It was at FIT’s Center for Excellence in Teaching (CET) last year where a costume design professor from the film department noticed Computer Animation professor John Goodwin at his workstation bringing the art of Greek vases to life.
“I animated the lion walking off screen and then back on,” says Prof. Goodwin. “We then added text for site-specific showings.” These included conferences as well as an event at the Iraq Embassy in Washington, D.C. in May, 2019, at which time five FIT Art History majors presented their research on the art of ancient Babylonians.
Watch for the final roar!
Prof. Nagel next supplied high-definition images of the a Winged Griffin creature, which also once adorned the walls of a court of a building in Susa.
“After he saw the animation, he came up with ideas for enhancing it,” says Prof. Goodwin.
FIT Digital Media Coordinator James Pearce added additional augmented reality (AI) for showing the animations in museums.
Augmented reality can create significant cost savings for museums says Prof. Goodwin. No significant equipment is necessary. A museum-goer points a smart phone at the artwork and a video plays.
This stroll along the ancient wall is another AI project for museum and presentation use. Professors Goodwin and Nagel are developing exciting new projects for 2020. Stay tuned!
Three energetic eco-conscious students from the Visual Presentation and Exhibition Design program designed and created a window display on Seventh Avenue to feature Arch & Hook hangers and inform the public about FIT’s commitment to sustainability. The window display can be seen from the outside of the Pomerantz Art & Design Center.
Francesca Moy, Tenzin Sangmo, and Chumou Zhang created the educational showcase that illustrates Arch & Hook’s mission of producing high-quality, custom-made hangers from marine plastics. The project was overseen by Professor Anne Kong.
The students’ original sketches unfold into a compelling display depicting a full-scale whale’s tail (hand-carved and painted by the students) jumping from a water’s surface that is littered with plastic debris.
The students formed a giant wave out of hundreds of hangers to drive the message home and to introduce “Blue” the first sustainable plastic hanger.
The Arch & Hook donation was used to hang over 1,200 garments for the FIT community to shop and swap at the Loop For Good Pop-Up.
Francesca Moy assists Tenzin Sangmo in cutting the green foam board with a jigsaw for the construction of the whale tail.
“This was one of those projects that becomes more than just a project. This window helped us learn that we are more than ready as designers to graduate and show everyone what we can do. I have gained a team I know I can always depend on” says Sangmo.
The experience allowed students to experiment with techniques suitable for exhibition, and it serves as work that they can use for their portfolios.
“It was my first sculpting experience I had a lot of fun. I learned better time planning and management. I had the best teammates and we learned from each other during the project and afterward,” says Zhang.
“The process from developing the concept of the window, fabrication, construction, to bring it all together was an amazing learning experience. I enjoyed a lot working with my team and Arch & Hook to crate this amazing window,” says Moy.
The “Homegrown” exhibit at Museum at FIT from December 21 through February 8, 2020 will showcase work from Fine Arts Urban Studio club members. Exhibiting student artists spoke about their neighborhoods, communities and what makes home.
“This painting depicts my late grandpa Bernie, my uncle Greg, our neighbor, Mr. Ganesh, and my dad in the back kitchen, waiting for me to arrive at one of my childhood birthdays. Our home’s vivid pink walls have a significant presence in my early memories. My grandpa, shown at the head of the table, was a lively and joyful person whose kindness and good humor radiated. He passed away in 2012, and I still miss him every day.” – Mariel Tepper
“Growing up I was very shy and timid, however, in my mind everything like my favorite colors, tv shows and the memories around the blocks where I grew up, constantly danced around over and over again. I always knew that I could easily just break out of my shell but my mind was my comfort zone.” – Keyana Brown
“My art home is FIT. It’s the place where I learned how to make art. The people here make this a much better place. I’m so proud and happy I can use art to express my feelings. I’m so lucky to share them with my friends and family. I’m coming from China. I’m so lucky to learn art in this world. I feel I’m the luckiest person because of art.” – Iris Hu
“Urban Studio members are proud to be part of the first student organization to curate an exhibition at The Gallery at The Museum at FIT. The show’s theme was creatively conceived by our club president Mariel Tepper. Together as a group we are curating the show and producing the exhibition materials, which is important hands-on experience for students. I feel honored and lucky to be adviser to this brilliant group of emerging artists.” – Melissa Starke, Fine Arts Coordinator
“I was born and raised in the city, and I now live here. The busy crowds, people’s indifference, and scenery of the city have made me forget where I truly belong. I want to slow down from the city life and appreciate what has shaped me. There is always something to discover when I take time to stop and look around, like the beautiful reflection of the sky on the iconic New York Skyscrapers.” – Yeji Jang
“Working in a process-based style, I started each piece with a simple painting of a swing from a stencil. From that point on, each piece took on a life of its own. Through an exploration of different mediums and color circumstances, I used symbols that related closely to the landscape and architecture I grew up living in. Together, these pieces create a cohesive narrative and open a window to my imagination and the memories that are associated with these landscapes.” – Fiona Krugolets
“This is [one in a] series of drawings of my cats that is inspired by a photograph that I found of the first two cats I ever had. I wanted to portray my passion of being a cat person. Growing up with as many as 11 cats, I have valued their company, and consider them family. Since I moved to be closer to FIT, I added another cat to our family. I observed their adaptation to their new environment. Having cats has helped me through hardships because of their companionship. It makes me so sad to see the huge population of feral cats in Queens after coming from a home filled with cats. My heart wants to give them all a home.” – Kaili Woop
“Living in Manhattan Beach for most of my life, The Bay of Kings was painted as testaments to the heavenly sunsets of the Sheepshead Bay Canal, and the grandiose feelings it provokes in me.” – Matthew Leshchinsky
“My island is the embodiment of home. All who inhabit my island are a part of who I am. The water, palm trees and homes are the true meaning of the place I call home.” -Marchelle Fleury
“Koi fish represent Japanese culture, which sticks to me where ever I go. I feel uncomfortable and comfortable at the same time. I think it shaped me.” – Miku Sekimoto
“Born in the vibrant city of Medellin, Colombia, urban settings have always been a part of my heart, soul and heritage. Manhattan is the epitome of the ultimate urban landscape. This abstract rendering of a building near 14th Street reflects my new home, where I am growing as an artist and living a new and fulfilling life. It is my home away from home.” – Rebecca Gomes
Professor Jerome Walford’s illustrations of everyday immigrant life explore aspects of the immigrant experience that merge into and enrich American culture. The images are a mix of the literal and dreamlike. The latest in his series are about to appear in Gwan Anthology, Volume Two, a collection of art and short stories by immigrant artists from around the world.
A woman contemplating numerous bagel choices; an American flag T-shirt worn under the jacket of a devout Muslim, a beleaguered stranger with a steaming cup of coffee, these and other images with “unintentional patterns and alignments of people and places,” as Walford calls them, are the basis of his work.
“I focus on unexpected sightings that shed light on human experiences,” says Walford who teaches Computer Graphics and is also managing editor of the collection. “They are glimpses of things we can relate to.”
The second Gwan Anthology, to be published by Forward Comix in spring, 2020, includes short comics, illustrations, and prose from over 30 artists and writers from 15 countries.
“Professor Walford’s work is inspiring for its ability to represent the immigrant experience and our city’s rich diversity, while imbuing all that he depicts with a sense of hope and beauty.” – Troy Richards, School of Art and Design
“Gwan,” or “Gwaan” is a word common in greetings in Jamaican patois. “’A what a gwan?’” isn’t just ‘How are you?’” says Walford, “but an invitation to a conversion about life and one’s personal journey. It makes it fitting as the title of an anthology centered on the immigrant and foreigner experience.”
Walford’s images of “seemingly ordinary occurrences” are often of things he notices on the subway, in parks, cafés, and other public spaces.
His “Mother Daughter” illustration (above) is of an encounter he observed at a subway stop in Brooklyn.
“It was striking, this young woman sees herself as American, while also wearing distinctive clothing suggesting an adherence to religion. It shows her love for the country and pride in her cultural background,” says Walford. She’s shown as “a typical teenager rolling her eyes at her mom while leaning toward her with affection.”
“Mother Daughter” was a Selected Winner for American Illustration 38, a hardcover, juried annual regarded as among the best sources for top image-makers. It was also on view at FIT as part of a year-long exhibit on theme of civility.
Other work portrays “fantastical transformations,” as a means of making a larger point, says Walford.
“‘Being Fruitful’ was inspired by something that is not often recognized. Immigrants who come from challenging circumstances are often the most fruitful in our society.”
“Jerome Walford offers a diverse and real view of the world in his beautiful work.”- Tim O’Brien, President, Society of Illustrators
The collection is not explicitly political, says Walford, yet it serves as a response to rhetoric on immigration. “We’re looking to present a strong and beautiful counter-argument to that,” he says.
Walford communicates in real-time with Gwan Anthology artists worldwide. “We do Skype calls. For some of us it’s the end of the day, and for others they’re just waking up! It’s fun! Some of the countries represented from abroad include Canada, France, Australia and China. In the U.S. artists hail from Nigeria, Jamaica, the Philippines, and Brazil.
Perhaps no food lends itself to the depiction of immigrant life like the bagel. “Being introduced to all these choices of bagels!” says Walford about the illustration “Lip Service.”
“If you can’t decide there’s an ‘everything’ bagel. There’s just enough information to tell you that this woman is not from Eastern Europe but likely of Asian descent. I cropped ‘the news’ (from a newspaper in the bottom left) because no matter what other events are going on, we need to eat!”
“Ascent” (above) “is a fictional piece with a real-world connection,” he says.
The illustration appears in Walford’s graphic novel series “Nowhere Man” that follows a young man who has visions of his father, a 9-11 responder, whom he envisions ascending the annual light tribute at Ground Zero.
His work on “Nowhere Man” was a way to use art to help process tragedy. “It started within the context of the story and evolved into something much more,” he says.
Walford wants the Gwan Anthology to challenge views “about people we see on a regular basis whom we may have initial perceptions about, ones that don’t tell much of the story of who they are, or what they’re going through,” he says.
“We use the phrase ‘looking for a place to call home,’” he says of the artists he works with.
In a forthright conversation, Dean Brown reveals his experience as a jewelry designer, being a student again, his industry experience, and what it is like being an African-American male in his major. He also talks about how a public library, a metal working father, and his community made a difference in his life.
Long story short:
I grew up in a family that worked in metal. My father came from Jamaica and opened an iron welding shop. When I was younger I didn’t care about it.
In high school I worked at a library and took home art books. My high school was next to a Michaels, back when there were only three in the city. I was making stuff out of polymer clay. I made a piece for someone and saw him wearing it. I knew what I wanted to do with my life.
He said “Oh I’m taking this to the jeweler to get the real thing made.” That thing took me forever to get just right, set it, sculpt it and make sure that when I baked it so it didn’t crack. But I couldn’t be angry because he was really complimenting me; he wanted to see it in metal.
Jewelry-making takes form
I started to think how far I was from actually making my own jewelry. My father had come here with nothing, drove a cab to start and saved enough to open a metalworking shop. I grew up around metal.
Torches and centrifuges
I started talking with my dad about how he did it. He showed me how to use torches and different tools. I bought my first centrifuge, a broken-arm centrifuge to cast bronze. I wanted to see what I could do on my own with mold-making. I made a few pieces and fell in love with it.
Are people going to call the cops?
It was a challenge. I was literally doing it on a fire escape outside of my bedroom on a major street. Every time I lit my torch to melt metal, I was worried people would call the cops and wondering how that might play out.
I started succeeding. I bought more equipment to polish, and equipment just to get my stuff out there. I started out with bronze, but once I got good with it, I started working in silver because it is an easier metal to work with, and more people appreciate its value.
From coffee to professional metal working
I was working at a coffee shop. There are lots of people passionate about coffee; I’m not one of them. I was good at it. It paid the bills, but talking to people about the foam on their cappuccino when what I really wanted to do was sculpt wax and make jewelry wasn’t cutting it.
I got a job at a fabrication studio, Gotham Metalworks, working with large scale casting. I was casting huge sink dies to handle pressed-copper sheets for use replacing facades of historically significant buildings around the city.
Whenever those buildings got historic preservation designations, they became our customers. Their old copper-fitted facades eventually have to be repaired or entirely rebuilt. The old copper was easier to work with, as it contains lead, making the sheets softer. But when they’re restored, the copper can’t contain lead. It makes the job harder because lead-free copper is more brittle, harder. It is not as easy to press a design into it.
For large repairs, we would get a chunk of the original facade to make a die that looks exactly like that building. You end up reproducing a design that’s not necessarily yours, despite the joy of applying great craft. The craftsmanship is what people judge.
Jewelry for Buildings
The facade is what people see first. It’s like you’re making jewelry for buildings because these floral patterns and columns have to be preserved and done in a way that’s aesthetically pleasing but also structurally sound. They’re supposed to be up there for another 100 years.
I loved it. It was unlike anything I had done. I was getting health insurance. I thought I was set. My girlfriend and I were thinking about saving for a home. Then the rug got pulled from underneath us. I got laid off. Last person hired first person fired. They got outbid, or contracts dried up.
I thought I was doing such a great job, and felt I was being trained to replace my boss if he moved up to management. As someone who has never been laid off, been fired from a job, that mattered to me. It left me in a really dark place. Luckily I got good support at home.
A look back before applying to FIT
On the other hand, I learned a lot in less than a year there. I learned to solder. I got to use all those power tools. I learned to drive a forklift.
I had started toward a journalism degree at Brooklyn College, but stopped to work at Gotham because I was spending all this money and the degree I was working toward I had no passion for. I thought about FIT and how transferring my credits from a CUNY to a SUNY school would be good for me.
“Dean is a passionate learner. He is never afraid to start over. He never asks me to accept work that isn’t the best; he’s willing to do what it takes. Patience is a tool and he’s learning that. I predict he will create wonderful designs that include the DNA of his history and his hopes, beautiful, sensitive work with the ineffable taste of who he is, where he’s been and where he’s going.” – Jewelry Design Professor Wendy Yothers
I never know until someone tells me that I’m doing everything that I know; I just try to keep the ball rolling. I got my transcripts ready and applied. I was hiking with my girlfriend and kept calling FIT over the summer. People were getting their admission notifications with rolling admission. I applied in June, finished my application early July, and got accepted mid-July. I had to register that week and start classes in August.
My first semester at FIT has been my first semester at college after a four-year hiatus. It’s been really informative. It’s been really challenging.
Although I’ve been doing jewelry for almost eight years, I’ve learned so much in the few months I’ve been here. My soldering technique and putting different metals together, I draw this metal and this metal. I form these things and then I bring them together into a piece. That wouldn’t have been possible for me just a few months ago.
I melt metal and turn it into jewelry. People have no idea in my neighborhood that that’s how it’s made.
“I tell my friends that whether they want to be a sound engineer, or fashion designers or write a book or be in business of something, if you feel like you need to go to school to do it then do it because we can’t be YouTube students forever.” – Dean Brown
I just want to take all the positives from every experience. I come here and I’m kind of like a fish out of water because I’m like the only black person I see. I’m the only 28-year-old male that I see in this entire program. In fact, there’s only two other male students in the entire year of jewelry design.
For me, that’s nothing new. It’s not like my community doesn’t love jewelry. But I’m the only person I’ve known that casts and makes his own jewelry, over the last eight years. My friends and most people I know say that a lot of the process of how things are made has been lost. People would rather buy it on Amazon.
Not being able to have these conversations with anyone before I got here seems esoteric. It can get deep trying to explain what a broken arm centrifuge is. Yet I look at people’s hands and know that everything they’re wearing was made through that process. It’s like having a secret knowledge and then just wanting to go deeper into that world and I’m here!
I come from a family of makers. My mom was a sculptor and painter and my father is a metal worker to this day. But still, I’ve been alone in much of my pursuit.
I never pictured being here. Nine months ago I was on a different trajectory. Think about it, I started out being interested in jewelry because I was close to a crafts store. I spent a lot of time looking at crafts as far as the history of how other people make stuff. I’ve always been into fabrics. I’ve always been into enamels.
I love really complicated executions of what appears to be simple techniques. I like bright colors. My girlfriend is from Tibet so I’m exposed to a lot of Asian art.
Navigating the all-too-common surprise
The common idea in this country that criminality surrounds the black man remains the biggest challenge in my life. Someone being startled when they turn a corner and see me. Security guards giving me an extra look. I’ve dealt with that my entire life so surprise is not surprising to me.
I overcome it on a daily basis, on the train here, on the bike ride here. I still got to make it to this bench. I still got to finish my assignments. I still got to prove to myself that I can do it. At this point people are gonna be people.
I get to class and they say “Oh we’re going to go to the jewelry show.” I’m not terrified to be in that room because I don’t know anything about gems. I’m terrified to be in that room because when people look at me they’re not questioning what I know. They are questioning who I am and that hurts because it’s not just white people, it’s all types of people wondering how I got this far when I don’t feel like I’ve gotten anywhere at all!
I have to play way straighter than the average person. I’m not saying that it’s like a gloom over my life because my life is dope like I have a dope partner, I have amazing friends, I’m actively doing what I’m passionate about, and I have people around me even my classmates; they’re maybe 10 years younger than me. Some of them look to me for answers and some of them treat me like the regular person that I am and I appreciate that.
Coming up from the library
I’m going to be someone who does workshops for youths because I’m someone who came up from a library that pretty much saved my life. I worked there as a volunteer in the children’s section before they hired me. I had to put in a year of volunteer work. My mom used to work there, too. We moved to her old neighborhood in Queens. The librarian knew her so they gave me a shot and It changed my whole trajectory of life.
I didn’t want to be a rapper anymore, I wanted to be a jeweler and probably because rappers wear jewelry.
The inherently political
We’re learning about stones and their impact on global trade and how they’re accessible and how they’re sold. When you start talking to people about that in our “intro into diamonds” class with gemology, learning in-depth about the stones that I see rappers and other celebrities wear? The knowledge behind that — knowing the destruction behind that as well, knowing what it takes to get some of these materials. Wow!
It’s gonna impact my work. I want to make political statements because it’s inherently political, you know whether you see it or not or whether to care or not everything with silver the brass whatever you’re working with trickles down to your neighborhood where people are wearing it but don’t understand how it’s affecting people on the other side of the world and I’m in a place where I’m working with this material.
I’m black and I can’t ignore that. It affects me one way or the other, whether I’m the black guy in the mine, or the black guy buying it from whoever. There’s this contradiction I’m trying to rectify. This space that I’m trying to fill where I can talk about where these things come from, but also why it matters that we have it in the first place because ultimately it’s just jewelry. That’s what I’m learning, this story I want to tell.
Learned so far:
I’ve learned metal forming, hydraulic pressing, how to properly use a jeweler saw to saw brass, new gold silver sterling silver, proper filing techniques, what sort of files to apply to get the cuts in the corners that you want in your pieces, a lot of finishing techniques, how to use magnetic polishers, the polishing wheels. I learned how to solder, how to care for precious metals like how to mix metals.
That’s just studio stuff. Talk about what I’m learning in Intro to Diamonds or Gemology, that’s a whole ‘nother bag. It’s a lot of science that I’m picking up in those classes. In studio fabrication we’re learning idealization, how to take an idea and put it on paper and generate it in either an image that looks like the final product in Photoshop, Rhino or just on paper with paint brushes and stuff, a lot of rendering techniques.
And then it’s still coming in and doing the studio hours to apply what you’re learning, so you’re not just hearing it and forgetting it. The list goes on. I never really stopped until now to think about it.
I never soldered anything on a small scale before. I had to learn how to draw down wire to the right diameter, to form bails. I had to learn how to make clasps. That all happened here in the last eight weeks since this semester started.
Prof. Frank Fraley provides a reflection
When Frank walked right in, I was like, alright, maybe they’re not racist in here. I have a Black professor teaching me jewelry design. Seeing myself reflected in someone who I think is successful who makes jewelry and has a foot in this industry makes me feel like I could eventually do the same thing. I heard you’re never too old to go back to school my entire life. But we have an administration that is not giving out any second chances.
If you have a dream, now’s the time. If this administration keeps operating the way it operates, it’s like it’s going to be harder to pursue your dreams coming from where I come from.
I just want this to be a sort of message to those people who are thinking of getting out of that coffee shop, getting out of that bike messenger life because I did that for a long time.
I tell my friends that whether they want to be a sound engineer, or fashion designers or write a book or be in business of something, if you feel like you need to go to school to do it then do it because we can’t be YouTube students forever.
“A pdf doesn’t do this…” is a phrase that Irma Boom, renowned Dutch book designer, uses in lectures. “It refers to that which is tangible and tactile rather than screen-based,” says Graphic Design Prof. Sondra Graff.
It was also “the premise” says Graff, for the “Bookbinding Investigations” workshop and exhibit that she and various students, faculty and staff members recently held in the Pomerantz Art and Design studio.
Graff led participants in paper folding techniques such as “Folding to the Mountain” and an accordion method of Hedi Kyle‘s (an inventor of creative book structures), as well as non-adhesive Origami structures.
Lobsang Tsewang, Exhibition Installer for the School of Art and Design, taught a binding method using screw posts.
“It’s fun binding a book the traditional way rather than leaving it to technology,” says Tsewang (’17) who learned bookbinding from an art collective club while a Fine Arts student at FIT.
“You have more leverage and understanding of how the needle and thread works on paper,” says Tsewang who as an intern at the Joan Mitchell Foundation had initiated and led a bookbinding workshop. “We mostly use that for clothing, not paper. With clothing you pierce, with paper you puncture.”
On display were student, faculty and staff projects, as well as books on the topic of bookmaking.
One Graphic Design student, Emily Kelly, who is abroad for the semester, participated remotely. A video of her book “Tangigram,” a play on the social media platform Instagram was shown.
Slavko Djuric, a technologist from Fine Arts and Photography, displayed his “Om and Schmutz” accordion book that he made during a fellowship at the Center for Book Arts.
Student and alumni work on display included a Hedi Kyle’s Flag Book by Troy Vasilikas and Debra Jenks; a Coptic binding by Juliana Campisi; a book made using Graphic Design Professor Vincenzo Vella’s method of binding by Anna Celine Karling Khan; a continuous book of multiple signatures by Caslon Yoon; an accordion with sewn pockets by Troy Vasilikis; an altered book, by Debra Jenks and a sculptural scroll by Tara Slattery.
Graphic Design Prof. Frederun Scholz had various book structures on display including a Japanese stab binding, a Coptic binding and case bound hardcover book. Prof. Graff’s work included sculptural book objects.
“Bookbinding takes books to a more expressive, conceptual and personal level,” says Graff.
“The piece is inspired by the year I saw spring four times as I traveled,” says Jewelry Design Professor Wendy Yothers. “First in Lubbock Texas, where I was teaching; second in Michigan on the family farm; third in Taos, New Mexico in the Sangre de Christo mountains; and fourth, in Helsinki, where there was a light snow in July.”
The glassware design, appropriately titled “Spring,” was made for the upcoming Art and Design faculty and staff exhibit “A Wow Moment” opening in November.
Yothers used a “spruce pine” recipe for clear glass that’s processed in the furnace at the studio at the Corning Museum of Glass where she has had a residency. Spruce pine is a type of clear glass for multi-purpose use that’s quite forgiving. She created the engraving with sintered diamond wheels on an engraving lathe. She made the silver lip and base at the Art and Design Jewelry department studio.
The School of Art and Design faculty and staff exhibit, “A Wow Moment,” will be on view in the Lynn and Carl Goldstein Gallery, 9th floor Feldman Center from November 6 through mid-October 2020.
More than 20 repurposed designer boxes from Gucci to Prada and Tiffany are transformed into a mix of fashion, style, and art by Illustration professor Leslie Cober-Gentry. The canvases were created in several mixed mediums. Uplifting messages within the works heighten the vibes of the original packaging. Her series is now on exhibit at the RPAC Gallery in Ridgefield, Connecticut.
“I instruct my students to pick subjects they are passionate about,” says Cober-Gentry. “The audience most often will respond in kind.”
“Leslie Cober-Gentry’s work has a wonderful energy balanced with a grace and lightness that reflects her spirit and personality,” says fashion illustrator and Illustration professor Bil Donovan who served with Cober-Gentry on the executive board of the Society of Illustrators. “I admire and respect her tireless energy in pursuing the best for her students, working to promote the community at large and making a difference in the world through her art, projects and outreach. That energy is also evident in her work, where she continually pursues the best for herself, pushing the boundaries and specifically with this exhibit, ‘ThinkingOutsideTheBox.'”
Professor Cober-Gentry spoke about several of her box-to-canvas works and the ink drawings, spray painting, glitter highlights and mix of techniques she bestows on them.
“The Gucci box, “Harmony” [above] was painted in white pen. I had been creating orange Monarch butterflies and wanted this to have a calmer demeanor, so I painted the butterfly blue. Using collage for a few of the hearts and limited color, the Gucci brown and Gucci logos stand out. I worked with the color of the font. Gucci’s admired gold font is iconic. I worked metallic gold paint into the box painting. It was fitting to have two of my favorite quotes next to the box, one by Bob Marley and the other from the Beatles,” she says.
“The Tiffany blue box is beautiful on its own. The drawing I created is simple but elegant. Again I painted flowers and a yellow Swallowtail butterfly. I adore the creamy yellow against the Tiffany blue background,” she says. The found the black ink worked with the black Tiffany font and used metallic paint as a background with a small amount of hot pink flowers and green leaves.
For a Hermes bag, Cober-Gentry used a handwritten font for a by quote Kanye West, “Fashion is merely an opinion + I’ve got a lot of opinions.” Fashion designer Stephen Sprouse’s designs and typography have also been an inspiration. “In between the larger quote, I wrote in smaller lettering, “good vibes, fun time, culture, music, art, harmony.” The iconic Hermes orange stands out against the black, metallic gold, and Robins’ egg blue.
A large canvas was used for a culmination of designer names. “I paged through fashion magazines, ripping out pages with designer fashion, names and typography. I wanted the logos to be ripped and raw, but be iconic, recognizable typography in the painting. I painted a Chanel shopping bag in the center, and attached the Chanel shopping bag and spray painted the frame, creating ink drawings of designer clothes, shoes, boots, and bags from fashion pages as well as pieces from my own collection.” The mixed mediums include, gold and silver metallic paint, gold glitter, gouache, ink, and collage.
On a metallic-silver Prada box [above] Cober-Gentry created a head with the message “Positive Optimism” with flowers, hearts and a bird, emerging from the top. “The red ‘Prada’ typeface is iconic. The silver, glossy textured box was a challenge; I experimented with a new mix of mediums like white and black acrylic pens, gouache, pure white acrylic, spray paint, and gold glitter.” To tie the Prada logo into the painting, she created large, glossy, bright, red lips.
“The fashion house Fendi uses a beautiful yellow box. I wanted the yellow to show through the art so I added several small ink drawings of shoes and boots from current fashion publications and my clothes collection. The lips are in black ink to match the black of the Fendi logo. The eyes evoke current fashion, and flowers represent the beauty of fashion, art and design,” says Cober-Gentry.
This original blue Prada box has a dark blue Prada logo. “It called for metallic gold. One of the first boxes I completed, the art is simple and elegant with black ink line flowers and a monarch butterfly,”says Cober-Gentry.
“The beauty of this Chanel black and white box spoke for itself. I didn’t want to cover it with color. A simple black ink line enhanced the box, with just a small amount of pink. I changed an orange monarch butterfly into a pink butterfly,” says Cober-Gentry. The pink of the small Chanel box called for simple line. Drawing ink flowers with a micron pen, added a small monarch butterfly and tiny ladybug, both painted in gouache.
A small pink Chanel box is covered in black ink line flowers, a tiny Monarch butterfly and a mini ladybug.
This Chanel bag painted, became a sculpture, says Cober-Gentry. Named “You Are #1” it is painted in gold metallic spray paint, acrylic and black ink.
“The Prada box [above] had metallic silver type. I painted a metallic silver into the background,” says Cober-Gentry. The box she covered with inspirational words, “peace” “love” “harmony” and “kindness,” and flowers and patterns with black and white ink. The larger pink heart is a metallic glitter pink collage with gold glitter highlights.
The first in Cober-Gentry’s series, “Butterflies Are Free To Fly,” was “true to the goal of creating positive-minded art filled with happy thoughts like beauty, fashion, music, love, and optimism. I thought this series should be inspirational for my life, and for students, family, friends and viewers,” she says.
“Given the coolness of cigar boxes and cigars as a fashion accessory, says Cober-Gentry, “I painted a Cohiba box with silver metallic spray paint, black acrylic ink line art, and red acrylic.”
Cober-Gentry created “Art Pillows” from several of her personal favorites. “I designed them to look like art in one’s home. The edges are evident on the pillows to look like they were taken from my sketchbook. It’s art made into three dimensional interior home design pieces.”
“The “OutsideTheBox” exhibit is currently at the RPAC Gallery in Ridgefield, CT until the first week of November. For more information go to: RPAC Gallery.
Cinematic lighting goes beyond creating sets with dramatic lighting and yelling “action.” The techniques require more precision than still photography; the lighting and exposures need to be exacting and consistent. There’s more use of light meters, half stops and third stops. There’s a lot from it that photography students can add to their toolbox.
Prof. Ron Amato teaches cinematic lighting for Photography and Related Media. BFA seniors take it as part of his Advanced Photography and Video Workshop. He helps his students add to their skills to provide additional options for their work.
“The goal of the course,” says Amato, “is to give seniors a laboratory to experiment with techniques and technology they might want to use for their Senior Design Projects,” he says.
Amato directs his students’ attention to the work of photographers like Gregory Crewdson, Alex Prager and Tim Walker who are known for their staged, tableau images.
“We start the exercise by looking at photographs we identify as having a cinematic feel. While I scroll through the photographs, students build a list of attributes to describe what makes the photographs ‘cinematic’” says Amato.
Some of the attributes identified during the exercise, he says, are mixed light sources, pockets of highlight and shadow, color variance and saturation, and, most importantly, narrative.
“I fill the room with a range of light sources with different light qualities and color balances. I give them a scenario like a party scene or card game and we begin to build the lighting. The goal is for it to be believable but also a little fantastical” says Amato.
Amanda Vallina says that after moving to New York to pursue her BFA in Photography in 2015, her photographs started becoming a tribute to the city that raised her, Miami, Florida. Miami is heavily influenced by Cuban culture, she says, from cigar smoking to dominoes played at every opportunity. But once she visited Cuba, she resolved to explore how Miami’s contemporary and Old World glamour is a complex mix drawn from both.
Cubans make up 52 percent of the Miami population, so Miami truly is a little Cuba. Most people who call Miami home still have relatives and a piece of their heart in Cuba. They have taken the city and made it like the Cuba they remember and loved. Some neighborhoods like Little Havana are even named after the places in Cuba they came from.
Vallina says it was necessary for her to experience Cuba “and take in the place my grandparents once called home. Part of the experiencing, I felt should involve photographing the people and the beautiful architecture there.”
She made the trip in the summer of 2018. “I became heavily influenced by the architecture and pop of colors, which is the constant variable within my photographs,” she said. “I was able to capture the history and add my own twist and style with the choice of model and clothing in each shoot.”
Vallina describes her photographs as contemporary, but she says they “also reflect a time when women and fashion were synonymous with luxury, polish, and fantasy. Fashion to me is important.”
Gerard Dellova, Fashion Design professor and trend forecaster at Trend House sees Vallina’s work in a broader fashion context. “We’re seeing a lot of references to the 70s, disco era and the glam of the early 80s in fashion right now. The trend direction is very big. That’s where I see this. People are wanting that very playful, carefree, up, vibe, which is in contrast to political and social unrest.”
While Vallina’s work might be Miami or Havana, “it’s also reminiscent of Studio 54,” says Dellova.
Dellova also appreciates the aspect of irony in some of Vallina’s work. “This photo [above] of this glam refugee in a plastic glitter tube [referenced as a “raft”] is completely witty. It’s irreverent and satirical.”
Vallina agrees. “I was inspired by everything 80s from the portable radio down to the eyeshadow. The blimp in the corner is a subtle tribute to ‘Scarface,’ which is the most iconic movie based in Miami,” she says.
Before the trip, says Vallina, “I drew inspiration from women hanging on the arm of the man. I wanted to display the power of women and the luxury of fashion by switching power dynamics in my pieces.” For example, the photo of the model in the suit next to the luxury sports car (above) “would have been shown as a male posing in a suit next the car.”
Says Brad Paris, Chair of Photography, “We really recognized the way Amanda’s images work together from the full-sized prints. Some are classic fashion photography with a Cuban twist, some have a subtle irony, and several are laugh-out-loud funny. I’m particularly fond of the photograph of Amanda’s great grandmother drinking a mojito and watching the pool boy,” he says.
Vallina says her trip to Cuba “led me to reflect on the beauty that is in both Miami and Cuba.
“I went on my trip with the intention of turning my photo documentation of the island into my senior thesis. It turned into a project that showed the heritage running through Miami’s streets. It showed that Miami is like no place else.”
Vallina titled her thesis “Miami Vices,” seeing it as a long-term continuing project on a subject that she can document in different ways.