Tremor in Shadow: New drawings by MFAST mentor Renee van der Stelt at Project 1628 in Baltimore

An exhibition of new graphite drawings: shadows of shafts of Big Bluestem beneath a gun taken apart, shadows of Tulip Poplar saplings, crumbling wood of an apple tree struck by lightning, a torn metal fence. A residue of maps, marking territory: the geography of agitation and vibration.

Reception on Sunday December 4, 2016 from 2:00pm – 5:00pm.

Project1628 is located at 1628 Bolton Street, Baltimore MD 21217.

Open by appointment through January 29, 2017. Contact the artist directly.

For more information on the artist, visit


Brett Wallace (MFAST ’19) launches new project, Reserved for Engineering, in Brooklyn

Part product launch, part exhibition, part interactive event, “Reserved for Engineering” is a meditation on the speed, quantity, and spectacle of production and distribution. Wallace intervenes in these systems by addressing labor through the self-created company “Amazing”, recording testimonials of employees hired by the artist, and displaying a video of the first delivery of artwork by drone. Viewers will shuffle through the gallery turned Fulfillment Center, navigating a space of customized pizza boxes, drone surveillance, and employees sorting and stocking cultural goods, all the while feeding the network created by the space that is “Reserved for Engineering”.

This Friday or Next Friday is at 89 Bridge Street, Brooklyn, NY 11201.

On view through December 2, 2016.

By appointment:

To read the review in Art Critical of Wallace’s recent solo exhibition “If This, Then What” at ART 3, click here. You can view installation photos on ART 3 Gallery’s website

For more information on the artist, visit



Black Box/Adjacent Body: A Pop-up exhibition of 7 outdoor works by MFAST faculty member Renee van der Stelt

November 13 and 14, 2016 from 10am-6pm, a pop-up exhibition of 7 outdoor works by Renee van der Stelt will be on view. Please contact for details and location.

An enacted drawing will be performed at 12:00pm and 4:00pm on Sunday, November 13.

Artists who have organized their own exhibitions feel that one distinct advantage is their control over how the work is seen. With most artist-organized exhibitions there are no pre-imposed curatorial themes and fewer restrictions. In some cases safety, security, and other restrictions are imposed by the owners of the property where the work is exhibited. However, in all cases the artist- organizers expressed the feeling that these shows were more experimental and provided artists more freedom to try out new ideas. – Jane Ingram Allen, Sculpture Magazine, 1996.


Rhizomes of Place, an installation by Jason M. Stewart (MFAST ’15), on view in Montclair, NJ through December 19

In Rhizomes of Place, everyday materials like duct tape and cardboard, wood and paint are assembled into a site specific installation to communicate notions of “place.” Stewart says “I am interested in addressing the distinctions of place and its ever changing context through a poly-vocal and multi-modal practice.” Through the action of recycling previous sculptures and presentation formats, adding a new voice to the cluster of works, coopting the attic-space as another piece and provoking the viewers to reflect on their own positioning within this dialogue, Stewart neatly explores and plays with his subject.

This exhibition will be on view through December 19, 2016 with a reception and artist conversation moderated by Emily Harris (MFAST ‘13) on Saturday, November 5th, 2-6pm.

For more information, visit and


Erin Barach (MFAST ’14) and Sarah Clough’s (MFAST ’17) Groundwork opens at Make Studio in Baltimore on November 4, 2016

Using very different approaches, both artists make work about the fundamental connotations of physical sensation. In this exhibition, visitors are invited to participate and question the boundaries of their optic and haptic experiences. The artists explore the concept of what is happening “below the surface”, interpreted through refracted light, semiotics, layered textures, or the ground on which we stand.

On November 4th, during First Fridays in Hampden, there will be an opening reception from 6-8pm followed by sound/musical performances from 8-10pm including Brooklyn based There Are No Thieves in This Town. The exhibition remains on view through the month of November.

Make Studio is located at 326 Keswick Rd., Baltimore, MD 21211

For more information on the artists, visit and


Caitlin Albritton (MFAST ’18) reflects on her residency at the Golden Foundation

What would you do with an endless supply of paint at your disposal?

Anything and everything is possible when you have materials at your hand, which is why the Sam and Adele Golden Foundation is such a unique artist-in-residence program. Being able to spend four weeks immersed in paint really opened the doors to testing out the possibilities of acrylics (as well as oils and watercolors).

Our large studio and living spaces were located in a big red barn just across the road from their paint factory, so our first week was spent taking various 2-hour long tech classes to go over materials. For instance, there was a Grounds and Mediums tech, a Pouring tech, a Watercolor tech, as well as some extra classes on varnishing and archival practices.

After coming straight from the MFAST summer courses (where I spent most of my time working on video and other projects) to paint paradise, it was sort of shocking, relieving, and needed to go from conversations about concept and theory to conversations about beauty, materiality, and image-making. While I love being able to push my own notions of what art can be, I truly missed painting and the power images and textures have.

In the past having worked with sculpted oil paint with drying oils mixed in, my main goal of this residency was to find a way to translate the same qualities of oil paint that I love (the buttery consistency, the elasticity it has when you sculpt semi-dry paint, and the way it dries the same thickness when applied) to acrylics. But acrylics are not oils: they dry darker and thinner than when applied and have a certain plastic feel to them.

The first few weeks comprised of a lot of utter failure. It was a bit disheartening to see things take shape in the other two artist’s studios as there was no “proof” of work in mine, but I kept chugging along. I made many tests that turned into nothing, but I made it my goal to test out every single acrylic medium that Golden makes (and even many custom products too, which I didn’t even know they did). Eventually, all of the failures came together and I finally found a few solutions to my problem of converting my sculpted oil paint process over to acrylic paint, and now the possibilities seem endless! Not only does the paint dry so much faster so I can work faster, I’m loving not leaving behind a big oily mess or being consumed by oil paint fumes.

I will say that I’ve never worked with such a sense of urgency before, working usually until 3 a.m. each morning, then waking up before eight to keep the good mojo going. Though I didn’t make as many finished pieces as the other artists, I felt that I really got the most out of my time there. It seemed like it would be a waste of a residency NOT to be a mad scientist with these materials and try everything possible. I can make finished paintings anytime, but it’s not every day that you get the chance to screw around with a gallon of light molding paste just to see what would happen.

Having a solid studio practice at home is important, but it’s also good to consider how residencies have the potential to impact your practice in ways you can’t even imagine, whether it’s meeting and talking with artists, being inspired by the new landscape, or experimenting with new materials. It’s always good to find ways to shake things up in your studio practice, and the Golden Foundation definitely did that for me.

-Caitlin Albritton


Sarabel Santos Negron (MFAST ’19) featured in solo exhibition at Museo Casa Roig in Humacao, Puerto Rico

In her recent series of artworks “Between Kingdoms: Conversations about the Natural World”, Sarabel Sangros Negron explores the natural world from a biological, botanical and ecological approach. Her interest lies in evoking nature, not only in its composition or physical appearance, but also by its molecular and chemical structure. Sarabel combines drawing on paper with plastic (polyethylene or plastic bags) as a response to concerns about pollution and the excess production of this material that affects our environment.

This exhibition will be on view from October 27, 2016 through February 20, 2017 at Museo Casa Roig in Humacao, Puerto Rico.