"We have a future, perhaps." is a collection of seeking origins and creating, documenting, archiving moments of the artist's own queer existence and queer desire to prolong them, find representation, take herself into the future.
Suffering in a medical context as a woman has historically been dismissed and looked over; one recognizable form is in the history of breast cancer.
Sarah Oppenheimer is an artist operating on the boundary conditions of spatial and temporal adjacency.
Upon coming across a home video that presents both his pregnant mother and the artist as a newborn, Gray Swartzel performs a slapstick drag persona of his mother in order to queer his existence prior to birth.
The School of Art at Carnegie Mellon University is hosting OPEN STUDIOS on December 8th from 5-9pm featuring work of Juniors and Seniors.
Allison Smith takes an expansive view of sculpture, combining social practice, performance, and traditional crafts to examine how American history has been constructed and how it may be revised, retold, and reinterpreted.
Cristóbal Martínez's work seeks to reveal the vexing nature of our complex memories, amnesias, behaviors, beliefs, assumptions, choices, and relationships to create experiences that move beyond the human instinct to simplify.
Dread Scott works in a range of media including performance, photography, screen-printing, and video, challenging viewers to reexamine unifying ideals and values of American society, often by focusing on African American experience.
Since the early 1990s, Andrea Zittel has used the arena of her day-to-day life to develop and test prototypes for living structures and situations to illuminate how we attribute significance to chosen structures or ways of life and how arbitrary any choice of structure can be.
Created within the current political tumult, new works by the 2018 CMU School of Art MFA candidates examine pop culture fantasies of entertainment, capital, and collapse.