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Young Artists Emerging in America: Place, Body, Technology

美国新锐艺术家 联展:地点,身 体,技术 Featuring the work of students from New York University, the International Center of Photography, and Parsons The New School for Design Presented at the Pingyao International Photography Festival, Pingyao, China  2009 


美国新锐艺术家联展:地点,身体,技术 展出的学生作品来自纽约大学,国际摄影中心,帕森斯设计学院 平遥国际摄影节, 平遥,中国 2009

Sarah Girner, from the series The Transience of Things

All photographs copyright 2009 by the individual artists.

Young Artists Emerging in America: Place, Body, Technology 美 国 新 锐 艺 术 家 联 展:地 点 ,身 体 ,技 术 Contents Introduction

The Artists


Kristoffer Axén Anna Beeke Christine Callahan Edward Doty Daniel Durtsche Theresa Edmonds Aliza Eliazarov Susan Falzone Sam Frons Sarah Girner Ayden Grout Aaron Gustafson Mark Kohlman Kim Kremer Erica Leone Meghann Lyding Kate McBride Matt McDonough JC McIlwaine Marcela Riomalo Keith Telfeyan Leah Tepper Byrne Merve Unsal Anaïs Wade Jessica Yatrofsky

12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60

About the Schools


Artist Contact Information


Forum on Art Education


About the Curator: Sean Justice


The Translators


International Center of Photography New York University Parsons The New School for Design


Young Artists Emerging in America: Place, Body, Technology Featuring the work of students from New York University, the International Center of Photography, and Parsons The New School for Design Curated by Sean Justice Presented at the Pingyao International Photography Festival, Pingyao, China  2009  Chief Artistic Director: Zhang Guotian  

The underlying theme of this project is the education of artists in America. The topic engages me because

it challenges me. Teaching is the most fulfilling part of my career—every day brings new puzzles and new

questions, no two of which can be answered or approached in the same way. This requires flexibility and patience, and lots of practice. Over the years, in fact, I’ve come to see teaching art and photography

as a performance, a kind of choreography that blends material with technique with idea. It’s exhausting and

sometimes frustrating, but when students begin mak-

ing pictures that come from a place of rich context and response—those are the best days. It seems that

during the past twenty-five years, no matter what else

I’ve been doing, the most satisfying part of my work comes out from my role as an educator.

Kristoffer Axen, from the series: At Sea at Night

The English verb “to educate” is rooted in the Latin “educere,” which combines “e-” meaning “out,” and “ducere” meaning “to lead” or “to bring.” The philosophy that emerges is at the core of the American

educational process. In practice we call it “student centered,” and it informs our methodology with

lesson plans that are “self-paced” and a curriculum built on a “need to know” environment. There are many interpretations, of course, but generally the distinction is made between old-fashioned ideas

about stuffing knowledge into students’ heads and the more modern approach that emphasizes problem solving and critical thinking. Today we see teachers as leaders who bring students out of unknowing, to a place of knowledge.

College educators work from a similar place but with an additional idea. The root of our practice is the

same—“to bring out”—but the location has been clarified, that is, to bring out from where? The answer: to bring out from within. At the university level we talk about the cultural conditions that produce

picture-making behaviors, and we discuss the history and structure of art in that light. In this way we encourage students to recognize and explore their place within the shared society.

As a result, in America today the goal of higher level art education is broadly seen as training in a

way of thinking. Our education programs are sometimes discipline specific—such as photography, or

painting, or filmmaking—but more often they are multidisciplinary. That is, while making art is important, the choice of tools and technologies is contingent and subjective. And since there is very little agreement about what art looks like, or where it comes from, we talk instead about art as a response to culture.

This idea of response is important. I see culture as a loud conversation with many different speakers,


美国新锐艺术家联展:地点,身体,技术 展出的学生作品来自纽约大学,国际摄影中心,帕森斯设计学院 策展人:Sean Justice 平遥国际摄影节 平遥,中国 2009 张国田: 平遥国际摄影大展艺术总监


这个展览的潜在议题是“美国的艺术家教育”。这个话题之所以吸引我,是因为它的挑战性。教书是我的职 业生涯里最有成就感的部分,因为每天都有新的难题、新的疑问,而且每个问题的解决方式都不会相同。这 就需要灵活和耐心,以及大量的实践。事实上,这么多年以来,我已经将艺术教学和摄影教学看作一种表 演,一种将材料、技术与想法混为一体的舞蹈。它使人筋疲力尽,有时让人灰心丧气,但当学生开始从语境 丰富多义的所在创作影像的时候——那就是最好的日子。在过去的二十五年里,无论在做什么事,我的工作 中最让我满意的似乎就是担当一个教师的角色。 英语单词“educate”来自拉丁语“educere”,其中“e-”表示“出去”, “ducere”表示“引领”或“带来”。 由此产生的理念是美国教育进程的核心。在实际操作中,我们称之为“以学生为中心”,这也表明了我们的方 法论,这种方法论决定了“自主自导”的教学安排,以及在“想要知道”氛围中的课程设置。当然,有关的阐 述多种多样,但总的来说体现为新老观点的分歧,即填鸭式教育的守旧观点与更为现代的、强调解决问题和 批判性思维的新方法之间的差异。如今,我们视教师为引领者,引领学生走出无知,进入知识的领域。 大学的教育者遵从类似的工作方式,但还有一个附加的理念。我们的教学实践也是基于以上述的“引出”, 但特别厘清了方位问题,即:从哪里引出?答案是:从内在引出。在大学层次,我们讨论产生影像创作行为的 文化条件,我们也从这个角度去探讨艺术的历史和构成。通过这种方式,我们鼓励学生认知、探究自己在这 个共享型社会的一席之地。 因此,今日的美国高等艺术教育基本上被看做是对思维方式的训练。我们的教育一部分是针对具体领域的, 比如摄影、绘画或是电影,但更多的是跨领域的。也就是说,重要的是艺术创作本身,而工具和技术只是附 带的,只是个人偏好不同而已。由于对“艺术是什么样的”以及“艺术来自何方”这两个问题并没有一个标准 答案,我们就转而把艺术当作对文化的一种回应来探讨。 回应,这个概念非常重要。我把文化看作一场多 人参与的对话,就像是闹哄哄的派对或是声嘶 力竭的辩论。作为教师,我的目标就是把学生 们领入这场对话。他们在其中表达什么、怎样 表达,都是他们自己的选择了:这选择源自他们 的内心。我的工作仅仅是给予他们参与的方式 和信心。 “美国新艺术家”联展中的作品包含两种形 态:图像和文本。在我看来,这两部分既相互独 立,又像一棵树上的枝条相互缠绕,或像古老 森林的树冠一般交织为一体。要从整体上理解 这个联展,我建议把这些图像看作是从一次充 满活力的旅途中带回的手工艺品,或者说,是每 个学生经历美国式教育后的纪念品;而要理解 我们在图像中所看到的,就得将文本视作一张 地图,一张能让他们(和我们)在文化与经历中 确定方位的文字地图。

Erica Leone, Jamah, 2009, from the series: Ceasefire


like a noisy party or a raucous debate. My goal as a teacher is to get students to participate in that

conversation. What they say and how they say it, however, is their decision: it comes from inside them. My job is simply to bring them to a place where they have the discipline and confidence to join in.  

The work in Young Artists Emerging in America is of two species: picture and text. I see these two parts as dependent on each other, intertwined like branches on a tree, or woven together like the canopy of an

old forest. To understand this project as a whole I suggest considering the pictures as artifacts from a dynamic journey, that is, as the physical residue of each students’ passage through the American

educational system. And to guide us in understanding what we see in the pictures, let’s read the texts as maps—word-maps that locate them (and us) within the geography of culture and experience.  

The pictures in YAEA were selected because they spoke to me about the sub-themes of Place, Body, and Technology. The individual artists probably don’t see these ideas as central to their projects, but in thinking about my work as a teacher and as an artist I realized that my motivation can be summarized by these words. This is subjective interpretation, of course, as every act of direct response must be,

and I realize that another curator thinking about art education in America would chose different entry points. My goal in highlighting these ideas, however, is to suggest the interwoven fabric that emerges

from the specific conditions of our lives. That is, we didn’t choose to be born here, at this time, among these people, using these tools. We find ourselves with strangers and we make the best of it. We’re here now, and we must respond.

Each artists’ text emerged from a multifaceted process. First, I asked each participant to write about their education and art practice within the context of the sub-themes. Next, I edited the statements for translation into Chinese by clarifying meaning, simplifying syntax and, where possible, removing

compound verb-adjective structures. The edited statements were then sent to volunteer translators

who had answered a post on a well-known photography blog by Ren Yue, a Chinese scholar of photographic culture. 
As each volunteer responded I posted their translations to a Google wiki so that a discussion between the translators and the artists could begin, so that everyone could check their

understanding of the texts. As an observer—since I can’t read Chinese—I was amazed at the number of posts asking for clarifications and alternatives. The artists got involved as well with direct email conversations (and even some phone calls!). The texts presented here is the product of this back-andforth process.

(As an aside, I’d met Ren Yue in New York when she was researching her doctoral dissertation. When

I told her my idea about looking for translation assistance, and asked her to post an invitation on her blog, she thought I’d be lucky to get a dozen responses. As it turned out, I had more than 60, and more kept coming even as the project was wrapping up!)

So, it’s fair to ask: what comes from these multiple intersections of picture with word, text with text, America and the West with China and the East?

Emergence, emerging, to emerge: the word is everywhere in America these days. In its common and

most general meaning, as in “appearing gradually” or “becoming known,” we find it attached to gallery

shows, photography contests, and to special issues of major art magazines whenever curators or publishers want to introduce new artists to new audiences. In this respect I’m hoping for that kind of good luck—perhaps these Western artists will become known to a Chinese audience! I also hope that this 6

这次展览甄选的照片,对我来说,都涉及了展览的副主题——地点、身体和技术。倒不是每一位作者都一定 以这个副题为中心来创作,而是作为教师和艺术家,我意识到自己的动机恰恰可以用这几个词语来概括。当 然,和任何直接感受一样,这是一种主观的诠释。我相信其他策展人在探讨美国艺术教育这一课题时会有 完全不同的切入点。我之所 以要对这些主题着墨描绘, 是希望展览可以揭示我们 生活中那些特定情境衍生 出的种种错综交织 。我们 并未选择生于此地,生于此 时,并未选 择与这些人为 伍,使用这样的工具。我们 置身陌生人群,我们尽力适 应。我们现已在此,我们必 有反应。 每篇作者的文字都产生自 一个多面的流程。首先,我 要求艺术家们联系副主题 来介绍他们的教育背景和 艺术实践。然后,为了给中 文翻译做准备,我对每篇都 进行了编辑,明确句意,简 化措辞,可能的话,对动词形容词复合结构作了删减。 编辑过的文字发给志愿翻 译者进行英译中,之前,他 们在中国摄影文化学者任 悦的著名摄影博客上回应 了协助请求。收到志愿者的 翻译文字后,我把它们发布 到Google wiki,供译者和 艺术家讨论,力求每个人都 可以检验自己对于作品阐 述的理解是否正确。作为一 Erica Leone, Untitled, 2009, from the series: Ceasefire

个不懂中文的观察者,我惊 讶地发现,澄清思路或提

修改建议的帖子竟有如此之多。艺术家们也同样通过电子邮件交流的方式(还有不少电话)参与其中。展览 中的这些文字,就是在这样的反反复复中打磨出来的。 (顺便提一下,任悦在纽约做博士论文研究时我有幸与她认识。当我把找人协助翻译的想法告诉她,并请她 在博客上发布邀请时,她认为能得到十几个回应就算很幸运了。而结果是,我得到超过60个人的响应,而且 即使项目行将结束,仍有越来越多的人参与进来!) 那么,我们很自然会问,这些图像与文字的交错、文本与文本的交汇、美国与中国的交流、东方与西方的交 融,产生了什么? 7

exhibit will spark conversations between artists of different cultures, and that these

conversations will become rich and interesting and long-lived. Most importantly, I hope that these young artists from New

York will be fascinated and stimulated by their cultural interactions with China.

But there’s another meaning of emergence

that I want to highlight, a more precise and

careful meaning that comes from the physical and biological sciences: in this sense,

emergence describes the appearance of

structure that evolves out of the interactions of existing structures.

For example, think of a new sprout that

pokes up from the earth. We can point to the seed and to the dirt and say that the

plant emerges from the dynamic relationship of these two parts. To a careful observer it’s impossible to say that either the seed or the soil was most important: the

existence of the plant requires both. The idea of a third structure evolving from the

existence of two primary structures is an Meghann Lyding, from the series Transfigurations

underlying principle of scientific thought.

It helps organize investigations into phe-

nomena as distinct as oil and gas exploration, insect behavioral studies, and the untangling of the

neural basis of consciousness itself. I think we can use this idea to understand the emergence of cultures, and of pictures, as well.

Consider the example of tree rings. In some American museums we find a favorite exhibit: a giant old tree cut across the grain of its trunk and displayed so that the concentric growth rings are easy to see. Often the rings are labeled with famous dates—the end of World War II, the founding of America, the discovery of New York harbor. Very ancient trees have markers that go back thousands of years, all the way back to the fall of Rome, or to the birth of Christ.

Standing next to these giant trees makes a visitor feel insignificant and, at the same time, connected to

history. It’s a strange and contradictory experience, but certainly not the purpose of tree rings. In fact,

it’s clear that tree rings themselves are not an essential but rather an emergent structure. That is, the

rings exist because the tree grew in the way that it did, but the tree didn’t grow for the purpose of making tree rings. And yet, this doesn’t make the rings insignificant. On the contrary, for interpreters who

understand the interrelationships of rain and soil and the passing of centuries, the tree rings create a highly revealing picture of climate and ecology. In fact, with close observation of many different trees 8

Emergence(或emerging、to emerge),这个词如今在美国随处可见, “慢慢露头”或“开始有名气”是它 最笼统也是最常见的含义。当策展人或出版商要向他们的观众推介新艺术家的时候,这些词就会出现在画 廊展览里、摄影比赛中或重要艺术杂志的专号上。从这层含义上讲,我希望我们的这个项目会有好运——说 不定,这些西方的艺术家会在中国一举成名呢!我也期待这次展览能够促进不同文化背景的艺术家之间的 交流,应当说,那将会是一场内容丰赡、充满趣味的持久对话。最重要的是,我希望这种东西方文化的碰撞 与交融会迷倒这群来自纽约的年轻艺术家,并且激发他们的灵感。 对于emergence,我想强调的是它的另一种含义,一种源自物理学和生物学的更为确切而严谨的含义;它描 述了这样一个过程:数个既有构造物相互作用,从而促发新构造物的产生。 打个比方,看到一棵新芽破土而出,我们会指着种子和泥土说,植物的形成源于这两者之间的动态关系。然 而要问种子和泥土谁更重要,细心的观察者不会轻易下结论,因为两者都是植物存在的必要条件。第三种事 物会从已有两种事物的存在中产生,这种观念业已成为科学研究的基本原理。从油气勘探,到昆虫行为研 究,再到对意识基神经的探索,在这些看似迥异的课题中都能发现这一基本原理的运用。在我看来,同样可 以运用这样一种思路来理解文化,乃至图像的产生。 举树木的年轮为例。美国许多博物馆都有一个最受人喜爱的展览:一棵被锯断的巨大的老树干,横截面上一 圈一圈向外扩张的同心圆状轮纹清晰可见。这些年轮总是标注着一些著名的日期——第二次世界大战的结 束、美国的成立、纽约港的发现。那些非常古老的树,其年轮标记可以追溯到数千年前,直至罗马的衰落或 是基督的降生。 站在这些巨树旁,参观者既自感渺 小,又与历史发生了对接。这是一次 奇怪而矛盾的体验,然而这并非树木 年轮存在的目的。其实,年轮本身显 然也不是”必然目的物”,而是一种” 自然促生物”。就是说,这些年轮是 树木生长的结果,但树木却并非为了 产生年轮而生长。不过,年轮不会因 此就变得毫无价值。恰恰相反,仔细 的观察者们理解雨、土壤、世纪岁月 之间的相互关系,树木年轮形成了 一张充分揭示气候与生态环境的图 像。事实上,通过精密观察大量不同 的树木及其年轮,专家甚至能够推测 出整个区域在过去与未来的气候。 图像是否如同树木的年轮?就是说, 图像是否能够阐明文化,就像树木的 Aaron Gustafson, Rufous Hummingbird from the series: Field Guide to the Birds of the Pacific Northwest

横截面有助于解释森林?就艺术家 的创作而言,我很想知道是否可以

通过仔细观看一个国家的图像,来发现影响和推动着该国的基本国情。进一步,是否可以通过广泛研究一 系列图像,仔细思考孕育这些图像的文化因素,从而了解这种文化的轨迹? 我不敢说这次小小的展览可以回答以上所有问题,何况展出的只是从很小范围的纽约学生中选出的区区55 幅作品。但是,我确实认为,把图像视作某种“自然促生物”,能够帮助我们读懂艺术家的作品,并揭示艺术 99

and rings, experts can interpret and even make predictions about the past and future of entire regions. Are pictures like tree rings? That is, can pictures illuminate cultures like cross-sections of trees help

us understand forests? With regard to the work an artist does, I’m wondering if we can glimpse the

conditions that motivate and concern a culture if we look closely at that culture’s pictures. And, if we study a wide selection of pictures, and think carefully about

the conditions of the people that produced them, is

it possible to know something about the path of that culture? 

I’m not sure these questions can be answered with

this small exhibition, especially since these 55 pic-

tures comes from such a narrow selection of New York City schools. I do think, however, that considering pictures as emergent structures can teach us

about the work that artists do, and inform the work we do as art educators. Looked at in this way, the practice of picture-making can be seen as a deeply

rooted investigation into experience and material culDaniel Durtsche, Untitled, 2009

ture. It follows that the practice of art education must be aimed at enabling students to recognize, interpret

and engage with that culture­—the home culture, first, and later perhaps, neighboring cultures, or cultures from around the globe.

The pictures of YAEA can be seen as complex responses to the condition of America today. Each artist engages the environment from a different position, with different tools, and produces a distinctively

integrated statement that shows us a small piece of who we are. I don’t want to overdetermine the

meanings that might emerge from careful observation of the pictures in this exhibit, but for me, there

is uncertainty and perhaps even a kind of fear here, as well as a desire to test and play with a world that isn’t fulfilling every expectation.  

I wonder what China will see in these pictures. And I wonder what can be learned about America by

looking at the Chinese response. That is, though some of these pictures echo pictures that feel familiar to Western culture, they might seem strange, on the surface, to Chinese viewers. Likewise some of the methods and motivations behind the pictures—as described in each artist’s text—might feel new and strange, perhaps even surprising, while others will seem knowable and ordinary.  

As picture-makers we have much in common with each other because the body and text of our work

emerges from our engagement with the land and culture of our homes. When we respond from the specific place of our lives we connect with the broader world, if we’re willing to put in the effort that

interpretation demands. In this way our work is mutually knowable, even if the surfaces seem foreign.  Perhaps for both the artists from New York and the viewers in Pingyao the conversations that come out of this project will provide a foundation for a cross-cultural dialog and a new kind of emergent understanding.  10

教育者所做的工作。以这样的目 光,图像创作过程就可以被视为 对思想经验和物质文化的一种深 入根系的调研。而艺术教育所致 力的,就是帮助学生去认识、诠释 和参与文化— —首先,是自家的 文化,然后可能的话,是邻人的, 乃至全世界的文化。 “美国新艺术家”联展的作品,可 以被看作是对今日美国现状的复 杂多样的回应。通过以不同视角、 不同工具与环境互动,作者们每 人制作出一份独特的、综合的阐 述,分别为“我们是谁?”提交了

Merve Unsal, Pirates of Somalia, from the series New York Times Photographs

一小部分答案。对仔细的观察者 从这个展览的作品中所发掘的蕴含,我无意做政治社会的穿凿,但就个人而言,我确实从中看到了疑惑,甚 至是恐惧,同时也看到一种渴望,渴望去探究、参与这个并不能事事如愿的世界。 我很想知道,面对这些图像,中国人会看见些什么,很想知道,通过研究中国人的反应,能了解美国的什么。 这里有些图像是对西方人熟知作品的回应,但在中国观众眼里,在直观上,可能是新奇的。同样,作者用文 字记述的心路历程,有些会让人觉得新鲜、陌生,甚至惊讶,有些又似乎很易理解,无甚特别。 要知道,我们,所有的影像创作者,都有共同之处,因为我们作品的图像和文字都生发自我们与所处环境、 文化的互动。当我们从各自特定的地点发出对生活的回应时,我们其实就和更广大的世界发生了联系,只要 再付出些译介的功夫。由此,我们的作品即使表面看起来迥异,我们终能彼此理解。 或许,通过这个项目触发的 交流,能为西方的艺术家和 平 遥 的 观 众 ,提 供 一 个 跨 文化对话的平台,一种全新 的, “自然的”,相互理解。

Marcela Riomalo, from the series Entre Chien et Loup

11 11

Kristoffer Axén International Center of Photography General Studies in Photography

I come from Stockholm, Sweden where legends in the field of photography live (or have lived)—names such as Anders Petersen, Christer Strömholm and JH Engström. This has influenced my own vision of photography, which can be described as personal and intuitive, where concept is introduced in a later stage. This is how I see my current body of work, the one being presented here at the Pingyao festival, titled “At Sea At Night.” This work takes the form of a personal journey through a new landscape where visions of new characters and a new intensity of life are being presented. It turns into a balance on the edge of the real and the dreamed, the external and the internal, something that I believe we all have within us and that always can be brought out to consciousness. The technology, for me, is just the pen—the tool to tell the story and make visible what exists inside. I currently use digital tools with a clear vision of how I want the final output to look. I therefore carefully print the pictures darker and lighten only the subtle highlights and meditative colors (sometimes leaving the colors out completely in order to stress the relationship between the internal and the external). I want to create an atmosphere of quiet search, contemplation and a sincere attempt to relate to my surroundings and myself.

我来自瑞典的斯德哥尔摩,这是摄影领域的传奇人物如Anders Peterson、Christer Stromholm以及JH Engstrom居住或曾经居住的地方。他们影响了我的摄影观。我觉得摄影是个人化和直觉性的,观念的引入则 是之后的事。 这也是我对自己目前作品,在平遥展出的这组《海边·夜晚》的看法。这部作品采取了穿越新景观的个人旅程 的形式,展现了新人物的视角和生命新的强度。它是一个微妙的平衡,介于真实与梦幻、外在与内在之间;介于 我相信深藏于我们内心的东西与能被我们感知的东西之间。 对我而言,技术仅仅是一支笔——用以讲述故事、将内心之物形象化的工具。现在我使用数码技术的时候,对 最终输出的作品有着清晰的预见。我仔细地将画面压暗,仅仅提亮细微的高光和沉静虚幻的色彩(有时甚至将 颜色完全略去,以强调内在和外在的关系)。我要构建一种氛围,它包含着宁静的搜寻和冥想,以及与周遭及自 我建立联系的真诚尝试。

Translated by Yang Chen <>


from the series At Sea at Night


Anna Beeke International Center of Photography Documentary Photography and Photojournalism

I have received my education in photography in many different places: from the backyard of my childhood home to the backwoods of Finland, from rural Midwestern America to the medieval streets of Prague. Most recently, my photographic education has been at the International Center of Photography’s program in Photojournalism and Documentary Photography. While it’s time now to leave school behind and begin a career, I believe I will be a student of photography for the rest of my life. Above all else, I value my education.   I grew up in Washington, DC and now live in New York City—perhaps the two most cosmopolitan cities in the United States. The diversity of these cities has inspired me a great deal, particularly in my education. Seeing so much of the globe in my neighborhood made me want to travel outside America, and helped me decide to do photojournalism, because I want to interact directly with the reality of the world through my art. My education in photojournalism is related to my desire to examine the world and how people interact with it. I want to explore place and community—I’m attached to my own community but I also want to leave it in search of new places. My current body of work documents a small city called Amsterdam, located in upstate New York. I hope my pictures show how the citizens of Amsterdam relate to the physical space of their city, and how their lives are affected by the landscape. While I take pictures the old-fashioned way—with a fully mechanical medium format camera and natural light—I scan and digitally retouch my negatives. I see the future as a combination of the old and the new; we photographers must learn to embrace these changing new technologies without giving up the old traditions. My education has helped me learn how to stay current with new technology, and how to predict what I need to learn in order to stay afloat in the future. Personal vision is not something that can be taught, however it is something that can be nurtured through education. The variety of perspectives and opinions I have received from my professors and peers has had an important impact on the way I see the world; it has sharpened my sensibility toward a unique vision. Furthermore, my education in photography has taught me proper ethics and made me a more concerned photographer; it has cultivated my knowledge of photo history and expanded my knowledge of influential images; and it has trained me for the business side of photography so I can be prepared for a future in today’s commercialized art world. 我在很多不同的地方接受过有关摄影的教育:从我孩提时代的后院到芬兰幽僻的森林;从美国中西部乡村到 布拉格中世纪街道。而最近,我还在ICP学习了报道与纪实摄影。虽然我即将离开校园开始我的职业生涯,但 我相信我不会停止学习摄影。对我而言,教育尤为重要。 我在华盛顿长大,现居纽约市。作为也许是美国最具国际化的两座城市,华盛顿和纽约的多元性给予了我很多 灵感,对我学习摄影尤其具有启发性。在住所周围看到各种各样的大千世界,我心中萌发了要去其他国家旅行 的念头;同时,我决心从事报道摄影,因为我想通过摄影这门艺术与现实世界直接交流。 我学习报道摄影,源于我渴望审视这个世界,渴望审视人们如何与这个世界交融。我想探究各种地方和各类人 群——虽然对自己的生活环境心存依恋,但我还是想走出去看看陌生的地方。目前,我正在用我的相机记录一 个叫做阿姆斯特丹的纽约州北部小城。我希望我的图片能够展示这个城市的居民与他们的生活空间发生着怎 样的联系,以及他们的生活如何被那里的环境所影响着。 我采用传统的方式拍摄照片——一台全机械的中画幅相机、自然光线,但我会对底片进行扫描并通过数字化 ���式进行调整。在我看来,未来的摄影会是新老技术的结合体,因此,摄影师必须学会在不放弃传统拍摄手法 的同时拥抱新技术带来的变化。得益于我所接受的摄影教育,我知道如何跟上新技术,如何预知新知识以便 与时俱进。 个人化的视觉是无法被教育出来的,但是能从教育中汲取营养。从众多教授和同学那里,我了解了看问题的不 同角度及不同观点,这对我如何观察世界有着重要影响,培养了我更加敏锐的独特视角。此外,我所接受的摄 影教育,使我具备了职业道德规范,成为一名更加关注他人的摄影师;它也使我的摄影史知识更加完备,对重 要影像的接触和认识更加广泛深入;它还训练了我在摄影商业运作方面的能力,从而能够在今天这样一个商 业化的艺术世界中为未来做好准备。


Bill, from the series Amsterdam, New York


Christine Callahan
 International Center of Photography ICP-Bard MFA in Advanced Photographic Studies 
 The two photographs in this exhibition are from my project titled 58 Empress Pines Drive. It is fiction. I began the project because I needed to distinguish between the memory of my childhood home and the reality of new places that triggered thoughts of family history.

 In 1986 my family broke like an old pocket watch. It had been working for years and years but then, without warning, it stopped. I have been winding it over and over, hoping it will keep time again, like before. I’m not ready to throw it away; I like the face too much. 
 I’ve been hanging out with my camera these days, to deal with the loss. Photography is an unreliable guide to logical conclusions, but an excellent compass for getting lost, traveling through time, and is especially helpful when encountering ghosts. 
 How did my education prepare me for an artist’s role in society? How do I proceed into a life of unpredictability in this complicated, racing, technological world? The artists I learned from all told me the same thing: Artists make work, constantly, in every situation, devoting their whole lives to the pursuit of new art, and along the way they discover themselves and their effect on the world.

参展的这两幅作品,出自我的拍摄项目“58 Empress Pines Drive” (作者故乡的地址)。我通过摄影,在现实 世界中重塑了自己儿时的记忆。而我之所以做这个项目,是因为我需要区分开两样东西——我对童年故乡的记 忆,以及那触动了我对家族历史思考的新居所的事实。

 1986年,我的家庭出了问题,就像一只老怀表,年复一年地走着,却突然停滞,毫无征兆。我一遍遍转动它的 发条,希望它的表针还能一如既往走起来。我舍不得抛弃他,我是如此留恋他! 为了探寻这迷惘,这些日子我一直挂着相机。可摄影远非通往逻辑论断路上的可靠向导,却堪当挣扎迷途中的 精良指南、溯回时光道里的绝佳罗盘,尤其会巧遇幻象时。

 我所受的教育如何使我担当这个社会中的艺术家角色? 在这个复杂、疾速前进中的高科技世界里,我又将如 何行进在不可预知的生命里? 令我受教的艺术家们都给予我一个同样的启迪:无论身处何种境遇,艺术家都要不断工作,将毕生致力于追求 新艺术,与此同时,发现自己本身以及自己对世界的影响。


St. James & Lake Avenue, from the series 58 Empress Pines Drive


Edward D. Doty
 International Center of Photography General Studies in Photography

I was born in Connecticut in 1979 but spent most of my childhood in a suburb of Boston. It was there in Needham, Massachusetts, that my formal education began. I attended public school from kindergarten through high school. After graduating high school in 1997 I went to Bard College in upstate New York. For several years after graduating from Bard College I took classes in New York before enrolling at the International Center of Photography in the General Studies Program.

 The schools I have attended gave me focus and guidance as well as a sense of community. In addition to the formal education, I feel that my life at home also contributed to my education and helped form my artistic practice. My parents were intellectuals who enjoyed discussing literature and history while also entertaining my brother and me with stories and jokes that they loved. I think the most important thing I have learned from both of these influences is to keep an open mind. It has been crucial to my work to allow myself to experiment, to discover, and to make mistakes. In this way, I continually try to surprise myself. Because of this belief in openness and experimentation I welcome the idea of new technology. Although much of my work has been made using traditional darkroom methods, I am not against the digital revolution. I think that the “either/or” distinction does not need to be made. Rather, digital and traditional should be thought of as two different options, two different possibilities.

1979年我出生于康涅狄格州,但童年的大部分时光是在波士顿郊外马萨诸塞州的尼达姆度过的,那也是我开 始接受正规教育的地方。从幼儿园到高中,我一直是在公立学校读书的。1997年高中毕业后进入纽约北部的巴 德学院。毕业的几年间,继续在纽约上过一些课程,随后参加了国际摄影中心的常规学习项目。 学生时代的教育培养了我的专注精神,为我指明了方向,同样使我具有社群责任感。除了学校教育外,我觉得 家庭生活也有助于我的教育,并且帮助了我的艺术实践的成型。我的父母是知识分子,他们很乐于谈论文学和 历史,用他们喜欢的故事和笑话来逗我和弟弟开心。 从父母对我的影响中我学到最重要的事情是保持一种开放的思维。使我在工作上能够自己去试验、去发现并 且敢于犯错,对我来说这是十分关键的。这样一来,我不断地感受着自己的惊喜之处。 正因为如此我信任开放与实践,所以乐于接受新的科学技术。尽管大多数的工作还是使用传统的暗室方法,但 我并不反对数字革命。我觉得将数字和传统作”非此则彼”的区分是没有必要的,在一定程度上应当将它们视 作两种不同的选择,两种不同的可能性。


Untitled, from the Projection Series


Daniel Durtsche
 Parsons The New School for Design MFA in Photography and Related Technologies

I am originally from La Crosse, Wisconsin, and now live and work in New York City. New York is a great place, very energetic. It is a major hub of contemporary art, and there is a community of young artists exchanging ideas and working together. Being able to extend beyond my university in terms of learning and producing work is an enormous benefit to my education here. However, New York also has distractions and complications. There are times I have trouble focusing on making artwork because there is something else I have to do. The reality of this city is that it is expensive. Workspace is not cheap, so I often find myself without a studio, resorting to workspaces in my apartment or bedroom. I have accepted this and have adapted to it. It has definitely influenced my artwork, encouraging me to work solely on my computer. For me, it is about embracing the city instead of resisting it.

 The question of who I am today revolves around questions about contemporary technology. I became involved with computers at a young age, and computers have remained an interest ever since. But I do not see myself very differently than other young people living in our world of rapidly evolving technology. We live with the same realities: social networks, mobile communication, a proliferation of digital images, and instant access to information. So it seems natural for me and my contemporaries to talk about technology in our work. I am not taking a stand on the pros and cons of a technological society—but I want to explore the technology that I find. I’m not very interested in ‘cutting-edge’ technology either, but rather I want to work with widely used technology—you know, the stuff my mom has heard about.

我来自威斯康星州的拉克罗斯市,现在纽约工作和生活。纽约是一座充满活力的伟大城市,也是当代艺术的重 要中心。这里有一群青年艺术家,他们一起工作,交流各自的见解。能够在大学校园之外学习和创作对于我在 这里的教育具有很大帮助。然而,纽约的生活有时也让人心神不宁,颇感麻烦。比如有时候我会被一些俗务缠 身,难以集中精力进行艺术创作。这个城市昂贵的消费是我必须面对的现实,工作室的租金不是个小数目。我 时常租不到合适的工作室,以致不得不在公寓甚至卧室里腾出工作所需的空间。还好,我接受并适应了这种境 况。而且,毫无疑问,它影响了我的艺术创作,致使我的绝大部分作品在电脑上完成。对我个人来说,这说明我 没有拒绝这座城市而是选择投入她的怀抱。 在当今这个时代讨论“我是谁”这个命题,就无法绕过有关当今技术的问题。我很小的时候就开始接触电脑, 至今兴趣不减。我并不觉得自己与其他和我一样生活在这个技术高速发展的世界的年轻人有多大不同,我们面 对相同的现实:社会化网络,移动通信,日益增多的数字图像,以及获取信息的快捷方式。由此看来,我和我的 同代人在工作中谈论当今的技术也是很自然的事情。对于当今这个技术高度发达的社会,赞成或是反对,我没 有绝对的立场——不过我还是乐意尝试我所发现的新技术。我对那种尖端技术不太感兴趣,我使用的技术都 是被人们广泛运用的——你知道,就是我妈妈有所耳闻的那些技术。

Translated by Huang Bihe  <>


Untitled, 2009


Theresa Edmonds International Center of Photography ICP-Bard MFA in Advanced Photographic Studies

I was born and raised in Ozone Park, New York City, a small neighborhood in the borough of Queens. My home is important for my photography because I photograph my life. I record my feelings on film. I think that creating a picture of an event (whether it is good or bad) speaks louder than words. My education in New York, both my BFA and MFA, has helped my artistic practice because I have gained knowledge about the past, present and future for photography in the art world. When I think about the future and about how technology is changing so fast, I start to worry about my practice. I am a traditionalist to the core. I use a film camera and print in a color darkroom. As we approach a more completely digital era, I feel lost. I feel the magic of photography is dissolving into a monotonous immediacy of image-making. I think I will have to start shooting and printing digitally eventually. However, for now, I will hold on to my traditionalist approach a bit longer.  

我生长在奥松公园——纽约皇后区的一个小社区。我拍摄自己的生活,所以我的家庭对我的摄影非常重要。我 用胶卷记录感受。在我看来,用图像诉说一个事件(无论是好事还是坏事),比语言更有力。 在 纽约接受的教育,无论本科还是硕士,都对我的艺术实践大有帮助,也使我对艺术世界里的摄影有了纵贯 古今的认识。每当想到将来,想到科学技术更新如此之快, 我都会开始产生担心自己的工作方式。我是一个 地地道道的传统卫道士,用胶片相机,在彩色暗房冲印。我们处于一个越来越数字化的时代,我感觉到失落。 我发觉 神秘的摄影艺术正逐步沦为单调的快速成像。 我想最终我还是不得不开始学习用数码相机拍摄,但是目前来说,我还是想把传统坚持得更久一些。


Powder Blue, from “You gotta kick at the darkness...until it bleeds daylight.”


Aliza Eliazarov
 International Center of Photography Documentary Photography and Photojournalism

I was born and raised near New Haven, Connecticut. I attended the University of Connecticut to study Natural Resource Management Engineering. I returned to graduate school at Lesley University in Cambridge, Massachusetts, to earn a Master’s degree in both Elementary Education and Creative Arts in Learning. I began my teaching career in Boston and later moved to Los Angeles, where I began to study photography at OTIS College of Art and Design.  
In 2007, I left teaching to pursue photography full-time. I traveled to Bolivia, South America, to assist a photographer and begin a project on Evo Morales’ agrarian reform. In 2008, I entered the Documentary and Photojournalism program at the International Center of Photography.
When I was a teacher in Boston and Los Angeles I used the arts, especially photography, as a tool to deepen understanding, and as a platform for discussion and writing. Students as young as eight years old used photography to explore their world and to communicate their ideas. For me, photography was a bridge between teacher and student, and between student and world.

 My education and experience in environmental engineering, education, and the arts, informs my photographic practice.  My goal is to create images that move the viewer to connect with content, to be curious, and ultimately to see from a new perspective. 
 This project is about America’s fascination with guns. It comes from my experience teaching in Los Angeles and Boston, where I saw how violence shaped my students’ lives. I began this project because I wanted to understand the spirit of the American gun owner.
Technology greatly expands photography’s ability to overcome the barriers of cultural difference and distance. It plays an important role in the life of a successful photographer today. 

我在康涅狄格州的纽黑文附近长大,在康涅狄格大学念自然资源管理工程专业,随后在马萨诸塞州的莱斯利 大学获得基础教育和创新艺术的硕士学位。我先后在波士顿和洛杉矶任教,并在奥蒂斯艺术与设计学院开始 接触摄影。 2007年,我告别教书生涯走上了自由追寻摄影之路。以摄影师助理的身份,我游历了玻利维亚、南非,并拍摄 了玻利维亚总统莫拉雷斯(Evo Morales)的农业改革。在2008年,我进入国际摄影中心就读“纪实与报导摄 影”课程。 当我还在波士顿和洛杉矶教学时,我便使用艺术尤其是摄影作为深入了解事物并为讨论和写作搭建平台的工 具。让年少如八岁的学生用摄影去探索他们的世界、交流他们的想法。对我来说,摄影是师生之间的桥梁,也 是学生和世界之间的桥梁。

 多年来我从诸如环境工程学、教育学和艺术学中受到的教育和获得的经验,体现在我的摄影实践中。我的目标 是创造可以让观者联想到影像内在含义并产生好奇的作品,并最终发现一个观察世界的新视角。

 这个项目的主题是关于美国对枪的迷恋。这个灵感来自与我在洛杉矶和波士顿的教学经历:我曾亲眼目睹暴力 对学生生活的影响。我希望通过开展这个项目来了解美国持枪者的精神世界。

 科技极大地拓展了摄影的能力,使文化差异的障碍得以超越。今天,它在成功摄影师的生活中占有举足轻重的 地位。


Gun, from the series Range


Susan Falzone International Center of Photography Documentary Photography and Photojournalism  

I grew up in Shelton, Connecticut, which is a small industrial town about two hours northeast of New York City. I lived in a middle-class, three-family home that my father owned. My mother was hospitalized for mental illness when I was young, so my father and grandmother raised me. Before her illness, my mother taught art at a local high school and art college. I knew I wanted to be an artist from a young age. I loved to draw, and I took my first black-and-white photography class in high school. I continued to take photography classes at Albertus Magnus College in New Haven, where I was introduced to digital photography. A lot of my early photographs were of the old, abandoned warehouses along the river that runs through my hometown. I was drawn to the architecture, the geometric shapes, the muted colors and the sense of loss of the broken buildings. I want to understand how people cope with difficult situations, especially illnesses. In my most recent body of work I explore the emotions and struggles that my aunt endures while suffering from Alzheimer’s disease. My grandmother suffered from Alzheimer’s as well, and I watched her slowly deteriorate over several years before she died. This terrible disease robs people of their memories and sense of reality. It is prevalent in my family and affects 5.3 million people in the United States. If I can document this struggle with my photography, perhaps I can help bring attention to this disease. My work is shot digitally. I enjoy shooting film when possible, but as a student. shooting digitally was less expensive because I didn’t have to pay for film and processing. Although there will always be a place for still photography, newspapers, magazines and other media are increasingly using audio and video. To keep my work current, I plan to complete multimedia-based projects, incorporating sound and video with my still photography. Although my true love will always be still photography, I’m fascinated with the other mediums and how they can enhance the story I’m telling.

我成长在美国康乃狄格州的一个叫谢尔顿的工业小镇,它坐落在纽约市东北方向,距纽约市大约两小时的路 程。我居住在我父亲所有的一个中产阶级三户型公寓。在我小的时候,我母亲患上了精神疾病,所以一直是父 亲和祖母抚养我。在我母亲得病之前,她在当地的一个中学和一个艺术学院教艺术。 我小的时候就意识到我想成为一个艺术家。我热爱绘画,我在高中的时候曾上过一个关于黑白摄影的课程。之 后我在纽黑文的阿尔贝图斯-马格纳斯学院继续深造摄影课程,在那里我第一次接触了数码摄影。我早期的部 分摄影作品是关于一些废弃的旧仓库,它们沿河而建,那条河则穿过我的家乡。我着迷于那些毫无生气的残垣 断壁和它们的几何形状以及斑驳的色彩。 我试图去明白人们如何应付困难的处境,尤其是疾病。我近期的大部分作品都是探究我伯母忍受老年痴呆带 来的痛苦时的情绪以及她对疾病的抗争。我祖母也同样忍受着老年痴呆所带来的痛苦,我看着她的病情在几 年中慢慢的恶化,直到她去世。这种可怕的疾病剥夺了人们的记忆和对现实的感知。我的家族里很多人都患上 了这种病,同时,它也危害着美国五百三十万人。如果我可以记录这些抗争,也许就可以唤醒人们对这种疾病 的关注。 我的作品是数码相机拍摄。如果可能的话,我更热忠于胶片摄影,但是对于一个学生来说数码摄影的成本是 很低廉的,因为我不用支付胶片和冲印的费用。尽管静态摄影还有一席之地,但是报纸、杂志和其他一些媒介 已经开始逐渐使用音频和视频的元素了。为了让我的作品跟上趋势,我计划通过为我的静态摄影增加音频和 视频的元素来完善它们的多媒体进程。尽管我始终最热爱的还是静态摄影,但是我仍着迷于其他的媒体形式 及它们为我讲述的故事所带来的神奇效果。


Grace: “Without memories I am no one.” – Grace Falzone, March 20, 2009


Sam Frons New York University Steinhardt School Department of Art & Arts Professions

Where I was born and where I have lived are not where my home is. The environment that I find comfortable and desirable is my true home. But because this emotional geography is not reality, I create a home through my artwork. I am an idealist at heart. I create visual worlds to make my perfect place, from the smallest (microscopic) to the largest (stratospheric) levels. Modern technology allows me to document these visions, and technology contributes to this perfection, expanding the possibilities of my reinterpretation of the universe. In seeing the images of my former environmental constructions, I am overcome with a strange nostalgia. These pictures bring up memories of a home in which I have never truly lived. With the rapid progression of technological options, the documentation of my former homes becomes dynamic, leading me to rename my pieces constantly. The titles of these pictures are not the names of locations or absolutes, but of the feeling that comes from them. And these feelings will always be moving things that must be renamed. I have decided that the world is a sad and unwelcoming place. But the science of the world and the machinery of mankind helps me in my artistic process, satisfying my goal of making me feel just a little bit less lonely, and slightly more at ease.

我的家不是我出生的故土,不是我居留的地方,而是给予我安逸、让我神往的心灵归属。这片情感的热土是如 此虚无,只有我的作品能勾勒出它真实存在的身影。 我是不折不扣的完美主义者。我缔造属于自己的视觉世界,那里有我追求的完美天地--从微小的点滴到盛大的 恢宏。这些景象通过现代技术得以保留,又借助现代技术日臻完美,让我对世间万物的重新诠释成为无限可 能。 再次审视我早前有关环境建筑的图片,我惊叹地发现浓浓的挥之不去的怀旧情结。这些照片勾起我关于家的 回忆,而那竟然是我从未真正扎根过的地方。迅猛发展的科技给予我源源不断的便捷选择, 我关于从前的家 的所有记录变得生动起来,也让我对照片的命名举棋不定。展出的这些照片的名字并不是真实的地名,也并非 绝对的称谓, 而是我在照片中的情感领悟。这些情感无时无刻不令人动容,需要找到更贴切的名称来记录感 动。 我固执地认为这个世界伤感而又拒人千里之外,而大千世界的科学以及人类创造的机械引领我在艺术的道路 上昂首前行,帮助我减少了些许的孤独寂寞,多了些许的自在驰骋。


Setting Up a Private Screening


Sarah Girner International Center of Photography Documentary Photography and Photojournalism

I don’t have a particular place I consider home, and my constant search for a definition of “home” has informed my work during the past year. I grew up somewhere between Germany (where I was born) and the United States (where I moved at the age of six). When I go from country to country I feel too German for the US and too American for Germany. I know I have German traits—exactness, punctuality, and a love for organization—but I was happy to start my photographic education in the United States because the schools here support their students unconditionally. People expect you to succeed. My current body of work is about searching for the meaning of “home.” When I returned to Westchester County, north of New York City, where I was raised from the age of six to sixteen, I discovered that the American suburbs are a private place. Everything happens behind closed doors. The Estate Sale opens these doors and marks the final moments of a home—it is the last time that the house exists with all its rooms and objects intact in the way the owner intended. A rupture—a death, or a divorce— makes the Estate Sale necessary. But for a short time period until the Estate Sale is complete, the rooms exist in a suspended state of reality: past and future come together and are rooted firmly in the present. In these homes I found an archaeology of loss, and recognized pieces of myself. The International Center of Photography allows students to explore both traditional and modern technologies, and this was perfect for me. I used my grandfather’s 1954 Rolleiflex camera to photograph my project. Most of the houses that I photographed were built in the 1950s. It felt right to use an oldfashioned camera for this work for two reasons: the square camera frame helped me compose my pictures, and the camera itself belonged to that time period—in fact, it is a common item sold at the Estate Sales. However, I did not make traditional prints in the darkroom. Instead I scanned the negatives to create a digital file. This coming together of past and present feels right for my work. Shooting traditional film in the old houses was like traveling back in time; seeing the scanned negatives on the computer screen brought me back to the present.

我并没有把哪一个固定的地方看作我的家。尽管如此,我持续不断地探寻着“家”的定义,这也影响着我过去 一年的作品创作。我成长于德国(德国出生)和美国(六岁移居美国)。在这两个国家之间往来穿梭,感觉自己 像个很德国的美国人或是很美国的德国人。我了解自己具有德国人的特质——严谨、守时、组织感强;同时我 也为在美国开始摄影学习而感到高兴,因为这里的学校尽最大可能支持学生。人们期待着你会成功! 目前,我的作品主题与探索“家”的概念有关。当我又回到位于纽约市北边的威斯特彻斯特县,那个我从六岁 成长到十六岁的地方,我发觉美国市郊是私密的地方,事情总是秘密地发生。然而,房产清售却打破着秘密之 门并标示出家的最后时刻——房子最后一次完好无损的存在,房子里的布局和陈设都同主人使用时一致。由 于某种关系断裂——死亡,或离婚——房产清售应运而生。而在房产清售完毕前的空隙时间,那些屋子就停置 在现实中:过去与未来重合,而且牢牢扎根于现在。在这些家中,我产生一种酷似考古发现遗物的感觉,并从中 认出些许自己。 国际摄影中心容许学生探索传统技术与现代技术,这非常适合我。为了完成我的摄影计划,我使用了我祖父的 1954年的禄莱福莱照相机。此外,我拍摄的大部分房子都建于20世纪50年代。我感觉用这种旧式相机完成这 组作品是正确的,有两个原因:相机的方画幅有助于我的构图;同时相机本身就归属于那段时光——事实上, 相机也是房产清售中的一个常见之物。但是,我并没有因此就使用暗房去制作传统的照片,而是将底片扫描处 理成数码文件。这种过去与现在的融合正是对我作品的感觉。在老房子中用传统胶片摄影仿佛穿越时光、回到 过去旅行一般,而看到电脑屏幕中扫描出的底片又将我带回到现在。注:房产清售是美国的一个典型现象。比 如,在一个人死亡后,他的孩子就会雇一家公司帮他买掉房子以及房子里所有的一切。因此,房产清售就是将 房子及房中的一切全数售出的意思。


from the series The Transience of Things


Ayden Grout New York University Steinhardt School Department of Art & Arts Professions

I grew up in the state of New Hampshire, and most of my early exposure to art was through traditional paintings of ocean scenes, sailboats and lighthouses. In high school I learned to have an artistic eye, but otherwise my instruction was casual, with little emphasis on expression. In Peru I was exposed to a culture where art was very basic and, again, with little room for expression, and I became aware of a reality where art was impractical and not taken seriously. These experiences have shown me a way to use art beyond my own expression. Today I see art as a gift that can be passed on, and as a world that can be revealed to others with less flexibility and opportunity. In many ways my artistic education at college is about self-motivation and obsession. Most importantly, in college there has been an emphasis on art as a way of thinking—a way to articulate thoughts and feelings beyond words—and encouragement to begin a more expansive dialogue about art. This project began as photographs—nude self-portraits—but developed into a performance of human sculpture, abstracted photographs, and life-size paintings. It started as an exploration of my curiosity about the translation of an image into different media, and became the first time I truly incorporated digital technology into the meaning of my work. As I played with my connection to art, I explored the colors and tones of the paint on my skin in order to make my body more abstract. By enhancing the colors and modifying them in the computer I was able to explore the line between visual stimulation and recognition. This current body of work portrays my true self—not only because it is a series of self-portraits, but also because it documents my search and exploration to discover how I am connected with art. Throughout my artistic education I have always questioned my role as an artist. I painted my body as a way to engage these questions and expose myself. 

我在新罕布什尔州长大,最早对艺术的接触多来自一些描绘海景、帆船和灯塔的传统绘画。中学的时候我开始 学习艺术,但只是随便学学,没有太注重表达。在秘鲁我只能接触到很基础的艺术,也没有太大的表达空间, 这让我觉得做艺术是不切实际的想法,不能太当回事。 这些经历展示给我于表达自我之外做艺术的方式。今天我把艺术看做是一件可以传赠的礼物,一个特权思想 较少的可以展示给任何人的世界。很多时候我在大学所受的艺术教育是关于自我激励和执着追求。更重要的 是,在大学我们强调把艺术当作一种思考的方式——一种言语之外的表达想法和感受的方式——并且会鼓励 我们开始更为广泛的艺术讨论。 这个项目开始于自身裸体的摄影,然后渐渐发展成人体雕塑、抽象摄影以及真人大小画作的展示。它开始于 我自身对于用各种媒介来阐释影像的好奇心的探索,也是第一次真正意义上把数字技术运用于作品意义的表 达。当我在把玩自己之于艺术的关系时,我不断在探索用在我皮肤上的颜料的色彩和色调,好让自己的身体更 加抽象。通过加强颜色以及电脑的后期修改,我开始去探索视觉刺激和视觉认同之间的细微之处。
 目前这些作品的主体都是画的我自己——不只是因为这是个自画像的系列,也因为它记录了我对自身和艺术 之间联系的研究和探索。在我学艺术的过程中我始终对自己艺术家的角色怀有疑问。描画自己的身体是一种我 思考这些问题并打开自我的方式。 


Someday everything the light touches will be yours, from the series: Body Paint Performance


Aaron Gustafson
Parsons The New School for Design MFA in Photography and Related Technologies

My education has been very important in understanding art, art history, and the art world today. It has enhanced my skills and confidence, and has helped me to discover how my own work fits into the contemporary world.
 I am from Seattle, in the state of Washington, and will return there from New York after I graduate this year. The natural wilderness around Seattle has influenced my work. I grew up in a country area near Seattle and spent much of my childhood exploring the woods near my house and learning about the plants and animals that lived there. Today I am still interested in nature. I want to ask how people fit in these natural spaces; I want to know how we can learn about ourselves and our world by carefully observing the environment.
 I see and think from a playful point of view. Much of my work has humor and irony. I’m most engaged with subjects when I find a balance between objective analysis and humorous criticism. 
 For the series titled The Definitive Field Guide to Birds of the Pacific Northwest, I used an unusual approach to document birds that live in the Northwest United States. I have always been fascinated with birds and their behaviors. This project allowed me to follow that fascination. My method added humor by criticizing the traditional standards of nature and bird photography. 
 To make these photographs I used an old film camera with a fixed wide-angle lens. This technology limited my ability to photograph the birds close-up. Instead of using a long telephoto lens I had to carefully and slowly approach each bird, spending time with them in their spaces, listening to their songs and learning their patterns. In each of the photographs there is a bird at the very center of the frame, but the resolution of the film and the small sizes of the birds often make them impossible to see. I do not think of this as a failure of the photograph, but rather as a success—because each photograph captures something much more than just the bird. 
 The photographs show the environments, highlighting the physical distance between photographer and subject. Also, the pictures document the communal relationship achieved between the photographer and the bird. The viewer sees only a quickly disappearing moment of something that was greater. And without all of the details, the viewer must use his greatest ability, his imagination, to invent the sights and sounds, and to see the interactions between man and nature.

对我而言,最深刻的教育在于了解艺术,艺术史和当今艺术环境。它不仅提高了我的技能和自信,还帮助我探 索如何在当代世界中表达自己。
 我来自华盛顿州的西雅图市,并打算今年毕业后从纽约回到那儿。西雅图附近的荒野影响了我的作品。我在西 雅图附近的乡村长大,小时候,我总是在我家附近的树林里玩耍,去研究那里的动物和植物。今天,我仍然对 自然感兴趣,我想知道人们如何融入这些自然环境,我们该怎样观察自然,才能理解自己和我们生活的世界。
 我习惯从有趣的角度去思考和观察。因此我的大多数作品都显得幽默和嘲讽。当我能在客观分析和幽默嘲讽 之间找到一个平衡时,我就找到了拍摄对象。
 从《最后的领土指南》到《西北太平洋的鸟类》,我用了一种非同寻常的方式去记录了生活在美国西北部的鸟 类。我总是对鸟类和它们的生活习性特别着迷。这个作品让我可以去追随这种迷恋。我以幽默的态度评价了传 统的风光摄影与鸟类摄影。
 拍照时,我使用一台陈年胶片相机和一个定焦广角镜头。这样的设备限制了我,使我没办法拍摄鸟类的特写。 没有使用望远镜头,我不得不小心翼翼地接近小鸟,花些时间去进入它们的领地,听它们的歌唱并且学习他们 的行为。每一张照片中,都有一只小鸟在正中间,但是由于胶片的解像力和鸟的小尺寸,使得它们很难被发现。 我不认为这些是失败的照片,反而在我看来它们都是成功的。因为,这些照片所捕捉下的不仅仅是几只鸟。 照片展现了环境,特别强调了摄影者和被摄者之间的物理距离。同样,这些照片成功记录下了此刻鸟类与摄影 者所建立起来的共存关系。观者所见,只是一个迅速消失的宏观的瞬间,没有任何细节,所以观看者只能尽其 所能,去想象,去还原当时的现场,了解人类与自然的相互作用。


Mourning Dove, from the series: The Definitive Field Guide to Birds of the Pacific Northwest


Mark Kohlman International Center of Photography General Studies in Photography

I was born at three fifty-two in the morning on March 20th, 1975. Two hours later my father’s father, Charles Kohlman, died. That one moment probably has more to do with who I am today than any other moment in my life. Even though I do not know him—and never will—I am told that I am much like Charles, my grandfather. But my father gives a better picture of where I’m from. Like many people from the American Midwest he is both conservative and religious. The state of Minnesota has deep beauty and resources, but at nineteen years old, they were not enough to keep me at home. When the time came, I left in search of a place more appropriate to who I thought I was and wanted to be. My life-education began as a child through extensive travel. My parents worked for an airline and the travel benefits expanded my world far beyond my peers growing up in the conservative Midwest. Some of my earliest memories are of crowded streets in Hong Kong and the endless expanse of Alaska.  In the years between high school and today I have lived on both coasts of the United States and for a short period in Europe. I have worked as a freelance photographer doing commercial and editorial assignments on action sports and youth culture. Many of my photography assignments took me to distant locations and gave me different cultural experiences. As I have grown in both age and experience I find myself thinking about the life I left in Minnesota. But finding a way to reconnect with these now foreign memories has proved challenging. One of the biggest struggles in returning “home” has been creating a relationship with my father that bridges our personal, political and philosophical differences. I look at our history and wonder what my father felt on the day I was born—the day his father died—and think about the void that has been created since.  At age thirty one I chose against my own sensibilities and joined my father and his friends for my first deer hunt in the woods of northern Minnesota. While they were taking part in an annual tradition, I was attempting to establish a tradition founded on a new understanding. I was starting anew, to re-acquaint myself with where I am from in physical, biological and psychological terms.  I have been back for the hunt each year since. As the photographer Emmet Gowin once said, “I wanted to see something that I didn’t understand, and once I’d seen it, I felt an obligation toward it.” Last fall I began making photographs of my experience in order to begin to understand the void created thirty-four years ago. 我出生于1975年3月20日凌晨3点52分,两个小时之后,我的祖父Charles Kohlman去世了。那个瞬间对我的影响要 比我生命中其他任何瞬间都要大。虽然我并不了解我的祖父,也永远不可能了解了,但人们说我很像他。 在我的父亲身上浓缩了故乡人们的典型特质。父亲与大多数美国中西部地区的人们一样,谨慎保守,信奉宗教。明尼 苏达洲风景秀丽,资源丰富,但却留不住19岁的我。当时机成熟,我便离开了家乡,去寻找更适合我的“理想自我” 的地方。 我关于生活的学习始于年幼时大量的旅行。我的父母在一家航空公司工作,这使我得以在旅行中开拓眼界,远比在 保守的中西部地区长大的同龄人经历丰富。在我早期的记忆中,既有香港拥挤的街道,也有阿拉斯加广袤的平原。 从高中至今,我都居住在美国沿海城市,期间还曾在欧洲短暂停留。作为一个自由摄影师,我接受过各种广告或者是 杂志的拍摄任务,拍摄体育和青年文化。这些拍摄任务把我带到了遥远的地方,给予我异域文化的体验。 随着年龄与阅历的增长,我不知不觉开始思索我所错过的明尼苏达的生活。但是追寻那些遥远记忆对我来说极具 挑战,在我的“回家”道路上,最大的困难之一在于如何在我与父亲不同的性格、政治立场和价值观中构建起一座 沟通的桥梁。回顾我们走过的历程,我不禁猜测我的父亲在他的儿子诞生、父亲故去之日究竟作何感受;同时,我 也不时思索自那时起产生于我和父亲之间的空白。 31岁时,尽管内心并不情愿,我还是参加了父亲和他的朋友们在明尼苏达北部进行的猎鹿活动。对他们来说,这只 是一年一度的传统活动,而我我却要试图用一种全新的视角去理解这个传统。我从头开始,重新认识我地理、生理 以及心理上的故乡。  自那之后,我每年都回去参加狩猎。正如摄影师Emmet Gowin所说:“我希望看到我不曾理解的事物,而当我看到 它们,就会不由自主地想要接近探究。”去年秋天,我开始拍摄我的经历,以期理解34年前产生的空白。 36

Untitled, Big Fork Minnesota, from the series Tiangulations


Kim Kremer
 International Center of Photography ICP-Bard MFA in Advanced Photographic Studies

I grew up in a house where the phrase “I’m bored” was considered a bad word. An English teacher once told me that boredom was the sign of an idle brain, but for my mother, it simply meant that you weren’t trying hard enough to have a good day. My mother said every day was good when your friends were a sister and a brother, 20 cats, two dogs, and 300 acres of farmland full of cattle, hogs, and fireflies. 
As a result, my childhood was an adventure where anything was possible. The ditch was a swimming hole, and the front yard was a tornado from the book “Little House on the Prairie.” We made life just how we wanted it to be. We sailed wooden boats through the creek, dressed my brother like a girl for parts in plays, and traveled imaginary expeditions to abandoned farmhouses. My love of making pictures comes from trying to recapture that world we created. Every day was an opportunity to make something new—a fort of tree-bark, or a tap dance routine.
 Making photographs is an extension of this exploration. Photography lets me search for and try to hold on to the playful adventure of childhood. It also lets me hide reality and release the fictional absolutes I sometimes create in order to make sense of life. I make pictures because I can get outside my skin, and escape the person I think I am. In photographs I explore the hidden and mysterious part of myself and my world. 
 After living away from my childhood home for the past seven years, both abroad and in New York City, my favorite place to photograph is in rural Iowa, often in the abandoned farmhouses where I played as a child. Recently, I used scanned negatives to make traditional prints, but then I ripped the prints apart and glued the mismatched halves back together. Then I scanned the new constructions and printed them at a much larger size, floating the resulting pictures in large amounts of white space. The images and the process of making them mirror my memories of childhood; each time I return home I remember things in a slightly different way, much as my grandparents seem to reconstruct their past. Technology plays a role in how I capture and output my images, and in these two photographs I directly play with scanners to subtract and add information to the frame, creating fictional narratives that also rely on materials like glue and film instead of Photoshop. I think that through the Internet, especially social networking sites, artists can create new spaces for their work in ways that change the traditional artist-audience relationship. 
 我在这么一个家庭长大:在这个家里,谁要说了声“我没劲”,就像说了句脏话似的。一位语文老师曾经告诉 我,无聊,就是游手好闲的苗子。而要叫我妈说,无聊,就是你没好好去过一天。我妈妈说,当你的朋友是一个 姐妹、一个兄弟、二十只猫、两条狗,而300 英亩的农田到处都是牛、猪、萤火虫,那么每天都是极棒的。 结果,我的童年就像是一场冒险,什么事都有可能。那条小河沟就是游泳池,前院就是《草原小屋》里的龙卷 风。我们按自己想要的那样创造生活。我们架着木船横渡小溪,让弟弟穿成女孩扮演角色,在废弃的农舍里展 开想象的远征。我对照相的热爱,就始于想要留存我们创造的世界。每天都是一个弄出新花样的机会,不管是 一个树皮堡垒,还是几个踢踏舞步。
 拍照是这种探索的延伸。摄影让我能够搜寻并留住孩童的欢乐冒险。它也让我能够屏蔽现实,展示我为构筑生 活意义而创造的虚构。通过拍照,我能出离我的皮囊,逃离那个我认为的自己。在照片中,我探索我自己和我的 世界的隐秘之处。 去了国外,又来到纽约,离开童年的家七年之后,我现在最喜欢摄影的地方是爱荷华的乡下,而且常常是那些 废弃的农舍,童年时我在那里玩耍。最近开始,我把胶片扫描并印成普通照片,然后,把照片撕成数片,把不连 贯的各片用胶水粘在一起。接着,扫描这新的构成品,打印成更大的尺寸,然后让它们悬浮在宽大的白色空间 里。照片以及制作的过程就像一面镜子映出了我儿时的记忆。每次回家,我回忆起的事情都微微不同,很像我 祖父祖母在重构他们的过去。 在获取和输出影像过程中,我使用了一些科技手段。这两幅作品,我直接使用扫描仪来增减画面信息;用胶 水、胶片,而不是Photoshop,来虚构故事。我想,通过互联网,特别是社群网站,艺术家可以改变传统的作 者-受众关系,为他们的作品开拓出新的展示空间。


White Oak, 2009, from the project All the Year Round


Erica Leone International Center of Photography General Studies in Photography

     As a child of divorce, always moving from place to place, my childhood experience did not have a sense of “home.” The distance between my two parents’ houses (Gainesville, in the state of Florida, and Woodstock, in the state of New York) introduced me to elements that continue to surface in my art—issues of identity and a continued search for “home.” Before studying photography I first completed my education for a career in finance. It wasn’t until 2005 that I began to study the art of photography. I was worried at the beginning so I worked as a photography assistant and went to photography classes at night and on weekends. Then, after much thinking, I enrolled in the International Center of Photography’s General Studies certificate program. My time at ICP changed my life: I studied art history and critical theory, as well as advanced aesthetic and technical processes. Before studying at ICP I felt a loss of my place in the world, both professionally and personally. This sense of displacement combined with my ongoing search for the stability and safety of a “home,” strongly influencing my creative process. These challenges encouraged my exploration of ideas about identity and culture. I wanted to understand my identity as influenced by society, by family, by media and by trauma. In pictures I began to explore the many faces existing within a person. Though often not at peace with one another, my exploration of these sides heavily influenced my work. Though I began photography with digital shooting, I now use medium and large format color film, preferring the slow method these formats require. I was seduced by the precious negative and the contemplative and anxious time waiting for the film to reveal the results. I have been trained in the traditional darkroom, but I prefer scanning my negatives and printing from the computer. As digital technology advances and film production slows, I might be tempted to move again towards digital shooting, but I expect the role of analog photography to remain in my work.

因为父母离异,不停地搬家, 我的童年里没有“家”的概念。在我父亲和母亲两个家(一个在佛罗里达州的盖 恩斯维尔,一个在纽约州的伍德斯托克)之间来回奔波,这段经历造成两个主题不断出现在我作品中:身份认 同,和对“家”的持续追寻。 在学习摄影之前,我先念完了一个金融职业教育课程。���到2005年我才开始学习摄影。一开始我有点担心,于 是我找了份摄影助理的工作,晚上和周末去上摄影课。后来经过仔细的思考,我注册参加了国际摄影中心普通 研究资格项目的学习。我在国际摄影中心的学习改变了我的人生:在那里我学习了艺术史、文艺批评、高等美 学和摄影技术。 在进入国际摄影中心学习之前,我在职业上和个人生活上都很迷茫,找不到自己在这个世界上的位置。这种迷 失感以及对“家”所代表的稳定感和安全感的不断追寻,深深地影响着我的创作。内心的冲突促使我深化自己 对身份认同和什么是文化的理解。我想要从社会、家庭、媒体和创伤对我的影响中寻找自我的定位。我开始在 摄影中探寻一个人内心的多种面目。尽管有相互矛盾的地方,我在这些方面的探索仍然对我的作品有很大影 响。 一开始学习摄影我用的是数码设备,不过我现在使用中幅和大幅彩色胶卷,我喜欢这些片幅所要求的 慢工。 按捺内心的焦急,边祈祷边等待珍贵的负片最终成像,这个过程让我着迷。我接受的是传统的暗房技术教育, 但是我更喜欢用电脑扫描负片并打印。随着数码技术的进步和胶片生产的放缓,以后我或许会再次转向数码 摄影,但是那时我还是希望在工作中保留一部分的胶片摄影。


Aunt Bobby, 2009, from the Inheritance series


Meghann Lyding
 Parsons The New School for Design MFA in Photography and Related Technologies

I spent my childhood in a small town in the state of New Jersey, not far from the Delaware Water Gap. I grew up on land covered by woods and rolling hills, carpeted with pastures and divided by rivers. Early memories from my childhood center on locating myself within the natural world. As a result I became interested in biology and developed a great respect for nature, enjoying kayaking, hiking, swimming, dancing and yoga. 
Today I live in Brooklyn, New York, and my work centers on the body and its limitations—both natural and imposed. Because of my background in dance I respond to my life through touch and movement. I want to engage with my environment and activate space, but I often find myself grasping for the ungraspable. I use the body as both a map and a vehicle. The body does not lie. My approach to art is through performance and experiment; I work like a scientist. While my need to make connections comes from a place of desire and unease, the act itself is from a place of detachment, curiosity and open-mindedness. My work is cyclical and involves repetition, endurance and an exploration of liminal space. 
My early photography used 4x5 and medium format cameras and traditional film. It began when digital technology was becoming so popular that traditional film companies were slowing down. I embraced the change and bought a digital SLR in 2002. I’ve been using it ever since. Digital technology has since expanded rapidly, which has been beneficial but also costly. Archiving my work is my greatest concern. Currently I am using video, which parallels photography. But I am concerned about technical upkeep and archiving, and I worry that old technology will make it difficult to view my work and decrease its value in the future. 
 我在新泽西州的一个小镇度过童年,那儿离德拉瓦河谷不远。我成长的地方森林覆盖、山峦起伏,草地如绿毯 般铺展,河流穿越而过。我童年的早期记忆都是自己沉浸在大自然里。因此,我对生物产生了兴趣,并且生发 出对于自然的无限敬意,还喜欢皮艇、徒步旅行、游泳、舞蹈和瑜珈。 现在我居住在纽约的布鲁克林区,我的作品集中关注人的身体及其限制——包括自然的和外界强加的。因为 我有舞蹈方面的学习背景,我可以通过和外界触碰和律动来回应我的生活。我想让自己与环境紧紧相连,让周 围的一切都灵动起来。但是,我却经常发现自己一直想抓住的东西根本就是让人难以理解的。我把人的身体同 时当做地图和交通工具——它既是目标也是手段。身体是不会撒谎的。表演和实验是我通向艺术的方式,我 像科学家一样工作。同时,我想去与外界建立联系的想法来自于充满欲望与不舒适感的地方,而建立联系的行 动本身则是因为事物固有的分离性,我的好奇心和开阔的胸襟。我的工作不断循环,需要重复、耐力以及对于 局限的空间的探索。

 我早期使用的是4x5和中幅相机、以及传统胶卷。那时,数码摄影技术正在蓬勃发展,而胶片行业也因此渐渐 衰落。我积极面对变化,2002年买了一台数码单反,而且一直在使用。益处良多但花费巨大的数码技术在那时 持续发展壮大。如何保存我的照片是我最为关注的,目前我使用的是和摄影极为相似的摄像技术。但是我很 关心技术上关于照片的维修和存储,担心有一天落后的技术会让别人看我的作品显得困难,从而贬损了它们 的价值。


from the Transfigurations series


Kate McBride New York University Steinhardt School Department of Art & Arts Professions

I grew up in a suburb of Boston, Massachusetts, and went to a high school that did not sponsor the arts. Sports were very important, and education was also valued, but art and music were not. But nevertheless, because of the art classes I took, I knew early in my life that art was important to me, even though I didn’t realize how much it excited me until I attended New York University. Today, my education is filled with art and culture in every way, and I have found my artistic passions. I no longer feel limited, and I’ve learned about things that I wasn’t even aware of before. I would not be interested in art today if I had not felt the push and pull of those two very different educational experiences. Today my ideas about the future revolve around art. I know that art will be the most crucial element of the career path I choose. And I know it is something that I both want to work with and create for the rest of my life. But even before I knew this for sure, I had a strong idea of my aesthetic. At first I could not have spoken about it in words, but I always knew clearly what I liked and didn’t like, what I wanted from the art I saw and from the art I made, and even what I wanted from the world around me. My body of work has always been a direct expression of these ideas about beauty. Specifically, with my photography, I always try to create the world the way I want to see it in my images. Contemporary technology means everyone can be an artist. Instead of art being accessible only to a few, new technology enables everyone to experiment with, publish and share their world. This has affected young artists by allowing us to explore without much sacrifice. Though I still feel much of art remains traditional and separate from technology, the new tools make art more accessible. I know that contemporary technology will inform the media I work with in the future, and certainly how I choose to share that art. My education, use of technology, and belief in a specific aesthetic has thoroughly shaped the art I make.

我在马萨诸塞州波士顿市郊长大,然后进到一个没有什么艺术氛围的高中学习。在这所高中,体育很重要,教 育也很受重视,但是艺术和音乐却显得无足轻重。然而,通过所接触到的艺术课程,在幼年的时期我就明白艺 术对我而言很重要,但是直到进入纽约大学,我才意识到我对艺术有多大的热忱。而今,每天的学业被艺术和 文化充溢,我找到了艺术热情。我不再感觉受限,所学到的是我从前甚至没有意识到的。如果不曾被这两种截 然不同的教育经历左右,也许现今我也不会对艺术感兴趣。 如今,艺术是我对未来思考的中心。我知道艺术将会是我选择职业道路最关键的要素,我将投身于此并以 此创造我接下来的人生。 但在我确信这个理想前,我就对我的审美观有很深的思考。起先,我不知道如何用语言描述它,但是我能 清楚分辨我所喜欢的和不喜欢的,得到我想从所看到和创造的艺术中得到的,甚至是感知我周围的世界中 所得到的。所从事的艺术成为我对美的想法的直接表达。尤其是通过镜头,我总能尝试创造出我概念中的 世界。 当代技术意味着人人都可以成为艺术家。新的技术使每个人都能够尝试、发表并分享他们所处的世界,艺 术不再曲高和寡。这使年轻艺术家能不必付出很大的代价地进行探求。尽管我依然认为大部分艺术仍保持 传统,而独立于技术,但是新的技术则使艺术更平易近人。当代技术将会改变和丰富我使用的媒介和我分 享艺术的形式。我的艺术完全由我所受的教育,对技术的应用以及对特定美学的信仰所共同缔造。


from the series Coney Island, New York


Matt McDonough International Center of Photography Documentary Photography and Photojournalism

I am from the United States of America. I was born in Boston, Massachusetts, raised in Connecticut, and have lived in New York for the last seven years; the Northeastern part of the US has influenced me greatly. My work is shaped by this region and by experiences shared by people who live here. I am interested especially in the history of this part of the US, and in the remains from our past that are still here today. My current body of work focuses on the mental healthcare system in America, and its decline over the last 50 years. I photograph both the abandoned psychiatric hospitals and the population that once inhabited them. Before going to school for photography I worked in hospitals, including psychiatric hospitals, and learned a lot about the subject. In the 1960s the United States began closing psychiatric hospitals, and the past 30 years more than 80% of psychiatric hospitals have shut down. Consequently, 500,000 people, most of whom never knew life outside of the hospital, were put out on the street without a plan. Many had no family support to return to. It is estimated that one-third of the homeless population in New York City is a direct result of this deinstitutionalization. 500,000 people that were ignored in hospitals for their whole lives were once again ignored by the US government. And since the individual states have little money for outpatient psychiatric programs, these people are still ignored today. My work is a balanced mixture of old and new technology. I photograph with a traditional large format camera, scan my negatives, and then use a computer to print digitally. As software and printer technology evolve, I will as well. But the power of the 4x5 negative will never change for me. I believe it is one of the few photographic wonders that can never be replicated digitally.

我来自美国。生于马萨诸塞州的波士顿,长于康涅狄格州,最近7年居住在纽约;这段经历使我深受美国东北部 地区的影响。我的作品成形于这个区域和在此地生活的人们的共同经历。美国这部分地域的历史,以及那些来 自我们的过去并且迄今依然存在的事物,尤其让我感兴趣。 我目前的作品关注的是美国精神医疗保健系统,以及它在过去50年间的衰退。我拍摄废弃的精神病医院和过 去居住在那里的人们。在学习摄影之前,我曾在医院工作,包括精神病医院,所以对此题材有深入地了解。上 世纪60年代,美国开始逐渐停办精神病医院。在过去30年中,有80%以上的精神病医院被关闭。因此,50万 人——其中大多数从未接触过医院之外的生活——就这样流落街头,并未得到妥善安置。很多人都无家可归。 据估计,纽约市1/3的流浪人群直接来自于解除的精神病医疗机构。这50万人曾被遗弃在医院里度过他们的 生命,如今又再次被美国政府所忽视。由于各州精神病门诊项目缺乏资金,这类人群至今无人顾及。 我的作品均衡地融合了新旧技术。我使用传统大画幅相机拍照,扫描底片后通过电脑进行电子输出。随着软件 以及打印机的更新换代,我也会采用新的技术。但是我将一直使用4x5底片,因为我相信它是为数不多的摄影 奇迹之一,绝不会被电子产品所取代。


Abandoned (Doors), Middletown State Psychiatric Hospital, from the series Deinstitutional


JC McIlwaine
 International Center of Photography Documentary Photography and Photojournalism 

I grew up in Vermont, in a small town about an hour from the Canadian border. People there take a common-sense approach to problems: solutions must be simple, effective, and not hurt anyone. This attitude has influenced me since my childhood. 
 I am an idealist, and I trust that improvements can be made on social justice issues. I think the greatest problems we face come from the way we treat each other. I believe that we can evolve beyond war, racism, famine, and poverty. We must realize that our shared human nature is the most important thing we have, and that money, religion, property, and pride have no significance compared to the value of human life.

 My education has deepened my sense of self and purpose. I spent four years at college in Santa Cruz, California, to earn my degree in Film and Digital Media, and another four years working in the San Francisco Bay region. After that I came to New York to study in the Photojournalism and Documentary Photography program at the International Center of Photography.  

 My work is about the homeless. I photograph people I meet on the streets and in the subways. I have also traveled to Fresno, California, and Camden, New Jersey, to document tent cities. Tent cities are temporary villages where homeless people live if they have no place else to go. 
I used to think that homeless people were victims of events beyond their control, but now I know that sometimes people are homeless because of decisions they have made in life. Sometimes people find themselves without any of the basic necessities of life: food, shelter, and clothing. While photographing these tent cities I decided that even if the story I looked for didn’t exist, the stories of these people needed to be told nonetheless. Circumstances cannot be ignored simply because they don’t fit the mold we might have made. 
New technology allows me greater freedom in creating, processing, and distributing my work. The tools now let me shoot thousands of photographs while also capturing video and recording audio. The combination of these elements brings something that is missing when a story is told only through still photographs. Now it’s possible to allow subjects to tell their own stories. When we see an image, and hear a subject’s thoughts, feelings, and experiences in their own voice, we can relate to them more easily. This expanded type of media comes closer to the ideal of bringing more understanding to the world as we bring people closer together.

 我在佛蒙特州的一个小镇长大,那里距加拿大边界大约一个小时车程。那里的人们用这样的常识面对问题:处 理方法必须简单、有效,并且不会伤害其他人。我从孩提时代起就受到这种态度的影响。
 我是一个理想主义者,坚信社会公义方面仍有待改善。我认为我们面临的那些最重要的问题都源自我们对待 彼此的方式。我相信我们可以超越战争、种族偏见、饥馑和贫穷。我们必须认识到,共有的人类的本性是我们 所拥有的最重要的东西,金钱、信仰、财富和自尊相对于人类的价值而言是微不足道的。  所受的教育巩固了我的自我意识和目标。我花了4年时间在加利福尼亚的Santa Cruz学院学习,获得了电影和 数字传媒学学位,又用了四年在旧金山湾区工作。之后,我来到纽约,在国际摄影中心学习新闻摄影与纪录摄 影专业。 我关注于无家可归的人。我拍摄在大街上或地铁里遇到的人。我去过加利福尼亚弗的雷斯诺,和新泽西的卡 姆登,去拍摄那里的帐篷城。帐篷城是供无家可归者居住的一种临时村落。 我一度以为,无家可归者都是生活中无法控制的意外的牺牲者,但是现在,我意识到,有些时候,是人们在生 活中所做的决定导致了自己的一无所有。有些人没有任何的基本生活必需品,没有食品、庇所和衣物。在拍摄 这些帐篷城的过程中,我决定,即使找不到我想要的故事,我也必须讲述他们的故事。不能仅仅因为不符合我 们预想的模式,就把事实忽略。 现代技术带给我更大的自由,去创作、处理和分发我的作品。我 所用的器材让我可以拍摄成千上万张照片,同 时又能拍摄视频和记录音频。如果不运用这些元素的组合,而单靠静态摄影来讲故事,有些东西就会遗失。现 在就有可 能让拍摄对象自己讲述故事了。当我们看着一张照片,听着当事人自己的声音叙述想法、情感和经历 时,我们就更加容易接近他们。这种扩展了的媒体形式更为理 想,当我们把人们拉得更近的时候,我们可以更 多地理解这个世界。


Rex, from the project Tent City â&#x20AC;&#x201D; Camden, New Jersey


Marcela Riomalo International Center of Photography Documentary Photography and Photojournalism

Bogota, in the nation of Colombia, is a modern metropolis. It is compulsive and intimidating, a place where anything can happen. I was born and raised there, and my character and point of view were formed by that city. I grew up surrounded by different ideas that gave me only one desire: I wanted to see more. I have an obsession for big cities and a hunger for the foreign. I moved to Paris, then to Barcelona, then to New York. All of these cities are at the heart of what I consider home. And this idea of home is in the scenes and characters I photograph. I am fascinated by the urban landscape, the people who live in it, and their relationship between each other. The city I come from nourishes my work in photography. Between Dog and Wolf is a series of pictures that plays with the idea of twilight. “Twilight.” “The Magic Hour.” “Dawn.” “Between Dog and Wolf”… These are ways of naming that mysterious time when day meets the night. I borrowed the power and beauty of those expressions to create a body of work that talks about the uncertainty and fear I’m facing as a young photographer and as an almost thirty-year-old woman who’s in the process of building up a new belief system and mindset. This body of work also speaks to my intellectual and artistic references. I enjoy the films of Won Kar Wai and Michel Gondry, and love the poetry of Alejandra Pizarnik and Anne Carson. I think their aesthetic is present in my work. I photograph with available light so that the color of the night dyes the frame. In this way the photos take a monochromatic and saturated feeling that translates the intensity—almost anger— with which I live today. The characters in the photos are all projections of my unsettled self, and appear surrounded by a sea of color and light. Trapped in their own emotion, overpowered by their own passion, they all speak for my dearest self. I am part of a generation of photographers that didn’t start with film and then move to digital, but rather, the other way around. My first camera wasn’t a traditional film camera but instead was a simple pointand-shoot digital camera. I know many photographers who have started this way. And although the purists see this as a sign of decay, I don’t think it is. In the same way photographers choose to use a traditional camera based on the project they’re shooting—whether it’s medium or a large format, or 35mm— I’m happy to be able to choose either the analog or the digital. To me, digital is just another tool. Now, of course, new tools bring changes. They demand a new mindset and they challenge our way of seeing and understanding. But don’t we want our photography to speak for the world we live in? In that sense I believe the digital era is an opportunity to take our photography further formally and conceptually. Now is the time to be creative and innovative. All the tools are given; now the ball is in our court. 哥伦比亚的波哥大是一个现代都市。它独树一帜,个性鲜明,任何事都可能发生。我在那里出生长大,它塑造了我 的性格和观点。不同的想法包围并伴我成长,并给了我唯一的渴望:看得更多。迷恋大城市,渴望外域风情。我搬 到巴黎,又去了巴塞罗那,然后到了纽约。这些城市都处在我愿以之为家之地的中心。这样一种“家”的观念,贯 穿于我拍摄的场景和人物。我着迷于城市的风景、城中生活之人以及他们之间的关系。出生地决定了我的摄影。 《狗狼之间》是一个和暮色有关的系列。 “暮色”, “魔力时刻”, “黎明”, “狗狼之间”……有很多词语可以用来 命名白天与夜晚相遇的这一神秘时刻。借助这些词语的美与力量创作的这组作品,展示了不确定和恐惧,那是作 为一个年轻摄影师的我正面对的,也是一个即将30岁的女性,正试图建立新的信仰体系和心态的我所面对的。 这组作品也是和知识、美学上影响我的作者和作品的一次对话。我喜欢王家卫和米歇尔·刚瑞(Michel Gondry)的电影,喜欢阿莱杭德拉·皮萨尔尼克(Alejandra Pizarnik)和安妮·卡森(Anne Carson)的诗。我认 为他们的审美体现在我的作品中。我用现场光拍摄,所以夜晚的色彩铺满了整个画面。这样,照片单调而饱和的 色彩感觉就传递出了紧张——近乎愤怒的紧张,——它正伴随着我的生活。相片中的人物都折射了我那未确定 的自我,他们被色和光的海洋围裹着。他们被情感困扰,被热望压倒,他们是我那个自我的代言人。 我不属于胶片转数码的一代摄影师,相反,我开始就是数码。我的第一个相机不是传统胶片的,而是一个简单的 傻瓜数码机。我认识的很多摄影师都是这么起步的。 尽管正统主义者视此为衰退,我却不这么认为。从拍摄项 目的不同出发,传统摄影师选择不同的相机——中福的、大幅的,或者35毫米的——那么同样,我也很高 兴可以 在模拟和数字之间做选择。对于我,数码仅是另一种工具。当然,新工具带来变化;它们需要一个新的心态,它们 挑战我们观看与理解的方式。 我们不想用作品代言我们生活的世界吗?那么我认为,数码时代是让我们的摄影创作更严谨、更具观念性的一次 机遇。现在正是创造、革新的时机。器已利,轮到我们了。


from the series Entre Chien et Loup (Between Dog and Wolf)


Keith Telfeyan Parsons The New School for Design MFA in Photography and Related Technologies

I grew up in the suburbs of Sacramento, the capitol of California, which is a quiet city of two-million people. I was influenced by the glamour and fun of Californian culture, but the town was ordinary and uneventful. I invented many ways to fight the boredom of my small-town youth; I became interested in music and counter-culture, and developed a sense of intellectualism. My parents valued education and I benefited from their efforts to nurture my development. I was interested in the world around me, and curious about all things. Time is slow in the suburbs. One can witness the day passing, which is something I remember strongly now that I live in a large city, and the slowness of my hometown has stayed with me. I feel that it’s important to notice things, to look at them and consider them. As an educated person I think that it’s valuable to think about life in a grand way. I’m not sure if my formal academic training has made me philosophical, but that’s how I’ve ended up. My education started in private school, but I resisted it. In high school, I insisted on attending the closest public school, and in college I went to the best public university in America—UC Berkeley—which was near to my hometown, Sacramento. From that point on I’ve developed my sensibilities in big cities—San Francisco, Los Angeles, New York—always chasing an idea of “something bigger.” Despite my time in big cities, the suburbs stay with me. Little things matter very much; I find significance in streetlights, parking lots and the rustling of trees. Perhaps the ordinary moments that make up our lives are more important than we realize. Or maybe I’m nostalgic for a time when I felt free. In any case, I like cameras, and I point them at subjects that seem insignificant but feel spiritual upon a slower consideration. Why do I like cameras? Perhaps because I like the way they objectify the world. I didn’t touch one until I was fourteen years old. At first I liked guitars and all the stuff of rock and roll—especially grunge. Music equipment has a funny allure. The same can be said of photographic technologies. Traditional film, which is quickly dying off, has a physical presence that is seductive. The snap of the shutter, the advance of each frame, the ceremonial loading and unloading—all have a charm, as does the grain of the image. I find it beautiful. The more technology progresses, the more interested I become in older forms, like super 8 film cameras and phonographs. The older I get, the more I insist on feeling young.

我在加州州府萨克拉门托市郊区长大,这个安静的城市有二百万人口。加州文化的魅力和乐趣熏陶着我,但平 淡的小镇生活乏善可陈。我想方设法去打破小镇青春生活的沉闷;开始对音乐及反传统文化产生兴趣,并形成 了理性的思维。我的成长受惠于注重教育的父母。周围的世界使我感兴趣,我对一切事物都感到好奇。 郊区的时间很漫长。特别是住在大城市之后能强烈地回想起郊区的日子是如何流逝的。家乡的这种慢节奏伴 随着我,使我意识到对事物的观察,审视以及思考是很重要的。作为一个受过教育的人,我觉得以一种宏大的 方式来思考生命是很有价值的。我不确定这种哲性思维是否来自正规的学术训练。我的教育始于私立学校, 但我很抗拒。高中时我坚持进入最近的公立学校就读,大学则选择了美国最好的公立大学——加州大学伯克 利分校,这离我的家乡萨克拉门托也很近。从那以后我在旧金山,洛杉矶,纽约等大城市培育了自己的敏感 性——总是在寻求某种“更大”的想法。 尽管身在大城市,郊区的感觉总是伴随着我。细微之处能见长;对我来说,街灯,停车场以及树木的沙沙声都 意义非凡。组成我们生活的平淡瞬间或许比我们所意识到的还重要。又或许这是出于对家乡那段自由日子的 缅怀。无论如何,我喜欢相机。我拍摄的事物看似微不足道,但经历缓慢的思考后能使人感受其精神性。   为什么我喜欢相机?也许是因为我喜欢它们将世界客观化的方式。我到十四岁才接触到第一台相机。起初我喜 欢的是吉它以及与摇滚相关的一切——特别是垃圾摇滚。乐器的乐趣很吸引人,摄影技术也一样。快速消逝中 的传统胶片,有着诱人的物质特性。快门的按压,逐格画面的卷动,仪式化的装片和卸片——都蕴含魅力,影 像的颗粒感也一样。我觉得美不可言。技术越进步,古老的形式就越让我着迷,就像超8胶片相机和留声机。 年龄越增长,我就越想坚守年轻的感觉。


Untitled (Two-headed Lamp), from the series Everything Is Awesome


Leah Tepper Byrne International Center of Photography Documentary Photography and Photojournalism   I am originally from Canada, although I have not lived there for almost ten years. I believe I have been shaped by my citizenship most of all through the freedom it grants me, and that the experience of living in a number of different places has informed my worldview more than any one place in particular. The end result has been photographic work and a feeling of motivation that is emotionally driven, above all else.  For my project Still Lives, I photographed at The Children’s Village, a 150-year-old residential treatment home and alternative to incarceration site for troubled boys just outside of New York City. The Children’s Village is a place where the mental health, child services, and juvenile justice systems come together. The boys live together in small cottages according to their specific crimes and treatment needs, which range from drug abuse to sexual offense to mental illness. It is an unusual therapeutic approach practiced in an unusual setting marked by contrast and contradiction.   I was drawn to The Children’s Village out of a need to explore what it means to be young and confined. I am also fascinated by spaces of transition. The Children’s Village offers residents hope in the form of treatment and support, a structured environment and relief from the difficulties of their daily lives, while at the same time presenting its own set of very real challenges.   I shot this work with a traditional medium-format film camera. One of the most beautiful things for me about photography is the way it requires the photographer to be in the moment, completely present, with heightened awareness. I find that digital photography can take away this magic. On the other hand, I cannot deny the many benefits of digital technology, and so I find myself somewhere in between: shooting film, scanning my negatives, and printing both digitally and in the darkroom.  Going to school this past year in America, and specifically New York City, has been an expanding experience. There is an overwhelming sense of possibility here. I believe my education has reconnected me to my passions, helped me refine my vision and define my goals, and allowed me to see a future as a working artist and photographer. 

我来自加拿大,尽管我已经离开那里将近十年了。 在美国我所体会到的自由已经接近完全的改变了我原来心 中对公民这个词语的认识; 当然去不同的地方旅行增进了我对世界的认识也远远的胜过停留在一处。最后的 结果是,由情感主导的摄影作品和对生活的激励。 关于我的作品“Still Lives” (如静物般的生命,译者), 我的拍摄地点是在儿童村,那是在一个在离纽约市不 远,有着150年历史对问题男孩进行住院治疗和代替监禁的地方。儿童村是集合了心理健康,儿童服务和青少 年司法系统的地方。根据男孩们所犯的罪和治疗的需要:从药物滥用到性犯罪到精神疾病被安排到不同的小 屋里住在一起。这是在一个被标记上反差和矛盾的特殊地方使用的一种特殊的治疗方式。 在对年轻和禁锢的意义的探索过程中,我深深的被儿童村所吸引。我也被空间上的过渡所着迷。儿童村通过 治疗和鼓励这样的方式来使住院者感受到希望:一种被设计好的环境和使他们从日常生活的困难中放松,但 同时也提供了它特有的一种非常现实的挑战。 我使用了一台传统的中画幅相机来拍摄这组作品。对我来说摄影最美妙的地方之一就是它要求摄影师出席在 那个瞬间发生的时刻, 全身贯注的并且完整的出席。我觉得这种魔力在数码摄影里不存在。从另一种角度来 说,我无法否认由数码技术所带来的很多好处,所以我将自己置身于两者之间:用胶片拍摄,扫描自己的负片, 把照片同时在打印机上打印和在传统的暗房里洗印出来。 过去的一年在美国的学习,尤其是在纽约,使我丰富了很多的经验。在这里有太多的可能性。我相信我所学到 的东西已经使我重新感受到了激情,并且帮助我完善了我的愿景和确定我的目标,同时也让我看到了我能以一 个艺术家和摄影师的身份工作的未来。


Peas, The Childrenâ&#x20AC;&#x2122;s Village, from the project Still Lives


Merve Unsal Parsons The New School for Design MFA in Photography and Related Technologies

I’m a Turkish artist working in New York. Although I have lived in Istanbul, a city of 17-million people, almost all my life, I have never identified myself as a Turk, a woman, nor a Muslim. My work is rooted in my curious mind and fed by everything I see and read. I owe a lot to the rigorous education I received in a third world country, where the dream of going to school in the United States can only be achieved by always performing well. My art practice is a result of all that I have learned during my academic life. I’m interested in how we process information as a community, and my work interprets text and images that already exist in the world. I have always been fascinated with the New York Times, especially the online slideshows, which usually contain a catchy title and 10 to 15 pictures. The body of work exhibited here began with a slideshow about Turkey. When I watched it I realized that the pictures had political and ideological connotations, and were not objective. This motivated me to think about drawing attention to the prejudices that we don’t notice in photojournalism. My method involved appropriation and manipulation, and was very automated. I simply counted the number of pictures in each slideshow and then collapsed them in the computer. I created one image that is literally the combination of all the images that the New York Times provided to their readers. This work belongs to our place and time. I read the New York Times at home but I am far away from the disasters in the pictures. I want my work to question these documents that we believe are true. And I want to ask how the accessibility of these images changes a situation. With the development of new camera phones, can everyone be a journalist? And, if so, then the question becomes whether technology levels information democratically, or whether it just hides the prejudices of society even deeper. Now that we are able to see all and know all, is there room for original interpretation?

我是一位在纽约从事创作的土耳其艺术家。尽管一直都生活在拥有1700万人口的伊斯坦布尔城,我从未将自 己的视角局限为一个土耳其人,一位女性或是一个穆斯林。我的创作源于对新奇事物的渴望,身边一切所见 所闻都给予我宝贵的灵感。在一个第三世界国家受到的严谨教育使我获益良多。在这样的国家里,要实现去美 国读书的梦想必须保持出色的表现。因此我的作品凝结了我毕生所学。 我积极致力于研究人类社会处理信息的方式,作品以现今已存在的文字和图片为基础。一直以来我对纽约时 报这份刊物都有着浓厚的兴趣,尤其是它在网上发布的新闻图片幻灯片,那些由10到15张图片组成的新闻故 事,他们通常都有吸引眼球的标题。这次展出的作品其实源于有关土耳其的一组新闻图片,当我在纽约时报上 看到这组图片的时候,我意识到他们带有政治目的以及意识形态导向性。这个发现也让我意识到我们原来一 直都忽略了新闻摄影的主观意念偏颇。我的制作手法是挪用和改造,而且非常自动化。我只是数一数幻灯片里 面的图片,然后在电脑里堆叠起来。最后成品是一张涵盖了纽约时报上所有新闻图片影像的作品。 这是一幅属于我们这个时代的作品。当我独自在家阅读纽约时报的时候,那些报道的灾难远在千里之外。我希 望我的作品能够发人深省,引人深思,鼓励人们勇敢质疑媒体的真实性和客观性。同时我也希望能探索新闻图 片的前景与未来,在科技高度发达,摄影器材越来越先进的今天,是否每个人都能成为记者,拍下新闻图片。如 果答案是肯定的,那么科技是让信息传播更加的公正,还是更加深层的隐藏了社会偏见和政治理解。在我们 能够通过影像资料看见所有知道一切的当下,人们仍然能够找到新闻图片最真实最原始的理解吗?


Post-election Unrest Continues in Iran, from the series New York Times Photographs


Anaïs Wade International Center of Photography General Studies in Photography

I was born and raised in France and Italy by a French mother and an American father. Home for me is not a place, but something that I carry with me. It is a composite of memories where friends become family. My work is about the search for a place called home, in the country that I have chosen, the United States of America. Today I have found a sense of home in the United States, and a new identity. My work shows my desire to find a home, but also my fantasy of a more cinematic life. My project, Flare Bloom, is inspired by collections of everyday photographs and my love of American movies. I am documenting normal life as if it were a fiction. Moments become scenes, and objects and people become players in a script. I am the main character as the movie of this life unrolls. The title refers to dreams that bloom at night and then suddenly burn in a flare as you wake up. These pictures attempt to capture these passing visions. Contemporary technology is present in the post-production part of my work. I work with Polaroid Spectra and with traditional analog film. I use Photoshop to print the images the way that I want them to appear. I hope that traditional processes will survive and thrive in the future, but I’m grateful for the speed at which technologies evolve.

我出生在法国,成长在法国和意大利,我的妈妈是法国人,爸爸则来自美国。 家,对我来说不是一个地方,只 是我随身带着的某样东西,它是一个复合的记忆,记忆中,朋友成了家人。我的作品就是寻找一个可以被称为 家的地方,在我的选择—美利坚合众国。 如今,我已经在美国找到了家的感觉,以及一个新的身份。我在作品中表达了对家的渴望,同时也幻想着更富 电影感的生活。 “绽放与闪光”这个项目的灵感来自对日常生活的拍摄以及我喜爱的美国电影。我一直在拍摄平 凡的生活,就像拍摄一部虚构的电影,每一个瞬间都变成了电影场景,每个事物每个人都成为剧本的一部分, 而我即是“生活”这部电影的主角……这个题目是关于梦想, 梦想在夜晚绽放,就在你醒来的那一刻,又突然 燃烧,变成一迹闪光……而这些照片正努力抓住这些短暂的影像。 我作品的后期制作运用了现代技术。我用宝丽来Spectra 相机和传统胶片拍摄,用Photoshop按我想要的效 果输出这些照片。我希望这种传统的工序能够留存下来,并在将来愈加兴盛。但同时我也很感激现代技术的飞 速发展。


Tiara, from the project Flare Bloom


Jessica Yatrofsky Parsons The New School for Design MFA in Photography and Related Technologies

I am originally from Las Vegas, Nevada. I will always consider Las Vegas to be my home because it is responsible for my attitude as an artist. It is an interesting and diverse city, and studying art at the University of Nevada gave me rich opportunities to explore portraiture and collaboration.  Now that I’m in New York I find that those early experiences contained important lessons about how to build relationships with new subjects. My project, Untitled: A Youth Culture, is a culmination of portraits of friends and loved ones over the past several years. This series came from of a project I have been working on throughout graduate school in New York. I have always been interested in nude portraiture. My background in life drawing and painting enabled me to concentrate on portraiture in my graduate practice. The earlier studies taught me to be comfortable with my subjects, both nude and clothed. Through this process I realized that a portrait has nothing to do with what someone is wearing, but rather it is about a level of engagement, and a willingness to allow oneself to be pictured. So, while the series includes nudes, I always return to formal portraiture as a way to balance my practice.   In these portraits I allow the subjects to be as they are, in their own spaces, in their own clothes, and to choose their own pose. I am humbled by the generosity people show by allowing me to take their photograph. I believe these pictures offer something more than just style; they offer a study of a young community living in New York City. As a photographer I rely on many different tools to create and communicate my work to others. I shoot my subjects on traditional film, and I carry several cameras to each session. Current technology is important to my production because it allows me to upload negatives and output prints digitally. I also depend heavily on the Internet to share my work with an audience after I’ve completed it.   我出生于内华达州的拉斯维加斯。我一直都认为拉斯维加斯是我的家,因为这里让我产生了成为艺术家的想 法。拉斯维加斯是一座有趣而多元化的城市,而我在内华达州立大学学习艺术期间,获得了钻研肖像摄影以及 如何同被摄者进行交流、合作的丰富机会。 如今身在纽约,我逐渐发现,早年在内华达的经历对我现在尝试与新的被摄对象立联系有着重要的启迪。我 的项目《无题:青年文化》 (Untitled: A Youth Culture),是由过去几年我给朋友和我所爱的人们拍摄的肖像 照片所组成的一组作品。这个系列来自我在纽约读研究生时候所做的一个项目。 我一直对裸体肖像摄影情有独钟。我的素描和油画写生经历让我得以在研究生阶段专注于肖像摄影创作。我 早期的学习经历教会了我如何轻松地面对被摄者,让他们保持自然状态,无论他们裸体与否。通过这个创作过 程,我明白了肖像创作与衣着无关,重要的是被摄者的投入程度以及在多大程度上愿意让摄影师拍摄自己。因 此,虽然这组作品中包含了裸体肖像,我通常还是会拍摄一般的肖像作品来平衡我的作品。 在这些肖像作品中,我让被摄者自己决定衣着,选择拍摄地点和姿势,从而展现出他们真实的自我。在拍摄过 程中,他们慷慨大度,允许我为他们摄影,对此我深为感动。我相信,这组肖像所体现出来的不仅仅是形式上 的东西,它更是一种对生活在纽约的年轻人群的考察。 作为一名摄影师,我依靠不同的工具来创作和传播我的作品。通常,我使用传统胶片相机拍摄,每次拍摄我都 会携带多台机器。当代科技的发展对我的创作有重要的意义,它使我可以将底片进行扫描然后传入电脑,并进 行数码输出。除此之外,网络是我与读者分享已完成作品的主要途径。


from the project Untitled: A Youth Culture


Program Information International Center of Photography

The ICP-Bard MFA in Advanced Photographic Studies The ICP-Bard MFA program offers a rigorous exploration of all aspects of photography through an integrated curriculum of studio and professional practice, critical study, and Resident Artist Projects. The 60 credits required

Photography and Photojournalism. These programs provide advanced students with an intensive yearlong course of study that strengthens personal vision, teaches professional practices, and explores the many disciplines that inform media and art today. The year culminates in a final student exhibition in the School’s Education Gallery. For students who wish to take their practice to the next level, this is a wonderful opportunity to build a portfolio for editorial work, gallery exhibition, or entry to graduate school. The General Studies Program embraces the study of photographic practices, including fine art, editorial, fashion, documentary, and experimental image production. With the goals of broadening each student’s vision and building a foundation for individual practice, the program explores the history of photography, contemporary theory, craft and technique, and personal image making. The foundation seminar considers the questions that arise from the cultural, political, economic, and psychological uses of images. Visiting artists, critiques of student work, and discussions of contemporary ideas and artwork help students extend the possibilities of self-expression, while defining professional and artistic working methods.

Christine Callahan, Andrew with Remote, from the series 58 Empress Pines Drive

for the master 
of fine arts degree cover the production of a final solo exhibition of original artwork, participation in a final group exhibition and a cumulative 
written document, as well as the completion of class assignments and internships. At the center of the program is an exploration of the ways in which the photograph operates in society and the ways in which students’ own practices work for them. The ICP-Bard approach emphasizes creative vision and openness to examining the many iterations of the image, from photography to digital imaging, installation, and video. By considering how photographs are created, presented, discussed, used, and documented, students gain an intimate knowledge of the ways in which images increasingly structure modern society and consciousness.

The Documentary Photography and Photojournalism Program focuses specifically on the investigative skills and technical knowledge necessary to advance in the difficult and complex world of reportage. With the International Center of Photography’s long-standing commitment to documentary practice, this program engages faculty who are some of the foremost practitioners in the field today. Visiting photographers and journalists discuss subject matter and approach, as well as political, ethical, and social concerns. Students engage in class discussions and critiques of ongoing projects in a supportive learning atmosphere. In addition to pursuing individual essays, students explore the history of the medium, develop technical skills (still, multi media and video), learn strategies for publication, and intern with photographers, newspapers, magazines, or agencies.

Throughout the program, students receive individualized attention and support from a distinguished 
and dedicated core faculty, as well as noted visiting artists, and mentors with whom students intern. Because the visiting faculty consists of practicing artists, scholars, critics, and historians who have other professional commitments, participants vary from year to year. One-Year Certificate Programs General Studies in Photography Documentary Photography and Photojournalism ICP offers two One-Year Certificate Programs, one in General Studies in Photography and one in Documentary 62

Kate McBride, from the series Coney Island, New York

The Department of Art and Art Professions is a work in progress, responding to the shifts in contemporary art as it translates social change into new forms of understanding: Global Education currently features Steinhardt Global Art initiatives in Africa, China, and Europe, with new sites in development. Offsite collaborations include PERFORMA, the international Biennial of Performance Art, the International Center for Photography, and the Urban Glass Workshop in Brooklyn. Community based initiatives in studio art, art education, and art therapy are complimented by an extended network of internships and field placements with outstanding artists, museums, galleries, publishers, filmmakers, schools, and hospitals.

Parsons The New School for Design

The College of Art, Media and Technology MFA in Photography & Related Technologies

Susan Falzone, from Grace: “Without memories I am no one.”

New York University Steinhardt School of Culture, Education and Human Development Department of Art and Arts Professions

The MFA Photography program is a 21st-century studio and think tank. Students develop their work in a collaborative environment, focusing on the relationship between concept and production. Through a rigorous critique process and regular meetings with faculty, visiting artists, and critics help develop a unique point of view and situate work within historical, theoretical, and contemporary visual contexts. Departing from the traditional semester format, the MFA is a 26-month, 7-term program. It commences with the first of three eight-week intensive summer sessions in residence at Parsons. Fall and Spring semesters complement the summer sessions with students engaging in directed independent study, either in residence or with the use of the latest distributed-learning technologies. Graduates are prepared to define the future creative role of photography within contemporary culture, either as scholars or practicing artists.

Located in New York’s legendary East Village, NYU Steinhardt’s Department of Art and Art Professions is closely tied to the international art world in all its dimensions. The department’s interdisciplinary approach to art, with its commitment to autonomy and experimentation as well as research, collaboration, and community practice, underscores the central role of visual art within contemporary culture. BFA and MFA programs in studio art are interdisciplinary, and combine cultural theory with facilities in painting, sculpture, photography, computer art and design, video, performance, ceramics, metalsmithing, installation, curatorial projects, and an environmental health clinic. The department’s MA programs include Visual Culture, Art Education, Visual Arts Administration, Costume Studies, and Art Therapy, plus a Doctoral Program in Visual Culture and Art Education.

Keith Telfeyan, Untitled (Antenna) from the series Everything Is Awesome.


Artist Contact Information

Kristoffer Axen

Theresa Edmonds

Anna Beeke

Aliza Eliazarov

Christine Callahan

Susan Falzone 646-785-9316 301-523-2662 Represented by the Jen Bekman gallery

Edward Doty

Daniel Durtsche

Jessica Yatrofsky, from the series Untitled: A Youth Culture

64 718-344-7935 914-733-2780 203-258 3853

Sam Frons

Sarah Girner 914-309-7187

Ayden Grout

Aaron Gustafson

Mark Kohlman 503-888-8703

Kim Kremer 917-574-9488

Erica Leone

Meghann Lyding 873-534-7013

Kate McBride

Matt McDonough 203-820-5720

JC McIlwaine 831-246-1642

Marcela Riomalo

Aliza Eliazarov, from the series Range

Merve Unsal

Anais Wade 347-882-4793

Keith Telfeyan

Jessica Yatrofsky

Leah Tepper Byrne

All photographs copyright 2009 by the individual artists. 65

Forum on Art Education in America In conjunction with the exhibit and the 2009 Pingyao International Photography Festival, there will be panel discussion about art education in America. Participants on the panel are career educators and artists who work with students at the university level. The purpose of the forum is to introduce the festival to a conversation about art education in the United States. Each panel member will make a short statement about their program goals and strategies, and talk about how they aim for success in their educational setting. Questions will be taken from the audience at the conclusion of the statements. Date: September 21, 2009. Time to be announced.


Susan Dooley, Chair, Art Department, Nassau Community College DJ Clark, MA Photography Head, Dalian College of Image Art Suzanne Nicholas, Associate Director of Education, International Center of Photography Gerald Pryor, Associate Professor, Photography Head, Department of Art and Art Professions, New York University / Steinhardt James Ramer, MFA Director, Photography and Related Technologies, Parsons The New School for Design


Sean Justice, Curator, Adjunct Faculty, International Center of Photography, Parsons The New School for Design, New York University

Sean Justice, Curator of YAEA, is an artist and teacher in New York City. He began working in China in 2005. His photographic work is concerned with exploring cultural identity through pictures and language. He teaches at New York University, the International Center of Photography, and Parsons New School University.


Translators The following volunteers answered a request for help that was posted on the blog of Ren Yue ( Without their help this project could never have been translated into Chinese, and one of the major goals would have been forfeited. Thank you so much everyone.

1. 吴蔚

Wu Wei

2. 朱硕 (Roger)

Zhu Shuo        

3. 周仰 (Sadiea)

Zhou Yang

4. 王天添 (Anna Wang) Wang Tiantian 
 5. 黄碧赫 (Tina) 

Huang Bihe

6. 葛莎莎 (Sue) 

Ge Shasha

7. 秦铮 (Seaver) 

Qin Zheng

8. 夏羿 (Joey)

Xia Yi

9. 韩婧 (Eucey) 

Han Jing

10. 王薇 (Jo) 

Wang Wei

11. 黄亚星 (Ada) 

Huang Yaxing

12. 王浩 (Harvey) 

Wang Hao

13. 杨萌 (Kira) 

Yang Meng

14.李木子 (Max)

Lee Li Muzi

15. 韩君傅

Junfu Han

16.费天 (Feit) 

Fei Tian

17.程童 (Tong) 

Cheng Tong

18.王辙 (Sean) 

Wang Zhe

19.吴宇翔 (Miau) 

Wu Yuxiang

20.冯斌 (Daisy)

Feng Bin

Chinese copyeditor and supervising translator: 郑耀华 (Zheng Yaohua)  And special thanks to 任悦 (Ren Yue) for the generous good words about doing this project in the first place!

67 67

Matt McDonough, Abandoned (Chair), Middletown State Psychiatric Hospital, from the series Deinstitutional

Young Artists Emerging in America

has been supported by the 2009 Pingyao International Photography Festival, Chief Artistic Director Zhang Guotian. and by New York University, Steinhardt School of Culture, Education and Human Development, the International Center of Photography, and Parsons The New School for Design. All photographs copyright 2009 by the individual artists.

Young Artists Emerging in America