Boston, MA (May 1, 2013)—This spring, the joint Master of Fine Arts degree program of the School of the Museum of Fine Arts, Boston (SMFA) and Tufts University celebrates the work of its graduating students with a series of final thesis exhibitions. Through in-depth presentations of artwork developed during the two-year program, these talented MFA students explain their creative process and development through artistic representation. With a robust class of over 60 graduates, SMFA-Tufts thesis exhibitions will take place throughout the spring and summer at galleries around Boston. Admission to exhibitions and related events is free and open to the public.
In “Ray of Dark,” Laura Harrison, Eugene Larochelle, Maia Lynch, Karmimadeebora McMillan, Tim Mearini and Ivette Salom investigate contemporary cultural norms and an array of predicaments with humor and surrealism.
Case Hathaway - Zepeda’s film explores the notion that reality continues to distort with each death; Paul Ishii’s work twists the traditional structure of self - help brochures found in counseling centers to focus on quirky disorders, illnesses and/or conditions; Ryan Kish’s paintings explore his interpretation of the world around him within a continuum of representation and abstraction; Liza Lynch’spaintings speak to the stringent way collections can be displayed and the obsessive nature of collecting; Vanessa Michalak explores ideas about escapism and adventure with her landscape paintings which synthesize memories, imagination and found photos; John Neylan’sEnd The Confusion explores American history through the lenses of the conspiracy theorist, the artist, the historian and the hoarder; DMH RICHMOND’s “Pop up Palace”, Talm Yom Good brings visitors product promotions, freebies, contests, film screenings, celebrity guests and franchise opportunities.
Timothy McCool’s These Things Take Timeis a collection of stream of consciousness drawings that recreate the experience of what it's like to live in a world where there's too much information and no one knows exactly what to do with all of it. Some fears are founded, others are not. Kate Gilbert’s “Hide:Seek,” presented as a pop-up retail environment, combines clothing, sculpture and media to portray the artist’s perspective on self-actualization as a non-hierarchical journey of being alone together.
Jodie Goodnough’s “Variants” explores the representation of the mentally ill in photography, both past and present; focused on the global movement of a single commodity, salt, Katherine Louise Mitchell’s “Sourced” is a subjective meditation and prolonged site study on the imaginary and material geographies of the advanced capitalist world; Juan Travieso showcases his vibrant paintings in "Decadencia"; Carl Vestweber’s“Home” is a site-specific installation composed of sculpture, drawings and collage used to discuss connections between the everyday and the sublime.
Cathy McLaurin’sNo place like home is a performance that combines documentary, lecture and storytelling. The narrator weaves together images and sound through the story of the rural town of Siler City, North Carolina. Drawing from an archive of material compiled through off-site research and visits to the town, the narrator peels back a veneer of complexity to reveal undercurrents of power, desire and histories that intertwine with contemporary issues of race, immigration and industrial decline.
This exhibition, which also features artist Andy Lauzier, examines motorbike subcultures and the meditative act of the ride. Featuring photographic portraits of people within the moped subculture, a video installation with footage shot from motorcycle rides in Indonesia, Malaysia and the USA plus a sound performance using discarded moped parts, “Human & Machine, Retrace & Depart” maps out human attachment to objects, times and places.
Jess Anderson explores concepts of value and consumption in a commodity culture by updating everyday surfaces with a decoration of sacred, utilitarian plants and herbs; Lauren Coulson creates worlds that envelope the viewer into contemplating multiple and ever-changing realities and question perception itself; Megan Herwigexplores what a house is what it represents, what it means to have a place of one’s own and the urge to build it; Neerja Kothari’sen(count)ering impossibilitiesexplores the absurdity of trying to quantify an unquantifiable experience; Katherine Romero; NicoleRosato’sCatch and Release is a series of graphite drawings inspired by the emotional burdens we carry with us through life.
Drawing motivation from the cosmos, chemistry and geology, Lauren Coulson’sElemental Shifts explores a process of painting that exercises spontaneity and control; Angela Counts’Flower Childexplores the intersections of fiction and non-fiction via three interlocking narratives: the rehearsal of an unproduced play, found footage of 1960s student activism and the artist's response; Bug Davidson’sNothing Like Ivanhoe layers dislocated audio visual clues that allude to the commonalities between experimental film and queer existence; a dream interlude arises from the collision between fantasy and fear. Masked and playing with fire, a figure briefly emerges, shifts and is extinguished. Did this happen asks Case Hathaway ‐ Zepeda’snightbook; Tim Mearini will screen excerpts from oO0(0)0Oo and oo0\V/0oo; B Milder explores nightlife and popular culture by producinglive art when audiences are least expecting it, such as Middlesex Lounge’s go-go performance;K.Tyler’sSense of Place is part of a larger work focused on New Town, ND, a small prairie town struggling with a sudden increase in traffic and population associated with the oil boom.