The installations evoke theatrical sets in which objects and space are only suggested. A temporary space for exhibitions that will then be demolished for the construction of affordable housing, it quite bluntly speaks to the context of reinvention. Our main goals are to provide a stimulating and supportive environment in which students can thrive and develop as artists, to foster rigorous critical engagement with contemporary art and other cultural forms, and to produce an ongoing conversation, through work as much as through words, about what we make, how we make it and why. However, while these forms and textures may suggest a certain narrative, it is ultimately left ambiguous. The colors and reflections connote the shimmering surfaces, both digital and architectural, of a globalized cityscape, as well how corporeal forms relate to this quotidian experiences. Identity and the psychological effects of art-making are also forefronted in Sora Kang’s photographs, which reflect a moment of rupture in her personal life which caused her to shift from making small scale paintings to making her own face the surface on which she paints.
The abundance of materials, color and texture in the work reflect the breaking down of boundaries between painting and sculpture, fine art and craft, while also pointing to categories in her life which may attempt to be categorized by society, such as Korean and American culture, and her background as a scientist versus her present work as an artist. Curated by Jasmine Wahi. Statement from the curator: Additional focus is placed on best practices in navigating the visual art marketplace while empowering students to choose making art as a way of life. Our main goals are to provide a stimulating and supportive environment in which students can thrive and develop as artists, to foster rigorous critical engagement with contemporary art and other cultural forms, and to produce an ongoing conversation, through work as much as through words, about what we make, how we make it and why. For the thesis exhibition, Kim has chosen to focus on the emotional impact of these likenesses for his classmates that he create pillows for, including a photo of Faraj and a pillow of her husband, who travels frequently for business. The color black, the monumentality of the scale, and the connection to both earth and architecture, are all embedded in this series of paintings, taking different forms as each individual interpretation of the poem speaks to art making and reception as intuitive and animalistic.
Nadine Faraj’s watercolor paintings on paper reflect a diverse collection of nude bodies taken from porn magazines and other sources. The first of two exhibitions of new work by the class of Drawing from his years of experience as a volunteer art teacher in prisons, Guido Garaycochea’s installation I Became My Crime draws attention to the problem of mass incarceration in the U.
MFA Fine Arts Thesis Exhibition
Curated by Dan Cameron. Phase II speaks to the conflation of images through technological replication, and shoe flattening of history through this. Faraj herself makes an appearance in Hyunho Kim’s work. The paper itself is invoked as an object with edges frayed, and holes worn through or delicately pricked.
MFA Fine Arts
The sound of the docking is heard aloud through speakers, filling up the public space around it, while a recording of the dream is head privately through headphones. At the heart of his work are strategies to evoke a spirituality that can be absent from much contemporary art work—one which is not necessarily connected to religion, but to visceral reactions in the viewers and their own personal histories which are brought to the work.
The abundance of materials, color and texture in the work reflect the breaking down of boundaries between painting and sculpture, fine art and craft, while also pointing to categories theais her life which may attempt to be categorized by society, such as Korean and American culture, and her background as a scientist versus her present work as an artist.
Open Monday through Saturday 10am to 6pm. Stasis by Erica Chan is a graphic novel-in-progress about a girl as she transitions through the phases of life, maintaining relationships and learning about herself.
They have excavated the raw suow of the platform that give these figures such tremendous power: Open hours Wed-Sun, pm. Curated by Lumi Tan.
Tuesday, May 12 6: The song is available on a website that will be maintained until her own death, as well as will be attached to a satellite making a brief trip into space. Viewers are on display in a public space while being hidden in plain sight.
At the center of her white paper sculpture is a building structure covered in cut-outs of windows, behind which multi-colored lights give the theatrical impression of whow dream state. The artist performs as a pastiche of religious deities—whose many arms are always clutching smartphones— on a background of standard Mac desktop wallpapers, designed to relax the office worker and become an acceptable substitute for the outside world.
Jan 18 – Feb 1, The first of two exhibitions of new work by the class of Curated by Gianni Jetzer. Nicholas Little created a collection of digitally created images focused on camouflage, hunting and exploration.
Cycle 1 Exhibiting Artists: Knightsan interactive web comic by Andrew Crafttells the tale of a young knight, his steed and their quest to rid the world of negativity. The process of Rebecca Kuzemchak’s Babel is relatively straightforward; the artist translated the story of Babel Genesis Thesis exhibition of the class of Curated by Mark Ramos and Svs Kuo.
SVA MFA Fine Arts Thesis Exhibition – New Artists – Art & Education
Curated by program coordinators Pamela Council and Alison Kuo. Curated by Jasmine Wahi. They have an obvious physical function, open and close, but hidden they reach beyond their physical form representing something more, magical or unknown. Still from Home Front. In Class ofZhang thesiss a coat of arms for each of her classmates, creating a sprawling map of text and symbolic imagery based on memory and subjective understanding of their work. svx
Artists are curated into the carpet installation, invited to create work inspired by objects that could be found in a hotel room, transforming the room into a collaborative indoor sculpture park. Nicole Rifkin uses religious iconography 215 satire to explore blind faith within feminism.
A sort of uncomfortable harmony of joy and fear, invigorating and soothing at the same time. From this central structure, the sculpture radiates outwards in more abstract forms, suggesting the boundaries of these constructed spaces could easily extend beyond the physical confines into a more psychological realm.