Have, Want, Need: Towards a Collective Approach to Education by CUE Art Foundation

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J/11111 _ This way of thinking aligns with what psychologist Carol Dweck

has termed a growth mindset. According to Dweck, people with a growth mindset see intelligence as malleable, and they recognize that they can continue to learn and develop through hard work and dedication. As a result, they're willing to embrace challenges, persist in the face of setbacks, and learn from their mistakes. By contrast, people with afixed mindset see intelligence as a fixed trait. They're likely to view mistakes as a sign of their own inherent =

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;re akin to team building than to · ecessarily artistic. They were days w cer as choreography, or sh of debt on our lives. Of their own volition, on the funding streams of our college, and State ar, hours'

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The resources that arc channeled into monumental, sym bolic museums should be diverted to smaller museums that tell the stories of individuals. These resources should also be used to encourage am! support people in turning tt dJmattls small homes and stories into "exhibition" spaces.

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at are channeled into monumental, sym seums should be diverted to smaller museums � the stories of individuals. These resources should also be used to encourage and support people in turning their own small homes and stories into "exhibition" spaces.

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I think ,t 1s also imp�;tan;t�- r�cog�1ze two things: one, that as artists we-can never shed the condition of outsiders, and second, that this condition can be a strength when we are honest about it-meaning, when we don't pretend to be insiders.

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necessarily mean that ti public or engaging them, I don't ,. engagement where you .,.. tt can also be a utihtarian type of think I -way. etic aesth an in be has to function. With the f _,..:;�-ar famili a play can that sting. l, that ,s intere offer them something that is usefu ipants would come Partic ar. famili were that ctions of intera SPU project I proposed a set of types At times ti took the form onies where we'd read speeches. to talks, workshops, and civic cerem then read speeches. The workshops and s anthem sing would we of the pohtical ceremony. where a very basic manner. hing that people connected with in were more literary and were somet

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Drifting through Facebook, I scan a comment by a respected New York-based British novelist. The novelist muses about how, weeks ago, he had agreed to review a 'light comic novel', but now 'the world is on fire and you can't get your head to a place where anyone ought to give a crap about this stuff at all'. Is there a place for a 'light comic novel' in a 'world on fire'? Or, to put it another way, is there place for artworks that aren't directly and immediately responsive to the sense that politics has taken a shocking, unprecedented turn? The reaction to Donald Trump's first few weeks in office, with the immediate imposition of a us travel ban on citizens of a group of Middle Eastern countries, has drawn the ire-and full attention -of millions worldwide.The artworld has been swift to register its opposition, with individuals and organisations finding ways to denounce Trump's miserable and illiberal attitude and edicts, ways that range from gallery closures in New York and elsewhere on inaugura tion day, to MOMA's hanging of artworks by art ists from countries included in this travel ban, to the ever-publicity-hungry Anish Kapoor using social media to circulate his riff on Joseph Beuys, a self-portrait titled I like America and America doesn't like Me. What should artworks be about in 'a world on fire'? But what if the sense that the world is on fire is more perception than reality? Another

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Have, Want, Need: towards a collective approach to education “Social imagination is the capacity to invent visions of what should be and what might be in our deficit society, in the streets where we live and our schools. Social imagination not only suggests but also requires that one take action to repair or renew.” - Maxine Greene “Human existence, because it came into being through asking questions, is at the root of change in the world. There is a radical element to existence, which is the radical act of asking questions...At root human existence involves surprise, questioning and risk. And because of all this, it involves actions and change.” - Paulo Freire, Learning to Question: A Pedagogy of Liberation This workshop is designed for educators and social practice artists, and is led by Natalia Nakazawa, an artist who considers education and teaching an integral part of her artistic practice. “Have, Want, Need” explores the concept of social imagination: the awareness of the relationship between personal experience and the wider society. Through short articles by educational theorists and thinkers, personal storytelling, and hands-on zine making, this workshop will examine often invisible and sidelined approaches to teaching that work to release us from limiting narratives about what is possible. We will discuss questions such as: Given the rampant economic inequality and limited access to resources pervading society and education, what are educators and students left with? How can we incorporate humor and play into the classroom? How can personal narratives and histories better serve us than institutional or state-sanctioned versions of history? Natalia Nakazawa is an artist, educator, and arts administrator. She is currently the Assistant Director of EFA Studios, a program of The Elizabeth Foundation for the Arts, which provides subsidized studio space to over 100 artists in midtown Manhattan. Additionally, she implements educational programming and young artist mentorship for NYC public school students through the Museum of Arts and Design. Her work has been recently exhibited at The Children’s Museum of Manhattan (New York, NY), Museum of Arts and Design (New York, NY), The Metropolitan Museum of Art (New York, NY), SELECT Art Fair (Miami, FL), Gateway Project Spaces (Newark, NJ), The Space for Public Art (New York, NY), Blackburn 20|20 Gallery (New York, NY), Splinters & Logs (Brooklyn, NY), California College of the Arts (San Francisco, CA), PLAySPACE Gallery (San Francisco, CA), Casa de la Ciudad (Oaxaca, Mexico), Queens Museum of Art (Queens, NY), Topaz Arts Inc. (Queens, NY) and ISE Cultural Foundation (Soho, NY). Nakazawa received her BFA in painting from the Rhode Island School of Design, a MSEd in general and special middle childhood education from Queens College, and a MFA in studio practice from California College of the Arts.

Critical Reading List: 1. Humor and Play Hooks, Bell. Teaching Critical Thinking: Practical Wisdom. New York: Routledge, 2010. Print. Resnick, Mitchel. Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play. MIT Press, 2017. 2. Personal Storytelling Sholette, Gregory, and Bass ChloĂŤ. Art as Social Action: an Introduction to the Principles and Practices of Teaching Social Practice Art. Allworth Press, an Imprint of Skyhorse Publishing, Inc., 2018. Pamuk, Orhan, and Ekin Oklap. The Innocence of Objects: the Museum of Innocence, Istanbul. Abrams, 2012. 3. Social Imagination / Social Engagement Pablo Helguera & Suzanne Lacy on Social Practice: A Conversation, catalog Maxine Greene - multiple publications