (founded in 2004) have sought to address the impact that those suffering from combat-related post-traumatic stress can have on their communities when they return . The acceptance of concepts like intergenerational cycles of violence has prompted experimentation with new approaches to justice outside of conflict, punishment, and vengeance . Critics of mass incarceration have mounted an increasingly accepted analysis of the failure of prisons to reduce harm or produce rehabilitation and backed it up with rigorous research .
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freedom_is_an_endless_meeting #timeforjustice #restorativejustice #breakingthecycle
copsdoitbetter
The text you are reading is a kind of literature review for an ongoing research project, WROL IRL, inquiring into the many parallel and intersecting strands of what we call “post-state logic” developing in the United States . This visual exploration of memes is intended to look at the process of creating and imagining possible justice systems, both desperate and visionary, as well as to look at the increasingly fragmented rhetorical framework of “justice” found in online communities of common concern . We want to engage the ways that ideas and attitudes are shared, amplified, and consumed . Some of the memes shown here were invented by us, but many were found in the
100 likes copsdoitbetter #mykindajustice #hippiesarepunks #punksarehippies #SJWsgetalife
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freedom_is_an_endless_meeting #mykindajustice #shamingispunishmentenough #nomoreprisons
copsdoitbetter
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85 likes freedom_is_an_endless_meeting #somuchmoretothestory
45 likes copsdoitbetter #welcometotherealworld #mightmakesright #hereforyourprotection
WROL IRL Daniel Tucker and Rosten Woo 2018 Artist Book 8.5"x11" Publication spread for commissioned Artist Project from the catalog “Walls Turned Sideways: Artists Confront the Justice System” Edited by Risa Puleo (NAME/Contemporary Art Museum Houston, 2018)
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Daniel Tucker Graduate Studies
Local Control is an experimental documentary about the political spectrum focused on the biography of Karl Hess. A former corporate consultant and speechwriter for Barry Goldwater, Hess later joined the ranks of Students for a Democratic Society. He wrote speeches for New Left groups of the 1960s before beginning to advocate for urban agriculture and community technology, and later becoming a founding figure among Libertarians and survivalists. Throughout it all he promoted ideas of self-sufficiency and localism. In a time where our map of ideas has been turned on its head, this mediation on individualism and collectivism considers where we are now.
WROL IRL Local Control: Karl Hess in the World of Ideas Video Daniel Tucker 2018 60min TRT Directed by Daniel Tucker, Editing by Valerie Keller and Music by members of Joan of Arc: Theo Katsaounis, Tim Kinsella and Todd Mattei
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All living creatures share some form of living network, in their biology, structure and spirituality. The human body has veins, arteries and blood vessels that carry the stream of life. This piece is meant to force the viewer to look at our own global multi-cultural reflection as a symbol of power and beauty, yet also belies self-destruction. Matrix functions as a kind of opulent altarpiece, which depicts a repetition of a singular mirrored portrait, including lush embellishments and birds of prey. It represents the ambiguity around power, spirituality, nature, and self-destruction. The hanging cords, which are stitched into the work, cascade down to the ground, and function as displaced umbilical cords, or arteries.
Heather Ujiie Fashion /Fine Arts Matrix 2018 Digitally printed on canvas polyester, with disperse dye heat transfer, quilted and embellished with sequins, paracord, and faux fur, printed at Printed-Inc.com 70" high x 213" wide Optical Textile Print Wallpaper Digitally printed with aqueous pigment on self-adhesive wallpaper, repeat sizes vary according to site-specific specifications, 2018.
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Kimberly Voigt Fine Arts
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Make a Statement: Wear Rings...big rings, small rings, power rings, weapon rings, cocktail rings, rings of love and rings yet to be imagined... A design inquiry into the ring and its role as a signifier in the 21st Century. The ring has consistently been the most popular piece of jewelry. It has been said that the ring is "the article of jewelry around which centers tradition, antiquity, utility and symbolic meaning of the greatest reverential character."
Anulus: Imperium & Vena amoris | Rings: Power & Love Pillow Talk 2018 Rhodium plated brass, 18K rose gold plated brass 1.4” x 1.2” x .3” Double Trouble 2018 Rhodium plated brass, 18K gold plated brass 2" x 1.5" x 2" Urban Girl Power Ring 2017 18K gold plated brass, Rhodium plated brass, gold steel, steel, black steel 2" x 1.25" x .4"
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Piya Wannachaiwong Illustration Presidential 2017 Oils 18" x 24"
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Jonathan Wallis Liberal Arts A curated "mini-exhibition"
River of Inferno: Yiu-Ngok Yuen (1931-2009)
River of Inferno is a selection of paintings by the Chinese-American artist, Yiu-Ngok Yuen, produced during his final years in self-exile from his native China. Aptly titled by the artist, the series takes viewers on a critical journey through the fallout from China’s 20th century political and cultural transformations. Guided by Yuen’s artistic imagery, we ride the tumultuous waves like Dante who, in his Divine Comedy, is led by the poet Virgil over the River Styx. Tragically, the immoral circles of Dante’s Inferno echo all too clearly in the subjects and layers of history embedded in Yuen’s neo-expressionist paintings.
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Kelli S. Williams Animation & Game Arts This is Tru Bedroom set + puppet 2017 Stop motion animation set and puppet 5.333' x 2' x 2'
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Stephen Wood Animation & Game Arts
Natural 1 2018 Digital Print 9"x16" each
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EXHIBITING
FULL TIME FACULTY
Asher Barkley Andrea Beizer Carolyn Chernoff Kathryn Dethier Jeff Dion Kathleen Eastwood Sandra Erbacher Elaine M. Erne Alan Evans Dorothy Funderwhite Robert Goodman Sarah Conrad Gothie Asuka Goto Richard Harrington James Johnson jerry kaba Joe Kulka Mary Katie Leech Jacque Liu Emilio J Maldonado Jeff McCloskey John McDaniel Gigi McGee Joyce Millman Mary Murphy Rosemary Murphy Tara O'Brien Timothy O'Donnell Alice Oh Nasheli Juliana Ortiz González Lynn Palewicz
Kathryn Dethier Robert Goodman Asuka Goto Richard Harrington James Johnson Richard Killeaney Kelly Kirby Joe Kulka Francine Martini Gigi McGee Amanda Newman-Godfrey Alice Oh Nasheli Juliana Ortiz Gonzalez Lynn Palewicz Maureen Pelta Maya Pindyck Lauren Stichter Daniel Tucker Heather Ujiie Jonathan Wallis Kelli Williams Stephen Wood
IN MEMORIUM* William David Brown Assistant Professor, 1986-2017 Chair of Illustration, 1992-2008 Dr. Janet Kaplan Professor, 1983-2014 Chair of Liberal Arts, 1989-96 Associate Professor, 1987-93 Assistant Professor, 1980-87 *Since 2015
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BFA ADJUNCT FACULTY Phillip Adams Frank Agostino Hammam Aldouri Asher Barkley William Bartleson Lorraine Beckett Andrea Beizer Timothy Belknap Tegan Cecelia Bellitta Holly Bittner Carolyn Chernoff Sharon Cohen SusanColl-Guedes Jen Cram Anna Drozdowski Jean Drumm Kathleen Eastwood Elaine Erne Dorothy Funderwhite Hannah Goff Sarah Gothie Jim Grilli Shelly Hedlund Douglas Herren Auralis Herrero-Lugo Jerry Kaba Rose Kampert Sarah Keel Marlena Robinson Kleit Heather Devlin Knopf Katrina Kopeloff Jacque Liu Emilio Maldonado Ernel Martinez Daniel Matz
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GRADUATE ADJUNCT FACULTY Colleen McCubbin John McDaniel Melanie McLeod Bria Mears Sarina Miller Joyce Millman Ted Mineo Stephen E. Nepa Tara O’Brien Gary Phillips Kaitlin Pomerantz John Rais Heidi Ratanavanich Theresa Rose Don Rushton David Soffa Jim Sarfo Jennie Shanker Robert Shields Janelle Smith Joan Stevens, Ph.D. Li Sumpter Lisa Sylvester Emilee Taylor Christie Torgerson Ian Tornay Katherine Videira Kim Voigt Piya Wannachaiwong Roy Wilbur Marion Wilson Richard Yanas Ulana Zahajkewycz Glenn Zimmer
Hammam Aldouri Asher Barkley Carolyn Chernoff Anna Drozdowski Jacque Liu Ernel Martinez Theresa Rose Jennie Shanker Katherine Videira
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Board of Trustees and Managers Marta Adelson, Board of Managers Arthur Block, Chair, Board of Managers Sristi Chanda ’17, Board of Managers Kristina de Faria ‘08, Ex-Officio Alumni Council Representative, Board of Managers Anthony DeSabato, Board of Managers Jack Donnelly, Board of Trustees Louisa Falcione, Board of Managers Penny Fox, Chair Emerita, Board of Trustees Mindy Glassman ’72, Board of Managers Frances Graham ’66, Chair, Board of Trustees Elizabeth “Sis” Grenald, Secretary, Board of Managers Janie Gross ’74, Board of Managers Jim Johnson, Ex-Officio Faculty Representative, Board of Managers Meg Johnson, Board of Managers Carlye Kalmes ’18, Board of Managers Rochelle “Cissie” Levy ’79, Chair Emerita, Board of Trustees Kathleen Lister ’78, Board of Managers Margaret Marsh, PhD, Board of Managers Colin Oerton, Board of Managers Sharon Parks ’86, Board of Managers Tim Patterson, Board of Managers Maureen Pelta, PhD, Ex-Officio Faculty Forum Representative, Board of Managers Robert Rosenberg, Board of Managers Adele Schaeffer, Board of Trustees Joan N. Stern, Esq., Vice Chair, Board of Trustees Keith Straw, Board of Managers Jane Walentas ’66, Board of Trustees Penelope Wilson, Chair Emerita, Board of Trustees Staff: Cecelia Fitzgibbon, President, Ex-Officio Bill Hill, Treasurer, Board of Managers
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The Galleries at Moore support Moore College of Art & Design’s educational mission and role as a cultural leader by providing a forum for exploring contemporary art and ideas, and enriching the artistic climate and intellectual climate of the college, the Greater Philadelphia community, and beyond. As a gateway between the College and the city of Philadelphia, The Galleries are a catalyst for creative exploration, experimentation and scholarship and function as a gathering place to meet, reflect, learn, challenge and create. The Galleries’ exhibitions and programs – all of which are free and open to the public – create community through dialogue and participation, and inspire an appreciation for wthe visual arts as a vital force in shaping contemporary culture. The Galleries operate with generous support from Moore College of Art & Design and the Friends of The Galleries at Moore and receive state arts funding support through grants from The Philadelphia Cultural Fund and the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency.
Prepared on occasion of the 2019 Faculty Triennial exhibition on view January 26 – March 16, 2019. Curated by Gabrielle Lavin Suzenski, Rochelle F. Levy Director, The Galleries at Moore All works courtesy of the artist, unless otherwise indicated. Installation images: Joseph Hu Publication Design: Gigi McGee The Galleries at Moore Moore College of Art & Design 1916 Race Street Philadelphia, PA 19103 thegalleriesatmoore.org (c) 2019 Moore College of Art & Design All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage-and-retrieval system, without written permission from Moore College of Art & Design.
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moore.edu
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