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Opening Celebration: 2019 Faculty Triennial

Opening Celebration: 2019 Faculty Triennial
Friday, January 25th '19 5:00 pm – 8:00 pm

Join The Galleries at Moore for a celebration of the opening of the 2019 Faculty Triennial. Presented as part of The Galleries' ongoing commitment to showcase the diversity of work produced by the Moore community, this triennial gives a glimpse into the issues our talented faculty are currently exploring in their professions.

The exhibition features new and recent work by 49 faculty members across all disciplines and, for the first time, occupies every gallery on the campus ground floor. In addition, an accompanying schedule of ongoing and one-time public programs conceived by teaching faculty provides insight into the work of both the makers and the non-makers who prepare Moore’s students for careers in art and design.


Asher Barkley, Andrea Beizer, Carolyn Cherno, Kathryn Dethier, Jeff Dion, Anna Drozdowski, Kathleen Eastwood, Sandra Erbacher, Elaine M. Erne, Alan Evans, Dorothy Funderwhite, Robert Goodman, Sarah Conrad Gothie, Asuka Goto, Richard Harrington, James Johnson, Jerry Kaba, Joe Kulka, Mary Katie Leech, Jacque Liu, Emilio J. Maldonado, Jeff McCloskey, John McDaniel, Gigi McGee, Joyce Millman, Mary Murphy, Rosemary Murphy, Tara O’Brien, Timothy O’Donnell, Alice Oh, Nasheli Juliana Ortiz González, Lynn Palewicz, Maya Pindyck, Kaitlin Kylie Pomerantz, Heidi Ratanavanich, Abby Schwartz, Colleen McCubbin Stepanic, Lauren Stichter, Kristen Neville Taylor, Nicholas Tazza, Christie Torgerson, Ian Tornay, Daniel Tucker, Heather Ujiie, Kimberly Voigt, Piya Wannachaiwong, Jonathan Wallis, Kelli S. Williams and Stephen Wood.


In conjunction with the 2019 Faculty Triennial professor Jonathan Wallis presents the special curatorial project River of Inferno — a selection of paintings by the Chinese-American artist, Yiu-Ngok Yuen, produced during his final years in self-exile from his native China. Aptly titled by the artist, the series takes viewers on a critical journey through the fallout from China’s twentieth century political and cultural transformations. Guided by Yuen’s artistic imagery, we ride the tumultuous waves like Dante who, in his Divine Comedy, is led by the poet Virgil over the River Styx. Tragically, the immoral circles of Dante’s Inferno echo all too clearly in the subjects and layers of history embedded in Yuen’s neo-expressionist paintings.

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