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

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.

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)

ABRAHAMS_TESSA_01.JPG
ABRAHAMS_TESSA_02.JPG
ABRAHAMS_TESSA_03.JPG
ABRAHAMS_TESSA_08.JPG
Allocca_Liz_1.jpg
Allocca_Liz_2.jpg
Allocca_Liz_3.jpg
Allocca_Liz_4.jpg
Anacker_Samuel_1.jpg
Anacker_Samuel_2.jpg
Anacker_Samuel_3.jpg
Anacker_Samuel_4.jpg
Argast_Deirdre_1.jpg
Argast_Deirdre_2.jpg
Argast_Deirdre_3.jpg
Argast_Deirdre_4.jpg
BALDWIN_01.jpg
BALDWIN_02.jpg
BALDWIN_04.jpg
BALDWIN_05.jpg
Bandea_Alexandra_01.jpg
Bandea_Alexandra_03.jpg
Bandea_Alexandra_04.jpg
Bandea_Alexandra_06.jpg
BART_01.JPG
BART_03.JPG
BART_07.JPG
BART_09.JPG
BASHAW_04.JPG
BASHAW_06.JPG
BASHAW_08.JPG
BASHAW_10.JPG
Basile_Jaclyn_001.JPG
Basile_Jaclyn_003.JPG
Basile_Jaclyn_004.JPG
Basile_Jaclyn_005.JPG
Berkova_Mimi_1.JPG Her Dinner At Work” Chiang Mai, Thailand 2013
Berkova_Mimi_2.JPG “I Stole This Moment In Time” Manali, India 2013
Berkova_Mimi_3.JPG “To Be Kissed By The Sun” West Indies Day Parade, Brooklyn, NY 2008 Berkova_Mimi_4.JPG “A Glance Of Love Through The Fire” Ko Phi Phi Don Island, Thailand 2013
BOHEN_01.JPG
BOHEN_02.JPG
BOHEN_05.JPG
BOHEN_10.JPG
Boit_1.JPG
Boit_2.JPG
Boit_3.JPG
Boit.JPG
Butler_Ildiko_1.JPG
Butler_Ildiko_2.JPG
Butler_Ildiko_3.JPG
Butler_Ildiko.JPG
Canner_Charlotte_1.jpg
Canner_Charlotte_2.jpg
Canner_Charlotte_3.jpg
Canner_Charlotte_4.jpg
Carrizales_1.JPG
Carrizales_4.JPG
Carrizales_Kirstie_2.JPG
Carrizales_Kirstie_3.JPG
Chamberlain_Melanie_05.JPG
Chamberlain_Melanie_11.JPG
Chamberlain_Melanie_12.JPG
Chamberlain_Melanie_15.JPG
Chang_Raymond Sung Ho_04.jpg
Chang_Raymond Sung Ho_07.jpg
Chang_Raymond Sung Ho_08.jpg
Chang_Raymond Sung Ho_09.jpg
Colacicco_Apollonia_1_Paris, 2017.jpg
Colacicco_Apollonia_2_Queens, 2015.jpg Colacicco_Apollonia_3_Montevideo, 2013.jpg Colacicco_Apollonia_4_Coney Island, 2017.jpg
Cordi_Kristina_007.JPG
Cordi_Kristina_008.JPG
Cordi_Kristina_009.JPG
Cordi_Kristina_012.JPG
De_Carion_Oliver_013.JPG
De_Carion_Oliver_014.JPG
De_Carion_Oliver_016.JPG
De_Carion_Oliver_018.JPG
DeBonis_Andrea_019.JPG
DeBonis_Andrea_021.JPG
DeBonis_Andrea_022.JPG
DeBonis_Andrea_023.JPG
Deitz_Marc.jpg
Deitz_Marc1.jpg
Deitz_Marc2.jpg
Deitz_Marc3.jpg
DeMeo_Nicole_1.jpg
DeMeo_Nicole_2.jpg
DeMeo_Nicole_3.jpg
DeMeo_Nicole_4.jpg
DiPane_Drew_025.JPG
DiPane_Drew_026.JPG
DiPane_Drew_027.JPG
DiPane_Drew_030.JPG
DISALVO_02.jpg
DISALVO_04.jpg
DISALVO_07.jpg
DISALVO_11.jpg
DOHENY_KATE_03.jpg
DOHENY_KATE_05.jpg
DOHENY_KATE_06.jpg
DOHENY_KATE_08.jpg
Dominoe_Farris-1.jpg
Dominoe_Farris-2.jpg
Dominoe_Farris-3.jpg
Dominoe_Farris-4.jpg
Edwards_Tiffany_1.jpg
Edwards_Tiffany_2.jpg
Edwards_Tiffany_3.jpg
Edwards_Tiffany_4.jpg
Fiore_Michael 18.jpg
Fiore_Michael 36.jpg
Fiore_Michael .jpg
Fiore_Michael 02.jpg
FLYNN_02.jpg
FLYNN_05.jpg
FLYNN_06.jpg
FLYNN_09.jpg
Folsom_Marisa_04.jpg
Folsom_Marisa_05.jpg
Folsom_Marisa_09.jpg
Folsom_Marissa_01b.jpg
Franks_Jackie_03.jpg
Franks_Jackie_05.jpg
Franks_Jackie_07.jpg
Franks_Jackie_11.jpg
FRODIGH_04.jpg
FRODIGH_05.jpg
FRODIGH_07.jpg
FRODIGH_08.jpg
Giunta_Gabriella_1.JPEG.jpg
Giunta_Gabriella_2.JPEG.jpg
Giunta_Gabriella_3.JPEG.jpg
Giunta_Gabriella_4.JPEG.jpg
Greenberg_Gabrielle 004.jpg
Greenberg_Gabrielle 009.jpg
Greenberg_Gabrielle 012.jpg
Greenberg_Gabrielle 013.jpg
GREGOR_01.jpg
GREGOR_05.jpg
GREGOR_07.jpg
GREGOR_08.jpg
Gunhouse_Carl_1.jpg
Gunhouse_Carl_2.jpg
Gunhouse_Carl_3.jpg
Gunhouse_Carl_4.jpg
Hartnett_Hayden1.jpg
Hartnett_Hayden2.jpg
Hartnett_Hayden3.jpg
Hartnett_Hayden4.jpg
Hellauer_Molly_031.JPG
Hellauer_Molly_032.JPG
Hellauer_Molly_035.JPG
Hellauer_Molly_036.JPG
Hemmert_Adam_1.jpg
Hemmert_Adam_2.jpg
Hemmert_Adam_3.jpg
Hemmert_Adam_4.jpg
Heremaia_Kendell_02.jpg
Heremaia_Kendell_04.jpg
Heremaia_Kendell_15.jpg
Heremaia_Kendell_16.jpg
Hua_Qinrui_1.jpg
Hua_Qinrui_2.jpg
Hua_Qinrui_3.jpg
Hua_Qinrui_4.jpg
Kalil_Michelle_01.jpg
Kalil_Michelle_02.jpg
Kalil_Michelle_03.jpg
Kalil_Michelle_04.jpg
KEININGHAM_01.jpg
KEININGHAM_06.jpg
KEININGHAM_08.jpg
KEININGHAM_10.jpg
Kelly_Shannon_043.JPG
Kelly_Shannon_044.JPG
Kelly_Shannon_045.JPG
Kelly_Shannon_047.JPG
Khan_Aseah_DSF2350.jpg
Khan_Aseah_DSF3156.jpg
Khan_Aseah_DSF3421.jpg
Khan_Aseah_DSF7964.jpg
Kim02.JPG
Kim06.JPG
Kim08.JPG
Kim18.JPG
Kirsch_Leah_01_1.JPG
Kirsch_Leah_02_1.JPG
Kirsch_Leah_03_1.JPG
Kirsch_Leah_06_1.JPG
Kiyono_Mika_1.JPG
Kiyono_Mika_2.JPG
Kiyono_Mika_3.JPG
Kiyono_Mika_4.JPG
Kontos_Angelos_1.jpg
Kontos_Angelos_2.jpg
Kontos_Angelos_3.jpg
Kontos_Angelos_4.jpg
Krakowski_Jackie_1.jpg
Krakowski_Jackie_2.jpg
Krakowski_Jackie_3.jpg
Krakowski_Jackie_4.jpg
Langley_Isabelle_02_1.JPG
Langley_Isabelle_03_1.JPG
Langley_Isabelle_04_1.JPG
Langley_Isabelle_05_1.JPG
Lazzaro_Shaunna_049.JPG
Lazzaro_Shaunna_051.JPG
Lazzaro_Shaunna_053.JPG
Lazzaro_Shaunna_054.JPG
LILY_GRACE_03.jpg
LILY_GRACE_04.jpg
LILY_GRACE_06.jpg
LILY_GRACE_08.jpg
Lin_Chloe .jpg
Lin_Chloe 3.jpg
Lin_Chloe 4.jpg
Lin_Chloe Final1.jpg
Low_Emily_1.JPEG.jpg
Low_Emily_2.JPEG.JPG
Low_Emily_3.JPEG.jpg
Low_Emily_4.JPEG.jpg
MAHONEY_CARRIE_05.jpg
MAHONEY_CARRIE_06.jpg
MAHONEY_CARRIE_10.jpg
MAHONEY_CARRIE_13.jpg
Mainguy02.JPG
Mainguy03.JPG
Mainguy05.JPG
Mainguy09.JPG
Mavrovitis-Campbell_Katie _1.JPEG.jpg -
Mavrovitis-Campbell_Katie _2.JPEG.jpg -
Mavrovitis-Campbell_Katie _3.JPEG.jpg -
Mavrovitis-Campbell_Katie _4.JPEG.jpg -
McCracken_James_1.jpg
McCracken_James_2.jpg
McCracken_James_3.jpg
McCracken_James_4.jpg
Monastra_Carolyn_1.jpg - Icebergs in Jökulsárlón Lagoon, Iceland Monastra_Carolyn_2.jpg - House damaged by Hurricane Sandy, Mantoloking, New Jersey
Monastra_Carolyn_3.jpg - Storm brewing over the Rio Negro, Amazon, Brazil
Monastra_Carolyn_4.jpg - Trees burned in wildfire, Kosciuszko National Park, Australia
Moreno_Analissa_1.jpg
Moreno_Analissa_2.jpg
Moreno_Analissa_3.jpg
Moreno_Analissa_4.jpg
Murphy_Catherine-1.jpg ​Aruba
Murphy_Catherine-2.jpg ​Bellport, NY (1)
Murphy_Catherine-3.jpg ​Bellport, NY (2)
Murphy_Catherine-4.jpg ​New Orleans
Nelson_Chris_01.jpg
Nelson_Chris_05.jpg
Nelson_Chris_09.jpg
Nelson_Chris_DSF7009.JPG
Noyes_Blake_1.jpg
Noyes_Blake_2.jpg
Noyes_Blake_3.jpg
Noyes_Blake_4.jpg
O'Flynn_Erin-1.jpg Edgar & Greenwich Street, New York, NY, 2018 O'Flynn_Erin-2.jpg Sandia Man Cave, Albuquerque, NM, 2017 O'Flynn_Erin-4.jpg Green-Wood Cemetery, Brooklyn, NY, 2018 O'Flynn_Erin3.jpg Sperlonga, Italy, 2016
O'Rourke_Devon 01.jpg
O'Rourke_Devon 02.jpg
O'Rourke_Devon08.jpg
O'Rourke_Devon15.jpg
Partin_Ted__2.jpg
Partin_Ted_1.jpg
Partin_Ted_3.jpg
Partin_Ted_4.jpg
Puchinskaya_Dorina_02.jpg
Puchinskaya_Dorina_07.jpg
Puchinskaya_Dorina_08.jpg
Puchinskaya_Dorina_09.jpg
Puntillo_Marie_056.JPG
Puntillo_Marie_057.JPG
Puntillo_Marie_059.JPG
Puntillo_Marie_060.JPG
REID_02.jpg
REID_06.jpg
REID_07.jpg
REID_12.jpg
Robak_Marika_1.jpg
Robak_Marika_2.jpg
Robak_Marika_3.jpg
Robak_Marika_4.jpg
Robbins_1.jpg
Robbins_3.jpg
Robbins_Sam_2.JPG
Robbins_Sam_3.JPG
Roemaet_1.jpg
Roemaet_2.jpg
Roemaet_3.jpg
Roemaet_4.jpg
ROSARIO_01.jpg
ROSARIO_03.jpg
ROSARIO_04.jpg
ROSARIO_11.jpg
Rusnack_Barbara_02.jpg
Rusnack_Barbara_05.jpg
Rusnack_Barbara_06.jpg
Rusnack_Barbara_11.jpg
Salinas_Teresa_1.jpg
Salinas_Teresa_2.jpg
Salinas_Teresa_3.jpg
Salinas_Teresa_4.jpg
Santoro_Giovani_1.jpg — Hevel
Santoro_Giovani_2.jpg — Hevel
Santoro_Giovani_3.jpg — Hevel
Santoro_Giovani_4.jpg — Hevel
Santos_Luis_1.JPEG
Santos_Luis_2.JPEG
Santos_Luis_3.JPEG
Santos_Luis_4.JPEG
SCHALL_02.jpg
SCHALL_07.jpg
SCHALL_10.jpg
SCHALL_12.jpg
Scheffler_Matt_1.jpg
Scheffler_Matt_2.jpg
Scheffler_Matt_3.jpg
Scheffler_Matt_4.JPG
Scherer_Andrew_1.jpg
Scherer_Andrew_2.jpg
Scherer_Andrew_3.jpg
Scherer_Andrew_4.jpg
Segal_Eddy_1.jpg
Segal_Eddy_2.jpg
Segal_Eddy_3
Segal_Eddy_4.jpg
Sinsimer_Jeremy_1.jpg
Sinsimer_Jeremy_2.jpg
Sinsimer_Jeremy_3.jpg
Sinsimer_Jeremy_4.jpg
Smyth_Melissa_1_Jbeil, Lebanon, 2014.jpg
Smyth_Melissa_2_Amman, Jordan, 2014.jpg Smyth_Melissa_3_Hargeysa, Somaliland, 2016.jpg Smyth_Melissa_4_Panama City, Panama, 2013.Jpg Spina_Caroline_062.JPG
Spina_Caroline_064.JPG
Spina_Caroline_065.JPG
Spina_Caroline_066.JPG
Stallard_Aubrey_1.jpg
Stallard_Aubrey_2.jpg
Stallard_Aubrey_3.jpg
Stallard_Aubrey_4.jpg
Stone_Emily_1.jpg
Stone_Emily_2.jpg
Stone_Emily_3.jpg
Stone_Emily_4.jpg
Stultz_Jeff_1.jpg
Stultz_Jeff_2.jpg
Stultz_Jeff_3.jpg
Stultz_Jeff_4.jpg
Sutton_Lucy_1.jpg
Sutton_Lucy_2.jpg
Sutton_Lucy_3.jpg
Sutton_Lucy_4.jpg
Tricomi_Luke_1.jpg
Tricomi_Luke_2.jpg
Tricomi_Luke_3.jpg
Tricomi_Luke_4.jpg
UMEDA_MEGUMI_02.jpg
UMEDA_MEGUMI_04.jpg
UMEDA_MEGUMI_09.jpg
UMEDA_MEGUMI_10.jpg
Van Sise_BA_01.jpg
Van Sise_BA_02.jpg
Van Sise_BA_03.jpg
Van Sise_BA_04.jpg
Vollrath__01.jpg
Vollrath_1.JPG
Vollrath_02.jpg
Vollrath_4.jpeg
WAN_QUANDA_02.jpg
WAN_QUANDA_03.jpg
WAN_QUANDA_04.jpg
WAN_QUANDA_05.jpg
WANG_01.jpg
WANG_03.jpg
WANG_05.jpg
WANG_06.jpg
Wilson_Maggie_04_1.JPG
Wilson_Maggie_06_1.JPG
Wilson_Maggie_09_1.JPG
Wilson_Maggie_10_1.JPG
Ye Chenli__3.jpg
Ye_Chenli_1.jpg
Ye_Chenli_2.jpg
Ye_Chenli_4.jpg
Zheng_Xuan_1.jpg
Zheng_Xuan_2.jpg
Zheng_Xuan_3.jpg
Zheng_Xuan_4.jpg
Zhu_Liangliang_067.JPG
Zhu_Liangliang_068.JPG
Zhu_Liangliang_069.JPG
Zhu_Liangliang_072.JPG
Zoltowski_Rebecca_2.jpg
Zoltowski_Rebecca_3.jpg
Zoltowski_Rebecca_4.jpg
Zoltowski_Rebecca1.jpg

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.

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

The 2014–2015 Ildiko Butler Travel Grant Recipients

Featuring: Qinrui Hua, Giovani Santoro, Aubrey Vollrath
Curators: Stephan Apicella-Hitchcock and Joseph Lawton
Dates: July 2015–May 2016 

Hayden Hartnett Project Space
Fordham University at Lincoln Center MAP
113 West 60th Street at Columbus Avenue
(Inside the office of Undergraduate Admission room 203)
New York, NY 10023
haydenhartnettprojectspace.com

The Ildiko Butler Travel Grant is awarded to four photographers in the Department of Theatre and Visual Art each year that demonstrate exceptional promise. The grant amount is $3,500 and enables students to generate a substantial body of work while traveling abroad in their proposed countries. The Department of Theatre and Visual Art is pleased to present the photographs of Qinrui Hua, Giovani Santoro, and Aubrey Vollrath made in Japan, Italy, and Germany respectively. Their work represents a range of locations 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.

Applications are accepted each year in March. Please direct questions regarding the application guidelines to the Department of Theatre and Visual Arts in room 423. 

Image captions left to right: Giovani Santoro, Italy; Qinrui Hua, Japan; Aubrey Vollrath, Germany. For more images of the recipient's work, please visit the exhibition website. 

The Hayden Hartnett Project Space presents yearlong exhibitions of work produced by students from the Fordham University Department of Theatre and Visual Art. It is located on the second floor in the Office of Undergraduate Admission, room 203. The hours for the Hayden Hartnett Project Space are 9–5, Monday through Friday, except on university holidays.

veterans/photographers

Featuring works by: Philip D'Afflisio, Douglas Dacy, Dawn Jolly, James McCracken, Cody Adam Pearce, Oswaldo Pereira, Giovani Santoro, David Wiggins

Curator: Stephan Apicella-Hitchcock

Exhibition dates: May 27–September 30, 2015
Reception: Wednesday, September 16, 6–8 pm
Summer Vet Together: Thursday, July 16, 4–7 pm. For all students, veterans, faculty, friends, staff, and allies

The Lipani Gallery
Fordham University at Lincoln Center

113 West 60th Street, New York, NY 10023
fordhamuniversitygalleries.com

veteransphotographers photographersveterans brings together forty images made by eight artists who have studied photography at Fordham University. Philip D'Afflisio, Dawn Jolly, Cody Adam Pearce, Oswaldo Pereira, and David Wiggins are Fordham University alumni and Douglas Dacy, James McCracken, and Giovani Santoro are currently matriculated students.

Working in black and white, color, and with both traditional and digital photographic technologies, their work represents a range of years, styles, and interests; however, despite their differences, each photographer is engaged in the process of carefully studying the world and representing it in a descriptive manner. Significantly, each of the exhibition participants is a veteran of the United States Armed Forces.

Philip D'Afflisio’s color images focus on details in the landscape, particularly objects that foreground a sense of history. There is a classical beauty to the photographs, as well as recognition of inherent mystery. His picturesque image of an alert hunting dog leads us into this exhibition and sets the tone of inquiry found throughout the show.

Douglas Dacy’s images pay special attention to form and the simple qualities of light. Illumination imparts significance to both landscapes and still lifes, regardless of the nature of the subject matter. The resultant photographs are poetic meditations on the ordinary.

Dawn Jolly’s photographs were made during the Visual Arts Department course Documentary Photography: Italy. They display Rome and its inhabitants bathed in the beautiful summertime Mediterranean light, yet hint at social issues of gender and race just below the surface.

James McCracken’s quiet images made in Virginia along the West Virginia border provide a glimpse into territory that he is intimately familiar with, as he was raised in nearby Richmond. His spartan landscapes are precise descriptions of the topography, of the season, and have a timeless quality.

Cody Adam Pearce’s black and white images made in Morocco and Iraq are carefully composed studies of the relationship between humans and the landscape. In some cases the figure is directly featured, in other cases the human presence is dwarfed by its surroundings, or even absent entirely.

 






Oswaldo Pereira makes very traditional, black and white documentary images of subject matter that is anything but traditional—an S&M convention in New York City. His understated approach to the topic yields a pragmatic record of an atypical event.

Giovani Santoro spent the summer of 2014 traveling throughout Italy as the recipient of the Visual Arts Department’s Ildiko Butler Travel Grant. His images in this exhibition contrast the architecture and opulent spaces of Rome with their inhabitants.

David Wiggins subtly adjusts the tonalities in his images highlighting latent faces that he detects in the tarmac of roads and streets. The resulting portraits accentuate the surreal hiding within the everyday.

Regardless of the photographers’ chosen subjects, all 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.

Stephan Apicella-Hitchcock, 2015 (for more information please email: apicellahit@fordham.edu

My Ranching Life

My Ranching Life
Featuring works by: Jean Laughton

Curator: Stephan Apicella-Hitchcock

Exhibition dates: May 22–September 30, 2015
Reception: Wednesday, September 23, 6–8 p.m.

The Ildiko Butler Gallery
Fordham University at Lincoln Center MAP
113 West 60th Street at Columbus Avenue
New York, NY 10023
The gallery is open from 9am to 9pm everyday except on university holidays
fordhamuniversitygalleries.com

Image caption: Riding Drag on the Brunsch Ranch, 2012

This day we were ‘neighboring’ on the Brunsch family ranch and working with a crew of about twenty other neighboring ranchers. We do this in the fall and spring to help each other out. Just at sunrise, we gathered over four hundred pairs and trailed them a few miles into the corrals at the headquarters of the ranch for shipping day. This was when I first started cowboying, so I was appropriately riding drag, in the back. – Jean Laughton

My Ranching Life by Jean Laughton brings together eighteen black and white prints made from negatives shot between 2002 and 2011. A native Iowan, photographer Jean Laughton moved from New York City after sixteen years of residence to the Badlands of South Dakota in 2002 to pursue her projects. What was initially intended to be a brief photographic opportunity turned into thirteen years, with Jean working her way up from ranch hand novice to ranch manager at Lyle O’Bryan’s Quarter Circle XL Ranch.

The photographs in My Ranching Life are a small sample selected from hundreds of images made by Laughton over an extended time period; nevertheless, they represent a thoughtful depiction of a ranching community from the perspective of a participant, as opposed to that of an outside observer. Her photographs document the realities of the vocation—all panoramas are shot from horseback while working—and give shape to a depiction of American ranching life shorn of gloss and stereotype. The following statement by Laughton captures the essence of her endeavor succinctly:

I feel lucky to work in an area of ranches where things are done the old way—in the day of herding cattle on 4 wheelers I am happy to say we do it all on horseback. And we also brand with a wood fire and drag the calves in on horseback. There are many here who take pride in their cowboying—keeping the traditions and the spirit of individualism alive.

I would like to offer a very special thanks to Jean Laughton for her decision to leave New York City back in 2002. We would not have her timeless landscapes and lovely testimonial on display in Fordham University’s Ildiko Butler Gallery had she not decided to radically change her life by leaving behind the big city and beginning her new ranching life. For more information about My Ranching Life, Jean’s story, as well as her other related projects, Go West, and Americana, please visit her website.

Stephan Apicella-Hitchcock, 2015

For more information contact: Stephan Apicella-Hitchcock
For the Visual Arts Department Blog: click here
For the Visual Arts Department Website: click here

From the Archives

From the Archives: Photographs by William Fox from the Fordham University Archives and Special Collections

Curator: Stephan Apicella-Hitchcock

Exhibition dates: June 6 – July 18, 2014

The Ildiko Butler Gallery

Fordham University at Lincoln Center MAP

113 West 60th Street at Columbus Avenue

New York, NY 10023

fordhamuniversitygalleries.com

From the Archives: Photographs by William Fox from the Fordham University Archives and Special Collections brings together seventeen contemporary digital prints made from the original negatives housed in the Archives at the Rose Hill campus’ Walsh Family Library. William Fox was a professional photographer who worked for Fordham University on a freelance basis for upwards of twenty years generating photographs that span a range of topics from commencements, to classrooms, and from campus architecture, to student life. The varied images presented in this exhibition were all created between the years of 1940 and 1941.

Fox’s negatives were all made to the exacting standards of the time with a large format, tripod mounted camera and provided an impressive level of fidelity – a task requiring considerable craft. The fact that the negative emulsion has separated, cracked, and deteriorated is not due to their care, as archival standards in archives only developed in the 1980s, but due to the instability of the materials themselves. That we have them at all is a small miracle and testament to the good care provided by those that have worked at the Fordham University Archives and Special Collections over the years.

The images in From the Archives are a small sample selected from thousands of negatives made by William Fox and represent the beginnings of Fordham University’s self-awareness, from a publicity and photographic point of view. His photographs documented the growth of Fordham University over an extended period and gave shape to aspects that the university valued up to and through the tumultuous times of World War two.

It should be emphasized that not all of William Fox’s negatives evidence deterioration. The curatorial choices here intentionally highlight the flaws of the analog process for their mystery and visual beauty, in contrast to our digital age of precision and perfection. Special thanks to Patrice Kane, Head of Archives and Special Collections at Fordham University for her expertise and continued assistance.

Stephan Apicella-Hitchcock, 2014

For more information please contact: apicellahit@fordham.edu

Gary Metz’s Quaking Aspen: a Lyric Complaint

Gary Metz’s Quaking Aspen: a Lyric Complaint
Fordham Unversity's Ildiko Butler Gallery
113 West 60th Street
New York, NY 10023
Website
Contact: apicellahit@fordham.edu

Show dates: Monday, January 20, 2014 – Friday, March 14, 2014
Opening reception: Tuesday, January 21, 2014, 6 – 8 pm

Curators: Stephan Apicella-Hitchcock, Artist-in-Residence and Gallery Director for the Ildiko Butler Gallery, Hayden Hartnett Project Space, and Lipani Gallery & Joseph Lawton, Associate Professor and Director of the Visual Arts Department

Critical essay by: Edward Earle, Curator, Collections, International Center of Photography
Gallery talk: Edward Earle, Wednesday, January 22, 2014, 6 – 8 pm

This exhibition is generously supported by Fordham University Art Collections & funded in part from a Fordham University Faculty Challenge Grant

Printing: Sergio Purtell at Black and White on White (with Fordham Alumni Rory Mulligan and Apollonia Colaciccio)

Catalog scanning and image adjustments: Saul Metnick

In the 1970’s, the late photographer and educator Gary Metz generated a significant body of work that was very much in the spirit of the times. Metz’s Quaking Aspen: a Lyric Complaint challenged the first 100 years of landscape photography, which had placed a major emphasis on depicting nature as sublime, heroic, and unspoiled. Unlike previous photographers who glorified nature, Metz and his contemporaries wrenched photography out of the national parks and replaced the scenic with the vernacular of the everyday American landscape.

A number of Metz’s colleagues received wide recognition for their similar investigations culminating in the seminal 1975 exhibition, The New Topographics: Photographs of a Man-Altered Landscape at the Museum of Photography at the George Eastman House. Gary Metz never received the same level of acknowledgement. Now, 40 years later, his Quaking Aspen: a Lyric Complaint is as powerful and relevant as ever, resonating with current interests in ecology and the everyday landscape.

This touring exhibition consists of twenty-one black and white photographs selected from the larger body of work, with an accompanying catalog including a critical essay by International Center for Photography Curator, Edward Earle. Confirmed venues for the exhibition include Spéos Paris London Photographic Institute, Rhode Island School of Design, Syracuse University, and The University of Colorado, Boulder – significant to us as curators, as we were Gary’s students at two of the aforementioned schools. The importance of this exhibition is twofold: first, it properly sites Metz’s work within the history of the medium; as well, it marks the first time that the Fordham University Visual Arts Department has mounted a touring exhibition of this scope and caliber.

Given that Gary was an influential educator, this exhibition incorporates students in all levels of production. The exhibition prints will be made by Sergio Purtell at Black and White on White. Sergio was an undergraduate photography student at Rhode Island School of Design under Gary and currently, several of our Fordham photography graduates, Rory Mulligan and Apollonia Colaciccio are employed at Black and White on White. They will be assisting Sergio in printing this exhibition.

Saul Metnick, a student of Gary’s while an undergraduate photography student at Rhode Island School of Design has painstakingly overseen all digital scanning and image adjustments for the reproductions in the exhibition catalog, as well as for web and social media purposes.

In light of the fact that Gary Metz was a Professor at the University of Colorado, Boulder; Director of Education at the International Center of Photography, Director of the Photography Department at the Rhode Island School of Design, as well as in the collection of the Museum of Modern art, amongst others, it is surprising that no major exhibition of Metz’s photographs has ever been mounted. We are confident that the exhibition Quaking Aspen: a Lyric Complaint, will reach beyond the Fordham community and receive wide attention and publicity. As educators, the opportunity to work together with students towards generating an exhibition of historical significance would be an extraordinary opportunity

Stephan Apicella-Hitchcock & Joseph Lawton, 2013

All images courtesy of: The Estate of Gary Metz
©2013 The Estate of Gary Metz
Catalog Essay ©2013 Edward Earle

The Ildiko Butler Gallery Opening Exhibition

The Ildiko Butler Gallery Opening Exhibition

Photographs by: Ildiko Butler, Dylan Chandler, Tiffany Edwards, and Joseph Lawton
Curator: Stephan Apicella-Hitchcock

On view: September 23 – October 31, 2013
Champagne reception: Tonight - Monday, September 23, 5:30 – 7 p.m.

The Ildiko Butler Gallery
Fordham University at Lincoln Center MAP
113 West 60th Street at Columbus Avenue
New York, NY 10023
Website

The current display of black and white photographs by Ildiko Butler, Dylan Chandler, Tiffany Edwards, and Joseph Lawton is the inaugural exhibition of the Ildiko Butler Gallery at Fordham University’s Lincoln Center Campus. Ildiko Butler (FCLC 1985), Dylan Chandler (FCLC 2004), and Tiffany Edwards (FCLC 2002) are all Fordham alumni and former students of Professor Joseph Lawton. 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.

Ildiko Butler’s digital photographs were made in Apt, France in 2013. Her careful scrutiny of a single site yields a number of meditative, found sculptures and still lifes. As well, her interests in form and attention to light have a connection to romantic photographs by late 19th and early 20th century landscape photographers.

Dylan Chandler’s photographs were made at nighttime in Hong Kong in 2012. His precise focus is on the architecture of a modern city and the repetitions and juxtapositions that are found in dense urban environments. People are conspicuously absent; yet, constantly alluded to.

Tiffany Edward’s large format photographs were made in Staten Island, close to where she grew up. Her portraits of individual children are candid and understated. Despite her use of a cumbersome, large format camera on a tripod, the portraits have an immediacy and intimacy.

Joseph Lawton’s 35mm photographs from around the world have a narrative quality and embrace the theatrical found in everyday moments.

Regardless of the photographers’ chosen subjects, all 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.

Stephan Apicella-Hitchcock, 2013

Image credits: (left to right, top to bottom) Ildiko Butler, Apt, France, 2013; Joseph Lawton, Calcutta, 1989; Tiffany Edwards, Brandon, 2003; Dylan Chandler, Wan Chai, Hong Kong Island, Hong Kong, 2013

Caveat Emptor (let the buyer beware)

 




















Caveat Emptor (let the buyer beware):
An exhibition of confiscated art forgeries from the Federal Bureau of Investigation’s holdings

Organizers: Stephan Apicella-Hitchcock & Daniel Small

The artists purportedly exhibiting are: James E. Buttersworth, Marc Chagall, Willem de Kooning, Tsuguhara Foujita, Juan Gris, Paul Gauguin, Henri Matisse, Maurice Prendergast, Rembrandt van Rijn, Pierre Auguste Renoir, Andy Warhol, and Hale Woodruff

The Center Gallery
Fordham University at Lincoln Center
113 West 60th Street
New York, NY 10023

July 26 – August 9, 2013
Reception: Friday, July 26, 6 – 8 pm
Website

Caveat Emptor brings together a cross section of confiscated art forgeries on loan from the Federal Bureau of Investigation’s holdings. The works and time periods represented in the exhibition are disparate and the exhibition’s cohesion is further challenged by the tension between the paintings’ initial renown and their true makers’ anonymity. Although one might recognize a work and be tempted to ascribe the word “art” to the object on the wall, they are in fact knock off products, regardless of skill level, that are intended to deceive collectors, institutions, experts, and history.

The Federal Bureau of Investigation has definitively certified each work in the exhibition as a fake. Nevertheless, some contested works have historically occupied a limbo in which the very criteria for determining what is authentic and what is a forgery have been in a constant state of flux. Numerous works have been classified and reclassified, even after the passage of many years. At times it becomes unclear where many disputed works actually fall in the ever-changing continuum. At first inspection, Caveat Emptor presents blue-chip works that could potentially be seen in a group exhibition at any museum, institution, or private collection; yet in truth, one is essentially viewing legal evidence.

Beyond the complexities of forensic evidence that serve to authenticate works, numerous additional issues arise when the competing interests of artists’ estates and legacies intersect with institutional acceptance or denial and countless legal issues. Caveat Emptor will run for two weeks and during the second week the Federal Bureau of Investigation will set up a registration office in the gallery in conjunction with the
--> fourth International Conference on Cyber Security (ICCS2013) being held at Fordham University. The forgeries on the walls will serve as the backdrop for their office during the conference.
Stephan Apicella-Hitchcock & Daniel Small, 2013

All works courtesy of the Federal Bureau of Investigation, New York Office

For more information please contact: Stephan Apicella-Hitchcock: apicellahit@fordham.edu

Image caption: The Rembrandt Database, Rembrandt, Self Portrait, dated 1629, Alte Pinakothek, München, inv. no. 11427 (top); Installation shot, courtesy of Daniel Small (bottom)

Press:
Art in America
The Huffington Post
Hyperallergic
Fordham Notes
e-skop
Jaque al arte
the National Arts Program
Galerie Michael
Community Arts NYC
Radio Romania Cultural
The Verge