Category: Exhibitions

Prismatic Shifts ?>

Prismatic Shifts

Prismatic Shifts
Curator: Carleen Sheehan

The Ildiko Butler Gallery
February 22—March 31, 2017
Artist Reception Friday, February 24, 6–8

PRISMATIC SHIFTS will feature site-specific works by artists Lee Boroson and Diana Cooper, working in collaborative engagement with each other’s work and the space surrounding the gallery. Both artists were inspired by the physical space of the Butler Gallery itself, which, with it’s glassed-in front wall and small lense-like windows onto 60th Street, functions as both a vitrine to showcase work and as a prism that reflects and refracts the activities taking place outside it. Both artists share an inclination for engaging and altering our perception of environments in simple yet innovative ways, and they plan to construct artworks that will connect visually to the architecture and activity of both the Lowenstein lobby and the street outside, underscoring the fluidity of our perception of the built and natural worlds, and the ways in we make connections and generate meaning through visual language.

Wendel White: Schools for the Colored ?>

Wendel White: Schools for the Colored

Wendel White
Schools for the Colored
Lipani Gallery, Fordham University
May 28 – October 25, 2016


Artist Talk with Wendel White
Monday, September 19, 11:30 am
SL24E, Visual Arts Complex, Fordham University

Mine, Yours, Ours
A Conversation on Segregation in America, Past and Present with
Rebecca Carroll, Deborah Willis, Marta Gutman, and Wendel White
followed by a reception for the exhibition
Monday, September 19, 6 pm
Franny’s Space, adjacent to the Visual Arts Complex, Fordham University

A Place Out of Time: The Bordentown School
Film Screening and Talk with Director David Davidson
Wednesday, September 21, 6 pm
SL24L, Visual Arts Complex, Fordham University

Download the PDF Flyer

What This Journey Breeds ?>

What This Journey Breeds

Ildiko Butler Gallery – Fordham University
Visual Arts Department + Refugee and Immigrant Fund
June 3 – September 30, 2016
Reception: June 10, 6-8PM

What This Journey Breeds, presented by the Visual Arts Department of Fordham University and the Refugee and Immigrant Fund (RIF), is an exhibition of multi-disciplinary work created by Visual Arts students with concentrations in Graphic Design, Painting & Drawing, Photography, Architecture, and Film & Video.

As its name suggests, What This Journey Breeds describes the culmination of this unique group of students’ formative engagement with RIF and the Brooklyn Grange. Over the course of the 2015-16 academic year, Fordham students have been working closely with RIF, participating from support group meetings, to interviews, and to hands-on volunteering in the gardens and at the University. In tandem to these experiences, they have been making work in response to their relationship with the asylum seekers, investigating themes of displacement, vulnerability, loss, and above all, hope. Most significantly, this journey revealed to its participants that atrocities can occur at every scale and knows no geographic, political, or cultural boundary.

Organized by Anibal Pella-Woo, Amie Cunat and Carleen Sheehan. Participating Artists: Francesca Aton, Anabelle Declement, Nicholas Eliades, Emma Kilroy, Margaret McCauley, James McCracken, David Quateman, Eamon Redpath, and Danielle Serigano.

Click here for the press release.
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THE EVIL GENIUS OF A KING ?>

THE EVIL GENIUS OF A KING


THE EVIL GENIUS OF A KING
A new project by Matthew Bakkom
Curator: Stephan Apicella-Hitchcock

October 14–December 6, 2015
Reception: Thursday, October 29, 6–8 pm

Fordham University’s Lipani Gallery
113 West 60th Street, New York, NY 10023
 fordhamuniversitygalleries.com
The Lipani Gallery is located in the Visual Arts Complex in the street level of the university

Image caption: Collector, 12.5” x 12.5” mounted Inkjet print, 2013

The Department of Theatre and Visual Arts at Fordham University is pleased to present THE EVIL GENIUS OF A KING, a new project by Matthew Bakkom. This exhibition brings together fifty-two enlargements made from a deaccessioned art and art history slide collection from St. Cloud University in Minnesota.

The artist was given this teaching collection—approximately ten thousand 35mm slides—and utilized the material to generate a survey through the history of art; however, a survey that entirely avoided traditional classification according to eras and movements, rather interpreting the collection based on chance juxtapositions and natural affinities. The 12.5” square images are installed in a continuous band that encircles the Lipani Gallery. Connections arise at times from linguistic puns between caption information on the slide mount, from formal relationships between images, and from associations between image content.

One might consider the sequence of imagery not unlike a plan for a discursive lecture in support of a curious theory. In this respect, Bakkom’s working methodology and objectives are illuminating:

“I proceeded to draw them [the slides] one by one from the large boxes into which they had been cast. The very first that came to hand was an image that inspired the title of the show. From this point of departure I combed through the remainder, sifting and winnowing in the hopes of discovering what exactly the evil genius of a king might be. I invite the audience to join me in this speculation, one that is pieced together through a series of new photographic documents that aspire to grasp and share specific moments of our shared aesthetic and technological past.”

THE EVIL GENIUS OF A KING is a subjective inquiry into the trajectory of art history, as well as homage to a now obsolete teaching technology. The shift from the first image in the exhibition, the boardroom of the Whitney Museum of art, to the second, the Tower of Babel, sets the tone for what is to follow. Across fifty-two slides, art historical notions pertaining to style, influence, and tradition are circumvented, yielding a visual narrative that is alternately critical, poignant, and at times quite humorous.

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

Matthew Bakkom (B.1968) is an Assistant Professor at the University of Wisconsin-Madison. Since the early 1990’s he has been active as an artist and organizer in the U.S. and Europe. His first book, New York City Museum of Complaint was published in 2009 by Steidl-Miles.

Ladislav Sutnar: Pioneer of Information Design ?>

Ladislav Sutnar: Pioneer of Information Design

Ladislav Sutnar: Pioneer of Information Design
The Ildiko Butler Gallery
October 5 – December 14

Talk by Greg D’Onofrio on Wednesday, Oct 14th at 6:30pm
Closing Reception on December 8th at 6pm

The dissemination and configuration of information is more important than ever with the internet, mobile gadgets and social media as the default means of communication, commerce and research. Data organization and accessibility has its roots in the work of graphic designer, Ladislav Sutnar (1897-1976). From 1941–60, Sutnar, who had settled in New York City in 1939 after migrating from Czechoslovakia, served as the art director for F.W. Dodge Corporation’s Sweet’s Catalog Service, producers of a wide range of industrial catalogs. Sweet’s catalogs brought together into one source plumbing, electrical, and building supplies which were marketed to the architecture and engineering trades. Along with his team of researchers, writers and designers (including Director of Research Knud Lönberg-Holm), Sutnar transformed the complex language of product information into clear, concise, and easy to use visual communication. The attributes of these ground-breaking catalogs are the precursor to what we now refer to as information design.

Sutnar’s designs were rooted in the Modernist and Constructivist ideas of the European Avant Garde. His well-defined visual systems and standardized ways of navigating information integrated form and content into dynamic visual units. Sutnar controlled the flow of information using geometric shapes, symbols, blocks of color, thick rules, logical navigation aids, indexes and typographic hierarchy.

This exhibition is a rare opportunity to see over fifty Sweet’s catalogs along with other published work by Sutnar relating to information design. The examples show how careful analysis and fundamental problem solving can revolutionize new standards of form and function. Sutnar’s pioneering work is as relevant today as it was more than 74 years ago. He was a master at making the complex simple, an arduous challenge that continues to resonate today.

Ladislav Sutnar: Pioneer of Information Design is curated by Patricia Belen & Greg D’Onofrio – graphic designers, writers and educators. Please visit thisisdisplay.org for more information. Sponsored by The Visual Arts Department, Fordham University, organized by Abby Goldstein, Associate Professor with assistance from Margaret McCauley, BA 2017.

The 2014-2015 Ildiko Butler Travel Grant Recipients ?>

The 2014-2015 Ildiko Butler Travel Grant Recipients

The 2014-2015 Ildiko Butler Travel Grant Recipients

Featuring: Qinrui Hua, Giovani Santoro, Aubrey Vollrath
Curators: Stephan Apicella-Hitchcock and Joseph Lawton

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

Dates: May 2015 – May 2016
For more images of the recipient’s work, please visit the exhibition website.

The Ildiko Butler Travel Grant is awarded to four photographers in the Department of Theatre and Visual Art each year who 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

The Hayden Hartnett Project Space presents yearlong exhibitions of work produced by students from the 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.

veteransphotographers photographersveterans ?>

veteransphotographers photographersveterans

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

Fordham University’s Lipani Gallery 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.

Phil
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.

Dacy
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 2
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
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
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.

Oz003
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.

Gio
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
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)