In the 5th grade, students at the Children’s Neighborhood School in New York City study “how geography determines culture and how do issues of power, wealth and morality influence exploration and colonization.” Connecting the curriculum from the social studies curriculum to the art room, Art+Ed student Letizia Balzi introduced students to the idea that architecture represent different forms of power in society. Students analyzed and compared architectural buildings designed by Frank Gehry with ancient government buildings from around the world to identify how power is expressed in architecture. Students connected this conversation to the current sociopolitical context of the United States including democratic principles such as inclusion, and connections to buildings like the White House. After sketching images of powerful building structures and playing with paper sculpture forms, students were tasked with designing a new governmental building that would reflect their values and ideas about democracy and power. Rather than focusing only on historic buildings and contexts, students experienced the role of a contemporary architect, and applied abstract concepts in design in order to learn the technique of cardboard sculpture as well as technical drawing using 2 and 3 point perspective.
Portraits of Power, Grade 10, 2013
Throughout history, many portraits have been used to depict wealth, power, and heroism that have left an enduring legacy through the preservation of their image through art. The subjects of these paintings adorned themselves with expensive ornaments and dressed in an elaborately patterned wardrobe to exhibit and assert their power. During this project, students investigated the concept of “legacy,” and how power and history are connected. They reflected on their identity in relation to their cultural heritage, and created a design that symbolizes what imprint they would like to make on the world as their personal legacy. They printed these symbols on various fabrics onto ornamental tapestries, pillows and drapery- mimicking the extravagant worldly possessions of the European nobility depicted throughout Western art history. These beautiful belongings are not made of the finest silks, but of burlap and discarded fabric scraps. Yet, the painstaking process of beautifying these materials causes us to rethink what we “value” in material belongings.
American Dream Project, Grade 9&10
The project “American Dream” was completed in collaboration with ninth and tenth grade students at the East Side Community High School, where students created self-portraits representing their own idea of the “American Dream” using only text. The resulting images are digital self-portraits representing 9th and 10th grade students’ (from specific neighborhood or just all NYC?) ideas about the American Dream. In the background, a paragraph telling the personal story of each student is visible but not necessarily legible. The words making up the portrait were chosen because each student thought they were the most important or represented their ideas the best. The project asks them to think about and reflect on their own lives, and the opportunities and privileges that they have, that countless people from all over the world move to America for. Through this project, each student has redefined the American Dream in his or her own right.
History as Art, Art as History: Contemporary Art and Social Studies Education (Teaching/Learning Social Justice)
History as Art, Art as History by Dipti Desai and Jessica Hamlin, pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. This illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource—complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art.
Artist Talk: Martha Wilson, Fall 2015
Martha Wilson, a pioneering feminist artist who over the past four decades has created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personae, spoke at the Einstein Auditorium at NYU, earlier this month. Wilson is also the Founding Director of Franklin Furnace whose mission is to present, preserve, interpret, proselytize and advocate on behalf of avant-garde art, especially forms that may be vulnerable due to institutional neglect, their ephemeral nature, or politically unpopular content. At this inspiring talk, Wilson presented 4 decades of personal work and projects from Franklin Furnace’s first 30 years.
Artist Talk: Olivia Gude, Fall 2013
In the Fall 2013 semester, the Art + Education Programs at NYU hosted a talk with artist and educator Olivia Gude, on developing a teaching practice and curriculum focused on post-modern and community engagement.
Spring 2015 Exhibition: Interrobang
Interrogation is at the heart of our practice as educators and as artists. It exists between us and our colleagues, our students, and our peers. The eighteen artists in this exhibition are connected through their dual impulses toward action and interrogation. The exhibition title, Interrobang, embodies the interconnectedness of these two impulses around which the work coalesces.
For more information, visit the Interrobang Blog
Unfolding Practice: The Accordion Book Project Workshop with Arzu Mistry and Todd Elkin, Fall 2015
Todd Elkin and Arzu Mistry began making accordion books to document, reflect, plan, and think expansively about their practice as artists and teachers. The act of making these books, and the ways of structured and unstructured thinking that drive and are driven by their making, has become deeply woven, not only into their teaching and artistic practice but into the ways that they think, feel and act in the world.
At this workshop, Todd and Arzu shared their own process, and engaged students and faculty from the Art + Education Program in creating their own accordion books.
Visionary Studio, Fall 2015: Going Home
by Stephanie Marchena
The idea of home has inspired a range of imaginative and playful works by artists across the globe.
Exploring how artists have engaged with this theme in different contexts—from mobile homes and beach houses to haunted houses and broken homes—going home explores our complex relationships with the idea of home, and the equally complex responses in which gender, race, class, location and status overlap, and that through these relationships we turn a specific place into a home.
Through an examination of the question: “How does contemporary art address the idea of home? How do artists working today reveal and question commonly held assumptions about land, home, exile, and migration?”, students address their own ideas of home, making work employing a wide range of materials and media.
Sub questions explored during this investigation include:
- What constitutes a home?
- What do we mean when we talk about “identity”?
- How does the home reflect family values, ancestral and local culture?
- How do we feel at home? When we are away from home?
- What kinds of things affect our access to a home?
- What power dynamics play out in the home? Who decides this?
- When traveling, moving to a new home, or forced to re-locate, what parts of your “old home” would you take with you? Which values and systems of power or oppression follow you?
- How does gentrification affect urban neighborhoods?
- Who benefits from gentrification? Who loses?
Interdisciplinary Studio : Art in Dialogue, Summer 2015
Interdisciplinary Studio : Art in Dialogue, Summer, 2015
This course involves theme / idea driven art making, through an exploration of the reproducible mediums of photography, printmaking, video and sound. The focus is on the development of a research driven, interdisciplinary, contemporary art practice, that responds to specific societal, environmental or political themes that have a personal resonance. The dialogic aspect of this art practice lies in that it is consistently informed by research, and in turn, informs the research that feeds it.