Painting Faculty Work

  • Mark Thomas Gibson

    Smooth Sailing

    2019

  • Mark Thomas Gibson

    The Dangerous One

    Ink on paper 36 by 55.5 inches 2019

  • Mark Thomas Gibson

    Welcome To Bucks County

    Acrylic on canvas 70 by 40 inches 2018

  • Mark Thomas Gibson

    Little Helper

    Acrylic on canvas 70 by 40 inches 2018

  • Mark Thomas Gibson

    Washed up

    Acrylic on canvas 60 by 40 inches 2017

  • Philip Glahn

    “Satellite Arts: A Television of Attractions” (with Cary Levine), Parallax special issue on “Networked Liminality” (2020)

    Essay discussing televisual space as a new site of encounter: a meaningful immediacy, an environment of multiple mediations, both of reality and as reality, for repurposing mass media ‘as technologies of the self.’

  • Philip Glahn

    “The Future is Present: Electronic Café and the Politics of Technological Fantasy” Art Journal (with Cary Levine; Fall 2019): 100-121

    Article examining a key work by the art activist group Mobile Image who in 1984 connected several Los Angeles neighborhoods through futuristic telecommunication devices, critically engaging concepts and mechanisms of individual and social identity, history, and experience.

  • Philip Glahn

    “The Bauhaus: Lost in Translation—Art as Work,” Wolkenkuckucksheim/Cloud-Cuckoo-Land—International Journal of Architectural Theory (Fall 2019): 151-162

    Essay looking to the Bauhaus as model for artistic research centered around questions of social labor: the utility of art (as) work, the making and provision of tools, and the collective transformation of society.

  • Philip Glahn

    “The Radio and/as Digital Productivism,” Anne Thurmann-Jajes, et al. (eds), The Radio as Art: Concepts, Spaces, Practices (Bielefeld: transcript Verlag 2019), 99-106

    Chapter addressing the history and legacy of the radio as an apparatus of public communication and the production of utopian social formations.

  • Philip Glahn

    Bertolt Brecht (London: Reaktion Books, 2014)

    Book addressing questions of socialism and technology, pedagogy and the utility in the work of Bertolt Brecht.

  • Dona Nelson

    Crow’s Quarters (2019)

    Acrylic on canvas 78 by 84 inches From the exhibition "Dona Nelson: Painting the Magic Mountain" September 14–November 2, 2019 Courtesy of Michael Benevento Gallery

  • Dona Nelson

    Installation view of the exhibition "Dona Nelson: Painting the Magic Mountain"

    "Dona Nelson: Painting the Magic Mountain" September 14–November 2, 2019 Courtesy of Michael Benevento Gallery

  • Dona Nelson

    Night Studio

    Acrylic on canvas with cheesecloth 79 by 79 inches 2008 Installation view from "Dona Nelson: New Paintings" exhibition in September 2015 Courtesy of Thomas Erben Gallery

  • Dona Nelson

    Installation view of the exhibition "Dona Nelson: Painting the Magic Mountain"

    "Dona Nelson: Painting the Magic Mountain" September 14–November 2, 2019 Courtesy of Michael Benevento Gallery

  • Dona Nelson

    Installation shot of Bells (2017)

    From the exhibition "Painter's Reply" Lisson Gallery, New York City, New York, 2019. Courtesy of Lisson Gallery

  • Dona Nelson

    Night Studio

    Acrylic on canvas with cheesecloth 79 by 79 inches 2008 Installation view from "Dona Nelson: New Paintings" exhibition in September 2015 Courtesy of Thomas Erben Gallery

  • Dona Nelson

    Installation shot of Bells (2017)

    From the exhibition "Painter's Reply" Lisson Gallery, New York City, New York, 2019. Courtesy of Lisson Gallery

  • Dona Nelson

    Night Studio

    Acrylic on canvas with cheesecloth 79 by 79 inches 2008 Installation view from "Dona Nelson: New Paintings" exhibition in September 2015 Courtesy of Thomas Erben Gallery

  • Odili Donald Odita

    45-foot wall installation in the ICA, Miami

    2019 Photo credit: Alan Prazniak

  • Odili Donald Odita

    45-foot wall installation in the ICA, Miami

    2019 Photo credit: Alan Prazniak

  • Odili Donald Odita

    Heat Wave

    Acrylic on canvas 80 by 104 Inches 2018

  • Odili Donald Odita

    Place

    Acrylic on canvas 84 by 110 1/8 inches 2018

  • Odili Donald Odita

    Great Divide

    Acrylic on canvas 74 by 90 1/4 inches 2017

  • Odili Donald Odita

    Our House

    Commission for City of Philadelphia Mural Arts Program Brandywine Workshop and Archives 728 S. Broad Street Philadelphia, PA October, 2015

  • Odili Donald Odita

    Nomad

    Acrylic on canvas 90 by 80 inches 2012

  • Odili Donald Odita

    Light and Vision

    Two perspectives Acrylic latex wall paint on wall Top: 13 feet, 3 ⅞ inches by25 feet, 10 ⅝ inches Bottom: 9 feet, 2 ¼ inches by 19 feet, 6 ¼ inches 2010 [Image: courtesy of The Foundation for Art and Preservation in Embassies (FAPE) and photographer Paul Warchol]

  • Mark Shetabi

    Theatre (Sunken Ship)

    Oil, acrylic, watercolor on wood, with lead, Plexiglas, masking tape and LED lights Dimensions variable 2019

  • Mark Shetabi

    Caspian Sea Hyatt

    Oil on linen, two parts 66 by 92 inches 2018

  • Mark Shetabi

    Couch (Caspian Sea Hyatt)

    Oil, acrylic, modeling paste, marble dust on canvas, linen, polyurethane, and wood panel 36 by 14 ¾ by 19 ½ inches 2018

  • Mark Shetabi

    Future Objects (Poor Edward)

    Enamel on porcelain 2 ½ by 3 ½ by 7 inches 2017

  • Mark Shetabi

    Camper (Pod)

    Acrylic, enamel, modeling paste, and marble dust on wood and Plexiglas 12 by 13 by 21 inches 2016

Painting Faculty Work

Painting Faculty Work

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