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MFA Thesis Exhibition
May 3–22, 2005
Tisch Gallery


This exhibition is the final of four in an ongoing series of MFA thesis exhibitions shown annually at the Tufts University Art Gallery as part of the joint graduate degree program of Tufts University and the School of the Museum of Fine Arts, Boston. The work includes photography, painting, installation, and new media art.

About the artists:
Lynda J. Banzi
Postmortem includes photo-based prints, assemblages, and installation that address mortality. Transparent images of the body and landscape offer clues to what-was-there; an ever-shifting referent and notion of reality. Colorful Polaroid documentation of funeral floral arrangements is exhibited as a 21st century memento mori. The work of Postmortem is autobiographical in nature, created in the wake of losing a parent.
www.lyndabanzi.com
Untitled 1, from the Postmortem Series, 20x24 inches, photograph, plexiglass, wood, 2005

 

charlie coolidge
Container Cottage is a monument to America’s insatiable desire to consume. It is constructed of disposable containers used to transport goods to the home—bags, boxes, bottles, cans, crates, pallets, and packing material. Catalogues, magazines, and newspapers, sources of advertising and desire complete the structure. The monument is in the guise of a home which has become the epitome of America’s consumer culture.
Container Cottage, detail, 72x44x4 inches, wood, plastic, cardboard, 2005
 

May Ho
I have been photographing a group of men who have been flying radio-controlled planes at an airfield in Burlington, Massachusetts, since the beginning of fall 2004. I initially stumbled upon the flying club online. I became curious about the activity and started going to the field to observe them flying. I am interested in the issues of landscape, power, and the desire and skill it takes to maneuver these model aircrafts expertly in the air. I am intrigued by the solitary nature of the activity of flying and also the need for a community that exists in both cyberspace and on the field. Boundaries are shifted as I go from being an outside observer to being a part of the group as I learn how to fly.
Eyal and Victor, 24x30, 2004

   

Janelle Howington
Information not available
 

Kirk Jalbert
Illusion/Elusion
Why do outdated technologies proliferate in mainstream culture? As a member of the first generation of virtual-capable human beings, my body has grown proprioceptively comfortable with its on-screen counterpart. Interactive experiences of the past, once difficult, are now navigated with ease. Physical and mental reference points have been created. We have evolved, yet still return to earlier virtual experiences sometimes bent by the interference of distorted memory. Illusion/Elusion is an exploration of these nostalgic fascinations through elementary interactions with an Atari2600-based system.


   

Boriana Kantcheva
Information not available
 

Nicole Margaretten
Convulsion Extinction is a sonic landscape of ominous low frequencies, small narrative paintings, and a thirteen-channel telephone booth that allows traumatic or unsettling experiences to be intimately heard. Located in a dim room with horizontally layered blue and green walls, Convulsion Extinction is an immersion into sonic and pictorial impressions of contemporary trauma and extinction, the trauma of colonialism/imperialism, and the connections between these. This installation contains visceral traces of both the appealing and deadly. www.chemicalrealism.net
Untitled, detail, 2005
 

Abraham Schroeder
My work is largely about the body as the substance and material of art, not just the subject. With this body of work, mostly digital collages, I am specifically interested in the disarticulation and rearticulation of the body and its parts. They serve as meditations and puzzles for me, and I explore and play with the gestures and mechanics of different body parts, my own and other people's, recontextulizing the pieces to find new possibilities and patterns.
Two Hands and a Corset, digital collages, 2004
 

Benjamin Sloat
The installation Inside the Whale incorporates sequential images and sound. General themes include methods of belonging, the illuminating yet dehumanizing power of light, and the allegory of Plato's Cave as a political and visual metaphor.