On Tuesday, the division of artwork and artwork historical past introduced 27 pupil artists whose works had been chosen for the ninth annual Undergraduate Juried Exhibition, “Panoramic Enlightenment.” The artworks are at present displayed within the Stanford Artwork Gallery by way of Dec. 8.
Every exhibition piece was chosen from department-wide submissions by jurors Enrique Chagoya, Maggie Dethloff and Gabriel Harrison. Chagoya is a professor within the artwork and artwork historical past division, Dethloff is the assistant curator of pictures and new media on the Cantor Arts Heart and Harrison is the affiliate director and curator of galleries and exhibitions.
The collection of multi-media artworks showcase the artists’ big selection of pursuits, with overarching themes of race, tradition and sexuality.
“I’m consistently impressed by the wonderful artwork produced by my pals and different college students at Stanford. Everybody brings a special story to the desk,” stated Bryan Defjan ’24, who had two items chosen for the exhibit.
One of the vital placing items was created by Ava DeConcini ’25. A bean bag, coated by patches of material with student-written messages about sexual consent printed on them, was positioned on the very middle of the gallery. It was the one work that included a facet of bodily viewers interplay, inviting the viewers to the touch and sit on it.
“I requested college students to share instances they felt uncomfortable and obtained tons of of tales describing the identical sensation: realizing you wish to get out of a scenario you had anticipated feeling extra snug in and never instantly understanding how to take action gracefully,” wrote DeConcini in a observe accompanying the set up.
The work, titled “How It Feels” (2023), makes use of the bean bag as a metaphor for sexual discomfort. One sits on the inviting bean bag solely to slowly sink into the deceiving softness, arduous to flee. I marveled at DeConcini’s means to infuse which means into a secular object.
Scholar artists grappled with their cultural heritage in lots of exhibition items. Tyra Blackwater ’23 narrates timeless bonds of kinship amongst Native People by way of “They’re Taking Good Care of Us” (2023), an set up that included the normal Native artwork type of weavings. Sky Walker’s ’24 paper collage “A Spectacle” (2022) incorporates a group of individuals observing a number of pairs of dark-toned legs suspended within the air, conveying how “Black our bodies typically get objectified, appropriated, hyper-sexualized and commodified.”
L. Track Wu’s ’24 “Fairy Attractive Model” (2023) resonated with me most strongly. Within the forefront of the oil portray is an Asian man, staring fearlessly into the observer’s eyes and carrying a shirt with the textual content “Fairy Attractive Model” printed on it.
“Generally I’m the Westerner laughing at these photos, and different instances I’m the Chinese language being laughed at,” Wu wrote, referencing conditions by which Asians put on clothes with “dangerous English” printed on them.
Being of Asian origin myself, I used to be amused by the humor and relatability of the scenario portrayed with comforting broad strokes and blunt colours. The portray made me query the place I’m positioned on this id continuum. Would I empathize with the oblivious protagonist, who’s unaware of himself being the butt of the joke, or would I mock him together with the others?
Different artworks work together with the human physique in intriguing and literal methods. Jenny Jeewon Youm ’26 traced her physique on paper in a life-sized charcoal drawing, “Within the Guise of Toughness” (2023). Swirling shoe prints appear to be stepping on the charcoal determine from all instructions, whereas the determine wraps their arms tightly round their physique in an expression of vulnerability. The charcoal traces and the uneven torn mark on the paper’s high edge — as if the sheet was carelessly torn from a roll — had been unapologetically uncooked.
Within the Undergraduate Juried Exhibition, artwork strips people of all their disguise. The exhibition additionally offers artists a protected area to precise and have a good time one another.
“After having an internet freshman yr, being a part of in-person exhibitions like this makes me really feel like I’m half of a bigger artistic group,” Defjan stated.
“Essentially the most gratifying a part of being included on this exhibition is that it reaffirms my sense of membership in a group of artists at Stanford,” stated Jackie Liu ’25, creator of oil portray “Creating Content material” (2023). “We could also be small, however we’re positively mighty.”
Editor’s Observe: This text is a overview and contains subjective ideas, opinions and critiques.