Susan Lipani Travel Grant ?>

Susan Lipani Travel Grant

The Department of Theatre and Visual Arts is pleased to announce the 2017 Susan Lipani Travel Grant, which will provide two outstanding Sophomore or Junior Visual Arts majors with grants of $1500 each, for independent travel during the summer of 2017, or during the winter break in January, 2018.

HOW TO APPLY: Sophomore and Junior Visual Arts majors working in the following concentrations are eligible: Painting & Drawing | Film & Video | Graphic Design | Architecture

DEADLINE: Applications are due on Wed., April 12, 2017 by 12 NOON.

APPLICATION PROCESS: Compile the following:

  • A proposed itinerary.
  • Project description (250 words maximum) and detailed budget.
  • List of all art and art history courses you have taken and are currently taking, along with the grades in the completed courses.
  • Up to 10 samples of your best artwork in the following formats: Digital images, film or video on a CD/thumb drive, originals (e.g., drawings, paintings, prints, photographs).
  • Checklist: List for each sample – title, date, medium, size.
  • Contact Information: Name, Fordham ID no., email, cell no.
  • Questions: mstreet@fordham.edu
  • Address and drop off to:

SUSAN LIPANI TRAVEL GRANT
FCLC | LOWENSTEIN ROOM 423
c/o MARK STREET, Program Director, Visual Arts

FINAL REQUIREMENTS: The successful candidates will be required to submit a short report summarizing their experiences.

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David Freund: Gas Stop ?>

David Freund: Gas Stop

David Freund: Gas Stop 1978-1981

The Lipani Gallery
March 1–March 31, 2017
Reception: Wednesday, March 22, 2017, 6–7 pm
Artist Talk: 7–8pm

Curator: Stephan Apicella-Hitchcock

Fordham University is proud to present David Freund: Gas Stop, a sampling of twenty-seven black & 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

David Freund Photography
View his forthcoming book on Steidl Books

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

In Defense of Street Photography in an iPhone Age ?>

In Defense of Street Photography in an iPhone Age

Last Halloween (my birthday, as it happens), I loaded up my Bolex to shoot some 16mm black-and-white images of a children’s costume parade in my Brooklyn neighborhood. I was thinking of Helen Levitt’s 1948 masterpiece, In the Street. Levitt (and her co-cinematographers James Agee and Janis Loeb) used a small camera to surreptitiously record images (mostly of children) in Spanish Harlem. The film is a poetic time capsule — observational vignettes that become more than the sum of their parts.

The Bolex looks pretty big these days compared to digital cameras, so I wasn’t hiding anything from anybody. As I stood on the sidewalk next to parents snapping cell phone photos, I encountered a fair amount of resistance. Several people asked me point blank what I was doing (which I thought was pretty obvious). They seemed unsatisfied with my admittedly vague response (“Shooting some footage, may turn it into a short documentary”).

Read the rest of the article at filmmakermagazine.com

Photo credit: Lima Limpia, 2015, Mark Street.

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.
Follow the WTJB blog.

Ladislav Sutnar Exhibition in Boston ?>

Ladislav Sutnar Exhibition in Boston

Ladislav Sutnar: Pioneer of Information Design, an exhibition that originated at Fordham’s Ildiko Butler Gallery is on view at Northeastern University’s 360 gallery:

Wed, June 22, 2016 – Sun, August 7, 2016
Gallery 360
Northeastern University, College of Arts, Media and Design
360 Huntington Ave., Boston, MA 02115

Monday through Friday, 11am – 7pm
Saturday 12pm – 5pm

Ladislav Sutnar was a master of making complex information simple. From 1941 to 1960, Sutnar, a Czechoslovakian immigrant who settled in New York City, served as the art director for F.W. Dodge Corporation’s Sweet Catalog Service. Sweet’s catalogs showcased plumbing, electrical, and building supplies that were marketed to the architecture and engineering trades. Sutnar and his team of writers and designers transformed the catalogs’ complicated product information into clear, concise, easy-to-understand images that were a precursor to the artistic discipline of information design. Sutnar used shapes, symbols, blocks of color, indexes, and other tools to help Sweet’s readers quickly and easily navigate each catalog page. This exhibit features more than 50 Sweet’s catalogs and other stunning artworks created by Sutnar. Curated by Patricia Belen and Greg D’Onofrio.