Are we what we eat?

Sustainability and Art

Works by Fine Art students of the Corcoran College of Art + Design Washington, DC

With the Support of the President of the Republic

Are We What We Eat?

Sustainability and Art
exhibition sponsored by Accademia di Belle Arti di Brera, Milan Corcoran College of Art + Design, Washington DC Giuseppe and Gina Flangini Cultural Association in collaboration with Italian Embassy in Washington DC Italian Institute of Culture in Washington DC Lombardy Region and with Filitalia International Lombardi in the world D.I.V.E. Association, Washington Exhibition Venues Church of San Carpoforo, Milan 10 September at 6pm 6 October 2013 Pirelli Skyscraper, Milan 19 September at 6pm 29 October Corcoran Gallery of Art, Atrium - Washington DC Corcoran Gallery of Art, Gallery 31, Washington DC 11 December 2013 26 January 2014

Students and professors come together in Milan and Washington in the name of art and food! The Academy of BreraVisual Arts and Design Department, the Corcoran College of Art + Design of Washington, DC and the Giuseppe and Gina Flangini Cultural Association present the ARE WE WHAT WE EAT? Sustainability and Art event from 10 September 2013 to January 2014divided into four exhibitions, two in Milan, Italy and two in in Washington, DC, USA. The event, curated by Antonio DAvossa, art critic and historian, involves students and professors of the Milan Academy and the Washington, DC College, by way of an artistic and cultural exchange which sees the joint exhibition of works both by Italians and Americans in both cities. The 120 works will be displayed in two venues in Milan: the Pirelli skyscraper and the former Church of San Carpoforo (Brera), and in the locations in Washington, DC: the Atrium of The Corcoran Gallery of Art and the Corcoran Gallery 31. The exhibition is part of the Year of Italian Culture in the USA and has received support from the President of the Italian Republic. Devised by the Flangini Association in collaboration with the Italian Embassy in the USA and the Italian Cultural Institute, Washington, DC, it is also sponsored by the Lombardy Region, EXPO 2015, Province of Milan, City of Milan, City of of Saronno and Milan Chamber of Commerce. The artworks, created by students and professors of the two academies after a semester of study, critical reflection and experimentationinvestigate the theme of nutrition in terms of culture, necessity, pleasure, awareness and, in the strictest sense, as good and proper nourishment for the purposes of mental/physical well-being. The artistic research has expanded in diverse genres: oil painting and mixed media art, sculptures, installations, videos, etchings, photographs, films and performances. The phenomenon of nutrition also implies problematic aspects such as malnutrition, deficiency and excess. In this regard, the artistic representation also fulfils an essential role of education and critical training: a tool for selfawareness and individual needs, but also with social, economic and cultural dimensions linked to the experience of food. Art and culture can and must act as exposure, reflection and stimulus for change. Nutrition can also be seen as the symbol and vehicle of metaphorical meanings, of intangible

messages, of ineffable memories, of high ideals. The history of culture is, in turn, a large table laden with countless precious courses made available to the individual man, always on a search based upon his/ her hunger and thirst. (www.expo2015.org) The global scope of the theme of the exhibition is emphasised by the international collaboration in a project that has involved students and professors of the two countries in an intense cultural exchange projected towards the future. Thank you for your support: Banca Intesa Sanpaolo - Direction of Milan OTIM Organizzazione Trasporti Internazionali e Marittimi Ciaccio Broker Assicurazioni

ARE WE WHAT WE EAT?

Sustainability and art
Milan Venues
Curated by Antonio dAvossa
Church of San Carpoforo Pirelli Skyscraper

Dates Church of San Carpoforo: 10 September at 6pm 6 October 2013 Pirelli Skyscraper: 19 September at 6pm 29 October 2013 Hours Church of San Carpoforo Monday-Friday from 10am to 6pm Pirelli Skyscraper: 19 September at 6pm 29 October 2013 Admission Free Exhibition Catalogue curated by Antonio dAvossa Contacts +39 3474533449 www.associazioneflangini.eu The Pirelli Skyscraper: www.regione.lombardia.it www.accademiadibrera.org
The Atrium of The Corcoran Gallery of Art Corcoran Gallery 31

Washington, DC Venues

Dates Corcoran Gallery of Art, Atrium Corcoran Gallery of Art, Gallery 31 11 December 2013 -26 January 2014 Hours Wednesday through Sunday, 10am-5pm with Wednesday evening hours until 9pm Admission Corcoran Gallery of Art, Atrium Adults $10, Seniors (62+)/Students (with valid ID) $8 Children under 12 years / Members / Military Active Duty - free Corcoran Gallery of Art, Gallery 31 - free Catalogue at exhibition Contacts +1 202-639-1700 www.corcoran.org www.iicwashington.esteri.it
Barbara Marzoli : Telephone:+39 02 86955233 +39 3339775404 www.accademiadibrera.org Lisa Casoli: Telephone +39 3474533449 www.associazioneflangini.eu

Communication and Press Accademia di Brera

Communication and Press Associazione Flangini

STUDENTS
Julia Bancroft Halsey Berryman Lorenzo Cardim SooHo Cho James Cole Kyrae Cowan Eliot Hicks Jeremiah Holland Rachel Hrbek Arther Lee Armando Lopez-Bircann Adriana Serrato Dandan Luo Katie Macyshyn Gabriel Mellan Chloe Rubenstein Jordan Sanders Bryana Siobhan Cynthia Tidler Ashley VanGemeren Travis Wagner Whitney Waller Robert Yi Ji-sun Yoon

PHOTO CREDITS SPONSORSHIPS

Julia Bancroft

A Fearful Desire, 2013, raw bird skin, digital prints, 20 x 30" (50.8 x 76 cm) I seek to explore the subjects of the human condition through our most inherent medium, our bodies. Our experiences in life are what shape us as individuals; they may arrive socially, culturally, or personally. Ideas about how our minds operate internally and how this translates in our outward behavior and expression have always fascinated me. I work with nontraditional materials relating to my subject, to assemble a sort of wearable sculpture. It is the resulting relationship between the body and how it responds to the material and design that communicates the content. In creating my work around our physical form I intend to offer viewers not only a mental context, but also physical stimulation in connecting to the piece. A Fearful Desire In a fearful desire, I am considering the power of the mind, and the idea that fear has the ability to pull the mind in dueling directions surrounding a single fixation. I am describing the uncanny nature of phobia in that it creates a cognitive dissonance, the experience of being both attracted to, yet repulsed by a subject. I am working with my own experiences of phobia, specifically ornithophobia (fear of birds) as inspiration to communicate this greater idea. While a fear can become strong enough to desire death, the fixation can in turn release a sense of security and desire for its presence. Ultimately recognizing the point of trauma and allowing the very source to heal the wounds itself inflicted.

Halsey Berryman

Document Two, 2013, acrylic on canvas, 126 x 71" (320 x 180.3 cm) Halsey Berryman is a fourth year fine arts student at the Corcoran College of Art + Design in Washington, DC. She primarily works in large scale, abstract acrylic painting, but also has training in academic drawing, printmaking, and graphic design. Central to her current body of work is the concept of the built environment, and its effects on the psyche as a conglomerate of visual and spatial-kinetic experiences. She is very influenced by the Russian suprematists, constructivists, 20th century American abstract painting, as well as turn-of-the-century European graphic design. Document Two Centered upon the constructs of architecture and the built environment, my work utilizes a jarring color palette and generalized geometric shapes to describe a variety of visual experiences and sensory perception through mostly large-scale painting and drawing. My paintings aim to complicate the viewers understanding of depth

and materiality. Using geometry, color, and varying paint application techniques, I attempt to manufacture spaces that are indeterminate. Formal elements oscillate between possessing a grounded material status and atmospheric fields of light emitting from the canvases. Working with sloping lines, folds of illusionistic three-dimensional planes, and illusions of transparency, I create complicated and impossible impressions of architectural and spatial experiences, manufactured from fleeting sensory experiences. I am interested in emerging spatial forces generated from environmental circumstances. The intended interiority of these paintings is a result of compounded effects and events condensed into one viewing experience, using immersive rather than pictorial devices in painting.

Lorenzo Cardim

Extra Relish!, 2013, wax and sisal, 7 x 28 x 3.5" (17.8 x 71 x 8.9cm) Lorenzo Cardim is currently a Fine Art student at the Corcoran College of Art + Design in Washington DC. He is an interdisciplinary artist and his work is defined by the exploration of different media. Lorenzo Cardim covers a large array of media and finds poetic meanings in the materials he uses. The relationship between the materials is what interests me in my artistic approach. The materials not only describe the artwork but it is crucial to its narrative. Everything in the work of art is important; the material is as important as the idea. Extra Relish! Extra Relish! makes allusions to familiar figures of American consumerist society. The work is marked by American food culture , sensorial experimentation and exploration of materials.

SooHo Cho

Inner Self, 2012, rice paper, 8.7x 6.7 x 4.2 (22 x 17 x 10.7cm) each SooHo Cho, a daughter of 1st generation Korean American Immigrant. Spent her childhood in her home country, and have been living in the States since 2001. She is currently attending Corcoran College of Art + Design in Washington D.C., studying Fine Art. Her work is continuation of her searching about the questions she asks to herself. Who am I? Where am I? Why am I here? Her work demonstrates the idea of nomadic, displacement, and ephemeral influenced by her settlement change. Using her work as a connection bridge and her language, she wants to associate with the audience. She wants to share her thoughts with the audience, and give them a moment to listen to themselves carefully. Inner Self Everyone is individual. Everyone looks different. Everyone has different skin color. Everyone speaks different language. Everyone shares different cultural background. But everyone is same. Regardless to how we look, how we dress, how we live, how we speak, inside of us look the same. What I eat is what you eat.

What you eat is what we eat. Inside of us, we look similar. Inside of us, we are one. The clear see-through masks represent the people around the world regardless to their skin color, gender or cultural background. Using a rice which is the main source of daily food I eat, as well as many people from all over the world consumes; I created the Inner self masks that depicts anyone and everyone from the world.

James Cole

Cream Cheese and a Bagel, 2012, steel, 22 x 9" (55.9 x 22.9cm)

Having spent his childhood living in many different countries, states, cities and towns, James Coles approach towards his work is a reflection of his inner approach towards the world around him; it is simply to investigate and search. He searches with materials and methods. He searches for the one way to best translate thought and word into form or function. He is a mental vagabond possessing an unquenchable thirst for exponential knowledge. He is currently a Senior at the Corcoran College of Art+Design, working towards gaining his Bachelors Degree in Fine Arts. He is also a really good rapper.

Cream Cheese and a Bagel Cream Cheese and a Bagel describes one of the common breakfast items for the daily work commuter. On those commutes, while eating their tasty breakfast bagels, they often pass by many without the luxury of having food so readily available. The image of a homeless person is engraved in our thoughts, sometimes hidden and sometimes at the forefront. This mental images presence and its impact are based primarily around our own personal social status. The work incorporates the use of iconic visual references we associate with the homeless produced from raw and unfinished materials. This specific medium in its current state is held within a direct correlation to the disheveled appearance of those who live without a home. While it appears to be jagged, rough and harmful, it still carries a beauty within, which is intended to be a direct relation to the fruitful nature of life and of man.

Kyrae Cowan I, Kyrae Cowan, am a contemporary painter currently based in Washington, DC. My artist experience has grown from New York through Baltimore, to the District of Columbia. The painting I do is proud about the materiality and properties in paint. The work I produce of painting is generally sited for the place. In this manner, my painting is then imposing and flamboyant in order to summon confrontation in any curious conflict. I come from a concern about social efficiency and personal or universal duty as human animals. I am now painting for installation and in short film. I have received my BFA at Corcoran College of Art + Design.

Washing Machines, Laundromat (Pesci) The washing machine is used to clean soiled, dirty items in routine. This routine becomes celebratory of becoming dirty. The soiling and seasoning beyond what is standard or clean is simply achieved through exploration and engagement. I found the washing machine as an opportunity to honor historic phenomenon whilst addressing the hard conditioning, cycle or trap we may be subject to, as guided through our lives. Many recognize tradition and thus can live and honor it, but surely it could be more obvious for some. It is necessary to be able to receive and reapply a lesson for your contemporary context, for the sake of advancement. This triptych includes three fish, all of which, familiar of Italian cuisine. Each fish is singularly alive in its own washing machine. The paintings themselves have also been washed. Italy is renown about its food history and religious faith. A formal tradition seems to be very obvious in Italy and I would like to excite the contemporary faiths of such vivid traditions. Fish are very holy amongst the bible and Christian faiths. Italy has a prevalent fish market. The paintings of commercial washing machines with fish in them, are for the potent exchange between traditional honor and innovation, I trust a country such as Italy can access such dialog. These paintings are to be installed in Ex Chiesa di San Carpoforo, Milan, Italy; a former church restored as an art gallery.

Washing Machines, Laundromat (Pesci), triptych, 2013, acrylic, latex paint, canvas, clothes-lines, 32 x 54", 28 x 54", 32 x 54", (81.3 x 137.2, 71 x 137.2, 81.3 x 137.2cm)

Eliot Hicks

My Colors are Blush and Bashful, 2013, kool-aid and human bloodstained fabric, 360 x 36" (914.4 x 91.4cm)

Eliot Hicks is a Southeastern Virginia based artist currently studying at the Corcoran College of Art + Design who primarily works in sculpture, performative works, and digital art.

My Colors are Blush and Bashful Based on the death of Robert Harlings sister, Steel Magnolias was a coping mechanism for the loss of the authors diabetic sibling. The film adaptation shows the struggles of a diabetic and the lighthearted arguments with her mother and closest friends. The dynamic between the two is similar to symbiosis, and at their separation, the value of relationships such as these is crucial to surviving. Life itself can be a means of sustenance and how contact with, or the desire for, another human being can be nourishing, or depriving.

Jeremiah Holland

Fat Pill, 2011, wood, 19 x 6 x 4" (48.3 x 15.2 x 10.2cm)

Jeremiah lives and works in Lexington, Virginia. His work explores limitless forms through sculpture in wood with an approach that carefully navigates a dimension between sculpture and craft. I believe there are two forms of simplicity. The first is simple design with equally simple processes, which leaves little to the imagination of procedure, process and artistic practice. This form of simplicity navigates a fine line between magic and calamity. The second form of simplicity, which I prefer to practice, conceals the process and adds an enigmatic quality to the work. This form also navigates the viewer through the work to reveal the evidence and the intent. My work is a relationship of compromises and concessions with the material and it is within that connection that I am able to tackle new issues between traditional genres and attempt the indefinable. Fat Pill Fat Pill is a commentary that addresses the ever-increasing epidemic of obesity. We, a species as a whole consume thousands of calories each day that provide little to no nutritional value. Fat Pill is a static reminder that even the heaviest of US are nutritionally emaciated

Rachel Hrbek

Sushi, 2013, video/performance

Rachel Hrbek explores spatial and social dynamics of the gallery through the use of the body and very minimal props. This is executed through her analysis and critique of New Age Culture in its promotion of finding ones self through spiritual enlightenment, sexual awakening, and consumerism. Hrbek allows her viewer to take on a voyeuristic role, placing her subjects in an intimate, yet anonymous space, and focusing on the relationship, or lack of relationship, between the performer and the viewer. The undertone of each performance is sexually driven, exploring culturally influenced ideas regarding intimacy, seduction, and sexual relationships. Sushi In Sushi, the artist is shown eating an avocado roll off of her performance partners naked body while he lays motionless on the ground. This video performance is an analysis of the fetishization of culturally appropriated past times and the idea of what it means to be cultured in Western society. The disconnect emulated by the artist correlates to the detachment present in ones decision to appropriate the rituals of other cultures, while at the same time questioning the intimacy or lack of intimacy present in the modern relationship.

Arther Lee

Arthur Kwon Lee is a Korean American painter who portrays both contextualism and formalism as one in the same. Lee tries to increase a dynamic understanding of philosophical viewpoints by objectifying socially invested emotional content and investigating the duality that develops when seen through a different cultural interpretation. His work is a study on multiple culminating factors surrounding ideas on the spiritual dimension left unnoticed in the brutality that is human nature. Lees art carries the desire to shed light onto misunderstood human situations, by presenting these negative states with descriptions surrounded around respected institutions.

The Inability of Sustainability, 2013, acrylic on canvas, 30 x 24" (76.2 x 61cm)

Armando Lopez-Bircann

MeltOn, 2011, video Armando Lopez-Bircann (ARLOBI) was born in New York City, Feburary 5th, 1990. He grew up in Dominican Republic with the Internet and video games presenting him worldwide cultures in an equalized light. His aesthetic is rooted within the flamboyant male tendencies of the animal world as seen in the birds of paradise. These displays of courtship are engineered through wearable performative sculptures. Depending on the environment, these are activated in ceremonial performances that ranges from multimedia productions to distilled sets of actions. He received his BFA from the Corcoran College of Art + Design, has participated in queer collective Boys Be Good and is co-founder of the performance art platform Animals & Fire. He is currently based in Washington D.C. www.arlobi.info arlobi@gmail.com.

MeltOn MeltOn explores the release of emotional build up. Through digital manipulation, the devolving wearable sculpture is fused to the artist. The social and personal pressure to reach completion overtook the initial motive of the project resulting in an intuitive gestural response.

Adriana Serrato

Im Afraid Ill Forget, 2013, video

Adriana Louise Serrato, an Italian American artist studying Fine Art in Washington DC at the Corcoran College of Art and Design, works primarily with video as a medium. Although she has a basic training in Fine Art disciplines, she prefers working in video, specializing mainly in cinematography. Raised in Europe she returned to the United States to pursue her University studies. Being distanced from her core family helped highlight the importance family serves in ones life. Her work revolves around the importance of a family unit, she dissects its structure through videos and drawings. Although exploring family through her own personal memory, the goal of her videos is to primarily make individuals smile. Im Afraid Ill Forget I have a fear of forgetting yesterday, today and tomorrow. Im afraid that the moments spent with others will fade with time and one day will vanish from my memory. Our memory is like a computer, the hard drive can only hold so much and eventually the superfluous must be deleted for new data. The video tackles this idea of memory by filming a group of friends through the perspective of someone participating or interacting with the people in the video. By capturing this moment on camera it somehow puts the brain at ease. I no longer need to keep this memory safe in my mind as I have it safely downloaded on my external hard drive, my computer and many other storage devices.

Dandan Luo

Within the Realm of Memories, 2013, stoneware, 22 x 8 x 6" (55.9 x 20.3 x 15.2cm)

Dandan Luos passion in art brought her from China to the Corcoran College of Art and Design in Washington, DC. She makes paintings and ceramic works. Her work is an externalization of her experience, vision, dreams and imagination. She sees the process of creating art a journey where she continuously invests parts of herself into it. Her work is also a place allowing viewers imagination to roam freely, and a point for them to start their own reflections. She likes breaking the conventional ceramic forms, and creating objects with qualities of extremeness and dissonance. Dandan received her BFA in May, 2013. Within the Realm of Memories At banquets in China, delicate food is sometimes presented on a miniature boat. On one hand, my memories of China are full of all kinds of tasty food. On the other hand, overeating and being wasteful are part of our culture, and people always take it for granted. After I moved to America, I missed the food in China, but I also became more aware of what I eat, how I eat, when I eat, and how much I eat. This work is based on my memories of China and my reflections on food and my changing eating habits.

Katie Macyshyn

Just Deserts, 2013, video Katie Macyshyns work analyzes the subjugated individuals relationship with society in the anomalys need to be desired in the face of common laws of desire. An anchor in the Corcorans performance community for the duration of her tenure as an undergraduate student, Macyshyn connects to a subject by taking on roles. Moments of discovery unfold through theatrical means. Characters, and their worlds, are presented in a surreal way where their perceived flaws are not hidden, but exaggerated with a dingy fondness. Exposing often ignored injustices of marginalization fuel Macyshyns practice. Just Deserts An adaptation of a performance piece with the same title Just Deserts,(video), using footage of the documentation, is a study of the performers relationship to family in the wake of a tragedy. The protagonist attempts to fix violence, illness, and loss, in the hopes that time will heal the family unit, but while working alone and living in the past, never seeming to make progress. Because of a challenging family situation, Americas policies on mental health and gun control have become increasingly problematic at a personal level. This I feel, is a lack of respect for human life and compassion which is consumed on a national scale. The title Just Deserts refers to the popular phrase just desserts which refers to justice being paid.

Gabriel Mellan

Caffeination, 2010, wood, motors, steel, 50 x 6 x 6" (127 x 15.2 x 15.2cm) Growing up has always been an adventure for Gabriel Mellan. With his childhood divided up in Washington DC, Hawaii and Tokyo, the transient and multi-cultural experiences have continued on into his adulthood. Focusing his art making on interactive sculpture and installations involving sound, motion and light, his work is fueled by material, process and minimalistic forms. Gabriel is a graduate of the Corcoran College of Art + Design and is teaching and making art in the D.C. area. His sculpture, installations and photography have been published and exhibited in China, Japan and the U.S. Caffeination Positioned between Dadaist objects, kinetic sculpture and comedic fine art, this sculpture is titled Caffeination to simulate the effect of caffeine in ones system. A pull-switch on the lowest wooden cup invites an activation of the coffee-cup-spine. The fourteen cups vibrate and rattle as caffeinated vertebrae until the switch is pulled.

Chloe Rubenstein

Chef, 2013, acrylic on canvas, 30 x 40 (76 x 101.6cm) Chloe Rubenstein uses her passion for illustration to create humorous scenarios and characters. Often displayed on bright single colored backgrounds, Rubensteins work has the tendency to pop off the canvas. Chef Chef is a character of a three part series reflecting the emotions Rubenstein has had while growing up working in the food industry. The frantic facial expression is one most have made while working in the restaurant business. The graphic street art approach is a reflection of Rubensteins style as a urban muralist back in Washington D.C.

Jordan Sanders Spending much of his early years tinkering in the fading rural playground surrounding Washington DC, Jordan Hamlett Sanders found an early interest in construction machinery and the effect they have on our natural environment. As his backyard underwent drastic changes due to suburban development, an acute awareness of the waste and loss of materials began to grow within him. Today that awareness has developed into an ethos which drives the conception and creation of paintings, prints, and sculptures that Sanders hopes will bring attention to the availability of usable resources filling dumpsters and trash cans nation wide. Dumpster Diving For Wood Dumpster Diving for Wood is a reductive screen print mounted on a wooden frame made from salvaged wood. The act of dumpster diving is typically associated with the salvaging of food that has been tossed out by restaurants or grocery stores prematurely. I have taken a similar approach in my search for materials. Scouring residential neighborhoods, gleaning from renovation sites and dumpsters what I can to construct pseudo environments and internal spaces. The Prints and paintings that took form as a direct result of this process feature broad connecting lines which solidify into object-hood. In Dumpster Diving for Wood, 15+ layers of different color inks were printed on top of each other to create an almost sculptural surface. This image was then revealed by careful sanding The result resembles wood or metal layered with years of paint and dust much like the doors and window frames I pull from the trash.

Dumpster Diving For Wood, 2013, paper, ink, wood, glue, 30 x 22" (55.9 x 76cm)

Bryana Siobhan Emerging artist Bryana Siobhan an Alumni of the Corcoran College of Art and Design with her Bachelors in Fine Art, she is currently a Masters Candidate at the School of the Museum of Fine art Of Boston for her Masters in Fine Art to be procured in 2015. She has been working in Washington DC for the past 4 years and will be relocating to Boston this summer. After working in mixed media for the past 9 years, she has shifted her attention to performance art. Incorporating sound, painting, sculpture and video into her performative works, Bryana looks to highlight the fragility and ephemerality of relationships, the psyche and social interactions on both a global and personal level. Center of Five Using psychology, mythology, and real life situations; my work creates a dialogue about how humans cope with mental illness and anxiety in the world around us. Performance and video art are the tools I use to explore these ideas. Physical motion, the voyeuristic eye, the internal consumption of anxiety, self-esteem, mania; may rework how we think about reality. Reality becomes cyclical, almost dream- like, repeating the same actions over and over to ensure certainty. Because of this, physical actions become ritualistic, they can become teaching moments, ripe for examination and we find ourselves acting out self- soothing motions. As we continue to push ourselves further into animalistic instinct. Performative actions create a environment in which empathy is sought out from the viewer Center of Five, 2012, video/ performance (Image not available)

Cynthia Tidler

Cynthia Tidlers work is based in mythology, folk tales, nature and science, particularly evolutionary theories, and she interprets humananimal interactions. She is interested in the boundaries, both physical and psychological, between wild and domesticated animals, predator and prey, and the depth and complex variety of our relationships with other species. Some of her images blend animal and human physiology, especially where she sees connections in experience, such as labor, aging or provoking reactions in others. Although Tidlers concentration and primary interest is in printmaking, she has a strong interest in drawing and painting as well, and has been working to blend the three mediums together. She enjoys experimenting with different printmaking processes, and combining those processes for greater richness and depth in her images. Cynthia Tidler is currently a firstyear MFA student at the University of Wisconsin-Madison. God is an Apex Predator A tiger consumes man and is made a god by the people who survive. This god is an apex predator and humans, in their reverence, accept the title of prey. In this work, Cynthia Tidler explores human-animal God is an Apex Predator, 2013, interaction, notably the unusual predator vs prey relationship between woodblock print, 48 x 72" (122 x the Bengal tigers of the Sundarbans region and the people who live 182.9cm) there. The Sundarbans is the worlds largest mangrove forest, and home to man-eating tigers. The people fear and worship the tigers, and pray to Dakshin Ray, the tiger god. This work is a large-scale woodblock print of the tiger as man-eater and as god, in a complex natural environment. Images of smoke and honey allude to offerings intended to appease and pacify, and the desire to extract the sweetness from anothers life. A river flows throughout the work, creating an uncertain landscape that blurs boundaries of land and water, human and animal. Images of masks refer to the delicate masks, worn by the people in a mostly unsuccessful attempt to trick the tigers, and reference human intelligence, deception, and ultimately, vulnerability. The worship of the tiger depicted in this work reflects human reverence for predatory and unpredictable power, whether encountered in nature or other humans.

Ashley VanGemeren

Drowning, 2013, oil on canvas, 24 x 48" (61 x 122cm) Ashley VanGemeren is a multi-disciplinary artist from Laurel, Maryland currently studying Fine Art at the Corcoran College of Art + Design (class of 2015). Her paintings allow the vibrant artificiality of minimally mixed pigments to accentuate the emotional essence and soul of the subject, while transparent layers of color allow the subject to glow. This effect creates a dreamy fantastical world for which the subject can exist, inviting and enticing the viewer to engage with and experience the ethereal atmosphere. Drowning In American society, we are constantly surrounded by tainted food and beverages filled with artificial ingredients. We are trapped in the cycle of consuming synthetic substances that poison our judgment and wellbeing. Drowning expresses feelings of distress and helplessness while simultaneously surrendering to the inescapable presence of additives and preservatives.

Travis Wagner

Empty Vessel of Empty Calories, 2012, oil on canvas, 8 x 10 (20.3 x 25.4cm) Travis Wagner is a fine artist originally from central Pennsylvania. Travis completed junior college studies at Florissant Valley campus of St. Louis Community College. Travis was recruited from there to The Corcoran where he will complete his BFA in 2014. Travis splits studio time between material exploration based sculptural work and observationally based representational drawing and painting. Empty Vessels of Empty Calories Empty Vessels of Empty Calories intently studies the subtle nuances of an empty can of cola. Devoid of anything but the vessel itself, the can bears no label, no branding, and no contents. It is simply empty, as it always was.

Whitney Waller

012513-052513, 2013, sketchbook, 14.5 x 11" (37 x 28cm) Whitney Waller is from the Southeastern United States, the nineties and the internet. She was trained as a youth at the Old Donation Center for the Gifted and Talented (Virginia Beach, VA) and the Governors School for the Arts (Norfolk, VA). Waller spent two years studying the figure with charcoal and clay at the New Orleans Academy of Fine Arts under Carol Peebles and Kinzey Branham. She is currently a BFA student at the Corcoran, a teacher for the Aspiring Artists and Camp Creativity programs (Corcoran), and draws with chalk on the front steps of the Corcoran Gallery of Art. 012513-052513 This is Wallers most recently completed sketchbook, an almost journalistic account of her commute on the D.C. Metro. For her, a daily drawing practice is as nourishing as anything containing calories, proteins, fats, etc. Within this book are a range of compositional successes and line qualities. Within Whitney Waller, they were all good meals.

Robert Yi

Young Pioneer, 2013, oil on canvas, 40 x 30" (101.6 x 76cm) Robert Yi is a painter based in Washington, D.C. and currently an MFA candidate at American University. His bust-style portraits, often depicting his subjects frontally- the subject gazing directly at the viewer- create a visual contact between the viewer and sitter that is immediate and, even at times, confrontational. (Robert Yi) explores the political and personal implications of societal masks and facades. Yi succeeds in not only offering a series of portraits that create a discourse around the politics of identity, but also providing character study and seeing beyond public personas. John Edmonds- Fine Art Photographer/Portrait Art Blogger Young Pioneer The Young Pioneers of North Korea represent the best and the brightest. When will the rest of the world recognize the true young pioneers who suffer and starve under oppression of the Dear Leader, Kim Jong Un?

Ji-sun Yoon

Thirst, 2013, porcelain, 6 x 9" (15.2 x 23cm) each

Ji-sun Yoon (born August 12, 1988) is an artist and an art educator based in Washington, D.C. Ji-sun recently received her Bachelor of Fine Arts (BFA) degree from the Corcoran College of Art and Design, Washington, D.C. She spent most of her years in South Korea, where she developed an interest in searching for her own definition of art. Ji-sun explores different forms of art and experiments with perception of art. She is currently pursuing her Masters in Art Teaching (MAT) degree at the Corcoran College of Art and Design, Washington, D.C. Jisun focuses on finding ways to make art more accessible, familiar, and exciting for her students. Thirst The piece Thirst questions the boundaries between art and crafts. Three ceramic vases with holes indicate that the vases have lost their function. The surrendering of function in these vases places them in a realm between sculpture and craft-object. The piece brings to bear a deeper question about the viewers consumption of self-manifesting meanings that may or may not exist.

Photo Credits
Julia Bancroft A Fearful Desire, 2013, raw bird skin, digital prints, 20 x 30" (50.8 x 76cm) Photo: The Artist Halsey Berryman Document Two, 2013, acrylic on canvas, 126 x 71" (320 x 180.3cm) Photo: Sooho Cho Lorenzo Cardim Extra Relish!, 2013, wax and sisal, 7 x 28 x 3.5" (17.8 x 71 x 8.9cm) Photo: Sooho Cho Sooho Cho Inner Self, 2012, rice paper, 8.7 x 6.7 x 4.2" (22 x17 x 10.7cm) Photo: The Artist James Cole Cream Cheese and a Bagel, 2012, steel, 22 x 9" (55.9 x 22.9cm) Photo: Sooho Cho Kyrae Cowan Washing Machines, Laundromat (Pesci), triptych, 2013, acrylic, latex paint, canvas, clotheslines, 32 x 54, 28 x 54, 32 x 54, (81.3 x 137.2, 71 x 137.2, 81.3 x 137.2cm) Photo: The Artist Eliot Hicks My Colors are Blush and Bashful, 2013, kool-aid and human blood stained fabric, 360 x 36" (914.4 x 91.4cm) Photo: The Artist Jeremiah Holland Fat Pill, 2011, wood, 19 x 6 x 4" (48.3 x 15.2 x 10.2cm) Photo: The Artist Rachel Hrbek Sushi, 2013, video/performance Photo: The Artist Arthur Lee The Inability of Sustainability, 2013, acrylic on canvas, 30 x 24" (76.2 x 61cm) Photo: Sooho Cho Armando Lopez-Bircann MeltOn, 2011, video Photo: Sooho Cho Adriana Serrato Im Afraid Ill Forget, 2013, video Photo: The Artist Dandan Luo Within the Realm of Memories, 013, stoneware, 22 x 8 x 6" (55.9 x 20.3 x 15.2cm) Photo: Sooho Cho Katie Macyshyn Just Deserts, 2013, video Photo: The Artist

Photo Credits
Gabriel Mellan Caffeination, 2010, wood, motors, steel, 50 x 6 x 6 (127 x 15.2 x 15.2cm) Photo: The Artist Chloe Rubenstein Chef, 2013, acrylic on canvas, 30 x 40" (76 x 101.6cm) Photo: Sooho Cho Jordan Sanders Dumpster Diving For Wood, 2013, paper, ink, wood, glue, 30 x 22" (76 x 55.9 cm) Photo: The Artist Cynthia Tidler God is an Apex Predator, 2013, woodblock print, 48 x 72" (122 x 182.9cm) Photo: Sooho Cho Ashley VanGemeren Drowning, 2013, oil on canvas, 24 x 48" (61 x 122cm) Photo: Sooho Cho Travis Wagner Empty Vessel of Empty Calories, 2012, oil on canvas Photo: Sooho Cho Whitney Waller 012513-052513, 2013, sketchbook, 14.5 x 11" (37 x 28cm) Photo: Sooho Cho Rober Yi Young Pioneer, 2013, oil on canvas, 40 x 30" (101.6 x 76cm) Photo: Sooho Cho Ji-sun Yoon Thirst, 2013, porcelain, 18 x 9", 6 x 9" each (45.7 x 23, 15.2 x 23cm) Photo: Sooho Cho

With the Support of the President of the Republic

Are We What We Eat?

Sustainability and Art
Church of San Carpoforo, Milan 10 September at 6pm 6 October 2013 Pirelli Skyscraper, Milan 19 September at 6pm 29 October Corcoran Gallery of Art, Atrium - Washington DC Corcoran Gallery of Art, Gallery 31, Washington DC 11 December 2013 26 January 2014

Presidente Salvatore Carrubba Direttore dellAccademia Franco Marrocco Segretaria della Direzione Giulia Genise Ufficio Stampa Barbara Marzoli

Presidente Cristina Renso Segreteria organizzativa Maria Oroso Ufficio Stampa Lisa Casoli Con la collaborazione di OdV Flangini Elisabetta Flangini

Provost and Chief Academic Officer Catherine Armour Art direction of exibition Lynn Sures Digital catalog design Pat Autenrieth

In collaboration with

Presidente Roberto Maroni Segretario Generale della Presidenza Andrea Gibelli Direttore Funzione Specialistica Comunicazione Patrizia Carrarini

Dirigente Struttura Eventi Piero Addis Staff Struttura Eventi Francesca Esposito Giovanna Gaito Susanna Di Salvia

With the collaboration of

Concept by Cristina Renso e Maria Paola Cancellieri Associazione Culturale Giuseppe e Gina Flangini Honorary Committee Claudio Bisogniero Ambasciatore dItalia negli Stati Uniti Roberto Maroni Presidente della Regione Lombardia Guido Podest Presidente della Provincia di Milano Giuliano Pisapia Sindaco del Comune di Milano e Commissario Speciale dellExpo 2015 Franco Marrocco DirettoreAccademiadiBelleArtidiBrera Stefano Sala Commissario unico di Expo 2015 Scientific Committee Catherine Armour Corcoran College of Art + Design Washington, DC Alberto Manai Istituto Italiano di Cultura Washington, DC Renato Miracco Ambasciata dItalia Washington DC Lynn Sures Corcoran College of Art + Design Washington, DC Antonio DAmico Storico e Critico darte Carlo Vitali Istituto degli Studi sul Lavoro Annamaria Castaldi Rossi Universit Cattolica del Sacro Cuore di Milano Lucia Folco Zambelli Politecnico di Milano Cristina Renso AssociazioneCulturaleGiuseppeeGina Flangini

Art Direction Antonio dAvossa Accademia di Belle Arti di Brera Milano Lynn Sures Corcoran College of Art + Design Washington, DC Organization and scientific secretary Associazione Culturale Giuseppe e Gina Flangini Raccolta Flangini Editor Antonio dAvossa With the collaboration of Lisa Casoli Elisabetta Flangini Graphic Design Daniele Miradoli Accademia di Belle Arti di Brera Web Grafic Maria Francesca Castaldi Communication and Press Barbara Marzoli Accademia di Belle Arti di Brera Lisa Casoli AssociazioneCulturaleGiuseppeeGina Flangini Translations by Jennifer Ingleby Elisabetta Solca Adriana Zaffaroni Thank you for your support Intesa San Paolo Milano Special Collaboration Filitalia International Lombardi nel Mondo D.I.V.E. Association, Washington

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