Mistaken Landscapes

Mistaken Landscapes, 2024

Magazine, 8.5×11 in, 200 pages

The images comprising Mistaken Landscapes were made with an iPhone while traveling on Shinkansen bullet trains in Japan between 2014 and 2023.

High Dynamic Range, or HDR, has been an iPhone option since the Model 4 came out in 2010. When HDR is enabled, the camera quickly takes three images each time you press the shutter button—one underexposed, one at the correct exposure, and one overexposed. The three exposures are combined, yielding a single image with an increased dynamic range of color and contrast.

Although the three HDR exposures are made almost instantaneously, the Shinkansen travels up to 300 km/h (186 mph); consequently, the view out the window shifts during the image-making process. Although brief, the lag time between the first and last exposure causes inaccurate imagery alignment, with areas of misregistration appearing as a featureless, flat, gray tonality.

As viewed from a speeding Shinkansen, the landscape streaking by already seems unreal; however, the slippage generated by the HDR shifting pushes the images into territory bordering on abstract and hallucinatory. This selection, pulled from 11,417 images, manifests a range of scenes from urban to rural and a spectrum of misregistration from subtle to severe.

Higashi-Nippori

Higashi-Nippori, 2023
RGB filtered B & W Super-8 film, color, sound, total running time 5 minutes
Link

Higashi Nippori investigates the difficulties of making something straightforward. Three black and white Super-8 film cartridges were shot in single takes from a fixed position in an apartment in Tokyo, Japan, for each of the film's three sections.

Each cartridge was filtered for one of the three additive primary colors: red, green, and blue. Superimposed atop one another and colorized accordingly, the three elements should combine to create a single color take; nonetheless, deviations between the three pieces of footage caused improper registration and undulating color shifts.

The film's first section was shot at high speed, showing clothes drying in the wind on a laundry balcony. The second section is a time-lapse of three consecutive days of the sun rising behind the living room's sliding paper screen. The third section is a view from the apartment's balcony, looking down at treetops moving in the wind.

Although clothes drying, the sun rising, and the wind blowing a treetop seem like uncomplicated topics for a film, numerous factors problematized the objective of creating one color take, from the camera and tripod vibrating,  gradually shifting its position on the floor to the elements in front of the camera moving.

The soundtrack is the narrative backbone of the work and forms a domestic counterpoint to the shifting of distorted visuals, even though the audio is highly fragmented and is constructed from recordings made at different times while sitting still on the apartment's living room floor or standing on the laundry balcony. As with the images that don't precisely combine, the addition of disparate sounds—rice cooking, a heavy metal band in a nearby park, a passing recycling truck, a child’s tantrum, cicadas, crows, and an answering machine message from FedEx—enhances the surreal qualities of the film and foregrounds the contrast between inside and outside, private and public.

The three pieces of film footage periodically come together in proper registration and create a singular image, along with a plausible audio accompaniment; however, most of the time, the elements that comprise this film are in various disjunctive states and call attention to the film's assembled nature.

Stephan Apicella-Hitchcock vs Brad Pitt "Mistaken Landscapes" Audio

This audio playlist was created for the Stephan Apicella-Hitchcock vs. Brad Pitt at sunset (approximately 8:36 PM) screening of Mistaken Landscapes at All Star Fine and Recorded Arts (film described in detail below). The film was projected onto a large window facing the street from inside the gallery. Visitors could follow a link on their smartphones to this audio track, then listen to the soundtrack while viewing the visuals from outside the space.

Forming a counterpoint to the rhythmic shifting of the distorted visuals, the audio of this film is constructed from recordings made while sitting still on the balcony of a Tokyo apartment. As with the HDR images that don’t precisely combine, the addition of sounds—a child’s tantrum in the courtyard, a neighbor’s koto lesson, rice cooking, and an answering machine message from FedEx—enhances the surreal qualities of the film and foregrounds the contrast between movement and stasis, outside and inside, travel and home.

The star actor in this film is the visual/aural landscape itself.

0:00 A distant rock concert, birds, a truck with a speaker 

3:13 Rice cooking 

4:14 A tantrum in the courtyard 

5:09 An answering machine message about a missed delivery 

6:04 A speech in the middle of the night, a sudden arrival 

7:32 Stray Dog 

8:08 A murder of crows 

9:30 Wind 

9:52 Yuyake Koyake (Sunrise, Sunset), a child (animal?) having a tantrum, crickets 

10:22 A passing jet, a siren, a koto lesson, a baby crying 

11:54 Cicadas, cicadas breaking the recording device 

12:36 A baseball game, crows, a hit, crickets, crows 

15:16 Rain, a bird, a birdcall, a bird responds, an assessment 

15:53 A passing jet, Yuyake Koyake, Yuyake Koyake echos 

16:41 An unhappy refrigerator 

17:14 A voice from a speaker, a truck, briefly a scooter, the voice continues

Stephan Apicella-Hitchcock vs. Brad Pitt at Sunset

 

 

 

 

 

 

Tonight 8/5/2022: Stephan Apicella-Hitchcock vs. Brad Pitt at sunset (approximately 8:36 PM) at All Star Fine and Recorded Arts: 3022 E 35th St, Minneapolis, MN 55406 Instagram. Listen to the audio here. Live Zoom link click here Meeting ID: 867 4296 5027. View a book version of the film here.

All Star Fine and Recorded Arts is not scared to go up against the big guns. So, we are proud to announce that Stephan Apicella-Hitchcock’s film, Mistaken Landscapes, shot from Shinkansen Bullet trains in Japan over six years, will drop on August 5th, the same release date as Bullet Train, a new action comedy starring Brad Pitt.

Based on the 2010 Japanese novel Maria Beetle by Kotaro Isaka, Bullet Train (filmic value yet unknown) is not to be confused with the extraordinary 1975 thriller, The Bullet Train, starring the legendary Ken Takakura and Sonny Chiba. Regardless—Takakura, Chiba, Pitt—we stand our ground.

Like the big motion picture companies, we, too, will bring a sampling of Japanese landscape into American theaters; however, our version emerges from the heartland minus the comedy, less predictably and more abstractly. Mistaken Landscapes will be projected onto the gallery window from inside All Star Fine and Recorded Arts, inverting space and turning the interior of this Minneapolis gallery into a view of the passing Japanese terrain. The corner location and visibility from pedestrians and drivers ideally places All Star Fine and Recorded Arts as the conduit between travelers on different continents.

About the film: the images comprising Mistaken Landscapes were made with an iPhone while traveling on Shinkansen bullet trains in Japan between 2014 and 2020 and exploit the iPhone’s High Dynamic Range capabilities.

High Dynamic Range, or HDR, has been an iPhone option since model four came out in 2010. When HDR is enabled, the camera quickly takes three images each time you press the shutter button—one underexposed, one at the correct exposure, and one overexposed. The three different exposures are combined, yielding a single image with an increased dynamic range of color and contrast.

Even though the three HDR exposures are made almost instantaneously, the Shinkansen travels at speeds up to 300 km/h (186 mph); consequently, the view out the window shifts during the image-making process. The brief lag between exposures causes inaccurate imagery alignment, with misregistration areas appearing featureless, and gray.

As viewed from a speeding Shinkansen, the world streaking by already appears unreal; however, the slippage generated by the HDR shift pushes the images into territory bordering on hallucinatory. This selection, pulled from 11,417 images, manifests a range of scenes from urban to rural and a spectrum of misregistration from subtle to severe.

Forming a counterpoint to the rhythmic shifting of the distorted visuals, the audio of this film is constructed from recordings made while sitting still on the balcony of a Tokyo apartment. As with the HDR images that don’t precisely combine, the addition of sounds—a child’s tantrum in the courtyard, a neighbor’s koto lesson, rice cooking, and an answering machine message from FedEx—enhances the surreal qualities of the film and foregrounds the contrast between movement and stasis, outside and inside, travel and home.

The star actor in this film is the visual/aural landscape itself.

The Plan

The Plan

Spotify Playlist, 437 songs, 26 hr 46 min.

Created for the Marble Hill Camera Club.

Of course, everyone was utterly fascinated by the foreign exchange student who joined the highschool film club. Who wouldn't be? However, it is safe to say that I was the one most in love.

This unknown variable in the domestic rabble added a distinct element of style to the mix. It ratcheted up the competitive intensity of the arguments that took place after and sometimes throughout the screenings. Occasionally, the exchanges became so spirited that we had to pause the movie to untangle the dispute. Unfortunately, this process invariably caused even further disagreements, as the image frozen on the screen became yet another inflammatory topic to trigger a debate. Some simple fool would interrupt the current melee and blurt out an absurdity like, "Stop—look at that—Antonioni couldn't construct a frame like that in his wildest dreams!" An incendiary burst like that could take forever to manage, and I suppose in retrospect that one should never join any organization without carefully weighing who the participants might be, especially if membership is free and you will be meeting in a small windowless space.

We watched movies on a barely functioning audio-visual cart VHS player squeezed into a dark storage room packed with all manner of forgotten items. The television's tube had, without a doubt, lived several lifetimes past its expiration date so that the faint screen made even contemporary films look old, which was fine by us. That relic was a beacon of future possibility on which we observed tantalizingly unknown worlds while surrounded by mutilated wood desks, half-functioning instruments, abandoned dioramas, broken props, and the lost and found box's eternally unclaimed contents.

The smell of that space was unforgettable to anyone who entered, even if only briefly. Many generations ago, somebody had left something on top of the clanging radiator, and it still produced a burnt waxy aroma. That smell combined with the distinct perfume of the ditto machine's duplicating fluid, and this new spectral fragrance saturated everything. At one point, we proudly thought that we had been moved and overwhelmed with mature emotion from the swelling romantic crescendo of Bernard Hermann's score for Vertigo; however, most likely, we were only buzzed from the fumes.

We sent out meaningful glances and conspiratorial winks in this half-lit educational morgue, not yet having realized that there is nothing quite so confusing and counterproductive as an amateur conspiratorial wink. Our imaginary film festival sequencing ricocheted off the peeling walls to hopefully meet their intended recipient—the import. These fanciful cinematic playlists never came close to their mark; however, releasing them into the wild was just enough at that time to allow us to maintain the illusory chance of something happening. We imagined connections spontaneously forming, of having our vaguest sentiments be precisely understood without resorting to the use of actual, specific language. These mixes were simultaneously both our thumbprints and also appeals.

Recollecting those late Thursday afternoons in February, I feel compelled to reassemble my plan's specifics and share them with you. We never determined our effort's potency because we never implemented "The Plan," as you can imagine. My fantasy setlist is now shrouded in an aniline purple haze and so far removed from my current life that it might as well be from an alternate cosmos. Nevertheless, film by film, it should do the job reasonably well of sketching out a juvenile psyche under the spell of moving pictures, both domestic and foreign. At the very least, you can bank on the fact that the mixtape will run for roughly twenty-four hours, and with that, my surrogate will serve as your intimate companion for the waking and sleeping hours of your day.

I am looking forward to spending time with you in that small, dark place where we imagine what we hear.

A Rough Sketch

In 1939 when my father was just five, he and his older brothers—the eldest only some seven years his senior—left their home in Corona, Queens, and trekked adventurously across the Grand Central Parkway to the World’s Fair. After sneaking under a fence and ripping his knickers in the process, my father proceeded to get his foot caught in a revolving door entrance to an exhibit.

After many hours and fruitless attempts to liberate his foot, the police dismantled the entire door to free him. Shaken but unharmed, they questioned my father about his name and where he lived. His brothers were hiding a short distance away, repeatedly imploring him, “Don’t tell him your name—don’t tell him your name!” Despite the ice cream bribe, somehow, my father didn’t crack and give up his identity.

Every time I have been to the panorama with my father, I have heard this story, notable for its consistency, if not its plausibility. How this little gang made it to the fair, how he wasn’t permanently injured, and how they managed to escape from the police have never been clarified; nevertheless, the repetition encouraged a suspension of disbelief over time. So much so that whenever I have been to see the panorama by myself, I have found myself mulling over the details and, even more suspicious, found myself telling this story repeatedly to my son.

 

Gary Monroe
Photographs: South Beach 1977–1986
Curator: Stephan Apicella-Hitchcock & Joseph Lawton

The Ildiko Butler Gallery
September 1, 2020—January 15, 2021
Fordham University at Lincoln Center 
113 West 60th Street at Columbus Avenue 
New York, NY 10023

Link

Fordham University's Ildiko Butler Gallery is pleased to present the photographs of Gary Monroe. Exhibited here are twenty-one gelatin silver prints made between 1977 and 1986 in South Beach, Florida, of the elderly Jewish community.

In Gary's words: South Beach was remarkable when I photographed there, which was almost daily. Actually, it was for a longer period, but that decade constitutes my being committed to making visual sense of life there. It was where Jewish people came to be together in their later years. In its way, it was a sacred place. These were the Jewish of the 'Greatest Generation,' Holocaust survivors among them; refugees from the cold northeast; working-class retirees. The average age was well into retirement. Ten years later, the Art Deco movement and other forces, including Miami Vice, and economic development, caused the demise of the old-world traditions long before attrition would have taken its toll. The lifestyle vanished as if it had never happened.

Gary Monroe, a native of Miami Beach, received a master's degree in fine arts from the University of Colorado at Boulder in 1977. Since 1984 he has photographed throughout Haiti, Brazil, Israel, Cuba, India, Trinidad, Poland, France, Russia, Egypt, and in his home state of Florida. He has received grants from the National Endowment for the Arts, Florida Department of State's Division of Cultural Affairs, Florida Humanities Council, and the Fulbright Foundation. Gary's publications include The Last Resort, Florida Dreams, Life in South Beach, Miami Beach, and Haiti. He is also the author of numerous books, including The Highwaymen: Florida's African-American Landscape Painters, Harold Newton: The Original Highwayman, and Silver Springs: The Underwater Photographs of Bruce Mozert. Recently he has been photographing the impact of corporate-driven planning on the Florida landscape.

Image Credit: Gary Monroe, Sixth Street by Washington Avenue, 1978

Landscape Photographs

Landscape Photographs
Featuring work by Gabriel Blankenship and Brian & Gareth McClave
Curator: Stephan Apicella-Hitchcock

The Ildiko Butler Gallery
September 1, 2020—January 15, 2021
Fordham University at Lincoln Center 
113 West 60th Street at Columbus Avenue 
New York, NY 10023

Link

Fordham University is proud to present a new exhibition, Landscape Photographs, which brings together work from American artist Gabriel Blankenship and British artists Brian & Gareth McClave. This exhibition's straightforward title might lead one to presume images that conform to traditional expectations for landscapes—beautiful, transcendent, or sublime; moreover, accessible, and understood within the genre's history. The landscapes depicted here are undoubtedly related to the world we know, although the information is translated and parsed in potentially unfamiliar ways. Both Blankenship and the McClaves observe and take inspiration from the world around us, then process and present their information in carefully managed integers.

With Gabriel Blankenship, we see an array of ordinary suburban rooftops, clouds, powerlines, and foliage with different croppings and color schemes. On the one hand, these views are somewhat general, appearing related to a loose snapshot aesthetic filtered through video game technology. Yet, they are engineered and controlled at the smallest decision-making level, and selectively built up pixel by pixel into iconic images. A tension exists between the extreme control exercised during the image construction and the deceptively casual results. Ultimately, these scenes distill and precisely articulate some of life's quotidian details.

Brian & Gareth McClave utilize computer technology as Blankenship, though their images are abstract in a different manner. The digital slow-scan software that they developed records a picture over time and presents vertical slices of imagery. We view each image both in its entirety as well as chronologically when moving through the image bands from left to right. What might appear initially as a form of digital interference, or potential file corruption, turns out to be discreet stages in the construction of the image. The increments of a time-based narrative are visible, as well as the event in its entirety.

Roei Greenberg English Encounters

Roei Greenberg

English Encounters
Organized by Stephan Apicella-Hitchcock

The Fordham University Galleries Online

Fall 2020
Fordham University at Lincoln Center
113 West 60th Street at Columbus Avenue
New York, NY 10023
Link

The rural walk is a well-known English cultural practice. Though it may be civil, the act of walking itself is rooted in ideology from my cultural background; to walk the land is to know the land, and therefore suggests belonging entitlement and ownership. I begin to survey the English countryside, becoming familiar with the island’s geography, an act of mapping that refers to imperial and colonial histories.

Pertaining to Romanticism, I appropriate the visual rules of the picturesque, traditionally used to create an illusion of social and natural harmony. The dramatic light and weather conditions combined with forensic attention to details and on-site interventions intend to provoke the ambiguous feelings of seduction and alienation. Poetic and alluring yet tinged with irony, the images seek to disrupt traditional modes of representation in a place where land ownership and social hierarchy have shaped the form and perception of the landscape for centuries.

Website
Instagram

Gabriel Blankenship Instant Camera

Gabriel Blankenship
Instant Camera
Organized by Stephan Apicella-Hitchcock

The Fordham University Galleries Online
Fall 2020
Fordham University at Lincoln Center
113 West 60th Street at Columbus Avenue
New York, NY 10023
Link

Around 2009, I unexpectedly found myself back at home in rural Pennsylvania. I had been studying photography and had grown accustomed to bringing my camera everywhere. I found myself shooting less at home, despite carrying a camera, and sometimes I didn't bring my camera out at all. Allowing myself to be more present was liberating, but not without tension. I kept finding myself wishing I had taken my camera with me, or I would catch myself composing a shot with nothing to record it with.

As I began exploring pixel art, I found the same ideas I was drawn to as a photographer cropping up in my work. Moments I thought I had missed were "developing" in 8 and 16 bits. These "Polaroids" are recalled and imagined landscapes and photographs that I wish I had taken: details noticed in my peripheral vision, seen from the passenger seat of a car, or a third-story window.

thepixelsmith

IN DER FREMDE | PICTURES FROM HOME

Romeo Alaeff

IN DER FREMDE | PICTURES FROM HOME
A haunting photobook on Berlin & the search for home
Organized by Stephan Apicella-Hitchcock

The Fordham University Galleries Online

Fall 2020
Fordham University at Lincoln Center
113 West 60th Street at Columbus Avenue
New York, NY 10023
Link

Internationally exhibited artist, Romeo Alaeff, presents a haunting, cinematic photobook on Berlin & the search for “home.” The book features haunting, never-before-seen images of Berlin at night—a city infamous for its nightlife—now presented in a desolate, eerie, and a deeply personal light.

Framed by six essays by renowned writers, the photographs are tinged with a deep sense of longing & touch on themes of migration, alienation, and the search for home. Essay contributions by Yuval Noah Harari, Christian Rattemeyer, Charles Simic, Eva Hoffman, Rory MacLean, Joseph Kertes (+ Romeo Alaeff).

The book will be published by the esteemed Hatje Cantz, “one of the leading publishing houses for art, photography, design, and architecture books with a focus on contemporary art” — a 75-year-old publisher with over 800 titles. The book has already received half of its publication funding via a generous grant from Stiftung Kunstfonds.

Photographs by Patrice Aphrodite Helmar

Patrice Aphrodite Helmar

Photographs

Organized by Stephan Apicella-Hitchcock

The Fordham University Galleries Online
Fall 2020
Fordham University at Lincoln Center
113 West 60th Street at Columbus Avenue
New York, NY 10023

Link

Polaris and Down By Law are ongoing bodies of work that I began in 2015. My photographs picture, but aren’t limited to, the dark mythology of the American dream and the timeless story of returning home.

In Polaris, characters, archetypes, and dreamlike landscapes inhabit 50 miles on a road to nowhere. I grew up in a working-class family catching salmon on a twenty-six-foot hand troller. My parents taught me where the north star was in the night sky. This was a practical instruction given in case I was ever lost in the woods or at sea. This constellation alluded to in literature, myth, and song has guided seafaring people for time immemorial. These photographs were made in my hometown of Juneau, Alaska. One of the few capital cities in the United States without a road to the outside world.

The photographs made in Down By Law are made as I’m headed home to Alaska in the summertime. In 2016, I bought a car to bring home to my family and drove from the Bronx to Alaska through the southern states and up through British Columbia. It was a roughly 8,000-mile journey that included a grand finale getting the car and myself into town on a ferry.

I was a resident with Antenna Gallery the following year and spent three months living in New Orleans. For the past five years, I’ve photographed rodeos in Texas, New Mexico, and Oklahoma. The rodeo is a contemporary colosseum and a meeting place for folks in big cities and small towns.

The history of photography is rife with work made by the upper classes. These visitors often have little connection to people and places they image. In my work, I’m not attempting to document or sensationalize the working class, and queer life. I’m authoring what I would like to exist about my communities in contemporary culture.

I continue to return to the places where I make photographs. Revisiting friends, making new friends, meeting strangers, staying for as many weeks and months as I can before I run out of money or film or both, and letting the spirit move me. —Patrice Aphrodite Helmar

Image caption: Corner House, Juneau, Alaska, 2018

Websites:
Patrice Helmar
Marble Hill Camera Club

Instagram
@patricehelmar
@marblehillcameraclub

Case Study Tokyo 2020

Case Study Tokyo 2020

7×7 in, 18×18 cm
438 Pages
Publish Date May 01, 2020
Preview the entirety of the book here.

Take one part working methodology from the influential 1972 book, Learning from Las Vegas: The Forgotten Symbolism of Architectural Form, combine with the megacity of Tokyo, add Fordham University Gabelli students, stir for ten days in Japan and what do you get? You get direct acquisition of knowledge through experience with a small team, realized in a hardback research volume focusing on branding, sensory marketing, architecture, design, photography, and urban planning.

There is a fiendish pleasure in meeting your students at Tokyo's Narita airport after they have endured a fourteen-hour flight and crossed the International Date Line. Their disorientation is palpable—from bloodshot eyes to messy hair (which actually fits in quite nicely with the local, youthful styles) and from the need for sudden naps and its alternate in the form of sleep-deprived rambling. It is the equivalent of barging into someone's room at 3:00 a.m. and saying, "Wake up, the class has started!"

Nonetheless, over ten days, endless miles of walking unfamiliar terrain, including innumerable fresh sights, sounds, smells, tastes, and experiences, a transformation occurs. The initial shock and strangeness of being in a new country yields to impressions that are increasingly nuanced and personal. Here follows a description of the primary objectives and methodologies employed in this class, which will contextualize the storm of thousands of images that is to come on the following pages.

Learning from Las Vegas by Robert Venturi, Denise Scott Brown, and Steven Izenour is a landmark study that looked at a city in terms of architecture, density, lighting, signage, sound, and numerous additional prisms. It is an eclectic research tome whose structure served as the skeleton for our case study of Tokyo. While we are not architects, nor did we travel to Las Vegas, we were interested in the idea of looking at a city from multiple vantage points, both literal and conceptual. The eclecticism of our approach has led us to unforeseen revelations and to find engaging connections across different aspects of our topic city, Tokyo.

The megacity of Tokyo (population over 13.9 million) served as the base for our investigations, with research itineraries that brought us from the cosmopolitan ward of Shinjuku to the center of youth culture in Shibuya, from the cutting edge fashion districts of Harajuku to the traditional temples and shrines of Asakusa. Each day brought new and different locations where we quantified aspects of the city for our study. Our team conducted primary visual research via smartphones with an emphasis placed on generating straightforward images that were decidedly not photographic works of art. These images were subsequently categorized into our working data set and eventually output to this book.

For the ten days that comprised our study, each of the students in our team produced five images per day in each of the following categories: sign, object, area, color, and architecture. Images were organized by date, as well as assigned one of the five keywords. In assigning only single, descriptive keywords to each image, several intriguing dilemmas arose almost immediately. How does one appropriately label, for instance, an image of a crumpled, colorful gum wrapper covered with graphics and brand logos, or architect Tadao Ando and fashion designer Issey Miyake's 21_21 Design Site in the Roppongi district? With the former, the wrapper could easily fit into the category for either object, color, or sign. With the latter example, the roof of Ando's building, based on Miyake's clothing concept, "A Piece of Cloth," is folded from one sheet of steel and functions as both an enormous sign and advertisement for Miyake's concepts. Beyond the branding of Issey Miyake, the building's single sheet of folded steel potentially references the sheet of folded paper used in origami, the Japanese art of paper folding. It thus functions as an advertisement for a traditional aspect of Japanese culture. The complexities of categorization are numerous.

During generating thousands of images and assigning keywords, class members began to ask questions. Need signage be large, or be linguistically based? Might a building's silhouette serve as signage? At what point does an object's scale shift into being an architectural structure, or diffuse sufficiently and transform into an area? Is there a color palette specific to Tokyo and fundamentally different from elsewhere? How do companies negotiate co-branded endeavors in regards to color, object relationship, and shelf placement hierarchy? Even with their inherent absurdities, the five basic categories we employed provided a method by which to consider Tokyo, prioritize the defining characteristics of the images produced, and organize our research.

At the very beginning of this course, the class viewed French filmmaker Chris Marker's 1983 essay film on travel and Japan, Sans Soleil. Oddly, here at the end of our process, a quote from the film's narrator resonates strongly and states our Case Study Tokyo's objectives perfectly. She says, "I've been around the world several times, and now only banality still interests me. On this trip, I've tracked it with the relentlessness of a bounty hunter." Along with architect Tadao Ando's description of 21_21 Design Site as a "venue to redirect our eyes to everyday things and events," we can see how this study is a collection of small, but precise examinations by a group "relentlessly" traversing Tokyo. The primary goal was simply to see.

What one makes of their observations, detects in the trends within the book, or how one might utilize this data in the future is yet one more very interesting and wonderfully complicated discussion.

Stephan Apicella-Hitchcock, 2020

Landscape Photographs

Landscape Photographs
Bill Burke • Lois Conner
Curators: Stephan Apicella-Hitchcock & Joseph Lawton

The Ildiko Butler Gallery Gallery
September 24–November 13, 2019
Reception: Wednesday, September 25, 6–8 pm
Fordham University at Lincoln Center
113 West 60th Street at Columbus Avenue
New York, NY 10023
 *The galleries are open from 9 am to 9 pm every day except on university holidays

Fordham University is proud to present a new two-person exhibition of photographs in our Ildiko Butler Gallery by Bill Burke and Lois Conner. Landscape Photographs brings together two photographers that have photographed extensively in both the United States, as well as abroad. Both bodies of work have been made over many years, Burke in Southeast Asia and Conner in China with each utilizing large format cameras to record their subject in extraordinary detail.

Bill Burke: Statement
I began to travel to Asia in 1982. In the years after failing my draft physical in 1968, I began to think I had missed a significant experience that defined my generation. I became curious about the people I would have been ordered to kill or be killed by. Studying the Vietnam War, I became familiar with the names of places and events that took place there. Over the next eighteen years, I visited many parts of the former French colonies of Viet Nam, Cambodia, and Laos. Most of my photographic efforts were toward making portraits, but as the region recovered from “The American War,” I began to see how original architecture was being destroyed and repurposed. I also saw how the architecture could be seen to represent the flow of colonial power that had molded the region during the previous century. I took it on myself to make some small record of buildings that might soon be destroyed or that embodied an aspect of the foreign power that had commissioned them.

Lois Conner: Statement
My subject is landscape as culture. I am not interested in an untouched, untrammeled world. What I am trying to reveal through photography in a deliberate yet subtle way is a sense of history. I want my photographs to describe my relationship to both the tangible and the imagined, to fact and fiction.

Image captions: (top) Bill Burke, Abandoned U.S. Consulate, Danang, 1994. Images courtesy of Howard Greenberg Gallery, NY; (Bottom) Lois Conner, Military Museum, Beijing, China, 2000. Images courtesy of Gitterman Gallery, NY

Exhibition image Captions:
Bill Burke
Left Wall and Left Rear Wall (left to right) Caption information is written directly on the photographs.

Lois Conner
Rear Wall Right (top to bottom, left to right)
Yuanming Yuan, Beijing, China (2011)
Tiananmen, 50th Anniversary Floats, Beijing, China (1999)
Military Museum, Beijing, China (2000)
The Photographers, Guangzhou, Guangdong, China (1993)
Fengdu, Sichuan, China (1997)
Bank of China, Shanghai, China (1999)
Hangzhou, Zhejiang, China (1985)
Yangshuo, Guangxi, China (1985)
Right Wall (top to bottom, left to right)
Zigui, Hubei, China (1997)
Cultural Palace, Lhasa, Tibet (2002)
Beijing, China (1988)
Yangshuo, Guangxi, China (1991)
The Silk Route, Gansu, China (1991)
Reconstruction, Tiananmen, Beijing (1998)

Right Coast/Messengers

Right Coast/Messengers
Photographs by Susannah Ray and Kota Sake
Curator: Stephan Apicella-Hitchcock

The Lipani Gallery
July 10—October 10, 2019
Reception: November 13th, 5–7 pm
Fordham University at Lincoln Center
113 West 60th Street at Columbus Avenue
New York, NY 10023
 *The galleries are open from 9 am to 9 pm every day except on university holidays

Fordham University is proud to present a new two-person exhibition of photographs in our Lipani Gallery by Susannah Ray and Kota Sake. Upon immediate inspection, the images in Right Coast/Messengers by these two photographers could not be any more different in terms of content, style, process, or presentation. However, upon closer inspection, a certain resonance begins to emerge between the two bodies of work.

Both evidence a clear dedication to exploring and documenting their respective topics over an extended period of time. As well, each selection of photographs examines how we utilize our free time, pursue our pleasures, and engage with our passions and pastimes. On the most direct level, both bodies of work clearly have something to do with water; however, none of these possible interpretations quite nails their connection down solidly. This ambiguity should serve as an invitation to come to visit the gallery and see the individual bodies of work, as well as an enticement to ponder their linkages.

This exhibition could be seen as a classic summer gallery show aimed towards pleasing the crowds—in this case, with surfers and animals. Nevertheless, beneath the initial hook of breezy, summer reading are numerous aspects of a more nuanced and provocative nature.

Susannah Ray
Right Coast
In the fall of 2004, following my growing obsession with maritime weather models, cold-water wax, and 7mm neoprene mittens, I began documenting surfing in New York City. My life as I knew it had succumbed to my constant urge to surf, and it became clear to me that my photography would suffer from neglect if I did not begin to document the new passion that occupied most of my waking thoughts and many of my dreaming ones.

The project title, Right Coast, is a nickname for the East Coast that not only indicates its location on the continental US but also asserts an underdog's dreams of superiority. Surfing on the right coast, particularly in New York City's Rockaway Beach, lacks most of the lifestyle and allure of West Coast surfing. Yet making up for the dearth of good weather, consistent waves, and beautiful surf spots is a community that has a surfeit of heart, dedication, and soul. Or in a word, aloha.

In the fall of 2012, less than a year after I concluded this series, Hurricane Sandy devastated Rockaway Beach, forever altering the landscape and our relationship to the sea. These photographs have become a testament to halcyon days, to a way of life lost, and to a life regained.
Website

Kota Sake
Messengers
Chances are that at any given moment millions of digital pictures of unbearably cute animals are being uploaded to the Internet for viewing and pleasurable consumption. Second probably only to adorable baby pictures, cute animal pictures no doubt pervade our consciousness as we go about surfing the Internet, paying bills, and generating various status updates.

So, in looking at Kota Sake‘s traditional, gelatin silver photographs of animals one must ask why they seem so unfamiliar, resolutely not cute, and at times tragically strange. Considering that we are constantly exposed to such creatures online, in calendars, and in physical form at the zoo, it is an admirable achievement to transform something seemingly familiar into something otherworldly and mysterious.

Suspended in the netherworld of zoo tanks, these creatures glide, drift, sink, and loiter, isolated and mostly indifferent to our presence. There are no Technicolor creatures singing cheerful or cautionary songs for our education and pleasure. Theses creatures exist purely outside of our realm of understanding.
Website

Biographies:

Susannah Ray
Susannah Ray lives in the Rockaways, a small peninsula on the edge of New York City bordered by the Atlantic Ocean, Jamaica Bay, and JFK International Airport. This intersection of city and water is at the heart of her photography and extends her early interest in landscape photography, which she uses as a form of visual geography, rendering the complex interrelationships of place, people, history, and ideology.

Born in 1972 in Washington, D.C. Susannah Ray studied photography as an undergraduate at Princeton University and completed her MFA in 1997 at the School of Visual Arts MFA Program in Photography and Related Media. Her project, "A Further Shore," was exhibited in 2017 at The Bronx Museum of the published by Hoxton Mini Press, East London, the UK as New York Waterways. Susannah Ray has also had solo exhibitions at Bonni Benrubi Gallery and Albright College and been in numerous group exhibitions, notably at The Museum of the City of New York and the Queens Museum. Her photographs have been widely featured and reviewed in publications including The New York Times, The New Yorker, The British Journal of Photography, The Surfer's Journal, The Independent UK, and The Wall Street Journal.

Susannah Ray is an adjunct Associate Professor of Photography at Hofstra University and the Photography Program Supervisor.

Kota Sake
Born in 1973 in Tokyo, Kota Sake studied photography at the San Francisco Art Institute. He currently operates the artist-run gallery「studio 35minutes」and has had solo and group shows in Japan, as well as internationally.

彦島 Hikoshima

 


彦島 Hikoshima
Size 5×8 in, 13×20 cm
88 Pages
ISBN: softcover: 9780368099113
Publish Date Jan 04, 2019
Preview the entirety of the book here.

The images in this book are selected from a body of work made in the south of Japan over the past ten years. I first started photographing on the small island of Hikoshima in the city of Shimonoseki during visits to see my wife’s family. I wanted to walk where she had walked, gradually discovering a sense of place through observation. After my son was born I continued my walks; however, with him strapped to my chest, my camera in one hand, and a baby bottle in the other. My son and I now walk the island together and he often points out things to me that he thinks would make interesting images, in addition to making his own images with a point-and-shoot camera. It is enormous fun, as well as a means for him to connect to the place in which he was born.

100 Photography Alumni
Curator: Stephan Apicella-Hitchcock

The Lipani Gallery
Exhibition Dates: May 31–September 14, 2018
Reception: October 17, 6 pm – 8 pm
Fordham University at Lincoln Center
113 West 60th Street at Columbus Avenue
New York, NY 10023
 *The galleries are open from 9 am to 9 pm every day except on university holidays

The current exhibition at Fordham University's Lipani Gallery, 100 Photography Alumni, features one hundred photography alumni from across twenty years. Each photographer was asked to submit four images of their choice, which were produced as postcards. This “deck” of cards was shuffled and the images installed from left to right repeatedly circling the gallery. Despite the fact that the image sequence is random, interesting juxtapositions occur of content, geography, and era.

Press: Seiwell, Emma. “Lipani Gallery Chronicles the Paths of Fordham Alumni.” The Observer, Fordham University, 26 Sept. 2018, fordhamobserver.com/35589/features/lipani-gallery-chronicles-the-paths-of-fordham-alumni/.

Participants:
Last Name, First Name, Caption information (optional)

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167 Days Until Graduation: Highlights from the Senior Seminar
Featuring: Margaret Ball, Henry Boyd, Katelyn Christ, Carla de Miranda, Audrey Fenter, Renata Francesco, Meredith Gottbetter, Mackenzie Heslin-Scott, Yuerong Li, Jingyi Liu, Mary Katherine Magee, Luis Mejicanos, Hailey Morey, Genevieve O'Brien, Samantha Pajonas, Carmen Recio
Curator: Stephan Apicella-Hitchcock

The Lipani Gallery
Exhibition: January 12, 2018—February 17, 2019
Reception: December 12, 6—8
Fordham University at Lincoln Center
113 West 60th Street at Columbus Avenue
New York, NY 10023
*The galleries are open from 9 am to 9 pm every day except on university holidays

The current exhibition in Fordham University's Lipani Gallery, 167 Days Until Graduation: Highlights from the Senior Seminar, brings together the sixteen artists who participated in the 2018 Senior Seminar in Visual Art. The work on display represents a snapshot of their endeavors thus far and provides a glimpse into their upcoming senior thesis exhibitions beginning in February 2019. Their chosen mediums range across architecture, film/video, painting, and photography. Accordingly, their styles and topics vary; however, their attention to craft, concept, and message is consistently deliberate and thoughtful.

Card design: Audrey Fenter
For further information on the exhibition please contact: Stephan Apicella-Hitchcock apicellahit@fordham.edu

The 2016–2017 Ildiko Butler Travel Award Recipients

The 2017 Ildiko Butler Travel Award Recipients 

Photographs by: Jason Boit, Phillip Gregor, Sam Robbins, Yun Ting Lin

(click for images)

Curators: Stephan Apicella-Hitchcock & Joseph Lawton
Exhibition Dates: July 2017—May 2018

The Hayden Hartnett Project Space

Fordham University at Lincoln Center MAP
113 West 60th Street at Columbus Avenue
Office of Undergraduate Admission, Lowenstein, RM 203
New York, NY 10023
The galleries are open from 9am to 9pm every day except on university holidays
fordhamuniversitygalleries.com

Fordham University’s Department of Theatre & Visual Art is proud to present an exhibition of the 2016—2017 Ildiko Butler Travel Award Recipients: Jason Boit, Phillip Gregor, Sam Robbins, and Yun Ting Lin. This highly competitive grant is offered to sophomore and junior Visual Arts Majors for independent research. Up to four Ildiko Butler Travel Awards are given annually for exceptional work in the medium of photography.

The grant has enabled students to travel the world from Rome to Havana, Berlin to Budapest, and even from Moscow to Beijing on the Trans-Mongolian Railway. In each and every case the travel opportunity afforded by the award has been educational and transformative for the students. The photographs generated while traveling often become the core of a student’s senior thesis exhibition. In addition, a selection of work from each year’s recipients is included in a year-long exhibition in the Hayden Hartnett Project Space. This year our recipients traveled across India (Boit), Italy (Gregor), America (Robbins), and Taiwan (Lin).

About the Hayden Hartnett Project Space: this space presents yearlong exhibitions of photographic work produced by students in the Department of Theatre and Visual Art. Located in the Office of Undergraduate Admission at Fordham’s Lincoln Center campus, the Hayden Hartnett Project Space introduces prospective students and their parents to the high caliber of visual work produced at Fordham University.

The Hayden Hartnett Project Space is inside the Office of Undergraduate Admission on the second floor of the Leon Lowenstein building, RM 203.

Location, Location, Location

Location, Location, Location 

Featuring photographs by: Roei Greenberg, Brian McClave, Sergio Purtell
Curators: Stephan Apicella-Hitchcock & Joseph Lawton
Exhibition Dates: June 27—October 2
Reception: September 13, 6–8 pm

The Ildiko Butler Gallery

Fordham University at Lincoln Center MAP
113 West 60th Street at Columbus Avenue
New York, NY 10023
Open from 9am to 9pm every day except on university holidays

fordhamuniversitygalleries.com

Fordham University is proud to present Location, Location, Location, twenty landscape photographs pulled from larger investigations made by three photographers from Israel, the United Kingdom, and the United States. Their work represents a range of years, different photographic styles, and interests; however, despite the differences in their individual focus, each photographer is engaged in the process of carefully studying the world and representing it in a straightforward, descriptive manner. Fidelity to what is framed is of paramount importance. Regardless of the photographers’ chosen subjects, the participants in this exhibition are deeply engaged in the process of looking at what is in front of them. Their images embrace a long tradition in the medium of photography that celebrates the revelatory power of direct representation.

Artist Statements:

Roei Greenberg, b. Israel (left wall)
The name of this project, Along the Break, is taken from the Hebrew translation of the geographic phenomena: “The Syrian-African Break” (The Great Rift Valley) which crosses Israel from its northernmost point to its southernmost tip. This geography also plays a key role in the way physical borders have been placed. It shapes the borders with Lebanon and Syria in the north and the border with Jordan and Egypt in the south. My work is an exploration along the natural, as well as political boundaries in the landscape. For further information please visit his website here.

Brian McClave, b. United Kingdom (right wall)
Early in my career I returned to the house I grew up in and made large format photographs. The pictures were an attempt to recapture my intimate connection to that place. The photographs were as much about fleeting recollections as they were about the actual landscape. Thirty years later, when revisiting these photographs, it became apparent that my perception today of the world that I once occupied is thoroughly shaped by these images. For further information please visit his website here.

Sergio Purtell, b. Chile, American (center wall)
In Real, Sergio Purtell documents the architecture, landscape, and ongoing changes in and around the area where he lives and works in Brooklyn. Utilizing a custom made hand held large format camera, he shows his subject in all its quotidian detail and beauty. For further information please visit his website here.

Press: Gunhouse, Carl. “Roei Greenberg, Brian McClave and Sergio Purtell, Location, Location, Location @The Ildiko Butler Gallery at Fordham University.” Searching for the Light, 21 July 2017, carlgunhouse.blogspot.com/2017/07/roei-greenberg-brian-mcclave-and-sergio.html. Accessed 22 Aug. 2018.

Vanishing Lands

Vanishing Lands

Curators: Doron Polak & Esti Drori

Exhibition dates: May 10, 2017

Artura/The International Artists’ Museum

Design Hotel Ca' Pisani
Venice, Italy

#122: Kitakyushu, Japan 

The complexities of how to cultivate attachment are divulged, yet the language is either scrambled, or in a dialect that I can't understand.

The 2017 Whitney Biennial: Debtfair

The 2017 Whitney Biennial: Debtfair

Curators: Occupy Museums (Arthur Polendo, Imani Jacqueline Brown, Kenneth Pietrobono, Noah Fischer, and Tal Beery)

Exhibition dates: March 17–June 11, 2017

The Whitney Museum of American Art
99 Gansevoort Street

New York, NY 10014
whitney.org

"Formed during the Occupy Wall Street movement in 2011, Occupy Museums connects the struggle for economic and social equity to art institutions, highlighting instances when they propagate and normalize injustice. In 2012, the collective launched Debtfair, an exhibition platform that categorizes artists according to their debts and other financial realities. The system reveals the relationships binding individuals to the banks holding their loans—a hidden but highly consequential factor underlying American art."

David Freund: Gas Stop

David Freund: Gas Stop
Curator: Stephan Apicella-Hitchcock

The Lipani Gallery
March 1–March 31, 2017
Reception: Wednesday, March 22, 2017, 6–7 pm, Artist Talk: 7–8pm
Fordham University at Lincoln Center
113 West 60th Street at Columbus Avenue
New York, NY 10023
The gallery is open from 9am to 9pm every day except on university holidays

Fordham University is proud to present David Freund: Gas Stop, a sampling of twenty-seven black and white photographs pulled from a much larger investigation made between 1978 to 1981. In the twentieth century, any American driver or passenger would likely stop at a gas station weekly, not just for gas. Then, gas stations were also oases offering food and drink, car repairs, directions, telephones, maps and, importantly, bathrooms. Yet, beyond appreciation as architectural novelties, they and their offerings have been little photographed.

From 1978 to 1981, David Freund looked at the culture, architecture and landscape of gas stations in more than forty states. The photographs show customers and workers interacting, gassing up, or just hanging out. Architecture and signage, both corporate and vernacular, reach out to passing drivers.

Gas Stop presents the designed or natural landscaping seen at stations, and the regional landscapes that hold and surround them. Sparking recognition and recollection, the photographs, accrue as elements in a nonlinear narrative of automotive America. Of more than 200,000 gas stations in the United States at the time of his project, today about half are gone, especially full service ones. Such stations and their offerings exist now mostly in memory and in this work.

David writes:
On the first morning of an intended photographic project, outside of my motel was a gas station from which I photographed a dark and rolling tanker truck as its four black tires passed a line of four half-buried white tires. In the misty distance was a grazing horse, framed by the back of the truck. In front of the station was a large, hand-lettered sign advertising milk, and across the road a small, local motel. As someone later commented, “These are about everything."

The painter Miles Forst once described gas stations as a place to go to fill up your tank and shut off your brain. That morning, however, I became aware of gas stations as a locus for many elements that characterize America. And whether stopping in or hanging out, people in motion are often around to enliven and propel the narrative.

From that moment, looking out from and looking in at gas stations became my new project, which in the end entailed travel to forty-seven states and stops at thousands of stations. All provided discoveries. —David Freund

Press: Verel, Patrick. "Photo Exhibit Highlights Bygone Era of Independent Gas Stations." Fordham Newsroom. Fordham University, 08 Mar. 2017. Web. 22 Mar. 2017.


For further information please contact: Stephan Apicella-Hitchcock: apicellahit@fordham.edu
For additional information about David's photography please visit his website
View his book at Steidl Books