Reinvention | SVA ContinuEd Newsletter Winter 2024

continued 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

The Art of Crafting Life Stories with Sarah Shaw

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by Stephanie McGovern

s artists and creators, nothing is more abundant in source material than life itself. The nuances of our day-to-day routines, the quirks of our relationships and our memories can influence our practice and ignite a story to tell.

SVACE faculty member Sarah Shaw is no stranger to the world of visual storytelling.

In her course Graphic Memoir: Crafting Life Stories, Sarah Continued on page 4 v

What’s Inside

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CR AF TING LIFE STORIES

Exploring the world of visual storytelling with faculty member Sarah Shaw.

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THIS IS RE AL How a group of CE students came together through the art of illustration.

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VISUAL NARR ATIVE Many ways to tell a story with Elise Engler.

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SVACE STUDENT SUMMER SHOWC A SE

Exhibition in the Flatiron Project Space.

News: “Art Is...” Recap

Art Is Everything SVACE’s Flatiron Project: “Art Is...”

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pproximately 60,000 people walk in the shadow of the Flatiron Building every day, from tourists to commuting workers to locals. With its foot traffic and central location just outside of Madison Square Park, the Flatiron North Plaza was the perfect spot for a summer event series with the Flatiron NoMad Partnership.

During the Partnership’s Salsa and Art Nights event series, the Division of Continuing Education was delighted to contribute a site-specific installation consisting of two black boxes with historically relevant symbols to NYC’s Flatiron District. Between dancing and enjoying live salsa music from the Benny Lopez Latin Jazz Ensemble, passersby and event attendees were invited to write and draw in colored chalk on the installation, reflecting on the prompt and classic SVA slogan “Art is…”

The SVACE Flatiron Project: “Art 2 • CONTINUED

By Calley Nelson Is…” was conceptualized and fabricated by professional sign painter and longstanding SVACE faculty member, Stephen Gaffney (BFA 1987 Media Arts).

Stephen Gaffney began teaching at SVA in 1991 and has exhibited his paintings, drawings and collages in New York, Connecticut and Atlanta. His murals appear in NYC Parks and various restaurants, including Paul’s Daughter on the Coney Island boardwalk. He is the restaurant’s resident sign painter and creative director.

“Throughout [my] 32 years of teaching at the School of Visual Arts Division of Continuing Education, I often meet my students at Madison Square Park to draw and enjoy the merging of nature and the city,” said Gaffney. “I was thrilled to participate in the ‘Art Is...’ project, and to connect the Flatiron NoMad Partnership to my relationship with SVACE.”

The phrase “Art Is...” forms part of a long-standing tradition at SVA. Since its founding in 1947, the College has produced over 200 posters for the New York City subway system. In his rendering of SVA’s classic “Art Is…” statement, Stephen Gaffney commemorated iconic landmarks and key features of the Flatiron NoMad neighborhood. These include a physical flatiron, the cast-iron clothing press from which the Flatiron Building gets its name; a Victorian boot representing The Ladies’ Mile Historic District, a shopping area established at the end of the 19th century; a teddy bear, representing the historic International Toy Center; and the SVA logo, which was designed to emphasize brushstrokes and is often interpreted as a flower.

Over the course of the five Salsa and Art Nights, one major theme emerged as people imparted their own personal symbols to the “Art Is…” installation.

Amongst the doodles, love notes, and

remembrances of friends, family and home countries, the contributions celebrated the following consensus: art is boundless, expansive, seemingly everywhere and anything you want it to be.

After completing the “Art Is…” Flatiron Project, the Division of Continuing Education had the honor of receiving the 2023 Flatiron NoMad Partnership Award. The annual award is given to a neighborhood partner creating positive change and demonstrating a commitment to the district. “We couldn’t think of a more deserving recipient over the past 12 months,” said Megan Garcia, the chief of staff and vice president of Marketing and Outreach of the Flatiron NoMad Partnership.

SVACE looks forward to strengthening its partnership with Flatiron NoMad and bringing accessible art-making activities and inspiring installations to future community events.

Learn more about the symbols THE FLATIRON represents the

building of the same name, originally the Fuller Building.

This now iconic building and neighborhood was built in 1902.

Its triangular shape recalled the cast-iron clothing press of its day and the name stuck. The subtle nod to the architecture of the area is in the pattern of the top of the frame in the design of the boxes.

THE VICTORIAN BOOT

represents The Ladies’ Mile Historic District, a shopping area established at the end of the 19th century. In May 1989, the New York City Landmark Preservation Commission designated the area as a historic district of 440 buildings on 28 blocks in and around the Flatiron neighborhood.

THE TEDDY BEAR represents the connection of the area to the historic International Toy Center. Built in 1909, the Toy Center exists in what was originally known as the Fifth Avenue Building, marked by the landmark sidewalk clock just outside its doors.

THE SVA LOGO, which was

designed to emphasize brushstrokes and is interpreted as a flower, represents SVA as a thriving artistic hub of the area around 23rd Street. Adding a stem and leaves suggests that it is alive and growing and is a subtle nod to the Flower District nearby on West 28th Street.

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1. A family enjoying Salsa and Art Nights on the Flatiron North Plaza.

Photo by Calley Nelson.

2. A couple dancing at a summer Salsa and Art Night in the Flatiron North Plaza. Photo by Calley Nelson.

3. SVACE staff receiving the 2023 Flatiron NoMad Partnership Award.

Photo by Angelito Jusay.

4. People contributing to “Art Is…” outside the Toy Center building.

Photo by Calley Nelson.

CO NTI NUE D Winter 2024 editorial staff Joseph Cipri, editorial director Nika Lopez, managing editor Bianca Dunn, editor v isual arts press, lt d.

Anthony P. Rhodes, executive creative director Gail Anderson, creative director Brian E. Smith, design director Mark Maltais, art director Anthony Carhuayo, senior designer Laura Valenza, editor

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con t ributors Rachel Gisela Cohen Bianca Dunn Nivia Hernandez Stephanie McGovern Calley Nelson ©2024 Visual Arts Press, Ltd. ContinuEd is published by the Division of Continuing Education school of v isual arts David Rhodes President Anthony P. Rhodes Executive Vice President

facebook.com/SVACE Instagram: @svacontinued X: @svacontinued youtube.com/CETUBEatSVA vimeo.com/svace sva.edu/ce VO L U M E C I • N U M B ER 1 ContinuEd (USPS-004171), Copyright © 2024 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 Division of Continuing Education, 209 East 23rd Street, New York, NY 10010-3994.

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Sarah Shaw: The Art of Crafting Life Stories

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c o n t in u e d DIVISION OF CONTINUIN

C R E AT E /

G E D U C AT I O N · S C H O O L

Do you have a teaching ethos?

OF VISUAL ARTS

ITY C O N N E C T/C O M M U N

The Art of Crafting Life Stories with Sarah Shaw

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by Stephanie McGovern

s artists and creators, nothing is more abundant in source material than life itself. The

nuances of our day-to-day routines, the quirks of our can influrelationships and our memories a story to tell. ence our practice and ignite Shaw is no SVACE faculty member Sarah world of visual storytelling. the to stranger Crafting In her course Graphic Memoir:

on page 4 v Life Stories, Sarah Continued

What’s Inside

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CR AF TING LIFE STORIES

Exploring the world of visual storytelling with faculty member Sarah Shaw.

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THIS IS RE AL How a group of CE students

came together through the art of illustration.

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VISUAL NARR ATIVE

Many ways to tell a story with Elise Engler.

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SVACE STUDENT

SUMMER SHOWC A SE

Exhibition in the Flatiron Project Space.

encourages her students to traverse the stories of their lives through the lens of comics and illustration.

Get to know Sarah Shaw as a creative, educator and passionate storyteller:

Can you give me a bit of background on yourself?

I grew up in a relatively rural area in Maine where I spent large swaths of my childhood reading books, making art and daydreaming about all the places I could go. As an undergraduate, I studied art and design education, painting and art history at Pratt Institute, and, upon graduating in 2010, I began a career in international teaching. For a decade, I taught English in South Korea. I joined the Peace Corps in Colombia and taught middle and high school art at an international school in Nepal. In my free time, I would draw, paint, sculpt and write creative nonfiction. Inevitably, I found my way into comics.

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In 2018, I joined SVA’s MFA Visual Narrative program with the intention to strengthen my visual storytelling skills and eventually teach at the college level. The low-residency model allowed me to study while teaching abroad in Kathmandu but stay in New York for the summer intensives.

First of all, I believe in cultivating a class community. Although this course allows students to begin sharing their stories from day one, it’s often hard to connect with others over Zoom. I have students share their homework on discussion boards, where they are encouraged to leave comments for one another. Throughout the second half of the course, when students know each other better, I make a point to split students into small groups where they can workshop their stories indepth with each other.

I love how comics is such a democratic medium—all you need is a pencil and a piece of paper to start.

I believe in showing examples from a diverse range of creators, mostly focusing on contemporary comics

and visual essays. I push my students to develop stories that feature multidimensional characters and emotion-driven storytelling, and I encourage them to experiment and develop their own visual style and narrative voice.

What do you hope to impart to students who take your course?

Upon completing this course, I hope that students develop a broader understanding of the comics medium and learn some new technical skills, but more importantly, I hope they feel empowered to continue telling their stories.

How has your experience teaching for Continuing Education been?

I have been teaching this course, as

Can you please describe your course Graphic Memoir: Crafting Life Stories?

Graphic Memoir: Crafting Life Stories is a 10-week course for adults to explore their life experiences through text and image. Each week, students analyze excerpts from a range of diverse graphic memoirs and develop skills to connect with their audiences on an emotional level. For the first five weeks, students advance their skills in script writing and visual production through short, one-page exercises.

These assignments prepare them to craft a longer autobiographical comic that they workshop weekly in small groups.

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1. Excerpt from Sarah Shaw’s comic from the series The Repatriation Diaries.

2. Digital comic by student Cindy Lozito.

3. Digital comic by student Cindy Lozito.

4. Student artwork by Emily Zilber, The Short Chronicles.

5. Excerpt from the illustrated comic Cheap Thrills by student Kate Uleman.

6. Student artwork

by Kate Uleman.

7. Illustrated selfportrait of faculty member Sarah Shaw.

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well as Comics Journalism, for three years now, and each class continually exceeds my expectations. The students have such a diverse range of skills to share; they are illustrators, designers, journalists, photographers, psychologists, computer programmers, and more. I leave each class with more knowledge than when I started.

I spend hours each week reviewing student work and giving written feedback, but the quality of their work makes it worth my time.

The online structure enables those who live as far away as San Francisco, London and Beijing to join, and Insta-

gram allows us to keep in touch. I have met some students in person at indie comics events, and I am even tabling with one of my previous students at Small Press Expo this year! The students in this course are always kind and open-minded, and they support each other as they share their personal stories. After my first semester teaching, one of my students made a “yearbook” page where everyone wrote or drew something and it almost made me cry. I am so privileged to interact with their stories and to be part of this community.

Above: Sarah Shaw drawing outdoors.

For the expanded story on Sarah Shaw, please visit https://sva.edu/ blog/continuing-education.

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This Is Real: Student Anthology Project and Residency

Behind the Scenes of This Is Real: Stories Drawn with Strangers

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By Stephanie McGovern

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In the spirit of our winter issue centered on reinvention, we were interested in learning more about the inner workings of Sarah Shaw’s process as a creative and educator but also about one particular cohort of her students from the spring 2022 semester. At the end of the 10 session course, her 11 students came together and combined their final projects into an autobiographical collection of stories. The anthology, titled This is Real: Stories Drawn with Strangers, encompasses the accounts of a mother’s attempt to cure her daughter’s eyesight and another mother’s poignant trip to a bar. It depicts life-altering music, naked breakfasts, witches and lots of cats. With a foreword written by Sarah, the anthology

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includes the voices of Bon Chan, Suzan Colón, Catherine Closet-Crane, Nathalie de La Gorce, Jenna Del Vigna, MP Dunleavey, Carolyn Figel, Nichole LeFebvre, Patricia Myerson, Amy Wibowo, and Sharon Wouters.

To learn more about the excitement that brought this project together, we reached out to Jenna Del Vigna, organizer and designer of the anthology:

How did This is Real: Stories Drawn with Strangers come to fruition?

I am a graphic designer and I work in publishing. During final critique and presentations, I saw the opportunity to bring everyone’s final project into one collection. I really wanted to remember the experience and knew the other artists felt the same way.

What are some of your favorite aspects of the project?

Where would you like to take the anthology next?

Firstly, meeting all these beautiful and talented people. I love the different points of views and experiences in life ... and in comics. Some people had never drawn before and others had never documented their stories. We were all from different backgrounds in skill and in life but all found common ground in Sarah’s class. It was very warm, affirming and encouraging.

A lot of this was directly a result of Sarah’s nurturing. She was thoughtful about reading every assignment submitted and took the time to understand everyone’s story. She encouraged us to push ourselves forward and offered many examples of other memoirists and comics artists to give us inspiration.

The main goal was to create a keepsake for the class, but I will be tabling with Sarah at Small Press Expo and all the artists should have copies available for purchase. If someone wants a copy, each contributor can be contacted.

Any last thoughts?

This was truly a special class. I have not had this unique of an experience in any other course. We all really bonded and still keep in touch. We constantly support and encourage each other’s work AND we have meetups when we can.

Follow @thisisreal.comics on Instagram to see where the project is off to next or to get your copy!

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COMICS

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One mother’s attempt to cure her daughter’s eyesight; another mom’s poignant trip to a bar. The many ways of falling; some signs of nervous breakdown. Life-altering music, games of Indonesian Scrabble, naked breakfasts, witches, and cats, cats, cats.

This is Real: Stories Drawn with Strangers is a collection of graphic memoirs by eleven women who came together by chance and told their truth by choice.

excerpt from “I Used to be Cool” by Jenna Del Vigna

Video Killed the Radio Star

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1. Excerpt from Sight by Bon Chan.

2. Contributing artists pictured left to right: Bon Chan, Suzan Colón, Amy Wibowo, Sher Wouters, Al Bako and Jenna Del Vigna.

3. Cover art and excerpts from Sight by Bon Chan, Video Killed the Radio Star

by Jenna Del Vigna, and Out on a Limb: Reflections of a Slow Learner by Patricia Myerson.

4. Cover spread of the anthology This is Real: Stories Drawn with Strangers.

5. Illustration excerpts from Falling by Nichole LeFebvre, Video Killed the Radio Star

by Jenna Del Vigna, and Is She on The Verge of a Nervous Breakdown? by Carolyn Figel.

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Classroom Story: Many Ways to Tell a Story

VISUAL NARRATIVE: MANY with Elise Engler by Nivia Hernandez

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Elise Engler is a fine artist and educator whose artistic practice involves a narrative investigation of the world as seen through its innumerable, but countable, individual components, assembled in suites and series of works. Her most recent book, A Diary of the Plague Year: An Illustrated Chronicle of 2020 was published in 2022 by Metropolitan Books, an imprint publisher of Macmillan. Here, Elise shares how to get started in telling a visual story and how she encourages her students to find their own voices.

How would you describe your course?

The structure for my course Visual Narrative: Many Ways to Tell a Story revolves around a weekly theme. These themes are explored through a series of prompts, including getting started (storyboarding), using color, thinking about scale, creating characters, suggesting mood, drawing and incorporating the figure, space, time and movement, incorporating text, and some bookmaking 8 • CONTINUED

and printmaking (without a press). Because we are online, all materials are possible and welcome. I do tutorials demonstrating particular materials, such as gouache, different kinds of inks and watercolors, as well as a range of drawing materials. Some weeks are materials-based; others have more of a conceptual orientation.

There is flexibility in the syllabus—this allows for students to make requests and for me to be most helpful to the class as a whole. Some students arrive with a project in mind, others respond to the weekly prompts.

My goal is to understand where my students want to go and then to help them get there.

What would you tell a student who would like to tell a story visually but does not know where to start?

The class begins with viewing art related to a theme. I show images of drawings, paintings, sculpture, prints and collages from the prehistoric to the contemporary. After, there is one prompt, or a series of prompts, and a materials demo. The combination of the prompts

and the displayed images motivates the students. If this is not enough, a conversation with the class or a one-on-one discussion provides impetus to get started.

What are two memorable moments in teaching this course? Why? Students work at their own pace in my classes. Some people create many images, tell many stories. Others are more singular in their focus. One person worked for an entire 10 weeks on a very complicated, autobiographical, large drawing. It had layers, including maps, a delicately drawn self-portrait–like image and ephemeral landscapes.

She would participate in working on the weekly prompt, and then she would integrate the new ideas into this drawing. The last week it all came together. She revealed its story, and the class and I were deeply moved. Another student hadn’t done collage since childhood. She decided that that was her medium. She could tell her story simply with cut, painted paper.

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WAYS TO TELL A STORY 1. Student artwork by Kathleen McDermott.

2. Student artwork

by Lily Taylor.

3. Student artwork

by Yougseo Seo. 4. Student artwork

by Leslie Golman.

5. Student artwork

by Julie Zhou.

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SVACE Student Summer Showcase

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SVACE STUDENT SUMMER SHOWCASE 2023: RECAP 6

By Bianca Dunn

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This July, the Division of Continuing Education (SVACE) curated our first-ever “SVACE Student Summer Showcase” at the Flatiron Project Space in Chelsea. We sent out an open call to our student body asking for artwork to be considered for a group show.

We wanted to get a fresh look at the creativity of our students, present the opportunity to exhibit work and connect with our community. The artwork started rolling in, and we were thrilled by the response.

The works submitted represented the incredible diversity and talent of our continuing education community.

For the final choices of the showcase, we aimed to represent the unique perspectives of our artists and the variety of our course offerings. We were pleased to showcase the follow-

ing artists: Raquel Adler, Eve Bayer, Michael Dispensa, Judith Hugentobler, Anne Keating, Dietrich Kleffel, Laura Kmetz, Yingyao Liang, Song Lu, Silvia Muleo, Christine O’Brien-Mase, Eric Patel, Sarah Schlick, Erik Schurink, Orli Swergold, Harrison Tenzer and Sato Yamamoto.

These artists presented many art forms—mixed media, ceramics, Risograph printing, collage, painting, illustration, video art, fabrication, photography, etching, woodblock printing, soft sculpture, biological imaging, and more.

To be able to connect both our program with the artists, and the artists with each other was extremely rewarding. We have high hopes for another showcase, and we want you to be involved!

To stay up-to-date with announcements and exhibition opportunities, visit https://sva.edu/subscribe.

“The print was made this past spring in RISO Printing: An Introduction. It was wonderful having the print in the showcase. From start to finish, it was celebratory and a personal milestone at the same time.”

—A NNE K EATI NG

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1. “SVACE Student Summer Showcase” at the Flatiron Project Space, 2023.

2. Anne Keating, Curaçao, Otrabanda District, 2023, Risograph.

3. Yinyao Liang, Mad Eyes, 2023, ceramic.

4. Harrison Tenzer, Untitled (Projections), 2023, etched plexiglass and acrylic on board.

5. Silvia Muleo, N3 (Out & In), 2023, digital video still.

6. Judith Hugentobler, The Sentinel, 2023, stoneware and Raku-fired ceramics.

7. Michael Dispensa, Affect Effector Love Handles, 2021, multimedia sculpture.

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SVACE Student Summer Showcase

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“As an MFA Photography, Video and Related Media student at SVA, I’ve discovered the immense value of summer courses in broadening my artistic horizons. For instance, my Bio Art video piece titled Quarantine DIARY emerged from a summer exploration. Participating in the Mysterious World of the Microbes course during the summer of 2019 was truly transformative. It unearthed a new realm, compelling me to delve deeper into our intricate surroundings.” —S ONG LU

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SVACE STUDENT SUMMER SHOWCASE 2023: RECAP

“In the course A Predisposition to Paint, Shirley Irons guides the student with her critical eye and experiencebased insights. Seeing my work in the company of the other pieces delighted me. I greatly enjoyed checking out each of the works for their artistic ingenuity and poetry.”

—ER I K S CH UR I NK

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“Yoshiwara Destiny of Women was created in 2017 as my female perspective…[it] was my silent speech. SVACE courses always open doors for the people.”

— SATO YAMAMOTO

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1. Song Lu, Quarantine Diary, 2020, video stills.

2. Sarah Schlick, Tightropes, 2022, black ink and acrylic on paper.

6. Orli Swergold, Webbed, 2023, hand applied and cast paper pulp.

3. Dietrich Kleffel, 4 Part Window Theory part 2, 2016, video still.

7. Erik Schurink, Capisci?, 2023, acrylic, lint, paper and pencil on canvas board.

4. Eve Bayer, Green Reflections (Compilation), 2023, netting, string, gouached board.

8. Sato Yamamoto, Yoshiwara Destiny of Women, 2017, woodblock print.

5. Eric Patel, foog, 2021, found fabrics and stuffing, thread, bread bag tie.

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Special Programs : Governors Island & Residency

FIELDWORK 1

Revisiting traditional T plant and craft processes on Governors Island

By Rachel Gisela Cohen

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his past summer, SVACE’s Fine Arts residency participants visited GrowNYC, a nonprofit and one-acre urban farm located on Governors Island off the coast of Manhattan. The field trip was led by SVACE’s Artist Residency faculty member Iviva Olenick, who is currently participating in a multiyear collaboration with GrowNYC in their Teaching Garden. Iviva is a Brooklyn-born and based artist working at the intersection of textile handcrafts, social histories, oral narratives and agriculture. In addition to making artwork, Iviva is an arts educator and teaching artist who partners with local museums and nonprofits, such as GrowNYC, to lead hands-on art making for K – 12 students as well as adults in continuing education, undergraduate and graduate programs. She describes herself as having a deep connection to plants, the land and local ecologies, which she enacts through her propagation of textile plants and, more recently, medicinal plants. She then utilizes these natural materials in her own embroidery and textile artwork.

During the trip, residents harvested various plants and flowers from the farm, including medieval indigo, black-eyed Susan, echinacea, firewheel and Queen Anne’s lace. The residents used these plants and flowers to create natural dyes and prints, engaging in

various processes like the salt rub indigo technique, which is part of Japanese and Korean traditions, and petal pounding, a newer alternative to bundle dying. Petal pounding is a quick way to transfer a plant’s image and color directly to fibers, which can be done in a matter of minutes. The process oftentimes leaves either an exact print of the hammered plant or a colorful yet ghostly transfer behind. The process is physical and can be cathartic; imagine the lull of the constant hammering and extracting of color from plant to fabric.

The experience offered residents the opportunity to learn more ways to incorporate various traditional and contemporary fiber- and plant-based processes in their own work as well as allowed room for experimentation and reinvention. Fine Arts Residency participant Dana Frayne told us more about her experience during the trip and the impact it had on her: “Iviva taught me a lot about listening more deeply to the rhythms of the Earth, and she inspired me to incorporate gifts from the Earth, such as pressed flowers and leaves into my art.” She further explains, “I was so moved by this experience that Iviva and I have continued to stay in contact after the residency ended, and I am grateful that this residency introduced me to a mentor who continues to encourage me on my path of understanding who I am and what I want to say as an artist.”

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1., 3. SVA’s Fine Arts Residency participants harvesting flowers and plants at GrowNYC’s Teaching Garden on Governors Island.

2. SVA’s Fine Arts Residency participants at GrowNYC’s Teaching Garden on Governors Island.

4. SVACE faculty member Iviva Olenick handing harvesting scissors to residency participant Dana Frayne at GrowNYC’s Teaching Garden on Governors Island.

5., 6. SVA’s Fine Arts Residency participants creating prints with plants at GrowNYC’s Teaching Garden on Governors Island.

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Photos by Calley Nelson, 2023.

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AR T IST

Christine DeFazio

ContinuEd Project Space Left image: Candy, 2022, acrylic and oil on canvas, 16"x24".

Right image: Juicy, 2022, collage, 16”x24”.

STAT E ME NT Christine DeFazio is an art educator and artist working in the Bronx. Her pop art focuses on capturing the psyche of her sitters, often caught in a dilemma expressed through allegory or myth with a touch of surrealism. She aims to convey stories of love, longing and despair, through her portraiture and imagery of the female form.

CO U R S E

What’s the Big Idea? Introduction to Conceptual Art | VSC-2324-OL

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