continued Itziar Barrio WINTER 2019
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
M OV ING B EYOND GE NR E S by Michael Bilsborough Multiple disci-
plines constitute the art and teaching style of Continuing Education faculty member Itziar Barrio. Her courses Corrupting the Cinematic: Video Art as Avant-Garde Practice and Rewriting the Hit: An Introduction to Video Art connect fine arts, performance, and visual and critical studies. As contemporary art is increasingly interdisciplinary, Barrio clears paths for artists ready to cross boundaries. continued on page 4 v
WHAT’S INSIDE
3 NE WS
The highly anticipated newly renovated jewelry studio is open.
6 IN THE CL A S SROOM
John Heida and Tak Cheung tell us what’s special about the Visible Futures Lab.
8
10
SPECIAL PROGR AMS
MUSEUM PRE VIE W
Karen Bullis collaborates with Amy Myers in Summer Residency Program.
Mapplethorpe at Guggenheim, abstraction at the Met, and more.
START TO CONTINUE...
HERE
Which Course is Right for Me?
Continuing Education Information Sessions
INTERIOR DESIGN
Tuesday, January 15 6:30 - 8:30pm 133/141 West 21st Street, Room 1104C MODERATOR : Carol Bentel
PHOTOGRAPHY ADVERTISING
Information Session and Job Fair Tuesday, January 8 6:30 - 8:30pm 136 West 21st Street, Room 418F MODERATOR : John Rea
COMPUTER ART, COMPUTER ANIMATION AND VISUAL EFFECTS
Tuesday, January 15 6:30 - 8:30pm 133/141 West 21st Street, Room 301C MODERATOR : Deanna De Maglie
DESIGN
Wednesday, January 9 6:30 - 8:30pm 209 East 23rd Street, Room 311 MODERATOR : Sue Walsh
FILM, VIDEO AND ANIMATION Thursday, January 10 6:30 - 8:30pm 209 East 23rd Street, Room 502 MODERATOR : Valerie Smaldone
FINE ARTS: DRAWING, PAINTING, SCULPTURE, PRINTMAKING AND JEWELRY Wednesday, January 9 6:30 - 8:30pm 133/141 West 21st Street, Room 602C MODERATOR : Steve DeFrank
ILLUSTRATION AND CARTOONING Thursday, January 10 6:30 - 8:30pm 209 East 23rd Street, Room 311 MODERATOR : Jason Little
These information sessions are offered to the general public free of charge. Seating is given on a first-come, first-served basis.
Tuesday, January 8 6:30 - 8:30pm 214 East 21st Street, Room 205A MODERATOR : Keren Moscovitch
VISIBLE FUTURES LAB
Information Session and 3D Printing Workshop Wednesday, January 9 6:30 - 8:30pm 132 West 21st Street, 7th floor MODERATOR : John Heida
VISUAL NARRATIVE
Wednesday, January 16 6:30 - 8:30pm 136 West 21st Street, 11th floor MODERATOR : Panayiotis Terzis
SUMMER RESIDENCY PROGRAMS
Wednesday, January 9 6:30 - 8:30pm 133/141 West 21st Street, Room 101C MODERATOR : Eric Sutphin
Actor Matthew Oakley on His Audition Success Following Acting Course
➧
Matthew Oakley had been working as an actor, but he was seeking training to take his career to the next level. He found what he was looking for in Mihaela Mihut’s Acting course at SVACE. According to Oakley, the course gave him the confidence he needed to be unstoppable on his journey as an actor. “Every audition I have had since studying under Mihaela has been booked effortlessly,” he said. Oakley attributes this success to learning the “Mihut Method” in the course. The method focuses primarily on a blend of acting techniques that help one to overcome themselves, which allows the actor to give a more genuine performance. Can this method be used for actors and nonactors alike? Instructor Mihut says yes: “Students from all different professional backgrounds have taken the course. The lessons enable anyone to think in new creative ways and develop fresh perspectives on their respective professions.” She adds, “By providing different acting tools, students learn to take risks that result in exceptional work. These tools inspire them to find the surprising side of themselves and create a deeper understanding of who they are, first as people, then as actors in the class.”
Matthew Oakley, professional actor and filmmaker. Photo by Charlie Neuenschwander, 2017.
CON TI N UE D Winter 2019
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
Hyoju from Korea © Pierre-Yves Linot
December 2018 Pierre-Yves Linot @pierreyveslinot “Immigrant Song consists of diptychs; each includes a portrait of an immigrant and a still life he or she made with four stones.”
co n tri butor s Michael Bilsborough 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
Karl Schempp
January 2019 Visible Futures Lab Classroom Show @vflsva Students from Rhino Software Intensive for Beginners and Digital Fabrication Tools exhibit their process and finished pieces. FOLLOW OUR STUDENT EXHIBITIONS: #SVACESTUDENT
VO L U ME XC V • N U M B ER 4 facebook.com/SVACE Instagram: @svace Twitter: @SVAContinuingEd youtube.com/CETUBEatSVA sva.edu/ce
FROM THE
EXECUTIVE DIRECTOR
THE TERM “REINVENTION” encompasses many concepts; from reimagining a lifestyle to crafting a new career to being open to new ideas. And there is no better time to jump start a new path than at the end of winter and the dawn of a new spring. The appeal of Continuing Education is that the program allows you the flexibility to sample courses in various areas so that you may determine which path might be of interest to you. Whether you attend a course to learn something completely new so that you can transition to another field, or to further education in your current discipline or simply to have fun, all of these reasons fall under the umbrella of reinvention. Every day we have the opportunity to learn, grow and change. Why not do it in a setting with seasoned expert instructors and share the experience with like-minded individuals? Recently, I met a makeup artist who has been working in television and theatre for many years. She mentioned that she attended a continuing education course at SVA 20 years ago, because she had to leave her then-current job due to an injury. She took a class in special effects makeup and never looked back. This professional credits that one course for launching a whole other career that ultimately provided great joy. She totally embraced her reinvention. So, what reinvention journey have you been waiting to embark upon?
Mihut is Oakley’s acting coach to this day. What makes her such a good coach? “Mihaela’s passion for acting is immeasurable,” Oakley says. “Her teaching technique is mind-blowing to say the least.” [William Patterson]
CON T I N UE D PR OJECT SPACE EXHI B I T I ON S
edito r i a l sta ff Joseph Cipri, editorial director Keren Moscovitch, managing editor Nika Lopez, editor
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
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.
—Joseph Cipri, on behalf of the Division of Continuing Education
In the Jewelry Studio: A Polished New Look
A
fter much anticipation, the Division of Continuing Education has opened its newly renovated jewelry studio. The bright space, located in the basement of 133/141 West 21st Street, creates a welcoming atmosphere for CE student artists and makers to explore techniques, produce new works and bring their ideas to life. Special features include: a drill press, polishing units, brand-new benches, hand drills, a rolling mill and a high-definition projector and screen for class demos. Each workstation is equipped with new natural gas and compressed air torches, along with individual storage spaces, files, solder picks, flux brushes and tripods. The communal work area now encompasses a large standing table where students can work comfortably with anvils and vises. This functional work environment was designed to meet the evolving needs of SVA’s jewelry students and faculty members. In addition to the new facility, CE welcomes jewelry designer Dave August to the faculty. August got his start in jewelry making through instructor Lori Hollander’s beginner course and continued to sharpen his skills through his time spent as her assistant. The community, space and instructors are why August kept returning to CE. “The level of creativity is heightened by the sense of encouragement from the teachers and fellow students,” he says. “Many students keep coming back because they have formed a support network that they can rely on, in a space that is both welcoming and well equipped.” August will be introducing Foldformed Metal Jewelry Design, a course developed to teach students how to manipulate lightweight metals
Dave August working in the renovated jewelry studio.
Wrist cuffs created through foldformed metal techniques by Dave August.
into organic, wearable shapes. August is looking forward to teaching and creating in the new space. “I believe it will make [taking courses] an even more positive experience and will bring up the level and quality of work that the students are able to produce,” he says. “I have made many meaningful connections at SVA and look forward to continuing to do so as a teacher, and always as a student.” [Stephanie McGovern] 3
ITZIAR BARRIO: MOVING BEYOND GENRES
Originally from Bilbao in the Spanish Basque Country, Barrio made New York City her home after an artist residency, a solo show and a major grant. A global perspective informs her explorations of culture, art and power. In our interview, Barrio said, “I am a multimedia artist producing longterm video and performative projects involving different agents and collaborators. I relate my practice and main interests with the analysis of social structures and power dynamics with
“I incorporate considerations of the global and the local quite a lot. I tend to think about its moral and political implications, as I feel I have a responsibility in those terms as an artist and art producer.” ITZIAR BARRIO faculty
a special focus on media. I am interested in the construction of reality and the line that is often blurred between fiction and nonfiction.” Barrio’s work addresses labor, gender and pop music, and has been exhibited around the world, including Spain, Italy, Germany, Colombia, Serbia and New York. In her projects, audiences might sense contemporary and recent issues, such as Europe’s recent financial crises and social unrest. “I incorporate considerations of the global and the local quite a lot,” she states. “I tend to think about its moral and political implications, as I feel I
e
RELATED COURSES
Radical Aesthetics of Art (VCC-2571-A) Video Mapping Art (FIC-3627-A) For more information, visit sva.edu/ce.
4 • CONTINUED / WINTER 2019
have a responsibility in those terms as an artist and art producer. At the same time, my work deals with ideas around language and is heavily influenced by Roland Barthes’ theories on popular culture, myths and semiotics. This is also directly related to issues around the global and globalization, particularly these days.” Barrio’s multifaceted output showcases distinct methods, especially in performance and collaboration. Johanna Burton of the New Museum writes, “Over the last decade, Barrio’s work has included virtually all mediums—from prints, photographs and sculpture to film, video and installation. Yet perhaps at the core of all these modes of production is Barrio’s interest in performance.” On collaboration, Barrio describes how “writers, performers, architects and musicians are frequent contributors.” She takes inspiration from Gilles Deleuze, from whom she interprets that “the knowledge produced and the objects created are not the property of distinct practitioners or fields. . . . Creation is understood as a shared event.” As an example of combining her subject matter and methods, Barrio details her project The Perils of Obedience, one of the works included in “By All Means,” a major survey exhibition (her first) held in the spring of 2018 at Bilbao’s Azkuna Zentroa, curated by Johanna Burton. “The Perils of Obedience challenges notions of social rules, participating in a larger debate about labor conditions, power dynamics and subjectivity,” she says. “It places a cast of performers within fictional and nonfictional parameters, using materials from iconic movie scripts, narratives from the actors’ own lives, and historical and recent events. The film intervenes in three different locations where the project has been presented: Bilbao, New York City and Bogotá. In each location, the entire team has been local, as are the used scripts and texts. I research iconic movie scenes that will resonate in the
context as well as in relationship to localized historical events.” On the other hand, Barrio still works alone when creating sculptures, prints and video. This solitude will be familiar to many artists in traditional, handmade media. She reflects, “It keeps my mind balanced and helps to move ideas forward. There is something about the manual that makes the brain work in a different way, and it looks like I need that tactile experience.” Barrio’s work span diverse formal languages. Fittingly, the exhibition catalog for “By All Means” is printed in three languages: English, Spanish and Basque. Hence, the Brooklyn Museum
once wrote that her work is “based on the idea that language is knowledge and approaches reality as something being constantly re-created.” What does that mean to Barrio? “That sentence defines my work very well,” she says. “This dynamic is truly at the base of all my interests, and probably at the core of any art practice, I think, since art is essentially about communicating through various forms of language.”
Top: The Perils of Obedience (performance), 2016, at Participant, Inc. Photo: Olivia Divecchia. Bottom: “By All Means,” 2018, in Bilbao, curated by Johanna Burton, Azkuna Zentroa. Photo: Jaime Gartzia.
Above: The Perils of Obedience (video installation) in “By All Means,” 2018, curated by Johanna Burton, Azkuna Zentroa. Photo: Jaime Gartzia. Left: Effort (detail), 2016, silkscreen on latex, cement, plywood, DMF and hook, 35.4 x 23.6 x 11.8 inches.
READY TO CHECK OUT OUR COURSES?
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5
IN THE CLASSROOM
The Tools of the Future: Here Now
T
he Visible Futures Lab (VFL) at SVA is one of those rare creative spaces where anything feels possible. SVACE offers an array of courses that are meant to inspire students with the lab’s mission: to make the invisible visible. We asked John Heida, VFL director, and Tak Cheung, VFL prototyping coordinator, about the lab and the courses they teach there.
The SVACE community is a wonderful mix of artists and professionals, and it is really satisfying to see how students deploy their new skills in their personal work.
What makes the SVA Visible Futures Lab so unique? John Heida: Having access to topnotch fabrication tools and a complete wood shop on the seventh floor of a building in NYC. And the diverse staff—where you can get advice from makers, designers, architects, artists and textiles experts, among others.
Tells us more about your courses. JH: Rhino Software Intensive for Beginners is six weeks of action-packed excitement! We learn to draft in 2D and then model a series of objects in 3D that get progressively more complex. We touch on how workflow and process relate to a variety of industries, including industrial design, jewelry design, and many more.
Tak Cheung: The lab comprises hightech industrial machines along with traditional woodworking and metal machining tools. I highly value this, as it creates synergy within the capacity of what one can envision and make here. There aren’t too many labs like this, where one can openly explore within this wide capacity. What’s the best part of teaching? JH: Without a doubt, it’s witnessing the moment a student realizes the potential of a skill they have just learned. 6 • CONTINUED / WINTER 2019
TC: The best is the moment after a technology or process is demystified for the student and they then make it their own. I feel lucky to be there with them at those moments.
TC: Digital Fabrication Tools and Prototyping: Food Sculptures are classes where we cultivate the “what ifs” and “why nots” of ideas and set the path to prototyping them. We try not to be too rigid and explore the core ideas because there are always alternative ways to express a design. Digital Fabrication Tools is more machine-heavy in learning precise automated processes. Prototyping: Food Sculptures is focused on moldmaking with edible elements.
by Georgette Maniatis
Above: Student Mary Rhoads examines her piece after it emerges from the Epilog Fusion laser cutter. Left: Instructor Tak Cheung and student Sun Joung discuss the draft of a future project. OPPOSITE
Top: Students in Rhino Software for Beginners Intensive listen intently to a lecture. Bottom: Instructor John Heida and student Ronald B. Komer analyze a 2D model.
! photography by Georgette Maniatis
3D Modeling and Printing Workshop
January 9, 6pm VISIT
sva.edu/continued/events FOR DETAILS
e
RELATED COURSES
Visible Futures Lab: Rhino Software Intensive for Beginners (VLC-2551-A) Prototyping: Digital Fabrication Tools (VLC-2569-A) Moving Objects: Simple Automata and Mechanical Toys (VLC-2713-B) For more information, visit sva.edu/ce.
READY TO CHECK OUT OUR COURSES?
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7
C AT C H I N G
Sophia Myers
Karen Bullis
SPECIAL PROGRAMS
UP
Filmmaker and Fine Artist Get Reacquainted and Collaborate on Project
W
hen filmmaker Karen Bullis came to New York last summer to participate in the Summer Residency Program, she ran into an old friend from Los Angeles, artist Amy Myers, who happened to be teaching in another Summer Residency Program, Painting and Mixed Media. Bullis had come to take the inaugural program Documentary Filmmaking: The Art of the Interview, so she thought, why not ask Myers to be the subject of her film? Myers, who has been on the faculty for 16 years, gained recognition through her often large-scale biomorphic drawings. However, about a year ago, and despite some trepidation, she decided to abandon drawing and take on oil painting as her primary medium. To some, Myers’ shift may not seem particularly radical, but when we examine the myriad technical considerations that come into play, her sea change is anything but minor. So this seemed a worthy topic of exploration for Bullis’ film. In the two-week intensive program Documentary Filmmaking: The Art of the Interview participants create a short documentary structured around an interview. Myers agreed to be Bullis’ subject, resulting in a moving portrait of a seasoned artist in the midst of her 8 • CONTINUED / WINTER 2019
own creative reinvention. Myers said, “Karen is probably the only person I would trust putting a camera on me and my studio. It is my trust in her as a person and her artistic capabilities that allowed the whole thing to happen.” The footage and interview were mostly shot at Myers’ studio at the Elizabeth Foundation for the Arts in midtown Manhattan. The film opens with a classic cinema verité scene: Myers waits for a guest who is late, paces the street, checks her phone and chats with the doorman. From the first shot, we are thrown into Myers’ world: dynamic, passionate and full of art. The enthusiasm Myers has for her own work comes across in Bullis’ film as Myers discusses her path as an artist and her transition from drawing to painting. The ethos of the Summer Residency Program is founded on the belief that collaboration and cross-pollination are essential ingredients in an artist’s development. While most of these collaborations occur between residents, the extent to which creative partnerships develop takes many forms, as demonstrated in Bullis’ film. In many ways, the relationship between faculty and participants becomes a sort of collaboration in itself. This became evident when I asked
Myers how teaching influences her own work. “The residents’ enthusiasm is infectious. They are easy to reach and connect with. . . . Because of this connectivity, there is a generous flow of energy and ideas.” For Myers, who has entered something of a second act in her career as an artist, teaching provides “an opportunity to clarify where we stand in the creative arts.” [Eric Sutphin]
APPLICATIONS AVAILABLE
JANUARY 2019 Visit sva.edu/residency for more info.
Winter 2019
New Continuing Education
ñ EXPLORE OUR ˜
G R AD UAT E
F E AT U R E D
COURSE OFFERINGS
PROGRAMS MFA Art Practice Art Writing Computer Arts Design
Design for Social Innovation Fine Arts Illustration as Visual Essay Interaction Design CODING FOR ARTISTS: THE WEB AS INSTALLATION SITE
Photography, Video and Related Media
CRASH COURSE IN ART THEORY AND CRITICAL THINKING
LE AH BEEFERMAN
REWRITING THE HIT: AN INTRODUCTION TO VIDEO ART
Designed for all artists interested in using
IT ZIAR BARRIO
We will explore subjects that include: per-
the Internet for conceptual and creative
In this course we will use the hit song as
spective and how to create believable form
production. We will focus on building a
the starting point for video art projects.
and space; the structure, proportion and
foundation of core coding languages and
We will analyze different hits through the
anatomy of the human figure and head;
platforms such as HTML, CSS, JavaScript
history of popular music, and study its rep-
drapery and the clothed figure; the princi-
Critical Theory and the Arts
and Python.
resentations and effects in the collective
ples of light and value; color theory and its
consciousness.
practical application; abstract composition
Curatorial Practice
THINK 360 AND TAKE YOUR PORTFOLIO TO THE NEXT LEVEL
COLLABORATION ACTIVATION
JOHN RE A
STACY MEHRFAR
We will teach you how to create and de-
Through collaboration we activate our
velop a quality portfolio of ad campaigns
strengths and strengthen our weaknesses.
across channels that span the web, mobile,
This course is about working together to
social, ambient, guerrilla, print, outdoor
create something new and unexpected.
Products of Design
DANIEL LICHTMAN
Social Documentary Film Visual Narrative
MA
Design Research, Writing and Criticism
and narrative storytelling.
MAT Art Education
MPS Art Therapy Branding Digital Photography Directing Fashion Photography
and beyond. We will discuss the digital ecosystem and how to best display your ideas in your portfolio.
VIDEO INSTALLATION PETER GARFIELD Join us as we explore the narrative proper-
Visit sva.edu/grad for more information about our graduate program offerings.
ties and potential of the immersive video environment. We will concentrate on the
PITCH YOUR TELEVISION SERIES TO INDUSTRY EXPERTS
numerous implications of the relationships
JIM ARNOFF
three-dimensional space and the audience,
STRATEGIES FOR USER EXPERIENCE DESIGN
Get an opportunity to meet top
as well as on the use of these complex rela-
ELECTRONICS AND ARDUINO MICROCONTROLLER FOR ARTISTS
production executives, showrunners and
tionships to convey meaning.
FEDERICO MUEL AS ROMERO
ROBERT STRIBLEY
network executives who will share their
An introduction to electronics for fine
Methodologies for developing websites
expertise on what it takes to create a
artists, sculptors, and installation and
and mobile applications will be the focus of
powerful television series. Students will
performance artists, as well as those who
this workshop. We will discuss general user
learn the key skills of series development,
want to add computer-controlled elements
experience principles and case studies
networking, pitching a series and negotiat-
to their creations.
as well as specific guidelines for designing
ing the best deal.
among the artist, the moving image, sound,
responsive experiences from desktop to mobile.
AN INTRODUCTION TO SUPERPOWERED PACKAGE DESIGN
EXPLORING CAREER OPPORTUNITIES FOR ILLUSTRATORS: A DRAWING WORKSHOP
Former Marvel Comics creative director-
GR ANT SHAFFER
turned-package design guru will teach
THE ART OF FAILURE
KEITH MANZELL A
students super-powered package design
SAUL ROBBINS
methodologies, shared through the lens of
Learn to embrace confronting the inevita-
ities through a variety of forms, including
A NEW LOOK AT PAINTING WITH ACRYLICS
his entertainment company and marketing-
ble and unexpected failures of new projects
storyboarding for film/music videos, editorial
JAMES VAN PAT TEN
agency experience, delivering a unique
and learn to appreciate the many valuable
illustration, cartooning and comics, story-
Discover acrylic paint as a multipurpose
approach to package design. Students will
insights such struggles offer for self-
boarding for advertising, children’s book
medium and as an alternative to oil paint,
learn through lecture, hands-on design
reflection and greater resolution of our
illustration and drawing as a fine art medium.
or even other water-based media.
work and critique.
creative ideas.
This workshop is for students who would like to explore drawing and career possibil-
Ralph Appelbaum’s
FILMMAKERS DIALOGUE
New York’s premier film preview series is now celebrating its 37th year. Without waiting in line (except maybe for popcorn) you can preview important new studio and independent releases and meet the movies’ actors, directors, writers and producers for a discussion on the works you just watched.
March 5 – May 14
Dates subject to change. Please visit sva.edu/filmmakers for session dates.
SVA Theatre
Sessions begin at:
6:30pm
To register
call
or visit
212.592.2200
sva.edu/filmmakers
333 West 23rd Street New York, NY 10010
9
ART IN NEW YORK CITY
Carmen Herrera (Cuban, born 1915), Equilibrio, 2012, acrylic on canvas, 48 × 60 in. (121.9 × 152.4 cm). Estrellita and Daniel Brodsky Collection © Carmen Herrera.
Winter
I
Museum Preview
n 1993, the Guggenheim Museum inaugurated its new photography gallery with an exhibition focused on the work of Robert Mapplethorpe. A gift to the museum from the Mapplethorpe Foundation, including both artworks and cash valued by the museum at $5 million, helped launch the Guggenheim’s photography collection. In 2019, 30 years after the artist’s death, the museum returns to the sustained legacy of Mapplethorpe with a yearlong exhibition conceived in two sequential parts in the Mapplethorpe Gallery. The first phase of “Implicit Tensions: Mapplethorpe Now” will feature an installation of highlights from the Guggenheim’s rich collection of Mapplethorpe holdings, including selections from the artist’s early Polaroids, collages and mixed-media constructions to his iconic, classicizing photographs of male and female nudes, flowers and statuary; his portraits of artists, celebrities and acquaintances; his more explicit depictions of the S&M underground; and some of his best-known self-portraits. The second phase will address Mapplethorpe’s influence by featuring contemporary artists from the museum’s collection. “Implicit Tensions” opens January 25, 2019. “Epic Abstraction: Pollock to Herrera” at the Met will explore large-scale abstract painting, sculpture 10 • CONTINUED / WINTER 2019
and assemblage, from post-war modernism through contemporary art, featuring works from the Met collection and beyond. Look for classic New York School works by Barnett Newman and Jackson Pollock’s signature “drip” paintings alongside pieces by pioneering women artists like Louise Nevelson, Joan Mitchell and Carmen Herrera. Mark Bradford’s Duck Walk, a monumental painting that gets its title from a voguing dance move, takes on larger questions of blackness in American culture. “Many of the artists to be represented in the exhibition worked in large formats,” according to the Met, “to activate scale’s metaphoric potential to evoke expansive—‘epic’—ideas and subjects, including time, history, nature and existential concerns of the self.” “Epic Abstraction” opens December 17, 2018. Hobbits and wizards and elves—oh my! Take a voyage to Middle-earth with the Morgan Library and Museum’s J. R. R. Tolkien exhibition, organized in collaboration with the Tolkien Estate, Oxford University, and others. The exhibition celebrates the man and his creation, comprising Tolkien’s original illustrations, designs and manuscripts, alongside an archive of family photos and memorabilia. “Tolkien: Maker of Middle-earth” opens January 25, 2019. [Michael Bilsborough]
Robert Mapplethorpe, Self Portrait, 1980, gelatin silver print, 35.9 x 35.7 cm, Solomon R. Guggenheim Museum, New York Gift, The Robert Mapplethorpe Foundation, 1993. © Robert Mapplethorpe Foundation. Used by permission.
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D E PA R T M E N T H I G H L I G H T
MFA Products of Design
Design: Expanded
M
FA Products of Design (PoD) is a graduate program at SVA that prides itself on wearing many hats. It must in order to help designers prepare for an increasingly connected and complex world. “Everything has an app today, or requires a social media strategy, a business model, a sustainability ethos, a brand,” says PoD co-founder and chair Allan Chochinov. “The design of anything requires the design of everything.” As a result, a whole host of disciplines are emphasized in the program, “. . . from industrial design to service design, from interaction design
to platform design and, of course, business design.” The PoD curriculum is organized around three categories: making, structures and narratives. This ensures that students are exposed to all the skill sets that make up the world of design— from experience with cutting-edge fabrication tools to an understanding of the social or economic context their work participates in to the storytelling dimension through which ideas are communicated. Students come to the program from all over the world with a variety of experiences, ranging from designing
furniture to branding rock bands. What sort of qualities does PoD look for in its applicants? “We are looking for nerve,” Chochinov says. “The world has such complex and nuanced challenges right now, and I believe that designers need to be bolder and braver than ever in order to effect change.” [William Patterson]
Top Right: Customizable furniture from Dot & Dash, created in MFA Products of Design by 2018 graduate Sowmya Iyer. Customers can repurpose discarded items using the modular design to create unique pieces of furniture. Top Left: Forge, a video game controller created for people with upper limb impairments, designed by Smruti Adya as a part of her PoD thesis project.
Resident Maloles Antignac and faculty member Alois Kronschlaeger.
MFA Art Practice and Sculpture Summer Residency Open Studios For six weeks, residents in the Sculpture, Installation, New Media Art and TechnoCeramics Summer Residency cohabited with SVA’s MFA Art Practice participants. On June 25, 2018, artists from both programs opened their studios for a one-night exhibition. Many of the participants who attended the Summer Residency and Art Practice programs came from abroad, including Argentina, China and Peru. During their time at SVA, this stellar group of interdisciplinary artists had the opportunity to work closely with faculty, visiting artists and their peers, and to create work that broke and expanded the conventions of their regular studio practice.
Leora Armstrong, MFA Art Practice, 2019.
11
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WINTER 2019 NEWSLETTER N
STUDENT G A L L E RY N Cinematography CFC-3034-A ST U DENT S F I LM DI REC T E D BY ST E VE N MURE LLO F I LM ST Y LE A N D PE RF ORMA N C E BY T HA LI A MUN OZ I NST RU C TOR I GOR S UN A R A
âž” Submit your best CE work for consideration. Information can be found at sva.edu/ce/submitart.