Senior Show Three 2017
Image: Lea Winkler, ROTC: Land Navigation, 2016
Gulf + Western Gallery (Lobby) & 8th Floor Gallery
721 Broadway
An exhibition featuring works in photography, digital imaging, and multimedia by graduating seniors from the Department of Photography & Imaging, Class of 2017.
SHOW THREE contains work from the entire graduating Photography & Imaging class. It is installed in the Gulf + Western Gallery (1st floor rear lobby) and the 8th Floor Gallery at 721 Broadway (at Waverly Place). It will remain on view at through May 22, 2017.
Gallery hours are 10 a.m. to 7 p.m. weekdays, and noon to 5 p.m. Saturdays. Admission is free and open to the public. Photo identification is required for access to the building. For more information, email tischphoto@nyu.edu or call 212.998.1930.
Maya Baroody: In LIBNAN, Maya explores the country of her origins through a western-raised lens and begins to reconcile the differences between an upbringing in America and life in Lebanon. In intimate photographs of her family as well as landscape and street portraits, Maya captures aspects of this beautiful yet complex country that you won't experience from western media.
Michael Beckert: What does it mean to be 84 years old? You have lived through one world war, known the world before and post internet, and, if you're Richard Howard, it means you've published fifteen books and won a Pulitzer Prize. When I first bumped into Richard on the street-- I had no idea who he was.
Lucy Beni: Her Story puts a focus on women who have embraced their non-heteronormative sexual or gender identities as women, even when such decisions pulled them from their families and caused them to be subject to bigotry. Through personal story telling these women provide a range of instrumental perspectives on the progress of LGBTQ rights, some of whom disagree with this labeling, that has occurred over the past half century and earlier.
Phoebe Boatwright: Derivations and Inference explores our desire to find trends and meaning in an otherwise arbitrary world. We only have to accumulate the appropriate data, and the data will lead us, refine our rough hypotheses, build our necessary tests, and order our statistics.
Lauren Brahn: Patterns and structures are everywhere, and often go unnoticed. Brahn depicts structures and patterns in black and white while processing them digitally to converge old and new styles of photography. She further explores this concept by printing them large scale to change the context in which we see these patterns.
Aaron Breetwor: “What Makes A Man?” is an investigation of the myriad dreams, desires, and expectations women have of men—their fathers, brothers, friends, coworkers, partners, and sons. Having been raised primarily by women, Aaron's interest in this topic stems from questioning the ways in which women participate in the construction of masculinity. His goal is to deepen our willingness to question the effectiveness of the gender binary, and ask that we consider how we are all complicit in its perpetuation.
Tris Bucaro: In an effort to confront and aestheticize the tension within the gray area of bisexuality and the identity politics that come along with it, PUNK serves as an iconoclasm of Bucaro’s self-image in a series of video vignettes that allow him to interact with and manipulate the multiple facets of his visual being.
Eugenia Efstathiou: Nephelai depicts the collective nostalgia and confusion of the Greek youth that has emigrated to other countries as a result of the financial crisis. In pursuit of stability and economic security, the young population finds itself trapped in the reminiscence of the physical grandeur of Greek nature, communicated by Efstathiou's juxtaposition of the Greek natural landscape with the cityscape of New York City.
Caroline Fahey: In 2013 Caroline found out there was a blood clot in her brain caused by obesity and birth control. Throughout the past three years she has come to realize that happiness is no one singular feeling—it’s embracing all the little speckles of emotions and moods we endure. As she looks at herself an infinite amount of ways, Silver Lining, explores Caroline’s self-discovery of searching for happiness, beauty, and confidence.
Calvin Falk: The City is an audio visual tryptic short film that captures a man’s day in New York City. The man is no one in particular, but his routine is relatable to anyone who calls this living and breathing metropolis their home. The City explores the loneliness that people feel while grinding through their routines only to discover that they have incredible similarities to their unknown neighbors. The film is set to and named after an original score recorded in New York by composer Brian Hoes.
Alex Fiszbein: Una Pasión is an immersive look at soccer fanaticism in Argentina through the perspective of a Racing Club Fan. Racing Club has one of the biggest followings in Argentina despite their terrible record (no championship won between 1966-2001). This undying love even in the face of suffering is a revealing feature in argentine popular culture (tango) and politics.
Abigail Folger: Originating in Midland, Texas, but currently residing in Manhattan, Folger documents the West Texas culture and landscape. This series shows the unique beauty of West Texas through a lens of nostalgia and familiarity, but with the perspective of an outsider.
Natalie Fong: Euaggelion (Greek for "good news") is an illustration of the central narrative arc of the Bible: creation, fall, redemption, restoration. Drawn from the artist's own experiences of faith, the series is underlined by themes of race and Christianity within a contemporary context.
Kearra Amaya Gopee: Artifact #1: Tiger Balm deals with the many facets of identity, nationality and immigration that are implicit in the relationships of Trinidad and Tobago, the US and European colonial history. In the installation’s mirror, a video depicts the artist and her mother. In certain areas, both of these people have been erased by replacing their faces and bodies with noise, reflecting the metaphorical state of visibility and invisibility often inhabited by immigrant people.
Allie Huddleston: 7M - Home is the idea of a space that is your own— where one lives out the private moments of their life and store personal belongings. However, what happens when a private space is filled with the belongings and memories of someone else? Huddleston’s work explores the paradoxical tendency for voyeurism and assumption making within one’s own home.
Xiaoye Jiang: 小 (Xiao) is an exploration of collected pieces from my own origin story and a look into my experience as a transnational adoptee as a result of China’s one child policy. Using various family photos and personal writing, Xiao questions identity and how to bridge what you don’t know or don’t remember with what you do—the holes that are inevitably a part of memory.
Adam Kargenian: Flashed - Extraordinary personalities explode in an underground setting that accentuates their brilliance. However, despite the incredible personas seen weekly at the club, people often to do not consider the complexities of these parties or their hosts.
These digital and large format portraits capture individuals in the club setting and in their places of preparation, hinting at both the happenings of a bygone party as well as the domestic environments that are reflections of a side not seen.
Aaron Kho: Kho arranges documents referencing personal history, pop culture, politics, and social media in a three channel video installation to question the conundrum between passive and active viewership. The documents in his installation are arranged in a chaotic way, begging the spectator to make sense of their contents.
Luca Khouri: Woman - Khouri explores his relationship with women through his various fashion editorial assignments. The stillness of the photographs signifies a strength and reclamation of power by the woman in the 21st century.
Michelle Kim: Kim creates sculptures that are free of any identifiers in order to examine gestures in isolation. Her multimedia process is concerned with the performance of breakage and construction and the fragility of yearning.
Justin Lanier: In Uniting Palatine, Lanier documents inequality in his hometown––a suburb of Chicago––through personal narratives and historical data in an attempt to understand what is responsible for the social divide between its predominantly white upper-middle class residents and its more diverse, working class. The videos are presented online accompanied by historical data about Palatine’s schools, housing, and demographic makeup, and information regarding programming grants aimed at community empowerment.
Claire Sunho Lee: Lee suggests that the poetics of everyday epiphany comes at a certain moment of the day, at a certain angle. She shows that it is then that the light and shadows cast by our man-made objects make an effort to fulfill an inner craving for ethereal beauty in vain.
Lucia Ligamari: Whoops A Daisy
Yuka Lou: Here There Everywhere explores the presence of absence. Beyond the supposed simplicity of light, shadow, and form, the photographs reveal the poetics of space and the traces humans leave.
Claudia Mann: In Qui la Camorra ha perso Mann travelled to three cities near Naples, Italy, where criminal activity and violence by the Camorra, a Mafia-type crime syndicate in the Italian region of Campania, is still very prominent . During her month and a half-long trip, she documented the life of the communities who work on the properties confiscated from the Camorra and fight the oppression of organized crime.
Jenna Maslechko: Movement is the most universally understood language and the most organic form of human expression. For me, the ability to move and express with my body gives me the opportunity to explore sensations beyond what I can see and experience in my actual reality. Researching movement through photography and video is perhaps a way for me to make sense of what it means to exist within this world and how elements interact. Through video manipulation and animation, this project is a visual abstraction of the response music initiates within my mind.
Andrew Nelson: The People is an observance of the public sphere. Each piece is a portrait of a stranger that is engraved into marble. Each piece is a monumental declaration that anyone can be put in stone and remembered. Since the people are unaware of my presence, their postures, expressions, and costumes are in the context of their own culture. The purpose of this series is to inspire curiosity and empathy towards those living in the present, seeing all people as valuable and real.
Nicky Ottav: The work I am presenting in this show is a celebration of the people who have inspired me with their rebellious style and outrageous personality. It isn't easy to stand against the grain of culture, and it is for these reasons I liken my subjects, and myself, to saints and religious icons in this body of work.
Mayra Penaranda: In Please, Cross Your Legs, the artist engages in a visual experiment where she dissects her insecurities and self-image in order to understand her fixation with the way she is seen. Using photographs and writing, the artist documents this self-introspection and draws connections between her need for validation and a society that places a woman’s value solely on her beauty and sexuality.
Karanjit Singh: "Exile is a memory of a beloved bleeding somewhere behind the high mountains" is a collection of anecdotes and portraits of young politically motivated Tibetans currently living in Exile in Dharamsala, India and New York City. Challenging the preconceived romanticized and monolithic view of the Tibetan people, the project celebrates the vibrancy and resilience of a diverse community whose homeland was colonized by the People's Republic Of China in 1959.
David Tu Sun Song: Haenyeo: The mothers of the sea is a compilation of photographs produced to capture the community of women divers in Jeju Island, the southernmost part of South Korea. Though Haenyeo was recently inscribed on the UNESCO cultural heritage list, the women divers' population is diminishing in size. Song’s documentation quietly shines a light on the Haenyeo, ensuring its preservation for generations to come.
Rachel Tarling: Tarling’s photographs examine the people and places of her childhood town: Scarsdale, New York. Inspired by the curiosity she felt as a child, the images focus on places and people that shaped her identity.
Jeffry Valadez: Entre los dos is a series of collages that explores issues of memory, migration, hybrid identity, and transgenerational trauma in the Chicanx community. Working with images from Mexican-American mestizo iconography and personal archives, the series makes visible the physiological landscapes embodied by the community—in a demand for greater recognition and protection from the state, by the state.
Beatrix Walter: Beatrix’s work looks at the female body and its place in the world around us. Her video project entitled Going Down II consists of shots of nude woman and imagery of an elevator manufacturing company, thus combining the synthetic and the biological.
Lexi Wimberly: In a multimedia slideshow, Wimberly explores her hometown of Las Vegas through pop culture imagery, her own photographs, and family videos from childhood, illuminating the intersections between vice and virtue, nature and artifice, and illusions and reality.
Lea Winkler: Working with New York City-based universities, Lea Winkler focuses on the dichotomy between student-based and army-based lifestyles within a university ROTC program. Each Cadet’s uniform acts as an anchor that inherently speaks to a sense of maturity and prestige. Likewise, its oversized appearance and their general youthfulness exposes the naiveté of the gravity of what their futures hold as commissioned Army officers.
The Department of Photography and Imaging at the Tisch School of the Arts is a four-year B.F.A. program centered on the making and understanding of images. Students explore photo-based imagery as personal and cultural expression. Situated within New York University, the program offers students both the intensive focus of an arts curriculum and a serious and broad grounding in the liberal arts.