Tristan Cai
Tristan Cai, “A Celebration: The Origin of Life,” Archival Giclee Prints in Douglas Fir Boxes, Dimension Varies, 2015-ongoing
Tristan Cai presented a solo exhibition of his ongoing project, A Celebration: The Origin of Life in Summer 2018 at CICA Museum, Gimbpo, South Korea. In conjunction with the exhibition, he presented a performance lecture, Understanding Visual Culture through Evolution, in a session at CICA New Media Art Conference 2018: Art in the Digital Age (May -June 2018). In 2017, Cai participated in Wish You Had Seen This, an intervention art piece where his works, along with other artists who had recently left San Francisco, were projected onto the exterior of City Hall from the San Francisco Arts Commission Gallery. He was also elected to serve as advisory board member for Oakwood Arts+P35 Gallery, a community arts center in Richmond, VA that seeks to make art and careers in creative industries accessible to all. Cai’s handmade artist book was selected for purchase and exhibition at the Center for Creative Photography, Arizona. The Exhibition was juried by Darius Himes, International Head of Photographs at Christie’s, Joshua Chuang, Chief Curator, Center for Creative Photography and Rebecca Senf, Norton Family Curator, Center for Creative Photography and Phoenix Art Museum (September 2016 to April 2017).
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Emily Casey
During Spring 2018, Emily Casey’s essay, “Visual Culture of the Atlantic World,” was published on the Metropolitan Museum of Art’s Heilbrunn Timeline of Art History, and co-chaired panels at the College Art Association and the Americans Society of Eighteenth Century Studies. At CAA her panel, “Objects of Change? Art, Liberalism, and Reform Across the Eighteenth and Nineteenth Centuries,” art historians brought a more critical perspective to the visual and material culture of social reform movements around issues like abolition, labor, and criminality. Her panel at ASECS, “Currents of Empire: Toward a Global Material Culture,” highlighted recent scholarship on the role of material culture in weaving together the diverse geographies and experiences of early modern empire.
In December 2018, Emily Casey will be an invited speaker at a symposium at the Biggs Museum of American Art’s in relation to the “Next 25” celebration of the museum’s 25th anniversary. The symposium will gather together scholars and curators to consider the material and intellectual absences within the museum’s collection and programming. The goal of the symposium is to collectively propose ways for the museum to be more inclusive in the communities it serves and the narratives of American art and history it tells in its next 25 years. Dr. Casey will also be participating in the kickoff panel of the Fifth Biennial Symposium of the Association of Historians of American Art in October. The roundtable discussion, titled “New Practices/New Perspectives,” focusses on progressive pedagogy in art history classrooms. Her paper is titled “Woke Colonial American Art Histories” and is drawn from experiences teaching art of the colonial Americas at St. Mary’s.
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Sue Johnson
Sue Johnson, “Early Sunday Morning in the Kitchen from Ready-Made Dream,” print on vinyl with found objects (telephones), 9.5’ x 33’ (2013-18)
Sue Johnson’s prints were included in Chasing Bugs: Insects as Subject and Metaphor at the Joel and Lila Harnett Museum of Art, University of Richmond Museums, Richmond, VA (September-October 2017). Johnson’s oil on wood panel paintings appeared in Mid Atlantic New Painting at the Ridderhof-Martin Galleries at The University of Mary Washington in Fredericksburg, VA; the exhibition was juried by Kimberli Gant, McKinnon Curator of Modern and Contemporary Art at the Chrysler Museum, Norfolk, VA (January 25 – March 15, 2018). Johnson’s work was also selected for inclusion in Women With Vision: Masterworks from the Permanent Collection, Muscarelle Museum of Art, The College of William & Mary, Williamsburg, VA (February 10-May 13, 2018). Opening in October 2018 will be a one-person exhibition, Sue Johnson: Ready-Made Dream, at the Ridderhof-Martin Galleries, University of Mary Washington, Fredericksburg, VA (October 25 -December 2, 2018).
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Joe Lucchesi
Installation view: “The Art of Romaine Brooks,” Smithsonian Museum of American Art, Washington DC, Fall 2016
Joe Lucchesi’s exhibition The Art of Romaine Brooks appeared at the Smithsonian American Art Museum, Washington DC, in Fall 2016. During summer 2017, he presented “Object Lessons: Research Collaborations in Art History” at the Council on Undergraduate Research UR Collaborations Conference. The talk focused on his pilot course engaging St. Mary’s students in collections-based scholarly research in the St. Mary’s College Fine Art Collection. He will be an invited participant at the East-West Center (University of Hawaii) Institute for Infusing Korean Studies into an Undergraduate Curriculum in August 2018. He was recently appointed by the College Board as the next Chief Reader of Advanced Placement Art History, a position in which he will be an advocate for high school art history education at the national level. His term begins in July 2019.
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Jessye McDowell
Jessye McDowell, “Between Small Creatures Lie Vast Distances,” 2017. Digital print of 3D modeled image, 40” x 30”
Jessye McDowell will have a solo exhibition at the Hunter College Project Space in New York, NY in October 2018. Her artwork was included in the Maryland Federation of Art’s Circle Gallery’s 2018 Focal Point, where she received a Juror’s Award award by juror Adam Davies (Media Specialist, National Gallery of Art). Also in 2018, she was elected to the Executive Board of the New Media Caucus, an Affiliate of the College Arts Association. In 2017, she was included in TO SEE THE MOON FALL FROM THE SKY, curated by Mark Joshua Epstein and Will Hutnick, at the Spring Break Art Fair in NYC, as well as To the End of the Earth at the Detroit Artist Market, curated by Adrian Hatfield. She also had two works featured in the exhibition Nature and Neon at the Arrowmont School of Arts and Crafts in Gatlinburg, TN; the exhibition was juried by Garth Johnson (Curator of Ceramics, ASU Art Museum, Tempe, AZ).
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Carrie Patterson
In 2017, Patterson’s solo show titled Lightbox consisted of brightly colored cardboard constructions and stacked floor paintings at Hood Gallery at Mary Baldwin University in Staunton, Virginia. She continues to make painted constructions based off her lived experience of architectural forms and their relationship to the landscape.She has been invited to participate in a group show during the summer of 2018 at the International Studio and Curatorial Program in Brooklyn. In 2018 she was an invited panelist for “Art Happens through Collective Action” at the College Art Association Conference in Los Angeles. She is the curator for the traveling exhibition The Shaping of America: A Painter’s Perspective, currently in the review process at several venues. She is the creator of The Yellow Line Art Curriculum featuring lesson plans for early childhood and K-12. Finally, Patterson is developing a course titled How to See with The Great Courses, available summer 2019.
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Lisa Scheer
Scheer has been awarded a commission for a public sculpture to be located in Ballston, Virginia for the Bethesda based Saul developers B.F. Saul. The work will be fabricated in sheet bronze and situated in a collaboratively design plaza. Installation date is set for January 2020.
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