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DON’T TAKE THIS THE WRONG WAY DON’T TAKE THIS THE WRONG WAY Tyler School of Art, Temple University MFA and Art History Publication 2016 FOREWORD 1. We gratefully acknowledge Tyler School of Art’s support in making 7. The texts were produced within the last month of our busy academic this catalog possible. If it belongs to anyone, it is them. If we had semesters. At times they reflect our deep familiarity and friendships to fund it, the result would be very different. Truthfully, we're all so with our artist collaborators, while others represent first impressions. busy and broke that it probably would not have happened at all. 8. Can you hear the conversations in these essays? Imagine a class with 2. “It is difficult to bungle a good idea.” academic art historians and artists. It is one class, but also two classes. 3. Don't Take This the Wrong Way mirrors the physical space we 9. This is certainly a trace, but of what? have occupied here at Tyler. Hermetic white pages bound together 2001 North 13th Street 10. There will be no identification of the surprise teacher who brought yet isolating individual works—like the white-box classrooms and Philadelphia, PA 19122 many of us together in theoretical conversations, nor to the well studios of adjacent, independent departments. tyler.temple.edu/2016-mfa-exhibitions known teacher whose reading lists have profoundly shaped our 4. Arranged alphabetically by department and last name, this order work. These and other people matter greatly to the program and EDITORS obscures the relationships and emotional bonds formed in two are the catalyst for many of the essays and works shown here. Filipe de Sousa years of active critique and close proximity. Lauren Graves 11. Each artist occupies four pages with a short essay, so the bound Jennifer Johnson 5. Like graduate school, this catalog is a practice in professionalism. pages feel like a garment rack with 28 dresses hanging all packed William Schwaller Harrison Walker We set aside the procrastination that plagues our course work together. Only the edge of each sleeve is visible. When you look and studio time for meeting deadlines and working with people more closely, one turns out to be a piece of cloth, another is made GRADUATE ARTS COMMITTEE we have little choice over. of paper, and with others there is no telling what's there. Filipe De Sousa, President Michael Taylor, Vice President 6. The images here were due three-quarters of the way through our 12. Jennifer Johnson, Treasurer two-year program, and prior to thesis exhibitions. This means that Kris Kelley, Secretary 13. We are very tired. Kind of in the good achy, physical way, like after Matt Coombs, Social Coordinator in some cases the photos function more like research or sketches a day of hard work when much has been accomplished. Kind of in Harrison Walker, Snackretary of what is to come versus the “final product.” the scary, hollow way, because there’s no knowing what’s next. EDITORIAL CONSULTANTS Gerald Silk Sincerely, Nick Kripal Hester Stinnett Filipe de Sousa Lauren Graves CATALOG DESIGN Jennifer Johnson Krissy Beck Andi Leibowitz William Schwaller Josh Schott Harrison Walker ITP, Printer © 2016 Tyler School of Art All rights reserved Copyright for individual images belongs to the individual artist as listed on each page. No part of this book may be used or reproduced in any manner without written permission from the Artist or Tyler School of Art. 3 Acknowledgments Administrative Support Faculty Dermot MacCormack Hester Stinnett Loo Bain Martha Madigan Interim Dean Philip Betancourt Margo Margolis Nick Kripal Elizabeth Bolman Rebecca Michaels Interim Graduate Program Director Tracy Cooper Leah Modigliani Chad Curtis Susan Moore Therese Dolan Adele Nelson Alice Drueding Dona Nelson Amze Emmons Odili Odita Jane Evans Karen Olivier Philip Glahn Sharyn O’Mara Lorraine Glessner Lisi Raskin Marcia Hall Joe Scorsone Jesse Harrod Vickie Sedman Kelly Holohan Paul Sheriff Marilyn Holsing Mark Shetabi Richard Hricko Gerald Silk Jessica Jane Julius Hester Stinnett Jonathan Kline Jude Tallichet Stephanie Knopp Christian Tomaszewski Nicholas Kripal Ashley West Scott Laserow Byron Wolfe Stanley Lechtzin 4 DON’T TAKE THIS THE WRONG WAY 5 Contents ART HISTORY PAINTING 8 Lauren Graves 58 Yu Hsiu Chen Marina Mandrikova 10 Nicole Restaino 62 Matt Coombs 12 Brittany Strupp Brittany Strupp CERAMICS 66 Corinna Cowles Rebecca McEwen 14 Jennifer Johnson 70 Bryant Girsch Maeve Coudrelle Abigail Johnson 18 Ashley York 74 Molly Metz Rebecca McEwen Jamie Lynn Fredrick FIBERS 78 Andrew Negrey Eileen Owens 22 Ajay Leister Shannon Stearns 82 Stass Shpanin Marina Mandrikova GLASS PHOTOGRAPHY 26 Katie Steinberg Brittany Strupp 86 Kris Kelley Peter Wang 30 Kristen Neville Taylor William Schwaller 90 Stephanie Lynn Rogers Lauren Graves GRAPHIC & INTERACTIVE DESIGN 94 Harrison Walker Maeve Coudrelle 34 Courtney Brown Jennifer Murphy PRINTMAKING 38 Katie Savage Shannon Stearns 98 Amy Cousins Katherine Leius 42 Karen Watkins Jennifer Burd 102 Maya Malachowski Bajak Eileen Owens METALS/ JEWELRY/ CAD-CAM SCULPTURE 46 Bryan Kekst Brown Joseph Kopta 106 Teresa Cervantes Kara Springer 50 Sara Gallo Jennifer Murphy 110 TJ Hunt William Schwaller 54 Ryu-Hee Kim Joseph Kopta 114 Matt Jacobs Lauren Graves 118 Filipe de Sousa William Schwaller 122 Michael Taylor Nicole Restaino 6 DON’T TAKE THIS THE WRONG WAY 7 ART HISTORY the accompanying text. These early catalogues developed a space for interview with the artist; a poem, varying the page design and entry the exchange of material culture, which can help us understand the layout. This catalogue is a representation of the dynamic interaction formation of epistemologies and taxonomies. of artist and scholar, charged with the task of working together to construct an informative entry. By including an actual image or facsimile of an object, the catalogue could now function as a place to house and exchange knowledge, The use of text to caption and supplement the reproductions of the aesthetic and otherwise. Illustrating the work in tandem with the textual artists’ works generates new discourse that enhances encounters title, rather than simply listing the title, might allow an accompanying with these images. While the work represented in the catalogue LAUREN description to be more poetic and interpretative. This new language might also be on display in the final thesis exhibition—viewed helped the audience to evaluate the work based on a wider range of and experienced in three-dimensional space,—the catalogue entry criteria. These catalogues, because of the intersection of image and provides an additional dimension to the understanding of the descriptive text, established the discourse surrounding the art object, work. The combination of photograph and text allows the works GRAVES to be experienced in multiple temporalities, inviting its own which could be located within a commercial entity, linking art and commerce. Additionally, what might be included in a catalogue could type of participatory encounter. Life of a Catalogue: Tracing the Object’s Material History shape how the object would be evaluated individually and as part of This process, located in siphoned geographical and temporal spaces the group in which they were bound together. (similar to older catalogues), creates a product that spans multiple While this history of the catalogue identifies its use within the dimensions. This process, culminating in the production of the commercial realm, I have found that the Tyler MFA catalogue follows catalogue—somewhat of a last hurrah for the experimental and a collegial ethos. It institutes a space to represent the processes and collegial ethos of Tyler—is abetted by its setting within an art school practices of artists bound by temporal (time to complete an MFA) housing studio and scholarly practice, all part of a larger University. and geographical (Tyler School of Art) borders, in conjunction with textual input by MA/PhD art history students. In contemporary arts culture the catalogue has become an integral part of many exhibitions, giving the object a new agency with greater The catalogue has played a significant role in shaping much of art arrangement, alphabetical or other order, and often by the addition possibilities. Excursus, presented at the Institute of Contemporary history by providing information that structures the histories of of brief particulars, descriptive, or aiding identification, indicative Art at the University of Pennsylvania (2011–ongoing), expands the collecting, the chronicling of trends, the creation of institutional of locality, position, date, price, or the like.”1 curatorial possibilities of a catalogue. This multifaceted initiative identity, and the representation of the oeuvre of an artist. The urge to invited artists, designers, publishers, and other cultural producers to Catalogues in the eighteenth century and onwards originally functioned record and index artwork is by no means a new phenomenon, leaving challenge the purpose and design of a typical exhibition catalogue. to serve a literate audience with an appetite stimulated by the growing me to ask why does Tyler School of Art prescribe to this venerable This questioning lives on as Excursus operates as a digital commercial art market and the founding of national and city museums.2 method of documentation? And furthermore, what specific role does catalogue that complicates the possibility of a catalogue ever being Auction houses published many of the catalogues produced during 3 the catalogue play within the landscape of Tyler? truly complete. this time as a way to advertise their goods for sale. Simultaneous to Before investigating those questions, I’d like to briefly explore the the catalogue’s increasingly commercialized production, catalogues This idea of making a catalogue more dynamic and stimulating, history of the fine art catalogue. The most unique trait of a catalogue, became illustrated, which provided visual evidence to complement questioning where this new discourse begins and ends, informs the separating it from a list or inventory, is descriptive textual supplements.