NOMA The Patricia & Phillip Frost Art Museum
Miami, FL
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The Patricia & Phillip Frost Art Museum
Florida International University
Modesto Maidique Campus
10975 SW 17th Street
Miami, FL 33199
Phone: 305-348-2890
Fax: 305-348-2762

MFA 2020 Exhibition
April 25 - May 24, 2020

The graduating class of MFA in Visual Arts candidates collectively agreed upon the exhibition title it feels familiar, as it suggests a number of themes that are present throughout this catalog. For sure, many of the works examine memory, often as fractured and unreliable yet full of potential to create more hopeful futures. Below are four other intersecting themes (in bold) through which to explore their diverse artworks, details of which are on the following pages.

The works of Anna Goraczko and Michael Alexander Fernandez explore the borders between the material/spiritual worlds. Goraczko uses light as a medium through which the objects she has brought together—proxies for her grandmother—assume a metaphysical dimension. Fernandez’s altar-like tableau evokes the phenomenological, effectively blurring subjects and objects as discrete entities.

Issues of domesticity and belonging can be found in the works of Donelric Owens and Alex Del Canto. Owens’ photographs and prints depict the subcultural cosplayer community, specifically its darker-skinned members. Del Canto’s poignant video work is based on her immigrant family’s trove of super 8 film from the 1960s to the 1980s.

A few works focus on the porosity of forms/frames. Devora Perez’s work plays with the mutable line between painting and sculpture as historical constructs, whereas Dominique Sandoval’s practice mobilizes the line and circle to evoke the uncanny overlaps between the micro and macro, the cellular and celestial. Yi Chin Hsieh’s work questions the exhibition itself, as a form—testing its borders and elasticity as a medium of display.

Archives, found or fictional, is a trope used among this group. Chris Friday creates an archive of objects meant to stand-in for the lived experiences of people of color she encounters on social media among other places. Carrington Ware mines found film footage of the rural and black South from the 1960s to the 1980s to stitch together and approximate her own family history, which remains unrecorded.

Finally, given that many works could be easily part of more than one of these themes, what I have outlined is only meant to be a loose guide through which to frame your experience of looking through this catalog. Indeed, inevitably you will find other concepts connecting the works—effectively constructing your own exhibitions within the formal exhibition.

Alpesh Kantilal Patel
Associate Professor of Contemporary Art and Theory
and former director of MFA program

Alex Del Canto
How’s the end
Mixed media video installation, 2020
Courtesy of the artist

How’s the end is a multimedia installation made up of audio and video work taking place in a constructed domestic setting. The video imagery is sourced from color super 8 films collected from Del Canto’s family archive. The audio components are recorded conversations, musical performances, and fabricated sounds. The materials relate to the themes of home, family, memory, and deterioration.

Visit Alex’s website at alexdelcanto.com
Follow Alex on Instagram @alexdelcanto or @m.alexander.studio
Michael Alexander Fernandez
Chris Friday
Anna Goraczko
Devora Perez
Dominque Sandoval
Donelric Owens
Carrington Ware
Yi Chin Hsieh

Transitional Nature: Hudson River School Paintings from the David and Laura Grey Collection
January 25, 2020 — May 17, 2020

Exhibition Opening | Saturday, January 25 from 4– 6 pm

Cultural identity in the United States has been long intertwined with its magnificent landscapes, from the dense forests of New England to the open terrain of the West. These landscapes extol the unique beauty of this country and relate to the first significant art movement in the United States, known as the Hudson River School. The artists who painted these American landscapes worked during a time of increasing industrialization and growth of technology—not a coincidence of history but a lens on ecocritical thinking of the time. Modern industry changed the culture and economic future of this country, but also gave rise to concerns about the preservation of a natural environment often described as a Garden of Eden. While much of Transitional Nature focuses on U.S. landscapes, depictions of Greenland and Ecuador exemplify the international travel undertaken by nineteenth-century artists in further pursuit of untrammeled terrain. Artists working today frequently address the beauty and complexity of landscape, drawing our attention to environment and ecology. Transitional Nature will feature a selection of works by contemporary artists that will connect in powerful ways the past of the Hudson River School to the present art world.

Transitional Nature draws from the collection of David and Laura Grey and includes masterpieces by Albert Bierstadt, Robert S. Duncanson, Asher B. Durand, and George Inness. The exhibition is curated by Katherine Manthorne, Ph.D., Professor of Modern Art of the Americas, Graduate Center, City University of New York, in collaboration with Amy Galpin, Ph.D., Chief Curator, Frost Art Museum.

Exhibition Information page 2
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