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Exhibition
October 2022

Absolutely Maybe: Bard MFA Class of 2023 Thesis Exhibition

Milton Avery Graduate School of the Arts at Bard College

Installation view, “Absolutely Maybe,” Bard MFA thesis exhibition, July 16–24, 2022. Photo: Chris Kendall.

Installation view, “Absolutely Maybe,” Bard MFA thesis exhibition, July 16–24, 2022. Photo: Chris Kendall.

Installation view, “Absolutely Maybe,” Bard MFA thesis exhibition, July 16–24, 2022. Photo: Chris Kendall.

Installation view, “Absolutely Maybe,” Bard MFA thesis exhibition, July 16–24, 2022. Photo: Chris Kendall.

Installation view, “Absolutely Maybe,” Bard MFA thesis exhibition, July 16–24, 2022. Photo: Chris Kendall.

Sarah Abarbanel, The Flooded Materials, 2022. Photographs, disintegrating sandstone, dust, fish “eye-blanks,” used glass, video, field recordings, transducers, and cords. Photo: Chris Kendall.

Sarah Abarbanel, The Flooded Materials, 2022. Photographs, disintegrating sandstone, dust, fish “eye-blanks,” used glass, video, field recordings, transducers, and cords. Photo: Sarah Abarbanel.

Anthony Almendárez, Hello My Name Is ___ Vol. 2, 2022. Six-channel video, four-channel, and audio. Performers: Anthony Almendárez (trumpet), Sonia Flores (double bass), Danielle Gibson (synthesizer), Andrew Martinez (guitar), and Gabriel Martinez (percussion). Videographers: Francis Almendárez, Brenda Edith Franco, Brandon Tho Harris, Ryan Hawk, Karen Martinez, and Sindhu Thirumalaisamy. Photo: Chris Kendall.

Anthony Almendárez, Hello My Name Is ___ Vol. 2, 2022. Six-channel video, four-channel, and audio. Performers: Anthony Almendárez (trumpet), Sonia Flores (double bass), Danielle Gibson (synthesizer), Andrew Martinez (guitar), and Gabriel Martinez (percussion). Videographers: Francis Almendárez, Brenda Edith Franco, Brandon Tho Harris, Ryan Hawk, Karen Martinez, and Sindhu Thirumalaisamy. Photo: Chris Kendall.

Namrata Arjun, (un)making liquid memory or at least orchestrating an ontological striptease, 2022. Oil on hand-cut linen, 36 × 30”. Photo: Chris Kendall.

Namrata Arjun, (un)making liquid memory or at least orchestrating an ontological striptease, 2022. Oil on hand-cut linen, 36 × 30”. Photo: Chris Kendall.

Russell Barsanti, 2022. Photo: Chris Kendall.

Russell Barsanti, 2022. Photo: Chris Kendall.

Samuel Budin, Fondini, or, the Ague and the Autoscope, 2022. Slide projector, 35-mm slides, antique milk glass lamp, three small oil paintings, and the contents of a storage closet (pedestals, monitors and TVs, and filing cabinet). Photo: Chris Kendall.

Samuel Budin, Fondini, or, the Ague and the Autoscope, 2022. Performance with spoken narration, slide projector, 35-mm slides, cassette deck, antique milk glass lamp, choral ensemble, volunteer from the audience. Photo: Jane Sartwell.

Bastien Gachet, Untitled, 2022. Ceramic sinks, soap dispenser bracket, cabin walls, CGI images, pasta extruder, dry casarecce, screens and rollable screen holder, oil on canvas, electrical outlet, desk, fac-simile of IKEA cabinet, pass-through window, water and glass, see-through plastic protection sheets, glass and water, antic door, box of noses, variable dimensions. Photo: Chris Kendall.

Bastien Gachet, Untitled, 2022. Ceramic sinks, soap dispenser bracket, cabin walls, CGI images, pasta extruder, dry casarecce, screens and rollable screen holder, oil on canvas, electrical outlet, desk, fac-simile of IKEA cabinet, pass-through window, water and glass, see-through plastic protection sheets, glass and water, antic door, box of noses, variable dimensions. Photo: Chris Kendall.

Cochemea Gastelum, The Thing We Do Most is What We Become, 2022. Four-channel video installation with looping image, text, and short film (10 minutes), four 32-inch video monitors, one 46-inch video monitor, pipe, headphones, bench, lighting, stands, and gels. Photo: Mehves Lelic.

Cochemea Gastelum, The Thing We Do Most is What We Become, 2022. Four-channel video installation with looping image, text, and short film (10 minutes), four 32-inch video monitors, one 46-inch video monitor, pipe, headphones, bench, lighting, stands, and gels. Photo: Mehves Lelic.

Nele Jäger, Tender Cracks, 2022. Cut cloth (two hands holding an eye and the letter N), water, and pigmented plaster. Photo: Nele Jäger.

Nele Jäger, Tender Cracks, 2022. Cut cloth (two hands holding an eye and the letter N), water, and pigmented plaster. Photo: Nele Jäger.

Woojae Kim, I am porous. And I am moved by you, 2022. Makgeolli made from local microbes, handmade bricks, ceramic pieces from local clay, and cooking supplies. Photo: Chris Kendall.

Woojae Kim, I am porous. And I am moved by you, 2022. Makgeolli made from local microbes, handmade bricks, ceramic pieces from local clay, and cooking supplies. Photo: Woojae Kim.

NIC Kay, RENEGADE (Wait Go Uh), 2022. Three-part presentation: performance, site-responsive sculpture, and installation. Photo: Jane Sartwell.

NIC Kay, RENEGADE (Wait Go Uh), 2022. Three-part presentation: performance, site-responsive sculpture, and installation. Photo: NIC Kay.

Kricket Lane, Distance, Duration, Distraction, 2022. Enamel-printed aluminum, embossed aluminum plate, inkjet-printed canvas, epoxy resin clay, beeswax, creek stones, carved soapstone, concrete, wire mesh, and aluminum wire. Photo: Chris Kendall.

Kricket Lane, Distance, Duration, Distraction, 2022. Enamel-printed aluminum, embossed aluminum plate, inkjet-printed canvas, epoxy resin clay, beeswax, creek stones, carved soapstone, concrete, wire mesh, and aluminum wire. Photo: Chris Kendall.

Mehves Lelic, ESMD, 2022. Inkjet prints on baryta, dimensions variable. Photo: Chris Kendall.

Mehves Lelic, ESMD, 2022. Inkjet prints on baryta, dimensions variable. Photo: Chris Kendall.

Lucy Lie, 2022. Photo: Chris Kendall.

Lucy Lie, 2022. Photo: Chris Kendall.

Bleue Liverpool, 90 degrees, 2022. Blackboard paint, video, salvaged geometric wooden shapes, Marshall amplifier, chalk, TV (gifted by Tin Wai Wong), audio (Anthony Almendárez), and copper. Photo: Chris Kendall.

Bleue Liverpool, 90 degrees, 2022. Blackboard paint, video, salvaged geometric wooden shapes, Marshall amplifier, chalk, TV (gifted by Tin Wai Wong), audio (Anthony Almendárez), and copper. Photo: Chris Kendall.

Alonso Llerena, Cuatro, 2022. Poem. Photo: Alonso Llerena.

Alonso Llerena, Field Trip, 2022. Poem. Photo: Alonso Llerena.

Ulrik Lopez, My Own Sun, 2022. Papier mâché and pulp, pine wood, plywood, dried squash, and coconut palm tree wood, 218 × 252 × 35 cm. Photo: Chris Kendall.

Ulrik Lopez, My Own Sun, 2022. Papier mâché and pulp, pine wood, plywood, dried squash, and coconut palm tree wood, 218 × 252 × 35 cm. Photo: Chris Kendall.

Thomas Mader, All heat and no light, 2022. Inflatable sculpture, retro-reflective fabric quilt with screen print, animated video loop, and riso-print poster. Photo: Chris Kendall.

Thomas Mader, All heat and no light, 2022. Inflatable sculpture, retro-reflective fabric quilt with screen print, animated video loop, and riso-print poster. Photo: Chris Kendall.

May Marei, The Griever of the Sea, 2022. Photo: Chris Kendall.

May Marei, The Griever of the Sea, 2022. Photo: Chris Kendall.

Sasha McEvoy, Here I Felt Grounded And Saw The World, 2022. Performance. Photo: Jane Sartwell.

Funto Omojola, mother of the priest, i come to beg, 2022 Archival inkjet prints, kanekalon hair, mother’s hair, oil, mud, and shoe. Photo: Chris Kendall.

Funto Omojola, mother of the priest, i come to beg, 2022 Archival inkjet prints, kanekalon hair, mother’s hair, oil, mud, and shoe. Photo: Chris Kendall.

Charlie Perez-Tlatenchi, Descendente, 2022. Varied materials and dimensions. Photo: Chris Kendall.

Charlie Perez-Tlatenchi, Descendente, 2022. Varied materials and dimensions. Photo: Chris Kendall.

Rory Rosenberg, A Life Spans, As You Grow. A Solar Grid is a Promise, 2022. Various paintings with acrylic, copper, Miracle Gro, oil, and resin on canvas and linen. Photo: Russell Barsanti.

Rory Rosenberg, A Life Spans, As You Grow. A Solar Grid is a Promise, 2022. Various paintings with acrylic, copper, Miracle Gro, oil, and resin on canvas and linen. Photo: Russell Barsanti.

Andrew Rubin, skin in the cross winds, 2022. 16-mm film transferred to two-channel video projection, two 8 × 6-foot projection walls, drywall, wood, paint, plywood bench with glass terrarium, birch bark, and acoustic foam panels. Photo: Chris Kendall.

Andrew Rubin, skin in the cross winds, 2022. 16-mm film transferred to two-channel video projection, two 8 × 6-foot projection walls, drywall, wood, paint, plywood bench with glass terrarium, birch bark, and acoustic foam panels. Photo: Chris Kendall.

Ginevra Shay, Night Too Is Also A Sun, 2022. Neon, 15 × 16”. Photo: Ginevra Shay.

Ginevra Shay, A Cloud’s Slow Blinking Eye Draws In the Earth, 2022. Maryland clay, water, acrylic polymer, and aluminum. Photo: Ginevra Shay.

Yanik Wagner, 2022. Oil on linen, installation view. Photo: Chris Kendall.

Yanik Wagner, 2022. Oil on linen, installation view. Photo: Chris Kendall.

Tin Wai Wong, Manifesto, 2022. Vinyl and monitor. Photo: Chris Kendall.

Tin Wai Wong, Manifesto, 2022. Vinyl and monitor. Photo: Chris Kendall.

Christopher Yuda, Untitled (Paper Paintings as Exhibition Material), 2020–22. Acrylic on 8.5 × 11” US letter size copy paper, polypropylene sleeves, handmade Duralar sleeve, linen tape, plywood, joint compound, and primer, installation view. Photo: Chris Kendall.

Christopher Yuda, Untitled (Paper Paintings as Exhibition Material), 2020–22. Acrylic on 8.5 × 11” US letter size copy paper, polypropylene sleeves, handmade Duralar sleeve, linen tape, plywood, joint compound, and primer, installation view. Photo: Chris Kendall.

ricky sallay zoker, black wander, 2022. Installation view. Photo: Mehves Lelic

ricky sallay zoker, black wander, 2022. Installation view. Photo: Chris Kendall.

The Milton Avery Graduate School of the Arts at Bard College (Bard MFA) presents “Absolutely Maybe,” the thesis exhibition of the class of 2023. “Absolutely Maybe” brings together works by candidates in the disciplines of film and video, music and sound, painting, photography, sculpture, and writing.

The process of making art, in essence, boils down to decision-making. The title of this year’s exhibition, “Absolutely Maybe,” considers the tumultuous and often anxiety-ridden nature of this process: the beauty and absurdity of what it means for artists to insist on creating new worlds through their art within the polarity of uncertainty and necessity.

The Bard MFA thesis exhibition features work by MFA candidates Sarah Abarbanel, Anthony Almendárez, Namrata Arjun, Russell Barsanti, Samuel Lang Budin, Bastien Gachet, Cochemea Gastelum, Nele Jäger, Woojae Kim, NIC Kay, Kricket Lane, Mehves Lelic, Lucy Lie, Bleue Liverpool, Alonso Llerena Carrasco, Ulrik López, Thomas Mader, May Marei مي مرعي, Sasha McEvoy, Funto Omojola, Charlie Perez-Tlatenchi, Rory Rosenberg, Andrew Rubin, Ginerva Shay, Yanik Wagner, Tin Wai Wong, Christopher Yuda, and ricky sallay zoker.

The thesis exhibition is coordinated by Isis Awad (MA ’17), a graduate of the Center for Curatorial Studies at Bard College (CCS Bard). Awad is a writer, curator, and poet from Cairo living in New York City. She is the founding director of Executive Care*, an art organization at the service of unrepresented artists from performance and nightlife communities.

Participating Artists

Sarah Abarbanel
Anthony Almendárez
Namrata Arjun
Russell Barsanti
Samuel Lang Budin
Bastien Gachet
Cochemea Gastelum
Nele Jäger
Woojae Kim
NIC Kay
Kricket Lane
Mehves Lelic
Lucy Lie
Bleue Liverpool
Alonso Llerena Carrasco
Ulrik López
Thomas Mader
May Marei  مي مرعيّ
Sasha McEvoy
Funto Omojola
Charlie Perez-Tlatenchi
Rory Rosenberg
Andrew Rubin
Ginevra Shay
Yanik Wagner
Tin Wai Wong
Christopher Yuda
ricky sallay zoker

Founded in 1981, Bard MFA is a nontraditional school 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 an ongoing dialogue. In interdisciplinary group critiques, seminars, school presentations, as well as discipline caucuses and one-on-one conferences, the artist-student engages with accomplished faculty members while developing their individual studio practice. 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. Bard MFA is a low-residency program that takes place over two years and two months. Students are on campus for three consecutive eight-week summer sessions and off campus for two independent study sessions completed during the intervening winters.

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