Washington University MFA in Visual Art Viewbook by WashU Sam Fox School

Master of Fine Arts Visual Art

M F A

Washington University in St. Louis

Cover: Mee Jey, MFA19. Detail from DINKINESH: You are Marvelous, 2018. Industrial paper and cardboard. Interior front cover: Caitlin Aasen, MFA16. Detail from Annora, Tempe, AZ, Fall 2015, 2016. Dye and colorants on three drywall panels. 2016 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum.

As you pursue your life as an artist, you will need an environment that supports community, exploration, risk taking, and the production of original creative work. The Graduate School of Art empowers students to expand their creative and intellectual reach and to engage in the discourses that shape contemporary art. As part of a renowned research institution, emerging artists deepen their inquiry into ideas that drive their studio work and engage disciplines across campus such as social work, architecture, biology, philosophyneuroscience-psychology, women and gender studies, performing arts, environmental studies, and art history. Consider our MFA in Visual Art.

Holly McGraw, MFA16. Shady Lady: St. Louis II (detail), 2016. Inkjet print. 2016 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum.

Tommy Riefe, MFA17, seen through one of his sculptural installations at the MFA Open Studios. This annual event is sponsored by Women and the Kemper, a membership group of the Mildred Lane Kemper Art Museum.

A Context for Learning

“Our MFA in Visual Art program is an open landscape for the emerging artist— one that reflects the dynamic cultural shifts, global perspectives, and evolving technologies that shape today’s complex art world.” Patricia Olynyk, Director of the Graduate School of Art, Florence and Frank Bush Professor of Art

13 Graduate School of Art

19 Sam Fox School

27 Washington University

31 St. Louis

Dayna Kriz, MFA15, presents her work to faculty members Lyndon Barrois Jr., MFA14, Denise Ward-Brown, and Richard Krueger during a final critique before the opening of the 2015 MFA Thesis Exhibition. Krizâ&#x20AC;&#x2122;s thesis evolved from her work in North St. Louis as a program organizer for Rebuild Foundation. Founded by artist Theaster Gates, the nonprofit focuses on the transformation of neighborhoods through arts programming and cultural development.

External critics Simon Kelly, curator of modern and contemporary art at the Saint Louis Art Museum, and Jesse Vogler, assistant professor of landscape architecture in the Sam Fox School, review work by Austin Wolf, MFA15, on display during the 2015 MFA Thesis Exhibition at the Mildred Lane Kemper Art Museum.

About Graduate School of Art

In 2016, U.S. News and World Report ranked the Graduate School of Artâ&#x20AC;&#x2122;s MFA in Visual Art program twelfth in the country. This two-year intensive program encourages students to challenge traditional hierarchies and embrace new forms of aesthetic thinking that drive hybrid, socially engaged, and situated practices, DIY projects, and post-studio production.

Art and Research Ecosystem

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MFA students enjoy adjacency to disciplines across the School, including the Master of Architecture program, which has a strong history of practice-oriented education that has expanded to include depth in issues of sustainability, housing, and experimental spatial practices.

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Vita Eruhimovitz, MFA15, draws from her background in computer science and bioinformatics to take data and make it tangible, producing installations that form artificialnature habitats. Learn more on Page 117.

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In her work, Yvonne Osei, MFA16, examines cultural trajectories, voids, and signifiers associated with her home country of Ghana that intersect with the West, in order to bring to light the one-dimensional quality of the art world and of Western dominance. Learn more on Page 120.

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Students and alumni participate in St. Louis’ thriving gallery scene, exhibiting everywhere from the Contemporary Art Museum St. Louis and the Pulitzer Arts Foundation, to The Luminary and Sheldon Art Galleries, to Bruno David Gallery and numerous galleries in the Cherokee Street District. Others have founded their own spaces, including Philip Slein Gallery, Reese Gallery, The Millitzer Gallery, and Dollar Art House.

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ABOUT THE GRADUATE SCHOOL OF ART

Studio installation by Jonathan Cornell, MFA17. Cornellâ&#x20AC;&#x2122;s work imposes contemporary figures and pop culture references onto religious motifs and iconography, blurring the lines between political rhetoric and religious fervor.

About Sam Fox School

The Sam Fox School of Design & Visual Arts at Washington University in St. Louis offers rigorous degree programs in art, design, and architecture, an outstanding collection of a world-class art museum, and the unparalleled resources of a leading research university. With a nationally recognized faculty, innovation and collaboration are the core of our mission. We recognize that the visual arts and design play significant roles in shaping social, environmental, political, and technological conditions. Our School is flexible, attuned to the realities of our complex and global century.

The Mildred Lane Kemper Art Museum plays an integral role in the Sam Fox School. Exhibitions focus on contemporary and historical art, architecture, and design. Internationally recognized for its awardwinning publications and curatorial programs, the Museum offers all WashU students a free membership. This gives them access to special exhibition previews and events—including the annual MFA Thesis Exhibition.

Installation view of Tomás Saraceno: Cloud-Specific at the Mildred Lane Kemper Art Museum, Washington University in St. Louis (September 9, 2011–January 9, 2012). Photo by Whitney Curtis.

ABOUT THE SAM ABOUT FOXTHE SCHOOL GRADUATE SCHOOL OF ART

In fall 2017, Washington University broke ground on a $280 million transformation to the East End of its Danforth Campus. This project features two key additions to the Sam Fox School that opened in fall 2019: Anabeth and John Weil Hall and the expansion of the Mildred Lane Kemper Art Museum, both designed by the architecture firm KieranTimberlake.

ABOUT SAM FOX SCHOOL

The sixth building in the Sam Fox School complex, Weil Hall exemplifies the important roles of art, architecture, and design within a research university. With its light-filled studios, it is an inspiring place for creative activity, advanced scholarship, innovative research, and bold experimentation, as faculty and students seek solutions to critical social and environmental challenges. The addition of Weil Hall has made it possible, for the first time in recent history, to unite all of the Sam Fox School’s programs in art, architecture, and design in a central location adjacent to the Kemper Art Museum. This also ensures all students and faculty have optimal access to the tremendous intellectual and physical resources of the Danforth Campus.

Rendering of Anabeth and John Weil Hall. © KieranTimberlake/studioAMD.

Weil Hall includes 30 individual, 180-square-foot studios to support graduate art students’ work across media. The building’s design facilitates visual connectivity between studio spaces, providing opportunities for cross-disciplinary exchange with students in architecture, urban design, landscape architecture, and illustration and visual culture. Other featured spaces include the Caleres Digital Fabrication Studio, the Kuehner Family Court, and Weil Hall Commons, which includes a mural wall of commissioned works by Sam Fox School alumni. Students also have direct access to the facilities in Walker, Bixby, Steinberg, and Givens Halls, plus the resources of the Museum and the Kenneth and Nancy Kranzberg Art & Architecture Library. With ample spaces for socializing and collaboration, Weil Hall is a destination for students across campus.

Mildred Lane Kemper Art Museum Expansion

The expansion and renovation of the School’s Kemper Art Museum dramatically increases gallery space, presenting more of the renowned permanent collection and a wider range of special exhibitions. A striking new 34-foot-tall polished stainless-steel facade reflects the dynamic movement of campus and sky, while a soaring new glass-lined lobby welcomes visitors with a colorful installation by contemporary artist Tomás Saraceno. The new James M. Kemper Gallery showcases postwar and contemporary art, while the reconfigured Gertrude Bernoudy Gallery features major 19thand early 20th-century European and American works. Other new galleries are dedicated to works on paper, video art, and seldom-seen collection objects. Outside, the reinstalled Florence Steinberg Weil Sculpture Garden features iconic sculptures by such artists as Auguste Rodin and Alexander Calder, as well as a new commission by contemporary artist Dan Graham. 24

East Campus Transformation

In addition to Weil Hall and the Kemper Art Museum expansion, major components of the East End Transformation include Henry A. and Elvira H. Jubel Hall and James M. McKelvey, Sr. Hall (Engineering), the Gary M. Sumers Welcome Center, Craig and Nancy Schnuck Pavilion, an underground parking garage, and Ann and Andrew Tisch Park, an expansive green space. The major undertaking has created a new “front door” for the University, strengthened academic connections, enhanced campus green space and circulation, improved parking and accessibility, and better framed iconic Brookings Hall. The transformation also has improved links between the University’s Danforth Campus and the adjacent Forest Park— home to the Saint Louis Art Museum and other popular attractions.

ABOUT SAM FOX SCHOOL

Renderings of an MFA studio in Weil Hall (top) and the exterior of the Mildred Lane Kemper Art Museum expansion (bottom). © KieranTimberlake/studioAMD.

About Washington University

Washington University is a tier-one research institution in one of the most dynamic, arts-centered cities in the nation. Regionally anchored yet international in scope, WashU is a world leader in scientific, medical, and public policy research, dedicated to discovering and disseminating knowledge. The University advances this mission through a network of research centers that provide funding and opportunities for teaching and learning, including the Center for Health Research & Design (based in the Sam Fox School), the Institute for Public Health, the Center for the Humanities, the Gephardt Institute for Civic and Community Engagement, and the Skandalaris Center for Interdisciplinary Innovation and Entrepreneurship, all of which provide funding and opportunities for teaching and learning. Twelve University libraries, including the Kenneth and Nancy Kranzberg Art & Architecture Library and the Douglas B. Dowd Modern Graphic History Library, are excellent resources for creative scholarship.

With an undergraduate, graduate, and professional student population of just under 15,000, Washington University is known for its rigorous, student-centered programs, as well as its dedication to innovation and cross-disciplinary collaboration. Among its many honors, Washington University has been affiliated with nine Pulitzer Prize-winners, four poets laureate, and 24 Nobel Laureates. The University has a socially and economically diverse population, with students from over 80 countries and all 50 states. The University is working hard to diversify its faculty, and has nearly doubled its percentage of underrepresented minority tenure and tenure-track faculty over the past six years.

In addition to the Sam Fox School, WashU Includes: Arts & Sciences

Brown School

(UNDERGRADUATE AND GRADUATE)

(GRADUATE)

McKelvey School of Engineering

Olin Business School

(UNDERGRADUATE AND GRADUATE)

School of Law

School of Medicine

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John M. Olin Library (main)

Kenneth and Nancy Kranzberg Art & Architecture Library

Bernard Becker Medical Library Brown School Library Chemistry Library Digital Gateway East Asian Library Gaylord Music Library Gustavus A. Pfeiffer Physics Library 28

Al and Ruth Kopolow Library Law Library Ronald Rettner Earth & Planetary Sciences Library West Campus Library

ABOUT THE GRADUATE SCHOOL OF ART

About

St. Louis

St. Louis is a city made for artists. All of its art museums—including the Saint Louis Art Museum, the Pulitzer Arts Foundation, the Contemporary Art Museum St. Louis, and the School’s own Mildred Lane Kemper Art Museum— are free of charge.

Above: Just a short drive from WashU, the Pulitzer Arts Foundation— designed by architect Tadao Ando—presents a diverse array of exhibitions that promote the significance of art in everyday life and its impact on the health and success of a community. Photo by Robert Pettus, courtesy of the Pulitzer Arts Foundation. Opposite: Located in the heart of downtown St. Louis, Citygarden offers visitors a free urban retreat and features 24 pieces of sculpture by internationally renowned artists, including Niki de Saint Phalle, Jim Dine, Mark di Suvero, Keith Haring, Fernand Léger, Julian Opie, Martin Puryear, George Rickey, and Igor Mitoraj, whose piece Eros Bendato is pictured here. Water features and critically acclaimed plantings and landscaping, including six rain gardens, also contribute to the venue’s appeal.

With affordable housing and studio spaces, this is the ideal place for the emerging artist. St. Louis is laboratory and archive, epicenter and flux. It is a place for questioning and exploration. Its neighborhoods are vibrant, varied, and alive. It is a city that reveres its artists, thinkers, and makers, and our students are lively contributors to its culture. Here, Sam Fox School graduates have opened their first galleries, print shops, alternative spaces, cooperatives, and businesses. Our students make more than artâ&#x20AC;&#x201D;they create a network of engagement. You can go anywhere from here.

ABOUT ST. LOUIS

Top: The Lindenwood Park neighborhood in South St. Louis City offers affordable housing and studio space, neighborhood businesses, and a variety of ethnic restaurants, as well as several urban parks. Photo by Jarred Gastreich. Bottom: The Saint Louis Art Museum, located in Forest Park, is walking distance from the Danforth Campus. One of the nationâ&#x20AC;&#x2122;s leading comprehensive art museums, their collection includes works of art from virtually every culture and time period. Photo by James Byard.

Building Your Practice

37 Curriculum

45 Berlinâ&#x20AC;&#x201D;Sommerakademie

51 MFA Thesis

65 Your Studio in Weil Hall

77 Research Resources

88 External Critics and Fellows

90 Lectures and Symposia

Curriculum

The goal of the MFA program is to provide students with a rigorous, proactive, and self-directed educational experience that balances critically engaged studio production with robust coursework, including a written thesis. Throughout the course of their studies, students are encouraged to investigate the theoretical and conceptual ideas that drive their studio work. Individual and group advising supports studio-based practices. Graduate seminars examine contemporary contexts for artmaking. The program has an array of group activitiesâ&#x20AC;&#x201D;discussion groups, field trips, and a film seriesâ&#x20AC;&#x201D;in addition to a thesis class where students are mentored in an intensive writing project. Candidates who successfully complete the necessary requirements earn the Master of Fine Arts in Visual Art, the terminal professional degree in studio art.

Year 1

Fall 9 credits

Individual Advising

Group Advising

First-year Seminar

Art History or Other Course

1 Advisor

Context for Artmaking

for graduate credit, depending on Art History credits needed/interests

Spring 9 credits

Individual Advising

Group Advising

First-year Seminar

Art History or Other Course

1 Advisor

Context for Artmaking

for graduate credit, depending on Art History credits needed/interests Berlin Study Abroad (spring 2021)

Terminal degree in art accredited by NASAD 60 credits November 2014

Note that all MFA students must have 18 credits of undergraduate Art History coursework completed by the time they graduate. These courses can be taken before or during the MFA program.

CURRICULUM

Year 2

Fall 12 credits

Individual Advising

Art History or Other Course

2 Advisors

for graduate credit, depending on Art History credits needed/interests

Spring 12 credits

Individual Advising 2 Advisors

Thesis Berlin Study Abroad (spring 2023)

Individual Advising

Art History

Whereas undergraduate education is typically assignment-driven, focused in large part on technical training, graduate-level learning is self-directed and proactive. Students work closely with faculty mentors throughout the program, following the studio critique format.

WashU’s Department of Art History & Archaeology in Arts & Sciences is one of the oldest art history programs west of the Mississippi River. The department has a long tradition of training students in areas of Classical Art and Archaeology, Renaissance and Baroque Art and Architecture, Asian Art and Archaeology, and Modern and American Art. It has additional strengths in other areas of visual art, and in the history, theory, and practice of architecture.

Group Advising

Group advising also follows the studio critique format. It prepares students to engage various modes of thinking and making, and to participate in meaningful critical analysis of different forms of cultural production. Advising involves peer learning, with a primary focus on furthering studio-based work. Through structured studio visits, readings, and field trips, students cultivate critical thinking skills, idea development, production skills, and strategies for display/ distribution of work. First-Year Seminar

Graduate seminars provide students with the opportunity to study theory and ideas through the lens of studio practice, generating a deeper understanding of the trends and movements driving the contemporary art world and culture. These courses provide a forum for feedback and analysis of students’ interpretations of assignments and key essays and theoretical readings.

Elective Options

Once students have fulfilled their 18credit art history requirement, they have the freedom to take electives that suit their research and interests best— whether those courses are within the Graduate School of Art or offered by other divisions of the University. Art electives introduce the materials, techniques, and aesthetic issues of particular disciplines. Available in various media concentrations, art electives complement and expand the graduate studio experience. Thesis Program

In the culminating event of the graduate program, students present and defend their thesis, and participate in an exhibition held at the Mildred Lane Kemper Art Museum. The thesis requires a written document that is produced during the student’s final semester in the program. A robust thesis seminar supports students in their writing and studio-related research.

CURRICULUM

External critics view work in the 2017 MFA First-Year Exhibition: Part 1 at the Des Lee Gallery.

MFA students at Prada Marfa, created by artists Michael Elmgreen and Ingar Dragset, during a field trip led by 2013â&#x20AC;&#x201C;14 Freund Teaching Fellow Won Ju Lim. Annual field trips to major cultural centers such as New York, Los Angeles, Chicago, Washington D.C., and Marfa, Texas, are an important part of our MFA program, providing exceptional opportunities for students to expand their intellectual and creative reach.

CURRICULUM

Berlinâ&#x20AC;&#x201D;Sommerakademie

The Sommerakademie explores multiple modes of creative and cultural production in relation to the material, social, and political conditions of Berlin, Germany. In this seminar-based course, which begins on-campus in the spring semester and extends into the summer for travel abroad, students gain an understanding of how artists address history, communities, and social contexts in relation to the conceptual and practical dimensions of their work. As they investigate how artists and cultural producers engage public space, students examine modes of production that may involve collaboration and situational engagement. Berlin’s contemporary architectural sites—which are witness to the city’s traumatic past during the Third Reich and Cold War division, as well as its global presence—provide an opportunity to consider spatial, temporal, social, and political aspects of context-driven work.

The study abroad program includes discussions with artists, architects, historians, art dealers, and gallerists in various districts. Past visits have included: Galleries

Klemm’s, Galerie Neu, Klosterfelde Galerie, Peres Projects, Neugerriemschneider Galerie, Galerie Eigen + Art, Capitain Petzel, Soy Capitán, Galerie Barbara Weiss, Galerie Crone, Peres Projects, Galerie Olaf Stüber, and Croy Nielsen. Artist Studios, Critics, & Project Sites

Olafur Eliasson, Katharina Grosse, Omer Fast, Candice Breitz, Daniela Comani, Claudia Schmacke, Sven Johne, Renata Stih + Frieder Schnock, Karin Sander, Thomas Locher, Nils Plath, Michael Heim, and Jan Verwoert. Museums & Cultural Institutions

The Reichstag, the Jewish Museum (Jüdisches Museum Berlin), the Memorial to the Murdered Jews of Europe, the Stasi Prison, the Boros Collection, the Topography of Terror, Martin-Gropius-Bau, Hamburger Bahnhof, the Kunst-Werde Institute for Contemporary Art, Haus der Kulturen der Welt, Autocenter, Neuer Berliner Kunstverein, Museum für Naturkunde, and the Venice Biennale.

Curator Boris Abel discusses the Memorial to the Murdered Jews of Europe designed by Peter Eisenman.

BERLINâ&#x20AC;&#x201D;SOMMERAKADEMIE

MFA students tour Obedience, an installation in 15 rooms by Saskia Boddeke and Peter Greenaway at the Jewish Museum.

BERLINâ&#x20AC;&#x201D;SOMMERAKADEMIE

MFA students discuss work in Fire and Forget. On Violence with curatorial staff at the Kunst-Werde Institute for Contemporary Art.

MFA Thesis

Each year, the curatorial staff of the Mildred Lane Kemper Art Museum works with graduate students in the preparation and installation of the MFA Thesis Exhibition. This annual exhibition reflects a diversity of ideas, materials, methods of production, and strategies of distribution. The works are material and social, political and psychological.

Danica Radoshevich, MFA16. Breakaway Type Adherent to NCHRP Report 350 (detail), 2016. Plywood, MDF, acrylic, mirror, and digital print; Placard (Public Deluxe), 2016. Plywood, MDF, acrylic, and recycled plastic; U-Channel Type (Frontage) (detail), 2016. Found objects. 2016 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum.

Work in recent exhibitions has explored themes such as the politics of race, the role of gender, the poetics of the everyday, and utopian/dystopian futures. Exhibitions have also revealed the effects of travel— the elements of space, time, history, memory, and the very notion of the urban experience— on studio practice.

Sam Boven, MFA16. Filter Feeding (detail), 2016. Sponges, glazed ceramic, wood, sand, and spray paint. 2016 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum.

Boven’s work examined relationships—particularly parasitism, predation, and symbiosis—that occur between organisms within the natural systems found on earth.

MFA THESIS

Wyndi Antoinette DeSouza, MFA16. Untitled Mapping Project: Case Study Trauma, 2015â&#x20AC;&#x201C;16. Inkjet prints and single-channel video, 30 min. 2016 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum. DeSouzaâ&#x20AC;&#x2122;s thesis marked her personal exploration of what trauma is and how, if possible, it can be visually represented.

MFA THESIS

Vivian Zapata, MFA13. Yellow Box, 2013. Mixed media,120 × 96 × 96". 2013 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum.

MFA THESIS

Zapataâ&#x20AC;&#x2122;s thesis work investigated metaphorical representations of nature, contextualized within the work of modern and contemporary artists who create artificial representations that reference natural landscapes.

Kari Varner, MFA17. The Missouri River 38.81408088787352, -90.12370347726687 and 38.815604433618454, -90.12407945049151, 2017. Water, 10,000 prints on organic paper, two glass tanks, archival pigment print on acrylic, resin, and single-channel video, 30 min. Tanks: 12 × 12 × 72"; print: 72 × 12". 2017 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum.

MFA THESIS

For her thesis, Varner explored representations of the landscape through the framework of the photographic archive. Her work often combines photography, video, sculpture, and text to create ephemeral water-based pieces.

Shirin Rastin, MFA 16. Memorial in Exile, 2016. Mixed-media installation with multichannel video. 2016 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum.

MFA THESIS

Holly McGraw, MFA16. Shady Lady Green Bay, 2016. Inkjet print; Shady Lady Washington, DC, 2016. Inkjet print. 2016 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum.

MFA THESIS

Through a series of large-scale photographs, McGraw exposed the performance of gender fluidity as a deviant act, teasing out ways in which comedy and beauty can be used to subvert stigma against the gender fluid community.

Your Studio in Weil Hall

The MFA in Visual Art program is located in Weil Hall, which features over 82,000 square feet for programs, including exceptional spaces for social connections and shared resources for new media production, digital fabrication, critique and review, and installation and exhibition. Each individual studio is approximately 180 square feet and supports work across media. Installation spaces throughout the studios allow students to convene for critiques, student-curated exhibitions, and impromptu gatherings. The building is home to studios for all of the Sam Fox Schoolâ&#x20AC;&#x2122;s graduate programs: visual art, architecture, urban design, landscape architecture, and illustration and visual culture. The adjacency between programs promotes camaraderie and exchange across disciplines.

The Schoolâ&#x20AC;&#x2122;s extensive printmaking facilities include the Dubinsky Printmaking Studio (for intaglio, relief, monoprint, photolithography, and alternative processes), a silkscreen studio, and a digital output room.

YOUR STUDIO

The Collaborative Technology Center supports digital production and post-production activities and facilitates time-based work in sound, video, and installation. Serving as a collaborative hub, it promotes interactions and conversations between MFA students, students from other programs, and faculty. As a digital maker space, the CTC offers individual technical support to students who are working with digital media for the first time and students with advanced digital media experience. Workshops provide focused training and support students as they venture into new territories to produce work that ranges from large-scale projections to multimedia installations.

Public Media Art

3D Modeling for Animation & 3D Printing

Stop Motion Animation

3D Animation Post-Production Video & Sound Editing Basic VFX Compositing Interactive 3D Environments 2D Animation Projection Mapping & Design Video & Sound Capture Rigging Special Effects Rendering Lighting for Photography & Video Graphic & Web Design Web Programming Script Design Video & Sound Installation (multi-channel, projection, and interactive design)

Preparing Arduino & Raspberry Pi

Recent Workshops & Tech Sessions 3D Modeling for Animation and Printing: Intro to Maya 3D Modeling Workshop II: Working from Images 3D Modeling Workshop III: Advanced Features (Mudbox) Drone Photography & Videography: Drone Flight The Fractured Image: Editing Techniques and Strategies for the Moving Image and Fracturing the Narrative (After Effects, Premiere)

Introduction to the Fundamentals of Non-Linear Story Telling for Interactive Media

YOUR STUDIO

Areas of Expertise

Introduction to Graphics for Web & DVD Menus Introduction to Video Editing Strategies & Techniques: Structuring the Narrative (After Effects, Premiere, and Final Cut Pro) Projection Mapping & Video Mixing Stop-Motion Photography with Compositing (After Effects) Video Post-Production (Adobe Creative Suite)

Introduction to 2D Animation Introduction to Drone Photography & Videography: Google Earth Mapping

Island Press is a research-based printmaking workshop that creates and publishes innovative prints and multiples. In the context of intensive visiting artist residencies, Island Press explores the expansive theoretical and material terrain of the print. The Press is project-driven, tapping into the place where the artist’s creative activity intersects with the philosophical underpinnings of printmaking. Experimentation with new modes and technologies is a natural part of this pursuit, resulting in the creation of innovative and ambitious editions in a range of media. Visiting artists work in collaboration with the master printer, faculty, and students, who gain access to the technical and conceptual challenges of a variety of projects. Recent Arthur L. and Sheila Prensky Island Press Visiting Artists include: Lisa Anne Auerbach, Radcliffe Bailey, Henrik Drescher, Orly Genger, Diana Guerrero-Maciá, Ann Hamilton, Trenton Doyle Hancock, Nina Katchadourian, Enrique Martínez Celaya, Shaun O’Dell, Dario Robleto, Lisa Sanditz, Beverly Semmes, James Siena, and Diane Victor.

YOUR STUDIO

Island Press master printer Tom Reed works with students to pull a print entitled Everything All At Once, created by visiting artist Chris Duncan in February 2010.

MFA students have access to additional Sam Fox School resources and facilities, including:

The Nancy Spirtas Kranzberg Studio for the Illustrated Book, a collaboration between the College & Graduate School of Art and WashU Libraries, is a working book and print production facility that includes equipment for letterpress and intaglio printing, photopolymer plate, and silkscreen printing. Whitaker Media Lab supports instruction and research initiatives of students and faculty across all areas of design and the visual arts. Facilities include an iMac classroom with state-of-the-art rendering, sound, and video editing software; production spaces withÂ large-format scanners; and plotters with up to 60-inch mediaÂ widths. Digital capture equipment and monitors are also available for checkout.

Additional Sam Fox School resources include wood and metal shops, the Dubinsky Printmaking Studio, photography studios and darkroom facilities, and sculpture studios. The Des Lee Gallery is located in the historic Washington Avenue Loft District downtown. The 2,500-squarefoot facility provides Sam Fox School students and faculty a formal gallery space for exhibitions, including the MFA First-Year Exhibitions. The gallery also has earned a national reputation for showing work by local and internationally known contemporary artists.

YOUR STUDIO

All Sam Fox School undergraduate and graduate students have access to a wide variety of facilities, including the Nancy Spirtas Kranzberg Studio for the Illustrated Book (top) and the metal shop (bottom).

Jeremy Shipley, MFA15. The Eidolon of Jonathan Harker, 2015. Video game. 2015 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum.

YOUR STUDIO

Shipleyâ&#x20AC;&#x2122;s studies at WashU centered on time-based media and comparative literature. His thesis explored games as evolved systems of play that manipulate the way we view literacy.

Research Resources

WashU Libraries System

The Washington University Libraries feature 12 distinct sites, vast print and electronic collections, and expert librarians whose first priority is helping students and faculty find the information they need. John M. Olin Library, a 197,000-square-foot research library on the Danforth Campus, houses humanities, social sciences, engineering, and special collections; a technology center; a dualpurpose cafĂŠ and extended-hours study space; and reading rooms, lounges, and small-group studies. It includes Art Special Collections, a 3,400-volume collection of rare and unique art and design printed materials, with a focus on illustrated books, prints, and photographs from the 18th and 19th centuries.

Through the WashU Libraries system, Kranzberg Art & Architecture Library users have access to over 230 online databases to support interdisciplinary research.

RESEARCH RESOURCES

The other libraries house collections serving specific departments or schools, including the Kenneth and Nancy Kranzberg Art & Architecture Library. Located on the ground floor of the Mildred Lane Kemper Art Museum, the Art & Architecture Library holds more than 105,000 volumes in various media, and subscribes to the foremost electronic article indexes, e-book reference works, and digital image databases, as well as lesser-known specialized electronic resources that support the research needs of students and faculty. Located at West Campus, the Douglas B. Dowd Modern Graphic History Library, a division of Special Collections, comprises original art and printed material from many fields of popular American pictorial graphic culture. Focusing on 20th-century illustration, the collection includes artists’ working materials and sketches as well as original artwork from books, magazines, and advertising.

Top left: Al Parker, Cosmopolitan, April 1949. The Al Parker Collection, magazine cover, 8 × 11". Top Right: Garrett Price, The New Yorker, March 1958. Walt Reed Illustration Archive, magazine cover, 8 × 10.25".

Bottom: Henry Raleigh, illustration published in the Saturday Evening Post, ca. 1920. Walt Reed Illustration Archive, mixed media on board, 27 × 22".

RESEARCH RESOURCES

Mildred Lane Kemper Art Museum

With more than 7,000 objects, the Mildred Lane Kemper Art Museum has one of the finest university collections in the United States and is a significant resource for the Sam Fox School and the University. It contains strong holdings of 19th-, 20th-, and 21st-century European and American paintings, sculptures, prints, installations, and photographs, with particular strength in contemporary German art.

The exhibition Precarious Worlds: Contemporary Art from Germany, on view September 9, 2011â&#x20AC;&#x201C;January 9, 2012, showcased a number of recent acquisitions from the Kemper Art Museumâ&#x20AC;&#x2122;s collection. Photo by Whitney Curtis.

RESEARCH RESOURCES

The Museum has a long legacy of acquiring significant art of its time that represents major international aesthetic positions. Holdings include works by Franz Ackermann, John Baldessari, Alberto Burri, Willem de Kooning, Nicole Eisenman, Olafur Eliasson, Isa Genzken, Jenny Holzer, Barbara Kruger, Louise Lawler, Henri Matisse, Pablo Picasso, Jackson Pollock, Tim Rollins, Ed Ruscha, Lorna Simpson, Kiki Smith, Pierre Soulages, Wolfgang Tillmans, Kara Walker, Carrie Mae Weems, and Pae White.

RESEARCH RESOURCES

Critiques challenge students to think about their work from a variety of critical perspectives and to articulate a position for that work within the broader context of contemporary cultural practices.

Created in 2010, Art on Campus is a percent-for-art program that establishes a significant presence for public art at Washington University while it builds on the Universityâ&#x20AC;&#x2122;s world-class collection of art. The program commissions and acquires art in connection with new University construction and renovation projects.

RESEARCH RESOURCES

All Art on Campus installations are accessioned into the Kemper Art Museum’s permanent collection. Completed works are by Ayşe Erkmen, Spencer Finch, Tom Friedman, Katharina Grosse, Ann Hamilton, Iñigo Manglano-Ovalle, and Jaume Plensa. Katharina Grosse (German, b. 1961), Untitled, 2016. Acrylic paint on wallboard, wood veneer, and steel, 480 × 960 × 67". University purchase, Art on Campus fund, Gary M. Sumers Recreation Center, 2016.

External Critics and Fellows

External Critics

Freund Fellowships

The MFA program invites a diverse group of external artists, critics, theorists, curators, and distinguished guests to campus to review students’ exhibitions and conduct studio visits at the end of each academic year.

The Henry L. and Natalie E. Freund Art Endowment Fund supports programs that bring visiting artists to campus to create new work for exhibition. Established in 1995, the Freund Teaching Fellowship consists of two month-long residencies in the Graduate School of Art, during which recipients lead studio critiques of student work while preparing an exhibition for the Saint Louis Art Museum’s Currents series.

Past reviewers include: Diana Thater, Meredith Tromble, Tiffany Holmes, Michael Rees, Sue Spaid, Frances Whitehead, Saul Ostrow, Jan Tumlir, Linda Weintraub, Zoe Beloff, Lily Cox-Richard, Joe Wolin, Jason Edward Kaufman, Hasan Elahi, Danny Orendorff, Eric Wesley, Charissa Terranova, Ellen K. Levy, Victoria Vesna, and Edward Shanken.

Creative Research Fellows Program Based at the Lewis Center, the Creative Research Fellows Program (CRFP) supports cross-disciplinary discourse, research, and collaboration by providing visiting artists and scholars with space to pursue projects in proximity to MFA students and faculty. The CRFP is not specifically product-oriented; rather, it advances opportunities for conceptualization, experimentation, and conversation about art, cultural production, and broader social concerns. Past fellows include: Jesse Vogler, Julia A. Walker, Jasmin Aber, Jessica Baran, Francesca Consagra, Sung Ho Kim, Lutz Koepnick, Kelly Shindler, and Bill Smart.

Past fellows include: Michael Byron, Catherine Opie, Phil Robinson, Francis Cape, Ellen Gallagher, Matthew Buckingham, Cameron Martin, Angelina Gualdoni, Sarah Oppenheimer, Claudia Schmacke, Bruce Yonemoto, Ian Monroe, Chelsea Knight, Renata Stih & Frieder Schnock, Won Ju Lim, Mariam Ghani, Andréa Stanislav, Shimon Attie, Jennifer Bornstein, and Dave Hullfish Bailey.

Launched in 2009, the Freund Visiting Artist Program is open to a practicing artist, architect, or designer nominated by a Sam Fox School faculty member. The visiting artist works with students and faculty on campus and produces an exhibition of work at the Kemper Art Museum. Past visiting artists include: Allison Smith and Balázs Kicsiny.

Won Ju Lim, the 2013–14 Freund Teaching Fellow, conducts a studio visit with Cole Lu, MFA14. Shimon Attie, the 2016–17 Freund Teaching Fellow, conducts a studio review with Kahlil Irving, MFA17, and David Winningham, MFA18.

Lectures and Symposia

The Sam Fox School and Washington University bring new voices to campus through lecture series, symposia, and other programs. These events establish a forum to bridge disciplines within the humanities by investigating ongoing debate over issues such as social justice, identity, sustainability, urbanization, gender fluidity, political resistance, race, and emerging technologies and their effect upon art, visual culture, and academic practices.

Carrie Mae Weems (American, b. 1953), Untitled (Colored People Grid), 2009–10. 31 screen-printed papers and 11 inkjet prints, AP 2/2, 87 7/8 × 75 3/16" (overall). Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Bixby Fund, and with funds from Bunny and Charles Burson, Helen Kornblum, Kim and Bruce Olson, and Barbara Eagleton, 2014.

While on campus for the Sam Fox School’s Public Lecture Series, Weems led a workshop for a select group of students.

LECTURES AND SYMPOSIA

Artist Carrie Mae Weems (center) with students and faculty in front of her artwork Untitled (Colored People Grid) (2009-10) at the Mildred Lane Kemper Art Museum. While on campus for the Public Lecture Series, Weems led a workshop with a select group of Sam Fox School students. Untitled (Colored People Grid) is part of the Museumâ&#x20AC;&#x2122;s permanent collection.

Each semester, the Sam Fox School School’s Public Lecture Series brings nationally and internationally recognized artists, designers, architects, historians, and critics to campus, promoting new ideas in practice, theory, and technology. Invited speakers often participate in graduate student studio visits, conducting one-on-one reviews of work. Past participants include: Diana Al-Hadid, Laylah Ali, Morehshin Allahyari, Xu Bing, Maggie Breslin, Gaby Brink, Michael Ray Charles, Seymour Chwast, Huey Copeland, Mark Dion, Catherine Dossin, Sam Durant, Omer Fast, Lisa D. Freiman, Tom Friedman, Coco Fusco, Thomas W. Gaehtgens, Michelle Grabner, Candice Hopkins, Alfredo Jaar, Natasha Jen, William Kentridge, Sylvia Koblowski, Erica Kochi, Ruby Lerner, Paul D. Miller (aka DJ Spooky), Wangechi Mutu, Trevor Paglen, Jaume Plensa, John Douglas Powers, Shelley Rice, Julian Rosefeldt, Martino Stierli, Michael Taylor, Jan Tumlir, Victoria Vesna, Carrie Mae Weems, Pae White, and Peter Yost.

Since 1953 Washington University’s signature lecture series has presented more than one thousand of the most important voices of our time—pioneers in a broad range of fields that complement the curriculum and reflect the interests of students and faculty. Past participants include: Bella Abzug, Harry Blackmun, Rosalyn Carter, Noam Chomsky, Ta-Nehisi Coates, Aaron Copeland, Ralph Ellison, David Gere, Christiane Gruber, Van Jones, Eric Kandel, Daniel Libeskind, Toni Morrison, Bill Moyers, Ralph Nader, Harold Ramis, Eleanor Roosevelt, Antonin Scalia, Maurice Sendak, Nasrine Seraji, and James Watson and Francis Crick.

Tom Friedman (American, b. 1965). Swamp Creature Friends, 2016. Painted steel, 77 × 102 × 23". University purchase, Art on Campus fund, Helen F. Umrath House, 2016.

Multiple Feminisms Series

Multiple Feminisms was a collaborative project between the Graduate School of Art and the Mildred Lane Kemper Art Museum that revisited the goals, aspirations, and outcomes of feminism, specifically within the humanities. This project brought to campus an exciting range of critical voices and points of view in order to open up avenues for a more inclusive discussion of gender, race, and sexual difference as informed by what is commonly known as third-wave feminism. Capitalizing on the upsurge of critical discourse on this topic as evidenced by important exhibitions and publications, such as WACK! Art the Feminist Revolution (2007), Global Feminisms: New Directions in Contemporary Art (2007), and The Feminism and Visual Culture Reader (2002), this project consisted of a series of evening lectures open to the general public, followed by interactive workshops with faculty and graduate students from multiple disciplines. Conducted by noted scholars, artists, and curators, these events were grouped into two categories: The History of Feminism (1960–1990) and Multiple Feminisms (1990–present). Lectures and discussions in 2011–2012 included: The History of Feminist Art, Cornelia Butler, Former Curator of Drawings, Museum of Modern Art, New York LECTURES AND SYMPOSIA

Art, Gender, Sexuality, and Queer Culture, Richard Meyer, Former Associate Professor of Art History, University of Southern California Theorizing Feminism and Art Today, Julia Bryan-Wilson, Former Associate Professor of Art History, University of California, Irvine Conversations with Stalin, Eleanor Antin, Visual and Performance Artist (a collaboration with the Performing Arts Department in Arts & Sciences as part of the Reperformance symposium)

Art|Sci Initiatives

Over the past several years, the Graduate School of Art has spearheaded a series of programs and initiatives focused on the intersections between art and science. Launched in 2014, WashU’s Art|Sci Initiative and Fellows Program brings together faculty representing a wide variety of disciplines—from medicine and neuroscience to biology, psychology, sculpture, architecture, theater, and philosophy—and select MFA students to share research and creative work. The program is funded primarily by a grant from the University’s Skandalaris Center for Interdisciplinary Innovation and Entrepreneurship. Also in 2014, the Skandalaris Center and Sam Fox School collaborated with UCLA’s Art|Sci Center and Lab to co-sponsor ART + BRAIN: Stories and Structures. From the metaphorical potency of anatomical art and stories that probe decision circuits and mirror neurons in monkeys, to revolutionary biological visualizations of the dynamics of cellular and sub-cellular structures, the symposium explored the complex histories, practices, and interconnections between art, architecture, medicine, and neuroscience, with the human brain as the central focus. The symposium was organized by Patricia Olynyk (WashU) and Victoria Vesna (UCLA). Featured participants included WashU faculty Sung Ho Kim, Ron Leax, Rebecca Messbarger, Kathy Miller, and Larry Snyder.

Opposite: 2014–15 Freund Teaching Fellow Mariam Ghani moderates the panel Ethics and the Artist: Failure in Social Practice and Community Engagement as part of the Failure and the Artist symposium.

Failure and the Artist Symposium

“Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” Samuel Beckett, Worstward Ho The Graduate Art Organization and Sam Fox School hosted the inaugural graduate art student symposium Failure and the Artist March 20 –21, 2015. The two-day event considered failure as both a condition of working and as a subject for critical dialogue. In addition to a keynote lecture by New Yorkbased artist Ellen Harvey, the symposium featured workshops, a juried group exhibition, and panels that explored topics such as the social responsibilities of artists.

LECTURES AND SYMPOSIA

An Engaged Arts Community

Our faculty and alumni are nationally and internationally recognized with practices ranging from time-based media and performance, to painting, sculpture, photography, print media, and installation. Their work addresses topics such as globalism, the environment, race, science, social justice, and material culture. Their scholarly research results in curated exhibitions, as well as books, articles, and essays.

99 Program Faculty and Administration

115 Alumni

Program Faculty and Administration

Patricia Olynyk’s work explores art, science, and technology-

Director, Graduate School of Art

Dark Skies, 2013. Video and sound installation, 8' × 8' dimensional projection surface.

Florence and Frank Bush Professor of Art

related themes that examine the ways in which institutional structures shape our understanding of history, science, and the natural world. Appropriating scientific imaging technologies, her installations, photographs, and videos address how interpretation fluctuates between fact and speculation. Working across disciplines to develop “third culture” collaborations, she has programmed art, science, and technology curricula, symposia, and fellowships at several research institutions, including the University of Michigan, where she was the first non-scientist appointed to their Life Sciences Institute. Olynyk also co-directs the NY LASER program in New York and is former chair of the Leonardo Education and Art Forum. Olynyk earned her MFA degree with distinction from the California College of the Arts and was a Monbusho Scholar and Tokyu Foundation Research Scholar in Japan. Her work has been featured in the L.A. International Biennial Invitational and exhibitions at the National Academy of Sciences (Washington D.C.), the Brooklyn Museum of Art, the Museo del Corso (Rome), the Universität der Künste (Berlin), and the Museum of Modern Art, Saitama (Japan). She has held residencies at the College of Physicians of Philadelphia, the Banff Center for Arts and Creativity, Montalvo Arts Center, and the Design Media Arts Department and Art|Sci Center at UCLA. Her writing has appeared in Leonardo journal, The Routledge Companion to Biology in Art and Architecture, and Technoetic Arts.

Jamie Adams works in a variety of media including

Niagara Red Chair, 2013. Oil on linen, 36 × 34". Courtesy of the artist and Sirona Fine Art.

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painting, drawing, and photography. His figurative work functions as personal memoir and addresses social themes of identity, memory, and desire. Characters in his work probe contemporary notions of identity, proposing the self as imaginary, constructed through language, or from images elsewhere. He draws on the cinematic culture of the 1950s and ’60s, using montage and celebrity personae to insinuate conditions of disturbance, flux, transience, or a state of becoming. His work is in the collections of the Museu Brasileiro da Escultura, Museum of Modern Art Library, MOMA Wales, Los Angeles County Museum of Art Research Library, Woodmere Art Museum, the Daum Museum of Contemporary Art, and Crystal Bridges Museum of American Art. His work has been cited in Art in America, Bulletin du Musée Ingres, and the book Fragonard: Regards Croisés. He is represented by Jonathan LeVine Gallery, David Klein Gallery, Zolla/Lieberman Gallery, Philip Slein Gallery, Sirona Fine Art, and Lamensch Douglas Fine Art. Adams graduated with honors from Carnegie Mellon University with his BFA in 1983, and he earned his MFA from the Pennsylvania Academy of the Fine Arts in 2000.

PROGRAM FACULTY AND ADMINISTRATION

Lisa Bulawskyâ&#x20AC;&#x2122;s practice is driven by questions concerning

Professor of Art

The Accident Event Register, 2015. Solo exhibition/installation at Gallery 406, Elon University, Elon, NC. Inkjet prints on Japanese paper combining scanned newsprint backing sheets and found photographic news images, used newsprint on wooden library rods, digital video.

Director of Island Press

the nature of time and the representation of historical events of both a personal and collective scope. At the heart of her research is an inquiry into the parity between personal and global narratives, and a conviction that these run alongside each other in corresponding grooves that are equal in depth and significance. These investigations are coupled with a deep engagement with the material and conceptual terrain of printmaking, and they span a range of activities including installation, works on paper, and temporary public art. In addition to teaching across disciplines at the undergraduate and graduate levels, Bulawsky serves as director of Island Press, the research-based printmaking workshop in the Sam Fox School that is committed to creating innovative fine art prints and artist projects. She curates and facilitates residencies with renowned visiting artists such as Ann Hamilton and Trenton Doyle Hancock, who work alongside students in a collaborative and experimental workshop atmosphere. As the Francis Niederer Artist-in-Residence at Hollins University, Bulawsky developed the solo exhibition A Clearing of Measures, which was on view at the Eleanor D. Wilson Museum. Other recent awards, honors, and exhibitions include the International Print Biennial (Newcastle, United Kingdom), the Marvin Bileck Printmaking Project Visiting Artist at Bowdoin College, and Washington Universityâ&#x20AC;&#x2122;s Distinguished Faculty Award.

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Michael Byron is a visual artist whose work is included in

A Trip to Hannover #8 (detail), 2016. Digital collage on fabric and 10" cake on 15" plinth, 64 × 46".

Kenneth E. Hudson Professor of Art

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the collections of the Whitney Museum of American Art, the Museum of Modern Art, Saint Louis University’s Museum of Contemporary Religious Art, the Saint Louis Art Museum, the Tamayo Museum (Mexico City), and the Museum Boijmans Van Beuningen (Rotterdam, the Netherlands), among others. His work is characterized by a continuing interest in the nature of objects, specifically the theatrical nature of objects of contemplation, and a commitment to the practice of painting and collage with a strong parallel involvement with installation art. Byron earned his MFA from the Nova Scotia College of Art & Design in 1981. His inclusion in MoMA’s An International Survey of Recent Painting and Sculpture in 1984 marked the beginning of his international career. After participating in the 1989 Whitney Biennial, he moved to Amsterdam, the Netherlands, where he lived and worked for five years, participating in group and solo exhibitions throughout Europe. Byron came to Washington University in 1994 as the first onsite Henry L. and Natalie E. Freund Teaching Fellow and joined the full-time faculty in painting in 1996. In December 2014 he was installed as the Kenneth E. Hudson Professor of Art.

PROGRAM FACULTY AND ADMINISTRATION

Carmon Colangelo joined Washington University in July

Ralph J. Nagel Dean

New Perspectiva 1.0, 2016. Monotype, relief on paper, 40 × 52".

E. Desmond Lee Professor for Collaboration in the Arts

2006 as the first dean of the Sam Fox School. In this role, he oversees the School’s two academic units—the College of Art and College of Architecture—as well as the Mildred Lane Kemper Art Museum. A widely exhibited artist, Colangelo combines digital and traditional processes to create large, colorful, mixed-media prints that explore various ideas about the human experience and contemporary condition, from violent weather patterns and climate, to the anxieties and instability experienced around the world. His work has been featured in more than 40 solo and 150 group exhibitions across the United States and in Argentina, Canada, England, Italy, Mexico, Puerto Rico, and South Korea. His work has been collected by many of the nation’s leading museums, including the National Museum of American Art, the Whitney Museum of American Art, the Fogg Art Museum at Harvard University, and the Saint Louis Art Museum. He is represented by Bruno David Gallery in St. Louis, Jonathan Ferrara Gallery in New Orleans, and Flying Horse Editions in Orlando.

Ron Fondaw maintains a cross-disciplinary practice, using a

Carbon Collide. Carbon paper drawing, 72 × 62", in response to the research at Cern’s Large Hadron Collider, the particle accelerator in Switzerland, and how it affects science, medicine, and perception.

Professor of Art

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variety of media and methods to create art that is integral to daily life. He has completed over 30 public art commissions and designed and built three homes. As a faculty scholar at Washington University’s Institute for Public Health, Fondaw works with graduate students on community projects that promote positive health outcomes through art. His students recently created site-specific works for an Affinia Healthcare facility and the Early Childhood Center at Grace Hill Settlement House. Fondaw’s current work investigates the relationship between the mind, body, and environment. His exhibition Unseen Forces at the Hilliard Gallery examined the symbiotic relationship between humans and the natural world, including the forces that alter our perception as we move from a Newtonian paradigm of physics to quantum physics. He has been awarded two River to River residencies in Nanjing, China, and has received a Guggenheim Fellowship, a National Endowment for the Arts grant, and a Pollock-Krasner Foundation award. His works are in several major collections, including the Renwick Gallery of the Smithsonian American Art Museum, the Columbus Museum of Art, and the Fule International Ceramic Art Museum (Fuping, China).

PROGRAM FACULTY AND ADMINISTRATION

Amy Hauft makes architectural-scale installations in which

Director, College and Graduate School of Art

Period Room, 1998. Installation view, Spruance Gallery, Arcadia University. Photo: Aaron Eigler.

Jane Reuter Hitzeman and Herbert F. Hitzeman, Jr. Professor of Art

landscapes seem to occur in indoor settings. She uses a variety of strategies when determining how to intercede in a site. Viewers interacting with the artworks intensify their own sense of physical presence as an entity both occupying and moving through a space, creating a heightened animistic experience. Each artwork is an intersection of haptic and cognitive incidents. At first, the viewer’s physical experience takes precedence. With time—while experiencing the piece, and then during later consideration—an implied logic for the project floats to the surface, a logic that both challenges and concentrates physical memory. Hauft earned her BA from the University of California, Santa Cruz. She attended Skowhegan School of Painting and Sculpture and earned her MFA from the School of the Art Institute of Chicago. She most recently served as the Leslie Waggener Professor in Sculpture at the University of Texas at Austin, with previous academic appointments at Virginia Commonwealth University and the Tyler School of Art. She has exhibited at venues worldwide, including the Brooklyn Museum, The New Museum, Galeria Wschodnia (Łódź, Poland), the American Academy in Rome, and MoMA PS1. She has received significant support from the New York Foundation for the Arts, PEW Foundation Philadelphia Exhibitions Initiative, Howard Foundation, and the Public Art Fund. She has been awarded several international residencies, including the Civitella Ranieri Foundation Fellowship in Italy and the International Artists Residency Fellowship in Poland.

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Meghan L. E. Kirkwoodâ&#x20AC;&#x2122;s photography concentrates on land-

Dust, 2017. Archival pigment print.

Assistant Professor of Art

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scape, with particular focus on energy-producing regions. Her experiments and research represent a long-term interest in the ways artistic representations of land help generate and sustain values and attitudes toward the natural environment. She is actively engaged in efforts to foster collaborations between artists, scientists, and designers aimed at advancing and communicating research related to the study of land. Kirkwood earned her BA from Grinnell College, her BFA from the Rhode Island School of Design, and her MFA in Studio Art from Tulane University. In tandem with her studio practice, Kirkwood researches in the fields of African photography. She holds an MA in Art History from the University of Kansas, where she researched African monuments designed and built by North Koreans. She recently completed a dissertation on the uses of landscape imagery by contemporary South African photographers in fulfillment of a PhD in Art History from the University of Florida. Kirkwoodâ&#x20AC;&#x2122;s photography has been exhibited throughout the United States, as well as in Europe and South Africa. She has received support from numerous institutions, including funding to participate in artist residencies through the National Park Service, the Vermont Studio Center, and the Iowa Lakeside Laboratory.

PROGRAM FACULTY AND ADMINISTRATION

Richard Krueger maintains a diverse and exploratory artistic

Associate Professor of Art

and intellectual practice, as a maker of images and objects, a curator, a community activist, and most recently, a fiction writer. His hybrid media installations and art objects have explored the manipulation of nature in the age of advanced imaging technology and genetic engineering, and have been featured in numerous venues, including SoFA Gallery at Indiana University, the Urban Institute for Contemporary Arts, and Central Fine Arts in SoHo. His work has also been featured in the publication Human Nature, which includes the essay “Art On The Edge of Science.” Other artworks were spotlighted in the international catalog Photography in The 1990s. Krueger’s works are in the collection of the Museum of Contemporary Photography (Chicago) and the Snite Museum of Art. His curatorial projects, Digital Hybrids and Phantasmagoria: Art, Technology, and The Age of Spectacle, were commissioned by the McDonough Museum of Art and the Butler Institute of American Art, respectively. Krueger has received funding from the Indiana Arts Commission, the Ohio Arts Council, Gen America Foundation, Young Audiences corporate office, Ilford Corporation, ViaCom, and Youngstown State University. He was awarded a curatorial project from the Mildred Lane Kemper Art Museum, which featured the multichannel film installation American Night by German artist Julian Rosefeldt. Krueger is currently writing a work of fiction. In the classroom, Krueger provides a critical landscape for students to develop and evaluate their own creative works. He teaches a seminar for first-year graduate students, plays an integral role in thesis advising, and is developing a new undergraduate course that examines the language of filmic images as they relate to various visual art forms.

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Arny Nadler’s work explores the predicament of the human

Untitled, 2017. Polychromed ceramic, 31.375 × 15.5 × 11". Photo by Richard Sprengeler.

Associate Professor of Art

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form—its fragility and dominance in the environment. Exploiting the natural plasticity of ceramics, his sculpture situates the body in a state of ambiguous metamorphosis. Irregular outgrowths in the material signal erratic germination or atrophy. By working against symmetry, he challenges the expectations of wholeness for the body. Their stilled and puzzled nature is a grasping for truth or a viable belief system. Nadler earned his BFA in Sculpture from Washington University and his MFA in Sculpture from Cranbrook Academy of Art. He was awarded a $20,000 Regional Arts Commission Fellowship, and has also received a George Sugarman Foundation grant and two Sam Fox School Faculty Creative Activity Research Grants. In 2012, Gallery 210 at the University of Missouri-St. Louis commissioned him to create the permanent, site-specific sculpture Whelm. Nadler has exhibited his sculpture at the Newport Beach-California Civic Center, Evanston Art Center, Turchin Art Center, Sculpture Key West, Kingston Sculpture Biennial, Maryland Hall Center for the Creative Arts, Millikin University, Western Michigan University, Rockland Center for the Arts, University of Alabama in Huntsville, and the Mitchell Museum. His work has been reviewed in Art in America and other notable publications.

PROGRAM FACULTY AND ADMINISTRATION

Tim Portlock’s current work combines visual-effects software

Associate Professor of Art

Beach View, 2015. Archival pigment print, 54 × 72".

Chair, Undergraduate Art

and the conventions of 19th-century American landscape painting to creatively simulate real-world American cityscapes. In recent years, his large-format images have depicted imagined landscapes populated with the empty buildings that surrounded his home in Philadelphia. Other recent work involves large, outdoor video projections onto buildings, creating temporary public art that incorporates new media and the visual language of murals while engaging with architecture and city space. Prior to his arrival at Washington University, Portlock was a professor in the Film and Media Department at Hunter College, CUNY, and worked at the Université de Paris-Sorbonne within the Anglophone Studies Department as a creative and technical director on a number of projects utilizing interactive 3D computer game technology, including projects such as “Virtual Montmarte” and “Virtual Sorbonne.” He is a 2011 recipient of a Pew Fellowship and a 2019 recipient of a $20,000 Regional Arts Commission Fellowship. He has exhibited internationally in venues such as Ars Electronica in Austria, ISEA in Japan, and the Tate Modern as a member of the artist collective Vox Populi, among others.

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Jack Risleyâ&#x20AC;&#x2122;s large-scale sculptures transform the familiar into

A Really Long Pole, 1998-99.

Professor of Art

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the uncanny. Animated by often humorous relational arrangements, wardrobe boxes, camping tents, drinking glasses, ripe oranges, whiteboards, soda bottles, and industrial dust mops all become sites of tender exchange. Are these objects and automata relics of an abandoned past or habitats of a future-inprogress? Each sculpture suggests a specific end-user but an ambiguous end. They invite the viewer to consider the function of functionality in an imagined space. Risley studied at The Cooper Union and earned his BA from Oberlin College and his MFA from Yale School of Art. He has had a long association with Postmasters Gallery, and his work has been included in numerous exhibitions at prominent venues around the world, including the Brooklyn Museum, MoMA PS1, the American Academy in Rome, the Vienna Secession, and Yale University Art Galleries. He has held significant academic positions at the University of Texas at Austin, Virginia Commonwealth Universityâ&#x20AC;&#x2122;s School of the Arts, and New York University, and taught at many others, including The Cooper Union and Yale University. His many honors include a Pollock-Krasner Foundation Grant, a Mid Atlantic Arts-National Endowment for the Arts Fellowship, and a Louis Comfort Tiffany Foundation Award.

PROGRAM FACULTY AND ADMINISTRATION

Denise Ward-Brown is a filmmaker whose work frequently

Mike Brown Puppet at Arch, 2014.

Professor of Art

explores African and African-American themes and history. Her recent work has been supported with funding from the Missouri Humanities Council and a 2016 Ferguson Seed Fund Grant from Washington University. She also was awarded a $20,000 Regional Arts Commission Fellowship, a Regional Arts Commission Artist Support Grant, Sam Fox School Faculty Creative Activity Research Grants, and a Project Series Grant from the Contemporary Art Museum St. Louis. With support from a 2015 grant from The Divided City: An Urban Humanities Initiative funded by the Mellon Foundation, she designed the course Tale of Two Cities: Documenting Our Divides, in which students engaged with and documented social justice organizations throughout St. Louis. Ward-Brown began making documentary videos in West Africa as a Fulbright Senior Scholar in 1997â&#x20AC;&#x201C;98. Her first films addressed traditional celebrations in Ghana, and she received second place in the Documentary Award category at the Abuja International Film Festival in 2004. She has received production grants for her award-winning documentary Jim Crow to Barack Obama (JC2BO), including a CALOP grant in 2011 and a Kresge Arts in St. Louis Grant. Ward-Brown earned a BFA (cum laude) from Tyler School of Art at Temple University and an MFA (summa cum laude) from Howard University.

Cheryl Wassenaar is a visual artist who investigates language

Ode to W. Haldane (Pearl + Ottawa), 2016. Wooden furniture, 1930s industrial workbench, grandfather’s toolbelt, father’s vise, 16 × 16 × 8'. Wassenaar’s piece continues her investigation of the space between the commercial and the aesthetic, connecting the legacy of Grand Rapids, MI, as “Furniture Capital of the United States” with her own family’s history of woodworking.

Associate Professor of Art

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as a system of meaning that is dependent upon arrangement and context. She works primarily with found commercial signage, repurposing the discarded wood into visual metaphors of failed communication that borrow from the language of modernist painting, contemporary advertising, and technology. Merging aspects of graphic design, painting, and sculpture, the work evokes visual stutters of sounds, ideas, and data. Repetition, shifted grids, and horizontal bands allude to structures of communication, made inept through technology glitches, over-lapping conversations, acronyms, and verbal filler. Her latest body of work uses signmaker’s vinyl to activate environments in site-specific work, often collaborating with a writer or poet. Wassenaar also researches and gives lectures on the visual and cultural impact of color. Wassenaar earned her BFA from Calvin College and her MFA from the University of Cincinnati. Her corporate commissions include Camden Real Estate headquarters in Houston, Fidelity Investments in Boston, and the Urban Institute of Contemporary Art. Recent exhibitions include Frederik Meijer Gardens and Sculpture Park, Bradley Univ-ersity, and fort gondo compound for the arts. Wassenaar is currently represented by LongView Gallery in Washington D.C.

PROGRAM FACULTY AND ADMINISTRATION

Monika Weissâ&#x20AC;&#x2122; film, sound, and performance work explores

Sustenazo (Lament II), 2010â&#x20AC;&#x201C;2012. Digital film (color, sound), 26 min. Exhibited at Museum of Memory and Human Rights, Santiago, Chile, 2012.

Associate Professor of Art

personal, gendered, and collective trauma. She works from the collective viewpoint of the marginalized, oppressed, forgotten, erased, disappeared, and destroyed. Using traces, after-histories, post-memories, and fragments, she invites others into a space of lamentation, understood as a political gesture. Her work has been featured in many exhibitions, including the international video art survey at Stavros Niarchos Foundation (Greece), the Center for Contemporary Art Ujazdowski Castle (Poland), the Museum of Memory and Human Rights (Chile), the Patricia & Phillip Frost Art Museum (Miami), and the Goethe Institut (New Delhi). It has been published in Cairo: Images of Transition and Drawing Now: Between The Lines of Contemporary Art, and is in collections worldwide, including the Albertina Museum, Cisneros Fontanals Art Foundation/CIFO, Hudson Valley Center for Contemporary Art, and Frauenmuseum. Her writing has appeared in New Realities: Being Syncretic and Technoetic Arts. Her work has been reviewed by The New York Times, Artnews, Art Papers, and Sculpture, among others. Weiss earned her MFA at the Warsaw Academy of Fine Arts in Poland and has also studied at the Warsaw School of Music and the Planetary Collegium at Plymouth University, United Kingdom.

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Alumni

MFA06

Ebony Patterson Lexington, Kentucky, & Kingston, Jamaica

Ebony G. Patterson’s multimedia works employ opulent, hand-embellished surfaces and brightly colored patterns to seduce the viewer into confronting profound social realities and bearing witness to the violence and social injustices imposed upon those deemed invisible. Her work has been published in The New York Times, The New Yorker, Frieze, Interview, Artforum, Art in America, and Modern Painters, among others. Ebony was featured in the 32nd Bienal de São Paulo (2016), the 12th Havana Biennial (2015), Prospect.3 New Orleans (2014), and the Jamaica Biennial 2014. Her work is in the collections of the Nasher Museum at Duke University, the National Gallery of Jamaica, the Seattle Art Museum, the Speed Art Museum, the Museum of Arts and Design (New York), and the Studio Museum in Harlem. She is on the artistic director’s council for Prospect.4 New Orleans (2017) and will have a solo exhibition at Pérez Art Museum Miami (2018). Ebony is an associate professor at the University of Kentucky, and is represented by Monique Meloche Gallery in Chicago.

Ebony G. Patterson, MFA06, (Jamaican, b. 1981), …in times like these… (detail), 2016. Cake, approximately 72 × 24 × 24". Fabricated by La Patisserie Chouquette, St. Louis. Completed for the Sam Fox School’s 10th anniversary celebration, this edible artwork paradoxically utilized the pastry’s decadence as a means to address urgent societal issues.

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MFA14

Adam Hogan Seattle

Adam Hogan works in experimental film and sound and has a background in digital and lens-based media. His films and installations employ minimalist and abstract cinematic forms that explore the anthropogenic traces humanity leaves on the landscape. He actively pursues work and theory in new media, hybrid and collaborative practices, experimental sound, ambisonics, expanded photography, experimental film, technology (digital and analog), and field studies/expeditions. Adam is currently a member of the Digital Arts and Experimental Media (DXARTS) PhD program at the University of Washington, Seattle. His projects have been featured in festivals, museums, and galleries nationally and internationally, including in San Antonio, St. Louis, Seattle, Anchorage, Bangalore (India), and Athens (Greece).

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ALUMNI

MFA15

Vita Eruhimovitz New York

Vita Eruhimovitz grew up in Israel and has a background in computer science and bioinformatics. She seeks to create on a boundary where plastic turns into skin, where algorithms tease people, where color makes robots laugh. Her work provokes an inquiring glance at a human-made future in which self-conscious machines are members of our society, artificial environments merge with nature, and physical realms converge with digital. She constructs installations from autonomous objects that form artificial-nature habitats. Some of her works are endowed with artificial agency and life through electronic and computational components, while others combine traditional techniques with digital fabrication. Vita has participated in the SkypeOnArt lecture series at Rutgers University-Camden, and her work has been shown in Israel, San Diego, St. Louis, Boston, and New York (at Black & White Gallery, Anthony Philip Fine Art, Foley Gallery, and chashama). In 2016 she won the Art@Murmuration Award for her sculpture The Evidence of Mountain Root, developed in collaboration with artist Michael Rees. She also teaches at William Paterson University and Brooklyn College.

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MFA14

Lyndon Barrois Jr. St. Louis

Through a multidisciplinary practice including installation, painting, and sculpture, Lyndon Barrois Jr. examines questions of aesthetic value, race and representation, and the creation of meaning through imagery in popular culture. His recent work Of Color, part of the 2016 Great Rivers Biennial at the Contemporary Art Museum St. Louis, situates eight life-size assemblages onto an asphalt basketball court, recreating an outdoor setting within the gallery space. The individual works—as well as Lyndon’s repositioning of an outdoor basketball court inside the protected space of a museum—ask viewers to consider how people, cultures, and lifestyles typically sited on the periphery can gain visibility in a new context. Drawing parallels between athletic movements and sculptural forms, Lyndon connects ideas of sport and spectacle while raising issues of objectification. He has shown across the United States, including in Baltimore, Chicago, Portland, Kansas City, and Philadelphia, as well as in Finland and New Zealand. A Chancellor’s Graduate Fellow at WashU, he has received grants and awards from the John Anson Kittredge Fund, the Regional Arts Commission, the Desert Space Foundation, and the Fine Arts Work Center in Provincetown, Massachusetts, among others. He recently served as a lecturer in the Sam Fox School and museum educator at the Contemporary Art Museum St. Louis, and completed a residency at the Bemis Center for Contemporary Arts.

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ALUMNI

MFA16

Adam Turl St. Louis

Responding to Anselm Kiefer’s Germany’s Spiritual Heroes, Adam Turl’s America’s Spiritual Heroes challenges post-modern irony. Adam’s paintings invoke archetypal political art, but his work is coated in concrete, cotton, and ash, literally weighing down the paintings with the material history of the nation. He currently teaches painting at Lindenwood University and is also an art critic for the West End Word and an editor at Red Wedge Magazine, where he writes the “Evicted Art Blog.” With Craig E. Ross, he co-founded the DIY art space Dollar Art House, which provides a platform for experimental art connected to popular concerns and audiences. At Washington University, he was awarded a residency at the Cité Internationale des Arts in Paris. Adam’s recent solo exhibitions include Thirteen Baristas at the Brett Wesley Gallery in Las Vegas and Kick the Cat at Project 1612 in Peoria, Illinois.

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MFA16

Yvonne Osei St. Louis

A German-born Ghanaian transmedial artist living in the United States, Yvonne Osei is hyperaware of her hybridity and describes herself as an outsider artist making insider art. Her creative practice draws on her Sub-Saharan African roots, as well as her time living in the United States, examining sociocultural and racial politics in the aftermath of colonialism. Yvonne was named the Saint Louis Art Museum’s 2016–17 Romare Bearden Graduate Minority Fellow, and has led gallery talks such as The Power of Activation in West African Art. For the 2017 Kranzberg Exhibition Series, she created textile designs inspired by photographs taken at Laumeier Sculpture Park and transformed them into coverings for the interior space of the Park’s Whitaker Foundation Gallery. Her work has been featured on the Ferguson Commission website as well as in All the Art and Red Wedge Magazine. She is represented by Bruno David Gallery.

120

ALUMNI

MFA11

Christopher Ottinger Chicago

Christopher Ottinger uses various media technologies to envision new histories and alternative uses for technical objects, employing an objectoriented approach to media archaeology. His art has been shown throughout the United States and Europe, including at Laumeier Sculpture Park in St. Louis; Museum London in Ontario, Canada; and UCLAâ&#x20AC;&#x2122;s California NanoSystems Institute, where he exhibited a collaborative installation with Graduate School of Art director Patricia Olynyk. In 2014, Christopher was awarded a visiting artist fellowship at the Pacific Northwest College of Artâ&#x20AC;&#x2122;s Critical Theory + Creative Research Program. He has recently shown in Ghost Machine at the Chicago Artists Coalition and The Magnificence of the 3, 6, and 9 at Bert Green Fine Art, where he is represented. He is a lecturer at the School of the Art Institute of Chicago.

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MFA13

Lavar Munroe Washington D.C. & Nassau, Bahamas

Lavar Munroeâ&#x20AC;&#x2122;s work draws from the memory of his upbringing in Nassau, Bahamas, the crude graffiti on the walls that surrounded his street. He maps a personal journey of survival and trauma in a world of gang violence, drugs, murder, self-discovery, and self-determination. Lavarâ&#x20AC;&#x2122;s practice also investigates theories surrounding mythology and literature, critiquing social stereotypes and disparities that cut across gender, race, class, and age. Lavar has had residencies at the Josef and Anni Albers Foundation, the MacDowell Colony, and the Joan Mitchell Foundation, among others, and was awarded a postdoctoral fellowship at the University of North Carolina at Chapel Hill. He has exhibited worldwide and was included in the 2015 Venice Biennale and the 12th Dakar Biennale in Senegal. He is represented by Jack Bell Gallery (London), NOMAD Gallery (Brussels and Miami), and Jenkins Johnson Gallery (San Francisco and New York).

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ALUMNI

MFA13

Meghan Allynn Johnson New York

Influenced by early animation, B-movie horror films, and the tradition of prop construction, Meghan Allynn Johnson maintains a hybrid practice of printmaking and filmmaking. Her work is both temporal and tactile, exploring the opportunities for the manipulation of time and material logic. Her work gives texture to how the abstraction of reality alters one’s own psychological fantasies and self-consciousness. Meghan’s work has been featured in exhibitions and film festivals such as the International Print Center New York’s Suspended Animation: Moving Image in Print, the Wisconsin Film Festival, The City Don’t Sleep festival in Brooklyn, and the Citrus Cel Animation Film Festival. She is the director of David Krut Projects in New York, where she has developed programming around artists such as William Kentridge, Stephen Hobbs, Aida Muluneh, and Chakaia Booker. She has also created lectures, exhibitions, and other programming in collaboration with Syracuse University, Rhode Island School of Design, Carnegie Hall, the International Print Center New York, and the Center for Contemporary Printmaking, among others.

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MFA students ride the Berlin U-bahn to the Boros Collection and Bunker during Sommerakademie.

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Studio of Adam Turl, MFA16, viewed during the MFA Open Studios. This annual event is sponsored by Women and the Kemper, a membership group of the Mildred Lane Kemper Art Museum.

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Admissions

The online application for fall enrollment opens in mid-September at samfoxschool.wustl.edu Admissions decisions are based on the applicant’s portfolio, academic records, statement of objectives, and references. You may be admitted to the MFA program upon completion of the BFA degree or equivalent academic preparation. Specific requirements include: a minimum of 9 credits of Art History, grade point average above 3.0, and good writing skills. If you have any questions, contact Patricia Olynyk at olynyk@wustl.edu.

In addition, University-wide fellowships and scholarships are available that require a separate application. These opportunities include: ° The Spencer T. and Ann W. Olin Fellowship for Women in Graduate Study: Offers renewable awards covering the cost of tuition to qualified female graduates of baccalaureate institutions in the United States.

Financial Aid

The Graduate School of Art offers generous financial assistance to students, based on a combination of need and merit. All financial aid applicants are considered for available Sam Fox School fellowships and scholarships, including: ° Sam Fox School Graduate Scholarship: This full-tuition scholarship is awarded to one incoming MFA in Visual Art student for the duration of their degree program. ° Ernestine Betsberg and Arthur Osver

° Chancellor’s Graduate Fellowship Program: Offers renewable awards to facilitate the education of outstanding and diverse students interested in careers as college or university professors. ° McDonnell International Scholars Academy: Offers renewable awards to international students who have earned their undergraduate degrees from one of the University partner schools.

Scholarship: This scholarship is awarded to one incoming MFA in Visual Art student; the award is equal to 75 percent of tuition. ° Danforth Scholarship: Drawn from all of the University’s programs, these scholarships recognize academic achievement and leadership potential, and are equal to 75 percent of tuition.

Washington University encourages and gives full consideration to all applicants for admission, financial aid, and employment. The university does not discriminate in access to, or treatment or employment in, its programs and activities on the basis of race, color, age, religion, sex, sexual orientation, gender identity or expression, national origin, veteran status, disability, or genetic information. Applicants with a prior criminal history will not be automatically disqualified from consideration for admission. Inquiries about compliance should be addressed to the Vice Chancellor for Human Resources, Washington University, Campus Box 1184, One Brookings Drive, St. Louis, MO 63130.

Interior back cover: Eric Burwell, MFA16. Detail from CDIII, 2016. Oil and acrylic on canvas. 2016 MFA Thesis Exhibition, Mildred Lane Kemper Art Museum. Caption TK