Kitschy Collectables: ‘Who’s Got the Littlest Pets You’ve Ever Met?’

By Kit Montgomery April 3, 2024 Entertainment, Featured

Illustration by Fah Prayottavekit

Never before has there been a comprehensive timeline of the many different redesigns of the brand, until now.

Part of what makes this brand so unique is the number of reboots it’s enjoyed. Littlest Pet Shops —referred to here as LPS— is loosely defined by generations. Until the most recent release, the generations of LPS were fan-defined. They were determined by the numbers given to the pets. A new generation was determined by fans when the number of pets was reset to zero. The seventh generation launched in 2022.

LPS figurines were first produced in 1992 by Kenner Toys. The original line stylized pets that each came in a themed home and performed an action. Some pets moved magnetically, were stamps, or had a moving part that made them interactive.

Kenner LPS toys originated the brand and are the most distinct. While elements of the line continued on (like the magnetic interactive features), the proportional-yet-stylized shop-centered toy line ceased in 1997, never to return.

But the whimsy and charm of LPS has lived on.

In the year 2000, Kenner was completely absorbed into Hasbro and multiple toy lines were either completely shut down or reimagined, including LPS.

The second generation spanned 2005 to 2012 and included multiple redesigns. Starting with what is referred to as Generation 2.1 by fans, the 2005 to 2007 iteration of the line was the first to feature the now-signature bobbleheads. These were less shop-based and would be the basis of a majority of the online community and fandom.

In 2009, the pets lost their magnets in favor of holes and pegs in the playsets and accessories, allowing for customization.

In 2010, Blythe (a Kenner-produced doll from 1972) was reintroduced via an LPS line called “Blythe Loves Littlest Pet Shop,” with a number of sets that featured both LPS pets and smaller Blythe dolls.

The rise of social media and online communities in the early 2000s gave LPS fans a home from where they can connect with each other over YouTube and other platforms.

“Littlest Pet Shop: Popular,” @SophieGTV’s LPS YouTube series put out its first episode in 2011. While it wasn’t the first LPS fan-made web series, it (appropriately) became the most popular, boasting over 4 million views and an online fan community of its own. It became emblematic of the online community. The videos were narrative stories that read more like filmed extensions of imaginative play and often followed darker themes.

“I liked collecting them as a child because I watched LPS YouTube, and also because I was obsessed with animals, and I wasn’t allowed to get a pet,” said SAIC student Spencer Creighton (BFA 2027).

Generation 3 (2012 to 2014) was centered around a new television show with Blythe as the lead character. The pets now had names and storylines that aligned with the show. This generation also saw the end of the bobbleheads. Generation 4 (2014 to 2016) brought them back and added small holes and deco bits to customize pets. Generation 5 was essentially the same as 4.

In 2017, a new television show, “Littlest Pet Shop: A World of Our Own,” launched Generation 6, sans Blythe, and redesigned the pets to rely on gimmicks. It struggled to remain profitable with the decline of the brand and the closure of toy stores like Toys R Us.

Finally, Generation 7 was announced in 2022 and first revealed in 2023. The line was rebooted by BasicFun, a nostalgia-centric toy production company, that purchased the rights to rerelease the brand. As of 2024, they are now on shelves at places like Macy’s and Target.

As a part of the newly released line, a tie-in with Roblox was announced; however, the tie-in was marketed through the toys as a virtual experience and was only explicitly referred to as a Roblox experience on the LPS website.

Generation 7 pets are most similar to the Generation 2 pets and include bright flashy colors with pictorial symbols and bobbleheads. It consists mostly of pets from reused molds. In fact, many of the new pets have Hasbro’s old copyright stamps on them.

BasicFun sent a number of adult LPS content creators PR packages. The move to focus on nostalgia was not unfounded, the LPS community mostly consists of adult collectors who enjoyed the brand as children. However, the brand still markets to children as well, as seen by the Roblox tie-in and TV ads.

Generation 7 has now become the easiest to collect of all the LPS generations because of its availability both online and in toy sections. The newest generation pets individually retail for $3.99, or more if they’re sets.

All other LPS generations are only available through second-hand retailers, like eBay or thrift stores, and are much more difficult to collect. Generation 1 is the most expensive. Being 32 years old, and consisting of sets with many small pieces, collecting one complete Generation 1 set can cost upwards of $50. Generation 2 is the most popular to collect due to its prominence in the LPS community.

“I’ve always really adored animals so I gravitate more towards Littlest Pet Shop more than any other doll-esque toy. While I haven’t been recently collecting them because I thought they were still in their weird ultra-cutesy phase (which is the time I stopped looking because I did not like that style) I’m glad to see they’ve gone back to their original style,” said SAIC student Hannah Ji (BFAW 2024).

The future of LPS is in its past, as the new line of the brand is entirely based on nostalgia.

Generation 1, or kenner lps

Generation 2.1 pets

Generation 2.2 pets

Generation 2.3 pets

Generation 3 pets

Generation 4 pets

Generation 5 pets

Generation 6 pets

Generation 7 pets

Slut Saga: Diving into the Furry Fandom

By Sisel Gelman and Rose Hellesen April 2, 2024 Entertainment, Featured

Rose Hellesen dressed as her fursona “Silk” at an intersection on Wabash. Picture taken by Sisel Gelman.

In memoriam, Mark Merlino.

Some surveys estimate that 1 out of every 2,500 or 5,000 people in the world is a furry. With those odds, you’ve likely met a furry at school, at work, or even the grocery store.

For a community that is so often depicted in pop culture, the world of the furry fandom is plagued with misconceptions and mystique. The jokes are cruel. The comments are crude. The media coverage is highly critical.

“Slut Saga” has teamed up with Rose Hellesen, an autistic furry, to spill the secrets about furries and everything you’ve always wanted to know.

What is a furry?

The furry fandom is a subculture of people who use the art of anthropomorphic animal costumes to engage with, or represent, various aspects of personality, sexuality, and identity through art.

Loosely speaking, this kind of design can range from hyperrealistic to cartoony, with the key aspect being combining human intelligence, behavior, and in part, anatomy, with animals. The majority of furries create an alternate identity called a fursona, which often includes pieces of their identity and can also be used to project their ideal traits onto.

A person can have as many fursonas as they want. Often, though, they will choose one in particular to be their main fursona. For example, if someone struggles with being in large crowds they might create a fursona that loves to party. This allows them to engage with a world that they feel is inaccessible because their fursona can participate in it without any issue.

Are there rules for making a fursona?

Anything goes for a fursona’s design, including: insects, fish, aliens, hybrids — all are completely valid . There are even original species created within the furry fandom of creatures that don’t exist in nature. One popular species are “protogens,” a half-mechanical/half-organic creature with a rounded screen for a face.

Anyone can make a fursona out of anything, and this is by design! The furry fandom has no media tied to it, so there’s nothing to watch, read, or play before you join. In this sense, it acts more as a subculture, like punks or goths, than it does a standard fandom space.

The unifying nature of anthropomorphic design allows people to create a version of themselves with much more individuality than a standard human body can, and unlike other fandoms that center around a show or book series, the furry fandom is much more geared towards using furry design as a way to express personal identity.

This openness to expression has created a decades-old space that is overwhelmingly queer and neurodivergent friendly, as well as sex-positive.

The History of the Fandom

Though anthropomorphic design has been a consistent part of many cultures for thousands of years, the establishment of a furry-specific fandom in its modern context can be traced back to Los Angeles in1980.

At Loscon 7, a sci-fi convention, a con-goer and fan of anthropomorphic design named Rod O’Riley caught sight of an artist’s display that piqued his interest (watch: 6:37) — the booth was filled with art of an anthropomorphic species called a “Skiltaire” — a mustelid-like alien with insect antennae. The artist behind these works was Mark Merlino.

O’Riley and Merlino soon realized they shared a similar passion for anthropomorphic design that, up until then, they thought no one else did. At that point, Mark Merlino had been running the Cartoon/Fantasy Organization (or C/FO) — an anime fan club in Inglewood, California— for three years. They soon realized, through the club’s attendees, that there was a growing interest in what was at the time called “funny animals,” referring to the specific genre of anthropomorphic animal characters that appeared in the “funnies” section of comics and the underground comics movement.

Throughout the early to mid-‘80s there would be small meetups (watch: 12:58), hosted by Merlino and O’Riley, held at sci-fi conventions for those interested in funny animals. By that point, Merlino and O’Riley had become a couple (watch: 8:54).

The early days of the fandom were dominated by the comic aspect of funny animals, and most furry media was explored in the form of various underground comics series.

While funny animals were for all ages, an interest in mature topics grew along with the fandom. Soon, comics were being published for adults-only and depicted lesbian and gay characters, along with a general sex-positive outlook on relationships. One such comic was “Omaha the Cat Dancer,” a drama series about an anthropomorphic cat who worked as an “exotic dancer” (a term no longer used for sex-workers) and struggled with the complex relationship she had with her boyfriend and on-again-off-again girlfriend.

The furry fandom specifically created a queer-friendly space at a time when such places hardly existed.

The discussion of comic series, “Albedo,” led to the first proper meetup of the furry fandom. Held in Merlino and O’Riley’s hotel room at Westercon 1986, this meeting was advertised as a “furry party,” a term which went on to become the namesake of the entire fandom.

This furry party and subsequent ones allowed artists and fans alike to consume and engage with furry content, and the popularity of these furry parties led to the very first furry convention in 1989, organized by Merlino and O’Riley, who paid out of pocket to rent the conference room of a Holiday Inn (watch: 27:19).

This convention, called ConFurence Zero, became the groundwork for further furry conventions. It showed that there was a real interest within the fandom to create their own space and one separate from simply being an addendum to sci-fi conventions.

The final foundation of the furry fandom as it exists today manifested thanks to Ken Sample; a prominent furry artist in the early days of the fandom who created his own furry character based on himself called Ken Cougar.

Up until this point in the fandom, everybody had been interested in furries, but no one had created a furry version of themselves. Ken Sample was the first furry to create a fursona, which has become a defining aspect of the furry fandom. Since the fandom was mainly populated by artists, a huge surge of self-identifying artwork based on Sample’s precedent arose across members-only furry comics, convention halls, and more.

The fandom shifted from just consuming furry content to actively relating themselves, and their identity to another, better form of their “true self”. From then on, the convention attendance got bigger, the venue sizes became larger, and the furry fandom welcomed more and more people of all genders, sexualities, and identities.

From ConFurence Zero being attended by 65 fans, to now 13,644 attendees coming to Anthrocon 2023 in Pittsburg, Pennsylvania, the popularity of the fandom has brought together thousands all across the globe.

It is necessary to mention the recent passing of one of the fandom’s founding members, Mark Merlino. The impact that Merlino has made on the fandom is nothing short of revolutionary. He and his partner, O’Riley, were the bedrock that allowed the furry community to grow to the size it is today. Without their passion for anthropomorphic characters, and their dedication to create a social and artistic space for this love to exist, it’s very likely that the furry fandom would’ve never been created at all.

Rest in peace, Mark Merlino.

Furries and the Sex Positive Community & LGBTA+ Community

It is a misconception that the furry fandom is primarily a sexual space.

“There’s no sexual element to [fursuiting] for the vast majority of fursuiters,” States the findings of Dr. Courtney Plante through a series of studies. To most members, being a part of the furry fandom is about emotionally connecting with other like-minded people and finding the highest form of self-realization. Over 60% of furries proclaim that their involvement in the furry community has nothing to do with sexual material. Nevertheless, as with most topics, some people attach a sexual value to it. This is normal because sexuality is a part of being human.

As Rod O’Riley said, “Of course furry is full of sexuality, because furry is full of human beings, who are alive and thinking and feeling.”

The misconception of furry as only kink goes far back to the early days of the fandom in the 1990s and 2000s when the fandom was much smaller. Early furry conventions were incredibly welcoming to all people, and so those who felt outcast by other groups discovered that the fandom space allowed for a much greater means of expressing identity. To no surprise, when adults come together to express identity, sexuality comes as a form of that expression. These spaces allowed queer people to engage with otherwise taboo topics in a way that they couldn’t anywhere else.

The fandom wasn’t built on the foundation of sex, rather, it comes as a result of a space welcoming all means of self-expression. Just like a fursona allows someone to feel more comfortable expressing themselves, furry art became a means of engaging with topics that social norms barred.

Sex positivity was a natural product of the fandom’s inclusivity. Likewise, the decentralized structure of the furry fandom makes it difficult to approach from an outsider’s perspective. From the outside, it’s easy to assume that the entire fandom must be sexual. The openness to all topics, including sex and kink, led to the incorrect assumption that the fandom space was specifically formed around only that topic.

Why has this misconception prevailed? Largely to discredit a community that is inclusive of sex-positive, LGBTQ+, and neurodivergent people.

According to a 2018 survey of AnthroCon’s attendees, 80% of the furry community also identifies as part of the LGBTQ+ community (watch: 44:50). Why do these two communities heavily overlap?

On one hand, there is the known premise that once one “taboo” is broken, people find it easier to break other “taboos.” Therefore, exploring one’s identity in a marginalized community, such as the furry fandom or the LGBTQ+ community, becomes easier once the individual has explored it in the other.

The overlap between both communities goes beyond just the perception of “deviance.” Both communities have historically been marginalized, ridiculed by the dominant culture, and seen as perverted. There is a solidarity between both communities to dismantle the misconceptions surrounding their lifestyles. The true liberation from heteronormative oppression of one community cannot happen without the liberation of the other. Similarly, both the furry community and the LGBTQ+ community are built around values of acceptance and living an authentic lifestyle. These are communities in which people feel safe to express themselves uniquely without fear or shame.

The furry fandom encourages self-exploration, and this is particularly beneficial to the trans community. A fursona is a safe space to explore identity without any long-lasting commitment. A person can try different visual aesthetics, personality traits, and even genders, without any permanence or public danger allowing someone the freedom to experience what their ideal self could be with little resources and repercussions.

This is especially important considering that having a fursona is free, and many LGBTQ+ community members are at risk of being financially unstable.

Fursonas can be gender-affirming spaces. A fursuit can be built to appear masculine, feminine, or gender-neutral regardless of the user’s biological sex, so too can a drawing of one’s fursona. This is a space where trans people can encounter gender-euphoric experiences such as the immediate use of their correct pronouns in alignment with their fusona’s gender.

“In a conference setting, people aren’t judging on looks or voice. They see a fursuit that looks masculine and immediately follow along. This is incredibly gender affirming,” said Al, a trans furry whose fursona is named Velvet.

“You don’t have to pull strings to be gendered as male [in the suit],” he said. His fursona, Velvet, wears a Rococo masculine outfit. Velvet is also a “silent suiter,” which means that Velvet does not speak. Al does not have to worry about his voice being perceived as not masculine enough. He just gets to experience his gender in alignment with his design, not his body.

A similar permissibility occurs around sex within the furry fandom.

As mentioned, although the furry fandom is not centered around sexual activity, the community is known for being a sex-positive space.

Sex is one of the largest “taboos” in our society. Talking about or engaging in sexual practices is often relegated to a private sphere of knowledge.

Under the same theory of breaking down taboos and building safe spaces for self-expression, sex (including queer sex) in the furry fandom is regarded with the same openness as any other relationship, such as a platonic friendship. Sex is not a topic that is shied away from. The full spectrum of sexual expression — including kink — is embraced. For example, fursuiters can signal kink through the use of harnesses and collars in their fursona’s design.

“We all bond over our love for art, creativity, and the escapism of anthropomorphic animals who don’t have the same issues as people,” Al said. “But there are subgroups within that larger group, so there is a safe space for everyone.”

As he explained, someone who is interested in kink will find their people. Someone who is not interested in kink — or even sex — will find their people too. There is a niche for every interest.

“The community is accepting because there’s an underlying understanding that this is a place to escape from your normal life,” continued Al.

Furry Pornography

How prevalent is furry pornography in the community?

“Furry men were significantly more likely to view furry-themed pornography (96.3%) than furry women (78.3%). Furry men and women both significantly underestimated these figures (84% and 70%, respectively),” according to research by FurScience. The IARP (International Anthropomorphic Research Project), publicly known as FurScience, is a “multidisciplinary team of scientists from different universities around the world, doing research” on the furry fandom. They found that 50.9% of the furry art that furry men viewed was pornographic, and when roleplaying online, 34% of that time was in a sexual context.

“Female furries were found to hold mixed feelings toward [furry] pornography, with nearly half of females reporting mixed feelings [on a scale of very negative to very positive], and nearly as many females opposing [furry] pornography as supporting it,” found FurScience. This could be due to the fact that 72% of furries are cisgender men, so women might feel alienated and misrepresented when they see anthropomorphic female bodies being sexualized.

But ultimately, close to 60% of furries have “no strong preference” or a mild preference for whether they consume furry pornography or not. FurScience’s data suggests that most furries feel no, or at most a slight preference for pornographic over non-pornographic furry art. This lends support to the notion that for many furries, a naturally occurring sex drive may lead them to an interest in erotic furry artwork, but, in general, they seem to enjoy furry art regardless of whether it contains erotic content.

More to Come!

Curious about how the history of drag and fursuits overlap? Interested in learning how neurodivergence shows up in the furry fandom?

Stay tuned for Part II of this Slut Saga Furry Series!

The SAIC Burn Book

By Sidne K. Gard and Katie MacLauchlan April 2, 2024 Featured, SAIC

Illustration by Shina Kang

Who do you complain to when you want to rant about the MacLean cafeteria food? Who do you tell when you talk to that cute girl in your sculpture class that no one knows you have a crush on?

For many students, the places to voice the best, worst, weirdest or most annoying parts about being a School of the Art Institute of Chicago student are anonymous social media accounts where they can “confess” anything they want to get off their chest. The two most popular accounts on Instagram, the platform where this style of dialogue gets its day, are @_saic_confessions and @saic_confessions.

School confession accounts, for colleges and high schools, are a phenomenon that took off in 2013. At that time, they were mostly in the form of Facebook groups and pages.

At SAIC there is a large range of opinions in regards to these accounts. Some students and the people who run them see the accounts as well intentioned, funny places to share student gossip. Others feel that the student confession pages lead to harassment, cyberbullying, and invasion of privacy.

In general, the way these accounts work is through student submissions in DMs or on Google Forms. After the accounts receive confessions, the users who operate the accounts will parse through and post the confessions they choose. The accounts are based on anonymity. The people running them are anonymous. The people confessing are anonymous, which in theory allows for more honest or sensitive information to be shared. Each account has its own identity, self-imposed rules, and reputation.

The @saic_confessions account, currently recognizable to students by its “Sailor Moon” aesthetic, has been active since 2019 and has strict guidelines about not posting any names in confessions and keeping them lighthearted and about spilling tea rather than starting real discourse or drama. The @saic_confessions account had 1,337 followers at the time this article was written.

Meanwhile, @_saic_confessions, a similarly named but separate account, is recognizable by the dark green text on a ligjt background in its posts. As of 2024, @_saic_confessions is the more active of the current confession pages with more than 1,500 posts and 728 followers at the time this article was written. Despite its lower follower count, @_saic_confessions seems to be the more notorious of the two accounts among the current student body. According to one of the people running the account, known as Bubbles (from the emoji they use to identify themselves on Instagram), this is the second version of this account. The first was allegedly taken down by Instagram for posting professors’ full names. Bubbles said that the original account had around 1,000 followers. They also noted they now blur names in their posts, unless the post is deemed positive, to avoid having their account reported again.

There are other, low-engagement “confession” accounts as well. Some, like @saic.shady.confessions, are built mostly on meme culture, while others, like @saic_uncensored, build their brand entirely off of posting confessions completely uncurated and uncensored.

Two of the people behind @saic_confessions, who asked to stay anonymous aside from the initial they used to identify themselves on their shared account, talked about the types of confessions they receive.

“Sometimes we get people confessing their crushes or lovers, people that they’ve slept with. More relationship-type things. There’s stuff about teachers and professors. Of course, Ms. Tenny [SAIC President Elissa Tenny] is always being talked about. We have lots of confessions about the food being trash. Roommate drama,” said A.

A added that people often confess doing “weird things” that they feel they can’t tell other people, including their friends.

Much of the content on all the confession accounts is fairly crude. A point of particular interest is what goes on in the bathrooms at SAIC, whether the confession deals with bodily movements or sexual activity. It isn’t unusual to find posts about bowel movements, farting, or similar moments from SAIC confessors. The sexual content involves both self-play and scenarios with partners. The cruder the content for the post, the more likes the post received.

Crushes are another popular confession. Some of these posts are relatively innocent, posing questions to the community like, “Who’s the sexy new blonde girl?” as one confessor queried on @_saic_confessions. While blondeness might be enough to retain anonymity, often these posts withholding names contain enough information to identify specific students.

Other posts go further, outlining specific sexual urges confessors would like to carry out with other students, whose names are usually obscured on @saic_confessions, but occasionally remain visible on less lewd posts.

Many posts on @_saic_confessions do contain first names, although it is unclear whether these names have been altered by the operators. Many of the posts revealing names fall into the crush category. “Nora is so gorgeous,” confesses someone on @_saic_confessions.

There are also many remarks about the SAIC community in the content of posts on these accounts. Some posts can be seen as relatable, containing observations about professors, student debt and more, while others can be seen as disparaging, containing overt critiques of other students or aspects of SAIC culture.

“Everyone here is so goddamn cliquey. Like ok sorry I don’t have 800 tooth gems and knit my own clothes and smoke 30 pounds of weed that doesn’t mean we can’t be friends,” wrote one confessor on @saic_confessions.

“Lot of fashion students are so fucking rude especially the cis white ones, you all need to get off your high horse – from fashion student <3,” another wrote.

Mark Gatz (BFAAE 2025) said he had low opinion about the confession accounts; but when asked if he’s ever sent a confession, he said that he had because of “loneliness.”

Loneliness was a topic also brought up by the monitors of @saic_confessions.

“We get a lot of confessions talking about how lonely people are and how they want to make friends, or you know, how isolated they feel at school,” said A.

Content sometimes creates a forum to connect artists and students. There are posts asking about cheap nail techs, hair stylists and more. The comments on these posts often contain links to artists’ Instagrams dedicated to their art or business. These posts can be a place to find a sought-out service for cheap while supporting student artists and artisans.

With so much of the content on anonymous confession pages being devoted to talking about specific students, as innocent and anonymous as this content is supposed to be, a question arises. What do SAIC students think about these accounts?

“I blocked them because I don’t want to see potential posts about me or someone I know again. Some of the posts are literal bullying for people who don’t deserve it. There’s one or two examples where that person did deserve it because they did something terrible, but that’s a different story,” said Jordan Alston (BFA 2024).

Alston added that while every school has its flaws, and that those flaws ought to be discussed, this isn’t the most conducive forum.

“Some people complain for the sake of complaining. Not all, but a majority of the posts I’ve seen. They don’t seem to look at the bigger picture of the U.S. education system, society as a whole, and what we can do about it. SAIC is not the best, but it’s not as awful as several people say it is,” Alston said.

Others said the accounts were inconsequential.

“I feel like it would be no great loss if they disappeared from the internet. No personal ill-will to the people running them, of course, but I see very little value in these accounts as they presently exist. About half of it is horny posting which I do not care to see,” said Milo Simpson (BFAW 2025).

Simpson was especially off-put by interpersonal posts among students.

“Whatever happened to romance? I don’t want to know about the graphic sexual acts you want to perform with your peers and/or professors. Did they consent to being talked about publicly this way? Even if anonymous and dramatized for ‘fun,’ this 1,000 percent feels like sexual harassment of some kind,” said Simpson.

Simpson said he thought that it’s possible for this kind of account to exist harmlessly, but not for long; sooner or later, someone is bound to get hurt. Kyle Robateau (BFA 2025) echoed these sentiments.

“It’s cyberbullying and it’s gross and dangerous and makes me not trust my peers. I see people making sexual comments about other students, I’ve had a friend get doxxed. I’ve seen horrible rumors spread. It has happened to friends that mind their own business and don’t do anything and makes me fear that they’ll post about me next,” said Robateau.

It’s clear that some portion of the student body engages with these accounts regularly, while others feel uncomfortable or angry about them.

“We get a lot of confessions. There are at least a thousand confessions in our form. So we can’t really post all of them. We do pick and choose some,” said S, A’s co-runner of the account, who joined A to talk about how they try to avoid posting things that are mean, looking instead for more fun, gossip-worthy confessions.

Bubbles said their account gets around 50 submissions a day.

“Names are blurred, and if you have a problem with the post, DM us, and we’ll take it down. The other rules I just come up with as I go. Like, no hate speech. Yeah, it’s really just, don’t give hateful speech a place. It’s supposed to be fun and silly,” said Bubbles.

When asked what confession pages provide to the SAIC community, Bubbles, S, and A were hesitant.

“Not sure. I think I’ve never really thought about that. It’s not really something I do for other people. It’s kind of fun to run it. I originally started it because my friend posted on his close friend’s story that we need an SAIC confession, and I was like, ‘Bet, I’ll do it.’ And I did it. So here we are,” said Bubbles.

“I’m not really sure. Maybe change of policy in case someone has been doing something, so they need to be more secure. That’s all I can think of,” said S.

“I think that people get a safe place where they can vent, where they can talk shit, talk into the void about whatever random problems they might have about things where they feel like they can’t share with other people. I think the confession Instagram is just a lighthearted place where you can have a laugh, listen to some of the crazy things that other people have done to make yourself feel better. A little bit of solidarity and community, ” said A.

A and S said that they’ve never had any problems with the administration intervening with their account, but said they knew a different confessions account did.

Bubbles mentioned that their original account was reported and taken down by Instagram, and they personally suspect the report was made by the administration.

“Over the years, there have been scores and scores of student-run social media accounts, websites, newsletters, and other communications channels, and most fizzle out over time. Because students do not need permission to establish an account, we do not keep track of student-run channels, and they are not actively monitored by the school. Because we don’t monitor student accounts, we’re unlikely to see the posts organically, but we do have processes in place to address our community’s concerns once they’re brought to our attention,” said Bree Witt, the executive director of marketing and communications at SAIC.

Slay Station: “Fashion is a reflection of my inner self”

By Anastasia Elektra April 2, 2024 Featured, SAIC

Greetings, fellow students! I’m Anastasia Elektra, also known as Mily C, a second year student from the School of the Art Institute of Chicago’s fashion department. Welcome to my new column for F Newsmagazine that addresses the transformative power of fashion. This column aims to empower everyone to utilize clothing as a tool for self-discovery and authentic expression.

Our school is a vibrant community of unique individuals, and I want to celebrate that through in-depth interviews and features. Through this column, we’ll delve into a student’s relationship with fashion, exploring how clothing empowers them to project their true selves to the world.

Let’s be inspired!

After reading these interviews , I hope you’ll be encouraged to leverage the transformative power of fashion for your own personal journey. After all, just like me — when I slip into a black dress, I feel the essence of a Versace woman — everyone has the capacity to express their inner fashionista.

Our inaugural interview for the column features Lindsay Protosaltis, a captivating junior majoring in fashion. Let’s explore her unique style!

Lindsay Protosaltis working in her studio. Photo by Anastasia Elektra

MC: Lindsay, tell us about your outfit today.

LP: This top is actually from Target, but with a personal touch! I gave it a little DIY magic after borrowing it from a friend (funny story, her house had a fire!).

MC: Who are your fashion icons?

LP: Thierry Mugler and Vivienne Westwood are definite favorites. Interestingly, I don’t rely on social media for inspiration. I believe in dressing for myself, not external influences.

MC: Can you elaborate on your fashion journey?

LP: It began with my love for hairdressing, a passion instilled by my grandmother, a hairstylist herself. My artistic side likely comes from my dad, who attended Pratt Institute for Engineering. Guess creativity runs in the family!

MC: What about your favorite designers?

LP Definitely Mugler! I adore winter fashion — the layering creates a sense of elegant comfort. Vivienne Westwood is another favorite. Her documentary, “The Painted Ladies,” particularly resonates with me, especially the episode “Abbot Luxury and Frivolity.”

MC: Do you have any signature fashion tricks?

LP: I’m a dedicated shorts-wearer, even in winter! When you wear something you feel confident in, it radiates. Your body knows what it wants, and it’s about embracing that feeling.

MC: What’s your favorite movie?

LP: Alice in Wonderland! It embodies the spirit of exploration and pushing boundaries.

MC: Describe your fashion philosophy in a sentence.

Lindsay: Fashion is a reflection of my inner self — a way to express different facets of who I am. Fashion is about figuring out what’s inside your head. Fashion shows different versions of myself. Each outfit means a new day, representing a new version of myself. Also, a side note, keep going forward and don’t ask questions, trust yourself,

MC: What’s your career plan?

Lindsay: Costume design is my dream career! I’m actively preparing for a future in LA or New York City, and my supportive artist boyfriend keeps me motivated.

Chicago Shows Up for Palestinians

By F Newsmagazine April 1, 2024 Featured, Multimedia, Photo Essay

Protests extending solidarity to Palestine have been ever present in Chicago since Oct. 7, but as some believe the fire of the resistance is dimming down, protesters in Chicago are making it clear that they have not gone anywhere. Two important protests were held in downtown Chicago that had significant participation from School of the Art Institute of Chicago students.

On Feb. 29, four days after Aaron Bushnell self-immolated in front of the Israeli embassy in Washington, D.C., a vigil organized by Behind Enemy Lines was held in front of the Israeli consulate in Chicago with more than 200 attendees, including SAIC students. At the center of the collective, a stand was placed with his framed photo so everyone could light candles around it.

The air at the vigil was filled with the pain of mourning, and to support Bushnell’s cause, people took turns reading poetry into the microphone, loudly enough for the city to hear during the busy evening. Many families brought their kids along and held candles in silence. Surrounded by policemen on their bikes from all sides, the vigil went on for two hours while the protesters stood with their flags and posters around Bushnell’s photo.

Then on March 16, during the Saint Patrick’s Day parade, while the whole city came outside to celebrate in green, protesters took to the streets to show that the responsibility to keep supporting the Palestinian resistance is important, even amidst celebration.

Walking through West Madison Street, they gathered in front of the Israeli Consulate to chant, “From the river to the sea, Palestine will be free.”

As the crowd chants at the tops of their lungs, a woman holds her silent ground, holding an imitative infant made of wood.

The protest on March 16 was intentionally planned to be on the same day as one of the busiest days in Chicago, to question what prompts people to leave their houses.

The police create a cycle barricade for the supporters holding a vigil for Aaron Bushnell.

Protesters contribute to an altar set up to commemorate Aaron Bushnell, who self-immolated on Feb. 29. in front of the Israeli embassy in Washington D.C.

The symbol of a watermelon, which uses the same colors as the Palestinian flag, is omnipresent at the protests in Chicago and other regions of the world.

A family arrives at the vigil with symbolic clothing and posters. The son proudly waves around the photo of his poster.

The police created a cycle barricade for the peaceful supporters holding a vigil for Aaron Bushnell.

Film Review: No So ‘Magical Negroes’

By Mya Nicole Jones March 31, 2024 Entertainment, Featured

Illustration by Fah Prayottavekit

“The American Society of Magical Negroes” (2024) is a film incapable of selecting and defending a message. It muddles topics of race, gender, and romance while lacking in magic, satire, and meaningful representation. So, who was this movie made for?

The film follows young Black artist, Aren (Justice Smith) who receives an invite into the Society of Magical Negroes who dedicate their lives to maintaining white comfort. With his new abilities, the stress of his first client, and a crush on a girl he can’t have, Aren begins to question why he should continue to do something he seems to have been doing his entire life as an African American.

“The American Society of Magical Negroes” is inspired by the film and literary trope of the “magical negro.” The magical negro archetype refers to a supporting Black character who possesses supernatural abilities, often used to assist the white protagonist in their quest or journey.

Over the years, we’ve come to realize this trope as problematic. Black supporting characters in this role are subordinate to their white counterparts. While “The Magical Society” on the surface through its marketing seems fun, uplifting, and satirical, it fails to call out the trope as harmful and goes as far as to walk back on any ideas that may begin to do so.

The movie fails to follow through with its racial commentary. The discomfort that the Magical Negroes are saving white people from in the film has nothing to do with race. The Society’s orientation shows examples of their work including a society member boosting a white man’s confidence in his pool game and another society member providing various affirmations to a white man with little context. When Aren is given his first assignment, he needs to eliminate the insecurities of white corporate employee Jason (Drew Tarver).

This methodology implies all white discomfort is Black responsibility, not just discomfort based on ignorance and prejudice. As well as implying that white people take out all frustration and discomfort on Black people. It’s a reduction of the historical systems that led to the mistreatment of African Americans, and it avoids addressing any real issue to white viewers.

But the film is satire, right? It’s presenting blatant injustices amidst humor intended for well-aware Black audiences? No. This isn’t the case. The movie’s Black characters misuse comedic Black American motifs to justify the Magical Negro trope showing that characters don’t see irony in their behavior.

The romance between Aren and Lizzie (An-Li Bogan) detracts from the central message of removing white comfort from Black responsibility and adds unnecessary complexity to the plot. Even with Lizzie’s occasional awareness of workplace challenges and microaggressions, she fails to fully hold herself accountable or support Aren. This raises questions about feminism and racial allyship with Lizzie’s intersectionality as an Asian woman. The lack of a clear message undermines any possible exploration of intersectionality, while the forbidden romance perpetuates the magical negro trope. Aren’s awakening to Black and white racial dynamics is not spurred by his own disagreements but by his inability to pursue a relationship with Lizzie due to her connection to his client Jason. This leaves audiences uncertain about the authenticity of Aren’s beliefs.

The idea is stressed again when Aren brings up his new stance to Roger (David Alan Grier), his mentor throughout the film. Roger shares a poignant anecdote about his father’s compassionate response to an act of racial violence directed at him. It feels like Roger will come to the same conclusion as Aren as he describes the shame and anger he feels towards his father. Instead, Roger insists guarding the comfort of white people is the only way to survive, which is the most important thing. Even when a small part of you dies every time.

The cast’s performances are sober and sincere, Roger’s feelings aren’t ironic or funny, and he seems to be enacting a real moment of teaching and mentorship to Aren.

By the climax of the film, one hopes that the movie’s message can be saved in a fantastic monologue delivered by Aren. Aren powerfully expresses how he shouldn’t have to live in fear every day, ignoring his own needs for the comfort of white people. This moment is important, emotional, and funny. It almost makes up for the inappropriate narrative being pushed throughout the entire film, as if it was on purpose to show us how absurd The Society’s notions were. But this moment is quickly overshadowed when Aren immediately runs to Lizzie.

The film is further muddled by Aren’s firing from The Magical Society and Roger’s explanation that “as long as there are frightful white people,” there will always be a Magical Society, alluding to the institution never changing.

Nothing changes: The Society doesn’t alter their approach to better aid the Black community, Aren doesn’t gain coping mechanisms, and it appears that his hardships are cured because he got the girl. White audiences can feel absolved. There’s no problem, no lingering guilt, just a happy ending that refuses to address racism and misogyny.

Black audiences have craved genre diversity forever. The possibility of a Black Harry Potter was exciting for many. Yet throughout the movie, we see little actual magic, no spells or incantations, and no whimsical transformations. The film is painfully rooted in reality while simultaneously skirting the real facts of our society. The representation of Black characters is unrealistic and misguided.

Are we entering a new era of blaxploitation where we use Black casts to spread negative stereotypes and misinformation? If movies like “The American Society of Magical Negroes” are all Black Americans have to look to for future representation in Hollywood, entertainment, fantasy, etc. then Black Americans are in trouble.

Black Art Collectives in Chicago

By Mya Nicole Jones March 31, 2024 Arts & Culture, Featured

Illustration by Meghan Sim

Chicago has a bustling art world, and while the creativity is grand and exciting, it can be hard to find where you fit into the bigger picture. For every museum, gallery, and studio space in the city, there’s a group of artists looking for their community. And by all means, there’s plenty of community to go around!

The Black art scene in Chicago is present and loud. Here’s a list of six Black-owned art collectives from all around the city to help you find your village in this concrete jungle.

Fortune House, Bronzeville

Founded by young Black curators Makafui Searcy and Ryel Williams, Fortune House is a Black-owned gallery and exhibition space located in a small neighborhood in Bronzeville near 44th Street and Cottage Grove. From host-curated shows and fundraising social events like dances and cookouts, Fortune House aims to be a foundation for all young Black artists.

Threewalls, Loop

Threewalls is a non-profit organization that not only fosters contemporary art practices but also gives back to the local community. Threewalls hosts interdisciplinary art salons, community panels, counseling and career readiness workshops, community meals, research and development labs on diversity, equity, and inclusion, and much more. Threewalls also maintains a relief fund to provide support to artists transitioning in employment.

Golden Street, Loop

Golden Street is underground! Literally! You’ll find the Golden Street Underground Market just off of the pedway on Randolph St.,in a quaint storefront-turned-event space. Founded by brothers Moshe and Amoz Wright, Golden Street boasts an intimate space for all Black artists to share their Christian faith and artwork that ranges from poetry, to painting, to music. Golden Street is bright, youthful, and on the come-up.

3Arts, Loop

Founded on the principles of lifting up local artists and raising the volume of their diverse voices, 3Arts has supported more than 2,300 artists, 73 percent of whom are artists of color. The 3Arts organization hosts various crowdfunded art workshops, residency programs, professional development workshops, and has built an emergency response fund. Dedicated to career-spanning support, 3Arts provides awards and grants in gratitude to 10 Chicago artists for their contributions to the exuberance of the city each year.

Chi Community Crit, Web

Organized by alumni from the School of the Art Institute of Chicago, Chi Community Crit is a space for artists, post-grad or otherwise, to continue to receive critique and gain support from peers. Doing crits, talks, and potlucks, Chi Community Crit is continuing to build their community in its second year of existence. You can sign up for and attend critiques through their Instagram.

With(in).Digital, Web

Investigating the creative process of being Black and making art on the internet, With(in).Digital is a digital respite for Black artists and those curious to have curated conversations about their processes. With(in) recontextualizes space, treats social media with mindfulness, prioritizes Black perspectives, values Black innovation, and seeks to build new philosophies in various realms of Afrofuturism. Workshops and digital talks are held via Zoom in tandem with a running blog.

Whether you’re looking for your new family or a place to get your art on the wall, Chicago is rich with opportunity and artistry, waiting to be encountered by you. Get out there and create, you’ll fit right in!

A vigil for the Palestinian Martyrs

By F Newsmagazine March 29, 2024 Featured, Multimedia, Photo Essay, SAIC

On March 20, students from SAIC and Columbia College teamed up to organize a daytime vigil for those who have passed in Palestine. It was organized in front of the SAIC campus where students gathered to speak up, and pay respects. Attendees came together to write communal letters to the martyrs and laid down a row of flowers. This event is part of an ongoing effort by students all over Chicago to show continuous support for Palestine.

One of the posters had a quote by the Palestinian writer and poet Refaat Alareer who died on 6 December 2023 in an Israeli airstrike in northern Gaza.

Within the row of followers that were placed at the vigil, people laid down notes and offerings to symbolize their grief and mourn together.

The group of attendees at the vigil sat down to communally write messages like ‘Palestine Must be free. May oranges grow again’ for those who lost their lives in Palestine.

A student wearing a kufiya which symbolizes Palestinian Nationalism and support for their suffering.

Students from both colleges took turns addressing the crowd with quotes from Palestinian writers.

The collective included students from ‘Students for Palestinian Liberation’ and ‘Students for Justice in Palestine at Columbia College Chicago.

Film Review: How ‘American Fiction’ Satirizes the Struggle of Black Representation

By Mason Brown March 29, 2024 Entertainment

‘American Fiction’ (2023)

“I don’t really believe in race.” These are the words of protagonist Thelonious “Monk” Ellison (Jeffrey Wright), a curmudgeonly black author whose work hasn’t made large waves, and is, as he states ardently, not about being black.

Seconds later, in one of the film’s numerous visual gags, the taxi he’s hailing ignores him in favor of a white man. This early moment is a better handling of the film’s themes than the actual opening is, which feels like a flubbed take on the already overplayed “triggered college student.” The opening set the pattern for the movie, which at times favors tropes at the cost of complexity.

“American Fiction” (2023) contends with the subjects of black representation and misrepresentation. It’s an adaptation of Percival Everett’s 2001 novel, “Erasure,” and is Cord Jefferson’s directorial debut. This is the first adaptation of one of Everett’s works, who is known for his erudite explorations of race through absurdity.

In the film, Wright’s bookish and uptight performance of Monk allows those around him: his sister Lisa (Tracee Ellis Ross), brother Clifford (Sterling K. Brown), and literary agent Arthur (John Ortiz) to play off his deadpan act to comedic success. Brown’s bombastic energy often steals the scene from Wright. Monk’s other main relationship is with his mother (Leslie Uggams), whose progressing Alzheimer’s produces many disturbing moments.

With his own work overshadowed by what he sees as reductive and pandering to black narratives, Monk writes an offensive “black” novel intended as a middle finger to the entertainment industry. He writes the novel “My Pafology” under a pseudonym because he is afraid to attach his own name and artistic integrity to it. Much to his chagrin it’s a riot success.

Comedy ensues when Monk is forced to play the book’s author, Stagg R. Leigh, an ex-con and fugitive from the law; Wright’s performance of Monk as Leigh is hilariously phony. He visibly attempts to slouch his shoulders, affects a deeper voice, and cusses half-heartedly.

In spite, or perhaps because, of how stereotypical Leigh is, the white people around him are convinced. They can’t get enough of Leigh’s novel and its author; the white publishers and director adapting the novel are overwhelmed by how “raw” and “important” — but not well-written — it is. “American Fiction” mocks the ubiquitous language of “inclusion,” as the quality, or what is considered representation, is not considered.

Within Monk’s struggle with selling out, “American Fiction” addresses the trope of black suffering as a product to consume, deliberately invoking films like “Precious” and “12 Years a Slave”, denouncing them as spectacles of anguish. Black pain saturates American fiction (and I don’t mean the movie), as a reflection of its saturation of our real world. Trying not to reproduce the tethering of black representation to suffering requires deft handling and nuance.

For Monk, becoming successful means becoming a “Black Author.” But isn’t he already a black author? The film implies that inclusion and success can mean being pigeonholed into certain topics, as any black writer or artist who wants to express black experiences in their work has likely struggled with. Is it pandering, or even worse, is it “Trauma Porn?”

If you too have read “Erasure,” you might be surprised as I was by Cord Jefferson’s choices in modifying the story for film. “Erasure” is a difficult novel at times, and “American Fiction” packages the narrative into a linear fashion more standard to film. The film emphasizes Monk’s family and romantic relationships. Putting it uncharitably, the film sands off the novel’s more absurd elements, which causes Monk’s lack of interiority. The novel is peppered with strange glimpses into his mind, including imaginary dialogues between historical literary and artistic figures like James Joyce and Wassily Kandinsky.

The film is almost two hours long but still feels underdeveloped. It attempts both satirical comedy and family drama, and the switch in tone between sections isn’t spotlessly pulled off. At worst, it felt like I was watching two movies that had been spliced together. A thread of “showing who you really are” is made to link the two plots, but the problem is that I don’t know who Monk is. Wright tries valiantly to act as the core of this balancing act, but only flashes of characterization deepen the otherwise flat Monk.

Characters in the film state that audiences are bored by nuance, but I was disappointed that “American Fiction” didn’t trust us enough to try. Despite a brief intramural discussion on what it means to represent “the culture” or what “the culture” is, “American Fiction” doesn’t do enough to truly examine the confluence of race and class. Monk’s father was a doctor, his family has a black live-in maid, and he’s an Ivy League graduate (the type of black crowd that has their own stereotypes about poor black people). Like Monk, this film seems resentful at being lumped in with “regressive” black media. We don’t get to see this belief being adequately refuted as an unfair misrepresentation. In the final moments of the film, Monk nods to a black extra in a Huck Finn-like getup, again pointing to the use of plantation aesthetics… and then what?

All in all, the film is enjoyable. I laughed plenty of times and was thrilled by how side characters came to life in the hands of a skilled cast. But the film wants to be seen as challenging, without actually challenging its audiences.

Album Review: Infatuated with IDKHow’s ‘GLOOM DIVISION’

By Kit Montgomery March 23, 2024 Entertainment, Featured

‘GLOOM DIVISION’ (2024) by I Don’t Know But They Found Me

They’re taking over the world, one track at a time. I Don’t Know How But They Found Me is back with their second studio album, and it just might be the greatest album ever???

With a reputation riddled with alleged delays and even more alleged grand theft from former band member Ryan Seamen, lead singer-songwriter Dallon Weekes has found himself as a solo act, and a damn good one at that.

The endearing ’80s and oh so funky alt-pop signature sound of IDKHow has returned and matured into its finest form. “GLOOM DIVISION” is an expertly executed theatrical affair poking fun at the flawed philosophies of the upper class.

“DOWNSIDE,” the first track, starts slow and gradually builds tension. The track is an anxious trip to a place completely foreign until it isn’t. It suddenly switches into the familiar, yet brilliantly developed sound of IDKHow.

The second, “GLOOMTOWN BRATS” is the swingy, catchy party girl track every album needs. Unlike the first track, “GLOOMTOWN BRATS” is provocative from start to finish. With a powerful, and britpop-y bassline reminiscent of mid-’90s Blur, “GLOOMTOWN BRATS” is an energetic punch that will catch you like a cold. It’s easily one of the best songs on the album.

The next song “INFATUATION” is alluring, and clearly a play on the romantic music of the ’80s. With hauntingly beautiful vocals and a subdued overall tone, “INFATUATION” is compelling and almost too perfect.

What love could be this vicious, and what track could be this delicious? “WHAT LOVE?” is a song so good it’s almost infuriating. The balance of vocals, guitar lines, and heavy bass is flawless. “WHAT LOVE?” is the perfect example of the wonderfully weird, and it doesn’t fail to deliver.

“SIXFT” is a swoony and endearingly mushy love song with a lyrical edge reminiscent of some of Dallon Weekes’ other songs like “From The Gallows” or “I Will Tonight.” “SIXFT” exemplifies the best quality of “GLOOM DIVISION” —- Weekes’ clear understanding of his own talents — mixed with years of expertise. This song is a showcase of the graceful aging of IDKHow’s sound.

“A LETTER” is a shockingly good song, and despite it being over 19 years old it still manages to feel contemporary. It embodies another Dallon Weekes staple: reviving and reengineering a pre-existing song from Weekes’ large and long-running discography. Alongside its longevity “A LETTER” is also a much-needed break in the album’s pacing. It acts as a quiet moment between the slowing nature of “KISS & TELL” and the immediate energy of “SATANIC PANIC”.

“SATANIC PANIC” is a hectic and eccentric upbeat tune that you will never be able to get out of your head. It features their signature heavy bassline, as well as some deliciously smooth vocals, combined with uneasy lyricism that all function together perfectly.

“SUNNYSIDE [Feat. Will Joseph Cook]” is the pollyanna lo-fi little sister of “GLOOMTOWN BRATS.” It’s an optimistic yet gloomy oxymoron of a song that’s still charming in its own way.

The final track, “iDIOTS OF Oz” thematically fits with the techno sounds of some of the tracks off of IDKhow’s first album, “RAZZMATAZZ,” and separately utilizes snarky and self-assured lyrics that harken back to this previous album. “iDIOTS OF Oz ” is an interesting closing track, as it feels like a break in convention for “GLOOM DIVISION,” highlighted by a literal convention break in the capitalization of the song title. It doesn’t feel like a closing track. However, ending on this song feels intentional, as if to say “GLOOM DIVISION” is a thought left open.

“GLOOM DIVISION” is an unsurprisingly fantastic album utilizing nearly every must-have of a quality IDKHow release, including overpowering bass lines, song revivals from past Weekes’ projects, theatrically layered vocals, dark biblically thematic lyrics, and outstanding mixing.

In a world of music made for social media and established ‘old school’ bands re-releasing the same album every 2 years, “GLOOM DIVISION” manages to be a fresh and skill-filled take on a stylized ’80s sound. “GLOOM DIVISION” is a holy quarantine and certainly something more for my wild imagination.

Album rating: 10/10

SAIC Artist in Residence 2024 – Johnae Strong

By Nitya Mehrotra March 23, 2024 Multimedia

Johnae is an artist, a teacher, a mother, and a storyteller, who is currently an artist in residence at the Homan Square campus of SAIC. Like all residents, Johnae gets access to her Studio workspace and teaches community courses to people of all ages. She is using her time at Homan Square to build community relationships via her film practice, specifically with 16mm. In both her work and teachings, Johnae uses the written word to build her community. This video essay dives deeper into her motivations and how she came to work with SAIC.

Deluge Disruption

By Khytul Abyad March 20, 2024 News, SAIC

Virginia Kennard (MFA Performance 2025) was attending winter classes at Ox-Bow School of Art & Artists’ Residency this January when she received an email notifying her of the flooding at SAIC Galleries 33 E. Washington St., where her studio is located.

“There has been a water pipe burst in the building. The building is closed until further notice,” read the Jan. 18 email. Upon returning to Chicago, Kennard found herself without a space to accommodate her artwork and art material she was bringing back from Ox-Bow in Michigan.

Sam Tripodi (MFA Photography 2024), Kennard’s studio neighbor, was affected by a similar, albeit smaller, flood in the same building around the same time last year.

“A pipe broke in the building and caused the flood, but no one had to move out, except me and the person next to me because there was mold in the walls,” said Tripodi, recalling the incident. Although the first flood had minimal impact, Tripodi lost a significant portion of her displayed work. But she believes that the school learned to respond quickly. “I don’t know if they had strategies after the first one, but I’m guessing they kind of knew.”

When Tripodi was notified of the new flood, she panicked.

“We were shocked that they weren’t letting us come and take our work away, or telling us which studios had been affected,” she said. Her concern grew as she feared that the work was further deteriorating by sitting in water. However, for the next four to five days, there was no update from the school. “So it was like, have I lost all my work? What am I supposed to do with myself,” Tripodi said.

The lack of communication from the school left artists uncertain about the fate of their work. “Losing three weeks of time right now is terrible, when some of us have a show coming up in less than a month,” Tripodi said.

The following week, students received emails stating that the damaged items and potential mold hazards had been eradicated. Now they could return to their studios.

“I had said to myself I’m not worried about losing work like other people,” Kennard said. As a performance major who works primarily with body, she didn’t have specific artwork stored in her studio. So far, she’d been appreciative of the work the Academic Studio Operations had been doing.

Her gratitude was short-lived. “When I returned to my studio ten days later, I said to myself, ‘Ah, actually, that’s not the case. There might be some more damage,’” she said. Kennard found a box with her books molding inside, some of which were checkouts from Flaxman Library.

Nevertheless, Kennard considers herself fortunate in the incident. “I feel lucky, because I didn’t really lose any work. I’m thinking about other people. It is heartbreaking to have your work ruined right before an exhibition goes up,” Kennard said.

Kyle Gregory Prince (MFA Performance 2025) echoed Kennard’s sentiment, expressing empathy for those who suffered bigger losses. “An old sewing machine in my studio got damaged, but I had nothing on the walls. I immediately knew there wasn’t any risk of losing artwork,” Prince said. “My heart immediately went out to those who lost work,” he added.

For Painting and Drawing student Pedro Montilla (MFA 2025), the impact was profound. The pipe that burst was above his ceiling, resulting in heavy pressure water flowing directly into his studio.

“I had a big painting that got very damaged,” he said. “And I had brought fabric from my country [Colombia] to work with, and it also got damaged.”

Montilla paused when asked if the school handled the situation well. “I think the school has tried, but they have been a little sloppy. They have made some mistakes,” Montilla said.

He believes some of the work was salvageable. “I was going to show this painting in an exhibition in Colombia, but the work is now damaged. When I arrived here, the painting was warped between chairs,” he said.

Montilla’s material was discarded while the building was still shut. “I didn’t even get to see it, though I understand they had to throw it to prevent mold from spreading,” he said.

For now, Montilla is left without any material to work with, giving his studio a deserted look.

Tripodi too, returned to her studio to find her work mishandled. Although she was able to return to work immediately she is disappointed. “Maybe if we had been allowed to come in, we would have not lost our work,” she said.

“There has been damage that I can’t undo,” Kaiden Su (MFA 2024, Painting and Drawing) said, acknowledging the challenge of moving forward from the incident. While grappling with the aftermath he refrained from elaborating further. “I guess one thing I would say is that I hope that the school will consider implementing additional safety measures and not allow this to happen again in the future,” he said.

The school has extended some material support, but it’s limited.

“We have been sent reimbursement. We are supposed to do all the work and get receipts of the material, and wait for them to verify the documents and send the reimbursement,” Kennard said.

Tripodi, pointing at one of her drawings saved, said, “For a drawing like this, they would reimburse me $3 for the cost of the paper, what about the hours and hours of work I did on it?”

Montilla — who is waiting for his material to be shipped from Colombia — expressed hope. “The email said they will reimburse me for the material and I’m waiting for that to happen so I can resume my practice,” he said.

In response to the challenges posed by the flooding, SAIC’s Academic Studio Operations emphasized the paramount importance of safety. “Safety was our biggest concern, and given the risk of electrocution and the shutdown of all elevators, security systems, and fire suppression systems due to the flooding, it would have been irresponsible to let students in right away,” Thomas C. Buechele, Vice President for Facilities & Campus Operations, said.

Acknowledging the severity of the situation, Buechele highlighted the thorough measures that were taken to ensure a safe environment for students, including the removal of water, restoration of security systems, and re-establishment of communication channels. Within less than a week of the flooding, students were permitted to enter the building safely to retrieve items from their studios, and within 15 days, full access was restored.

Explaining the circumstances surrounding the burst pipe, noted, “The pipe that burst was original to the building and was located within the floor above our spaces.” Despite regular inspections and the use of thermal cameras to detect potential issues, extreme weather conditions presented unforeseen challenges. Buechele underscored the proactive response taken in such situations, saying, “In the case of extremely frigid weather like we had right before the pipe burst, unfortunately, this type of situation is common in any building—commercial or residential, old or new—so often the best we can do is respond quickly and decisively, which we did here.”

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