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continued SUMMER 2018

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

Elise Engler N   A S T U D I O W I T H O U T WA L L S   N

Beyond the walls of her Upper West Side studio, Visual Narrative instructor Elise Engler maintains a workspace in her mind. Counting, sorting and drawing her way through territories unknown, she has architected a method of working to withstand extreme climates, both weather-wise and political. Be it a yearlong plein air drawing of all 252 blocks of Broadway, or working out of a tent in Antarctica, Engler’s method of systematic drawing provides a structure so sound that it doesn’t need walls. Her work is as rigorous as it is playful, as disciplined as it is open to

by Sarah Grass

W H AT’ S IN SIDE

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NE WS City as Site faculty Todd Shalom makes spontaneous public group art with Participatory Walk.

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ART MAP Follow our guide to street art around New York City. Illustration by David Leutert.

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IN THE CL A S SROOM Urban photographer Jade Doskow takes students on location to shoot.

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SUMMER MUSEUM ROUNDUP Bodys Isek Kingelez, David Wojnarowicz and radical Latina artists.

chance. From Broadway to the Galapagos Islands, from Antarctica to Sicily, Engler has always oriented herself with a practice of drawing beyond conventional studio borders.

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DEPARTMENT SPOTLIGHT A look inside the MFA Social Documentary Film program.


SVA CE

SUMMER EVENTS Drawing in the Park

HOSTED BY CE FACULTY SARAH GRASS

Hone your observational skills while recording the bustle in one of New York City’s most iconic locations. You may work in any medium you choose, including graphite, charcoal, pastel, or pen and ink. Please keep in mind you’ll be drawing on the go, so we recommend using sketchbooks or drawing boards. MADISON SQUARE PARK Wednesday, June 13, 12 – 2pm Meet in front of the fountain located north of Shake Shack. We will pay special attention to Delirious Matter, a park-wide installation of six new sculptures by artist Diana Al-Hadid. HIGH LINE Wednesday, July 11, 6 – 8pm Meet upstairs at the 16th Street entrance in front of Prop, the public sculpture by artist Phyllida Barlow. We’ll also visit the High Line

Summer Residency Programs Events Programs. Visit four floors packed with great art ranging from traditional drawing to experimental new media and performance.

BIO ART RESIDENCY FINAL EXHIBITION Wednesday, June 13, 6 – 8pm 335 West 16th Street From anatomical studies to landscape painting to the biomorphism of surrealism, the biological realm has historically provided a significant resource for numerous artists. This exhibition is the culmination of an intensive, five-week interdisciplinary residency housed in SVA’s Bio Art Laboratory. Come see the work of this dynamic and experimental group of artists working at the intersection of art and biology.

OPEN STUDIOS Fine Arts: Contemporary Practices, Illustration and Visual Storytelling, Painting and Mixed Media Thursday, July 5, 6 – 9pm 133-41 West 21st Street (Floors 1, 4, 8 & 9) Summer residents from across the U.S. and around the world will present new work made during their time in the Summer Residency 2 • CONTINUED / SUMMER 2018

ALUMNI SHOW OPENING RECEPTION Thursday, July 5, 6 – 9pm 133-141 West 21st Street Flatiron Project Space Each year the Summer Residency Programs hosts a curated exhibition of alumni artwork. This year’s exhibition takes the notion of movement and migration as its conceptual starting point. By its very nature, a residency is a finite experience, often bookended by global travel. The exhibition looks at how artists adapt to an increasingly itinerant and decentralized system of artistic practice.

Sculpture, Installation, New Media and Techno-Ceramics Summer Residency have cohabited with SVA’s MFA Art Practice students. This joint open studio exhibition will feature new work from artists in both programs.

CENTRAL PARK Saturday, August 18, 6 – 8pm Enter the park by the West 81st Street entrance and find the Waffle Stand near the Delacorte Theater. We will head to the Great Lawn. These events are free and open to the public. Registration is required and space is limited.

Even More! HELP YOURSELF: PARTICIPATORY WALK ON THE HIGH LINE Thursday, July 26, 7pm Hosted by CE Faculty Todd Shalom Help Yourself encourages participants to poetically respond to their pasts and the current local climate via prompts from poetry, performance and sound art. This walk is open to all ages and abilities. The walk will be led in English, and Spanish translation is available. A one-time-only event!

OPEN STUDIOS AND EXHIBITION Fine Arts: Contemporary Practices, Illustration and Visual Storytelling, Painting and Mixed Media, and Photography and Video Thursday, August 9, 6 – 9pm 133-41 West 21st Street (Floors 1, 4, 8 & 9) The grand finale of the 2018 Summer Residency Programs. If you missed the Open House event in July, here’s your last chance to see four floors of art from our summer residents. These events are free and open to the public.

PLEASE VISIT

OPEN STUDIOS MFA Art Practice and Sculpture, Installation, New Media Art and Techno-Ceramics Wednesday, July 25, 6 – 9pm 335 West 16th Street For six weeks, residents in the

Plinth, a new platform for public art commissions located at the north end of the park.

sva.edu/continued/events for event details and registration

LOCATION

Meet at the water fountain on the the High Line at the Gansevoort/ Washington Street entrance. REGISTER

Please register to attend this event; limited space is available for participation. Ticket information at sva.edu/continued/events. COLLABORATIVE CARDBOARD INSTALLATION OPENING RECEPTION Monday, July 30, 7pm 133-141 West 21st Street, Flatiron Project Space Opening reception will showcase the final installation of work produced in this workshop. Using only cardboard and black paint, students create a complete, collaborative installation while exploring technique and process. Students collectively choose a theme of a real-world venue (such as a natural history museum), fabricate the elements and, ultimately, amass these separate components into a final project. Don’t miss it!


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

It happens every year. Summer rolls around and we make plans to leave New York to visit friends, go on vacation or to the beach. Then, Labor Day sneaks up on us, and we realize we haven’t done any of the things we had hoped to do. So instead of planning to leave town, why not do something different? Satisfy your artistic and creative cravings by taking a course and joining a community. During the summer semester, the Division of Continuing Education at the School of Visual Arts offers courses that encourage students to document the architecture of the city that is as varied and diverse as the people who live here, to draw and paint in outdoor spaces, and to create public art that engages the community and inspires social justice. A few of the courses offered this summer that take advantage of this amazing city are: Cinematography, Drawing New York City, Location and Event Photography, Marginalized Identity and Accessible Photography, Music Photography, and Parks and Gardens: Photographing New York’s Green Spaces. In this issue of ContinuEd, we highlight faculty and students who have used the streets of New York City as their studio. So, enjoy the stories and profiles, and visit our website: sva.edu/ce, to plan your stay and artistic play. We look forward to seeing you this summer.

—Joseph Cipri, on behalf of the Division of Continuing Education

CON T I N UE D P R OJECT SPACE EXHI B I T I ON S JUNE 2018

Participatory Walks with Todd Shalom

CON T I N UE D Summer 2018 edito r i a l sta ff Joseph Cipri, editorial director Keren Moscovitch, managing editor Nika Lopez, editor visual arts pr ess, lt d . Anthony P. Rhodes, executive creative director Gail Anderson, creative director Brian E. Smith, senior art director Sheilah Ledwidge, editor Carli Malec, designer co n tri butor s Michael Bilsborough Sarah Grass Georgette Maniatis Stephanie McGovern William Patterson Eric Sutphin © 2018 Visual Arts Press, Ltd. ContinuEd is published by the Division of Continuing Education sch oo l o f vi sua l a rts Milton Glaser Acting Chairman David Rhodes President Anthony P. Rhodes Executive Vice President

➧ Monday Morning Students contribute their unique vision with various materials. The unifying factor is their willingness to take chances. ARTISTS

Paul Block, Nicole Brier, Johkie Lee, Lynne Granger, Idelisse Malave, Erin Smith, Nigel Spong, James Trowell COURSE

Shirley Irons A Predisposition to Paint FIC-2206-A FOLLOW OUR STUDENT EXHIBITIONS: #SVACESTUDENT

VO L U ME XC V • N U M B ER 2 facebook.com/SVACE Instagram: @svace Twitter: @SVAContinuingEd youtube.com/CETUBEatSVA sva.edu/ce

From top: A participatory walk conducted as a part of Art Prospect in St. Petersburg, Russia. Residents from City as Site on a participatory walk. Photo Credit: Rodrigo Viñas

ContinuEd (USPS-004171), Copyright © 2018 by the Visual Arts Press, Ltd. is published quarterly by the School of Visual Arts, 209 East 23rd Street, New York, NY 10010. Call (212) 592.2050 to subscribe. Periodicals postage is paid at New York, NY. POSTMASTER: Send address changes to ContinuEd, 209 East 23rd Street, New York, NY 10010-3994.

What if you could make art out of the everyday, using only a walk through the city streets as a canvas? Todd Shalom, faculty in the City as Site Summer Residency program and founder of Elastic City and co-founder of Willing Participant, does just that. His artistic medium has been the “Participatory Walk,” a spin on the idea of a walking tour, that uses instructional prompts to engage poetically with the places we live in and visit. The Participatory Walk typically involves a group getting together to perform these prompts, which are crafted by artists invited from a range of disciplines. Prompts are generally 2 – 10 minutes long, with a full walk containing a series of 7 – 10 prompts. Todd offered a few examples of prompts used in the past: “Pair up in groups of two. One person draws a frame in any size or shape using a finger.  The other looks through the frame and names the composition. Then you switch, framing and naming over a five-minute period as you walk down a block or two.  It’s a way to see something through someone else’s eyes, but also a way to demonstrate the potential of a name—the chosen title can suggest either a masterpiece or a flop.” “This next prompt was created by sound artist, Pamela Z. Look up at any direction you like and choose a spot on the skyline.  At my signal, begin following the skyline in a clockwise direction and intone the contours of the skyline. In other words, sing the contours of the skyline

using the varying heights of buildings as an indicator of pitch. Continue intoning, grabbing a breath when needed, and turn your body to allow the smooth and continuous execution of the line. The piece is finished when everyone has turned and read the skyline score for the full 360 degrees, returning to the skyline at the point at which they started.” “There are other prompts that can be really personal, such as sharing stories, secrets or memories.  And sharing can mean explicitly—by literally talking about them with others, or it can be interpretive—such as to share something with someone using only your eyes.” Todd is currently working on a book of prompts from participatory walks given throughout the seven years that Elastic City was active.  Alongside the workshop he conducts with City as Site residents, Todd hopes the book will inspire people to organize and conduct their own participatory walks. “The walk as artistic medium gives people permission to be vulnerable in public with people they may not know.  That can be a really contagious thing. In a way, the walk is built on this idea of breaking down our boundaries and bringing us together. For instance, it would make me very self-conscious to go out on the street and spontaneously start dancing. It would feel a lot better with at least one other person out there dancing with me.” [William Patterson] 3


ELISE ENGLER

At SVA, Engler teaches Visual Narrative, a course that broadly addresses narrative art-making both within and beyond the realm of illustration, and the Accordion Book Workshop, a one-day primer on book construction. Whether binding ideas for a narrative or images into a book, Engler’s main lesson is to study the parts to better understand the whole. She applies this analytic method to graphic novels, photo essays, personal memoirs, fine arts portfolios and even experimental-process based works. We had the opportunity to spend an after­noon in Engler’s studio, conversing amid hundreds of drawings from her most recent project, “First Radio Headline Heard of the Day,” a two-anda-half-year daily drawing project that she has affixed to the wall in a grid formation. At the bottom right, today’s drawing is dutifully completed: “February 26, 2018: Supreme Court declines to take DACA case, leaving it in place for now. Supreme Court could gut public-sector unions.”

“Everyone has a story. Some are specific, some abstract, visual or poetic. I teach narrative to help students access their story from a different angle.” ELISE ENGLER faculty

How would you describe your manner of storytelling? My work is documentary in nature, chronicling particular experiences by drawing/painting all of their components. I believe the sum of the parts is greater than the whole. The content of my work ranges from the personal, such as drawing everything I own or the contents of women’s bags, to the more overtly political, drawing everything American tax dollars pay for, or in my project “Wrapped in the Flag,” drawing over 30,000 war casualties. Most recently my method has been to trace the unfolding narrative of the media with daily drawings in my project “First Radio Headline Heard of the Day.” 4 • CONTINUED / SUMMER 2018

How long have you been tracking the “First Radio Headline Heard of the Day”? I’m at 2 years and 3 months! There are actually 11 days I missed but I had other artists fill in. So there are now 11 drawings by other artists. I originally committed myself to a year but that ended just before the 2016 US presidential election, at which point I knew I couldn’t stop. It’s been an interesting period of time. When I began the project, Trump had just announced his candidacy for president. I really didn’t imagine we’d be where we are today, although my father predicted a Trump presidency long ago—he’s a political economist. Your ability to commit to projects long-term is so impressive! Can you tell us a bit about your “A Year on Broadway” project? What was it like using Broadway as your studio for a full, four-season year? “A Year on Broadway” involved documenting each of the 252 blocks that make up New York’s Broadway from top to bottom. I call it a “walker’s drawing” as it takes the point of view of walking

through the city—walking the city is what it’s about. The whole thing did take exactly one calendar year, so I was outside for all four seasons. One of my daily practices was to ask someone, at random, to photograph me drawing as a documentation of the passage of time—of the seasons. I now have the drawings in an accordion book format, which is something I show in my Accordion Book Workshop. What does the Accordion Book Workshop entail? It’s a one-day workshop in which I teach students how to make an accordion book, but it is also a workshop on organizing ideas into book form. The actual book objects can be as tiny or large, specific or abstract as students like. By the end of the workshop everyone has learned to assemble the accordion from page to hardcover. Let’s talk about your full semester course, Visual Narrative. Yes! It’s a 10-week course covering all aspects of narrative art. It’s a workshop first and foremost

TOP TO BOTTOM: Cape Crozier, Adelie Penguins, 2010, watercolor, graphite, ink on paper 10 x 14"; Lake Hoare Field Camp, 2010, gouache, watercolor,graphite, color pencil on paper, 29.5 x 41". COVER: A Year on Broadway (W.130th Street to W.126th Street), 2015, gouache, watercolor, color pencil, graphite on paper, 6 x 12.75" (section from piece 6" (inches) x 109')

e

RELATED COURSES

The Art of Illustration Steve Brodner (ILC-3833-A) Illustration Portfolio Elizabeth Sayles (ILC-4011-A) Pop Surrealism Joo Chung (ILC-2741-A) For more information, visit sva.edu/ce


so we draw every week, but I always begin by showing work. Each class has a theme: comedy, politics, personal narrative, etc., and I also go over some basic bookbinding and printmaking. I think process-based works are a great way to experience narrative. In printmaking something is forming and evolving before your eyes. Each print is progressively different. Your practice has taken you to the South Pole. Tell us a bit about your expeditions. I traveled to Antarctica as a grantee of the National Science Foundation’s Antarctic Artists and Writers Program and was essentially an artist-in-residence at McMurdo Station (the large American research station), and I went to various field sites including Dry Valley, two penguin colonies and the South Pole. My proposal was initially to draw everything at a smaller station, but that changed when I ended up at McMurdo and then was travelling around. As always when on a journey, I began by drawing each item I packed. It was a lot as you really can’t purchase much in Antarctica. Why do you find the subject of narrative important to teach? Well, everyone has a story. Some are specific, some abstract, visual or poetic. I teach narrative to help students access their story from a different angle. (Follow Elise Engler’s “First Radio Headline Heard of the Day” on Instagram @missdocumentrix)

TOP TO BOTTOM: A Year on Broadway (W.30th to W.27th Street), 2015, gouache, watercolor, graphite, color pencil on paper, 6 x 12.75" ( section from piece 6" x 109'); A Year on Broadway (Union Square South to 12th Street), 2015, gouache, watercolor,graphite, color pencil on paper 6 x 12.75" ( section from piece 6" x 109'); The artist in plein air.

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5


Take advantage of the warm weather 1

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12 13 14

Metronome, Andrew Ginzel Union Square (south end, above Nordstrom Rack & Best Buy) Self-Portrait, Keith Haring 51 Astor Place Two Dancing Figures, Keith Haring 17 State Street See It Split, See It Change, Doug and Mike Starn South Ferry subway station, 1 line Untitled, Milton Glaser Astor Place Station LINOUQ, Capucine Bourcart (until 6/19) Thomas Jefferson Park (between East 111th & 114th streets at First Avenue) El Arbol de Esperanza, Brower Hatcher Thomas Jefferson Park (between East 111th & 114th streets at First Avenue) Once You Hear Me, You Won’t Forget Me; Patricia Cazorla & Nancy Saleme Howard Bennett Playground, 32 West 136th Street Rose Crystal Tower, Dale Chihuly (until 10/18) Union Square Park Hell Gate Cairns, Samantha Holmes (until 8/11) Riverside Park South Hudson Square: Through Our Eyes, Various Artists (until 7/31) Spring Street Park (Spring Street & Sixth Avenue) Magnolia, Naomi Lawrence (until 6/20) Anibal Aviles Playground, West 108th Street Bowery Mural, Keith Haring 76 East Houston Street Centre-Fuge Public Art Project, Various Artists 33 East 1st Street

= SVA Affiliated Artist

6 • CONTINUED / SUMMER 2018

Map illustration by David Leutert (MFA 2017 Illustration as Visual Essay)

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and stroll through NYC’s biggest art gallery—the city streets! We have compiled a map of some of the best public artworks located throughout Manhattan, from sculptures to murals, with SVA as a starting point. Whether you are a longtime resident or visiting for the first time, there are bound to be artworks you’ve missed, many made by members of the SVA community.

High Line Art, Various Artists High Line Park (west side) Crack is Wack, Keith Haring East 128th Street & Harlem River Drive 100 Gates Project, Billy Rohan 118 Orchard Street L.I.S.A. Project, Various Artists Little Italy (various locations) New York Made: Stanton Street Courts, KAWS Sara D. Roosevelt Park, Chrystie Street & Forsyth Street Hammer Boy, Banksy Broadway & West 79th Street Delirious Matter, Diana Al-Hadid (until 9/3) Madison Square Park Whirls and Twirls (MTA), Sol Lewitt West 59th Street, Columbus Circle subway station Times Square, Max Neuhaus Triangular pedestrian island located at Broadway between 45th & 46th streets Wind Sculpture (SG) I, Yinka Shonibare MBE (until 10/24) Central Park, 60th Street & Fifth Avenue Times Square, Roy Lichtenstein Times Square subway station, mezzanine, N, Q, R, S, W, 1, 2, 3 lines Pledges of Allegiance, Alex Da Corte 59 East 4th Street Reach, Christopher Janney 34th Street/Herald Square subway station, R line Blueprint for a Landscape, Sarah Sze 86th Street subway station, Q line


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IN THE CLASSROOM

Visual Lens: Capturing New York’s Architecture by Georgette Maniatis

J

ade Doskow is an accomplished architecture and landscape photographer based in New York and exhibited worldwide. She is also an admired instructor, teaching two courses—Parks and Gardens: Photographing New York’s Green Spaces and Portfolio Workshop: Landscapes and the Built Environment in the Division of Continuing Education at SVA. In this interview we discuss how fascination leads to inspiration, the beauty of teaching and an upcoming solo show. What first drew you to landscape and architecture photography? While I did not fall into the medium of photography until I was an undergraduate at New York University, my formative years were spent in a 275-year-old stone house surrounded by six acres of wilderness. In this setting the past literally jostled the present, in the form of 18th-century artifacts and pottery that would become unearthed in the mud, the thick coolness of the stone walls, the aura of the entire place. In stark contrast to this bucolic environment I would spend time with family during the summers both in the Bronx, overlooking the graffiti-covered end of the 1 train, and on the Bowery downtown, in a luminous loft filled with art. I was a quiet, sensitive child who loved to draw and write stories; these dramatically different architectural/landscape/cityscape settings strongly influenced me. Following undergraduate studies, I worked as a darkroom printer at a high-end photography lab in the city. We printed the large-format negatives of such masters as Robert Polidori, Andrew Moore, Joel Sternfeld and Philip Lorca di Corcia. I became entranced with these delicate sheets of film, the seemingly infinite layers of perspective and form contained, in precise detail, within the emulsion. While I 8 • CONTINUED / SUMMER 2018

did not begin shooting 4x5 large-format photography until some years later, I became hooked on the unique challenges of taking the three-dimensional constructed environment and translating it into the two-dimensional realm of photography. At this point I began my first long-term architectural/cityscape project, photographing the waterfront neighborhood of Red Hook, Brooklyn, where I lived from 2003 – 2016. What is your favorite part of teaching on-location photography courses? New York is one of the most dynamic, constantly transformative, and beautiful cities in the world. Every block offers historical, cultural and architectural depth that is endlessly fascinating to explore photographically. Since I first moved to the city in the ‘90s, there is a drastic change in context and scale for many neighborhoods. This can be described as gentrification, but also more precisely as the organic growth and transformation of the cityscape. Buildings, styles and the light are different every time I travel to a neighborhood with my students, and consistently adventure awaits us on these adventures, whether it’s being allowed into an electronics recycling warehouse in Gowanus to photograph, or climbing over white, glistening piles of salt on the Long Island City waterfront—alien mounds backed by the skyscrapers of Manhattan. Every class is a unique experience. How have your students inspired you? Teaching constantly keeps me on my toes, in every aspect. Each student brings their own levels of experience and knowledge, in regards to both their photographic capabilities and their own experiences of New York. I’m constantly inspired by them to look at the city anew, seeing every

block and building afresh through my students’ work. Without teaching it would be easy to be consumed within the vacuum of making my own work; it’s important to be able to see familiar topics anew, constantly. You have an upcoming solo show, “Lost Utopias,” at Front Room Gallery, tell us more about the body of work being exhibited. Since 2007, I have been photographing the remaining architecture, art and landscaping of international world’s fairs, highlighting the odd juxtaposition between utopian/dystopian of these surreal sites as they exist today. World’s fairs have left behind great architectural icons around the globe, such as the Eiffel Tower, the Space Needle and the Atomium, while also leaving a multitude of public art pieces and lesser known, more humble structures. The first monograph of this work was published last year by Black Dog London and this is the first solo exhibition of the project in New York City. Following the exhibition at Front

Room Gallery the show will travel to Asheville, NC, to the Tracey Morgan Gallery. On display at both Front Room and Tracey Morgan will be a range of photographs from the 10 years of shooting and including wildly different architectural styles representative of past goals and dreams as seen through the design of world’s fairs. Some work from Lost Utopias will be at the Front Room Gallery’s summer show. The opening is Friday, June 16, from 7:00 – 9:00pm. The gallery is located at 48 Hester Street, New York, NY. Stay up to date with Doskow on the web at jadedoskowphotography.com. TOP TO BOTTOM: Jade Doskow Seattle 1962 World’s Fair, “Century 21 Exposition,” Science Center Arches at Night; Jade Doskow Montreal 1967 World’s Fair, “Man and His World,” Buckminster Fuller’s Geodesic Dome With Solar Experimental House.

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“Jade helped me develop a deeper understanding of urban landscape, whether on the grand scale, or a little detail of a window. Each photograph is an actualization of a precious moment.” GAIL FARBER

“I knew of Jade Doskow’s wonderful work from her book Lost Utopias, and was eager to take a class from her at SVA. I work with large-format film, and through Jade’s class, I learned an immense amount in terms of camera technique, meeting the challenges of composing on ground glass, and the certain temperament needed to pursue an old school medium in digital times.” DEREK R. DEWEES

“Jade’s ability to critique our photographs is done with a great deal of insight, sensitivity, honesty and gentleness. I am a more confident photographer from these experiences.” ELIZABETH SHANE

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ART IN NEW YORK CITY

Summer

Bodys Isek Kingelez, Kimbembele Ihunga, 1994, paper, paperboard, plastic, and other various materials, 51 ³/₁₆ × 72 ³/₁₆ × 126". © Bodys Isek Kingelez. Courtesy CAAC – The Pigozzi Collection. Photo: Maurice Aeschimann.

Museum Roundup S

tudents interested in sculpture, architecture and interior design may cross paths at “Bodys Isek Kingelez,” opening at the Museum of Modern Art in May. Kingelez was a Congolese sculptor who mastered paper, commercial packaging and materials from everyday life to create what he called “extreme maquettes.” His repertoire includes civic buildings, public monuments and national pavilions. The first Kingelez retrospective in the U.S., this exhibition covers three decades of his works, featuring each of the key periods of his career. Get ready for “spectacular sprawling cities to futuristic late works.” The exhibition culminates in a selection of Kingelez’s large-scale cities, which MoMA touts as “soaring forms that characterize much of his late production.” “David Wojnarowicz: History Keeps Me Awake at Night” at the Whitney Museum of American Art will be the first major, monographic presentation of the work of David Wojnarowicz (1954 – 1992) in over a decade. A titan of queer art, Wojnarowicz came to prominence in the East Village art world of the ’80s, forging an expansive range of work both fiercely political

10 • CONTINUED / SUMMER 2018

and highly personal. He embraced a wide range of media, working in photography, video, painting and printmaking. Although largely selftaught, he established himself in an artistic milieu as an artist and writer, and wielded an “uncanny” understanding of literary influences. Cut down by AIDS, like so many of his peers, Wojnarowicz’ work yields acclaim and scandal, right up to the present moment. Me too? Time’s Up? Like no other, this has been a year for women to speak out. Moreover, the discourse of intersectionality challenges everyone to consider how multiple identities operate within each individual. “Radical Women: Latin American Art, 1960 – 1985 at the Brooklyn Museum is the first exhibition to explore “the groundbreaking contributions to contemporary art of Latin American and Latina women artists during a period of extraordinary conceptual and aesthetic experimentation.” Featuring more than 120 artists from 15 countries, this exhi­ bition focuses on the artists’ use of the female body as a site for feminist activism, and contextualizes their practices within the political and social conditions surrounding them. [Eric Sutphin]

David Wojnarowicz with Tom Warren, Self-Portrait of David Wojnarowicz, 1983–84, acrylic and collaged paper on gelatin silver print, 60 × 40”. Collection of Brooke Garber Neidich and Daniel Neidich. Photograph by Ron Amstutz.

@

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C O N T I N U I N G E D U CAT I O N SUMMER 2018 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 Arts Design Design for Social Innovation Fine Arts Illustration as Visual Essay Interaction Design

Summer Caricature Boot Camp STEVE BRODNER

Foldformed Metal Jewelry Design

Collaborative Cardboard Installation Workshop

This course will cover rendering faces with

DAVE AUGUST

TOM BURCKHARDT

power and precision. Through demonstra-

Create three-dimensional metal jewelry

The goal of this workshop is to create a

tions and individual instruction, you will

with organic shapes and fluidity. Students

complete, collaborative installation while

learn how to use tone, volume, line and,

will explore techniques to bend, fold and

exploring technique and process. Students

importantly, how to “push” a face to give its

shape copper, brass and silver sheet metal.

will choose a real-world venue, fabricate

fullest expression of the inner creature.

Finishing options will also be addressed.

the elements and exhibit the results.

Photography, Video and Related Media Products of Design Social Documentary Film Visual Narrative

MA Critical Theory and the Arts Curatorial Practice Design Research, Writing and Criticism

MAT Art Education

MPS Art Therapy

The Experimental Darkroom

Business of Photography

ADAM DONNELLY

JOSEPH SINNOTT

Learn the Screen Print: The Power of the Printed Image

In this course we push the limits of analog

Creating images for clients requires exper-

NICK PAPARONE

and darkroom materials to create some-

tise unrelated to your creative skills. This

What’s your message? In this new political

thing unique and imperfectly beautiful.

course will address how to approach and

age, the medium of screen printing has re-

Some processes covered will be pseu-

manage what’s needed to execute projects

surfaced as a powerful way of creating

do-solarization; developing film in beer,

for commercial clients and structure your

forceful posters and T-shirts. Take this

wine, or coffee; lumen prints; film manipu-

photography business in an organized and

course and learn how to turn your ideas

lation; and painting with chemistry.

successful way.

into powerful, professional screen prints.

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 S P OT L I G H T

MFA Social Documentary Film

Documentary filmmakers go where the story is. The street, whether urban, suburban or rural, frequently becomes their studio. As evidenced in the department’s title, social consciousness is emphasized and fostered in the program. Students and residency participants work under the guidance of an accomplished faculty that includes J.T. Takagis, a sound recordist who was recently nominated for an Oscar for her documentary film Strong Island. Other notable faculty include Maro Chermayeff (chair), Deborah Dixon, Sam Pollard, Tom Hurwitz, Bob Richmond and Ann Collins. Current student Chelsi Bullard explores themes of urban experience, gentrification and race. Chelsi is currently at work on Kids Can Spit, a film about a professor named Chris Emdin’s initiative to use hip hop music as a tool for teaching science. Additionally, Bullard’s recent films include I Was Here First, which questions the future of experimental art in a rapidly gentrifying New York City. Recently, alumnus Shiri Paamony Eshel directed Maria, a moving portrait of the 18-year old daughter of Mexican immigrants who turned to writing poetry as a way to come to terms with poverty, homelessness and mental illness. This year, the department will offer Documentary Filmmaking: The Art of the Interview (June 11-22, 2018) a 10-day summer intensive. During this program, participants will expand their skill sets in crafting a short documentary. Integral to

this process is the development of a personalized and evocative interview style. Participants will hone their technical skills, but will also develop their sense of creative agency by discovering their own unique interview voice. As part of this process, filmmakers will gain an understanding of their own personal boundaries and the degrees to which they are willing to push the envelope. Participants will need to ask themselves at the outset: “How personal am I willing to get?” [Eric Sutphin]

Top: Sandra Itäïnen. Photo: Melanie McLean Brooks. Below: Street shoot. Photo: Erik Spink.

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ContinuEd Summer 2018  

The Division of Continuing Education at The School of Visual Arts

ContinuEd Summer 2018  

The Division of Continuing Education at The School of Visual Arts

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