Related
Exhibition
May 2021

A Thing Like You and Me: 2020 MFA in Visual Art Thesis Exhibition

Sam Fox School of Design & Visual Arts at Washington University in St. Louis

Installation view, “A Thing Like You and Me: 2020 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2021.

Installation view, “A Thing Like You and Me: 2020 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2021.

Installation view, “A Thing Like You and Me: 2020 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2021.

Installation view, “A Thing Like You and Me: 2020 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2021.

Installation view, “A Thing Like You and Me: 2020 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2021.

Grace Eunhae Cho, Synopticon, 2020. Wood, two-way mirror film, and QR code, 84 x 144 x 144".

Grace Eunhae Cho, Synopticon, 2020. Wood, two-way mirror film, and QR code, 84 x 144 x 144".

Grace Eunhae Cho, Synopticon (detail), 2020. Wood, two-way mirror film, and QR code, 84 x 144 x 144".

Grace Eunhae Cho, Synopticon (detail), 2020. Wood, two-way mirror film, and QR code, 84 x 144 x 144".

Damaris Dunham, Phobos, 2020. Papier mâché and paint, 90 x 150 x 24".

Damaris Dunham, Phobos (detail), 2020. Papier mâché and paint, 90 x 150 x 24".

Damaris Dunham, Phobos (detail), 2020. Papier mâché and paint, 90 x 150 x 24".

Damaris Dunham, Phobos (detail), 2020. Papier mâché and paint, 90 x 150 x 24".

Brie Henderson, Yours or mine, 2019; Only, 2020; Untitled, 2020; Untitled, 2019; Perfect and I, 2020; Again, pretend so, 2020; Untitled, 2020; In lies, 2019. Watercolor on paper, each 15 x 11".

Brie Henderson, When did walking feel like crawling, 2020. Watercolor on paper, 15 x 11"; Bury all, 2020. Watercolor on paper, 15 x 11".

Brie Henderson, Yours or mine, 2019. Watercolor on paper, 15 x 11"; Only, 2020. Watercolor on paper, 15 x 11".

Brie Henderson, Untitled, 2019. Watercolor on paper, 15 x 11".; Perfect and I, 2020. Watercolor on paper, 15 x 11".

Aleida Hertel, Place, 2020. Unfired clay, dimensions variable.

Aleida Hertel, Place (detail), 2020. Unfired clay, dimensions variable.

Aleida Hertel, Place (detail), 2020. Unfired clay, dimensions variable.

Aleida Hertel, Place (detail), 2020. Unfired clay, dimensions variable.

Yeeun Kang, Into the Layers of Light, 2019. Multimedia installation with two-channel video projection, cloth, and Mylar, 2 minutes, looped, dimensions variable.

Yeeun Kang, Into the Layers of Light, 2019. Multimedia installation with two-channel video projection, cloth, and Mylar, 2 minutes, looped, dimensions variable.

Yeeun Kang, Into the Layers of Light, 2019. Multimedia installation with two-channel video projection, cloth, and Mylar, 2 minutes, looped, dimensions variable.

Yeeun Kang, Into the Layers of Light (detail), 2019. Multimedia installation with two-channel video projection, cloth, and Mylar, 2 minutes, looped, dimensions variable.

Alex T. Klein, Summoning Something, 2021. Xerographic prints and colored pencil on two mirrors, each 48 x 36"; Too Good to Be True, 2021. Cardboard and coupon inserts, 20 x 43 x 32".

Alex T. Klein, Summoning Something, 2021. Xerographic prints and colored pencil on two mirrors, each 48 x 36".

Alex T. Klein, Too Good to Be True, 2021. Cardboard and coupon inserts, 20 x 43 x 32".

Alex T. Klein, Too Good to Be True (detail), 2021. Cardboard and coupon inserts, 20 x 43 x 32".

Sarah Knight, Reliquary of Nonbinary Geomorphologies, 2019–21. Mixed-media ceramics, found and melted stone, steel, and concrete, dimensions variable.

Sarah Knight, Reliquary of Nonbinary Geomorphologies (detail), 2019–21. Mixed-media ceramics, found and melted stone, steel, and concrete, dimensions variable.

Sarah Knight, Scree, from Reliquary of Nonbinary Geomorphologies, 2020–21. Ceramic glaze, porcelain, steel, plaster, concrete, and found stone, 19 1/2 x 27 1/2 x 27 1/2".

Sarah Knight, Scree (detail), from Reliquary of Nonbinary Geomorphologies, 2020–21. Ceramic glaze, porcelain, steel, plaster, concrete, and found stone, 19 1/2 x 27 1/2 x 27 1/2".

Liz Moore, A Jungle, a Dream, a Wallowing Thing, 2020. Handmade felt and mixed media, 36 x 72 x 72"; Wall Molds (Rotting, Delighting, Stretching, and Staring), 2020. Mixed media and family heirlooms, dimensions variable.

Liz Moore, Wall Molds (Rotting, Delighting, Stretching, and Staring) (detail), 2020. Mixed media and family heirlooms, dimensions variable.

Liz Moore, A Jungle, a Dream, a Wallowing Thing, 2020. Handmade felt and mixed media, 36 x 72 x 72".

Liz Moore, A Jungle, a Dream, a Wallowing Thing (detail), 2020. Handmade felt and mixed media, 36 x 72 x 72".

Emily Mueller, Cat Shot 04, 2020–21; Cat Shot 06, 2020–21; Cat Shot 07, 2020–21. Inkjet prints, each 36 x 24".

Emily Mueller, Cat Shot 07, 2020–21. Inkjet print, 36 x 24".

Emily Mueller, Cat Shot 04, 2020–21; Cat Shot 06, 2020–21. Inkjet prints, each 36 x 24".

Emily Mueller, Cat Shot 06 (detail), 2020–21. Inkjet print, 36 x 24".

Lola Ayisha Ogbara, With Labor and Love, 2020. Iron, glass, rhinestones, nickel, plastic, fibers, aluminum, resin, and single-channel video with sound, 3 minutes 6 seconds, dimensions variable.

Lola Ayisha Ogbara, With Labor and Love (detail), 2020. Iron, glass, rhinestones, nickel, plastic, fibers, aluminum, resin, and single-channel video with sound, 3 minutes 6 seconds, dimensions variable.

Lola Ayisha Ogbara, With Labor and Love (detail), 2020. Iron, glass, rhinestones, nickel, plastic, fibers, aluminum, resin, and single-channel video with sound, 3 minutes 6 seconds, dimensions variable.

Lola Ayisha Ogbara, With Labor and Love (detail), 2020. Iron, glass, rhinestones, nickel, plastic, fibers, aluminum, resin, and single-channel video with sound, 3: minutes 6 seconds, dimensions variable.

Linnéa Ryshke, Host, 2020. Acrylic paint, pastel, and paper on fabric, 12 x 11"; Cleaved, 2020. Acrylic paint, graphite, and pumice on canvas, 17 3/4 x 15 1/8"; Soft of Fur, of Skin, of Voice, of Touch, of Hair, a Whisper, Barely There, 2020. Acrylic paint, ash, charcoal, and pumice on canvas, 23 1/8 x 23 1/8"; To Say Their Own Names, 2019. Acrylic paint, pastel, paper, and found flower petals on wooden strainers, 13 x 11"; Remains, 2020. Acrylic paint, charcoal, and Conté crayon on wood panel, 35 x 28 1/2", and stoneware with graphite and gum arabic, 6 3/4 x 4" diameter.

Linnéa Ryshke, Remains, 2020. Acrylic paint, charcoal, and Conté crayon on wood panel, 35 x 28 1/2", and stoneware with graphite and gum arabic, 6 3/4 x 4" diameter.

Linnéa Ryshke, To Say Their Own Names, 2019. Acrylic paint, pastel, paper, and found flower petals on wooden strainers, 13 x 11".

Linnéa Ryshke, Host, 2020. Acrylic paint, pastel, and paper on fabric, 12 x 11".

Linnéa Ryshke, Cleaved (detail), 2020. Acrylic paint, graphite, and pumice on canvas, 17 3/4 x 15 1/8".

Chris Scott, Street Hassle (Tracks 1 through 3), 2020. Acrylic and collage on burlap, 44 x 42 1/2"; Real Cool Time, 2020. Acrylic and cloth on burlap, 41 x 37".

Chris Scott, Street Hassle (Tracks 1 through 3) (detail), 2020. Acrylic and collage on burlap, 44 x 42 1/2".

Chris Scott, Real Cool Time (detail), 2020. Acrylic and cloth on burlap, 41 x 37".

Chris Scott, Real Cool Time, 2020. Acrylic and cloth on burlap, 41 x 37".

Sixue Yang, Rising Water, Floating Islands IV, 2020. Ink on Xuan paper, 58 x 145".

Sixue Yang, Rising Water, Floating Islands II, 2020. Ink on Xuan paper, 58 x 145".

Sixue Yang, Rising Water, Floating Islands I, 2020. Ink on Xuan paper, 58 x 145".

Sixue Yang, Rising Water, Floating Islands III (detail), 2020. Ink on Xuan paper, 58 x 145".

Sixue Yang, Rising Water, Floating Islands III (detail), 2020. Ink on Xuan paper, 58 x 145".

Sixue Yang, Rising Water, Floating Islands II (detail), 2020. Ink on Xuan paper, 58 x 145".

The Sam Fox School of Design & Visual Arts at Washington University in St. Louis is pleased to present “A Thing Like You and Me,” the 2020 MFA in Visual Art Thesis Exhibition.

The MFA in Visual Art program culminates in the thesis exhibition every spring at the Mildred Lane Kemper Art Museum.

This exhibition reflects the critical conversations, interdisciplinary investigations, collective visions, and diverse practices of this distinctive group of artists. Their works are testaments to the power and persistence of art and the irrepressible drive of artmaking. The students, faculty, and staff of the MFA in Visual Art program in the Sam Fox School invite you to celebrate the work of this new generation of artists, surfacing in this time of such extraordinary global and national change, poised to impact the future.

This exhibition is organized by Leslie Markle, curator for public art, Mildred Lane Kemper Art Museum. Support is provided by the Sam Fox School of Design & Visual Arts and members of the Kemper Art Museum. Due to COVID-19, the Kemper Art Museum is currently closed to the public but remains open to Washington University students, faculty and staff. For updates, visit the Kemper Art Museum website.

Learn more about the MFA in Visual Art program at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis here.

Participating Artists

Grace Eunhae Cho
Damaris Dunham
Brie Henderson
Aleida R. Hertel
Yeeun Kang
Alex T. Klein
Sarah Knight
Liz Moore
Emily Mueller
Lola Ayisha Ogbara
Linnéa Ryshke
Chris Scott
Sixue Yang

The MFA in Visual Art program at the Sam Fox School of Design & Visual Arts educates artists who will define and change the future of their disciplines—in small, medium, and extra-large ways. It instills students with the agency and resiliency that will be essential to the next generation of artists. Led by professor and newly appointed chair Lisa Bulawsky, the program is home to an inclusive, close-knit community of renegade makers and thinkers, and offers students a site of rigorous inquiry, humanity, and intellectual generosity. The Sam Fox School has abundant resources, with expansive facilities and studios that serve as a think tank for intellectual and material experimentation. The program is located within a tier-one research institution and is proud of its location in St. Louis, which serves as both an extension of the studio and site of engagement for art and artists. The MFA in Visual Art professionally prepares students for a diversified approach to the field of contemporary art that nurtures sustained, lifelong engagement while recognizing multiple pathways and definitions for a career in the arts and culture.

The Sam Fox School of Design & Visual Arts at Washington University in St. Louis is a leader in architecture, art, and design education. We are advancing our fields through innovative research and creative practice, excellence in teaching, a world-class university art museum, and a deep commitment to addressing the social and environmental challenges of our time. Through the work of our students, faculty, and alumni, we are striving to create a more just, sustainable, humane, and beautiful world.

Thank you!

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