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Oscar Morel, You go for me and I'm taboo, 2021
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Emily Manning-Mingle, Fissure and Fade, 2022
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Madeline Norton, :*(, 2022
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Madeline Norton, peter pan syndrome, 2022
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Baoying Huang,The Gate, 2022
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Meghan Murray, 18 CHILDREN AMONG 49 PICKETS SEIZED IN BROOKLYN (July 31, 1963), 2022
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Chen Peng, My DeWalt Was My Universe Until I Used Dad’s Makita, 2021
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Veronica Dannis-Dobroczynski, Warm impermanence, 2022
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AJ Rombach, Portraits (Magician Archetype), 2022
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Benjamin Hawley, Summer Solstice Reflected, 2022
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Sunny Moxin Chen, Untitled, 2022
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Marie Wheeler, She makes bell peppers in her studio, 2022
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Marie Wheeler, Little Guy, 2022
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Samantha Goodale, FOMO, 2021
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Jason Lipow, Untitled, 2022
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Jason Lipow, Bedfellows, 2021
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David Petrak, When you and I have become corpses I, 2022
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David Petrak, When you and I have become corpses, 2022
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Eva Lewis, A Break in the Clouds, 2022
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Gavin Fahey, Diana Oughton's Spinning Wheel, 2022
AJ Rombach, Baoying Huang, Benjamin Hawley, Chen Peng, David Petrak, Eva Lewis, Emily Manning-Mingle, Gavin Fahey, Jason Lipow, Madeline Norton, Marie Wheeler, Meghan Murray, Sunny Moxin Chen, Oscar Morel, Samantha Goodale, Veronica Dannis-Dobroczynski
This remarkable group of students started their MFA journey in the Fall of 2020, optimistic that the confusion and uncertainty of a global pandemic would soon fade. Although these hopes proved false, these artists persevered in their studios and classes and continued to learn, expand, make, break, scream, cry, laugh, sigh, and wonder what it even means to make art in this moment. After the tumult and uncertainty of the past two years, they realize that they are re-entering a landscape that has fundamentally shifted. They have negotiated the tension between the immersive material demands of their individual projects and the increasingly relentless exigencies of the public sphere. In short, they have encountered a particularly acute version of the age-old challenge: to make work of one’s own that feels both true and urgent. Veracity and urgency are embedded in the materials they chose to handle, the images they chose to create, the subjects they chose to depict, and the structures they chose to build. What are the boundaries of identity? Are there new ways to depict the human body? How does one expand conventions and traditions? What does it mean to be radical? How does one structure freedom? How does one make the invisible visible? These students consider these, and other questions, through the discipline of painting, with its friction-filled histories and porous parameters. As their faculty, it has been an honor to be a part of their journey and privy to their individual stories. The works in this exhibition reflect where each of the artists are today, and to where they may be heading. The strength of their efforts suggests an overwhelming potential that fills me with hope.
-Lucy Kim
Associate Professor of Art
Interim Chair of Graduate Studies in Painting 2021-22
Boston University School of Visual Arts