Author: Stephan Apicella-Hitchcock

The 2016–2017 Ildiko Butler Travel Award Recipients ?>

The 2016–2017 Ildiko Butler Travel Award Recipients

unnamed2017 Butler Grant ExhibitionThe 2016–2017 Ildiko Butler Travel Award Recipients

Photographs by: Jason Boit, Phillip Gregor, Sam Robbins, Yu Ting Lin (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 everyday except on university holidays

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 Yu 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.

Location and hours: The Hayden Hartnett Project Space is inside the Office of Undergraduate Admission on the second floor of the Leon Lowenstein building, RM 203 and is open Monday—Friday, 9 a.m. to 5 p.m.

The 2016-2017 Documentary Photography: Japan Book ?>

The 2016-2017 Documentary Photography: Japan Book

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One Second of Photographs Made by Eight People in Japan 2016–2017

Edited by Stephan Apicella-Hitchcock

by DiSalvo Flynn Keiningham Reid Rosario Santos Schall Wang

View book

This book is the final culmination of the course “Documentary Photography: Japan” offered by Stephan Apicella-Hitchcock through the Department of Theatre and Visual Arts at Fordham University. The course description is as follows: This intensive class is designed as a platform for intermediate and advanced level students to further develop their photographic production with an emphasis on generating documentary projects focusing on the people, culture, and architecture of Japan. The megacity of Tokyo will serve as the starting point for our investigations, with image making itineraries that will take us from the cosmopolitan ward of Shinjuku, to the center of youth culture in Shibuya; and from the cutting edge fashion districts of Harajuku, to the temples and shrines of Asakusa. Concurrent with our photographic explorations we will examine contemporary exhibitions in venues such as the Tokyo Metropolitan Museum of Photography in Ebisu, as well as view the ancient collections housed in Japan’s oldest and largest museum, the Tokyo National Museum in Ueno. Traveling by Shinkansen bullet train at 300 km/h (186 mph), we will make our way south to Kyoto, the nexus of traditional Japanese culture and history with approximately two thousand temples, shrines, and gardens that we can utilize as both the catalyst and stage for our photography. The extraordinary wealth of visual stimuli we will experience in Japan over ten days will certainly inspire, as well as function as the backdrop against which to critically discuss the strategies that photographers employ in communicating their interests.

Location, Location, Location at the Ildiko Butler Gallery ?>

Location, Location, Location at the Ildiko Butler Gallery


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
113 West 60th Street at Columbus Avenue
New York, NY 10023
The galleries are open from 9am to 9pm everyday except on university holidays

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.

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.

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.

Sit Beside Me: Between Other and Author Interpersonal Documentaries from the UnionDocs Collaborative Studio ?>

Sit Beside Me: Between Other and Author Interpersonal Documentaries from the UnionDocs Collaborative Studio


Sit Beside Me: Between Other and Author
Interpersonal Documentaries from the UnionDocs Collaborative Studio

Lipani Gallery
Exhibition Dates: June 8 – October 2, 2017
Opening Event: Thursday, June 15th / 7PM
Curator: UnionDocs

This Summer, Fordham University partners up with Brooklyn-Based documentary center UnionDocs to present Sit Beside Me: Between Other and Author. UnionDocs (UnDo) presents six short documentaries culled from the archive, exploring the inviting relationship between the filmmaker and the subject. The films were produced within the Collaborative Studio, UnDo’s annual fellowship program throwing international artists, journalists, and new media makers together to explore the outer bounds of documentary art.

Nearly a decade going, the Collaborative Studio has produced over 50 short documentaries, centered around a theme presented for exploration by UnionDocs. In search of a new thread, we’ve discovered Sit Beside Me? Six unknowingly interwoven works, born in different times, silently broaching the same question: what is the unspoken relationship between the documentarian and people who open their lives to the world?

Together for the first time within the Lipani gallery, the series trounces across a garden of cinematic approaches and themes. From a dotingly vibrant animation spun to a blind beatnik’s Homeric enthusiasm, to a lens that glances NYC’s masses with the searching eye of a lost lover, to the respectful distance in re-living a tenant’s toughest battle. Within this cornucopia of aesthetic approaches, we uncover ways to commune and embrace with life, projected and personal.

Including works from directors Tina Antolini, Mariangela Ciccarello, Constanza Mirré, Marina Lameiro, Livia Vonaesch, Shawn Wen, and Tracie Williams




7:30-9 PM May 5, 2017
Whitney Museum of American Art, 5th floor

Please join us for this autonomous event

What does commencement mean for artists in the billionaire feeding frenzy of the Trump era? Commencement symbolizes the entry of studied, curious individuals into a world that they have been prepared to influence and impact. But what is this world into which graduates are entering today, and what impact can they have amid a reactionary crackdown on art and cultural difference, saddled with backbreaking amounts of debt? These are the questions that tens of thousands of new art school graduates and hundreds of thousands of American artists are asking this spring. We cannot accept what appears to be offered: A mass competition for the few available court painter positions as democracy unravels and less privileged citizens come under threat.

This is a painful moment. We are caught between the clubs of budding Fascism and the nearly inescapable glass grip of Financialization. For most artists, echoing much of the US workforce, the price of entry into the Art World is massive debt. That means an intimate and legally disempowered relationship with financial corporations like JP Morgan Chase, Banco Popular, and Navient Corporation that work against their borrowers while enriching the 1%.

In this moment, as this system reaches a fever pitch, we propose a Counter-Commencement Debtors Ceremony at the Whitney Museum. A community of artists usually invisible to the museum will step out of the shadows and attempt to claim their place in and democratize the museum. This is an unsanctioned action related to a platform called Debtfair, which is currently installed in the museum.

The economic contrasts stemming from class division among artists in the US will be on full display on May 5. May 5 is the first day of Frieze Art Fair: the pop-up luxury enclave on Randall’s Island that is Bloomberg’s vision for New York come-to-life as a million dollar minute of the city’s cultural clock. The work in Frieze is supposed to be valuable. We say that this value is predicated on the majority of art being framed as surplus.

Debt manifestos at the Counter-Commencement Ceremony will include representatives of students currently on strike in Puerto Rico, artists caught in debt spirals promoted by Chase Bank and Navient Corporation, and a manifesto from the 2018 class of Columbia University––one of the schools most heavily represented among artists of the Biennial and a pipeline into the Art World. The current cost of obtaining an MFA at Columbia University is nearly $60,000 per year for tuition alone.

Occupy Museums has asked nearly 9,000 visitors to the Whitney Museum: Are there conditions under which you would support a debt strike to demand better deals from the banks?

Less than 10% have said “no”.

Resistance against Trump depends on a Debt Justice Movement.

Since 2008, the upward mobility of the middle classes, known as the American Dream, has fallen into rubble. But it was already known that the Dream never was close to a universal reality because the slave economy that built this nation did not care about the dreams and financialized the lives of many Americans, and not much has changed today. Today, neoliberalism, slavery’s economic heir, continues the logic of extraction. Union jobs were retooled as precarious work, funneling profits directly into Silicon Valley and Wall Street. This is the world into which students are graduating in 2017.

But now the hour seems almost too late to call out neoliberalism. Recently, we’ve seen a political turn toward hyper capitalistic nationalism that has found an even more cynical use for the American Dream: It is wielded as rhetorical entitlement deserved only by white Americans, an entitlement that can be disbursed only when large populations who are not white are variously forgotten, targeted, ejected, killed. The American Dream today is a wedge used to divide, confuse, and enrage people, obscuring a quiet counter-revolution that is taking shape as a takeover of all levers of power by billionaires. Their usurpation of power depends on the withering away of democratic institutions such as schools and libraries. The Art World is a comfort zone for many of these billionaires. This is the counter-revolution of the Collector Class.

The Collector Class seeks the wholesale annexation of our space and time. They are remaking neighborhoods into branded real estate-culture packages. The high-tech debt-based economy converts people’s time into fixed-income assets. All of this becomes capital whose form can only flow up to the top of the pyramid. In this equation, art that does not perform the function of luxury asset gets weeded out. Yet artists and institutions are beginning to resist.

In 2017, we do not accept the commencement in which educational aspiration is nothing more than bait. We do not accept the normalization of:

·      More than a trillion dollars of student debt––a sum that now largely powers the US economy and a sum that is harvested through banks, hedge funds, and asset managers such as Blackrock, Inc.––a largely unknown firm larger than the World bank––to become dynastic wealth for billionaires extracted from the future time of a new generation.

·      An era of renewed deregulation, wherein many have been and will continue to be led into debt spirals and potential lifelong financial disempowerment by “reputable” corporations, like Navient Corporation, who are securitized by taxpayer money.

·      A re-colonization of territories through economic means as seen in cuts to universities in Puerto Rico as a result of the austerity measures in the Promesa Bill.

Because the 2017 Commencement marks this widening of the class and race gap as the Collector Class counter-revolution proceeds, we must redefine commencement this year. Let it be the commencement of long-term struggle against the extraction instruments of the Collector Class.

On the table are: Debt strikes, a reformulation of institutions …to be given voice at the museum on May 5th.

We define the Class of 2017 in this way:

Class War began long Ago
We are losing—badly
Time to Re-Commence the Struggle.

In Solidarity,
Occupy Museums