I am interested in the MFA Photography program at the School of Visual Arts because, first of all, it is in New York City, which is pretty much a requirement for me. I honestly heard about SVA for the first time during Amy Stein's lecture at VCU. The lecture was inspirational because of Stein's late start in the art world, so I kept SVA in mind. Also, last semester, Jessica Miller showed us a few artists who were associated with SVA and talked to us about the photography program there. After researching on my own, I found the most differentiating aspect of SVA's Photography, Video and Related Media I read was the focus on the future careers of the students, instead on a common teaching track, which I consider very valuable in a graduate school. The aspects I think I want in a graduate school are substantiated by reviews I have been reading posted by students or alumni. I think SVA would be a good choice for me based on location, name recognition, diverse and experienced instructors and accessibility to career options afterward.
Interesting Professor (Andrew Moore)
Andrew Moore is a professor at SVA and is a professional photographer whose work is widely acclaimed and represented by many, such as the Whitney. He is described as being a "journalist-documentarian" and his images reflect this in subject quality. Moore reminds me a bit of Taryn Simon in that both work seeks to access normally inaccessible spaces. For Simon, this was maximum security prisons, or the CIA Headquarters, and for Moore, these spaces range from Cuba and Bosnia to Governors Island in NY. The images take on identities of their own, which is a valuable trait in documentary photographs. Moore's imagery is very stylized though, adding a personal aesthetic to the documentary institution. He deviates from pure document in more than just technical quality.
"At the same time, Mr. Moore borrows heavily from the bag of tricks employed by conceptual photographers like Andreas Gursky and Jeff Wall. His chromogenic prints mimic the scale of easel painting and the color saturation of commercial photography."
Schwendener, Martha. "Art in Review: Andrew Moore" The New York Times, Art. 12 Jan 2007. Accessed 8 Nov. 2010. <>
Wreck, Ibarra
Parliament Building, Sarajevo
Rouge, Detroit
Parliament Building, Sarajevo
Rouge, DetroitInteresting Student (Sarah Schorr)
Sarah Schorr graduated from SVA Photography, Film and Related Media program in 2005. She now lives in Denmark, and her work is exhibited in the US and internationally. Schorr's images relate to the conflict between the performative and the natural as those extremes pertain to female nature and identity. She has photographed a wide range of groups including prostitutes, go go dancers, etc. Her images of the women take on an aesthetic and conceptual dynamic quality, whereas her photographs of the possessions of these women possess a more evidence-documenting style, which I find very interesting.
"Seeing Sarah Schorr's photographs for the first time, I got hooked on a white platform with a four-inch heel. It was clearly a performer's shoe, practical and ludicrous in equal degrees. It had an ankle-strap riveted with small metal eyelets, making the shoe both fetching and hard to lose, even in acrobatic performance. Rivets continued down the upper side of the shoe, a unifying visual element. The strap showed signs of wear only at the third eyelet, suggesting heavy use by a single owner. It had been smudged by fingertips tacky with make-up. Painted and repainted, two shades of white were visible on the heel at the scuff-marks. Tiny dark blue flecks were stuck to one side, probably confetti."
Sarah Schorr graduated from SVA Photography, Film and Related Media program in 2005. She now lives in Denmark, and her work is exhibited in the US and internationally. Schorr's images relate to the conflict between the performative and the natural as those extremes pertain to female nature and identity. She has photographed a wide range of groups including prostitutes, go go dancers, etc. Her images of the women take on an aesthetic and conceptual dynamic quality, whereas her photographs of the possessions of these women possess a more evidence-documenting style, which I find very interesting.
"Seeing Sarah Schorr's photographs for the first time, I got hooked on a white platform with a four-inch heel. It was clearly a performer's shoe, practical and ludicrous in equal degrees. It had an ankle-strap riveted with small metal eyelets, making the shoe both fetching and hard to lose, even in acrobatic performance. Rivets continued down the upper side of the shoe, a unifying visual element. The strap showed signs of wear only at the third eyelet, suggesting heavy use by a single owner. It had been smudged by fingertips tacky with make-up. Painted and repainted, two shades of white were visible on the heel at the scuff-marks. Tiny dark blue flecks were stuck to one side, probably confetti."
Fischer, Kyle. "Sarah Schorr Essay" SarahSchorr.com. Accessed 8 Nov 2010. <>
Work (From Borrowed Glitter)
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