MassArt MFA 2D Low-Residency MFA Thesis Catalog
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MASSACHUSETTS COLLEGE OF ART AND DESIGN THE GRADUATE PROGRAMS 2D LOW-RESIDENCY MFA at the FINE ARTS WORK CENTER in Provincetown MFATHESIS
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MFA 2D Low-Residency (Provincetown) MFA Thesis Catalog for the Graduate Programs of Massachusetts College of Art and Design
Transcript of MassArt MFA 2D Low-Residency MFA Thesis Catalog
MASSACHUSETTS COLLEGE OF ART AND DESIGN
THE GRADUATE PROGRAMS
2D LOW-RESIDENCY MFAat the FINE ARTS WORK CENTERin Provincetown
MFATHESIS
President, Kay Sloan
MASSACHUSETTS COLLEGE OF ART AND DESIGN
PROVINCETOWN ART ASSOCIATION AND MUSEUM (PAAM)HAWTHORNE GALLERY
Monday – Thursday 11 a.m. – 8 p.m.Friday 11 a.m. – 10 p.m. (free after 5 p.m.)Saturday and Sunday 11 a.m. – 5 p.m.
460 Commercial StreetProvincetown, MA 02657508.487.1750paam.org
HUDSON D. WALKER GALLERYTHE FINE ARTS WORK CENTER
Monday – Friday 9 a.m. – 5 p.m.Saturday – Sunday 11 a.m. – 5 p.m.
24 Pearl StreetProvincetown, MA 02657508.487.9960fawc.org/mfa
The Graduate ProgramsDean of The Graduate Programs, George CreamerAssistant Dean of The Graduate Programs, Jenny Gibbs
2011 MFAWC GRADUATE THESIS ExHIbITIONSePTeMber 16, 2011 – OCTOber 2, 2011
HuDSOn D. WAlKer GAllery, Fine ArTS WOrK CenTer, FriDAy, SePTeMber 16, 2011 FrOM 6 – 8 P.M. PrOvinCeTOWn ArT ASSOCiATiOn AnD MuSeuM, FriDAy, SePTeMber 16, 2011 FrOM 8 – 10 P.M.
reCePTiOn:
FACULTY
lASSe AnTOnSen
GeOrGe CreAMer
nAnCe DAvieS
rebeCCA MOrGAn FrAnK
JOel JAnOWiTz
KAren KurCzynSKi
JiM PeTerS
CATHerine TiTuS-WilCOx
viCKy TOMAyKO
Helen MirAnDA WilSOn
berT yArbOrOuGH
MENTORS
lASSe AnTOnSen
DAviD AKibA
CArlA AuriCH
GiDeOn bOK
PAul bOWen
AnGelA DuFreSne
DAPHne FiTzPATriCK
KATe GilMOre
CHArleS GiCK
Julie GrAHAM
MiCHelle HAnDelMAn
verA iliATOvA
ClinT JuKKAlA
reAGAn lOuie
nAnCy MCCArTHy
TOM MCGrATH
elizAbeTH Mix
CArOlyn MuSKAT
DeAn niMMer
rOSe OlSOn
GerAlDine O’neill
MATTHeW riCH
MAriAn rOTH
CynTHiA beTH rubin
evelyn ryDz
PAul SACAriDiz
JenniFer SCHMiDT
lAurel SPArKS
CrAiG TAylOr
viCKy TOMAyKO
PenelOPe uMbriCO
AnDreW WinSHiP
TiMOTHy WOODMAn
berT yArbOrOuGH
VISITING ARTISTS
GreGOry AMenOFF
PAul bOWen
SuSAnnA COFFey
POlly APFelbAuM
MiCHelle HAnDelMAn
verA iliATOvA
JOn iMber
CinDy Kleine
SArAH MCeneAney
evelyn ryDz
CrAiG TAylOr
GWen STAHle
Helen MirAnDA WilSOn
STAFF
bArbArA bAKer
FeliCiA vAn bOrK
zeHrA KAHn
MArGAreT MurPHy
TeD Ollier
nAnCy WinSHiP MilliKen
CONTENTS
FOreWOrD 3
lAurA bOvineT 4
AniTA CleArFielD 6
CHriSTine lebeCK 8
JOAnne DeSMOnD 10
DAnA DunHAM 12
PAM HArT 14
SuSAn HODGin 16
JAne linCOln 18
MAry JO MCGOnAGle 20
JeSSiCA O’HeArn 22
TiM Winn 24
2D lOW-reSiDenCy MFA in PrOvinCeTOWn 26
MASSACHuSeTTS COlleGe OF ArT AnD DeSiGn 27
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SuSAnnA COFFey is the F.H. Sellers Professor, Painting and Drawing, The School of the Art Institute of Chicago.
FOREWORDSuSAnnA COFFey
This beautiful exhibition and its catalog bring together the work of eleven accomplished artists who are
now graduating from the Massachusetts College of Art and Design’s low‑residency MFA Program at the
Fine Arts Work Center in Provincetown, Massachusetts.
Underlying this exhibition are alchemical transformations which came about when these artists created
a community, not just a class. Rimbaud said, “I is not me,” and so implied that authorship is not a simple
matter. Perhaps only two hands make one creation, but how many eyes, voices and influences are also
involved?
During the two years of this program, these eleven artists left their comfort zones to develop their art.
Twice yearly, they departed from families, jobs, and homes for the Fine Arts Work Center’s studios.
They pushed each other, offering words of inspiration, criticism, support and challenge. Vibrant and
authentic visions arose from this community of former strangers.
It has been my privilege to witness this cohort become centered in such vital, meaningful work.
Now we may all take pleasure in their drawings, paintings, installations, sculptures and videos.
Behind every piece lies the intense dedication of these eleven to their own work, to each other
and to art in the larger sense.
If you look carefully at each and all of these images, you may see it: the traces of what happened
when an “I” segued into a “we.”
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LAURA bOVINETMFA LOW–RESIDENCY 2D
Laura bovinet Untitled, oil on canvas, 72” x 72”, 2011
I enjoy dissecting my relations with others, striving to find what it is within our connection that held us together for
that particular moment. My recent work has consistently dealt with my views on relationships as well as my coming to
terms with adulthood. I use my medium to produce beautifully-crafted figures from my past, people who have helped
shape the woman I am today.
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Laura bovinet Untitled, oil on canvas, 48” x 43” each, 2011
Laura bovinet The Space Between You and Me, oil on panel, 24” x 24”, 2010
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ANITA CLEARFIELDMFA LOW–RESIDENCY 2D
www.anitaclearfield.com
Anita Clearfield Dis Robe, video and mixed-media installation, dimensions variable, 2011
Come back, dear Viewer. I’m watching you, friend, from inside my art. See the body? I make art so I can figure out what
I’m made of: slouch of shoulder. rising color. fractured light. Go ahead, laugh; there’s irony in my taking bodies apart ‑‑‑
call it video, paint, or installation ‑‑‑ when your reaction is what pulls the pieces together again. Like Frankensteins, my
creations wait for the lightening of your gaze, resurrected by the Unknown Viewer.
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Anita Clearfield Urban Dog Loves Ice Cream, oil on canvas, 36” x 24”, 2011
Anita Clearfield stills from Tree Arts: Peach Repair, video, 2011
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Christine Lebeck Bathroom #6, ink-jet print, 17” x 22”, 2011
CHRISTINE LEbECKMFA LOW–RESIDENCY 2D
www.christinelebeck.com
After moving into a small apartment from a large house, I started photographing the nuances of light that were present
in the small space that I now inhabited. Feeling confined within this small space forced me to concentrate on the
ever‑changing shift of the light that enveloped the walls and my possessions. The time of day, the month of the year
and the changing weather patterns dramatically altered the light. In previous work I have recorded the passing of time
while making visual memories of places I have inhabited. These new images show the subtle beauty found in the area
in which light and shadow blend; otherwise known as the penumbra, the indistinct outer‑region of a shadow. This is the
focus of my work.
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Christine Lebeck Living Room #14, ink-jet print, 17” x 22”, 2011
Christine Lebeck Living Room #47, ink-jet print, 47” x 22”, 2011
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JOANNE DESMONDMFA LOW–RESIDENCY 2D
Joanne Desmond Reversal of Fortune, found object, tarlatan, tissue paper and wire, 17” x 21” x 8”, 2011
My work straddles the thresholds of identity, experience, and memory. It is an exploration of the relationship
between the visible and invisible, the gaze, the subject, and the other. The work is an evolution – saving the strongest
characteristics of 2‑D works on paper and transforming them into 3‑D sculptural formation, as I attempt to articulate
visually that which is incapable of being expressed or described in words, or that which is not to be spoken because of
its sacredness to the internal or the subconscious.
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leFT: Joanne Desmond Joanne’s Secret, copper wire, 33” x 13” x 2”, 2011
riGHT: Joanne Desmond After Keifer - My Lillith, collage on brown paper bags and mesh, 67” x 17” x 7”, 2011
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Dana Dunham My Mother, liquid emulsion on water color paper 60” x 48”, 2011
DANA DUNHAMMFA LOW–RESIDENCY 2D
www.danadunhamphotography.com
Sleepers are based on the dreamlike experience between life and death, between consciousness and the subconscious
and between the self and the thought self that we wish to honor. These images have been photographed using 4x5
black and white traditional film and printed using liquid emulsion on watercolor paper. The emulsion is brushed on
in the darkroom under red light with the photographic chemistry applied by the photographer allowing the exquisite
experience of the photographer’s own expression and imagination. They are what you see in them and in hopes, a
captured world that frees the mind from this temporal place.
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Dana Dunham My Parents, liquid emulsion on watercolor paper, 60” x 48”, 2010
Dana Dunham Andrew Sullivan, liquid emulsion on watercolor paper, 60” x 48”, 2010
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PAM HARTMFA LOW–RESIDENCY 2D
Pam Hart Attic, oil and charcoal on paper, 10.5” x 15”, 2011
www.pamelaahart.com
My work examines the sometimes awkward and self‑aware consciousness of teenage girls, as well as their struggle for
self‑possession and individuality. I have been taking photographs of my daughters and their friends getting ready for
social events like parties and school dances. My paintings investigate their strong reliance on each other, their push for
independence and their unpredictable periods of isolation and boredom. I have located these girls in stage‑like settings
as a way of framing the transitory experience of their changing psyches and bodies, and the emergence of deeply felt
relationships.
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Pam Hart Before the Dance, oil on paper, 17” x 21.5”, 2011
Pam Hart Slippage, oil and charcoal on paper, 22” x 31”, 2011
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SUSAN HODGINMFA LOW–RESIDENCY 2D
Susan Hodgin Mountain, oil on canvas, 72” x 48”, 2011
www.susanhodgin.com
It is in new places that I discover new territories in my painting, and it is the memory of place that I bring into the studio
to create my paintings. I do not work directly from drawings or photographs. Instead, I rely upon eroded memories
abstracted by time as source material for my paintings. My paintings are not landscapes, but are maps of my experience
in a landscape.
I build up the surface of my canvases like time builds up the surface of the Earth. I create forms, I create elevations,
and I create texture. I create scars. These lines respond to the surface beneath them. The painting is in dialogue with
the past/previous layers. A prehistoric red will show through to the surface, charcoal dust will tint a white field, and a
smooth, matte area will reveal the texture of the surface like a scar on the canvas.
My paintings are mapping, charting, and recording my reactions to the landscape, past, present, and future.
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Susan Hodgin La Ceiba, oil on canvas, 51” x 48”, 2011
Susan Hodgin Mt. Sinai, oil on canvas, 44” x 48”, 2011
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JANE LINCOLNMFA LOW–RESIDENCY 2D
Jane Lincoln Pink Grasses, , latex and acrylic on board, 66” x 16”x 0.185” , 2011
www.janelincoln.com
Color captures a moment. No color in nature is the same; no moment repeats.
I am drawn to shorelines, marshes, and dunes where an expanse of sky clearly meets the earth. At these spacious
locations nature’s hues appear timeless.
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Jane Lincoln Province Lands, acrylic on paper, 12.5” x 3” each, 2011
Jane Lincoln Province Lands, acrylic on paper, 12.5” x 3” each , 2011
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www.maryjomcgonagle.com
My art practice is a multi‑disciplinary exploration of the many issues happening in the home. An investigation of images
and narratives of sublimated family dynamics and the idea of the suburban home as an environment of contradictions.
My decorative paintings and deceptive wallpapers conceal contemporary phrasing, which deal with unspoken, not‑so‑nice
thoughts that we all share. Using colorful language, optical punch and vibrating text, the statements are camouflaged or
imbedded in the wallpaper patterning so there is an element of discovery, revealing our innermost thoughts and feelings.
In addition, I combine video and sound to create installations, which reflect my fascination with how our relationships take
place in our everyday lives, hovering between humor and desperation, and time‑based media in conjunction with painting
creates an overall environment.
MARY JO MCGONAGLEMFA LOW–RESIDENCY 2D
Mary Jo McGonagle Get Out, installation 12’ x 8’ x 8’
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Mary Jo McGonagle Why Can’t Anything Be Easy?, acrylic on canvas, 36” x 36”, 2011
Mary Jo McGonagle You Are Everything To Me, acrylic on canvas, 36” x 36”, 2011
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JESSICA O’HEARNMFA LOW–RESIDENCY 2D
leFT: Jessica O’Hearn Untitled, vellum, 8” x 8” x 4”, 2011
riGHT: Jessica O’Hearn Untitled, paper, dimensions variable, 2010
www.jessicaohearn.com
My use of materials stems from an interest in the relationship of landscape to architecture. My attraction to tactility
and subtle color leads me to compulsively collect natural objects and urban materials. I approach installation in a
similar way, as an act of discovery. The forms stem from observation and imagination and transform every space within
which they exist. Like the spaces we choose to create and inhabit, these works are temporary and infinite, serving as
support and a reminder of how fleeting our structures can be.
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Jessica O’Hearn Untitled, carpet, dimensions variable, 2011
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TIM WINNMFA LOW–RESIDENCY 2D
leFT: Tim Winn Witch, photomechanical reproduction and ink and glow-in-the-dark paint on paper, 50” x 60” x 5”, 2011
riGHT: Tim Winn Muskets, photomechanical reproduction and ink on paper, 45” x 55” x 10”, 2011
www.folkdevils.com
A drawing‑based multi‑media artist, I seek to blur the lines between materials and medium. As my work occupies the
space between 2‑D and 3‑D, I explore the boundaries and expand the possibilities of drawing as a primary art form.
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Tim Winn Cow Stunt, photomechanical reproduction and ink on paper, 110” x 65”, 2011
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2D LOW-RESIDENCY MFA IN PROVINCETOWN
Provincetown has inspired artists for centuries; the Fine Arts Work Center has provided a sanctuary for artists
since 1968. In 2005 MassArt launched a low‑residency 2D/MFA Program at the Fine Arts Work Center for artists
who want to pursue an MFA without suspending their personal and professional commitments.
MassArt’s 2D/MFA in Provincetown is a unique opportunity for self-directed artists to develop work in an
environment of natural beauty through a graduate program that combines the intensity of an on‑site community
and peer-based learning with the freedom and flexibility of distance education.
The intensity of the residency sessions and off-site periods in this sixty credit, two-year program requires a high
degree of discipline. Students spend four three‑and‑a‑half week residencies in Provincetown during September and
May, working intensively in their studios, which are open 24 hours a day. During residencies they also participate
in Major Studio and Graduate Seminars, with emphasis on studio production and critical feedback from visiting
artists, faculty and peers.
Between residencies students return home to work under the guidance of mentors through monthly studio
visits and critiques. Online art history and critical studies courses support an understanding of the context of
contemporary work. At the conclusion of the program, candidates return to FAWC for a thesis exhibit and review.
The Fine Arts Work Center was founded by a now illustrious group of artists and writers, including Fritz Bultman,
Salvatore and Josephine Del Deo, Alan Dugan, Stanley Kunitz, Philip Malicoat, Robert Motherwell, Myron Stout,
Jack Tworkov and Hudson D. Walker. Located on the same site where Hans Hoffman ran his famous art school,
FAWC was envisioned as a community that would support emerging artists and writers with uninterrupted time to
work.
Participants in the MFA program have access to a wealth of FAWC resources, including large studios, a darkroom,
a gallery and computer lab. Students have access to the Michael Mazur Print Studio, which honors his role as
former head of this state‑of‑the‑art printmaking facility. Housing is available in local guesthouses and inns within
easy walking distance of the Work Center. In fact, the Fine Arts Work Center experience is not just about access to
the highest-quality facilities, but offers the inspiration of living and working steeped in the atmosphere of one of
America’s oldest art colonies.
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MASSACHUSETTS COLLEGE OF ART AND DESIGN621 Huntington Avenue, boston MA uSA
With a legacy of leadership dating back to 1873, Massachusetts College of Art and Design was the first degree-
granting college of art in the U.S. Today MassArt is at the forefront of art and design in the 21st century as the
nation’s only independent public university offering top‑ranked graduate programs in painting and printmaking,
photography, sculpture, film and video, interrelated media (SIM), dynamic media/interactive communication design,
art education and architecture. MassArt’s programs are rated among the best in the country. Businessweek ranks
MassArt as one of the best design schools in the world, and MassArt’s MFA Program is US News & World Report’s
top‑rated MFA Program in Massachusetts.
MassArt’s Boston campus offers more than 1,000,000 square feet of studios, galleries, workshops and classrooms.
The campus is located across the street from the Isabella Stewart Gardner Museum and around the corner from the
Museum of Fine Art, Boston, providing students with free access to two world‑class art collections, as well as that
of the Institute of Contmporary Art/Boston.
Admission to MassArt’s Graduate Programs is highly selective, ranking among the top three graduate programs in
art and design in the country, as reported by the Association of Independent Colleges of Art and Design. MassArt
enrolls 1,790 undergraduate and 195 graduate students from more than 34 countries, reflecting the international
reputation of the university and Boston’s place as one of the great learning centers in the world.
For more information please visit massartgraduateprograms.org, email [email protected], or call (617) 879-7166
CreDiTS:
editor and Creative Director: Jenny Gibbs, Assistant Dean of The Graduate Programs
Photographer: Camilo ramirez (MFA ‘01)
Production and Design: Maria Anna Stangel (MFA ’12)
©Copyright 2011 Massachusetts College of Art and Design
All rights reserved; no part of this book may be reproduced without the express written permission of the publisher.
MASSACHUSETTS COLLEGE OF ART AND DESIGN
THE GRADUATE PROGRAMS
2D LOW-RESIDENCY MFAat the FINE ARTS WORK CENTERin Provincetown
MFATHESIS
