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D I V I S I O N O F C O N T I N U I N G E D U C AT I O N · S C H O O L O F V I S U A L A R T S
C R E AT E / C O N N E C T/ C O M M U N I T Y
Steve Brodner
Steve Brodner, The Court of Donald I, for Los Angeles Times, January 2017.
Keren Moscovitch
N A P R O F E S S I O N O F C O U R A G E N by Sarah Grass N
Steve Brodner is an illustrator, caricaturist and veteran Continuing Education faculty with over three decades working as a professional satirist. Having honed his craft since the Nixon era, he is currently experiencing an unprecedented demand for his virtuosic mega-compositions and punchy moment-to-moment political commentary on the Trump administration. In addition to contributing to almost every major North American print publication, including The Nation, The Washington Post, The New York Times and the Los Angeles Times, Brodner maintains a remarkably constant social media feed, and a full schedule of teaching at SVA. He began with SVA Continuing Education in 1993, and currently teaches Illustration: Rules of the Road, a primer on the process and best practices of illustration, and Pow! The Art of Politics: Creating Art That Packs a Punch, an online course aimed specifically at political content. (Be sure to follow him on Facebook and Instagram and visit his website at stevebrodner.com.) continued on page 4 v
W H AT ’ S I N S I D E
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NE WS CE and Hetrick-Martin Institute collaborate to offer courses to LGBTQ students
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IN THE CL A S SROOM Exploring Multimedia course pushes the boundaries of art making
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SPECIAL PROGR AMS A conversation with artist and faculty member Caroline Woolard
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DEPARTMENT PROFILE Learn more about the exciting new field of social innovation design
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MUSEUM PRE VIE W Some highlights of the exhibitions opening this fall in New York City
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OUR FREE INFORMATION SESSIONS provide the chance to spend
an evening with some of our distinguished faculty. Discussions on career opportunities and industry news, as well as individual course offerings, from beginner to advanced, will be included. Evenings will conclude with a question-and-answer session with faculty and staff. Advisors will be available to help you choose which course is right for you.
Which Course Is Right for Me?
Continuing Education Information Sessions
These information sessions are offered to the general public free of charge. Seating is given on a first-come, first-served basis.
INTERIOR DESIGN
ADVERTISING
Tuesday, August 22 6:30–8:30 pm 209 East 23rd Street, room 502 MODERATOR : John Rea
COMPUTER ART, COMPUTER ANIMATION AND VISUAL EFFECTS Thursday, September 7 6:30–8:30 pm 133/141 West 21st Street room 301C MODERATOR : Jimmy Calhoun
DESIGN
Monday, August 21 6:30–8:30 pm 209 East 23rd Street, room 311 MODERATOR : Sue Walsh
FILM, VIDEO AND ANIMATION Monday, August 21 6:30–8:30 pm 209 East 23rd Street, room 502 MODERATOR : Valerie Smaldone
FINE ARTS: DRAWING, PAINTING, SCULPTURE AND PRINTMAKING Monday, August 28 6:30–8:30 pm 133/141 West 21st Street, room 602C MODERATOR : Steve DeFrank
ILLUSTRATION AND CARTOONING
Thursday, September 7 6:30–8:30 pm 209 East 23rd Street, room 311 MODERATOR : Jason Little
Thursday, September 7 6:30–8:30 pm 133/141 West 21st Street room 1104C MODERATOR : Lucas Thorpe
PHOTOGRAPHY
Thursday, August 31 6:30–8:30 pm 214 East 21st Street, room 407A MODERATOR : Keren Moscovitch
VISIBLE FUTURES LAB Wednesday, September 6 6:00–8:00 pm 132 West 21st Street, 7th floor MODERATOR : John Heida
VISUAL NARRATIVE
Thursday, September 7 6:30–8:30 pm 136 West 21st Street, 11th floor MODERATOR : Panayiotis Terzis
Nir Arieli
S VA C O N T I N U I N G E D U C AT I O N N E W S
FROM THE
EXECUTIVE DIRECTOR
greetings and a warm welcome to our very first issue of ContinuEd. ContinuEd started out as a conversation. Several years ago, School of Visual Arts President David Rhodes and I began the discussion when it was becoming clear that our continuing education program needed to implement new systems to manage our ever-changing curricula. This was also a good time to discuss the purpose of the printed course bulletin and the efficacy of our marketing efforts. Fast forward to today: With the redesign of the Division of Continuing Education’s website, our new content management system and online editorial strategy enable us to grow the program organically, without the deadlines associated with printing the course bulletin. With these new shifts, we decided to eliminate the printing of the course bulletin and instead launch a newsletter about arts-related content and our community. With this reimagined form of communication, we strive to keep you engaged, share our best ideas and practices, introduce faculty, showcase student artwork, highlight our facilities, and announce new course offerings. In this first issue of ContinuEd, we take a look at the Division of Continuing Education’s interdisciplinary approach to sustainable environmental, social, political and ethical issues and practices. The Division of Continuing Education staff will also introduce the various elements of our programming, including special programs, customized training and core courses. Toward the back of each newsletter, we’ll post a selection of our favorite spots around town that foster community and enable students and faculty to continue the conversation outside of the classroom. I would like to take the opportunity to thank all of the people who have been involved in getting this exciting project off the ground. I want to thank President David Rhodes for his continued support, and to the Visual Arts Press’ creative director, Gail Anderson, and her team for their invaluable talent. I have been tremendously fortunate to be able to work alongside them throughout this process, and thank them for making this journey so enjoyable and enriching. And thanks to you, our first readers, for being a part of this vital and ever-growing community. —Joseph Cipri, on behalf of the Division of Continuing Education
Susana’s project, Famiglia, documents the multi-generational experience of Italian-Americans.
CE Student Susana Rico Shows Her Work in the Student Gallery
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Susana Rico recently was the subject of a show in the Continuing Education student gallery. She came to SVA to expand her expertise in photography, a passion she picked up travelling: “It was on a trip to Bali, Indonesia in 2011 when I first fell in love with the medium. I found that I was able to capture the beauty of the city through my images. It was so unexpected and inspiring. From then on, I decided that I would take my camera with me everywhere.” After that experience, she quickly found her specific focus. “Being exposed to different languages and cultures since childhood has made me extremely aware of my surroundings, so I quickly developed a particular taste for street photography and documentary.” Susana seeks out unique characters in her photographs; everything from musical performers to drag queens, families and passing strangers. For the student gallery she chose work she made in the Documentary Photography course she took by Richard Schulman. “I really enjoyed my first photodocumentary series, entitled La Famiglia. The project documented Italian-American heritage and what was passed on to new generations. I had just moved to the United States, and had been missing my family.
D CE Faculty member Gregory Coates included in the Smithsonian National Museum of African American History and Culture The fine artist’s work Blue Feather (2013) was added to the museum’s collection.
SVA Faculty Jeanne Silverthorne Receives 2017 Guggenheim Fellowship Silverthorne was given a grant in the field of fine arts and was among 173 recipients from a pool of more than 3,000 applicants.
% College Magazine Names SVA Number One School for Visual Arts The magazine named the College first in its annual ranking.
CE Faculty Matt Rota Featured in The New York Times Notable Illustrations
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his spring, the Division of Continuing Education welcomed its first students to our program in collaboration with the Hetrick-Martin Institute (HMI). As the nation’s oldest and largest organization supporting LGBTQ youth, HMI has been serving this community and their families for over 37 years. Offering a broad range of services and support to its members, its programs include Health and Wellness, Counseling, Services for Homeless Youth, Academic Enrichment and Job Readiness, and Arts and Culture. SVA faculty member and HMI art instructor Grant Shaffer helped facilitate the collaboration, in which two students each semester are nominated by their HMI art instructors to take a course tuition-free at SVA. Shaffer teaches Exploring Career Opportunities for Illustrators: A Drawing Workshop at SVA, where he connects students with professionals and further develops their portfolios through weekly projects. At HMI, he is one of several dedicated art instructors, working individually with the students at the Open Arts Studio. We visited Shaffer and his fellow instructors Leesa Tabrizi and Diego Lopez at HMI. The Open Arts Studio is filled with young people busily working on various projects: Tabrizi shows a student how to wire-wrap a stone
SVA N E WS BI TE S
Grant Shaffer
CE Collaborates with the Hetrick-Martin Institute
By spending time with these people, I got to know them, and by the time I was done, they had become like a second family to me.” Susana says her work is both a depiction of her subjects and also a reflection of her and her story, and La Famiglia was an especially relevant example of that. “By working on this series about family, I was able to expand my own.” [William Patterson]
“The Year of Illustrations of 2016” highlighted a selection of images created for the Opinion section.
# CE Faculty Jesse Averna Nominated for Emmy A win would earn him his fifth trophy for editing on Sesame Street.
Student Rachel wears a headpiece created at HMI’s Open Arts Studio.
for a pendant, while Lopez assists another with a drawing. The students have varying levels of experience, and their enthusiasm is palpable. As we walk down a hallway lined with photos of students with their artwork, Shaffer explains, “For the youths in our program, being able to take a class at SVA means the world to them. You can see something ignite inside them, like a door to great possibilities has opened. It’s an amazing moment when someone can envision a brighter future for themselves.” SVA is looking forward to having two new students participate this fall. [Akiko Takamori]
CE Alumnus Claire Lordon to Illustrate Forthcoming Children’s Book Over at the Construction Site Written by Bill Wise, it will be published by Sterling Children’s Books in spring 2018.
VO L U M E 1 • N U M B ER 1 • AU G U S T 1 , 2 0 1 7 ContinuEd (USPS-004171) is published quarterly, fall, winter, spring, summer by SVA Division of Continuing Education, 209 East 23rd Street, New York, NY 100103994. Periodicals postage paid at New York, NY and additional mailing of fices. POSTMA STER: Send address changes to School of Visual Arts, ContinuEd, 209 East 2 3rd Street, New York, NY 10010-3994.
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STEVE BRODNER: A PROFESSION OF COURAGE Keren Moscovitch
• Continued from cover •
As an artist and professor, Brodner’s method is one of courage and clarity. “Write drunk; edit sober,” he often states, quoting Hemingway. For Brodner, a successful illustration depicts “one fine idea” and as he’s discovered through years of experience, “rarely is the first one the best.” His pedagogical refrain is, “Work it out in the sketching!” He will modestly tell you this is all he has to offer, but what Brodner really teaches is disciplined risk-taking: he is a professor of courage. We had the pleasure of sitting down for an interview with Brodner after his Wednesday evening class. We asked him his thoughts on The Emperor’s New Clothes, changing times and making work that gets under people’s skin.
“Courage is a big part of being creative. The world does not want you to be creative. It much prefers that you consume things. It doesn’t make any money off of you if you write a poem or paint a picture.” STEVE BRODNER faculty
You began your career in 1972 during the Nixon era. Can you compare that experience to today, under Trump? The days of Watergate were completely different, of course. Print was king and what was printed in The New York Times and The Washington Post had much more of an impact than it has today. If a news organization was sleazy or trafficked in incorrect information, it would quickly be marginalized. Today, we have sites that can pander to numbers of consumers of information that will not be held to any journalist standard at all! The Internet, we see, is a perfect medium for molding “information for sale.” And if you are Steve Brodner, Fight Club: Battle Lines of the White House Civil War, for the Los Angeles Times, April 9, 2017.
4 • CONTINUED / FALL 2017
in the business of selling a click product driven by emotion, the truth doesn’t have to enter into the equation at all. So Donald Trump, who lies much more than Nixon did, can sell a long list of lies and hardly have to face up to any condemnation by the establishment media. I suspect that the forces of journalism and civil society will yet figure out how to organize against these trends. These are scary times. And very challenging ones. The fake news issue is absolutely terrifying. This brings to mind an assignment you gave in your course Illustration: Rules of the Road, based on The Emperor’s New Clothes. Do you see the honesty of political satire functioning as the child in the tale who reveals that the Emperor is naked? And do you ever feel uneasy about what you reveal? That’s a pretty interesting metaphor, the little naive truth-teller. I think we all would like to be that brave little person. The difference between advertising and editorial, of course, is that editorial at least gives you the chance to tell the truth. I am invested in editorial work and have never really left the world of cultural and political
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RELATED COURSES
Art Intertwined: Cultures and Creativity (ILC-2732-A) Digital Coloring for Illustrators and Comic Artists (ILC-2149-A) Exploring Career Opportunities for Illustrators: A Drawing Workshop (ILC-3596-A) RISO Printing: Zines and Small Publishing (VNC-2239-A) For more information, visit sva.edu/ce
commentary. I don’t feel uneasy about doing the strongest possible work. We have all been threatened, or on the receiving end of an angry reaction. I consider that to be a mark of distinction. I will say to people who complain about a piece that is particularly strong, “I’m glad I got under your skin.” How many hours a day do you spend reading the news? How many hours processing and sketching? On days when I am not teaching I am consuming great amounts of news and sketching at the same time. An hour or so per day with newspapers and websites in the morning. Then through the day I hear broadcasts and have periodicals and books read to me by an app that I have. I do get to sleep from time to time!
Do you have any words of advice for cultivating this type of artistic courage? Courage is a big part of being creative. The world does not want you to be creative. It much prefers that you consume things. It doesn’t make any money off of you if you write a poem or paint a picture. Consuming only leaves one wanting to consume more. I have found that there is nothing as satisfying as being creative. You are in touch with deep resources and with yourself. This leads to greater self-knowledge. And a hard-to-define feeling of well-being. It is a brave and lonely life that artists lead. One never knows if one’s work will be accepted. One never knows if one will feel successful in the work. My courses are designed to get you over that first difficult moment. We read an assignment together
Steve Brodner, Obama at the Breach: The Legacy of Obama, for The Nation, February 2017.
and then talk about it. And then we sketch, expecting ideas of varying levels of interest. But always keep the knowledge that as long as you are sketching, you are going to be generating elements that you can use. And you will ultimately, always, be successful. Even if you never do the crazy freelance thing, the courage of creating art is something that we can all learn. In many ways, it brings riches to your life. E
READY TO CHECK OUT OUR COURSES?
sva.edu/ce
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IN THE CLASSROOM Student Hans Neumann and instructor Shirley Irons share a laugh during class critique.
Shirley Irons I
Teaching Artists to Explore Multimedia by Georgette Maniatis
nspired by a vast range of materials, current politics and personal anecdotes, the students in Exploring Multimedia push the boundaries of the here and now. Each week, instructor Shirley Irons shares an assignment with her students. A self-portrait piece could begin by “making a list of a hundred things about yourself, things you like, hate, think about, know about yourself—do you think truth is possible?” Such assignments conjure inspiration with thought-provoking questions that range from the philosophical to the mundane. Students may choose the assignment as a catalyst for their own artwork or create something entirely unprompted. The student then creates a piece within the classroom using materials gathered from the world at large, and each unique outcome is then critiqued as a group. Students from various artistic backgrounds and of all levels of experience are encouraged to push the boundaries of their practice, and to experiment with mediums they are unfamiliar with. No material is off limits: the ephemerality of the everyday newspaper metamorphoses into a piece Gabriella Mazza’s collage composed of various papers and textures.
6 • CONTINUED / FALL 2017
of sculpture, purple painted tissues scattered on the classroom floor become an installation, a potato covered in gold leaf qualifies as otherworldly. Current student Marisol Tirelli says, “Experimentation is essential for all artists, particularly using multiple mediums, by which the potential for new art forms can be discovered. This class facilitates the development of one’s own creative process in a low-pressure, supportive and open-minded environment.” Slide presentations on art history are given to expand the students’ critical vocabulary and ignite conversation. Collage, assemblage and bricolage are discussed in-depth for their non-hierarchical versatility and endless possibility. The course also looks intently at the artwork of a large number of artists, a few being Robert Rauschenberg, Eva Hesse, Lucas Samaras and Sarah Sze. With each semester, Irons feels strongly about doing away with the preconceptions of how art is defined, creating a space for freedom of expression that reflects Joseph Beuys’ celebrated declaration: “Everybody is an artist.” E READY TO CHECK OUT OUR COURSES?
sva.edu/ce
Marisol Tirelli’s handmade book filled with collages. Erica Dingman’s piece hung on wall.
Iván Sikic’s sprouting gold-leaf potato.
Gabriella Mazza’s multimedia sculpture.
! photography by Georgette Maniatis
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RELATED COURSES
Painting: Between Realism and Abstraction (FIC-2554-A) RISO Printing: An Introduction (VNC-1577-A) Digital Embroidery (FIC-3621-A) Contemporary Ceramic Sculpture (FIC-2417-A) Silkscreen: The Artist’s Book Series (FIC-2806-A) For more information, visit sva.edu/ce
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SPECIAL PROGRAMS
An Interview with
Caroline Woolard C U LT U R A L P R O D U C E R
photography by Tyler Kufs
c SUMMER INTENSIVES IN
SUSTAINABILITY RESEARCH In today’s rapidly shifting global landscape, critical artistic practices play a pivotal role in the construction of sustainable societies. Some of our newest offerings that address social, political and ecological sustainability include:
City as Site: Performance and Social Interventions A nomadic summer residency that explores the diverse communities that define New York City with the aim of creating context-specific public performative works.
Design Writing and Research Summer Intensive Aimed at those who would like to refine their skills as thinkers, researchers and storytellers, participants examine the profession and its impact through projects, articles and blog posts.
Fine Arts: Residency in Contemporary Practices This intensive studio residency has been designed for artists working in cross-platform, non-disciplinary practices that aim for the intersection of art and ideas.
From the Laboratory to the Studio: Interdisciplinary Practices in Bio Art Of particular importance in bio art is to summon awareness of the ways in which advancing biotechnologies alter social, ethical and cultural values in society.
Impact! Design for Social Change One-week modules focus on collaborations at the grassroots level with local community groups, ecosystem mapping and prototyping for social design.
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ur Fertile Ground Series highlights alumni, faculty and friends of the Summer Residency Program on their home turf, a fertile ground for creativity and community. Following is an excerpt of an interview with faculty member Caroline Woolard on the theme of sustainability and her practice as an artist, scholar and culture producer.
Your work has roots in activism and collaboration. What is your relationship to “sustainability”? For me, sustainability is the idea that there is no “trash” because waste material becomes source material for new work. This comes from conceptions of the “commons,” which I define as shared resources that are managed by and for the people who use those resources. Because I aim to communicate across social spheres, I make multiyear, research-based, site-specific projects that circulate in contemporary art institutions as well as in urban
For me, sustainability is the idea that there is no “trash” because waste material becomes source material for new work. CAROLINE WOOLARD faculty
SVA’s Summer Residencies in New York City offer artists, designers and creative thinkers time, space and a supportive community in which to develop ideas and focus on their artistic direction. Visit sva.edu/residency for details.
LEARN MORE ABOUT OUR SUMMER RESIDENCY PROGRAM
sva.edu/residency 8 • CONTINUED / FALL 2017
development, critical design and social entrepreneurship settings. I consider myself to be a cultural producer whose interdisciplinary work facilitates social imagination at the intersection of art, urbanism and political economy. The objects I make cannot be disentangled from their economic and social lives. How does this manifest in your teaching? In the classroom, arts educators confront the socially idealized occupation of the cultural producer and the frequent disavowal of a relationship between
Caroline Woolard in her studio at SVA’s Visible Futures Lab, wearing pants made by sculptor Lika Volkova, with sustainable art material composed of mushrooms donated by Ecovative for Woolard’s sculptures in progress.
cultural production and the contemporary political economy. It is my aim to articulate existing economies of cultural production as well as plausible futures of ecological sustainability and social cooperation in art. You play many roles at SVA, including as faculty in the MFA Fine Arts Department, Division of Continuing Education and the Summer Residency Program. You’ve also been an artist-in-residence in SVA’s Visible Futures Lab. How have these experiences shaped your practice? I teach because I get to remain in constant dialog with ideas. Teaching requires me to listen deeply enough to change my mind. Being on faculty means that I get to participate in a community of continuous debate and dialog about art. I believe that art is a mode of inquiry, and that students should learn to identify the communities of discourse that are relevant to their work. I consider myself to have succeeded pedagogically when the students who take my courses sense the power of their own volition and become responsible to it, finding partners in other disciplines and recognizing themselves as artistic researchers who contribute critical reflections to an expanding ecology of culture. Read the full interview at sva.edu/features/ caroline-woolard. [Keren Moscovitch]
C O N T I N U I N G E D U CAT I O N FA L L 2 0 1 7 F E A T U R E D
COURSE OFFERINGS
ñ EXPLORE OUR ˜
G R AD UAT E PROGRAMS MFA Art Practice Art Writing Computer Art Design Design for Social Innovation Fine Arts Illustration as Visual Essay Interaction Design
Comics as a Political Weapon
Photography, Video and Related Media
SETH TOBOCMAN
Botanica: Imaging the Green Planet / JOSEPH DEGIORGIS
#GenderSexPhoto: Queer Studies, Feminist Art
Cartoons, illustrations and graphic narra-
Plants are among the most diverse organ-
LORENZO TRIBURGO
tives have been used to comment on the
isms on the planet. In this course, we will
Through creative exercises, group discus-
issues of the day for centuries. Students
capture photographic representations of
sions and guided projects, students in
will write and draw their own comic strips.
these lush life forms and explore the beau-
this course will develop a coherent series
MA
If you believe that through your art you can
tiful and bizarre world of plants.
of images in response to the conceptual
Critical Theory and the Arts
change the world, take this class and
intersections of queer studies and
sharpen your sword!
photography.
Products of Design Social Documentary Film Visual Narrative
Curatorial Practice Design Research, Writing and Criticism
MAT Art Education
MPS Art Therapy
Art Intertwined: Creativity and Cultural Heritage
Make America ____ Again! E. ADAM ATTIA
Prototyping: Hands-On Fabrication / TAK CHEUNG
FELIPE GALINDO
Students will examine how photographers
The focus of this course is hands-on mak-
This course will explore historical and con-
and other creative citizens affect social
ing. It will cover various techniques and
temporary artists whose work have been
change through art. In the end, students
material explorations to make a themed
influenced and informed by different cul-
will have the opportunity to use their craft
project. Sessions will be held in the Visible
tural legacies of Picasso, Van Gogh, Diego
to soldier in defense of moral truth, and in
Futures Lab, a state-of-the-art rapid proto-
Rivera, Frida Kahlo and Ai Weiwei.
so doing participate in shaping our future.
typing facility.
Branding Digital Photography Directing Fashion Photography Visit sva.edu/grad for more information about our graduate program offerings
D E PA R T M E N T P R O F I L E
MFA Design for Social Innovation
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Social practice as a field of inquiry has become an increasingly vital site in which artists, designers and creative thinkers have begun to work. The MFA Design for Social Innovation Department is a leading incubator in the expanding field of social practice as it pertains to the intersection of design and social change. The students who enter the program come from a diverse variety of professional and geographic backgrounds; entrepreneurs, economists and designers work together to conceptualize, implement and execute projects that address some of society’s most pressing concerns on a local, national and global scale. Now in its sixth year, DSI department chair Cheryl Heller launched the program after
teaching a course called Design for Good. According to Heller, “social innovation design is the creation and propagation of healthy, mutually beneficial relationships between humans, technology and the earth.” During their study, students are encouraged to develop hands-on approaches to creative problem solving in the realms of systems design, critical thinking, strategy, game mechanics, social movement design and collective leadership. Among its many contributions, the department maintains a commitment to sustainability. For his thesis project, DSI alumnus Michael Raineri developed a method of converting used coffee grounds sourced from coffee shops throughout New York City. Raineri’s “The Community Grounds Project” is exemplary of the
ways in which DSI students think about how to effect change at a grassroots level. Heller noted that “the key for effective social change is a systemic approach.” DSI fosters an environment in which students can develop projects that are at once actionable and equitable. [Eric Sutphin]
The Community Grounds Project addresses New York City’s organic waste problem by transforming used coffee grounds into a fertilizer product, the sale of which supports local community benefit organizations. Michael Raineri, The Community Grounds Project (2017). Image courtesy of the artist.
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ART IN NEW YORK CITY Patty Chang, Invocation for A Wandering Lake Part 2, 2015, video still. Photo courtesy of Patty Chang.
Stephen Shore, Lookout Hotel, Ogunquit, Maine. July 16, 1974. Chromogenic color print, 17 × 21 3/4" (43.2 × 55.2 cm). The Museum of Modern Art, New York. Acquired through the generosity of an anonymous donor. © 2017 Stephen Shore.
Stephen Shore, West Ninth Avenue, Amarillo, Texas. October 2, 1974. Chromogenic color print, 17 × 21 3/4" (43.2 × 55.2 cm). The Museum of Modern Art, New York. Acquired through the generosity of an anonymous donor. © 2017 Stephen Shore.
Fall 2017
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Museum Preview
he fall season promises major art and design exhibitions of artists working in wide-ranging media. New York City hosts some of the world’s leading museums, where permanent collections and special exhibitions offer inspiration to students enrolled in continuing education classes. Grab a classmate or fly solo to see some of these recommended shows! 10 • CONTINUED / FALL 2017
The Museum of Modern Art (MoMA) will present “Stephen Shore,” an exhibition encompassing five decades of the American photographer’s work. While documenting daily life in America, Shore has explored many forms of photography, including cheap automatic cameras, large-format, and digital photography, while venturing between color and black-and-white formats. For landscapes, portraits and
Louise Bourgeois, Untitled, from the fabric illustrated book, Ode à l’oubli. 2002. Page: 11 3/4 x 13" (29.8 x 33 cm). The Museum of Modern Art, New York. Gift of the artist. © 2017 The Easton Foundation/Licensed by VAGA, NY.
slices of life in America, don’t miss this exhibition. Opens November 19, 2017. MoMA will also open its atrium to “Louise Bourgeois: An Unfolding Portrait.” Selected from the Museum’s prized archive of materials, the exhibition will explore Bourgeois’ emotive prints and books in the context of her work in other media. Opens September 24, 2017. For more work inspired by the artist’s life, visit the Queens Museum to see Patty Chang’s “The Wandering Lake.” The result of almost a decade of work, Chang’s interdisciplinary project “redefines the roles of artists, images and performance in the construction of narratives.” The project is driven by geography, history and Chang’s own life story. Opens September 17, 2017.
Painting lovers will rejoice at the Whitney Museum of American Art’s mid-career survey of Laura Owens. Her first major museum show in the United States since 2003, the comprehensive survey of the Los Angeles-based painter will feature custom-printed wallpaper and artist’s books to contextualize Owen’s figurative and abstract paintings. Opens November 10, 2017. For more updates, follow our blog: ceblog.sva.edu and our social media channels! [Michael Bilsborough]
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VISIT US ON SOCIAL MEDIA
facebook.com/SVACE Instragram: @svace Twitter: @SVAContinuingEd youtube.com/CETUBEatSVA
#SVA SPOTS M A R GARET BURDGE
Sugarfish
SVA CE Students Share Their Favorite Places in NYC ISAB EL SINGER
U SA YA MAGU CHI
Hu Kitchen
Xian’s Famous Foods
33 East 20th Street, NYC 10003 Amazing amazing amazing sushi. So delicious. Recently opened, and just started doing takeout so you can skip the long lines!
78 Fifth Avenue, NYC 10011 I can eat everything there! They have gluten-free and dairy-free options that all taste great!
DAVI D E . GE IGE R
TIFFANY MAK
Orion Diner
Friend of a Farmer
24 West 45th Street, NYC 10036 This place is both delicious and budget-friendly—two deal-breaking factors I look for in a favorite spot. This chain is usually tight in space, so you may find yourself standing up during a meal. However, they also offer meals to go so their service is super fast and convenient. It’s spicy and sleazy in the most delicious ways possible. A regular favorite.
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395 Second Avenue, NYC 10010 Clean, good menu, friendly staff, convenient location.
77 Irving Place, NYC 10003 Amazing Brunch!
2 CE STA FF P ICK
PHOEBE ST EI N
Juice Shop
688 Sixth Avenue, NYC 10010 I looove their Mr. Almond smoothie— it works as a meal replacement when I’m on my way to class. It’s got almond milk, almond butter, dates, banana, pumpkin spice, himalayan sea salt, and vanilla extract—YUM! They also have pre-made veggie meals that are healthy and fill you up. L E AH Mc CA N N
Sunburst Espresso Bar
206 Third Avenue, NYC 10003 I’m so tired of the overly branded, trendyass restaurants and pop-ups in Brooklyn and New York City. And when I want good comfort food, I don’t want to dish (ha) out $15 for a plate of eggs or french toast at a “New York diner.” So then there’s Sunburst Espresso, a cozy (but big enough), low-key cafe/restaurant in the East Village that offers me a number of dishes breakfast, lunch and dinner all day at a justifiable cost. It’s got the variety I want at the price I need. Put that in your ad campaign.
TIFFA N Y MA K
Bao Bao Cafe
B IANCA PASTERNACK
61 Lexington Avenue, NYC 10010 Bang for the buck for dinner and lunch.
Doughnut Plant
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220 West 23rd Street, NYC 10011 Really cute place with delicious donuts and AMAZING chai. The people who work there are really nice and have been known to throw in a free donut now and then.
MARKT
676 Sixth Avenue, NYC 10010 Excellent food, plentiful menu. A perfect atmosphere for when you have time for a nice dinner.
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PARKING SPOTS Best deals near our east-side campus
iPA R K
215 East 24th Street, NYC 10010 (between Second and Third avenues)
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401 Second Avenue, NYC 10010 (between 23rd and 24th streets) Best deals near our west-side campus
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Irving Farm
71 Irving Place, NYC 10003 Literally the best chai latte I have ever had. And I’ve had a lot of them.
180 West 20th Street, NYC 10011 (between Sixth and Seventh avenues)
SP +
120 West 21st Street, NYC 10011 (between Sixth and Seventh avenues)
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Fall 2017 Newsletter
D I V I S I O N O F C O N T I N U I N G E D U C AT I O N
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ST U D E N T G A L L E RY
N CO NTI NUE D Fall 2017
editorial staff Joseph Cipri, editorial director Akiko Takamori, managing editor Keren Moscovitch, editor Nika Lopez, editor v isual arts press, lt d. Anthony P. Rhodes, executive creative director Gail Anderson, creative director Brian E. Smith, art director Sheilah Ledwidge, editor Carli Malec, designer con t ributors Sarah Grass Georgette Maniatis William Patterson Eric Sutphin Michael Bilsborough © 2017 Visual Arts Press, Ltd. ContinuEd is published by the Division of Continuing Education school of v isual arts Milton Glaser Acting Chairman David Rhodes President Anthony P. Rhodes Executive Vice President
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