Dear Fordham Photo alumni: I am putting together a show of your work from over the years, so if you took photo with any of us please sign up to this email list. The scope of the show is yet to be determined based on how many of you are out there. Regardless, it will be very cool and a great reason to have a party! S
Read the article in Fordham News here.
A sample:
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.
Prof. Abby Goldstein has been interviewed by the Yale Blog about her new book Revival Type: Digital Typefaces Inspired by the Past.
Revival Type: Digital Typefaces Inspired by the Past by Abby Goldstein and Paul Shaw is a new book that provides a fascinating, visually rich tour through typographic history. The book is the result of a close collaboration between Abby Goldstein and Paul Shaw that does not fit neatly into the usual author/designer paradigm. Their thoughtful and illuminating answers to our questions from the blog series From the Designer’s Desk, combined here, reflect their intertwined method of working on books together.
‘Where you go to fill up your tank and shut off your brain’: America as seen at the Pump. Read the article here.
From 1978 to 1981, David Freund photographed petrol stations in more than 40 US states – adding up to an everyman portrait of America. Read The Guardian article here.
Susan Kismaric, an adjunct professor of photography, spent 35 years as a curator of photography at the Museum of Modern Art before retiring in 2011. Students taking her courses, one on the history of photography and another on books of photography, have long been the beneficiaries from her strong connections in the photography world.
Now, the University is benefitting too; she recently helped procure a book of 200 photo-offset lithographs by master printer Richard Benson, a donation from Yale University that is one of a limited print run.
The weighty book was produced by the Gilman Paper Company under the direction of Howard Gilman, a descendent of the company’s founder and collector of rare photographs. Largely considered one of the world’s premier photography collections, the Gilman trove of 8,500 photographs was purchased by the Metropolitan Museum of Art in 2005.
The donated book serves as an album of the collection’s highlights, said Kismaric.
Kismaric’s professional relationship with Benson, the former dean of the Yale School of Art, facilitated the donation of the book by Yale to Fordham Libraries. He is largely considered one of the best printers in the world, said Kismaric.
The lithographs are particularly significant, she said, in that they match not just the tonality and tone of the original prints, but also their finish as well. In fact, the reproductions are so convincing that MoMA mounted an exhibition of the originals beside Benson’s prints in a 2008 exhibition titled The Printed Picture.
View video here.