Visual Arts 2017 MFA Thesis Exhibition Published on the occasion of the 2017 4 From the Curator 122 From the Dean School of the Arts Visual Arts Program MFA Thesis 122 From the Chair The Miriam and Ira D. Wallach Art Gallery 6 Joeun Aatchim 125 About the Curator Lenfest Center for the Arts 10 Michal Alpern 126 Appendix April 23–May 21 14 Dana Buhl Pera Lern 18 Lucy Lord Campana © 2017 The artists and Columbia University 22 Andrew Cannon 26 Nash Glynn Columbia University 30 Maggie Goldstone 310 Dodge Hall, MC 1806 34 Allison Janae Hamilton 2960 Broadway 38 Taylor Ashby Hawkins , NY 10027 42 Duy Hoàng arts.columbia.edu/visual-arts 46 iris yirei hu 50 Juntae TeeJay Hwang Design: 54 Kim Junsung L+L (Brooklyn , NY) 58 Peter LaBier 62 Alex Mctigue Typeface: 66 Julia Medyńska Acumin Pro 70 Cy Morgan 74 Rocío Olivares 78 Jenna Basso Pietrobon 82 Adam Liam Rose 86 Emily Ludwig Shafer 90 Lynn Spanke 94 Sara Stern 98 Dylan Vandenhoeck 102 Kristin Walsh 106 Derick Whitson 110 Bryan McGovern Wilson 114 Zou Zhao (Xi Xi) 118 José Delgado Zúñiga March 12, 2017 Guillermo Gómez-Peña’s 1998 El Mexterminator at El Museo del Barrio, New York, was a life-changing, emotional event. I had just started working at the museum the year before. I helped Dear Graduating Artists, plan and create the dense installation, assist the artists, docented the per for mances, and responded to audience and staf as they I wound up being a curator for very simplistic reasons. I’ve always reacted to the work’s challenging, retro-futuristic, ethno-cyborg loved art: its power to move us. The right image, word, sound— characters. It was both extremely dificult and very, very enriching. speaks to our concerns and captures the very spirit of the moment. I can conjure the taste of Teresa Margolles’ 2002 Vaporization I’ll confess I’m really not sure where my passion comes from. at PS1. She filled a gallery with fog created from water used It wasn’t in my family. As a child, I spent hours copying parts of to wash corpses in Mexico City’s morgue. I can hear Janet Cardif Norman Rockwell’s Four Freedoms from an oversized book. In high whispering in my ear from Her Long Black Hair, 2004, a Public , I broke away from a class trip to New York to stand before Fund walk in Central Park accompanied by a Walkman and packet Monet’s Water Lilies at MoMA, thrilling to the luminous surface. of photographs. Nostalgia? Perhaps. I could keep going. There After moving to , I was exposed to a much wider are so many art-going memories from various points over my life range. The East Village of the early 1980s was flooded by grafiti and of which I have excellent recall. They stirred my heart, moved me, neo-expressionist , and enflamed by the AIDS pandemic. and continue to feel very connected to me because they were It was a hotbed of aggressive, literate perfor mance, art, music, and of my time. social activism. At 2 am in 8BC, the short-lived after-hours club, You, too, are of your time. Each of you hails from a diferent cor - Karen Finley stood on a cofee table just a few feet away and ner of the world, and carries your own distinct constellation: your deliv ered a sing-song litany about a mother drowning her babies. language, approach, materials, influences, concerns, poli tics, and No one knew who she was, but we couldn’t take our eyes of passions. Gathered here together, it may seem a cacophonous of her. Jean-Michel Basquiat, Sue Coe, Juan Sánchez, and David symphony, but it’s a beautiful snapshot of the state of the moment. Wojnarowicz were producing the impassioned, feverish imagery We’ll see that some day. that spoke directly to us, to our times. We saw them in our neigh- I know it’s a dificult moment. Change is scary and exhil a rat ing, borhood, talked to them at gallery openings or Exit Art, and read and the world seems poised on the brink of madness. But keep critiques in the Village Voice or East Village Eye. going. Someday you, like me, will have dificulty dis tilling your I travelled a bit, then I went to graduate school. I worked in a Soho hunger for to 500 words. And then you, cofee bar and a printmaking studio. I was floored by the pre ci sion too, will know as I do that we are living rich and fortunate lives. and wit of Jenny Holzer’s Truisms spiraling around the Guggenheim ramp during her 1989 retrospective. The 1994 Felix Gonzalez-Torres retrospective at the Hirshhorn, in Washington, DC, with its optimistic Sincerely, light bulb strings, shimmering silver-wrapped candy carpet, and the indoor billboard installation of soaring birds was heartbreaking, Deborah Cullen presented right in the belly of governmental negligence. Curator

4 5 Joeun Aatchim

Aatchim (b. 1989) crafts a visual form (below) of writing borrowed from the literary In Praise of Cry Breaks (울음휴식예찬 · 哭泣休息禮讚), 2016 Artist talk / live reading performance; (props) two diction in Essayism. To gratify her MacBook Pros, hand-crafted cardboard Apple MacBook agonizing yearn for crafting intangible with LED light, printed paper script, aroma vaporizers “coincidences” as her medium, she (rose flavor E-cigarette), and Perrier sparkling water; vigorously, yet steadily, executes (performers) Carla Rhodes aka Cecil Sinclaire (right), Mary Boo Anderson (left), and Kathryn Kendall multimedia craft, such as mosaics, 17 minutes ceramics, drawing, and print making as proxies. In her artist talk perfor mance with dubbing and ventriloquism, she illogically recounts the relationship between the artist and his/her work, provoking queries about authorship, disembodiment, and the sincerity of voice. She received her BFA in Studio Art from . Currently, she is working on her never-ending manuscript, Four (of) Mattresses Stacked on Misery. www.joeun-aatchim.com

6 7 Joeun Aatchim

Draft: Sans Self, 2016 Tumbled marbles, ceramic, smalti glass, flexible urethane, mortar, hydraulic cement, ∑mail (AKA SapphoMail), 2016 resin, epoxy, fiberglass, foam, watercolor, moss, nylon, neoprene, sand, and moss Multimedia installation 39.7″ × 24″ × 2″ Installation size variable Michal Alpern

Michal Alpern (b. 1986 / Haifa, Israel) “To lift yourself out of a miserable BFA Bezalel Academy of Arts and Design, state—even by vigorous force—should Jerusalem. Lives and works in Tel Aviv be easy. I tear myself of the chair, stride and New York. around the table, exercise my head and neck, bring fire to my eyes, flex the muscles around them. Defy any emotion, I would welcome A. enthusiastically, if he comes to see me now; amiably tolerate B., swallow in long draughts everything that is said at C.’s, despite the pain and trouble. But even if that were to happen, one mistake, that is unavoidable, will stop it all, light and heavy alike, it will withdraw around and around in a circle. Hence the best advice is to endure all, to make yourself an inert mass, even that you feel, you are a leaf in the wind, to regard your fellow man with an animal gaze, to feel no compunction, in short with your own hands throttle down any remnant of life —that ghostly remains in you, that is, to increase the final peace, the grave-like rest, and let nothing exist but that. A characteristic gesture in such a state is to run your little finger over your eyebrows.” — Resolutions, Franz Kafka

10 11 Michal Alpern

Studio practice, 2015 Drywall, silver chain, hot rolled steel, SaveAs, 2016 Form to matter, Matter to form, 2016 5 attempts at a table, 2016 and acrylic house paint Digital image Urethane rubber Variable 10′ × 15′ × 15′ (room); 60″ × 18″ × 26″ (bench) Variable dimensions 144″ × 85″ × 24″ approx. 26″ × 20″ × 4″ each Dana Buhl

(b. 1986 / The Valley of the Sun) “One must rid oneself of the delusion BFA in Photography, that it is the major events which have Arizona State University the most decisive influence on people. They are much more deeply and danabuhl.info continuously influenced by the tiny catastrophes which make up daily life.” — The Salaried Masses, Siegfried Kracauer

14 15 Dana Buhl

Excerpt from The Optimism of the Grid, 2016–2017 Inkjet prints Dimensions variable Lucy Lord Campana

Lucy Lord Campana (b. Boston, MA) habits of the original craftworkers that no received her BFA from the Rhode Island amount of armchair theorizing can give.” School of Design. Walking Through Clear Water in a Pool We can see farther than ever before. Painted Black by Cookie Mueller (p. 85): The edges of our collective vision are not “After these trips we came back in and limited to our own eyes, but rather to images looked around like maniacs. We looked at that are presented to us through many the walls. All the were hanging layers of subjectivity. Culture is infused into there waiting. We went into instant art panic. each layer, deter mining what we choose to It was getting dangerously late to be in the see and the visual language to communicate house, the roof was about to fall. it. Painting weaves these layers together, ‘THIS ARTIST IS MORE FAMOUS!’ Howard frozen gestures lay side by side, creating yanked a painting of the wall. a representation of what we observe. ‘BUT THIS ONE’S WORTH MORE!’ In a kindergarten alphabet book, for the I grabbed another. We hadn’t much time. letter N, six year old Lucy wrote, “Ther WZZ ‘NO TAKE THIS ONE! IT’S OLDER!’ Howard noWN NI the Ske.” pulled one down. ‘BUT LOOK AT THESE BRUSHSTROKES.’ Women’s Work: The First 20,000 Years ‘NO! THIS ONE.’ by Elizabeth Wayland Barber (p. 23): ‘GIMME THEM ALL. I’LL CARRY THEM ALL!’” “Far from being unhappy at my mistake, I was delighted. Most fragments of prehis- Venusia by Mark von Schlegell (p. 90): toric cloth…are torn on all four edges, so it is “Ae believed she was fighting to halt the not possible to tell which direction they were destruction and contamination of Earth. woven the way one usually does, simply by Sadly, poetry does not save worlds. Ae and looking for the type of closed edges found her comrades were too late to do anything only at the sides. But by trying to imitate the but hasten their own deaths. Their paradise product, I discovered not only which way was only of the mind. Still, it allowed them this shred was woven and some criteria to envision humanity’s survival of-world. for analyzing other pieces but also several She wrote of a colony divorced from a interesting details about how… weavers home to which it could never return…. All worked…. It was another lesson to me that stories from Earth are sad. All its dreams the process of recreating ancient artifacts are fantasies, all its insurrections failures. step by step can shed light on the lives and We must not get caught up with them.”

18 19 Lucy Lord Campana

Lesedi La Rona, 2016 NGC 6496, 2016 Oil on canvas Oil on canvas 30″ × 30″ 60″ × 60″ Andrew Cannon

Andrew Cannon (b. 1988 / Redlands, CA) BA University of California, andrewcannon.net

22 23 Andrew Cannon

Ten paintings, 2016 Oil and acrylic paint, pigment, urethane, urethane foam, glass, wood, epoxy putty, and epoxy resin 24″ × 20″ each Nash Glynn

Nash Glynn (b. 1992 / Miami, FL) I am a metaphor maker at the end of the is an interdisciplinary artist. She received world. I use my body as a medium to her BFA from The School of the Museum illustrate ramifications of myths such as of Fine Arts and Tufts University in 2014. Nature, Female, and Human in relation to our current ecological crisis. Through desperate attempts to scare or seduce the viewer, my work challenges anthropocen- trism in order to reevaluate human and nonhuman agency. Drawing from science research and fiction, I am both invested in sharing information and complicating it as a mode of neutral observation. I form spaces where objects like utopia and dys topia coexist. It is a contradiction, but so are you my love.

26 27 Nash Glynn

PLEASE SAVE MY BABY, Lover Earth Video still Video performance script Maggie Goldstone

Maggie Goldstone (b. 1991 / New York, “[Love] resembles space and time, and like NY) received her BFA from Boston these two concepts, it is clear, functional, University in 2013. Her paintings and practically non-existent, and do I love explore themes of love, loneliness, you because of this proximity, this obsessive and her relationship with her dog. involvement? You filled my space for so long, snaked yourself in my waters, and I’m left maggiegoldstone.com with sign, and traces of you, exclusively, look, the sea is leaving, she’s already beyond the horizon.” —Etel Adnan, 1997

30 31 Maggie Goldstone

Belly, 2016 Night Shower, 2016 Oil on canvas Oil on canvas 18″ × 24″ 5′ × 6′ Allison Janae Hamilton

Allison Janae Hamilton (b. 1984) is My work contains narratives that are a visual artist working in photography, pieced together from folktales, superstitions, , installation, and taxidermy. sermons, overheard gossip, hunting and Born in Kentucky, raised in Florida, farming rituals, and Baptist hymns. Parables, and with family roots in rural Tennessee, magic, hoodoo, the black church, and my her artwork features uncanny scenes own family lore help me to imagine what the that blend the disturbing and the delicate mode of the epic myth looks and feels like within an imaginative American southern in rural terrain. My use of both live animals landscape. Hamilton was a Fellow at and their bloodless remains incarnates the the Whitney Independent Study Program landscape as a witness —the environment ('13-'14), received a Ph.D. from NYU ('15), is a knowing observer. and has exhibited at the Museum of Modern Art, the Smithsonian National (right) I made these photographs with my first 35mm Portrait Gallery, the Jewish Museum, camera on my family's Tennessee farm in 1997, and the Istanbul Design Biennial. the summer I turned 13 years old. Her artwork has appeared in Transition Magazine, Women and Performance, (below) Belew Family Farm, Carroll County, Tennessee, and Artforum. c. 1955. Left to right: Grandmother Noverlean, Aunt Sammie, Aunt Birdie, Cousin O.D., Mama allisonjanaehamilton.com Alice (my great grandmother), Aunt Lean; bottom: my mother, Claudette, on her tricycle.

34 35 Allison Janae Hamilton

A balm for the living., 2016 The Land of Milk or Honey, 2016 Video Video 8 minutes, 22 seconds 5 minutes, 5 seconds Taylor Ashby Hawkins

(b. 1990 / Louisville, KY) BFA Columbus College of Art and Design

38 39 Taylor Ashby Hawkins Duy Hoàng

(b. 1989 / Vietnam) BFA, University of Massachusetts Lowell Currently still trying hard to really pay attention.

duy-h.com

42 42 43 Duy Hoàng

Test Site Wallach/Uris: Scaled Solar System [09.19.12], 2016 Shining Afternoons, 2017 Wood, plexi, silkscreen, and ink on vinyl Mixed media 947″ × 545″ × 545 ½″ (site specific installation at the Miriam and Ira D. Wallach Art Gallery) Dimensions variable iris yirei hu

iris yirei hu (b. 1991 / Los Angeles, CA) spirit sister Excerpt from Survival Guide: joy makes paintings, installations, and […] words with the medicine of storytelling handstitched Sister lover, the water has evaporated and the insistence of survival. She is a companion for my tears into thin air, and left me with a drought moving towards rearranging our habits the sashiko blues of unfamiliar stasis. I wish I could protect of listening, learning, and life making i have for you you, and hold your head against my chest. with her ancestors, spirit guides, family, index and thumb, each wave But I’m realizing now that it is no longer friends, and lover. Selected exhibitions expanding in f(our) directions “I,” that the eternal breath of the earth is include: Survival Guide: joy, Visitor crisscrossing surfer embracing both of us with a loving silence. Welcome Center, Los Angeles (2017); i have you in my pocket I like listening to the silence. I want Con/Safos with Rafa Esparza & waiting for your breath to propose that silence is a refuge of Clockshop, Bowtie Project, Los Angeles to make indigo dye potential built for learning, strategizing, River (2015), and The Floor and the in the hands our Pacific Mother and assembling with love and song. Cane, Commonwealth & Council (2014). ∞ In our shelter, deep listening becomes She received her BA from UCLA and in loving memory of emi kuriyama one of the necessary modes of survival, lives and works between New York and an active ingredient of empathy. I have Los Angeles. been making a body of images that honors a life cut short, but one that also taught me how to make life with others through shared stories bound by love and fury, care and vigilance. This life moves out of a generative and cooperative “we,” united through our diference, agile enough to pivot in surprising directions, weaving between you and me, our family, our clan, our land, and the Great Spirit. Here, our motivation is emancipatory joy. In the words of emi: “so here I am inviting you in.”

Love, iris

46 47 iris yirei hu

surviv(all), 2017 Survival Guide: joy, 2017 Excerpt from “Jo$$ Money | The Surplus [Survival Guide]” by emi kuriyama Installation, acrylic, oil, textiles, and collage Embroidery on burlap 10′ × 23′ × 10′ 60″ × 48″ Photo: Visitor Welcome Center Photo: Visitor Welcome Center Juntae TeeJay Hwang

Juntae TeeJay Hwang 俊太 Blue Salmon is a new video installation (b. 1991 .12 .24 ) delving into the emotional state of the TeeJay works predominantly in journey of a salmon that has reached performance with sculptural video sexual maturity. installation in addition to painting Blue Salmon is a ceremonial installation; and ceramics. Ofering a service to liberate those salmons TeeJay holds a BA from Slade School who cannot complete natal homing. of with First-Class Honours, University College of London. (right) Blue Salmon, 2017 Recent solo shows include Angry Hotel Propaganda, Bury Art Museum and Sculpture Center, Manchester U.K. (2017); and Blue Salmon, Art In General NY with CCA Tallinn, Estonia (2016). Recent group shows include: Earl Lu Gallery, ICA, Singapore (2016); Jewish Museum, New York (2016); and Bloomberg New Contemporaries 2015, Nottingham, ICA London, UK (2015); Xpace Cultural Centre, Toronto, (2016); XL Catlin Art Guide U.K. (2016); RUA RED, South Dublin Art Centre, Ireland (2016); Kyoto University of the Arts, Japan (2016); Grant Museum Of Zoology, London (2014); Camden Art Centre, London (2013); and more. He recently held the Oxbow Residency, Saugatuck, MI (2016).

50 51 Juntae TeeJay Hwang

Blue Salmon, 2016 Blue Salmon, 2016 Synched HD videos with sculptural installations Water beads caviar, LED light, and costume 100 minutes each, full HD video loop 12′ × 12′ × 36′ each Kim Junsung

790 Amsterdam Avenue New York, NY 12504 [email protected]

April 23, 2017

To whom it may concern, kim junsung (b. 1987 / seoul) does video and performance, and loves rnb, american musical film, and south/east asian film. kim is a co-founder of the creepy art space 67 located in Lower East Side. thank you, sixtyseven.us Kimjunsung.org

54 55 Kim Junsung

Adieu Dawn, 2016 Law, 2017 HD video VHS, HD video 22 minutes Peter LaBier

Peter LaBier is an interdisciplinary artist (right) Untitled, 2016 working in painting, drawing, music, India ink and mixed media on paper dance and performance. He is the 15″ × 11″ founding member of the New York-based band, Psychobuildings, and the art and (below) Special Guest Entrance, 2016 music collective, The House of Fame. Mixed media on paper His work has been exhibited in New York, 11″ × 8″ LA, Miami, Houston, and internationally in Berlin and Hamburg. Most recently he has performed at the Jewish Museum in New York, and cofounded Tower Gallery where he serves as a curator under director Pera Lern. LaBier received his BA at Vassar College. www.peterlabier.com

58 59 Peter LaBier

Brain Fountain, 2017 Excavation Eyes, 2017 Oil on canvas Oil on canvas 112″ × 96″ 30″ x 40″ Alex Mctigue

Alex Mctigue lives and works in New York City. His work considers written language and photography as a lens towards the absurdity of life and contemporary culture.

99 … To live strikes me as a metaphysical mistake of matter, a dereliction of inaction. I refuse to look at the day to fnd out what it can offer that might distract me, and that, being recorded here in writing, might cover up the empty cup of my not wanting myself. I refuse to look at the day, and with my shoulders hunched forward I ignore whether the sun is present or absent outside in the subjectively sad street, in the deserted street where the sound of people passes by. I ignore everything, and my chest hurts. I’ve stopped working and don’t feel like budging. I’m looking at the grimy white blotting paper, tacked down at the corners and spread out over the advanced age of the slanted desk top. I examine the crossed out scribbles of concentration and distraction. There are various instances of my signature, upside down and turned around. A few numbers here and there, wherever. A few confused sketches, sketched by my absent-mindedness. I look at all this as if I’d never seen a blotter, like a fascinated bumpkin looking at some newfangled thing, while my entire brain lies idle behind the cerebral centres that control vision. I feel more inner fatigue than will ft in me. And there’s nothing I want, nothing I prefer, nothing to fee.

62 63 Alex Mctigue

abc no rio, 2017 (detail) Molded silver gelatin print 96″ × 96″ Julia Medyńska

Julia was born in Socialist Poland. In 1985, My painting explores the psychology of the her family managed to escape into West individual. I compose environments where Berlin. After high school, she moved to characters engage in violent acts while New York to study acting, attending the apathetic bystanders witness the macabre Lee Strasberg Theatre Institute and the scene. I see myself as a film director com- Neighborhood Playhouse. She performed pos ing narratives from unrelated source at the Of-Broadway Ensemble images to develop an uncanny dramatic Theatre. In 2009, Julia returned to school scene. I search for my “actors” either in to earn her BA in Visual Arts from Columbia vin tage black and white photography or University. She is a Phi Beta Kappa and film stills. Inspired by their body language, a F.B. Doniger Scholarship recipient. I invent a story. Its setting is either taken Julia is heavily influenced by her acting from a 19th century landscape painting back ground; her figurative paintings are or a film still. What attracts me to an image composed narratives that explore the are lurid color temperatures and contrasting idea of the social mask employed in order lighting scenarios. I aim for a beautiful to hide underlying psychological truths. yet ominous atmosphere, creating a world where characters inflict physical harm www.juliamedynska.com onto one another. I intentionally keep facial features and expressions minimal to resist describing an identity. Instead, the actors become archetypes, and their physical activity an allegory for a psycho patho log ical world. Each painting is a horrid secret, where I can choose to lift the curtain.

66 67 Julia Medyńska

I lost my head, 2017 Experiment #2, 2017 Oil on canvas Oil on linen 72″ × 72″ 20″ × 16″ Cy Morgan

Cy Morgan is a living artist participating “His existence was previously proved by in a moment of acute transformation. the accordion, the landscape, the wheedling word. To impose your ABC is a natural thing —hence deplorable. Everybody does it in the form of crystal bluf-madonna, mon e- tary system, pharmaceutical product, or a bare leg advertising the ardent sterile spring… In documenting art on the basis of the supreme simplicity: novelty, we are human and true for the sake of amusement, impul- sive, vibrant to crucify boredom. At the crossroads of the lights, alert, attentively awaiting the years, in the forest… Every spectator is a plotter, if he tries to explain a word (to know!) From his padded refuge of serpentine complications, he allows his instincts to be manipulated. Whence the sorrows of conjugal life.”

— Tristan Tzara

(right, top) Photogravure by artist

(right, bottom) Found digital image

70 71 Cy Morgan

Fragment (blue), 2016 Fragment (magenta), 2016 Documentation Documentation Rocío Olivares

Born in Santiago, Chile in 1990, Rocío Olivares received her BFA from Univer sidad Católica de Chile. Her work has been shown at venues such as Museo de Artes Visuales (Chile); Galería Bicentenario, Estación Mapocho (Chile); Museo de Arte Contemporáneo, Quinta Normal (Chile), among others. She currently is a Fulbright Fellow, stud ying and living in New York City. rociolivares.com

74 75 Rocío Olivares

Ant-farm for One Ant, 2016 Acrylic ant-farm, sand, straws, apple, sponge, and ant Radiant City 2, 2016 9″ × 27″ Drawing markers on paper Photo: Paulina Kim 13″ × 22″ Jenna Basso Pietrobon

Born in Toronto, Jenna Basso Pietrobon Researching and referencing movements was raised in a Roman Catholic Italian as sociopolitically and formally diverse family. Both of her grandfathers were as the reductive essentialism of Minimalism artisans, one of whom worked with clay and even Fascist , and the to manufacture lamps, and the other adroit utili zing and reinvention of discar ded, as a stonemason. She was exposed to every day materials of Arte Povera. industrial materials at an early age, and growing up as a dancer, she often A Roofless Home found herself recreating performances A sense of what we may refer to when we with her siblings in their father’s light ing are a child as 'our first universe,’ the home, factory. In 2008, after receiving her lies at the premise of this body of work, both undergrad uate degree at the University as a physical and a psychological. As Gaston of Western Ontario, she moved to New Bachelard elucidates, “Thanks to the house, York. While immersed in the arch ite- a great many of our memories are housed, ctural world for her family business, and our memories have refuges…All our lives she maintained an active, independent we come back to them in our daydreams… studio practice. I should like to give the name of topoanal ysis to [an] auxiliary of psychoanalysis. Topo anal- www.jennabassopietrobon.com ysis, then would be the systematic psy cho- logical study of the sites of our intimate lives.” Through returning to these physical and psychological refuges, unshrouding them through the removal of their sheltering canopy, I’m invested in the simple osmosis of entwining past memory with present place.

(right) Giovanni Battista Piranesi Imaginary Prisons: The Lion Bas-Reliefs, 1761 Etching

78 79 Jenna Basso Pietrobon

Untitled: From the collection ‘White Powder, White Stone,’ 2016 Untitled: From the collection ‘Blood Feather,’ 2016 Metal and aircraft cables Oil, fabric, and copper wire on canvas 108″ × 30″ × 24″ 312″ × 78” Adam Liam Rose

Adam Liam Rose (b. 1990 / Jerusalem) makes , videos, and installations that investigate the aesthetic systems of power within architecture. Rose’s projects are research-based, often drawing ins pi- ration from political realities in Israel and the . He is interested in ideas around artifact, “history” and col- lective memory, and how these distinct cate gories coalesce into feelings of place or “placeness.” Rose received his BFA degree in 2012 from the School of the Art Institute of Chicago in Fiber & Material Studies. www.adamliamrose.com

82 83 Adam Liam Rose

Man Above the Fog, 2017 Single-channel HD video with sound 5 minutes, looped Emily Ludwig Shafer

Emily Ludwig Shafer (b. 1988 / San I think about banality often, or the uncanny Francisco, CA) was raised in California, accessed through banality, and how it arises Ohio, Nebraska and Kentucky, attended in the places and things we see everyday and undergrad at the Rhode Island School relegate as insignificant and mundane. For of Design, and has been living in New instance, how a disposable cofee cup, a potted York for seven years. plant, or the minor glimmer of a land scape reflected in a glass vase can have an expres- sive capacity, a specificity of time and place. The image to the right is the scene out of my studio window here at Columbia. My view is dominated by this new campus, and has been the backdrop and subject of many recent works. If you can find a window in this exhibition with the shade up, look out— you will be looking at some of my paintings from behind, so to speak. This newly minted architecture that we stand in has been a big grey thing visible through my three windows, framed as a triptych, like the portrait of the elephant in my studio. Any vague relation my work has had to architecture in the past has been heightened over the past year by my day to day montage of this building's erection, and a surrounding view of the city. I constructed a few buildings too, at a much diferent scale. They are semi-carpeted struc tures like the cat trees people put in their homes for cats to dwell in. I've read that cats like to be elevated, and, in order to keep the dom es ticated feline's anxiety levels low, it's best to provide interconnected and lofted spaces. These are for me and you, however, so I welcome you to sit in and walk through the space.

86 87 Emily Ludwig Shafer

A Cup, 2015 My Jungle, 2016 Oil on canvas, acrylic on wood frame Oil on canvas, wood frame 21 ½″ × 18″ 73 ¾″ × 61 ¾″ Lynn Spanke

From Detroit, MI *** Lynn Spanke received her BFA My work is intentionally campy with weird from Wayne State University. contorted triumphs, and explores the way humor and redemption can emerge www.lynnspanke.com from oppressive social roles. I create new mythologies out of subcultural icons. “A painting is always quite moral when it’s Cast as heroes and heroines, the pro- tragic and it presents the horror of the thing tagon ists are placed in sardonic tragedies it depicts.” in which they retain agency while acting — Barbey d’Aurevilly under social imperatives. I embrace stere o types to portray forms of sufering Villains and vixens are used to celebrate in unexpected circumstances, strug gles mis takes, imperfections, and failures and follies revealing the underbelly of cul- in a comedic fashion to tell a story. From tural and social expectations and norms. the sci-fi movie Robot Monster (1953), (right) the ape-monster has been given a TV-head Attr. Antonio and Piero del Pollaiuolo and is attacking Barbarella and the Black The Martyrdom of St. Sebastian, 1475 Queen of Sogo from the movie Barbarella Oil on canvas (1968). Their blonde friend from Terminal 114.8″ × 79.8″ Island (1973) runs in to save them. Barbarella cuts of the Monster’s TV-head as redem- ption, while blue blood spews throughout the painting. The vixens and their friends are then enabled to enjoy the satisfaction and nullification of the pleasure of smoking hookahs while watching television. In another narrative, Wendy Torrence from the movie The Shining (1980) is doing cocaine with the Living Torso from the movie Freaks (1932). The legless and armless Living Torso is depicted using a razor blade with his mouth to cut up the blow on a mirror in a hotel room interior.

90 91 Lynn Spanke

Massacre of the Innocent: Baby’s on Fire Better Throw Him in the Water #4: After redeeming his guitar back from a satanic goat using a machete, Brian Eno from the band Roxy Music is appalled at his naïve baby self. His naïve baby self has been mystically transformed to a Siamese twin and is biting of the head of his twin to have the body to himself. The blonde protagonist from the Massacre of the Innocent: Baby’s on Fire Better Throw Him in the Water #5 (detail): Brian Eno Roxy Music’s self-titled album is reaching to light a match with her enchanted plant arm to set is seeing his naïve baby self lit on a sacrificial pyre that has been ignited by the pin-up from the evil Brian Eno baby on fire., 2017 the Roxy Music album cover., 2017 Oil and acrylic on canvas Oil on canvas 63″ × 115″ 34″ × 58″ Sara Stern

Sara Stern (b. 1989 / New York, NY) (right) Study (in the mirror, near the bathroom, in the tower), 2017 investigates the seams between public Inkjet print and private spaces, people and build ings, 20″ × 22″ users and systems, representations and actualities. Her work spans video (below) Stern on Piano (Stern Piano), 2017 instal lation, sculpture, performance, Sharpie, color laser print of Renzo Piano drawing, dra wing, collage, writing and photo gra - and computer paper phy. Stern received her BA from Harvard 8.5″ × 11″ University and has exhibited and screened Hi (sketch ii), 2017 her work in the US, Austria and Germany, Digital photograph at venues including Anthology Film Dimensions variable Archives, New York; the Museum of the Moving Image, New York; Museums Quartier, Vienna; and the Carpenter Center for the Visual Arts, Cambridge, MA. Most recently, Stern co-founded Tower Gallery where she serves as a cura tor under director Pera Lern.

www.sarastern.net

94 94 95 Sara Stern

Still from My Mansion Project, 2016 Multi-channel video and sculpture installation with sound Dimensions variable Dylan Vandenhoeck

Dylan Vandenhoeck is a painter “Inside and outside are inseparable. and musician from NYC and Pound The world is wholly inside and I am wholly Ridge, NY. He received a BFA from outside of myself.” The Cooper Union (2012). — The Phenomenology of Perception, Maurice Merleau-Ponty I make observational paintings. I paint either on location, from voice memo “Entoptic phenomena: Things perceived phenomeno logical accounts, from prepa- within vision. Not to be confused with ratory drawings/photos/notes, or a hallucinations, ‘which have no structural combination of the three. From life, but foundation and are generally psychological what does life actually look like? It’s far distortions from cortical misinterpretations from straightforward. We are told we can of the world.’” perceive the world but cannot perceive — “Common Entoptic Phenomena our own perception. Those words do not and Their Clinical Significance,” align with lived experi ence. Phenomena Dr. Janet Voke like the sides of the nose, acuity and the vague periphery, stereopsis, propriocep tion, “Optical illusion is optical truth.” an eyebrow or eyelash catching and refrac - — Goethe ting the light, color, the curve inherent to the eye that appears in the horizon, entop tic “The landscape thinks itself in me and I am phenomena like floaters, afterim ages, its consciousness.” visual snow, and pressure phosphenes— — Paul Cézanne all of these are structural, perceptible, and not mere anomalies hovering above (right) Sketch of pressure phosphene and cofee mug, 2017 an objective world. The body is directly complicit in the perception of the world to begin with. Even the most externalist phe nomenology rests on the reciprocity between subject and object. The moments in my life that call out to be painted are those in which I feel most present in the world, when the weight of the ambiguity between inside and outside becomes too intense to ignore.

98 99 Dylan Vandenhoeck

Three Glances, 2017 Plein Air Painting 9, 2016 Oil on canvas Oil on linen 66″ × 96″ 32″ × 38″ Kristin Walsh

Kristin Walsh is a machine making machines in New York, NY.

102 103 Kristin Walsh

Conveyor 3, 2016 Conveyors 2–5, 2016–2017 Aluminum, ceramic die, toy car, and electromechanics Aluminum, cast and found objects, electromechanics, and magnets 60″ × 30″ × 42″

Conveyor 2, 2016 Conveyor 5, 2017 Aluminum, altered match stick, and electromechanics Aluminum, altered candle, nail, antibiotic pill, and electromechanics 42″ × 48″ × 60″ 42″ × 42″ × 118″ Derick Whitson

Derick Whitson (b. 1991 / Mansfield, Fetish is held under the control of the OH) lives and works in New York City. mind and a physical release provides access Earned his BFA at Columbus College to a potential climax. Physical conscious of Art & Design. Working within behaviors provide an awareness in dynamic the realms of Photography, Video, symbolic access to racial and colored and Performance. stimulation. The body is used as a toll and a source to communicate ways of physical stimulation and desire. The individual carries a burden—a social imposition. The status of the gendered form answers associations created as a fetishized object in performance through cultural afiliations. My response to the photographic process stems from my knowledge of my own queer male black body history.

(right) Bed-Stuy, 2015 Archival inkjet print 29″ × 36″

106 107 Derick Whitson

Sissy Guys Only, 2017 Sissy Guys Only, 2017 Archival inkjet print Archival inkjet print 13″ × 19″ 13″ × 19″ Bryan McGovern Wilson

Bryan McGovern Wilson is a transdis ci- hominids are sustained in their potency, plinary artist whose projects investigate if not their specific utility, in the now. In this themes of the body, time, and ritual. way, the creative gesture—manifest in the Through his commitment to materials and thing—does not conform to the dominant process, Wilson looks to find the inter- conditions of spacetime. sections of the hand and mind, wor king These bodythings are witness to the in concert with one another. He received flow of organismic time, drawing from his BFA from the Rhode Island School the past, rooted in the now, transmitting of Design and was a Fellow at the LeRoy into the future. They ask you to consider Neiman Center for Print Studies at who and what you are as a fellow thing in Columbia University. meatspace—what a body stores, projects and communicates—traveling alongside “Ye shall know the truth, and the truth shall us into the unknown. make you mad.” As above, so below. — Aldous Huxley (right, top) Work in Progress shot of Colony Series These bodies represent the capacity for materials to communicate across the (right, bottom) expanses of organismic, geologic and Einstein-Rosen Bridge cosmic time. The drift and flow of language, the fickle shifts in culture, the rise and fall of empires—all curious conditions of our species that these things work to syn the size and anchor in the now. Human modes of understanding and relaying knowledge change at a manic clip, ecologies of infor ma- tion generating their own systems, micro - climates and topologies that require the non-human to translate and retrans mit. We need alternative bodies. Alternative things. The art object, or thing, holds the pos- sibility of exceptionalism to these inevitable problems with time, things and bodies making sense of it all. The gestures of early

110 111 Bryan McGovern Wilson

Visions From the Rose Core, 2017 Fragile Model of the Universe, 2017 Paper, glass, live roses, rubber, silver, copper, LED lamps, and stool Paper, glass, hemp, foam, and aluminum Dimensions variable Approx. 56″ × 36″ × 24 Zou Zhao (Xi Xi)

Working in the medium of performance, Utterances considered bygone by the video, and writing, Zou Zhao explores hegemony contain vital clues of breath ing issues surrounding language and life into rigid structures of con tem po r ary ide ology, subjectivity and translation, existence. Liberalism in American bourgeois through the materiality of the voice. society collapses. In a 1850s throwback, She currently lives and works between the image of capitalist Bornapartist states New York City and Singapore. Zou loom large. Ideology rooted in race and Zhao has recently shown in Singapore sup eriority is advocated through increas ingly Biennale 2016, Luma Foundation, advanced techniques of control around Centre Pompidou, Musée d’Art moderne bor ders, from nation-states to cultural de la Ville de Paris, Artesonje Centre, identities. This is the way the world ends. He Xiang Ning Art Museum 2015, Not with a bang, but a whimper. Indeed, the Camden Art Centre, UK 2013. She is destruc tion has never ceased, but is ongoing... the recipient of Berenice Goodwin Being-together is hard, and lis tening is Award for Performance from Slade impossible without practice. I think of art School of Fine Art, UCL in 2013. as a space for us to think that task collectively. So, I ask myself constantly about strategies and ways of spending time, which speak to me about techniques of survival. I continue to wonder about eficacy, ways to echo sentiments that appears strange, foreign, and other to myself. What techniques of listening are artists able to contribute to the discourse of dis sensus today? I wonder to what degree these practices change the way artists think about work in the studio. And how do ways of working in the studio inform and formulate those aspects of our public life?

(right) Studio as of 3rd March 2017. On the table: Quotations From Chairman Mao-Tse-Tung, Foreign Language Press, Peking, 1967. Inner Chapters of the Yellow Emperor. Video documentation on display: The Apology Workshop. On projection: Socialist Realist Opera film, as part of Communism Appreciation Club.

114 115 Zou Zhao (Xi Xi)

Ritual For an Apology (For Singaporeans), 2016 Live performance at Institute of Contemporary Arts Singapore Singapore Biennale afiliate project 36 minutes Photos: Wei Zhong Deng José Delgado Zúñiga

(b. 1988 / Ventura, CA) As a volunteer For this project I created and took up the at Arts for Action in the city of Oxnard, challenge of combining several systems, CA, Zúñiga served as a youth mentor spaces, and structures in one picture. and art director. The mission of Arts for I am very curious about how diversity can Action is to build and sustain a movement create harmony. My thesis project takes for social, environmental, and economic the form of a large format, mural-sized jus tice, arts education, activism, and landscape. At the far right you have a deity community or ga nization. Working with creating a world out of a melody that primarily "at-risk" youth and families, it hears. The melody then turns into flesh, Arts for Action provided training, infra- color, text, day, night, light, shadow, the structure, leader ship development, moon, the stars, instruments, mountains, and experience imple menting dynamic and trees. interdisciplinary curricula. After four years of volunteer work, Zúñiga attended Otis College of Art and Design, where he received his BFA in 2015. He is now a candidate in the MFA program in painting at Columbia University.

118 119 José Delgado Zúñiga

Remix #1 Frankenstein, 2016 Night light walk all over me, 2016 Oil, glitter, and chalk on canvas Oil, soft pastel, and glitter on canvas 102″ × 67″ 72″ × 60″ (diptych) Message from take place at this site in celebration. I know Gallery. Curating thirty-two thesis projects of Academic Administration, have tena- you will find access to this new work in one exhibition is an astounding feat that ciously led us to where we are today with the Dean exhilarating. Debra has made look easy by giving us the dedicated help of Gavin Browning, There is no greater pleasure for me as such an elegant show. Director of Public Programs and Engage- Dean than attending the thesis events for — Carol Becker The Wallach's excellent staf have ment; Sarah Congress, Executive Assistant the four programs that comprise the School Dean of Faculty also contributed tirelessly to making our to the Deans; Rich Dikeman, Director of the Arts—Visual Arts, Writing, Theatre, Columbia University School of the Arts exhibition. We thank Eddie José Bartolomei, of Enrollment Marketing; Dara Malina, and Film. Exhibitions Manager; Lewis Long, Associate Assistant Director of Alumni Afairs and The School of the Arts ofers our stu - Director of External Afairs; Gerald Sampson, the Artists' Resource Center, Christina dents the depth and breadth of Columbia Administrative Assistant; and Jeanette Rumpf, Director of Communications University’s intellectual traditions, as well Message from the Silverthorne, Associate Director of Finance and Peter Vaughan, Director of Motion as access to New York City’s multifarious and Exhibitions, for this. Picture and Information Technology. cultural events. We invite you to join us Chair of the Visual Our faculty is incredibly passionate and I have saved the most important for a theatre production, film screening, diverse, thank you to each of them. We also acknowledgement for last: our students. poetry, fiction, creative nonfiction, theatrical Arts Program have an amazing program administration Every work of art is a gift that invites us reading, or a visual arts exhibition such as On behalf of the Visual Arts Program faculty and staf, all of whom artfully balance the to test our own sense of reality. As Tanveer this—a spectacular showcase for our I would like to extend our sincere gratitude operation of our program with their ded- Iqbal says, art is the backbone of all that graduating MFA students working in all to Emily Fisher Landau and the entire Fisher icated care and attention to our students we have. It is the way that we know who forms of visual production. family for their longstanding generous and their work. Without them this exhibition we are. We have all been through so much The Thesis exhibition in Visual Arts is sup port of our MFA Thesis Exhibition. Our would not be possible: Alexander Barnett, together in the past two years. It has been the culmination of two years of hard work. program and students have been fortunate Program Assistant; Andrew Brehm, Safety amazing working with you and I can't tell It is the moment at which the students to have had a home in the beautiful Fisher Coordinator; Nathan Catlin, Neiman you how much I look forward to being your (soon to be alumni) choose how to repre- Landau Center for Art the last eight years. Studio and Project Manager; Peter Clough, colleague now as you leave school and sent their creative time at the School of As our Exhibition moves to its new home Assistant Director of Visual Arts Instructional embark on your careers. I also cannot wait the Arts. Twenty-nine artists will graduate in Manhattanville, we acknowledge the Technology; Frank Heath, Safety Manager; to find out with you what the art of our this month. Their work will be varied, extraordinary generosity of H.F. (Gerry) Dana Lok, Visual Arts Assistant; Kai future will look like. unexpected, at times profound, and full and Marguerite Lenfest for their leadership McBride, Photography Facilities Manager; of exuberance. Friends, family, and the art support in the creation of the Lenfest Marie Tennyson, Neiman Center Associate world at large will turn out in multitudes Center for the Arts, as well as the Wallach Director and Gallery Manager; and Rider — Matthew Buckingham for the opening and for the run of the family for the new Miriam and Ira D. Wallach Urena, Senior Manager of Visual Arts Associate Professor exhi bition to see what the next generation Gallery. It is an honor to host the MFA Thesis Facilities. of Professional Practice of artists is working on today. Exhibition in this wonderful new space in Our faculty, staf and students owe a spe - Chair, Visual Arts This is the first time the School of the its inaugural year. cial debt of gratitude to Carrie Gundersdorf, Columbia University School of the Arts Arts will be able to exhibit work in its new We are not only moving into a new our Director of Academic Administration, building, the Lenfest Center for the Arts. facility, we are moving into a new paradigm, who orchestrates the com plexities of our It will be an historic event. and we could not ask for a more inspiring program, making it pos sible for everyone We hope you, too, will visit the show and encouraging guide than Deborah Cullen, to study, teach and work here. Carol Becker, as well as attend the varied events that will Director and Chief Curator of the Wallach Dean of Faculty, and Jana Wright, Dean

122 123 About the Visual Arts About The Miriam School of the Arts Program, Columbia the Curator and Ira D. Wallach

Columbia University School of the Arts University School Deborah Cullen (PhD) is Director and Art Gallery awards the Master of Fine Arts degree Chief Curator of The Miriam and Ira D. The Miriam and Ira D. Wallach Art Gallery in Film, Theatre, Visual Arts and Writing of the Arts Wallach Art Gallery at Columbia University advances Columbia University’s historical, and the Master of Arts degree in Film The Visual Arts Program attracts emerging in the City of New York. While oversee ing critical, and creative engagement with Studies; it also ofers an interdisciplinary artists of unusual promise from around the the Wallach’s expan sion into the Lenfest the visual arts. Serving as both a laboratory program in Sound Arts. The School is world. They comprise a vibrant community Center for the Arts, Cullen has curated and a forum, The Wallach Art Gallery a thriving, diverse community of talented, studying with an exceptional faculty at a Passages: Robert Blackburn (The David ofers opportunities for curatorial practice visionary and committed artists from renowned research institution in the global C. Driskell Center, UMD-College Park, and discourse, while bridging the diverse around the world and a faculty comprised center that is New York City. 2014); Interruption: The 30th Ljubljana appro aches to the arts at the University of acclaimed and internationally renowned Contemporary art has become increas- Biennial of Graphic Arts (MGLC, Slovenia, with a welcome broader public. We present artists, film and theatre directors, writers ingly interdisciplinary. To that end, the 2013); and The Hive: The Third San Juan projects that: are organized by graduate of poetry, fiction and nonfiction, playwrights, Visual Arts Program ofers an MFA degree Poly/Graphic Triennial (Puerto Rico, 2012). students and faculty in Art History & pro du cers, critics and scholars. In 2015, in Visual Arts rather than in specific media. Previously, she served at El Museo Archaeology or by other Columbia scholars; the School marked the 50th Anniversary The two-year studio program, taught by del Barrio, NY, for over 15 years, where focus on the contemporary artists of our of its founding. In 2017, the School opened internationally celebrated artists, allows pro jects included Caribbean; Art at the campus and communities; or ofer new the Lenfest Center for the Arts, a multi-arts students to pursue digital media, drawing, Crossroads of the World (Yale University scholarship on University special collections. venue designed as a hub for the presen- installation, painting, performance, pho- Press, 2012); Retro/Active: The Work of Established in 1986, The Wallach Art Gallery tation and creation of art across disciplines tography, printmaking, sculpture and video Rafael Ferrer (2010, and Monograph by is the University's premier visual arts on the University’s new Manhattanville art. Visit arts.columbia.edu/visual-arts. UCLA Chicano Studies Research Center space. The gallery has presented critically campus. The Lenfest hosts exhibitions, Press, 2012); Nexus New York: Latin/ acc la imed exhibitions, and is a platform per formances, screenings, symposia, American Artists in the Modern Metropolis for a dynamic range of programming and read ings, and lectures that present new, (Yale University Press, 2009); and Arte ≠ publi ca tions that make lasting contributions global voices and per spec tives, as well Vida: Actions by Artists of the Americas to new scholarship. The Wallach Art Gallery as an exciting, publicly acces sible home 1960-2000 (El Museo del Barrio, 2008). also animates other university spaces as for Columbia’s Miriam and Ira D. Wallach opportunity arises. Always free and open Art Gallery. to the public, the Wallach Art Gallery

operates in close relationship to the Depart- ment of Art History and Archaeology, School of the Arts, and the University Libraries (particu larly Avery Architectural and Fine Arts Library), which hold Columbia University’s collections.

124 125 Donors

Columbia University School of the Arts Franklin Feldman, Esq. Gerald M. Rosberg Toby Devan Lewis Fellowship Award is supported in part by contributions from Candia Fisher Lauren Rosenkranz Sun Liangang Arts Fellowship alumni and friends of the arts. These gifts Karen Hesse Flatow Sheryl Rubinstein Edward Mazzella, Jr. Endowed Fellowship provide student fellowships, educational Lee and Maria Friedlander Family Judith Schif LeRoy Neiman Endowed Fellowship programming and awards. For more Foundation Shelly Silver LeRoy and Janet Neiman Fellowship Fund information or to make a contribution Norman M. Galinsky The SJS Charitable Trust Marguerite P. Roche Endowed Fellowship to the School of the Arts, please contact: Ann Gillen Diana T. Soorikian Joan Sovern Endowed Sculpture Award Allison Ginsberg Aaron and Betty Lee Stern Foundation Aaron and Betty Lee Stern Fellowships Roberta W. Albert Nancy Gregory Sally Wilson Tippman Three Arts Club Endowed Fellowship Associate Dean for Development Claire A. Heimarck Sandy Walker TOMS Scholarship 212-854-7724 Gail J. Hood Joan L. Weber Visual Arts Graduate Fellowship [email protected] Philip H. Isles, Jr. Andrew Wilson Eric Javits Family Foundation Hon Chung Woo The Visual Arts Program would like to Susan R. Johnson Andrea Woodner/The A. Woodner Fund extend special thanks to its contributors, Caryl Roberts Kahn Richard Wright and recognize those for whom fellowships Edward J. Kimball and awards have been named: Iona S. Kleinhaut Named Awards and Fellowships The Kraus Family Foundation Artis Fellows Derrick Adams Emily Fisher Landau George Raimes Beach Fund for Graphic Arts Anonymous (3) Caroline Lee Marin Birnbaum Fellowship Artis Dwight E. Lee Faber Birren Fellowships Gary L. Bandy Robert Lehman Foundation Donald C. Brace Student Loan Fund Ramona Bronkar Bannayan Alexandra Lerman Brevoort-Eickemeyer Fellowship and Prize Alexander E. Barnett Toby Devan Lewis/The Toby Fund Lucas T. Carlson Memorial Fund Michael B. Bogdanow Penelope Manzella Quinta Carolina Fund Renee Borkow Jane E. McClintock Helen R. Elser Fellowship Naomi F. Bossom Katherine Mary McVety The Andrew Fisher Fellowship Chester A. Boterf, Jr. Professor Elizaveta V. Meksin Morty Frank Traveling Fellowship Peter A. Boysen Henry & Rose Moskowitz Foundation Ellen Gelman Endowed Fellowship Dr. Kerstin Carlvant-Boysen Laura Mosquera Jacques and Natasha Gelman Joseph B. Breed IV LeRoy Neiman Foundation Fellowship Fund Quentin Richard Caron Professor Aliza K. Nisenbaum Herbert S. Germaise Endowed Fellowship Professor Susanna J. Cofey J. Michael Parish Marshall Glasier Endowed Fellowship Jacob Arthur Collins/ The Morris Jonathan Prince, D.D.S. for the Study of Drawing and Alma Schapiro Fund Riva Ariella D’Arcy Haymen Fellowships Katharine Ann Dufault Ritvo-Slifka/Alan B. Slifka Foundation Dong Kingman Fellowships

126 127 Visual Arts Faculty & Staf Full-Time Faculty Visual Arts Staf Gregory Amenof, Sanford Biggers, Alexander Barnett, Program Assistant Matthew Buckingham, Jon Kessler, Nicola Andrew Brehm, Safety/Workshop López, Leeza Meksin, Aliza Nisenbaum, Coordinator , Shelly Silver, Sarah Sze, Nathan Catlin, Project Manager for the LeRoy Rirkrit Tiravanija, Tomas Vu-Daniel Neiman Center for Print Studies Peter Clough, Assistant Director, Visual Arts Mentors Instructional Technology Mark Dion, David Humphrey, Michael Joo, Carrie Gundersdorf, Director of Academic Ralph Lemon, Suzanne McClelland, Josiah Administration McElheny, Matthew Ritchie, Emily Roysdon, Ben Hagari, Visual Arts Digital Coordinator Rona Yefman Frank Heath, Safety Manager Dana Lok, Visual Arts Assistant Graduate Adjunct Faculty Kai McBride, Photography Facilities Manager Susanna Cofey, Thom Donovan, Marie Tennyson, Assistant Director of the Dana DeGiulio, Kira Lynn Harris, Carla LeRoy Neiman Center for Print Studies Herrera-Prats, Stefani Jemison, Leigh Rider Urena, Senior Manager of Visual Arts Ledare, Sangram Majumdar, Jack McGrath, Facilities & Prentis Hall Sheila Pepe,

Visiting Critics Carol Becker, Natalie Bell, Hannah Black, Nayland Blake, Alejandro Cesarco, , Nicole Eisenman, Nicolás Dumit Estévez, Lia Gangitano, Mark Godfrey, Josephine Halvorson, Marc Handelman, Amanda Hunt, Chrissie Iles, Iman Issa, Jennie C. Jones, Tom Kalin, Sanya Kantarovsky, Ben Lerner, Carrie Moyer, Eileen Myles, Sarah Oppenheimer, Taisha Paggett, Sheila Pepe, Judy Pfaf, Laura Phipps, Lisi Raskin, Lucy Raven, Sara Reisman, Aki Sasamoto, Dana Schutz, Josh Siegel, Sable Elyse Smith, Pamela Sneed, A.L. Steiner, Lynne Tillman, Netta Yerushalmy, Andrea Zittel

128 LENFEST CENTER FOR THE ARTS COLUMBIA UNIVERSITY