Related
Exhibition
May 2022

An Asterism*: Parsons Fine Arts 2022 MFA Thesis Exhibition

Parsons School of Design at The New School

Installation view, “An Asterism*,” Parsons Fine Arts 2022 MFA Thesis Exhibition, curated by Alison Burstein, Anna-Maria and Stephen Kellen Gallery Parsons School of Design at The New School, May 15–27, 2022. Photo: Martin Seck.

Installation view, “An Asterism*,” Parsons Fine Arts 2022 MFA Thesis Exhibition, curated by Alison Burstein, Anna-Maria and Stephen Kellen Gallery Parsons School of Design at The New School, May 15–27, 2022. Photo: Martin Seck.

Installation view, “An Asterism*,” Parsons Fine Arts 2022 MFA Thesis Exhibition, curated by Alison Burstein, Anna-Maria and Stephen Kellen Gallery Parsons School of Design at The New School, May 15–27, 2022. Photo: Martin Seck.

Mauve Martineau, 20 Church Street, 2022. Mixed-media installation with performance video, dimensions variable. Photo: Martin Seck.

Mauve Martineau, 20 Church Street (detail), 2022. Wood, chain, and acrylic paint, 20 × 30”. Photo: Martin Seck.

Mauve Martineau, 20 Church Street (detail), 2022. Textile, 50 × 60”. Photo: Martin Seck.

Kris Peng Siyun, Can you write me a poem? (II), 2022. Stones, electric rotating fan, wood, paint and fishing line, 13 × 4 × 5’. Photo: Martin Seck.

Ye Cheng, Entry Password, 2022. Mixed media on silk polyester, 18 × 30”; Circling Staircases, Ruins, Playgrounds before dinner, 2022. Mixed media on silk polyester, 36 × 52”; Dreamscape, Bug in the ceiling lamp, 2022. Mixed media on silk polyester, 52 × 46”; Shimmering Firelight and Fading Watermark 孙杰卿 !, 2022. Mixed media on silk polyester, 44 × 56”;  Memory Map, 2022. Video on iPad with color and sound, 3 minutes 14 seconds; Memory Map book, 2022. Risograph and inkjet print on paper, 8 × 10”. Photo: Martin Seck.

Ye Cheng, Shimmering Firelight and Fading Watermark 孙杰卿 !, 2022. Mixed media on silk polyester, 44 × 56”. Photo: Martin Seck.

Tianyi Sun, Disposable Utensils, 2022. Single-channel video projection, heat-treated laser-cut Plexiglas®, Pir® motion IR sensor, powder-coated steel bars, heat-treated cast acrylic tubes, chrome C-stand, air-cushioned light stand, adjustable mini tripod stands, 360-degree desktop tripods, repurposed LEDs, LED tubes, clip-on LED ring lights, epoxy, acrylic links, acetate transfers on acrylic, digital prints on vinyl, neodymium magnets, clamp mounts, gooseneck extensions, production clips, flange mounts, safety cables, wide-blade clamps, disassembled boom arms, ball heads, disassembled shooting table, saddle sandbags, single-channel video loop on Alienware® 17, double-ended spigots, desk edge power strips, HDMI cables, XLR cables, audio distribution amplifier, and dual-parabolic SoundDome® speaker, dimensions variable; Softbox (Series of 10), 2022. Acetate, epoxy, digital print transfers, heat-treated Plexiglass®, laser-cut mirrored acrylic, neodymium magnets, acrylic polymer, and oil on laser-cut Plexiglass®. six pieces 14 × 17”; four pieces 12 × 14”. Photo: Martin Seck.

Tianyi Sun, Disposable Utensils, 2022. Single-channel video projection, heat-treated laser-cut Plexiglas®, Pir® motion IR sensor, powder-coated steel bars, heat-treated cast acrylic tubes, chrome C-stand, air-cushioned light stand, adjustable mini tripod stands, 360-degree desktop tripods, repurposed LEDs, LED tubes, clip-on LED ring lights, epoxy, acrylic links, acetate transfers on acrylic, digital prints on vinyl, neodymium magnets, clamp mounts, gooseneck extensions, production clips, flange mounts, safety cables, wide-blade clamps, disassembled boom arms, ball heads, disassembled shooting table, saddle sandbags, single-channel video loop on Alienware® 17, double-ended spigots, desk edge power strips, HDMI cables, XLR cables, audio distribution amplifier, and dual-parabolic SoundDome® speaker, dimensions variable. Photo: Martin Seck.

Tianyi Sun, Softbox (Series of 10), 2022. Acetate, epoxy, digital print transfers, heat-treated Plexiglass®, laser-cut mirrored acrylic, neodymium magnets, acrylic polymer, and oil on laser-cut Plexiglass®, six pieces 14 × 17”; four pieces 12 × 14”. Photo: Martin Seck.

Lily Moebes, I wanna be safe, 2022. Used sweatshirts, wood studs, and cotton string, dimensions variable. Photo: Martin Seck.

Lily Moebes, I wanna be safe (detail), 2022. Used sweatshirts, wood studs, and cotton string, dimensions variable. Photo: Martin Seck.

Lily Moebes, I wanna be safe (detail), 2022. Used sweatshirts, wood studs, and cotton string, dimensions variable. Photo: Martin Seck.

Paula Martin Rivero, Untitled, 2022. Processing (Integrated Development Environment), computer screen, Lack shelf, pens, and archival ink on cardboard, dimensions variable. Photo: Martin Seck.

Paula Martin Rivero, Untitled (detail), 2022. Processing (Integrated Development Environment), computer screen, Lack shelf, pens, and archival ink on cardboard, dimensions variable. Photo: Martin Seck.

Austin Casebolt, Executive desk (detail), part of Exchange Rate, 2022. Bituminous coal, wooden desk, steel, and oil, 92 × 40 × 40”. Photo: Martin Seck.

Austin Casebolt, Exchange Rate, 2022. Oil on canvas, archival photograph on board, bituminous coal, wooden desk, steel, and oil, dimensions variable. Photo: Martin Seck.

Darian Deshawn Stewart, My body, our soul, this world., 2022 Mixed-media installation, dimensions variable. Photo: Martin Seck.

Darian Deshawn Stewart, Montero’s Dreamscape, part of My body, our soul, this world., 2022. Oil, acrylic, beads, fabric, rhinestones, paper collage, and found objects on canvas, 60 × 72”. Photo: Martin Seck.

Darian Deshawn Stewart, Montero’s Dreamscape (detail), part of My body, our soul, this world., 2022. Oil, acrylic, beads, fabric, rhinestones, paper collage, and found objects on canvas, 60 × 72”. Photo: Martin Seck.

Darian Deshawn Stewart, Rara I’m Falling in Love (detail), part of My body, our soul, this world., 2022. Oil, acrylic, beads, fabric, rhinestones, paper collage, and found objects on canvas, 24 × 48”. Photo: Martin Seck.

Lipika Bhargava, For you and me (detail), 2022. Stoneware, glaze, underglaze, metal, and yarn, dimensions variable. Photo: Martin Seck.

Lipika Bhargava, For you and me, 2022. Stoneware, glaze, underglaze, metal, and yarn, dimensions variable. Photo: Martin Seck.

Lipika Bhargava, For you and me (detail), 2022. Stoneware, glaze, underglaze, metal, and yarn, dimensions variable. Photo: Martin Seck.

Rachel Yeoh, Keeper, 2022. Oil and phosphorescent acrylic on canvas, 48 × 60”; Imposition, 2022. Oil and acrylic on canvas, 60 × 48”. Photo: Martin Seck.

Rengu Zhang, This is For Us to Share, 2022. Artist’s old garments, MWrap®, joss paper, photo reproductions from artist’s family archive, glue mixtures, stell, molding compound, plastics, and leather, dimensions variable. Photo: Martin Seck.

Rengu Zhang, This is For Us to Share (detail), 2022. Artist’s old garments, MWrap®, joss paper, photo reproductions from artist’s family archive, glue mixtures, stell, molding compound, plastics, and leather, dimensions variable. Photo: Martin Seck.

Rengu Zhang, This is For Us to Share (detail), 2022. Artist’s old garments, MWrap®, joss paper, photo reproductions from artist’s family archive, glue mixtures, stell, molding compound, plastics, and leather, dimensions variable. Photo: Martin Seck.

Ghazi Sikander Mirza, Painters, people, and philosophers, 2022. Marker on glass, dimensions variable. Photo: Martin Seck.

Zoë Fitzpatrick Rogers, Untrained Amateur, 2022. Marine-grade plywood, salvaged wood, Titebond III, steel, fiberglass, cadmium orange, cadmium red, crap green, iron oxide, ultramarine blue, ultramarine purple, graphite, Thompson’s WaterSeal, duct tape, fishing net salvaged from Long Island fishery, and rope, 48 × 96”. Photo: Martin Seck.

Zoë Fitzpatrick Rogers, installation view, 2022. Photo: Martin Seck.

Zoë Fitzpatrick Rogers, Sail (detail), 2022. Cadmium orange, crap green, iron oxide, graphite, ultramarine blue, ultramarine purple, salvaged steel, salvaged rope, and linen, 84 × 60”. Photo: Martin Seck.

carolina muñoz awad, every forty-two times, one., 2022. Sand, cotton fabric, wood, and human bodies, 68 × 70 × 78”. Photo: Martin Seck.

carolina muñoz awad, every forty-two times, one. (detail), 2022. Sand, cotton fabric, wood, and human bodies, 68 × 70 × 78”. Photo: Martin Seck.

Zhiyi Zhang, Tool Portrait (Clothes Hangers), 2022. Metal, wood, and wall patch, 32 × 20 × 5”. Photo: Martin Seck.

Zhiyi Zhang, Tool Portrait (Door Handle 1), 2022. Metal, wood, wall patch, and motor, 30 × 14 × 10”. Photo: Martin Seck.

Parsons School of Design at The New School is proud to announce the Parsons Fine Arts MFA thesis exhibition for the Class of 2022, “An Asterism*,” organized by Alison Burstein.

*Asterism (noun):
(Astronomy) A prominent pattern or group of stars;
(Typography) A group of three asterisks (⁂), used to separate sections of text.

“An Asterism*” takes up the titular word as a metaphor to describe the convergence of the fifteen members of Parsons MFA class of 2022 within the gallery. Drawing on the dual meaning of asterism—the astronomical form associated with connectivity and the typographic symbol with delineation—the exhibition embraces a tension that is apparent within the format of MFA thesis presentations: these culminating events bring together artists from a graduate degree program to show their work as a unified cohort at a moment of transition, just before the group disbands and each individual begins the next phase of their career post-graduation. Rather than attempting to cover over or resolve this incongruence, “An Asterism*” calls for reflection on the ways that both dimensions inherent to a thesis exhibition are intertwined.

The exhibition is open to the public and on view in the Sheila C. Johnson Design Center’s Anna-Maria and Stephen Kellen Gallery, 2 West 13th Street, from May 16–May 27, 2022 with an opening reception on Thursday, May 19, from 6–8pm and a closing event with artist presentations and performances on Friday, May 27, from 5–8pm. All visitors must wear masks and present proof of being fully vaccinated and boosted; to gain an entry pass, please go to the University Welcome Center at 72 Fifth Ave.

Participating Artists

Austin Casebolt
carolina muñoz awad
Darian Stewart
Ghazi Sikander Mirza
Kris Peng Siyun
Lily Moebes
Lipika Bhargava
Mauve Martineau
Paula Martin Rivero
Rachel Yeoh
Rengu Zhang 
Tianyi Sun
Ye Cheng
Zhiyi Zhang
Zoë Fitzpatrick Rogers

Alison Burstein is a curator at The Kitchen in New York. She previously served as program director at the nonprofit art space Recess and as a member of the education departments at the Museum of Modern Art, Guggenheim Museum, and Brooklyn Museum. As an independent curator, Burstein has organized exhibitions and programs for national and international institutions.

Parsons Fine Arts MFA is a dynamic two-year, cross-disciplinary program committed to expanding the formal, intellectual, and conceptual dimensions of emerging artists’ work. Studio-based research and scholarship extends the boundaries of contemporary cultural expression, developed through a global understanding of the arts. Parsons Fine Arts is committed to diversity among students and faculty that provides a potent learning community. Housed within both Parsons School of Design and The New School University, the Fine Arts program is uniquely positioned within a progressive educational environment. Our international student body has access to a wide spectrum of activities, ranging from rigorous formal and aesthetic investigations to cross-disciplinary collaborations with design, performing arts and humanities students, to public forums that address pressing social and political concerns. Our Visiting Artist Lecture Series and our Critic and Curator Series feature renowned, multidisciplinary artists, curators, and critics. Recent visitors have included: Morehshin Allahyari, Yto Barrada, Sadie Barnette, Diana Campbell Betancourt, Anthony Huberman, Rafael Lozano-Hemmer, Kahlil Robert Irving, Tuan Andrew Nguyen/The Propeller Group, Sophia Ma, Guadalupe Maravilla, Isin Onöl, Rasheedah Phillips/Black Quantum Futurism, Brie Ruais, Taylor Trabulus, Abhijan Toto, Hamza Walker, and Leslie Wayne.

Located on the unceded and occupied ancestral territory of Lenapehoking, Parsons School of Design honors the Lenape people’s past, present, and future generations, and continues its commitment to the process of working to dismantle the ongoing legacies of settler colonialism. Founded in 1896 and integrated into The New School in 1970, Parsons has served as a leader in the field of art and design for more than a century. Based in New York and internationally active, the school offers undergraduate and graduate programs in the full spectrum of art and design disciplines. Critical thinking, research and collaboration are at the heart of a Parsons education, which builds on the university’s legacy of progressive ideals, scholarship and pedagogy. Parsons graduates are innovators in their respective fields, with a shared commitment to creatively and critically addressing the complexities of life in the twenty-first century.

In 2022, QS World University Rankings, a London-based higher education organization, named Parsons the number one college for art and design in the United States and number three worldwide for the fifth year in a row. For more information about the program, please contact the MFA Co-Directors Lan Thao Lam at lamh [​at​] newschool.edu and/or Lydia Matthews at matthewl [​at​] newschool.edu.

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