NYU Photography & Imaging - Senior Catalog 2019 by NYU Photography & Imaging

NEW YORK UNIVERSITY Allyson Green, Dean, Tisch School of the Arts

Deborah Willis, PhD, Chair, Department of Photography and Imaging

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SENIOR CATALOG

2019

Tisch School of the Arts

Department

This catalog was designed and produced by Bonnie Briant and Bobbie Richardson

in collaboration with the students in the

@tischphoto @tischphoto

Senior Directed Projects courses.

of Photography

vimeo.com/tischphoto

New York University Tisch School of the Arts

and Imaging

721 Broadway, 8th Floor, New York, NY 10003

www.facebook.com/tischphoto https://tisch.nyu.edu/photo

www.tisch.nyu.edu/photo tischphoto@nyu.edu 212-998-1930

The Department of Photography & Imaging at NYU Tisch School of the Arts is a four-year BFA program centered on the making and understanding of images. Students explore photo-based imagery as personal and cultural expression. The program offers students both the intensive focus of an arts curriculum while demanding a serious and broad grounding in the liberal arts. It is a diverse department embracing multiple perspectives, with over 170 majors working in virtually all modes of analog and digital photo-based image-making and multimedia.

Daniel Warner

Andrea Harden

James Kwitny

Kevin Liu

Sage Lally

Madeleine Roodberg

Junlin Zhu

Sofia Milonas

Jack Maffucci

Joshua Olley

Joey Gage

Makeda Flood

Rachel Ruston

Sarah Schecker

Marlon Lenoble

Joey Solomon

Nathalie Appert

Dannah Gottlieb

Katherine I

Jheyda McGarrell

Skye Jones

Alex Abaunza

Nicolas Jeremias Ceva Babikian

Rachel Etheredge

Isabel Hidalgo

102

Kodie Harris

106

Callum Walker Hutchinson

110

Sami Sneider

114

Danielle Braga Jones

118

Cynthia De-Ting Lee

122

Yeajin Choi

126

Lucas Creighton

130

Ross Godick

134

“TAKE ME HOME PLEASE”

Daniel Warner 6

been wandering around trying to find home i find it sometimes but then i gotta go wish i could be there wish you could be there i’ll still be looking i’ll let you know

THINGS THAT ARE GREEN AND THINGS THAT AREN’T For me, being out in the open, temporarily removed from the repetitiveness of daily life, does wonders for the restoration of the soul; it’s therapeutic to allow my thoughts to wander, undisturbed by manmade interruption. However, I began to feel my relationship with nature becoming siloed into just that: only a space for rejuvenation and reflection. So I started to wonder, what facets of the natural world was I missing? How can one feel so connected by one sense but removed by a lack of other relations within a space? Out in the great expanse that is nature, it’s easy for one to feel minuscule in comparison. A redwood tree can make the largest of people feel like a toddler. Against the imposing and abstract forms of the natural world, the human body seems like an outlier rather than a product of its majesty. Is it possible to integrate subject and location into a more symbiotic relationship? In search of an answer to such questions, I found inspiration from concepts brought up within Syl and Aph Ko’s Aphro-ism. When we view ourselves as active perceivers and nature as a passive object to solely be experienced, we objectify nature. “If there was no such distance, then certainly ‘nature’ would not be seen as exploitable...Rather, we would operate in conjunction, as cosubjects, as continuous.” With this in mind, I set out to create images that explored the concept of a partnership with nature rather than it being used passively. As a part of the interaction the choice of clothing was important. A garments integral purpose has always been to act as barrier between element and body. Without resorting to full nudity, I wanted to find a way to counteract this rift that clothing imposed. To avoid the environment becoming simply a backdrop, I wanted the clothes to “blend”, like military camouflage. I was originally inspired by the military and hunting attire, ghillie suits.They essentially look like a mop and a bush combined forces to help the wearer mold into their surroundings in any environment. I wanted to play around with correlating ideas of invisibility and standing out using custom clothing by Ryan Andrewsen, designed to loosely camouflage the wearer.

StudentHarden Andrea Name

For the Love of God

My best friend tells me he doesn’t like to be around religion because it’s pointless and science is way more interesting. At home, my brother argues with my mother about religion telling her there is no point to believe in God and that it’s all a fairy tale. In college, I simply hear nothing about it. Suddenly, I am no longer religious too. I’ve had issues with my faith for awhile now and coming from a Jesuit high school and a very devout family, I find myself in a back-and-forth between whether I want to believe in God or not. At NYU, ranked as the 11th most liberal university, it has definitely pushed me to not pursue religion. In this project, I discuss faith with seven students and faculty who are part of the Catholic Center at NYU. I talked with each one of them about their experiences with their faith and how they continue to follow God in college. Each one then wrote me what it was like to be a young college Christian, especially at a liberal university like NYU, and what being a Christian means to them. I am inspired by each one in how they pursue their faith, and feel confused where I left off with mine.

“My faith is more than just a set of rules” —Lyn

James Kwitny

“It can be difficult at times being a Christian at a secular university” —Nancy

James Kwitny

“That identity never took over, and I thank God every single day for that” —Ryan

{CETERI} meaning ‘the others’ in Latin, is a multimedia project that surveys the contemporary immigration experiences in New York. Under the current social and political climate, representation of immigrants has developed into a polarizing mythos of foreign presence in the native land. Whether drawing fear or sympathy, the subjects have become a key factor in shaping the current political landscape, and party allegiance; a political phenomenon that ironically detracts from a genuine understanding of the migrants. Exploring aspects such as labor conditions, citizenship application, and community agency, the representation of immigrants is challenged with both the mundane and the dramatics of their livelihood. From a secluded three-story mall in Chinatown to a historically active, immigration non-profit in Queens, ‘space’ becomes a physical factor that reveals the varying degrees of integration between the settlers and their new home. In each of the projecting portals in the flag section of the canvas, the daily routines of immigrants formulates a visceral understanding of their identity. Through the map, passport, and portals, each becomes complementary with the other’s reconstructive role. Whether working in racially engendered professions or attempting to overcome their language deficiencies in night classes, their visual representations reveal a complexity, if not inspiring a universality, beyond political exploitation of their image.

Kevin Liu

北西

东南

Student Name

Overhanging across the installation, a map shows a small island drifting across the larger continent, acting as a magnanimous scale of immigration statistics overshadowing individual experiences. Hanging over the map, passports are suspended over the installation, and contain a juxtaposition of cultural artifacts, numerical data on the subjects, documentary, and interview excerpts. Within the fragmenting series of images, the subjectivity in representation is explored through the physical tactility of the installation, a physical act that allows the passport to serve as an intermediary space to understand the subjects intimately.

The Ballad of Genevieve

When my grandmother died in 2004, I remember the thrill my 6-yearold self felt to finally get to explore the upstairs of her house. I had never been allowed anywhere but the kitchen really, where my grandma spent most of her time. My dad recalls that she even had her dresser in the kitchen at one point. The day of her funeral was an opportunity for me to uncover some of the mystery surrounding my grandma’s life. To a six year old, the upstairs felt like the place that held the answers to my burning questions surrounding my grandmother. Unfortunately, it was just the upstairs of an old house: dusty and uninteresting. Ever since this experience, I have utilized my time with my large family to work to understand my grandma better. Why was she the way that she was, and how did it affect those around her? I have learned so much about her over the years; the way her broken childhood impacted her adulthood, and in turn, her eight children. The way that all eight of the children are still trying to figure out which of them are the results of affairs, and which belong to my grandpa. The way my Aunt Bonnie would sing to my Uncle Mark and my dad to drown out the constant, violent alcoholinduced fighting of my grandma and grandpa in the kitchen downstairs. Even the way she chose to pick and choose religions, hopping around from wicken to catholic in hopes of discovering her own answers. There is a lot to understand about my grandma, specifically how her mental illness and childhood trauma affected the way she raised her children. What is it like to be raised by a parent that treats each child, son and daughter-inlaw and grandchild completely differently? What kind of mysteries are still left to understand about my grandma? The Ballad of Genevieve takes an immersive approach into the lives of Genevieve’s eight children, capturing the common resiliency that is held within all of us.

Sage Lally

Photo of Genevieve, 1920, back text written by her

“If you love a parent you probably do have respect for them, and no mistake I love my mother, but I never got the acceptance that I wanted from her. I was the opponent. I was the enemy. So... I think she had a terrible childhood and I blame everything that happened, the way she became on her childhood, but as my husband says a lot of people go through a lot worse and they don’t do that.” — Patricia Lally, 1st Child of Genevieve 25

Agata & Valentina, an Abandoned Pile, and My Stoop.

This is Your Garbage, This is Your Waste

Union Market and FleursBELLA.

This is Your Garbage, This is Your Waste is made possible by the excess of food waste in Lower Manhattan. Each image presents findings from a single evening spent searching through garbage bags on sidewalks. Referenced in this series is the commissioned work of 17th century Dutch painters, who stitched in criticism of their society by depicting the almost comical extravagance they were paid to capture. This is Your Garbage, This is Your Waste is a response to the evolution of that same consumer culture, its casual existence in our daily routines, and the neglect to address the resulting food waste crisis.

Madeleine Roodberg

St. Marks Market and a Bodega.

Madeleine Roodberg

Lime Tree Market, Commodities Natural Market, and Village Farm Grocery.

Self Inverted As the acceptance for gay rights and representation continues to grow, especially in the Western world, there still exists a stigma among many societies. Such exists among members of the gay community in contemporary China. Palpable for gay Chinese individuals is the common struggle for visibility and truth in expressing oneself against filial expectations and cultural criticism. Influenced by a cultural experience that encourages introspection and discourages standing out, a majority of gay Chinese have yet to come out fully to families or communities.

Self Inverted is a series of portraits of gay Chinese individuals shown in negative form representing, and respecting, the participants’ wishes to not come out “completely” to the public. Through color inversion presentation, participants become less recognizable and “protected” from the cursory view of passersby. The negative images simultaneously provide participants a safe space to mediate between a positioning of visibility and concealment.

Viewers that choose to stay and engage with the photographs may elect to use smartphone color inversion features to see the images in “traditional” form. Purposefully without instructions on how to perform this task, the successful act represents one of the strongest means for representation and acceptance of LGBTQ individuals—self-education. By taking the time to understand how to engage with the portraits, viewers bridge the boundary of inversion and see the participants as they naturally are.

Junlin Zhu

Deviant, Heavenly 34

Historically, there has been little space for the visual representation of explicitly queer bodies, trans bodies, non-binary bodies, bodies of color, or even most female bodies (excluding the idealized and objectified depiction.) Across all media, “deviant” bodies are rarely granted subjecthood. The space for these bodies becomes even narrower when the lens of specifically religious art is applied. Many of the stories behind the glory of saints are part of a long tradition of violent and/or tragic representations of these “othered” bodies. Humans can be very literal visual creatures, and we learn from the narratives and images that we are frequently exposed to. Seeing oneself reflected and glorified in violent and tragic ways can affect how one interacts with their own body, how they present themselves, and how one interacts with the bodies of others. These narratives also affect how stories of these same bodies will be told in the future. We learn that the acceptable representation of these bodies involves violence and tragedy, and we continue to tell stories in this same vein. My choice to depict chronically ill individuals comes from my own experiences and the experiences of those close to me, with being chronically ill and from my

interest in the relationship between of the treatment of women and queer people in the medical community and the tragic and violent stories we tell about these people across medias. Various aspects of queerness, asexuality, trans identities and femininity have been treated as mental illness throughout medical history, and many have used this diagnosis to silence and traumatize those who have been diagnosed with it. We glorify the violence and tragedies against these bodies throughout all mediums of storytelling, and yet systematically refuse to help or care for them in the ways that they need. These stories tell us that they are only worthy of tragedy and not worthy of care. I believe that as we continue to tell these stories, we continue to perpetuate the idea that these bodies can only be tokens of tragedy. By reducing them to this, we continue to see them as less than others which allows us to continue to do things such as mistreat, misdiagnose, ignore, or belittle any number of elements of their lives, such as their right to quality medical treatment. I hope to reclaim some of the space that was once used as a forum for perpetuating violent narratives and use it to pay loving tribute to members of the chronically ill community.

Sofia Milonas

t ’ n s a W It g o F e h T d e d n i M I

ese images h T . fe li ’s y il fam erpts from a c x e f o er home. s h ie d r n e a s s a n is o s d d ran Fog I Minde ts er, her two G th o m d It Wasn’t The n a r G ow its tenan a h : s d r n a te c a is r y a ll h na ain c e conventio m o follow four m h a overarching t a e h h w T f . o ty ti is n s e e e id e antith ith their tru w s It depicts th m r d sexuality. te n a r to e e d n m e o g c s ll a space to decay, as we d n a use the cold e e identity, g u a tr d n ir e u o th r a h e wit ent revolv ing to terms m o c , fe themes pres li ’s e me in on lls that story. ti te l t fu c ti je u o a r e p b is The most d painful. Th n a ly e n lo t s the mo may be also

Jack Maffucci

Ta l e s From Valhalla

Joshua Olley

Joshua Olley’s work aims to merge a lineage of social documentary with abstract narratives and visuals. An instinctual aesthetic appreciation, rooted in a hyper-vigilant observation of the world, has led to a fascination in social patterns, constructed identities and intuitive human behaviors.

STATIC MEMORY

This project explores the journey of discovering my identity and expressing it while dealing with a myriad of side effects from medications. Looking back on my childhood, a time where I had no pain, I compare it to the pain that I feel now.

Joey Student Gage Name

Makeda Student Flood Name

Student Flood Makeda Name

On Single Motherhood Honoring Strength My childhood was one of constant chaos; it was full of financial stress and hospital beds, moving vans and grudges held. Yet growing up I was always aware of how lucky I was to witness the pure strength of my Single Mother. Inspired by my own mother and the relationship we share, this project highlights stories of resilience and love within Single Motherhood.

Rachel Ruston

The Lone Soldier Project

Left: Manny collapses on his bed in uniform. Right: A group of soldiers play video games as they wait for the local falafel restaurant to open on Saturday night after the Sabbath. When leaving home for an extended period of time, soldiers are required to carry their guns with them or lock them in a gun locker.

Lone Soldiers are members of the Israeli Defence Force who leave their home countries and families behind in order to protect the state of Israel. Originating from places as close to me as my own hometown of Washington DC, as far away as Perth, Australia and everywhere in between, their stories are as different as their backgrounds. The biggest common thread between these young men and women is a love for the state of Israel. The Lone Soldier Project is a visual recounting of the transition into Israeli society and army life that each of these soldiers have chosen to embrace. These images capture how their identities as soldiers travel home with them on their weekends off. As the world debates issues of citizenship and human rights, these men and women are a unique group of individuals who chose to be at the front lines of a conflict zone.

Sarah Schecker

Above, left: A view of the West Bank city of Jalbun from Joel’s kibbutz. Top, middle: Every Lone Soldier is assigned a “host

Top, Right: Joshua stands in front of a pile of shrapnel that was launched from the Gaza Strip towards his home Kibbutz

family” that eases their transition into Israeli society. Marissa poses with her host family sister before returning to base

(community) on the border. Below: Joshua lives 15 minutes away from his base on the border of Gaza. It can be seen from

after a weekend off. Below: Joel waits for the second bus to take him up the mountain to his Kibbutz. In order to get home

the public bus from the southern desert to the city of Tel Aviv.

for the weekend from base, Joel travels for over 3 hours.

Aristotle said that, Time, whether limitless or any given length, is made up of the no longer and not yet. How can we conceive of that which is composed of non-existence? Feelings and senses remain through memory, far removed from a physical moment. They float and fade in my mind in the same way that the light of the sun imprints into closed eyelids. If I define the past as something that affects the present, then I am also defining the present as something that affects the future. I plan to project images onto outside physical spaces, and this action will result in the final image. The meditation is in materializing this non-existence, in order to prove my own existence.

IN THE BLUE HOUSE 62

Marlon Lenoble

Joey Solomon

A RACKET OF ECHOES

These images reveal the rehabilitations resulting from having my life threatened by a tumor. Many scenes live within a bordering between consciousness and death. The long term effects of overlapping medication on the human brain becomes a component of the works themselves, calling upon the viewer to question the reality within a topography of a forest of mental and familial consequences.

Joey Solomon

SIMPLE SPACE I took these photographs with a purpose of fun and happiness, as I was appreciating my surroundings. Through careful composition, I bring out lines, shapes, textures, and colors from steps, corners, and walls put down by architects, all the while keeping an eye for shadows and light. These photographs are satisfying to me, as if I was meant to press the shutter at this time and place. In a moment of calm and appeasement, I end up with pleasing photographs, which add up into a greater aesthetic over time. This work relies heavily on visuals, which is the most basic, yet fundamental aspect of photography that I fell in love with. I started photography because I was in awe at the way the camera was able to depict the world how I saw it. I wanted to keep that world with me, wherever I went and for however long. This work makes up a peaceful realm that I can keep with me at all times. I took these photographs through a lens free of complications, thoughts, or direction, since these already permeate my daily life. We all need a break and this is mine.

Nathalie Appert

NO IMAGES ARE PHYSICALLY HARMED OR DIGITALLY MANIPULATED IN THE PROCESS...FORMS ARE ASSAULTED BY OPTICS AND REFLECTION, AND THEREFORE, PERCEPTION. OPTICS DISTORT THE SUBJECTS IN THE SAME WAY SOCIAL, POLITICAL, AND AESTHETIC HISTORY HAS DISTORTED PERCEPTIONS OF THE FEMALE BODY

Student Gottlieb Dannah Name

Student Name

Exploring the ambiguous equilibrium of stability through forms and color in the play of light. This project searches for the rhythm and balance between objects of the ordinary.

Equilibrium 78

Katherine I

Student Name

“borderlands theory”

after Gloria Anzaldua This is a work in progress about duality. Existing between definite unspoken boundaries. An unrequited love story between bodies that represent almost opposite ends of the spectrum but connect together to form completion. 82

Jheyda McGarrell

A MAN’S WORK

This ongoing series is a collection of works that I have documented throughout my travels. It depicts how a man’s culture and environment shape his work. “A Man’s Work” is a documentary series that features an array of characters from cowboys of the Southwest to Egyptian farmers and more. My thesis consists of a Super 8 short film along with analog portraits.

Skye Jones

THE WORLD WE SAW

Very few individuals have the capability to fill an entire room with their energy. I’ve always been quick to judge the word “energy”, until finding there was no better word to describe this indescribable feeling. These individuals in The World We Saw have an innate desire to not play by the rules and cultivate their own world. I have traveled all over the world in the last six years to document these impressive artists and capture their essence.

Student Alex Abaunza Name

Student Name

Alex Abaunza

Having lived in Brazil since the age of four, I like to believe I have earned the right to portray such a magnificent place as a local. I grew up in São Paulo, where I was motivated to escape to New York University due to idealized rebelliousness. After a couple of years here, I have always wanted to do a significative project that represented that early period of my life, but most of all that represented a part of Brazils’ warm culture, its people, its intricate morality and its natural beauty. Within the many aspects of Brazil, I felt like there was only one place which could put all of this together, the Brazilian slums, or better known by the Portuguese term: favela. A controversial subject, which I have the impression that many times people that never even entered one, think that they have a lot to say in regards to it. It could be because favelas are erroneously portrayed in video games or just the negative connotation of the word itself. But most of the time, it is due to the Hollywoodian lens that distorts the foreign naive eyes. So came the urge to show what a real slum is like, rather than the dystopian idealization of a hopeless no-man’sland, crime saturated, poverty and agony filled territory. There are over ten million citizens living in favelas all over Brasil with about two million just in São Paulo, a city that holds about twelve million people all together. Within the numerous favelas in Sao Paulo, I decided to portray the Jardim da Felicidade, which translates to Garden of Happiness and is located in the southwest region of the city of São Paulo. Bordering the huge business facility Centro Empresarial de São Paulo (CENESP), which about twenty thousand people visit daily and holds offices for sixty big companies, a shopping mall and eleven banking agencies, live the people of the Jardim da Felicidade. In the upcoming pages, I will guide you from the border of the favela to the chaotic nameless streets inside, focusing on the locals, but more importantly the children, that run around unsupervised through this mystical labyrinth. I hope that in the upcoming pages, I can open the opportunity to see a different side of this malformed misconception of a place that truly is defined by poverty and crime, but is also filled with dreams and hopes.

Nicolas Jeremias Ceva Babikian

Jardim da Feliclidade

Nicolas Jeremias Ceva Babikian

Always Hidden Always Present Mental illness has always been present in the world but only recently have people begun to discuss it more openly. I have personally struggled with depression for many years and after my sibling recently attempted suicide, I knew I had to work through these emotions using my art. I wanted to create an intersection between art and technology with a focus on mental health. Virtual Reality has become a treatment for many different types of mental illness, therefore I wanted to explore this using Augmented Reality (AR). Using tintypes, I captured individuals who have dealt with depression and included intimate recordings of each subject’s personal struggle with this illness. Accompanied by their own voices, these intimate portraits humanize mental illnesses that have become desensitized through the years. In this series, I wanted to bring to light the importance of mental health and its increasing affect on everyone. I have created a juxtaposition between two different mediums for the same concept because mental health can personally mix our past (tintype) and present (AR). Incorporating these portraits in Augmented Reality show how mental illness can be seen: not seen but always present.

Rachel Etheredge

100

Rachel Etheredge

101

AROUSE MY ANGER

102

Student Isabel Hidalgo Name

103

104

Student Isabel Hidalgo Name

105

I have panic disorder, agoraphobia, insomnia, generalized anxiety disorder, and major depressive disorder. I have shown symptoms since I was 8 years old. It took 12 years to diagnose and once I found a name to explain what I was feeling, it was hard to focus on anything else. My anxiety is all consuming and completely debilitating to my life. I try to handle it in the best way that I can, but it’s hard. Focusing my art inward was something that I never thought I would do. I swore up and down that I would never take selfportraits, especially not nude self-portraits. Doing this project was both therapeutic and triggering. It felt nice to finally share what I’ve been burdened with for so long but it also caused me immense stress to share such an intimate look at what I experience on a day to day basis, and to make myself panic just by showing my symptoms of panic. I specifically put myself in situations that would make me uncomfortable (Times Square, the subway, etc.) in order to show my deep discomfort in situations that are completely normal to other people. This project isn’t complete and that’s because my disorder is ongoing. I continue to experience things despite my medication, therapy and all the countless other ways I am trying to cope. I believe that I will continue this project and allow myself to use creating work as my own form of therapy and understanding myself better.

106

Kodie Harris

107

SLAUGHTERED A LAMB TO BIRTH A SPIDER

Slaughtered a Lamb to Birth a Spider is a

110

StudentWalker Callum Name Hutchinson

timeline of how my relationship with myself has developed over the years. For me, confrontations with issues I have faced in my past, and continue to face, are all things I aim to ignore and push past. These feelings however, are constantly

present, always lingering around in my head, tormenting and torturing me. My desire to escape these feelings has created a relationship within myself where two individuals are occupying one body. Victim and predator, living under one roof fighting it out to see who will survive..

112

Callum Walker Hutchinson

113

CALAVERA TALAVERA: IMÁGENES DE MÉXICO

Calavera Talavera explores the stark contrasts of México, a place where the rough edges of life manifest as a balance derived from extremes of beauty and pain. The land nurtures a beautiful edge of resilience. In the people who are deeply close to me in my life and create my sense of home in México, I have experienced both deep tenderness and stark roughness. My knowing of México is incomplete. I have been a visitor to it my whole life. Talaveras are stories influenced by the environment of the intruders and the welcomed. Calaveras are always ours, and through birth and decay we see that we are all the same. Among its lungs of moss and agave, and through the vibrancy of paint and landscapes––México holds stories of the human spirit in its ever evolving,

energetic capacity and our intense survivalist nature where grace and humor find their way. It is a place that nourishes you if you seek it. A saying goes: Sing, don’t cry. Canta y no llores Porque cantando se alegran Cielito lindo los corazones

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Sami Sneider

117

Cachaça e Café 118

Student Name Danielle Braga Jones

Who we are is, in part, made up of small pieces or fragments of others. The desire to understand our origins is present in all people, but especially in those who come from immigrant families. It is not always an easy task trying to trace those pieces into a complete understanding. However, in Fortaleza, Brazil, some of those pieces came together. Documentation of people, places, and moments was 120

Student Name Danielle Braga Jones

necessary so as not to forget.

121

TEMBO

Tembo is an eleven year old pitbull-catahoula mix, adopted in 2010 from Country Acres Pet Services. He has been diagnosed with degenerative myelopathy, is currently going through lymphoma in remission, and has also been dealing with resistant urinary tract infections. This photo series studies the caretaking that goes into having a dog, the relationship between him and the other resident dog, Laika, as well as his relationship with his owners, Stephanie and Colin. The project aims to show how the owners try prolonging home-life for their beloved dog, especially continuing each day unknowing how much time he has left. The caretaking that goes into having a dog is not just simply annual vet visits - it can be extremely labor-intensive, expensive (especially without pet insurance), etc. For Tembo specifically, caretaking for him includes carrying him up and down the stairs multiple times a day to go to the bathroom, expressing his bladder or stimulating him to defecate, feeding through a tube, experimenting with food to get him to eat it, and the list goes on. This project captures the miraculous time that Tembo has somehow been given and how he spends it.

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Cynthia De-Ting Lee

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QUALIA

126

Yeajin Choi

Qualia, a term used to acknowledge the internal components of sensory registration stimulated by encounters and events, is an installation project articulating the process of translating an experience into a recorded memory. A response to the human desire to control every sensory reaction, Qualia is a project that reflects the internal reality of one’s interpretation of external phenomena.

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Yeajin Choi

VIRTUALLY, NO ONE Within the digital age, people of the Western world are tremendously reliant and largely inclined to share all information of their personal lives on Internet profiles. We share all business activities, accomplishments, and experiences on LinkedIn in hopes of looking professional and qualified for a future employment position. We share our sexual preferences, turn-ons and turn-offs, and characteristics of our ideal life partners on Tinder in hopes of finding love. We share our family and close associates, daily activities, and personal thoughts on Instagram, Facebook, and Twitter in an online scrapbook fashion. The idea of anonymity and privacy is becoming less and less practiced and encouraged in the Internet era. People are almost expected to have details of their lives easily accessible and present online. Our dependency on the Internet, and how we are perceived on it, is now a priority.

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Lucas Creighton

Flyover State Flyover State is a project about Broad Channel, NY, an Island located in Jamaica Bay and adjacent to JFK. Broad Channel occupies my fascination with nature as well as its interaction with people, on a climate and social basis. The town’s highest point is no more than ten feet above the bay and often finds itself a victim of flooding. The majority of people interacting with the channel are those of passerby status, via car, subway, or airplane. These are also some of the primary mechanisms of humanaltered climate change. Within a more personal framework, Broad Channel evokes my need for both a feeling of being amongst organic objects while maintaining some proximity to the urban for its resources. It straddles tension between claustrophobia and irrelevance.

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Student Ross Godick Name

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Ross Godick

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Ulrich Baer

THANK YOU

Caitlin Berrigan

Allyson Green, Dean, Tisch School of the Arts

Wafaa Bilal

Deborah Willis, PhD, Chair, Department of Photography and Imaging

Faculty

Terry Boddie Isolde Breilmaier Mark Bussell

Edgar Castillo Androniki Kekos

Iliana Cepero Sandrine

Staff

Colard

Erika Devries Thomas Drysdale Catherine Fallon Nichole Frocheur

Patricia McKelvin Mary Notari Karl Peterson Adam Ryder Caleb Savage

Lili Kobielski Mark Jenkinson Elizabeth Kilroy Astrid Lewis-Reedy Diana McClure Editha Mesina Lorie Novak Paul Owen Karl Peterson Christopher Philips Shelley Rice Joseph Rodriguez Bayeté Ross Smith Jeffrey Henson Scales Deborah Willis, Chair Cheryl Yun- Edwards Kalia Brooks Yolanda Cuomo

This catalog was designed and produced by Bonnie Briant and Bobbie Richardson in collaboration with the students in the Senior Directed Projects courses. Printed by Fort Orange Press, Albany, NY Copyright © 2019 New York University Tisch School of the Arts 721 Broadway, 8th Floor, New York, NY 10003 www.tisch.nyu.edu/photo tischphoto@nyu.edu 212-998-1930