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DTSTART;TZID=America/New_York:20250314T100000
DTEND;TZID=America/New_York:20250421T170000
DTSTAMP:20260523T131258
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SUMMARY:Holding Still\, Holding On
DESCRIPTION:Presented by the Carnegie Mellon School of Art MFA Program and The Andy Warhol Museum \nFor the first time\, the Carnegie Mellon University School of Art MFA Program co-presents a joint exhibition with The Andy Warhol Museum — one of the four Carnegie Museums of Pittsburgh and the largest and most comprehensive single-artist museum in North America. Opening March 2025\, the exhibition Holding Still\, Holding On launches an exciting new series of thesis exhibitions spotlighting the MFA program from the school where Warhol earned his degree in Pictorial Design in 1949 (then the Carnegie Institute of Technology\, now Carnegie Mellon University). \nHolding Still\, Holding On features new works by the CMU School of Art MFA Class of 2025 — Frankmarlin\, Izsys Archer\, Tingting Cheng\, Chantal Feitosa-Desouza and Max Tristan Watkins. The exhibition spans wide-ranging media and highlights the distinct perspectives of these five artists as they complete their final year of study. Presented in The Warhol’s rotating exhibition gallery\, the exhibition offers a dynamic exploration of contemporary artmaking. \n  \n\n    \n        \n            \n                Carnegie Mellon School of Art MFA Class of 2025\n                Izsys Archer\n                Izsys Archer\n                Frankmarlin\n                Frankmarlin\n                Max Tristan Watkins\n                Max Tristan Watkins\n                Tingting Cheng\n                Tingting Cheng\n                Chantal Feitosa-Desouza\n                Chantal Feitosa-Desouza\n            \n        \n        \n    \n\n  \nThe featured artists in Holding Still\, Holding On each employ diverse approaches to storytelling\, through mediums including photography\, painting\, archival assemblage\, sculptural installations\, text\, sound\, and film. Their works collectively explore the intersections of memory\, place\, and belonging\, together revealing art’s unique capacity to hold and transform complex personal and collective histories. \nThe Carnegie Mellon School of Art MFA Program is an interdisciplinary\, experimental\, research-based program that provides students with a challenging and supportive context to expand and develop their work and thinking as artists. As one of the top-ranked graduate programs in the country\, the School views art-making as a vital social\, critical\, and intellectual pursuit. Graduate students are encouraged to employ a comparative and intersectional approach to critical and cultural theories\, and to allow this inquiry to inform and expand what it means to be an artist and to make art within the contemporary condition. \n  \nOpening Reception\nSee all the highlights from the opening reception celebrating the 2025 MFA Thesis Exhibition at The Andy Warhol Museum. \nREAD MORE \n  \n \n  \nIn the Press\nArtnet: “Andy Warhol’s Alma Mater Hosts a Bold New Collaborative Show”\nWESA: “Pittsburgh’s Warhol Museum hosts its first show by CMU art students”\nWQED Voice of the Arts Podcast: “Holding On\, Holding Still at The Andy Warhol Museum”\nTable Magazine: “Andy Warhol Museum Displays Carnegie Mellon MFA Students’ Work”\nPittsburgh Tribune-Review: “Andy Warhol Museum exhibit showcases Carnegie Mellon University students’ work”\nPittsburgh City Paper: “Pittsburgh’s top events: March 13-19”\nNext Pittsburgh: “NEXT in the Gallery: History\, reuse and reinvention fill Pittsburgh art shows in March”\n  \nFeatured Artists\n Frankmarlin takes a look into the invisible\, sees beyond what is presented and asks questions he doesn’t know the answers to. With a sense of urgency\, his works explore themes of erasure\, lineage\, surveillance\, healing\, and the beauty of mundane Black experiences.  \nIzsys Archer is a self-proclaimed Space Taker-Upper originally from Lafayette\, Indiana. She graduated with a BFA in photography from the Kansas City Art Institute. Within her practice\, she explores her intrinsic need to create through physical\, digital\, and ritualistic spaces of the Archive. Perpetual self-portraiture becomes a performance of identity as she interrogates notions of domesticity\, memory\, and Black iconography to wander on a journey of self-actualization and representation. \nTingting Cheng is a cross-media artist whose oeuvre is deeply informed by the ritualistic traditions of the Chu state and the cultural hybridity shaped by globalization. Working across diverse media\, she mobilizes cultural archives as forms of “contemporary witchcraft\,” integrating natural\, synthetic\, and vernacular materials to cultivate ritualistic engagement with audiences while subverting commodification.  \nChantal Feitosa-Desouza is a Brazilian United Statesian from Queens\, New York. She is a filmmaker\, a learner\, and a facilitator of workshops and public events beyond the traditional classroom setting. Her practice is guided by the visual process of collage and its potential to create new histories from found fragments. Her work is always proposing slower methods of thinking\, remembering\, and storytelling for an audience. \nMax Tristan Watkins is an artist and writer born in Canterbury in the UK. His practice draws from various historical tools of control and their absurdities. Currently\, he is interested in the European early-modern book as an information technology. With a literary sensibility that favors quotation\, citation\, trope\, and idiom\, he takes pleasure in following rabbit holes and constructing webs of footnotes. At the center of his work is the precise absence of something unarticulated\, gestured towards and acted out in miniature\, euphemism\, or parable. His prints\, paintings\, and books often toy with ideas of the body double\, the facsimile\, or the absent original. A subject he returns to often is the disjointed\, open(ed) or chimeric body – and its misrepresentations in taxonomies\, anatomies\, and histories. \n  \n\n    \n        \n            \n                Frankmarlin (MFA '25)\n                Izsys Archer (MFA '25)\n                Tingting Cheng (MFA '25)\n                Chantal Feitosa-Desouza (MFA '25)\n                Max Tristan Watkins (MFA '25)\n            \n        \n        \n    \n\n  \n  \nTop: Photograph by The Carnegie Mellon School of Art MFA Class of 2025\nCenter: Photographs by Bryan Conley\nBottom: Photography by Aaron Blum
URL:https://art.cmu.edu/event/holding-still-holding-on/
LOCATION:The Andy Warhol Museum\, 117 Sandusky Street\, Pittsburgh\, PA\, 15212\, United States
CATEGORIES:Event Featured,Event MFA,Exhibitions
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DTSTART;TZID=America/New_York:20250415T173000
DTEND;TZID=America/New_York:20250415T190000
DTSTAMP:20260523T131259
CREATED:20250113T175234Z
LAST-MODIFIED:20250407T232848Z
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SUMMARY:Visiting Scholar Lecture: Joan Kee
DESCRIPTION:Orville M. Winsand Lecture for Critical Studies in Art\nLecture Topic\nThe Wealth of Many Inseparables\nCalling attention to a “global majority” rather than the historically fraught “Global South\,” this lecture asks how art history might emphasize new centers of gravity. Drawing on the framework of Adam Smith’s Wealth of Nations\, the title of this lecture argues that the true wealth of human creativity lies not in rigid hierarchies or national boundaries\, but in how artworks — especially those made for and in response to audiences in Africa\, Asia\, Latin America\, and Oceania —are themselves self-governing communities that operate independently of conventional systems of power. Works by artists like Symrath Patti\, Pacita Abad\, and Soeki Irodikromo offer alternative ways of understanding the world and inviting new forms of cultural engagement. The title’s reference to the Betsimisaraka people of Madagascar emphasizes the inseparability of these global artistic practices\, encouraging a rethinking of art beyond the constraints of established frameworks. \n  \nAbout the Scholar\nJoan Kee is Judy and Michael Steinhardt Director of the Institute of Fine Arts at New York University. A specialist in modern and contemporary art\, her books include Contemporary Korean Art: Tansaekhwa and the Urgency of Method (2013)\, Models of Integrity: Art and Law in Post-Sixties America (2019)\, and The Geometries of Afro Asia: Art beyond Solidarity (2023) which was awarded the 2024 Robert Motherwell Book Award for a publication in the history and criticism of modernism in the arts. A contributing editor to Artforum and an editor-at-large for the Brooklyn Rail\, Kee’s work has appeared in numerous venues including the Metropolitan Museum of Art\, MoMA\, LACMA\, and the Guggenheim Museum. \n  \nSchool of Art Lecture Series\nThe Carnegie Mellon School of Art Lecture Series is made possible in part by Elizabeth (Thompson) and Thomas M. Cox (A’29) Distinguished Artists Funds\, Robert L. Lepper Distinguished Lecture in Creative Inquiry\, and Orville M. Winsand Lecture for Critical Studies. Carnegie Mellon makes every effort to provide accessible facilities and programs for individuals with disabilities. This publication can be made available in an alternate format upon request. For accommodations\, contact the School of Art at schoolofart@cmu.edu or 412.268.2409. Lecture and event details are subject to change or cancellation. \n  \nImage: Zainab Reddy\, “The Human Race (Or Maja)\,” 1962\, Oil on canvas\, w1820 x h905 mm. Courtesy of Iziko South African National Galler.
URL:https://art.cmu.edu/event/scholar-lecture-joan-kee/
LOCATION:Kresge Theatre\, 4919 Frew Street\, Pittsburgh\, PA\, 15213\, United States
CATEGORIES:Event Featured,Lectures
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