“Thomas Roma: The Plato’s Dogs Trilogy,” an exhibit open until Saturday at the Steven Kasher Gallery, features three series of black and white photographs that narrate Roma’s biography of Brooklyn.
Bruno Boudjelal is an unassuming figure. Slim and soft-spoken, he has the assured mannerisms of someone who prefers to contemplate the things he has seen rather than talk about them.
Two decades ago, esteemed photographer and Columbia celebrity-professor, Thomas Roma, met with W.W. Norton editor, James L.
A few steps from the Clinton-Washington Aves C train stop in Clinton Hill, Brooklyn (a.k.a. Pratt Territory) is an empty brick storefront, unassuming—and almost creepy.
The Wallach Art Gallery’s walls are alive with faces—young, old, bright, obscured.
This article is a part of the series Studio Talks, where MFA students are interviewed about their creative process while studying at Columbia.
Graffiti stamps mark the the concrete courtyard ground of the Westbeth Center for the Arts on Bank Street in the West Village, each reading in bold capital letters, “ONE.” The trail concludes at a discrete, garage-like door in a dark corner of the cement quad, where only a small publicity poste
Wood Auditorium opened its doors on Friday, Oct.
This article is a part of the series Studio Talks, where MFA students will be interviewed about their creative process while studying at Columbia.
To the faculty of the Columbia University School of the Arts (SoA), even Alma Mater looking down upon Low Plaza with a severed head in her left hand is art.