ALL THE BEST,

2014

YINTZU HUANG CLASS OF 2015

All videos and film excerpts can be viewed at :

mfaphoto.sva.edu/alice/2014

C R E D I T SCharles Traub, chair

Randy West, director of operations, faculty

Michelle Leftheris, systems administrator

(network and video), faculty

Seth Lambert, systems support specialist, faculty

Adam Bell, academic advisor, faculty

Kelly Sullivan, assistant to the chair

V I S UA L A R T S P R E S S

Anthony P. Rhodes, executive vice president, creative director

Michael J. Walsh, director of design & digital media

Brian E. Smith, art director

Sheilah Ledwidge, associate editor

S C H O O L O F V I S U A L A R T S M F A P H O T O G R A P H Y, V I D E O A N D R E L AT E D M E D I A

Cover image: Aaron Wax, class of 2014

Back cover image: Yintzu Huang, class of 2014sketch video stills from APHASIA

The proposal is a game plan as well as a creative

endeavor. It is the big idea that leads us to a

careful examination of a specific point of view.

Throughout the thesis year, the faculty will

help students achieve their thesis goals. We

will witness their excitement and struggle as they

wrestle with a demanding exploration. The reward

is to experience how each student’s thoughts

become transformed, built and actualized.

The steeled determination of our students is

paramount to their success and a good

reminder that they are drivers of their own ideas

and ultimately their works of art.

Randy West, faculty

T H E S I S P R O P O S A L S P O T L I G H T

Jesse ChunMing-Jer KuoCharles Sainty

OPPOSITE:

LANDSCAPE #2

PREVIOUS PAGE:

LANDSCAPE #3

Jesse Chun class of 2014

O N PA P E R I was born in Seoul, South Korea and grew up between there and Hong Kong, attending

international schools where fellow expat families came and left every year. Life was a collection

of new faces and languages, familiar jetlag, long distance calls and green cards. Everything

and everyone I knew was ephemeral. I moved to New York for my undergraduate studies and

lived there post graduation, only to relocate to Seoul, then Hong Kong, Paris, Toronto and back

to New York thereafter. I have never identified with a specific place or culture as my home.

For a nomad in the contemporary globalized world, the process of migration is an exciting,

yet assiduous one. However familiar you are with the bureaucratic paperwork of immigration,

the questions that define your candidacy as an insider can be blunt and uncomfortable.

Your answers on these documents can validate that you are in fact worthy and qualified to

be a part of their structure for a permitted amount of time. Or not. When you are required to list

all your residential addresses since the age of eighteen, asked where your spouse proposed

to you or what color your eyes are, your self-image is summed up by information on paper. Can

personhood be captured on immigration forms as an accurate representation of oneself?

The discrepancy between data and the individual drives me to question the ways our identities

are constructed and validated.

On Paper investigates the notion of identity in the context of information and migration. I employ

methods of appropriation and erasure to recontextualize passports and immigration forms

as landscapes, graphic design and wordplay. In the landscape pieces, I remove the individuals’

data on their passport pages and reframe the pictorial component on them. Through this

process, I reveal ideological images of nature found in the background of passport pages

where one’s entry and exit data are stamped and recorded.

In the immigration papers, I examine the information of identity represented on them through a

selective removal of text or graphics. By manually and digitally manipulating various elements of

the content and tactility of paper, I decontextualize the power of the object that is used to deter-

mine one’s status as an insider versus outsider in a place. In doing so, I contemplate a sense

of displacement and the elusiveness of identity that cannot be reduced to information on paper.

By metaphorically and visually unfolding layers of paper-based objects involved in migration,

I create a poetic expression of my transcultural experience in the contemporary globalized

world. The ethereal landscapes, minimal line works and poems found in bureaucratic papers

of identification reveal the complexity of migration: the ideologies, interrogation, displacement

and dreams that become a part of who we are.

LANDSCAPE #5

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LANDSCAPE #12

Ming-Jer Kuo class of 2014

C I T Y : A C O M P L E X S Y S T E MCities operate as organic systems; they grow, decay and change with time. Nature is often

squeezed out during the urban developing process. In many urban areas, nostalgia for nature

triggers urban planners to create man-made parks, lakes and other natural habitats. Today,

more than half of the world’s population lives in urban areas. This continuing growth and the

accumulation of capital demand constant change in the construction and operation of urban

systems. City: A Complex System is a body of work consisting of photographic prints and a

sculptural installation.

Growing up in Taipei City, Taiwan, and living in New York City has inspired me to research city

and urban development. My work is the result of that exploration, which was developed through

research and visual analysis. I use shifting perspectives and variations in scales to study urban

areas and form, and to examine and respond to ideas of urban organization and management.

The Walker series illustrates my perception of pedestrian rhythms in New York City. With a digital

mise-en-scène approach to capturing repeated walking gestures and patterns, the work ex-

presses the unseen order that operates within the urban system.

As I photographed the city, I gradually broadened my perception of urban living and strived

to echo the mega scale of this metropolis. With my interest in urban systems, I extract patterns

from the city and transform them as the basis for multiple visual works. The goal of my work is

to engage and encourage viewers to see our living environment from fresh perspectives. With

Google’s satellite mapping tool, for example, we now can access aerial photographs and

position ourselves in our living spaces easily and virtually. I have introduced current imaging

technology into my work, which recalls the approach of lens-based scientific observation.

Through the application of aerial perspectives and satellite imagery, urban areas are investigat-

ed from a more analytical point of view. Generally, the use of obliquely shot aerial photographs

plays a critical role in the interpretation of vertically shot images made for mapping procedures.

But in my working process, I have chosen not to employ oblique aerial viewpoints at all, so that

all the constructions visible within the images, extracted from vertical aerial photographs, are

abstracted in order to engage the curiosity and imagination of the viewer.

In my Reconstruction series, I extracted constructions as seen in aerial photographs and de-

function the architecture by flipping it to playfully create a new skyline of Lego-ish illusion. With

the unseen skylines of unlikely constructions in New York City, I want to encourage viewers to

rethink the imagery of a city and, in broader terms, the way we perceive cities. To expand the

visual experience, I began experimenting with installations. In addition to working with shifting

perspective and scale, I want to bring the physical movement of the viewer into the work.

The installation Suburban Form suggests a system of suburban constructions that mimic natural

systems. With the development of urban areas, humans not only overlaid their living patterns

onto nature, but also saw this phenomenon as an extension of nature. This installation plays with

this idea in its site-specific size and with its natural organic format. Juxtaposing plant branches

and acetates of suburban construction images, I design an environment in which the natural

and man-made co-exist, creating a more physical and emotional experience for the viewer.

I was, and continue to be, shaped by urban rhythms and atmosphere, and city space, and

fascinated with excavating the unseen parts of metropolitan regions. Employed in Taipei as an

environmental engineer for more than 11 years, I was trained to see things from an analytical

view, experience shifts of perspectives, transform information into useful formats, and pay atten-

tion to environmental issues, all of which influence the way I see the world and make art.

10TH AVE, W. 23RD ST., NYC

SUBURBAN FORM

ALL THE PIERS OF BROOKLYN, NYC

ALL THE AIRPORTS OF NYC

Charles Sainty class of 2014

M E D I A N Being immersed in software environments for a significant part of my life has affected my sense

of the real. I want to explore those moments after I leave the screen and some residual effect

of that software environment stays with me: for example, having flashbacks to video games, or

thinking “control+Z” after a real-world mistake. While there is nothing very surprising about this

metaphysical glitching from a psychological standpoint, it provides me with brief, uncanny ex-

periences of the physical world as a notional space. My biological experience of reality seems

like a truncated, virtual model of a different order, built from necessity by evolution. The images

and videos I make position these forms of experience as existing on a continuum.

Representational media produced through photogrammetry and 3D scanning offers a more

flexible relationship to the real than that which is proposed by photography; a photograph pro-

vides the user with a static, singular perspective, while a 3D capture creates a representational

environment to be experienced outside of time, implying a rationalized, geometric space that

is subject to the user. Mainstream visual culture has moved online, into the highly articulated

virtual environments of video games, and the spectacular, computer-generated images of

contemporary film. These visual media have become part of our daily lives, and their growing

ubiquity means that the collective unconscious increasingly resembles an aggregate of trend-

ing media content. To represent this membrane between real and virtual space, I use compu-

tational photography to explore my increasingly equivalent relationships to the real and virtual

environments in which I spend my time.

Photogrammetry works by interpreting geometric data about a space or an object using a

sequence of photographs. Once the 3D shapes are generated, these depth maps are rejoined

with corresponding photographic textures, yielding something that looks like a blocky, digital

version of the original, although affected by missing or inaccurate data (affectations I en-

hance). Since all that is required to create a 3D scan using photogrammetry are a few legible

images of a subject from multiple angles, the right tracking shots from previously recorded foot-

age can be broken down into stills and processed into a 3D model. In this way, one can create

digital representations of places and things that may exist only within the proposed reality of a

movie. Applying this principle, I chose scans of locations and characters from films that have

had a significant cultural impact.

LAX is an unbroken tracking shot moving through a selection of these scans, which appear as

individual worlds within a universe of media objects. These scans oscillate in legibility as the

camera changes position, shifting between undefined geometric forms and blocky facsimiles of

filmic environments, again featuring missing and inaccurate data. It reveals the artifice of these

familiar environments, not only by isolating them from their original context, but also by remedi-

ating them—representing them as raw, informational content, streaming like a train of thought,

or a kind of pop cultural photo album.

CONSOLE WITH FLOWERS

MATERIALS 1

This piece is intended to engage with memory; specifically, it represents the space of cultural

memory, the objects and characters that populate it. It alludes to the abstract but inevitable

interrelationships between these cultural artifacts through its sequencing. It is a simple reorgani-

zation of existing data, an act of appropriation designed to destabilize the familiar.

To this same end, I created a series of amassed objects captured photogrammetrically and

rendered as geometric abstractions. The large format, inkjet prints depict assemblages of

objects in various states of storage. They are meant to function as a phenomenological critique,

emphasizing the distinction between objecthood and ideological content. The distortion of the

hard, geometric contours, the visible polygons that make up the three-dimensional mesh under

the photographic surface texture, lend the images a kind of digital impasto intended to clarify

their computational origin, and promote the subject’s status as malleable data.

Console with Flowers depicts an assemblage of flowers, media, and assorted household ob-

jects. The flowers have been placed into a large plastic cup from a fried chicken restaurant, next

to a row of video game cases from which a similar, floral form is emanating. The rhyme between

these blooming forms underscores an equivalence between the real and the simulated that

resonates throughout the project, as well as engaging with traditional forms of still life. A ruler on

the table implies spatial verisimilitude, while an alarm clock facing away from the viewer indi-

cates the scan exists outside of measurable time. The media objects function as cultural signi-

fiers, as well as addressing the crucial distinction between physical objects and the information

they represent, a distinction we embody as conscious, physical beings.

A similar strategy is used in Materials 1. A darkened storage area illuminated by flashlight is rep-

resented as a fractured, geometric abstraction. Kept in a basement storage area, the depicted

mass of objects (trophies, children’s toys, an old bicycle) has been preserved largely for its sen-

timental value. In that sense they are signifiers more than objects, representative of ideological

rather than physical content. Both visually and conceptually they are rendered virtual, in order

to critically engage with our propensity to conflate the object and the idea. Likewise, there is a

correlation between physical and digital storage proposed by the image.

Both projects serve as ways to juxtapose our domestic and popular culture, the stuff of daily

life, with the universal objectivity of mathematics, the visual language through which they are

represented. I use computational photography to provide this virtual, geometric vision of the

physical world in order to encourage a critique of biological thinking. In that sense, these works

are designed to provoke the sense that our relationship to the real, while apparently familiar, is a

contingent, illusory construction.

VIDEO STILLS FROM LAX

C R I T I Q U E

The focal point of student activity in any given semester

is critique. Guided by a wealth of prominent figures in

the visual arts, and assisted by their peers, students

concentrate on producing a coherent body of work that

best reflects their individual talents and challenges the

current boundaries of their media.

JEAN BETTIGEN CLASS OF 2014

VIDEO STILL FROM OSCILLATION

OPPOSITE:

MATT HERRMANN CLASS OF 2016

PREVIOUS PAGE:

AMY DAVIS CLASS OF 2014

JON ERVIN CLASS OF 2014

JUNE KOREA CLASS OF 2015

KELSEY GLASER CLASS OF 2016

CHRISTINA ARZA CLASS OF 2015

STEPHAN JAHANSHAHL CLASS OF 2015

STEVEN RICO CLASS OF 2015

VIDEO STILL FROM SUNGHOST

ZHANGBOLONG LIU CLASS OF 2015

MK HONG & I CHUAN LEE CLASS OF 2015

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NOAH MCLAURINE CLASS OF 2014 MATT HERRMANN CLASS OF 2016

ANDREW HARRINGTON CLASS OF 2014

Dear Girl,

I write this to you now but I know five words in it’s a futile venture, you will never read it. What was said couldn’t be taken back, what happened was a mistake and I’m going to work on coming to peace with it. I know my words cut you and even when it was happening I couldn’t stop and I am sorry for that. I don’t seek to justify but I feel like I owe you a better answer than my hungover apologies the next day.

You see, I can remember the first time I saw you as clearly and intensely as some of the more traumatic parts of my life. I was working at the coffee shop at our school, a morning shift with clay just as an excuse for free coffee and breakfast. The clicking of high heels on the slate floor caught my attention as soon as you rounded the corner and headed in my direction and all I could do was stare, the yolk of my breakfast sandwich dripping down my fingers and landing on the counter. You were wearing an airy white blouse tucked into an intensely tight black skirt that had a slit up the side to reveal even more of the fishnet stockings that clung to your legs. You drank your cup of coffee at the counter looking at me through your oversized glasses, your lipstick left ruby red prints on the glass that I washed off after you left as clay was going on and on saying “I’m going to fuck that girl so gross” blah, blah, blah. All I wanted to do was take you to dinner and look into your eyes and kiss you if you let me. But yet before I got the chance to smile at you and talk to you more than a handful of times you ended up in the bed of clay and it wasn’t just a one-time thing.

I thought that good friends’ girlfriends and exes are off limits and as a point of respect I backed off. I just told myself that you were too pretty for me anyways but it didn’t stop me crying myself to sleep the first night I saw you and Clay kiss. And so life went on and its not like I could stop seeing you around if I wanted to. I became cool and distant, resolved now to not ever let you know the secret power you had over me. In class I sat behind you fantasizing that maybe one day you would turn around and say “I love you” or “I need you” or something crazy. I kept quiet and joined you for cigarettes, and laughed a little as you and Stormy went back and forth in an unceasing barrage of dick jokes.

But polite conversation wasn’t satisfying and I figured if I wasn’t allowed to touch you maybe I could photograph you. And you agreed to cook and clean and smoke cigarettes while getting naked as I watched and shot pictures.

The day of I was sweating as I set up the lights, shaking and barely holding myself to-gether, a total wreck. You were sitting on the papasan chair smoking a cigarette, just watching me. I said, “lose the dress,” trying to sound cool when what I wanted to say was how beautiful you were and how much I dreamt about you and how I longed to touch your skin and whisper in your ear, “ If you let me, I would move the heavens and the earth just to see you smile.”

Do you remember looking at me when you took your dress off, staring deeply into my eyes your gaze only broken as you pulled it over your head?

I showed the photographs to our class because I saw in the prints your gaze, you saw me. And to say publicly and for the first time and almost out loud that I was interested, infatu-ated. But the point was too subtle and our classmates too dim and you never responded either, and I fell back into my insecurities: not good enough for her. I never was able to kill those feelings but the passing time eventually took the edge off the memories. Without fail looking at those photographs even years later knotted my stomach and pounded my heart. The way you looked at me drives me crazy and transcending the years drove me to contact you again.

I had to know for sure, who was that look for?

BRITTANY CARMICHAEL CLASS OF 2014

RECIPIENT OF THE BETH BLOCK TRAVEL GRANT

ALISON TYNE CLASS OF 2015

ELLEN SILVERMAN CLASS OF 2014

VIDEO STILL FROM I AM ROOTED HERE

CRISTIN HUGHES CLASS OF 2014

VIDEO STILL FROM TRANSMISSION, RECEPTION

ANUSHYA BADRINATH CLASS OF 2015

ASHLEY SMITH CLASS OF 2015 CECILIA SALINAS RIOS CLASS OF 2014

JEMMA JOOSUNG CLASS OF 2016

AARON WAX CLASS OF 2014

YI YI CHAN CLASS OF 2016

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MARIA PEREYRA MARQUEZ & IRIS XING CLASS OF 2016

YOAV FRIEDLANDER CLASS OF 2014

REHAN MISKCI CLASS OF 2014

WILLIAM CHAN CLASS OF 2016

OPPOSITE:

YOAV FRIEDLANDER CLASS OF 2014

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A L U M N IS P O T L I G H T

The In-Betweenness of Cinema

by Natasha Chuk

The early experimenters of photographic motion, and

ultimately cinema, catapulted us into a territory of the impos-

sible. Through a perfected mechanical trick, representational

live action—a contradiction in both words and concept—

became possible. What we failed to realize then, and per-

haps only peripherally understand now, is that the magic of

the moving image lies in the delicate place between pres-

ence and absence. Cinema is a machine act of movement

operating at this tense intersection, and is thus a mechanism

at play with truth and fiction.

We experience moments of cinematic truth when we

witness the reproduced actions of human movement and

sounds, personal experiences and memories, each likeness

intact. But cinema is not anything without the illusions upon

which it is built. It is an instrument of deliberate and con-

certed deception, suspending or simply delaying perceptual

doubt. The success of the trick plays on this deceit: we yearn

for the image’s return, masking its stasis and absence, so the

illusion is fulfilled. The information output of the moving image

also relies on a disappearing act. Information is registered

by the blocking of light, sculpting stories through its negation.

A film’s playback depends on a symphony of actions: speed,

light, and a moment of rest—like a mechanical blink—be-

tween each frame are necessary to administer the magic

act, the illusion of movement. As such, cinema performs the

invisible: a device of sleight-of-hand trickery in its construc-

tion and replay, which alternates between concealment

S H A R O N A . M O O N E Y The Popcorn Kid, 2013

The booth is where time and existence transform. Within its confines, Rebecca

is in tune with the sounds, smells and demands of this closed-off world. With her

own realist take, she discusses its beauty, nightmares and future at the historic

Music Box Theater.

Sharon A. Mooney is an LA-based video artist who hails from Richmond, Virginia.

Her neo-realistic work in documentary portrait, narrative, and animation has been

screened internationally in a variety of festivals and galleries. She currently is a

faculty member at Loyola Marymount University’s School of Film and Television

in Los Angeles.

and revelation. Without the fictions of cuts, cross-dissolves,

double-exposures and the like, cinema does not exist and its

truth isn’t believable.

At its core, cinema demonstrates Derrida’s notion of

the crypt—that which disguises the act of hiding and hides

the disguise. We could say it is a device of showing and hid-

ing, and therefore necessarily showing through hiding, and

ultimately hiding through showing. But in this magic act

of profound trickery, cinema delves into the real in ways that

are incomparable. Cinema acts as a stand-in for reality, a

shared realism that entertains and moves. Benjamin puts

it this way: “Magician is to surgeon as painter is to cin-

ematographer. The painter maintains in his work a natural

distance from reality, whereas the cinematographer pen-

etrates deeply into its tissue.”

Cinema is at once tethered to the real and entirely

a rejection of it, illustrated by the ways in which it documents

parallel but diametrically opposed spatially and temporally

enacted situations. There is a remarkable kind of violence

in the act of filmmaking, calling to mind the parallels to war

outlined by Sontag: we shoot film, we capture images, we

splice (cut) them together. The so-called violent logic of

cinema is precisely what allows us to bear witness to the un-

graspable truth of its fiction, never mind the medium in which

its images and sounds are collected, organized, and played

back. We read its images (shadows) as truth.

For these reasons, the cinematic form is an impres-

sive one: it is a construct which is tied both to life, along with

the virtue of being animate; and to death, in as far as it is

an object that occupies a space in which nothing happens

except the illusion of making stillness appear to be in motion.

The projector is thus a life support machine, entangling life

and death in a suspension of realism while mimicking reality.

The digital form is all the more illusory, no longer dealing with

the tangibility of objects required to produce shadowy forms

or whirring machinery for playback. Against the backdrop

of digital transformation and ubiquity, cinema has been ac-

cused of losing itself to the intangible substance of data.

With data, the medium is further concealed, coded by a lan-

guage not exclusive to cinema. But regardless of its medium

of capture and replay, cinema has always taken pleasure

in yielding a figurative dance between looking and seeing.

IVÁ N C O R TÁ Z A RTesoros (excerpt), 2013

My grandparents have been married for 60 years. Tesoros is a documentary of

their real life relationship, juxtaposed with a fictional story about platonic love,

starring them as actors. 1 fiction + 1 documentary = 2 love stories. Tesoros is a

mixture between a modern fairytale and the bittersweet reality of love.

Iván Cortázar, a 2012 NYFA Fellow, was born in Bilbao, Spain. His short film Una

Historia de Invierno won the 2005 Black Maria Film Festival Citation Award and

has been screened internationally in numerous festivals. His 2009 Artium Museum

Fellowship project, They Sleep Beneath the Water, won first prize for video at that

year’s Pancho Cossío Art Competition, and his latest film, Desastre(s), has been

screened in more than 75 international film festivals, winning 12 awards. He is

currently writing his first feature film and developing an interactive children’s book.

The indifferent mechanical or digital eye looks and

we see. As Bazin believed, the impassivity of the photo-

graphic lens captures only the raw truth of the object it pho-

tographs. Unfiltered and unencumbered by human error or

bias, recorded images and sounds instrumentalize a certain

kind of truth that invariably collapses with fiction. The very

basis of cinema—its rearrangement and distortion of time

and space—depends on this. There is no denying cinema’s

power to transform and inspire audiences. Through it, we

have the capacity to remember, fantasize and invent. A film’s

opening shots are a window into another world. Its collected

images and sounds persuade and shape experience, which

are unmeasurable and endless.

The indifferent mechanical or digital eye records,

therefore it bears the truth, but in its recording also lies

its fiction.

The trick of cinema is not only in its inherent illusion;

it’s in its refusal to pick sides. Neither truth nor fiction, alive or

dead, present or absent, cinema lies in a state of in-between-

ness, a place decidedly between simulacra and confession.

Natasha Chuk is a media theorist and independent curator

who holds a PhD in Media and Communication Philosophy

from the European Graduate School. Her work focuses on

the intersections between technology, interface and percep-

tion of media objects and particularly the ways invisibility is

created, controlled and negotiated. Her first book, Vanishing

Points: Articulations of Death, Fragmentation, and the Unex-

perienced Experience of Created Objects, will be published

by Intellect Books in 2015.

All videos and film excerpts can be viewed at

mfaphoto.sva.edu/alice.

B O WA N GChina Concerto (excerpt), 2012

An observational essay about images, representations, and performances in China’s

contemporary spectacles, China Concerto was shot mostly in Chongqing during

the peak of politician Bo Xilai’s controversial “red culture” campaign. Concealed

beneath the veneer of capitalism, aspects of communist totalitarianism persist

today, both in economy and ideology.

Bo Wang is a visual artist based in Brooklyn. His works have been exhibited inter-

nationally, including solo exhibitions at Gallery 456 in New York and the Lianzhou

Int’l Photo Festival in China, as well as group exhibitions at Times Art Museum in

China, SP-Arte/Foto in Brazil, and DOB Gallery in Thailand. China Concerto is his first

feature length film; it premiered in North America at MoMA’s 2013 Documentary

Fortnight Festival, and in Europe at CPH:DOX in Copenhagen. He received a fellow-

ship from the Robert Flaherty Film Seminar in 2013, and is currently a research fellow

at the Asia Society.

C H A R LOT T E C OT TO N W I T H Q U I N N T I V E Y As the fall 2013 semester came to a close Quinn Tivey had the opportunity to connect with Charlotte Cotton

via Skype, in between when she was working on a new book and packing for a trip. During their virtual hang,

they discussed Charlotte’s recent course “Photographic,” as well as her work and her thoughts on contem-

porary photography.

Quinn Tivey: I’d like to start with a little bit about your course “Photographic” and some general thoughts on contemporary photography. I’m wondering if you might distill some of the core ideas that you cov-ered in your class. Charlotte Cotton: What’s of interest to me is the opportunity to have a seminar group that goes on a journey

with you–that it’s a discovery for me as well as for the students. I think that one of the greatest challenges

for people going through a good MFA program is to try to comprehend how to position their own practice

within a photographic ecology that is really diverse and, actually, empirically, very little of it is intended for the

discourses of art. I’m interested in the idea of the role of the artist within this media ecology. And, of course,

there are many answers. I thought that this would be a useful way of introducing students—participants—to

theorizing around everything except photography as art, and just get a taste of the different pedagogies

and the different theories that I think are in play in a very broad definition of photography in light of web 2.0.

QT: Are there any new ideas or perspectives that the students brought to the table that you might not have expected?CC: I asked the class to provide one piece of writing by the end of the semester mind mapping a range of

influences on their work, from other artists to kind of quotidian ideas about photography and theory. What I

learned is that this approach can be taken in lots of different directions. I’m really delighted about how the

students internalized and distilled ideas that maybe at the beginning of the course were unexpected to them.

At a time when the media ecology is so changeable and diverse, the biggest questions that we have to ask

ourselves is, “Do I want my own practice to be the fixed thing, do I want to create solidity at a very fluid mo-

ment, or do I want my practice to be very fluid?” These seem to be the central questions that came out of this

last semester in response to the dynamic of the media ecology, the sort of photographic ecology in which we

are working. Not that one way is good and one way is bad.

QT: Following up on a question that you actually posed in Words Without Pictures, what do you see in store for photography?CC: A relationship with the future is quite a subjective thing. If I think about my own life, about the future and

about the practical details of it, I’m reluctant to say that I have any real sense of what the future may bring. I

don’t think it’s clear what we’ll be talking about and what we’ll consider important in five years. But the joy is

that you can have an existence right now. It’s a moment where photography is very present and there are lots

of ideas at play. Of course that creates an issue for artists who render their works. How will that object read

in a year or five? That’s why you’re seeing lots of artists taking on strategies that you could say are short-term

or “dispersed” practices, to paraphrase Seth Price. An idea might manifest itself in a number of ways—is it a

book, a conversation? Is it something online? Is it a physical rendering of an object? The form is full of active

choices where there’s no default in an artistic practice.

We’ve moved a million miles away from a requirement that photographers produce bodies of work—discrete

bodies of work in particular edition sizes, and always with prints framed on walls. We’re seeing a much greater

degree of experimentation with media “dispersed” modes, or projects that involve collaboration and shared

authorship. It’s a terrifically exciting moment where lots of ideas are being generated and they’re not being

generated in solidified forms.

C O N V E R S AT I O N

QUINN TIVEY, UNTITLED_SELFIE_2243 (“PET MY HAIR AND TELL ME IM PRETTY”), 2014, 0X25.TUMBLR.COM

QT: With the Internet fostering its own curatorial form, based on participation of social media, can we expect to see a shift in the role of the modern curator?CC: A curator, just like an artist, is an incredibly over-stretched term. At this particular juncture, curating has

become two things for me. One is embodying what I believe about curating, which comes out of my back-

ground as a public servant within a national museum in the UK, which is that curating is about doing creative

stuff for other people. The second part, which I think reflects my age, is being more comfortable with the idea

to provide entry points and discussions on behalf of other people. There are lots of things about curating that

are really great—submerging yourself in creative culture from a position where you don’t have the kind of

tyranny, or, indeed, the kind of satisfaction of creating works that have an undeniable single authorship to

them. It’s a middle role within culture. And that’s where I feel most comfortable thinking about curating: as

one where it’s quite a sophisticated relationship with your ego.

As I remember it, “sophisticated” comes from “sophistry,” which goes back to the Greeks and the idea that

being able to present a point of view, whether you hold that point of view or not. You could read that as a dis-

ingenuous gesture, but I like that idea, when coupled with presenting on behalf of, and the idea that curating

is a cultural exchange—that you’re doing things, creating things—for other people.

QT: In September, Facebook claimed it gets 350 million new photos uploaded every day, and Yahoo projects that in 2014, 880 billion photographs will be taken. In an assessment of contemporary photog-raphy (also in a sense related to curation), a question that comes to mind is how might we distinguish quality among such quantity? Should we be concerned with that sense of volume? CC: Let’s just deal with this idea of the image explosion. I was lucky enough to hear David Joselit talk about the

idea of photography as “the many.” He related the kinds of influences and pressures on artists today as one

that has a profound relationship with the early 20th-century avant-garde artists who were dealing with their

own image explosion, with the rise of photomechanical reproduction. So, in a general sense, the existential

questioning that might be prompted in an artist, given the image explosion right now, is not particularly new

for modern and contemporary art.

The other theory that I find really useful is from Julian Stallabrass’s essay “Sixty Billion Sunsets,” written in 1996.

In the essay Stallabrass creates a circle on which he positions four definitions of a photographer: the artist,

the amateur, the professional and the snapper. He describes how these terms move around. What would be

the four categories that you’d put onto the wheel for right now? I don’t think you’d have the snapper. You’d

probably have the camera or the web as a really important author, probably the most important author of

photography. Which doesn’t mean that artists have to become absorbed in that, but their position on this

wheel shifts. Another relationship, between curating and being an artist, is to offer counterpoints or counter

arguments to the received wisdom or idiocy of image culture. That’s not necessarily a critique of the web, but

it means that your practice has to be something that is clearly not simply just kidding itself that it’s authoring

new ideas and creative ideas by using the technologies of now, given that the camera and tech and software

are authors of images in their own right.

QT: I was just thinking about something that’s heavily “new-technology” dependent: The “photographs” of SVA undergrad Fernando Pereira Gomes that he took while walking through the virtual landscape of GTA 5. They challenge the notion of what is actually a photograph. You mentioned the use of automated cameras and the Internet, but we also have these virtual landscapes that are entirely created out of fantasy but can serve the photographic practice.CC: Yes, and in a way that can lead to a very exciting recalibration of the history of photography. I think we

are beginning to see that with the fascination of, say, 19th-century scientific photography, for example. But

if you think of photography as coming within a much larger history of prototyping and modeling, and what

we’ve always loved to say about photography—that it’s seeing something that’s impossible to see without the

camera—it is essentially, inherently, an abstraction or a virtual experience.

And I’m sure we’ll see more and more of that. I call it the “photographic.” I don’t call it photography now. Interest-

ingly, I’m struggling this morning with a piece of writing because I know that I’m using a term that hasn’t really

declared itself yet. But to think of the photographic mode as being part of the longer history of modeling and

prototyping, then it links it back into scientific experiments going back to the 17th-century and right through

to data visualization and animation.

There’s so much material to work with as an artist right now and the history is as long and short as you want it

to be. You can still say something really meaningful as a counterpoint to the quotidian use of images or the

societal use of images.

QT: Are you seeing any interesting trends among your students, or among artists on gallery walls? CC: I know what’s interesting to me, which is artists—young or old—who are consciously using photography

as a material, rather than as a discipline. It can be anything from using the photographic to be a device to

physically render a sculpture to using photography as the content of an algorithmically-rendered work of art

that’s viewed on a tablet. We have reached the counterpoint and it’s already happening across the globe.

You’re just as likely to see it in an undergrad course as you are in a really good gallery at the moment, which

I think is another really interesting thing—that ideas and positions, or the pinpointing of what art can do in

this particular media ecology—can come pretty much from anywhere. I’m not saying that this is a totally

flattened hierarchy. We have a lot of challenges as a community given what’s happening to the market and

the polarization of that. While that is a problem for people to have a long-term strategy of how they can be

artists, there’s a lot of really interesting work being produced. We can look back at this work and say, “These

were the pinpoints; these were the real and genuine elements of the discourse around photography as art

at this particular moment.”

QT: You mentioned the quality of material that is not necessarily on gallery walls and that this in itself is interesting. I think this is a very interesting notion. Do you think that we are facing a crossroads that will produce dramatic changes for what the typical gallery model is and has been? CC: That’s a big question. But you know what’s happening—it’s that the market is polarized; it’s the blue chip

galleries that have a relationship with the secondary market who have monopolized the market. It leaves those

galleries that have long-term relationships with living artists in a really difficult place right now. It means that

the other end of the option is the DIY model for artists: curating shows using abandoned spaces or spaces

that need to be gentrified to present work. Within that mix it’s really difficult to say what gallery experiences

really provide us, or provide artists and audiences and enthusiasts in art. Often my experience of a gallery is

that I don’t know the rules of the game, because it doesn’t feel like there’s a default right now for what that

experience will be. Of course, that in itself generates interesting work to a certain point. But this can’t be the

end game of what the gallery means and what the industry of art really needs to be in order to be more artist-

centered. At the moment it just doesn’t feel like it’s really there for artists, which is a problem.

QT: Could you give an example of how the industry of art is not artist-centered? CC: In a broad, polarized sense, you’ve got a very corporate model for museums and limits to the list of artists

that they can really work with. It distorts what living, breathing practice and theory of art actually are right

now. Given that the practice and theory of photography is in this really interesting experiment and dispersed

moment—where an artist might produce a project online, maybe produce some things for galleries, organize

live events, maybe curate things, write things—I don’t think the gallery system at the moment has a way of

satisfactorily recognizing the extent of contemporary photographic ideas.

Charlotte Cotton is a curator and writer. She has worked as the head of the Wallis Annenberg Department

of Photography at the Los Angeles County Museum of Art, Curator of photographs at the Victoria and Albert

Museum, and as the head of programming at The Photographer’s Gallery in London. She has authored The

Photograph as Contemporary Art and Imperfect Beauty, founded Words Without Pictures and eitherand.org.

She is working on two new books titled Photography is Magic! and Photographic.

Quinn Tivey is a MFA student in the Photography, Video and Related Media Department at SVA. He received

his BA in film production at the University of Southern California in 2008. Before pursuing his MFA, he worked in

film and as a fashion photographer.

FAC U LT YShimon Attie, the 2013 recipient of the Lee Krasner Award for Lifetime Achievement in Art, has recently returned to NYC after several months in Israel on an International Artist Residency Award from Artport Tel Aviv. In February, he joined the Pennsylvania Academy of Fine Arts in Philadelphia as a visiting artist.

Liz Deschenes has produced a new body of work for the Walker Art Gallery in Minneapolis for exhibition Oct. 23, 2014 – Apr. 12, 2015. This will be her first solo presentation at an American museum.

Rich Leslie participated as a panel-ist for “How Technology, Science, and Art Are Changing Our Perception of Time,” part of the ArcheTime Project, at Central Booking, NYC, March 2014. He is also an organizer for the Bio-Power panel at the BioArt conference, scheduled for November 2014 at SVA. His upcoming publication, Street Art Culture: Tat’s Cru and the South Bronx, will be released in 2015.

Andrew L. Moore’s Dirt Meridian was exhibited at the Yancey Richardson Gallery in Jan. 2014. An exhibition of his recent work from Cuba was also shown at Couturier Gallery in Los Angeles this past January.

In February 2014, Video Data Bank released a box set publication of four videos by 2013 Guggenheim Fellow Laura Parnes. It includes a 44-page monograph with and essay by Chris Kraus.

Lyle Rexer recently returned from lecturing and teaching at Aalto University in Helsinki, and chairing the panel “In Transition: Thinking About Photography” in Berlin at the C/O Berlin Foundation. He will next lead a panel discussion at AIPAD on Apr. 12, 2014, titled, “The Deciders: Curating Photography.” From May 6 – 7, he will serve as a guest professor in the MFA critique at the Art Institute of Boston of Leslie University.

Steel Stillman is an artist and writer, and a contributing editor of Art in America, where his interview with photographer Erica Baum appeared in October 2013. In the spring of 2014, his artwork will be featured in “Mini-mal Baroque” at Rønnebæksholm, in Naestved, Denmark, and in a solo exhi-bition at Show Room, in Brooklyn.

The 35th Anniversary edition of the Millennium Film Journal, edited by Gra-hame Weinbren, was celebrated with a special screening at the Museum of Modern Art on Dec. 2, 2013.

Randy West recently completed his ar-chitecture collaboration 43/45 Brooks with architect Lawrence Scarpa and the Venice Collaborative in Venice, CA. The project is a set of two-story sliding stainless steel screens fabricated by laser cutting a dot pattern made from photographic images of clouds.

C U R R E N T S T U D E N T SChristina Arza’s (2015) work was exhibited at the 2013 “WAH Bridges Bushwick” show at the Williamsburg Art & Historical Center from Nov. 8 – Dec. 1, 2013.

Jesse Chun’s (2014) series On Paper was recently exhibited at the Los Ange-les Center for Digital Art, Jan. 9 – Feb. 1, 2014. Her series Corners will be part of a 2014 group exhibition at Gallery Korea New York, curated by Korean Cultural Services of New York.

Yoav Friedländer’s (2014) series A Form of View was recently exhibited at the 2014 Düsseldorf Photo Weekend in Düsseldorf, Germany. A Form of View will also be projected at the Carmel Winery in Rishon LeZion, Israel, as part of the 2014 International Photography Festival, starting Apr. 5, 2014.

June Korea (2015), a recipient of the 2013 Alice Beck-Odette Scholarship, exhibited his series, As I slept, I left my camera over there, at Jam Industries in Nottingham, U.K., Oct. 14 – Oct. 21, 2013. The show then traveled to Cube Gallery at Museum of Seongnam Arts Center in Korea, Space Gallery in Pomona, CA, Space Womb Gallery in New York, and will make a stop at Gal-lery Korea in New York, in 2014.

Yasmine Laraqui (2014) exhibited work in “Art With A Manifest: Round Hole, Square Peg” at Photo LA 2014 Jan. 16 – 19, with an additional 5-week run at the Artists Corner Gallery in Hollywood. She curated and show works in the Marrakech Biennale, Feb. 26 – Mar. 31, 2014.

Gustavo Murillo (2015), 2012 recipient of the La Caixa Foundation Fellow-ship, had his series, BBC Lund Point, published in the 2013 Flash Forward Festival Catalogue at Neubacher Shor Contemporary in Toronto. This publication includes the winners of the 2013 Magenta Foundation Emerging Photographers award.

A L U M N IAnna Beeke (2013), a recipient of the 2013 Magenta Flash Forward award, exhibited her Sylvania series in the 3-person exhibition “Clouded Pres-ence” at Gallery Ho in Chelsea, Dec. 5, 2013 – Jan. 18, 2014. An artist talk was held at the Gallery on Jan. 18th. Syl-vania will also be part of the Flash Forward international traveling exhibi-tion in 2014, including a stop in Boston, MA, in the spring. 

Clayton Cotterell (2008), following the 2013 solo exhibition of his series Ar-rangements at Ampersand Gallery in Portland, OR, will publish a monograph of the work, with an expected release in summer 2014. 

F A C U LT YS T U D E N TA L U M N IN E W S

John Cyr’s (2010) first monograph, Developer Trays, will be published by powerHouse Books in spring 2014, with a release and reception on March 18. The event included a discussion be-tween Cyr and Lyle Rexer, the author of the book’s accompanying essay. Cyr is also pleased to be included in The Photographer’s Playbook, an upcom-ing Aperture release edited by Jason Fulford and Gregory Halpern.

Catherine Del Buono (2008) is the 2013 winner of the Baang & Burne Contem-porary New Works Grant. The grant will be used to create a multimedia installation on the topic of domestic violence, which will premiere in Octo-ber 2014. Her first solo installation, “Next Stop Wynwood,” was shown at The Art Place Wynwood in Miami, FL from Nov. 1 – 15, 2013. The show featured video portraits, projections, and photographs of New York City subway riders.

Jade Doskow (2008) was recently featured in American Photo’s One to Watch section of the Nov.-Dec. 2013 issue, as well as the Fall 2013 issue of Preservation magazine. Jade teaches architectural photography at SVA, digi-tal photography at the City University of New York, and continues to work on her long-term photographic project of the remaining utopian architecture of world’s fairs.

Maureen Drennan (2009) just re-turned from an artist residency at the Newspace Center for Photography in Portland, OR and will be part of an art-ists-in-residence exhibit there in March 2014. Her work recently appeared in a public exhibit through Artbridge on the construction surrounding the Barclays Center in Brooklyn as part of the group exhibit “Another New York” and included photographs from her series on Broad Channel. She was also featured in the group show “Early Works,” at the Rayko Center for Photog-raphy in San Francisco last fall, and an image from her series Meet Me In The Green Glen was published in The New Yorker. Maureen was interviewed and featured on the Camera Club of New York’s photo blog in October, 2013, and currently teaches photography and photo history at the City University of New York.

Lisa Fairstein (2012) is the recipient of a 2013 Swing Space Artist Residency, made possible by Lower Manhattan Cultural Council. While in residence, Fairstein will more deeply explore her approach to image-making, creating unsettling, believable un/realities.

Sarina Finkelstein (2004) will be releas-ing her first monograph, The New Forty-Niners: Modern-Day Gold Pros-pectors in California, with Kehrer Verlag in May 2014. A solo exhibition will be held at Rayko Photo Center in San Francisco May 8–Jun 21, with a book signing at the opening reception.

Mariam Ghani (2002) is the 2013-14 art-ist in residence at the Asian Pacific American Institute at NYU, where her collaborative project Index of the Disappeared will be in exhibitions opening Feb. 13 and Apr. 18, 2014, and a conference on Apr. 11-12. Her ret-rospective “It Could Go Either Way” opens in May at the Rogaland Kunst-senter in Norway. She writes for Ibraaz, Triple Canopy and Creative Time Reports, and teaches at Pratt.

Erin Gleeson’s (2007) cookbook, The Forest Feast will be published by Abrams on April 15, 2014.The book is a unique blend of art book and cook-book, featuring 100 photographed recipes laid out in a visual format with minimal text, accompanied by Glee-son’s watercolor illustrations. Signings will be held in San Francisco and New York in April and May.

Alexander Heilner, (1998) the 2012 winner of the Baker Artist Prize, was recently exhibited in a solo show, Alexander Heilner: Aerial Landscapes, at WorkSpace in Lincoln, NE. His work is currently part of American Photog-raphy Today at Center for the Arts Gallery in Towson, MD, through Apr. 5, and through Mar. 16 in Look Now! at Maryland Institute College of Art, where he teaches photography and serves as the school’s Associate Dean of Design and Media. He moderated the panel “Teaching Collaboration: What Photography Can Learn from Other Media” at the Society for Pho-tographic Education’s 2014 National Conference.

Johanna Heldebro (2009) is currently artist in residence at the Helsinki Inter-national Artist Programme in Finland, where she will complete her most recent series, White Death. Johanna is the recipient of project and residency grant support from Arts Nova Scotia, Canada Council of the Arts and IASPIS (Sweden) for this work. An artist talk and open studio event was held at the HIAP studios in the Cable Factory, Helsinki on Jan. 22, 2014.

FOR A FULL LIST OF FACULTY, STUDENT AND ALUMNI WEBSITES GO TO MFAPHOTO.SVA.EDU

Allison Kaufman’s (2008) solo show, “Amplified Stages,” will be on view at Real Art Ways in Hartford, CT from Mar. 13 – Jun. 8, 2014. The exhibition is part of Step Up 2013, a series of six solo exhibitions open to emerging artists living in New York, New Jersey or New England.

Reiner Leist’s (1996) books and proj-ects exhibited internationally include South Africa: Blue Portraits (Nazraeli Press, 1993), American Portraits (Prestel, 2001) and Window: Eleven Septem-bers (Prestel, 2006). His new book, ANOTHER COUNTRY South Africa New Portraits, has been announced for publication by Kehrer in the fall of 2014. Currently an associate profes-sor of art at the City University of New York’s Hunter College, he taught in the Visual Arts Program at MIT from 2000 until 2003.

John Messinger (2010), a 2013 Artist in Residence at Robert Wilson’s Watermill Center, was featured in Art In America and Photograph Magazine in 2013. His latest series, Facebook Makes Us Lonely, will be on display during a solo exhibition at Unix Gallery in Chelsea, Sept. 10 – Oct. 21, 2014. 

Meggie Miao (2006), a producer for CBS Sunday Morning, won a Daytime Emmy Award for Best Outstanding Morning Program.

Jessica Miller (2012) is currently on the faculty at Parsons The New School for Design and Montclair State University. 

David Rapoport’s (2009) interview film, Charles Traub: Seeing Things Differ-ently, was featured Sept. – Nov. 2013 on www.sharethebutter.com. The film is the first chapter of a 3-part series.

Reynold Reynolds (1995) is the 2013-14 recipient of the Rome Prize, an Ameri-can award made annually by the American Academy in Rome. The prize includes a fellowship with a stipend, a studio, and room and board for a period of one year at the Academy.

Jenny Riffle (2011), a recipient of the 2013 Aaron Siskind Individual Photog-rapher’s Fellowship, showed her series Scavenger at Newspace Center for Photography in Portland OR, Dec. 6, 2013 – Feb. 2, 2014. The show travels to RayKo Photo Center in San Fran-cisco May 9 – Jun. 21, 2014 and then to The Center for Fine Art Photography in Fort Collins CO. 

Lynn Shelton’s (1995) feature film, Lag-gies, starring Kiera Knightley, Chloë Grace Moretz, and Sam Rockwell, was chosen for national distribution after its debut at the 2014 Sundance Film Festival. It is expected to premiere nationwide in summer 2014.

Stephen Sollins’ (1997) Piecework series was exhibited in “alt_quilt,” a 3-person show of contemporary art and quilts from the collection at The American Folk Art Museum in New York, Oct. 1, 2013 – Jan. 5, 2014, with an artist’s talk on Dec. 12 at 6pm. Piecework also appeared in the group show, “L’Objet Trouve: Readymade, Rectified and Reassembled,” Nov. 14 – Dec. 21, 2013. His work is now represented in New York by the Pavel Zoubok Gallery, which held a solo exhibition of Piecework February 13 - March 15, 2014. An article about Piecework appeared in the January 2014 issue of Surface Design Journal. In addition, some of Sollins’ work will appear in the group show “Creativity At Work” at Sun Valley Center for the Arts in Idaho, Feb. – May 24, 2014.

Benz Thanachart’s (2013) thesis film, The Words I Love, was an official selection at the 2013 Portland Film Festival, 2013 Chagrin Documentary Film Festival in Chagrin Falls, OH, 2013 International Film Festival of Cinematic Arts in Los Angeles, and the 2013 Glovebox Film and Animation Festival in Boston.

Daniel Traub (1998) recently com-pleted a feature length documentary film, The Barefoot Artist, co-directed with Glenn Holsten. The film premiered at the Philadelphia Museum of Art in summer 2013 and has appeared in festivals throughout 2013, including the Carmel Art and Film Festival in Carmel, CA. His book, NORTH PHILADELPHIA, will be published by Kehrer Verlag in September 2014.

Lorenzo Triburgo (2005) has recently begun his new position as full-time instructor of Photography at Oregon State University. 

Raul Valverde (2011) will participate in the First International Biennial of Con-temporary Art of Cartagena de Indias, Colombia, Feb. 7 – Apr. 7, 2014, as well as in the FAAP Artistic Residency in Sao Paulo, Brazil.

Bo Wang’s (2011) essay film China Concerto had its European premiere at CPH:DOX in Copenhagen, Nov. 7 – 17, 2013. China Concerto has been under distribution of Icarus Films since Sept. 2013.

Amani Willett’s (2012) first book, Disquiet, was published by Damiani in June 2013. He held a lecture and conversation with Marvin Heiferman about the book at the Camera Club of New York on Nov. 6, 2013.

Edie Winograde’s (1995) solo exhibi-tion, “Sight Seen” was on view at the Front Room Gallery in Brooklyn, Oct. 18 – Nov. 17, 2013, with an opening re-ception on Oct. 18, and an artist’s talk on Nov. 17. Selections from both “Sight Seen” and her exhibition “Place and Time: Reenactment Pageant Photo-graphs” were on view at the Goodstein Gallery in Casper, WY Jan. 21 – Feb. 13, 2014, with an artist’s talk on Feb. 6.

JeongMee Yoon’s (2006) show, “You will have better day,” was exhibited from Dec. 16 – 24, 2013 at Gallery Dam in Seoul.

2014 Summer Residencies

June 23–June 27 Reading and writing alone no longer define 21st-century literacy in a world where image, data and language are intertwined and of equal importance. For the first time, the MFA Photography, Video and Related Media Department at SVA will gather a diverse group of people from across disciplines for an intensive summer forum to rethink what constitutes literacy in our time. Over the course of the program, participants will engage in intensive workshops and presentation by leaders in the fields of visual culture, social media, education, art, science and history. The goal is to engage participants in understanding and re-imagining new possibilities for teaching, learning and expression through images and the technologies of image-making. The program kicks off with an eminent keynote speaker. Throughout the week, participants will meet with lecturers and panelists for evening discussions and semi-nars. Topics include: the history and meaning of visual literacy, the diverse roles the lens arts play within society, the role of images in social media, curriculum develop-ment for K-12 students and how visual literacy can be taught with readily available and inexpensive technol-ogy. At the conclusion of the program, participants will present their own research and findings for promoting visual learning in their respective fields.

June 2 – June 28 The moving image is a ubiquitous language today. The contemporary artist should no longer ignore the power and pervasiveness of video. This is especially true of the still photographer. Still and moving imagery may be pro-duced with the same set of tools, yet each requires very different approaches and practices. True understanding of the moving image language is fostered through the focused study and dedicated production of video works. This four-week engagement, led by senior faculty members of the MFA Photography, Video and Related Media Department at SVA, will immerse partici-pants in all areas of video. The residency will provide a highly charged atmosphere in which talents participate in productive dialogue and collaborations, culminating in a final project. Initial sessions will alternate practical studio lab and on-location production. Postproduction editing with Premiere and file management will follow, and we will examine current modes of exhibition and distribution. Practical workshops will be augmented by two seminars exploring the history, theory and conceptual issues that characterize the divergences in the produc-tion practices of the still and moving image. Critiques of works in-progress as well as screenings of films and visits to studios, galleries and museums will complement the coursework. The goal of the program is for residents to develop their own projects and realize a personal vision in this lens-arts hybrid.

For further information contact Keren Moscovitch, assistant director, special programs, Division of Continuing Education, via email: kmoscovitch@sva.edu; phone: 212.592.2188; fax: 212.592.2060.

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