No where else in the world can you find the range of disciplines in one school. Over the last 50 years as we forged new programs, built our home in New York and expanded to our global academic centers, institutes emerged. Each are built with shared values, common goals, and a priority for putting students first. The result – a place where artists and scholars create the future.
Visiting students and non-majors are invited to take classes during January Term, Spring at Tisch, and Summer. Earn credits towards your major or minor, build your résumé with an internship, or take classes to change careers. Come be inspired by New York City and our international sites.
The Office of Special Programs at Tisch School of the Arts provides access to the arts. Whether you’re an NYU or visiting college student, high school student or working professional, we provide you with the introductory exposure to the performing or cinematic arts and the advanced-level training to grow your craft.
Photo: Elliot Brown, Jr.
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.
SHOW TWO is the second exhibition in a series of two shows that presents the work of the entire graduating class in a BFA exhibition. It is installed in the Gulf + Western Gallery (1st floor rear lobby) and the 8th Floor Gallery at 721 Broadway (at Waverly Place).
Gallery hours are 10 a.m. to 7 p.m. weekdays, and noon to 5 p.m. Saturdays. Admission is free. Photo identification is required for access to the building. For more information, visit www.tisch.nyu.edu/photo or call 212.998.1930.
Ella Barnes: ‘she’ is series of images constructed to visually translate stories from real women on the contemporary experience of womanhood. Ella Barnes employs organic matter in still life compositions in lieu of using the female body as a vessel for meaning, thus focusing attention on the experiences of women in order to engage the viewer in an exercise of empathy.
Sam Bearzi: The Cathedral by Sam Bearzi is a remembrance of a time spent truly immersed in nature. Exploring nature’s vastness provides an unparalleled sense of one’s scale, and a perception of the self with newfound clarity.
Elisabeth Berezansky’s photographs document vacant spaces that small businesses in Ridgewood, New Jersey have left behind in recent years. As the town progresses, many buildings will soon be demolished–but for now they are empty. This quiet, transient moment between past and future lives allows these spaces to offer reflection on their places within a small town’s history.
Elliott Brown Jr.’s In the Vein of the Father acknowledges the disparities in the relationship between he and his father, and the opportunities missed to feel and connect. The three-channel video installation considers the bond that they have forged in light of a missed connection, and the strengths and weaknesses of this love.
Erica Caso: First Birth is a poetic documentation of human birth through the eyes of a newborn. This experimental film utilizes footage from a home birth captured in Brooklyn on October 12, 2015.
Maddie Cordoba: Intrigued by her grandfather’s mystic past, Maddie Cordoba documents places where people have encountered UFOs and other metaphysical activity as a reflection of the human yearning to find an “other” in this universe.
Tyler Givens’ He Only Desired Her Presence explores some of the many dynamics within the ‘fem domme/male sub’ relationship. The sadomasochistic interactions depicted in this meditative space derive from ‘fem domme/male sub’ sessions I have witnessed or that have been described to me by dominatrix friends in New York City.
Mary Kang’s series, Barfly, explores the movement and behavior of people as well as the passing of time within the spaces of New York’s bar scene.
Joann Lee’s Inverse Topographics examines the recontextualization of landscape photography in an environment in which the lens and screen function as a mechanism to both record and see, and where public data becomes a tool to diminish physical space between the photographer and the photographed.
Tess Mayer documents the farming community in her hometown in Delaware County, NY. It includes both young and old, traditional and new farms to illustrate a changing area.
Kelly Morris’s series examines the outside world through the window of a moving train. Born out of a necessity to pass time on a long journey - the only respite from which lies in the views existing just outside the train car - these photographs capture glimpses into other’s lives that pure chance allows the opportunity for.
In his series Looking back on El Barrio, Nate Palmer explores and documents life in Spanish Harlem in order to create a portrait of the neighborhood during a period of transition.
Bella Finn Parisot’s series documents a not-so-ordinary doctor on the Lower Eastside of Manhattan. Dr. Dave has his own practice as well as multiple non-profits.
Leo Purman: The project Machine Shop shows the activities of the Hick’s family on July 4th, 2015. The narrative series highlights the transition from analog to digital technology present in 2015.
Sara Radin: There’s Nothing to Fear About a Ritual is a conceptual series born out of the intersection of fear and art making. It documents a ritual of text and image relationships developed with the aim of subverting that fear.
Akaylah Reed takes a journey to reconnect to her late father by exploring his memory through others in her photographic series Portraits of My Father.
Morgan Russell tries to unravel the mystery of mysticism in her quest to discover her future self in her series I Want To Know.
Julien Tell’s ‘家, ホーム, Home’ explores his mother’s position of being an outsider in her journey of navigating the nuances between the countryside of Japan and Oakland, California.
Julia Wang’s Under the Phoenix Tree is an homage to the resilience, support, and sacrifice of her extended family between the United States and Taiwan. The photographs trace her return back to her parent’s home country and explore the beginning of an understanding of what it means to be the daughter of immigrants.