Related
Exhibition
October 2018

Setup: Bard MFA Class of 2019 Thesis Exhibition

Milton Avery Graduate School of the Arts at Bard College

Richard Kennedy. “HIR,” 2018. Recorded excerpts from Acts 2&3, CD-player.

Setup. Exhibition view.

Robert Keil. “Untitled,” 2018. iPhone 7(G.), iPhone 5(J.), iPhone 6(J.), iPhone 5S(R.), iPhone 5(R.G.), custom software, cables, wire, and USB hub. (left); “small side of all I,” 2018. PVC, horse manure, water, and methane gas. (foreground); “small side of all II,” 2018. PVC, potato peels, water, and methane gas. (background); “Große Rose”, 2018. Dyed wax. (right).

Robert Keil. “Große Rose” (detail), 2018. Dyed wax.

Setup. Exhibition view.

Colt Hausman. “Graduate school studio 1,” 2018. Oil on canvas. (left); “Graduate school studio 2,” 2018. Acrylic and oil on canvas. (right).

Colt Hausman. “Graduate school studio 3,” 2018. Oil on canvas.

Charlotte Bonjour. “Printed Paper (orange),” 2018. Wheat-pasted posters column and take away posters.

Ragnhild May. “Hot Cross Buns,” 2018. Watercolor on paper. (right); “Playground,” 2018. Installation (background): “School Harmony,” 2018. Composition for recorders of different sizes; “Music for Children,” 2018. Wood;; “Platform,” 2018. Ceramics; “Wannabe,” 2018. Video (right).

Ragnhild May. “Hot cross buns,” 2018. Watercolor on paper.

Setup. Exhibition view.

Charlotte Bonjour. “Flipping Striations,” 2018. Inkjet print on enhanced matt paper, glass, PE, and screws. Photo by Charlotte Bonjour.

John-Elio Reitman. “Untitled,” 2018. Wood, plastic, hardware, streetlight. (left); “Cloud,” 2018. Zinc, copper, brass, silver solder. (right). Photo by Jon-Elio Reitman.

John-Elio Reitman. “Conductor (Electrolyte),” 2018. Copper zinc, brass, silver solder, and patina. (left); “Conductor (Langue),” 2018. Copper zinc, brass, silver solder, and patina. (right).

John Elio-Reitman. “Conductor (Electrolyte)” (detail), 2018. Copper zinc, brass, silver solder, and patina. Photo by John-Elio Reitman.

Setup. Exhibition view.

Marina Xenofontos. “free-market orthodoxy,” 2018. Chameleon paint, muslin cloth, resin, metal, and bolts. (left); “Syllogism,” 2018. Viscose knit, aluminum, concrete (with custom scarf pants designed by Orestis Lazouras for Neo Toum (Neoterismoi Toumazou)). (right).

Marina Xenofontos. “Sunlight Vandalism,” 2018. Single-channel video, 3:17 min.

Anne Cousineau. “Untitled,” 2018. Gelatin, ink, food coloring, ceramic, rust, and tempera.

Anne Cousineau. “Untitled” (detail), 2018.

Ranee Henderson. “Untitled,” 2018. Wall and weapons. (foreground); “I couldn’t tell you what’s what,” 2018. Oil on canvas. (background).

Ranee Henderson. “Gravity showing you your feet again,” 2018. Oil on canvas. (left); “It lit a fire under my crotch,” 2018. Oil on canvas. (center); “Dummy, can’t you see me? I’m wearing one now,” 2018. Oil on canvas. (right).

Rin Johnson. Installation view.

Rin Johnson. “I looked like who done it and what for,” 2018. Vaseline, rawhide, and seed pod.

Setup. Exhibition view.

Wei Leng Tay. “you think it over slowly, slowly choose…,” 2018. Inkjet on tissue. (foreground); “Untitled,” 2018. Two-channel video projection, Four-channel audio, 13 min. (background).

Wei Leng Tay. “you think it over slowly, slowly choose…” (detail), 2018. Inkjet on tissue.

Violet Dennison. “Dance Dance Revolution,” 2018. Two-channel video projection, looped, with four audio works (“Stoic (Extreme Version),” “A little bit of ecstasy,” “Genome Screams,” and “Hypnotic Crisis,” all 2018) composed from Dance Dance Revolution gaming charts and translated into sine waves coordinated to a four-channel speaker system, looped. Sound consultant: Geneva Skeen.

Violet Dennison. “Dance Dance Revolution,” 2018. Two-channel video projection, looped, with four audio works (“Stoic (Extreme Version),” “A little bit of ecstasy,” “Genome Screams,” and “Hypnotic Crisis,” all 2018) composed from Dance Dance Revolution gaming charts and translated into sine waves coordinated to a four-channel speaker system, looped. Sound consultant: Geneva Skeen.

Madeline Hollander. “Flatwings,” 2018. 4K infrared footage, field recordings, and original track by Celia Hollander, 16:30 min.

Madeline Hollander. “Flatwings,” 2018. 4K infrared footage, field recordings, and original track by Celia Hollander, 16:30 min.

Qais Assali. “(if you Like you can show my works in galleries),” 2018. Mixed media installation and lecture performance.

Qais Assali. “(if you Like my work you can show in galleries),” 2018. Mixed media installation and lecture performance.

Alisha Wormsley. “Journey to Drexciya,” 2018. Installation, excerpt from the film and archive “Children of NAN”; “Cosmic Meditation,” 2018. Video, 6:21 min; “Drexciya,” 2018. Video, 5:00 min, with fabric, pillows, herbs, black tourmaline, candles, shells, cards.

Sarah Reiter. “An interest in birds and other martyrs of the coal fields,” 2018.

Tyler Wilcox. “Pipe organ resting,” 2018. Pipe organ, chapel, microphones, media player, home stereo systems.

Jon Wang. S H U Í,” 2018. Video installation. Photo: Jon Wang.

Jon Wang.S H U Í,” 2018. Video installation. Photo: Jon Wang

Alan Segal.Key, washer, coin,” 2018. Video loop.

Alan Segal.Key, washer, coin,” 2018. Video loop.

Nadia Botello.Yanaguana Frictions,” 2018. Bexar limestone, recycled glass sourced from river, transducers, amps, power cables, bi-directional speaker pair, tweeter, speaker wire, barbed wire, dirt, sound (eight-channel, unsynced, lengths variable) (hydrophone recordings, breath edit, Tibicen texanus), video loop (digital transfer of 16mm reel submerged and developed in river), 10:42 min.

Nadia Botello.Yanaguana Frictions,” 2018. Bexar limestone, recycled glass sourced from river, transducers, amps, power cables, bi-directional speaker pair, tweeter, speaker wire, barbed wire, dirt, sound (eight-channel, unsynced, lengths variable) (hydrophone recordings, breath edit, Tibicen texanus), video loop (digital transfer of 16mm reel submerged and developed in river), 10:42 min.

Matt Wapples. “Objects may be closer than they appear,” 2018. Mixed media installation with cushions, acrylic, pine, and silver gelatin prints.

Matt Wapples. “Objects may be closer than they appear,” 2018. Mixed media installation with cushions, acrylic, pine, and silver gelatin prints.

Austin White. “study (after Albert Eckhout),” 2018. Nylon screen mesh, latex/silicone rubber, and acrylic (left); “discovery (after Agostino Brunias),” 2018. Nylon screen mesh, latex/silicone rubber, and acrylic (right).

Austin White. “no talking in the uber pool (sedan painting 3),” 2018. Nylon screen mesh, latex/silicone rubber, and acrylic.

Onur Gökmen. “Pebbles were necessary to burnish,” 2018. Mixed media installation.

Lu Yim. “Passing Flowers,” 2018. Video storyboard on monitor.

Lu Yim. “Passing Flowers,” 2018. Video storyboard on monitor.

Richard Kennedy. Performance, 2018.

Richard Kennedy. Performance, 2018.

Stefan Maier & Ragnhild May. Performance, 2018.

Sarah Reiter. Reading, 2018.

Lu Yim. Performance, 2018.

Founded in 1981, Bard MFA is a nontraditional master’s degree program for visual, written, and time-based arts. At Bard, the community itself is the primary resource for the student—serving as audience, teacher, and peer group in ongoing dialogue. In interdisciplinary group critiques, seminars, and all-school presentations, as well as in-discipline caucuses and one-on-one conferences, the artist students engage with approximately sixty noted faculty members as they develop their individual studio practices. The program probes a diversity of approaches and fosters imaginative responses and insights to aesthetic concerns across the disciplines of film/video, writing, painting, sculpture, photography, and music/sound. The MFA is low residency and takes place over two years and two months. Students complete three consecutive eight-week summer sessions on campus and two independent study sessions off campus during the intervening winters.

The Class of 2019 thesis exhibition, Setup, was on view July 21–29, 2018 at the Bard College Exhibition Center/UBS Gallery in Red Hook, New York. Presentations of performance, readings, and screenings of time-based works took place on the Bard College campus during the evenings of July 23–25, 2018.

The 2019 MFA candidates are:
Film/Video: Madeline Hollander, Alan Segal, Jon Wang, Alisha Wormsley.
Writing: Sarah Reiter.
Painting: Anne Cousineau, Colt Hausman, Ranee Henderson, Austin White.
Sculpture: Violet Dennison, Onur Gökmen, Rin Johnson, Robert Keil, Lu Yim, John-Elio Reitman, Marina Xenofontos.
Photography: Qais Assali, Charlotte Bonjour, Wei Leng Tay, Matt Waples.
Music/Sound: Nadia Botello, Richard Kennedy, Stefan Maier, Ragnhild May, Tyler Wilcox.

Setup was coordinated by Line Ebert, Curatorial Studies, Städelschule / Goethe University.

Unless otherwise noted, all images courtesy of Peter Mauney, 2018.

Participating Artists

Qais Assali
Charlotte Bonjour
Nadia Botello
Anne Cousineau
Violet Dennison
Onur Gökmen
Colt Hausman
Ranee Henderson
Madeline Hollander
Rin Johnson
Robert Keil
Richard Kennedy
Lu Yim
Stefan Maier
Ragnhild May
Sarah Reiter
John-Elio Reitman
Alan Segal
Wei Leng Tay
Jon Wang
Matt Waples
Austin White
Tyler Wilcox
Alisha Wormsley
Marina Xenofontos


 

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