New York University Tisch School of the Arts Photography & Imaging Department's Senior Catalog for t

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The Department of Photography and Imaging (DPI) in the Tisch School of the Arts at New York University is a four-year B.F.A. program situated in New York City. Centered on the making and understanding of images, DPI offers students both the intensive focus of an arts curriculum while demanding a broad grounding in the liberal arts. Our department embraces multiple perspectives and approaches which encourages critical engagement both in and outside of the classroom. Our majors explore photo-based imagery as personal and cultural expression while working in virtually all modes of analog and digital photo-based image making, multimedia, new media, immersive, and post-photographic 3D simulation technologies.

personas

Personas is a photographic study of contemporary, youth fashion within the cities of Paris, New York, and London. Each photograph allows viewers the opportunity to recognize the significant impact fashion has had on young adults from all over the world. In the 21st century, media platforms and various forms of advertising are part of each young adult’s daily life; media is consumed through social media platforms, traditional advertising, and much more. As a result of this, it is often difficult to build one’s own sense of style or self. This photographic series opens up a variety

Student London Stylist Paris

of conversations surrounding young adults and their daily interactions with identity, influence, and introspection.

While some fashion choices throughout this series may not be the most glamorous or outrageous outfits, each subject expressed their truest self regardless of whether they are headed to a black-tie event or the supermarket. This series explores the connections between self-expression, creativity, and emotion for 21st Century young adults across three notable, international cities.

Artist New York City

Student London

Musician Paris

Dancer New York City

The Traditions of China

In China, my hometown has many primitive traditions and unique scenery. I stayed in my hometown Sichuan last year because of the epidemic, which also gave me more opportunities to explore all these beautiful things. In these eight works, I have left everything that belongs only to Sichuan, the place that gave me life. It contains the traditional unspoiled scenery of Sichuan and the footprints of Chinese tea culture. In this era of rapid development, many traditional and naturally formed elements are gradually disappearing from our sight, replacing them with towering skyscrapers. I hope that these heritages of our most traditional cultural life and natural relics can be left to future generations of mankind, and they can experience and witness human development instead of only experiencing these classics which cannot be duplicated or reproduced from these works.

INTER///

I work as both a photographer and a musician, and something that has been my goal for years is to blend the two in a way that is more creatively effective than a simple Powerpoint presentation. With this challenge in mind, I came upon the concept of audio-respondent code. With this, I created a soundscape that would then be based on factors such as volume, and frequency, to manipulate the images directly. This work

MEDIUM

is split into separate movements, each of which touches on different facets of my life, be it the controlled chaos of underground concerts, the tranquility of small-scale nature, or the isolation and control of working in a studio. The result is a constantly shifting work that moves between ambient serenity and harsh noise, between chaotic flurries of color and nuanced simplicity.

Takashi Soehl

Most of my photography has always been, and will continue to be, surrounding the idea of surveillance/documentation. Since I could remember, my camera has been a tool that allows me to look back on what I’ve done, seen, and experienced in my dayto-day life. Some people use pen and paper, I use a camera. Creating an archive of snapshots from my life is what’s important to me. The visual aspect of my work allows me, and hopefully others, to insert themselves into my lived experiences.

Brendan Rains

Brendan F. Rains is a documentary and fine art photographer based in New York City. @brendanrains

His images attempt to capture the bizarre and otherworldly sites, interactions, and characters that distinguish the streets of New York from other cities.

Using exclusively 35mm film, Rains is interested in the camera as an extension of the eye. Quietly taking note of its surroundings, the camera enables us to heighten our senses to the absurd.

Liz Speiser

Night Walkers

Where in our collective consciousness does the she-devil live?

Inspired by the myths of Estries from Jewish folklore, Night Walkers explores the relationship between the stories of female monsters and the perception of women. The Estrie, meaning “night owl,” is both beautiful and blood-thirsty, favoring babies and young children as prey. Estries are known to fly, however binding the creature’s hair will take this ability away and render her completely submissive. In many stories, Estries exemplify the tension-filled relationships between beauty and power that are often associated with female demons.

There seems to be a duality inherent in our collective conciousness; many vampiric figures are the original femme fatales and continue to be sexualized as objects of both desire and danger. Overall, the she-devil has evolved to become a highly gendered image imbued with male anxieties concerning female independence, sexuality, and motherhood. Myths concerning she-devils were and continue to be used as warnings to keep young women from straying too far from their prescribed roles. These creatures don’t raise children, they eat them. They don’t have sex for procreation, but rather for pleasure and sustenance. Vampires, Estries, Succubi, Witches, and other female monsters seem to embody an independence rarely seen in other folk stories concerning women.

What threat does a woman pose when she embraces her sexual desires? Does she emerge past her role as a literal “man-eater” to represent a symbol of freedom beyond ostracism?

“

To see the world in a grain of sand by William Blake has long been my principle when I envision the things surrounding me. For that, I am interested in transforming ideas into the existence of day-to-day things, using simple ordinary objects in my photographs to express some of the difficult concepts. In the following images, I examine the concept of peace in meditation through the little buddha figurine, and the idea of beauty and balance in the pesence of the flowers.

To See the World in a Flower

冥想

The Circle of Meditation

Modern relationships in this world are complicated. Observing the peers around me, I found that it is not necessary for a relationship to build on love. It simply can start and be sustained by sex. This common phenomenon pushes me to question the importance of love and sex in a relationship. I wonder whether letting sex dominate a relationship means that one is objectifying the other as a sexual object. A relationship can also merely rely on love where there is no sex involved. I admit that there are so many possibilities of the involvement of sex and love in a relationship. Therefore, my project, Partners , only aims to portray

the vision from my perspective, a perspective from a female millennial.

In this project, I continue using the same female subject as an example of my own heterosexual point of view, with the acknowledgment that there are other types of relationships. The project, Partners, presents a vision of how I see the possibilities of binary heterosexual relationships in this world. Rather than explaining the photographs explicitly, I prefer to leave the interpretation to the viewers. This body of work invites the audience to explore their ideas on heterosexual relationships, love, and sex.

EPILOGUE

39 Tony Wang

Loss is a theme we have struggled with all our lives. Memories fading, time passing, and loved ones leaving shape our life experiences of loss. In this work, I try to use old images and multimedia works to engage in a more poetic exploration of time, death, and memory. Besides trying to recreate the past, I also want to use images and objects to remember someone. During such a process, the obsession with trying to retain gradually diminished. Instead, this series of actions to recall brought me great comfort. When I calmly accepted the fact that everything would subside, I felt more of their love for me that has been carried in this world, so give everything back to time and then hand over the testimonies of love.

“Give everything back to time, and then hand over the testimonies of love.”

S and M is a fine art photographer from Maryland and is located wherever their expertise is needed. Their experience in photography lies in digital and analog practices, including but not limited to medium and large formats, as well as polaroids. S and M holds a Bachelor of Fine Arts in Photography and Imaging from New York University’s Tisch School of the Arts. With photography as their outlet, their art specializes in erotic fine art and portraiture.

S and M holds a unique perspective in photography, believing that image-making is permitted to be innovative and fun. The image’s intent belongs to the artist, not necessarily the viewer. Not every image needs to have an inherent meaning or convoluted complications; instead, images can simply be enjoyed by viewing. With S and M, they will have deliberately chosen a process that compliments the aesthetic of the project, changing the medium to what they think is best suited for the project. Their repertoire of work explores many different mediums to highlight tones underlined in the project. Their work in portraiture highlights this, especially when looking at their project “A Night In”, a series done entirely on polaroid film to set a tone of intimacy and secrecy. S and M ultimately creates art to explore human expression and connection.

李

50 Gabriel Lee

濬生

Previously when I photographed, I would walk around aimlessly, trying to observe the world around me. This activity was a nice retreat for me to attempt to find peace living in the hectic nature of Hong Kong. In the last couple years however, I’ve been drawing more and more inspiration from film and the narrative magic that it provides. The photographs that I am showing here feature in between moments captured on film and music video sets, as well as some older work from the last two years when I was back home and in London. I hope that these works show the moments of beauty and romance that I am constantly trying to seek out everyday.

Steward of Books

I work as a digital archivist at the NYU Elmer Holmes Bobst Library, specializing in the digitization of materials in the school’s expansive special collections. The objects we document are then uploaded to the collection databases for others to access. Many of the artifacts that we are asked to photograph or scan are books. The primary focus of my work, in turn, is using cameras to effectively visualize the content and the objectness of a book. This means my interest in the actual content of the books is clouded by my job as a structural translator. It is in the structure where, I believe, the beauty of books lie. This point of view feels humorously paradoxical when I consider the original purpose of these ancient books. Steward of Books is a project in which I further exercise this unique way of interacting with bound material.

“WHERE IS THE ROAD TO THE ROAD?”

For nearly 75 years, Palestinians in the Occupied Palestinian Territories and Israel have endured the trials of conflict, separation, and occupation in the land of their birth.

In the spring of 2022, I arrived there as an American student with a passport–no more and no less–and began this project in hopes of conveying their perspective. I imagined that bringing images and words to my peers from people most directly affected, might humanize and clarify the impact of the status quo in Palestine and Israel.

I focused on individuals, artists, activists, and human rights groups, especially those who have been smeared or silenced. I looked to illuminate–for myself, my peers, and other Americans–what Palestinians had to say about life at present, the COVID pandemic, their fears and hopes for the future, and what they wanted Americans in particular to know.

While working to make these images, I was lucky to meet and speak with Palestinians in cities around the West Bank as well as in Jerusalem, Haifa, and Jaffa. In talking, eating, drinking, and living with Palestinians, I was struck constantly by the joy, warmth, and always-present acknowledgment of abiding collective pain that I encountered. It was a privilege to sit down with the heads of organizations I had read about in the news, to be let into mosques, churches, workshops, homes, and factories of artists and artisans, and above all, to be trusted and shared with: an honor that remained at the front of my mind every step I traveled.

Title quote from Mahmoud Darwish

Wishing for the present tense a foothold for walking behind me or ahead of me, barefoot. Where is my second road to the staircase of expanse? Where is futility? Where is the road to the road? And where are we, the marching on the footpath of the present tense, where are we?

MAHMOUD DARWISH

“A Noun Sentence”

ECHOES IN THE WATER

I’ve been told to fear ityou can’t get your hair wetI’ve been told to worship itseven white flowers released into the seaDon’t you feel your grandmother rushing between your toes?

Can’t you feel your ancestors in the salty air? Your DNA has filled this water, the bones and skin and hair of those who went overboard. Someone once told me that God is in the ocean and my bones understood.

Savannah Faith Jackson

Morgan Schreiber

It is no secret that fashion is more often than not, unsustainable, and unattainable for that matter. The high-end fashion industry is so unreachable for the average person that it excludes a large population of people from being able to wear it. To meet the extremely high demand for affordable fashion, fast fashion, a highly unethical practice has come to the forefront of fashion consumerism. The environmental impact that fashion has had is insurmountable and while many brands have begun directing their efforts towards a more sustainable practice, there are many more that have failed to do so. As the third most polluting industry in the world, fashion is one of the largest contributors to harmful greenhouse gasses and users of non-renewable resources.

Many brands say they are making an active effort to reduce their carbon footprint, but often, they are merely “greenwashing” their branding, making it appear that they practice sustainable fashion when in reality, they have no idea where their materials are being sourced from in the supply chain.

One Man’s Trash serves to spark a dialogue about the often unsustainable practices behind fashion, and to inspire viewers to tend to their own wardrobes with a more ecofriendly and thoughtful approach, realizing that not all fashion must come at the cost of the environment. Furthermore, the project pokes fun at the unattainability of couture fashion, creating pieces entirely out of recycled materials, turning one man’s trash into treasure.

coalescence, 2022

71 Basil Lee Rivers

her hand in mine my fingers wiping her tears our words consoling one another

I feel her inside of my my fingers in her mouth my blood on her hand on my throat my world becomes ours

Rúyáng Zhèng

Amoeba is an electronic apparatus that runs on its 2.9″ e-ink display the Game of Life, a cellular automaton devised by the mathematician John Conway.

The automaton evolves around every three seconds according to the following rules:

¶ Every pixel represents a cell, either live or dead.

¶ Any live cell with a certain number of neighbors survives.

¶ Any dead cell with a certain number of neighbors will come to life.

¶ All other cells die or remain dead.

The title, Amoeba, refers to the name given to the work’s default rulestring configuration, which develops amoeba-like patterns on the display.

The apparatus is also sensitive to temperature changes via a thermal sensor.

Excessive low or high temperatures in the environment will cause it to switch to two other rulestrings, respectively developing freezing or boiling patterns.

Owing to the E-ink technology, a disconnection from power will, instead of turning the entire display blank, suspend the miniature ecosystem in its present state, bringing it to a temporal standstill.

Its real-time read and write capability further allows the apparatus to resume the automaton’s evolution once it is plugged back into power.

By virtue of this alternative experience of time, Amoeba possesses a rather peculiar relationship with perpetuation.

B.

Liam Butler-Schafer

A. Mount Soledad National Veterans Memorial, San Diego, CA. August, 2022

B. Chinatown 01, Manhattan, NY. April, 2022

C. Koreatown, Los Angeles, CA. November, 2020

D. Venice Beach Boardwalk, CA. January, 2022

E. Chinatown 02, Manhattan, NY. October, 2022

F. Coney Island, Brooklyn, NY. June, 2021

G. Santa Monica Pier, Los Angeles, CA. January, 2022

G. Santa Monica Pier, Los Angeles, CA. January, 2022

”The point of the game is to know, love, and serve sight, and the basic strategic problem is to find a new kind of clarity within the prickly thickets of unordered sensation.”

John Szarkowski on Lee Friedlander

My work is a description of how I see the world around me. These photos are the most current representation of my street photography depicting its evolution over the past six years. I initially shot with a digital camera but switched to 35mm film once I understood how it allowed me slow down and be more decisive about what I photograh. I pay close attention to the formal elements around me like light and color, in addition to the physical subject matter. I take the photo when I feel there are enough different elements available that it becomes possible to make a compelling image. The built environment is a very important part of my street photography because it is what we exist within, I see it as a stage that life flows through. In most cases the human presence activates the space and provides what is necessary to qualify the rest of the visual elements that inform my composure. The street is a cacophony of activity and information, and I am compelled to make sense of it, and to include whatever I need to make the most intriguing and alluring photograph.

C.

E.

G.

F.

My art is fully intertwined within my life (they are mirrors of one another); and, as life moves fluidly like a stream of running water, my art has to as well. If occasion calls where it needs to be listed under the specific titling of a project, I can cluster together these specific visualizations. But, my art and my project are always open to further expansion and transitioning.

And so, at the moment, I am exploring the body- my body or bodies I am familiar with- and its interactions with nature/natural elements as a form of intimate healing and transformation. A transformative process drawing inwards. This inwardness has drawn me into a solitude that draws in the whole universe. I seek this solitude and I only have this solitude. To speak precisely of my photography: Most of the time I only have myself as a model, so I use myself; I trust and know myself enough to visualize my inward feelings; I go to nature where I feel energy, freedom, power, and harmony in my reality; I disappear within my surroundings to try to lose my self-importance or to perform, ritualistically and privately; I become a shadow through-in and through-out; me, or a small selection of someone or something else.

This is my narrative between the body and the land. My narrative between the body and memory. My narrative of inwardness, solitude, and transformation. I give this story to the Earth.

86 Aldi Victoria

Aldi Victoria is a Mexican American artist focused on editorial photography and design. She has been working on a long-term project creating magazines that revolve around different subcategories of alternative fashion. Her inspiration comes from Japanese fashion magazines, Spanish culture, the macabre, and classic literature.

Wild

The John V. Lindsey East River Park has become a sanctuary for all kinds of creatures and beasts on the Lower East Side of Manhattan since it opened in the 1940s. One year ago, half of the historic 58 acre park was closed off for construction–it was deforested and paved over. When this transformation began, I felt a sense of urgency to

embark on a quest to photograph and identify the nature that remains there, in order to preserve its beauty and individuality. This project was driven by my desire to re-familiarize myself with the wild near my home in New York City and in CT and escape into it while it lasts. With this series I hope to remind my audience of the small wonders available for us to discover and explore when we take a closer look at the Earth and to reframe the public park as delicate and sacred.

Ashley Chung

As much as we may try to deny the parts of ourselves that are difficult to face, we are inherently enmeshed and so we must learn to coexist with those very parts in order to evolve. “tethered” is my ode to falling down when growing up, to all the intricacies of life that transform our existence from survival into aliveness. The project is a reconciliation with the past in the context of a new lens, one of forgiveness and acceptance. “tethered” is a reminder of the obstacles I’ve overcome in my early 20s, my experiences transcended into something visually tangible, a love letter to the pain and hope that made me the person I am today and the force that continues to

shape me

...and for a while for a long while here felt like hell

clenching until the mouth was bloody

the body in opposition with itself and the confrontation of a sobering mind

the idea of simply being almost too foreign to compute

Audrey Cibel

Her Seeds Sewn By My Hand

When I was 8 years old I would spend hours in a small nook of my home making stuffed animals by hand of imaginative creatures, opening a magical portal of mysticism and the purest form of my creativity. My Yiayia, who would watch my Great Grandmother cross stitch, taught me how to use a sewing machine and make tapestries. My mother who watched her mother and her mother’s mother make sweaters and blankets taught me how to crochet and knit. I would sit at the feet of all these women I idolized, and watch as their hands moved rhythmically with such artistry and skill. Every stitch sewn with intention and care, the clarity of the mind as a meditative space that I visit, a trade secret that weaves the tactile women in my family. These seeds were planted in her curious mind by the nimble hands of the women that shaped her. If my younger self could sit at my feet and observe my craftsmanship, would she be just as amazed? Biomorphism is a process of organic abstraction of nature’s designs through soft sculpture. Craft arts and image making act as a vehicle fortifying my intentions to connect to my lineage of mothers in craft arts and to mother nature.

Hüzün: Better in Tune with the Infinite

Hüzün is a concept in Turkish art that connects to an atmosphere of melancholy and is often found in Turkish literature. My work is an interpolation of these concepts to fit my observations of the contemporary environment I exist in. I reflect on my generation and my feelings about the world’s current events, observing intense change while feeling dejected and separated from the rest of the world. Putting motifs that connect to John Szarkowski’s windows and mirrors, I found my interpretation where I have always felt that the window is mutually constitutive. Meaning that while the artist observes the world from the window, the window itself has reflections. Therefore, while the artist sees their reflection, the world reflects onto them.

Brandon Tolga Saglam

“Heaven was the place where you kept alive the dreams of your memories.”

My generation is simply trying to find our heaven, but I am still quite unsure where to begin looking.

—Orhan Pamuk, Snow

WHERE MY EYE TAKES ME

The beautiful, the compelling, the inspiring, the provocative. As artists, we seek to embrace and preserve these things, these fleeting moments. Entire lifetimes have been dedicated to searching for them in one natural feature, or creature, in the faces of people, or in their extraordinary feats. I believe though, that what we seek exists everywhere, and so I search for it there, in the mundane and the magnificent. I strive to photograph anything that inspires me, and I do not discriminate between sources of that inspiration.

The diversity of my images follows this truth.

MY EYES

Like A Rolling Stone

My name is Gavin Elian Rodriquez. I am 22. I am from North Carolina. I haven’t always made the best decisions or felt genuine joy about these past few years. Nor have I really been thankful.

Yet & still, God & this mystic universe have remained good to me.

Visiting the LED lights

Growing up, we were taught that everyone comes in different shapes, sizes, and looks. We were told that it’s better to be unique and not be followers of one another, but as we grew up, our perspectives and insecurities began to become more relevant to us. Of course, also the influence of social media has made our society believe that everything we were told at a young age about our bodies was a lie. We are being shown on films, photography, and all over social media platforms that being skinny and

having perfect facial features is the only way to be recognized.

Over the past few years during the pandemic and specifically quarantine, I had spent a lot of time watching movies and looking at photos on my phone. I kept seeing all these girls getting work done on their faces and bodies, and with that being said it inspired this project to be made. I wanted to capture the scary process that women go through in order to feel beautiful and fit in to society’s standards.

Concerned with the human condition, temporality, and concepts of family, Cora’s practice attempts to reveal the limitations of the body. Practicing with mediums such as photography, sculpture, and performance, she pairs extremities against nature to imply their permanent and entangled relationship.

Impermanence is at the root of her preocupation with the body.

Cement Feet, 2022

Menstration Studio Performance, 2022

Dear Body,

I am curious about what you are capable of, the life harbored inside you, and the residue you leave behind .

Paige Labuda

Protecting Unlimited Goodness

Beginning in a forest in San Miguel, Portugal, I became intrigued by the possibility of surfaces (physical, real, and in turn photographic) to act as pauses within larger cycles - to hold potential energy in relation to their previous and future states. Seeing a wall of mud in this forest, where the dense growth had been clear cut to limit the size of the trees’ roots, and in turn maintain the stability of the hill as a whole, I felt compelled to photograph it, which is shown in the image to the right. I then began using black and white negatives and color flashing to create a very dense and single color rich print, using images of places where the ground is very different from the mud. The images included here are taken at the lowest point in Death Valley, a physical point of settling for sand and sediment. The ground here is the lightest it can be, the most susceptible to motion and constantly changing. The blue color acts as a sort of liquid force, filling in the gaps within the image, if the negative is considered more of a framework, and in turn giving it a fullness. Massive natural cycles and forms, have the ability to scale you within this vast timeline of the world and of matter as it recycles, in a way that feels almost out of body, like dipping into forces larger than ourselves, registering our presence against them.

Carlos Hernandez

QUEER ALIENISM

Queer Alienism was an idea borne out of my own experience as a queer person. I was born in the Dominican Republic and raised in a Roman Catholic household; this was a combination that emotionally and legally rejected my existence through the criminalization and ostracism of homosexuality and gender expansivity. Long before I had the vocabulary to voice my truth, the one thing I was aware of was this exclusion. These works speak to the feeling of exclusion while simultaneously exploring the ‘worldmaking’ that queer people deploy to build support systems with each other. They also speak to the individual practices where we find comfort despite alienation. My goal is to capture and visualize the comfort, pain, trust, and support I have found amongst my queer community despite our ‘lifestyle.’

138 Antonella Cueva

hysteria

In the 5th century BC, Hippocrates first used the term hysteria to describe a disease he believed originated from the uterus. Since then the word, hysteria, has been used as an umbrella term for all that is wrong with women. With this series, I wish to reclaim the word, hysteria, and empower the voices of women throughout the world. The letters in this series are a safe space for non-men to bring awareness and discuss what it is like to live in a misogynist, patriarchal modern world.

142 Tommy Wu

Work in progress

Tommy is a technical artist who focuses on fashion and fine art photography. His fashion work focuses on the use of color, lighting and other photographic techniques in exploration of the relationship between location and mood. His fine art work explores traditional art practices through modern lenses, using digital photography and post processing to produce abstract imagery mimicking traditional Chinese art, referencing the principles of Chinese ink-wash painting through their specific focus on conveying atmosphere.

What I Wish I Was Able to Say

Several months ago, I read an essay about visual landscape and psychological wellbeing. It discussed the emotional association people have when experiencing nature, along with the different affective states associated with an individual person. One of the main points that intrigued me was the idea that every person has a different psychological connection with a landscape.

I began documenting moments where I have felt an emotion, a story, or a relation with a landscape—even capturing

environments where I have shared a moment with friends or family. With this, I established my premise that these images illustrate how landscapes can be a visual representation of affective states. As I continued to create more images for this project, it became essential for others to understand the emotional depth I am attempting to convey through their perspective. I wanted the viewer to, like I did, be able to look beyond the aesthetic appeal and hopefully, find parts of themselves.

147

Caroline Schultz

FACULTY 2018—2023

Chris Berntsen

Wafaa Bilal

Isolde Brielmaier

Kalia Brooks

Sandrine Colard

Yolanda Cuomo

Thomas Drysdale

Cate Fallon

Adrián Fernández Milanes

Nichole Frocheur

Ariel Goldberg

Sean Fader

Snow Fu

Mark Jenkinson

Melissa Harris

Elizabeth Kilroy

Lili Kobielski

Astrid Lewis-Reedy

Elaine Mayes

Ari Melenciano

Editha Mesina

Diana McClure

Lorie Novak

Paul Owen

Karl Peterson

Christopher Phillips

Nikos Pilos

Shelley Rice

Bobbie Richardson

Joseph Rodriguez

Yelaine Rodriguez

Laura Roumanos

Bayeté Ross-Smith

Jeffrey Henson Scales

Lauren van Haaften-Schick

Kira Joy Williams

Deborah Willis, PhD

Gesche Würfel

Cheryl Yun-Edwards

STAFF

Kalila Abdur-Razzaq

Edgar Castillo

Jordan Cruz

Niki Kekos

Patricia McKelvin

Mary Notari

Adam Ryder

Caleb Savage

Jacob Watkins