Start your art walk at Foreigners Everywhere, visible from the walkways on north side of the Winter Garden. Then, head toward Room 122 to find Untitled. In this five-work series, Grotjahn illustrates the nature of risk in business—a point he made by taking the value of the commission and gambling it at a casino over five days. Each piece is a representation of one day's winnings or losings. Ponder just how diversified your portfolio is, then turn left and continue down the hallway to . . .
Untitled, Mark Grotjahn
Camouflaged as a typical poster is the New Zealand artist's testament to how quickly today's hot new technology trends can lose their luster. The inkjet print on canvas uses real content from an actual tech conference in 2012. Do a double take, then head back to the Winter Garden behind you. Take the large, open staircase on your left to the second floor and head toward Room 223 to find . . .
08.55, Textbook Disruption, Simon Denny
When a member of the committee proposes a new piece of art, the group often weighs the purchase decision slowly and methodically. Not so with Malian photographer Seydou Keita's portraiture series. "Those discussions took three minutes," said Prendergast. The series of five silver gelatin prints are just a few of the many portraits Keita took of the residents of Bamako in the 1940s and '50s, in the years before Mali gained its independence. Take the elevator to the third floor. Outside Seminar Room 3A, you'll see . . .
Untitled #110, Seydou Keita
The work of artist and writer Frances Stark is often about the ways we use technology to communicate with one another today. She created this piece, a 25-minute-long PowerPoint presentation presented on a laptop, after she was asked to participate in a show. Unable to leave her newborn, she sent this in her stead. Stay for a loop, then head down the hallway to your right. Take another right, and head toward the water fountains ahead, across from which is . . .
Frances Stark
Artwork that considers the power of cultural globalization seems right at home in a business school with alumni living and working around the world. This chromogenic color print captures a glimpse into the lives of young people from China who cosplay as their favorite Japanese anime characters as a hobby. Stop to contemplate Fei's adjacent work in the collection, Ah Ming at Home (2004), then head to your right for a stunning view of the building's main atrium. Follow the signs toward office 318, across from which hangs . . .
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In this series of painted collages, African American artist Cauleen Smith makes a cutting statement about the lack of black subjects in mainstream advertising. Smith uses Wite-Out to superimpose a bar of Ivory soap over images of models from a clothing store catalog. A filmmaker and multimedia artist, Smith is based in Chicago, and her work frequently deals with topics surrounding African American identity. Continue down the hallway toward the seating area to find . . .
Ivory Anthropolgie #20, Cauleen Smith
A British artist, Dean handwrote imagined stage directions for fictional movies over a macabre parade of decades-old images-shipwrecks, desolate landscapes, funerals-to illustrate this "Russian Ending" and make a larger point about how widely cultures can differ. What works in one country might not work in another—a keen lesson for any student in international business. Take a moment to imagine the works as a storyboard, then continue down the long hallway. Take the first right, then an immediate left, and you'll encounter . . .
The Russian Ending, Tacita Dean
Rhodes grew up in Louisiana, is interested in how Americans outside of the South view the region. In each of these three collages, he uses images of locations within Disney theme parks built to mimic Southern architecture. Rhodes brings this imagined South into direct confrontation with reality, layering over them pictures of post-Katrina landscapes. Pause to ponder the nature of reality versus fiction, then head up the spiral staircase to the fourth floor. Cross the seating area using the hallway to the right and you'll see . . .
Excerpt (gray), Steven Rhodes
Part of Arceneaux's larger body of work about Civil Rights icon Martin Luther King Jr., this piece uses a mirror, light fixtures, and primary-source documents to literally and figuratively illuminate King's complicated legacy. Arceneaux received one of the documents seen here through a Freedom of Information Act request, and the mirrored background fills redacted areas.
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How did JP Gan become one of the world’s leading venture capitalists? Hard work, rigorous analysis, and killer timing—plus an extra measure of optimism.
Looking at What Could Be
The Alumni Club of Mexico loves to gather—with family, guest speakers, and each other.
The View from Mexico City
Alumni, students, and faculty at Booth are leveraging their finance skills to make a better world.
Investing for Social Impact
