41786 artMattersV2 - School of the Museum of Fine Arts

FALL 2007
Dear Alumni
and Friends:
Art is not immune from the
influence of world events, nor is
it a mere sponge. Rather, the artworks that emerge from Museum
School alumni interpret and
amplify, they reflect and consider. Sometimes, art even contributes
to change in policy or attitude.
We dedicated this issue of artMatters to art that has been shaped by
conflict and devastation. The alumni featured on these pages present
global events that include 9/11, the war in Iraq, Lebanon’s legacy of
missing people, and the daily barrage of uncertainty. The images
are intense, thoughtful, painful, and even hopeful. Whether realized
through film, charcoal, paint, video, or installation, their artwork
brings us closer to war and conflict. We are asked to look, to reflect,
and to respond.
Steve Mumford (Bachelor of Fine Arts/Diploma ’86, Fifth Year
Certificate ’87) brought his sketchbook to Baghdad. “I’m fulfilling a
kind of communication role that every artist hopes for,” Mumford
says. “Through art and drawing, I’m engaging the larger world in
these historical events.”
Alex Gingrow (Post-Baccalaureate Certificate ’04) articulates quite
succinctly the synergy between her own philosophy and that of the
Museum School and artMatters. “What are we but mere decorators if we
as artists choose to ignore the world around us?” she says. “It is our duty
to attack issues and create dialogue and inspire critical thinking.”
With this issue, our previous look at spirituality in art, and a future
discussion of environmental challenges, artMatters reflects — from
an artistic standpoint — topics that matter most. We think that role
grows increasingly important in our evolving, global community.
The influence of art on society cannot be underestimated and, as
such, should be nurtured and supported. artMatters is committed to
revealing the many ways art is integral to the way we all experience
life. We hope that you continue to support us and our artists.
Deborah H. Dluhy
DEAN, MUSEUM SCHOOL
DEPUTY DIRECTOR, MUSEUM OF FINE ARTS, BOSTON
above: P h o t o : G e o r g i e Fr i e d m a n
cover: elaine spatz–rabinowitz, U n t i t l e d ( d e t a i l ) , 2005. Mixed media on
Stonehenge. 11 x 15 inches.
contents
1
Excursions in Art
Faculty member Joel Frenzer and alumna Norah
Solorzano make animated films with fifth- and
sixth-grade students
2
Art Now: Painting
Faculty member Patte Loper’s perspective on the
East and West Coast art scenes
3
Spotlight on…
Bachelor of Fine Arts student Brianne Brophy
and her work with Operation Smile
4
Feature Story
Ready to Engage: Artists embrace interpretive
role during times of conflict
12
Alumni News
23
Philanthropy
Painter kept Museum School close to heart
24
On the Web (New in this issue)
In step with a former SMFA art cheerleader;
artist resources; and SMFA in the news
25
In the Galleries (New in this issue)
“‘America’s Paradise’ and ‘Isla Del Encanto’:
Contemporary Art from the American Caribbean”
and exhibitions and public programs calendar
excursions in
Isabel Eccles remembers panicking two years ago when
her Cambridgeport School social studies students couldn’t
agree on a title for their animated film. Kids raised
objections, they argued with each other, and tensions
ran high. “No one would compromise,” Eccles says.
Though building consensus takes time — a scarce
commodity in an era when standardized test preparation
trumps creative projects — the combined class of fifth
and sixth graders found a solution. They conducted
“market research” by asking their peers to identify
titles that enticed them to see the film.
“It’s exciting to be around kids who are thinking hard
about solving problems and arguing about stimulating
ideas,” says Eccles, who, for more than fifteen years
(ten of them in this Cambridge, Mass., school), has used
collaborative animation projects to enliven the learning
process in her classrooms.
She started out with Super 8mm film. But in 2000, when
a parent suggested that Museum School faculty member
Joel Frenzer visit the class, Eccles became immersed in
cutting-edge computer software and Flash animation.
An ongoing partnership ensued. Frenzer guided Eccles’s
social studies class through an animated version of
Homer’s epic poem that the students titled Stuff
Odysseus Did. It was obvious, Frenzer says, that filmmaking gave students a richer, more advanced understanding of the academic material. And as a bonus, he
says, “a significant, completely original film emerges.”
Former student Zachary Goldhammer still values the
lessons he learned from Eccles and Frenzer. The films
“combine lots of different artistic and scholastic media
that can appeal to the entire spectrum of students and
their different interests,” he says. “It excites kids who
are turned off by straightforward textbook reading
while still teaching them the same material that would
normally cause them to hate school.”
The class got a bit more creative after Odysseus ,
storyboarding the true-life tale of Molly Bannaky, a
brave, seventeenth-century Brit who was exiled to the
New World to serve as an indentured servant. Before
they delved into the filmmaking technology, however,
students researched Bannaky’s life and explored complex
topics of racism, slavery, and interracial marriage.
The class set daily goals for their film and students
followed their interests. Some conducted historical
research, wrote the script, and worked on the musical
score with their music teacher. Others created tornpaper collage backgrounds, acted out and voiced the
characters, and learned film-editing processes and
animation software.
Once completed, Molly Bannaky was accepted into
several film festivals and won first place for amateur
film in the 2005 My Hero Short Film Festival. The prize
included a $5,000 grant and Macromedia Creative
Suite from Flash. “It’s amazing that these students are
taking work outside their elementary school and onto
the international stage as fifth and sixth graders,”
Frenzer says.
The class made The Adventure, Friendship, and Immortality of Gilgamesh the next year. While animating the
story of the great Babylonian hero, the students’ work
graduated to a new level of professionalism. They
introduced night vision and detailed landscapes and
interiors. Other firsts included humor (in one scene a
character whispers “the King is psycho!”), action
sequences that are Matrix -like in their choreography
and polish, and references to pop culture (one of the
characters transforms from a coquettish damsel to a
crazy woman whose hair stands up à la Marge
Simpson).
art
During the making of Gilgamesh , Eccles was diagnosed
with cancer and abruptly left for treatment. When she
felt well enough, she attended the animation portion
of her class. One parent told Eccles that, in the story
when Gilgamesh saw his friend Enkidu dying, students
found a way to express their feelings about their
teacher’s illness. “In one cut of the death scene, Enkidu
looked just like me, gray and pale,” Eccles says. “It
was very moving.”
Frenzer limited his involvement with the project at the
same time Eccles thought to enlist an SMFA student.
Norah Solorzano (Post-Baccalaureate Certificate ’05,
Diploma ’06, Fifth Year Certificate ’07) jumped in for
Journey to the Underworld , the myth of Persephone,
Demeter, and the origin of the seasons. This time,
students took a novel approach for the on-screen
characters’ visages. They photographed themselves,
scanned the photos, and drew costumes in Flash onto
their digital images. They then printed these figures
onto cardstock, patiently cut out the characters, and
hinged the hands, elbows, knees, and hips to provide
full range of movement. Solorzano was impressed with
how the students meshed: “They made me want to do
more collaborative work.”
Goldhammer says the class may have resembled Lord
of the Flies at times, with kids yelling and throwing
things around. “At other times,” he says, “it was really
cool to see certain kids step up and lead their group so
that they were all working together. This was when we
started to produce stuff that we were really passionate
about. At the end of the year, we were excited to watch
the movie we’d made together.” O
For more information about the Cambridgeport
School or to screen clips of the students’ films, visit
www.smfa.edu/alumni and click on artMatters.
J o u r n e y t o t h e U n d e r w o r l d , 2007. Film stills.
Running time 19 minutes.
FACULTY PERSPECTIVES ON THE ART SCENE
artNow: P a i n t i n g
If there is a succinct way to
characterize the painting
community these days, Patte
Loper (Faculty) would be
comfortable with a twocamp scenario: East Coast
and West Coast.
Cold War paranoia. I’m fascinated by the fact that at
the same time the film was being made, the major
counties of the Western world (including the former
USSR and the United States) all signed an international
treaty making Antarctica a nonpolitical zone only to
be used for scientific purposes.”
The West Coast model “is really impure,” Loper says
of the camp to which she belongs. “It brings in lots of
references, conceptualism, text, the abject, and pulls in
other media like video and photography.” Consider the
works of Kota Ezawa (highly stylized animation based
on film) and Marcel Dzama (cartoonish animal/people
hybrids).
or lying motionless on a neighbor’s yard. “I work with
images that are recognizable and from our own meta-
And then there are Loper’s deer. You’ll find them licking
a pink tree trunk in one of her paintings based on an
early Jan Dibbets work, wandering around the Van
Damm house from the North by Northwest movie set,
almost, to more socially tumultuous times. “There’s an
activist spirit afoot,” Loper says. “Feminism and political
forms of art from the ’70s are being looked at again,
a reaction, I’m sure, to what is happening politically in
the world right now.”
Loper says she also hears talk about a need to move
away from the commercialism that’s rife in the art world
today to more artist-run events and artist-based venues.
“I love this idea,” says Loper, mentioning an article
by art critic Peter Schjeldahl along the same lines,
“although, like a lot of artists, I’ve benefited from the
art fairs.” It’s hard, she admits, for artists to make
The East Coast style, on the other hand, is all about the
painting. “These are generally larger-scale works that
focus on paint, brushstroke, and color,” Loper says.
“Even if imagery is involved, it is very unmediated.”
Contemporary modernists Jane Fine (Attended ’82–’83)
(geometric, fluid), Bill Flynn (Diploma ’64, Fifth Year
Certificate ’66, Faculty) (gauzy, introspective), and Amy
Sillman (colorful, rhythmic), for example, anchor the
look and feel of this group. Boston painters tend to
blend West Coast influences with their Eastern roots.
Gerry Bergstein’s (Bachelor of Fine Arts ’69, Master of
Fine Art ’71, Faculty) paintings contrast the awesome
and the trivial; he enhances humorous yet dark conceptual dynamics with painterly textures.
Loper is definitely West Coast, though she says she
wishes she had more of an East Coast style. “When
you’re a painter, you want to aspire to a particular
relationship with the paint,” she says. “There’s something very romantic about the artist alone in the studio
with a brush, pushing the paint around. But in my work,
the ideas are fore-fronted to the paint.”
Loper grew up drawing and painting and always assumed
she would be an artist. After graduating from college,
though, she began a career as a graphic designer and
illustrator. “That got boring really fast, mostly because
I wasn’t very good at it,” she says. She went to San
Francisco, got her masters in fine arts, and started
exhibiting on the West Coast. Her art is often based
on photographs of conceptual or modernist works.
She’s currently creating a series of paintings and animations that juxtapose found images of Antarctica with
Alfred Hitchcock’s North by Northwest . “The film is
really luscious,” Loper says. “It’s all about alienation in
the face of luxury and uses that as a tool to look at
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narratives,” she says. “The deer are a way of interrupting
the narrative and taking it in a different direction. Also,
the deer’s presence indicates that there are no people.
The deer depopulate the work in a way that nobody or
nothing else could.”
Loper tried other animals but the deer images stuck,
possibly, she says, because they are very blank and
invite introspection. “If I used a tiger or a monkey or a
more exotic animal,” she says, “the painting would read
in a different way.”
If Loper’s West Coast style and the Eastern school are
somewhat disparate, so are the myriad influences on
contemporary painters. There are, however, familiar
themes that stand out regardless of style — throwbacks,
the break from “a capitalist machine that co-opts any
rebellion or resistance.”
Predicting the future for painters and the consumption
of their art is near impossible, she says, though she
images that a market correction of sorts will happen.
The question is when. “I’m sure that even if I were
able to formulate an answer,” Loper says, “I would be
wrong. Artists clearly need to support themselves and
art needs to be made, but you just have to wonder, what
is the function of art. Is it to decorate people’s homes
or is there a more significant way it can contribute to
society?” O
above: patte loper, A r c h i t e c t u r e R e v i e w 1 9 7 8
(After the Shoot) , 2006. Oil on paper. 52 x 60 inches.
Brianne Brophy
Given the choice of photographing a patient on an
operating room table or drawing the person on the pages
of her sketchbook, Brianne Brophy would typically have
picked up a pencil. Now, however, after several missions
to hospitals in the Philippines, Bolivia, Bangkok, and
India, she just might reach for a camera.
“I went into those operating rooms believing I would
use the small pocket camera as a notebook to bring back
raw images to work with in other ways,” says Brophy
(Bachelor of Fine Arts student), “but I soon found myself
becoming attached to the images I was able to create
and, ultimately, control.”
On the recommendation of a friend, Brophy has interrupted her studies for weeks at a time over the last few
years to work with Operation Smile. The international
charity’s medical teams repair deformities like cleft lip
and cleft palate that cause children to struggle with
basic functions like eating, drinking, and speaking, but
also with social interactions. Brophy documents each
child’s progress through surgery and follow-up care.
The cramped operating rooms offered less-than-ideal
conditions, Brophy says, with harsh lighting and sight
lines crowded by doctors, anesthesiologists, and nurses.
The blue/green sea of the surgical field also didn’t
help. “But working in such unpredictable conditions
taught me a lot about being flexible and taking charge,”
she says. “It really does make you fearless.”
impressed not only by Brophy’s skill, but by the symmetry in her work.
“The photographs, of course, grabbed everyone
immediately,” Dow says. “They are powerful and wellexecuted despite being made in what sometimes
approaches battlefield extremes. Looking from the walls
of close-ups of lips, teeth, and mouths, with ranks of
sutures, clamps, gauze padding, and a full complement
of blood, across to the gesturally loquacious drawings,
it was impossible not to connect them.”
images to the whole body of work, I feel like I’m closer
to putting together a complete story,” she says, musing
about the possibility of turning her images into a book.
On the last day of a two-week mission to Calcutta,
Brophy wandered around the hospital with her camera
subtly positioned at her hip. She hoped to discretely
capture a few post-operative images. One of the parents
saw her and motioned for her to take his portrait holding
his son.
Brophy was surprised by the unusual request, more
accustomed to parents who, at initial screenings, would
cover their children’s faces with scarves or their hands.
But she happily complied, then displayed the tiny
image on her camera screen. “The father grinned ear
to ear,” Brophy says. “Other parents gathered to see
the picture and, before I knew it, a crowd gathered
around me, all wanting family portraits!” O
For additional images and information about Operation
Smile, visit www.smfa.edu.
Dow describes a “fascinating congruity” between
Brophy’s photography and drawing. “Besides a powerful
tension between the indexical surgical images and the
expressive realism of the drawings, the colors, shading,
play of light, etc., all speak to a similarity of treatment.”
Brophy also sees ways in which her expressive work
is connected, and how the lives of the children she
has met will continue to influence her aesthetic. The
next step is to revisit families in their “new lives.”
“Every time I get home from a mission and add new
above: brianne brophy, U n t i t l e d ( P h i l i p p i n e s ) ,
2006. Digital print. 13 x 19 inches.
below: brianne brophy, U n t i t l e d ( B o l i v i a ) , 2006.
Digital print. 13 x 19 inches.
On the Museum School campus, Brophy’s studio work
initially focused on figure drawing. She also developed
what she considered a basic understanding of photography, but that never satisfied her enough to be a
creative outlet. Rather, she portrayed human forms in
graphite and charcoal, eventually shifting toward
costume design and incorporating images of stitching
and sewing.
“I moved back and forth between the body and what
it wears,” Brophy says. “When I came across this chance
to be in an operating room, it immediately spoke to my
love of anatomy and physiology, as well as offered me
a rare opportunity to witness actual sewing of a body.
It brought my previous work full circle. And in doing so,
it primed me to feel a level of comfort with a camera
that I’d never had before.”
In May, Jim Dow (Faculty) evaluated Brophy’s body of
work from the Museum School during her Review Board,
which included her images from OpSmile as well as
her artist’s books, large-scale drawings, paintings,
and smaller sketches of the human form. Dow was
www.smfa.edu
3
While embedded last year at the 28 th Combat Support Hospital, a.k.a. the
Trade Centers, includes sound, drawings, garments, and interviews. “Some
Baghdad ER, Steve Mumford approached a couple of soldiers who were
type of direct experience with the subject is important in order for my voice
waiting outside the morgue. Mumford (Bachelor of Fine Arts/Diploma ’86,
to have integrity and for my work to strike some type of universal chord.”
Fifth Year Certificate ’87) asked if he could draw the young men while they
stood watch over a buddy’s body. They agreed.
Masi first visited Ground Zero in January 2002 and says that the “power
of the events” compelled her to respond personally. “Before that time I had
The drawing turned out well, Mumford says. The soldiers liked it: they
only experienced the events through the media, much of the way most of us
photographed it, used it as a desktop computer image, and also sent a copy
experience war,” she says. “What struck me were the buildings that remained.
to the dead boy’s parents. “In a small way,” Mumford says, “I’m fulfilling a kind
I realized that they had hundreds of thousands of people in those structures,
of communication role that every artist hopes for. Through art and drawing,
and their scarred yet majestic presence had witnessed it all. There was a
I’m engaging the larger world in these historical events.”
quiet dignity in their presence — much as the role of a witness provides
With a seemingly endless supply of inspiration — Vietnam, Kuwait,
throughout history. Often, one cannot do much in the face of a tragedy but
A R T I S T S E M B R A C E I N T E R P R E T I V E
R O L E D U R I N G T I M E S O F C O N F L I C T
Darfur, the former Yugoslavia, Iraq, Palestine, Ground Zero — Museum School
be present and, as silent witnesses representative of us all...that’s what
alumni continue to expand the body of art born of conflict and devastation.
they represented to me.”
Their work is shaped by 24/7 news coverage on the Internet, on television, and
Mumford says he wasn’t satisfied with a second-hand role, of making
in print. In many cases, following the examples set by Winslow Homer during
drawing from a news event’s “leftovers.” He sought the first-hand experience
the Civil War, John Singer Sargent during World War I, and photojournalists
of war that typically was the bailiwick of nineteenth-century painters, includ-
from the 1960s, their artwork reflects personal experience in a war zone.
ing Homer. Nowadays, however, combat artists (other than photographers)
Cheryl Brutvan, curator of the recent “War and Discontent” exhibition at
are much less common. “Artists,” he believes, “don’t know war unless they’ve
the Museum of Fine Arts, Boston (MFA), says that when war is the subject,
been there.” Mumford has traveled to Iraq a half-dozen times. His keenly
art emerges from something horrible and often unfathomable. “The art allows
personal drawings of soldiers — patrolling streets, arresting insurgents, having
for confrontation of the moment and our emotions are invited to come out,”
a smoke, watching Apocalypse Now on DVD — invite viewers to vicariously
says Brutvan, the MFA’s Robert L., Enid L., and Bruce A. Beal Curator of Contem-
absorb his viewpoint at a given moment in time. In contrast to photographs,
porary Art. “These timeless artworks speak to viewers of all generations.”
he says, the process of drawing allows deliberateness: “Every line you put
Photojournalist Jim MacMillan (BFA in Art Education ’88) spent the
down has been filtered through your conscious or subconscious. Every line
majority of his career covering urban America. Now he focuses on human
is a choice rather than a fact.”
conflict and its toll, most recently in Iraq for the Associated Press. “I have
Growing up in Israel, Lior Neiger (Master of Fine Arts ’05) had little control
come to accept that humans have exploited others long before I arrived and
over his turbulent surroundings; memories of daily conflict, war, and political
will continue long after I am gone,” MacMillan says. “I simply can’t live with
unrest continue to influence his work. He has lived in Boston since 2002 but
looking the other way.”
still hasn’t found the right local “triggers” for his art. “Working on war-related
While a Knight-Wallace Fellow at the University of Michigan for the
imagery was a long process that involved different forces,” he says. “On the
2006–07 academic year, MacMillan studied traumatic stress, particularly as
most basic level, my work is a reaction to the reality in the Middle East (specif-
it afflicts journalists. He has not been spared the negative affects of wit-
ically the Israeli-Palestinian conflict), but also a personal journey that recon-
nessing war, but says taking photographs to illuminate and communicate
nects me with my Israeli identity.”
social injustice are the first steps toward a solution. “For me, the possibility
Unfortunately, Neiger says, artists haven’t had great success changing
of challenging the collective conscience of viewers to act and resist injustice
the course of major wartime events. But art and artists do play at least two
is what gets me out of bed in the morning.”
major roles during and after wartime. “The first is to help people (artists
Artists have unique opportunities to translate or interpret complex and
included) express themselves to ease their emotional burden,” he says. The
raw realities. They can bear witness. “Rather than the detached method of
second is more historical. “Artists, I believe, serve as sensitive seismographs
experience that most of us have of the tragic theme of war and human suf-
to reality. Through their art, even indirectly, they tell the story of the time
fering, artists offer other forms of communication to broaden the approach
they lived.”
and experience of the viewer,” says Robin Masi (Bachelor of Fine Arts ’83),
whose Witness Project , an installation in response to the attacks on the World
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Here, then, is a look at war through the eyes of Museum School alumni.
±
Controlled
Controlled Explosions
Explosions , Lior Neiger’s response to war in the
Middle East, fuses his art with his fantasy of army engineering.
The term “controlled explosion” refers to an Israeli police
procedure of using robots to detonate suspicious objects.
It also can be applied to the more recent phenomenon of
“targeted assassination,” in which a drone or helicopter targets
a person considered to be a terrorist threat. One of Neiger’s
Bomb’s Eye
Eye View
View , includes a painting of a military
works, Bomb’s
aircraft firing a missile, an Israeli Defense Forces video of a
moving car before it was blown up by a missile, and a painting
of Neiger’s own “explosion” on canvas in the style of Jackson
Pollock.
lior neiger, B o m b ’ s E y e Vi e w ( d e t a i l ) , 2006. Painting and video installation. 30 x 60 inches.
www.smfa.edu
5
“ What I can bring to a drawing is an emotional feeling. I can bring out
a claustrophobic feeling, if there’s a tension in the air, I can exaggerate
it in a sense,” says Steve Mumford, author of Baghdad
Baghdad Journal
Journal .
“People often look at my drawings and say odd things, like the war
seemed more real to them than it did in a photograph. I think the
hand-made quality of a drawing makes people very aware of my
presence on a street or in a hospital. We’ve seen so many photographs
from Iraq that I think we stop looking. There’s a bland sameness, of
the soldiers, the stricken Iraqis. A hand-made drawing breaks through
this wall of familiarity.”
±
steve mumford, S u s p e c t s C a u g h t w i t h a n R P G , S a m a r a ,
2003. Ink on paper. 11 x 14 inches
In August 2006, the public opening in
downtown Beirut of Nada Sehnaoui’s
(Diploma ’94, Fifth Year Certificate
’95) Fractions
Fractions of
of War
War Memory
Memory
was postponed by what the Beirutbased artist calls the Israeli war
on Lebanon. Her installation, which
was postponed again in the summer
of 2007 because of ongoing political unrest, includes bits of text
she solicited to explore people’s
memories of daily life in Lebanon
during the 1975–1990 span of war.
“Making art is a survival matter
for me,” Sehnaoui says.
nada sehnaoui, Waynoun?/Where Are They?, 2006. Three thousand names, four
hundred photographs, four hundred black-and-white balloons, acetate sheets,
and plastic wrapping. Dome City Center, downtown Beirut. Digital photography.
Dimensions variable.
±
Waynoun? / Where
Where Are
Are They?
They? was
commissioned by the Committee
of Families of the Kidnapped and
Disappeared in Lebanon to commemorate the thirty-first anniversary of the start of the Lebanese
war (1975–2006). More than three
thousand names of missing persons,
four hundred photographs, four
hundred large black-and-white
balloons, and plastic wrapping
filled the Dome City Center in
downtown Beirut, a platform for
the state of collective amnesia.
“ By living, we are learning to solve
our problems creatively and
peacefully,” Sehnaoui says. “Art
making makes me feel more alive.
I am hoping my work has the same
effect on the person who interacts
with the art.”
jim m ac millan, Election Day, Mosul, 2005, 2005. Digital photograph. 10 x 6O inches.
±
“ Going to Iraq was an aberration, driven mostly by my experience of growing up in the Vietnam era,” Jim MacMillan (Bachelor of Fine
Arts in Art Education ’88) says. “I remember the great photojournalism—Eddie Adams’s execution picture, Nick Ut’s napalm girl,
John Filo’s coverage of the Kent State killings, and more. I can’t prove any cause and effect, but I saw those pictures and than I
saw the tide of public sentiment in America turn against the war. While I would do nothing to soil the traditional integrity of honest,
complete photojournalism, I also hoped that my reporting might lead to a similar stop-the-war kind of picture. I didn’t really expect
to succeed, but I thought it was worth trying, and worth spending a year of my life in Iraq. My success was obviously incomplete,
but I like to believe that my work, both as a photographer and photo editor, helped bring forth the story that is now finally searing
in the United States.”
www.smfa.edu
7
For the vast majority of artists,
their response to war is just that,
a response—to images, words,
politics, and emotions—public and
private. They don’t need to visit
a battlefield or fire a weapon to
immerse themselves in conflict.
Elaine Spatz-Rabinowitz (Master
of Fine Arts ’74) made fifty drawings during the summer of 2005
based on daily news reports of
global events. “Violence seemed
ubiquitous—Iraq, Madrid, London,
Russia, Israel,” she says. “And as
it filled the world, so did it fill my
consciousness.”
±
elaine spatz-rabinowitz, U n t i t l e d , 2005. Mixed media on Stonehenge. 11 x 15 inches.
Unlike Francisco y Lucientes Goya, who, of his series of etchings Disasters of War said, “I saw this,” or “I was
there,” everything Spatz-Rabinowitz did was mediated. “What I was really drawing was my own sense of rampant
violence,” she says. “It is only in my interior landscape that time is compressed and victims of current events
become interchangeable with those from earlier wars. In this landscape, violence seems timeless, changeless,
and everywhere equally horrible.”
alex gingrow, L i t t l e G i r l , 2006. Conte and charcoal on paper. 61 x 42 inches.
±
The large charcoal drawings in
Alex Gingrow’s (Post-Baccalaureate
Victim Series grew
Certificate ’04) Victim
from her frustration with the current Bush administration policies
and the disenfranchisement of the
Iraqi victims of war. “These are
people with families and lives and
loved ones,” she says. Each image—
a little boy, a bloody man—appears
to crawl with maggot-like shapes
and swirls. They are realistic portraits, unmistakably vivid and
rooted in place and time.
“ What are we but mere decorators
if we as artists choose to ignore
the world around us?” Gingrow says.
“It is our duty to attack issues and
create dialogue and inspire critical
thinking.”
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artMatters
The omnipresence—the familiarity of war and devastation—makes it possible to take images out of
context and extrapolate common themes. Like SpatzRabinowitz, who uses life models to recreate searing
images in her studio, Meryl Blinder (Master of Fine Arts
’99) takes images she culls from daily newspapers
and paints them into imagined landscapes. “Taken out
of context,” Blinder says, “these ubiquitous images of
flames, smoke, and floods still carry strong associations of current world events, but they also resonate
with the timelessness of their natural surroundings.”
Blinder began incorporating actual newspaper photographs in her art after 9/11. New York Times
Times photos
inspired her pencil drawings of the universally recognized linear rhythm of the buildings’ facades. “The
evocative quality of the photo overlaid with iconic birds, fires, and figures have influenced my painting
and drawing ever since,” Blinder says.
±
meryl blinder, K i r k u k , N Y Ti m e s , 2006. Oil and gold metallic on gesso board. 8 x 8 inches.
www.smfa.edu
9
Being aware of the mortal threat we all face during times of war can
sometimes escape us, especially with the complexities and chaos of our
daily lives. K. E. Duffin (Attended ’93-’96) uses the medium of cliché-verre,
a marriage of painting, photography, and printmaking, to “reveal chaos
tipping toward order and order toward chaos.” Nothing, she says, is what
it seems. “Skin may be a galaxy, a weeping eye, a nebula. What looks like
a record of reality is actually invented, a parallel universe: despairing faces
in an airless theater, starkly lit as if by bomb flashes.”
10 a r t M a t t e r s
±
k.e. duffin, S e w n - u p C h i l d , 2007. Cliché-verre. 7 x 6H inches.
jeffrey parker, M e d i t a t i o n S e r i e s , 2006. Oil on canvas. 30 x 24 inches.
±
±
Jeffrey Parker (Diploma ’82, Fifth
Year Certificate ’83) hasn’t changed
his aesthetic in response to the
condition of human affairs. His
soft-edged mixed-media “meditations” remain colorful yet pensive;
hopeful yet somewhat dour. “I
prefer to go to a dreamlike place
in my mind where serenity and
tranquility exist even as the world
around me burns,” Parker says,
seeing parallels with his style and
the works of Giorgio Morandi, who
he says painted “serene little bottle
collections” while around him the
Nazis wrought destruction on
Europe. “My response to current
affairs is not necessarily one of
escapism,” he says, “but perhaps
of a prayerful desire for peace
and calm to win out in the end.”
ken hruby, Fi r e Fi g h t ( d e t a i l ) , 2003. Kinetic sculpture installation. 35 x 20 x 12 feet.
For Ken Hruby (Diploma ’88, Faculty), the transition from soldier to sculptor was reasonably
smooth, requiring only “a modest amount of deprogramming, a redirection of focus, and a
reorientation of priorities.” His early sculptures demonstrated a high level of control in design
and execution. “This is what those trained as engineers do—they keep things under control,”
says Hruby, a graduate of West Point and a U.S. Army veteran of Vietnam and Korea. “All
the work had been conceived, designed, and fabricated with deliberation and intention, with
nothing left to chance.”
Fire Fight
Fight , a kinetic sculpture,
Fire
represents a combat experience
and the lasting effects of combat
on those who survive. Motionsensor machine guns squirted
liquid pigment at targets. Gallery
visitors generated the sequence
of firings and target movement.
“Everything was out of my control,”
Hruby says of the more serendipitous style he has adopted. “The
markings on the targets and on
the floor were equally random.
How liberating to be able to walk
out of the gallery door and let
chance rule.”
www.smfa.edu
11
alumniNews
E r i c a H . A d a m s (BFD ’77,
FY ’79, MFA ’87, Faculty)
participated in the 2007
Boston Cyberarts Festival,
April–May 2007. In 2006,
she began writing a column for Fjoezzz , a Dutch
glass arts quarterly and
for the internet journal
www.berkshirefinearts.com.
She was until recently
contributing editor of and
wrote a column on art,
glass, architecture, and design for This Side Up! , a
quarterly based in the Netherlands.
K r i s t i n B a k e r * (BFA ’98) had “Surge and Shadow”
at Deitch Projects in New York City, March–April 2007,
which was reviewed in the New Yorker (April 2007) and
in the New York Times (March 2007).
M a r g o t B a l b o n i (Dip ’73) had “The American-Made
Alphabet: An Aerial View of the Landscape from A to
Z,” a solo exhibition, at the Farnsworth Art Museum,
Rockland, Maine, April–September 2007.
H a n n a h B a r r e t t * (Dip ’92) was the featured artist in
J a n B r e t t (AT ’73–’75) had her artwork, home, and
studio profiled in the March–April 2007 issue of Yankee
Magazine .
B e t h a n y B r i s t o w * (Dip ’93, FY ’94) had work in the
“Fountain Art Fair” with Glowlab, in New York City,
February 2007. She also had “Radiant Voyage,” her first
European exhibition, at Elaine Levy Project Gallery in
Brussels, Belgium, October–November 2006.
the Massachusetts Cultural Council’s April–May 2007
online newsletter, Artist News .
L i n d a L e s l i e B r o w n (Dip ’77, FY ’78) had “Tracks of
Your Tears,” her first solo exhibition at Boston’s Kingston
Gallery, January 2007. The show was reviewed on the
S a m B a r z i l a y (CD ’01) had work from his ongoing
collaboration showcased in “Window Dressing” at the
Bymuseum Frogner in Oslo, Norway, May–September
2007.
Web site www.bigredandshiny.com . She is a professor
at New England School of Art and Design at Boston’s
Suffolk University and was profiled on the Web site
www.maverick-arts.com (February 2007).
L a u r e n A d e l m a n (BFA ’98) was an artist in residence
at Anchor Graphics, Columbia College, in Chicago, June–
July 2007, and had a show at Rebus Works, Raleigh,
N.C., April–May 2007. She is an artist/educator at the
New York City Department of Education and at the
Museum of Modern Art.
S o p h i a A i n s l i e (MFA ’01) exhibited work in “Crawlers
6” at Boston’s Kingston Gallery, February–March 2007.
N a t a l i e A l p e r (Dip ’68, FY ’71) had an exhibition at
Philadelphia’s Seraphin Gallery, May–June 2007. A
show of her work traveled from Samek Art Gallery at
Bucknell University, Lewisberg, Pa., to Ewing Gallery at
the University of Tennessee in Knoxville, 2007. She also
had work acquired by the Weatherspoon Art Museum
at the University of North Carolina at Greensboro, the
Hood Museum of Art at Dartmouth College in Hanover,
N.H., and Samek Art Gallery.
D a v i d A r m s t r o n g (BFA ’78) had artwork acquired by
the Museum of Fine Arts, Boston, where it was on view
March–June 2007.
J a m e s B a k e r * (GD ’99) participated in “Printmakers”
at the South Shore Art Center, Cohasset, Mass., April–
May 2007, and the “Duxbury Art Association 31st Annual
Winter Show” at the Art Complex Museum, Duxbury,
Mass., February–April 2007. He had a solo show at the
Paul Pratt Library in Cohasset, January–February 2007.
KEY
AT
B FA
B FA A r t E d
BFD
CD
Dip
FY
GD
IC
M AT
M FA
Po s t - B a c
*
Attended the Museum School
Bachelor of Fine Arts
Bachelor of Fine Arts in Art Education
Bachelor of Fine Arts and Diploma
Bachelor of Fine Arts and Bachelor of Arts
Diploma
Fifth Year Certificate
Graphic Design Certificate
Illustration Certificate
Master of Arts in Teaching
in Art Education
Master of Fine Arts
Post-Baccalaureate Certificate
Also in group shows
12 a r t M a t t e r s
T h a d d e u s B e a l (Dip ’88, FY ’89) had his third solo show,
“New Paintings,” at Boston’s OH+T gallery, January 2007.
L a u r a S c h i f f B e a n (AT ’94–’97) showed new work
in “Visions: Contemporary Female Artists” at Boston’s
Lanoue Fine Art, May–June 2007.
M a r t i n B e r i n s t e i n (AT ’93) had “Refractions,” an
exhibition at Boston’s Locco Ritoro Gallery, November–
December 2006.
S t e v e n B o g a r t (BFA ’76) had a solo painting exhibition
at Boston’s Locco Ritoro Gallery, May–June 2007. He
teaches at Lexington (Mass.) High School.
J e r r y B e c k (MFA ’92) founded and is artistic
director at the Revolving Museum in Lowell, Mass.,
winner of a 2006 Commonwealth Award, the state’s
highest honor in the arts, humanities, and sciences,
which was reported in the Boston Globe in March
2007. Beck also launched the ARTventure Series,
May–September 2007, which transformed three
historically significant yet neglected historical sites
through wide-scale video projection, art installations, theatrical elements, and artistic urban
landscaping. Visit www.LowellARTventures.org for
more information. In October, Beck will be profiled
at www.smfa.edu/alumni , click on profiles.
left: natalie alper, O c t . # 1 ( d e t a i l ) , 2001. Mixed
media on iridescent ground, on paper. 22 x 30 inches.
below: lisa costanzo, H u n t i n g series ( Tr a c k D r i f t e r ) ,
2006. Graphite and watercolor. 24 x 19 inches.
K i m B e r m a n ’s (MFA ‘89) art and activism in South
Africa are showcased in A Ripple in the Water:
Healing Through Art , a documentary film about her
efforts to mobilize South Africans to use art to
address issues of HIV/AIDS, poverty, and empowerment of women and children. It will be shown
at the Museum of Fine Arts, Boston, on Saturday,
December 1 (World AIDS Day).
L i s a B u f a n o (BFA ’03) is working with Axis Dance
Company in Oakland, Calif. She completed the Free to
Rep Program, a three-week residency with Axis at the
Maggie Allesee National Center for Choreography in
Tallahassee, Fla., May 2007. She was profiled on
National Public Radio nationally in March 2007, and
on the local Boston station in February 2007. She
presented her dance performance Five Open Mouths
on the Millennium Stage at the Kennedy Center in June
2007, at the Boston University Dance Theater in March
2007, and premiered it at Judson Memorial Church in
New York City, January 2007. Read more on her Web
site at www.lbufano.com and at www.smfa.edu/alumni,
click on profiles.
M i c h a e l B u h l e r - R o s e (BFA ’04) exhibited new
work in “The Contemporary Portrait” organized by Die
Photographische Sammlung at Art Cologne, Germany,
April 2007.
A b i g a i l C h i l d (Faculty) won a National Endowment
for the Arts grant and a Ford Foundation Media Grant in
2007. Her film The Future is Behind You was screened
at the House of World Cultures in Berlin, September
2007. In May 2007 she showed Mirror World at New
York City’s St. Mark’s Poetry Project and The Studio
System Reconsidered at New York City’s Museum of
Modern Art. In April 2007 she had Mayhem in the
“Collective for Living Cinema,” a group show at New
York City’s Orchard Gallery, which was reviewed in the
Village Voice. She also showed her film Covert Action at
Anthology Film Archives and curated “Perilous Fictions,”
a screening of contemporary experimental films. She
had the world premiere of On the Downlow at the
2007 Tribeca Film Festival and was a keynote speaker
at Video Feminisms at the University of Hartford, Conn.
A n n C h r i s t e n s e n (AT ’97) had her work Mainly Marsh
awarded best in show in the CambridgeART open
competition “Blue,” November 2006–January 2007.
B r e n d a ( B l a t c h f o r d ) C i r i o n i (Dip ’83, FY ’84) presented Massachusetts Governor Deval Patrick her
painting Dickinson’s Hope , which he hung in his State
House office.
D e b r a C l a f f e y (BFA ’81) participated in several shows
59th Annual Exhibition” at the Paul Creative Arts Center,
University of New Hampshire in Durham; “Phillips
Exeter Academy Biennial Regional Jurors Choice” at
Lamont Gallery, in Keene, N.H.; “15 th Annual Winter
Members Exhibition” at the Southern Vermont Art
Center in Manchester, Vt.; and the “Annual Members
Exhibition” at the Sharon Arts Center, Peterborough,
N.H. She is also the owner of Artful Gardener
Professional Garden Care in New Boston, N.H.
M a r l a C l i n c h - F r a n c i s (AT ’92) is a private detective
in Portsmouth, R.I., who was profiled in the Sakonnet
Times (January 2007).
B a r b a r a C o h e n (BFA ’72) took part in two shows in
August 2007: a one-person show at Kobalt Gallery in
Provincetown, Mass., and a group show at Addison Art
Gallery in Orleans, Mass.
H o l l i s C o o p e r (Post-Bac ’98) is a lecturer in the art
department at the California State University, San
Bernardino.
L i s a C o s t a n z o (Dip ’98, FY ’00) had “Snark Hunting,” a
solo show, at Boston’s Laconia Gallery, and “101 Dresses”
at artSPACE’s Untitled (Space) Gallery in New Haven,
Conn., both May–June 2007.
in January 2007: “New Hampshire Art Association’s
B r i a n B u r k h a r d t (Dip ’03, FY ’04) had “New Crop,”
an exhibition at Boston’s Judi Rotenberg Gallery, May–
June 2007.
L a y l a C a d y (MAT ’05) is an art teacher in the Westford
(Mass.) public school district.
B l a i r C a p l e (BFA ’80) is president of Kaaterskil
Management in Wellesley, Mass.
N a t h a n C a r t e r (BFA ’94, Dip ’95, FY ’96) had “All City,”
his third solo show, at New York City’s Casey Kaplan
Gallery, November–December 2006.
G a b i n C o r t e z C h a n c e (Dip ’05, FY ’06) showed his
video Higher Standards at the “12 th International Non
Grata Film and Video Festival” in Parnu, Estonia, winning
the festival’s Rotten Harry award in November 2006.
Higher Standards is featured on RayV TV, the world’s
first virtual TV network. To view it, visit www.rayv.tv .
In summer 2007, he traveled to Medellin, Colombia,
to shoot a documentary he launched on his Web site,
www.ArtTerrorism.org .
L a u r e n C h a n d l e r (Dip ’98) had paintings included in
group shows at Palm Loft Gallery, Carpinteria, Calif.,
in 2007.
www.smfa.edu
13
left: mark epstein, The Romantic Union of Two Periods ,
2006. Animation paint, oil, gloss, and ink on canvas.
32 x 38 inches.
below left: virginia fleck, a l l a d o l l a r m a n d a l a ,
2006. Plastic bags, tape. 71 inch diameter.
right: gonzalo fuenmayor, H i d d e n S y m m e t r i e s
( t r i p t y c h ) (detail), 2006. Mixed media on mylar.
21 x 66 inches each.
affirmative action activist on www.campusprogress.org
(March 2007).
C h a r l i e E m e r s (BFA ’86) has a small farm and bakery
in Vermont’s Northeast Kingdom and sells his work at
local co-ops and stores.
C a r o l E m i l i a (Dip ’76, FY ’78) works on miniature
paintings, which can be seen at www.carolemilia.com .
J i m E n g (BFA ’70) had the solo show “Work in Collage
and Mixed Mediums” in Hess Gallery at Pine Manor
College, Chestnut Hill, Mass., March–April 2007. He
was also included in the group show “Materials” in
Mazmanian Gallery at Framingham (Mass.) State
College, November–December 2006, and was profiled
in the MetroWest Daily News.
M a r k E p s t e i n (Dip ’00, BFA ’02) is in “We All Know
H o l l y C o u l i s * (MFA ’98) participated in a group show
C a t h e r i n e D r a y c o t t (BFA ’94, Dip ’95) is the
at Star 67 Gallery in Brooklyn, N.Y.
Katherine and Leonard Woolley Junior Research Fellow
at Somerville College, Oxford, England. She passed
exams for her doctorate in classical archaeology in
March 2007. She was awarded a junior research
fellowship at Oxford in 2006, researching ancient
Anatolian art.
H a r o l d C r o w l e y (Dip ’58, FY ’59) had “From Maine to
Florida,” an exhibition at Boston’s South End branch
library, February–March 2007.
A n n D e l u t y (BFA Art Ed ’67) exhibited in a group show
at University Place in Cambridge, Mass., April 2007.
She is the owner of Livable Landscapes, a business in
Stow, Mass.
R o s a n a C a s t r i l l o D i a z (Post-Bac ’99) had a solo
exhibition at San Francisco’s Anthony Meier Fine Arts,
January–March 2007.
M a t t D i l l i n g (AT ’97–’99) had work featured in Dwell
and Fortune Small Business magazines.
S a n a ( M u f a r r i j ) D o u m e t (Attended ’83–86) was
selected by the Florida division of cultural affairs to
attend a three-day professional development artist
retreat in Winter Park in May 2007. In February 2007,
she won the award of excellence at the Mount Dora
(Fla.) Art Festival. In January 2007, the House and
Garden television crew visited her studio; footage aired
on That’s Clever in June 2007. In November 2006 her
work was published in the St. Petersburg Times and
she was interviewed in the Orlando Sentinel , March
2007, both in Florida.
14 a r t M a t t e r s
D j u n e i d D u l l o o (BFA ’06) is a consultant for Bioversity
International and is currently living in Rome, Italy.
L a u r e n D u n n (CD ’06) is special assistant to the
executive vice president for policy at the Center for
American Progress. She wrote a profile of an anti-
John ... ,” a group show at San Diego’s Art Produce
Gallery, October 2007. He was awarded a Yaddo
residency in Saratoga Springs, N.Y., in summer 2007,
and in June 2007 his work was featured in the group
show “Spazi Aperti” at the Accademia di Romania in
Rome, Italy. He completed a residency at the Jentel
Artist Residency Program in Wyoming (April 2007)
and recently finished a residency at I-Park in East
Haddam, Conn. He spent time in Rome making work for
a solo show at London’s Hex Projects, February–
March 2007.
M a t t E r n s t (Dip ’91) had a solo exhibition at 511
Gallery in New York City, February–April 2007, which
was reviewed in ARTnews (May 2007).
R y a n E s c h a u z i e r (MAT ’05) is a graphic arts teacher
at Hingham (Mass.) High School.
L a l l a A s s i a E s s a y d i * (BFA ’99, Dip ’00, MFA ’03) had
her work shown at the 2007 Festival of the Photograph’s
grand finale “Works” presentation in Charlottesville,
Va., June 2007. She participated in “Beyond Likeness,”
an exhibition at the North Dakota Museum of Art,
March–May 2007, and in “Nazar” at the National
Museum in Singapore, March–April 2007. She sat on
the panel discussing Local/Global Feminisms at the
Feminisms Without Borders symposium at the
Brooklyn Museum, March 2007. She had new work at
Edwynn Hook Gallery at the Armory Show in New York
City, February 2007, and had an exhibition at New
York City’s Aperture Gallery, January–March 2007.
J e m i s o n F a u s t (MFA ’74) had “Renovation,” a solo
show, at Hammond Gallery at Fitchburg (Mass.) State
College, April 2007.
A n d r e w F e a r n s i d e (CD ’93) lives in Albuquerque, N.M.,
where he has been remodeling a house, teaching yoga,
N a n G o l d i n (Dip ’77, FY ’78) will receive the
2007 Hasselblad Foundation International Award in
Photography, granted annually to a photographer
“recognized for major achievements.” The award will
be presented in a ceremony in Göteborg, Sweden,
the seat of the Hasselblad Foundation, in November
2007. The presentation also will mark the opening
of an exhibition of Goldin’s work at the Hasselblad
Center, part of the Göteborg Art Museum.
and spending time with his four-year-old. In October–
November 2007, he will lead an artists’ retreat to
Troncones, Mexico. For more information, visit
www.highdesertyoga.com and click on retreats.
N i c o l e P h u n g r a s a m e e F e i n (CD ’96) was in a
group show at Boston’s Victoria Munroe Fine Art,
March 2007.
J e s s e c a F e r g u s o n (MFA ’86, Faculty) organized
“Made in Poland: Contemporary Pinhole Photography”
at the Art Institute of Boston at Lesley University,
January–March 2007, which was reviewed on the Web
site www.bigredandshiny.com .
Z a c h F e u e r (BFA ’00) is partnering in Brown, a new
London gallery that opened in June 2007. He was
profiled in the Boston Globe in May 2007.
R u t h F i e l d s * (MFA ’96) was in “Illuminations,” a
rotating exhibition at the Massachusetts General
Hospital Cancer Center, Boston.
Vi r g i n i a F l e c k (AT ’86–’89) was nominated for the
2007 Arthouse Texas Prize. She created The Spin Cycle ,
a public art installation for Whole Foods World Headquarters Plaza in Austin, Tex. She participated in several group shows in 2007: “Arte Fiera di Bologna,” a
contemporary art fair in Bologna, Italy, courtesy of
Finesilver Gallery; “Portland Museum of Art Biennial,”
Portland, Maine; and “Texas Biennial” in Austin.
B i l l F l y n n (Dip ’64, FY ’66, Faculty) had the exhibition
“Armed Chair: From Observation to Metaphor” at Gelb
Gallery at Phillips Academy Andover (Mass.), which
was reviewed in the Boston Globe (March 2007).
B a r r y F r e e d l a n d (AT ’91) was awarded the 2006
Southeastern College Art Conference Artist Fellowship.
He also had work in exhibitions at the Parthenon
Museum in Nashville, Tenn., and the Swope Art Museum
in Terra Haute, Ind. He is assistant professor of art at
the New College of Florida.
K a r l F r e y (MFA ’05) and his wife welcomed the
addition of Vonnegut Charles Frey to their family on
December 9, 2006, in San Antonio, Tex.
C h a r l e y F r i e d m a n (MFA ’96) had work presented in
“One Pill Makes You Small,” a group exhibition at
Brooklyn (N.Y.) Academy of Music’s Tastes Like
Chicken Art Space, April 2007.
G o n z a l o F u e n m a y o r (MFA ’04) participated in a
show at Premio Salon Fernando Botero 2007 Claustro
La Ensenanza, in Bogota, Colombia, and in “Cabinet
of Curious Ties” at the Lab Gallery at New York City’s
Roger Smith Hotel, both April–May 2007. He also had
work in the group show “Coverup” at Club Surprise in
Breda, the Netherlands, February–March 2007.
M a t t h e w G a m b e r (MFA ’04) had “This is (Still) the
Golden Age,” a solo show at Boston’s Gallery Kayafas,
February–March 2007.
To r b e n G i e h l e r * (Dip ’97, FY ’99) had “Eis Hexe,” a solo
show at Leo Koenig, New York City, March–April 2007.
A m b e r ( M a h e r ) G i l b e r t (Dip ’00, BFA ’01) is working
on her television and film business and is director of
promotion and marketing at Bartiz Wellness Center.
C h r i s t o p h e r G i l d o w (MFA ’87) had new sculpture
included in the “38th Annual National Juried Exhibition”
at the Palm Springs Museum in California, January–
March 2007.
D o n G o r v e t t (Dip ’72) was profiled in the Portsmouth
(N.H.) Herald in November 2006.
F a y G r a j o w e r (Dip ’85) was an artist in residence in
Florida and Israel and was commissioned to create
installations at the Jewish Community Center of
Wilmington, Del., B’nai Torah Congregation in Boca
Raton, Fla., and the International Women’s Research
Center at Brandeis University, Waltham, Mass. For
more information, visit www.grajowerstudio.com .
W i l l i a m G r e i n e r (AT ’79–’81) was in the group show
“Visions of Music” at the Acadiana Center for the Arts
in Lafayette, La., March–April 2007, and had “Southern
Discomfort,” a solo exhibition at the University of
Alabama–Birmingham’s visual arts gallery, February–
March 2007. The university published a small book of
recent work titled Baton Rouge Blues .
J e a n n e G r i f f i n (BFA ’91, Dip ’95) was in “Fusion,”
an invitational show at Greenhut Galleries, Portland,
Maine, March 2007.
Te n y G r o s s (BFA ’94) won a community service award
from the Rhode Island Minority Police Association.
D a n i e l l e G u t s h a l l (Post-Bac ’05) is a certified Kripalu
Yoga instructor in Los Angeles. She works for a clothing
company and is writing and illustrating a children’s book.
L e s l i e H a l l (Dip ’05, FY ’06) was profiled in the
December 2006 issue of W magazine and was recently
featured on the VH1 show 40 Greatest Internet
Superstars .
D u a n e H a m m o n d (Dip ’64) had Pigs in a Poke (Beech
River Books, 2006) published, as well as a line of
limited edition gicleé prints, t-shirts, and greeting
cards. His paintings were featured on WCVB-TV’s
(Boston) Chronicle , summer 2006.
M a g s H a r r i e s (Faculty) had “Waterways,” a collaborative project at Nobles and Greenough School’s
Foster Gallery in Dedham, Mass., March–April 2007.
www.smfa.edu
15
Ti m o t h y H a w k e s w o r t h (MFA ’88) had “Paintings and
Drawings,” an exhibition at Gallery at the Pennsylvania
College of Technology, February–April 2007, which was
reviewed in PCToday .
C a t h e r i n e D a v i s H a y e s (MAT ’92) was named by
Governor Donald Carcieri the 2007 Rhode Island teacher
of the year, which was reported by the Providence
Business Journal , December 2006. She is a visualarts teacher at the Oakland Beach Elementary School
in Warwick.
E l i z a H e m e n w a y (BFA ’93) is a producer and director at
Trinity Productions. She partnered with the Sebastopol
(Calif.) Center for the Arts to present the first Sebastopol
Documentary Film Festival in November 2007. She held
special screenings of her film Uncommon Knowledge:
Closing the Books at UC Berkeley Extension at San
Francisco State University in May 2007, at San Francisco
Public Library in February 2007, and at San Francisco’s
Roxie Film Center in November 2006. To host a screening,
visit www.hemenwaydocs.com .
P a u l H e r o u x (Dip ’70) had an exhibition at Boston’s
Howard Yezerski Gallery, December 2006–January 2007.
E d n a H i b e l (AT ’35–’39) was profiled on www.TCPalm.com
(January 2007).
L i z H i c k o k (CD ’97) and her San Francisco in Jell-O
artwork won a Food Network Award in the “Play with
Your Food” category, April 2007. In January 2007 she
was in three group shows: “Cultivating Creativity: In
Residence at Kala” at San Francisco’s Yerba Buena
Center for the Arts and “It’s a Small World: Scale and
Contemporary Photography” at the San Jose (Calif.)
Museum of Art and at the Scottsdale (Ariz.) Center
for Performing Arts. She was also featured on KQEDTV’s Spark . Visit her Web site www.lizhickok.com for
more details.
L i s a H o u c k (MFA ’89) installed A Watery World,
with Reef Residents in the Jimmy Fund Clinic at the
Dana Farber Cancer Institute, Boston.
R i d l e y H o w a r d * (MFA ’99) has a show at Kantor/
Feuer Gallery in Los Angeles in fall 2007.
A n i t a S . H u n t (AT ’82–’84) had “Reflections,” a solo
show at the Danforth Museum of Art, Framingham,
Mass., March–May 2007. Recent group exhibitions are:
J a n e H u d s o n (Faculty), who has been teaching
at the Museum School for more than thirty years,
retired in June. She and husband Jeff Hudson
(xx,xx) moved to North Adams, Mass., to open North
Adams Antiques. For more information, visit
www.officialjeffandjane.com .
16 a r t M a t t e r s
“Biennial International Miniature Print Exhibition” in
Vancouver, Canada, summer 2007; “La Biennale d’estampe Contemporaine de Trois-Rivieres,” Quebec,
Canada, June 2007; “New Prints 2007/Winter,” at the
International Print Center, New York City, January–
February 2007; and the “20 th Parkside National Small
Prints Exhibitions” at the University of WisconsinParkside in Kenosha, Wisc., January–February 2007.
S a r a h H u t t * (Dip ’82, FY ’83) had her installation My
Mother’s Legacy on view May–June 2007 in “Absence/
Excess/Loss” at Rochester Contemporary Museum,
Rochester N.Y., Her work was included in “StrangeWeeds,” the Chicago Bridge Art Fair, April 2007, and in
the Seed Catalogue at www.strangeweeds.com . My
Mother’s Legacy was also on view at the Indianapolis
Art Center, Indianapolis, Ind., October–November 21,
2006.
M a r i a J a n o s k o (Post-Bac ’06) is enrolled at the
Academy of Art University in San Francisco in its bachelor of fine arts degree program in graphic design. See
her work at www.mariajanosko.com .
E . Ta l i a f e r r o J o n e s (CD ’98) had work in “Relections
at Sea,” Sculptuur Biennale Kijkduin 2007 in Kijkduin,
The Hague, Netherlands, June 2007. She was included
in the “35 th Annual International Glass Invitational,”
at Habatat Galleries in Royal Oak, Mich., April–May
2007, and had “Plunge,” a solo show at the National
Glass Center, Sunderland, England, April–May 2007.
Her sculpture Unfurl is touring Spain as part of “IV
Bienal Internacional de Artes Plasticas,” which traveled
to Tomás y Valiente Cultural Center in Fuenlabrada,
Madrid, Spain, March–June 17, and La Capilla del
Centro de Artesan y Dise in Lugo, Spain, January–
March 2007. Jones was also profiled in the article
“Through the Looking Glass,” Surface & Symbol
(February–March 2007).
S t e i n u n n J o n s d o t t i r (Post-Bac ’04) is director of the
Baer Art Center in Hofsos, Iceland.
S a r a h K a f a t o u (AT ’81–’88) had a solo exhibition at
the Basilica of St. Mark in Heraklion, Crete, November
2006. She was awarded a master in fine arts in poetry
from Warren Wilson College in Asheville, N.C.
( H i s a e ) C h a c o K a t o (Dip ’89) was included in the
group show “Shadow Box,” at Dianne Tanzer Gallery,
in Melbourne, Australia, March–April 2007. Her work
was included in New York Art Magazine (January–
February 2007). Kato works as an installation and children’s book artist. Learn more at www.chacokato.com .
left: chaco kato, S p i d e r ’ s w h i s p e r ( d e t a i l ) , 2005.
Resin-coated fabric, epoxi, thread, Perspex. 47 x 52
inches.
above right: paul heroux, D o u b l e Va s e , 2006.
Reduction fired stoneware with gold and platinum over
glaze. 8 x 21 x 5 inches. Courtesy Howard Yezerski Gallery .
Photo: Robert Diamante.
below right: jane hudson, H o o s i c C o t t o n M i l l ,
N o r t h A d a m s , M A , 2006 . Digital photograph.
B i l l K e l l e y (AT ’84–’87) had Sister Wendy Beckett, nun
J u s t i n L i e b e r m a n * (Dip ’99) had “Agency: Open
and art commentator, visit his studio in Florence, Italy.
The visit was reported in the Sarasota Herald-Tribune
in January 2007. Visit www.williamjkelley.com for more
information.
House” at New York City’s Zach Feuer Gallery (LFL) in
January–February 2007. The show was reviewed in the
New Yorker (February 2007). He also had a show at
McCaffrey Fine Art, New York City, and recently published his first print.
D a v i d K e l l e y (Dip ’70, FY ’71, Faculty) was in
“Absolute Abstraction,” a group exhibition at Boston’s
Judy Ann Goldman Gallery, March 2007.
B a r b a r a K e r s t e t t e r (AT 00–’02) showed her new
series Souvenirs of Indian Summer in Provence at her
New York City home, November 2006.
A r i e l K o t k e r (Dip ’03) is working on the installation
His Room As He Left It . Visit it in progress at
www.hisroomasheleftit.blogspot.com .
D e b o r a h L a m d e n (BFA ’73) founded and is executive
director of Partners in Adventure in Shelburne, Vt., a
group dedicated to teens and adults with disabilities.
She was featured in the Burlington (Vt.) Free Press
(February 2007).
J u d i t h L a r s e n * (BFA Art Ed ’73, MFA ’74) had a solo
show at Boston’s Rhys Gallery, and “Take Two: Work by
Massachusetts Artists” at Centro Cultural CostarricenseNorteamericano, San Jose, Costa Rica, in 2007.
H i r o k o L e e * (Dip ’91, FY ’94) had work exhibited in
“Grande,” an exhibition at the Cambridge (Mass.) Art
Association’s University Place Gallery, January 2007.
F r e d e r i c k L o o m i s (Dip ’74) had the drawing The Third
Testament Domain acquired by the San Francisco
Museum of Modern Art after showing the work in
“Who’s Afraid of San Francisco?” at that city’s Frey
Norris Gallery. His work was featured in a cover article
in Leonardo magazine (February 2007).
R a l p h L o w e n (Dip ’98, FY ’00) was one of five artists
in “Between Mind and Nature: Exploring Other Realms,”
an exhibition at the Brattleboro (Vt.) Museum and Art
Center, January–March 2007.
N e e t a M a d a h a r (MFA ’03) had works included in
three group shows, January–March 2007: “On the Wall:
Aperture Magazine ’05/’06” at New York City’s Aperture
Gallery; “Alchemy: Twelve Contemporary Photographers
Exploring the Essence of Photography” at Abbot Hall
Art Gallery in Cumbria, England; and “Wood for the
Trees and Falling Leaves” at London’s Gimpel Fils.
The March 2007 issue of House and Garden magazine
(U.S. edition) profiled her work, and she was featured on
Art New England ’s cover (October–November 2006).
D e b r a ( B r a n d z e n ) M a r e k (Post-Bac ’05) graduated
with her master of fine arts degree from the Art Institute
of Boston at Lesley University, June 2007.
M e r r i l y n D e l a n o M a r s h (Dip ’46, FY ’47) had an
exhibition at the Wellesley (Mass.) Library in
September 2006.
H e i d i M a r s t o n * (BFA ’97, Dip ’02, FY ’03) had work in
“Works on Paper” at Lynn (Mass.) Arts, January–March
2007. She is the visual arts resource librarian at Boston
University’s School of Visual Arts.
E s p e r a n z a M a y o b r e (Dip ’02, FY ’03) took part in
the show “Legal Aliens: Changing Territories, Shifting
Identities, Moving Images” at Smack Mellon in Brooklyn,
N.Y., December 2006–January 2007.
J o r d a n M c D o w e l l (BFA ’04) is school programs assistant in the Museum of Fine Arts, Houston’s, education
department.
P a t r i c k M c E l r o y (Dip ’02) is a film editor in Los
Angeles.
C h a n d r a M e e s i g (MFA ’05) had her Backs of
Photographs series at Brookline (Mass.) Arts Center
Gallery, February–March 2007. Her new work, American
Eulogy , is in the flat files of the Boston Drawing Project
at Boston’s Bernard Toale Gallery. Her work in the
“Butterfly Art Foundation’s International Photo-Art
Exhibition” opened in the Durbar Hall Art Center at
Cochin, Kerala, India, and traveled to a half-dozen
locations throughout southern India, November 2006–
April 2007.
L e s l i e M i l l e r (Dip ’78) was in the “20 th Anniversary
Invitational,” at Rosewood Gallery, Kettering, Ohio,
January 2007, and is in “Landscapes by Leslie Miller”
at Kendal Gallery, Oberlin, Ohio.
E l i z a b e t h ( B o s t o n ) M o o r e (Dip ’99) is the owner
of the Needham Bowlaway in Needham, Mass.
K a r e n ( C a n n e r ) M o s s (MFA ’74) had drawings
selected for the A.I.R. Gallery’s “7 th Biennial” in New
York City, March 2007.
B r i d g e t M u r p h y (Post-Bac ’99, MFA ’02) is director
of programs at Artadia.
D i v y a M u r t h y (MFA ’06) participated in “New Works
#10,” an exhibition at Longwood Art Gallery @ Hostos,
New York City, April–May 2007. She had two long
panoramas and floor installations in “New Works:
Photographs by En Foco’s Award Winners” at Diaspora
Vibe Gallery in Miami’s Design District, February–
March 2007.
www.smfa.edu
17
B i l l K e l l e y (AT ’84–’87) had Sister Wendy Beckett, nun
and art commentator, visit his studio in Florence, Italy.
The visit was reported in the Sarasota Herald-Tribune
in January 2007. Visit www.williamjkelley.com for more
information.
D a v i d K e l l e y (Dip ’70, FY ’71, Faculty) was in
“Absolute Abstraction,” a group exhibition at Boston’s
Judy Ann Goldman Gallery, March 2007.
B a r b a r a K e r s t e t t e r (AT ’00) showed her new series
Souvenirs of Indian Summer in Provence at her New
York City home, November 2006.
A r i e l K o t k e r (Dip ’03) is working on the installation
His Room As He Left It . Visit it in progress at
www.hisroomasheleftit.blogspot.com .
D e b o r a h L a m d e n (BFA ’73) founded and is executive
director of Partners in Adventure in Shelburne, Vt., a
group dedicated to teens and adults with disabilities.
She was featured in the Burlington (Vt.) Free Press
(February 2007).
J u d i t h L a r s e n * (BFA Art Ed ’73, MFA ’74) had a solo
show at Boston’s Rhys Gallery, and “Take Two: Work by
Massachusetts Artists” at Centro Cultural CostarricenseNorteamericano, San Jose, Costa Rica, in 2007.
H i r o k o L e e * (Dip ’91, FY ’94) had work exhibited in
“Grande,” an exhibition at the Cambridge (Mass.) Art
Association’s University Place Gallery, January 2007.
J u s t i n L i e b e r m a n * (Dip ’99) had “Agency: Open
House” at New York City’s Zach Feuer Gallery (LFL) in
January–February 2007. The show was reviewed in the
New Yorker (February 2007). He also had a show at
McCaffrey Fine Art, New York City, and recently published his first print.
F r e d e r i c k L o o m i s (Dip ’74) had the drawing The Third
Testament Domain acquired by the San Francisco
Museum of Modern Art after showing the work in
“Who’s Afraid of San Francisco?” at that city’s Frey
Norris Gallery. His work was featured in a cover article
in Leonardo magazine (February 2007).
R a l p h L o w e n (Dip ’98, FY ’00) was one of five artists
in “Between Mind and Nature: Exploring Other Realms,”
an exhibition at the Brattleboro (Vt.) Museum and Art
Center, January–March 2007.
N e e t a M a d a h a r (MFA ’03) had works included in
three group shows, January–March 2007: “On the Wall:
Aperture Magazine ’05/’06” at New York City’s Aperture
Gallery; “Alchemy: Twelve Contemporary Photographers
Exploring the Essence of Photography” at Abbot Hall
Art Gallery in Cumbria, England; and “Wood for the
Trees and Falling Leaves” at London’s Gimpel Fils.
18 a r t M a t t e r s
The March 2007 issue of House and Garden magazine
(U.S. edition) profiled her work, and she was featured on
Art New England ’s cover (October–November 2006).
D e b r a ( B r a n d z e n ) M a r e k (Post-Bac ’05) graduated
with her master of fine arts degree from the Art Institute
of Boston at Lesley University, June 2007.
M e r r i l y n D e l a n o M a r s h (Dip ’46, FY ’47) had an
exhibition at the Wellesley (Mass.) Library in
September 2006.
H e i d i M a r s t o n * (BFA ’97, Dip ’02, FY ’03) had work in
“Works on Paper” at Lynn (Mass.) Arts, January–March
2007. She is the visual arts resource librarian at Boston
University’s School of Visual Arts.
E s p e r a n z a M a y o b r e (Dip ’02, FY ’03) took part in
the show “Legal Aliens: Changing Territories, Shifting
Identities, Moving Images” at Smack Mellon in Brooklyn,
N.Y., December 2006–January 2007.
J o r d a n M c D o w e l l (BFA ’04) is school programs assistant in the Museum of Fine Arts, Houston’s, education
department.
Exhibition” opened in the Durbar Hall Art Center at
Cochin, Kerala, India, and traveled to a half-dozen
locations throughout southern India, November 2006–
April 2007.
L e s l i e M i l l e r (Dip ’78) was in the “20 th Anniversary
Invitational,” at Rosewood Gallery, Kettering, Ohio,
January 2007, and is in “Landscapes by Leslie Miller”
at Kendal Gallery, Oberlin, Ohio.
E l i z a b e t h ( B o s t o n ) M o o r e (Dip ’99) is the owner
of the Needham Bowlaway in Needham, Mass.
K a r e n ( C a n n e r ) M o s s (MFA ’74) had drawings
selected for the A.I.R. Gallery’s “7 th Biennial” in New
York City, March 2007.
B r i d g e t M u r p h y (Post-Bac ’99, MFA ’02) is director
of programs at Artadia.
D i v y a M u r t h y (MFA ’06) participated in “New Works
#10,” an exhibition at Longwood Art Gallery @ Hostos,
New York City, April–May 2007. She had two long
panoramas and floor installations in “New Works:
Photographs by En Foco’s Award Winners” at Diaspora
Vibe Gallery in Miami’s Design District, February–
March 2007.
P a t r i c k M c E l r o y (Dip ’02) is a film editor in Los
Angeles.
C h a n d r a M e e s i g (MFA ’05) had her Backs of
Photographs series at Brookline (Mass.) Arts Center
Gallery, February–March 2007. Her new work, American
Eulogy , is in the flat files of the Boston Drawing Project
at Boston’s Bernard Toale Gallery. Her work in the
“Butterfly Art Foundation’s International Photo-Art
L a u r e l N a k a d a t e * (BFA ’98, Dip ’99) had work
reviewed in ArtForum (January 2007).
A m a n d a N i c o l (BFA ’94) is a jewelry designer in
New York City who launched Amanda Nicol Fine Art +
Design. Her work was highlighted in Women’s Wear
Daily , New York Times , and Harper’s Bazaar and is
above left: ariel kotker, S n e a k e r ( d e t a i l ) , 2007.
Cut, sewn, and glued canvas, paper, ink, acrylic foam,
Foamies, rubber, Sculpey, sewn string. 12 x 4 x 5H inches.
below left: tina manwarren roche-kelly,
R e d T h r e a d Pr o j e c t , 2006. Collected clothing, beeswax,
handsewing. Dimensions variable. C o u r t e s y B r o m f i e l d
Gallery.
right: e. taliaferro jones, N i m b u s , 2007. Kiln cast
crystal. 14H x 14H x 7 inches.
August 2007.
Vi v i a n P r a t t (Post-Bac ’00) was in group shows at
Arlington (Mass.) Center for the Arts, June 2007, and
at Dragonfly Gallery in Oak Bluffs, Martha’s Vineyard,
Mass., May–June 2007. She had her first solo show at
Boston’s Bromfield Gallery (May 2007) in conjunction
with the Boston Cyberarts Festival and had a solo show
at 119 Gallery in Lowell, Mass., January–March 2007.
L i n d a P r i c e - S n e d d o n (Dip ’98) had “The Trees Have
No Tongues,” a solo show at Boston’s HallSpace gallery,
May–June 2006.
L i s a P r u i t t (GD ’00) shows work at Artel Gallery,
Pensacola, Fla., and with the Pensacola Plein Air
painting group. For three years, she has taught art at
Pensacola’s Holm Elementary School.
E i l e e n Q u i n l a n (BFA ’96) is having an exhibition of
new photographs in New York’s Miguel Abreu Gallery,
fall 2007. She had her first solo exhibition at Sutton
Lane in London, September 2006, and had work in “Dice
Thrown (Will Never Annul Chance)” at New York City’s
Bellwether, December 2006, which was reviewed in
the New York Times . Modern Painters labeled her an
“Emerging Artist” to watch (November 2006) and she
authored the Top Ten page in Artforum ’s January 2007
issue. She recently had a baby with husband C h e y n e y
T h o m p s o n (BFA ’99).
carried in the Museum of Modern Art Design Store
Soho and Ron Herman / Fred Segal Beverly Hills and
Santa Monica.
C a r o l O d e l l (BFA ’67) was artist in residence at Cape
Cod Community College’s Higgins Gallery, January–
February 2007, which was reported in the online journal
www.capecodtoday.com .
A l e x a n d r a O p i e (MFA ’01) exhibited Murmurings , a
video installation at Hallie Ford Museum of Art at
Willamette University in Salem, Oreg., spring 2006. She
had a solo exhibition at Portland (Oreg.) Art Center, May
2007. She is visiting assistant professor at Willamette
University in Salem.
C h a n d r a D i e p p a O r t i z (Post-Bac ’99) had the exhibition “Cultural Armor” at La Casa De La Cultura gallery
in Boston’s Center for Latino Arts, fall 2006.
R o b i n P a i n e * (MFA ’95) is represented in “Recent
Acquisitions: Gifts of Fine Art, 2005–2006” at Cape
Ann Historical Museum, Gloucester, Mass., spring 2007.
In April 2007 she exhibited work in “Transmettre Aussi,”
an exhibition at Espace Châtelet-Victoria in Paris. She
represents the Edinburgh College of Art, Scotland, alumni
association in North America and exhibits with Jane
Deering Gallery, in Boston and Santa Barbara, Calif.
J e n n i f e r P a r r i s h (AT ’95) has characters on several
prime-time television shows wearing her jewelry, from
Ugly Betty to According to Jim . She was profiled in
the Malden (Mass.) Observer (November 2007).
Vi r g i n i a P e c k (Dip ’83) had a one-woman show at
Boston’s Gallery Anthony Curtis, May 2007. She had
work on view at Easy St. Gallery, Nantucket, Mass.,
May 2007, and in “Deep Within the Deep,” at Powers
Gallery, Acton, Mass., February 2007. She and her work
were profiled in Middlesex Beat magazine (January
2007). For more information, visit www.virginiapeck.com.
S h e i l a P e p e (MFA ’95) had work in the following group
shows: “Arte Povera Now and Then: Perspectives for
a New Guerrilla Art” at Esso Gallery, New York City,
April–May 2007; “Shared Women” at Los Angeles
Contemporary Exhibitions, February–April 2007; and
“Radical Lace & Subversive Knitting” at the Museum
of Art & Design in New York City, January–June 2007.
I n g r i d P i s a n o (AT ’95–’99) had her second solo show,
“Kiss,” at Coleman Gallery, Concord, Mass., July–
M a t R a p p a p o r t (BFA ’95) was awarded a George A.
and Eliza Gardner Howard Foundation Fellowship for
the 2007–2008 academic year. Rappaport’s work can
be seen at www.meme01.com .
D a n i e l R i c h (MFA ’04) exhibited work in the main
gallery space of Sunday (Stir Us Free Us) in New York
City, May–June 2007.
To n y R i n a l d o (BFA ’81) had recent photographs at
the Concord (Mass.) Free Library, February 2007.
K a r e n R i s t u b e n (BFA ’81, MAT ’04) had solo shows
at the Rockport (Mass.) Art Association, March 2007,
and at 100 Cambridge St. in Boston, December 2006. She
is a faculty member at the DeCordova Museum and
Sculpture Park, Lincoln, Mass., and an art teacher at
Hamilton-Wenham Regional High School in Hamilton,
Mass.
M a r n e R i z i k a (AT ’86–’88) is finishing up a drawing
series on Boston’s Central Artery Tunnel and recently
completed a series of paintings related to the subject of
Many alumni Web sites are listed in this issue
of artMatters . To view other alumni Web sites,
or to post your own, visit SMFA artLinks at
www.smfa.edu/artlinks .
www.smfa.edu
19
left: liz shepherd, U n t i t l e d ( c h a i r s # 2 ) , 2006.
Intaglio print on paper. 22 x 30 inches.
right: erica h. adams, S t a t e s ( S e r i e s ) : S w e l l , 2005.
Iris print on Somerset paper. 35 x 23I inches.
Cambridge, Mass. For more information, visit
www.alexandrasheldon.com .
L i z S h e p h e r d * (Post-Bac ’00, Dip ’01, MFA ’06) had
“I Don’t Know the Details,” a solo exhibition at Boston’s
Locco Ritoro Gallery, March–April 2007.
To n y S h o w a h (Post-Bac ’06) is working on his MFA
at Savannah (Ga.) College of Art and Design in Atlanta.
He is also in residence at New York City’s Elizabeth
Foundation for the Arts (EFA) Studio (March 2007).
N a n c y S i m o n d s (Dip ’77, FY ’78) had her Block Stack
series at McGowan Fine Arts in Concord, N.H., and
Susan Maasch Fine Arts in Portland, Maine, in 2006–
2007. Michele Mercado Contemporary Jewelry and
Fine Art introduced her ovoid series in fall 2006.
B e n S l o a t * (Post-Bac ’02, MFA ’05) had “Shades of
Brown & Yellow: Asian Visual Representation in the
American Construct,” his first full-length essay, published in the fall 2006 issue of Exposure magazine.
R u t a S m i l s k a l n s * (BFA ’89) has a solo show at the
antique tractors and mechanical objects, which were
included in an exhibition at the Southern Vermont Art
Center.
R i c h R o b i n s o n (AT ’96–’98) sold his feature film
Marcus to Warner Brothers and Polychrome Pictures for
worldwide distribution. He is producing the upcoming
films Bubba with Love ; is writing and directing Water
Creek ; and writing, directing, and producing Broken
Pieces .
Ti n a M a n W a r r e n R o c h e - K e l l y (BFA ’00) had the
exhibition “Revealed/Revelation” at Boston’s Bromfield
Gallery, January–February 2007.
C a t l i n R o c k m a n (MFA ’98) had her new series, Among
the Narcissi , in a solo show at Boston’s Locco Ritoro
Gallery, May–June 2007, and in “Interface” at Boston
University’s Sherman Gallery, March–May 2007. In
May 2006 she had a show at ArtHouse in Jamaica
Plain, Mass., which was reviewed on the Web site
www.bigredandshiny.com . Paintings from her previous
series, Power , were exhibited at Boston University’s
Sherman Gallery, spring 2007.
J o h n P. R o h r b a c h (AT ’99–’02) founded Bullseye
Interactive Media, a Washington, D.C., firm that builds
Web sites, designs internet campaigns, and makes
videos for political candidates.
G e r a l d R o j e k (MFA ’06) had a solo show in Resnikoff
Gallery at Roxbury (Mass.) Community College, April
2007.
20 a r t M a t t e r s
A m y R o s s (AT ’98–’00) had two solo shows: “Anima
Mundi” at Jen Bekman in New York City, April–June
2007, and “Nature Morph” at Boston’s Allston Skirt
Gallery, January 2007.
A . E . R y a n (MFA ’92) had a reception celebrating her
work at the Alliance Francaise of St. Kitts and Nevis,
March 2007.
E v e l y n R y d z * (MFA ’05) had her installation Petrified
in the exhibition “Frame 301” at Montserrat College
of Art, Beverly, Mass., February–March 2007.
M i s a S a b u r i (BFD ’03) received her master of arts in
teaching from the Rhode Island School of Art and Design
in Providence, R.I., in June 2007.
E r i n S a d l e r (MFA ’05) recently moved to New
Orleans, La.
M a r d y S e a r s ’s* (BFA ’87) book edition Gules was
included in the Guild of Book Workers’s “100 th Anniversary Exhibition,” which opened at the Grolier Club,
New York City, in October 2006. The show will travel
to multiple venues, including Dartmouth College Library,
Hanover, N.H., October–November 2007.
A l e x a n d r a S h e l d o n (Dip ’79, BFA ’80, FY ’82) is
writing a book on collage and teaches drawing in
If you would like to work with other alumni on
upcoming events and exhibitions or work with
students and alumni on community-building activities, please send an e-mail to alumni @ smfa.edu
Springfield (Mass.) Museum of Fine Art, on view through
January 2008.
S h i n i q u e S m i t h (MAT ’00) was in the two-person
show “Prime Time” at Caren Golden Fine Art, New York
City, April–May 2007. She curated “Cotton Candy on
a Rainy Day” at New York City’s Proposition gallery,
November–December 2006, and had her interactive
installation No Dust, No Stains at Cuchifritos in New
York’s Essex Street Market in fall 2006. She was also
a guest artist on Sound and Vision on WPS1 radio,
the internet station of New York’s P.S.1 Contemporary
Art Center.
S e a n S m u d a (AT ’82–’84) had the solo show
“Dreams and Allegories” at Flanders Gallery,
Minneapolis, Minn., March–April 2007.
E l i f S o y e r (MFA ’99) had an exhibition of her new
work at Boston’s Kingston Gallery, May 2007.
L a u r e l S p a r k s * (BFA ’95) had the solo exhibition
“Christmas in July” at Boston’s Howard Yezerski Gallery,
March–April 2007, which was reviewed in the Boston
Globe (March 2007). She was in the group show
“Affinities: Painting in Abstraction” at Bard College’s
Hessel Museum, Annandale-on-Hudson, N.Y., in
March 2007.
E l a i n e S p a t z - R a b i n o w i t z * (MFA ’74) was awarded
a 2007 Guggenheim Fellowship.
D o u g S t a r n (Dip ’84, FY ’85) and M i k e S t a r n (Dip
’84, FY ’85) had “alleverythingthatisyou” at WG16
Wetterling Gallery in Stockholm, Sweden, March 2007.
“ L u c k y E d d i e ” S t r a e f f e r (MFA ’73) joined the Kelly
Miller Circus. His career has included being co-owner
of Shadetree Studios Fine Art Foundry as well as a
photographer, photojournalist, painter, educator, community arts activist, and museum superintendent. He
and his wife will write and photograph their experiences for their book about traditional one-ring, bigtop circus life.
K e i t h W a l s h (MFA ’92), who teaches drawing at
Woodbury University, Burbank, Calif., has been awarded
a 2007–2008 faculty development grant for research
and a new sculpture project.
M a r y We i n e r- M i l l e r (BFA ’82) is showing in numerous
central Florida and Indiana art galleries. She is now working in jewelry, watercolor, pen and ink, and mixed media.
A n d r e w W i t k i n (MAT ’03) had the exhibition “and
and” at Boston’s Allston Skirt Gallery, May 2007.
G a b r i e l a E l i z a b e t h W e l s h (AT ’04) was awarded a
Without Walls, a Brookline, Mass.-based collaborative,
for the last three years and sold a piece at a Weber
Gallery exhibition in Greenwich, Conn., this year. He is
studio manager for David Bakalar in Chestnut Hill, Mass.
summer scholarship by the Madrid Fine Arts School in
Spain, where she spent July 2007.
C l a i r e S t r i n g e r (BFA ’01) had her first solo show at a
R a c h e l P e r r y W e l t y * (Dip ’99, FY ’01) had work in
gallery in Williamsburg, Brooklyn (N.Y.), March 2007. She
is assistant to the director at the Queens (N.Y.) Museum
of Art and is taking courses at Art Students League.
“Levity: Selections Spring 2007” at the Drawing Center
in New York City, February–March 2007. She was interviewed for the Web site www.berkshirefinearts.com
(March 2007) and showed work at Aqua Art Miami at
Miami’s Gallery Joe, December 2006.
G a r y S t u b e l i c k * (AT ’73–’77) had a solo show at
Boston’s Locco Ritoro Gallery, September–October 2006,
which was reviewed in the Boston Globe (October 2006).
H e i d i W h i t m a n (Dip ’80, Faculty) participated in the
J e f f r e y S t u k e r (BFA ’03) received his master of fine
arts from Yale University and currently teaches at Yale
School of Art and Yale College.
A Wishing Wall,” at Lisa Coscino Gallery in Pacific
Grove, Calif., Mach 2007. She exhibited in two group
shows, including twelve works in “Gift Show” at San
Francisco’s 301 Bocana Gallery, December 2006.
the New York Times (December 2006). He recently
had a baby with wife E i l e e n Q u i n l a n (BFA ’96).
J u d y Ti m p a (Dip ’91, BFA ’92, FY ’92) founded Sun &
painting exhibition at the Boston Convention and
Exhibition Center, March–June 2007. She is an art
teacher at the Charles Brown Middle School in
Newton, Mass.
M i c h a e l W a l e k (BFA ’73, Dip ’75) had an exhibition
of his work at Sharon Weiss Gallery in Columbus, Ohio,
March 2007. His work was reviewed in the Columbus
Dispatch (March 2007).
Yo s h i k o Ya m a m o t o (Dip ’72, FY ’73, BFA ’84, Faculty)
was in a sculptural jewelry show at Mobilia Gallery,
Cambridge, Mass., spring 2007, and participated in
the international exposition “Sculpture Objects and
Functional Art” in New York, June 2007.
S t e v e A i s h m a n (Post-Bac ’98, MFA ’01) and B e n
S l o a t (Post-Bac ’02, MFA ’05) exhibited in “Half Asian”
de l’Art Bourgeois: La Non-Intervention” at New York
City’s Andrew Kreps Gallery, which was reviewed in
C h r i s t i n e Va i l l a n c o u r t (AT ’87–’88) had a solo
exhibition at the Harvard Graduate School of Education,
Cambridge, Mass., May 2007.
groupShows
C h e y n e y T h o m p s o n * (BFA ’99) has “Quelques Aspects
acquired by the Museum of Fine Arts, Boston. They were
on display in “Recent Acquisitions: Gifts of Art,” fall
2006.
L a u r a W u l f * (BFA ’96) had work in “Play Ball,” an
R o b e r t Z e l l e r * (BFA ’93) had a solo exhibition, “The
Virgin of the Mall,” at New York City’s 511 Gallery,
November 2006–January 2007.
M i c h e l e T h é b e r g e (BFA ’88) created “The Seed Piece:
J o h n Tr a c e y (BFA ’76) had nine bronze sculptures
J i m W r i g h t (BFA ’83) has exhibited with Studios
A n d r e w Ya s g a r (AT ’90) is a graffiti artist who was
profiled in the Boston Globe (December 2006) for his
collection of urban vinyl figures.
J e f f r e y Te u t o n (BFA ’07) was profiled on the Web
site www.absolutearts.com .
Moon Landscape Design in greater Boston. The Web
site is www.sunandmoonlandscape.com .
artMatters has begun listing alumni Web sites
with alumniNews entries. The next time you submit
news, please include your Web site.
group show “Size Matters,” at Boston’s Rhys Gallery,
September–October 2006, and in “One of a Kind” at
John Michael Kohler Arts Center, Sheboygan, Wisc.,
2006–2007.
R o s e m a r y W i l l i a m s (CD ’94) created The Wall of
Mall , which was reported in the New York Times
magazine (March 2007). She is assistant professor of
new media at St. Cloud (Minn.) State University.
J e n n e W i l l i s (BFA ’06) is director at GASP in Brookline,
Mass. She was in the group show “Home Girls” at the
Visual Arts Gallery at New Jersey City (N.J.) University,
February–April 2007, which was reviewed in the Jersey
Journal (March 2007) and on www.artinfo.com , March
2007.
at Front Gallery in Oakland, Calif., February–March
2007, which was reviewed in the Oakland Tribune and
on www.insidebayarea.com that month. Their work
Offspring and Sloat’s solo work was in the April 2007
exhibition, “An Orchid in the Land of Technology,” at
Boston’s OH+T Gallery. Visit www.halfasian.us for more
information. A i s h m a n and H e i d i M a r s t o n (BFA ’97,
Dip ’02, FY ’03) curated “Community Through Cameras,”
an exhibition at Fitchburg (Mass.) State College.
J a m e s B a k e r (GD ’99), J u d y K r a m e r (AT ’77–’79),
and M a r d y S e a r s (BFA ’87) participated in “Boston
Printmakers 2007 North American Print Biennial,”
February–April 2007, at Boston University’s 808 Gallery.
Sears received the McClain materials award for her
piece My Curiosity Overwhelmed My Trepidation .
G a i l B a r k e r (Dip ’95), E r i c a D a b o r n (Faculty),
H e i d i J o h n s o n (Dip ’89, FY ’90), R o b i n P a i n e (MFA
’95), S h e l l e y R e e d (Dip ’84), D a w n S o u t h w o r t h
(Faculty), J u n i Va n D y k e (BFD ’90, MAT ’92), B a r b a r a
W e l l s (AT ’84–’90), and R a c h e l P e r r y W e l t y (Dip
www.smfa.edu
21
valta us, Wainscott Field, Autumn , 2006. Oil on canvas.
50 x 60 inches.
exhibition at Boston’s Howard Yezerski Gallery,
January-February 2007, featuring his work as well as
the following former residents of Boston now living
in New York: C l a u d i n e A n r a t h e r (Post-Bac ’97, Dip
’98), K r i s t i n B a k e r (BFA ’98), H o l l y C o u l i s (MFA
’98), N u n o D e C a m p o s (MFA ’99), E r i c D o e r i n g e r
(MFA ’99), To r b e n G i e h l e r (Dip ’97, FY ’99), J u s t i n
L i e b e r m a n (Dip ’99), L a u r e l N a k a d a t e (BFA ’98,
Dip ’99), D i a n a P u n t a r (MFA ’96), C h e y n e y
T h o m p s o n (BFA ’99), A n a M a r i a Ve l a s c o (Post-Bac
’96), and C h a r l o t t a W e s t e r g r e n (MFA ’96).
’99, FY ’01) had work in “Other Visions + Other Strategies”
at Jane Deering Gallery in Montecito, Calif, January–
April 2007.
H a n n a h B a r r e t t (Dip ’92), L a u r a C h a s m a n (Dip ’69,
FY ’70), L i s a C o s t a n z o (Dip ’98, FY ’00), J u l i e
G r a h a m (Faculty), N i c o l e K i t a (MFA student), J o a n
L i n d e r (BFA ’93), C h r i s N a u (Faculty), and E v e l y n
R y d z (MFA ’05) had work in New American Paintings ,
northeast issue #68 of the juried exhibition-in-print.
E l a i n e B a y (MFA ’04) and A i m e é L a P o r t e (MFA ’05),
together with other members of their collaborative,
created the multi-media installation “Miracle5 ¡ATTACK!”
at Boston’s Rhys Gallery, February 2007.
P r i l l a S m i t h B r a c k e t t (AT ’86), E r i c a D a b o r n
(Faculty), and Ya n i c k L a p u h (Dip ’89, FY ’90) had
work in “Massachusetts Artists 2007” at Brush Art
Gallery in Lowell, Mass., April–June 2007.
B e t h a n y B r i s t o w (Dip ’93, FY ’94) and L a u r e l S p a r k s
(BFA ’95) had work in Boston gallerist Howard Yezerski’s
space at the “Bridge Art Fair” in Miami, December 2006.
R i a B r o d e l l (MFA ’05), S a m a n t h a F i e l d s (MFA ’05),
and J e f f W a r m o u t h (MFA ’97) were featured in the
“2007 DeCordova Annual Exhibition” at the DeCordova
Museum and Sculpture Park, Lincoln, Mass., May–
August 2007.
M a y D e Vi n e y (AT ’96), R u t h F i e l d s (MFA ’96), A l i s o n
K o t i n (Post-Bac ’04, Dip ’06), H i r o k o L e e (Dip ’91,
FY ’94), A m y M o n t a l i (Post-Bac ’01, MFA ’04), R u t a
S m i l s k a l n s (BFA ’89), and G a r y S t u b e l i c k (AT
’73–’77) had work accepted by Cambridge (Mass.) Art
Association in its national prize show in May–June
2007.
E m i l y E a s t r i d g e (AT ’02–’04) and R a i s h a d G l o v e r
(Dip ’05) comprise the collective CoachTV and created
“On The Set,” a video shown at the 12 th International
The School’s Web site now profiles alumni. To
read about your colleagues from across the globe,
visit www.smfa.edu/alumni and click on alumni
profiles.
22 a r t M a t t e r s
Non Grata Film and Video Festival in Parnu, Estonia.
L a l l a A s s i a E s s a y d i (BFA ’99, Dip ’00, MFA ’03)
and J o n a t h a n S a n t o s (MFA ’04) took part in “Don’t
Know Much About History,” a show at artSPACE’s
Untitled (Space) Gallery in New Haven, Conn., November
2006–January 2007. The exhibition was reviewed in
the New York Times and New Haven Advocate
(December 2006).
R u t h F i e l d s (MFA ’96), S a r a h H u t t (Dip ’82, FY ’03),
L e n o r e Te n e n b l a t t (Dip ’79), and N a n Tu l l (Dip ’78,
FY ’80) participated in “Time and Space” at Fort Point
Art Gallery, Boston, one of many exhibitions nationwide celebrating the centennial of the MacDowell
Colony.
L i s a L u n s k a y a G o r d o n (MFA ’05) curated “Pure,” an
exhibition in a Brighton, Mass. abandoned strip mall
that had been transformed into a Hospital for Art.
Included in “Pure” are L a u r a A r e n a (AT ’04), B e t t y
B o l i v a r (Dip ’04, FY ’05), E l l e n C h a m b e r s (PostBac ’02, MFA ’05), M e l i n d a C r o s s (BFD ’06),
A n d r e w E i s e n b e r g (BFA ’05), J e s s i c a F e n l o n
(MFA ’02), Ta t i a n a G e l f a n d (CD ’04), C a r o l H a n s o n
(AT ’05), L a u r a J o h n s t o n (MFA ’04), C h u c k M c N a l l y
(Dip ’87, FY ’89, BFA ’91), P i o t r P a r d a (MFA ’05),
W i l l i a m T h o m a s P o r t e r (Dip ’05), J e r r y R u s s o (Dip
’01, FY ’02, BFA ’03), J u l i e t S c h n e i d e r (MFA ’97),
A b r a h a m S c h r o e d e r (MFA ’05), S a n n a S e v a n t o
(AT ’06), L i z S h e p h e r d (Post-Bac ’00, Dip ’01, MFA
’06), S e a n S m i t h (AT ’01–’05), A n d i S u t t o n (CD ’04),
and B o b W h i t e (AT ’81–’95).
T h o m a s G u s t a i n i s (MFA ’03) and L a u r a W u l f (BFA
’96) had work in “Pictures Outside the Box: Photography
Without a Camera” at Boston’s Gallery Kayafas,
November–December 2006.
C h u c k H o l t z m a n (Dip ’73, FY ’74), J i l l S l o s b u r g A c k e r m a n (BFA ’70, Dip ’71), and E l a i n e S p a t z R a b i n o w i t z (MFA ’74) had work included in
“Uncommon Denominator” at Simmons College’s
Trustman Art Gallery in Boston, April–June 2007.
R i d l e y H o w a r d (MFA ’99) organized “Fung Wah,” an
W e s K a l l o c h (AT ’95) had his series Minor Erections
and S a n d T (Dip ’93, MFA ’97) had Upper Story in
“Four Compositions,” an exhibition at artSPACE @ 16,
Malden, Mass., February 2007.
D o u g l a s K o r n f e l d (Dip ’84, FY ’85), L a z a r o M o n t a n o
(MFA ’01), and P a t t y S t o n e (BFA ’91) had work in
“Studios @ 35: Artists at the Boston Center for the
Arts,” November 2006–January 2007.
J u d i t h L a r s e n (BFA Art Ed ’73, MFA ’74) and E v e l y n
R y d z (MFA ’05) were represented by Boston’s Rhys
Gallery and M a r y E l l e n S t r o m (Faculty) was represented by Boston’s Judi Rotenberg Gallery at the Red
Dot Art Fair in New York City, February 2007. Larsen
and husband P e i k L a r s e n (Dip ’74) had the two-person show “The Print: Etching to Digital” at the Brooks
School’s Lehman Art Center, North Andover, Mass.,
April–June 2007.
J u s t i n L i e b e r m a n (Dip ’99) co-curated “The Art of
the Deal,” an exhibition of early works by New York
gallerists who once sought their calling as artists,
including Z a c h F e u e r (BFA ’00) of the Zach Feuer (LFL),
Kantor/Feuer, and Brown Galleries; S e a n H o r t o n (MFA
’04) of Sunday (Stir Us Free Us); and K e l l y Ta x t e r
(BFA ’98) of Taxter and Spengemann. The exhibition was
in the Kantor/Feuer Window in New York City, April–
May 2007.
M i c a h M a l o n e (MFA ’04) and J o n a t h a n S a n t o s (MFA
’04) started a web-based artists’ initiative to provide a
platform for the investigation, production, and promotion
of site-responsive temporary art projects. Check it out
at www.ltdweb.org .
A s u k a O h s a w a (MFA ’02) exhibited work in the main
gallery space and H e n r y S a m e l s o n (Post-Bac ’00,
MFA ’03) in the project space of Sunday (Stir Us Free
Us), a gallery run by S e a n H o r t o n (MFA ’04) in New
York City, April–May 2007.
Tr i c i a O ’ N e i l l (BFA ’07) and A l l e g r a A n d e r s o n
(BFA student) completed the film Making Contact, which
won a place in Brown University’s Ivy Film Festival in
Providence, R.I., April 2007, and was screened in the Doc
Louise Pilley attended a one-room schoolhouse in Brooks,
Maine, in the early twentieth century, but when she had
minor ailments, her mother often allowed her to stay
home. On those days she turned to her art. She drew
Gibson Girls, practiced her samplers, created printed
booklets, and sketched animals.
Pilley’s talents led her to the Museum School in 1924,
where her work developed from a child’s renderings
to a mature style of watercolor painting. She continued to paint—and relish her experiences from
School — even after returning to Maine during World
War II to care for her father after her mother’s passing.
Despite the distance, Pilley kept the Museum School
and artmaking close to her heart. Upon her death three
years ago, she remembered the SMFA in her will with
a bequest of more than $650,000. The money will
buttress long-term education and expansion goals, says
Dan Poteet, provost and director of development.
Pilley left the family home at Brooks’ four corners to
her second cousin, Bob Elliott, who, along with his wife,
donated the house (ca. 1818) to the nascent Brooks
Historical Society. “Louise went to high school in Brooks
and moved to Boston shortly thereafter,” says Elliott,
namesake of the 1950s radio show Bob and Ray and
father of There’s Something About Mary actor and
Emmy Award–winning writer Chris Elliott. “At the time,
we were living nearby Boston and we would have her
up to the house for Sunday dinners. We would pick
her up from the bus stop. I remember her mentioning
the Museum School all through her life.”
Brooks Historical Society president Betty Littlefield
recalls Pilley fondly and with gratitude for her generous
gift. She mentioned a prescient conversation when
the two women visited a few years ago at Pilley’s
apartment in St. Petersburg, Fla. “The historical society was newly formed and I told her that I wished we
had her house,” Littlefield says. “And Louise said, ‘I
wish you did, too.’ Then, as you know, Bob Elliott was
kind enough to donate the house to us.” O
Regardless of size, planned gifts—bequests and other
planned donations—aid the Museum School as well as
provide family members with significant tax benefits. For
more information on planned gifts to the School, contact
Jane Holtz at [email protected] or 617-369-3592.
L o u i s e Pi l l e y a t t e n d e d t h e M u s e u m S c h o o l , 1 9 2 4 – 2 7
tell us More
We’re looking for stories to feature in artMatters.
Tell us about your art in progress. Also, send us
your exhibition announcements, 300 dpi digital
images of your work, and other news of your
world. We’d like to keep everyone apprised of
your activities.
The next issue of artMatters will be Spring 2008.
The deadline for Alumni News is October 15,
2007.
Submit information and images to:
Alumni Relations Office
School of the Museum of Fine Arts, Boston
230 The Fenway
Boston, MA 02115
Or e-mail:
alumni @ smfa.edu
www.smfa.edu
23
Check out www.smfa.edu, the Museum School’s Web site,
for alumni events, profiles of alumni, faculty members,
and students, and links to your friends’ and colleagues’
Web sites. Here are a few of the great items you’ll find.
alumni Profile
My candlesticks are one of a kind!
(at Target they’re 2.99)
Rebecca Goldberg Oliver (Bachelor of Arts/Bachelor
of Fine Arts ’97) graduated ten years ago, but the Art
School Cheerleaders, the guerilla-style performance
group she helped found in the 1990s, is going strong.
The participating artists still wear the black-and-silver
cheerleading uniforms and fishnet stockings with combat boots, and their cheers are as rousing as ever. For
example, here is a cheer she wrote just this last summer.
Photograph that in black and white!
(but my i-phone can shoot it right)
“Why Don’t You Get a Real Job?”
Rebecca Goldberg Oliver and Jocelyn Bandas
Kellner
I interpret the world for you!
(but why don’t you get a real job?)
Beauty! Fashion! Cities, too!
(why don’t you get a real job?)
Without me your world is gray!
(how much money did you make today?)
Should I put my talent into telemarketing?
Spend my nights making your phone ring?
You’ll go to hell without Chanel
And discover me posthumously
(Without your art I’m in the dark)
Yeah, yeah, I do have a real job!
To read more about Oliver and other Museum School
alumni, visit www.smfa.edu/alumni and click on
Profiles.
above right: joan linder, S e v e n e i g h t y - t w o , 2005.
Ink on paper. 82 x 52 inches. Courtesy Mixed Greens.
artMatters Plus
Did this issue of artMatters interest you? You’ll find
works by additional artists — including Joan Linder’s
piece above — who are interpreting global events at
www.smfa.edu/alumni. Click on artMatters to read more.
artist Resources
The Artist’s Resource Center (ARC) is a unique source
for career advising, job links, internships, professional
development, and community/partnership opportunities.
Individualized, one-on-one support is available throughout
the span of your career. ARC staff members will help
you recognize your skills, identify opportunities, write
an effective résumé, and refine your voice as a professional artist. To learn more, visit www.smfa.edu/arc.
in the News
In the late 1990s, Rebecca Goldberg Oliver (front row, in split) performed in front of the White House with Rebecca
Burkhill and Angela Tong (second row); Kari Swendsboe, Julie Arthurs, Amanda Blandford Kriegel, Stephen Bailey, and
Pe t e r K e a n e y ( t h i r d r o w ) ; a n d L i s i Wa l l e r , J e s s i c a B r a n d , a n d B e t h C a r r o n ( b a c k r o w ) .
24 a r t M a t t e r s
Interested in learning about your friends’ and colleagues’
exhibitions? Members of the SMFA community are in
the news every day. Go to www.smfa.edu and click on
News and Exhibitions.
This new section of artMatters features some of the many
exhibitions that you are welcome to attend. Please join us!
using printed media and multiples that create sites
for intervention, participation, and projection.
MFA Thesis Exhibition
Fi l m S c r e e n i n g a n d D i s c u s s i o n
T H U R S D A Y, N O V E M B E R 2 9 – S U N D A Y, D E C E M B E R 1 6
T H U R S D A Y, O C T O B E R 4 , 1 2 : 3 0 P M
TUFTS UNIVERSITY ART GALLERY
ANDERSON AUDITORIUM
AIDEKMAN ARTS CENTER
Award-winning documentary Vieques: Una Isla Forjando
Futuros/Vieques: An Island Forging Futures by Cruzan
filmmaker Johanna Bermúdez Ruiz. The film, which
highlights the peaceful resistance movement against
the U.S. Navy’s bombing practices in Vieques, Puerto
Rico, will be followed by a conversation between the
artist and SMFA faculty member Bonnie Donohue.
“America’s Paradise” and “Isla Del
Encanto”: Contemporary Art from the
American Caribbean
T U E S D A Y, S E P T E M B E R 1 8 – S A T U R D A Y, O C T O B E R 1 3
GROSSMAN GALLERY
Current work by twelve artists from the U.S. Virgin
Islands and Puerto Rico who are actively engaged in
a serious, often angst-filled conversation about the
myth of paradise and attempts to reclaim innocence.
Ecological concerns, issues of identity, migration, and
the complex relationship with the mainland United
States are among the topics that inform their work.
M O N D A Y, S E P T E M B E R 1 0 – T U E S D A Y, O C T O B E R 9
December Sale
C O U R T Y A R D G A L L E R Y, M U S E U M O F F I N E A R T S , B O S T O N
W E D N E S D A Y, D E C E M B E R 5 – T H U R S D A Y, D E C E M B E R 6 ,
Using the repeat pattern process, nine printmaking
students present strips of wallpaper patterns with
imagery from media sources. Curated by Master of
Fine Arts students Janine Biunno and Alexis Adams.
NOON–8 PM
Creatures and Monsters:
Behold the Pale Horse
T H U R S D A Y, S E P T E M B E R 2 7 – T U E S D A Y, O C T O B E R 9
This exhibition, co-curated by Gerry Bergstein (Bachelor
of Fine Arts ’69, Master of Fine Arts ’71, Faculty) and
Bachelor of Fine Arts student Al Baio is inspired by the
Bible’s description of the four horsemen of the apocalypse presented in chapter six of the New Testament’s
Book of Revelation. Al Baio, Anjuli Rathod, Antonia
Roberts, and Colin White are the four artists who will
assume the roles of the four horsemen, visually depicting the plague, war, famine, and death that leads to
the apocalypse.
Related Events:
Opening Our Doors Day
Opening Reception
M O N D A Y, O C T O B E R 8 ( C O L U M B U S D A Y )
M O N D A Y, S E P T E M B E R 1 7 , 5 – 7 P M
10:30 AM–4 PM
ANDERSON AUDITORIUM
Marcha triunfal hacia el Yo/Triumphant March Towards
the Self by Puerto Rican artist Quintín Rivera-Toro
Fi l m S c r e e n i n g s
T H U R S D A Y, S E P T E M B E R 2 7 , 1 2 : 3 0 P M
Opening Our Doors Day is an annual festival celebrating culture in the Fenway neighborhood. View the
exhibition “‘America’s Paradise’ and ‘Isla Del Encanto’:
Contemporary Art from the American Caribbean” and
enjoy artmaking activities for children in the Grossman
Gallery. Unleash your creativity at The Big Draw , a
lively program of drawing events in nearby Evans
Way Park.
ANDERSON AUDITORIUM
In Concrete and Urban Graphics in Vieques , two documentaries about Puerto Rican artist Rafael Trelles that
feature his graphic art projects on walls, sidewalks, and
lampposts throughout San Juan, Puerto Rico, and the
Puerto Rican municipality of Vieques
T H U R S D A Y, N O V E M B E R 2 9 , 5 : 3 0 – 8 : 3 0 P M
A r t i s t s Ta l k
PROJECT SPACE
T U E S D A Y, S E P T E M B E R 2 5 , 1 2 : 3 0 P M
Opening Reception
Students Curate Students
Return: The Relation Between a Symbol
and a Symptom
Included in the exhibition are paintings and works on
paper by Monica Marin, Elsa María Meléndez, Shansi
Miller, Maud Pierre-Charles, and Rafael Trelles; sculptures by Luca Gasperi; an intervention piece by LaVaughn
Belle; installations by Erik Pedersen and Edgar Endress
(who is from Chile, but whose work is actively engaged
in issues of migration in the Caribbean); video documentation of installations by Mike Walsh; a video by
Quintín Rivera-Toro; and a documentary film by Johanna
Bermúdez Ruiz. The exhibition is organized by SMFA
curator Joanna Soltan.
Vi d e o S c r e e n i n g I n t r o d u c e d b y t h e A r t i s t
Featuring work by candidates of the joint graduate
degree program Janine Biunno, Cathleen Faubert,
Lawrence Getubig, Rebecca Bird Grigsby, Matthew
Meta, and Kurt Williams.
Team Screen: Multiple Acts, Part 2
T H U R S D A Y, N O V E M B E R 1 5 – T U E S D A Y, D E C E M B E R 1 1
MISSION HILL BUILDING GALLERY
1 6 0 S T. A L P H O N S U S S T R E E T, B O S T O N
Students in Jennifer Schmidt’s (Faculty) Intermediate/
Advanced Screenprinting course present projects
T H U R S D A Y, D E C E M B E R 6 , 6 P M
F R I D A Y, D E C E M B E R 7 – S U N D A Y, D E C E M B E R 9 ,
NOON–6 PM
Thousands of works of art in all media and price ranges
represent the creative talents of established and emerging artists, including internationally known Museum
School alumni and faculty, students, staff, and affiliated artists. Proceeds benefit artists and student
scholarships.
Days to drop off artwork
T H U R S D A Y, N O V E M B E R 8 A N D F R I D A Y, N O V E M B E R 9 ,
NOON–6 PM
S AT U R D AY, N O V E M B E R 1 0 A N D M O N D AY, N O V E M B E R 1 2 ,
10 AM–2 PM
Opening Celebration
W E D N E S D A Y, D E C E M B E R 5 , 5 – 8 P M
Come hear Museum School lectures throughout the
year including those by educator, writer, and curator
Linda Dalrymple Henderson and Institute of Contemporary Art Prizewinner Kelly Sherman. For a full
listing of SMFA lectures, additional student shows,
and upcoming MFA Thesis Exhibitions at Tufts
University, visit www.smfa.edu/calendar .
All events held at the Museum School unless
otherwise noted.
left: rafael trelles, From the portfolio En concreto—
grafica urbana en Vieques , 2005. Digital print documenting one of Trelles’ images created on the walls of
abandoned, soot-stained Navy magazines on Vieques.
Photo: Johnny Betancour.
above right: sakakini /burkhardt, Arrival at Aleppo
(detail) , 2007. C-print. C o u r t e s y o f J u d i R o t e n b e r g
Gallery.
C o n n e c t w i t h t h e S M FA a n d e a c h o t h e r
Alumni Community
Museum School alumni are creating a community to connect with and support each other and the School. Please join us. Small groups are discussing
topics that include alumni relationships with faculty members and students, alumni event planning, an alumni exhibition, and fundraising. For
more information or to participate, contact the alumni relations office at
alumni @smfa.edu or 617-369-3965 .
Photo: Tony Rinaldo
December Sale
Submit artwork to December Sale and join the SMFA artists who make this
event a great success. Proceeds benefit artists and student scholarships.
Days to drop off artwork
T H U R S D A Y, N O V E M B E R 8 , A N D F R I D A Y, N O V E M B E R 9 , N O O N – 6 P M
S AT U R D A Y, N O V E M B E R 1 0 , A N D M O N D A Y, N O V E M B E R 1 2 , 1 0 A M – 2 P M
Photo: George Bouret
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