鈥淎 quarter century later, we continue to remember those we lost and the many lives forever changed by September 11,鈥� said 可乐视频 President Michelle J. Anderson. 鈥淲e also remember how our 可乐视频 community came together with compassion, strength, and resilience, and we carry that spirit forward.鈥�

Read a special message from President Anderson .

Pausing to Remember

Twenty-five years later, 可乐视频 continues its annual remembrance through the ringing of the听library tower bell.

Since 2002, the bell has tolled six times at 8:46, 9:03, 9:37, 9:59, 10:03, and 10:28 a.m., marking the pivotal moments of that morning and inviting the community to pause in memory of those whose lives were lost.

Honoring Alumni Lost That Day

Below is a list of the 可乐视频 alumni who were tragically lost on September 11, 2001.

Ernest Alikakos ’89
Auditor,听New听York听State听Department of Taxation and Finance

Ezra Aviles ’86
Senior听manager,听strategic听planning and听development,听Port Authority

Eustace Bacchus ’83
Independent听trader,听American Stock Exchange, attending听a听meeting at Windows听on听the World

Steven Berger ’79
Supervisor of corporate tax auditors,听New York State Department of Taxation and Finance

Andre Cox ’01
Cafeteria worker, 101st floor of World Trade Center

James R. Coyle (attended 可乐视频 in听the 1990s)
FDNY firefighter, Ladder 3

Peter Freund ’84
FDNY听lieutenant, Engine Co. 55

John Giordano ’80
FDNY firefighter鈥� Hazardous Materials 1

Michael Gogliormella ’80
Technology Division eSpeed, Inc., a division of Cantor Fitzgerald

Joseph Grillo ’77
Risk finance analyst,听Port Authority

Jeffrey Hersch ’81
Accountant,听Cantor Fitzgerald

Lorraine Lisi ’80
Vice President, Fiduciary Trust International

Paul Lisson ’80
Records听clerk,听Aon Corp.

Robert Mayo (attended 可乐视频 1973鈥�76)
Deputy听fire听inspector,听World Trade Center

Robert Miller ’76
Conferee,听New York State Department of Taxation and Finance

Gregory Saucedo ’92
FDNY Firefighter, Ladder 5; Firefighter Gregory T. Saucedo Triangle on Avenue T is named in his honor

Ian Schneider ’78
Senior managing director,听Cantor Fitzgerald

Craig Silverstein ’88
Equity trader,听Sandler O’Neill and Partners

Arthur Simon ’69
Equities trader,听Fred Alger Management; died along with son Ken, Cantor Fitzgerald

Robert Twomey ’78
Trader,听Harvey Young Yurman; attending a breakfast meeting at Windows on the World

Abraham J.听Zelmanowitz (attended 可乐视频 1965鈥�1969)
Computer programmer,听Empire Blue Cross and Blue Shield

Prokopios “Paul” Zois ’78
Consultant,听Marsh & McLennan;听travel specialist,听American Express; taught at Kingsborough听Community College Department of听Tourism and Hospitality

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The program is recognized as one of New York City鈥檚 premier artist residencies, providing artists with dedicated studio space and opportunities to engage with curators, critics, and arts professionals. Maxey, who teaches painting, joins an accomplished cohort of emerging and established artists selected by a jury of distinguished contemporary artists.

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Beginning September 10, the artist duo will present , a solo exhibition at New York City’s renowned bitforms gallery. On view through October 10, the exhibition brings together sculpture, video, and installation works that examine how vision is shaped and mediated through lenses, cameras, projections, and machine-learning technologies. Continuing the McCoys’ long-standing investigation of image-making and perception, the exhibition explores the systems and tools that influence how we see and interpret the world.

The McCoys’ work will also be celebrated in a special exhibition at Hudson Valley Community College’s Teaching Gallery. The exhibition showcases selected moving-image works from the artists’ distinguished careers and offers audiences an opportunity to engage with their innovative approach to film, media, and contemporary art.

An for the exhibition will take place in September, followed by a public artist talk in which Jennifer and Kevin McCoy will discuss their artistic practice, creative process, and the evolving relationship between technology and visual culture. These events provide a unique opportunity for students, artists, and community members to hear directly from two leading voices in the field of new media art.

Adding to this impressive season, the McCoys are also among the artists included in the a landmark exhibition marking the 25th anniversary of the museum’s groundbreaking online gallery for net art. Featuring more than 100 commissioned works, the exhibition traces the evolution of internet-based art and highlights artists who have shaped the medium over the past quarter century.

Through these significant exhibitions and public programs, McCoy continues to advance conversations around art, technology, and contemporary media while bringing national recognition to 可乐视频’s Department of Art.

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The recognition marks another milestone for, an ongoing multimedia project exploring the artistic and cultural impact of drag performance. Since launching in 2019, the project has become one of the nation鈥檚 most extensive digital archives of drag performance, documenting more than 375 performances by over 200 artists across generations, regions, and creative disciplines.

Rampleman, a Brooklyn-based artist, archivist, and cultural anthropologist, recently mounted a major solo exhibition of Life is Drag at SoMad, a femme- and queer-led multidisciplinary arts space in New York City. The exhibition, presented as the culmination of her yearlong residency, featured 25 new high-definition video portraits spotlighting 12 artists working in neo-burlesque and experimental drag.

“Life is Drag” by Rachel Rampleman

Combining documentary filmmaking, video art, and ethnographic research, Life is Drag examines drag as a dynamic and interdisciplinary art form. Through video portraits and interviews, participating artists reflect on performance, gender expression, community building, and creative practice. Featured performers include multidisciplinary artist Amygdala, drag and burlesque performer Divina GranSparkle, community organizer Julie J., and King of Drag season one winner King Molasses.

Rampleman earned her M.F.A. in studio art from New York University in 2006. Her work has been featured by The New York Times, CNN, Artnet, The Advocate, OUT, Hyperallergic, and Gothamist, among others. Her art has been exhibited nationally and internationally at venues including the Shanghai Biennale, C/O Berlin, La MaMa, BAM, the Carnegie Museum of Art, The Andy Warhol Museum, and The American LGBTQ+ Museum.

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Located at Steiner Studios in the Brooklyn Navy Yard, Feirstein emphasizes learning by doing, giving students extensive opportunities to create film after film while applying classroom theory in real-world production environments. Students have access to four professional soundstages, a scene shop for set construction, and industry-standard equipment from leading manufacturers, including ARRI Alexa and Blackmagic Design.

MovieMaker highlighted Feirstein鈥檚 production-focused curriculum, accomplished faculty, and strong industry partnerships. Among the school’s faculty is Ed Decter, writer of There鈥檚 Something About Mary and creator of the television series Shadowhunters. Students also benefit from networking opportunities through collaborations with organizations such as the Brooklyn Film Festival.

鈥淭his recognition reflects Feirstein鈥檚 mission to provide aspiring filmmakers with an immersive, professional-level education that combines artistic vision, technical excellence, and practical experience,鈥� said Feirstein鈥檚 director, Charles Haine. 鈥淲e are proud to be recognized among the nation鈥檚 top film schools and to continue preparing the next generation of storytellers.鈥�

This recognition comes off the heels of Feirstein being named a top film school by The Hollywood Reporter for the sixth consecutive year.

The three-year graduate program offers an affordable pathway into the film industry, with tuition and fees totaling approximately $50,000 for New York State residents. Financial aid opportunities and a $2,000 creative fund for second-year film projects help support students as they develop their portfolios and careers.

The inclusion on MovieMaker鈥檚 2026 list further reinforces the 可乐视频 Feirstein Graduate School of Cinema鈥檚 reputation as a premier destination for emerging filmmakers seeking rigorous, hands-on training in one of the world鈥檚 leading filmmaking hubs.

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In its assessment, The Hollywood Reporter highlighted Feirstein鈥檚 rapid rise as a leading public graduate film program. Less than a decade after welcoming its first students, the school has established itself as a major force among New York鈥揳rea film programs, benefiting from strong industry support and its unique location at Steiner Studios鈥攐ne of the country鈥檚 premier production facilities鈥攎aking it the only school of its kind operating on a working film lot.

鈥淭his recognition reflects the extraordinary work of our students, faculty, alumni, and industry partners,鈥� said Charles Haine, who runs Feirstein. 鈥淏eing named among the nation鈥檚 best film schools for the sixth straight year underscores Feirstein鈥檚 commitment to providing an accessible, industry-connected education that prepares filmmakers to thrive in a rapidly evolving entertainment landscape.鈥�

The publication also noted the growing impact of Feirstein alumni. Although the school did not begin graduating students until 2017, graduates are already building successful careers and collaborating on notable projects. Among them is Lindsay Calleran 鈥�20 M.F.A., director of the feature film Caity, which was selected for the 2025 Tribeca Festival.

Further strengthening its industry ties, Feirstein will welcome acclaimed producer Richard Brown, known for his work on True Detective, to the faculty this fall. He will be joined by screenwriter Ed Decter, whose credits include There鈥檚 Something About Mary.

As a public graduate film school, Feirstein continues to offer an affordable path to a professional filmmaking education, with tuition set at $10,567 for New York State resident students and $15,282 for nonresident students.

Since opening in 2015, the Feirstein Graduate School of Cinema has distinguished itself through hands-on training, access to industry professionals, and a curriculum designed to prepare students for careers across directing, producing, writing, cinematography, post-production, and emerging media.

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We spoke with him about filmmaking, finding his audience, and what’s next.

When did you first realize you wanted to be a filmmaker?

I got interested in filmmaking around 2014, when YouTube creators were really starting to take off. Seeing young people making videos and building careers from them inspired me. I started doing media work at my family’s church, handling cameras and visuals, and that gave me my first hands-on experience.

I went to high school at the Academy for Careers in Television and Film in Long Island City. That gave me a foundation in filmmaking.

What was your experience like in the film program here?听

It definitely shaped me. This program is very rooted in traditional filmmaking, which is not my style. Honestly, as a Black filmmaker with a very different style and perspective, there were moments when people didn’t fully understand what I was trying to do.

At the same time, there were some key people in the department who always encouraged me to pursue my vision. There were a lot of experiences that taught me independence, in a good way. I learned how to trust my own voice and move forward even when not everyone saw the vision. That’s a lesson I’ll carry for the rest of my career.

Who were the key people who had a particularly positive impact on you?

[Professor] Mustapha Khan and Judith Kenny 鈥�13, [the department鈥檚 director of academic affairs and operations], were huge influences.

Professor Khan immediately understood what I was trying to accomplish with Almond Avenue. He told me, “This seems exactly like you,” and he encouraged me to lean into the project.

Judith helped me think about my motivations as an artist. She challenged me to create from a place of purpose rather than simply trying to prove people wrong. That advice really stuck with me.

Tell us about Almond Avenue. Where did the idea come from?

The concept started with an old Dave Chappelle joke about how strange Sesame Street would be if it were an actual neighborhood. I heard it years ago and couldn’t stop thinking about it.

Eventually, I developed my own version of that idea. In my world, familiar archetypes become exaggerated adult characters. It’s a comedy, but it’s also a commentary on the environments and personalities we encounter in everyday life.

You produced the project independently. How did you make it happen?

Very carefully and very cheaply.

My sister works in production. She helped me think through the logistics. My former high school also loaned me equipment for much of the shoot, which was a huge help.

I own a photography and videography business, so I used money from that to purchase my own camera, sound equipment, and editing setup. In total, the project cost about $700 to produce. I’ve since made that money back through merchandise sales connected to the project, which was amazing.

How have audiences responded?

Better than I could have imagined.

I’ve screened the film several times in front of completely different audiences, including at 可乐视频, at my high school, and in the community. The reactions have been very positive. People laugh, engage with the characters, and want to know what happens next.

The first public screening was especially emotional for me. Honestly, it felt more like my graduation than graduation itself. Seeing people connect with something that started as an idea in my head was surreal.

What’s next for Almond Avenue?

Right now, is out, and I’m working on Episode 2. The long-term plan is six episodes, although I’d love for a studio or production company to become interested before then.

I’m also using social media heavily, releasing short commercials, skits, and promotional content between episodes. That strategy has helped me build an audience and keep people engaged with the world of the show.

I鈥檝e been talking to a lot of people in the industry, too. The actor who plays the main character in the show happened to be at an event with [actor and comedian] Craig Robinson. He ended up introducing me to him. I gave him my 30-second quick pitch, and he put me in touch with his agent at 3 Arts Entertainment, which is a huge player in the industry. So, we鈥檙e in talks. I鈥檓 not saying they鈥檙e going to pick it up, but they鈥檙e looking at it, which is very exciting for me.

That鈥檚 huge! Good luck. What are your ultimate goals as a filmmaker?

I want to be an independent filmmaker with real recognition and impact.

I admire creators who have built their own platforms rather than waiting for someone to give them permission. That’s the path I’m trying to follow. Whether I’m making films, creating new stories, or mentoring future artists, storytelling will always be at the center of what I do.

At the end of the day, I want to create work that connects with people. That’s the goal.

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D鈥橭razio鈥檚 new memoir, A Shot in the Dark (Blackstone Publishing, 2025), traces his journey from growing up in Brooklyn to working at the top of his profession in the fashion field. Here, D鈥橭razio reflects on his early influences, his evolution as a photographer, and the experiences that have shaped his perspective and his art.

Photographer Sante D’Orazio’s memoir of life in high fashion and Hollywood.

You grew up in Brooklyn.

I was raised in Flatbush and went to Erasmus Hall High School. The area is now called Kensington, but back then it was just Flatbush to me. I still have family there, though most have moved away.

In your memoir, you say you got into photography early because of a man who lived around the corner.

I didn鈥檛 know much about him except his name鈥擬r. [Lou] Bernstein鈥攁nd that he lived around the corner from me when I was about 10. He became my mentor in photography and life. He鈥檇 been part of the old New York Photo League, with photographers like Robert Frank, Walker Evans, Weegee, and Berenice Abbott. He never worked commercially; he shot on weekends and worked at Willoughby Peerless, the equivalent today of B&H Photo.

Six-year-old Sante D’Orazio playing stickball in his Brooklyn neighborhood.

You started at a junior college and then transferred to 可乐视频.

After my father passed away, I went into survival mode. I studied commercial art at a New York Community College, thinking I might become an art director. I hated it. I was already painting nudes at the Brooklyn Museum and the Art Students League, so I transferred after researching the 可乐视频 faculty. was teaching there, he was a leading Realist painter concentrating on the nude. I also discovered how strong the faculty was in the fine arts and the humanities. I鈥檓 grateful I wasn鈥檛 at a full-time art school; the humanities helped round out my aesthetic education through literature, philosophy, history, and widened my scope of knowledge of the Arts. And I loved the campus.

Your cousin, who was a hairdresser, suggested you get into fashion photography.

I went into the city with my portfolio鈥攏o appointments, no experience. I tracked down Avedon, Penn, Scavullo. I didn鈥檛 get past the front desk at Avedon鈥檚. Penn didn鈥檛 open the door. Scavullo told me to get out. I eventually got a job as a second assistant, doing gofer work and building a portfolio.

Model Helena Christensen in Leningrad for British Vogue, 1990

You eventually made your way to Milan.

Italian Vogue was down the street from my hotel. I brought my portfolio expecting rejection. Instead, they gave me a two page-spread assignment of 鈥淏eauty鈥� nudes, which translates to skincare, makeup, and fragrance. I was 25.

What was it like photographing the supermodels and rock stars of the 1980s and 1990s?

There was a whole new zeitgeist in the 80s. I had my first assignment with Italian Vogue, soon after my first Vogue cover with German Vogue. In Rome, while shooting the collections, I met a 15-year-old Christy Turlington with her mom in the hallway of our hotel. I became friends with Cindy Crawford, Tatjana Patitz, and Stephanie Seymour before they became the new generation of superstars, they were the first to be termed supermodels. Our careers rose in parallel.

By the 1990s, Hollywood glamor had waned and needed revitalizing. Bruce Weber, Herb Ritts, and I brought glamour back to the movie industry through the magazine world. Once we put actresses like Michelle Pfeiffer and Kim Basinger on a Vogue cover, sales shot up, and fashion magazines shifted to celebrities.

Model Tatiana Patitiz on British Vogue

And famous people like Prince.

I took this assignment because it was Prince. I was early to the studio; Prince arrived early too, with fedora, makeup, and no entourage. Though the client hadn鈥檛 arrived, he asked if we could shoot. We finished in about 20 minutes. He left before the client showed up. They weren鈥檛 happy, but I was thrilled, we got some great shots.

You have an unnerving story about taking a photo of Mike Tyson with his tiger.

I went to shoot Mike at his home in Las Vegas for Esquire magazine. I was looking for a place to shoot; he directed me out to the backyard. What he didn鈥檛 tell me was that he had pet tigers!

Heavyweight boxing champion Mike Tyson, 1996

When I walked out, I thought a dog was running at me from behind鈥攊t was a tiger. It jumped on me. Mike came out laughing and said, 鈥淪he鈥檚 just a puppy.鈥� So I took it in stride and acted like it was nothing, though it wasn鈥檛 the case! I asked him to take off his shirt, and he started wrestling with the 200 lb. puppy. That鈥檚 the shot.

So you鈥檙e also a painter. How do your photography and painting practices relate?

I paint images on film that become small abstractions, scan and print them large, collage them, and paint over them. The mixed media feeds itself.

What do you think about art and artificial intelligence?

AI can only remix what it鈥檚 fed. It can鈥檛 produce the true idiosyncrasies that only the human mind can create. Perfection is machine-made and meaningless, soulless. That energy from hand to paper鈥擜I can鈥檛 replicate that.

There鈥檚 a growing interest among young people in film and analog processes. Have you seen that?

My son used to make fun of me for not understanding digital manuals. Now he asks me about film. I like that people are going back to handwriting and notebooks. I wrote my memoir by hand. I believe in that process, it extends your sensory perception.

What advice do you have for today鈥檚 young photographers and artists?

Know your history, or you鈥檒l copy people without realizing it. Have chutzpah鈥攌nock on doors. Show up, even if you鈥檙e mopping floors. That鈥檚 how artists always learned and grew, from the past, and the bottom up! Most of all take criticism, if you can鈥檛, you鈥檙e not ready.

Anything else you want students to know?

If you spend your time trying to satisfy the right and the left, you鈥檙e stuck in the middle鈥攖hat鈥檚 the definition of mediocre. Reach inside yourself, fail and get up again. Don鈥檛 be afraid of who you are, as long as it鈥檚 real to you. And study, always study. 可乐视频 is exceptional when it comes to the quality of education, it鈥檚 the best kept secret in the N.Y.C. school system. But then I鈥檓 biased鈥擨 have a real soft spot for my alma mater

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At the center of this year鈥檚 conversation is听Alexandra听Juhasz, an acclaimed filmmaker, scholar, video activist, and Distinguished Professor of Film at 可乐视频. A pioneering voice in queer media studies and independent filmmaking, Juhasz has spent decades exploring how film can document, preserve, and amplify marginalized voices.听Known for her influential work on听The Watermelon Woman,听widely recognized as the first feature film written and directed by a Black lesbian and a landmark of Black queer cinema,听Juhasz brings both scholarly insight and personal experience to a discussion on the importance of queer narratives in film.

As part of the showcase, Juhasz shares听I Want to Leave a Legacy, a deeply personal documentary created with her late friend Juanita Mohammed Szczepanski. The film is a moving reflection on friendship, AIDS-era activism, and the enduring importance of community memory. Through intimate storytelling, it demonstrates how film can preserve histories that might otherwise be lost and ensure that future generations remain connected to the struggles, resilience, and achievements of queer communities.

Joining Juhasz in the conversation are two accomplished CUNY filmmakers whose work highlights the diversity and creativity of queer experiences.

Samantha Alvarez, an award-winning filmmaker and painter and a two-time graduate of City College of New York听(CUNY), returns to听Frame by Frame听as a featured filmmaker for the second time. A fellow of the Bronx Documentary Center Films Fellowship, N可乐视频U Academy Fellowship, and Third World Newsreel Workshop, Alvarez earned widespread recognition for her experimental documentary听In the Body, which received six awards, including the 2022 Outstanding Female Content Creator Award from New York Women in Film & Television. Her work explores family healing and intergenerational trauma while pushing the boundaries of documentary filmmaking.

Also featured is听Eden Martinez, a Nuyorican queer filmmaker whose work centers women, LGBTQ+ communities, and people of color through a joyful and visually rich lens. Martinez鈥檚 film听In & Out听examines themes of identity, vulnerability, and intersectionality, celebrating the complexity and beauty of underrepresented experiences.

You can watch the听full showcase on CUNY TV and听on听YouTube from June 5听to听July 2. Featured films include听In & Out,听Cutting Room Floor #1, Make a Declaration, Voces Transcendentes, Candy鈥檚 Sun, Las Olas, NY Counterpoint, In听the Body, I Want to Leave a Legacy,听and听The Animal in You.

More information, including the schedule, is available听.

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The Broadway revival of Ragtime won the Tony Award for Best Revival of a Musical, while Liberation captured the Tony Award for Best Play, two of the evening’s most prestigious awards. The productions were recognized during the 79th Annual Tony Awards ceremony at Radio City Music Hall in New York City.

Michael Page outside Radio City Music Hall on June 8.

Page, a longtime producer and educator who teaches in the Department of Theater, has built a distinguished career that bridges the classroom and the professional stage. His involvement with award-winning Broadway productions offers students a direct connection to the highest levels of the theater industry.

Ragtime, the acclaimed musical based on E.L. Doctorow’s novel, was among the night’s standout productions, earning multiple Tony Awards, including Best Revival of a Musical. Liberation, playwright Bess Wohl’s Pulitzer Prize鈥搘inning drama exploring the legacy of the women’s liberation movement, was awarded Best Play. It also won the 2026 GLAAD Media Award for Best Broadway Production.

Page was also nominated for his work as the executive producer on 罢颈迟补苍铆辩耻别, nominated for Best Musical; as well as the co-producer on Two Strangers (Carry a Cake Across New York), nominated for Best Musical; and Oedipus, nominated for Best Revival of a Play.

“Having faculty members who are contributing to award-winning productions on Broadway enriches the educational experience for our students,” said Theater Department Chair Kip Marsh. 鈥淧rofessor Page’s success demonstrates the powerful connection between professional achievement and arts education.”

Throughout his career, Page has managed and produced more than 100 pieces of live entertainment that have appeared on and off-Broadway, in regional theaters, and on international stages, and that have won or been nominated for Tony, Obie, Drama Desk, Outer Circle, Lucille Lortel, Audience Choice, and Drama League awards.

The recognition highlights the continued impact of 可乐视频 faculty members beyond campus and underscores the college’s commitment to connecting students with working professionals who are actively shaping the future of the performing arts.

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