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2022 Alumni Awards

Join alumni, students, faculty and staff on Thursday, February 24 at 4:30pm EST for a LIVE event honoring three alumni for their accomplishments and contributions to the field:

Distinguished Alumni Award winner – Sonya Haffey
Distinguished Service Award winner – Catherine Schneider Johnson
Emerging Alumni Award – Christina Jameson

Attend IN PERSON or VIA ZOOM!

RSVP at https://forms.cfa.fsu.edu/department-forms/department-of-interior-design/interior-architecture-design-alumni-awards-rsvp/

Join us for a FAR & Away virtual lecture with virtual artists in residence Kei Ito and Andrew Keiper. The artists will be discussing their photographic, video and sound based collaboration work as well as a new project created in residence with FAR. A screening of their piece, New Light-Narrowcast, will be on display at FAR, 3216 Session Road, March 7th-11th.

Register for the event via the EventBrite for Zoom link:
https://www.eventbrite.com/e/far-away-virtual-lecture-kei-ito-and-andrew-keiper-tickets-255301643087

About the Artists:

Kei Ito is a visual artist working primarily with experimental photography and installation art who is currently teaching at the International Center of Photography (ICP) in NYC. Ito received his MFA from Maryland Institute College of Art in 2016. Ito’s work addresses issues of deep intergenerational loss and connections as he explores the materiality and experimental processes of photography, visualizing the invisible: radiation, memory and life/death.

Ito’s work, fundamentally rooted in the trauma and legacy passed down from his late grandfather – a survivor of the atomic bombing of Hiroshima, meditates on the complexity of his identity and heritage through examining the past and current threats of nuclear disaster and his present status as an US-immigrant. Many of Ito’s artworks transformed both art and non-art spaces into temporal monuments that became platforms for the audience to explore social issues and the memorials dedicated to the losses suffered from the consequences of those issues.

Ito has participated in numerous Artist in Residence programs offered by the Studio at MASS MoCA, the Marva and John Warnock Biennial A-I-R, CPW, the Center for Fine Art Photography, and Creative Alliance. His works are included in the collection of the Museum of Contemporary Photography, Norton Museum of Art, Candela Collection, the Marva & John Warnock A-I-R Committee, En Foco, and California Institute of Integral Studies. His internationally recognized solo and group shows can be read in reviews and articles published by Washington Post, Hyperallergic, BmoreArt, ArtMaze Magazine, Washington City Paper and BBC Culture/Art.

Andrew Paul Keiper is an artist and educator based in Baltimore, Maryland where he teaches at the Maryland Institute College of Art in the Animation and Film & Video programs. Working in sound, image and installation, Andrew’s work dances across the boundaries of sound art, experimental music and sound design.

Field recordings, drones, drumming and sound designed evocations of places remote in time and place commingle in Keiper’s work, inviting the audience to listen in ways they may not be accustomed to listening. Much of Andrew’s work contemplates the legacy of his grandfather’s role in the creation of the atomic bomb, and the ramifications of atomic weaponry past and present. Andrew also maintains a practice as a sound designer for film, and as a musician and audio engineer.

Keiper received his BFA in painting from the Mason Gross School of the Arts in 2002. He has exhibited in nationally, including in Baltimore, New York City, Philadelphia, New Jersey and Washington DC. In 2016 and 2019 he was a Sondheim Prize semi-finalist, and in 2016 won a Rubys Artist Grant along with collaborator Kei Ito to produce a large scale project.

In January of 2018 Keiper and Ito presented their Rubys project, Afterimage Requiem at the Baltimore War Memorial. The exhibition received coverage by the Washington Post Magazine, the BBC, the Baltimore Sun and others. In 2016, they brought this work, along with others to the Southeastern Center for Contemporary Art in Winston-Salem, North Carolina, where they exhibited their first large-scale art museum exhibition, Archives Aflame.

The Native American and Indigenous Studies (NAIS) Planning Committee warmly invites you to a discussion about the future of NAIS at FSU, February 25, 11:00AM-12:00PM. Focused on what a NAIS Center would look like, what it would cover, and what you consider essential to such a center’s mission, the meeting provides an opportunity for students, staff, faculty, and the wider community to share their thoughts on these important topics. This is a virtual meeting.

If you have any questions, please contact Robinson A. Herrera, Chair, NAIS Planning Committee at rherrera@fsu.edu

Registration Link:
https://fsu.zoom.us/webinar/register/WN_Qtr1oiyPT-KH0s_JIKfmfw

Combining American pop culture and traditional Korean iconography, Jiha Moon’s ceramics explore issues of global identities and the construction of personal narratives. Utilizing humor and repeated icons and motifs, Moon builds her own rich visual language. Many of the symbols in her work speak to the complex identities Moon navigates as a Korean-born, Atlanta-based artist. In Korean culture, peaches are considered ghost-repelling symbols of vitality and immortality, while in the United States, they are emblematic of Moon’s home state of Georgia. The fortune cookie, which has become synonymous with Chinese American restaurants, can be traced to Japanese bakeries in Los Angeles and San Francisco. Moon also repeats the banana throughout her work – a reference to Andy Warhol’s iconic Velvet Underground album cover and a derogatory term experienced by some second-generation Asian Americans. Understood as “yellow on the outside, white on the inside,” Moon calls out this harmful trivialization of rich and complex identities in her work. Moon’s ceramics take on particular potency now, as an increase in anti-Asian hate crimes has given rise to a national conversation about the experiences of Asian American and Pacific Islander communities.

This exhibition was first organized by the Abroms-Engel Institute for the Visual Arts at the University of Alabama at Birmingham. Special thanks to Cristina Ruggieri and Laney Contemporary. This exhibition is funded, in part, by a grant from South Arts in partnership with the National Endowment for the Arts and the Florida Division of Arts and Culture.

“I have had the privilege of being an outsider allowed on the inside,
searching for beauty, meaning, and myself.”

For eight decades, Bruce Davidson has documented people on the margins. A master of mood and nuance, his images show us the universalities of not just joy or grief, but also things more difficult to capture – contemplation and hope.

Bruce Davidson: Love and Longing features more than fifty original photographs from many of the artist’s most acclaimed series, including Brooklyn Gang, Subway, Chicago, Central Park, Florida – Daytona Biker Week, and the Birmingham Museum Project.  This exhibition was made possible through the support of an anonymous donor, the Council on Culture & Arts, and the Florida Department of State – Division of Art & Culture.

Trust & Transformation at the Circus 2022

Welcome to a special exhibition celebrating the 75th anniversary of Florida State University’s Flying High Circus. Marvel at the feats of wonder and expand your understanding of the circus as a space in which athleticism and ambition, daring and dedication, and precarity and persistence unite to empower performers and inspire awe in their audiences.

Since its founding in 1947, the Flying High Circus has enjoyed worldwide recognition for its brilliance and creativity. Through countless Home Shows and Halloween performances, summers at Callaway Gardens, over fifteen appearances on national television, and sell-out tours across Europe and the Caribbean, Flying High athletes have earned their reputations as some of the hardest working students at Florida State. It takes a lot to be a circus performer, but students and alumni repeatedly reflect on the importance of trust – trusting oneself, trusting one’s partner, trusting one’s apparatus – to achieving the magic that animates each act: a transformation from the everyday and ordinary into the amazing and extraordinary.

Trust & Transformation features an array of photography and video installations, interactive displays, and historic and contemporary circus costumes together with original drawings by the celebrated costume designer Miles White, vintage circus posters, and works of art on loan from the Howard Tibbals Circus Collection and the Ringling Circus Museum in Sarasota.  This exhibition is made possible through the generous support of the staff, students, and alumni of the FSU Flying High Circus, The Ringling, Howard and Janice Tibbals, the Florida State Heritage & University Archives, the Council on Culture & Arts, the Florida Division of Art & Culture, and FSU’s Council on Research & Creativity.

Please join us on Wednesday, January 26, for a virtual talk by design history scholar Jennifer Kaufmann-Buhler. Dr. Kaufmann-Buhler will explore the history of the open plan office concept, progressive design theory, and the associated ideals promoted by architects and designers in the 1960s and 1970s, while also addressing various problems that emerged as “cubicles” became mainstream in offices throughout the United States.

Click here to register and receive login information for this free Zoom lecture on Wednesday, January 26, from 6:30-7:30 p.m.

Topic: Jennifer Kaufmann-Buhler Talk

Time: January 26, 2022 06:30 PM Eastern Time (US and Canada)

Herman Miller's Action Office 1968

Herman Miller’s Action Office 1968

(b. 1989, based in Brooklyn, New York) creates live performance and multimedia installations that address blackness outside of a codependent, binary structure of existence. Her work investigates the histories, symbols, and images that construct notions of Black identity within black personhood. The materials employed by Thomas function as tools, objects, and structures to compose a visual language that can be read, observed, and repeated within spatial, temporal, and sensorial environments.

Through movement and matter, Thomas deconstructs, and reconstructs notions of visibility, hyper-visibility, passing, trespassing, eroticized, and marginalized representations of black bodies in relation to disposable labor, domestic service, and notions of thingness. Her performances combine rhapsodic layers of live and recorded voice, reciting her own poetry and slipping between various modes of address, to explore the pleasures and pressures of dependency, care, and support. Thomas underscores the endurance and intimacy that care work demands from those expected to perform it — predominantly black women, black femmes, and people of color. By centering self and communal care in real-time, Thomas’ practice aims to build bridges of understanding, and community, to create safer spaces for black people and people of color.

Q+A Session to follow artist presentation.

Register Here!

Tickets: Click Here

On Thursday, March 25, we invite you to a virtual talk by Soviet design scholar and architect Anna Bokov.

The mass character of early twentieth-century design education in Soviet Russia was an essential condition for the modernist paradigm. The Higher Art and Technical Studios, known by their Russian abbreviation VKhUTEMAS, aimed to translate contemporary scientific knowledge and abstract visual language into modern design pedagogy, adopting the so-called “objective method” to facilitate instruction on a mass scale. This lecture examines the mass educational model introduced at VKhUTEMAS in the 1920s and aims to recast the contributions of this avant-garde school in the fields of art, architecture, and design after a century of obscurity.

Similar to the Bauhaus, VKhUTEMAS articulated the ideals of the avant-garde into a coherent body of knowledge that could be taught as a design curriculum. The lecture will shed new light on this interdisciplinary institution that, while still obscure today, contributed in many critical ways to shaping the early decades of modernism: in its visionary pedagogical methods, in bringing together some of the most significant protagonists of the modern era, and, ultimately, in its teachers’ and students’ work in real-world spaces and everyday objects.

Anna Bokov is an architect, historian, and educator. She holds a PhD from Yale University, a master’s degree in architecture from Harvard Graduate School of Design, and a bachelor’s degree in architecture from Syracuse University. She is a resident member of the School of Historical Studies at the Institute for Advanced Study in Princeton. She has taught at the Cooper Union, Parsons, Cornell University, Yale School of Architecture, Harvard GSD, and the Moscow Architectural Institute. Anna has worked as an architect, urban designer, and researcher with OMA, Herzog & de Meuron, NBBJ, Ennead, and the City of Somerville. Her work has been published by The Journal of Architecture, Perspecta, Walker Art Center Primer, MoMA Post, Venice Biennale, Bauhaus Dessau Foundation, and Bauhaus-Universität Weimar. Her book Avant-Garde as Method: Vkhutemas and the Pedagogy of Space, 1920–1930 (Park Books, 2020) is dedicated to the Russian counterpart of the Bauhaus.

Click here to register and attend this free Zoom lecture on Thursday, March 25, from 6:30-7:30.

James Frazier, Dean of the College of Fine Arts and two-time FSU alumnus introduces us to three young alumni considered rising stars in their fields. Hear about their journey to the positions they have today, what opportunities await them in their careers, and how they characterize success.

To register for this event click here. For more information on the panelists visit, https://alumni.fsu.edu/three-torches-featuring-fine-arts-webinar-panel