MFAST alumna Eileen Wold is showing her latest work from June 2nd to June 25th 2022 at CORE Gallery in Seattle, WA. Entitled Arctic Amplification, Wold’s body of work visually explores how climate change impacts local landscapes. Reflecting on this question brought the Artist to the scientists at the Pacific Northwest National Laboratory and their research on extended wildfire dry seasons as it relates to jet stream changes caused by Arctic melt.
Wold will be giving an artist talk along with Dr. Hailong Wang who will share his climate research, on June 17th, 5-7pm at CORE gallery.
Entitled ‘Tangible nothingness: An unfinished becoming’, the show will be up from May 6th through June 16th, 2022. The exhibition will examine the intersection of experience and perception. Tangible Nothingness is an opportunity to consider how our interactions within our world shape us and we then shape our world, how we affect and are affected by our environment and by our experiences, translated through psychology, biology/physiology, technology and installation design.
The multi-media exhibition will be designed with consideration of contemporary ways in which we move through our world, notice speed and time, and interact with others around us. The work illustrates and invites the audience to consider how perception and association are the basis for what may be understood.
From April 8 to May 12, the Art Association of Harrisburg is On Site, a sculptural exhibition by MFAST alumna Nicole Herbert.
Herbert’s artistic practice is guided by the question, “How can art be used to call attention to things that we take for granted?” This question is inspired by her anthropology studies as an undergraduate and her time living abroad in Niger, West Africa as a Peace Corps volunteer. Studying other cultures helped cultivate a respect for different perspectives. Living in a foreign country for an extended period of time challenged what Herbert took for granted and provided a new perception of her home when she returned. In keeping with Victor Skhlovsky’s idea of ostranenie, or having the familiar or commonplace made strange, Herbert seeks to highlight overlooked aspects of the everyday in her work.
Excerpt from the artist’s statement
MFASt alumna Mary Stuart Hall is part of a group show called “City as a site” in Atlanta Airport. The Artist’s is showing an installation entitled “As the Crow Flies” comprising a framed 12 ft cyanotype , hundreds of ceramic houses, and a text on the windows that refers to the horizon line.
“A string of moments compressed or deflated into one location, As the Crow Flies considers our place in space and time as one that is shifting and relational. Whether we are moving through space at the speed of flight or the incremental pace of everyday life, our understanding of a moment in time cannot be separated from our spatial encounter. We can move through space, but not time. And yet, it is time that lets us know we have moved, time must be motion, it must be forward motion. Although limiting time to the fluidity of our experience of it, seems reductive. The interval between here and there, then and now is the predominant force that shapes our past, our future, and where both of those are located. Lost, floating between the fields of space and time, a horizon line is an illusion that locates us, anchors us between a here and a there, an up and down. We are here at this time, in this space, for now” Artist’s statement.
The show will be up for at least a year at concourse E in Atlanta Airport. It includes 6 artists dealing with place in and history in several different ways. The curator of the show, Jess Bernhart, was particularly interested in the way the airport was a unique venue to explore the idea of a non-place.
Glacial Movements is a solo show by MFAST alumnus Fritz Horstman, opening March 31at Ishibashi Gallery, Concord, MA . Horstman will be showing several sculptures from his U-Shaped Valley series, as well as new Folded Cyanotypes
“Folded Cyanotypes is a series of two-dimensional objects, which carry the memory of light, three-dimensional space and manual manipulation, and which stem from an interest in natural structure. Made by first folding paper by hand into an intricate pattern, they are then unfolded, and coated with cyanotype photographic fluid. Working in the dark to protect the light-sensitive material, the paper is refolded, then placed in natural light, and sometimes manipulated using mirrors and lenses. The paper is then rinsed in water, and pressed flat to dry. What was exposed to light in the process turns blue when developed, and what was not remains white, furthering the spatial complications by reversing lightness and darkness.”
Excerpt from Artist's statement
Opening reception from 7-8pm on Thursday, March 31
After the opening the gallery is open by appointment until May 14, 2022.
Curated by MFAST alumnus Fritz Horstman, the exhibition Becoming Trees which opens on March 31 at Concord Art, brings together the work of fifteen artists, including MFAST alumnus and faculty member Howard el-Yasin and MFAST alumna Katrina Bello, whose depiction of trees evinces a variety of approaches to empathy for the subject. The body of the tree and the human body are compared and conflated. The threshold between what is human and what is nature is critiqued, massaged, and permeated; poked at with fingers and with branches; hugged and held at arm’s length.
Excerpt from Curator’s statement
March 31 - May 8, 2022
Opening reception from 5:30-7pm on Thursday, March 31
Faculty member Jackie Milad opens a show at Luis de Jesus Los Angeles gallery. This exhibition is the artist’s first solo exhibition with the gallery. The exhibition will be on view from February 26 through April 9, 2022.
Jackie Milad’s practice is motivated by a need to record and tell her personal story, and in doing so, assert stories like her own into the collective history. As a child in a multi-cultural immigrant family, Milad struggled to connect the history of her Honduran and Egyptian ancestry to her life as an American. For this reason, she deeply considers authors of history and how those stories are recorded and shared across generations and borders.
MFAST alumna Cara Ober wins the 2022 Sue Hess Legacy Arts Advocate of the Year Award, presented to individuals whose advocacy efforts have significantly benefited the entire Maryland arts community. Cara Ober is an artist, arts writer, curator, and the founding editor and publisher at BmoreArt, the leading resource for contemporary art and culture in the Baltimore region and a platform for creative and critical discussions. Under the leadership of Cara Ober, B-more Art became the go-to Art publication in Maryland, promoting diversity, supporting emerging artists and makers, and contributing to create an increasingly influential art scene in Baltimore.
“We Are All Swiftly Fleeting” is a virtual exhibition showing recent work from the graduating classes of 2022 and 2023, open from February 1st to June 15, 2022.
The emphasis of the MFAST program is in integrating practice with theory, where students are encouraged to be independent thinkers and researchers who may focus on one specific medium or work across various media. During each 6 week summer intensive, graduate students in their 2nd and 3rd academic years of the MFAST program, are invited to participate in a public exhibition of their work. “We Are All Swiftly Fleeting” is an online iteration of that annual event.
MFAST Director Fabienne Lasserre is participating in the White Columns 'Looking Back' exhibition in NYC from January 22 to March 5, 2022. This 12th iteration of the Annual show, is curated by the New York-based artist Mary Manning. "The 'Annual' exhibitions hope to reveal something of the complexities involved in trying to negotiate – and engage with – New York’s constantly shifting cultural landscapes. The format of the exhibition inevitably encourages highly subjective and personal responses to the realities of viewing art in New York City. The ‘Annual’ exhibition series hopes to illuminate aspects of the specific, yet highly idiosyncratic networks – historical, social, aesthetic, etc. – that individuals follow in an increasingly expansive and fragmented cultural environment. Writing about their experience working on the exhibition Manning said:“As the global pandemic raged on for another year in 2021 I felt that I was still working with confusion and some heartbreak, so the experience of getting to go look at art with a purpose of sorts had a different, more joyful register. I primarily used love as a guiding metric to select these works, being aware of the messy hard work that comes with love and the rigorous emotional work that went into making these pieces.” – Mary Manning, 2022.”
Solange Roberdeau (Class of 2012) is showing her newest work in conversation with London-based Artist Jochen Holz at the Blunk space gallery, Inverness CA, from December 11, 2021 to February 6, 2022.
“Solange and Jochen work across different mediums – drawing and glass – but share a penchant for spontaneity and experimentation. Both artists push the limits of their materials by incorporating and combining innovative processes and techniques. Additions of lusters and gilding, wood rubbings and textures, add depth and richness to their work. For this exhibition, Solange produced three series of drawings using sumi and walnut ink, including a collection of pieces made at the JB Blunk house, which will be presented alongside handmade tableware and neon lights by Jochen. Working with ink, paint, paper, wood, fabric, and nontraditional gilding (applying metal leaf to a surface), Solange creates drawings that reflect the cadences of the natural world and her immediate surroundings."
Zhàomíng Illumination 照明 is a new solo show by MFAST alumna Lindsey Bailey (Class of 2016) at the Pence-Chowning Art Gallery in Campbellsville University, Kentucky.
"Utilizing a variety of mixed media, I have created installations in each of the three spaces at the Pence-Chowning Art Gallery. Each installation is lit at various angles to create shadows on objects and walls. These shadows may be abstract or representational, and are loosely based on my experience living in China for three years. Some of the shadows are outlined with silver tape to reinforce the shapes. Threads of tiny bunting seemingly connect each installation, decorating found objects and discarded items, hiding their wear and tear. My process involves a lot of play and a vibrant energy. I want my work to energize the space or the space to be dynamic"
Excerpt from Bailey's statement
Opening: December 30th, 2021 to January 29th, 2022
Reception and artist talk: January 27th, 5 - 7pm
Workshop for students, January 27th in the afternoon
Philadelphia-based artists Nadia Hironaka and Matthew Suib, known for their fantastical moving images and alternate realities, have created a new immersive film installation for Locust Projects. Field Companion, set in a microcosmic forest, is based loosely on the pine barrens that dot Southern New Jersey near their home. The exhibition opened to the public with a reception on Saturday, November 20, 2021 and is on view through February 5, 2022.
Entitled "Prototype for a Landscape", the show shines a light on the unspoken connections that hold our communities together. Artists Alice Keeney, Mary Stuart Hall and Kate Hooray Osmond explore themes of Power, Transcendence, and Generation within our land. Portraits of healers, agricultural field maps, celestial constellations, and molecular forces reveal the deeper threads that bind us to our land and to each other. With over 50 new artworks that range from small black and white photographs to large, bright printwork and gilded paintings, the show reflects a shared humanity and reveals that there is much more to a landscape when we consider the connections beyond what can be seen. The show is on view at City Gallery October 22 through December 21, 2021.
The emphasis of the MFAST program is in integrating practice with theory, where students are encouraged to be independent thinkers and researchers who may focus on one specific medium or work across various media. MFAST students complete their graduate studies over three years plus one summer. Each year, students come to MICA for an intensive six-week summer residency combined with independent work during the academic year and a return to campus for a short winter session. This exhibition represents the culmination of this rigorous academic and creative endeavor.
The first time I heard of Annette Wehrhahn, I was standing in front of a huge painting of hers at a mutual friend’s apartment. It was an extraordinary work! At once garish, glamorous, cool, and vulnerable—it was total magic. When I finally met her several years later, it was during the preparation for Soloway gallery’s inaugural show, Parts and Labor, in 2010. Annette and three other friends, one of whom, Munro Galloway, was the person who had Annette’s dazzling painting in his living room, had just opened the space in Brooklyn and invited about forty artists to contribute small works. Years later, Annette and I had a two-person show at Safe Gallery in Brooklyn in 2016, and then traveled together to Luxembourg for an exhibition curated by Wallace Whitney at Ceysson & Bénétière Gallery in 2017. I still smile when I remember how much we laughed and the many stories she told me as we worked on those shows. Annette and I had a really strong connection right when we met and have been big fans of each other’s work since.
Annette lived behind Soloway for seven years and was the director for eleven. Her current solo exhibition at the gallery, Human Remains, marks her retirement as director after these many fruitful years.
“The word Cervidae describes the large family of even-toed, hoofed mammals that possess deciduous antlers. Members of the order Artiodactyla, these animals include deer, elk, moose, and the like. Growing up in Texas, Damon Arhos reflects on a variety of expectations for his behaviors and interests. “Hunting, for example, was a strong should”. The artist makes the parallel with expectations for gender and sexuality that he describes as inherently social.
With the solo exhibition Cervidae, Arhos explores gender and sexual identity via the image of a so-called “trophy buck” – one that, for him, represents pride, strength, and honesty. “By repeating this form, I am reenacting and contemplating my own actions – in many cases, those influenced by the beliefs and expectations of others. In addition, as I produce the work, I am imagining how I might have affirmed myself during many uncomfortable moments” notes Arhos.
At the MFAST low-residency graduate program, most of a calendar year is not, in fact, spent on campus. The nature of MICA’s pedagogy also emphasizes the necessity of ongoing practice and its personal stakes—facilitating the exploration of how one makes work across mediums newly encountered or long-beloved, without the intensity of expectation (by students or others) to engage the art market or certain professional art worlds. As layoffs, this year have spread across the art world, with museums closing their doors to limited reopening and so many arts organizations being shuttered altogether, the professional opportunities for being an artist have faltered, and those remaining have searched themselves for why they make art, and how they might continue.
It is a truism that all art is rooted in the spheres of the personal, however during this year, the personal sphere has been a particularly pressured category and space for experience and exploration—with trajectories of life and thresholds upended, one’s a sense of kin wrecked by fear, illness, and grief, and the home now simultaneously an office, studio, ICU and school. And so it is no wonder that the work I saw investigated the personal as a realm organized by architecture, history, and matters of public concern.
Excerpt from an essay by Dr. Jeannine Tang
Growing up in Jamaica, Jacqueline Bishop remembers her grandmother’s delicate bone china crockery that she kept in a large mahogany cabinet and only used on special occasions. Yet, the beautiful and bright images on these plates hid a brutal history of slavery and colonialism bu European countries. In “History at the Dinner Table”, Jaqueline depicts this history on 18 plates by reversing the narrative by juxtaposing somber images of hangings and auctions with vibrant images of fauna and flora. The powerful images are printed on delicate Staffordshire porcelain rivaling in beauty with the European pieces Jacqueline admired at her grandmother’s house as a child.
Paintings have always talked to walls—what’s on, built into, attached to, hung from, and tucked away inside them; how they continually frame, curate, hold, and design our bodies’ activities—but Fabienne Lasserre’s exhibition Eye Contact, at TURN Gallery’s new, Upper East Side location, does even more. These works don’t attempt to erase the space with what they depict, or how. Rather, they absorb it, conversing with architectural niceties, nosing around the edifice’s many attributes, making something akin to an expanded transcript of the visible world in the moment.
Contributed by Sangram Majumdar / I think I met Angelina first through a mutual friend Karla Wozniak when Karla and I were residents at the Sharpe Walentas Residency in 2009. Soon we realized we had other things in common, including MICA, where she went for a brief time. I met Fabienne when she began teaching at MICA, and over many drives between Baltimore and Brooklyn we learned a lot about each other. Both Fabienne and Angelina are also part of a studio group that have been meeting for a while, seeing each other’s work evolve and grow over time. On the occasion of their respective solo exhibitions in New York –– Angelina Gualdoni at Asya Geisberg Gallery and Fabienne Lasserre at Turn Gallery — we sat down via Zoom to talk about their recent work.
City Gallery is honored to present Legacy & Rupture, a group show curated by interdisciplinary artist and educator Howard el-Yasin. Work by artists Nathaniel Donnett, Sika Foyer, Merik Goma, James Montford, Ransome, Kamar Thomas, and Marisa Williamson will be on display from May 1 through May 30.
Legacy & Rupture brings together these seven wonderful contemporary black artists whose work expresses the multiplicity of our identities framed by the everydayness of precarity, trauma, and memories. Critical black consciousness thinker Christina Sharpe reminds us that “the past that is not past reappears, always, to rupture the present.” If rupture, as such, is also understood to mean resistance, black aesthetic practitioners have the capacity to resist the historical materiality (race, class, gender, and sexuality) and the subjectivity of blackness. The artwork in this show explores differences in representation rather than the reproduction of blackness.
TURN Gallery is pleased to present Eye Contact a solo exhibition with Fabienne Lasserre opening March 10th, 2021. This marks Lasserre’s first exhibition at the gallery.
Lasserre’s abstract paintings and sculptures merge the tactile with the visual. Her pieces speak of an “excluded middle”, the part that is left out when things are divided into categories. Object-like and with bodily attributes, they exemplify a shared ground between the animate and the inanimate. Creating painted planes of color that choreograph viewers’ gaze and motion through space, Lasserre examines human movement and perceptual faculties through color, form and abstraction.
April 2 - May 14, 2021
The Maryland Institute College of Art’s low-residency MFA (MFAST) program has always transcended significant distances, bringing together geographically-dispersed artists already established in their practices for intensive sessions of learning and critique. Rather than mediums, approaches, or themes, these artists hold in common the desire to develop their art within a tight community while they maintain their connection to their home locations and careers. The class of 2020, comprised of eight students living from Baltimore to Berlin, also share the unique experience of a pandemic disrupting their plans for a final in-person, on-site gathering and exhibition last summer. Consequently, the period for producing their culminating works has extended into unprecedented months of protests against social injustice, a presidential campaign reflecting extreme divisions in American society, and widespread uncertainty about personal and economic health. - Excerpt from essay by Kristen Hileman
In conjunction with the MFAST Class of 2020 exhibition at VisArts, join us for an outdoor public performance in front of the Gibbs Street Gallery on April 18th at 3PM. This performance will be led by Liz Miller, whose work is on view from April 2 – May 14, 2021 in the Kaplan Gallery.
This performance is a ritual cleansing of one of the sites where three African-Americans were lynched in the 1880s. Sidney Randolph was lynched a block from VisArts. Four performers will ritually cleanse the space. Each performer will serve as a surrogate for one of the lost lives; the creator of the ritual will preside as high priestess over the ceremony. The artist Liz Miller has conceived the ritual cleansing concept in conjunction with her wearable hair sculptures.
Fields at the Strathmore Mansion on view until May 22, 2021. A solo exhibition of recent paintings by MFAST Class of 2021 David Salgado. Includes abstract geometric paintings with a wide range of colors and sizes.
In this selection of works, Salgado explores the process of color mixing and understanding color. The works are created by a repetitive and meditative process that uses color mixing to understand the physical properties of color and the associations we assign to color. The viewer is asked to be saturated by the vast fields of color and explore their own connections with color.
“Home,” especially as it bumps against the private/public, threads my art practice, my community projects, my employment. Most of my childhood objects scatter in basements where my family landed and then eventually vacated, spaces condemned, foreclosed on, or never our own. Perhaps painting is an impulse to re-materialize my personal histories lost over time.
With the Stay At Home order, my murals of 2019 scaled down to the paper works of 2020. The works in home in what remains depicts figures lounging, laying, and leaning on one another in domestic interiors. The feminine figure is prioritized in a tight domestic space by enlarging the female figure and warping into the first-person “i” perspective. The paintings reach for domestic reference points both in content and in material, hanging like drapes and featuring puddling mops & reflective mirrors.
My deepest personal inquiry as a painter right now is how to bridge my paintings back to my community art, my housing advocacy, and my community organizing. For me, the answer lies in the personal, and where my “personal” is orientated within the context of today. What is my relationship to my home space, and how does that confirm or deny traditions of the feminine domestic? My commitment to painting bumps up against my work as a housing advocate and my lived experience of housing insecurity. I am contending with these twin impulses to document, witness, interpret other’s narratives and to unpack my own personal narratives of housing insecurity in an all female family.
Brett Wallace is one of the artists featured in the exhibition “The Question of Intelligence: AI and The Future of Humanity,” curated by Christiane Paul, PhD. The show is on view at the Sheila C. Johnson Design Center, The New School, Parsons, New York City through April 8, 2020. "The Question of Intelligence" features works by artists exploring what intelligence means in the twenty-first century. The exhibition gives a conceptual overview of different ways in which digital art has critically engaged with developments in artificial intelligence, and investigates the social and cultural transformations generated by AI. Together the works in the exhibition examine and juxtapose the ability of humans and machines to acquire and apply skills and knowledge, raising questions of what the encoding of 'intelligence' means for the state of being human.
Brett will participate in a public program with Christiane Paul and artist Tega Brain on April 2, 2020 from 6:30-8:00pm.
Natalia Gonzalez, an MFAST alumna ('11) and Bolivian native, recently participated in two biennials, one in Cochabamba. Bolivia and the other in Santa Cruz, Bolivia.
Natalia contributed "Brecha de mecanografía (Type-Gap)", a montage of colliding texts that stage the multi-valence of words and the possibilities of nonsense, to the sixth version of the Contextos Contemporary Art Biennial, UTOPÍA / DISTOPÍA, held in Cochabamba, Bolivia.
34 MFAST alumni, faculty, and current students tackled an industrial space for the "Left Space" pop-up show on October 5-6, 2019. The empty seventh floor of 1100 Wicomico Street in Baltimore hosted contemporary art installations for two days, with an opening reception on the afternoon of October 5. Bart O’Reilly (‘12)) organized the exhibit, which included the work of the following artists: Damon Arhos (‘17), Erin Barach (‘14), Shannon Brinkley (‘20), Nikki Brooks (‘19), Samia Bzioui (‘22), Sarah Clough (‘17), Joe Corcoran (‘21), Mark Dixon (‘12), Chas Foster (‘12), Lauri Hafvenstein (‘20), Emily Hager (‘19), Christian Hall (‘12), Michelle Lisa Herman (‘20), Fritz Horstman (‘11, Cassandra Kapsos (‘11), Denese King-Ashley (‘21), Suzy Kopf (‘16), Caryn Martin (‘17), Liz Miller (‘20), Katie Morris (‘18), Bart O’Reilly (‘12), Kirk Palmer (‘16), Dianne Pappas (‘12), Jassie Rios (‘11), Rebecca Rivas Rogers (‘18), Solange Roberdeau (‘12), David Salgado (‘21), Rolf Sjogren (‘22), Anna Skarbek (‘18), Wendy Tribulski (‘21), Renee van der Stelt, Elena Volkova (‘07), Ashleigh Wink (‘19), and Jean Yang (‘15).
Congratulations to MFAST Faculty & Mentor Fabienne Lasserre, recipient of the 2019 Guggenheim Foundation fellowship! Lassere received her BFA from Concordia University in Montreal and her MFA from Columbia University in New York and has been a full-time faculty member at MICA since 2007.
Lassere has described her recent work as both "double-sided paintings" and "two-dimensional sculptures" that blur the line between the two categories. This interest in challenging dichotomies is also present in the content of her work, as she explores the idea of an "excluded middle" and views her pieces as "embodying connections between entities usually seen as separate, where bodies, materials, and things are porous."
Fabienne Lasserre makes three-dimensional work that oscillates between sculpture and painting. Fabienne talks about using materials that allow her to change her mind, the process of unthinking and undoing, how color can linger in memory, the indescribable aspects of art, making work that can adapt to its surroundings, a feeling of ease in studio and stubbornness as a guiding principle.