MFA student Benjamin Hoyng showed intriguing works in the Hillwood SAL Gallery, March 3-15, 2015.
If you by some (unacceptable) reason managed to miss his two week long exhibition, you will have another chance to experience his art in the MFA Thesis Exhibition, which will be held in the Steinberg Museum of Art between April 6 and May 8.
Reception is on Wednesday April 8, 2015, between 5-8 PM! It is free and all are welcome!
Juan C. Lopez Espantaleon filled LIU Post’s Sculpture Gallery with fascinatingly beautiful black and white photographs, from March 24 to 28, 2015. The MFA student showed two series of works, Umbilical and TimeLine.
In his artist statement, Juan Lopez explained his concept and vision behind Umbilical:
We are born naked from the dark connected with an umbilical cod to another human being. As individuals we spend our lives in a planet floating in the dark, trying to find some sort of connection to something or someone that could fill the doubt of our existence.
I am taking black and white photographs of people hanging from ropes in the dark. Rope symbolizes a metaphorical umbilical cord that is linked to something or someone we do not understand. The arms of the subject are not hanging following the gravity forces, arms are attached to their bodies signifying that they are alive.
In Umbilical I am exploring the self-perception of our existence and the constant fight with our basic nature for finding meaning and sense in our lives, while we still floating in the darkness of a universe that we cannot understand.
The second part of his show, the TimeLine, consisted of six photographs depicting people’s profiles in a symbolic encountering with each other, representing as Lopez’s statement expressed, “slices of times, collecting not only faces but meaning of our existence.”
The TimeLine series also emphasized the fact that it is our faces that makes us unique and that the human profile is an important universal image of ourselves.
Our MFA students have been very busy lately and as the end of the spring semester is approaching, their Thesis Exhibition in the Steinberg Museum of Art is just around the corner!
This year they will also have a Thesis Exhibition in New York City at SIA NY Gallery!
Artist receptions are on Wednesday April 8 (LIU Post) and on Saturday April 16 (SIA NY), 2015.
Show your support and join our talented MFA students for two fun and inspiring evenings!
The events are free and all are welcome!
His enchanting photographs were on display in the gallery from February 3 – 7 and the show was according to the artist himself “the final stepping stone to my thesis show which will be in April.”
For this solo show, Capalbo’s main inspiration was primarily his desire to redefine sacred space.
The show was about searching for sacred space in an overdeveloped world. The earlier work in the show was focused on finding sacred space in suburbia by tracking down places where humanity has left behind. The new series on the main wall was an attempt to find a space that lacked evidence of man. I found that the landscapes I saw were still pockmarked by urbanity.
Justin Capalbo describes himself as a photographer at heart. “I live to explore, learn and observe. A camera is the best tool for this, because your source material is everything you have ever known and will ever see.”
Graduating from LIU Post this May, Justin’s plan is to become a professor. “I love working with students, and being able to instill confidence in young artists to follow the passion and creative minds.”
For more information, see JustinCapalbo.com.
The MFA thesis art show will be up in the Steinberg Museum of Art in Hillwood, LIU Post, from April 6 – May 8, 2015. Reception is currently scheduled for April 8, 2015.
“I was both excited and honored to be chosen as the artist of the month,” says Chris Ann Ambery, who currently pursuits an MFA in printmaking at Post. She entered The Artist’s Magazine‘s Annual Art competition in May last year and was selected as a finalist out of 7200 entries.
See the full article and read Ambery’s interview with ArtistNetwork.com here.
On Tuesday 11/18/14 conceptual NYC Artist Martynka Wawrzyniak was our guest in professor Ryan Seslow’s MFA / MA ART 550 Art Criticism for Artists class. Martynka gave a great chronological presentation of her work directly from her well organized website. She discussed how her projects are cultivated, developed and exhibited. A discussion about the presentation followed. Each student was also asked to bring in a current piece of their art. Martynka discussed the works with each student and shared insight on the experience and profession of being an artist.
By – Professor Ryan Seslow
I really enjoy writing, and I find the process to be fun. Do you? I know that writing takes regular practice and it’s an essential part of my learning process. Writing helps me see and organize my thoughts. This allows me to edit and become clear about what it is I am expressing. Practicing writing helps me identify mistakes as well as further emphasize what I really want to explore and write about. When a topic of interest strikes me the process is effortless. I notice how I feel about the topic and this is a key factor as to how quickly I will get working on as essay, blog post or tutorial. This is something I have identified in myself over time and through repetition, how about you? Writing induces and activates new awareness. In my experiences as a college art professor, I have taken notice of a few consistent patterns when it comes to more formal writing. Especially a final thesis deadline. For some, the thought of generating a final graduate thesis can be a daunting thought in and of itself. Associated with that thought may be an outdated feeling that your body still remembers. This outdated association can be especially frustrating to the point of extreme procrastination. If you are unaware that you are the cause of this feeling then you will continue to perpetuate it. Sound familiar? If you choose to enroll into an MFA program you will be required to write a final thesis. This will be an in depth description of your concepts, process, references, discoveries, reflections and final analysis. The best part of writing a final thesis is that the writer gets to create, format, define and structure the entirety of it. Throw away any pre-conceived and or outdated perceptions of what you think you should do. You must take responsibility for your writing the same way that you discipline yourself in the creation and production of your art work.
Where do you begin?
Your final thesis is an official archival record of what you have completed, explored and accomplished during the duration of your MFA program. Not only will your thesis be written for yourself, but also it will prove and back up your convictions, theories, assessments and statements for other people. It should be known that the content in this tutorial could also be applied to other writing needs that may be similar to the MFA thesis structure. An MA thesis or undergraduate BFA thesis can also easily follow this format. By all means, you can share it and remix it.
A regular writing practice must be established. This means, you will need to create a plan for how and when practice will take place. The calendar on your mobile device or the computer that you use will work just fine to remind you of these dates and times. Thirty minutes of practice twice a week can work wonders in the installation of a new habit. Are you up for that? Perhaps there is a way to make this decision seem effortless, keep reading.
You can get started right away. Technology in this area is very accessible and helpful. With use of a blogging platform such as word press one can privately or publicly begin their writing practice and archiving process. Even setting up a basic default blog will due just fine. You can always customize and personalize it later. If a blog does not interest you (but I do hope it does) a word processing document will due just fine. Either way, choosing to wait until your final semester to get started is a really bad idea and poor planning. Are there exceptions to this statement? Of course, and perhaps you will redefine my outlook, and prove me wring, but until I experience this from someone, lets make some longer-term plans.
I teach an MFA and MA course at LIU Post in NY that puts an emphasis on content and exposure to help students generate their final thesis. The course revolves around several exercises that contribute to the process as a whole broken down into individual isolated parts. Much like your thesis itself, this process is modular, meaning many parts will come and work together to make up the whole. One of the first exercises that I do with this class is identify a thesis template format. This is the basic structure that I have students brainstorm via a series of questions that I ask them. Keep in mind; you most likely already have a default version of this template. This could be the writing format that you learned in high school and had redefined by a professor in college. You may have been forced to use it or suffer the consequences of a poor grade solely on that formatting restriction. This feeling and program may still be running inside of you. So how do we deal with this? Together as a class we discuss and record the answers directly onto a chalkboard (a dry erase board or word document will also due just fine) I ask one of the students to act as the scribe to record the list manually while notes are individually taken also. I later put the information into a re-capped blog post on our class blog. Are you surprised that I use a blog for my class?
The format for an MFA thesis in Fine Art (applied arts & digital) will in almost all cases coincide with a final thesis exhibition of completed works. This formats fits accordingly with the thesis exhibition in mind. This is a criteria break down of the structure of the paper. It is a simplified guide. Add or remove what you may for your personal needs.
Individual Exercises to Practice-
The following exercises below were created to help practice and expand thinking about the thesis format criteria above. It is my intention to help my students actively contribute to their thesis over the course of the semester. The exercises can be personalized and expanded upon for your individual needs. I feel that weekly exercises performed with a class or one on one with a partner will work well. The weekly meetings in person are effective. Why? Having a classroom or person-to-person(s) platform for discussion allows for the energy of the body to expose itself. You (and most likely your audience) will take notice as to how you feel when you are discussing the ideas, feelings and concepts that you have written. Are you upbeat and positively charged? Or are you just “matter of fact” and lifeless in your verbal assertions? Writing and speaking should be engaging. Especially if it is about your work! The goal is to entice your reader and audience to feel your convictions and transcend those feelings directly. Awareness of this is huge. It will help you make not only edits in your writing but also make changes in your speaking and how you feel about what you have written.
The spoken word versus the act of writing? I have come across many students and colleagues who find that they write much differently than they speak. I feel that writing needs to have a consistent flow and feel fluid to keep its reader engaged. Speaking well and articulating oneself clearly is also something that takes practice. I have found that sometimes recording my words and thoughts via a voice transcribing application is helpful to get ideas out and into a more accessible form. A lot of transcribing software is free for most mobile devices. Much like voice recording the powerful enhancement is to see you words take form after you have said them. You can simply copy and paste the text and edit what is valuable.
This essay is also a work in progress. It’s a first draft in a published format that I will continue updating with new content and fresh ways to simplify the exercises.
I appreciate your feedback!
short-link to this post :: http://www.ryanseslow.com/YMgUl
The History & Emergence of Street Art & Graffiti at LIU Post Summer 2014 Re-Cap!
This is a NY State accredited 3 credit course created by artist and professor Ryan Seslow for LIU Post.
The History & Emergence of Street Art & Graffiti is one of the first college level courses in the USA where students earn credits in this specific subject while experiencing and learning hands on studio practice and techniques.
Guest Artists & Lecturers for this term:
(click on each artists name for their profile page & student reactions.)
Day #1 – 7/21/14 – The History & Emergence of Street Art & Graffiti starts with a class overview, learning outcomes and expectations. A historical presentation on early Graffiti in NYC begins with who the early writers were and how styles developed and evolved. Understanding and identifying the difference between legal and illegal works.
Day #2 – 7/22/14 – The History & Emergence of Street Art & Graffiti starts with a tagging workshop in hand style, letters and creating a name. Followed by a guest lecture and aerosol demo from SEBS. SEBS presented the larger scale letter style building process, fill ins, outline and final accent process.
Day #3 – 7/23/14 – The History & Emergence of Street Art & Graffiti starts with a refining tagging workshop in hand style and solidifying a tag name. Students collaborate on a group piece that displays their new identity. Followed by guest presentations and aerosol demos from Herb Smith aka VENG from RWK and photographer, archiver, and historian Katherine Lorimer aka Luna Park.
Day #4 – 7/24/14 – The class met at 11 AM in New York City for a guided walking street art & graffiti tour of downtown Manhattan with NYC Graff Tours. SOHO, Nolita and the Lower East Side were covered.
Day #5 – 7/25/14 – The History & Emergence of Street Art & Graffiti hits the classroom for a continued lecture series of early NYC Graffiti as well as a screening of Style Wars. We discussed the importance of this great documentary and made contrasts to the street discoveries made in NYC the day before.
Day # 6 – 7/28/14 – The History & Emergence of Street Art & Graffiti begins the transition into Street Art. Identifying legal and illegal works, permission based murals versus non commissioned stencils. Beginning with a presentation and series of definitions, Chris Stain will present his work and the history of stencils. Chris will also lead the class in a demonstration on stencil cutting. Students will generate an edition of stencil prints and collaborate on a group piece.
Day #7 – 7/29/14 – The class will meet at 11 am in New York City at the Museum of the City of NY to view the Martin Wong Collection “City as Canvas” Graffiti exhibition. We will be meeting at the Museum at 11 am. Location – 1220 Fifth Avenue (at 103rd Street) New York, NY 10029. Admission fee is $6 with student ID. Further info – http://www.mcny.org/content/city-canvas
Day #8 – 7/30/14 – The History & Emergence of Street Art & Graffiti continues with understanding various Street Art styles and techniques. Street art awareness, photography and the Outdoor Gallery book author Yoav Litvin will give a presentation on his work.
Identifying wheat pastes and paste up process. Beginning with a presentation and series of definitions, CAKE aka Jennifer Caviola will present her work. CAKE will also lead the class in a demonstration on paste ups. Using stencil prints from the previous day and otherness, students will generate and collaborate on a group piece with CAKE.
Day #9 – 7/31/14 – The History & Emergence of Street Art & Graffiti welcomes Public Artist Leon Reid IV to give a presentation on his work. Leon will discuss the transition from graffiti writer to public artist. Leon will lead the class in a group activity on developing public works of art.
Final class assessment, learning outcomes and discussion. Students will present and discuss the works generated in the class. How will the information learned during the class influence each student? How will you apply the information learned through out the course?
LIU Campus Library Book Resources
1. Scrawl : Dirty graphics & strange characters,
by Blackshaw, Ric., Farrelly, Liz. London : Booth-Clibborn Editions, 1999.
2. Street art, by Schwartzman, Allan. Garden City, N.Y. : Dial Press, 1985.
3. Subway art : 25th Anniversary edition,
by Cooper, Martha., Chalfant, Henry. San Francisco, CA : Chronicle Books, 2009.
4. Trespass : A history of uncommissioned urban art, by McCormick, Carlo, Seno, Ethel, Schiller, Marc., Schiller, Sara, Banksy, Pasternak, Anne, 1964, Serra, J. Tony. Köln : Taschen, c2010.
5. Getting up : subway graffiti in New York,
by Castleman, Craig, Cambridge, Mass. : MIT Press, c1982.
6. The History of American Graffiti, by Gastman, Roger , Neelon Caleb, Harper Design , April 5, 2011.
7. Viral Art, by RJ Rushmore, 2013 – download here- http://viralart.vandalog.com/
8. Outdoor Gallery, by Litvin, Yoav, Ginko press, 2014.
LIU Campus Library IMA Video Resources
1. Exit Through the Gift Shop
by Banksy, Oscilloscope Laboratories (Firm) [New York] : Oscilloscope Laboratories, 2010.
2. Next: A Primer on Urban Painting
by Aravena, Pablo, by New Video, 2010.
3. Style Wars
by Silver, Tony, Chalfant, Henry, Public Art Films, 1983.
4. Tats Cru: The Mural Kings
by Lia, Jonathan, & Kotlinski, Mark, Anthem NYC (Firm) [New York] : Anthem NYC, 2006.
5. Wild Style
by Ahearn, Charlie, Rhino Home Video [distributor], 2002.
6. Bomb It – by Reiss, Jon, 2007.
7. Graffiti-Post Graffiti – by Tschinkel, Paul, ART/new york, 1984.
Check out the Class Image gallery here :: http://wp.me/P2SFO-1Qb
Many thanks to everyone who has helped and contributed to the ongoing development of this course!
short-link to this post :: http://wp.me/p42lVi-9g