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Exhibition
May 2022

Nine Ways from Sunday: 2022 MFA in Visual Art Thesis Exhibition

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

Installation view, “Nine Ways from Sunday: 2022 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2022.

Installation view, “Nine Ways from Sunday: 2022 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2022.

Installation view, “Nine Ways from Sunday: 2022 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2022.

Installation view, “Nine Ways from Sunday: 2022 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2022.

Installation view, “Nine Ways from Sunday: 2022 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2022.

Installation view, “Nine Ways from Sunday: 2022 MFA in Visual Art Thesis Exhibition,” Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2022.

Karina Arreola-Gutierrez, Generación en Generación, 2022. Single-channel video with sound, 20 minutes; El Amor de Mi Familia, 2022. Handmade embroidery, voile fabric, thread, relief prints, steel rod, wood, and steel brackets, 102 × 120 × 48”; Mis Memorias y Extrañandote, 2021. Thread, manta fabric, wooden chair, candles, wax, and paint, 34 × 17 × 17”.

Karina Arreola-Gutierrez, Mis Memorias y Extrañandote, 2021. Thread, manta fabric, wooden chair, candles, wax, and paint, 34 × 17 × 17"; El Amor de Mi Familia (detail), 2022. Handmade embroidery, voile fabric, thread, relief prints, steel rod, wood, and steel brackets, 102 × 120 × 48”.

Karina Arreola-Gutierrez, El Amor de Mi Familia (detail), 2022. Handmade embroidery, voile fabric, thread, relief prints, steel rod, wood, and steel brackets, 102 × 120 × 48”.

Karina Arreola-Gutierrez, Generación en Generación (installation view), 2022. Single-channel video with sound, 20 minutes.

Karina Arreola-Gutierrez, Mis Memorias y Extrañandote (detail), 2021. Thread, manta fabric, wooden chair, candles, wax, and paint, 34 × 17 × 17”.

Quinn Antonio Briceño, Allí, 2022; Allá, 2022. Acrylic, packing stickers, found prints, foil, paper, and transferred photographs on canvas, each 60 × 96”.

Quinn Antonio Briceño, Allí, 2022. Acrylic, packing stickers, found prints, foil, paper, and transferred photographs on canvas, 60 × 96”.

Quinn Antonio Briceño, Allá, 2022. Acrylic, packing stickers, found prints, foil, paper, and transferred photographs on canvas, 60 × 96”.

Quinn Antonio Briceño, Allá (detail), 2022. Acrylic, packing stickers, found prints, foil, paper, and transferred photographs on canvas, 60 × 96”.

Quinn Antonio Briceño, Allí (detail), 2022. Acrylic, packing stickers, found prints, foil, paper, and transferred photographs on canvas, 60 × 96”.

Quinn Antonio Briceño, Allí (detail), 2022. Acrylic, packing stickers, found prints, foil, paper, and transferred photographs on canvas, 60 × 96”.

Joseph Canizales, Eroded Limestone, 2022. Biodegradable plastic, limestone sand, and paint, 21 × 132 × 120” overall; Extruded Limestone Quarry (Jefferson Barracks, St. Louis, MO), 2022. Inkjet print on canvas, wood, and sand from Jefferson Barracks Quarry, 50 × 90 × 7”; Entropic Limestone, 2021. Limestone, 62½ × 19¼ × 13¼”.

Joseph Canizales, Extruded Limestone Quarry (Jefferson Barracks, St. Louis, MO), 2022. Inkjet print on canvas, wood, and sand from Jefferson Barracks Quarry, 50 × 90 × 7”; Entropic Limestone, 2021. Limestone, 62½ × 19¼ × 13¼”.

Joseph Canizales, Eroded Limestone (detail), 2022. Biodegradable plastic, limestone sand, and paint, 21 × 132 × 120”.

Joseph Canizales, Entropic Limestone, 2021. Limestone, 62½ × 19¼ × 13¼”.

Joseph Canizales, Eroded Limestone (detail), 2022. Biodegradable plastic, limestone sand, and paint, 21 × 132 × 120”; Extruded Limestone Quarry (Jefferson Barracks, St. Louis, MO), 2022. Inkjet print on canvas, wood, and sand from Jefferson Barracks Quarry, 50 × 90 × 7”.

Joseph Canizales, Extruded Limestone Quarry (Jefferson Barracks, St. Louis, MO), 2022. Inkjet print on canvas, wood, and sand from Jefferson Barracks Quarry, 50 × 90 × 7”.

Joseph Canizales, Eroded Limestone, 2022. Biodegradable plastic, limestone sand, and paint, 21 × 132 × 120”; Entropic Limestone, 2021. Limestone, 62½ × 19¼ × 13¼”.

Noah Greene-Lowe, Location, location, location,location,locationlocalocatocatiotion!, 2022. Secondhand building materials, concrete debris, caulk, and inkjet-printed satellite images from sites of displacement (Kinloch and Mill Creek Valley, Missouri, and Little Manila, Stockton, California), 36 × 27 × 23”; St. Louis Landscape (Facing West), 2022. Curtain rod, found asphalt, and jacquard woven blanket with a section of Albert Bierstadt’s Rocky Mountains, Lander’s Peak, 70 × 72 × 36”.

Noah Greene-Lowe, St. Louis Landscape (Facing West), 2022. Curtain rod, found asphalt, and jacquard woven blanket with a section of Albert Bierstadt’s Rocky Mountains, Lander’s Peak, 70 × 72 × 36”.

Noah Greene-Lowe, Location, location, location,location, locationlocalocatocatiotion!, 2022. Secondhand building materials, concrete debris, caulk, and inkjet-printed satellite images from sites of displacement (Kinloch and Mill Creek Valley, Missouri, and Little Manila, Stockton, California), 36 × 27 × 23”.

Noah Greene-Lowe, Location, location, location,location, locationlocalocatocatiotion! (detail), 2022. Secondhand building materials, concrete debris, caulk, and inkjet-printed satellite images from sites of displacement (Kinloch and Mill Creek Valley, Missouri, and Little Manila, Stockton, California), 36 × 27 × 23”.

Noah Greene-Lowe, St. Louis Landscape (Facing West) (detail), 2022. Curtain rod, found asphalt, and jacquard woven blanket with a section of Albert Bierstadt’s Rocky Mountains, Lander’s Peak, 70 × 72 × 36”.

Noah Greene-Lowe, I’ll Fly Away (detail), 2022. Ceramic floor tile, grout, wood, ceramic figurines, and inkjet-printed satellite images from sites of displacement (Kinloch and Mill Creek Valley, Missouri, and Little Manila, Stockton, California), 12 × 60 × 60”.

Erin Johnston, Untitled, from the Quadruped Series, 2022. Paper, charcoal, and pigment, 17 × 38 × 38”; Study Skins, 2021–22. Paper and natural pigment, overall dimensions variable.

Erin Johnston, Untitled, from the Quadruped Series, 2022. Paper pulp, charcoal, and pigment, 17 × 38 × 38”.

Erin Johnston, Untitled, from the Quadruped Series (detail), 2022. Paper pulp, charcoal, and pigment, 17 × 38 × 38”.

Erin Johnston, Study Skins, 2021–22. Paper and natural pigment, overall dimensions variable.

Erin Johnston, Study Skins (detail), 2021–22. Paper and natural pigment, overall dimensions variable.

Martin Lammert, Untitled (Stage1), 2022. Mixed-media installation and single-channel video with sound, 5 minutes; 108 × 120 × 120”.

Martin Lammert, Untitled (Stage1) (detail), 2022. Mixed-media installation and single-channel video with sound, 5 minutes; 108 × 120 × 120”.

Martin Lammert, Untitled (Stage1) (detail), 2022. Mixed-media installation and single-channel video with sound, 5 minutes; 108 × 120 × 120”.

Martin Lammert, Untitled (Stage1) (detail), 2022. Mixed-media installation with single-channel video with sound, 5 minutes; 108 × 120 × 120”.

Martin Lammert, Untitled (Stage1), 2022. Mixed-media installation and single-channel video with sound, 5 minutes; 108 × 120 × 120”.

Sam Modder, Source of All Hair, Wearer of All Socks (detail), 2022. Installation of digital prints on adhesive paper, and ballpoint pen, 144 × 240 × 144”.

Sam Modder, Source of All Hair, Wearer of All Socks (detail), 2022. Installation of digital prints on adhesive paper, and ballpoint pen, 144 × 240 × 144”.

Sam Modder, Source of All Hair, Wearer of All Socks (detail), 2022. Installation of digital prints on adhesive paper, and ballpoint pen, 144 × 240 × 144”.

Sam Modder, Source of All Hair, Wearer of All Socks (detail), 2022. Installation of digital prints on adhesive paper, and ballpoint pen, 144 × 240 × 144”.

Sam Modder, Source of All Hair, Wearer of All Socks (detail), 2022. Installation of digital prints on adhesive paper, and ballpoint pen, 144 × 240 × 144”.

Sam Modder, Source of All Hair, Wearer of All Socks (detail), 2022. Installation of digital prints on adhesive paper, and ballpoint pen, 144 × 240 × 144”.

Carlos Salazar-Lermont, Sanctuary, 2022. Three-channel video installation with sound, 45 minutes; three LCD TV screens, Mylar emergency blankets, plastic wrappings donated by Venezuelan immigrants, gold leaf, acrylic, ink, and glue on wood; Petare, 2022. 108 × 60½ × 5”; San Francisco, 2022. 108 × 58 × 5”; Altagracia, 2022. 108 × 60½ × 5”.

Carlos Salazar-Lermont, Sanctuary: San Francisco, 2022. Video installation with sound, 45 minutes; LCD TV screen, Mylar emergency blankets, plastic wrappings donated by Venezuelan immigrants, gold leaf, acrylic, ink, and glue on wood, 108 × 58 × 5”.

Carlos Salazar-Lermont, Sanctuary: Altagracia, 2022. Video installation with sound, 45 minutes; LCD TV screen, Mylar emergency blankets, plastic wrappings donated by Venezuelan immigrants, gold leaf, acrylic, ink, and glue on wood, 108 × 60½ × 5”.

Carlos Salazar-Lermont, Sanctuary: Petare, 2022. Video installation with sound, 45 minutes; LCD TV screen, Mylar emergency blankets, plastic wrappings donated by Venezuelan immigrants, gold leaf, acrylic, ink, and glue on wood, 108 × 60½ × 5”.

Carlos Salazar-Lermont, Sanctuary: San Francisco (detail), 2022. Video installation with sound, 45 minutes; LCD TV screen, Mylar emergency blankets, plastic wrappings donated by Venezuelan immigrants, gold leaf, acrylic, ink, and glue on wood, 108 × 58 × 5”.

Carlos Salazar-Lermont, Sanctuary: Altagracia (detail), 2022. Video installation with sound, 45 minutes; LCD TV screen, Mylar emergency blankets, plastic wrappings donated by Venezuelan immigrants, gold leaf, acrylic, ink, and glue on wood, 108 × 60½ × 5”.

Livia Xandersmith, A Comedy of Agency, 2022. Oil paint, canvas, wood, metal, vinyl, and motor, 90 × 203 × 66”.

Livia Xandersmith, A Comedy of Agency (detail), 2022. Oil paint, canvas, wood, metal, vinyl, and motor, 90 × 203 × 66”.

Livia Xandersmith, A Comedy of Agency (detail), 2022. Oil paint, canvas, wood, metal, vinyl, and motor, 90 × 203 × 66”.

Livia Xandersmith, A Comedy of Agency (detail), 2022. Oil paint, canvas, wood, metal, vinyl, and motor, 90 × 203 × 66”.

Livia Xandersmith, A Comedy of Agency (detail), 2022. Oil paint, canvas, wood, metal, vinyl, and motor, 90 × 203 × 66”.

The MFA in Visual Art program in the Sam Fox School of Design & Visual Arts celebrates its degree candidates every year with an exhibition at the Mildred Lane Kemper Art Museum on the Washington University in St. Louis campus.

“Nine Ways from Sunday: 2022 MFA in Visual Art Thesis Exhibition” features thesis projects by the 2022 graduating class. This exhibition reflects the critical conversations, interdisciplinary investigations, collective visions, and diverse practices of this distinctive group of artists.

The titular phrase—“Nine Ways from Sunday”—is a variation on an idiom that alludes to something that is done completely and/or in every way possible. An apt title chosen by the artists, “Nine Ways” presents artworks in various media, exploring a broad range of themes, including spatial politics, desire and commodity fetishism, technology and the natural world, the Black Imaginary, and diasporic cultural identities.

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.

Photos by Richard Sprengeler and Whitney Curtis.

Participating Artists

Karina Arreola-Gutierrez
Quinn Antonio Briceño
Joseph Canizales
Noah Greene-Lowe
Erin Johnston
Martin Lammert
Sam Modder
Carlos Salazar-Lermont
Livia Xandersmith

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.

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