
The Unexplained Spaces Marked Off
113 West 60th Street (SL24)
New York, New York 10023
August 3, 2012 to September 20, 2012
Closing Reception September 18, 2012 6:00 to 8:00 PM
Organized by Anibal Pella-Woo and Daniel Willner
Organized by Anibal Pella-Woo and Daniel Willner
As soon as there was human experience, there was art. Modern architect Louis Khan articulated this in his statement that “Art, which was immediately felt, was the first word … the first utterance.” Prehistoric-man created cave paintings, if not to proclaim his existence then to document it. This impulse exists throughout art history and is as ever relevant in contemporary art.
Bringing together artists with disparate practices, Arbitrary Taxonomies presents inventories of invented, existing, and insular worlds through documentation, as with the photographs of Rory Mulligan and Mickey Smith; the ritual of Catherine Lee’s Mark Drawings series; by conflating fiction and reality in Dave Charlesworth’s videos; or when Nina Katchadourain creates works that adhere to an inner logic. Each of these artists work according to a set of systems that are entirely personal, yet are open to multiple readings.
Dave Charlesworth creates a cohesive narrative out of found images in his video works. His latest project attempts to create an arbitrary visual archive of all the terms in the glossary of the Pevsner Architectural Guides, publications from the mid-twentieth century that documented the architecture of the British Isles.
Nina Katchadourian takes the approach of a dedicated scientist to the everyday experience, making order out of a chaotic world with unexpected results such as creating genealogical histories for found objects. The collage Lake Michigan demonstrates this ability to create a new context for the familiar.
In an obsessive daily studio practice, Catherine Lee filled each square in a grid of varying size with a personal hieroglyph to produce The Mark Drawings and The Mark Paintings series of the 1970s. The repetitive imagery results in small variations that reveal a personal system of coding, a record of thought told through abstraction.
Following the lead of historical street photographers, Rory Mulligan uses an existing framework to insert a personal perspective in landscape and portraiture. His collection of images ruminate on gay identity, the suburbs, and everyday weirdness.
Mickey Smith investigates the aesthetics of libraries and their collections, such as the New York Public Library and the Federal Depository Libraries, among others. The works are documentation of a dying form of print that the artist has expressed no sentimental attachment to, but rather serve as an aesthetic material for what she describes as “conceptual language-based, anthropological works”.
For more information, please contact Bridget Donlon at bridget.donlon@gmail.com
From the experimental to the playful to the rational, Modernism’s idealism is a testament to its vitality and long standing. Bringing together over 75 works from Display, Graphic Design Collection, graphic Modern serves as an overview of this important period and features advertisements, periodicals, posters and ephemera examples from over 30 design pioneers including Herbert Bayer, Lester Beall, Karl Gerstner, Franco Grignani, Max Huber, Alvin Lustig, Herbert Matter, Bob Noorda, Paul Rand, Emil Ruder, Studio Boggeri, Ladislav Sutnar and Massimo Vignelli, among others. The varied and unique styles of these designers are the foundation for the visual language of today and presumably, tomorrow.
An informal talk and walk-through of the exhibition will take place on Friday, June 15th at 5pm. graphic Modern is curated by Patricia Belen and Greg D’Onofrio – designers, writers and partners at Kind Company, an independent design office in New York City. Display, the website they founded in 2009, is a platform for research, writing and discoveries in graphic design history. Documenting, preserving and providing public access to original materials will help raise the profile of Graphic Design as a source of educational, historical and scholarly analysis. For more information, please visit thisisdisplay.org
Sponsored by The Department of Visual Arts at Fordham University with assistance from Abby Goldstein, Associate Professor and Jaclyn Deihl, BA 2012.
六人のニューヨークの写真家が日本にいます (Six New York Photographers in Japan) 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 book is 202 pages, 10×8 inches (25×20 cm), with four-color printing and can be ordered in softcover, or hardback in a range of paper grades. Preview the entire book here.
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.
…something wonderful is going to happen…
Wim Wender’s 1989 film Notebook on Cities and Clothes! Wim Wenders talks with Japanese fashion designer Yohji Yamamoto about the creative process and ponders the relationship between cities, identity and the cinema in the digital age. Including, amongst other things, a lovely meditation on the cut of Jean-Paul Sartre’s lapels and August Sander’s photographs.
See you there!
…something wonderful is going to happen…
Wednesday, December 14, 2011
4:00pm until 7:00pm
Fordham University Friends of Films for Photographers
113 West 60th Street, Visual Arts Wing, Room SL24H
It is a well-known fact that there is no better way to end your
semester (or year) than by watching all 201 minutes of Chantal
Ackerman’s phenomenal 1975 film “Jeanne Dielman, 23 quai du Commerce,
1080 Bruxelles.”
For a first time ever I will encourage attendees not to do any
research before the screening, as it will ruin your 201 minutes of
domestic bliss. All welcome. Wear comfy clothes. Popcorn and espresso
will be provided on demand. Short bathroom breaks are permitted,
though discouraged. Nappers will be shamed.
You will remember it forever, which says a tremendous amount.
See you there!
Doug DuBois
Book presentation and photography lecture
Thursday, October 13, 2011
6 PM
Fordham University Visual Arts Department
Lincoln Center Campus
113 West 60th Street at Columbus Avenue
New York, NY 10023
Room SL24H
Join photographer and educator Doug DuBois for a presentation and discussion of his most recent book Doug DuBois: All the Days and Nights published by the Aperture Foundation.
Doug DuBois began photographing his family in 1984, prior to his father’s near-fatal fall from a commuter train and his mother’s subsequent breakdown and hospitalizations. While these events set a narrative backdrop to his work, the emotional freight is carried by the details as described by the artist: “the pallor of my mother’s skin, the glare of my father’s gaze and the tactile communion between my sister and nephew constitute a complex and resonant picture of family ties.”
More than twenty years later, DuBois’s project has developed in remarkable ways. Doug DuBois: All the Days and Nights resonates with emotional immediacy, offering a potent examination of family relations, and what it means to subject personal relationships to the unblinking eye of the camera. Each photograph is rich with color, nuanced gestures and glances enveloping the viewer in a multivalent, emotionally tense world.
Links:
http://www.dougdubois.com
Biography:
DOUG DUBOIS (born in Dearborn, Michigan 1960) received his MFA from the San Francisco Art Institute. His work has been exhibited at the Museum of Modern Art, New York; J. Paul Getty Museum, Los Angeles; and Parco Gallery, Tokyo, among other venues, and can be found in the collections of major institutions, including the San Francisco Museum of Modern Art and Victoria and Albert Museum, London. In 2006, he received the John Gutman Photography Fellowship.
For further information please contact:
Stephan Apicella-Hitchcock: apicellahit@fordham.edu
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Carin Goldberg, The School of Visual Arts Senior Library, 2004, hardbound,
offset on paper,10 ¾ in x 7 3/8 in
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Carin Goldberg, Punctuation, 2004, silkscreen, 40 in x 26 in
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Eileen Boxer, Ubu Invitations, 1995 – 2007, Ubu Gallery, various sizes and
mediums
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Eileen Boxer, Ephemera transformation
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Lucille Tenazas, To Infinity and Beyond, silkscreen, 48 in x 37 in
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Lucille Tenazas, Moto Group Cards and Envelopes, Green Card, 9 ½ in x 6 in,
1994, offset on paper
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Paula Scher, Dancing on Her Knees
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Paula Scher, Him
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Gail Anderson, Lucky Serif Dream Book, 2011, offset on paper, 7 ½ in x 5 in
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Gail Anderson, Axl Rose: The Lost Years, 2000
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Elaine Lustig Cohen, Mies Van der Rohe, 2001, 35 ¾ in x 24 ½ in
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Elaine Lustig Cohen, A Millionth Anniversary 1958, offset on paper,
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Louise Fili, Le Monde, 1999, offset on paper, 2 ¼ in x 11 ½ in
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Louise Fili, Calea Nero d’Avola, 5 in x 3 in, 2008, wine bottle, offset on paper
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