Shimon Attie exhibition at The School by Jack Shainman Gallery

Faculty member Shimon Attie is featured in the the fourth anniversary of Jack Shainman's The School. Attie's work will be showcased along with a concurrent series of solo exhibitions by Nina Chanel Abney, Math Bass, Valérie Blass, Vibha Galhotra, Brad Kahlhamer, Margaret Kilgallen, Lyne Lapointe, Gordon Parks, and Leslie Wayne. The exhibitions will run through October 6th, 2018 at The School located at 25 Broad Street in Kinderhook, NY.

For more information on the featured artists and works, please click here.

The artwork, Lost in Space (After Huck), combines cast resin sculpture w/a multi-channel video and sound environment to create an immersive Installation. For Lost in Space, I drew inspiration from the St. Louis Art Museum’s proximity both to the Mississippi River and to Ferguson, MO. The artwork conflates Mark Twain’s Huckleberry Finn – in part an allegory on 19th century American race relations- with present-day first responder/community relations. A sculpture of a hybrid raft/police vehicle appears to float in “celestial space”. Yet the surrounding video is actually animated still images of American cities shot at nighttime by NASA satellites above. Rather then looking up at the nighttime sky, we are actually looking down at American cities where many of these issues remain alive.

 installation shot courtesy of Shimon Attie

installation shot courtesy of Shimon Attie

Steel Stillman in exhibition 'Defamiliarization' at Studio 10

Opening May 18th, 2018, 'Defamiliarization' at Studio 10 will feature the works of Gary Stephan, Susan Wides and faculty member and artist Steel Stillman.

For more information and hours, please click here.


Steel Stillman was born in New York City in 1955. Recent New York group exhibitions include Foundation Barbin Presents Sort Of at Kai Matsumiya Gallery, and Cuts Noon Light at Brian Morris Gallery. In 2014, he had solo exhibitions at Galerie van Gelder, Amsterdam, and Show Room, Brooklyn. He is also a writer and a contributing editor at Art in America.

 image courtesy of Studio 10

image courtesy of Studio 10

Laura Parnes' Tour Without End screening at the Kitchen

The Kitchen, is proud to present a screening of Laura Parnes’ multiplatform project/film, Tour Without End (Twenty-One Portraits and a Protest). Directed and produced by Laura Parnes, and written in collaboration with the film’s participants, Tour Without End casts real-life musicians and artists as fictional bands on tour that evolves into a cross generational commentary on culture, identity and politics in the Trump era. The work revels in the sometimes hilarious— but always complex —band dynamics the characters endure in touring, collaborating, and aging in a youth-driven music industry. As the players move in and out of fictionalized characters and real life, the film moves in and out of non-linear narrative and historical document.

   Top: pictured from left to right; Jim Fletcher, Matthew Asti, Lizzi Bougatsos, Kate Valk. Bottom: Shannon Funchess, Gary Indiana, Alexandra Drewchin, Neon Music, and Alessandra Genovese.

Top: pictured from left to right; Jim Fletcher, Matthew Asti, Lizzi Bougatsos, Kate Valk.
Bottom: Shannon Funchess, Gary Indiana, Alexandra Drewchin, Neon Music, and Alessandra Genovese.

The piece will be shown on June 11 at 8pm with live musicians including BB TAY VEE, Macy Rodman, and JD Samson with Michael O'Neill, Roddy Bottum, Caitlin Frame and Lee Free will accompany this screening.

For more information and to purchase tickets, please click here.

 Pictured left to right: Kate Valk, Jim Fletcher

Pictured left to right: Kate Valk, Jim Fletcher

Shot in real environments and situations over the course of 4 years between 2014-2018, at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule made more apparent by the shuttering of many of the film’s locations due to NYC’s rapid gentrification. The film’s multitude of characters are legendary performers in the downtown NYC arts scene including Wooster Group founder Kate Valk, Jim Fletcher (The NYC Players), musicians Lizzi Bougatsos, (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler, (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae) and Neon Music (Youth Quake).

Faculty member and artist, Laura Parnes’ critically acclaimed films and installations address counter-cultural and youth-culture references where the music is integral to the work. For over twenty years these large-scale cinematic installations have engaged numerous notable individuals in her complex and ambitious collaborations. She has screened and exhibited her work widely in the US and internationally, including: Whitney Museum of American Art, NY; MoMA PS1, NY; Miami Museum of Contemporary Art, FL; Brooklyn Museum; Deste Foundation for Contemporary Art, Athens; The International Film Festival Rotterdam, Rotterdam, Netherlands; and Museo Nacional Centro De Arte Reina Sofia, Madrid; and NY and on PBS and Spanish Television. She recently had solo exhibitions at LA><, data-preserve-html-node="true" LA, Participant Inc., Fitzroy Gallery, and solo screenings at the Museum of Modern Art and The Kitchen, New York City. Parnes is a 2013 John Simon Guggenheim Memorial Fellow, a 2014 NYFA recipient, and a 2016 Creative Capital Awardee. Video Data Bank published a box set of her work, and Participant Press published a book of her scripts titled ‘Blood and Guts in Hollywood: Two Screenplays’ by Laura Parnes with an introduction by Chris Kraus. She has also directed music videos for The Julie Ruin and Le Tigre.

Thenjiwe Niki Nkosi featured in Departures Magazine

Class of 2008 alum, Thenjiwe Niki Nkosi was recently featured in Departures magazine in the article Women of African Art by Percy Mabandu. The piece look at female artists who in creating powerful work are taking their place on the international stage.

"Last year, the Fondation Louis Vuitton in Paris presented a series of 16 oil portraits by the Johannesburg-based painter Thenjiwe iki Nkosi. All of them were 20 inches square, showing their subjects from the shoulders up, in the manner of photo IDs. The faces, subtly rendered in warm tones against flat backgrounds, belonged to family, friends, and political figures, all of them heroic to Nkosi in one way or another. When Nkosi had shown these canvases in South Africa, audiences recognized many of these people even though they were identified only by first name."

"But in Paris, where museum goers might not have readily identified the subjects, curators chose to display full names and short bios for each figure. Nkosi felt ambivalent about the decision. "I had questions," she says. "I wondered, Will the work lose something?" But in the end, the moment was triumphant. "When I saw these faces hanging in this place of power, there was power that I felt," she says. "It was kind of subversive." Nkosi's artistic approach is partly political, aiming to reclaim spaces through painting. "We are going through a historic moment in the African world, especially in the global diaspora," Nkosi says. "There's a focus on putting images of black people on the walls of key institutions!'"

To purchase a copy of the magazine and read the full article, please click here.


Thenjiwe Niki Nkosi was born in New York to a South African father in exile and a Greek-American mother. In 1992, two years before South Africa’s first democratic elections, she moved with her family to Johannesburg. She is an artist who divides her time between studio work and navigating the field of art as social practice. Her work investigates power and its structures – political, social, architectural. Implicit in her examination of these structures is an interrogation of the invisible forces that create them, and an imagining of alternatives.

Her paintings and films have been shown at the Standard Bank Gallery in Johannesburg, the ifa Gallery in Berlin, the South London Gallery and Tate Modern in London, the Museum of Contemporary Art in Rio de Janeiro and most recently at the Fondation Louis Vuitton in Paris. Nkosi obtained her BA from Harvard University and her MFA from the School of Visual Arts Photo, Video & Related Media in New York in 2008. She currently lives and works in Johannesburg. 

Alum, Angeliki Tsotsoni's debut album featuring photography from Charles H. Traub

 Cover photo -&nbsp;Rome, 1981 from the project Dolce Via: Italy in the 1980s by Charles H.&nbsp;Traub

Cover photo - Rome, 1981 from the project Dolce Via: Italy in the 1980s by Charles H. Traub

The Greek brother-sister duo , Ocean Hope aka Serafim and class of 2009 alumni Angeliki Tsotsonis share "Devotion", the first lush taste of their debut album Rolling Days. The LP will be released on vinyl, CD, and digitally via Hush Hush Records on May 25th, 2018.

Rolling Days serves as the proper follow-up to their breakthrough 2015 debut release Chamber Dreams, a 4-track EP that introduced Ocean Hope’s romantic dream-pop sound in mysterious, shadowy, intimate fashion. For the past few years, the duo have stayed busy tinkering away in their home studios, recording ideas at Angeliki’s home in the small seaside town of Nerantza on the Corinthian Gulf, as well as at Serafim’s studio in the metropolitan of Athens. Steadily evolving and crafting their own unique style of dream-pop, Rolling Days proudly embraces a confident shift away from the hushed aesthetic of their debut in favor of a more direct, bold, and magnetic sound.

To listen to the album and purchase your copy, please click here.

In his book Dolce Via: Italy in the 1980s, photographer and Department Chair Charles H. Traub (born 1945) turns his emphatically American gaze upon the streets and byways of Italy, from Milan to Marsala. Traub’s brilliant blues, reds and yellows accent the baroque posturing and gestures of strangers and ordinary people. Traub’s friend and guide, the late photographer Luigi Ghirri, said of the imagery, "you see our foibles, strip us bare, make love through the camera and then venerate us." Dolce Via is the first comprehensive collection of these vivid color photographs, which were made in Italy during the early 1980s. This publication includes contributions from American art critic, photographer and founding editor of Artforum, Max Kozloff, and the Italian poet, Luigi Ballerini.

To see more from the series, please click here.

 Venice, 1981 from the project Dolce Via: Italy in the 1980s by Charles H. Traub

Venice, 1981 from the project Dolce Via: Italy in the 1980s by Charles H. Traub

Alum Qingshan Wang featured in upcoming exhibition at 7s Labo

Class of 2017 alum Qingshan Wang and artist Junnan Lyu will be featured in a joint exhibition, Displacement, on view at 7s Labo from May 4 to May 11, 2018. This exhibition will highlight the recent photographic projects by these two artists with a special focus on their unique approaches to staged photography. For more details on the show, please click here.

Qingshan Wang’s photography series Fabricated Nature shows how nature in urban environments is nurtured to conform to human demands. Wang’s approaches to staged photography also respond to the displacement of nature in urban ecosystems. Some of his works were reconstructed in the studio with paper sculptures; Others were digitally manipulated by compositing several elements into one image. His elaborated staging process aims to reveal the controversies behind these displacements, suggesting how the plant species in the urban space is constantly interfered by continual urban construction and redesign. His works - the Christmas tree lying in a fallen trash bin, the bare tree twigs attached to an arch, and the tree covered with string lights during festival times - then represent an uncanny character beyond the seemingly “beautiful” photographic surfaces.

 &nbsp;Festive Tree, 2017

 Festive Tree, 2017

 Roadside, 2017

Roadside, 2017

Qingshan Wang, (b.1991, Beijing, China) Graduated from Photography, Video and Related Media department at School of Visual Arts, New York (M.F.A.), Wang now lives and works in New York. Focusing on transcending the fragments of everydayness, Wang’s photography works explore the interactions between nature and human beings in urban ecosystems. His recent shows include: Through the Looking-Glass, Sotheby's Institute of Art, New York (2018); Art and New Urban Culture, Metropolitan Pavillion, New York (2017); Forest of Imagination, Go East Project x UNDEF/NE 3rd Year Exhibition, M50 Art District, Shanghai (2017). He also received the Young Photographer of the Year award at ICC Photographic Award for COP21, Paris in 2015. Artist website:

 Melancholy , 2017

Melancholy , 2017

In other news, Qingshan Wang was also recently featured in an exhibition at Sotheby's Institute of Art at the end of March. The exhibition, Through the Looking Glass was curated by You Hyun Jang and Mary Harrison. 

 &nbsp;Qingshan Wang in conversation with curator Mary Harrison

 Qingshan Wang in conversation with curator Mary Harrison

Steel Stillman featured in exhibition at Marquee Projects

MARQUEE PROJECTS is pleased to announce By the Sea, an exhibition of photography organized by Mikael Levin who presents his work alongside that of Vera Lutter, James Welling and faculty member Steel Stillman. The show will run April 28 through May 20, 2018; with an opening reception on Friday April 28th from 5-7 pm.


The works all have the seaside in common but each in the artist’s own way treats photography’s relation to memory and time. Encompassing a variety of approaches – analog and digital, black & white and color, and still and moving images – the selection addresses the ever-evolving nature of the photographic method, as well as of our understanding of how it is used and interpreted.

For more information on gallery hours and to plan your visit, please click here.

 images from Enlargements I (2016) courtesy of Steel Stillman

images from Enlargements I (2016) courtesy of Steel Stillman

Steel Stillman’s Enlargements series are blow-ups of photographs which the artist has been taking since the 1970s, using pocket-sized cameras to address scenes of intimate, everyday life. They are scanned from original drugstore prints for the most part, then cropped, enlarged, and printed over the last two years. Stillman’s Enlargements manifest a coherence that time and distance have only enhanced. The pictures in By the Sea are all digital pigment prints taken at, or close to, the ocean’s edge.

Rachel Shuman's One October playing at Maysles Documentary Center

Filmed in October 2008 on the eve of Obama’s historic election and an unprecedented economic crisis, One October by alum Rachel Shuman acts as a lyrical portrait of New York City as it follows WFMU radio reporter Clay Pigeon as he takes to the streets to talk to fellow New Yorkers about their lives, their dreams, and their relationship with the city. These revealing interviews are woven between vivid scenes of New York’s eccentric byways, which together reveal a city—and a nation—at a crossroads.

The film first premiered at the Full Frame Documentary Film Festival.

  Clay Pigeon interviews Stacie who is worried about the changes in Harlem.&nbsp;

Clay Pigeon interviews Stacie who is worried about the changes in Harlem. 

ONE OCTOBER will have a weeklong theatrical run at the Maysles Documentary Center in Harlem, May 11–17, as part of their 10-year anniversary celebration. Following the screenings, there will be Q&As, panels, and special presentations with myself and various characters and filmmakers involved in both productions.

For more details and to purchase tickets, please click here.

  A wide shot of the vacant lot where Stacie is standing in Harlem in October 2008.

A wide shot of the vacant lot where Stacie is standing in Harlem in October 2008.

Rachel Shuman (director, editor, producer) is a documentary filmmaker and editor who has worked in New York City for twenty years. Her directorial debut, Negotiations. premiered at the 2005 Tribeca Film Festival. She Directed Art, Architecture, and Innovation: Celebrating the Guggenheim Museum, which aired on PBS and is now on view at the museum. Her editing credits include various independent documentaries and nonfiction television, and she is proud to be a board member of the Karen Schmeer Film Editing Fellowship. Originally from Boston, Rachel received a BFA from the California College of the Arts in San Francisco and an MFA from the School of Visual Arts in New York in 2004.

  That same corner lot is now home to the new Whole Foods in Harlem.

That same corner lot is now home to the new Whole Foods in Harlem.

Alum, Maureen Drennan featured New York Times

Alum Maureen Drennan latest work on the Rust Belt was featured in an article in The New York Times. In the interview with John Leland, Drennan opens up about her motivations behind the project as well as the insight that came as she delve deeper into the Rust Belt.

 Bath Beach.

Bath Beach.

Excerpt from the article

“You have ideas about a project,” said Maureen Drennan, “but then when you go out there and shoot, things change.”

The idea for the photographs shown here, Ms. Drennan said, was to document the Rust Belt of New York City: an industrial wasteland that would stand as “a microcosm of the larger Rust Belt of the Midwest,” where once-vital factories gave way to hulking wreckage and the anger that animated the 2016 presidential election.

To read the full interview, please click here.

 Sunset Park.

Sunset Park.

Maureen Drennan is a photographer born and based in New York City. Her work has been included in exhibitions at the National Portrait Gallery, Washington DC, the Tacoma Art Museum Seattle, Washington, the Rhode Island School of Design Museum, Aperture, Philadelphia Photo Arts Center, Colorado Photographic Arts Center, and the Newspace Center for Photography, amongst others. Her images have been featured in The New Yorker, The New York Times, California Sunday Magazine, Huffington Post, Photograph Magazine, Photo District News, American Photo, UK Telegraph, Refinery 29, and the Economic Hardship Reporting Project.

She currently teaches at LaGuardia Community College and the International Center for Photography in New York City.

 Bath Beach.

Bath Beach.

Faculty, Andrew Moore featured on The Bitter Southerner

Blue Alabama

Photographs and Words by Andrew Moore


Forty years ago this August, Madison Bell and I were at the end of a month-long road trip across the South when we stopped off to visit his friend Carroll in Opelika, Alabama.

One afternoon, she took us outside town to where a house had just burned down. Most of the structure was gone except for an old stove; on top, a handful of utensils had turned molten in the heat and melted almost flat into the iron top. In a nearby hayfield, we found an abandoned car stuffed with brightly colored clothes, and after we each picked something to put on, we played in the growing darkness, like owners of the place.

  Grounds of the Snow Hill Institute in Snow Hill,&nbsp;  Alabama,&nbsp;2017

Grounds of the Snow Hill Institute in Snow Hill, Alabama, 2017

From far off, we saw a car’s headlights come on, watched it come down the dirt road all the way to us like a shot, barely braking before it pulled into the driveway. A middle-aged black man got out, fixed on our ghastly troupe with undisguised anger and yelling, “What y’all doin’ in my clothes?”

The stench of smoke in my mouth suddenly dissolved into the taste of fear. Carroll’s voice pitched high with innocence and apologies, the clothes regained the trunk, and amidst a cascade of his curses, we shrank into the darkness like those pooling forks and spoons.

  “House for Sale,” Eufaula,&nbsp;  Alabama,&nbsp;2016
“House for Sale,” Eufaula, Alabama, 2016
  “Gaines House,” Dayton,&nbsp;  Alabama,&nbsp;2016
“Gaines House,” Dayton, Alabama, 2016

In the four decades since, I’ve hardly ever been threatened by a property owner, and I never again went around in burned houses with other people’s clothes on.

Usually, it all goes much better if one gets a little conversation going first, but in the South I would say that’s a moral imperative. Fortunately it’s not too hard to get a discussion going, especially if the “magnolia connection” is working: Since so many families are intertwined in their histories and relations, there is inevitably some overlap that can be counted on. Otherwise, when meeting strangers in the South, its best to be humble, not in much of a hurry, and above all, to be a ready listener.

To continue reading Moore's writings on his time in the south, please click here.

  Geneva Ward in Boligee,&nbsp;  Alabama 2016
Geneva Ward in Boligee, Alabama 2016

Andrew Moore is an American photographer and filmmaker known for large format color photographs of Detroit, Cuba, Russia, the American High Plains, and New York’s Times Square theaters. Moore’s photographs employ the formal vocabularies of architectural and landscape photography and the narrative approaches of documentary photography and journalism to detail remnants of societies in transition. His photographic essays have been published in monographs, anthologies, and magazines including The New York Times MagazineTimeThe New YorkerNational GeographicHarper’s MagazineThe New York Review of BooksFortuneWired, and Art in America. Moore’s video work has been featured on PBS and MTV; his feature-length documentary about the artist Ray Johnson, “How to Draw a Bunny,” won the Special Jury Prize at the 2002 Sundance Film Festival.