Jazmin Ali Caitlin Bury Ally Cali Ethan Coughlin Valeria Deminova Emma Giroir Shannah Harris Meah Nizan Tori Pante Leeza Richter Evelina Tokareva
Organized by Professor Mark Street
Students were invited to respond to the neighborhoods around FCLC by taking photographs, shooting digital video, painting, and drawing, using posters and text, recording sound, making architectural sketches, or engaging in site-specific performances. Given the vagaries of the pandemic, some chose to focus on locales closer to where they live. Each student is working on both an artistic and a service project and presenting documentation of either or both.
Photo by Leeza Richter
Landscape Photographs at the Ildiko Butler Gallery ?>
Landscape Photographs Featuring work by Gabriel Blankenship and Brian & Gareth McClave Organized by Stephan Apicella-Hitchcock
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.
Gabriel Blankenship Suburban Roof
Around 2009, I found myself back at home in rural Pennsylvania unexpectedly. I had been studying photography at Fordham, and had grown accustomed to bringing my camera everywhere. At home, I found myself shooting less, despite carrying a camera, and sometimes didn’t bring my camera at all. Allowing myself to be more present was freeing in a way, but not without tension. I kept finding myself wishing I had taken my camera with me, or would catch myself composing a shot, with nothing to record it.
When I returned home, it was to a development its builders had intended to ensure residents’ privacy, despite a very close proximity to each other. The result was instead isolation, and overall detachment from the surrounding community. Neighbors remained strangers, and I instead became familiar with the mid-90s, suburban architecture of their houses, as seen from my third-story bedroom window.
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 are “photographs” I wish I had taken.
Bio Gabriel Blankenship is a multi-disciplinary artist, specializing in photography, installations, and digital works. He studied photography at Fordham University from 2006 to 2009 and started making pixel art as The Pixelsmyth around 2010 on a shared family computer running Windows XP. Drawing inspiration from early personal computer user interface design, and desktop publishing software, he is interested in exploring ways to bring pixel art off the screen, and into physical space. He works both individually and together with Lancaster, Pennsylvania-based collaborative fourhead.
What is pixel art?
While the aesthetics of pixel art are firmly rooted in the low resolution graphics of video games and computer software of the late 20th century, the mechanics are ancient. Using similar principles to mosaic tilework, textile weaving, and embroidery, each pixel is individually placed, economically expressing form, color, and value. Limited memory and processing speeds restricted early video game and computer graphics designers in resolution and palette, leading to works like the simple, tile-based designs of Nintendo’s Super Mario Bros for the NES, and Susan Kare’s approach to the graphical user interface of Apple’s Macintosh. As computing power increased, image resolutions increased, eventually eliminating the technical need for such an efficient design language. Pixel art has maintained popularity through vibrant internet communities, producing work ranging from simple 8-bit compositions, to full photorealistic renderings.
Brian and Gareth McClave Digital Slow-Scan Photographs
The photographic work of Brian and Gareth McClave represents several years of development of a new photographic process that captures reality in a slow scanning motion across a scene. To do this the brothers developed new software that can take a visual slice through thousands of sequential images of a scene to generate an image that reveals the passing of time as the viewer’s eyes pan across the final photograph from left to right. This is a new twist on the traditional photographic long exposure, whereby the moments of time do not all merge together on top of each other but rather line up in sequence. This offers up the narrative of the scene in the same way as a line of words in a sentence whereby we can gain meaning and insight as we read from left to right across the page.
From a technological perspective the combination of time-lapse photography and digital sampling present a kind of visual encryption of a scene. The image invites the viewer to decode what is presented as a strange, alienating and futuristic environment back into something familiar. The given titles offer clues but no answers. On an aesthetic level the images invoke modernist paintings where individual points of colour, converging perspectives, or drips of paint are collected on the canvas to create an overall effect that distances the viewer from the subject by revealing it in a different light. It is the way that this different light is collected and then redistributed across the print that points to the photographic heritage from which the technique is drawn.
Those images created with a static camera collect the movement of the subject through the frame as each line is triggered, like a Muybridge frame, to capture and reveal an aspect of a scene that might otherwise be missed. This is especially insightful where natural elements such as the movement of the tides are seen to ebb and flow through the course of the day-long exposure and therefore across the duration of the print. On the other hand, when the camera is moving and capturing the landscape through which it passes, the image simultaneously portrays time and distance. This can leave the viewer in a quandary as the constantly changing viewpoint and the constantly changing viewed are combined into a single, sometimes chaotic image. But the chaos suggests or creates something new: a chronographic representation of time that captures the pace and instability of an increasingly mobile age.
In offering a view of a day, or a week, or a year, in a single, but complex, glance, these images allow us to take a step back from the daily densities of our lives and provide an opportunity to lose ourselves in these strange but familiar, calm and cryptic, abstract journeys.
The Fordham University Galleries Online Fordham University at Lincoln Center map 113 West 60th Street at Columbus Avenue New York, NY 10023 fordhamuniversitygalleries
The Department of Visual Arts at Fordham University is pleased to present the Fordham Galleries Online third installment, Roei Greenberg: English Encounters. Every other week the gallery features a body of work by a contemporary artist, alternating with our Adjunct Faculty Spotlight Series, in which our talented adjuncts share samplings of their production with the Fordham community.
Currently, the Fordham University Galleries are closed in response to COVID-19. However, our gallery website will continue to feature a robust selection of offerings from the world of contemporary art and different areas of study offered in the Department of Visual Arts: Architecture, Film/Video, Graphic Design, Painting, and Photography. Stay tuned for our online presentations, discussions, and public dialogues coming this fall as our gallery website functions as a launching platform for a thoughtful engagement with the issues of our times.
English Encounters Statement: 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.
Roei Greenberg Bio London based – Israeli artist (b.1985)
I grew up on a Kibbutz, located on the northern Israeli border with Lebanon. In 2009 I moved to Tel Aviv, where I completed a BA Photography in 2013. After years of investigating the Israeli landscape, its geography, historical narratives, and my biography, I left Israel in 2018. In the search for a new subject matter, I found myself once again drawn to questions of land and power, belonging, and legitimacy.
My photographic practice is concerned with landscape as a complex intersection between culture, geography, and autobiography. The effects of human activity on land, political borders, and ecology are amongst the issues investigated in my work. The use of large-format camera and film creates a multi-layered photographic perspective, pictorial and alluring yet seeking to disrupt traditional modes of landscape representation. Website Instagram
The Fordham University Galleries are currently closed in response to COVID-19. In the meantime, please visit our gallery website frequently, as our exhibitions are still underway.
For the Visual Arts Department Website: click here
Christie Neptune Two Miles Deep In La La Land, 2007-2012 Single Channel 16mm Film Transfer to Video TRT 1:28
Two Miles Deep in La La Land is an experimental short film produced by Christie Neptune as an undergraduate in Fordham’s University’s Department of Visual Arts (Lincoln Center). In 2012, The film was given a new context, including dates exploring Neptune’s family’s lineage and a quote by Alice Walker: “I want something else, a different system entirely. One not seen on this earth for thousands of years. If ever.”
Neptune has a B.A. in Visual Arts from Fordham University. Her films and photography have been included in shows at BASS Museum, Miami, FL (2019); The University of Massachusetts Boston (2018); Rubber Factory, New York, NY (2017); A.I.R. Gallery, Brooklyn NY (2016); and Rutgers University (2015). Her work has been featured in publications including Artforum, NY Times, Hyperallergic, and The Washington Post. Neptune has been awarded the Bronx Museum of the Arts: Artist in Marketplace (AIM), Smack Mellon Studio Residency, NYSCA/NYFA Fellowship in Interdisciplinary Arts, and Light Work Artist-in-Residence among others.
The Fordham University Galleries Online Fordham University at Lincoln Center map 113 West 60th Street at Columbus Avenue New York, NY 10023 fordhamuniversitygalleries
Fordham University Galleries Online is proud to present Instant Camera, a portfolio of twenty-five pixel artworks by Pennsylvania-based artist Gabriel Blankenship.
Artist statement: 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, from the passenger seat of a car, or a third-story window. While the aesthetics of pixel art are firmly rooted in the low-resolution graphics of video games and computer software of the late 20th century, the mechanics are ancient. Using similar principles to mosaic tilework, textile weaving, and embroidery, each pixel is individually placed, economically expressing form, color, and value.
Gabriel Blankenship is a multi-disciplinary artist, specializing in photography, installations, and digital works. He studied photography at Fordham University from 2006 to 2009 and started making pixel art as The Pixelsmyth around 2010 on a shared family computer running Windows XP. Drawing inspiration from early personal computer user interface design, and desktop publishing software, Gabriel is interested in exploring ways to bring pixel art off the screen, and into physical space. He works both individually and together with Lancaster, Pennsylvania-based collaborative fourhead.
Image caption: Gabriel Blankenship, Sneakers, 2017–2019 Instagram: thepixelsmyth
The Fordham University Galleries are currently closed in response to COVID-19. In the meantime, please visit our gallery website frequently, as our exhibitions are still underway.
For the Visual Arts Department Blog: click here For the Visual Arts Department Website: click here
IN DER FREMDE | PICTURES FROM HOME. A haunting photobook on Berlin & the search for home by Romeo Alaeff ?>
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 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.
THE PRE-ORDER KICKSTARTER CAMPAIGN – FULLY FUNDED IN 48 HOURS
Immediately labelled by Kickstarter as a “Project We Love”, the campaign reached over 80% of its goal in the first 24 hours and surpassed it within 48 hours (almost to the minute), record time for a photobook. Books and prints will still be available for the duration of the 30 day campaign, while they last. Nocturnal street-photo workshops and night-portrait sessions, as well as postcards sets are also available as rewards. The kickstarter campaign runs from June 9th, 7pm – July 9th, 2020 (Berlin time).
The link to the campaign, which includes a cinematic photobook trailer, is: here. More info about the project can be found on Degrasse Projects and a Press Kit can be downloaded from Google drive here.
Romeo Alaeff
Romeo Alaeff was born in Brooklyn, New York in 1970. He received his BA in Photography from Tulane University in 1993 and his MFA in Photography from the Rhode Island School of Design in 1996. He has exhibited internationally in exhibitions and film festivals and has produced work in a range of media, including photography, film/video, drawing, and writing. In addition, Alaeff has been a guest artist at the Rhode Island School of Design, Brown University, Pratt, Parsons, The University of Georgia and Georgia state University. Alaeff is the author of “I’ll be Dead by the Time You Read This: The Existential Life of Animals” (Penguin/Plume, 2011), a humor/philosophy book of drawings. His stickers also appear in “Stickers: Stuck up Piece of Crap: From Punk Rock to Contemporary Art” (Rizzoli, 2010) Alaeff is also the founder and Editor-in-chief of Lines & Marks, an online publication dedicated to the role and practice of drawing across the arts and sciences. He currently lives in Berlin.
“Most of us, no matter what we say, are walking in the dark, whistling in the dark. Nobody knows what is going to happen to them from one moment to the next, or how one will bear it. This is irreducible. And it’s true for everybody. Now, it is true that the nature of society is to create, among its citizens, an illusion of safety; but it is also absolutely true that the safety is always necessarily an illusion.” —James Baldwin
“One can hear all that’s going on in the street. Which means that from the street one can hear what’s going on in this house.” —Jean Genet
“It is a curious emotion, this certain homesickness I have in mind. With Americans, it is a national trait, as native to us as the roller-coaster or the jukebox. It is no simple longing for the home town or country of our birth. The emotion is Janus-faced: we are torn between a nostalgia for the familiar and an urge for the foreign and strange. As often as not, we are homesick most for the places we have never known.” —Carson McCullers
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 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.
I am pleased to announce to you the completion of a project that is very dear to me. Clocking in at 438 pages with over 4500 images, Case Study Tokyo 2020 by the Gabelli School of Business is finally here!
Take one part working methodology from the influential 1972 book, Learning from Las Vegas: The Forgotten Symbolism of Architectural Form, combine with the megacity of Tokyo, add Fordham University Gabelli students, stir for ten days in Japan and what do you get? You get direct acquisition of knowledge through experience with a small team, realized in a hardback research volume focusing on branding, sensory marketing, architecture, design, photography, and urban planning.
Hearty congratulations to the intrepid researchers: Madison Burkart, Branden Cheung, Kaia Corthell, Alexa Cucchiara, Shauna Fortier, Alexander Gardner, Sekai Kaminski, Fionna Lui, Declan McCabe, Sraboni Paul, Anja Pelkola, Raimundo Sanchez, Amanda Scacalossi, Samantha Schwartz, Joseph Sellmeyer, Polina Yafizova, Kevin Zhang, Yiyun Zheng. Preview the entirety of the book HERE. As well, you can order in softcover or two different hardcover formats. Enjoy!
A JOURNAL OF THE PLAGUE YEAR: AN ARCHIVE OF COVID19 ?>
The Visual Arts Program has initiated a partnership between Fordham University and Arizona State University (as well as other schools across the country) to contribute to a remarkable public archive of materials related to how the CoVid19 pandemic is affecting our lives on a local level. You can submit images, text, videos, tweets, Facebook posts, Instagram or Snapchat memes, screenshots of the news, emails — anything that speaks to the moment. Here is a link to a fuller description of the project. Here is a link to the archive’s submissions page.
In the “Your name, as the contributor” field, add Fordham University after your name. This will allow us to search for your submission on the back end of the website and publish it more quickly. At some point in the not-too-distant future, there will be a Fordham Featured Collection that contains all Fordham submissions in one place.
In the “Description” field, add #FordhamUniversity.
Important: At the end of the form, check “Publish my contribution on the web.” If you don’t check this box, your submission will remain private and not appear on the website.
To see what other Fordham students have submitted so far, search “Fordham University” in the search bar at the top of the home page. Please contact Artist in Residence Casey Ruble at caseyruble@gmail.com if you have any questions or need help making your submission.
