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Get Out The Vote:
Empowering the Women's Vote
Aug 22–Nov 15, 2020
  • About
  • Selected Art
  • Events

Get Out The Vote: Empowering the Women's Vote
Aug 22 - Nov 15, 2020 

VIEW AIGA EXHIBIT ONLINE 

VIEW EXHIBITION PHOTOS ONLINE 


Get Out The Vote Pittsburgh Edition: Pittsburgh Artists and Designers include Stephanie Alona, Fran Flaherty, atiya jones, Ashanté Josey, Christina Lee, Bekezela Mguni, Jayla Patton, Jameelah Platt, Anna Shepperson, and Mary Tremonte

Featured artists have been nominated by local organizations including BOOM Concepts, SisTers PGH, Pullproof, Justseeds, and Casey Droege Cultural Productions.

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2020 marks the centennial of the ratification of the 19th Amendment, granting women the right to vote in 1920. It was the …

Get Out The Vote: Empowering the Women's Vote
Aug 22 - Nov 15, 2020 

VIEW AIGA EXHIBIT ONLINE 

VIEW EXHIBITION PHOTOS ONLINE 


Get Out The Vote Pittsburgh Edition: Pittsburgh Artists and Designers include Stephanie Alona, Fran Flaherty, atiya jones, Ashanté Josey, Christina Lee, Bekezela Mguni, Jayla Patton, Jameelah Platt, Anna Shepperson, and Mary Tremonte

Featured artists have been nominated by local organizations including BOOM Concepts, SisTers PGH, Pullproof, Justseeds, and Casey Droege Cultural Productions.

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2020 marks the centennial of the ratification of the 19th Amendment, granting women the right to vote in 1920. It was the first legislation for women’s voting rights. Not until the passage of the Voting Rights Act in 1965 were voting rights of ALL women protected and enforced.

The Get Out the Vote: Empowering the Women’s Vote poster campaign, in partnership with the League of Women Voters, commemorates this milestone. A core group of invited female designers submitted the first 65 non-partisan posters, to launch the initiative with their vision and voices. Through these posters, these women joined forces to collectively contribute to dialogue in design and society. This moment in history is an incredible opportunity to catalyze women in design, voting rights, citizenship, community, and diversity. The collection aspires to not only support present day voterparticipation, but to also serve as a backdrop for discourse and examination of the history of voting rights and women’s fight for equality.

In addition to exhibiting AIGA’s Get Out the Vote: Empowering the Women’s Vote poster campaign, the Miller ICA will also launch a Pittsburgh presentation of posters.

Featured artists have been nominated by local organizations including BOOM Concepts, SisTers PGH, Pullproof, Justseeds, and Casey Droege Cultural Productions. The PGH Edition will amplify the voices of women, transgender, nonbinary and gender-nonconforming Black, Indigenous and People of Color (BIPOC) artists.

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We are now open to visits from the CMU Community. Bring your CMU ID + check in at our front desk.

NEW HOURS: Tues - Fri 2-6pm 

MAKE A RESERVATION OR SCHEDULE A VIRTUAL TOUR
Email miller-ica@andrew.cmu.edu

REGISTER TO VOTE
www.vote411.org/register

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The AIGA poster initiative continues at aiga.org/vote, where AIGA members can contribute posters to motivate the American public to register and turn out to vote in the 2020 general election, as well as local elections to come. 


The AIGA portion of this exhibition is in partnership with AIGA Design for Democracy and the League of Women Voters

 

 

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Poster Design by Su Mathews Hale
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Poster Design by Beatriz Lozano
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Poster Design by Melinda Beck
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Workshop: Finding Voice to Empower Life in 2020
NOV 12: Truth, Lies, Myth, and Story

Nov 12, 2020, 12:30–1:30pm

Finding Voice to Empower Life in 2020
A Series of 3 Workshops Guided by Jenn Joy Wilson


THURSDAYS 12:30 - 1:30pm

OCT 15: Finding Voice
REGISTER ON ZOOM


OCT 29: Deep & Active Listening / Being Heard
REGISTER ON ZOOM

NOV 12: Truth, Lies, Myth, and Story
REGISTER ON ZOOM

 

Join Reiki Master, Jenn Joy, on a journey through the throat chakra to explore mechanisms for connecting with our authentic voice.

Learn techniques to relax the mind and body, connect with the breath, engage in active listening – to yourself and the world around you - and discover the power of story as an agent for change.

The workshops build upon each other; so it is ideal to take them as a series. However, each individual workshop can be a standalone experience as well.

Closed captioning will be provided.

Workshop: Finding Voice to Empower Life in 2020
OCT 29: Deep & Active Listening / Being Heard

Oct 29, 2020, 12:30–1:30pm

Finding Voice to Empower Life in 2020
A Series of 3 Workshops Guided by Jenn Joy Wilson


THURSDAYS 12:30 - 1:30pm

OCT 15: Finding Voice
REGISTER ON ZOOM

OCT 29: Deep & Active Listening / Being Heard
REGISTER ON ZOOM

NOV 12: Truth, Lies, Myth, and Story
REGISTER ON ZOOM

Join Reiki Master, Jenn Joy, on a journey through the throat chakra to explore mechanisms for connecting with our authentic voice.

Learn techniques to relax the mind and body, connect with the breath, engage in active listening – to yourself and the world around you - and discover the power of story as an agent for change.

The workshops build upon each other; so it is ideal to take them as a series. However, each individual workshop can be a standalone experience as well.

Closed captioning will be provided.

Virtual Tour of
Get Out The Vote AIGA

Oct 21, 2020, 12:30–1:30pm

Virtual Tour of Get Out The Vote AIGA

Tour led by Lydia Rosenberg

WEDNESDAY OCT 21
12:30-1:30pm

REGISTER ON ZOOM

Join us for a virtual tour of Get Out the Vote: Empowering the Women’s Vote poster campaign, in partnership with the League of Women Voters as well as Miller ICA’s PGH edition of non-partisan poster designs from local artists. This non-partisan voter initiative brings together posters from female designers from across the country to commemorate the centennial of the ratification of the 19th amendment in 1920 making it unconstitutional to deny access to voting based on a person’s sex.

The tour will take a closer look at several posters in the exhibition and will be an opportunity to reflect on the history of voting rights in America and the future we hope to shape through the democratic process.

Closed captioning will be provided.

Workshop: Finding Voice to Empower Life in 2020
OCT 15 Finding Voice

Oct 15, 2020, 12:30–1:30pm

Finding Voice to Empower Life in 2020
A Series of 3 Workshops Guided by Jenn Joy Wilson

THURSDAYS 12:30 - 1:30pm

OCT 15: Finding Voice
REGISTER ON ZOOM

OCT 29: Deep & Active Listening / Being Heard
REGISTER ON ZOOM

NOV 12: Truth, Lies, Myth, and Story
REGISTER ON ZOOM

 

 

Join Reiki Master, Jenn Joy, on a journey through the throat chakra to explore mechanisms for connecting with our authentic voice.

Learn techniques to relax the mind and body, connect with the breath, engage in active listening – to yourself and the world around you - and discover the power of story as an agent for change.

The workshops build upon each other; so it is ideal to take them as a series. However, each individual workshop can be a standalone experience as well.

Closed captioning will be provided.

Get Out The Vote: Pittsburgh Poster Launch with Virtual Tour and Artists Q+A

Sep 24, 2020, 5–6pm

Get Out The Vote:
Empowering the Women's Vote
Aug 22 - Nov 15, 2020 


THUR SEPT 24 5-6pm - Pittsburgh Poster Edition Launch + Virtual Exhibition Tour with Artists Q+A
RSVP on Facebook

JOIN ON ZOOM
passcode 116161

Pittsburgh Artists and Designers include: Stephanie Alona, Fran Flaherty, atiya jones, Ashanté Josey, Christina Lee, Bekezela Mguni, Jayla Patton, Jameelah Platt, Anna Shepperson, and Mary Tremonte


REGISTER TO VOTE
www.vote411.org/register

VISIT ONLINE
bit.ly/GetOutTheVoteOnline

We are now open to visits from the CMU Community. Bring your CMU ID + check in at our front desk.
NEW HOURS: Tues - Fri 2-6pm 

MAKE A RESERVATION OR SCHEDULE A VIRTUAL TOUR
Email miller-ica@andrew.cmu.edu

2020 marks the centennial of the ratification of the 19th Amendment, granting women the right to vote in 1920. It was the first legislation for women’s voting rights. Not until the passage of the Voting Rights Act in 1965 were voting rights of ALL women protected and enforced.

The Get Out the Vote: Empowering the Women’s Vote poster campaign, in partnership with the League of Women Voters, commemorates this milestone. A core group of invited female designers submitted the first 67 non-partisan posters, to launch the initiative with their vision and voices. Through these posters, these women joined forces to collectively contribute to dialogue in design and society. This moment in history is an incredible opportunity to catalyze women in design, voting rights, citizenship, community, and diversity. The collection aspires to not only support present day voter participation, but to also serve as a backdrop for discourse and examination of the history of voting rights and women’s fight for equality. 

The poster initiative continues at aiga.org/vote, where AIGA members can contribute posters to motivate the American public to register and turn out to vote in the 2020 general election, as well as local elections to come. 


This exhibition is in partnership with AIGA Design for Democracy and the League of Women Voters

 

Upcoming Programs
Jenny Holzer
Digital Animation Display 6-8pm
Oct 26–29, 2020
  • About

On October 26th-29th, during the week leading up to the 2020 presidential and congressional elections, the Miller ICA will project a selection from Jenny Holzer's YOUVOTE campaign on the outside of our building on CMU's campus. YOUVOTE focuses on key areas through the swing states of Wisconsin, Michigan, North Carolina, and Pennsylvania to champion broad political engagement, issue awareness, and voter empowerment. This project will be visible from Forbes Ave in front of Carnegie Mellon University, and is part of a broader effort to expand the Miller ICA exhibition practices …

On October 26th-29th, during the week leading up to the 2020 presidential and congressional elections, the Miller ICA will project a selection from Jenny Holzer's YOUVOTE campaign on the outside of our building on CMU's campus. YOUVOTE focuses on key areas through the swing states of Wisconsin, Michigan, North Carolina, and Pennsylvania to champion broad political engagement, issue awareness, and voter empowerment. This project will be visible from Forbes Ave in front of Carnegie Mellon University, and is part of a broader effort to expand the Miller ICA exhibition practices to include public spaces during the pandemic when access to our space is limited.

Holzer's medium–whether formulated as a T-shirt, a plaque, or an LED sign–is writing, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters, and continuing through her recent light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor, kindness, and courage. For more than 40 years, Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including 7 World Trade Center, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi.

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Past
No Tutorial: 2020 Senior Art Exhibition
May 15–Jul 24, 2020
  • About
  • Events

No Tutorial
2020 Senior Art Exhibition
Friday, May 15, 2020

This virtual exhibition goes live on May 15!
View the exhibit here.

As the culmination of the undergraduate experience at the CMU School of Art, the senior exhibition presents final projects from graduating students. The title for this year's show, No Tutorial, was a prescient title chosen before spring break, before classes became remote, and before our orderly plans for the exhibition were thrown in disarray by stay-at-home orders. Rising to the challenge of our new online-only world, …

No Tutorial
2020 Senior Art Exhibition
Friday, May 15, 2020

This virtual exhibition goes live on May 15!
View the exhibit here.

As the culmination of the undergraduate experience at the CMU School of Art, the senior exhibition presents final projects from graduating students. The title for this year's show, No Tutorial, was a prescient title chosen before spring break, before classes became remote, and before our orderly plans for the exhibition were thrown in disarray by stay-at-home orders. Rising to the challenge of our new online-only world, seniors self-curated a digital exhibition that takes full advantage of the web-based presentation of their work. This online platform provides insights into each student's artistic practice and facilitates connections between their work in a way that would not be possible in a physical gallery exhibition.

Co-produced by CMU School of Art

 

 

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Virtual Tour 1: No Tutorial CMU BFA Exhibition

May 22, 2020, 1–2pm

Join us for Virtual Tours of our
CMU School of Art 2020 BFA Exhibition!

Facebook event

Friday, May 22, 1pm - ZOOM LINK 
Tour 1 will explore artists in No Tutorial whose works are associated with the themes: Allegorical, Arrivals/departures, Future, Blurring Art and Design, Animation, Language, Remixing, and Image/Photo

Students in Tour 1: Zachary Rapaport, Katie Tender, Sophia Qin, Jacquelyn Johnson, Sarah Kim, Pat Miller Gamble, Keegan Barone, Ava Kling, Sophia Cao, Coco Allred, Anna Telmer, Sophia Videva, Michelle Janco, Sheenu You, Stephen Michaels, Yelim Kim, Nana Cheon, Peter Sheehan, Jackson Bridgers, Ema Furusho

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View Tour 2

 

 

The brilliance of these artists is evident in not only their individual projects, but in their imagining of the format of the exhibition itself and what is possible when the world is suddenly different.

As the culmination of the undergraduate experience at the CMU School of Art, the senior exhibition presents final projects from graduating students. The title for this year's show, No Tutorial, was a prescient title chosen before spring break, before classes became remote, and before our orderly plans for the exhibition were thrown in disarray by stay-at-home orders.

Rising to the challenge of our new online-only world, seniors self-curated a digital exhibition that takes full advantage of the web-based presentation of their work.

Exhibition co-produced by CMU School of Art

Miller ICA - Remote Control
Apr 27–Aug 31, 2020
  • About

Miller ICA - Remote Control

Issue 3.  - Harm, Care, and The Contemporary Imagination  |  7.27.20

Read full ePublication
 
About four months after stay at home orders began, we find ourselves within a globally shifting paradigm. The conditions of the pandemic have converged to emphasize and raise a broader consciousness around the oppressive systems that structure our lives. Led by the organizers of the Black Lives Matter movement, and other activists, the world faces a reckoning.

The inertia of pre-pandemic life helped to enforce the oppressive machinations of day-to-day life, but COVID-19 …

Miller ICA - Remote Control

Issue 3.  - Harm, Care, and The Contemporary Imagination  |  7.27.20

Read full ePublication
 
About four months after stay at home orders began, we find ourselves within a globally shifting paradigm. The conditions of the pandemic have converged to emphasize and raise a broader consciousness around the oppressive systems that structure our lives. Led by the organizers of the Black Lives Matter movement, and other activists, the world faces a reckoning.

The inertia of pre-pandemic life helped to enforce the oppressive machinations of day-to-day life, but COVID-19 has presented a disruption to the steady motion of business as usual. The world as it was has been shut down and this has opened up a liminal space to create something new and better. To repair, recover, and to heal from the effects of the harmful systems we’ve lived within will require care-- for ourselves and for each other, as well as for a world that mostly lives in our imaginations, but is already on the way.

Artists play a key role in conjuring this new world. This issue of Remote Control looks at ideas of how healing plays a role in making art, the way art influences how we shape the world around us, different resources for enacting care in our lives, and how we can better understand how to care for each other and for the planet, so when we emerge on the other side of the pandemic, it is into a something better than what we left.
Remotely wishing you
good health and safety,

Elizabeth Chodos, Miller ICA Director

 

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Issue 2. - What Does Not Bend | 04.27.20

Read full ePublication

In the fall of 2018, the Miller ICA opened the exhibition Paradox: The Body in the Age of AI. It explored how disembodied environments for interaction have proliferated with the emergence of new technologies that provide endless opportunities for social life to play out in virtual space, with no physical contact. The work by the eleven artists included in Paradoxlooked at how this new reality powerfully connects millions of people, while the disembodied nature of these interactions can also facilitate dehumanization. At the core of the exhibition was the premise that the sensorimotor habitat of the body is deeply influential in shaping our awareness, imagination, and socio-political structures. As we are now spending an unprecedented amount of time staying physically distant from each other and taking our personal and professional interactions to the internet, we thought it was a good opportunity to revisit aspects of this exhibition and to think about how it impacts on our bodies, our interactions, and our value systems.

While the total effects of this pandemic will be unknown for a long time, what is clear about this moment is that what cannot bend, morph and reconstitute, will break, or fade away. As artists are responding in real time to the new conditions of creative production, they are reimagining the purpose, value, and distribution strategies for their artwork. They are examining everything from the efficacy of a sculpture that cannot occupy physical space with a viewer to the ability to generate solidarity through dancing in solitude. This is a time where we all have more questions than we do answers, but on the other side of this shut down, we will gain a deeper understanding of what it is exactly that physical distance dismantles, and what the possibilities are of what we build in its place.Remotely wishing you
good health and safety,

Elizabeth Chodos, Miller ICA Director

 

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Issue 1. Functional Openness   | 04.02.20

Read full ePublication

In just a few weeks the foundations and structures supporting our lives have shifted, evaporated, and morphed in unthinkable ways. The COVID-19 pandemic is a threshold: there was life before and a different life after. We are currently occupying an interstitial space where the past does not resemble the present and the future is uncertain. What this moment demands is a radical reconfiguration of our daily lives, routines, and of our personal and professional worlds. Many of us will be drawing on every ounce of our flexibility and resourcefulness to survive this time of massive change. The world has changed and the way we think and live must change as well.

Remote Control is an e-publication that takes shape in this shifting landscape. Its aim is to respond in real time to the complex ramifications of this moment of upheaval by consulting with contemporary artists and disseminating their work and ideas. It will provide moments of reflection, opportunities for connection, and ventures into looking ahead. The goal of this first issue, Functional Openness, is to look at how these changing circumstances require us to adapt how we think, how we live, and how we function.Remotely wishing you
good health and safety,

Elizabeth Chodos, Miller ICA Director


 

 

 

 

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Andrea Zittel: An Institute of Investigative Living
Jan 25–Mar 8, 2020
  • About
  • Events

Andrea Zittel: An Institute of Investigative Living
Curated by Elizabeth Chodos
Jan 25–Mar 8, 2020

Jan 24, 6-8pm: Reception

RSVP on Facebook

Miller ICA is opening a solo exhibition of new and existing work by Andrea Zittel from January 24th-March 8th. 

Andrea Zittel’s work rests at the intersection of art, architecture, and design. A world-builder, Zittel’s practice manifests within her live/work residence A-Z West– an artwork and homestead located on over seventy acres in the California high desert next to Joshua Tree National Park. Since its inception A-Z West has functioned as an evolving …

Andrea Zittel: An Institute of Investigative Living
Curated by Elizabeth Chodos
Jan 25–Mar 8, 2020

Jan 24, 6-8pm: Reception

RSVP on Facebook

Miller ICA is opening a solo exhibition of new and existing work by Andrea Zittel from January 24th-March 8th. 

Andrea Zittel’s work rests at the intersection of art, architecture, and design. A world-builder, Zittel’s practice manifests within her live/work residence A-Z West– an artwork and homestead located on over seventy acres in the California high desert next to Joshua Tree National Park. Since its inception A-Z West has functioned as an evolving testing grounds for living—a place in which spaces, objects, and acts of living all intertwine into a single ongoing investigation into what it means to exist and participate in our culture today. “How to live?” and “What gives life meaning?” are core issues in both Zittel’s personal life and artistic practice. Answering these questions has entailed exploring complex relationships between our need for freedom, security, autonomy, authority, and control—observing how structure and limitations often have the capacity to generate feelings of freedom beyond open-ended choices. This exhibition surveys work spanning many years, and a wide range of media including furniture, sculpture, textiles, ceramics, painting, and two newly commissioned room-sized patterned tile-floors. The exhibition demonstrates the immersive gestalt of Zittel’s all encompassing practice where every material aspect of daily life is examined and her ethos for living guides all action. 

About the Artist

Andrea Zittel was born in 1965 in Escondido California. She received her BFA in painting and sculpture (1988) from San Diego State University, and MFA (1990) in sculpture from the Rhode Island School of Design. In the early 1990s she first established her practice in New York. One of her most visible projects in NY was A-Z East, a small row house in Brooklyn turned into a showroom or testing grounds for her prototypes for living. In 1998 she moved back to the west coast, eventually settling in the High Desert region next to Joshua Tree National Park where she founded A-Z West in 2000. A-Z West is the current site of her studio practice, as well as other living experiments including the Wagon Station Encampment and the Institute of Investigative Living. In 2002 Zittel cofounded High Desert Test Sites, a series of experimental art sites in the High Desert that supports works by both emerging and established artists.

 

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Reception: Andrea Zittel

Jan 24, 2020, 6–8pm

Andrea Zittel: An Institute of Investigative Living
Curated by Elizabeth Chodos
Jan 25–Mar 8, 2020

Jan 24, 6-8pm: Reception

RSVP on Facebook

Miller ICA is opening a solo exhibition of new and existing work by Andrea Zittel from January 24th-March 8th. 

Andrea Zittel’s work rests at the intersection of art, architecture, and design. A world-builder, Zittel’s practice manifests within her live/work residence A-Z West– an artwork and homestead located on over seventy acres in the California high desert next to Joshua Tree National Park. Since its inception A-Z West has functioned as an evolving testing grounds for living—a place in which spaces, objects, and acts of living all intertwine into a single ongoing investigation into what it means to exist and participate in our culture today. “How to live?” and “What gives life meaning?” are core issues in both Zittel’s personal life and artistic practice. Answering these questions has entailed exploring complex relationships between our need for freedom, security, autonomy, authority, and control—observing how structure and limitations often have the capacity to generate feelings of freedom beyond open-ended choices. This exhibition surveys work spanning many years, and a wide range of media including furniture, sculpture, textiles, ceramics, painting, and two newly commissioned room-sized patterned tile-floors. The exhibition demonstrates the immersive gestalt of Zittel’s all encompassing practice where every material aspect of daily life is examined and her ethos for living guides all action. 

About the Artist

Andrea Zittel was born in 1965 in Escondido California. She received her BFA in painting and sculpture (1988) from San Diego State University, and MFA (1990) in sculpture from the Rhode Island School of Design. In the early 1990s she first established her practice in New York. One of her most visible projects in NY was A-Z East, a small row house in Brooklyn turned into a showroom or testing grounds for her prototypes for living. In 1998 she moved back to the west coast, eventually settling in the High Desert region next to Joshua Tree National Park where she founded A-Z West in 2000. A-Z West is the current site of her studio practice, as well as other living experiments including the Wagon Station Encampment and the Institute of Investigative Living. In 2002 Zittel cofounded High Desert Test Sites, a series of experimental art sites in the High Desert that supports works by both emerging and established artists.

Final_FINAL_v36copy.show
CMU School of Design Exhibition
Dec 7–15, 2019
  • About
  • Events

Works by: Asher Blackburn, David Chikowski, Rachel Farn, Anna Gross, Samantha Ho, Rachel Kim, Yoon Young Kim, Janet Lee, Matthew McGehee, Laura Rospigliosi, Max Stropkay, Supawat Vitoorapakorn, Ethan Ye, Maddy Cha, Allissa Chan, Katie Chen, Stephanie Chen, Rachel Glasser, Madison Headrick, Chloe Kim, Sharon Lee, Zoe Lehn, Serina Liu, Robert Managad, Christopher Reyes, Helen Reynolds, William Su, Liam Van Oort, Sherry Wu, Mason Young-Shor, Audrey Zheng, Jackie Chou, Erin Ryan, Christian Walsh, Tammar Zea-Wolfson, Beth Rispoli

Join the CMU Design Seniors as they celebrate their accomplishments and share their most recent projects! …

Works by: Asher Blackburn, David Chikowski, Rachel Farn, Anna Gross, Samantha Ho, Rachel Kim, Yoon Young Kim, Janet Lee, Matthew McGehee, Laura Rospigliosi, Max Stropkay, Supawat Vitoorapakorn, Ethan Ye, Maddy Cha, Allissa Chan, Katie Chen, Stephanie Chen, Rachel Glasser, Madison Headrick, Chloe Kim, Sharon Lee, Zoe Lehn, Serina Liu, Robert Managad, Christopher Reyes, Helen Reynolds, William Su, Liam Van Oort, Sherry Wu, Mason Young-Shor, Audrey Zheng, Jackie Chou, Erin Ryan, Christian Walsh, Tammar Zea-Wolfson, Beth Rispoli

Join the CMU Design Seniors as they celebrate their accomplishments and share their most recent projects! The work featured in the show offers insight into the culmination of four years of study, pushing the boundaries of medium and method in the field of design.​

 

 

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Reception: CMU School of Design 2019

Dec 6, 2019, 6–8pm

CMU 2019 School of Design Exhibit
Dec 7-15, 2019


Dec 6, 6-8pm: Reception
RSVP on Facebook

 

Join the CMU Design Seniors as they celebrate their accomplishments and share their most recent projects! The work featured in the show offers insight into the culmination of four years of study, pushing the boundaries of medium and method in the field of design.​

This Skin of Ours
Oct 12–Nov 17, 2019
  • About
  • Selected Art
  • Events

Curated by Liz Park

Artists: Kader Attia, Matty Davis & Ben Gould, Victoria Fu & Matt Rich, Byron Kim, Kiki Kogelnik, Sara Greenberger Rafferty, Wilmer Wilson IV

We sense the world through this skin of ours. It is the surface that brokers our relationship to external forces and translates them as pain or pleasure. This organ gives each of us an identifiable shape, on which accrues a lifetime of experiences. With its distinct tone and texture, the skin is perhaps where we most frequently deposit ideas of the self and …

Curated by Liz Park

Artists: Kader Attia, Matty Davis & Ben Gould, Victoria Fu & Matt Rich, Byron Kim, Kiki Kogelnik, Sara Greenberger Rafferty, Wilmer Wilson IV

We sense the world through this skin of ours. It is the surface that brokers our relationship to external forces and translates them as pain or pleasure. This organ gives each of us an identifiable shape, on which accrues a lifetime of experiences. With its distinct tone and texture, the skin is perhaps where we most frequently deposit ideas of the self and the other. We test the limits of our physical selves through contact—violence and intimacy both necessitate that our skins touch and communicate. If the skin is a site of injuries and insults that each body has had to bear, it is also a site of potential repair. A scar suggests both past violence and the body’s capacity to enclose the lips of a wound.

The skin is also a site of a formal investigation. It is a medium—an elastic and responsive layer—through which the artists grouped here explore pain and hurt, redemptive possibilities of healing, and the meeting of private and public lives. Imagine that the works in the exhibition comprise a collective sensing organ, pulsing with colors and texture. Imagine also this organ’s capacity to feel and empathize the pain of others as well as the pleasure from tender touch. This is a proposal to collectively feel our way through this world where we will inevitably emerge scarred, but in the shared experiences that allow for a deeper understanding of the other.

Thurs, Oct 31, 6:30pm: Byron Kim
& Carl Phillips in Conversation  in Simmons Auditorium A, Tepper, CMU. Co-sponsored by CMU, Center for the Arts in Society with support from University of Pittsburgh, Center for African American Poetry and Poetics.

Sat, Nov 16, 2pm: Bearance, a performance by Matty Davis & Ben Gould at Braddock Carnegie Library​​

About the Curator
Liz Park is Curator of Exhibitions at UB Art Galleries in Buffalo, New York. She was most recently the associate curator of the 2018 Carnegie International at Carnegie Museum of Art in Pittsburgh. She has curated exhibitions at a wide range of institutions including the Western Front in Vancouver, the Kitchen in New York, the Institute of Contemporary Art in Philadelphia, and Seoul Art Space_Geumcheon. Her writing has been published by Afterall Online, Afterimage, ArtAsiaPacific, Performa Magazine, Fillip, Yishu: A Journal of Contemporary Chinese Art, Pluto Press, and Ryerson University Press, among others. She was a Helena Rubinstein Fellow at the Whitney Independent Study Program in 2011-2012 and Whitney-Lauder Curatorial Fellow at ICA Philadelphia in 2013-2015.

Image credit: Kader Attia, Scars Have the Strange Power to Remind Us that Our Past Is Real, 2015. Chromatic print, 23 5/8 x 35 7/16 inches. Courtesy of the artist.

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Matty Davis and Ben Gould, A Vessel for Carriage, The Chicago River, 2018 Photo by David Kasnic. Image courtesy of the artists.
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Victoria Fu & Matt Rich, Thirteen Holes and Purple Potato, 2018 Dye-printed fabric, installation dimension variable Installation view, Orange County Museum of Art, Costa Mesa, CA Photo by Michael Underwood. Image courtesy of the artists
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Byron Kim, Evidence of a Struggle, 2016 Glue, oil and pigment on canvas, 65 x 53 inches Courtesy of the artist and James Cohan Gallery
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Kiki Kogelnik, Womans Lib, 1971 Silkscreen and color pencil on paper 76.2 x 56.2 cm (30 x 22 1/8 in.) © 1971 Kiki Kogelnik Foundation. All rights reserved. Image courtesy Kiki Kogelnik Foundation

Bearance: a performance by Matty Davis & Ben Gould at Braddock Carnegie Library

Nov 16, 2019, 2–3:30pm

Sat, Nov 16, 2pm:
Bearance,a performance by 
Matty Davis & Ben Gould
at Braddock Carnegie Library
419 Library St., Braddock, PA 15104

RSVP on Facebook

 

Presented as part of "This Skin of Ours," an exhibition on view at the Miller ICA, Oct 12 – Nov 17, 2019, Bearance is the culmination of a two-week residency by Matty Davis + Ben Gould at Braddock Carnegie Library.​

 

Bearance is the second work in an evolving performance collaboration between Matty Davis and Ben Gould that continues the trajectory set forth by "Carriage," a work that radically explores control and empathy. Beginning in solitude in the library’s gymnasium, the performance will use "Carriage" as an energetic and emotional primer, readying new territory for evolving desire and possibility. Harnessing tools learned through Davis and Gould’s commitment to shared challenge and discovery, Bearance aims to unbury and make felt relationships between sensation, structure and meaning.​

 

"This Skin of Ours," curated by Liz Park, features: Kader Attia, Matty Davis & Ben Gould, Victoria Fu & Matt Rich, Byron Kim, Kiki Kogelnik, Sara Greenberger Rafferty, and Wilmer Wilson IV.​

 

Matty Davis is an artist and choreographer originally from Pittsburgh, where his grandfather worked in the steel mills and his father’s plane crashed. He grew up as an athlete, north of the city in Cranberry Township. Often collaborative—with other people, the land, and histories—his multidisciplinary work begins with the body and the mining of physical and psychological resources. Unpredictable relationships and undertakings are navigated through risk, trust, and intimacy in search of personal and interpersonal transformation. His work has been presented recently at Palais de Tokyo, the Art Institute of Chicago, the Max Ernst Museum, and Printed Matter. He has taught movement and performance workshops throughout the US, and is excited to return home for this exhibition.​

 

Ben Gould is a visual and performance artist based in New York. After developing Tourette Syndrome four years ago, his studio practice has come to harbor a growing investment in the body—exploring resistance, the loss of control, and how energy is transformed and transferred. Gould has performed site-specific projects across the country, and his work has been presented by Palais de Tokyo, the Watermill Center, Human Resources, the Chicago Cultural Center, Judson Church, Sala Diaz, Creative Growth, and Open Spaces, among others. He was a 2015 Ox-Bow Fellow, and has been an artist in residence at Queens lab, Kickstarter Headquarters, Lightbox, and Haystack Mountain School of Crafts.

Byron Kim & Carl Phillips in Conversation - In Simmons Auditorium Tepper Building, CMU

Oct 31, 2019, 6:30–8pm

Thurs, Oct 31, 6:30pm:
Byron Kim & Carl Phillips in Conversation
in Simmons Auditorium A, Tepper, CMU. Co-sponsored by CMU, Center for the Arts in Society with support from University of Pittsburgh,Center for African American Poetry and Poetics.
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Byron Kim & Carl Phillips extend a conversation that began in 2017 when the Pulitzer Arts Foundation brought the pair together to discuss Phillips’s poems and Kim’s paintings. Kim’s recent series of bruise paintings, on view as part of the exhibition "This Skin of Ours" at the Miller ICA, were inspired by Phillips’s poem “Alba: Innocence.” ​

 

"This Skin of Ours" is on view October 12 – November 17, 2019 at the Miller ICA. Curated by Liz Park, the exhibition features: Kader Attia, Matty Davis & Ben Gould, Victoria Fu & Matt Rich, Byron Kim, Kiki Kogelnik, Sara Greenberger Rafferty, and Wilmer Wilson IV.​​

 

Byron Kim is an artist whose work sits at the threshold between abstraction and representation, between conceptualism and pure painting. He received a BA from Yale University in 1983 and attended Skowhegan School of Painting and Sculpture in 1986. Among Kim’s numerous awards are the Louise Nevelson Award in Art, American Academy of Arts and Letters, NY (1993), the New York Foundation for the Arts Grant and the Louis Comfort Tiffany Foundation Award (1994), the National Endowment of the Arts Award (1995), the Joan Mitchell Foundation Grant (1997), and the Alpert Award in the Arts (2008).

His works are in the permanent collections of the Albright-Knox Art Gallery, Buffalo, NY; the Art Institute of Chicago, IL; the Berkeley Art Museum, Berkeley, CA; the Blanton Museum of Art, Austin, TX; the Brooklyn Museum of Art, Brooklyn, NY; the Hirshhorn Museum, Washington D.C.; the M+ Museum, Hong Kong; the Museum of Contemporary Art San Diego, La Jolla, CA; the National Gallery of Art, Washington, DC; the Norton Family Collection, Santa Monica, CA; the Pérez Art Museum, Miami; the Wadsworth Athenaeum, Hartford, CT; the Walker Art Center, Minneapolis, MN; the Whitney Museum of American Art, NY; and the Worcester Art Museum, Worcester, MA.​

 

Carl Phillips is the author of 14 books of poetry, most recently Wild Is the Wind(FSG, 2018), winner of a Los Angeles Times Book Prize. Publisher’s Weekly,in a starred review, called it “haunting and contemplative as the torch song for which the collection is named.” His selected poems, Quiver of Arrows: Selected Poems 1986-2006, was published by FSG in 2007. Other books include The Tether (FSG, 2002), winner of the Kingsley Tufts Poetry Award, Double Shadow (FSG, 2012), winner of theLos Angeles Times Book Prize, and Silverchest (FSG, 2014), a finalist for the Griffin Prize. A four time finalist for the National Book Award, and a finalist for the National Book Critics Circle Award, his other honors include the Lambda Literary Award, an Award in Literature from the American Academy of Arts and Letters, the Theodore Roethke Memorial Foundation Poetry Award, the Thom Gunn Award for Gay Male Poetry, and fellowships from the Guggenheim Foundation, the Library of Congress, and the Academy of American Poets, for which he served as Chancellor from 2006-2012.

Intersections: Studio 30th Anniversary Exhibition
Oct 12–Nov 17, 2019
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Featuring artists and collectives including: Addie Wagenknecht, Aman Tiwari + Gray Crawford, Angela Washko, Ayanah Moor, Bill Shannon + Cornelius Henke, Claire Hentschker, CLOUDS, Deep Lab, Jacob Tonski, Jill Miller, Jon Rubin + Dawn Weleski, Suzie Silver + Hilary Harp, Madeline Gannon, Moon Arts Group, Tahir Hemphill, Teenie Harris Archive Investigation, The Last Billboard, and the Warhol Data Recovery Project.​

This 30th anniversary group exhibition celebrates the atypical, anti-disciplinary, and inter-institutional spirit of the Frank-Ratchye STUDIO for Creative Inquiry, the research laboratory of Carnegie Mellon University's College of Fine Arts. …

Featuring artists and collectives including: Addie Wagenknecht, Aman Tiwari + Gray Crawford, Angela Washko, Ayanah Moor, Bill Shannon + Cornelius Henke, Claire Hentschker, CLOUDS, Deep Lab, Jacob Tonski, Jill Miller, Jon Rubin + Dawn Weleski, Suzie Silver + Hilary Harp, Madeline Gannon, Moon Arts Group, Tahir Hemphill, Teenie Harris Archive Investigation, The Last Billboard, and the Warhol Data Recovery Project.​

This 30th anniversary group exhibition celebrates the atypical, anti-disciplinary, and inter-institutional spirit of the Frank-Ratchye STUDIO for Creative Inquiry, the research laboratory of Carnegie Mellon University's College of Fine Arts. The exhibition will highlight intersections of the arts, science, technology, and culture through a survey of cutting edge projects, cultivated at the STUDIO and developed by national and international artists. 

 

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Morehshin Allahyari: South Ivan Human Heads
Aug 5–Oct 17, 2019
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South Ivan Human Heads are an extension of Allahyari’s Material Speculation: ISIS series. The heads in this series are reproductions of reliefs that were originally located at the ruins of Hatra, an ancient city in Iraq. Hatra was one of the ancient sites targeted by ISIS and in 2015 a video was released of a fighter shooting these heads with an AK-47. These heads were above ground and visible in ancient times. They survived for thousands of years in the open air. Each 3D printed sculpture contains a USB drive, …

South Ivan Human Heads are an extension of Allahyari’s Material Speculation: ISIS series. The heads in this series are reproductions of reliefs that were originally located at the ruins of Hatra, an ancient city in Iraq. Hatra was one of the ancient sites targeted by ISIS and in 2015 a video was released of a fighter shooting these heads with an AK-47. These heads were above ground and visible in ancient times. They survived for thousands of years in the open air. Each 3D printed sculpture contains a USB drive, which the viewer can connect to in order to download Morehshin’s openly available research material (images, maps, pdf files, and videos) in addition to the 3D printable object file of the piece King Uthal, one of the reconstructions from her Material Speculation: ISIS series.

This work simultaneously grapples with the reparative and destructive uses of technology in an ever increasingly networked and surveilled world. Her work investigates questions of how technology is used to create current political events, while restoring historical and cultural artifacts. At the heart of this work is an inquiry into the power of technological advances and how they can be used for generative or ruinous goals depending on the ethics of the individuals who deploy them. This is what Allahyari has called “Digital Colonialism”; a term which describes the tendency for information technologies to be deployed in ways that reproduce colonial power relations. 

This installation is part of a partnership between CMU’s K&L Gates Endowment for Ethics and Computational Technologies and the Miller Institute for Contemporary Art. This partnership advances public discourse around the ethical implications of AI and new ubiquitous technologies through an engagement with contemporary art. 

Morehshin Allahyari was born and raised in Iran and moved to the United States in 2007. She is an artist, activist, educator, and an organizer. Her work deals with the political, social, and cultural contradictions we face every day. Morehshin has been part of numerous exhibitions, festivals, and workshops around the world including Venice Biennale di Archittectura, New Museum, The Whitney Museum of American Art, Pompidou Center, Musée d’art contemporain de Montréal, Tate Modern, Queens Museum, Pori Museum, Powerhouse Museum, Dallas Museum of Art, and Museum für Angewandte Kunst. She is the recipient of the Leading Global Thinkers of 2016 Award 
by Foreign Policy magazine.

On view at CMU, College of Fine Arts, Great Hall 

​October 17, 5-6:15pm - Steiner Lecture Series: Morehshin Allahyari
Location: Frank-Ratchye STUDIO for Creative Inquiry, CMU CFA 111​
Lecture presented by Frank-Ratchye STUDIO for Creative Inquiry, co-sponsored by Miller ICA.
This lecture is made possible by the Sylvia and David Steiner Speaker Series
 

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Steiner Lecture Series: Morehshin Allahyari at STUDIO

Oct 17, 2019, 5–6:15pm

October 17, 5-6:15pm

Steiner Lecture Series: Morehshin Allahyari


Location: Frank-Ratchye STUDIO for Creative Inquiry, CMU CFA 111​

 

Lecture presented by Frank-Ratchye STUDIO for Creative Inquiry, co-sponsored by Miller ICA.
This lecture is made possible by the Sylvia and David Steiner Speaker Series​

An Atlas of Commoning
Jun 29–Sep 22, 2019
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An Atlas of Commoning: Spaces of Collective Production
An ifa exhibition in collaboration with ARCH+ 

The international premier is presented in Pittsburgh in cooperation with the Carnegie Mellon University School of Architecture at the Miller ICA.

Facebook, Airbnb and other companies whose business models are based on the commercialization of social relationships, have transformed words like “community,” “sharing” or “we” into empty concepts that no longer represent solidarity or a progressive social agenda, but rather form the basis for an emerging platform capitalism. This economic development is accompanied by a global political shift …

An Atlas of Commoning: Spaces of Collective Production
An ifa exhibition in collaboration with ARCH+ 

The international premier is presented in Pittsburgh in cooperation with the Carnegie Mellon University School of Architecture at the Miller ICA.

Facebook, Airbnb and other companies whose business models are based on the commercialization of social relationships, have transformed words like “community,” “sharing” or “we” into empty concepts that no longer represent solidarity or a progressive social agenda, but rather form the basis for an emerging platform capitalism. This economic development is accompanied by a global political shift fueled by traditional community notions of identity and affiliation, exclusion and discrimination. Against this background, the exhibition and publication project An Atlas of Commoningaims to recapture and redefine the open and emancipatory space of “we” as a concept. The project focuses on urban commons—here commons are to be understood as a set of practices dealing with the collective production and management of (material and immaterial) resources and spaces in general, rather than with the resources themselves, hence “commoning,” the verb, takes center stage.Commoning is a process of dealing with differences and conflicts between the individual, the community and society. A process of spatial organization in the relations between production and reproduction, ownership and access to resources. A process that brings together solidarity networks and redefines individual and collective rights. The project questions the prevailing social and political structures and seeks new forms of collective, yet pluralistic, governance.

The starting point of the exhibition is an Atlas, a visual archive with a diverse selection of contemporary and historical case studies­. The Atlas, which is being developed by ARCH+ in collaboration with the School of Architecture at Carnegie Mellon University, will consist of 25 projects related to commoning.­ This initial selection is being complemented with new ones, added in collaboration with local partners as the exhibition tours from city to city. As a result, the “Atlas of Commoning” continues to grow as an open knowledge archive, producing an invaluable documentation of local grassroots projects from all over the world. 

From the Atlas, the exhibition develops along three axes of investigation, each one illustrating the tension inherent in practices of sharing. The resulting chapters are: Ownership – Access, Production – Reproduction, Right – Solidarity. Artistic works open up further access to the subject. Part of the exhibition is an edition of ARCH+ magazine that delivers a broad insight into important theoretical positions and practical examples.   

The Urban Design program at the CMU School of Architecture is hosting the international premier of the travelling exhibition after its German premier in Berlin last year. The Pittsburgh edition of the exhibition includes local practices of commoning and examples of citizen-led urban regeneration. Throughout the summer, a series of workshops, discussions and tours will provide a platform for the exchange of experiences, knowledge and skills about gaining agency in collectively producing the environment and communities we live in. In times of rampant cynicism, An Atlas of Commoningshows that there are boundless hopeful alternatives—alternatives that are already in the making all around us.

PUBLIC EVENTS

Opening: Sat. June 29, 5:30-7:30pm 
Open Space Workshop: Commoning Pittsburgh, Sat. June 29, 1-5:30pm

Salon Series: Neither Public, Nor Private 
Facilitator, Dana Bishop-Root Supported by The Heinz Endowments
Thurs. July 18, 6-8pm

Symposium: Designing for a Commons Transition
A forum for exchange between local and international practices of commoning
Thurs. Sept. 19–Sat. Sept. 21

Curatorial team: Anh-Linh Ngo, Mirko Gatti, Christian Hiller, Max Kaldenhoff, Christine Rüb (ARCH+); Elke aus dem Moore (ifa); Stefan Gruber (CMU)

Research partners: School of Architecture, Carnegie Mellon University Pittsburgh and and Technische Universität Berlin, Institute of Architecture, Prof.  Rainer Hehl

Curators of Pittsburgh edition: Stefan Gruber, Elizabeth Chodos (CMU)

With contributions from: 
Morehshin Allahyari & Daniel Rourke; clemens krug architekten & Bernhard Hummel Architekt (Team: Oliver Clemens, Anna Heilgemeir, Bernhard Hummel, Emma Williams); Assemble & Granby Workshop; Iwan Baan; Brandlhuber + Christopher Roth; DAAR Decolonizing Architecture Art Residency; Theo Deutinger; Eureka; Manuel Herz; Sandi Hilal, Philipp Misselwitz & Anne Misselwitz; Immo Klink; Kotti & Co; Kuehn Malvezzi; Angelika Levi; Golan Levin (F.A.T. Lab) & Shawn Sims (Sy–Lab); Makoko Waterfront Community; Tukano Maloca; Miethäuser Syndikat; National Union of Sahrawi Women; NLÉ Architects; PlanBude Hamburg, Svenja Baumgardt & Sylvi Kretzschmar; Common Ground e.V. & Nachbarschaftsakademie; Quest – Florian Köhl / Christian Burkhard; Martha Rosler; Harald Trapp / Robert Thum; Urban-Think Tank, Chair of Architecture and Urban Design ETH Zürich; WiLMa GmbH; Samson Young.

The “Atlas of Commoning” also includes works by: 
Airbnb; ARGE ifau | HEIDE & VON BECKERATH; Atelier d’Architecture Autogérée; BARarchitekten; Bau- und Wohngenossenschaft Spreefeld Berlin eG; Carpaneto Schoeningh Architekten; City in the Making; FATkoehl Architekten; Die Zusammenarbeiter; El Campo de la Cebada; Genossenschaft Kalkbreite; Genossenschaft Kraftwerk1; Go Hasegawa and Associates; IBeB GbR; Müller Sigrist Architects; Refugee Accommodation and Solidarity Space City Plaza; Schneider Studer Primas; Stiftung House of One – Bet- und Lehrhaus Petriplatz Berlin; Gemeinde Yoshino; ZUS [Zones Urbaines Sensibles]. Pittsburgh initiatives include Breathe Project; City of Asylum; Community Forge; Garfield Community Farm; General Sisters, General Store; Latham Street Commons; Manchester Bidwell Corporation; The Braddock Carnegie Library.

Drawing collages by:
Students from Carnegie Mellon’s Master of Urban Design program, and the studio “Commoning the City” co-taught by Stefan Gruber and Jonathan Kline: Ernest Bellamy, Tamara Cartwright, Nickie Cheung, Yang Gao, Jianxiao Ge, Yidan Gong, Chase Kea, Rebecca Lefkowitz, Sai Narayan Ramachandran, Paul Moscoso Riofrio, Deepanshi Sheth, Sujan Das Shrestha, Gautam Thakkar, Aditi Thota, Yirui Wang, Alvin Wong, Chi Zhang, Chun Zheng, Lu Zhu.

Architectural models by:
Students from the Technical University Berlin taught by Rainer Hehl: Aaron Barnstorf, Sarah Baur, Sebastian Georgescu, Alexander Grams, Mirko Hahn, Nicolas Herre, Gerrit Jasper, Rosanna Just, Jakob, Köchert, Laura Lüttje, Miriam Möser, Stefan Neumaier, Daiki Ori, Canan Öztekin, Luisa Pöpsel, Nadine Reppert, Selina Schlez, Hans J. Walter (TU Berlin), as well as Martin Edelmann (ifa) and Quest – Florian Köhl / Christian Burkhard.

The production of the Pittsburgh edition was supported by the Graham Foundation for Advanced Studies in the Fine Arts, and the research by CMU’s School of Architecture Margaret B. Gruger Fund, the Berkman Faculty Develop-ment Fund and the Fund for Research and Creativity of the College of Fine Arts.


ifa (Institut für Auslandsbeziehungen)
The ifa (Institute for Foreign Cultural Relations) is the oldest German intermediary organization and celebrated its 100th anniversary in 2017. It is committed to the peaceful and enriching coexistence of people and cultures worldwide. Its programs pursue five core topics: Art & Culture Exchange, Civil Society Dialog, Flight & Migration, Culture & Conflict and Europe. The ifa promotes the exchange of art and culture in exhibition, dialog and conference programs and acts as a competence center for foreign cultural and educational policy. The institute is globally networked and focuses on long-term, partnership-based cooperation. It is funded by the Federal Foreign Office, the state of Baden-Württemberg and the state capital Stuttgart. 
www.ifa.de/en

ARCH+
ARCH+ is Germany's leading discursive journal for architecture and urbanism. The name is also a policy: more than architecture. Each quarterly issue details a specific topic, picking up on current discussions from other disciplines with regard to the cultural and political frameworks of spatial production. Founded in the wake of the 1968 movement, the focus of ARCH+ is the critical reflection of the social aspects of architecture. www.archplus.net

© Institut für Auslandsbeziehungen e. V. (ifa), Stuttgart, Germany; artists; authors

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An Atlas of Commoning - Curator's Tour - Sept. 21

Sep 21, 2019, 11am–12pm

Curator‘s Tour
Sat. Sept. 21, 11-12pm

Site visits to local projects
​12-1:30pm

 

Exhibition information

An Atlas of Commoning: 
Spaces of Collective Production

An ifa exhibition in collaboration with ARCH+ 
June 29–Sept, 22

 

 

Designing for a Commons Transition Symposium

Sept 19 - 21, 2019
RSVP on Facebook

A symposium in conjunction with the travelling exhibition An Atlas of Commoning by ifa (Institut für Auslandsbeziehungen) in collaboration with ARCH+ and the CMU School of Architecture on display at the Miller ICA.

Thur. Sept 19, 6:30pm
Teddy Cruz and Fonna Forman: Unwalling Citizenship at CMU Kresge Theater CFA
Sylvia and David Steiner Lecture Series in Creative Inquiry in collaboration with the CMU School of Architecture lecture series.
View more details here.

Fri. Sept 20, 9am-4:30pm
Guest Lectures & Presentations in CMU College of Fine Arts 214
View full program here.

Sat. Sept 21, 11am
Curator and Artist’s tour of An Atlas of Commoning at Miller ICA
Sat. Sept 21, 12:30-3:30pm
Bus Tour to local initiatives including
Food Coop (option to buy lunch), Construction Junction, Center for Creative Reuse and Community Forge. Tours and discussions with Francis Carter and Kate Safin, Mike Gable, Patrick Cooper.
RSVP on Eventbrite for limited Tour Bus Seats.
 

This symposium brings together diverse perspectives exploring the role and responsibility of architecture and urban design in the struggle for more pluralistic, radically democratic and just cities. At a time of Pittsburgh’s renewed growth, the commons perspective urges us to revisit the city's community design legacy, and explore how it might be reinvigorated in the face of rising inequity.

Speakers include Teddy Cruz and Fonna Forman, Renée Tribble, Kristin Hughes and Mary-Lou Arscott, Tobias Armborst, Antje Steinmuller, Karen Abrams, Anne-Marie Lubenau, Terri Baltimore, Stefani Danes and Christina Howell. Organized and curated by Stefan Gruber and Jonathan Kline.

This event is made possible through the generous support the Graham Foundation for Advanced Studies in the Fine Arts, the Frank-Ratchye STUDIO for Creative Inquiry and the Sylvia and David Steiner Lecture Series, the Carnegie Mellon University and ifa (Institut für Auslandsbeziehungen).​

An Atlas of Commoning - Site visits to local projects

Sep 21, 2019, 12–1:30pm

Curator‘s Tour
Sat. Sept. 21, 11-12pm

Site visits to local projects
12-1:30pm

 

Exhibition information

An Atlas of Commoning: 
Spaces of Collective Production

An ifa exhibition in collaboration with ARCH+ 
June 29–Sept, 22

 

Designing for a Commons Transition Symposium

Sept 19 - 21, 2019
RSVP on Facebook

A symposium in conjunction with the travelling exhibition An Atlas of Commoning by ifa (Institut für Auslandsbeziehungen) in collaboration with ARCH+ and the CMU School of Architecture on display at the Miller ICA.

Thur. Sept 19, 6:30pm
Teddy Cruz and Fonna Forman: Unwalling Citizenship at CMU Kresge Theater CFA
Sylvia and David Steiner Lecture Series in Creative Inquiry in collaboration with the CMU School of Architecture lecture series.
View more details here.

Fri. Sept 20, 9am-4:30pm
Guest Lectures & Presentations in CMU College of Fine Arts 214
View full program here.

Sat. Sept 21, 11am
Curator and Artist’s tour of An Atlas of Commoning at Miller ICA
Sat. Sept 21, 12:30-3:30pm
Bus Tour to local initiatives including
Food Coop (option to buy lunch), Construction Junction, Center for Creative Reuse and Community Forge. Tours and discussions with Francis Carter and Kate Safin, Mike Gable, Patrick Cooper.
RSVP on Eventbrite for limited Tour Bus Seats.
 

This symposium brings together diverse perspectives exploring the role and responsibility of architecture and urban design in the struggle for more pluralistic, radically democratic and just cities. At a time of Pittsburgh’s renewed growth, the commons perspective urges us to revisit the city's community design legacy, and explore how it might be reinvigorated in the face of rising inequity.

Speakers include Teddy Cruz and Fonna Forman, Renée Tribble, Kristin Hughes and Mary-Lou Arscott, Tobias Armborst, Antje Steinmuller, Karen Abrams, Anne-Marie Lubenau, Terri Baltimore, Stefani Danes and Christina Howell. Organized and curated by Stefan Gruber and Jonathan Kline.

This event is made possible through the generous support the Graham Foundation for Advanced Studies in the Fine Arts, the Frank-Ratchye STUDIO for Creative Inquiry and the Sylvia and David Steiner Lecture Series, the Carnegie Mellon University and ifa (Institut für Auslandsbeziehungen).​

An Atlas of Commoning - Symposium: Designing for a Commons Transition

Sep 19, 2019, 12–6pm

Symposium: Designing for a Commons Transition
Thurs. Sept. 19–Sat. Sept. 21


A forum for exchange between local and international practices of commoning

 

Designing for a Commons Transition SymposiumSept 19 - 21, 2019
RSVP on Facebook

A symposium in conjunction with the travelling exhibition An Atlas of Commoning by ifa (Institut für Auslandsbeziehungen) in collaboration with ARCH+ and the CMU School of Architecture on display at the Miller ICA.

Thur. Sept 19, 6:30pm
Teddy Cruz and Fonna Forman: Unwalling Citizenship at CMU Kresge Theater CFA
Sylvia and David Steiner Lecture Series in Creative Inquiry in collaboration with the CMU School of Architecture lecture series.
View more details here.

Fri. Sept 20, 9am-4:30pm
Guest Lectures & Presentations in CMU College of Fine Arts 214
View full program here.

Sat. Sept 21, 11am
Curator and Artist’s tour of An Atlas of Commoning at Miller ICA
Sat. Sept 21, 12:30-3:30pm
Bus Tour to local initiatives including
Food Coop (option to buy lunch), Construction Junction, Center for Creative Reuse and Community Forge. Tours and discussions with Francis Carter and Kate Safin, Mike Gable, Patrick Cooper.
RSVP on Eventbrite for limited Tour Bus Seats.

 

 

This symposium brings together diverse perspectives exploring the role and responsibility of architecture and urban design in the struggle for more pluralistic, radically democratic and just cities. At a time of Pittsburgh’s renewed growth, the commons perspective urges us to revisit the city's community design legacy, and explore how it might be reinvigorated in the face of rising inequity.

Speakers include Teddy Cruz and Fonna Forman, Renée Tribble, Kristin Hughes and Mary-Lou Arscott, Tobias Armborst, Antje Steinmuller, Karen Abrams, Anne-Marie Lubenau, Terri Baltimore, Stefani Danes and Christina Howell. Organized and curated by Stefan Gruber and Jonathan Kline.

This event is made possible through the generous support the Graham Foundation for Advanced Studies in the Fine Arts, the Frank-Ratchye STUDIO for Creative Inquiry and the Sylvia and David Steiner Lecture Series, the Carnegie Mellon University and ifa (Institut für Auslandsbeziehungen).

An Atlas of Commoning - Curator's Tour - Aug 24

Aug 24, 2019, 12–1pm

Curator‘s Tour
Sat. July 27, 12-1pm
Sat. Aug. 24, 12-1pm
Sat. Sept. 21, 11-12pm

 

Exhibition information

An Atlas of Commoning: 
Spaces of Collective Production

An ifa exhibition in collaboration with ARCH+ 
June 29–Sept, 22

An Atlas of Commoning - Curator's Tour - July 27

Jul 27, 2019, 12–1pm

Curator‘s Tour
Sat. July 27, 12-1pm
Sat. Aug. 24, 12-1pm
Sat. Sept. 21, 11-12pm

 

Exhibition information

An Atlas of Commoning: 
Spaces of Collective Production

An ifa exhibition in collaboration with ARCH+ 
June 29–Sept, 22

 

 

Salon Series: Neither Public, Nor Private

Jul 18, 2019, 6–8pm

Salon Series: Neither Public, Nor Private
Thurs. July 18, 6-8pm

RSVP on Facebook

Respondents: ​Bekezela Mguni, ​Betty Marin, ​Emma Hedditch
READ Research and References from our Guest Respondents.​

Facilitator: Dana Bishop-Root

Supported by The Heinz Endowments

 

In concert with the Miller ICA's current exhibition, An Atlas of Commoning, Neither, Public Nor Private will be a conversation that gives space to define both implicit and explicit rules around what makes public, and what makes private - while interrupting a binary of public and private to learn about how we practice, survive and locate our selves/community in all of the spaces in between. From multiple life experiences and disciplines we will ask how many publics can exist within a public and how many things become private when we assert a singular construction of public?

The Miller ICA Salons are facilitated topical conversations that include the general public and guest respondents whose life practice explores the chosen topic. The goal of these Salons is to engage in conversation and exchange across difference and discipline in free and public space. The 2019 Miller ICA Salons are a co-organized by the Miller ICA and facilitator, Dana Bishop-Root.

 

Free + open to the public 

 

Bios

Emma Hedditch (born in 1972, GB) lives in New York. Hedditch has worked with Cinenova, a feminist film and video distributor (1999–present), Copenhagen Free University (2001–2008), No Total, a site for performance (2012–2017) and Coop Fund, a member organized funding cooperative (2018- present). Hedditch has participated in group exhibitions including Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff, Artists Space (2018), Finesse, curated by Leah Pires, Wallach Art Gallery, New York (2018) and recently completed the project +493024345953 at KW in Berlin. Hedditch has published texts in Afterall, Mute Magazine, and Art Monthly, and contributed to the books Rereading Appropriation (If I Can’t Dance, 2015) and self-published work includes A Political Feeling, I Hope So, Coming to Have a Public Life, Is it Worth it? and the e-book of scripts, I Don’t Want you to Work as Me, I Want you to Work for Me.

 

Betty Marín is a cultural worker  from Wilmington, CA. Her work centers on creating educational spaces that encourage dialogue and solidarity between different communities. She is currently based in her home city of Los Angeles, where she continues to explore the theory and practice of popular education. She is a proud member of the language justice collective Antena LA, the pop ed and research collective School of Echoes, and the Los Angeles Tenants Union, which she helped found in 2015.

 

Bekezela is a creative, queer, Black Femme. She directs the Black Unicorn Library and Archives Project. She works to create libraries as sites of possibility, imagination and freedom. She celebrates memory and storytelling, and the relationship between literacy and liberation. Bekezela was selected as an Emerging Artist in the 2016 Three Rivers Arts Festival and won the Juror's Choice award for her visual artwork. She is currently a member of BOOM Concepts Studios and serves as the Education Program Director for Dreams of Hope, which affirms and uplifts the voices of LGBTQ youth through the arts and by building community spaces with queer and Trans young people in Pittsburgh.

 

Reception: An Atlas of Commoning

Jun 29, 2019, 5:30–7:30pm

An Atlas of Commoning
June 29–Sept 22, 2019

OPENING RECEPTION
Sat. June 29, 5:30-7:30pm

RSVP on Facebook

+ Open Space Workshop: Commoning Pittsburgh
Sat. June 29, 1-5:30pm

An Atlas of Commoning: Open Space Workshop

Jun 29, 2019, 1–5:30pm

Open Space Workshop
Sat., June 29, 1 – 5:30 pm
RSVP on Facebook
TICKETS on Eventbrite

The Open Space workshop, preceding the exhibition opening of An Atlas of Commoning, brings together community-led initiatives for building meaningful relations between people, places, and the environment in the pursuit of a more just and resilient Pittsburgh. The workshop provides a platform for the exchange of ideas, experiences and knowledge, and marks the beginning of a summer-long conversation around practices of commoning. Join us in building a network of initiatives that propose another possible world, and one which is already in the making.

For more information please contact Stefan Gruber at smgruber@andrew.cmu.edu

Bounce!
CMU School of Art Senior Exhibition
May 4–18, 2019
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Works by: Xavier Apostol, Parley Belsey, Shannon Case, Ashley Chan, Andrew Chang, Katrina Chaudoin, Odelia Cheng, Anne Crumley, Ariana Daly, Chloe Desaulles, October Donoghue, Kianna Gonzalez, Rebecca Groves, Mariah Hill, Lingdong Huang, Grace Huddleston, Hanna Kang, Adela Kapuscinska, Sarah Kim, Jennifer Kong, Isadora Krsek, Robertus Lawantara, Kearnie Lin, Catherine Luo, Paola Mathus, Tatyana Mustakos, Ariana Nathani, Rhea Nayyar, Brandon Ngai, Christine Phang, Vic Reyes, Anna Schulz, Daniel See (Yong Xin), Grace Simmons, Sofia Syjuco, Aman Tiwari, Jett Vaultz, Olivia Yi, Shelby Zasacky

Our final exhibition of the season marks a milestone …

Works by: Xavier Apostol, Parley Belsey, Shannon Case, Ashley Chan, Andrew Chang, Katrina Chaudoin, Odelia Cheng, Anne Crumley, Ariana Daly, Chloe Desaulles, October Donoghue, Kianna Gonzalez, Rebecca Groves, Mariah Hill, Lingdong Huang, Grace Huddleston, Hanna Kang, Adela Kapuscinska, Sarah Kim, Jennifer Kong, Isadora Krsek, Robertus Lawantara, Kearnie Lin, Catherine Luo, Paola Mathus, Tatyana Mustakos, Ariana Nathani, Rhea Nayyar, Brandon Ngai, Christine Phang, Vic Reyes, Anna Schulz, Daniel See (Yong Xin), Grace Simmons, Sofia Syjuco, Aman Tiwari, Jett Vaultz, Olivia Yi, Shelby Zasacky

Our final exhibition of the season marks a milestone for the School of Art BFA and Interdisciplinary Art Degree senior class. Filling all three floors of the galleries, students present final artworks and research as the culmination of their undergraduate experience. 

Co-organized by the School of Art

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Reception: Bounce! CMU School of Art Senior Exhibition

May 3, 2019, 6–8pm

Metathesis
CMU School of Architecture Exhibition
Apr 18–24, 2019
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Works by: Sai Prateek Narayan, Henry Yoon, Nikhita Bhagwat, Hannah Martinez, Jianxiao Ge, Zain Islam-Hashmi, Kerrian France, Rebecca Lefkowitz, Emily Melillo, Chi Zhang, Kelly Li, Veronica Wang, Deepanshi Sheth, Sujan Das Shrestha, Aditi Thota, Yang Gao, Alvin Wong

Join the CMU Architecture Seniors to see the work of Thesis, the final year studio where architectural ideas are developed to operate critically within the discipline. The project installations illustrate challenging proposals that explore contemporary questions. During the exhibition, students will present their work for discussion and critique.

Co-organized by the School of …

Works by: Sai Prateek Narayan, Henry Yoon, Nikhita Bhagwat, Hannah Martinez, Jianxiao Ge, Zain Islam-Hashmi, Kerrian France, Rebecca Lefkowitz, Emily Melillo, Chi Zhang, Kelly Li, Veronica Wang, Deepanshi Sheth, Sujan Das Shrestha, Aditi Thota, Yang Gao, Alvin Wong

Join the CMU Architecture Seniors to see the work of Thesis, the final year studio where architectural ideas are developed to operate critically within the discipline. The project installations illustrate challenging proposals that explore contemporary questions. During the exhibition, students will present their work for discussion and critique.

Co-organized by the School of Architecture

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Reception: CMU School of Architecture Thesis Exhibition

Apr 19, 2019, 6–8pm

April 18-24, 2019
Reception: April 19, 6:00-8:00pm
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Project Reviews: April 19-20

Join the CMU School of Architecture Fifth-Years to see the work of Thesis, the final year studio where architectural ideas are developed to operate critically within the discipline. The project installations illustrate challenging proposals that explore contemporary questions. During the exhibition, students will present their work for discussion and critique.

 

Earth Making Workshop with Zain Islam-Hashmi

Apr 18, 2019, 2–5:30pm

Join student Zain Islam-Hashmi on Thursday April 18th for a hands-on workshop of traditional earthen construction techniques as part of the project, "Dirt Forms."  Learn the basics of adobe brick-making and rammed earth, and leave your mark on the exhibit by making your own earthen pieces as part of the installation.  The workshop is free and open to the public, visitors can stop by anytime between 2-5:30pm. Pieces made will be available for pick-up closing day of the exhibition on April 24th.

Above, Below, After, Until
CMU MFA Exhibition
Mar 16–Apr 7, 2019
  • About
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  • Artists
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Works by: ­­Nicholas Crockett, Joy Poulard Cruz, Shohei Katayama, Erin Mallea 

Featuring new work by 2019 School of Art MFA candidates, Above, Below, After, Until examines the dynamic relationships between land, labor, and cultural memory through experiential installation, sculpture, and video. In a moment marked by political and ecological precarity, the artists create spaces of ritual, reflection, and fantasy in search of moments of solidarity and human / non human kinship. 

Co-organized by CMU School of …

Works by: ­­Nicholas Crockett, Joy Poulard Cruz, Shohei Katayama, Erin Mallea 

Featuring new work by 2019 School of Art MFA candidates, Above, Below, After, Until examines the dynamic relationships between land, labor, and cultural memory through experiential installation, sculpture, and video. In a moment marked by political and ecological precarity, the artists create spaces of ritual, reflection, and fantasy in search of moments of solidarity and human / non human kinship. 

Co-organized by CMU School of Art

 

 

 

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Joy Poulard Cruz
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Shohei Katayama
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Nick Crockett
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Erin Mallea
Erin Mallea, Nick Crockett, Joy Poulard Cruz, Shohei Katayama
About the Artists
Erin Mallea

Working across media, Erin Mallea collapses natural and national history to examine taxonomies and systems of producing knowledge, memory, and ideology within natural and cultural landscapes. She enacts a methodology of site-specific fieldwork that is analytical, playful, and often public in nature, implicating herself as an individual navigating physical spaces and cultural institutions.

Erin has used a picnic table beside a lake in the Mt. Hood National Forest as a collaborative art-making space, presented a proposal to the Allegheny County chapter of the Colonial Dames of America advocating for the ethical memorialization and representation of an historic oak tree, and recently spent the summer with biologists to learn more about land-use and conservation in the rural Mountain West.

Working across media, Erin Mallea collapses natural and national history to examine taxonomies and systems of producing knowledge, memory, and ideology within natural and cultural landscapes. She enacts a methodology of site-specific fieldwork that is analytical, playful, and often public in nature, implicating herself as an individual navigating physical spaces and cultural institutions.

Erin has used a picnic table beside a lake in the Mt. Hood National Forest as a collaborative art-making space, presented a proposal to the Allegheny County chapter of the Colonial Dames of America advocating for the ethical memorialization and representation of an historic oak tree, and recently spent the summer with biologists to learn more about land-use and conservation in the rural Mountain West.

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Nick Crockett

Nick Crockett is an artist and programmer from a former gold rush town in the foothills of California's Sierra Nevada mountains. He produces experimental games, participatory performances, and animation. Features include cursed treasures, impossible landscapes, fake armor, software that relies on people behind curtains, and hardware that runs on masking tape and hope.

Nick holds a BA in Design | Media Art at the University of California Los Angeles. They have exhibited at media art and gaming festivals including Northern Spark Festival Minneapolis, Now Play This Festival at Somerset House, London, the GDC Wild Rumpus Party, Amber Platform Festival Istanbul, and the UCLA Game Art Festival at the Hammer Museum in Los Angeles.

Nick Crockett is an artist and programmer from a former gold rush town in the foothills of California's Sierra Nevada mountains. He produces experimental games, participatory performances, and animation. Features include cursed treasures, impossible landscapes, fake armor, software that relies on people behind curtains, and hardware that runs on masking tape and hope.

Nick holds a BA in Design | Media Art at the University of California Los Angeles. They have exhibited at media art and gaming festivals including Northern Spark Festival Minneapolis, Now Play This Festival at Somerset House, London, the GDC Wild Rumpus Party, Amber Platform Festival Istanbul, and the UCLA Game Art Festival at the Hammer Museum in Los Angeles.

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Joy Poulard Cruz

Joy Poulard Cruz is a multidisciplinary artist working in physical, digital, and social collage as a means to reflect on multicultural meaning-making. As an adopted person of color informed of their heritage as an adult, she mines her cultural identity and familial bonds for the raw materials of her art practice. Joy unifies the familiar and the unfamiliar as a framework for proposed global consciousness, often arriving at looming utopian ideals where irony and humor tend to manifest. With this play of dark and light, she calls into focus existing power structures and broader authoritative tropes imprinted on the collective social psyche: how bodies become catalysts and inhibitors of peace and violence.

Joy Poulard Cruz is a Pittsburgh-based artist from NE Washington, D.C. She has been awarded by the Frank Ratcheye Studio for Creative Inquiry, Corrigan Travel Fellowship, inaugural NE Florida SPARK Grant, among others. Joy has performed at the Kennedy Center in Washington, D.C., the Andy Warhol Museum, Merce Cunningham Studios in NYC. She studied dance at Tulane University and University of Florida and toured as a company dancer with The Mod Project and members of Urban Bush Women.

Shohei Katayama

Shohei Katayama is a Japanese American artist from Louisville, Kentucky. His work includes line drawings, sculpture and conceptual installation art. Utilizing his art as a catalyst for environmental conversations, his work examines the underlying patterns and forces of nature by showcasing unseen relationships in ecology. Katayama explores themes relating to light and dark, life and death, beauty and danger, nature and man - work that embodies the philosophy associated with ecological examination. Through his work, Katayama demonstrates the entanglements that are present between such systems and illustrates the disruptions that can occur when individual components are manipulated.

Reception: Above, Below, After, Until: CMU MFA Exhibit

Mar 22, 2019, 6–8pm

ABOVE, BELOW, AFTER, UNTIL
CMU MFA EXHIBIT
March 16–April 7, 2019

Artists: Nicholas Crockett, Joy Poulard Cruz, Shohei Katayama, Erin Mallea 


Reception: March 22, 6–8pm
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Featuring new work by 2019 School of Art MFA candidates, Above, Below, After, Until examines the dynamic relationships between land, labor, and cultural memory through experiential installation, sculpture, and video. In a moment marked by political and ecological precarity, the artists create spaces of ritual, reflection, and fantasy in search of moments of solidarity and human / non human kinship.

Generous Feedback
CMU School of Design Exhibition
Feb 22–28, 2019
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Works by: Maayan Albert, Juan Aranda, Gautum Bose, Emma Brennan, Cameron Burgess, Grace Cha, Hee Seo Chun, Dahye Chung, Lydia Chung, Heidi Chung, Remy Davidson, Aisha Dev, Kailin Dong, Anna Gusman, Conner Harden, Jenny Hu, Monica Huang, Faith Kim, Joo Hee Kim, Soonho Kwon, Hilary Lai, Tiffany Lai, John Lee, Susie Lee, Kyle Lee, Yvette Lee, Shannon Lin, Marisa Lu, Jessica Nip, Lucas Ochoa, Helen Wu

Join the CMU Design Seniors as they celebrate their accomplishments and share their most recent projects! The work featured in the show offers insight into the culmination of four years of study, pushing the boundaries of medium and method in the field of design.

Generous Feedback has been generated through a series of conversations, thoughts and …

Works by: Maayan Albert, Juan Aranda, Gautum Bose, Emma Brennan, Cameron Burgess, Grace Cha, Hee Seo Chun, Dahye Chung, Lydia Chung, Heidi Chung, Remy Davidson, Aisha Dev, Kailin Dong, Anna Gusman, Conner Harden, Jenny Hu, Monica Huang, Faith Kim, Joo Hee Kim, Soonho Kwon, Hilary Lai, Tiffany Lai, John Lee, Susie Lee, Kyle Lee, Yvette Lee, Shannon Lin, Marisa Lu, Jessica Nip, Lucas Ochoa, Helen Wu

Join the CMU Design Seniors as they celebrate their accomplishments and share their most recent projects! The work featured in the show offers insight into the culmination of four years of study, pushing the boundaries of medium and method in the field of design.

Generous Feedback has been generated through a series of conversations, thoughts and interactions by the School of Design, Class of 2019. It is a collection of work, rooted in discourse around topics that span across time and context. The works are about taking up space in the issues we face in our lives, and navigating the ambiguity with an open posture. We’ve realized, over the course of our four years, we’ve each developed a framework for thinking and communicating about how the world is and how it could be. The translation of that framework is the work that we have put forward.

As a collective, we are curious. The questions we ask address the everyday topics and speculate the possible futures we will face. Our work probes, provokes and scopes interesting problems and attempts to address them. The things we put out into the world have an ecosystem, an impact and a built-in discourse. This show is about that discourse.

The discourse we have as a social community is just as powerful. We support each other, challenge each other and respect each other immensely. Our work is a potent product of our years of personal and professional growth as a class. We value our social fabric and our relationships and we hope that translates in the work you will see.

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Reception: CMU School of Design Exhibition

Feb 21, 2019, 6–8pm

Generous Feedback
CMU 2019 School of Design Exhibition

Thursday, Feb. 21, 6-8pm: Reception

Join the CMU Design Seniors as they celebrate their accomplishments and share their most recent projects! The work featured in the show offers insight into the culmination of four years of study, pushing the boundaries of medium and method in the field of design.

Paradox: The Body in the Age of AI
Oct 5, 2018–Feb 3, 2019
  • About
  • Selected Art
  • Artists
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Curated by Elizabeth Chodos 

Works by: Zach Blas, Brian Bress, Nick Cave, Kate Cooper, Stephanie Dinkins, Jes Fan, Claudia Hart, Eunsu Kang, Jillian Mayer, Sarah Oppenheimer, Siebren Versteeg

This exhibition explores the primacy of the human body as it’s poised on the precipice of a potential fusion with artificial intelligence. Inspired by the Moravec Paradox, the show looks deeper into the unconscious role the body’s sensorimotor habitat has in shaping our awareness, imagination, and socio-political structures. Society tends to privilege reason and logic because it is conscious and quantifiable. But beneath this thin …

Curated by Elizabeth Chodos 

Works by: Zach Blas, Brian Bress, Nick Cave, Kate Cooper, Stephanie Dinkins, Jes Fan, Claudia Hart, Eunsu Kang, Jillian Mayer, Sarah Oppenheimer, Siebren Versteeg

This exhibition explores the primacy of the human body as it’s poised on the precipice of a potential fusion with artificial intelligence. Inspired by the Moravec Paradox, the show looks deeper into the unconscious role the body’s sensorimotor habitat has in shaping our awareness, imagination, and socio-political structures. Society tends to privilege reason and logic because it is conscious and quantifiable. But beneath this thin “veneer of human thought” is a deeper, more complex knowledge system within the body. As technologists imagine the potentials of merging humans with AI, these artists consider the body’s elusive and underestimated power. Their various investigations across multiple media offer room to speculate about the exchange between the unconscious and conscious, and ask questions about what the body knows. Before we enter a generation where cyborgs are as ubiquitous as the internet, in a time when we still inhabit human bodies, the urgent questions to ask are what lessons can our mortal vessels teach us and what unknown paradox might we contain?

Exhibition Statement

Disembodied environments for interaction have proliferated with the emergence of social media, which have provided endless opportunities for social life to play out in virtual space, with no physical contact. This new setting has powerfully connected millions of people, but the disembodied nature of these interactions also facilitates dehumanization. The increased access to strangers across the globe fans the flames of xenophobic ideologies, nationalism, and us vs. them mentalities. The fact that technology’s abilities to connect and to divide are equally powerful is a paradoxical outcome of these advances that previous generations could not have foreseen. 

In the late 80’s, artificial intelligence and robotics scientists had promised huge developments that they then struggled to deliver. The Moravec Paradox was one the many challenges delaying progress. It showed that high-level reasoning and logic problems required only little computation, whereas basic sensorimotor skills like walking, or seeing, required enormous amounts of computational resources. CMU faculty, Hans Moravec, theorized that this paradox could be explained by the process of human evolution. He writes, “Encoded in the large, highly evolved sensory and motor portions of the human brain is a billion years of experience about the nature of the world and how to survive in it. The deliberate process we call reasoning is, I believe, the thinnest veneer of human thought, effective only because it is supported by this much older and much more powerful, though usually unconscious, sensorimotor knowledge.” This paradox reveals that there is fundamental information stored in the dialogical relationship of the mind and body; its unconscious nature belies its critical role and its levels of complexity.

At about the same time as the discovery of the Moravec Paradox, Donna Haraway was imagining the cultural implications of new technologies, and published her influential essay, The Cyborg Manifesto, in 1984. In her feminist text, the human/machine amalgam presents a theoretical framework where the category-blurring cyborg breaks down traditional social and political boundaries. Her essay offers a utopic premise that the cyborg might provide the conditions to imagine structures outside of the sexist, classist, and racists systems of patriarchy, capitalism, and colonialism. In it she writes, “Liberation rests on the construction of consciousness, the imaginative apprehension, of oppression, and so of possibility.” Since this essay was published, some of the dystopian influences of AI have been brought to bear through data surveillance, privacy breaches, and election meddling. Could the paradox in the age of the cyborg be technology’s equal role in liberation and oppression? 

Today, access to much faster computers, big data, and more sophisticated machine learning has allowed the AI field to overcome many of the challenges Moravec and his colleagues faced in the 80s. Unprecedented advances and applications of AI are causing a techno-social paradigm shift to rapidly take hold. Entrepreneurs like Elon Musk actively develop technological enhancements, through products like Neuralink, to embed software into the body that can merge humans with AI. Before the turn of the next century the cyborg may be the new status quo.

This exhibition explores the primacy of the human body as it’s poised on the precipice of a potential fusion with artificial intelligence. Inspired by the Moravec Paradox, the show looks deeper into the unconscious role the body’s sensorimotor habitat has in shaping our awareness, imagination, and socio-political structures. Society tends to privilege reason and logic because it is conscious and quantifiable. But beneath this thin “veneer of human thought” is a deeper, more complex knowledge system within the body. As technologists imagine the potentials of merging humans with AI, these artists consider the body’s elusive and underestimated power. Their various investigations across multiple media offer room to speculate about the exchange between the unconscious and conscious, and ask questions about what the body knows. Before we enter a generation where cyborgs are as ubiquitous as the internet, in a time when we still inhabit human bodies, the urgent questions to ask are what lessons can our mortal vessels teach us and what unknown paradox might we contain?

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Zach Blas, Brian Bress, Nick Cave, Kate Cooper, Stephanie Dinkins, Jes Fan, Claudia Hart, Eunsu Kang, Jillian Mayer, Sarah Oppenheimer, Siebren Versteeg
About the Artists
Zach Blas

Zach Blas is an artist, filmmaker, and writer whose practice spans technical investigation, theoretical research, queer and feminist futurity, conceptualism, performance, and science fiction. Currently, he is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London. Blas has exhibited, lectured, and held screenings internationally, recently at the 2018 Gwangju Biennale; 68th Berlin International Film Festival; Art in General, New York; Gasworks, London; e-flux, New York; and Van Abbemuseum, Eindhoven. His practice has been supported by a 2016 Creative Capital award in Emerging Fields, the Arts Council England, and the Edith-Russ-Haus für Medienkunst.

Zach Blas is an artist, filmmaker, and writer whose practice spans technical investigation, theoretical research, queer and feminist futurity, conceptualism, performance, and science fiction. Currently, he is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London. Blas has exhibited, lectured, and held screenings internationally, recently at the 2018 Gwangju Biennale; 68th Berlin International Film Festival; Art in General, New York; Gasworks, London; e-flux, New York; and Van Abbemuseum, Eindhoven. His practice has been supported by a 2016 Creative Capital award in Emerging Fields, the Arts Council England, and the Edith-Russ-Haus für Medienkunst.

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Brian Bress

In Brian Bress’s photographic and video work, masked and costumed figures populate surreal, collaged and painted landscapes; his works are then housed in brightly colored, custom-built frames. His backdrops reference modernist and abstract works—Roy Lichenstein’s dot paintings, Matisse’s cut-outs, Cubist and primitivist painting of the early 20th century. His often-faceless characters resemble the cartoonish figures of children’s shows and cereal advertisements—at once monstrous and human, but appearing unwound, engaged in repetitive activities, and possessing slow, leaden movements. In Beadman (Parker)(2012), a clownish figure decked head-to-toe in colorful wooden beads jumps on a trampoline, while in Cowboy (Brian led by Peter Kirby)(2012), a man encased in a white foam cowboy suit scribbles childish drawings directly onto the glass screen. Bress is concerned with exploring fabricated space, and probing the relationships between figure and ground, painting and video, animate and inanimate.

In Brian Bress’s photographic and video work, masked and costumed figures populate surreal, collaged and painted landscapes; his works are then housed in brightly colored, custom-built frames. His backdrops reference modernist and abstract works—Roy Lichenstein’s dot paintings, Matisse’s cut-outs, Cubist and primitivist painting of the early 20th century. His often-faceless characters resemble the cartoonish figures of children’s shows and cereal advertisements—at once monstrous and human, but appearing unwound, engaged in repetitive activities, and possessing slow, leaden movements. In Beadman (Parker)(2012), a clownish figure decked head-to-toe in colorful wooden beads jumps on a trampoline, while in Cowboy (Brian led by Peter Kirby)(2012), a man encased in a white foam cowboy suit scribbles childish drawings directly onto the glass screen. Bress is concerned with exploring fabricated space, and probing the relationships between figure and ground, painting and video, animate and inanimate.

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Nick Cave

Nick Cave was born in Fulton, Missouri in 1959. He creates “Soundsuits”—surreally majestic objects blending fashion and sculpture—that originated as metaphorical suits of armor in response to the Rodney King beatings and have evolved into vehicles for empowerment. Fully concealing the body, the “Soundsuits” serve as an alien second skin that obscures race, gender, and class, allowing viewers to look without bias towards the wearer’s identity. Cave regularly performs in the sculptures himself, dancing either before the public or for the camera, activating their full potential as costume, musical instrument, and living icon.

Kate Cooper

Creating multimedia, post-internet work that tackles issues of digital technology, capitalism and the female body, British artist Kate Cooper challenges and appropriates the visual language of advertising. Incorporating live models and CGI fabrication into her varied practice, Cooper’s female representations move through digital space as touchstones of what the artist refers to as ”hypercapitalism.” 

Stephanie Dinkins

Stephanie Dinkins is an artist interested in creating platforms for ongoing dialog about artificial intelligence as it intersects the proliferation of knowledge(s), opportunity and our future histories. She holds an MFA from the Maryland Institute College of Art and is an alumna of the Whitney Independent Studies Program. Her artwork is exhibited internationally at a broad spectrum of community, private and institutional venues – by design. These venues include International Center of Photography, Herning Kunstmuseum, Spellman College Museum of Fine Art, Studio Museum in Harlem, and the corner of Putnam and Malcolm X Blvd, Bedford-Stuyvesant, Brooklyn. She is a 2018 Sundance New Frontiers Story Lab Fellow and 2018 Truth Resident at EYEBEAM. 

Jes Fan

About Jes Fan (lives and works in New York, NY) Jes Fan is a Brooklyn-based artist born in Canada and raised in Hong Kong, China. They are the recipient of various fellowships and residencies, such as the 2017 Joan Mitchell Painters and Sculptors Grant Recipient, Van Lier Fellowship at Museum of Arts and Design, Pioneer Works Residency, John A. Chironna Memorial Award at RISD. Fan has exhibited in the United States and internationally; selected exhibitions include Mother is a Woman at Empty Gallery (Hong Kong), Whereabouts at Glazenhuis Museum (Belgium), Disposed to Add, Vox Populi Gallery (Philadelphia), Material Location at Agnes Varis Gallery (New York). Fan holds a BFA in Glass from Rhode Island School of Design. 

Claudia Hart

Claudia Hart emerged as part of a generation of 90s intermedia artists in the "identity art" niche. She still examines identity, though now updated through the scrim of technology. Her art is about issues of the body, perception, and nature collapsing into technology and then back again. Hart is an early adopter of virtual imaging, at first using 3D animation to make media installations and projections, then later as they were invented, other forms of VR, AR, and objects using computer-driven production machines, all based on the same computer models. At the School of the Art Institute of Chicago, she developed a pedagogic program based on this concept - Experimental 3D - which is first art-school curriculum dedicated solely to teaching simulations technologies in a contemporary art-world context. She lives in New York and Chicago, works with Transfer gallery and bitforms gallery, and is married to the Austrian media artist Kurt Hentschlager.

Eunsu Kang

Eunsu Kang is a media artist from Korea. She creates interactive audiovisual installations and artworks using Machine Learning methods. Her work has been invited to numerous places around the world including Japan, China, Switzerland, Sweden, France, Germany, and the US. She has won the Korean National Grant for Arts three times. Kang earned her Ph.D. in Digital Arts and Experimental Media from the University of Washington, MA in Media Arts and Technology from UCSB, and an MFA from the Ewha Womans University. Currently she is a Visiting Professor of the School of Computer Science at Carnegie Mellon University.

Jillian Mayer

Jillian Mayer’s artistic practice is a means of processing how our physical world and bodies are impacted and reshaped by our participation in a digital landscape. Through videos, photography, painting, performance, sculpture and installation, my projects explore how technology affects our identities, lives, and experiences. Mayer explores the points of tension between our online and physicals worlds and make work that attempts to inhabit the increasingly porous boundary between the two. Her works and performances have been premiered at galleries and museums internationally such as MoMA, MoCA:NoMi, BAM, Bass Museum, MoMa PS1, the Contemporary Museum of Montreal and film festivals such as Sundance, SXSW, and New York Film Festival. 

Sarah Oppenheimer

Oppenheimer’s calculated manipulation of standardized spaces disrupts the embodied experience of spatial continuity, reorienting and clarifying the experience of the built environment. I-134442 plays with the choreography between the human body and architectural space by inserting architectural instruments into the gallery walls. This sculpture invites visitors to act as participants in a joint performance with the building and each other. 

Siebren Versteeg

Born approximately 17,000 days ago, New York based artist Siebren Versteeg uses digital technologies to create algorithms that conflate painterly abstraction with images often culled from the internet to produce, display, and interpret an ongoing array of visual permutations. He has studied at S.A.I.C, and UIC, Chicago, and The Skowhegan School, ME. Solo exhibitions include bitforms, NY; The Museum of Art at R.I.S.D; Hallwalls, Buffalo, NY; the Wexner Center for the Arts; Max Protetch, New York; Rhona Hoffman Gallery and The Museum of Contemporary Art in Chicago. Group exhibitions include Smithsonian’s Hirshhorn Museum, Washington, DC; ESSL Museum, Vienna; Contemporary Museum, Baltimore; The Fabric Workshop, Philadelphia; and the National Museum of Art, Czech Republic. His work is in the collections of the Whitney Museum; Guggenheim; Albright-Knox, Buffalo; Yale University Art Gallery, CT; Hirshhorn Museum, Washington, D.C.; and more. Versteeg is currently an Artist in Residence with the Chemical Engineering program at the University of Texas in Austin. 

Symposium - Paradox: Frames and Biases in Art and AI

Jan 28, 2019, 5:30–8:30pm

Symposium
Paradox: Frames and Biases in Art and AI

Jan. 28, 5:30–8:30pm

RSVP on Facebook

 

Organized by Eunsu Kang and Elizabeth Chodos

 

Panel members: Manuela VelosoAlexandra ChouldechovaSey MinJillian Mayer, and Kerry Doran.
 

 

 

 

This panel discussion explores the ways bias is inherently built into the structure and function of Machine Learning. In order to make predictions or identify patterns, AI requires that a person set specific instructions that have the potential to reinforce bias and oppressive social structures, particularly when ML is being used in everything from policing to determining someone’s credit score. This panel will also explore the role that contemporary art can play in challenging and refiguring these biases by calling into question the frameworks underpinning our assumptions. As ML and AI continue to influence more aspects of everyday life, conversations around how we can use these tools to undo harmful biases, as opposed to reinforcing them, is increasingly urgent. 

Manuela Maria Veloso

Manuela Maria Veloso is a world renowned AI expert. Currently she is the head of artificial intelligence research at J.P. Morgan. She was the head of the Machine Learning Department at Carnegie Mellon University & Herbert A. Simon University Professor in the School of Computer Science at Carnegie Mellon University. She served as president of Association for the Advancement of Artificial Intelligence (AAAI) until 2014, and the co-founder and a Past President of the RoboCup Federation. She is a fellow of AAAI, Institute of Electrical and Electronics Engineers (IEEE), American …

Manuela Maria Veloso

Manuela Maria Veloso is a world renowned AI expert. Currently she is the head of artificial intelligence research at J.P. Morgan. She was the head of the Machine Learning Department at Carnegie Mellon University & Herbert A. Simon University Professor in the School of Computer Science at Carnegie Mellon University. She served as president of Association for the Advancement of Artificial Intelligence (AAAI) until 2014, and the co-founder and a Past President of the RoboCup Federation. She is a fellow of AAAI, Institute of Electrical and Electronics Engineers (IEEE), American Association for the Advancement of Science (AAAS), and Association for Computing Machinery (ACM). She is an international expert in artificial intelligence and robotics and also a known supporter in solving ethical issues of AI.


Alexandra Chouldechova 

Dr. Chouldechova is an Assistant Professor of Statistics and Public Policy at Carnegie Mellon University’s Heinz College. Since receiving her Ph.D. in Statistics from Stanford University, Chouldechova’s research has centered on fairness in algorithmic decision making. Her research studies computational and statistical issues surrounding algorithmic bias in systems deployed in public sector domains such as criminal justice and child welfare. Her work has been published in venues such as NeurIPS, CHI and FAT*, and has received media mentions from outlets including ProPublica, New York Times Magazine and Nature.  


Sey Min

Sey Min is a data visualization artist and designer, who is interested in dealing with live data sets in various media formats. She makes projects that reimagine how humans relate to technologies, to societies and cities, and to environments. Combining elements of environmental studies, visual art, programming, and data storytelling, her projects range from building a real-time interactive information graphics system for a music club (Gender Ratio, 2007) to visualizing Seoul City expenditure data (City DATA: Seoul Daily Expenditure, 2014).Her work has been shown at NIPS 2018, National Museum of Modern and Contemporary Art, Korea; TED 2011; TEDGlobal 2012; Art Center Nabi in Seoul, and Lift Conference, and featured on CNN Asia, Lift09 etc. After serving as  an urban information design researcher at MIT SENSEable City Lab,  She was selected as a 2011 TED Fellow and Senior Fellow from 2012 to 2013. Her work is also available at ttoky.com


Jillian Mayer

Jillian Mayer’s artistic practice is a means of processing how our physical world and bodies are impacted and reshaped by our participation in a digital landscape.Through videos, photography, painting, performance, sculpture, and installation, Mayer’s projects explore how technology affects our identities, lives, and experiences. Mayer flows between the points of tension between our online and physicals worlds and makes work that attempts to inhabit the increasingly porous boundary between the two.

Her works and performances have been premiered at galleries and museums internationally such as MoMA, MoCA:NoMi, BAM, Bass Museum, MoMa PS1, the Contemporary Museum of Montreal and film festivals such as Sundance, SXSW, Rotterdam, and New York Film Festival. She's been featured in Art Papers, ArtNews, Art in America, and Art Forum discussing identity, Internet and her artistic practices. Her video was selected for the Guggenheim’s Youtube Play: A Biennial of Creative Video and was exhibited at Solomon R. Guggenheim Museum, New York; Peggy Guggenheim Collection, Venice, Italy; Guggenheim Museum, Bilbao, Spain; and Deutsche Guggenheim, Berlin, Germany.

Mayer is a recent recipient of the prestigious Creative Capital Fellowship for 2015, the South Florida Cultural Consortium's Visual/Media Artists Fellowship 2011 and 2014, Cintas Cuban Foundation Fellowship 2012, and was named one of the “25 New Faces of Independent Film” by Filmmaker Magazine. She is also a fellow of the Sundance New Frontiers Lab Program for 2014 and the Zentrum Paul Klee Fellowship in Bern, Switzerland for 2013. Recently, she has been included in Prospect 5, PST LA/LA, and currently has solo shows at the Kunsthalle Aarhus (Denmark) and the UB Art Galleries in Buffalo, New York.


Kerry Doran

Kerry Doran is a writer and curator based in New York and Buenos Aires. The writing and shows she produces center around time-based media and performance because of their particular engagement with new technologies. Her research looks at the critical applications of such tools by artists to better understand their cultural implications—economically, politically, and socially. Doran contributes to exhibition catalogs, artist books, and independent publications, including BOMB, Flash Art, Foam, Rhizome, Terremoto, and SFMOMA’s Open Space. Her curatorial projects have been featured in Artforum, ARTnews, Modern Painters, The New York Times, Página/12, Rhizome, and The Village Voice, among others. She has presented her research at the British Computer Society, Harvard, the ICP Museum, Goldsmiths, M+ Museum, MIT, and Virginia Tech. Previously, Doran was the director of bitforms and Postmasters, respectively, and a member of the inaugural team at the New Museum’s NEW INC. She holds a master’s with distinction from the Courtauld Institute of Art, where she was an Associate Scholar at the Research Forum.


Eunsu Kang

Eunsu Kang is a Korean media artist who creates interactive audiovisual installations and AI artworks. Her current research is focused on creative AI and artistic expressions by Machine Learning algorithms. Creating interdisciplinary projects, her signature has been seamless integration of art disciplines and innovative techniques. Her work has been invited to numerous places around the world including Japan, China, Switzerland, Sweden, France, Germany, and the US. All nine of her solo shows, consisting of individual or collaborative projects, were invited or awarded. She has won the Korean National Grant for Arts three times. Her researches have been presented at conferences such as ACM, ICMC, ISEA, and NeurIPS. Kang earned her Ph.D. in Digital Arts and Experimental Media from DXARTS at the University of Washington. She received an MA in Media Arts and Technology from UCSB and an MFA from the Ewha Woman's University. She is  currently a Visiting Professor of Art and Machine Learning at Carnegie Mellon University. 

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Salon, let’s be in conversation: Not Normative: In the Age of AI

Nov 8, 2018, 6–8pm

Guest Respondents: 

Jes Fan

Jes Fan is a sculptor whose interdisciplinary work is invested in the materiality of identity politics. 

 

Molly Wright Steenson

Molly Wright Steenson is a K&L Gates Associate Professor of Ethics & Computational Technologies at Carnegie Mellon & Senior Associate Dean for Research in the College of Fine Arts. Related book available online "Architectural Intelligence: How Designers and Architects Created the Digital Landscape".

 

Dustin P. Gibson 

In community with others striving for disability justice, Dustin is actively engaged in the struggle for freedom and liberation.

 

Please join us for the first Miller ICA Salon. We are excited to be in conversation with you. 

 

The first conversation will generate and evolve out of the current exhibition,  Paradox: The Body in Age of AI.

 

Our guest correspondants, Dustin, Molly and J will each be sharing points of reference and interest that they have.

 

RSVP on Facebook

READ Research and References from our Guest Respondents.

The exhibition engages artists who transverse, locate and dislocate their (or other) bodies in relationship to Artificial Intelligence. AI has a design and breadth to be utilized and to impact all of us every day in different ways, it simultaneously exists as a tool for liberations (whos) and for oppressions (from who). We acknowledge AI as a system that is being built, funded and reinforced within a system and language that maintains that a normative exists. This same normative that is a control for maintaining a binary. Though, there are …

The exhibition engages artists who transverse, locate and dislocate their (or other) bodies in relationship to Artificial Intelligence. AI has a design and breadth to be utilized and to impact all of us every day in different ways, it simultaneously exists as a tool for liberations (whos) and for oppressions (from who). We acknowledge AI as a system that is being built, funded and reinforced within a system and language that maintains that a normative exists. This same normative that is a control for maintaining a binary. Though, there are also possibilities that AI can destroy the binary - that furthering technology can allow us to exist in the fullest possibility of ourselves. How would AI develop if there was not a normative? Where do you enter?  What is the spectral ever changing relationship between your body and technology? How does english language as a technology insist on maintaining binaries? How do we decenter supremacy, dominance and binaries when the english language still centers the violence  (non binary, non white, anti-capitalist, anti, racist, non normative)?  What interrogation needs to happen so that  the words of the potential of a liberating AI, access, diverse, public, do not remain tools of oppression?

 

The 2018/2019 Miller ICA Salons are a four-part discussion series co-organized by the Miller ICA and facilitator, Dana Bishop-Root, who is an artist living and working in Braddock, PA.

​The Miller ICA Salons are facilitated topical conversations that include the general public and guest respondents whose life practice explores the chosen topic. The guest respondents have been invited to do or share existing research or inquiry on each conversation topic. The research compiled by each respondent will be made available to the public through the Miller ICA website prior to the Salon, and the public will have access to it before joining the discussion as supplemental information. Research that is shared can range from reading lists to lists of people to follow, to podcasts. Three moderators of various backgrounds will be chosen for each discussion to bring a wealth of cross disciplinary ideas, perspectives and modalities to the conversation, creating a space where the public can access free college-level, seminar-style discussions on pressing issues. The goal of these Salons is to animate engaged  citizenship through conversation and exchange in free public space.

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Miller ICA Open House

Oct 14, 2018, 12–6pm

Miller ICA Open House

Sun., Oct. 14
12-6pm: Inflatable artwork by ClaireAshley outside the Miller ICA at CMU
1-1:30pm: Curator's tour of Paradox exhibit
Facebook event
 

On Sunday Oct 14th Miller ICA will be hosting an open house, featuring a free curator's tour of Paradox and a Inflatable Sculpture by Claire Ashley that will be up for one day only! The open house will coincide with the Keyword International tour.  
 

Keyword: International Map + Bus Tour
Sun., Oct. 14, 1:30pm

As a part of the Keyword: Internationalinitiative, Miller ICAis creating a map of participating artist-run spaces, curatorial ventures, and projects. CDCP will offer one-day-only tours of these spaces on shiny yellow school buses! Enjoy an afternoon with the heART of Pittsburgh’s creative community.
Seating is extremely limited.
Get tickets now >>

 

Reception Paradox: The Body in the Age of AI

Oct 4, 2018, 6–8pm

PARADOX: THE BODY IN THE AGE OF AI

Curated by Elizabeth Chodos 
Oct. 5, 2018 - Feb. 3, 2019

RSVP on Facebook

event on all three floors

Carrie Schneider: Reading Women
Aug 18–Sep 9, 2018
  • About
  • Selected Art
  • Artists
  • Events

Work by CMU alumna Carrie Schneider ushers in the 2018/19 academic year. The exhibition, Reading Women, explores the power of reading, studying, and being absorbed by knowledge. In the artist’s words, the work “reveals a constellation of influences among my creative peers.” This series is a rhizomatic view of thinkers who contribute to the intellectual capital of the artist’s community. “It’s a man’s world,” as the saying goes, but this exhibition offers a countervailing proposition. The ideas in these books shape thought, and by shaping thought, form a world made …

Work by CMU alumna Carrie Schneider ushers in the 2018/19 academic year. The exhibition, Reading Women, explores the power of reading, studying, and being absorbed by knowledge. In the artist’s words, the work “reveals a constellation of influences among my creative peers.” This series is a rhizomatic view of thinkers who contribute to the intellectual capital of the artist’s community. “It’s a man’s world,” as the saying goes, but this exhibition offers a countervailing proposition. The ideas in these books shape thought, and by shaping thought, form a world made entirely by women. In repeating the same elegant and matter-of-fact gesture he exhibition forces us to consider what a world would look like if we were all reading women.

Exhibition on first floor.

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Carrie Schneider, this is the title, 2012–2014, 30x36 inches, Chromogenic print
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Carrie Schneider, 2012–2014, 30x36 inches, Chromogenic print
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Carrie Schneider, 2012–2014, 30x36 inches, Chromogenic print
Carrie Schneider
About the Artists
Carrie Schneider

Carrie Schneider received her BHA from Carnegie Mellon University, and her MFA from The School of the Art Institute of Chicago. She attended the Whitney Independent Study Program, the Skowhegan School of Painting and Sculpture, and the Finnish Academy of Fine Arts in Helsinki, as a Fulbright Fellow. She has received a Joan Mitchell Foundation Residency Fellowship, a Jerome Foundation NYC Film/Video Grant, and a Creative Capital Award. Exhibitions include the Museum of Contemporary Art, Chicago; the Finnish Museum of Photography, Helsinki; the California Museum of Photography, Riverside; Galería Alberto Sendros, Buenos Aires; santralistanbul, Istanbul; Kunsthal Charlottenborg, Copenhagen; The Andy Warhol Museum, Pittsburgh; and the Changjiang Museum of Contemporary Art, China, among others.

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Reading Women
Autumn House Press Reading + Reception

Sep 7, 2018, 6–8pm

6–7pm: Autumn House Press Reading featuring Adriana Ramirez, Sherrie Flick, Judith Vollmer, and Toi Derricotte
7–8pm: Reception

 

RSVP on Facebook

event on first floor

 

 

 

 

 

 

 

 

 

 

 

Dot Gov
CMU School of Art Senior Exhibition
May 5–19, 2018
  • About

Works by: Olanrewaju Adetola, Melanie Anderson, Joshua Archer, Sydney Ayers, Anna Baldi, Katherine Cao, Adrienne Cassel, Hizal Celik, Kelli Clark, Matthew Constant, Christopher Copeland, Lucy Denegre, Andrew Edwards, Emily Giedzinski, Ella Hepner, Jenna Houston, Zaria Howard, Cindy Hsu, Youhyun Jang, Vanessa (Yookyung) Kim, Kasem Kydd, Summer Leavitt, Samantha Mack, Rebecca Marcus, Lisa Park, Faye-Belle Quinn, Sarah Stinson Hurwitz, Chantal Striepe, Gowri Sunder, Jack Taylor, William Taylor, Jessica Tsai, Charlotte-Alyss Weissglass, Kate Werth, Grace Wong, Morgan Rolland

"The threshold to the future has been hijacked. Bullies, bad language, and bellicose antics have …

Works by: Olanrewaju Adetola, Melanie Anderson, Joshua Archer, Sydney Ayers, Anna Baldi, Katherine Cao, Adrienne Cassel, Hizal Celik, Kelli Clark, Matthew Constant, Christopher Copeland, Lucy Denegre, Andrew Edwards, Emily Giedzinski, Ella Hepner, Jenna Houston, Zaria Howard, Cindy Hsu, Youhyun Jang, Vanessa (Yookyung) Kim, Kasem Kydd, Summer Leavitt, Samantha Mack, Rebecca Marcus, Lisa Park, Faye-Belle Quinn, Sarah Stinson Hurwitz, Chantal Striepe, Gowri Sunder, Jack Taylor, William Taylor, Jessica Tsai, Charlotte-Alyss Weissglass, Kate Werth, Grace Wong, Morgan Rolland

"The threshold to the future has been hijacked. Bullies, bad language, and bellicose antics have set it on fire and outfitted it with a small film crew to capture everyone who dares to run through it. The noble feats of the willing are then broadcast live, in a non-narrative reality show for all to watch.

Try to recall that once-glittery future, when a networked commons democratized access and made way for many silenced voices. That promise, too, was hijacked, or perhaps handed over—and then weaponized—to weaken democracy itself. Now get offline: there are books to read.

As you consider the efforts within this modest catalog, know that this threshold is real, and that the present is tense for those who aspire to transform it. But also leave space for levity, empathy, and the abstract. Yes, the promise of the butterfly is dead, and in its place a whipworm persists, infects, and multiplies. The body politic is a host to horrors. Some say the cycle will last only four years, others say eight; a handful insist it will be longer. Either way, we clearly have work to do to survive it.

In this moment, is it fair to look into the void? Can we shop, browse, like, or swipe left any longer? Should we break plates or throw rocks? Did we usher in this darkness, or have these worms been spreading through us all along? Never mind. Quick—focus—your debt is accruing! There are jobs to gain, memes to post, relationships to record. Hey, did anyone read about the very good pope and the virtuous Federal Bureau of Investigation?

Stop scrolling, and look up.

Tomorrow is imminent, and in this simple truth there is a light. The end of complacency marks the starting line for action, for belief in oneself and others, for the potential of transformation. So we begin here, branded in fire, a generation engaging the future with eyes wider and minds wiser than decades have seen. Things fall apart, and from these pieces we rebuild. This is a cycle; the end of one era and the start of another. To those in these rooms, on these walls and screens, and in these spaces: you shoulder the burden and reap the benefit from this rebuilding. You are a turning point, and everyone is watching. "

- Charlie White, Regina and Marlin Miller Professor, Head of the School of Art 

Co-organized by the School of Art

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Clearance
CMU School of Architecture Exhibition 
Apr 19–25, 2018
  • About

Join the CMU Architecture Seniors to see the work of Thesis, the final year studio where architectural ideas are developed to operate critically within the discipline. The project installations illustrate challenging proposals that explore contemporary questions. During the exhibition, students will present their work for discussion and critique.     

"In this exhibition, the thesis students from the School of Architecture's Bachelor's of Architecture and Master's of Urban Design interrogate value - social, cultural, economic, ecologic - as it pertains to contemporary spatial practice. Capitalist value influences not only the profession’s ongoing fascination …

Join the CMU Architecture Seniors to see the work of Thesis, the final year studio where architectural ideas are developed to operate critically within the discipline. The project installations illustrate challenging proposals that explore contemporary questions. During the exhibition, students will present their work for discussion and critique.     

"In this exhibition, the thesis students from the School of Architecture's Bachelor's of Architecture and Master's of Urban Design interrogate value - social, cultural, economic, ecologic - as it pertains to contemporary spatial practice. Capitalist value influences not only the profession’s ongoing fascination with sanitized understandings of building in the sociospatial landscape, but also its (in)ability to consider mediums that offer alternative readings on the cataclysmic trajectory of the path that it carves.

Clearance provides a space for this necessary discussion, emphasizing the importance of a transhistorical conception of space as both the producer and the product of culture. It seizes the latencies such a view offers in shaping a situated understanding of the contemporary built environment. Further, the exhibition offers a clearance of processes, ideas, and practices drawn from this education. It gives a public face to the candid adaptation of architectural skills as a form of critical practice, cultivating a space for their expanded use in the new present."

-School of Architecture class 2018

B Arch: 
Nickie Cheung - Contesting Vacancy: Exploring the Multiplicity of Space in Wilkinsburg, PA 
Sinan Goral - Mycelium as a Remediator of the Anthropocentric Condition: Rethinking the Brute Force Implications of Progressive-Assembly with Organic Self-Assembly 
Nadia Islam - Transcending Bounds: Addressing issues of marginalization within and of the Muslim community through mosque design 
KelliLaurel Mijares - Subverting Borders: Examining Barriers in Urban Space 
Ivy Faye Monroe - Art Capital: Mapping Postwar New York City Art Culture 
Cesar Neri - Mexico 44: Speculative Futures of the Chiapas Highlands 
Trent Wimbiscus - Life at the Crossroads: Emergent Landscapes and the Cultural Politics of Automobility 
Kyle Wing - Oikonomikos / Polis: The new politics of living 
Francis Yang - Existential Schema: Exploring the qualitative design method

MUD: 
Ernest Bellamy - patch-works
Tamara Cartwright - Hotel to Home: Commoning the Princess Hotel
Yidan Gong - Commoning Gejiaying Village Amidst Metropolitan Wuhan
Paul Moscoso Riofrio - Public accessibility in contested spaces: Imaging a spatially and programmatically diverse approach to the waterfront in the Suburbio of Guayaquil, Ecuador
Chun(Pure) Zheng - Mobile Street Encroachment: Shared Living Space in Lilong, Shanghai
Lu Zhu - Incremental Community

Co-organized by the School of Architecture

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Immutable Stage
CMU MFA Exhibition
Mar 17–Apr 8, 2018
  • About
  • Artists

Works by: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster

Created within the current political tumult, new works by the 2018 CMU School of Art MFA candidates examine pop culture fantasies of entertainment, capital, and collapse. Interrogating the documentarian impulse, Immutable Stage flattens a historical cycle of wealth and decay into the now, arguing that artifice is a tool with which to construct real narratives.

Co-organized by CMU School of Art

Shobun Baile, Alex Lukas, Everest Pipkin, Gray Swartzel, Lee Webster
About the Artists
Shobun Baile

Shobun Baile is an artist working in video, sound, writing, and sculpture. He works individually and collaborates with an evolving group of artists and writers. He received a BS from the University of Michigan, and was formerly a scientist working in virology research at Columbia University.  His work deals with the technologies and politics that exist at the intersection of architecture, space, and sound. He also makes music.

www.shobunbaile.com

Shobun Baile is an artist working in video, sound, writing, and sculpture. He works individually and collaborates with an evolving group of artists and writers. He received a BS from the University of Michigan, and was formerly a scientist working in virology research at Columbia University.  His work deals with the technologies and politics that exist at the intersection of architecture, space, and sound. He also makes music.

www.shobunbaile.com

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Alex Lukas

Alex Lukas was born in Boston, Massachusetts in 1981 and raised in nearby Cambridge. He has been exhibited internationally at commercial galleries, non-profit institutions and artist run spaces. His work is included in the collections of the New York Public Library, the Museum of Modern Art Library (New York), the Philadelphia Museum of Art, the Spencer Museum of Art, the MIT List Visual Arts Center Student Loan Art Collection and the Flaxman Library at the School of the Art Institute of Chicago. He has lectured at The Rhode Island School of Design, The Maryland Institute College of Art, University of the Arts in Philadelphia, Alfred University and The University of Kansas. Lukas has been awarded residencies at The Bemis Center for the Arts, the Ucross Foundation, AS220 and The Jentel Foundation. He received a BFA from the Rhode Island School of Design and, after stints in Chicago and Philadelphia, moved to Pittsburgh in 2015 to pursue a Masters of Fine Art degree at Carnegie Mellon University.

alexlukas.com

Alex Lukas was born in Boston, Massachusetts in 1981 and raised in nearby Cambridge. He has been exhibited internationally at commercial galleries, non-profit institutions and artist run spaces. His work is included in the collections of the New York Public Library, the Museum of Modern Art Library (New York), the Philadelphia Museum of Art, the Spencer Museum of Art, the MIT List Visual Arts Center Student Loan Art Collection and the Flaxman Library at the School of the Art Institute of Chicago. He has lectured at The Rhode Island School of Design, The Maryland Institute College of Art, University of the Arts in Philadelphia, Alfred University and The University of Kansas. Lukas has been awarded residencies at The Bemis Center for the Arts, the Ucross Foundation, AS220 and The Jentel Foundation. He received a BFA from the Rhode Island School of Design and, after stints in Chicago and Philadelphia, moved to Pittsburgh in 2015 to pursue a Masters of Fine Art degree at Carnegie Mellon University.

alexlukas.com

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Everest Pipkin

Everest Pipkin is a drawing and language artist from Bee Cave, Texas, whose work follows landscape as complicated by the advent of digital space.

Through examination of social spaces online, the physical infrastructure that supports digital technology, and the overlap of public and corporatized space, Pipkin questions the ease at which the commons- physical, social, and digital- are commodified. They produce printed material as books, chapbooks, and zines, as well as digital work in software, bots, and games. They also make drawings by hand, on paper.

Pipkin holds a BFA from University of Texas at Austin, are a MFA candidate at Carnegie Mellon University, and have shown nationally and internationally at The Design Museum of London, The Texas Biennial, XXI Triennale of Milan, The Victoria & Albert Museum, and others.

everest-pipkin.com/

Gray Swartzel

Gray Swartzel, born in Raleigh, works to navigate lived performativity and intersectional
identities as he interrogates the queer body in relation to the social construction of
motherhood. Using still and moving images, as well as installation, he reconstitutes the often-
untold episodes of his family’s matrilineage to make physical the conceptions of connectedness
and isolation. He holds a BFA from the University of North Carolina at Chapel Hill, is currently
an MFA candidate at Carnegie Mellon University, and has shown nationally and internationally
at The CICA Museum in South Korea, The Andy Warhol Museum in Pittsburgh, The Museum
of Human Achievement in Austin, and others.

grayswartzel.com

Lee Webster

Lee Webster makes work about American mourning and the perpetual pop culture nostalgia machine. Working with and against documentary and narrative filmmaking, Webster resituates filmic structures as installation, looped video, and live performance to ask the viewer to look between frames to examine the complex yet mutable stuff with which we weave the stories that become our personal and social mythologies.

Webster earned her BA at Sarah Lawrence College and is a Master of Fine Arts Candidate at Carnegie Mellon University. She is the recipient of an Art Matters Foundation grant and a fellowship at the Kimmel Harding Nelson Center. Her work has been exhibited and screened at The Contemporary in Austin, TX, Microscope Gallery in Brooklyn, New York, the Portland Oregon Women’s Film Festival, as well as other venues.

leewebster.com

Faith Wilding: Fearful Symmetries
Jan 20–Feb 25, 2018
  • About
  • Artists

Faith Wilding: Fearful Symmetries the first retrospective exhibition of the influential feminist artist who played a key role in the formation of the Feminist Art Program at California State University in Fresno in 1970 and at California Institute of the Arts in Valencia in 1971.

Wilding was a major contributor to the historically significant month-long collaborative installation Womanhouse, sited in an abandoned mansion in Los Angeles in 1972, where she performed her highly celebrated work Waiting.

Faith Wilding: Fearful Symmetries includes a selection of works from Wilding’s studio practice spanning the past forty years, highlighting a …

Faith Wilding: Fearful Symmetries the first retrospective exhibition of the influential feminist artist who played a key role in the formation of the Feminist Art Program at California State University in Fresno in 1970 and at California Institute of the Arts in Valencia in 1971.

Wilding was a major contributor to the historically significant month-long collaborative installation Womanhouse, sited in an abandoned mansion in Los Angeles in 1972, where she performed her highly celebrated work Waiting.

Faith Wilding: Fearful Symmetries includes a selection of works from Wilding’s studio practice spanning the past forty years, highlighting a range of works on paper – drawings, watercolors, collage and paintings – exhibited together here for the first time. Taking up key, allegorical imagery in Wilding’s work, the exhibition focuses on themes of “becoming,” both the transformative event itself, and the threshold to transfiguration. This state of in-between-ness is articulated through imagery of leaves, the chrysalis, hybrid beings, and liminal circumstances themselves, such as “waiting,” the subject of Wilding’s two prominent performances Waiting and Wait-With.

Wilding’s work manages to be both delicate and harsh in its exploration of the pivotal moment between private revelation and public manifestation. Viewed together in this exhibition, her work makes a powerful impression about psychological and physical transition and transformation. In the depiction of the chrysalis and the embryo, for example, gestation is suggested, while in imagery of tears, wounds, and “recombinant” bodies, emergence and materialization are pronounced. The sum of these parts provides a unique account of how themes of emergence were central to Wilding’s articulation of feminism, and her own reflections on a childhood growing up in an intentional Christian commune. 

The exhibition will be accompanied by a publication featuring original writings by Irina Aristarkhova, Mario Ontiveros, and Faith Wilding.

Faith Wilding: Fearful Symmetries is a traveling exhibition curated by Shannon R. Stratton in collaboration with Faith Wilding. The exhibition originated at Threewalls in Chicago, Illinois in January 2014 with an archive, reading room and screenings curated by Abigail Satinsky. It has since been exhibited at: Rhodes College, Memphis, Tennessee (September 5 - October 4, 2014); Pasadena Armory Center for the Arts, Pasadena, California (September 26, 2015-January 3, 2016) and University of Houston-Clear Lake Art Gallery, Houston, Texas (September 2 - December 8, 2016).

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Faith Wilding
About the Artists
Faith Wilding

Faith Wilding is Professor Emerita of performance art at the School of the Art Institute of Chicago, a graduate faculty member at Vermont College of Fine Arts, and a visiting scholar at the Pembroke Center, Brown University. Born in Paraguay, Wilding received her BA from the University of Iowa and her MFA from the California Institute of the Arts. Wilding was a co-initiator of the Feminist Art Programs in Fresno and at CalArts, and she contributed Crocheted Environment and her Waiting performance piece to the historic Womanhouse exhibition. Her artwork have been featured in major feminist exhibitions including WACK! Art and the Feminist Revolution; Sexual Politics; Division of Labor: Women’s Work in Contemporary Art; and re.act Feminism. Her writing has been featured in such books as The Power of Feminist Art, By Our Own Hands, The Feminism and Visual Culture Reader, MEANING, and many more. 

Wilding has exhibited nationally and internationally, including at the Reina Sofia Museum in Madrid; Centre for Contemporary Art in Glasgow; MoMA PS1 and the Bronx Museum of Art in New York; Museum of Contemporary Art and Hammer Museum in Los Angeles; University of California Riverside Museum of Art; the Singapore Art Museum; and many others. Wilding co-founded and collaborates with subRosa, a cyberfeminist cell of cultural producers using bioart and tactical performance in the public sphere to explore and critique the intersections of information and biotechnologies in women’s bodies, lives, and work, and she is the co-editor of Domain Errors! Cyberfeminist Practices! She is the recipient of a Guggenheim Fellowship, Creative Capital grant, and artist grants from National Endowment for the Arts.

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Assemblage
CMU School of Design Exhibition
Dec 2–10, 2017
  • About

Works by: Adella Guo, Albert Yang, Alex Palatucci, Angee Attar, Anqi Wan, Benal Johnson, Bettina Chou, Carolyn Zhou, Chris Perry, Christie Chong, Deborah Lee, Deniz Sokullu, Emily Mongilio, Faith Kaufman, Gillan Johnson, Hae Wan Park, Hee Jung Koh, Jake Scherlis, Jasper Tom, Jeong Min Seo, Jesse Klein, Jessica Headrick, Ji Tae Kim, Julia Ainbinder, Kate Martin, Kevin Gao, Lily Fulop, Lily Kim, Lois Kim, Lucy Yifan Yu, Maggie Banks, Max Plummer, Maximilien Stein, Meredith Newman, Natalie Harmon, Natapitt (Popo) Sethpornpong, Nina Flores, Noah Johnson, Raphael Weikart, Rufeng (Steven) Ji, Sara …

Works by: Adella Guo, Albert Yang, Alex Palatucci, Angee Attar, Anqi Wan, Benal Johnson, Bettina Chou, Carolyn Zhou, Chris Perry, Christie Chong, Deborah Lee, Deniz Sokullu, Emily Mongilio, Faith Kaufman, Gillan Johnson, Hae Wan Park, Hee Jung Koh, Jake Scherlis, Jasper Tom, Jeong Min Seo, Jesse Klein, Jessica Headrick, Ji Tae Kim, Julia Ainbinder, Kate Martin, Kevin Gao, Lily Fulop, Lily Kim, Lois Kim, Lucy Yifan Yu, Maggie Banks, Max Plummer, Maximilien Stein, Meredith Newman, Natalie Harmon, Natapitt (Popo) Sethpornpong, Nina Flores, Noah Johnson, Raphael Weikart, Rufeng (Steven) Ji, Sara Remi Fields, Selena Norman, Sharon Yu, Tiffany Jiang, Tina Park, Treat Swarstad, Ty Van de Zande, Youjin (Juliana) Nam

The Senior Class of the 2018 welcomes you to Assemblage, a collection of work produced by the first class to complete the new Bachelor of Design program. Projects will be featured from all three design concentrations: Products, Communications and Environments. 

Throughout the new curriculum, we are often encouraged to think about the long-term effects of our decisions and how those decisions affect the larger environment around us. At the beginning of our process we ask questions that lead to more questions, talk to people who matter, and reflect on lessons learned from the past. We do all of this while considering aesthetics and form to go beyond the components of a traditional design education. 

This approach often leads us to help others speak in order to build empathy around the user’s experiences. To convey our intentions, we craft outputs, whether a carefully communicated message or thoughtfully crafted artifact, that respond to our research and reflection. However, as creatives, we often look to express and strengthen our own voice in our personal work. So, as design professionals, when do we speak and when do we listen?

In the show, visitors will experience a wide variety of works from deeply personal narratives, to community building projects, and even future oriented artifacts. In each piece, the designer’s presence is balanced with the message of the project, whether prompted in studio or self defined. Join us as we share how the Class of 2018 has developed their individual voices and built their own design practices throughout their four years at Carnegie Mellon University’s School of Design." 

- Senior Design Class 2018

Co-presented by CMU School of Design

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Designing the Computational Image/
Imagining Computational Design
Sep 23–Nov 12, 2017
  • About

Works by: Kristy Balliet / Kelly Bair (BairBalliet), Andrew Heumann, Dana Cupkova, Golan Levin, Benjamin Snell, Kyuha Shim, Zach Lieberman, Jürg Lehni, Carl Lostritto, Joseph Choma, Jonah Ross-Marrs 

Curated by Daniel Cardoso Llach

Designing the Computational Image/Imagining Computational Design showcases a selection of previously unseen or lesser-known drawings, films, and high-quality reproductions, as well as interactive software reconstructions, illuminating the twentieth-century emergence of new methods for design representation, simulation, and manufacturing linked to digital computers' capacities for information processing and display. Examining the formative period of numerical control and computer graphics technologies between …

Works by: Kristy Balliet / Kelly Bair (BairBalliet), Andrew Heumann, Dana Cupkova, Golan Levin, Benjamin Snell, Kyuha Shim, Zach Lieberman, Jürg Lehni, Carl Lostritto, Joseph Choma, Jonah Ross-Marrs 

Curated by Daniel Cardoso Llach

Designing the Computational Image/Imagining Computational Design showcases a selection of previously unseen or lesser-known drawings, films, and high-quality reproductions, as well as interactive software reconstructions, illuminating the twentieth-century emergence of new methods for design representation, simulation, and manufacturing linked to digital computers' capacities for information processing and display. Examining the formative period of numerical control and computer graphics technologies between 1949 and 1976, the exhibition traces their evolution from elemental geometric constructions into highly structured semantic models—and from government-funded research in universities into industry standards—shedding light on the social, technical, and aesthetic origins of present architectural production techniques. From blips on radar screens to perspectival representations and free-form surfaces, the exhibition uniquely reveals the confluence of technical innovations in software, data structures, and hardware with a new cultural imaginary of design, endowing computer-generated images with both geometric plasticity and a new type of agency as operative architectural artifacts.

The historical materials featured in the exhibition are drawn from the archives of institutions key to the development of these technologies, including Carnegie Mellon University; the Massachusetts Institute of Technology; the University of Cambridge, UK; and the Computer History Museum, among others.

Daniel Cardoso Llach is assistant professor in the School of Architecture at Carnegie Mellon University, where he teaches graduate and undergraduate architecture courses. His work explores problems ranging from social and cultural aspects of automation in design, the politics of representation and participation in software, and new methods for using data to visualize design as a socio-technical phenomenon. His recent research includes Builders of the Vision: Software and the Imagination of Design (Routledge, 2015), a book on the cultural history of computer-aided design and numerically controlled machinery, which examines how postwar technological projects shaped conceptions of design informing current architectural practices. He holds a PhD and an MS (with honors) from the Massachusetts Institute of Technology, and a BArch from the Universidad de los Andes, Bogotá. He has been a research fellow at MECS, Germany, and a visiting scholar at the University of Cambridge.

 

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Hadi Tabatabai: Transitional Spaces
Sep 23–Nov 12, 2017
  • About
  • Artists

Co-presented by wats:ON? Festival

Curated by Spike Wolff 

Through an elegant combination of drawing, painting and sculpture, Hadi Tabatabai's work describes a place that is as much an idea as a physical location. These compositions embody liminality: that is, they create a constant experience of sensations that exist at the limen, or edge, of perception. To bring about this state, Tabatabai has removed all possible distractions. Narrative and figuration, even figure and ground, have been excised from these delicate combinations of squares, rectangles and floating lines.

Tabatabai uses the physical nature of the materials …

Co-presented by wats:ON? Festival

Curated by Spike Wolff 

Through an elegant combination of drawing, painting and sculpture, Hadi Tabatabai's work describes a place that is as much an idea as a physical location. These compositions embody liminality: that is, they create a constant experience of sensations that exist at the limen, or edge, of perception. To bring about this state, Tabatabai has removed all possible distractions. Narrative and figuration, even figure and ground, have been excised from these delicate combinations of squares, rectangles and floating lines.

Tabatabai uses the physical nature of the materials to create subtle shifts within the surface plane.  The lines are delineated by slightly raised or lowered edges of materials to create works that straddle the realm of the pictorial and the sculptural.  Through the use of light and shadow, depth of field, and other optical obfuscations, the positive and negative space in the paintings becomes indeterminate.  His work evokes the relationship between what is imagined on the surface and what is actually rendered—in a sense questioning what is being “looked at” or “seen.”

For the past twenty years Tabatabai has devoted his attention to a very tiny area—an area that comprises the physicality of a line and functions as the transitional space between two entities. He views the ‘line’ as empty space without an agenda or allegiance; it is neither here nor there. Tabatabai believes that by paying attention to this tiny, subtle, yet detailed space, one is forced to turn away from the outside world and focus inward on one’s own interior space.

As art historian, Peter Lodermeyer, described the work in a catalogue essay, “You have to look closely, as close as possible, then steadily until you can see the seeing itself. Watch yourself as you look in order to perceive.”

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Hadi Tabatabai
About the Artists
Hadi Tabatabai

Hadi Tabatabai was born in Mashhad, Iran, in 1964. He immigrated to the United States in 1977 with his family, settling in California. Tabatabai received a BS in industrial technology from California State University Fresno in 1985 and a BFA in painting from the San Francisco Art Institute in 1995.

Tabatabai's work has been shown in London, Paris, Turin, Frankfurt, Bonn, Bogotá, and widely in the United States. He has had solo exhibitions at Danese/Corey and Anthony Grant Galleries in New York, Brian Gross Fine Art and Stephen Wirtz Gallery in San Francisco, Peter Blake Gallery in Laguna Beach, and Inde/Jacobs in Marfa, Texas.

His works are included in the collections of the Achenbach Foundation at the Fine Arts Museums of San Francisco, Berkeley Art Museum, (Berkeley, California), Delaware Art Museum (Wilmington, Delaware), the Contemporary Museum (Honolulu, Hawaii), Colby College Museum of Art (Waterville, Maine), the Blanton Museum of Art at The University of Texas (Austin), Davis Museum at Wellesley College (Wellesley, MA), Bowdoin College Museum of Art (Brunswick, ME), The Lannan Foundation, The Progressive Corporation Art Collection, the Werner H. Kramarsky Collection, Lloyd Cotsen collection, Gerald E. Buck Collection, the Estate of Agnes Martin and Luc Tuymans.

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Worlds Within
Sep 22–Dec 15, 2017
  • About

Works by: Rob Kesseler, Leopold and Rudolf Blaschka, Carl Ignaz Leopold Kny, Edwin H. Reiber

Co-presented with Hunt Institute for Botanical Documentation

Curated by Lugene Bruno and John Carson 

Worlds Within opens our eyes to the generally unseen world of plants and their internal architecture, textures, patterns and functions. It reveals repeating patterns in nature: generic structures and forms, which recur on a macro and micro scale.

The graphic impact of historical instructive botanical wall charts and models alongside monumentalized, hand-colored micrographs of seeds and pollen by Rob Kesseler creates a remarkable visual bridge between the …

Works by: Rob Kesseler, Leopold and Rudolf Blaschka, Carl Ignaz Leopold Kny, Edwin H. Reiber

Co-presented with Hunt Institute for Botanical Documentation

Curated by Lugene Bruno and John Carson 

Worlds Within opens our eyes to the generally unseen world of plants and their internal architecture, textures, patterns and functions. It reveals repeating patterns in nature: generic structures and forms, which recur on a macro and micro scale.

The graphic impact of historical instructive botanical wall charts and models alongside monumentalized, hand-colored micrographs of seeds and pollen by Rob Kesseler creates a remarkable visual bridge between the conventional purpose of scientific illustration as used in educational materials, and the aesthetic interpretation of scientific imagery in contemporary art. 

Worlds Within is a unique collaboration between the Hunt Institute and The Miller Gallery. The two venues, at either end of the Carnegie Mellon University campus, will be exhibiting work by British artist Rob Kesseler, alongside 19th-century botanical wall charts from Carl Ignaz Leopold Kny’s series Botanische Wandtafeln. Complementing the forms represented in these charts and photographs will be a selection of models of marine organisms made of glass in the 19th-century by Leopold and Rudolf Blaschka and made of glacite in the early 20th-century by Edwin H. Reiber. The glass models have been kindly loaned by the Carnegie Museum of Natural History.

The work in the Hunt Institute offers a more comprehensive comparison between the micrographs and the historical charts and models, while the Miller Gallery exhibition features a fuller range of Kesseler’s recent art work. Both sections of this joint exhibition celebrate the extraordinary aesthetic interrelationships between historically different methods of visually interpreting the wonders of botanical phenomena, which are not readily visible to the naked eye.

Viewers are encouraged to visit both venues to experience these stunning visual juxtapositions, in which the many complexities of representing plants are concentrated into mesmeric visual images and objects. 

ABOUT THE CURATORS 

Since 1996, Curator of Art Lugene Bruno has held a position at the Hunt Institute for Botanical Documentation, where she has immersed herself in the botanical art and library collection. She is responsible for all activities of the Art Department and curates the art collection and twice-yearly exhibitions in the Institute's gallery, including the triennial International Exhibition of Botanical Art & Illustration. She designs the exhibitions and companion catalogues; provides talks and tours related to collection items to the public and at botanical conferences; responds to research requests; and makes available for study selections of the art collection to visiting scholars, students and botanical artists. She is an honorary member of several botanical art and florilegia societies in the United States and abroad.  She is also a practicing artist working with gestural abstraction that is inspired by street markings, employing the mediums of photography and water-soluable graphite drawing. She is a member of the Associated Artists of Pittsburgh and exhibits her work regionally.

For the past 30 years, working in various media, John Carson has wittily and provocatively explored the interface between high and low culture and has sought to widen the audience for contemporary art practice. He has exhibited and performed internationally and has made works for television and radio. He is best known for performative projects such as I’d Walk from Cork to Larne to See the Forty Shades of Green (a 320 mile,14 day photographic journey) and A Bottle of Stout in Every Pub in Buncrana (a one day endurance test). From 1986 to 1991 he was Production Director of Artangel, a London-based organization presenting temporary artworks in public locations. He has been a visiting lecturer at various schools and colleges in Ireland, UK, Europe, USA, Canada, Australia and New Zealand. He taught at the National College of Art and Design in Dublin, Ireland and at Central Saint Martins College of Art and Design in London, England, where he was Course Director of the BFA program from 1999 to 2006. He was Head of the School of Art at Carnegie Mellon University from 2006 to 2016, and is currently a member of the teaching faculty.

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Causing A Scene
Aug 19–Sep 3, 2017
  • About

Works by: Edda Fields-Black, John Carson and Jennifer Keating-Miller, Larry Shea

Co-organized by The Center for the Arts in Society

Every three years CAS reinvents itself with a new themed initiative, where two coordinators, an artist and a scholar, structure a topic and select projects that engage in a focused exploration of that topic. We approached “Performance” as an expansive form, looking beyond the traditional relationship between an audience and an actor to consider how people performatively frame their lives through social rituals, athletics, digital capture devices, and everyday acts. The rubric of …

Works by: Edda Fields-Black, John Carson and Jennifer Keating-Miller, Larry Shea

Co-organized by The Center for the Arts in Society

Every three years CAS reinvents itself with a new themed initiative, where two coordinators, an artist and a scholar, structure a topic and select projects that engage in a focused exploration of that topic. We approached “Performance” as an expansive form, looking beyond the traditional relationship between an audience and an actor to consider how people performatively frame their lives through social rituals, athletics, digital capture devices, and everyday acts. The rubric of "Performance" has also been a fruitful springboard for CAS's ongoing consideration of how the distinctions between the work and place of “artist” and “scholar” might be reassessed and transformed through collaborative work. Directed by James Duesing, and co-organized by Wendy Arons of the School of Drama and Kristina Straub of the English Department, the CAS Performance Initiative (2014-2017) has drawn together faculty members who undertook three major projects: Ghosts in the Machines, by Larry Shea (School of Drama); Performing Peace in the North of Ireland, by John Carson (School of Art) and Jennifer Keating-Miller (Dietrich Dean’s Office and English Department); and Requiem for Rice, by Edda Fields-Black (History Department). The three-year initiative has involved speakers, workshops, panel discussions, and an evening of performances titled "Drama Queens." The projects have developed courses that included field trips to Ireland and brought in outside experts to engage with students at Carnegie Mellon and constituencies outside the university. This exhibition presents selections from the scenes that have been caused over the past three years by the CAS Performance Initiative.

The Center for the Arts in Society (CAS) is a collaborative research effort comprised of artists and scholars from the CMU faculty. Situated between the College of Fine Arts and of the Dietrich College of Humanities and Social Sciences, CAS aims to explore the role, place, and impact of the arts both in the workings of social power and in processes of social change.  CAS is dedicated to the exploration of the ways diverse forms of social and political engagement have shaped the history of the arts and might drive their transformation in the future. 

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Roll Call
CMU School of Art Senior Exhibition
May 6–20, 2017
  • About

Works by: Elizabeth Agyemang, Isabella Katarina Antolić-Soban, Clare Burdeshaw, Bonnie Chan, Clair Chin, John Choi, Becca Epstein, Madeline Reed Finn, Ethan Gladding, Jarel Grant, Autumn Hill, Miranda Jacoby, Amanda Jolley, Maya Kaisth, Sandra Kang, Nat Rose Kent, Janice Kim, Bronwyn Kuehler, Kira Melville, Rachel Moeller, Natalie Moss, Miles Peyton, Bridget Quirk, Anna Azizzy Rosati, Gwen Sadler, Caroline Santilli, Kaitlin Schaer, Christine Shen, Charlotte Stiles, Joni Sullivan, Lauren Valley, Gerald Warhaftig, Nicole Yoon, Chengcheng Zhao

The Dilemma of the Now

The great modernist thinker and architect Adolf Loos stated in his defining essay, Ornament and …

Works by: Elizabeth Agyemang, Isabella Katarina Antolić-Soban, Clare Burdeshaw, Bonnie Chan, Clair Chin, John Choi, Becca Epstein, Madeline Reed Finn, Ethan Gladding, Jarel Grant, Autumn Hill, Miranda Jacoby, Amanda Jolley, Maya Kaisth, Sandra Kang, Nat Rose Kent, Janice Kim, Bronwyn Kuehler, Kira Melville, Rachel Moeller, Natalie Moss, Miles Peyton, Bridget Quirk, Anna Azizzy Rosati, Gwen Sadler, Caroline Santilli, Kaitlin Schaer, Christine Shen, Charlotte Stiles, Joni Sullivan, Lauren Valley, Gerald Warhaftig, Nicole Yoon, Chengcheng Zhao

The Dilemma of the Now

The great modernist thinker and architect Adolf Loos stated in his defining essay, Ornament and Crime, that “[t]he speed of cultural development is hampered by the stragglers.” In this pithy observation, Loos points to the truth that the future is made by those who live most in the present, and although we may imagine that we all share the same time period, we do not. This could not be more palpable than in art school, where propositions are perpetually arising and the future is in a continual cycle of germination and formation. However, this process no longer entails the creation of the new, because that idea’s very nature has been corrupted by capitalism’s desire to remake, remarket, and resell. Instead, what is occurring is the now—art’s counterpoint to progress: a formlessness that has no polish, no promise, and no utopian ideals. The now is the real that exposes the artifice of the new by sharing conceptual conclusions in advance of any form or figure. Art is no longer charged with solving problems, as much as it is driven to present them within and to contemporary culture. In this position, art can refuse to be either product or brand, resigning itself instead to mapping a trajectory of ideas and expressions across time. Art is thinking and theorizing manifest; it is a cousin of philosophy and a sibling to science, whose threads have exceeded the body and body politic to confront change through a series of radical proposals that have mapped humankind’s progression from the caves of Lascaux to contemporary conditions of post-humanism. With all of this in mind, I invite you to take part in the now, as this exhibition is a testament— a Roll Call—to the vision and voices of those who bear witness to the present and offer us a brief glimpse of tomorrow.                 

- Charlie White Regina and Marlin Miller Head of the School of Art.

Co-organized by CMU School of Art

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What Do We Know?
CMU School of Architecture Exhibition
Apr 27–29, 2017
  • About

Thesis: CRITICAL MASS, Dyani Robarge | ARCHITECTURE BY THE LANDSCAPE, Scott Holmes | MAKING MINDFULNESS, Matt Porter | SOFT: An Investigation of Gender Expression in Architecture, Amy Rosen | PETROCHEMICAL LANDSCAPES, Sophie Riedel | PALIMPSEST FUTURE, Kirk Newton

Independant Projects: PP : PLASTIC PAVILION, Cy Kim + Bobby Esposito | AID.E+ Alexa Roberts | HOUSE-FREE, Ana Mernik | OSTRANENIE, Sam Day

Join the CMU Architecture Seniors to see the work of Thesis, the final year studio where architectural ideas are developed to operate critically within the discipline. The project installations illustrate challenging proposals that …

Thesis: CRITICAL MASS, Dyani Robarge | ARCHITECTURE BY THE LANDSCAPE, Scott Holmes | MAKING MINDFULNESS, Matt Porter | SOFT: An Investigation of Gender Expression in Architecture, Amy Rosen | PETROCHEMICAL LANDSCAPES, Sophie Riedel | PALIMPSEST FUTURE, Kirk Newton

Independant Projects: PP : PLASTIC PAVILION, Cy Kim + Bobby Esposito | AID.E+ Alexa Roberts | HOUSE-FREE, Ana Mernik | OSTRANENIE, Sam Day

Join the CMU Architecture Seniors to see the work of Thesis, the final year studio where architectural ideas are developed to operate critically within the discipline. The project installations illustrate challenging proposals that explore contemporary questions. During the exhibition, students will present their work for discussion and critique.     

"After taking a year or the spring semester respectively, the thesis and independent project collaborators have dedicated themselves to the process of revealing latent potential in a diverse set of architectural focuses. Despite the varied scope of the thesis topics, they all reach far past the safe confines of conventional architecture. Some literally expand the scope of the profession, demanding that we as designers address issues that demand civic attention—how and why do we design for transient populations, for those living in a pollution zone, against hunger, or for the public realm? Others investigate the physicality of architecture, asserting that potential exists in found and recycled materials. Finally, there are projects that question the goals of the design process itself, railing against latent hierarchies and demanding a more mindful process.

Each of the installations asks a pointed, politically charged question, and provides some equally radical reactions. This exhibit is not a collection of work, but the manifesto of a new generation of architects graduating into the world. What do we know? Come in and find out."

-School of Architecture class 2017

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FAM
CMU MFA Exhibition
Mar 25–Apr 16, 2017
  • About
  • Artists

Works by: ­­Kevin Brophy, Brittany De Nigris, Hannah Epstein, Adam Milner, Moses Williams

“The concept of family has been hijacked by privilege, defined by heteronormative structures, and destroyed across decades of global expansion and individual attrition. So what is the family—the “fam”—that we claim today? ... The reality of family is far messier than anything on screen: no credits will roll at the close of our days, no wardrobe changes will remove the stains of guilt and regret. A family fills this gallery, in all of the complexity, anxiety, and turbulence of the real thing. This is Fam today.”

- …

Works by: ­­Kevin Brophy, Brittany De Nigris, Hannah Epstein, Adam Milner, Moses Williams

“The concept of family has been hijacked by privilege, defined by heteronormative structures, and destroyed across decades of global expansion and individual attrition. So what is the family—the “fam”—that we claim today? ... The reality of family is far messier than anything on screen: no credits will roll at the close of our days, no wardrobe changes will remove the stains of guilt and regret. A family fills this gallery, in all of the complexity, anxiety, and turbulence of the real thing. This is Fam today.”

- Charlie White, Regina and Marlin Miller Professor, Head of the School of Art

 

 


 

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Kevin Brophy, Brittany De Nigris, Hannah Epstein, Adam Milner, Moses Williams
About the Artists
Kevin Brophy

Kevin Brophy is a reality artist: an illusion trying to change the world. Her multidisciplinary practice mimics the cultural dominant in order to evaluate socio-political power structures and their effect on the individual. She is just a placeholder, not to abandon those who suffer shared prescription. With the increasingly pervasive Social we are now more identity than self. And, it is hard to say ‘now’, to pretend like it is new. Through exaggerated forms of communication, she critiques in a satirical and self-implicating way.

Magic Erasure Correctives is a transformation movie from the nineties. Queering product descriptions, bodies on affect: micro-movements on QVC, micro-needling to breathe, micro-aggressions cut deeper. Some language to take back, and some language to defeat. Magic Erasure Correctives is full-on ambivalence: problematic in its dangerous prescriptives, too. And, it is set in dystopian futures now. A mirror shows the self and a small enclosed environment; a smartened mirror shows identity in an ever-expanding network. Our connection will never be lost. And, we are heterotopic, it’s complicated.

Kevin Brophy is a reality artist: an illusion trying to change the world. Her multidisciplinary practice mimics the cultural dominant in order to evaluate socio-political power structures and their effect on the individual. She is just a placeholder, not to abandon those who suffer shared prescription. With the increasingly pervasive Social we are now more identity than self. And, it is hard to say ‘now’, to pretend like it is new. Through exaggerated forms of communication, she critiques in a satirical and self-implicating way.

Magic Erasure Correctives is a transformation movie from the nineties. Queering product descriptions, bodies on affect: micro-movements on QVC, micro-needling to breathe, micro-aggressions cut deeper. Some language to take back, and some language to defeat. Magic Erasure Correctives is full-on ambivalence: problematic in its dangerous prescriptives, too. And, it is set in dystopian futures now. A mirror shows the self and a small enclosed environment; a smartened mirror shows identity in an ever-expanding network. Our connection will never be lost. And, we are heterotopic, it’s complicated.

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Brittany De Nigris

Brittany De Nigris is currently building shelters and escape routes. Her fragile support-structures will inevitably release themselves in order to become something else; they are hovering (sometimes quivering) for now. Her recent practice has been an ongoing investigation into materiality shattering in an effort to define, for herself, a poetics alive within the substances surrounding us—a making and continuing of the world. Tear down the house and build a boat! is a daydream that extracts from times, places and words previously recorded, extracts from the ground and the air, and collapses these fragments together into one billowing moment. 

Brittany De Nigris is currently building shelters and escape routes. Her fragile support-structures will inevitably release themselves in order to become something else; they are hovering (sometimes quivering) for now. Her recent practice has been an ongoing investigation into materiality shattering in an effort to define, for herself, a poetics alive within the substances surrounding us—a making and continuing of the world. Tear down the house and build a boat! is a daydream that extracts from times, places and words previously recorded, extracts from the ground and the air, and collapses these fragments together into one billowing moment. 

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Hannah Epstein

Hannah Epstein (AKA hanski) is a folk-media artist working at the cross-section of textile and experimental games (#gamestallations #fyberspace). As a folklorist Epstein’s work reimagines ideas of authenticity and authorship through informal, bottom-up, storytelling techniques, which blur the line between “outsider art” and reified canon (#fauxcore).

For FAM, Epstein proposes a vision of the new homemaking where a fictional family, The FamilyTM , livestreams their daily life onto YouTube. For Epstein, the home is no longer a private refuge, but an Internet connected, semi-public, performance space.

Adam Milner

Adam Milner points to a longing embedded in daily life, a desire to relate to material and social worlds, drawing from the hoard, the archive, and the collection. He longingly searches for traces of bodies or signs of life in his everyday, and sometimes turns up empty; things begin to stand in for people, often replacing them. Obsessive documenting, gathering, or collecting results in archives which confuse subjectivity, letting bodies become objects and things become people.

The works stem from practices both social and hermetic – bartering for locks of hair from friends and strangers or collecting every belly button among thousands of magazines as a kind of clunky analog image search – and this duality exemplifies the blurred categorization of things.

Indeed, often the bodies of objects blur with each other or with the people who cling to them. Bodies are porous things, absorbing their surroundings and leaving traces behind. The idea that the things of this world are active or vibrant is inherent in questions of archivability with artworks, or “contamination” when working with a pre-existing archive. 

Moses Williams

Moses Williams explores the murk of affectual and bodily relations that ranges from the subtle to the imposing, positing a kind of emotional anthropology. Working in sculpture, performance, video, and installation, he confronts notions of intimacy, sensuality, ritual, loss, the uncanny, and the spiritual. Through these commingling ideas and the use of often-disparate materials, his work explores the resonant, pliable, and emergent qualities of day-to-day experience. In his projects the familiar becomes complex, mutable, and at times adverse in order to challenge dominant systems and taxonomies in contemporary western culture. The palpable, affectual, and emotive aspects that move in and amongst bodies and objects are the central mode of his performances and the connecting thread of his practice. The act of engaging with materials and participants is a process of foraging for the unseen, opening new modes of understanding through direct experience.

In FAM, Williams’ sculpture and video merge to offer a conduit to another reality, an experiential narrative that reflects on potentials lying just beyond the expected. The work deals with themes of relationship, empathy, and somatic awareness. It is to some degree a sci-fi meditation on enduring loss and suffering through intimacy and sensual experience.

Hacking / Modding / Remixing as Feminist Protest
Jan 28–Feb 26, 2017
  • About

Curated by Angela Washko

Works by: Addie Wagenknecht (Frank-Ratchye STUDIO for Creative Inquiry Fellow 2014), Anne-Marie Schleiner, Annina Rüst, Cat Mazza (CMU Alumna, SoArt 1999), Channel Two, Dara Birnbaum (CMU Alumna, SoArch 1969), Elisa Kreisinger, Kathy High, Lynn Hershman Leeson, Mary Flanagan, micha cárdenas, Morehshin Allahyari, Myfanwy Ashmore, Olia Lialina, Rachel Rampleman, Rachel Simone Weil, RAFiA Santana, Skawennati, Soda Jerk and VNS Matrix, Sondra Perry, and Suzie Silver (CMU Professor of Art)

HACKING / MODDING / REMIXING as Feminist Protest is an exhibition of twenty two artists, designers and developers working at the intersection …

Curated by Angela Washko

Works by: Addie Wagenknecht (Frank-Ratchye STUDIO for Creative Inquiry Fellow 2014), Anne-Marie Schleiner, Annina Rüst, Cat Mazza (CMU Alumna, SoArt 1999), Channel Two, Dara Birnbaum (CMU Alumna, SoArch 1969), Elisa Kreisinger, Kathy High, Lynn Hershman Leeson, Mary Flanagan, micha cárdenas, Morehshin Allahyari, Myfanwy Ashmore, Olia Lialina, Rachel Rampleman, Rachel Simone Weil, RAFiA Santana, Skawennati, Soda Jerk and VNS Matrix, Sondra Perry, and Suzie Silver (CMU Professor of Art)

HACKING / MODDING / REMIXING as Feminist Protest is an exhibition of twenty two artists, designers and developers working at the intersection of art and technology to intervene on dominant voices in tech and popular culture, producing critical works that give visibility to women's perspectives and experiences often marginalized, ignored, or dismissed.

Angela Washko is an artist, game developer and organizer devoted to creating new forums for discussions of feminism in spaces frequently hostile toward it. Since 2012, Washko has operated The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft, an ongoing intervention inside the most popular online role-playing game of all time. 

Washko’s practice has been highlighted in Art in America, Frieze Magazine, Time Magazine, The Guardian, ArtForum, the New York Times and more. Her projects have been presented nationally and internationally at venues including Kiasma Museum of Contemporary Art (Helsinki), Los Angeles Museum of Contemporary Art, the Milan Design Triennale, and the Shenzhen Independent Animation Biennial. Her writing has been published in Creative Time Reports, FIELD Journal of Socially Engaged Art Criticism, Copenhagen University Peer Reviewed Journal, Neural Magazine, VASA Journal of Images and Culture, .dpi Feminist Magazine of Art and Digital Culture and more.

Additional support for Hacking / Modding / Remixing as Feminist Protest comes in part from the Frank-Ratchye STUDIO for Creative Inquiry, the CMU School of Art, and Conflict Kitchen.

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Focus
CMU School of Design Exhibition
Dec 3–11, 2016
  • About

Works by: Ji Young Ahn, Zainab Aliyu, Leah Anton, Kate Apostolou, Rachel Chang, Lea Cody, Kaleb Crawford, Justin Finkenaur, Linna Griffin, Ruby He, Rae Headrick, Jeff Houng, Eileen Huang, Vicky Hwang, Jackie Kang, Jonathan Kim, Brandon Kirkley, Daniel Kison, Alisa Le, Zac Mau, Gabriel Mitchell, Jillian Nelson, Courtney Pozzi, Vivian Qiu, Temple Rea, Hannah Salinas, Diana Sun, Praewa Suntiasvaraporn, Albert Topdjian, Kaitlin Wilkinson, Julia Wong, Brian Yang, Lauren Zemering, Catherine Zheng

The work featured in the show offers insight into the culmination of four years of study, pushing the boundaries of medium …

Works by: Ji Young Ahn, Zainab Aliyu, Leah Anton, Kate Apostolou, Rachel Chang, Lea Cody, Kaleb Crawford, Justin Finkenaur, Linna Griffin, Ruby He, Rae Headrick, Jeff Houng, Eileen Huang, Vicky Hwang, Jackie Kang, Jonathan Kim, Brandon Kirkley, Daniel Kison, Alisa Le, Zac Mau, Gabriel Mitchell, Jillian Nelson, Courtney Pozzi, Vivian Qiu, Temple Rea, Hannah Salinas, Diana Sun, Praewa Suntiasvaraporn, Albert Topdjian, Kaitlin Wilkinson, Julia Wong, Brian Yang, Lauren Zemering, Catherine Zheng

The work featured in the show offers insight into the culmination of four years of study, pushing the boundaries of medium and method in the field of design.

"Amidst the freshman year excitement of becoming designers, our class often gravitated towards social activity rather than schoolwork. As a reminder to stay focused on our work instead of distracting each other, we came up with 'Friends Only Cause Ugly Sketches,' a tongue-in-cheek motto that has helped us stay grounded.

However, as we progressed through the four years of our education, we all naturally began to refine our concentrations and iterate on what we each believe design to be. We were all able to individually develop a personal design focus, without losing sight of what ties us together as a whole.

This exhibition is a collection of our talents, interests, and values – our focus in design. Through this exhibition we hope to demonstrate not only our work and accomplishments, but also highlight the personal moments we’ve shared with each other, and how they have shaped our communal experience here at the School of Design."

- CMU School of Design 2017 Seniors

co-prersented by the CMU School of Design

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Climactic: Post Normal Design
Nov 4–Dec 11, 2016
  • About

Works by: Sara Adhitya, Ahmed Ansari, Laurens Boer and Jared Donovan, Eva Brandt, Deepa Butoliya and works from the Speculative Critical Design class CMU, Tentative Collective, Beck Davis,Tricia Flanagan, Raune Frankjaer, Jennifer Gabrys, William Gaver, Joachim Halse, Thomas Binder, Eva Brandt, and Brendon Clark, Interplay, Terry Irwin, Tie Ji, Cyrus Kabiru, Tobie Kerridge, Onkar Kular, CMU HCI and robotics Create Lab, Golan Levin, Zoe Mahony, Mike Michael, Katherine Moline, Manar Moursi, NoamToran, Pedro Oliveira, Liliana Ovalle and Colectivo 1050º, Nestor Pestana, Matthew Plummer-Fernandez, Luiza Prado, Tristan Schultz, Srishti, Superflux, Laurene Vaughan, Alex Wilkie

Climactic: Post Normal Design focuses on design and activism surrounding issues of coloniality, crises of culture and race climate change in both the Global South and North. The curatorial premise of the exhibition …

Works by: Sara Adhitya, Ahmed Ansari, Laurens Boer and Jared Donovan, Eva Brandt, Deepa Butoliya and works from the Speculative Critical Design class CMU, Tentative Collective, Beck Davis,Tricia Flanagan, Raune Frankjaer, Jennifer Gabrys, William Gaver, Joachim Halse, Thomas Binder, Eva Brandt, and Brendon Clark, Interplay, Terry Irwin, Tie Ji, Cyrus Kabiru, Tobie Kerridge, Onkar Kular, CMU HCI and robotics Create Lab, Golan Levin, Zoe Mahony, Mike Michael, Katherine Moline, Manar Moursi, NoamToran, Pedro Oliveira, Liliana Ovalle and Colectivo 1050º, Nestor Pestana, Matthew Plummer-Fernandez, Luiza Prado, Tristan Schultz, Srishti, Superflux, Laurene Vaughan, Alex Wilkie

Climactic: Post Normal Design focuses on design and activism surrounding issues of coloniality, crises of culture and race climate change in both the Global South and North. The curatorial premise of the exhibition is to engage audiences in thinking about the ongoing moment of contingency and precarity that characterize contemporary life and challenge the design disciplines. Our exhibition, panel discussions, and workshops aim to present alternative models for design that broaden human capacity to understand and intervene in accelerated social and environmental crises. Climactic: Post Normal Design is the fourth iteration of a series of exhibitions and symposia led by Feral Experimental: New Design Thinking, shown at UNSW Galleries, Sydney, Australia, in 2014. 

Curatorial team: ­­Katherine Moline, Ahmed Ansari, Deepa Butoliya
Curatorium: ­­Katherine Moline, Ahmed Ansari, Deepa Butoliya, Laurene Vaughan, Brad Haylock, Beck Davis, Peter Hall
Provocateur: Cameron Tonkinwise
Co-organized by CMU School of Design

Additional support for Climactic: Post Normal Design comes in part from Carnegie Mellon School of Design.

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Architecture With and Without Le Corbusier
+ The Chapel of the Mosquitos
Aug 20–Nov 13, 2016
  • About

José Oubrerie architecte/ Atelier Wylde-Oubrerie 
Associate Curator Spike Wolff

José Oubrerie is Professor Emeritus at the Knowlton School of Architecture at Ohio State University. An internationally renowned French architect and protégé of Le Corbusier, Oubrerie was the project architect for the Saint-Pierre de Firminy Church, seeing the final design through to completion in 2006. Other projects include the French Cultural Center in Syria, the Miller House in Kentucky, and The Chapel of the Mosquitoes in New York. Oubrerie is Honorary AIA, author of the recently released Architecture With and Without LeCorbusier, …

José Oubrerie architecte/ Atelier Wylde-Oubrerie 
Associate Curator Spike Wolff

José Oubrerie is Professor Emeritus at the Knowlton School of Architecture at Ohio State University. An internationally renowned French architect and protégé of Le Corbusier, Oubrerie was the project architect for the Saint-Pierre de Firminy Church, seeing the final design through to completion in 2006. Other projects include the French Cultural Center in Syria, the Miller House in Kentucky, and The Chapel of the Mosquitoes in New York. Oubrerie is Honorary AIA, author of the recently released Architecture With and Without LeCorbusier, and is currently visiting professor at the School of Architecture at the University of Illinois at Chicago.

Additional support for Architecture With and Without Le Corbusier comes in part from the Steven Myron Holl Foundation, the Knowlton School of Architecture, Carnegie Mellon School of Architecture and the Alan H Rider Distinguished Lecture fund. Special thanks to Frost Engineering (Waterjet Cutting) Cincinnati and NBBJ Architects, Columbus OH, Brian Polgar, Alex Mann, Cory Frost and Dustin Page, Benjamin Wilke, Mark O’Bryan, Romain Chazalon, Luis Burriel-Bielza Chuck Paros, Mark Pataky and Alicia Civile.

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Willful Wondering:
Patricia Bellan-Gillen Drawings 2010-2016
Jun 11–Jul 24, 2016
  • About
  • Artists

Willful Wondering features large-scale mixed media drawings and prints by Patricia Bellan-Gillen.  The exhibition also includes a new installation by the artist.

“Somewhere in my brain, personal narrative mixes with fairytales.  Historical events intertwine with the imagined and the veil of nostalgia blurs the border between fact and fiction.  Archetypal imagery moves about in the temporal lobe with cartoon characters and recent news flashes picked from the Internet join the sagas of black and white television. My work uses these bits and pieces of visual history: the stones and bones of memory to suggest …

Willful Wondering features large-scale mixed media drawings and prints by Patricia Bellan-Gillen.  The exhibition also includes a new installation by the artist.

“Somewhere in my brain, personal narrative mixes with fairytales.  Historical events intertwine with the imagined and the veil of nostalgia blurs the border between fact and fiction.  Archetypal imagery moves about in the temporal lobe with cartoon characters and recent news flashes picked from the Internet join the sagas of black and white television. My work uses these bits and pieces of visual history: the stones and bones of memory to suggest a narrative and remix our stories.  These disorderly notions are exploited and employed in an attempt to engage the viewer’s associative responses and to jar the senses of wonder and wondering that lay quietly below the surface.” – Patricia Bellan-Gillen

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Patricia Bellan-Gillen
About the Artists
Patricia Bellan-Gillen

Patricia Bellan-Gillen was born in Beaver Falls, PA and currently lives and works in rural Burgettstown, PA adjacent to the West Virginia border.  She recently retired from Carnegie Mellon after 29 years as a professor in the School of Art.  In 2000 the university honored her with the Ryan Award for Meritorious Teaching.  In 2002 she recieved the Dorothy L. Stubnitz Endowed Chair in Art.

Bellan-Gillen’s paintings, prints and drawings have been the focus of over 45 solo exhibitions across the U. S., including venues in Washington DC, Nashville, TN, Las Cruces, NM, Albany, NY, Bloomington, IL Portland, OR, Grand Rapids, MI and Wimbledon/London, UK.   Her work has been included in numerous group shows in museums, commercial galleries, university galleries, and alternative spaces.  Venues have included: Hudson River Museum, Yonkers, NY, Chelsea Museum of Art, New York, NY,  The Art Museum at FIU, Miami, FL, Frans Masreel Centrum, Belgium, University Art Museum, Laramie, WY and the Tacoma Museum of Art, Tacoma, WA.  Upcoming exhibitions include a solo exhibition at The Media Center at Rice University and a second two-person exhibition at Solander Gallery, Wellington, New Zealand.  Active in the Pittsburgh art scene since 1977, Bellan-Gillen was the Pittsburgh Center for the Arts 1996 Pittsburgh Artist of the Year.

Bellan-Gillen is an alumna of Edinboro University of Pennsylvania where she received a B.S. in Art Education in 1973 and a B.F.A. in Printmaking in 1975. She did post-graduate work at the University of Tennessee, Knoxville and received an M.F.A. from Carnegie Mellon in 1979.

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Free Germs
CMU School of Art Senior Exhibition
Apr 30–May 14, 2016
  • About

Works by: Zoe Ambinder, Audrey Banks, Jacqueline C.J. Barnes, Christin Bongiorni, Raquel Caticha, Lindsay Cavallo, Heather Cowie, Jamie Earnest, Darrius Fletcher, Hannah Gaskill, Max Emilio Gonzales, Madalyn Gryger, Claire Hentschker, Jennifer Huang, Nivetha Kannan, Swetha Kannan, Daniel Kim, Ralph Kim, Melanie Kim, Steven Kosovac, Maryyann Landlord, Tate Leone, Emily Drew Miller, Christian Murphy, Angelina Namkung, Maggy Navin, Rachel June Park, Paul Peng, Nicholas Sardo, Ticha Sethapakdi, Maddy Varner, Carolina Vogt, Paul Alex Walker.

"I have discovered the secret of perpetual youth. Every year I meet a group of talented young students and …

Works by: Zoe Ambinder, Audrey Banks, Jacqueline C.J. Barnes, Christin Bongiorni, Raquel Caticha, Lindsay Cavallo, Heather Cowie, Jamie Earnest, Darrius Fletcher, Hannah Gaskill, Max Emilio Gonzales, Madalyn Gryger, Claire Hentschker, Jennifer Huang, Nivetha Kannan, Swetha Kannan, Daniel Kim, Ralph Kim, Melanie Kim, Steven Kosovac, Maryyann Landlord, Tate Leone, Emily Drew Miller, Christian Murphy, Angelina Namkung, Maggy Navin, Rachel June Park, Paul Peng, Nicholas Sardo, Ticha Sethapakdi, Maddy Varner, Carolina Vogt, Paul Alex Walker.

"I have discovered the secret of perpetual youth. Every year I meet a group of talented young students and I join them on a four-year journey of excitement, exploration and discovery. I get to share their interests and enthusiasms. As a consequence I attain an ever-changing generational perspective on life, and on the world of art; to the point where I forget what age I am supposed to be. It is a pleasure to experience the unpredictable uniqueness of each year group and to enjoy their creative development, from high school hopefuls, arriving nervously for interviews and portfolio reviews, to confident and sophisticated young artists, ready to make their marks on the cultural landscape. This year’s group have called their exhibition Free Germs. One dictionary definition of the word germ is “an initial stage from which something may develop”. The example of usage is “the germ of a brilliant idea”. This exhibition is full of brilliant ideas, given form in a variety of artworks: from painting to animation, from materiality to virtual reality. The subject matter is wide ranging: sometimes playful, sometimes challenging. There is something for everyone among the intimate personal narratives, dark fantasies, bouncing flesh, willful antagonism, internal dreams and desires, absurdities, constructed identities, and musings on sexuality and death. What is on display is the germination of a wealth of artistic talent, which I am sure will develop in all sorts of wonderful ways in the years ahead. I wish all these young artists well in their future careers. It has been a pleasure to enjoy their company over the last four years. I would like to thank them for the original work they have produced, for their industry, ingenuity and sense of adventure, and for keeping me forever young."

-- John Carson Regina and Marlin Miller Professor Head of the School of Art

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Thesis
CMU School of Architecture Exhibition
Apr 21–23, 2016
  • About

Thesis: Christopher Ball, Avanti Dabholkar, Gloriana Gonzalez, Laura Gonzalez, Tom Sterling, Andrew Viny, Leah Wulfman

Independent Projects: Shanna Chan, Colleen Clifford, Liz Madigan, Nikhil Sambamurthy 

The 2016 Thesis group - Ball, Dabholker, Gonzalez, Gonzalez, Sterling, Viny and Wulfman - has spent a full year and the Independent Project group - Chan, Clifford, Madigan and Sambamurthy - has spent this Spring semester exploring platforms of contention. Though each of these 5th year students has been working at a different margin of the architectural discipline, threads of ideas weave across from one to …

Thesis: Christopher Ball, Avanti Dabholkar, Gloriana Gonzalez, Laura Gonzalez, Tom Sterling, Andrew Viny, Leah Wulfman

Independent Projects: Shanna Chan, Colleen Clifford, Liz Madigan, Nikhil Sambamurthy 

The 2016 Thesis group - Ball, Dabholker, Gonzalez, Gonzalez, Sterling, Viny and Wulfman - has spent a full year and the Independent Project group - Chan, Clifford, Madigan and Sambamurthy - has spent this Spring semester exploring platforms of contention. Though each of these 5th year students has been working at a different margin of the architectural discipline, threads of ideas weave across from one to the other. Diversions, obstructions and difficulties are to be expected when traversing uncharted territory and the results of their work are exhibited in the Miller Gallery. Here the installations are designed to provoke a conversation in the reviews, and questions abound;

Can architecture undermine power and privilege?
What subtle potential could lie in the biometric control of a sensory interface?
Is social integration responsive to a dynamic toolset in a rural context?
Could a dense urban context be overlaid with incremental, autonomous public space?
How can we find ways to imagine futures for the uninhabitable world?
Is there a new digital/tactile zone of collaborative design?
An architecture of tenuous stability could maybe both receive and issue narrative enactment?
Does dressing form a part of the architecture of couture?
How is the world changed with a soft, squishy architecture?
What does the car leave behind it?
Are we temporary players in someone else’s reality?

It is at times uncomfortable to be walking on the edge of architecture, even in the protected zone of academia. This group has worked to expand our definitions and the results of their leaps of imagination and the rigor of their thinking is both provoking and exciting. We are delighted to be ushering these students into the profession and await the impact of their work as it sends ripples through the establishment.

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Self Driving Car
CMU MFA Exhibition
Mar 19–Apr 10, 2016
  • About
  • Artists

Works by: Dan Allende, Zhiwan Cheung, Nima Dehghani, Ada-Scarlett Hopper, Jesse Kauppila, Tucker Marder, and Daniel Pillis

"Travellers’ Tales

The unpredictability of the MFA program at CMU is one of its strengths and joys. It is a three year journey of exploration led by student curiosity, experiment and adventure.

In this final year MFA exhibition, we will experience: a belly aching performance full of gut wrenching bathos; a heartfelt search for identity within and beyond ethnicity; concern with exile, diaspora, displacement and virtuality; the body in extremis, biologically, physically and philosophically; intellectual gamesmanship, exploring …

Works by: Dan Allende, Zhiwan Cheung, Nima Dehghani, Ada-Scarlett Hopper, Jesse Kauppila, Tucker Marder, and Daniel Pillis

"Travellers’ Tales

The unpredictability of the MFA program at CMU is one of its strengths and joys. It is a three year journey of exploration led by student curiosity, experiment and adventure.

In this final year MFA exhibition, we will experience: a belly aching performance full of gut wrenching bathos; a heartfelt search for identity within and beyond ethnicity; concern with exile, diaspora, displacement and virtuality; the body in extremis, biologically, physically and philosophically; intellectual gamesmanship, exploring the relationship between technology and craft; surprising collisions between human culture and animal behavior; and the interface between personal and technological histories, emotional and artificial intelligence.

All of this with depth and intensity, approached variously with humor and candor, passion and politics, deliberation and determination. This group of young artists have been test driving ideas on a tough course. Students bring ideas, hopes, enthusiasms, expectations and practices which are challenged, examined and developed through intense discussion and debate with faculty and peers.

Having had attentive instructors over the last three years, they have ultimately found their own sense of direction, and are now totally into self-driving mode. I am sure that the road ahead is filled with wonder and discovery, and I look forward to the travellers’ tales, which will come back over the years. Congratulations and bon voyage to the MFA class of 2016."

- John Carson, Regina and Marlin Miller Professor, Head of the School of Art
 

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Dan Allende, Zhiwan Cheung, Nima Dehgani, Ada-Scarlett Hopper, Jesse Kauppila, Tucker Marder, Daniel Pillis
About the Artists
Dan Allende
Sometimes I am sitting in my car after pulling out of Wendy’s drive thru, sipping on a cherry coke and munching on a hamburger, when I get a rumbling deep in my belly. In this situation most would typically associate the disturbance with indigestion but, as a frequent visitor to Wendy, I understand it as the beginning of a creative awakening. The belly (gut) is the home of the irrational drive powerful enough to supersede our higher brain function. Harnessing the power of the belly, I started to use it to create; casting ‘dad bods’ into neo-primitive masks and teaching men with similar guts to belly dance. The process gained momentum, establishing the ‘Cult of the Wampe’, a men’s movement for celebrating the male figure and the beer gut as a source of creation. This body of work is an homage to the origins of the movement and to the object of my desire: Wendy... You’ve always been there for me... (After Letters to Wendy’s by Joe Wenderoth, 1997) “...My previous statements were made in haste. I was hungry and confused, and I longed for purpose. I wanted to seem like I was in the process of focusing in on something important. ...

Sometimes I am sitting in my car after pulling out of Wendy’s drive thru, sipping on a cherry coke and munching on a hamburger, when I get a rumbling deep in my belly. In this situation most would typically associate the disturbance with indigestion but, as a frequent visitor to Wendy, I understand it as the beginning of a creative awakening. The belly (gut) is the home of the irrational drive powerful enough to supersede our higher brain function. Harnessing the power of the belly, I started to use it to create; casting ‘dad bods’ into neo-primitive masks and teaching men with similar guts to belly dance. The process gained momentum, establishing the ‘Cult of the Wampe’, a men’s movement for celebrating the male figure and the beer gut as a source of creation. This body of work is an homage to the origins of the movement and to the object of my desire: Wendy... You’ve always been there for me...
(After Letters to Wendy’s by Joe Wenderoth, 1997)

“...My previous statements were made in haste. I was hungry and confused, and I longed for purpose. I wanted to seem like I was in the process of focusing in on something important. I wanted to feel purpose rising like an ancient city from an excavator’s pick and shovel. I wanted this so much that I rushed – I swung my pick wildly, and I brought a great delicate city to the dust it had always verged on.” – Joe Wenderoth

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Zhiwan Cheung

The intersection of national identity and the personal psyche is complex, not always clear nor fixed; as an artist, I probe the paths and how and where they join and diverge. As an odyssey toward a home that does not exist, a rite of passage with no destination, I use my work to search for a critical understanding of an impossible homecoming. Through sculpture, film, and performance, I focus on the meaning and space between identities, examining the feeling of a liminal displacement. It is a journey guided by an allusive visual language, with a mix of pop cultural, art historical, and aesthetical signals and choices that also guide audiences into finding their own rites of passage.

The intersection of national identity and the personal psyche is complex, not always clear nor fixed; as an artist, I probe the paths and how and where they join and diverge. As an odyssey toward a home that does not exist, a rite of passage with no destination, I use my work to search for a critical understanding of an impossible homecoming. Through sculpture, film, and performance, I focus on the meaning and space between identities, examining the feeling of a liminal displacement. It is a journey guided by an allusive visual language, with a mix of pop cultural, art historical, and aesthetical signals and choices that also guide audiences into finding their own rites of passage.

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Nima Dehgani

Nima is a multidisciplinary artist, writer and architect, born in Tehran, Iran in 1986. Humans, communication, individual conflicts and social discriminations, with allusions to politics, have been the subject of most of his works. With a background in architecture and theater, he strives to build the most comprehensible virtual venues to convey his thoughts, to focus on the notion of displacement, home, diaspora and the purest relationship between human and space: Migration.

Nima works predominantly in the medium of performing arts and digital media and his goal is to find the most effective ways to influence the audience using new media. His research revolves around the core of Middle Eastern studies, social behavior in online networks and performativity of social actions.

Decompensation:
Five stages are described through which refugees pass: early arrival, destabilization, exploration and restabilization, return to normal life, and decompensation. They come from a reality, which is not real anymore.

Ada-Scarlett Hopper

Through various media, most currently those of sculpture, performance, and photography, Ada Hopper uses her diverse background in the study of medicine, practice of dance, and engagement in the visual arts to explore many philosophical issues relevant to understanding the vast spaces that can exist between extremes of what is and what is not.

Ada Hopper’s most current works strive to understand how movement, time, and machines frame our biological and philosophical existence. Primarily creating work in the third and fourth dimensions of respectively space and time, she continues to explore a variety of human experiences and the liminal human forms within which we exist.

Jesse Kauppila

I love technology, cities, and the modern world, but I grew up in stunning rural Vermont in a family that values craft and education. This experience led me to pursue a career as first a printer, then an art historian, and now an artist. I explore how a variety of technologies and concepts shape our experience of the world. I am currently working with the relationship between abstract thinking and gameplay.

Tucker Marder

I grew up diving in a salt water creek 100 miles east of New York City. This creek was home to a particularly humorous ecosystem. I observed the pratfalls of Hermit Crabs, nervous Pipe Fish hyperventilating in the crevices and Bay Scallops fluttering awkwardly like armored butterflies. From these early encounters with the natural world, I developed a vocabulary for making art, engaging with the humor of animal behaviors to encourage empathy for the non- human. But the sense of absurdity with which I approach making art about nature derives not just from the animals themselves, but the predicament in which we find them. The area of Long Island where I grew up is known as “The Hamptons”. It is a seasonal vacation retreat for the extremely wealthy. But what is lesser known about “The Hamptons” is the amazing amount of biodiversity that clings to life between the property lines of the mansions. I could show you where the endangered Roseate Turn nests not far from one of the largest homes in North America.  

I believe that ecological responsibility is best instilled through exuberance. I have
developed an environmental ethic that promotes optimism and engagement rather than depression and paralysis. If people are sensitive to it, nature’s sense of humor can inspire a more symbiotic relationship between humans and the planet.

Daniel Pillis

Daniel Pillis makes work about the history of technology, exploring the overlap and tension between human existence and artificial forms of life. Computer graphics as a concept, archives of human experience, as well as the histories of individuals who have made technological progress are all dominant themes in his installation, animation, and sculptural inquiries.

Virtual Newell/Simon Simulation:
In the basement of Dougherty hall, Mr. Pillis has recreated the offices and archives of the fathers of artificial intelligence, Allen Newell and Herbert Simon. Hundreds of thousands of scanned documents in Carnegie Mellon’s University Archives document their life and work, while the physical originals remain underground inside of a limestone mountain, one of the worlds oldest data management centers, Iron Mountain. In Dougherty Hall, Room C317, visitors are invited to experience a recreation of this office and interact with an “artificially intelligent archive”. Please text 908-902-9559 for more information.

Ivan Sutherland’s Trojan Cockroach:
This additional on-campus exhibit tells the story of computer graphics, walking machines, and the origins of the technology underlying modern advances in robots. The protagonist of the exhibit, Ivan Sutherland, is often considered the father of computer graphics.

Maximum Minimum in Unum
Jan 23–Feb 28, 2016
  • About
  • Selected Art
  • Artists

Curated by Josh Reiman and Suzanne Slavick

Works by: Ben Bigelow, Felipe Castelblanco, Peter Coffin, Ron Desmett, Maggie Haas, Institute for New Feeling (Scott Andrew, Agnes Bolt and Nina Sarnelle), Laleh Mehran, Shana Moulton, Zak Prekop, Paul Rouphail, Diane Samuels, Carrie Schneider, Jina Valentine, Rebecca Vaughan, and Gregory Witt. (Participating artists, all alumni of the Carnegie Mellon School of Art)

This exhibition features artists whose work eludes maximalist or minimalist classification. They probe or collapse extremes, whether ideological or aesthetic. Multiple dualities run parallel or intersect in their practices. Co-curators Josh Reiman …

Curated by Josh Reiman and Suzanne Slavick

Works by: Ben Bigelow, Felipe Castelblanco, Peter Coffin, Ron Desmett, Maggie Haas, Institute for New Feeling (Scott Andrew, Agnes Bolt and Nina Sarnelle), Laleh Mehran, Shana Moulton, Zak Prekop, Paul Rouphail, Diane Samuels, Carrie Schneider, Jina Valentine, Rebecca Vaughan, and Gregory Witt. (Participating artists, all alumni of the Carnegie Mellon School of Art)

This exhibition features artists whose work eludes maximalist or minimalist classification. They probe or collapse extremes, whether ideological or aesthetic. Multiple dualities run parallel or intersect in their practices. Co-curators Josh Reiman and Susanne Slavick selected works in which these seemingly opposing qualities — both separately and together — coalesce.

 

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Shana Moulton, The Undiscovered Drawer, 2013, 9:19, Material A, Material B, Material C
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Ron Desmett, 2015
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Peter Coffin, 2012
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Jina Valentine, 2015
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Felipe Castelblanco, 2014
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Zak Prekop, 2014
Ben Bigelow, Felipe Castelblanco, Peter Coffin, Ron Desmett, Maggie Haas, The Institute for New Feeling , Laleh Mehran, Shana Moulton, Paul Rouphail, Zak Prekop, Diane Samuels, Carrie Schneider, Jina Valentine, Rebecca Vaughan, Gregory Witt
About the Artists
Ben Bigelow

Ben Bigelow’s work explores the shifting identity of Americana and its relationship to technology through combinations of video, installation, performance, and photography. Venues for past exhibitions include: Kala Art Institute, Berkeley; City Limits Gallery, Oakland; the Institute of Contemporary Art, Philadelphia; and the Harlem Factory Fest in New York City. In 2014, he lectured in the Department of Art & Art History at Stanford University and in 2015 was a faculty member in the SIM Department at the Massachusetts College of Art & Design. He has an MFA from Stanford University and a BFA (2008) from Carnegie Mellon University. Originally from Los Angeles, he currently lives and works in Brooklyn, New York. http://benbigelow.com

Ben Bigelow’s work explores the shifting identity of Americana and its relationship to technology through combinations of video, installation, performance, and photography. Venues for past exhibitions include: Kala Art Institute, Berkeley; City Limits Gallery, Oakland; the Institute of Contemporary Art, Philadelphia; and the Harlem Factory Fest in New York City. In 2014, he lectured in the Department of Art & Art History at Stanford University and in 2015 was a faculty member in the SIM Department at the Massachusetts College of Art & Design. He has an MFA from Stanford University and a BFA (2008) from Carnegie Mellon University. Originally from Los Angeles, he currently lives and works in Brooklyn, New York. http://benbigelow.com

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Felipe Castelblanco

Felipe Castelblanco is a multidisciplinary artist working at the intersection of socially engaged and new media art. A 2013 MFA alumnus of Carnegie Mellon, he attended Skowhegan School of Painting and Sculpture in 2012. International venues for his work have included: the Royal Academy of Arts, London; the San Diego Museum of Art; FAD Festival in Belo Horizonte, Brazil; FIVAC Festival in Camagüey, Cuba; PRACTICE Gallery in Philadelphia; the Valenzuela Klenner Gallery in Bogotá, Colombia; and in storefronts and street corners throughout the United States. Castelblanco has been the recipient of the 2013 John Fergus Post MFA Fellowship at The Ohio State University in Columbus, the 2014 Starr Fellowship at the Royal Academy in London, and in 2015 served as a Cultural Emissary in the Philippines with U.S State Department and U.S Embassy in Manila through the American Arts Incubator exchange program. www.felipecastelblanco.com

Felipe Castelblanco is a multidisciplinary artist working at the intersection of socially engaged and new media art. A 2013 MFA alumnus of Carnegie Mellon, he attended Skowhegan School of Painting and Sculpture in 2012. International venues for his work have included: the Royal Academy of Arts, London; the San Diego Museum of Art; FAD Festival in Belo Horizonte, Brazil; FIVAC Festival in Camagüey, Cuba; PRACTICE Gallery in Philadelphia; the Valenzuela Klenner Gallery in Bogotá, Colombia; and in storefronts and street corners throughout the United States. Castelblanco has been the recipient of the 2013 John Fergus Post MFA Fellowship at The Ohio State University in Columbus, the 2014 Starr Fellowship at the Royal Academy in London, and in 2015 served as a Cultural Emissary in the Philippines with U.S State Department and U.S Embassy in Manila through the American Arts Incubator exchange program. www.felipecastelblanco.com

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Peter Coffin

Peter Coffin has mounted over 30 solo museum and gallery exhibitions internationally at venues such as: the Hirshhorn Museum and Sculpture Garden, Washington D.C.; the Center d’art Contemporain d’Ivry, France; The Barbican, London; Le Centre d’Art Contemporain de Fribourg, Switzerland; Palais de Tokyo, Paris; the Horticultural Society of New York; and Le Confort Moderne, Poitier. His work has been included in art biennials in Berlin, Belgrade, Liverpool, Moscow, New York, Trentino and Yokohama and in numerous museums such as: the Singapore Art Museum; Schirn Kunsthalle, Frankfurt; El Centro Andaluz de Arte Contemporáneo, Seville, Spain; Yerba Buena Center for the Arts, San Francisco; The Geffen Contemporary at MoCA, Los Angeles; Boston Museum of Fine Arts; Nouveau Musée National de Monaco, Monaco; The Israel Museum, Jerusalem; the CAPC musée d’art contemporain de Bordeaux, France; Saatchi Gallery, London; Hessel Museum of Art, Annandale-On-Hudson, NY; Solomon R. Guggenheim Museum, New York; Museo d’Arte Contemporanea, Rome; and Tate Britain, London among others. Peter Coffin was born in Berkeley, California in 1972. He studied at the University of California, Davis and is a 2000 MFA alumnus of Carnegie Mellon. He lives and works in New York City.  http://petercoffinstudio.com

Ron Desmett

Ron Desmett is a contemporary sculptor using molten black glass to disturb the canons of craft. Black glass is his holy grail. Subverting a material known for its sleek beauty and transparency, he creates slumped, dark and earthy forms. Desmett is a descendant of Belgian coal miners relocated in the diaspora of migrants to the mines of Clearfield, Pennsylvania where he was born in 1948. He has received awards from the Pennsylvania Council on the Arts, including Pennsylvania Artist of the Year 2013-2014. In 2010, he was Artist in Residence at the Tacoma Museum and has also been a resident artist at Artpark in Lewiston, NY and the Contemporary Art Center at Wheaton Village, Millville, NJ. His works are in the permanent collections of the Renwick Galleries of the Smithsonian Institution, the Carnegie Museum of Art, the Westmoreland Museum, the Tacoma Museum of Glass, the American Museum of Glass at Wheaton Village and the Corning Museum of Glass in New York. http://www.rondesmett.com

Maggie Haas

Maggie Haas is an artist and writer based in San Francisco. She holds an MFA from California College of the Arts, and a BFA (2003) from Carnegie Mellon University. Haas has exhibited at venues including the Lab, San Francisco; Arttransponder, Berlin; Slow, Chicago; and the Royal Nonesuch Gallery, Oakland. She is Featured Artist Editor at Little Paper Planes, and coproduces the interview series LPP In Conversation for Art Practical.  http://www.maggiehaas.net

The Institute for New Feeling

The Institute for New Feeling is a research clinic committed to the development of new ways of feeling, and ways of feeling new. The Institute is the inventor of its own authority, borrowing from the language of corporate branding and new age healing, as well as that of mainstream medicine, therapy, health and beauty. It’s work takes the form of treatments, therapies, retreats and wellness products that acknowledge the contemporary digital age’s modes of production, consumption, and distribution of goods and services.

Founded by Scott Andrew, Agnes Bolt, and Nina Sarnelle, IfNf’s physical existence is regularly shifting but its long term plan is to open a permanent space/spa in Los Angeles. 

The Institute for New Feeling has recently exhibited at Recess, NY; Southern Exposure, San Francisco; Thank You For Coming and Eastside International, Los Angeles; Open Engagement Conference, Queens Museum of Art, NY; Spaces, Cleveland; Vox Populi, Philadelphia; and Threewalls, Chicago, among other venues. IfNf has been featured on Clocktower Radio and KChung Radio and their work has recently been reviewed in Art in America, Huffington Post, Animal NY, Fader, Hyperallergic, ArtFCity, and ArtHopper. http://institutefornewfeeling.com

Laleh Mehran

Laleh Mehran constructs elaborate artworks focused on complex intersections between politics, religion, and science. The progeny of Iranian scientists, Mehran’s relationship to these issues is necessarily complex, even more so given today’s political climate in which certain views can have extreme consequences. Her research, often modeled on and about the very ideas of science and technology, takes advantage of their cultural importance in order to articulate a set of ideas that require precisely these kinds of mediations from both political and religious intolerance. Considerations that shape her work are as veiled as they are explicit, as personal as they are political, and as critical as they are tolerant. Mehran received her MFA in 1997 from Carnegie Mellon. Her work has been shown individually and as part of collectives in venues including: The International Symposium on Electronic Art, United Arab Emirates; National Taiwan Museum of Fine Arts; Electronic Language International Festival, Brazil; Massachusetts Museum of Contemporary Art; The Georgia Museum of Art; The Andy Warhol Museum; Denver Art Museum; Biennial of the Americas at the Museum of Contemporary Art Denver; 404 International Festival of Art & Technology, Argentina; Next 5 Minutes 4 Tactical Media Festival, Netherlands; and the European Media Arts Festival, Germany. Mehran is an Associate Professor and Graduate Director in Emergent Digital Practices at the University of Denver. http://lalehmehran.com

Shana Moulton

Shana Moulton creates evocative and oblique narratives in video and performance works. Combining an unsettling, wry humor with a low-tech, Pop sensibility, she plays a character whose interactions with the everyday world are both mundane and surreal, in a domestic sphere just slightly askew. As her protagonist navigates the enigmatic and possibly magical properties of her home decor, Moulton initiates relationships with objects and consumer products that are at once banal and uncanny. Shana Moulton was born in 1976. She studied at the University of California, Berkeley and Carnegie Mellon University where she received her MFA in 2004. Moulton has also attended the Skowhegan School of Painting and Sculpture in Maine and studied at De Ateliers in Amsterdam. Her video work has been screened and exhibited at international venues including: Art in General, New York; Migros Museum, Zurich; Contemporary Museum of Art, Uppsala; Rencontres internationales Paris/Berlin; Aurora, Edinburgh; Dark Light Festival, Dublin: Impakt Festival, Utrecht; Internationale Kurzfilmtage, Oberhausen; Broadway 1602, New York; and Gimpel Fils, London. Moulton has performed at venues including The Kitchen, Electronic Arts Intermix, PERFORMA 09 and Socrates Sculpture Park in New York; Aurora Picture Show, Houston; and The Bluecoat, Liverpool, among others. Moulton lives and works in Brooklyn, New York and teaches at Kunstakademie in Muenster, Germany. http://www.shanamoulton.info

Paul Rouphail

Paul Rouphail is a painter who fuses architectural history, American pop
iconography, and linguistic turns of phrase. His works have been exhibited
at the The Gelman Gallery at the Rhode Island School of Design, Microscope
Gallery in Brooklyn and The Chautauqua Institution, among others. Rouphail’s work has been been reviewed online and in print, including in New American Paintings (Issue 122), The Chautauqua Daily (Howard Halle), and Gestalten Press’ Imagine Architecture (Lukas Feireiss and Robert Klanten). Rouphail is currently an MFA candidate at the Rhode Island School of Design. http://www.paulrouphail.com

Zak Prekop

Zak Prekop was born in 1979 in Chicago and currently lives and works in Brooklyn. He has shown his work in solo exhibitions at: Essex Street, New York; Shane Campbell Gallery, Chicago; Thomas Duncan Gallery, Los Angeles; Hagiwara Projects, Tokyo; Galería Agustina Ferreyra, San Juan; Galería Marta Cervera, Madrid; and in Art Statements at Art Basel with Harris Lieberman Gallery. His work was included in the group exhibitions Painter Painter at The Walker Art Center, Minneapolis; The Pittsburgh Biennial at the Carnegie Museum of Art; The Prague Biennial, and Greater New York 2010 at MoMA PS1, New York. His work is in the permanent collections of the Walker Art Center and the Carnegie Museum of Art.  thomasduncangallery.com/index.php?/project/zak-prekop

Diane Samuels

Diane Samuels is a visual artist with studio and public art practices. She is also co-founder of City of Asylum Pittsburgh that provides sanctuary to writers in exile. Her exhibitions include those at: the Andy Warhol Museum, the Carnegie Museum of Art, the Mattress Factory Museum in Pittsburgh; the Leo Baeck Institute and the Center for Book Arts, New York; the Aldrich Contemporary Art Museum in Connecticut; the Contemporary Arts Center of Cincinnati; the Municipal Museum of Art in Gyor, Hungary; the Synagogue Center in Trnava, Slovakia; the Bernheimer Realschule in Buttenhausen, Germany; and the Czech Museum of Fine Arts.

In 2013 she was recipient of a Rockefeller Bellagio Residency in Italy and an American Academy in Jerusalem Fellowship. Samuels holds both BFA and MFA degrees from Carnegie Mellon University, a diploma from the Institute in Arts Administration at Harvard University and has received honorary doctorates from Seton Hill University and Chatham University. http://www.dianesamuels.net
 

Carrie Schneider

Carrie Schneider was born in Chicago in 1979 and is currently a Brooklyn-based artist working in photography, film and video installation. Her work has been shown widely at international arts institutions, including: the Museum of Contemporary Art, Chicago; The Finnish Museum of Photography, Helsinki; Gallery 44, Toronto; Fotogalleriet, Oslo; the Mattress Factory, Pittsburgh; Trondheim Academy of Fine Art, Norway; The Andy Warhol Museum, Pittsburgh; Kunsthal Charlottenborg, Copenhagen; The Kitchen, New York; Galería Alberto Sendrós, Buenos Aires; and the California Museum of Photography, Riverside. She received a Jerome Foundation NYC Film, Video, and Digital Production Grant, a residency fellowship from the Joan Mitchell Foundation, and a 2015 Creative Capital Award. She has also participated in residencies with the artist Rineke Dijkstra and with her longtime collaborator, choreographer Kyle Abraham. Schneider earned her BHA in Fine Arts and Psychology in 2001 from Carnegie Mellon University and her MFA from the School of the Art Institute of Chicago. She attended the Skowhegan School of Painting and Sculpture, the Finnish Kuvataideakatemia (Academy of Fine Arts), Helsinki, as a Fulbright Fellow, and the Whitney Museum of American Art Independent Study Program. http://carrieschneider.net

Jina Valentine

Jina Valentine is an Assistant Professor of Art at University of North Carolina at Chapel Hill. She received her MFA from Stanford University and a BFA in 2001 from Carnegie Mellon. Her work has been exhibited widely at venues including: The Drawing Center, Marlborough Gallery, and the Studio Museum in Harlem, all in New York. She has been an artist in residence at The Skowhegan School of Painting and Sculpture in Maine, Sculpture Space in New York, Santa Fe Art Institute in New Mexico, and will be in residence at Project Row Houses in Houston, the Frans Masereel Centrum in Brussels, and the Joan Mitchell Center in Los Angeles in 2016. She is currently a fellow of the Open Sessions program at The Drawing Center, and is consulting curator for Elsewhere Museum’s Southern Constellation Series residency in Greensboro, North Carlina. Black Lunch Table, a collaborative project co-founded at Skowhegan in 2005 with New York based artist Heather Hart, was awarded a 2016 Creative Capital Fellowship and a Digital Innovation Fellowship through the Institute for Arts and Humanities at UNC. www.jinavalentine.com

Rebecca Vaughan

Rebecca Vaughan received her BFA cum laude in Sculpture at the University of Colorado, Boulder and an MFA in 2001 at Carnegie Mellon. She is currently the Program Director at the Art Students League of Denver and former Chair of Fine Arts and Head of Sculpture at the Rocky Mountain College of Art + Design. She held a residency as a Resource Artist at Redline Denver from 2011-2013. Prior positions included: working as project manager for Ann Hamilton’s 2008 Circles of Operformance; assisting in other projects in Dialog: City, a city-wide arts event for the Democratic National Convention in Denver; serving as an Artist-Teacher for the Vermont College of Fine Art; and teaching as a visiting instructor at Bowling Green State University in Ohio. http://www.rebeccavaughan.com

Gregory Witt

Gregory Witt grew up in Indiana, where he completed a BFA in Sculpture at Indiana University in 2005. Since 2006, he has been living and making art in Pittsburgh, where he earned his MFA from Carnegie Mellon University in 2009. He has exhibited nationally, most recently at Brown University’s Bell Gallery and the University of West Virginia’s Mesaros Gallery. http://gregorywitt.com

Deliverables
CMU School of Design Exhibition
Dec 6–14, 2015
  • About

Works by: Sam Ahmed, Zachary Bergeron, Max Brown, Angeline Chen, Samantha Chiu, Suzanne Choi, Rachel Ciavarella, Aya Demler, Uriel Eisen, Abby Frankola, Katherine Frazer, Samantha Freedman, Morgan Fritz, Adriana Garcia, Emily Hacker, Christopher Henley, Anu Jayasinghe, Keith Joseph, Jennifer Kang, Daniel Kaufman, Hyun Doug Kim, Jiyoon Kim, Min Kyung Kim, Liana Kong, Sahana Kumar, Ji-Young Lee, Junho Lee, Sunny Li, Yaakov Lyubetsky, Vivian Ma, Alexandra "Oshie" Merski, Samuel Murray, Celine Nguyen, Antonio Ono, Hyunsoo Park, Susan Park, Chanda Patel, Julia Shen, Hayden Smith, Victor Song, Adria Spivack, Jessica Uphoff, Sebrand Warren, …

Works by: Sam Ahmed, Zachary Bergeron, Max Brown, Angeline Chen, Samantha Chiu, Suzanne Choi, Rachel Ciavarella, Aya Demler, Uriel Eisen, Abby Frankola, Katherine Frazer, Samantha Freedman, Morgan Fritz, Adriana Garcia, Emily Hacker, Christopher Henley, Anu Jayasinghe, Keith Joseph, Jennifer Kang, Daniel Kaufman, Hyun Doug Kim, Jiyoon Kim, Min Kyung Kim, Liana Kong, Sahana Kumar, Ji-Young Lee, Junho Lee, Sunny Li, Yaakov Lyubetsky, Vivian Ma, Alexandra "Oshie" Merski, Samuel Murray, Celine Nguyen, Antonio Ono, Hyunsoo Park, Susan Park, Chanda Patel, Julia Shen, Hayden Smith, Victor Song, Adria Spivack, Jessica Uphoff, Sebrand Warren, So-Hee Woo, Zhuoshi Xie, Jane Yoon

Join the CMU Design Seniors as they celebrate their accomplishments and share their most recent projects! The work featured in the show reflects the unique identity, both of individuals and of the design class.

"Our understanding is that designers create for an external entity. The goal of a designer is often to create functional, meaningful solutions for users within a problem space. A critical view of design might label this relationship as a limitation on personal values and expression. Creating designed solutions could be considered idealistic or even imposing.

We, the Design Class of 2015, would certainly refuse to fit into any rigid definition. We don’t like to play by the rules. We take creative risks. We want to produce beyond convention, beyond the expectations set for us. Our work is both practical and experimental. We are diverse in our interests, and our careers will take divergent paths within and outside of the field of design.

Deliverables, will represent our class as the individualists and free-thinkers that we are. The show’s title acknowledges the constraints of our discipline but visually challenges that notion. The collateral takes what the public expects and transforms it. It alters visual design tropes to incite curiosity and dialogue about what design can be. We proudly highlight our work and we acknowledge how we’ve grown. We use what we’ve learned about form, material and composition in our curriculum to construct a functional, conceptual, communicative, expressive, and most of all, thoughtful public image for our show."

- Senior Design Class 2015

 

 

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Mind the Matter
CMU School of Design Exhibition
Dec 5–13, 2015
  • About

Works by: Ben Boesel, Miriam Buchwald, Kristen Chon, Mackenie Dunn, Joshua Eiten, Sam Gao, Lauren Goldstein, Stowe Hammarberg, Gene Hua, Gina Huang, Stephanie Jeong, Irene Joung, Daniel Hyo Kim, Mina Kim, Yoon-ji Kim, Yooyoung Ko, Robyn Lambert, Julia Larrabee, Celina Liao, Lucy Mou, Solomon Ng, Lizzy Nolin, Danae Paparis, Sophie Parrinello, David Power, Zach Schwemler, Ismael Sobek, Jessica Shen, Linny Tan, Sophie Vennix, Andro Zuzul

Throughout our time at the School of Design, our class has embraced design as an endeavor to improve the way people connect, live, work, and play. …

Works by: Ben Boesel, Miriam Buchwald, Kristen Chon, Mackenie Dunn, Joshua Eiten, Sam Gao, Lauren Goldstein, Stowe Hammarberg, Gene Hua, Gina Huang, Stephanie Jeong, Irene Joung, Daniel Hyo Kim, Mina Kim, Yoon-ji Kim, Yooyoung Ko, Robyn Lambert, Julia Larrabee, Celina Liao, Lucy Mou, Solomon Ng, Lizzy Nolin, Danae Paparis, Sophie Parrinello, David Power, Zach Schwemler, Ismael Sobek, Jessica Shen, Linny Tan, Sophie Vennix, Andro Zuzul

Throughout our time at the School of Design, our class has embraced design as an endeavor to improve the way people connect, live, work, and play. We welcome you to Mind the Matter, our exhibition showcasing the myriad of ways we as a class have put this mindset into action and creation. Mind the Matter is a statement of purpose for our class. Mind references what truly matters to us: positively impacting people, uncovering and communicating challenges, and reflecting on perspectives we take for granted. Matter refers to the intent, materiality, and the process of making behind each work. Designing responsibly requires us to be mindful of underlying motivations and circumstances surrounding our work. It asks us to consider the thought processes we use, the materials we choose, and most importantly, the impact our design has in people’s lives. Each piece here was conceived, designed and crafted by students in the School of Design’s class of 2016. This is how we Mind the Matter.

-CMU School of Design Senior Class 2016

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Aftersound: Frequency, Attack, Return
Aug 21–Nov 22, 2015
  • About
  • Artists

Curated by Melissa Ragona and Margaret Cox 

Sound has entered contemporary art in profound and unexpected ways. This exhibition explores sound’s infiltration into contemporary discussions of aural and visual culture, with a particular focus on sound visualization, the physics of sound, political uses of sound, i.e. sonic warfare and DIY, as well as the resurgence of neo-metaphysical experiments with sound as a portal to new sensory experiences.

Works by: Paul DeMarinis, Michael Johnsen, Victoria Keddie, Caroline Record, Marina Rosenfeld, Jesse Stiles, Sergei Tcherepnin, and more

Pioneers of Sound + Archive: Maryanne Amacher, Cathy Berberian, John Cage, …

Curated by Melissa Ragona and Margaret Cox 

Sound has entered contemporary art in profound and unexpected ways. This exhibition explores sound’s infiltration into contemporary discussions of aural and visual culture, with a particular focus on sound visualization, the physics of sound, political uses of sound, i.e. sonic warfare and DIY, as well as the resurgence of neo-metaphysical experiments with sound as a portal to new sensory experiences.

Works by: Paul DeMarinis, Michael Johnsen, Victoria Keddie, Caroline Record, Marina Rosenfeld, Jesse Stiles, Sergei Tcherepnin, and more

Pioneers of Sound + Archive: Maryanne Amacher, Cathy Berberian, John Cage, George Crumb, Karlheinz Stockhausen, Iannis Xenakis, and more

Featured Visual Scores: Roger Beebe, Lin Culbertson, Luca Forcucci, Kraig Grady, Scott Kiernan, Jonna Kina, Zach Layton, Golan Levin, Eric Normand, Eric Raynaud, Dmitry Shubin, Matt Wellins and more in the gallery + online

Additional support for Aftersound comes in part from The Frank-Ratchye Studio for Creative Inquiry. Funding for the VIA 2015: Marina Rosenfeld Site-specific event comes from Ideate, and Listening Spaces media initiative from the Center for Arts in Society. Special thanks to the Arts Library and Special Collections, Carnegie Mellon University Libraries with a very special thanks to Mo Dawley, Art and Drama Librarian, Mary Catharine Johnsen, Senior Librarian, Special Collections Librarian for Fine & Rare Book Room, Liaison Librarian to the School of Design; and Kristin Heath, Music and Catalog Librarian, Liaison Librarian to the School of Music.

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John Cage, Paul DeMarinis, Michael Johnsen, Victoria Keddie, Caroline Record, Marina Rosenfeld, Jesse Stiles, Sergei Tcherepnin
About the Artists
John Cage
  John Cage (born, 1912 in LA, California- died, 1992 in New York) is among history’s most influential artistic innovators, who broadened the definitions of music, sound, and most importantly, silence. Experimenting with notions of readymade sound, chance operations, duration, indeterminacy, and numerous conceptual innovations, Cage changed the face of Western music and sound compositional processes and performance. Working with his long time professional and romantic partner, Merce Cunningham, he also led inventive forays into dance, theater, film, and many other aspects of both performance and visual art. By rethinking conventional instruments, he transformed the use of pianos, into sounding objects called “prepared pianos” in which he placed objects between the strings in order to produce percussive and otherworldly sound effects. Likewise, he inspired generations to position radios, record players, and tape recorders at the center of their practices, to see the “electronic” as new kind of time-based media in sound and performing arts. By placing a print of the visual score for his multi-channel tape work, Fontana Mix (1958) at the center of our exhibition, we are pointing to the vast influence Cage has had upon generations of artists, especially those featured in our current exhibition, exploring, as Cage did the edges of ...

 

John Cage (born, 1912 in LA, California- died, 1992 in New York) is among history’s most influential artistic innovators, who broadened the definitions of music, sound, and most importantly, silence. Experimenting with notions of readymade sound, chance operations, duration, indeterminacy, and numerous conceptual innovations, Cage changed the face of Western music and sound compositional processes and performance. Working with his long time professional and romantic partner, Merce Cunningham, he also led inventive forays into dance, theater, film, and many other aspects of both performance and visual art. By rethinking conventional instruments, he transformed the use of pianos, into sounding objects called “prepared pianos” in which he placed objects between the strings in order to produce percussive and otherworldly sound effects. Likewise, he inspired generations to position radios, record players, and tape recorders at the center of their practices, to see the “electronic” as new kind of time-based media in sound and performing arts. By placing a print of the visual score for his multi-channel tape work, Fontana Mix (1958) at the center of our exhibition, we are pointing to the vast influence Cage has had upon generations of artists, especially those featured in our current exhibition, exploring, as Cage did the edges of temporality across audio arts. 


Read more about the numerous exhibitions, performances, lectures and writings by John Cage here: johncage.org/

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Paul DeMarinis

Paul DeMarinis (Stanford, California) has been making noises with wires, batteries and household appliances since the age of four. One of the first artists to use microcomputers, DeMarinis has toiled since the 1970's in the areas of interactive software, synthetic speech, noise and obsolete or impossible media. He has created installations, performances and public artworks throughout North America, Europe, Australia and Asia, including The Kitchen in New York, Festival d'Automne a Paris, Het Apollohuis in Holland, Ars Electronica in Linz, I.C.C. in Tokyo, The San Francisco Museum of Modern Art, and the Shanghai Biennale, among many others. He is a Professor in the Department of Art & Art History at Stanford University in California.
Read more here: well.com/~demarini/

Paul DeMarinis (Stanford, California) has been making noises with wires, batteries and household appliances since the age of four. One of the first artists to use microcomputers, DeMarinis has toiled since the 1970's in the areas of interactive software, synthetic speech, noise and obsolete or impossible media. He has created installations, performances and public artworks throughout North America, Europe, Australia and Asia, including The Kitchen in New York, Festival d'Automne a Paris, Het Apollohuis in Holland, Ars Electronica in Linz, I.C.C. in Tokyo, The San Francisco Museum of Modern Art, and the Shanghai Biennale, among many others. He is a Professor in the Department of Art & Art History at Stanford University in California.
Read more here: well.com/~demarini/

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Michael Johnsen

Michael Johnsen (Pittsburgh) is best known as a performer of live-electronics using an integrated menagerie of custom devices whose idiosyncratic behaviors are revealed through complex interactions. His work is characterized by an intense focus on observation, the way a shepherd watches sheep. The extensive patching of large numbers of devices produces teeming chirps, sudden transients and welcomed modes of failure. In brief, Johnsen embraces the dirt in pure electronics. Recent research includes circuit-level documentation of David Tudor’s folkloric homemade instruments. His work has been shown widely at MoMA, SF Cinematheque, Radio France, Wesleyan University, Anthology Film Archives (New York) and Musique Action (France). 
Read more here: vimeo.com/69916070

Victoria Keddie

Victoria Keddie (New York) works in varying media involving audio/visual signal generation, magnetic field recording, and broadcast. She is Co-director of E.S.P. TV, a nomadic, live TV studio that hybridizes technologies to realize synthetic environments for performance. She has performed and exhibited at numerous venues and festivals throughout the US, such as, the New Museum, the Museum of Arts and Design, The Kitchen, Museum of Moving Image, Issue Project Room, and Yerba Buena Center for the Arts. Her work has also been featured internationally in Dublin, Reykjavik, Berlin, London and Naples. She received her MA from New York University with a focus on the preservation of time-based media.  
Read more here: victoriakeddie.com

Caroline Record

Caroline Record (Pittsburgh) is an artist and technologist who uses code to create her own artistic systems. These systems are at once clever and sensual, incorporating extreme tactility with ephemeral, abstract logic. Her work has been featured in exhibitions at the Carnegie Science Center, Space Gallery, The Miller Gallery, and The Brewhouse Association. Fellowships include the Studio for Creative Inquiry at Carnegie Mellon University, Brewhouse Association Artist in Residence, and Yale University Norfolk. She is a recent graduate of both the BFA School of Art and Human Computer Interaction Masters programs at Carnegie Mellon University.
Read more here: carolinerecord.com/

Marina Rosenfeld

Marina Rosenfeld (New York) is known equally as a composer of large-scale performances and an experimental turntablist working with hand-crafted dub plates. She has been a leading voice in the increasing hybridization between the domains of visual art and music with recent solo projects for the Museum of Modern Art in New York; SPOR, Ultima, Wien Modern and Holland Festivals; the Whitney, Liverpool and PERFORMA Biennials; and many others. She has created chamber and choral works, as well as a series of installation/performance works, often mounted in monumental spaces, such as the Park Avenue Armory in New York and Western Australia's Midland Railway Workshops, deploying complexes of unamplified live performers and custom loudspeaker installations. Rosenfeld is Co-chair of Music/Sound, Milton Avery Graduate School of the Arts, Bard College.
Read more here: marinarosenfeld.com

Jesse Stiles

Jesse Stiles (Pittsburgh) is an electronic composer, performer, installation artist, and software designer.  Stiles’ work has been featured at internationally recognized institutions including the Smithsonian American Art Museum, Lincoln Center, the Whitney Museum of American Art, the Park Avenue Armory, and Carnegie Hall. He has collaborated with many leading figures in experimental music including Pauline Oliveros, Meredith Monk, David Behrman, and Morton Subotnick. His recordings have been published by Conrex Records, Specific Recordings, Gagarin Records, and Araca Recs. Stiles is currently a Professor in the School of Music at Carnegie Mellon University, where he leads courses on emerging music technologies. 
Read more here: jts3k.com

Sergei Tcherepnin

Sergei Tcherepnin (New York) composes sound works that are actualized through sculptural forms, objects that exist simultaneously as speakers and instruments. He explores visitors’ capacities to affect and be affected by sound through their bodies as much as their auditory systems. His performances and exhibitions include MIT List Visual Arts Center, Boston; The Kitchen, New York; Foksal Gallery Foundation, Warsaw; The Museum of Modern Art, New York; Pavilion of Georgia at the 55th Venice Biennale; Murray Guy, New York; Karma International, Zurich; Guggenheim Museum, New York; and the 30th São Paulo Biennial, Brazil, just to name a few. He participated in the 2014 Whitney Biennial and is a recipient of 2014 Villa Romana Fellowship in Florence, Italy.  
Read more here: murrayguy.com/sergei-tcherepnin/biography/

Some Preservatives
CMU School of Art Senior Exhibition
May 2–16, 2015
  • About

Works by: Marlena Abraham, Reese Adams-Romagnoli, Nicole Anderson, Sarah Anderson, MacKenzie Bates, Melissa Bryan, Charles Burlingham, Daniel Campos Zamora, In Sang Chang, Stephanie Cheung, Sarah Croop, Connie Dai, Lisa Imas, Emily Keener, Mishq Laliwala, Kathy Lee, Dervla McDonnell, Laurel Michel-Schottman, Thomas Ndiaye, Katie O’Connor, Justin Old, Sejal Popat, Tyler Porten, Samuel Poulos, Taylor Preston, Jolyn Sanford, Veda Sun, Andrew Sweet, Samantha Ticknor, Jamie Walters, Ruby Yen-ting Wang, Samantha Ward, Anna Wettergreen, Rachel Willen, Minnar Xie, Crystal Yip

Experiments and brave new statements, our final exhibition of the season marks a milesone for …

Works by: Marlena Abraham, Reese Adams-Romagnoli, Nicole Anderson, Sarah Anderson, MacKenzie Bates, Melissa Bryan, Charles Burlingham, Daniel Campos Zamora, In Sang Chang, Stephanie Cheung, Sarah Croop, Connie Dai, Lisa Imas, Emily Keener, Mishq Laliwala, Kathy Lee, Dervla McDonnell, Laurel Michel-Schottman, Thomas Ndiaye, Katie O’Connor, Justin Old, Sejal Popat, Tyler Porten, Samuel Poulos, Taylor Preston, Jolyn Sanford, Veda Sun, Andrew Sweet, Samantha Ticknor, Jamie Walters, Ruby Yen-ting Wang, Samantha Ward, Anna Wettergreen, Rachel Willen, Minnar Xie, Crystal Yip

Experiments and brave new statements, our final exhibition of the season marks a milesone for graduating Bachelor of Fine Arts and Interdisciplinary Art Degree students. Artworks spanning painting, video, interactive works, sculpture and installation occupy all three floors of the gallery and represent a culmination of the Class of 2015's undergraduate experience.

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CMU School of Architecture Exhibition
Apr 22–26, 2015
  • About

Works by: Zachary Bauer, Rain Chan-Kalin, Edwin Cho, Ellie Hopen + Jillian Sabella, Amir - Behan Jahanbin, Joel McCullough + Jose Pertierra, Kevyn McPhail, Stephanie Park, Brett Perl, Peter Salim

Join the CMU Architecture Seniors as they showcase their accomplishments and inquiries, sharing their most recent projects with the public. Their thesis projects present a unique opportunity for students to propose their own set of questions about the field of architecture based on their interests. The thesis tests critical issues related to the subject along a coherent line of thought rather …

Works by: Zachary Bauer, Rain Chan-Kalin, Edwin Cho, Ellie Hopen + Jillian Sabella, Amir - Behan Jahanbin, Joel McCullough + Jose Pertierra, Kevyn McPhail, Stephanie Park, Brett Perl, Peter Salim

Join the CMU Architecture Seniors as they showcase their accomplishments and inquiries, sharing their most recent projects with the public. Their thesis projects present a unique opportunity for students to propose their own set of questions about the field of architecture based on their interests. The thesis tests critical issues related to the subject along a coherent line of thought rather than answering the posed questions directly.

Projects in the exhibition represent inquiries into the many aspects of architecture which may overlap with the classical thought of architecture as “building,” sometimes directly addressing it.       

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CMU MFA Thesis Exhibition
Mar 28–Apr 12, 2015
  • About
  • Artists

“In this exhibition you are invited to contemplate the metaphysical propositions of an aesthete philosopher, consider the analytical observance of conditioned human behavior and response, witness explorations of interrelationships between natural and mechanical systems, marvel at a playfully incisive commentary on economic collapse, share the fantastical emotionally layered life journey of an onion, and reflect on an investigation of futures past and what life might hold beyond an MFA education.

In their various ways these young artists are examining and commenting on the distance between human aspiration and experienced contemporary reality.

The …

“In this exhibition you are invited to contemplate the metaphysical propositions of an aesthete philosopher, consider the analytical observance of conditioned human behavior and response, witness explorations of interrelationships between natural and mechanical systems, marvel at a playfully incisive commentary on economic collapse, share the fantastical emotionally layered life journey of an onion, and reflect on an investigation of futures past and what life might hold beyond an MFA education.

In their various ways these young artists are examining and commenting on the distance between human aspiration and experienced contemporary reality.

The work in this exhibition demonstrates how art can resist conformity, present critical viewpoints, and communicate alternative values. Art can counter prevailing commercial and ideological imperatives and provide a broader consideration of what
is important in our lives.

Whatever Dakotah, Elizabeth, Isla, Jae Wook, Lucia, and Rafael do in the wider world beyond their Carnegie Mellon MFA experience, I hope they do it with the conviction and daring which they have demonstrated in their time here. I have high hopes for their futures and I look forward to learning of their impact in the years ahead.”

- John Carson, Regina and Marlin Miller Professor, Head of the School of Art

 

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Rafael Abreu-Canedo, Elizabeth Buschmann, Isla Hansen, Dakotah Konicek, JaeWook Lee, Lucia Nhamo
About the Artists
Rafael Abreu-Canedo
My work is deeply tied to my own body, and being. Conviviality and my personal experiences are a source of curiosity which I explore/investigate in a wide range of traditional and non-traditional media. While I often employ the vernacular of performance, video, photography, public intervention amongst other artistic languages, my body of work is better described as the evidence and product of a myriad of concurrent and intertwining explorations into the themes of the body, the individual and the group, social behavior, language and representation—amongst others. Methods of observation and documentation have become a current in my body of work, largely through the lens of portraiture. Through photography and video alike, I have found close allies in the video portraits of Candice Breitz, the contextual photo-portraiture of Zoe Strauss, as well as the public video interventions of Krzysztof Wodiczko. Through “Out of Control”, “A Tired City” and “Eye Contact”, I aim to add a sense of diversity, intensity and vulnerability to this rich dialogue. Looking into myself and outwards toward the social/cultural, my interaction with contexts, spaces and publics is focused on exploring, revealing and redefining human relations. My attempt to explore myself and others is an attempt to explore a ...

My work is deeply tied to my own body, and being. Conviviality and my personal experiences are a source of curiosity which I explore/investigate in a wide range of traditional and non-traditional media. While I often employ the vernacular of performance, video, photography, public intervention amongst other artistic languages, my body of work is better described as the evidence and product of a myriad of concurrent and intertwining explorations into the themes of the body, the individual and the group, social behavior, language and representation—amongst others.

Methods of observation and documentation have become a current in my body of work, largely through the lens of portraiture. Through photography and video alike, I have found close allies in the video portraits of Candice Breitz, the contextual photo-portraiture of Zoe Strauss, as well as the public video interventions of Krzysztof Wodiczko. Through “Out of Control”, “A Tired City” and “Eye Contact”, I aim to add a sense of diversity, intensity and vulnerability to this rich dialogue. Looking into myself and outwards toward the social/cultural, my interaction with contexts, spaces and publics is focused on exploring, revealing and redefining human relations. My attempt to explore myself and others is an attempt to explore a certain humanness. How can we think about the physiological history of our genetic chain? When and how do we “become” human? Can we unlearn humanness?

Through an open-ended approach to art, I explore issues of language, behavior and identity, with focus on systems, the body and space. I’ve exhibited and taught throughout the US, since 2001, at the age of 16. I went on to graduate with a BFA in New Genres from the San Francisco Art Institute in 2008. Since then, I have worked with organizations such as Creative Capital, PFPCA, Franklin Furnace, Queens Museum of Art (New New Yorkers), Pittsburgh Cultural Trust, Halka Art Project, Sprout Fund, Root Division, Oakland Unified School District, New York Department of Education, and Pittsburgh Public Schools.

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Elizabeth Buschmann

Elizabeth’s interdisciplinary approach carries a broad spectrum of formative influences that require her to operate within a theoretical rational. Through her process she tests the effects of media on individual subjects and presents them in site-specific contexts. The intent is to provoke discussion by connecting disparate histories through processes of direct and indirect engagement. She is interested in the articulation of self, required both of herself and of her subjects in the process of creating a narrative experience.

This project is the latest in a concise body of work produced at Carnegie Mellon University. It began as an attempt to more effectively capture socially engaged and immersive actions that were the byproduct of existential inquiry into cultural mythology. It became a way of interrogating the location and presentation of [an] image, including her own.

Her current work obliges her to take the role of the artist, allowing her to become physically and emotionally involved with a distant subject. Awkward presentation lends the work a poignant quality, contradicting the vanity inherent in most portraiture, as well as eschewing the technical virtuosity, which affords art its social status.

Elizabeth’s interdisciplinary approach carries a broad spectrum of formative influences that require her to operate within a theoretical rational. Through her process she tests the effects of media on individual subjects and presents them in site-specific contexts. The intent is to provoke discussion by connecting disparate histories through processes of direct and indirect engagement. She is interested in the articulation of self, required both of herself and of her subjects in the process of creating a narrative experience.

This project is the latest in a concise body of work produced at Carnegie Mellon University. It began as an attempt to more effectively capture socially engaged and immersive actions that were the byproduct of existential inquiry into cultural mythology. It became a way of interrogating the location and presentation of [an] image, including her own.

Her current work obliges her to take the role of the artist, allowing her to become physically and emotionally involved with a distant subject. Awkward presentation lends the work a poignant quality, contradicting the vanity inherent in most portraiture, as well as eschewing the technical virtuosity, which affords art its social status.

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Isla Hansen

Isla’s work reenacts forms of popular media, play, and systems of production, recreating ways in which bodies connect to technologies in the world around us. Her work sets in motion new and sometimes crude means of image-making in order to break down or convolute processes of technological mediation. Recently, Isla has focused on the ways in which camera and robotic systems in the gaming, medicine, food, and sports industries have developed by tracking and positioning the human body as analogue. These absurd systems reinterpret and complicate the relationship between the human body and technological progress.

The Lachrymator is a system that recreates the narrative structure of a dramatic film by a means of a process of food preparation. Taking the onion as protagonist, the piece moves this character and its audience through a simulated industrial environment that slowly reveals the hero’s story “from farm to table.” The installation draws parallels between two systems of mediation — narrative cinema and industrial food processing—to compare the emotional power of mediated image to the chemical defense mechanism of an organism, the lachrymatory factor of onions. Can cinematic effect produce an empathetic reaction as potent as nature’s?

Dakotah Konicek

I tinker. My work as an artist imitates invention as I investigate interrelated systems through kinetic sculpture. As I build, I concentrate on the tenuous balance of parts in an orchestrated cascade of cause and effect. These systems set up symbiotic relationships with contradicting master-slave moments. This poetic suggestion reveals truths of the world around us. I often combine order and error in simple repetitive human/mechanical gestures that are subject to surrounding influences. Tensions between nature and technology become the focus in order to reposition our connection with them. I choose salvaged materials based on the practicality of their newly assigned function. Repurposing these objects allows me to playfully exploit their prior function to form new vocabularies.

JaeWook Lee

My works reflect and speculate deeply on the human mind and something-other-than-human as I consider myself an operant among all other human and non-human operants on the Earth. I explore the relationship between things themselves and the way that our mind projects meanings onto things. I take objects back in question, revealing their irreducible qualities beyond our comprehension. I consider the Earth as a living organism that has passions, emotions, and agencies—a dynamic entity in a constant state of flux. Borrowing from Bruno Latour, my practice tunes to the idea of “Gaia”—our relationship with other things on Terra. I often present man-made objects, natural objects, scientific experiments, and poems together.

JaeWook Lee is an artist, writer, amateur scientist, semi-philosopher, and sometime curator. Lee’s work has been exhibited internationally at museums, galleries and art institutions, including Museo Juan Manuel Blanes, Montevideo (2014), Chelsea Art Museum, New York (2011), SPACE*C Coreana Museum, Seoul (2006), and in biennials and festivals such as the 4th Post-Global Mediation, San Diego (2014), the 4th Hotel de Inmigrates, Montevideo (2014), MANIFESTA 9 official parallel event, Hassalt (2012) among others. He has received grants from 4th SINAP: Sindoh Artist Support Program, Arts Council Korea, International Exhibition Grant (2011), and Seoul Foundation for Arts and Culture, Exhibition Grant (2008).

Lucia Nhamo

I am interested in the counter-monument as a material and conceptual strategy of political subversion. Born and raised in Zimbabwe, I draw on my own evolving experience of citizenship as one of the main influences in my work. The counter-monument becomes a way to anchor myself in the places and issues that are of importance to me, without becoming completely disillusioned. My thesis project Free Fall chronicles the trajectory of the Zimbabwe Dollar, a currency spectacular in its demise and in its afterlife as a profitable collectors item. It is an investigation of what the currency and the threat of its return have come to symbolize within a transnational web of current affairs, financial systems and personal narratives.

From the Edge
Jan 16–Mar 1, 2015
  • About

Co-presented by the CMU Carnegie Mellon School of Drama

"Let us not waste our time in idle discourse! (Pause. Vehemently.) Let us do something, while we have the chance! It is not every day that we are needed. Not indeed that we personally are needed. Others would meet the case equally well, if not better. To all mankind they were addressed, those cries for help still ringing in our ears! But at this place, at this moment of time, all mankind is us, whether we like it or not. Let us …

Co-presented by the CMU Carnegie Mellon School of Drama

"Let us not waste our time in idle discourse! (Pause. Vehemently.) Let us do something, while we have the chance! It is not every day that we are needed. Not indeed that we personally are needed. Others would meet the case equally well, if not better. To all mankind they were addressed, those cries for help still ringing in our ears! But at this place, at this moment of time, all mankind is us, whether we like it or not. Let us make the most of it, before it is too late! Let us represent worthily for once the foul brood to which a cruel fate consigned us! What do you say?" 
- Waiting for Godot by Samuel Beckett

This USA National exhibit is reflective of those issues consuming American performance makers today: issues of identity, healing, and obsessions with death and loss after 9/11 and hurricane Katrina; the pull of conscience that is inevitable when engaged in war; anger directed toward the obliviousness of many to the destruction of our planet; the conundrum of eating; rising political polarities (and ambiguities) in reaction to the first African-American to be elected president; tensions relative to race and gender; anxieties about technology; the role of religion in society and the challenges of the those marginalized whether they be immigrants, differently-abled or queer.

The viewer will find works that push the limits of how performance design is imagined in the USA today. Seminal founders and long standing ensembles of performance makers are recognized. Vital new designs are celebrated.

Welcome to our country on edge.

Susan Tsu- Artistic Director and lead curator
Chris Barreca- Scene Design curator
Linda Cho- Costume Design curator
Allen Hahn- Lighting Design curator
Don Tindall- Sound Design curator
With Randy Gener as curatorial advisor

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Armin Hoffman: Farbe / Color
Nov 4, 2014–Mar 1, 2015
  • About

Curated by April Greiman
Co-presented by the CMU School of Design
Organized by the LA Architecture and Design Museum

For Armin Hofmann, lecturing at design schools and working as a freelance graphic artist went hand in hand: his activities as an educator invariably provided inspiration for his own work. Rather than a doctrinaire approach, Hofmann’s teaching style centered on the students’ engagement with their own experiences and abilities, so enabling them to hone their individual perception of design issues.  

During his many years as a teacher at various institutions across the world, …

Curated by April Greiman
Co-presented by the CMU School of Design
Organized by the LA Architecture and Design Museum

For Armin Hofmann, lecturing at design schools and working as a freelance graphic artist went hand in hand: his activities as an educator invariably provided inspiration for his own work. Rather than a doctrinaire approach, Hofmann’s teaching style centered on the students’ engagement with their own experiences and abilities, so enabling them to hone their individual perception of design issues.  

During his many years as a teacher at various institutions across the world, including the Basel School of Design in Switzerland and the Yale University School of Art, Hofmann accumulated a treasure-trove of experiences and findings on the subject of color. Following his retirement, he produced 20 silkscreen portfolios, each containing 12 compositions.

The exhibition will showcase one of Hofmann’s portfolios as well as 16 studies of the prints as a part of Farbe / Color. The legendary Swiss graphic designer and educator has described his silkscreens as an account of his pedagogical activities. 

As an educator for 44 years, Hofmann has had immeasurable influence on generations of designers and shaped the world’s perception and understanding of color and design.

ABOUT THE CURATOR

April Greiman is a thinker, artist, designer, and educator, whose transmedia projects, innovative ideas and projects, and hybridbased approach have been influential worldwide over the last 30 years. Her explorations of image, word, and color are often integrated into the built environment and select projects with architects, fusing art with technology. A former student of Hofmann’s, Greiman curated this exhibition for its first u.s. showing in Los Angeles.

 



 

 

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Neurons and Other Memories: Work in and around the brain
Oct 10–24, 2014
  • About

Curated by Patricia Maurides
Presented in collaboration with the Center for the Neural Basis of Cognition

Works by: Marie Barcic (A 14’), the Alison Barth Lab, JoAnna Commandaros (BFA '86), Erin Crowder, Greg Dunn, Kevin Jarbo and Tim Verstynen, Rob Kesseler, Clayton Merrell, David Plaut, Jena Tegeler (SHS 13’), Aaron Regal (A 13’ MAM’14), JoanaRicou (BSA 04’), Qiong Zhang and Nicolas Kim, Yu Zhao (BHA’14)

Neurons and Other Memories gathers together the work of artists and scientists whose investigations offer a bridge between and among the fine arts and neuroscience or neuropsychology. These investigations may occur in the studio, laboratory or somewhere in between. Many of these works share the exploration of …

Curated by Patricia Maurides
Presented in collaboration with the Center for the Neural Basis of Cognition

Works by: Marie Barcic (A 14’), the Alison Barth Lab, JoAnna Commandaros (BFA '86), Erin Crowder, Greg Dunn, Kevin Jarbo and Tim Verstynen, Rob Kesseler, Clayton Merrell, David Plaut, Jena Tegeler (SHS 13’), Aaron Regal (A 13’ MAM’14), JoanaRicou (BSA 04’), Qiong Zhang and Nicolas Kim, Yu Zhao (BHA’14)

Neurons and Other Memories gathers together the work of artists and scientists whose investigations offer a bridge between and among the fine arts and neuroscience or neuropsychology. These investigations may occur in the studio, laboratory or somewhere in between. Many of these works share the exploration of common territories of anatomy, memory and perception, but with varied sets of tools and perspectives. These investigators ask questions, search, wonder, invent, reflect and offer us a diversity of expressions to enrich our own perceptions of our brain and its mysteries.

This exhibition also offers homage to Santiago Ramón y Cajal (1852-1954), gifted artist and “father of modern neuroscience” whose intricate drawings of individual neurons (or as he called them, his ‘butterflies of the soul’) revealed the exquisite architecture of the brain.

Neurons and Other Memories was created in collaboration with the Center for the Neural Basis of Cognition (CNBC), specifically Dr. Marlene Behrmann, Co-Director, CNBC and Dr. Michael Tarr, Head, Department of Psychology, Carnegie Mellon. This exhibition coincides with the CNBC’s 20th Anniversary Celebration.

Patricia Maurides is a visual artist and adjunct professor at Carnegie Mellon who designs and teaches courses that bridge the fine arts and natural sciences/social sciences. These courses include Art and Biology, NeuroPhoto and most recently Art+theBrain. Maurides has a BS in Biological Sciences from the University of South Carolina and an MFA in Art from Carnegie Mellon.

Neurons and Other Memories is supported in part by the Center for the Neural Basis of Cognition and the School of Art.

A special thank you to Dr. Juan A. De Carlos, Instituto  Cajal (CSIC) Madrid, Spain and Charlotte Tancin, Librarian, Research Scholar, Hunt Institute for Botanical Documentation (HIBD), Lugene Bruno, Curator, Research Scholar, HIBD, Carnegie Mellon.

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2014 Pittsburgh Biennial
Sep 20–Nov 30, 2014
  • About
  • Artists

Co-organized by the Pittsburgh Center for the Arts in partnership with the Andy Warhol Museum, Carnegie Museum of Art, Mattress Factory, Miller Gallery at Carnegie Mellon University, Pittsburgh Cultural Trust’s SPACE Gallery, Pittsburgh Filmmakers and Pittsburgh Glass Center

Curated by Casey Droege

This fall, the Miller Gallery is pleased to participate for the second time in the Pittsburgh Biennial. This collaborative city-wide exhibition project is presented by Pittsburgh Center for the Arts in partnership with the Andy Warhol Museum, Carnegie Museum of Art, Mattress Factory, Miller Gallery at Carnegie Mellon University, Pittsburgh Cultural Trust’s SPACE Gallery, Pittsburgh Filmmakers and Pittsburgh Glass …

Co-organized by the Pittsburgh Center for the Arts in partnership with the Andy Warhol Museum, Carnegie Museum of Art, Mattress Factory, Miller Gallery at Carnegie Mellon University, Pittsburgh Cultural Trust’s SPACE Gallery, Pittsburgh Filmmakers and Pittsburgh Glass Center

Curated by Casey Droege

This fall, the Miller Gallery is pleased to participate for the second time in the Pittsburgh Biennial. This collaborative city-wide exhibition project is presented by Pittsburgh Center for the Arts in partnership with the Andy Warhol Museum, Carnegie Museum of Art, Mattress Factory, Miller Gallery at Carnegie Mellon University, Pittsburgh Cultural Trust’s SPACE Gallery, Pittsburgh Filmmakers and Pittsburgh Glass Center. The Biennial celebrates the region’s most compelling artists as well as our unique visual arts landscape. Through partnership with seven of the city’s leading visual arts organizations, the Pittsburgh Biennial showcases a cross section of the diverse, fresh-faced and multifaceted artists who have close connections to Pittsburgh.

The Miller Gallery’s exhibition features an eclectic group of artists and cultural producers living in or connected to Pittsburgh. Using processes in painting, sculpture,  video, and sound, these artists collect and reconfigure the data and debris of today’s world, producing works with a fresh perspective. Throughout the exhibition, a rotating roster of presentations will showcase innovative experiments in dance, social practice, performance, and more. The exhibition aims to present the wide range of approaches to art making present in Pittsburgh, provoking viewers beyond a “pedestrian” reality without fully giving way to fantasy, as each artist speaks in their own way to the dynamics between the quotidian and the cosmic, the social and the spectacular, the local and the global.

Support for the Pittsburgh Biennial has been provided by The Fine Foundation; Hillman Family Foundations; the James L. Baker Memorial Fund, the Hollen Bolmgren Fund, and the W. Alfred Turner Memorial Fund of The Pittsburgh Foundation; Richard King Mellon Foundation; Highmark; and an anonymous donor.

Artists: Edith Abeyta and Michael Lewis Miller, Gavin Benjamin, David Bernabo, Alexis Gideon, Ulric Joseph, Jessica Langley, Celeste Neuhaus

Featured Presentations: Drew Droege, Janks Archive, Lightlab Performance Series

Casey Droege was raised by two artists and a mime. Their incessant side hustles, ranging from chimney sweep to insurance sales, created the time management monster/slightly organized tornado that is Casey.  She received her BFA from the School of the Art Institute of Chicago and her MFA from Cranbrook Academy of Art. And while her mother made it clear to her that she should go into computers, she now lives and works as a creative hustler in Pittsburgh. 

 

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Edith Abeyta, Gavin Benjamin, David Bernabo, Drew Droege, Alexis Gideon, Ulric Joseph, Jessica Langley, Janks Archive, Celeste Neuhaus
About the Artists
Edith Abeyta

Edith Abeyta is a visual artist living in North Braddock, Pennsylvania. She combines post-consumer goods, particularly clothing, and participatory gestures to form temporary installations and sculptures that explore collectivity, labor, and exchange. She frequently collaborates with other visual artists, poets, scholars, and the public. For this exhibition she will be working in collaboration with performance artist Michael Lewis Miller (Los Angeles CA). Abeyta and Miller will create a new series of sculptural objects and wearables that caricaturize our consumption of natural resources using her archive of discarded clothing and his past life as a geologist.

Edith Abeyta is a visual artist living in North Braddock, Pennsylvania. She combines post-consumer goods, particularly clothing, and participatory gestures to form temporary installations and sculptures that explore collectivity, labor, and exchange. She frequently collaborates with other visual artists, poets, scholars, and the public. For this exhibition she will be working in collaboration with performance artist Michael Lewis Miller (Los Angeles CA). Abeyta and Miller will create a new series of sculptural objects and wearables that caricaturize our consumption of natural resources using her archive of discarded clothing and his past life as a geologist.

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Gavin Benjamin

Gavin Benjamin was born in South America and currently lives in Pittsburgh. His multi-faceted background includes commercial photography, painting, audio works, printmaking, interior design, and product design and creating theatre sets and backdrops. His work combines the old masters’ sense of light with present-day imagery in the form of photographs and wall coverings. Benjamin will create imagery and atmosphere for a listening room, a collaborative project with David Bernabo for the Biennial.

Gavin Benjamin was born in South America and currently lives in Pittsburgh. His multi-faceted background includes commercial photography, painting, audio works, printmaking, interior design, and product design and creating theatre sets and backdrops. His work combines the old masters’ sense of light with present-day imagery in the form of photographs and wall coverings. Benjamin will create imagery and atmosphere for a listening room, a collaborative project with David Bernabo for the Biennial.

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David Bernabo

David Bernabo, a native of Pittsburgh, has been a fixture on the music and art scenes for the past eleven years. Bernabo is a multi-disciplinary artist and curator, interested in drawing connections between the worlds of music, dance, and the visual arts. Bernabo will curate a selection of sound pieces from Pittsburgh artists for the listening room, a collaborative project with Gavin Benjamin. Bernabo will also create a new installation of video and objects, in the scope of his broad and varied studio practice.

As part of Bernabo’s installation, there will be a special one night presentation of the Lightlab Performance Series. Lightlab is co-curated by David Bernabo and Taylor Knight and is dedicated to presenting new dance pieces.

Drew Droege

Drew Droege (Los Angeles, CA) is a comedian, writer, and director. He has become known for his scathingly funny and uncanny caricatures of actress Chloe Sevigny, which poke fun at our obsession with celebrity culture, fashion aficionados and the endless quest for the new black. For the exhibition, Droege will interpret “Chloe Sevigny’s Pittsburgh” from Marie Claire Magazine earlier this year.

Alexis Gideon

Alexis Gideon has spent years creating his Video Musics series, for each composing an epic ballad, collaborating on animation, and traveling the world to perform it. These multimedia pieces explore traditional folklore and highlight his talents as a composer and entertainer. His stunning performances and eerie imagery have made his transition from the music world to the art world successful. Gideon’s Video Musics III will be on view, alongside objects from the creation process. He will also give a live performance of the piece.

Ulric Joseph

Ulric Joseph is a recent transplant to Pittsburgh and native of Trinidad and Tobago.  His recent body of work returns to glitzy carnival influences, implementing social commentary as a way of placing the spotlight on issues of racism, stereotyping, greed and the adjustment to American culture. Joseph will unveil work made in the last two years, including a series of family portraits.

Jessica Langley

Jessica Langley, (New York, NY) a former Pittsburgh resident will return to show a new iteration of her “Flat Screen” animations. Langley’s work draws from idealized nature photography and cultural symbols of the sublime, abstracting and obscuring her images through a variety of processes, resulting in painting, collage, and animation. Her bright colors and sometimes-kitsch inspired imagery bridges the gap between the natural and the digital world, accentuating our own environmental fears and hyper-real guilt.

Janks Archive

Janks Archive, The Janks Archive, a collaborative project comprised of Jerstin Crosby, Ben Kinsley (CMU Alum MFA ‘08), and Jessica Langley, will build upon an ongoing collection of put-down jokes from people from all over the world. The group collects a wide variety of culturally and geographically specific quips, giving us a glimpse into the universal need for insulting humor. They are driven by a curiosity about the revealing and insightful universality of humor, particularly the way oral histories are spread through a shared joke. Seemingly negative and rarely politically correct, this naughty side of human activity has been present around the world for hundreds of years and provides us insight into a time and place. The team will collect and feature Pittsburgh’s finest jokes for the archive, which will be on view for the first two weeks of the exhibition.

Celeste Neuhaus

Celeste Neuhaus will showcase new and old work in the form of video, sculpture and assemblages. Neuhaus investigates our everchanging conceptualization of the universe and its forces, from alchemy to astrophysics. With the compulsion to create cosmos (order) out of chaos, she constructs symmetrical geometric forms from the remains of modern day rituals: using materials that have been purchased, consumed, and discarded in conjunction with natural objects. Her work reveals the archetypal beneath the mundane and discloses the mysterious within the familiar.

Changing Channels
Aug 29–Sep 14, 2014
  • About
  • Artists

Co-organized by the Center for the Arts in Society

Projects: Listening Spaces, SocialChange101, and Trans-Q Television

The Center for the Arts in Society is a collaborative effort of scholars and artists. The Center aims to explore the role, the place and impact of the arts both in the workings of social power and in processes of social change.  It is dedicated to the exploration of the ways diverse forms of social and political engagement have shaped the history of the arts, and might drive their transformation in the future.

We approach “Media” as an emergent Media Studies field …

Co-organized by the Center for the Arts in Society

Projects: Listening Spaces, SocialChange101, and Trans-Q Television

The Center for the Arts in Society is a collaborative effort of scholars and artists. The Center aims to explore the role, the place and impact of the arts both in the workings of social power and in processes of social change.  It is dedicated to the exploration of the ways diverse forms of social and political engagement have shaped the history of the arts, and might drive their transformation in the future.

We approach “Media” as an emergent Media Studies field and with interest in exploring the terms “new” and “social” media. The Initiative challenges us to evaluate “old” media: forms of narration, representation, social and political engagement, in context.  It continues our consideration of how the distinctions between the work and place of “artist” and “scholar” might be reassessed and transformed through collaborative work. Directed by Paul Eiss, Co-organized by James Duesing of the School of Art and Kathy Newman of the English Department, the Media Initiative (2011-2014) draws together faculty members from Carnegie Mellon’s Colleges of Fine Arts and of Humanities and Social Sciences to undertake three major projects: Listening Spaces, directed by Richard Purcell and Richard Randall; SocialChange101, by Nico Slate and Trans-Q Television by Suzie Silver.  CAS initiatives include events, conferences, performances, and courses that bring in outside experts to engage with students at Carnegie Mellon and partner with constituencies outside the university. This exhibition presents selections from the three media projects.  

 

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Listening Spaces, SocialChange101, Trans-Q Television
About the Artists
Listening Spaces

Listening Spaces is an interdisciplinary project that aims to explore the ethical, political and cultural significance of the digital music revolution. We’re interested in learning how the art and labor of music making or - what musicologist Christopher Smalls calls “musiking”- has changed in the 21st century. We’ve studied recording formats, playback technologies, and distribution networks in order to understand the way we value the labor behind “musiking” in the 21st century. Our research has been translated into a series of lectures and events on music in the 21st century for CMU’s Humanities Center during the academic year 2014-15, as well as a recent collaboration with Pittsburgh’s own Pandemic to produce “Pittonkatonk: a MayDay Brass BBQ.”

Listening Spaces is an interdisciplinary project that aims to explore the ethical, political and cultural significance of the digital music revolution. We’re interested in learning how the art and labor of music making or - what musicologist Christopher Smalls calls “musiking”- has changed in the 21st century. We’ve studied recording formats, playback technologies, and distribution networks in order to understand the way we value the labor behind “musiking” in the 21st century. Our research has been translated into a series of lectures and events on music in the 21st century for CMU’s Humanities Center during the academic year 2014-15, as well as a recent collaboration with Pittsburgh’s own Pandemic to produce “Pittonkatonk: a MayDay Brass BBQ.”

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SocialChange101

SocialChange101 is a free online educational resource and youth workshop series for students of social change. The web resource, www.socialchange101.org, offers an interactive multimedia course on the history, philosophy, and practice of social change. The course revolves around case studies of five social entrepreneurs—Andrew Carnegie, Mahatma Gandhi, Albert Einstein, Rosa Parks, and Rachel Carson. The workshops focus on media literacy and the power of art and storytelling as forms of social change. Designed primarily for K-12 students, the workshops culminate in student-produced videos that highlight local community organizations. These videos enrich the SocialChange101 website, creating a living tool, forged by students for students.

SocialChange101 is a free online educational resource and youth workshop series for students of social change. The web resource, www.socialchange101.org, offers an interactive multimedia course on the history, philosophy, and practice of social change. The course revolves around case studies of five social entrepreneurs—Andrew Carnegie, Mahatma Gandhi, Albert Einstein, Rosa Parks, and Rachel Carson. The workshops focus on media literacy and the power of art and storytelling as forms of social change. Designed primarily for K-12 students, the workshops culminate in student-produced videos that highlight local community organizations. These videos enrich the SocialChange101 website, creating a living tool, forged by students for students.

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Trans-Q Television

Trans-Q Television (TQTV) is a web-based video variety show reveling in the mutability of genders and sexualities. A Dadaist Variety Show for the 21st Century, Trans-Q Television is a truly twisted mix of Sonny and Cher, The Muppet Show, Andy Warhol’s TV, Ernie Kovacs, Flip Wilson, and Pee Wee’s Playhouse.

Created by Suzie Silver and produced in collaboration with students and community members, episodes include music, performance, comedy, fashion, stand-up theory, interviews, animation, and more.  Past episodes of TQTV feature Rhys Ernst & Zackary Drucker, Narcissister, Ssion, Le1f and House of Ledosha. Upcoming episodes include Susan Striker, The Blow, Jack Halberstam, Sean Dorsy Dance, Pyuupiru, Vaginal Davis, Genesis P-Orridge, Zanele Muholi, Christeene, David Cale, Sabrina Chap and many others.

Actual Size
CMU School of Art Senior Exhibition
May 3–17, 2014
  • About

Artists: Adelaide Agyemang, Marie Barcic, Ashley Baron, Michael Bennett, Andrew Bueno, Lynda Choi, Zechariah Choi, Adelaide Cole, Christina Conway, Melanie Danver, Cristina David, Hank Ehrenfried, Robb Godshaw, Claire Gustavson, Kayla Heglas, Fabienne Hudson, Michael Importico, Sarah Keeling, Danielle Kogan, Keith Lafuente, Lazae Laspina, Alexander Lee, Christina Lee, Justin Lin, Lorena Lopez, Janet Lorenz, Eric Mackie, Alex Mallard, Anna Mohr, Ryan Murray, Anna Nelson, Max Perim, Caroline Record, Lauren Ruoff, Matt Sandler, Anna Shepperson, Stephanie Shulman, Jenny Sorracco, Rachel Tadeu, Nathan Trevino, Mitsuko Verdery, Nico Zevallos, Andres Zighelboim

“With over 40 different artists on …

Artists: Adelaide Agyemang, Marie Barcic, Ashley Baron, Michael Bennett, Andrew Bueno, Lynda Choi, Zechariah Choi, Adelaide Cole, Christina Conway, Melanie Danver, Cristina David, Hank Ehrenfried, Robb Godshaw, Claire Gustavson, Kayla Heglas, Fabienne Hudson, Michael Importico, Sarah Keeling, Danielle Kogan, Keith Lafuente, Lazae Laspina, Alexander Lee, Christina Lee, Justin Lin, Lorena Lopez, Janet Lorenz, Eric Mackie, Alex Mallard, Anna Mohr, Ryan Murray, Anna Nelson, Max Perim, Caroline Record, Lauren Ruoff, Matt Sandler, Anna Shepperson, Stephanie Shulman, Jenny Sorracco, Rachel Tadeu, Nathan Trevino, Mitsuko Verdery, Nico Zevallos, Andres Zighelboim

“With over 40 different artists on display, you can choose the work that most appeals to you!
Each of the gallery’s three floors offers a different ambiance in which to view your favorite pieces.
The opening reception is an incredible opportunity to get to know a young artist before s/he becomes famous!
Our exhibition catalogue is an excellent resource to find out more about these talented artists.
Don’t forget to jot down that contact information!”
- Carnegie Mellon School of Art Class of 2014

 

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Lossless
CMU MFA Exhibition
Mar 29–Apr 20, 2014
  • About
  • Artists

"One of the most challenging, yet exciting aspects of art education is encouraging risks and accepting unpredictability. These three artists certainly embrace that ethos. For this culminating exhibition of their three year MFA, they are all exploring new territory. An inventor of kinetic mechanical metal machines decides to go multi-sensual. A sculptor recycling post-industrial waste creates a ritualistic performance for an immersive video experience. A videographer concerned with the perceptual relationship between the virtual and the real, delves into the psychology of the quotidian.

The MFA program at Carnegie Mellon University …

"One of the most challenging, yet exciting aspects of art education is encouraging risks and accepting unpredictability. These three artists certainly embrace that ethos. For this culminating exhibition of their three year MFA, they are all exploring new territory. An inventor of kinetic mechanical metal machines decides to go multi-sensual. A sculptor recycling post-industrial waste creates a ritualistic performance for an immersive video experience. A videographer concerned with the perceptual relationship between the virtual and the real, delves into the psychology of the quotidian.

The MFA program at Carnegie Mellon University is a life changing journey, where assumptions and ideas are challenged and tested. It allows time for research, and reflection. There is no route map, and no one can predict the discoveries or outcomes of the experience. However the experience equips graduates with the skills, knowledge, awareness and commitment to succeed as independent artists and to be critical creative contributors in myriad cultural contexts. At this point of departure, I would like to congratulate Carl, Oreen and Yun Mi on their achievements at Carnegie Mellon, and wish them success for the future."

- John Carson
  Regina and Marlin Miller Professor, Head of the School of Art

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Carl Bajandas, Oreen Cohen, Yunmi Her
About the Artists
Carl Bajandas

Carl Bajandas’ practice is directed by the act of discovery and the desire to create large scale poetic work. With each project, he employs entirely new production methods resulting in diverse works that contain thoughtful elements of levity and introspection. Loss / Recovery / Decay consists of a chemically unstable crystal color field that slowly shifts from blue to black; in reaction to this change, custom sound generation software creates a corresponding soundscape. This work explores entropy and our relationship to change.

Carl Bajandas’ practice is directed by the act of discovery and the desire to create large scale poetic work. With each project, he employs entirely new production methods resulting in diverse works that contain thoughtful elements of levity and introspection. Loss / Recovery / Decay consists of a chemically unstable crystal color field that slowly shifts from blue to black; in reaction to this change, custom sound generation software creates a corresponding soundscape. This work explores entropy and our relationship to change.

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Oreen Cohen

Oreen Cohen’s sculptural and video works stimulate poetic reflections in the built environment. As an observer and explorer, Cohen draws insight from her surroundings by unpacking the embedded meanings, histories, and identities of place. Urban interventions are created using metaphor and physical material to cultivate social allegories that re-interpret the past, solidify the present, and anticipate the future. The Video project, Between a Stone and a Shrine was supported in part by funding from the Carnegie Mellon University Frank-Ratchye Fund For Art @ the Frontier.

Oreen Cohen’s sculptural and video works stimulate poetic reflections in the built environment. As an observer and explorer, Cohen draws insight from her surroundings by unpacking the embedded meanings, histories, and identities of place. Urban interventions are created using metaphor and physical material to cultivate social allegories that re-interpret the past, solidify the present, and anticipate the future. The Video project, Between a Stone and a Shrine was supported in part by funding from the Carnegie Mellon University Frank-Ratchye Fund For Art @ the Frontier.

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Yunmi Her

Yunmi Her works with video-installation and interactive art to explore the daily internal conflict of individual lives. This is explored by examining environmental limitations, social systems, and relationships which help to construct individual identity. Yunmi Her’s videos depict recordings of incidental encounters as well as interviews with people about their everyday lives. Research, analysis, and observation are an important processes of her work. Contrary to this however, her video installations create a dreamlike ethereal mood that conveys not only the emptiness, loneliness, but also the hope, and satisfaction that occurs in the cycle of one’s daily life.

Alien She
Sep 21, 2013–Feb 16, 2014
  • About

Curated by Astria Suparak + Ceci Moss

Works by: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco)

Alien She is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new …

Curated by Astria Suparak + Ceci Moss

Works by: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco)

Alien She is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.

Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least 30 states and 26 countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.

Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.

In various ways, these artists have incorporated, expanded upon, or reacted to Riot Grrrl’s ideology, tactics and aesthetics. For instance, many continue to cultivate and nurture alternative communities. Ginger Brooks Takahashi creates spaces for conversation and exchange with jubilant publications, dance parties, mobile reading rooms and soup delivery service. Through photography and video, Faythe Levine documents groups committed to DIY independence and handmade aesthetics, such as crafters, off-the-gridders, and, in her new book and documentary, traditional hand-lettered sign painters. L.J. Roberts fabricates declarations of protest and solidarity with evocative banners and textile works.

Riot Grrrl thrived through the establishment of DIY networks and information sharing, an aspect manifest in Stephanie Syjuco’s project for freely distributing copyrighted critical texts and in Miranda July’s video chainletter for “lady moviemakers.” Recalling forgotten her/histories was also central to Riot Grrrl, and in that vein, Allyson Mitchell pays homage to key writings, feminist presses, bookstores and libraries with lesbian feminist library wallpaper, while Tammy Rae Carland reveals intimate relationships in her autobiographical photo series. All of the artists included here have worked collaboratively and many have built platforms for other artists and under-recognized groups to connect, encourage, share resources and self-publish.

The exhibition’s historical section is designed to be plural and open-ended; this is a living history, not a sealed past. By representing numerous voices and experiences, rather than outlining one single definitive story, we hope it will reflect the multiplicity that was such an integral part of the original movement. Toward this end, a sampling of the Riot Grrrl movement’s vast creative output is included here. Hundreds of self-published zines and hand-designed posters were solicited from institutional and personal archives through open calls, word-of-mouth and invitations – similar to the way Riot Grrrl expanded. Music playlists represent different Riot Grrrl scenes across the U.S., Canada, South America and Europe, guest curated by musicians, DJs and label owners, and accompanied by records, cassettes, set lists, band T-shirts and other ephemera. Video interviews and an ongoing, online Riot Grrrl Census provide an expanded oral history.

The exhibition’s title, Alien She, is a reference to a Bikini Kill song of the same name. The lyrics are about the negotiation of normalized gender roles, the uneasy line between feminist critique and collectivity, and the process of coming to a feminist consciousness, with the repeated refrain, “She is me, I am her.” More broadly, Alien She conjures the possibilities of identity, self-determination and subversion. In the face of alienation and bigotry, Riot Grrrl fostered community, action and creation. This exhibition provides a view into the passion and diversity of the original Riot Grrrl movement, and highlights how these ideas have broadened, evolved and mutated in the work of contemporary artists. 

Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections

Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more

Regional Music Curators: Tammy Rae Carland of Mr. Lady Records and I (heart) Amy Carter zine (American South); Pete Dale of Slampt Records and Pussycat Trash (England); Donna Dresch of Chainsaw Records and Team Dresch (Pacific Northwest); Maaike Muntinga of Riot Grrrl Benelux and Ladyfest Amsterdam + Jessica Gysel of Girls Like Us magazine (Belgium + the Netherlands); Lynne T + Bernie Bankrupt of Lesbians on Ecstasy (Canada); Allison Wolfe of Bratmobile, Girl Germs zine and Ladyfest Olympia (D.C. + Olympia); Elisa Gargiulo of Dominatrix (Brazil); Ceci Moss + Astria Suparak, exhibition curators and former Riot Grrrls (California)

Alien She was curated by Astria Suparak and Ceci Moss, former Riot Grrrls from Los Angeles and the Bay Area, and organized by the Miller Gallery at Carnegie Mellon University. Support for Alien She is provided in part by Vox Populi.

The curators would like to thank Sara Marcus, Vega Darling, Mimi Thi Nguyen, Lisa Darms and exhibition intern Rose Hermalin.

* From data compiled in the Riot Grrrl Chapters Map, an online collaborative project created for the exhibition that assembles research from various people and the public: www.bit.ly/RGmap

 

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I'm Feeling Lucky
CMU School of Art Senior Exhibition
May 4–18, 2013
  • About

Artists: Jessica Aguero, Derek Anderson, Harrison Apple, Elizabeth Brophy, Lelia Byron, Sarah Ceurvorst, Mirrie Choi, Molly Cook, Emma Eichner, Lauren Faigeles, Sondra Hart, Max Hawkins, Allison Huey, Rachel Jonas, Marine Kambara, Eunhee Kang, James Krahe, Alexine La Sala, Caroline Landau, Paul Miller, Chloe Newman, Emma Olsen, Aaron Regal, Stephanie Ross, Alexander Rothera, Shephaly Soni, Claire Sullivan, Carolyn Supinka, Mary Tsang, Rachel Wagner, Carter Warren, Courtney Wittekind, Emily Wobb

“Browse our art collection.
Surf our web of works.

When you contact your missed connection,
When you skype a long distance companion,
When you facebook …

Artists: Jessica Aguero, Derek Anderson, Harrison Apple, Elizabeth Brophy, Lelia Byron, Sarah Ceurvorst, Mirrie Choi, Molly Cook, Emma Eichner, Lauren Faigeles, Sondra Hart, Max Hawkins, Allison Huey, Rachel Jonas, Marine Kambara, Eunhee Kang, James Krahe, Alexine La Sala, Caroline Landau, Paul Miller, Chloe Newman, Emma Olsen, Aaron Regal, Stephanie Ross, Alexander Rothera, Shephaly Soni, Claire Sullivan, Carolyn Supinka, Mary Tsang, Rachel Wagner, Carter Warren, Courtney Wittekind, Emily Wobb

“Browse our art collection.
Surf our web of works.

When you contact your missed connection,
When you skype a long distance companion,
When you facebook chat for hours
with the person in the next room,
When you google search yourself,
...take a screenshot.

Search terms for the soul:
I’m Feeling Lucky

- Carnegie Mellon School of Art Class of 2013

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Basement Miracle
CMU MFA Exhibition
Mar 30–Apr 21, 2013
  • About
  • Artists

"They say that some people have gone into the basement of Carnegie Mellon’s Doherty Hall and never been seen again. It is a warren of twisting corridors and bewildering levels - a labyrinth of leftover spaces that no one seemed to know what to do with, until the art students arrived and made it their own. Just as artists renovate derelict buildings and revitalize areas of urban neglect, so the graduate students of the School of Art, over time, have turned the basement floors of Doherty into an incubator of …

"They say that some people have gone into the basement of Carnegie Mellon’s Doherty Hall and never been seen again. It is a warren of twisting corridors and bewildering levels - a labyrinth of leftover spaces that no one seemed to know what to do with, until the art students arrived and made it their own. Just as artists renovate derelict buildings and revitalize areas of urban neglect, so the graduate students of the School of Art, over time, have turned the basement floors of Doherty into an incubator of incredible creative activity. In subterranean classrooms, workshops and studios, they have performed their alchemy - ingeniously transforming everyday materials, objects, and devices into extraordinary constructions, challenging propositions, outrageous performances, political statements, conceptual conundrums, and imaginative imagery.

Now, seven young artists are stepping into the light. Their work is presented for you in the 2013 MFA Thesis Exhibition. Behold the miracle of art."

- John Carson
  Head of the School of Art + Regina and Marlin Miller Professor,
  Carnegie Mellon University

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Scott Andrew, Felipe Castelblanco, Craig Fahner, Steve Gurysh, Luke Loeffler, Dan Wilcox, Erin Womack
About the Artists
Scott Andrew

Scott Andrew is half-crystal, half-human, with a league of tranny-child warriors at his beck and call. His interests include posthumanism, gender performativity, excess, and forms of masculinity. His environments generate confrontational and absurd immersive experiences with characters culled from parallel universes. His opulent fantasies draw from prelapsarian longing, fetish, and kitsch by recycling fashion, mythology, and items from his grandma's attic.

Scott Andrew is half-crystal, half-human, with a league of tranny-child warriors at his beck and call. His interests include posthumanism, gender performativity, excess, and forms of masculinity. His environments generate confrontational and absurd immersive experiences with characters culled from parallel universes. His opulent fantasies draw from prelapsarian longing, fetish, and kitsch by recycling fashion, mythology, and items from his grandma's attic.

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Felipe Castelblanco

Felipe Castelblanco is an interdisciplinary artist working at the intersection of social engagement, interactive art, and new media art. Through urban interventions, video, and networked installations, his work creates participatory experiences and coexistent (if sometimes contentious) encounters across vast distances. Felipe is currently developing a body of work that imagines air as a material embodiment of the public sphere.

Felipe Castelblanco is an interdisciplinary artist working at the intersection of social engagement, interactive art, and new media art. Through urban interventions, video, and networked installations, his work creates participatory experiences and coexistent (if sometimes contentious) encounters across vast distances. Felipe is currently developing a body of work that imagines air as a material embodiment of the public sphere.

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Craig Fahner

Craig Fahner is a sound and media artist from Calgary, Alberta. His work is centered on radical uses of media, creating clearings within technology to facilitate unlikely participatory experiences. He believes that ethical relationships to objects are formed through tactile encounters. In a world increasingly filled with invisible informational objects, Craig’s work transforms the immaterial into the perceptible, creating opportunities for critical play.

Steve Gurysh

Steve Gurysh creates time-based and sculptural media that explore economies of energy, cycles of technological advancement and obsolescence, as well as sincere attempts to encounter the miraculous. By interlacing solitary expeditions with shared encounters, myth-making, and material science, his work invents a testing ground for abandoned pasts, alternative presents, and provocative futures.

Luke Loeffler

Luke Loeffler works with sculpture and code in response to the consumption, influence, and politics of personal technologies. His work explores the gap between our desires reflected through our tools and the disappointing reality they can unintentionally engender. Drawing on the past for methodological, material, and mystical inspiration, Luke creates systems that collide modern conditions with their historical counterparts, unveiling a relationship between man and tool that is timeless, complex, and paradoxical.

Dan Wilcox

Dan Wilcox is an astronaut. NASA and commercial space companies will send humans to Mars by the 2030s on what may be a one-way trip. Would you go? Dan spent two weeks on a simulated Mars mission in the Utah desert, experiencing the hardship and excitement of extra-planetary exploration as research for a concept album and astronaut rock opera, robotcowboy: Onward to Mars.

Erin Womack

Erin Womack creates multimedia artworks that embody a series of imagined worlds. Together they form a singular fantasy realm that serves as a framework for mapping consciousness and reflecting the chaos of the human experience. In this semblance of our own world, hierarchies are called into question, rational thinking is suspended, and the forces of nature reign supreme.

Imperfect Health: The Medicalization of Architecture
Sep 15, 2012–Feb 24, 2013
  • About

Curated by Giovanna Borasi + Mirko Zardini
Organized by the Canadian Centre for Architecture, Montréal

We observe — and suffer daily from — the unforeseen consequences of our actions on the environment. We are anxious about ground pollution, food safety, pollen allergies, smog, asthma, cancer, obesity, epidemics, and ultimately, aging. Now that everything is perceived as a possible source of disease, the health, defense and fortification of our own bodies have become obsessive pursuits. We have begun to think of all aspects of our lives in medical terms.

Architecture, urban design, and landscape design are addressing …

Curated by Giovanna Borasi + Mirko Zardini
Organized by the Canadian Centre for Architecture, Montréal

We observe — and suffer daily from — the unforeseen consequences of our actions on the environment. We are anxious about ground pollution, food safety, pollen allergies, smog, asthma, cancer, obesity, epidemics, and ultimately, aging. Now that everything is perceived as a possible source of disease, the health, defense and fortification of our own bodies have become obsessive pursuits. We have begun to think of all aspects of our lives in medical terms.

Architecture, urban design, and landscape design are addressing these fears, incorporating medical issues and related concerns in their projects. Their new ideas and solutions are based on the optimistic premise that design has the capacity to deliver individual and collective well-being. Projects propose allergy-free gardens, more trees, cleaner air, soil remediation, and new quarantine spaces to prevent epidemic outbreaks. On the other hand, in addressing health issues, design also introduces new levels of complexity in projects that test industrial methods for food production, stairs that re-educate the obese and infirm, and the segregation of communities by age.

Imperfect Health is not a comprehensive survey of the relationships between health, architecture, cities and the environment. On the contrary, these projects for buildings, interiors, and open spaces are meant to highlight uncertainties and contradictions present in the ideas of health that are emerging in Western countries today, particularly in Europe and North America.

We are exposed to a lot of solutions, but at what cost?

Is the future of architecture in its medicalization?

- Giovanna Borasi + Mirko Zardini

Health is a focus of contemporary political debate in this moment of historically high anxiety. Are architects, urban designers and landscape architects seeking a new moral and political agenda within these concerns?

The Miller Gallery at Carnegie Mellon University is proud to present the U.S. premiere of Imperfect Health: The Medicalization of Architecture. This exhibition has particular resonance in Pittsburgh, a city that has recovered from the collapse of its steel industry through its new health care, education and technology industries, and at Carnegie Mellon, a research institution focused on innovation, interdisciplinary collaboration, and creating and implementing solutions for real problems. Despite decades of revitalization, Pittsburgh still ranks as one of the most polluted cities in the United States, with higher rates of cancer, asthma, and obesity than the national averages.*

Imperfect Health features a wide range of works, including photographs, sculpture, video, research and archival materials, design projects, and architectural models and drawings, that together examine the complex relationships between design and health. The exhibition includes works by an international group of architects, artists, designers, and institutions, including Bernd and Hilla Becher, Berkeley Institute of Design and Intel Labs, BIG (Bjarke Ingels Group), Mel Chin, Todd Haynes, Henry Dreyfuss Associates, Steven Holl Architects, Gordon Matta-Clark, Niall McLaughlin, MIT AgeLab, Morphosis, MVRDV, New York City Department of Health and Mental Hygiene, OMA (Office for Metropolitan Architecture), Philippe Rahm, François Roche, SANAA, and Alison and Peter Smithson.

Accompanying the exhibition are a book extending the research (published by CCA with Lars Müller and available as an e-book and in print in the gallery), an online TV channel, and public programs including a lecture series, panel discussions, screenings and tours.

* According to the American Lung Association, 2008; Centers for Disease Control and Prevention, 2010; Pennsylvania Department of Health, 2011. 

Support for Imperfect Health at Carnegie Mellon’s Miller Gallery is provided in part by The Heinz Endowments.

 

CURATORS

Giovanna Borasi is an architect, curator and editor. As Curator of Contemporary Architecture at the Canadian Centre for Architecture (CCA) since 2005, Borasi has worked on several major exhibitions and their companion books, with a particular interest in how environmental and social issues are influencing urbanism and architecture today. Borasi was editor and writer for Lotus International (1998-2004) and Lotus Navigator (2000-2004), and recently joined the editorial board of Abitare as Deputy Editor in Chief.

Mirko Zardini, an architect, has been the Director and Chief Curator of the Canadian Centre for Architecture since 2005. His research engages the transformation of contemporary architecture by questioning and relooking at the assumptions on which architects operate today. Zardini has been editor for Casabella and Lotus International magazine and his writings have been widely published. He has taught design and theory at architecture schools in Europe and the United States, including Harvard University GSD, Princeton University SoA, Swiss Federal Polytechnic University (ETH) at Zurich, and the Federal Polytechnic at Lausanne (EPFL).

 

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Terms & Conditions
CMU School of Art Senior Exhibition
May 5–19, 2012
  • About

Artists: Ashley Baker, Madeleine Barnes, Christina Baxter, Mahsa Borhani, Caitlin Boyle, Ashley Bravin, Julia Cahill, Helena Chan, Yuri Chung, Spencer Diaz, Jay Miriam, Charlotte Gilmore, Natalia Gomez, Allison Gozion, Tara Helfer, Soo, Jin Hong, Si Yeun Hwang, Jiyoo Jye, Meen Jung Kim, Na Hyun Kim, Stacey Lu, Chelsea Lupkin, Julie Mallis, Naeem Martinez-White, Steven Mentzer, Meghan Mills, Ju Young Park, Honor Randall, Megan Ratliff, Alexis Roberto, Elizabeth Rudnick, Tome Saidon, Laurie Shapiro, Emily So, Youshin Song, Ann Stone, Martin Swift, Lindsay Taylor, Hannah Thompson, Meagan Trott, Anya Weitzman, Benjamin Welmond, Audra …

Artists: Ashley Baker, Madeleine Barnes, Christina Baxter, Mahsa Borhani, Caitlin Boyle, Ashley Bravin, Julia Cahill, Helena Chan, Yuri Chung, Spencer Diaz, Jay Miriam, Charlotte Gilmore, Natalia Gomez, Allison Gozion, Tara Helfer, Soo, Jin Hong, Si Yeun Hwang, Jiyoo Jye, Meen Jung Kim, Na Hyun Kim, Stacey Lu, Chelsea Lupkin, Julie Mallis, Naeem Martinez-White, Steven Mentzer, Meghan Mills, Ju Young Park, Honor Randall, Megan Ratliff, Alexis Roberto, Elizabeth Rudnick, Tome Saidon, Laurie Shapiro, Emily So, Youshin Song, Ann Stone, Martin Swift, Lindsay Taylor, Hannah Thompson, Meagan Trott, Anya Weitzman, Benjamin Welmond, Audra Wist

“Here at Carnegie Mellon University, we strive for excellence, value, and superior customer service. We believe in hard work, balance, and beauty. This exhibition is our way of showing you how much we think, make, and do. We are excited to share with you our most recent line of merchandise. For the last four years, the School of Art has developed a new collection for premium existence in the contemporary world. In multiple clinical studies, we have found that our employees have made numerous ascensions in identity and community. Using this research, each of our members has developed a new cutting-edge tool, both exciting and beautiful, to make you feel good. We are excited to share with you the products of the future. Together at the School of Art we put forth tools for both living and considering in contemporary times, satisfaction guaranteed.*”

*Terms & Conditions apply.

- Carnegie Mellon School of Art Class of 2012

 

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The You Inside of Me
CMU MFA Exhibition
Mar 24–Apr 22, 2012
  • About
  • Artists

"The Magnificent Seven

Unpredictability is one of the joys of art. Just when you think you have seen everything; just when you think you have got it all figured out; along comes Les Demoiselles d’Avignon, Mutt’s Fountain, Campbell’s Soup Cans, and The Physical Impossibility Of Death In The Mind of Someone Living.

Here it comes again. This group of seven artists are certainly not bound by convention, and enjoy ruffling sensibilities, and posing awkward questions with their work. They each have very different practices, but what unites them is the exploratory nature …

"The Magnificent Seven

Unpredictability is one of the joys of art. Just when you think you have seen everything; just when you think you have got it all figured out; along comes Les Demoiselles d’Avignon, Mutt’s Fountain, Campbell’s Soup Cans, and The Physical Impossibility Of Death In The Mind of Someone Living.

Here it comes again. This group of seven artists are certainly not bound by convention, and enjoy ruffling sensibilities, and posing awkward questions with their work. They each have very different practices, but what unites them is the exploratory nature of their approach, their irreverent (yet intensely serious) attitude, the critical rigor which they have developed in their three years at Carnegie Mellon, as well as the mutual respect and the supportive bond which they have formed, through the highs and lows of this MFA experience. I will miss their pizzazz and good humor. WTF will they do next?"

- John Carson
  Head of the School of Art + Regina and Marlin Miller Professor,
  Carnegie Mellon University

 

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Jonathan Armistead, Agnes Bolt, Sung Rok Choi, Jesse England, Riley Harmon, Oscar Peters, Nina Sarnelle
About the Artists
Jonathan Armistead

Jonathan Armistead is interested in re-making everyday objects, in order to reveal the world as he sees it, prompting the viewer to re-examine their current reality. He seeks to highlight an often dormant sexuality that exists within our everyday and uncover La Vie en Rose. His own body becomes object and objectified, revealing the performative nature of identity. With tongue firmly in cheek, Jonathan hopes to eradicate shame, and celebrate life's simple pleasures in the most honest way possible.

Jonathan Armistead is interested in re-making everyday objects, in order to reveal the world as he sees it, prompting the viewer to re-examine their current reality. He seeks to highlight an often dormant sexuality that exists within our everyday and uncover La Vie en Rose. His own body becomes object and objectified, revealing the performative nature of identity. With tongue firmly in cheek, Jonathan hopes to eradicate shame, and celebrate life's simple pleasures in the most honest way possible.

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Agnes Bolt

Agnes Bolt uses a non-linear process to conflate sincerity and cynicism, desire and freedom, reality and performativity. Through larger interdisciplinary projects and smaller gestures she explores psycho-social behavior, cultural paradoxes and the absurdities and limitations of communication often by implicating herself in the process.

Agnes Bolt uses a non-linear process to conflate sincerity and cynicism, desire and freedom, reality and performativity. Through larger interdisciplinary projects and smaller gestures she explores psycho-social behavior, cultural paradoxes and the absurdities and limitations of communication often by implicating herself in the process.

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Sung Rok Choi

Sung Rok Choi explores memories, history, politics, and technology by mashing-up historical, anthropological, and political assertions. He uses fictional and satirical storytelling through flash animation, drawing, and installation. His work blurs multiple political events and creates absurd animated landscapes.

Jesse England

Jesse England creates custom-built gadgets, books, and cameras to explore the issues surrounding contemporary image consumption and generation. What does “media ownership” mean in an era where there is no physical media to own? England presents a variety of projects which address how we make and consume media today; forget the synthetic degeneration and go for the real artifice.

Riley Harmon

Riley Harmon examines multiple layers of reality and representation through appropriating and detouring popular media such as films, video games, and television. He reverse-engineers social and personal narratives and the final output is often hyperreal videos, objects, and performance.

Oscar Peters

Oscar Peters creates work as part of his ongoing research into the illusion of America; part joke and part autobiography. His sculptures move from physical violence to psychological danger: exploring our drive for speed, fear, adrenaline, repetition, crashes, and breakdowns. Dangerous yet funny, his works reveal a sense of elegance on one hand and the inevitability of getting your ass handed to you on the other.

Nina Sarnelle

Nina Sarnelle makes fantasies, miracles and lies. Her performances explore the physicality of metaphysics, and the malleability of belief. She believes in solutions-based solutions, lateral connectivity, truth by consensus; she believes in acid reflux. And things beyond her control. This is why she never works alone.

Intimate Science
Jan 21–Mar 4, 2012
  • About
  • Artists

Curated by Andrea Grover 

The most recent manifestation of artists working at the intersection of art, science and technology demonstrates a distinctly autodidactic, heuristic approach to understanding the physical and natural world. Intimate Science features artists who are engaged in non-disciplinary inquiry; they aren’t allied to the customs of any single field, and therefore have license to reach beyond conventions. This kind of practice hinges on up-close observation, experiential learning, and inventing new ways for the public to participate in the process. And through their engagement with “intimate science,” a more knowledgeable public …

Curated by Andrea Grover 

The most recent manifestation of artists working at the intersection of art, science and technology demonstrates a distinctly autodidactic, heuristic approach to understanding the physical and natural world. Intimate Science features artists who are engaged in non-disciplinary inquiry; they aren’t allied to the customs of any single field, and therefore have license to reach beyond conventions. This kind of practice hinges on up-close observation, experiential learning, and inventing new ways for the public to participate in the process. And through their engagement with “intimate science,” a more knowledgeable public might well be able to influence what research is supported and adopted by the larger culture, and the walls of science can become more transparent.

For four months in the fall of 2010, I worked at a cozy desk in the STUDIO for Creative Inquiry at Carnegie Mellon as a research fellow hosted jointly by the Miller Gallery and the STUDIO. On a daily basis, students, faculty and visiting artists would stop by my front row seat at this frenetic concourse of technoscience dispatches.

While my initial line of inquiry was artists embedded in scientific or industrial environments in the 1960s, I began to uncover a new narrative — a tactile shift in discourse and practice between that moment and this one. While artists two generations ago were dependent on access to technicians, labs, computer time or manufacturers to realize works of scientific or technological complexity, those I was presently meeting had far greater agency to conduct this kind of work themselves. Even ambitious endeavors such as independent biological experiments, materials research and micromanufacturing can be conducted by today’s working artist — and not at a naive or removed distance.

Roger Malina, physicist, astronomer and executive editor of Leonardo, a leading journal for readers interested in the application of contemporary science and technology to the arts, describes this direction as “intimate science.” He writes:

“In an interesting new development in the art world, a generation of artists [is] now collecting data about their world using technological instruments but for cultural purposes. Shared tool-using leads to overlapping epistemologies and ontologies. These artists both make powerful art and help make science intimate, sensual, intuitive.[1]”

And unlike the rare “Leonardo” polymath of the Renaissance, contemporary artists who operate across disciplines employ the expertise of the network: the network, not the individual, is encyclopedic. The Internet has provided unprecedented access to shared knowledge assets, materials, fabrication processes, microfunding, and audiences. This exhibit examines how networked communication and open source culture have contributed to this shift from artists aiding science to doing science, and the impact this imparts on the way scientific knowledge is acquired, utilized and disseminated.

Andrea Grover was the 2010 Andy Warhol Foundation Curatorial Research Fellow at Carnegie Mellon’s Miller Gallery and STUDIO for Creative Inquiry.

A densely illustrated publication, New Art/Science Affinities (2011), accompanies the exhibition. Co-authored by Grover, Régine Debatty, Claire Evans and Pablo Garcia, and designed by Thumb, the book features more than 60 international artists and collaboratives.

1 R. Malina, “Intimate Science and Hard Humanities,” Leonardo Vol. 42, No. 3, page 184, 2009.

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BCL, Center for PostNatural History, Markus Kayser, Allison Kudla, Machine Project, Philip Ross
About the Artists
BCL

BCL (Tokyo): In Common Flowers/Flower Commons (2009), BCL (Georg Tremmel + Shiho Fukuhara) bio-hacks Suntory’s genetically-modified “Moondust™” cut flowers — carnations bio-engineered to have a blueish purple petal color — back into living plants with the intention of creating an “open source” population of these flowers.

BCL (Tokyo): In Common Flowers/Flower Commons (2009), BCL (Georg Tremmel + Shiho Fukuhara) bio-hacks Suntory’s genetically-modified “Moondust™” cut flowers — carnations bio-engineered to have a blueish purple petal color — back into living plants with the intention of creating an “open source” population of these flowers.

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Center for PostNatural History

Center for PostNatural History (Pittsburgh) is a project spearheaded in 2008 by Rich Pell with the objective to advance “knowledge relating to the complex interplay between culture, nature, and biotechnology.” It is a singular natural history museum that is concerned with “PostNatural” varieties of life normally excluded from scientific taxonomy, i.e., transgenic organisms that have been altered by humankind via selective breeding, genetic engineering, or other methods of biological tampering.

Center for PostNatural History (Pittsburgh) is a project spearheaded in 2008 by Rich Pell with the objective to advance “knowledge relating to the complex interplay between culture, nature, and biotechnology.” It is a singular natural history museum that is concerned with “PostNatural” varieties of life normally excluded from scientific taxonomy, i.e., transgenic organisms that have been altered by humankind via selective breeding, genetic engineering, or other methods of biological tampering.

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Markus Kayser

Markus Kayser (London) takes notions of sustainable micromanufacturing to the extreme through projects like his Solar Sinter (2011), which combines a custom-made 3D printer with solar power to transform sand, on site in the Sahara, into glass forms, and Sun Cutter (2010), a low tech ‘laser cutter’ that makes objects by focusing sunlight into a beam powerful enough to cut through plywood.

Allison Kudla

Allison Kudla (Seattle) combines computer fabrication technologies and plant tissue culturing to make living installations. In Capacity for (urban eden, human error) (2009) she uses a custom-built computer controlled four-axis positioning table to “print” seeds and algae into a delicate architectural pattern, which she describes as biological material in collaboration with an engineering mechanism.

Machine Project

Machine Project (Los Angeles) is a “not-for-profit arts organization and community event space dedicated to making specialized knowledge and technology accessible to artists and the general public.” Machine describes its terrain as encompassing “art, technology, natural history, science, music, literature, and food,” and more. Machine’s style of presenting promotes hands-on engagement and engineers atypical collisions between different branches of knowledge.

Philip Ross

Philip Ross (San Francisco) works in the realm of “biotechniques.” He makes sculptural and architectural works from plants and fungi, and videos about micro-organisms. His “mycotecture” series is an experiment using reishi mushrooms as a sustainable construction material. He is also the facilitator of DIY biology events via CRITTER — a salon he founded for the natural sciences.

2011 Pittsburgh Biennial
Sep 16–Dec 11, 2011
  • About
  • Artists

Organized by Astria Suparak

Setting a new precedent for city-wide collaboration among major art institutions, the 2011 Pittsburgh Biennial is co-organized by Carnegie Museum of Art, Miller Gallery at Carnegie Mellon University, The Andy Warhol Museum, and Biennial founders Pittsburgh Filmmakers and Pittsburgh Center for the Arts. Each of the five partner institutions will present a distinct exhibition of work by artists connected to the Pittsburgh region, reflecting each organization’s curatorial focus.

The Miller Gallery at CMU’s presentation, organized by gallery director Astria Suparak, features artists who work collaboratively, harmonizing individual perspectives, ideas, …

Organized by Astria Suparak

Setting a new precedent for city-wide collaboration among major art institutions, the 2011 Pittsburgh Biennial is co-organized by Carnegie Museum of Art, Miller Gallery at Carnegie Mellon University, The Andy Warhol Museum, and Biennial founders Pittsburgh Filmmakers and Pittsburgh Center for the Arts. Each of the five partner institutions will present a distinct exhibition of work by artists connected to the Pittsburgh region, reflecting each organization’s curatorial focus.

The Miller Gallery at CMU’s presentation, organized by gallery director Astria Suparak, features artists who work collaboratively, harmonizing individual perspectives, ideas, and talents. Embodying self-sufficiency within a cooperative spirit, the collectives and collaborators encourage us to reassess our assumptions and values, reveal the global in the local and the personal in the political, and imagine alternate realities and possible futures. The exhibition unveils four new installations and two recent projects, and includes sculpture, printmaking, painting, video, publications and workshops.

The artists in the Pittsburgh Biennial at the Miller Gallery at CMU choose to work with others, negotiating their individuality for the sake of the group or project. This collaborative approach echoes the long labor and union histories of the area, as well as the Biennial’s new partnership among local art organizations. This multigenerational selection of artists, who currently live in Pittsburgh or spent significant time here, also exhibit internationally, reflecting the connection Pittsburgh has to the global art world and broader discourses. The projects included here demonstrate the strength of collective voices in deciding the future of neighborhoods, cities, nations, and societies, and the importance of intimate conversations and compassionate listening.

Co-organized by the Carnegie Museum of Art, Miller Gallery at Carnegie Mellon University, Pittsburgh Filmmakers/ Pittsburgh Center for the Arts, and The Andy Warhol Museum.

Support for the 2011 Pittsburgh Biennial is provided by Hillman Foundation, Juliet Lea Hillman Simonds Foundation, The Heinz Endowments, The Pittsburgh Foundation, and Kreider Printing. General operating support for the Miller Gallery is provided by Carnegie Mellon University. The exhibitions and programs are supported in part by a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, as well as the CMU College of Fine Arts and the School of Art. 

Global Cities, Model Worlds was supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts, and created during an Art and Technology Residency at the STUDIO for Creative Inquiry in partnership with the Miller Gallery at Carnegie Mellon University for the 2011 Pittsburgh Biennial. Support for the residency was provided by the Pennsylvania Council on the Arts and the National Endowment for the Arts. 

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Justseeds, Lize Mogel, Sarah Ross, Ryan Griffis, subRosa, Temporary Services, Transformazium
About the Artists
Justseeds

Justseeds is a worker-owned cooperative of 26 printmakers in the U.S., Canada, and Mexico, with members and a distribution center in Pittsburgh. For the Biennial they built a landscape overpopulated by billboards. The artists simultaneously subvert the hard-to-ignore, omnipresent advertising medium and playfully concede their didactic tendencies; instead of peddling products, the handmade billboards advocate for borderless nations, indigenous sovereignty, and immigrant rights. Justseeds believes in “the transformative power of personal expression in concert with collective action.”

Justseeds is a worker-owned cooperative of 26 printmakers in the U.S., Canada, and Mexico, with members and a distribution center in Pittsburgh. For the Biennial they built a landscape overpopulated by billboards. The artists simultaneously subvert the hard-to-ignore, omnipresent advertising medium and playfully concede their didactic tendencies; instead of peddling products, the handmade billboards advocate for borderless nations, indigenous sovereignty, and immigrant rights. Justseeds believes in “the transformative power of personal expression in concert with collective action.”

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Lize Mogel, Sarah Ross, Ryan Griffis

Sarah Ross and Ryan Griffis of Chicago and Carnegie Mellon alumna Lize Mogel of New York debut Global Cities, Model Worlds, an installation that explores the spatial and social impacts of “mega events,” such as the Olympics and World’s Fairs. The host cities of these international spectacles seek to transform themselves into “global cities” through planning, architecture, and ideology. Locally, these events pave the way for redevelopment projects that can create new public resources such as parks, stadiums, or transportation infrastructure, but often result in significant displacement of residents or industry, reinforcing existing inequalities. This installation asks us to consider what would happen if a mega event came to Pittsburgh. Using evidence from dozens of site visits and more than a decade of research, Global Cities contrasts the promise of transformation with the on-the-ground realities of urban development.

Sarah Ross and Ryan Griffis of Chicago and Carnegie Mellon alumna Lize Mogel of New York debut Global Cities, Model Worlds, an installation that explores the spatial and social impacts of “mega events,” such as the Olympics and World’s Fairs. The host cities of these international spectacles seek to transform themselves into “global cities” through planning, architecture, and ideology. Locally, these events pave the way for redevelopment projects that can create new public resources such as parks, stadiums, or transportation infrastructure, but often result in significant displacement of residents or industry, reinforcing existing inequalities. This installation asks us to consider what would happen if a mega event came to Pittsburgh. Using evidence from dozens of site visits and more than a decade of research, Global Cities contrasts the promise of transformation with the on-the-ground realities of urban development.

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subRosa

subRosa, a collective whose core members are Hyla Willis of Pittsburgh and Faith Wilding of Providence, speculate on how feminism could affect the scientific world, as it has with art and other areas of culture. In their new installation Feminist Matter(s): Propositions and Undoings, they invoke cultural producers, experimenters, and processes that could be antecedents of this new way of thinking and working, including 4th century scientist and inventor Hypatia; Romantic poet William Blake; modernist writer Virginia Woolf; interior designers the Omega Workshop; para-surrealist painter and anarchist Remedios Varo; and groundbreaking geneticist Barbara McClintock. Inspired by Woolf’s antidote to the war-mentality brewed in boardrooms and command centers, subRosa re-envisions lab workbenches as a series of small tables for more intimate and conversational “tea-table thinking.”

Temporary Services

Temporary Services, composed of Carnegie Mellon alumnus Marc Fischer in Chicago, Salem Collo-Julin in Philadelphia, and Brett Bloom in Copenhagen, present two projects. Self-Reliance Library is a collection of recently published and out-of-print books and reference materials that the artists have found inspiring and hope will “provoke the reader, solve creative problems, or suggest imaginative directions for a range of creative practices.” Topics represented in the library include visionary architecture, nomadic living, self-publishing, everyday repair solutions, designs for alternate realities, survivalism, and skill-sharing. Personal Plastic is an ongoing project that explores the problem of plastic bags in our waste stream. Made from recycled bags, the banners feature quotes drawn from books in the accompanying library.
 

Transformazium

Transformazium, comprised of Ruthie Stringer, Dana Bishop-Root, Leslie Stem, and Caledonia Curry, create an evolving installation with bricks from a condemned building they deconstructed near their home in North Braddock, an outer borough of Pittsburgh. During the course of the exhibition, collective members and gallery visitors will clean the bricks, visibly transforming waste to useable resources and underlining the economic viability and environmental sustainability of deconstruction, or “green demolition.” In neighborhoods that face high levels of property abandonment as well as persistent under-employment, deconstruction “makes room for the possibility to discover wealth in places of blight and energy in places of stagnation.” Transformazium’s relationship-based practice examines systems of values, with a mission to use the creative process to transform ideas into tangible social and economic benefits.

MEGA
CMU School of Art Senior Exhibition
Apr 29–May 14, 2011
  • About

"Carnegie Mellon has no house style, and the work produced by this year’s graduating class reflects the variety of interests and particular talents of each individual in the program. The 2011 Senior Exhibition includes work that is weird, glamorous, poetic, delicate, provocative, cryptic, outrageous, beautiful, ingenious, contemplative and more. Always searching and exploratory, their final exhibition is the culminating expression of their time at Carnegie Mellon, as they strive for greater achievement. As well as developing their own work, they have built a set of artistic relationships, which will sustain …

"Carnegie Mellon has no house style, and the work produced by this year’s graduating class reflects the variety of interests and particular talents of each individual in the program. The 2011 Senior Exhibition includes work that is weird, glamorous, poetic, delicate, provocative, cryptic, outrageous, beautiful, ingenious, contemplative and more. Always searching and exploratory, their final exhibition is the culminating expression of their time at Carnegie Mellon, as they strive for greater achievement. As well as developing their own work, they have built a set of artistic relationships, which will sustain them well into the future. They have sought to identify their similarities and broader concerns through a playful acronym – M.E.G.A.

I remember their faces on the first day of student orientation: hopeful, expectant, slightly nervous, but excited and keen. I look at them now and they are confident, savvy and ambitious. These students have excelled as individuals and as a class, meeting the challenges of a rigorous fine art education, and exponentially developing their talents. They have built a strong esprit de corps, not just artistically around ideas and aesthetic concerns, but personally around hard work, mutual respect and support for each other.

Sadly, one of the group, and a promising young artist, Jee Hoon Choi died in a tragic car accident, just a few weeks before he was due to graduate. Jee was a popular presence in the school, with his positive, lively, good natured and good humored spirit. He epitomized his peer group: using his time at college to the full, searching, striving, working hard, seeking new knowledge, developing his skills and thinking about how his art might make a worthwhile difference in the world. We will all miss him terribly, but we will remember him fondly and take strength and inspiration from his example.

I would like to thank this senior class for their magnificent, exceptional, gobsmacking art - and I wish them all a mighty, glorious, extraordinarily awesome future."

- John Carson,
Head of the School of Art + Regina and Marlin Miller Professor,
Carnegie Mellon University

ABOUT THE ARTISTS

Multicultural Environmental Guerrilla Abomination - Zahra Ahmed
Meticulous Engrossing Graphic Aesthetic - Amanda Bowers
Meditation Elusive Gentle Antiquated - Keilah Boyles
Maverick Explosive Glittering Apocalypse - Casey Brander
Mustache Exotic Geeky Atomic - Boris Brenman
Meta Etc. Genuine Atomic - M. Callen
Mystical Electric Glittering Aesthetic - Elyse Carr
Mystical Electric Grunt Apocalypse - Jee Choi
Magical Elusive Grilled Adjective - Sibel Ergener
Make-believe Excessive Geometric Aesthetic - Rebecca Feeney
Multicultural Elusive Glittering Atomic - Sarah Habib
Misbehaving Excessive Giraffe Automatic - Jennifer Hwang
Magical Earnest Geeky Adventurous - Jessica Jackson
Magical Employed Geeky Abomination - Susan Lin
Meta Elusive Grilled Abstract - Dana Lok
Magnetic Electric Gold Aesthetic - Lara Mann
Multicultural Employed Guerilla Agent - Haydee Naula
Mystical Explosive Geeky Antique - Laura Paoletti  
My Excessive Glittering Addiction - Heejin Park
Moving Engrossing Genuine Aesthetic - Su Min Park
Meticulous Elusive Geometric Addictive - Emily Raffensperger
Magnetic Explosive Geeky Atomic - Rebecca Reed
Make-believe Elusive Gentle Aesthetic - Isabelle Richardson
My Environmental Got Artificial - Alexis Rideau
Mystical Elusive Grotesque Ambiguous - Katherine Roettges
My Electric Giraffe Apple - Anya Rosen
My Etc. Gold Aesthetic - Michael Royce
My Explosive Gentle Abomination - Zena Ruiz
Meticulous Elusive Gentle Apple - Gaby Schmulevich
Meditation Etc. Genuine Apocalypse - Sara Schoenberger
Massive Erotic Grotesque Anus - Lizzee Solomon
Meta Etc. Geometric Aesthetic - Kristen Staab
Meticulous Engrossing Geometric Apocalypse - Heather Stanco
Misbehaving Edgy Guerrilla Agent - Peter Stanick
Malleable Exotic Grotesque Adorable - Ah Young Sun
Meticulous Excessive Gutsy Abomination - Maria Tartaglia
Malleable Effects Grotesque Abomination - Zachary Wallnau
Multicultural Evolution Graphic Apocalypse - Adrienne Wilson
Meticulous Excessive Grunt Aesthetic - Norman Wright
Make-believe Emote Gutsy Amusing - Vicky Yuh

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Up Down Up Down
CMU MFA Exhibition
Mar 18–Apr 17, 2011
  • About
  • Artists

"I am writing on the threshold of the MFA thesis exhibition, where each year the graduate students extend themselves to produce something extraordinary. This stretching of imagination and ambition creates an adrenaline-fueled run-in for all concerned. Jesha will push the envelope; Sean will produce yet another magical bricolage; Dan will combine the poetic and the profound; Rob will puzzle us with some photographic conundrums; and Courtney will present us with a wry intellectual challenge. This year’s exhibit promises to be bold, ingenious, thought-provoking, and tinged with humor. I have seen …

"I am writing on the threshold of the MFA thesis exhibition, where each year the graduate students extend themselves to produce something extraordinary. This stretching of imagination and ambition creates an adrenaline-fueled run-in for all concerned. Jesha will push the envelope; Sean will produce yet another magical bricolage; Dan will combine the poetic and the profound; Rob will puzzle us with some photographic conundrums; and Courtney will present us with a wry intellectual challenge. This year’s exhibit promises to be bold, ingenious, thought-provoking, and tinged with humor. I have seen them develop their work and grow in confidence over the last three years, through a mutually supportive camaraderie, which has seen them through their Carnegie Mellon journey. All have had to reappraise the notions they arrived with, and have undergone a rigorous period of critical evaluation, in order to recognize their fundamental motivations and to refine their mode of practice. Not only does this exhibit showcase their talent and considerable achievements, but it also represents the philosophy of the MFA program, which is to produce self-defined artists of exceptional ability and initiative, able to create opportunities for themselves and connect meaningfully with the communities and cultures around them.

Courtney, Dan, Jesha, Rob and Sean have certainly met these aspirations and I look forward to their further success."

- John Carson,
Head of the School of Art + Regina and Marlin Miller Professor,
Carnegie Mellon University

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Sean Glover , Jesha Chen, Daniel Luchman, Courtney Dow, James Robert Southard
About the Artists
Sean Glover

I am interested in an excavation of the tensions between aesthetic and political approaches to material forces in history. By studying the history of objects, one is able to uncover their awkward, unsuspecting, and provocative relations, their hold on our imaginations, their impact on our most intimate, as well as our most public interactions. Objects seem to be impervious to what humans think of them. We design them.  We use them. But, how do they act upon us? I wonder how military sound ranging devices merged with traditional fresco painting can serve as an archeology of the present moment. I am curious about how the carvings by a robotic mill into discarded foam insulation can echo with both whimsy and the grotesque. How do the presence and the performance of these objects resonate in tandem with our understanding of the past? 

I am interested in an excavation of the tensions between aesthetic and political approaches to material forces in history. By studying the history of objects, one is able to uncover their awkward, unsuspecting, and provocative relations, their hold on our imaginations, their impact on our most intimate, as well as our most public interactions. Objects seem to be impervious to what humans think of them. We design them.  We use them. But, how do they act upon us? I wonder how military sound ranging devices merged with traditional fresco painting can serve as an archeology of the present moment. I am curious about how the carvings by a robotic mill into discarded foam insulation can echo with both whimsy and the grotesque. How do the presence and the performance of these objects resonate in tandem with our understanding of the past? 

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Jesha Chen

“A live improvised mockumentary exploring the nature of non-linear time, the impermanent fluidity of reality, AND the exponential possibilities of existence.” – Michelle Carello

“★ ★ ★ ★!! One of the year’s best productions!!!” – Los Angels Times

“It's not an easy feeling to describe: it's whimsical yet hard-hitting; cute but completely serious; ominously inviting, like the Grand Canyon; terrifying but kind and caring.” – Jonathan Minard

“It’s not fundamentally about popcorn, either, but about the search for meaning and the consoling satisfaction of finding the patterns that define and describe both the physical universe and individual human lives.” – New Yok Times

“A live improvised mockumentary exploring the nature of non-linear time, the impermanent fluidity of reality, AND the exponential possibilities of existence.” – Michelle Carello

“★ ★ ★ ★!! One of the year’s best productions!!!” – Los Angels Times

“It's not an easy feeling to describe: it's whimsical yet hard-hitting; cute but completely serious; ominously inviting, like the Grand Canyon; terrifying but kind and caring.” – Jonathan Minard

“It’s not fundamentally about popcorn, either, but about the search for meaning and the consoling satisfaction of finding the patterns that define and describe both the physical universe and individual human lives.” – New Yok Times

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Daniel Luchman

Human history reveals itself as a complex collection of methods for exploiting people and resources, yet, this legacy is accompanied by a cultural archive of knowledge, mass knowledge, and this is the true fruit of civilization. The power structures that maintain civilization are the costs of this knowledge, as they also preserve cultural memory (obsessive self-catalogue, as if unconsciously hyper-aware of its own transient existence). At this expense I view knowledge as a powerful, almost sacred material. Through my work I actively merge rational and intuitive forms of thinking with a fluid practice that builds upon itself in continual layers. Many projects exist as open-ended situations, as structures with a void of undefined potential content. Gradually, overtime, I fill that void by continually leaping into it. This is a universal inquiry, the pursuit of the unknown, it is a fundamental drive, and I trust in this pursuit.

Courtney Dow

My work examines architectures of the familiar, often focusing on the minute and overlooked as a nod to monumental patterns or inevitabilities. In this installation, stacked elements of sound, text, image, and experience merge to explore three certainties of life: food, death, and family. These themes are conveyed within a constructed suburban family room setting. Pictures hang. A movie plays. Ideas surface about idiosyncratic traditions and rituals of consumption, legacy and inheritance, communion and community, iconography, normalcy, and the subtle rewards of mundane day-to-day interactions.

James Robert Southard

I wish to better understand the role of violence and war that is ingrained in our natural instincts. The visuals of battle and bloodshed are still honored in our society through entertainment and I look to reenact my own childhood relationship with these traits. The stages and miniature sets used in science fictions films of the 20th century provide a rich source of inspiration for my body of work, exploring the active role of the viewer and offering a chance to construct a larger context. Side by side, these two series display my interest in the construction of fictional worlds, escapism, and the relationship between artificiality and reality through digitally constructed photography. 

Whatever It Takes: Steelers Fan Collections, Rituals, and Obsessions
Aug 27, 2010–Feb 6, 2011
  • About

Curated by Jon Rubin + Astria Suparak

If space aliens landed in Pittsburgh, what would they determine was the dominant culture that unified the populace? It could only be Steelers culture.

Steelers culture is Pittsburgh’s popular culture, and the fans are its primary producers. Often overlooked in discussions of pop culture, much less “high” culture, sports fans are portrayed as immature, uncritical, and passive consumers blindly following a branded product. Whatever It Takes: Steelers Fan Collections, Rituals, and Obsessions looks at the particular and ingenious methods Steelers fans use to construct their own …

Curated by Jon Rubin + Astria Suparak

If space aliens landed in Pittsburgh, what would they determine was the dominant culture that unified the populace? It could only be Steelers culture.

Steelers culture is Pittsburgh’s popular culture, and the fans are its primary producers. Often overlooked in discussions of pop culture, much less “high” culture, sports fans are portrayed as immature, uncritical, and passive consumers blindly following a branded product. Whatever It Takes: Steelers Fan Collections, Rituals, and Obsessions looks at the particular and ingenious methods Steelers fans use to construct their own personal and social identities in relation to the team, and in the process, create an active community of cultural producers. Through countless fan sites, gameday rituals, costumes, tattoos, videos, unlicensed merchandise, and more, Steelers fans brilliantly remix and meld the team’s identity with their own. Take Jim Shearer’s weekly, low-budget Web-show, Yinz Luv ‘Da Stillers, whose new season of episodes will be screened in the gallery. Shearer produces the entire show from his bedroom using homemade props and a remarkably clever remix of footage from the week’s game, popular movies, homemade puppets, hand-painted cutouts, and his own engaging persona. His show takes the basic conventions of a major network post-game telecast and reinvents it as a platform for his idiosyncratic creativity and earnest fandom. This do-it-yourself ethos of many Steelers fans reflects larger pop cultural trends in which enthusiasts of TV shows, bands, and movies build fan communities that create their own narratives and aesthetics out of the objects of their passion. 

Of course not all Steelers fans produce a weekly Web show—many simply relate to the team by quietly performing gameday rituals in the privacy of home. Most are fairly common, but there is a more intricate and obsessive form of ritual, such as setting aside 62 minutes to kiss every Steelers item in the house prior to kick-off; following the offense on one TV set and the defense on another; watching the game alone with a painted face; wearing a Terrible Towel throughout the day, even in the shower; defeating that day’s opponent on PlayStation football right before the game; or reciting a customized Lord’s Prayer that cites the Steelers’ owner and the opposing team to be vanquished. And most of these examples are from Steelers fans living outside of Pennsylvania. The Steeler Nation is vast, existing in every American state and at least 27 countries, including over 2,000 self-proclaimed Steelers bars and fan clubs worldwide.

What could cause such intense obsession and devotion? In the 1970s, the fall of the steel industry coincided with the rise of the Steelers football team, generating a perfect storm for the development of a die-hard Steelers fan base. The team mirrored the values and desires of its working class fans: they were owned by a self-made local family, named after the local industry, and had a relentlessly hard-nosed playing style. As coach Chuck Noll used to say, the team would do “whatever it takes” to win. But most importantly, as the city struggled under mill closures and massive layoffs, forcing an exodus of residents in search of new jobs, the Steelers kept winning championships. The result is a demographically diverse community of fans that crosses lines of race, class, gender, political affiliation, and even city and country. "We don't just have fans,” offensive tackle Max Starks explains. “It's bigger than that. It's a devotion. Like a child with its parent.” Even in death, some choose to be remembered foremost as a Steelers fan. Rather than use a traditional casket at the wake, one family decided that their loved one would be last viewed as he would have been on game day: laid out on a recliner, dressed in black and gold, with a beer at his side and remote control in hand, watching a continuous loop of Steelers highlights on a TV set.

A common way fans bridge the gap between team and self is by collecting team-related merchandise and signed memorabilia. What’s interesting about many Steelers fans is that they often take collecting a step further: Shawn Spinda has over 100 signed footballs; the Pittsburgh Sports and Mini Ponies blog details “Great Moments in Unlicensed Pittsburgh Sports Merch”; Denny DeLuca transformed his basement into a Steelers Room (moved in its entirety into the gallery for this exhibition) crammed floor to ceiling with hundreds of handmade and altered objects, each with its own story that describes both the biography of the team and Denny’s autobiography. Other fans dedicate their bodies to expressing their allegiance. For instance, Ron Vergerio has spent the past eight years tattooing his entire torso with a stream-of-consciousness mural of players, plays, trophies, the cigar-smoking team owner, and a stadium full of fans, all intermingled with the Pittsburgh skyline and flowing hot metal.

Whatever It Takes: Steelers Fan Collections, Rituals, and Obsessions presents the participatory popular culture of Steelers fandom. The exhibition, a first of its kind, focuses not on fans as consumers, but on fans as producers—a creative force that modifies dominant culture into something much more personal, and collectively creates the Steeler Nation.

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If Found, Please Return To:_____________
CMU School of Art Senior Exhibition
Apr 30–May 15, 2010
  • About

Works by: Alexandra Rubinstein, Alexandre Binder, Alicia Ledden, Alissa Osial, Alyssa Reuter, Andrea Meythaler, Angela Wang, Anna Navasardian, Anna-Claire Harkness, Austin Redwood, Brittany Stanley, Carolina Ramos, Caroline Berger, Chan Hee Soh, Christie Lau, Elise Walton, Hee Ree Kim, Hye Jin Lee, Jackie (Seung-yeon) Kook, James Chan, Jen Inman, Joo Hyun Lee, Joo Young Kang, Julia Kennedy, Katie Kuzko, Kyu lee Viviane Kim, Marc Poirier, Missy Dunaway, Morgan Sanders, Paul Rouphail, Rachel Dorrett, Robin Scheines, Ryan Woodring, Seung Yeon Kim, Seung-Youn Sara Lim, Su Youn Lee, Tessa Park, Xiaoyuan Jiang

"I will always have a special fondness for this cohort of students, because they arrived in the School of Art at Carnegie Mellon at the same time as I did, in August 2006. We discovered the mysteries …

Works by: Alexandra Rubinstein, Alexandre Binder, Alicia Ledden, Alissa Osial, Alyssa Reuter, Andrea Meythaler, Angela Wang, Anna Navasardian, Anna-Claire Harkness, Austin Redwood, Brittany Stanley, Carolina Ramos, Caroline Berger, Chan Hee Soh, Christie Lau, Elise Walton, Hee Ree Kim, Hye Jin Lee, Jackie (Seung-yeon) Kook, James Chan, Jen Inman, Joo Hyun Lee, Joo Young Kang, Julia Kennedy, Katie Kuzko, Kyu lee Viviane Kim, Marc Poirier, Missy Dunaway, Morgan Sanders, Paul Rouphail, Rachel Dorrett, Robin Scheines, Ryan Woodring, Seung Yeon Kim, Seung-Youn Sara Lim, Su Youn Lee, Tessa Park, Xiaoyuan Jiang

"I will always have a special fondness for this cohort of students, because they arrived in the School of Art at Carnegie Mellon at the same time as I did, in August 2006. We discovered the mysteries of Pittsburgh together and the hard working ethos of Carnegie Mellon.

I have seen these young artists explore a range of themes during their time here, revealing courage and a sense of discovery in much of their work. Art school is, and should be, challenging both conceptually and technically. These students have risen to the challenge by using a wide range of media to examine their own sense of identity: in terms of morality, sexuality, ethnicity, social background, and economic or political position.

The 2010 Senior Exhibition presents a rawness of emotion, fantasy and reality through sumptuous paintings, conceptual constructs, sculptural statements, animated anxieties and digital discourse. In many ways, these artists have found a means to deal with the duality of pleasure and pain in the pornographic realities, hermaphrodite fantasies, psychological obsessions and mystical journeys that are part of our human condition.

I have enjoyed the vitality of this group and have appreciated the opportunity to share their sense of discovery across the last 4 years. I wish them well and I am sure that they will have significant artistic impact in the years beyond Carnegie Mellon."

- John Carson,
Regina and Marlin Miller Professor and
Head of the School of Art, Carnegie Mellon University

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Escape PGH
CMU MFA Exhibition
Mar 19–Apr 18, 2010
  • About
  • Artists

"Elements of risk and experimentation are present throughout the three-year graduate program at Carnegie Mellon School of Art. The unpredictability of the final result is what makes the process challenging and exciting. What you see here in the gallery is more propositional than conclusive.

The work is presented for critique. This happens internally with faculty, peers and invited guests, and externally with artists’ tours, which are open to the public.

You are cordially invited to come on one of the tours, hear the artists talk about their ideas and intentions, and offer …

"Elements of risk and experimentation are present throughout the three-year graduate program at Carnegie Mellon School of Art. The unpredictability of the final result is what makes the process challenging and exciting. What you see here in the gallery is more propositional than conclusive.

The work is presented for critique. This happens internally with faculty, peers and invited guests, and externally with artists’ tours, which are open to the public.

You are cordially invited to come on one of the tours, hear the artists talk about their ideas and intentions, and offer your own interpretation of the works through open discussion.

The students work collaboratively to plan a final group show in the Miller Gallery. They must consider how their disparate practices can work together in a joint presentation.

While faculty advise, and the Miller Gallery staff assist, there is no one person working towards a predetermined curatorial vision.

Initial concepts for the final exhibit are presented and discussed, and from that point on ideas can develop, change, shift and shuffle. The architecture of the space, and the effects of works in proximity to each other, create the need for continual refinement of ideas, and negotiation of territory.

The result is a combination of individual ambition, and group dynamics. This organic process means that the content and composition of the final exhibition may not be apparent until the eleventh hour."

- John Carson,
Regina and Marlin Miller Professor and
Head of the School of Art, Carnegie Mellon University

-----

"In the MFA program at Carnegie Mellon we encourage the exploration of every available territory for artistic practice. These 6 emerging artists will delight the eye, stretch the mind, arouse the senses, warm your heart, touch your wallet and give you cause for concern.

Brian Brown paints scenes of mystery and wonder. Hyperreal, yet dreamlike environments are inhabited by strange characters, or creatures, in search of a reassuring narrative. These inscrutable scenarios are redolent of final screen sequences, which leave you anticipating the next episode. Amanda Long creates mesmeric meditations in color and light, which draw us into intense worlds of psychedelic mysticism, erotic allusion and aleidoscopic fantasy. She pulls us physically into projected constructs with seductive imagery and invitational environments, which encourage us in playful interaction with chimeric realities. Leslie McAhren is ever the effervescent performer. Recognizing the cult of personality and acknowledging the relationship between art and commerce, the golden girl has laid her plans for total art world domination and entrepreneurial success. The art of Gian Carlos Silva de Jesus is in his embrace, his engagement with strangers, and his benign intent to make meaningful communication and interaction between disparate people, by confronting emotion and breaking the trammels of social and racial conditioning. He is a sculptor whose studio is the street and the sidewalk. With drawings, photography, found imagery and text, Jonathan Trueblood’s graphic skills and wry humor combine to satirical effect, as he examines aspects of celebrity, popular culture, and macho representations in sport and in the media. Derk Wolmuth’s ideal home is the igloo, yurt, garden shed, or upturned boat. He is the ingenious fixer who will set up and make it work anywhere. His kinetic sculptural propositions and impromptu dwellings, question value systems, with their frugality and impermanence.

I would like to congratulate this year’s grad students, on the quality of their final show, the culminating achievement of their time here at Carnegie Mellon, and I wish them all well in their future artistic endeavors."

- John Carson,
Regina and Marlin Miller Professor and
Head of the School of Art, Carnegie Mellon University

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Brian Brown, Amanda Long, Leslie McArhen, Gian Carlos Silva de Jesus, Jonathan Trueblood, Derk Wolmuth
About the Artists
Brian Brown

"Sometimes the most interesting things are those that have no clear beginning or end. Everything is “about” how it’s made/ who made it/ the time in which it was made/ why it was made. I understand that and all, but I don’t think that I have to know “about” everything. I like to look at pictures that don't have a clear beginning or end. I like to hear stories that entertain through the telling, not through a singular climactic punch line. With some great movies, scenes are composed as though they are the film in its entirety. Look at Fellini. Better yet, watch any random five-minute clip of Otto e Mezzo and then try to turn it off. I can’t. When I start a painting I start with a scene in mind that I don’t want to forget. I start the telling, and the painting—like a good lie, ceases to make sense really, but maybe I’m holding your attention with charismatic confidence and bright colors."

"Sometimes the most interesting things are those that have no clear beginning or end. Everything is “about” how it’s made/ who made it/ the time in which it was made/ why it was made. I understand that and all, but I don’t think that I have to know “about” everything. I like to look at pictures that don't have a clear beginning or end. I like to hear stories that entertain through the telling, not through a singular climactic punch line. With some great movies, scenes are composed as though they are the film in its entirety. Look at Fellini. Better yet, watch any random five-minute clip of Otto e Mezzo and then try to turn it off. I can’t. When I start a painting I start with a scene in mind that I don’t want to forget. I start the telling, and the painting—like a good lie, ceases to make sense really, but maybe I’m holding your attention with charismatic confidence and bright colors."

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Amanda Long

"For Lighter and Lighter, a three channel kinetic video installation, trapeze artists flying in space break into the component colors of red, green and blue, and escape the typical boundaries of the cinematic frame. Rotating projectors mix three videos to form hypnotic images of the human figure, exploring and expanding the structural components of both image and frame. The process of constructing and deconstructing the projected image in physical space is a way of exposing the magic of how video technology works as light, and a metaphor for overcoming the limitations of the physical self. I want to let the viewer into this magic, to move my audience into a transcendent space."

"For Lighter and Lighter, a three channel kinetic video installation, trapeze artists flying in space break into the component colors of red, green and blue, and escape the typical boundaries of the cinematic frame. Rotating projectors mix three videos to form hypnotic images of the human figure, exploring and expanding the structural components of both image and frame. The process of constructing and deconstructing the projected image in physical space is a way of exposing the magic of how video technology works as light, and a metaphor for overcoming the limitations of the physical self. I want to let the viewer into this magic, to move my audience into a transcendent space."

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Leslie McArhen

"ASK FOR WHAT YOU WANT"

Gian Carlos Silva de Jesus

“The approach to culture begins when the ordinary man becomes the narrator, when it is he who defines the (common) place of discourse and the (anonymous) space of its development”
- Michel de Certeau

"I am interested in everyday situations that involve communication and confronting deep feeling. Collecting information from the internet, media and related quotidian memories, I aim to retranslate what I find in a social context through sculptures, video, and sound/music gestures. I have been exploring themes concerning New Romanticism, collectivism, and relational aesthetics. I explore these ideas by making small and ephemeral intervention in the public realm, seeking to generate discussion. I created “Subliminal Confrontation” on the street, evoking notions of love, emotions, honor, race, economics, and music. I produce and create new means of cultural production."

Jonathan Trueblood

"I believe in the soul, the hanging curve ball, high fiber, good scotch. I believe Lee Harvey Oswald acted alone. I believe there ought to be a constitutional amendment outlawing Astroturf and the designated hitter. I believe in the sweet spot, soft-core pornography, opening your presents Christmas morning rather than Christmas Eve and I believe in long, slow, deep, soft, wet kisses that last three days. I believe in appropriating pop-culture quotes, references, and images in my work that people may not know. I believe in Hollywood, big-budget, blockbuster movies and being surrounded by the roar of a crowd in a sports stadium and the immersive feelings they both give me. I believe words like “awesome” and “cool” can, and should, be spoken in critical discourse, if used correctly. I have to remind myself that some birds aren't meant to be caged. Their feathers are just too bright. And when they fly away, the part of you that knows it was a sin to lock them up DOES rejoice. Still, the place you live in is that much more drab and empty that they're gone. I guess I just miss my friend."

Derk Wolmuth

"With the commonest of materials and techniques a humble dwelling or even a vehicle can be built. So I made this curious, mystical vessel. Within it I am able to articulate the need to inhabit and the drive to explore. Sheltered by this precarious form, I offer a chance to give in to an inner expedition."

Experimental Geography
Oct 9, 2009–Jan 31, 2010
  • About

Curated by Nato Thompson
Organized by iCI (Independent Curators International)  

Works by: Francis Alÿs, AREA Chicago, The Center for Land Use Interpretation (CLUI), The Center for Urban Pedagogy (CUP), e-Xplo, Ilana Halperin, kanarinka (Catherine D'lgnazio), Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker, Alex Villar, Yin Xiuzhen

Experimental Geography is an exhibition that explores the distinctions between geographical study and artistic experience of the earth, as well as the juncture where the two realms collide (and possibly make a new field altogether). The exhibition presents a panoptic view of this new practice through a wide range of …

Curated by Nato Thompson
Organized by iCI (Independent Curators International)  

Works by: Francis Alÿs, AREA Chicago, The Center for Land Use Interpretation (CLUI), The Center for Urban Pedagogy (CUP), e-Xplo, Ilana Halperin, kanarinka (Catherine D'lgnazio), Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker, Alex Villar, Yin Xiuzhen

Experimental Geography is an exhibition that explores the distinctions between geographical study and artistic experience of the earth, as well as the juncture where the two realms collide (and possibly make a new field altogether). The exhibition presents a panoptic view of this new practice through a wide range of mediums including interactive computer units, sound and video installations, photography, sculpture, and experimental cartography created by 19 artists or artist teams from six countries as well as the United States.

Geography benefits from the study of specific histories, sites, and memories. Every estuary, landfill, and cul-de-sac has a story to tell. The task of the geographer is to alert us to what is directly in front of us, while the task of the experimental geographer—an amalgam of scientist, artist, and explorer—is to do so in a manner that deploys aesthetics, ambiguity, poetry, and a dash of empiricism.

The manifestations of “experimental geography” (a term coined by geographer Trevor Paglen in 2002) run the gamut of contemporary art practice today: sewn cloth cities that spill out of suitcases, bus tours through water treatment centers, performers climbing up the sides of buildings, and sound art of the breaths exhaled in running Boston’s evacuation route. In the hands of contemporary artists, the study of humanity’s engagement with the earth’s surface becomes a riddle best solved in experimental fashion.

The approaches used by the artists featured in Experimental Geography range from a poetic conflation of humanity and the earth to more empirical studies of our planet. Francis Alÿs, in collaboration with Rafael Ortega, Cuauhtémoc Medina, and 500 volunteers, created a human comb to move a sand dune outside Lima, Peru. Although the actual displacement was infinitesimal, its metaphorical resonance was colossal. Creating projects that are more empirically minded, the Center for Land Use Interpretation (CLUI), a research organization, explores the nature and extent of human interaction with the earth's surface, embracing a multidisciplinary approach to fulfilling its mission. Using skill sets culled from the toolbox of geography, CLUI forces a reading of the American landscape (which includes man-made islands, submerged cities, traffic in Los Angeles, and the broadcast antennas in the San Gabriel Mountains) that refamiliarizes the viewer with the overlooked details of their everyday experience.

Nato Thompson is a curator at Creative Time, as well as a writer and activist. Among his public projects for Creative Time are Waiting for Godot in New Orleans, a project by Paul Chan in collaboration with The Classical Theatre of Harlem, and Democracy in America: The National Campaign. Thompson was formerly a curator at MASS MoCA, where his exhibitions included The Interventionists: Art in the Social Sphere and Ahistoric Occasion: Artists Making History.

The exhibition is accompanied by an illustrated catalogue co-published by iCI and Melville House Publishing. The catalogue includes essays by Nato Thompson, art historian Jeffrey Kastner, and artist Trevor Paglen; artist’s statements; and brief texts on forms of artistic practice.

Experimental Geography is a traveling exhibition organized and circulated by iCI (Independent Curators International), New York. The exhibition, tour, and catalogue are made possible, in part, by the Horace W. Goldsmith Foundation, the iCI Advocates, the iCI Partners, Gerrit L. and Sydie Lansing, and Barbara and John Robinson.

PUBLIC PROGRAMMING

Oct. 16, Fri.
6-8pm: A Continental Reception

Nov. 14, Sat.
11pm (new time): The Body Double Explorers Club, organized by Dawn Weleski and Jon Rubin
 @ The Waffle Shop, 124 S. Highland Ave. at Baum
Join us Saturday night at the Waffle Shop when six fascinating people from around the world will take the stage for a not-to-be-missed edition of the talk show. The only catch is you, the audience, have to sit in for guests or their voices won't be heard. Audience members will act as local physical avatars for global guests from countries including Iran, Finland, and India. As our host asks questions, participants in the shop will wear headphones and repeat the virtual guests verbatim.
Contact Dawn Weleski to reserve your 30 minute slot, starting at 11pm, or just show up for your chance to let a global voice be heard. THE BODY DOUBLE EXPLORERS CLUB is an open league whose members explore the world through the bodies of others.

Jan. 28-30, 2010 Thurs.-Sat.:
Contestational Cartographies Symposium
@ Carnegie Mellon University + Brillobox Upstairs, organized by the STUDIO for Creative Inquiry + Miller Gallery

Jan. 28, 2010 Thurs.
5pm: School of Art Lecture Series: Trevor Paglen
@ McConomy Auditorium, Carnegie Mellon University Center, 5000 Forbes Ave. at Morewood

 

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29 Chains to the Moon:
Artists' Schemes for a Fantastic Future
Aug 28–Dec 6, 2009
  • About
  • Artists

Curated by Andrea Grover

In 1938, the visionary designer R. Buckminster Fuller wrote Nine Chains to the Moon, his radical proposal for improving the quality of life for all humankind via progressive design and maximization [1] of the world’s finite resources. The title was a metaphor for cooperation – if all of humankind stood on each other’s shoulders we could complete nine chains to the moon. Today, the population of the planet has increased more than three times to 6.7 billion (we could now complete 29 chains to the moon), and the successful distribution …

Curated by Andrea Grover

In 1938, the visionary designer R. Buckminster Fuller wrote Nine Chains to the Moon, his radical proposal for improving the quality of life for all humankind via progressive design and maximization [1] of the world’s finite resources. The title was a metaphor for cooperation – if all of humankind stood on each other’s shoulders we could complete nine chains to the moon. Today, the population of the planet has increased more than three times to 6.7 billion (we could now complete 29 chains to the moon), and the successful distribution of energy, food, and shelter to over 9 billion humans by 2050 requires some fantastic schemes. Like Fuller’s revelation from five decades earlier, 29 Chains to the Moon features artists who put forth radical proposals, from seasteads and tree habitats to gift-based cultures, to make the world work for everyone.  

Nostalgia for our alternate future is in the ether on this convergence of anniversaries: 2009 marks the 40th anniversary of the Apollo 11 moon landing, the centennial of Futurism, and the quadricentennial of the Newtonian telescope. Over the last year, major art museums have presented exhibitions of visionary design and architecture [2] , meant to reignite that spark of collective imagination that the 20th century saw via world fairs [3] , the formation of international space agencies, and the promise of better living through technology.

Among the surveys was the Whitney Museum of American Art’s 2008 exhibition, Buckminster Fuller: Starting with the Universe. Viewers familiar with Fuller’s pragmatic geodesic domes and octet truss structures were introduced to his lesser-known concepts for tomorrow’s cities, like Dome over Manhattan (Midtown Manhattan acclimatized by a 2-mile diameter glass dome); Cloud Nine (a spherical cloud city that could levitate an entire community), and Triton City (a modular seastead for 100,000 inhabitants). Despite having a hallucinatory, science fiction veneer, these proposals were serious enough to be examined by agencies like the U.S Department of Housing and Urban Development, which commissioned the study for Triton City, and, along with the U.S. Navy, approved the design.

If one of Fuller’s futuristic communities had been realized, it would not have been the first time that science fiction became science fact. In 1945, author, inventor and futurist Arthur C. Clarke predicted geostationary communications satellites, some 15 years ahead of NASA’s launch of Echo, the agency’s first experimental communications satellite project [4]. In 1941, Isaac Asimov popularized the term “robotics” in his short story, Liar, over three decades before Carnegie Mellon University founded The Robotics Institute in 1979. Aldous Huxley foresaw cloning decades before Dolly the sheep was made incarnate (again), and countless other authors and artists envisioned technological milestones – from the creation of the atomic bomb to nanotechnology – and their social implications in advance of their manifestation.

It’s not so easy to instill in the public the same brand of wonder and nationalist pride that the Space Race evoked from 1958 to 1975. One seismic shift of late has been the redirection of major scientific exploration from countries to private corporations and citizens [5]. Unbridled individual potential is one outcome of the information age, but so is ambient fear of the future. A 2002 Time Magazine poll revealed that 30 percent of its respondents believed that the world would end within their lifetimes. The work in this exhibition corresponds to the other 70 percent of the population that is optimistic despite the massive challenges faced by civilization [6]. These artists seize technologies that provide unprecedented platforms for collaboration, and new ways of visualizing and representing reality. Theirs is a moment of fluid exchanges between artistic and scientific disciplines, and cooperation among private and public institutions, toward the realization of a possible future.

– Andrea Grover, Curator

In the Reading Room: The Buckminster Fuller Institute, Lowry Burgess, International Space University, The Seasteading Institute

Andrea Grover is an independent curator, artist and writer. In 1998, she founded Aurora Picture Show, a now recognized center for filmic art that began in her living room as “the world’s most public home theater.” She curated the first exhibition exploring the phenomenon of crowdsourcing in art (Phantom Captain, apexart, New York, 2006), and, with artist Jon Rubin, organized an exhibit in which worldwide participants created a photo-sharing album of their imaginings on Tehran (Never Been to Tehran, Parkinggallery, Tehran, Iran, 2008) She recently curated screenings for both Dia Art Foundation, New York, and The Menil Collection, Houston. 29 Chains to the Moon continues her research into cooperation and distributed thinking across disciplines.

[1] Fuller called this ephemeralization, or doing more with less. It refers to the tendency for current technologies to be replaced by ones smaller, lighter, and more efficient.
[2] Design and the Elastic Mind was another important survey of anticipatory design at the Museum of Modern Art, New York in 2008.
[3] The next registered “world exposition” will be Expo 2010 in Shanghai, China with the theme of “Better City, Better Life.”
[4] According to the Buckminster Fuller Institute, Fuller and Clarke were lifelong friends, who “shared a common fascination with the concept of a "space elevator" (the subject of Clarke's book The Fountains of Paradise) and Clarke wrote in his introduction to Buckminster Fuller: Anthology for a New Millennium, "when the space elevator is built, sometime in the twenty-first century, it will be his greatest memorial."
[5] Private corporations like Virgin Galactica and SpaceX are entering what was once exclusively the domain of government science agencies. Prizes like X Prize (which promotes “revolution through competition”), with initiatives in space travel, automotive design, and genomics, requires registered teams to be 90 percent privately funded.
[6] In September 2000, world leaders came together at United Nations Headquarters in New York to adopt the United Nations Millennium Declaration, committing their nations to a new global partnership to end poverty and hunger, provide universal education, gender equality, child and maternal healthcare, combat HIV/AIDS, and create environmental sustainability, via global partnership. With a deadline of 2015, these have become known as the Millennium Development Goals.

PUBLIC PROGRAMS
AUG. 28 - DEC. 6, 2009

Sept. 11, Fri.
1-4pm: Open_Sailing Workshop
"In the time of Buckminster Fuller, the emergence of communication technologies forecasted singular global strategies for survival. Singular strategies fail to satisfy individual irrational needs in a complex society and fragile ecosystem. Today’s technology offers the potential to shift the paradigm of survival from one grand strategy to multiple individual or group strategies.

Open_Sailing is the community and infrastructure that is producing the International_Ocean_Station_1, a universal cultural symbol not made by a small closed group of rocket scientists, but by an emerging group of motivated individuals.

During the Open_Sailing Workshop, we will explore concepts of Object Oriented Politics and Adhocracy (an adaptable organization that does not have a fixed bureaucratic structure). We will use Glocal (Global + Local) thinking to design an Open Architecture. The workshop will be a physical experience – we will dance, draw, design and brainstorm about the future of our energy infrastructure, web 3.0 (virtual + physical), and novel collaborative social models. See you there!" - Open_Sailing

5-6pm: Gallery Tour with Curator

6-8pm: 2009: A Taste Odyssey Reception
The first 100 people will receive a miracle berry tablet for a taste-tripping adventure.

Oct. 3, Sat.
Visionary Ideas for this World or Another organized by Jon Rubin and Dawn Weleski (The Waffle Shop)
@ East Liberty Presbyterian Church, main chapel, S. Highland at Baum

Eight people from all walks of life will be presenting their mind-blowing visionary ideas for the future in a live contest. The winning concept will be broadcast to the cosmos and will receive a year’s worth of free waffles, along with a $250 cash prize.

Each visionary will have five minutes to present their idea orally, and two minutes to answer questions from our panel of judges. The top two visionaries will then defend their proposal against questions from the entire audience, before a winner is selected.

The Judges: Janera Solomon, Executive Director of the Kelly-Strayhorn Theater. Pittsburgh City Councilman Bill Peduto. Visonary educator and artist Lowry Burgess. And You the studio audience: You know who you are.
Visionaries include: Gregg Pangle, Catalina Ocampo, John Farley, Alison Alvarez, and more.

Waffle Shop is an experimental platform for media production and public dialogue that combines a restaurant with the production of an online TV show directly on the premises. At Waffle Shop, our customers are our funders, audience and participants as we film each night, inviting interested patrons to express their unique opinions and personalities. Our recordings are streamed live on our website during our open hours, and then produced into episodes which are broadcast publicly 24 hours a day in the windows of the storefront, and made available through our online archive. For more information, please visit: http://www.waffleshop.org

Oct. 8, Thurs.
3pm: Workshop with Stephanie Smith @ Miller Gallery
5pm: School of Art Lecture Series: Stephanie Smith
@ Kresge Theatre, College of Fine Arts, Carnegie Mellon University

"It's All Free Because It's Yours" (The Diggers, 1969)

This workshop will explore the idea of “free”. Our current economic system was designed hundreds of years ago and may no longer meet our needs today. Can we develop new ways to exchange value? What if goods and services were free? What physical, cultural and societal infrastructures would we need to accomplish this?

We will use as inspiration the work of the sixties counterculture activist group ‘The Diggers’, and also the original ‘Diggers’ (active in the UK in the 1600s) who inspired them. We’ll also reference the seminal book by E.F. Schumacher ‘Small is Beautiful: Economics as if People Mattered’.

The Commons(Commune) kiosk constructed in the gallery will offer a starting point for a discussion on “free” infrastructure in public spaces. We’ll also brainstorm other ideas to create zones of “free”-dom in culture, society, and in our daily lives.

Workshop will be followed by a 5pm lecture at Kresge Theatre in the College of Fine Arts, Carnegie Mellon. This workshop is part of the 29 Chains to the Moon exhibition currently on view at the Miller Gallery at Carnegie Mellon University, and the School of Art Lecture Series.

Oct. 22, Thurs.
7:30-9pm: Dorkbot: Lenka Clayton (A Piece of the Moon), Eric Singer (from LEMUR)
@ Brillobox Upstairs, 4104 Penn Ave. at Main

Nov. 17, Tues.
5-6:30pm: School of Art Lecture Series: Claire Bishop
@ McConomy Auditorium, Carnegie Mellon University Center, 5000 Forbes Ave. at Morewood

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Open_Sailing, Stephanie Smith, Mitchell Joachim, Terreform ONE 
About the Artists
Open_Sailing

Open_Sailing is a multi-disciplinary international team led by Cesar Harada and Hiromi Ozaki that is revolutionizing the concept of seasteading and social production of ideas and technologies. The Open_Sailing prototype is a “living architecture” at sea, composed of multiple dwellings, ocean farming modules, and an amoeba-like design that can expand and contract, based on the existence of calculated risks. “Open_Sailing acts like a superorganism, a cluster of intelligent units that can react to their environment, change shape and reconfigure themselves. They talk to each other. They’re modular, re-pluggable, pre-broken, post-industrial.” The concept for Open_Sailing came from creating a geography of fear – a world “potential threat map” that highlighted the centers of greatest risk (pandemics, high-human density, recent violent conflicts, hypothetical nuclear fall-outs, tsunami risk, potential exposure to rising sea level, and so on), to determine the safest areas on Earth, which happened to be at sea. Open_Sailing was awarded the 2009 Prix Ars Electronica in “THE NEXT IDEA” category, and is underway with construction of an advanced prototype for their floating laboratory.

Open_Sailing is a multi-disciplinary international team led by Cesar Harada and Hiromi Ozaki that is revolutionizing the concept of seasteading and social production of ideas and technologies. The Open_Sailing prototype is a “living architecture” at sea, composed of multiple dwellings, ocean farming modules, and an amoeba-like design that can expand and contract, based on the existence of calculated risks. “Open_Sailing acts like a superorganism, a cluster of intelligent units that can react to their environment, change shape and reconfigure themselves. They talk to each other. They’re modular, re-pluggable, pre-broken, post-industrial.” The concept for Open_Sailing came from creating a geography of fear – a world “potential threat map” that highlighted the centers of greatest risk (pandemics, high-human density, recent violent conflicts, hypothetical nuclear fall-outs, tsunami risk, potential exposure to rising sea level, and so on), to determine the safest areas on Earth, which happened to be at sea. Open_Sailing was awarded the 2009 Prix Ars Electronica in “THE NEXT IDEA” category, and is underway with construction of an advanced prototype for their floating laboratory.

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Stephanie Smith

Stephanie Smith’s projects span the worlds of architecture, art, technology, and culture. Her research into the social practices of fringe and nomadic societies yielded a movement she calls Wanna Start a Commune?, and include diagrams for creating modern Cul-de-Sac Communes, portable kiosks for non-monetary exchange and meet-ups, and most recently an online platform for creating as many communes as your life demands, WeCommune (www.wecommune.com). Smith says that the impetus for these projects was to counter the assumption that being green means consuming green products; instead she wanted to revive the best parts of the commune concept (a community where resources are shared) and “bring collective attitude to places where it doesn't yet exist.” Smith is also the founder of Ecoshack, a design experiment that began in Joshua Tree, CA and is now an LA-based design studio inspired by the ad hoc, indigenous and archetypal typologies typically found at the fringes of society and culture. In 2008, the Whitney Museum identified Smith as the designer/entrepreneur most actively taking the ideas of Buckminster Fuller into the 21st century.

Stephanie Smith’s projects span the worlds of architecture, art, technology, and culture. Her research into the social practices of fringe and nomadic societies yielded a movement she calls Wanna Start a Commune?, and include diagrams for creating modern Cul-de-Sac Communes, portable kiosks for non-monetary exchange and meet-ups, and most recently an online platform for creating as many communes as your life demands, WeCommune (www.wecommune.com). Smith says that the impetus for these projects was to counter the assumption that being green means consuming green products; instead she wanted to revive the best parts of the commune concept (a community where resources are shared) and “bring collective attitude to places where it doesn't yet exist.” Smith is also the founder of Ecoshack, a design experiment that began in Joshua Tree, CA and is now an LA-based design studio inspired by the ad hoc, indigenous and archetypal typologies typically found at the fringes of society and culture. In 2008, the Whitney Museum identified Smith as the designer/entrepreneur most actively taking the ideas of Buckminster Fuller into the 21st century.

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Mitchell Joachim

Mitchell Joachim [jo-ak-um] is a Co-Founder at Terreform ONE and Terrefuge. He earned a Ph.D. at Massachusetts Institute of Technology, MAUD at Harvard University, M.Arch. at Columbia University, and BPS at SUNY Buffalo with Honors. He currently serves on the faculty at Columbia University and Parsons and formerly worked as an architect at Gehry Partners and Pei Cobb Freed. He has been awarded the Moshe Safdie Research Fellowship and the Martin Family Society Fellow for Sustainability at MIT. He won the History Channel and Infiniti Design Excellence Award for the City of the Future and Time Magazine’s “Best Invention of the Year 2007” for Compacted Car with MIT Smart Cities. His project on view at the Miller Gallery, Fab Tree Hab, has been exhibited at MoMA and widely published.  He was selected by Wired magazine for "The 2008 Smart List: 15 People the Next President Should Listen To."  

Terreform ONE 

Terreform ONE is a non-profit philanthropic design collaborative that integrates ecological principles in the urban environment. The group views ecology in design as not only a philosophy that inspires visions of sustainability and social justice but also a focused scientific endeavor. The mission is to ascertain the consequences of fitting a project within our natural world setting. Solutions range from green master planning, urban self-sufficiency infrastructures, community development activities, climatic tall buildings, performative material technologies, and smart mobility vehicles for cities. These design iterations seek an activated ecology both as a progressive symbol and an evolved artifact.  

Upper Management
CMU MFA Exhibition
Mar 20–Apr 19, 2009
  • About
  • Artists

“A Word From Our C.E.O.”

The deceptively simple poetic interventions of Jennifer Gooch, wryly activate a delicate and awkward territory between the private and the public. Joey Hays proposes a playful approach to environmental and social concerns through genial kinetic experimentation and friendly, participatory sculptures. With her fabricated aerial views of fictional locations, Samina Mansuri substitutes media generated images of war zones with a haunting psychological terrain. Michael Nixon uses photography to poignantly represent the post-industrial malaise, manifest in the blighted urban fabric of Pittsburgh. Greg Witt invents digitally and mechanically …

“A Word From Our C.E.O.”

The deceptively simple poetic interventions of Jennifer Gooch, wryly activate a delicate and awkward territory between the private and the public. Joey Hays proposes a playful approach to environmental and social concerns through genial kinetic experimentation and friendly, participatory sculptures. With her fabricated aerial views of fictional locations, Samina Mansuri substitutes media generated images of war zones with a haunting psychological terrain. Michael Nixon uses photography to poignantly represent the post-industrial malaise, manifest in the blighted urban fabric of Pittsburgh. Greg Witt invents digitally and mechanically ingenuous machines which intrigue, entertain and delight with their winsome, intricate clunkiness.

I wholeheartedly support their artistic ambitions and would recommend them to you highly. Managing to complete the graduate program at Carnegie Mellon, has them well suited for success.

John Carson,
Regina Gouger Miller and Marlin Miller Jr. Professor of Art
and Head of the School of Art

 

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Jennifer Gooch, Joseph Hays, Samina Mansuri, Michael Nixon, Gregory Witt
About the Artists
Jennifer Gooch

I find simple solutions to enormous problems, sensibly misguided but solutions none-the-less. I bring my “what-ifs” into fruition and paste together scraps of reality in an attempt to contend with it. Underneath the veneer of wry simplicity, my work seeks to reckon with absurdity.

I find simple solutions to enormous problems, sensibly misguided but solutions none-the-less. I bring my “what-ifs” into fruition and paste together scraps of reality in an attempt to contend with it. Underneath the veneer of wry simplicity, my work seeks to reckon with absurdity.

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Joseph Hays

Over the past three years in the Carnegie Mellon University MFA my work has evolved from studio- based kinetic sculptures to collaborative and interdisciplinary public works that integrate natural systems into the built environment. Currently I am investigating ecologically productive, cost effective and culturally catalytic urban renewal strategies in the Wilkinsburg borough of Pittsburgh. Inspired by nature, these strategies reframe crises as opportunities, detritus as resources and restore significance to the land through a heightened environmental consciousness.

Over the past three years in the Carnegie Mellon University MFA my work has evolved from studio- based kinetic sculptures to collaborative and interdisciplinary public works that integrate natural systems into the built environment. Currently I am investigating ecologically productive, cost effective and culturally catalytic urban renewal strategies in the Wilkinsburg borough of Pittsburgh. Inspired by nature, these strategies reframe crises as opportunities, detritus as resources and restore significance to the land through a heightened environmental consciousness.

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Samina Mansuri

In this work I am investigating ‘place’ and its intersection with tertiary memory. I appropriate media depictions of war-torn places such as Pakistan, Afghanistan, Palestine and Iraq as a starting point. Through a transformed language of aerial cartography I create subjective mappings of an ambiguous location of trauma. I invent these fictional sites and alter histories in order to release time and bodily experience. Through this work I aim to bring attention to viewers about mediated representations of misery and its impact on individual and public memory.

Michael Nixon

My photographs are mere suggestions of Pittsburgh. In making them, I’ve searched for some undercurrent of spirit—a psychology of place. These un-peopled images of object, scene and landscape are meant to be more poetic than encyclopedic, where hope and neglect share the same space. While the subjects of individual images are often abstracted to the point of “anywhere-ness,” when gathered together as a whole, I hope the viewer experiences a sense of place that is identifiable and unique to Pittsburgh.

Gregory Witt

Forming something like tangential extensions of the mostly normal stuff that is often their basis, my recent sculptures portray familiar but unlikely versions of specific subjects. Employing processes and materials from carpentry, robotics and video, I aim to create closed spaces or systems within which built instances of everyday things can function on their own. Set in motion in the gallery, the finished works question both their relationship to the viewer as well as to their stated subjects.

Signs of Change:
Social Movement Cultures 1960s to Now
Jan 23–Mar 8, 2009
  • About

In Signs of Change: Social Movement Cultures 1960s to Now, hundreds of posters, photographs, moving images, audio clips, and ephemera bring to life over forty years of activism, political protest, and campaigns for social justice.

Curated by Dara Greenwald and Josh MacPhee, this important and timely exhibition surveys the creative work of dozens of international social movements. Signs of Change presents the creative outpourings of social movements, such as those for civil rights and black power in the United States; democracy in China; anti-apartheid in Africa; squatting in Europe; environmental …

In Signs of Change: Social Movement Cultures 1960s to Now, hundreds of posters, photographs, moving images, audio clips, and ephemera bring to life over forty years of activism, political protest, and campaigns for social justice.

Curated by Dara Greenwald and Josh MacPhee, this important and timely exhibition surveys the creative work of dozens of international social movements. Signs of Change presents the creative outpourings of social movements, such as those for civil rights and black power in the United States; democracy in China; anti-apartheid in Africa; squatting in Europe; environmental activism and women's rights internationally; and the global AIDS crisis, as well as uprisings and protests, such as those for indigenous control of lands; against airport construction in Japan; and for radical social transformation in France.

The exhibition also explores the development of powerful counter-cultures that evolve beyond traditional politics and create distinct aesthetics, life-styles, and social organizations. Although histories of political groups and counter-cultures have been written, and political and activist shows have been held, this exhibition is a groundbreaking attempt to chronicle the artistic and cultural production of these movements. Signs of Change offers a chance to see relatively unknown or rarely seen works, and is intended to not only provide a historical framework for contemporary activism, but also to serve as an inspiration for the present and the future.

COUNTRIES REPRESENTED

Argentina, Australia, Austria, Bosnia, Brazil, Burma, Cameroon, Canada, Chile, China, Colombia, Congo, Croatia, Czechoslovakia, Denmark, France, Germany, Greece, Indonesia, Iran, Israel, Italy, Japan, Kenya, Mexico, Northern Ireland, Netherlands, Nicaragua, Palestine, Poland, Portugal, Puerto Rico, Romania, Serbia, Slovenia, South Africa, South Korea, Spain, Switzerland, United Kingdom, United States.

ABOUT THE CURATORS

Curated by Dara Greenwald and Josh MacPhee as part of Exit Art’s Curatorial Incubator. Curatorial Incubator Director: Mary Anne Staniszewski.

Dara Greenwald is a media artist and PhD Candidate in the Electronic Art Department at Rensselaer Polytechnic Institute. Her collaborative work often takes the form of video, writing, and cultural organizing. She worked at the Video Data Bank from 1998-2005 and taught DIY exhibition at the School of the Art Institute of Chicago 2003-2005. www.daragreenwald.com

Josh MacPhee is an artist, curator and activist currently living in Brooklyn, New York. His work often revolves around themes of radical politics, privatization and public space. His most recent book is Reproduce & Revolt/Reproduce Y Rebélate (Soft Skull Press, 2008, co-edited with Favianna Rodriguez). He also organizes the Celebrate People's History Poster Series and is part of the political art cooperative Justseeds.org.

“Signs of Change: Social Movement Cultures 1960s to Now” is an exhibition produced by Exit Art, NY, and was the inaugural project of the Curatorial Incubator Program. The program expands Exit Art's commitment to young and emerging curators and scholars in contemporary art, by giving material, financial, and human resources to developing curatorial talent. Working with Exit Art directors and staff, fellows curate large-scale exhibition projects, learn fundraising, develop outreach and educational programs, and co-publish a catalogue.

FUNDING: Signs of Change at the Miller Gallery at Carnegie Mellon University is underwritten in part by the Jill Watson Family Foundation. The exhibitions and programs at the Miller Gallery are supported in part by a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, as well as the School of Art and the College of Fine Arts at Carnegie Mellon University.

Signs of Change is supported by a major grant from the Andy Warhol Foundation for the Visual Arts. Additional support provided by the Museum program at the New York State Council on the Arts, a State agency, and the Starry Night Fund at The Tides Foundation.

Public programs at Exit Art were supported by the New York City Department of Cultural Affairs. General exhibition support provided by Bloomberg LP; Carnegie Corporation; Jerome Foundation; Pollock-Krasner Foundation; Exit Art’s Board of Directors and its members. Exit Art gratefully acknowledges public funding from the National Endowment for the Arts, New York City Council Speaker Christine C. Quinn and New York State Senator Thomas K. Duane. Sponsoring partners of Signs of Change are The Center for the Study of Political Graphics (CSPG) in Los Angeles and the International Institute of Social History (IISH) in Amsterdam.

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Keep it Slick: Infiltrating Capitalism with The Yes Men
Nov 14, 2008–Feb 15, 2009
  • About

Curated by Astria Suparak

Reaching countless people through websites, newspapers, and television broadcasts, the sometimes anonymous Yes Men are among the most visible and effective artist-activists of our time. Over the past dozen years they have fearlessly taken on the world’s biggest corporations and bureaucracies through a process they call “Identity Correction.” Masquerading as official representatives at business conferences and on the news, they have helped keep critical issues in the international spotlight. “Unlike Identity Theft, which criminals practice with dishonest intent,” The Yes Men clarify, “Identity Correction is the art of …

Curated by Astria Suparak

Reaching countless people through websites, newspapers, and television broadcasts, the sometimes anonymous Yes Men are among the most visible and effective artist-activists of our time. Over the past dozen years they have fearlessly taken on the world’s biggest corporations and bureaucracies through a process they call “Identity Correction.” Masquerading as official representatives at business conferences and on the news, they have helped keep critical issues in the international spotlight. “Unlike Identity Theft, which criminals practice with dishonest intent,” The Yes Men clarify, “Identity Correction is the art of impersonating a powerful criminal to publicly humiliate them for conspiring against the public good.”

Infiltrating the elite realm of the influential and the moneyed, cloaked in the sheerest layer of authority—thrift-store suits, quick-print business cards, forged press releases—these social activators urge us to question where ethics belong in our capitalist-driven society. In their elaborate hoaxes and improvised pranks, The Yes Men provide fleeting glimpses of a more humane world: Dow Chemical assumes full responsibility for the worst industrial accident in history at Bhopal, The New York Times reports on the end of the Iraq war and legislation capping C.E.O. salaries, the U.S. Department of Housing and Urban Development reopens public housing in New Orleans and forces Exxon and Shell to restore the region’s wetlands, and the World Trade Organization disbands in order to improve the lot of the poor. Alternately, The Yes Men extrapolate extreme conclusions to the free market’s greed and disdain: McDonald’s recycles its hamburgers for Third World consumption, Exxon converts climate-change victims into fuel, Dow calculates the acceptable ratio of death to profit, and the W.T.O. unsheathes its Management Leisure Suit to remotely control sweatshop workers.

This survey represents the first-ever solo exhibition of The Yes Men. Here you can walk into a re-creation of their past exploits in the Conference area, witness a comically apocalyptic future, and pay respects to a janitor who generously donated his body to satisfy our insatiable energy needs. In the Executive Board Room, you may browse through The Yes Men’s personal office items and orate along to their absurd PowerPoint presentations.

In all of their exploits, The Yes Men hold a mirror up to faceless, corporate power. They do this not only to mock its acute disconnect with the real needs of people, but also to rouse to action the individuals who uphold this structure—that is, all of us. They push the limits of taste, forcing us to define our ethical boundaries and reaffirm our agency, a vitally important task in an era of eroding civil rights and marketing campaigns that obfuscate what democracy means.

In the tradition of the Situationists, through lurid satire reminiscent of Jonathan Swift and Mark Twain, strategies of tactical media like those of the Critical Art Ensemble, institutional critique à la the Guerilla Girls, Hans Haacke, and Ant Farm, or public performances akin to those of Abbie Hoffman, Adrian Piper, and the Reverend Billy, The Yes Men seek to incite change. 

Above all, they urge us to do something better.

- Astria Suparak, Curator

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Your Town, Inc.:
Big Box Reuse with Julia Christensen
Aug 29–Nov 23, 2008
  • About
  • Artists

Curated by Astria Suparak

Big box buildings have increasingly dominated the American landscape since the 1960s. Author, artist, and researcher Julia Christensen spent the last six years studying these monolithic, free-standing structures and their resulting effects on our culture. In Your Town, Inc., photographs and new installation work examine how communities are changing in the shadow of corporate real estate.

Seventy-seven photographs from Christensen’s critically acclaimed book, Big Box Reuse (MIT Press, 2008), illustrate the ways in which communities throughout the United States creatively re-employ the structures constructed and abandoned by multinational corporations, such as Wal-Mart …

Curated by Astria Suparak

Big box buildings have increasingly dominated the American landscape since the 1960s. Author, artist, and researcher Julia Christensen spent the last six years studying these monolithic, free-standing structures and their resulting effects on our culture. In Your Town, Inc., photographs and new installation work examine how communities are changing in the shadow of corporate real estate.

Seventy-seven photographs from Christensen’s critically acclaimed book, Big Box Reuse (MIT Press, 2008), illustrate the ways in which communities throughout the United States creatively re-employ the structures constructed and abandoned by multinational corporations, such as Wal-Mart and Kmart. Resulting endeavors include: justice center, megachurch, senior resource center, elementary school, and flea market.

For Your Town, Inc., Christensen fabricated a sculptural construction that is a reaction and response to the big box conceptHer UnBox (2008) demonstrates values and conventions opposed to the superstore sort: it is modular, transportable, easily reusable, and made of regional and recycled materials.  Furthermore, UnBox will be activated for creative and social uses, rather than retail purposes, by various local groups who can propose events to take place within this new facility.  The installation can enable discussion about urgent issues such as sustainability, user-friendliness, and reusability.

Across the floor of the gallery an actual-sized parking lot will be painted to local city code. The lot raises questions about the infrastructural aspect of our lifestyles–particularly, the auto-centricity of our culture.

Your Town, Inc. is an exhibition that explores the state of our built environment. Among Christensen’s photographs of reworked big box buildings, the UnBox structure, and the parking lot setting, the audience will be asked to think critically about how their own town has changed in light of corporate real estate. And ultimately, the question will be posed: how can you reclaim power over the design of your town’s future?

Your Town, Inc. is organized by the Miller Gallery at Carnegie Mellon University, in connection with the release of the artist’s book with MIT Press. The Carnegie Mellon Office of the Vice-Provost and the School of Art Lecture Series have provided assistance for the Big Box Reuse presentation.

PAST EVENTS

Sept. 19, Fri.
6-8pm: Hometown BBQ Reception

Nov. 13, Thurs.
4:30-6pm: Carnegie Mellon University Lecture Series: Big Box Reuse Presentation
+ Book Signing

Oct. 2, Thurs.
Unbox Event: CRAFT LUNCHTIME with CFAfun

Oct. 28, Tues.
Unbox Event: "From Cellar to Attic", video installation by Ian Warren

RELATED

· Worlds Away: New Suburban Landscapes: Carnegie Museum of Art,
  Oct. 2008–Jan. 2009

· Society for Photographic Education: Mid-Atlantic Conference, Nov. 7-9, 2008

AREAS OF INTEREST

· Architecture: Urban Planning, Landscape Architecture
· Art: Photo, Sculpture
· Design
· Environmental Studies
· Humanities: American Studies, Cultural Studies, Popular Culture

TOUR SCHEDULE

Aug. 29 – Nov. 23, 2008
Miller Gallery at Carnegie Mellon University, Pittsburgh, PA

Feb. 25 – Mar. 19, 2010
Richmond Center for Visual Arts, Western Michigan University, Kalamazoo, MI

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Julia Christensen
About the Artists
Julia Christensen

Julia Christensen’s work has been featured in the New York Times, the Globe and Mail, Preservation Magazine for the National Trust, and other publications; her new media, video and installation work has shown recently at the Lincoln Center, DUMBO Arts Center, and the Walker Art Center, Carnegie Museum of Art, and Yale School of Architecture Galleries. Her book, Big Box Reuse, was published by MIT Press in 2008. She holds the chair of Luce Visiting Professor of the Emerging Arts at Oberlin, where she teaches in the Studio Arts and TIMARA (Technology in Music and Related Arts) Departments. She has also taught at Stanford University and California College of the Arts.

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NEW HOURS + in-person visits for CMU only

NEW HOURS + in-person visits for CMU only

We are currently only open to in-person visits from the Carnegie Mellon Community. We are closed to the general public. Look for online exhibition details.

New Carnegie Mellon Visitor Hours
Tuesday - Friday, 2-6pm with CMU ID + Mask