Welcome to the Student Gallery
Located on the first floor of the E. Bronson Ingram Studio Arts Center, The Student Gallery is an exhibition space designated for ARTS students to exhibit their work in curated solo and group exhibitions. The gallery walls are drywall backed by plywood and can accommodate wall mounted, floor based, video, and audio based work.
The 2021 – 2022 Academic Year:
bilder & bulletin
Artists:Josanda Addo, Margot Bell, Olivia Forrester, Jana Harper, Mikayla Hernandez-Guevara, Jerry Phillips, Chloe Nixon, Navya Thakkar, William Tippins, and Lena Wu
Exhibition Dates: September 30 – October 14, 2021
Course: ARTS 3891: Artist’s Books and Ephemeral Production
Instructor: Jana Harper, Associate Professor of the Practice of Art
Exhibition Statement: This work was made by students in ARTS 3819: Artist’s Books and Ephemeral Production. These two projects were inspired by Hans Peter Feldman’s Bilder project (books hanging on a short wall) and the publication Art & Project Bulletin.
Artists: Gaby Acevedo, Max Guillet, Philip Gubbins, Tinah Le, Levi Makwei, Brooke Schnitzlein, Leila LeBlanc, Margot Holley, Sophia Wang, Catherine LeMaster, Frances Laven, Alex Katz
Exhibition Dates: November 8 – November 19, 2021
Course: ARTS 1101: Introduction to Studio Arts
Instructor: Patrick DeGuira, Lecturer in Art
Exhibition Statement: The student in the ARTS 1101: Introduction to Studio Arts course explored repeating patterns through the cyanotype process. This exhibition showcases the patterns they hand cut and exposed using sunlight.
The ARTS 1101: Introduction to Studio Arts course is taught by Patrick DeGuira as part of the foundations curriculum in the Vanderbilt University Department of Art.
Artists: Adam Alwan, Elise Driver, Olivia Forrester
Exhibition Dates: December 6 – December 18, 2021
Course: ARTS 2202: Lives of Images
Instructor: Vesna Pavlović, Associate Professor in Art
Studio Life is a group exhibition featuring the students enrolled in the ARTS 2202: Lives of Images class where their semester exploring human connections, physical print manipulated image construction, reinterpretation of hand drawing imagery through photography.
Adam Alwan – My black and white photographs in Studio Life are representations of human connections. I use glassware to construct images that both evoke conversations in the present moment and display their aftermath. The works depict the transformation of mundane objects into vessels for self-inspection. The scattered layout and organization in Glassware 01 and Glassware 03 provoke the thought of relationships and family. These themes continue in Scene From Under a Table 01-06, as I create conditions for connection to occur and confidential communication to be secretly surveilled. Within this body of work, I ‘set the table’ in an attempt to question the fragile nature of relationships by offering the viewer to look inward.
Titles of Works:
Scene From Under a Table 01
Scene From Under a Table 02
Scene From Under a Table 03
Scene From Under a Table 04
Scene From Under a Table 05
Scene From Under a Table 06
Elise Driver – My contributing work in Studio Life includes photographs that explore physical print manipulation, and techniques and processes involved in the construction of the image in studio. In Loose Thread(s) I cut and weaved together strips of large scale, inkjet prints depicting multiple garment textures and tags. The new ‘pixelated’, textured photograph raises questions of sustainability within the global fashion industry. The trilogy Flowers, Newport, and LaCroix critiques the advertising culture’s exploitive production of desire. The still lives are composed of the unexpected and the absurd visual content from found, discarded, recyclable objects and materials.
Titles of Works:
Olivia Forrester – My color photographs in Studio Life are inspired by a sketch depicting a female body underwater. In this sketch, the figure reaches towards the surface with her right hand. In the studio, I translated this moment of anxiety and photographed my arms with empty medicine bottles submerged in water. I lit this scene and used silver alcohol ink and pink liquid watercolor to create texture evocative of discomfort and pain. Although visually attractive, these works attempt to start a dialogue around mental health. My black and white image Pinhole experiment 4: Ghost was created inside of the handmade 4’ x 4’ x 8’ cardboard pinhole camera. In this work, I experimented with perception and early processes of image capture.
Titles of Works:
Series of four: Reaching Out
Black and white: Pinhole experiment 4: Ghost
Ode to Kara
Artists: Adam Alwan, Angelina Chung, Ben Damir, Mikayla Mernandez-Guervara, Catherine LeMaster, Carissa Li, Jiwon Park, Angelica Parker, Shreya Reddy, Navya Thakkar, Lillian Young, Zhizhu Zhang
Exhibition Dates: February 2 – February 16, 2021
Course: ARTS 1800: Sources of Contemporary Art
Instructor: Jana Harper, Associate Professor of the Practice in Art
The final assignment for Sources was based on Kara Walker’s Pictorial History of the Civil War (Annotated). After visiting her exhibition Cut to the Quick at the Frist Art Museum, students were asked to intervene on a historic black & white image. They created ten 8.5“x 11” studies and then choose one to recreate at 22”x 30”.
Yuke: A Journey & A Promise
Artists: Sigrid Yu (in collaboration with Yuke)
Exhibition Dates: February 21 – March 11, 2021
Honors in Arts Thesis Exhibition
Faculty Mentor: Mel Ziegler, Professor of Art and Paul E. Schwab Chair of Fine Arts
My cousin Yuke was born with congenital hearing loss. She had her artificial cochlea implanted at the age of four in 2016 and then learned to talk. Yuke is a talented in creating clay figures, with exceptional perception of the nuances and her creative imagination.
Yuke mailed her clay figures from Sichuan, China to me in Nashville, and we collaborated remotely to make the six boxes, showing lovely stories of her clay figures.
Yuke started to make art by drawing and making clay works after she gradually gained the ability to hear and speak. Her artistic journey is also a healing journey to express her emotions and dialogue with the world.
Collaborating with Yuke in this exhibition strengthened our relationship as family members and also as friends, which is my most valuable gain. The special bond between me, Yuke, and art will be lifelong and I believe we can become perfect art partners.
(Communication Design) Angelica Parker, Annabelle Li, Charis Li, Christine Kim, Chuhan Huang, Darien Deal, Dominique Greene, Jiwon Park, Kielan Watson, Stephanie Bai
(Graphic Design) Adam Alwan, Brigitte Jia, Catherine LeMaster, Diya Sharma, Eamon Ma, Elise Driver, Josanda Addo, Trista Yao, William Wu
Exhibition Dates: March 26 – April 6, 2022
Course: Arts 3891: Communication Design (Project 2) & Arts 3891: Graphic Design (Project 3)
Instructor: Qais Assali, Andrew W. Mellon Assistant Professor of Digital Design
Online Portfolio: behance.net/collection/188551915/vu-graphic-design-fall-21
This exhibition of informational posters displays our research into common misconceptions and myths about data visualization stated in Alberto Cairo’s How Charts Lie. Cairo identifies myths around charts such as “a picture is worth a thousands words” only if you know how to read it. Our work both “shows” and “tells” that “visualization is [not] intuitive.”
From our data-driven world, we created our own design explorations unpacking misinformation in topics. such as medical diagnoses, social media censorship, misogyny, and gender-based price discrimination. We reversed image searches, reordered images, grouped and regrouped organizational systems, and cropped contexts. We worked on new data, deconstructed old images and charts. Our progress we not just about styling diagrams and graphs but thinking through alternative systems.
We created visual displays of quantitative information, mapped data onto graphical properties, transformed numbers into charts, infographics, and other forms of decoding data visualization. If Charts Lie and graphs can be misleading, how do we create to persuade audiences with visual details, distorting the graphic, adding perspective, and considering different scales and graph formats.
Through our research projects, we learned and unlearned the basics of data visualizations for graphic and communication design creating meaning through associative logic. We made juxtapositions to suggest new meanings.
Artist: France Lavey
Exhibition Dates: April 25 – May 6, 2022
ARTS 1503: Text & Image
Faculty Mentor: Jana Harper, Associate Professor of the Practice in Art
Inspired by Shirin Neshat’s work of writing language over hands and feet, this work showcases language regard- ing femininity, sexuality, and sexual assault from a variety of sources. The literary sources include works by Carmen Maria Machado, Chanel Miller, and Bell Hooks, and those factual sources include statistics from RAINN regarding sexual assault on college campuses.
As Vanderbilt students and members of the community, we have received thirteen emails regarding the reporting of sexual assault since the beginning of the 2021-2022 school year. In these emails, eleven of the victims have been women and two have been men. These thirteen hands reflect the persons in these emails with eleven of them being from women and two from men.
The process of this work was scanning hands on the copier, the left hands of women and right hands of men. Next, I mounted on white paper and outlined the hand on tracing paper. Then using ink on the tracing paper, I wrote the text inside the hand and then flipped the paper and im- printed onto the picture.
Text Sources: Carmen Maria Machado’s Essays (A Girl’s Guide to Sexual Purity and NYT: The Anxiety that Binds), Chanel Miller (Know My Name), Bell Hook’s (Communion: The Search for Female Love), and RAINN Data regarding Sexual Assault
Image Source: Classmates and Art Students Hands
The process of this work was first compiling the text, images, and background. First, the text was cut out word by word and rearranged randomly into 12 lines by dropping the cut up words in the table upside down. Next, I rolled the die to the order and orientation of the images and backgrounds with various outcomes having various meanings. I put all the text, image, and backgrounds together and then scanned the pages to make the zine. Finally, I sewed the zine together with string and before you is the finished product.
Text Source: Vanderbilt University Sexual Assault Security Notice (included in Public Safety Emails) Image Source: Images of Vanderbilt Buildings Background Source: Vanderbilt University Maps and Campus Plans
E. Bronson Ingram Studio Arts Center
Vanderbilt University Department of Art
1204 25th Avenue South
Nashville, Tennessee 37240