Tim Barrus is an award winning, fiction-based photographer whose work focuses on multimedia art and collage. His work questions our ideas of identity.

Tim is the founder of Manhattan Childrens’ Writers Group, Cinematheque Films, Paris, Smash Street Safe House, and Show Me Your Life Art Program for Kids At-Risk from 18 countries. He is the Artistic Director of Real Stories Gallery Foundation. His text and print work has included Tristan’s Moon Gallery, NYC, the New York Times (most notable), Esquire, the Columbia Review, and the Children’s Rights Group (Ford Foundation Grantee), United Nations’ International Year of the Child. His work has appeared in Drummer, Mach, Advocate Men, Christopher Street, Random House/Ballantine., Houghton Mifflin, Knights Press, Gay Sunshine Press, New American Library, Men-On-Men, Grey’s Sporting Journal, American Baby, and he was the producer of the special educational video: “Finally Included.”

Barrus has worked with children at: Taos Public Schools Special Education, Nova University Autism Program, Cerritos College Hospital Adolescent Intensive Care, San Francisco Hearing and Speech, Head Start, Home Start, Morning Star School, Community Mental Health, Michigan, and the Burt Psychiatric Center for Autistic Children.

 “I am a Provokateur. Life is both a performance and an art. How cultures nurture imposed ideas of identity, and punish any kind of different take is my eternal fascination. Working with kids and working in art is a way of life in every aspect of what is Mixed-Media.”

"My work has included a focus on HIV/AIDS. My Cinematheque Students act as mentors for Show Me Your Life. Watch. Do. Teach. I have included some of their work as teaching instruments in ORBITLOGUE."

Cinematheque is guerrilla education for a collective of at-risk adolescent HIV+/AIDS boys studying art in radical, self-directed ways. We’ve been prostitutes, junkies, thieves, and potential suicides. Most of us are from the street. Art is all we really have. Traditional education has failed us. We have rejected the educational status quo. We seek to interject our subversive ideas into the dialogue that defines what art is today.


Y not Smash Street. There r other Smash Streets. They crop up. They move around as well. 

They are who they are. We are who we are. But we’re simply not on the map. What, you thought you new everything. That what gets slopped in a tabloid witch hunt causes me to LMFAO when a thing cannot be believable because you do not know it. Not know it how. Such a broad definition as 2 B incomprehensible like the earth is flat because it looks flat, and what the fuck is a neutrino. No one has ever seen one sitting for a photograph. The art has to move because that is the nature of the universe, it’s constantly tearing itself apart, probably, and us with it so like yeah. Why even refer to disease. The marginalized are so far out there anyway, that we believe that you believe in whatever contrived versions of yourselves that you want to be contrived as. Sometimes we go riding bikes at midnight. Hardly see another soul. Insidiously seductive. It’s not about the body as a dead piece of meat. For that, you have advertising, which is interesting given its limitations. I have this thing I am working on. I do not know what it is yet. My students are building it with nails, wires hung from the ceiling, green wire mesh, paper and art supplies for making signs, being open to learning, always learning, is the final poetry. It’s where poetry comes from. We hear from people who say: men don’t make poems. That is how stupid and vapid and dull and boring it can get out there with the haters and the whiners and Y is it they can’t take their eyes off my shit, and what does it matter what I said years ago about whatever. Whatever. We make what we make. It’s about survival. It’s about moving forward. To look backward much would be suicidal wallowing. There is no time for it. We have 2 make it through the day. For as long as we can. Everyone is in that cosmic boat. Our boat is called Smash Street, and sailing around the entire fucking planet cuz that is what we do cuz that is what we do is what we do. We are doing it today right now. A blog is an internal dialogue for us among especially ourselves to ourselves. We are listening to what music we might discover in ourselves because the culture we live in would see us dead, and I do not overstate my case. We are in a forward motion and we are capturing neutrinos with our bloody hands. They do slip though, yes, a smashing through, and we are glad for it.

This portfolio represents many of the art teaching tools (especially in collage) I use in reaching adolescents. I am selling nothing here. I do shoot portraits. But I am very expensive, and you can’t afford me. Cinematheque is participating in a research project that is evaluating art teaching technique. Teaching collage employs many of those fair use instruments, and they are here as joint projects between students and teachers. As an educational entity, Cinematheque students (Smash Street Safe House) are allowed access to fair use art materials and mixed media in the teaching of iconic manipulation in photographic, video and film production. Representations and facsimiles posted here are presented as teaching tools and instruments employed to instruct students in the techniques and application of mixed media art and collage. The Digital Millennium Copyright Act allows art-teaching entities the fair use of such materials in classroom and teaching-research nonprofit applications.


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