Exhibition Dates: April 25-June 3, 2006
The Department of Photography and Imaging in the Kanbar Institute of Film and Television at New York University’s Tisch School of the Arts has announced the dates of its year-end show of works by the graduating class of 2006. Entitled Bachelor of Fine Arts Exhibition 2006, the exhibition—fourth and final following a series of smaller group shows—will open on April 25 and will run through June 3, 2006.
The exhibition will be on view throughout the lobby and on the Eighth Floor at 721 Broadway. Gallery hours are 10 a.m. to 7 p.m. weekdays, and noon to 5 pm Saturdays. The exhibition is open to the public and admission is free. Photo identification is required for access to the building. For further information, call 212.998.1930.
The exhibition, comprising approximately 200 works selected from the 29 graduates’ thesis projects, represents the visual and conceptual diversity of the department’s class of 2006.
Works on view include: Ife Abdus-Salam’s self-portraits which examine the perspective of the Black female body in photography; Alissa Ambrose's photographs document Alexandra, a former township on the outskirts of Johannesburg, South Africa; Mary Ancel's Thanks for the Wreckage experiments with the relationship between photography and painting using a combination of oil paint, photographic silkscreen and Polaroid imagery; Atif Ateeq exhibits black and white photographs of Desi (South Asian) Communities in New York; Bridgette Auger showsportraits which challenge the power dynamic in portraiture by exploring her personal relationships; Michael Berlin's Natural Synthesis examines the coexistence of man and nature in the landscape; Mary Button's Violent Illumination usespainting, drawing, and text to illustrate, in the style of manuscript illumination, the book The Violent Women; Brian Dodd presents an exhibitionistic diary of polaroids, paper, and ink; Sean Donnola presents aseries of color photographs, Night, in which each subject is rendered with equal care and attention; Benjamin Bradshaw Harrison's collages induce constructive revulsion and panic; Sandra Haviland's color photographs of her childhood environment explore process and memory; Laura Helms' color photographs examine the ways in which living in New York influences personal environments; Kathryn Allen Hurni’s series of self portraits through the glass, darkly investigates how personal perception intersects with, confuses, veils, or enhances the notion of reality; Austin Irving's ShotAfterLife blur the line between reality and artificiality; Seren Kohen's photographs document the detailed interior designs of barbershops and the faces that visit them; Teel Lassiter's "SY3YGY," is a collection of 12 digital videos encased in a 10-foot aluminum frame; Jennifer Lehe's Nearly Absent, explores the spaces of memory and longing;†Melissa Lucier explores childhood feelings of safety and helplessness through the use of photography and thread; Vin Manzi’s color photographs embody issues of contemporary life, both in its beauty of and its hopeless desperation; Caroline Owens' presents a fashion shoot in a 19th century mansion; Adam Peters' color images blur the line between photographs and studied compositions on paper; Dominique Clare Porter's American Wood explores the concepts of machismo in contemporary culture; Veena Rao presents black and white photographs of street life on Madison and 5th Avenue; Dan Schwartzman exhibits a dual-screen experimental film A Film By Dan Schwartzman; Marina De Luca Fragoso Senra's color photographs recreate her visions of tragic occurrences within the urban landscape; Alyssa Sheldon's montages express the nightmarish experience of darkness through a series of large-scale black and white images; Emmett Shine's work documents the world famous LOLA skateboard crew; Margeaux Walter's 3D lenticular prints explore our future as a technologically dependent society; Nathaniel Ward presents color photographs which analyze the interior architecture of educational institutions to understand the psychological and behavioral socialization of students and educators; and Sarah Warshaw's color photographs of landscapes explore the emotional sensations imagery can evoke.
