AdiosAdieuArrivederci: Gallatin BAs 2016

AdiosAA_2016

PHOTOS FROM THE SHOW

461253798

ARTISTS

John Belknap
The Impossible Exchange, 2016

The Impossible Exchange is a series of hand drawn digital prints depicting the gaze of an anonymous bystander staring off at a series of long-haired figures elegantly diving in formation. Spliced between the viewer’s gaze and the long-haired figures are two gigantic fractured vertebra set against bright gradient backgrounds. Have the the three figures fallen and broken their spines? Or have they broken the fantasy of authoritative support, as the three portraits of a Neo-Grecian nude woman set against archival images of Walt Disney and a 1950s gay couple at the beach, might suggest? Taking hand drawn sketches and juxtaposing them against varying digital backgrounds disrupts rather than grounds the work.

John Belknap is a graphic designer based in New York who concentrates in art history, critical theory, and gender and sexuality studies at Gallatin. His preferred medium is pen, paper, or Photoshop.

Kai Michael Cameron
how to be a popular slut on instagram, 2016

After going through a phase where I posted semi-nude photos on instagram with a satirical take on renaissance nudity, I began to question if I wanted these photographs in the internet sphere. One night, I deleted them all without any form of archival. I later regretted this, and created digital collages based on memory of them. I created them as pop art advertisements, commenting on the status of branding and personal identity within social media.

Kai is a graduating senior whose interests lay within identity, the internet, and performance. His Gallatin concentration thus focused on these ideas through a combination of performance theory, acting, and visual art classes. His instagram is @kaikameron, and he is currently focused on pursuing his career as a film actor.

Jacob Ford
Death Strip: A Map of Berlin & Time, 2013

The Berlin Wall was plural. Two concrete barriers divided East from West, and in between lay the Death Strip: a heavily-guarded minefield razed flat except for 302 watchtowers. The wall began to be officially dismantled in 1990, but it left a scar of emptiness through the center of a suddenly reunited city. This map shows what the Death Strip has become.

The New Yorker’s Tabula Peutingeriana, 2015

One might reasonably assume that the history if cartography is a timeline of maps with gradually increasing accuracy, but there is a longstanding and still strong tradition of geographic imprecision in mapping. Originally made around the year 400, the Tabula Peutingeriana, warps Europe so that the entire isthmus of Italy, separated by what looks like a small creek from the coast of North Africa. This creek is, in fact, the Tyrrhenian Sea. Most city subway maps continue this same tradition of warping for greater clarity, because what really matters in a subway system (or, apparently, the ancient Roman road system as well) is its connections, not its geographic location. Here, I’ve designed the Tabula Peutingeriana for New Yorkers, who should instantly know how to read the diagram (and can probably identify which road was forever under repair and laden with delays).

Effy Jiang
Invisible Gaze, 2016 (two-channel video installation)

This project explores the main focus of my concentrations in the connections between one’s inner being and the relations to world outside through a constant, reciprocal gaze.

Effy is graduating from Gallatin in May 2016 with a concentration in Visual Art and Individual Identification. Her study goes beyond the practice or theory of art and looks into social constructions of personal aesthetics, emotions and, identities.

Abe Libman
Trees of the World, 2016

It is no coincidence that the human eye is equipped to detect more shades of green than any other color. We tend to forget that we share our world with beings that outgrow, outlive, and vastly outnumber us. Trees offer wisdom that transcends conventional ways of relating to our environments. I have heard it remarked that humans are essentially upside- down trees: While trees have their roots in the earth and extend outward towards the heavens; we people have our roots in heaven and extend ourselves out into the world. We thrive in a symbiotic relationship with trees, as the plant and animal kingdoms facilitate each other’s survival. I have encountered a brilliant variety of trees around the world. We are only beginning to unlock the secrets of their communication abilities and the levels of consciousness that they experience. I invite the viewer to consider these natural wonders while looking at my paintings.

Abe Libman is originally from Great Neck, New York. He is currently in his senior year at Gallatin. He has a minor in Studio Art and likes to create multimedia artwork in which he focuses on combining acrylic paints with oil pastels in order to make highly textural, layered surfaces with complex colors. In his concentration, Expression and Human Constructs, Abe typically pairs art and writing classes with various world languages. He recently held his colloquium, The Metaphysics of Self-Actualization, in which he used his studies of literature, philosophy, psychology, and religion to deliberate what makes a “good” life. He currently works as a writing tutor and as a substitute teacher and plans to graduate school and use his studies to develop a therapeutic method for helping people who struggle with anxiety, depression, and addiction. He enjoys exploring spirituality and the world.

Dinah Liger
Body Language, 2016 (choreography)

I’m always telling my body what to do, so it’s always refreshing to hear it talk back.

Born and raised in Miami, Florida, 22 year old Dinah Liger is a choreographer and visual artist. In addition to her creative works, she is also interested in design, management and business strategy. She will also be graduating this spring with a concentration in Creativity, Business, and the Politics of Aesthetics.

Zoe Carmen McGee

Papa’s 80, 2014 (dyptych)

The Renaissance Fair in Colorado, 2015
Queen of Kahn’s Bargain
Cowgirl dancing in Berlin
Papa with Two American Flags

Easter Clearance, 2016
Home, The Den
Home, Whinny
Look Out

Through creative nonfiction, illustration, and photography, Zoe documents and analyzes the unexpected;y intimate, subtly strange, or quietly extraordinary moments from her travels and everyday life.

Zoe transferred to Gallatin to practice her individual interests in the arts and to explore ways to combine them in physical space, through collaboration. Her concentration analyzes the social and structural frameworks of various creative platforms within art history, with the hope of deconstructing how their environments help creatives think, produce, and share art.

Madeleine Stanley
Body Lanscapes, 2016

Through Body Landscapes, I continue to explore my fascination with the body through an investigation into the beauty of human details. Small things – textures, colors – aren’t noticed on a daily basis. We always see them, so why should they be noticed? This piece is an attempt to emphasize the inherent beauty that is found in these details and to question the relationships and discomfort we have with our bodies.

Madeleine Stanley is a senior finalizing her studies in Entrepreneurship & the Aesthetics of Photography, where she integrates the business of freelance with photographic theory. Growing up in the woods of Connecticut has influenced her love of showcasing the uninhibited body in nature as her conceptual portraiture subjects, which she uses to explore the emotions and beauty of the human mind and body. In addition to photography, Madeleine exercises her passion for art through cooking and baking.

Vincent Vance
Helix, 2016

After studying the language for four years I have found that Russian is sometimes better for expressing or asking questions about the nature of what we perceive. Helix is about how from one standpoint two ideas such as angels and demons or good and evil could appear to never touch or overlap and even seem to be opposite each other, but when changing the way one vies the same ideas they appear to be two parts of the same concept and maybe they are one in the same. In the blink of an eye, horns can twist into halos and feathers back into the leathery skin of a wing.

Vince Vance hails from St. Louis, MO and is a senior in Gallatin, studying Human Justice, International Affairs, and Identity through the lens of music with a minor in Russian. He is sad to be leaving the “Galla-nest” but will be hanging around for another year pursuing an English Education MA at Steinhardt.

Izel Villarba

Outside, 2016

Outside is a self portrait. It’s a video installation that’s meant to capture the out of body experience that happens occasionally when I talk to people.

Test #2 Apt #1-6, 2016

Unfortunately this is an incomplete presentation of the work due to my model ceramic building not being fired in time. Each video is meant to play on a phone screen and watched through the windows of the building. The series evokes the absurd and repetitive nature of our lives, highlighting the surrealism of our often mundane tasks.

Izel Villarba is a senior in Gallatin with a concentration in psychology, screenwriting, and visual art that focuses on improvisation in the creative process. He writes screenplays, makes experimental videos and installations, takes photos, curates zines, and has recently taken up a fond interest in ceramics. Izel hails from Seattle, Washington, and is a product of two incredibly hardworking and inspirational parents from the Philippines.

Jesse Wheaton

Music Underwater
Rebekka Stuhlemer and Jesse Wheaton
Acrylic, Aerosol, Oil, Ink on Canvas
44″ x 23″
2016
For purchase, contact 510-499-3025

Still Life. Dead bouquet: Lily, Colored Daisies, Eucalyptus
Jesse Wheaton and Rebekka Stuhlemer
Acrylic, Oil Pigment, Ink on Canvas
54″ x 32″
2016
For purchase, contact 510-499-3025

​​Komorebi
Jesse Wheaton
Gouache, Ink on Canvas
20″ x 26″
2013
For purchase, contact 510-499-3025

Octopii Mountains
Jesse Wheaton
Acrylic on Canvas
18″ x 34″
2013
For purchase, contact 510-499-3025

​​Amoeba
Jesse Wheaton
Oil, Linseed on Board
www.jessewheaton.com
2015
For purchase, contact 510-499-3025

During the past few years, my paintings have progressed towards abstraction as I’ve become captivated by the raw beauty and texture of color. Choppy acrylics form landscapes that rivers of linseed oil and ink can flow through, dragging raw pigments with them. I temper these with degradative mixtures that eat away at color, composing their organic conflict. I guide the movements of adversarial mediums while allowing tiny cracks and fractals to propagate from the competition, details that couldn’t be intentionally constructed.
Now I’ve begun reintroducing figuration back into chaos, shaping the color into a still life of a dying bouquet or a visualization of music. By playing loosely with a palette knife and brush I’m able to create much more interesting images by showing the abstraction of the paint’s portrayal rather than a photorealistic articulation. This choice allows me to avoid any over-resolving of the images into too-easily digested concepts.

Born in Oakland, CA, where he picked up painting and film photography as a kid, Jesse Wheaton is now Brooklyn-based where he studies as a senior at NYU Gallatin. He is creating a concentration in “Patterns: Sight, Sound, and Interpretation”, exploring fine art, music, and theoretical physics through their shared stream of order and beauty. Wheaton has been featured in exhibitions in San Francisco, Manhattan, and Berlin and been published in a handful of arts journals, magazines, and newspapers but this show will be his last for a while: he plans to return to Berlin post-graduation for a period of reconstruction before exhibiting again.