Yes, No, Maybe: First Year MFA Student Show

Adaptation, awareness, abandonment and karaoke.

John Kannenberg is a first year MFA candidate in the School of Art and Design.

Photos from the Yes No Maybe opening reception.

The first year MFA cohort recently finished installing a group show to exhibit work made during our first few months in the program here at UM. By far one of our best experiences yet as a class, the show came together organically and culminated with a well-attended opening reception on February 12.

Getting ten artists in a room together to show off their work isn't always easy (at one point someone made a reference to herding cats, which wasn't too far from the truth!), but we somehow managed to elegantly cram a lot of work into that space.

Transmogrification from Emilia Javanica on Vimeo.

Looking around the show during the reception, it was really impressive that our class has such diverse interests and works in such a wide variety of media. We've got Lea's painting, James' photo triptychs, and Amanda's and my prints covering the 2-D field, with Meghan's sculptures and Reed's interactive drawing and cutting installation working the third dimension. You want time-based work? We've got that too: Jessica and Yuan both installed video installations, while Emilia, Collin and I are showing video pieces on small screens. I've got a short, in-progress sound piece.

But most of the action at the opening involved Emilia's performance/installation, which included a karaoke machine that was open for everyone's use, and still is.

Make sure to catch the "Yes No Maybe" show before it closes at the end of the month, and feel free to put the karaoke machine through its paces.

Following the Huron from Collin McRae on Vimeo.


The Personal Cartography of Emma McNally

John Kannenberg is a first year MFA candidate in the School of Art and Design.

Emma McNally creates beautiful graphite drawings whose intricate lines evoke maps, networks, and many other forms of data representation in their stark complexity. A 2008 essay by Ana Balona de Oliveira discusses some of the theoretical underpinnings of McNally's work, and includes some insight from the artist herself.