Alumni Projects #1: Mastaana Eraifej, The River Runs Black In Jordan, August 2014 – October 2014


Mastanna Eraifej presents a series of digital prints that began as small-scale charcoal drawings. The images are presented as diptychs that pair an enlarged reproduction of the original drawings alongside impressions the drawing left on the opposite page of the drawing pad. These remnants of the drawing process imbues the work with a sense of time and decay, and let’s the viewer know that the imagery was constantly changing, even slowly disappearing before being permanently captured through digital photography.

“My artwork is a refection of the distinct relationships I share with men and women. My work engages nude figures in unconventional settings in order to highlight the distinct and often blurred definitions of intimacy and violence that exist between men and women when they are physically vulnerable to one another. The figures are depicted in compressed charcoal surrounded by an intense black. The sinister yet intimate setting created portrays the characters as defenseless, fleshy, and exposed, yet unharmed and as willing to participants.”

Mastanna Eraifej recently graduated from Manhattan College (Class of 2014) with a B.S. in Biology. She currently works at the VA Medical Center as a Research Coordinator and continues to work on research focused on parasites at Manhattan College. Mastanna plans on continuing her education in science and to also pursue a master’s degree in public health. She lives in Westchester, New York and uses her dad’s office as a painting and drawing studio.



Karla Carballar, It’s the kind of story I often told about myself, March 20 – May 20, 2014

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The act of looking.
Even more, the act of observing.
The awareness of the present, light, temporality.
A ray of sun filtered through the tree outside the window and hitting a cracking wall.
A small, unassuming plant that’s growing again.
The fortunate combination of colors.
Wind, water, the everyday alive, mundane, unique.

Karla Carballar was born in Mexico City. Her work in video, photography and installation has been exhibited in the US, Mexico, Asia and Europe, including Ex Teresa Arte Actual Museum, Mexico City; Today Art Museum, Beijing; Luigi Pecci Center for Contemporary Art, Prato, Italy; Goliath Visual Space, New York City; MC Gallery, New York City; Jamaica Center for the Arts, New York City, and Dukwon Gallery, Seoul. She has participated in the Bienal de Yucatan, Mexico; and the Encuentro Nacional de Arte Joven, a year traveling exhibition around Mexico.

Karla Carballar holds a Master of Arts from the New York University, and a Bachelor in Graphic Design and Photography form Universidad Intercontinental in Mexico City. She is part of the multidisciplinary art group Lydian Junction.

She is an adjunct professor at The New York University and The National Academy.

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Faculty Studio #1: Gautam Kansara and Art 212-01, December 2013 – March 2014


Faculty Studio is an ongoing collaboration between Professor Gautam Kansara and Manhattan College’s digital photography classes. In the last decade collaborative art practices have been catapulted  into the mainstream.  Teaming up and joining forces have proved to be integral to innovative cultural production, where skills and ideas are traded and nurtured within a collective. Faculty Studio aims to engage students with the professional art practice of their professor, ascribing to a philosophy of learning through practice. Elements from Professor Kansara’s studio have been temporarily relocated to the gallery space within Manhattan College’s Department of Visual and Performing Arts. In effect Kansara’s practice has been transferred to the college and opened to the academic community  à la an artist-in-residence. Using the classroom as a forum to create and develop works that utilize the visual and conceptual underpinnings of Kansara’s work, the students become active participants as they are instructed and familiarized with their professor’s practice.

Kansara’s current body of work addresses the changing nature of memory. As daily life becomes increasingly mediated by recording devices that augment, replace, and alter how events are experienced, the veracity of memory becomes malleable. The tendency to view live events through our cameras or phones is so ubiquitous that there is a negotiation between the way one remembers events in their own mind, and how these events are represented through various recorded media. The imagery goes through several iterations, first captured by a video camera, then corrected on a computer, then projected onto paper and re-photographed, pointing to memory as being increasingly fugitive, viewed through a lens that can be re-focused and overwritten.

“Artistic collaboration raises interesting and crucial questions about the nature of authorship and authenticity that inevitably disrupts the persistent and popular image of the artist as a ‘heroic’ solitary figure. Common to most collaborative practices is an implicit critique of the idea of the artist as a figure that stands outside of society engaged in an internal singular dialogue.”
-Mark Dunhill & Tamiko O’Brien, 2005



Faculty Projects #3: Jacob Roesch, September 2013 – December 2013


My work deals with the subtle relationship between imagined, perceptual and optically based occurrences. Fragments of the perceived world are explored in my paintings, teasing out the insignificant moments of beauty and chance that are encountered in daily life. These circumstances of beauty are often found in unlikely moments or locations and serve as a reminder of the precious and unexpected happenings of life. A constant struggle between reality and translation happens in my paintings; the process of their creation often becomes an exercise in allowing the material and action create instances which influence their outcome. These instances of minutia are meditative passages for me that can be carefully examined, revered and interpreted through material and surface.

Jacob Roesch is an artist and educator living and working in the tristate area. He received his BA in biology and fine arts from Hope College in Holland MI, MFA in painting from The Rochester Institute of Technology in Rochester NY, and Ed.M in the college teaching of fine arts at Teachers College, Columbia University in New York, NY. He has taught courses in painting, drawing, contemporary art history and design at a variety of schools including Teachers College, Kean University and Long Island University CW Post. He is currently teaching digital drawing and graphic design at Manhattan College, and spends the remainder of his time in freelance design and illustration, painting and restoring his 130 year old house with his wife and dog Fergus.

David Shull, Where there is great love there are always great miracles, January 2013 – July 2013

David Shull’s work is a response to the effects and modes of manipulation applied both overtly and inadvertently throughout our lives. Seeking sentimentalities, or short- cuts to deeper places in the viewer’s mind, David’s art employs many forms and medias to create alternate realities; forcing the notion that their “regular” reality may have farcical roots. His “alternate realities” are often made up of emotive modernist forms that subtly attempt to re-write a history at odds with its utopian goals.

David Shull is an artist and musician based in Brooklyn, NY. He received his MFA from The Pratt Institute in 2004. Since then he has showed extensively in brooklyn as well as abroad. Exhibitions include “The Report/Where Gone the Body” @ Secret Project Robot, Brooklyn (2013), “Growing the Garden” @ Secret Project Robot, Brooklyn (2012), “We Come from Brooklyn” @ Bleudenz, Austria (2011), “Other Spaces” @ Center 548. NYC (2010), “No Soul for Sale” @ X-Initiative, NYC (2009), “Gauge” @ ArtJail, NYC (2009), “It’s About Time, Man: A response to Olafur Elliason’s survey at PS1 and MoMA” @ Repetti Gallery, Brooklyn (2008)

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Faculty Projects #2: Marilyn Cvitanic, Biological Architecture, October 2012 – June 2013

The physical characteristics of my environment have been a great inspiration to my work in recent years. The right-angles and verticality of Manhattan’s landscape has led me to create an ongoing series of paintings called Biological Architecture. These watercolors reflect both my surroundings in New York City as well as the organic forms that I find so compelling in nature. Photography plays an important role in my process as I find myself documenting everything from local architecture to panoramic rural landscapes and the intricate patterns within stones, shells and flowers. The medium of painting allows me the freedom to experiment with scale by mixing the minuscule and monumental elements captured in my photographs. The translation of these inspirational sources, whether natural or manmade, depends upon an intuitive perspective that combines a constant fascination with color and form and fundamental love of painting.

Marilyn Cvitanic is currently an Adjunct Professor of Fine Arts at Manhattan College and the College of Mount Saint Vincent in Riverdale, New York, teaching courses in studio art, art history and costume history. Before entering a career in the arts Dr. Cvitanic received her Doctorate in Policy Analysis at the Pardee RAND Graduate School based at the Rand Corporation in Santa Monica, California. Upon completing her education, Marilyn began painting extensively and exhibiting her work in New York, Los Angeles and Croatia. Her paintings are currently available through Pierogi Gallery in Brooklyn and Offramp Gallery in Pasadena, California.

For more information see:

Faculty Projects #1: Gautam Kansara “Dahl, Baht, Roti, Shak”, March 2012 – September 2012

Beginning with the video documentation of family meals at my grandparent’s flat in London from 2004-2008, Dahl, Baht, Roti, Shak strings together a time-warping narrative centered on an amalgamation of recorded conversations from around the family dinner table. Audio segments extracted from the recordings of those conversations are digitally collaged en masse, allowing the audio soundtrack to move along as if one complete conversation. While actually, segments of dialogue ranging from a few seconds to a minute are positioned chronologically, enabling the conversations to traverse their real-time boundaries and relate to past and future discussions directly. In addition using a combination of long-exposure and motion photography, digital prints are derived from the projections of the family meals. Each meal is compressed into its own singular image and together they turn our attention to the dining room itself, in a way that evokes a stage set, a microcosm of the wider world, containing the remnants of domestic dramas and private traumas.

Gautam Kansara (b. 1979, London) is an artist and educator based in Brooklyn, New York. Since 2002 his video and photographic work have been featured internationally in numerous exhibitions and screenings, including Multiple, Limited, Unique: Selections from the Permanent Collection at the Center for Book Arts, New York City (2011); Don’t Hurry, Don’t Worry at Shrine Empire Gallery in New Delhi (2010); No Soul For Sale at X-Initiative in New York City (2009), us between us at Real Art Ways in Hartford, CT (2008); Rencontres Internationales at the Reina Sofia Museum, Madrid and Haus der Kulturen der Welt, Berlin (2008); We Will Always Be There For You at Kunsthaus Dresden (2008); TV Dinners at LMAK Projects, New York (2007); AIM 26 at The Bronx Museum of the Arts, New York (2006); Sex and Sadness at Platform Garanti, Istanbul (2006). Gautam has been an artist-in-residence at Smack Mellon, the Lower Manhattan Cultural Council’s Swing Space, and the Center for Book Arts, all in New York City. And since 2005 Gautam has been an adjunct professor at Manhattan College’s Department of Fine Arts. Most recently Malcolm Low/Formal Structure, an emergent dance company, commissioned a video from Gautam which was premiered as part of Collapsing Giant at Joyce Soho in New York City in March 2012.


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