sentimental-obsessions · 1 year ago
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atlasphoebus · 1 year ago
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Karen Bachmann Karen Bachmann is a master jeweller and professor at Pratt Institute, as well as being an expert on Victorian ornamental hair work and mourning jewellery. After receiving her Bachelors in Fine Arts with Honours for sculpture and jewellery at Pratt Institute, she went on to work for Tiffany & Co. as a custom order jeweller. She completed her Master in Arts in 2012, majoring in Art History, Criticism and Conservation. She currently is a visiting professor and lecturer at both the Pratt Institute as well as the Fashion Institute of Technology. Bachmann also has been an artist in residence at the Morbid Anatomy Museum in Brooklyn where she still retails her jewellery pieces as well as conducts online lectures and classes surrounding her specialist areas in Victorian hair work and Memento Mori. 
Bachmann's jewellery work is very multifaceted and takes on many different stylistic forms. Her jewellery made and sold on her website under her business name is heavily aesthetically inspired by sculptors such as Constantin Brâncusi, Isamu Noguchi and Eva Hesse, which is very clear in her uncomplicated, bulbous, biomorphic designs and material use. The work made for the Morbid Anatomy store however begins the route to the Memento Mori and the world of life and death. Featuring pieces such as the Colon Collection and the Scarab Beetle Collection, these works draw more deeply into ideas and execution's from my previous years work leading into this year. Her series of organs were similarly inspired by ex-votos or votive jewellery pieces, made as offerings to a saint or divinity to fulfil a vow or as an inspiration for healing. As said on the store page, "They are intended to be worn “for protection and appreciation of life.”" which in ways differs and aligns with my intentions for my cast organs in my sculpture Reliquary but holds the same connection of biological essentials that maintain us and the Memento Amare (remember to love). For her series of beetles, she focuses on the micro rather than the macro, as "an ode to the importance of the small insects that maintain the foundation of our world.", something that I also draw heavy inspiration from especially leading into this year as the ideas of the parallel universes existing not as outer intangible portals to different dimensions, but as active and visible as we look deeper and deeper into smaller and smaller organisms and microbial life. The strength of these ancient iconographies and their historical and mythological connotations, brought into the modern lense and context of liminal space, trans identity, Memento Mori and Mourning jewellery are the areas in which I aim to push these alignments between our practices and motivations. For the entire month of May, I will be attending a three hour online class once a week as part of Bachmann's Victorian Hairwork: Mourning, Memory Object and Craft classes through the Morbid Anatomy website platform where we will be exploring the history and ties to the reliquary of Victorian hairwork pieces, as well as making our own piece. This will serve as a way to not only have the opportunity to learn directly from her, but also as a research tool for skills that I aim to bring into this year with my own jewellery making.
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nyfacurrent · 5 years ago
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Conversations | Managing Your Practice as an Immigrant Artist with Claudia Sohrens
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The German artist, NYSCA/NYFA Artist Fellow, and IAP Mentor shared actionable steps for making the most out of your career.
We’re interviewing German artist Claudia Sohrens in honor of October’s German-American Heritage Month. Sohrens is also a researcher, archivist, producer, and circulator. Her work is featured in private collections and has been presented in numerous group and solo exhibitions nationally and internationally. She has served as a mentor in NYFA’s Immigrant Artist Mentoring Program for Visual & Multidisciplinary Arts since 2011.
NYFA: Based on your experience as an immigrant artist from Germany, what was the biggest challenge you faced when you first came to the U.S., and what did you do to adjust to it?
Claudia Sohrens: I came to New York as a student in 1997. During that year, I immersed myself in a one-year full-time program at the International Center of Photography (ICP) that is now called Creative Practices. I focused on taking classes and making work. I also took advantage of the creative dialogue and constructive feedback from my teachers and peers.
It was challenging to transition into the reality of living and working in New York. Although I had become part of a greater creative community and network of photographers through my studies, all my peers seemed to be competing for the same opportunities. At that time, ICP was just starting up their Digital Photography Department, and because of my background in Fashion and Communications Design, my previous professional experiences, and my OPT (Optional Practical Training) documentation, I was offered the opportunity to teach a few digital classes at the school right off the bat. Right time, right place!
My proudest accomplishment is being a mother and artist, while also being a creative educator in New York. Over the years, I’ve become part of a strong community that is passionate about using creative production as a strategy to inspire, to generate critical dialogue, and to empower communities (ICP, Pratt, NYU Tisch, Parsons, BRIC, Artists Space, NYFA’s Immigrant Artist Program, Brooklyn Arts Council, Sotheby’s Art Institute, among others).
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NYFA: You’ve participated in NYFA’s Immigrant Artist Mentoring Program since 2011. What are some of the best strategies for creating and locating opportunities that you recommend to your mentees?
CS: Exposure is key to fully take advantage of the many opportunities out there. Here are some strategies that have been successful to me and my mentees in the past:
Immerse yourself in a creative environment and expose yourself to a wide range of disciplines and international developments.
Look for opportunities, including opportunities other artists have received throughout their careers.
Cultivate your creative community and professional network of peers, alumni, curators, presenters, editors, and other creative professionals.
Most deadlines such as residencies and fellowships are recurring. Create a calendar and exchange your research and resources with other artists.
Engage in a critical dialogue with the public through exhibitions and curatorial projects, scholarly research and writing, engagement in panels, lectures and conferences, as well as on social media and through community outreach.
Create your own opportunities to show your work through independent curatorial projects, exhibitions, and other art events also in lesser-known, alternative venues.
NYFA: What are the most important steps for you in order to organize and manage your practice?
CS: Here’s my advice:
Dedicate time and focus to the creative process, develop a rigorous practice!
Set short-term and long-term goals for individual projects and your career as an artist at large.
Be part of a creative community!
Use your creative production and research as a strategy to generate a critical dialogue inside and outside the studio.
Participate in exhibitions, artist residencies, and curatorial projects etc, as well as interdisciplinary and collaborative practices
Apply for grants and create funding opportunities that will support your creative practice.
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NYFA: What are you currently working on? Do you have any ongoing/upcoming shows on the horizon?
CS: My academic research is concerned with the status of the photographic image as raw material for the construction of historical narratives informed by public policy with a special emphasis on the history of the photograph and race.
In my creative practice, I force my research through familiar cultural tropes and in contested accounts of the past and present to reveal our latent social desires and raise questions about the stories that are told and preserved and those that are suppressed or forgotten. My work generally unfolds through a range of media–photography, video, books, and multilayered image spaces. I am currently working on a project that focuses on the vernacular for a two-person exhibition in Hamburg, Germany in the summer of 2020.
- Interview Conducted by Alicia Ehni, Program Officer at NYFA Learning
About Claudia Sohrens Claudia Sohrens is an artist from Germany. Her work, which has been featured in private collections and presented in numerous group and solo exhibitions nationally and internationally, expands on the notion of the artist as researcher, archivist, producer, and circulator. As an independent curator, she has worked on projects including the 2017 Pop-Up Archive at Mana Contemporary, which featured works by alumni from her “What is an Archive?” class at ICP; the Action Archive, created during her artist residency at A.I.R in 2015; Foto/Pod What is a photograph? at the 2013 Dumbo Arts Festival; and the exhibition Ulrike ist Schuld at the German Embassy in New York in 2001. Fellowships and residencies include the 2018 Vermont Studio Center residency, the 2017 ICP Artist Residency at Mana Contemporary, a 2014-15 A.I.R. Fellowship, a 2010 NYSCA/NYFA Artist Fellowship in Photography, and the AIM23 Artist Residency at the Bronx Museum in 2002. Her long-term photographic research project Mise En Abyme: Archive is fiscally sponsored by NYFA, where she has served as a mentor for NYFA’s Immigrant Artist Program since 2011. Sohrens is a teaching artist for Photography and Youth Media programs with Artists Space, BRIC Arts & Media, and Sotheby’s Art Institute. She is a Visiting Assistant Professor at Pratt Institute and faculty at the International Center for Photography.
This interview is part of the ConEdison Immigrant Artist Program Newsletter #121. Subscribe to this free monthly e-mail for artist’s features, opportunities, and events. Learn more about NYFA Immigrant Artist Mentoring Program.
Images from the top: Claudia Sohrens, RV | Untitled - III, Dye-sub on Aluminum, 44 x 30 in, 2017, Courtesy of the artist; Claudia Sohrens, Diptych: Aufheben #005 Box of Lighters, Aufheben #006 Livingroom, Archival Pigment Print, 24 x 63 inch, 2009/2017, Courtesy of the artist; Claudia Sohrens, RV | 2 3/4 - I, Dye-sub on Aluminum, 30 x 44 in, 2017, Courtesy of the artist
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jasm1ne503 · 3 years ago
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Condensed List of Timeline Dates
I have decided to focus on the years within his design career leading up to the IBM corporate Identity which I've observed within my research is a well known pivotal moment for Paul Rand as a designer. During my research, I was also drawn more to his early years just out of pure curiousty on what his early career looked like, and some of my favourite Paul Rand work was produced during the time he was the Director of the Apparel Arts and Esquire Magazines. So I thought it would be best to focus on the times listed below:
1914 - Paul Rand was born in Brooklyn, NY, USA (15.08.1914)
1929-1932 - Studied at Pratt Institute
1932-1933 - Studied at Parsons School of Design
1933-1934 - Studied at The Art Students League of New York
1936 -1941 - Became Director of Apparel Arts and Esquire Magazines
1941-1954 - Became Art Director of William H. Weintraub Advertising Agency
1942 - Professor at The Cooper Union in NY
1946 - Became Professor at Pratt institute
1956 - Created the famous corporate identify for IBM
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ahnesshim · 3 years ago
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Week 2 : SDL
Collect Artist Research: 
Do you have dates to start and end with?
Organise how many year dates identified
Post these to your Tumblr blog.
Paul Rand
1914, August 15th born in Brooklyn, New York as Peretz Rosenbaum 
1930′s made his mark/style with a bold and modernist style 
1929-1932 educated at New York Pratt Institute
1933 educated at Art students League to 1934
1934 After his education completed at Pratt and Art students League, he started his career by making illustrations for a union that sold his work to newspapers and magazines for advertising and articles
1935 
The Rand apprenticeship in graphics design began in this very year when he worked for George Switzer, a well-known designer whose package and advertising design helped set style for modern mechanising. 
He wanted to be more independant with his work so he created layouts for small groups of clients 
He changed his name from Peretz Rosenbaum to Paul Rand due to his concerns over the fact that he was born into a Jewish background which may have affected his career, especially in advertising 
1936, hired as freelancer and was offered to work on the page layout for an Apparel Arts Magazine anniversary issue
1937
Paul Rands first career in media promotion and cover design -1941
His first career with Esquire - only occasionally involved in editorial layout of magazines, he designed quite an extensive promotion and derect mail material behalf of Esquire and turned out to be amazing series of covers for Apparel Arts- conjunction of Esquire.
1938 from this year on forward his work was regularly exhibited at the Arts Directors Club
1941 His second career in advertising design which ran to 1954
1942 another career of Paul Rand as an educator - taught at Cooper Union 
Eraned a full time job as an art director for 
1946 
He completed Thoughts on Design
He taught at Pratt Institute 
1952 Designed trademark for El Producto Cigars and built advertising. campaign - this was his first independant corporate design program for the Consolidated Cigar company. 
1954 
Third career in corporate identification began 
He resigned from the Weintrub Agency 
Received gold medal from the Art Directors Club for his Morse code advertisement addressed to David Sarnoff of RCA - this advertisement/recognition jumpstarted his career of corporate design
Began to work on childrens books with his wife, Ann Rand - first book called “I know a Lot of Things” 
1955
second book, following by “Sparkle and Spin”
1956 
He accepted a role at Yale University’s graduate school of design as a Professor of graphic design (newhaven, Connecticut)
signed the identity of one of the largest corporate design projects in North American history called IBM (International Business Machines Corporation) - new identity was viewed as a global, moving, recognisable work of art which was also able to deliver a strong message
He designed a modern logo with vibrant colours on stationary, brochures, packaging, and buildings
1961
designed brand identity fro UPS
1962 
designed brand identity for ABC
1972 Rand was admitted into the New York Art Directors Club Hall of Fame 
1986 he worked for Steve Jobs, giving him the job to create a visual identity for his computer company
1996 He passed away from cancer (Nov. 26), buried in Beth E Cemetery in Norwalk, CT.
These dates may change as I dig deeper into the research
Citations:
Airey, D., 2008. All about renowned designer Paul Rand | Logo Design Love. [online] Logo Design Love. Available at: <https://www.logodesignlove.com/all-about-paul-rand> [Accessed 16 March 2022].
Hurlburt, A., n.d. Paul Rand | Communication Arts. [online] Communication Arts. Available at: <https://www.commarts.com/features/paul-rand#:~:text=The%20Rand%20apprenticeship%20in%20graphic,his%20first%20career%20at%20Esquire.> [Accessed 16 March 2022].
Graphéine - Agence de communication Paris Lyon. 2019. Paul Rand, everything is design!. [online] Available at: <https://www.grapheine.com/en/history-of-graphic-design/paul-rand-everything-is-design> [Accessed 16 March 2022].
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dd20century · 3 years ago
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Designer George Nelson: Well Ahead of the Parade
"You don't think your way to creative work. You work your way to creative thinking.” --George Nelson
George Nelson’s Early Years George Nelson was born on May 28, 1908 to Simeon Nelson and Lillian Canterow Nelson in Hartford, Connecticut, where his parents owned and operated a drug store.(1) His early childhood was uneventful. As a young man, Nelson sought “refuge in Yale’s architecture school during a rainstorm, he quickly found himself entranced by the student work on display”  Nelson then decided to study architecture at Yale University. He began his studies in 1924 and “graduated with a degree in architecture [in 1928]. In 1929, Nelson was hired as a Teacher's Assistant while pursuing his second bachelor's degree [in Fine Arts] at Yale” (1). He earned that degree in 1931.(2)
George Nelson Goes Abroad The following year, “Nelson competed for and was awarded a Rome Prize, which provided a two-year stipend to study at the American Academy in Rome, where he lived from 1932–34” (3).  During his studies in Europe Nelson had the opportunity to interview Europe’s leading architects, including Mies van der Rohe, Le Corbusier, and Walter Gropius among others. During his interview with Mies van der Rohe, the architect asked Nelson for his thoughts on Frank Lloyd Wright’s work. Nelson was embarrassed to admit that he was not familiar with Wright. (1)
During his stay in Rome, George Nelson married Francis Hollister. The couple returned to the United States in 1935. (1) “By [then] Nelson was an associate editor of the magazines Architecture Forum and Fortune, and the next year he was running his own architectural practice in New York with William Hamby” (3). Nelson and Hamby collaborated on a home for “inventor and industrialist Sherman Fairchild, [which] was one of the first modernist townhouses in New York” (2). The structure is set off from the other brownstones around it by its modernist façade, and it features an innovative floor plan. Nelson and Hamby’s firm closed in 1942 at the start of World War II. For the duration of the War, Nelson continued to write about architecture and design. (1)
Nelson’s writing brought him into contact with the innovative designers Eliot Noyes, Charles Eames, and Walter B. Ford.(1) During the war Nelson taught architecture at Columbia University in New York City. In 1941 he became a “member of the Architecture Committee of the Museum of Modern Art [in] New York” (4). Nelson and architect Henry Wright collaborated on the Storagewall concept and in the same year published the book Tomorrow’s House.(4) In 1942 Nelson originated the concept of “Grass of Main Street” that eventually “evolved into the [open-air] pedestrian mall” (2).
George Nelson Joins Herman Miller Nelson’s articles on design “came to the attention of D.J. De Pree, president of the Michigan-based furniture manufacturer Herman Miller” (3). Nelson designed his first collection for the firm in 1945 and was named their design director in 1947. De Pree referred to Nelson as “as someone ‘thinking well ahead of the parade’” (3). While at Herman Miller Nelson not only was responsible for designing many of the firm’s most popular furniture he, also recruited some of the most outstanding design talents of his time, “including Charles and Ray Eames, Alexander Girard, Isamu Noguchi” (2) and Harry Bertoia. (1) Nelson’s most iconic work for Herman Miller was the Platform Bench (1947), the Bubble Lamp (1952), the Marshmallow Sofa (1956), and the Swaged-Leg furniture line (1958). (2)
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George Nelson, Platform Bench (1947). Image source.
George Nelson Associates is Established With money earned at Herman Miller, Nelson opened a design studio in New York City in 1947.(1,2) In 1955, Nelson “incorporated it into George Nelson Associates, Inc.” (1), and although Nelson had by this time left Herman Miller, his design firm continued to consult with the company. During this time Nelson was also “regularly [serving] as an editor for Interiors” (2). At his own firm, as he had done at Herman Miller, Nelson continued to employ the top designers of the era, “Irving Harper, George Mulhauser, Don Chadwick, Bill Renwick, and John Pile” (1) among many others. George Nelson Associates took a pioneering holistic approach to design with the “the practice of corporate image management, graphic programs, and signage” (1). An excellent example of this approach is the work the firm did for the pharmaceuticals manufacturer Abbott during the mid-1950s.(2) The company continues to use the original corporate logo today, and it looks as contemporary as ever.
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George Nelson, Bubble Lamp (1947). Image source.
Nelson’s Bubble Lamp In 1947 Nelson became obsessed with a spherical Swedish lamp he had seen. He badly wanted one for his design studio, but the $125 price tag was too dear. He set about designing a spherical lamp of this own. He recalled seeing “a newspaper photograph...a fleet of ships being sprayed with a self-webbing plastic for preservation during storage” (5). What if he could design a metal frame onto which this plastic material could be sprayed? By the next day, “he had crafted a spherical metal frame and tracked down the maker of that spiderweb-like plastic” (5). In 1952 Bill Renwick a designer working for George Nelson Associates refined the lamp design which was manufactured by the Howard Miller Clock Company (not to be confused with Herman Miller). In 2016, Herman Miller obtained the rights to sell the Bubble Lamp, and it remains popular as well as affordable. Designer Johnathan Adler said of the Bubble Lamp, “It’s an atomic take on a Japanese paper lantern” (5).
American National Exhibition in Moscow Nelson was commissioned by the United States in 1959 to design a pavilion for the American National Exhibition in Moscow. The pavilion incorporated one of the earliest uses of large multi-screen presentations. The pavilion, however, became historic not so much for Nelson’s forward-thinking designs, but for being the site of Richard Nixon and Nikita Khrushchev’s ''kitchen debate'' (4).
Having divorced Frances Hollister, that same year George Nelson married Jacqueline Griffiths in 1960.(2) Not much is known about the circumstances surrounding the disintegration of the marriage to his first wife, nor are there details regarding his relationship with Ms. Griffiths.
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George Nelson and Robert Propst, Action Office 1 Credenza with shelves (1964). Image source.
George Nelson and the Action Office “In 1960 Herman Miller created the Herman Miller Research Corporation under the direction of Robert Propst, and the supervision of George Nelson” (1). The purpose of the research firm was to study changes in the workplace that had taken place in the Twentieth Century and in particular how the use of office furniture evolved with these changes. “After consulting with experts in psychology, anthropology, and various other fields, Propst created the Action Office I line which was executed by” (1) George Nelson Associates. The Action Office I line was introduced in 1964, but was not successful.(6)
Nelson and Propst disagreed on the best environment to “best suit a corporate office worker” (6), so “Nelson was removed from the project” (1). Nelson’s departure allowed Propst to explore his concepts of an office space that could be modified without costly renovations. “Action Office II was based around the mobile wall unit that defines space” (6); it has become commonly known as “the cubicle” (1,6). Unlike Action Office I, the subsequent line was a resounding success. Nelson, however, always renounced the project. In 1970, he sent a letter to Herman Miller's then Vice-President for Corporate Design and Communication, Robert Blaich, deriding the dehumanizing effect of the Action Office II, which allows the office planner to pack the greatest numbers of employees in the smallest amount of space.(5)
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A desk inspired by George Nelson and Robert Propst’s Action Office I Collection for Herman Miller (left) used in a set from Stanley Kubrick’s film, “2001: A Space Odyssey” (1968). Image source.
George Nelson’s Influence and Legacy In addition to George Nelson’s iconic, innovative furniture designs, he had the ability to recognize and nurture great talent in other designers. As mentioned earlier, he collaborated with  designers Charles and Ray Eames at Herman Miller, and after Nelson opened his own studio, hired many designers whose work for George Nelson Associates would become iconic. Nelson’s “skill as a writer helped legitimize and stimulate the field of industrial design by contributing to the creation of Industrial Design Magazine in 1953” (1). Nelson also served as editor-in-chief of Design Journal from 1968 to 1973.(2) In 1977, he published the groundbreaking book How to See. Designer “Ralph Caplan, said, ‘He was quickly identified by all industrial designers who could read and write that he was better able than anybody to express what they did for a living and why it was important’”(4).
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George Nelson Associates, Inc. for Herman Miller, attributed to Irving Harper, Marshmallow Sofa (1956). Image source.
Accolades for George Nelson George Nelson was “named a fellow of the Industrial Designers Society of America” (2) in 1966 and made a member of the organization’s board in 1969. The following year Nelson became an Honorary Fellow of the American Institute of Interior Design. He also served as a visiting lecturer at Harvard University in Boston and as a visiting professor at the School of Architecture, at Pratt Institute in Brooklyn, NY.(2)
George Nelson retired and closed George Nelson Associates in 1984. The same year he became a scholar in residence at the Cooper-Hewitt Museum.(1,2) He died in New York City in 1986.(4) In 2008, the Vitra Design Museum held a retrospective of George Nelson’s work to commemorate the 100th anniversary of his birth.(2)
References
Wikipedia.com (2 June, 2021). George Nelson (designer). https://en.wikipedia.org/wiki/George_Nelson_(designer)
George Nelson Foundation, (2012). Introduction. http://www.georgenelsonfoundation.org/george-nelson/index.html
George Nelson (1908-1986), USA: Biography and more. http://www.georgenelson.org/biographymore.html
Slesin, S., (6 March, 1986). George H. Nelson, Designer of Modernist Furniture, Dies. https://www.nytimes.com/1986/03/06/obituaries/george-h-nelson-designer-of-modernist-furniture-dies.html
Martin, H., (16 November, 2016). The Story Behind George Nelson's Iconic Bubble Lamp. https://www.architecturaldigest.com/story/the-story-behind-george-nelsons-iconic-bubble-lamp
Wikipedia.com (April 9, 2021). Action Office. https://en.wikipedia.org/wiki/Action_Office
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kentonramsey · 4 years ago
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Career in fashion design: list of colleges with creative professors
If you feel creating amazing clothes is your calling, and all your friends say that you have a talent, don’t let anyone pass up a chance and choose the college to study.
A lot of people argue about this occupation. Some of them say that studying isn’t necessary to become a world-famous designer. Others state that this profession isn’t relevant now because no one modern designer can create something new, and all fashion trends are already developed. However, if you aim to apply for a clothes design program, don’t listen to the malicious tongues. People always want to bump into somebody’s life with unnecessary advice.
Don’t think that you’re the only student who desires to obtain a degree in fashion design. This direction became widely popular for the last years. If you spent all your time drawing sketches and altering your clothes, discover the list of the top colleges and apply for admission. Don’t give up your hobby even if the final year is time-consuming. Use custom essay writing services to deal with your homework and prepare for college admission.
Fashion Institute of Technology
This institution was founded in the distant 1944 and offers a lot of programs related to the fashion industry, including fashion design program as well. The program was established 65 years ago, so this institution can be rightly considered top fashion designing college. Be ready to master computer-aided design and collaborate with world-famous designers to create your vision of things.
University of Delaware
Department of Fashion and Apparel studies lets prospective designers realize their potential and apply for the undergraduate program in fashion design. Various career options are open for people with this degree: from fashion or visual designer to production manager. Admission to this university may be difficult, but the services that let you pay for essays online may assist with writing a persuasive application essay.
Aalto University
It’s located in Helsinki. Here you may obtain both a Bachelor’s and Master’s degrees in fashion design and related disciplines. Not all educational programs are available in English, but if you want to obtain a degree in fashion design, you’ll be able to do it without the need to learn Finnish or Swedish.  It’s one of the best fashion designer colleges that allow students to participate in research and work with famous people in fashion.
China Academy of Art
It’s one of the first universities founded in China; therefore, it’s considered to be one of the most prestigious. Only the most talented students are accepted to this academy. If you want to get a high-class education, you should prove your intentions to the admissions board. The persuasive admission essay can do it for you. If you’re not good at writing, visit professional custom writing service and leave there a request like “Write essay for me cheap.” Be sure that expert writers will help you to implement your dream into reality.
Pratt Institute
Pratt Institute offers you a perspective to attend the campus that’s located in the heart of Brooklyn, the cultural epicenter. Here you’ll have to study a lot of additional disciplines and upgrade your skills day by day. If any subject is too difficult for you, for example, statistics, you can always count on statistics homework helper and maintain high academic performance.
Cornell University 
College of Human Ecology of Cornell University is the place to obtain a Bachelor’s degree in apparel design. Here you will study new design methods and learn how to use innovative technologies in the fashion design process. Studying here is demanding; each course prepares you for the next, so attending classes is important. Those students who feel that they can’t manage their assignments prefer to buy academic paper to ease their burden and continue pursuing their aim.
Career in fashion design: list of colleges with creative professors published first on https://normaltimepiecesshop.tumblr.com/ Career in fashion design: list of colleges with creative professors published first on https://mariakistler.tumblr.com/
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LA / HIGH BEAMS
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HIGH BEAMS January 4 - January 26, 2020 Opening Reception: Saturday, January 4, 2020 from 7-10 pm
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Tiger Strikes Asteroid Los Angeles is pleased to announce an exhibition titled HIGH BEAMS featuring work by Chris Burnside, Christopher Dunlap, Kate Harding, Sarah Heinemann, Gyun Hur, Gabriel Hurier, Andy Kolar, Ryan Scails, and Karen Tepaz curated by Lacey Fekishazy, the founder/director of SARDINE in Brooklyn, New York. There will be a reception for the artists Saturday, January 4, 2020 from 7-10 pm and the show will be on view through Sunday, January 26, 2020.
The title HIGH BEAMS is a literal reference to the setting of an automobile's headlights, which brighten a longer distance in front of the car. This setting is particularly useful on dark roads to avoid accidents and improving vision and therefore driver response. While these beams clarify the more distant road on clear nights at higher speeds, they can also blind other drivers or reduce the vision and speed of the driver in fog, rain, or snow. Curator Lacey Fekishazy chose the artists in this group exhibition for their intuitive insight, long haul dedication to process, and their ability to brighten of the future in a darkening world. While the work is an illumination, it can also accent the invisible just before us.
HIGH BEAMS is part of #ArtistRun2020, a year-long exploration of artist-run spaces from all around the country organized by Tiger Strikes Asteroid and Trestle Gallery. SARDINE is one of 11 artist-run projects asked to curate an exhibition at our various locations with the intention of building relationships and expanding our collective networks. Founded in 2011 by Lacey Fekishazy, SARDINE is a contemporary art gallery in Brooklyn, New York presenting solo exhibitions, small group shows and occasional limited editions by featured artists. SARDINE's modest size is a key asset in the construction of a contemplative, intimate space which has been used to showcase carefully curated collections of work as well as immersive, site-specific installations. What started as a small enterprise has grown into more than 8 years of operation and approximately 69 events and exhibitions. SARDINE has been featured in ArtNews, Artsy, Maake Magazine, The New York Times, Time Out New York, The New Yorker and Hyperallergic. 
Chris Burnside was born in Seattle, Washington. He received his BFA from the University of Washington and his MFA from the University of Pennsylvania. He has had solo exhibitions at the Gross McCleaf Gallery (Philadelphia, PA) Washington Art Association (Washington, CT) Nexus Foundation (Philadelphia, PA) and the Alpan Gallery (Huntington, NY). His work has been exhibited in various group shows including the National Academy Museum (New York, NY), SOIL Gallery (Seattle, WA), Kresge Gallery at Ramapo College (Mahwah, NJ), and Outside the Time Zone at Camel Art Space (Brooklyn, NY). Burnside lives and works in Seattle.
Christopher Dunlap was born in Pullman, Washington. He received his BFA from University of Washington and his MFA from Massachusetts College of Art. He has had recent solo shows at Hiromart Gallery in Tokyo, Japan in 2019 and at SARDINE in 2017 and 2019. His work has also been exhibited in various group shows including Albada Jelgersma Gallery (Amsterdam, NL), Transmitter Gallery (Brooklyn, NY), No Place Gallery (Columbus, OH), Site 131 (Dallas, TX), Mckenzie Fine Art (New York, NY) and Spring Break Art Fair (New York, NY). He has been reviewed in The New York Times, ArtFCity and Travel Magazine. Dunlap lives and works in Harlem, New York City.
Kate Harding is an artist living and working between Los Angeles, New York City and Missouri.  Harding received an MFA in Art Practice from School of Visual Arts (New York, NY) in 2014, a BFA in Fine Arts from Otis College (Los Angeles, CA) in 2003, and an AAS from Fashion Institute of Technology (New York, NY) in 2001. Solo and two-person exhibitions have included: 3A Gallery, The Chelsea Hotel (New York, NY); SARDINE, Grace Space (Brooklyn, NY); Track 16 (Los Angeles, CA); East Central College (Union, MO). Selected group exhibitions, performances and screenings have included Art in Odd Places, La MaMa, International Print Center New York, Electronic Arts Intermix, MoMA, Vanity Projects, CP Projects (New York, NY); SARDINE, SoHo20, Invisible Dog (Brooklyn, NY); Rosamund Felson, Edward Cella Art + Architecture, Circus Gallery, SeeLine Gallery, Echo Park Film Center, Statler Waldorf Gallery (Los Angeles, CA). Her work has been written about in The Brooklyn Rail, ArtFile, The Huffington Post, American Artist: Drawing Magazine, Fiberarts Magazine, Notes on Looking: Contemporary Art From Los Angeles, ArtScene, and The Missourian among others. Her writing has appeared in The Brooklyn Rail, The Tool Book Project, Café Dan Graham Poetry Slam vol. 3, and the upcoming Mapping Meaning Journal #3. Harding is the creator and host of the weekly internet radio show Bicoastal Carpool on WPIR Pratt Radio and is currently part-time faculty at Parsons, The New School in and Pratt Institute.
Sarah Heinemann is a painter based in Brooklyn. Originally from Chicago, IL, Heinemann attended Smith College in Northampton, MA., and holds a BFA in painting from The School of the Art Institute of Chicago. She is currently a graduate candidate at CUNY Hunter, class of 2022. Recently included in the show ‘Another Matter’ at Lazy Susan Gallery curated by Gisela Guieros, she has shown with the Knockdown Center, SARDINE, ATM Gallery in New York as well as Mass MoCA’s 28 Holden Gallery in North Adams, MA. Heinemann is slated to have a solo show at SARDINE in 2020. She has worked for the studio of Sol LeWitt since 2000 realizing LeWitt wall drawings for museums, galleries, and private collections.
Gyun Hur was born in South Korea, she moved to Georgia at the age of 13. Hur is a New York based, interdisciplinary artist and an educator whose experience as an immigrant daughter deeply fuels her practice. She was recently an artist-in-residence at NARS Foundation (Brooklyn, NY) and an AIM 38 fellow with the Bronx Museumand is currently a professor at the Parsons School of Design (New York, NY). She has performed and exhibited in Canada, China, Hong Kong, Italy, Turkey, and the United States. Gyun completed Pratt Fine Arts Residency, BRICworkspace, Danspace Project Platform Writer-in-Residency,  Ox-Bow Artist-in-Residency, Vermont Studio Center, and Virginia Center for the Creative Arts. She is the recipient of The Hudgens Prize, Artadia Award, and Joan Mitchell Foundation Scholarship. Her works have been featured in Art In America, Art Paper, Sculpture, Art Asia Pacific, Public Art Magazine Korea, Hong Kong Economic Journal, Yahoo! Tech, Huffington Post, Brooklyn Street Art, Atlanta Journal-Constitution, Pelican Bomb, Creative Loafing, Jezebel, and The Atlantan. She was listed as the Best Emerging Artist by Creative Loafing and selected in Oxford American’s “100 Under 100: Superstars of Southern Art” issue. Her interest in art making in public space led her to various artist presentations at the TEDxCentennialWomen, the international street art conference Living Walls: The City Speaks, the Atlanta Contemporary Art Center, The Hong Kong Polytechnic University, and many others. She recently contributed as an artist writer to fLoromancy September Issue 36, The Brooklyn Rail and The Forgetory.  
Gabriel Hurier was born in Cincinnati, Ohio and lives and works in Newburgh, New York. He studied painting and printmaking at Miami University in Oxford, Ohio. Hurier has participated in numerous group shows in the greater New York area including Gallery 128 (New York, NY), ATM Gallery (New York, NY), Matteawan Gallery (Beacon, NY), Space Create (Newburgh, NY) and more in Chicago, Cincinnati, North Adams, San Diego, Singapore, and Zagreb. Hurier has had solo shows at SARDINE in 2012 and 2014. He is currently exploring shapes in maps and color relationships in landscapes observed as a traveler and a father. His work often utilizes everyday materials leftover from construction and 15 years of realizing wall drawings for Sol LeWitt. 
Andy Kolar was born in Spirit Lake, IA. He is a LA based artist represented by Walter Maciel Gallery with whom he has had two solo shows (2017 & 2015). Kolar received his MFA in Drawing and Painting at California State University, Long Beach in 2007 and earned a BFA in Painting & Printmaking at Minnesota State University, Makato, MN. Kolar has been included in numerous exhibitions in Southern California including the recent shows ‘Edge to Air’ at Denk Gallery (Los Angeles, CA), ‘Painting Architecture’ at UCR Arts Block (Riverside, CA), ‘6018 Wilshire’ at Edward Cella Gallery (Los Angeles, CA), ‘Wall Painting 2013’ and ‘FORMS OF ABSTRACTION’ at the Irvine Fine Arts Center (Irvine, CA) and ‘De Stil' at Andrew Shire Gallery (Los Angeles, CA). In 2010, Kolar was one of 45 artists included in the California Biennial curated by Sarah Bancroft at the Orange County Museum of Art.  He was previously represented and included in solo and group shows at Carl Berg Gallery.  Kolar’s works are included in several private and corporate collections including the recent acquisition at Pimco Corporation in Orange County. 
Ryan Scails was born in Danbury, CT. Scails’ most recent exhibitions include a solo show titled ‘Another Now’ at SARDINE, ‘Here Today | Gone Tomorrow’ at Space Create (Newburgh, NY) curated by Lacey Fekishazy, ‘Able Bodies’ at 287 Gallery (Danbury, CT), and ‘Object Lessons|Adaptive Research’ at High Desert Test Sites HQ (Yucca Valley, CA). In between shows Scails has also participated in residencies at MASS MoCA (North Adams, MA), A-Z West (Joshua Tree, CA), and will be a JMKAC Arts/Industry (Sheboygan, WI) resident in the Summer of 2020. Scails received his BFA from Cooper Union in 2014. He lives and works in Brooklyn, NY.
Karen Tepaz, born in Los Angeles, CA, holds an MFA in Sculpture from Yale University School of Art and a BFA in Ceramics from California State University, Long Beach.  Recent exhibitions include solo shows at SARDINE, (Brooklyn, NY) Thomas Hunter Projects (New York, NY) CACTTUS gallery (Long Beach, CA), and group shows at Underdonk (Brooklyn, NY) Tiger Strikes Asteroid Los Angeles (Los Angeles, CA) Copyright Berlin (DE) The Shirley Fiterman Art Center, BMCC (New York,NY), The Gallery ATLAS (Newburgh, NY), BOMB POP-UP (Brooklyn, NY) among others. In 2018 Tepaz co-curated ‘Flat Touch’ and ‘In Between the Lines’ in Steuben Gallery at Pratt Institute (Brooklyn, NY). She is the recipient of the Art Farm Nebraska Residency, and will be attending Yaddo this winter 2020. Tepaz lives and works in Brooklyn, NY.
About the curator:
Lacey Fekishazy is an artist, curator, gallerist, and draftsperson for the Estate of Sol LeWitt with roots in the Hudson Valley and NYC art communities. After a decade in NYC, Fekishazy currently lives and works in Newburgh, New York with her young family. She has organized the outdoor sculpture/installation show ‘Glenlily Grounds’ (GLG) as part of Newburgh Open Studios for the past 6 years. In 2019, She was invited to co-curate the inaugural exhibition of the Newburgh Sculpture Project at SUNY Orange. Fekishazy earned her MFA at Queens College CUNY in 2010 after working at Dia:Beacon and for the Estate of Sol LeWitt for many years. She holds a BFA in Painting from SUNY New Paltz and an AAS degree in Fine Arts from the Fashion Institute of Technology. Fekishazy has shown her own artwork at Art 101, Possible Projects, Small Black Door (Brooklyn, NY); ATM Gallery, The Puffin Room, (New York, NY); Dorsky Gallery (DGCP) (Long Island City, NY); and Mass Moca (North Adams, MA).
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bargewall99-blog · 6 years ago
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A Road to Ending Mass Incarceration?
DECEMBER 15, 2018
NEARLY ONE IN 100 adult Americans is behind bars. That means approximately 2.3 million people are incarcerated in the United States. The US has more people imprisoned than India and China combined, and the US per capita incarceration rate is eight and five times higher than Germany and Australia, respectively. Norway and Los Angeles have about the same population, yet Norway has roughly 3,000 people incarcerated, while Los Angeles has 50,000.
These are some of the background facts offered by Greg Berman, director, and Julian Adler, director of policy and research, of the New York–based Center for Court Innovation, in their cogent book, Start Here: A Road Map to Reducing Mass Incarceration. While concern about mass incarceration has been increasing and various state, municipal, and nongovernmental programs promote imprisonment alternatives, Berman and Adler underscore that judges, prosecutors, and police officers generally have a constrained array of choices for the accused. Stiff 1990s and 2000s sentencing laws are still in place that also incline prosecutors to charge defendants with felonies. The result is that “[t]he United States locks up more of its citizens than any other country on earth.” Moreover, Berman and Adler stress that undue jailings and prison terms are “accelerants of human misery” because individuals are often traumatized while incarcerated and become entrenched with distrust for the halls of justice. “If you are poor or mentally ill or struggling to keep your family together, when you enter, the chances are that all of these conditions will be markedly worse when you come out,” Berman and Adler write.
The challenges for reducing mass incarceration are complicated and nuanced, and Berman and Adler offer a smoothly written survey of the background conditions and the responses that different jurisdictions and advocacy groups are trying — for example, risk analysis for detention and sentencing decisions; cognitive therapy programs for accused or convicted offenders with aggressive or addictive traits; raising awareness within the judiciary of counterproductive fees and fines; and alternative legal venues for drug users and young adults. They state and restate that it will take sustained effort on many fronts and gradual cultural shifts, but that there are enough effective responses and instances of culture change to demonstrate that significantly reducing incarceration can be done.
Another cross-cutting truism that Berman and Adler reiterate is that treating the accused with a humane touch can make a huge difference. How a defendant subjectively experiences the criminal justice system will affect his or her future behavior; empathic corrective treatment can go far in raising an individual’s ability to handle future life challenges in a law-abiding manner. “In our experience, the best way to change the behavior of defendants is by creating caring relationships with social workers, judges, mentors, clergy, family members, employers, and others,” Berman and Adler write. “Almost no one transforms their life without positive connections with their fellow human beings.”
Indeed, reformers are trying to address defendants’ hardening experience with courts and law enforcement. Berman and Adler point to the “procedural justice” approach, seminally articulated by Yale law professor Tom Tyler in Why People Obey the Law. Its major thrust is “that defendants who experience a justice process that they perceive to be fair and transparent are more likely to be law-abiding in the future.” Berman and Adler further enunciate four key procedural justice criteria that the accused should feel as they go through the criminal justice process:
voice (were you given a chance to tell your side of the story?); respect (were you treated with dignity?); neutrality (did you perceive decision makers as unbiased and trustworthy?); and understanding (did you understand your rights, obligations and the decisions that were made about you?).
The authors describe how Newark Judge Victoria Pratt, who presided over the city’s municipal court and a specially created community court, the Newark New Community Solutions court, employed procedural justice in a setting marked by recidivism, unpayable fines, and distressing and dangerous incarceration conditions at the city’s notorious Green Street jail. “I just get on the bench and treat people the way I would want my family members to be treated,” Pratt says.
Berman and Adler’s organization, the Center for Court Innovation, helped set up the special Newark New Community Solutions court, as well as the Brooklyn alternative court Red Hook Community Justice Center, whose judge, Alex Calabrese, is similarly noted for his articulate interaction with defendants. As part of its operations, the Red Hook Justice Center also “links thousands of defendants to social services and community restitution projects in lieu of jail and fines.”
The book’s narrative is especially vivid when Berman and Adler discuss specific proactive programs in different states that target different at-risk populations. For example, there is innovation even in the difficult area of domestic violence, typified by Iowa’s ACTV (Achieving Change Through Value-Based Behavior) program that focuses on coping skills and features a nonjudgmental elicitation as to what the offenders most value. In the case managers experience, the offenders are surprisingly clear that children, family, spirituality, and work are standout priorities. “A lot of them have just never been asked what’s important to them, and then a lot of them don’t know how to live a life in service of those values,” says Amie Zarling, the Iowa State University forensic psychologist who developed ACTV. While the rigorous 24-session ACTV program had a relatively high drop-out rate, the state’s review found that incidents of domestic violence dropped by two-thirds among those who completed ACTV relative to those enrolled in standard treatment programs, and a violent crime re-offense rate of eight percent compared to 23 percent.
Another interesting program is Seattle’s LEAD (Law Enforcement Assisted Diversion) program by which law enforcement officers who confront individuals with signs of drug abuse can direct them to service providers, avoiding booking and incarceration. LEAD’s staffers work with many challenging individuals, often homeless or suffering mental illness, yet, as Berman and Adler point out, “research to date does show that LEAD participants are significantly less likely to be rearrested than those in a control group.”
To no one’s surprise, drugs loom large, but Berman and Adler point out that, contrary to common wisdom, drug convictions do not make up the bulk of US incarceration. Nonviolent drug crimes account for about 16 percent of state-level imprisonment cases while violent offenses predominate at 53.2 percent, according to a 2014 study the authors cite. However, what is a violent offense is dubious, and Berman and Adler offer robbery, the top charge of 180,000 state prisoners, as a murky example, as reflected in the Department of Justice’s Bureau of Justice Statistics definition — “Robbery is the completed or attempted theft, directly from a person, of property or cash by force or threat of force, with or without a weapon, and with or without injury.” More to the point, the authors mention that six out of 10 defendants test positive for illegal drugs at the time of arrest, underscoring that problems with drugs figure significantly with mass incarceration.
This has been appreciated for years, and in 1989 Miami legal advocates, including then state attorney Janet Reno, instituted the first of the drug treatment courts, specialized courts with judges schooled in addiction who can prescribe drug treatment and other options for defendants in lieu of imprisonment. The drug court idea has proved attractive, and Berman and Adler report that the nation’s 3,000 drug courts are now in every state. The social science research supports their efficacy, with a 2011 Department of Justice–funded study finding that over an 18-month period, drug court participants were one-third less likely to succumb to drug use and committed less than half the criminal acts than a comparative group of defendants steered through regular criminal justice processing. Yet, drug courts are not connecting with enough individuals, and Berman and Adler cite a 2008 study that “as few as 3.8 percent of potentially treatable arrestees are participating in a drug court.”
Jailing those awaiting trial or who cannot pay penalty fees is another bloating and tragic aspect of mass incarceration. In contrast to prisons, where individuals typically go for longer than one-year sentences, people are placed in jail for shorter misdemeanor sentences or because they have been denied bail or cannot pay bail and punitive fines. The authors cite that 60 percent of the US jail population is awaiting trial — that is, before a court has determined guilt or innocence. The population rotated into prison is also huge: 11.5 million were admitted to jail in 2014 while in the same year, state and federal prisons combined admitted 700,000 individuals. Berman and Adler further point to federal statistics reporting that from 1980 to 2008, “the number of inmates housed in a local jail on any given day in the United States increased by 426 percent (from 184,000 to 785,500).” Of course, there is the human cost, with jails being overcrowded and dangerous, and many people have their lives and finances significantly impaired with just short stays.
Perhaps most distressing is the common situation in which poor people get roped into fines, even for infractions, that they do not have the financial means to pay for and so end up in jail. Ferguson, Missouri, and the ensuing federal report brought this to national attention. “In St. Louis, recent events have exposed a toxic relationship between communities of color and local government, much of it driven by the insight that the justice system was using fees and fines to balance budgets,” Berman and Adler write.
In all jurisdictions, it will take a culture change and keen attention on the part of judges to redress the injustice of jailing poor people for inability to pay fines. Berman and Adler quote Newark Judge Pratt recounting the absurdity of a prosecutor calling for a 50-dollar fine for a defendant that came to court with only one shoe. “It’s my job as the judge to ensure that the interests of justice are met. It doesn’t serve the interest of justice to give somebody a fine they can’t pay and not give them a way to pay it.”
Yet, there is some significant change occurring, and Berman and Adler point to the example of New York City’s Rikers Island jail, where inmates are geographically separated from support and historically subject to horrendous conditions. New York City has cut the Rikers Island population to 10,000 down from 20,000, and the authors describe the current politics and consensus to eventually close the jail. Berman and Adler also discuss Washington, DC, with the DC jail population 50 percent below capacity, and nine out of ten defendants “released (either on their own recognizance or with supervision) while their cases are pending.” The DC justice system employs risk analysis, which has gained currency and sophistication nationwide, so that judges can tailor the release conditions for each defendant.
Toward the end of the book, Berman and Adler focus on state-wide initiatives for reducing mass incarceration. Many state governments, burdened with huge costs, look to reverse the mass incarceration trend by adding drug courts, treatment and job training programs, and other measures. According to Berman and Adler, the progress is bipartisan, as demonstrated by reform in states run with conservative governors and legislatures, such as Georgia, Utah, and Mississippi. This is all the more critical, given the back-and-forth revision of proposed federal sentencing reform and an acting and nominated new attorney general, whose sympathies for reducing imprisonment are dubious.
A particular challenge for states is to not reverse reform when there is an instance of a parolee committing a horrible crime. When this occurs, the response has on occasion been stricter sentencing and revised laws, some of which are eponymous laws, named after a victim, such as Megan’s Law. This puts reforming legislators and open-minded prosecutors in tight binds. “[T]he immediate aftermath of a unique tragedy may not be the best time to construct new frameworks that will govern how thousands of future cases will be handled,” Berman and Adler write.
For example, they contrast Utah’s and Arkansas’s responses to similar events. Utah, on the one hand, resisted reversing its successful program to reduce incarceration in 2016 after Salt Lake City police officer Doug Barney was killed by a parolee who absconded from a prescribed drug treatment program. Arkansas, on the other hand, reversed its reformed incarceration program, passed in 2011, after a recurrent offender and parolee murdered a young man. The result: “[T]he parole boards shut the door […] [and] Arkansas now has the second-fastest rate of prison growth in the country.” Berman and Adler are emphatic that these reverses are counterproductive and hurt many who would abide by the terms of their release.
Adding critical nuance, Start Here frequently brings up racial injustice, poverty, and other social concerns, highlighting the significant criticism for risk analysis, as it relies heavily on history of defendants, who might very well have faced incidental or systematic racism in their past criminal justice encounters. The authors also offer balanced prescriptions throughout, such as the last chapter’s three overarching fronts for change: crime prevention in communities; treat with respect everyone involved in the criminal justice system; and expand the array of sanctions available for judges. Although the book’s prescriptions are more of a collection of compelling responses than a road map, Start Here contains articulate discussions and narratives that yield a vision for a future United States that will not stand out for its distressing mass incarceration.
¤
Richard Blaustein is a freelance journalist writing on science and environmental and legal developments.
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Source: https://lareviewofbooks.org/article/a-road-to-ending-mass-incarceration/
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sophiakountakis · 5 years ago
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Hi guys!
I recently made a post about my experience at New York Fashion Week a few weeks ago and if you haven’t read it yet, visit the post here. For my last show of the season, I had the opportunity to borrow a bag from the brand Dooz, which is co-founded by Rachel Borghard and Mia Kazovsky who graduated from Pratt Institute Fashion Design. As a Pratt student myself, I felt that this collaboration was meant to be! I borrowed the Pisces Céleste Bag in lime green for the Hogan McLaughlin show. I talk more about how I met them and how I style the bag in an article on their brand blog called The Scope. The article is called A Day in the Life of a Pisces – Sophia Kountakis and I go through my experience during Fashion Week, explain makeup tips, and show how I style my outfits. Read the article here. I am super proud of this and I am very thankful for getting the opportunity to borrow this adorable bag and have an article published.
An excerpt of the article is below along with photos from the shoot I did with the bag.
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  A Day in the Life of a Pisces – Sophia Kountakis
The morning of Saturday, September 7 is my first day attending NYFW. As a fashion and beauty micro-influencer, I am fortunate to attend a few fashion shows – something I’ve always dreamed about. I have my outfits planned out and the makeup looks to go with them. I am a Pisces, so naturally I gravitate towards sea and ocean-themed everything. My look for today is blue and green with neutral hues to balance out the colors. I recently found out my ascendant and moon signs are in Scorpio, which means I’m all water! 
9AM – I wake up nervous – I have a lot to do before my first show at noon! First order of business:  take photos for a Glossier giveaway and post it to instagram. I’m currently a Glossier Affiliate, which is super exciting because it’s a goal I have been working hard to achieve. I love what Glossier stands for, “Skin first, makeup second”, and I totally believe in that. I purchase a lot of Glossier on my own, so it’s nice to receive a small amount of revenue when people purchase through my links. I create weekly tutorials on Insta-stories and occasionally post tutorials on IGTV. 
10AM – So, let’s get into it! I do a “Get Ready With Me” makeup tutorial via Instagram stories to show how I coordinate my beauty look with my first outfit. I use eyeliner to create a graphic blue shape that comes across my crease. My pro tip: draw small lines while looking straight ahead at the mirror. Don’t move the skin around your eyes or tilt your head too much, this distorts angles of the liner. If you have hooded eyes, draw over the fold of the eye while looking straight to create a continuous wing. I always ground my arms to a desk for stabilization and just take my time. If I mess up, I clean it with concealer or a Q-Tip. 
Now, back to the outfit… My dress is from COS and has a blue and green watercolor print. My heels are from Marais USA and my bag is a pale blue Mansur Gavriel Lady Bag. My earrings are also pale blue and they are made from polymer clay from the brand Kitsu. In other words, I am a living, breathing, water sign for the first show – how Pisces of me.
11AM – I finish getting ready and head to Chelsea to see the Nolcha shows. As a creative person, it completely fulfills a part of me to witness design, fashion, and humans come together to create a piece of work that can be seen, touched, and interacted with.
12PM – The show starts! This particular show was from a Chinese designer. It’s so fascinating to see fashion trends from other countries because they see fashion through a completely different lens. 
12:15PM – After the show, I go outside to take photos of my outfit with my trusty photographer, aka my boyfriend! My boyfriend is a fellow Pisces, and I feel lucky that we get to create images together. We see each other’s direction and he understands my vision for an outfit, while pushing me to try different things. 
2PM- Finally back at my apartment in Brooklyn to eat a late lunch.
3PM – I get back on Instagram stories to transition my makeup for the next look. I fill in my eyeliner to create a very thick, blue, graphic, winged eyelid. I apply cobalt blue eyeshadow with a small flat brush and carefully fill in the lines from the eyeliner. I do this until the shadow is about half way through my lid, then I add some iridescent white eyeshadow and blend it with the blue shadow so to create a gradient across my lid. I touch up the rest of my makeup from the morning by going over it with some foundation powder to take away any oil or creasing. Simple as that!
4PM – I change into my next outfit, which is much more simple and sophisticated. My top is very formal and completely hides my figure. I love how fashion can distort the human body. 
5PM – I head to the Target 20th Anniversary Pop-Up on the Upper East Side. Target brought back all of their designer collaborations from the past years, so I went shopping for some Missoni items.
7PM – I rush back downtown to Pier 59 to attend my last set of shows for the night at Oxford Collective Design Studio, where multiple designers show their collections at once. There were six different small designers, and the outfits were interesting and simple. 
9PM – Dinner date with my boyfriend at Boucherie, a French restaurant, where we unwind, drink lots of wine, and reminisce about the busy day we had! 
Sunday, September 8 is my day of rest. I really need some downtime to refuel my energy and collect my thoughts.
Monday, September 9 is my last day of NYFW!
9AM – I wake up and plan my outfit for the day. I want to wear something dreamy with a simple cut. When researching designer Hogan McLaughlin, whose show I’ll be attending tonight, I learn that he designs a lot of long hems and simple cuts. To compliment his aesthetic, I choose  a simple, long t-shirt dress and pair it with some red croc-embossed boots for a fun pop of color.
Now for the fun part – makeup! I want to create a natural, feminine look for today. I start with a pink shadow for the base of my eyelid and then layer a shimmer shadow on top. I love shimmer tones in all colors and intensities because they make anyone’s  eyes pop! 
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10AM – I head to pick up my Dooz Pisces Céleste Bag, which I’m borrowing for the show tonight! I’ve been eyeing this piece for a while – I love its lime green color because it matches all of my ensembles for the weekend. I meet up with Rachel and Mia, the co-founders of Dooz, at Cha Cha Matcha and I discover that they are Pratt Institute alumni. I’m currently a grad student at Pratt, so I think to myself, “this was meant to be!” We discuss our day, get to know each other’s zodiac signs, and talk about the show I am attending tonight. I can’t wait to showcase this bag! 
12PM – Lunchtime with my friend. A creative mind has to eat!
2PM – 5PM – Back at school and time for my studio class at Higgins Hall, which is where all the architecture students  design and construct. Right now in studio, we are doing research for a civic center. This year is the experimental studio, so we are diagramming our research instead of presenting it as a written survey. My professor is currently living in Switzerland, so we Skype call him for class – gotta love technology! The session is very quick, but we have lots of corrections to make before next studio class on Thursday. 
6PM – I rush back to Manhattan to catch the Hogan McLaughlin show at Pier 59! I love every single outfit that comes down the runway. The collection has structure, color blocking, geometric cuts, and different materials pieced together. I get to meet some influencers I follow on Instagram and I even come face to face with Kelly Cutrone in the second row! I take photos of every runway show I attend because I find it  fascinating to capture the movement within a split second.
7PM – Home and I cook myself some pasta to reward myself for a long weekend.
10PM – Ahh, bedtime at last! A Pisces needs to sleep well in order to take on the rest of the busy week. 
____________________________________________________________________________________________
  xx
Photos taken by Khue Trinh.
I was a #DoozMuse for Fashion Week! Hi guys! I recently made a post about my experience at New York Fashion Week a few weeks ago and if you haven't read it yet, visit the post…
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caveartfair · 8 years ago
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There Are More Resources Than Ever to Help You Become a Successful Artist
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Photo by @floraguilbaut, via Instagram.
Throughout the years, artists have been variously portrayed as underappreciated geniuses, eccentric celebrities, starving recluses, and passionate visionaries.
They are not, however, traditionally characterized as small business owners. Perhaps the classification seems too pedestrian, particularly compared to the romantic notions that imbue the term “artist.” Though in reality, myriad utilitarian tasks—such as paying taxes, fostering a client base, formatting a CV, or even packaging artwork for shipping—are necessary components of a sustainable artistic practice.
Today, artists looking to acquire these skills are confronted with a wide range of professional practice resources, including university courses, guidebooks, lecture series, and online tutorials, which offer artists the practical knowledge and tools that help facilitate a successful and sustainable career. But that plethora of options was not always the norm.
Heather Darcy Bhandari, now director of exhibitions at Brooklyn art space Smack Mellon, published her professional practice book Art/Work: Everything You Need to Know (and Do) As You Pursue Your Art Career with lawyer Jonathan Melber in 2009. At that point, she recalls, “there were only a handful of classes, mainly in grad MFA programs, that dealt with the world beyond [art] school.”
By 2016, as she conducted research for a second edition of the book, the landscape had transformed. New York in particular, Bhandari says, now harbors a wide range of resources that, for example, allow artists to seek help from accountants and lawyers—opportunities that were “unheard of 10 years ago.”
Her observations mirror those of others working in the realm of professional development for artists—all of whom have witnessed (and contributed to) a rapid proliferation of resources for artists in the United States over the last decade in particular.
“Professional development for artists has exploded,” agrees artist Sharon Louden, editor of the book series Living and Sustaining a Creative Life (the first installment, published in 2013, brought together 40 essays by working artists). She has also organized and moderated New York Academy of Art’s professional practice lecture series since 2010, bringing in guests including Robert Storr, Ann Pasternak, and Roberta Smith to offer real-world insight.
In part, this rise in professional practice resources can be attributed to the Connecticut-based Emily Hall Tremaine Foundation. The organization, which divides its focus between art, the environment, and education, launched Marketplace Empowerment for Artists (MEA) in the early 2000s. Since then, MEA has offered grants to a wide range of organizations—including the University of Texas at Austin, Pratt Institute, Savannah College of Art and Design, New York Foundation for the Arts, and Creative Capital—to aid in either developing or maintaining professional practice programs for artists.
MEA has also collected data regarding the rapidly developing field, and their numbers support the trends noted by Bhandari and Louden. In a 2013 report, for example, the foundation tracked the expansion of services provided by 33 of its current and former grantees. In 2003, there were 12 sites offering professional practice resources, all in the northeast; in 2008 there were 92; and by 2012 the number had grown to 287. Additional research funded by the foundation and published in 2014 identified 43 “arts incubators” providing business training for artists and arts organizations in the U.S., noting that the majority were launched in the last decade.
Although additional funding is certainly one explanation for the increase in professional development resources, Bhandari—who has taught a professional practice course for undergraduates at Brown University since 2011—also cites additional pressure from parents that their children graduate with marketable skills. And as enrollment for MFA programs continues to rise, tuition does as well, making it only logical that more and more aspiring artists are having a hard time justifying large chunks of student debt without also developing the practical tools to pay it back.
There’s also a generational divide, says artist Cara Ober, regarding how artists approach the topic of success and financial sustainability. After graduating from the Maryland Institute College of Art in 2005, she launched a professional practices program there, in part to combat a mindset she’d observed among some graduate faculty who were disinclined to disseminate their knowledge to students.
“There were certain professors I noticed who were showing nationally and internationally, so I made it a point to ask them, ‘How did you do this? How does an artist get from point A to point B?’ The majority of them were very reluctant to share that information with me,” Ober recalls. “They just said, ‘Oh, keep making really good work, and focus on your work and the rest will just fall into place.’ That’s not helpful at all.”
“There’s this old-guard way of thinking about professional success for art students,” she continues. “Now, some professors do want to actually talk about money and specific strategies and models, whereas other professors think that’s not appropriate or that’s tacky. A lot of it is breaking down boundaries around taboos.”
Louden remembers finishing graduate school in 1991 and feeling judged for having a day job. “There were only considered to be a few ways of making a living: teaching, and having a gallery,” she explains. “And if you didn’t have a gallery, you sucked as an artist.” She says that idea has increasingly fallen to the wayside and “it’s actually applauded for artists to do things on their own—people seek it.”
Louden’s two published books (with a third to come in 2020) work to further that attitude by exploring the multifarious ways in which working artists can structure their lives and careers.
She is also trying to widen the definition of “success” for artists. “When somebody says to me, ‘I want to go to the top’—and I’ve had artists say that to me—I say, ‘What is the top? And then if you get to the top, where do you go?’” Louden explains. “The misperception of some artists is that they get to this old-fashioned place that I don’t think ever existed, really, that they are taken care of by a gallery.”
Instead, “making it” is more about continuing to make work, Louden says. “As artists, we absorb failure and bounce back from it like nobody else in any other field—but sometimes that can be pummeling. To make work and sustain over many years is a huge measure of success.”
Despite an increasing number of resources, there are still challenges ahead for the field. For one, professional practice offerings at universities, while more prevalent, lack cohesion. At RISD, for example, artist Rob Hult teaches a professional practice class in the painting department, but says he doesn’t collaborate with the instructors of similar courses in the sculpture and photography departments. Often, these classes are not mandatory—again, in the RISD painting department, Hult says his course is one of three options for a required elective.
And, despite an uptick in university course offerings, alumni still report feeling underprepared: A 2016 report funded by the Tremaine Foundation revealed that 80% of recent graduates believe they would have benefited from additional entrepreneurial training in school, including managing their finances, promoting their work, and developing a three- to five-year strategic plan.
Professional practices can be a tricky subject to teach. There’s no one way to become an artist, says Louden, and oversimplifying the path to success can be deeply damaging. “For me, it’s all about the nuances and the ways in which, as artists, we can develop our own strategies,” she said. “There are many other people who think of professional development as a cookie-cutter way of just getting into the gallery system, and I’m opposed to that. I think there are many, many different ways to sustain a creative life.”
Although the field will continue to evolve, Bhandari says she has already seen an impact. “It’s not only the artists who are taking themselves more seriously, but it’s all the other professionals who help artists do things in the business aspect of their practices who are taking the artists more seriously,” she says. “Accountants or lawyers realize that the artists have legitimate, interesting problems that they can help with, that they can make money from.”
Artists, too, are changing perceptions of what a successful artist can and should be. “It’s a trend towards sustainability, and artists thinking not just about the short term but the long term,” Bhandari notes. “It’s not cool anymore to not have health insurance and be an artist. There are other ways to do it and still have credibility and integrity.”
—Abigail Cain
from Artsy News
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nyfacurrent · 5 years ago
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Event | Doctor’s Hours for Visual, Multidisciplinary, and New Media Artists
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Monday, September 9 Doctor’s Hours event will offer one-on-one consultations with industry professionals.
Are you a visual or multidisciplinary artist in need of some career advice? New York Foundation for the Arts (NYFA) is pleased to announce an upcoming session of Doctor’s Hours for Visual, Multidisciplinary, and New Media Artists, a program designed to provide artists with practical and professional advice from arts consultants. Artists who work in Drawing, Painting, Printmaking, Sculpture, Video, Film, Photography, New Media, Multidisciplinary, Performance Art, Socially-Engaged Practices, Folk, and Traditional Art are encouraged to participate in this Monday, September 9 event.
Starting Monday, August 12 at 11:00 AM, you can register for 20-minute, one-on-one appointments with up to three arts professionals to ask questions and receive actionable tips for advancing your arts career.
Title: Doctor’s Hours for Visual, Multidisciplinary, and New Media Artists Program Date and Time: Monday, September 9, 2019, 6:00 PM - 9:00 PM Location: New York Foundation for the Arts, 20 Jay Street, Suite 740, Brooklyn NY, 11201 Cost: $38 per 20-minute appointment; three appointment limit per artist Register: Click here to register.
To make the most of your “Doctor’s Hours” appointment, read our Tips & FAQs. For questions, email [email protected].
Can’t join us on September 9? You can book a one-on-one remote consultation session with Michelle Levy, Interdisciplinary Artist, Writer, and Cultural Organizer, via Doctor’s Hours On Call. Appointments are available on Mondays and Wednesdays, 9:00 AM - 12:30 PM, from September 4 to October 30, 2019.
Consultants
Shira Backer, Assistant Curator, The Jewish Museum Backer is Leon Levy Assistant Curator at the Jewish Museum, where she has worked on exhibitions including Martha Rosler: Irrespective; Masterpieces and Curiosities: Elaine Lustig Cohen; and The Arcades: Contemporary Art and Walter Benjamin. She was formerly Assistant Curator at the American Federation of Arts. She holds a MA degree in art history from Bryn Mawr and a BA degree in philosophy from Barnard College.
Nova Benway, Executive Director, Triangle Arts Association As Executive Director of Triangle Arts Association, Benway oversees artist studios hosting local and international artists, as well as a public program series of talks, screenings, performances, and other events. Triangle is part of the Triangle Network, a global network of artists and visual arts organizations that support professional development and cultural exchange amongst artists, curators, and other arts professionals throughout the world. Benway is also Visiting Faculty at the Center for Curatorial Studies, Bard College.
Lindsey Berfond, Assistant Curator for Public Programs, Queens Museum At Queens Museum, Berfond has collaborated closely on exhibitions; community engagement; and programming with artists, thinkers, cultural producers, and communities. She earned her BA degree in Art History from New York University and her MA degree from the Center for Curatorial Studies, Bard College. She has contributed to exhibitions and other programming at institutions such as Art in General, Queens Museum, NURTUREart, and SculptureCenter. Berfond co-curated the Queens International 2016, the Queens Museum’s biennial exhibition of artists living and/or working in the borough. 
Jennifer Gerow, Curator of Contemporary Art, BRIC BRIC is a not-for-profit cross-disciplinary organization based in Downtown Brooklyn that presents and incubates work by New York based artists. At BRIC, Gerow has curated the group exhibitions Public Access/Open Networks and Reenactment and the solo exhibition Mary Mattingly: What Happens After. She has also co-curated three iterations of the BRIC Biennial. She also leads BRIC’s contemporary art fellowships, residencies, and open call opportunities. Gerow graduated with a MA degree in Art History from the School of the Art Institute of Chicago and a BA degree in Literature from the University of Virginia. She has previously held positions at the International Center of Photography and the Detroit Institute of Arts. She has presented talks and collaborated with numerous New York institutions including Residency Unlimited, A Blade of Grass, Electronic Arts Intermix, Wassaic Project, Green-Wood Cemetery, Trestle Gallery, and the New York Public Library.
Gabriel de Guzman, Curator & Director of Exhibitions, Smack Mellon Gallery As Curator & Director of Exhibitions at Smack Mellon, de Guzman organizes group and solo exhibitions that feature emerging and under-recognized mid-career artists whose work often explores critical, socially relevant issues. His recent exhibition, EMPATHY (Fall 2018), addressed the divisive political climate and featured artists who revealed a capacity for empathy by creating work that reflected on other’s experiences and values across social, political, and cultural divides. Before joining Smack Mellon’s staff in 2017, de Guzman was the Curator of Visual Arts at Wave Hill, organizing the Sunroom Project Space series for emerging artists as well as thematic group exhibitions in Wave Hill’s Glyndor Gallery.
As a guest curator, he has presented shows at BronxArtSpace, Dorsky Gallery Curatorial Programs, Rush Arts Gallery, En Foco at Andrew Freedman Home, Carriage Barn Arts Center, the Affordable Art Fair New York, Northern Manhattan Arts Alliance (NoMAA), and the Bronx Museum’s 2013 AIM Biennial. Prior to Wave Hill, he was a curatorial assistant at The Jewish Museum, where he coordinated exhibitions on Louise Nevelson, Harry Houdini, Joan Snyder, and Andy Warhol, as well as Schoenberg, Kandinsky, and the Blue Rider. His writings have been published in catalogues for Wave Hill, the Bronx Museum, Dorsky Gallery, BronxArtSpace, the Arsenal Gallery at Central Park, The Jewish Museum, Rush Arts Gallery, NoMAA, Kenise Barnes Fine Art, and Nueva Luz: Photographic Journal. He earned a M.A. degree in art history from Hunter College and a B.A. degree in art history from the University of Virginia.
Michelle Levy, Interdisciplinary Artist, Writer, and Cultural Organizer From 2008 to 2018, Levy was Founding Director of EFA Project Space, an interdisciplinary, socially-engaged exhibition program of The Elizabeth Foundation for the Arts in New York City, where she also founded the SHIFT Residency (2010), a program that fosters the creative practices of artists who work for arts organizations. Through her role at EFA, she has supported the work of over 500 artists and independent curators, fostering dialogue around ethics, visibility, identity, and care. From 2000-2008, Levy was Program Manager of International Print Center New York. She is currently working as an independent consultant for artists.
Levy’s art practice uses research and storytelling to investigate the mediated spaces where identity is constructed. Her current project, “Paulina,” enlists archives, travelogues, and cross-cultural collaboration with Polish artist Patrycja Dołowy to draw out a story based on one woman’s found-testimony from 1945. For 2018/19, she was an artist fellow at POLIN Museum for the History of Polish Jews, Warsaw, and received grants from the US Embassy in Warsaw and Asylum Arts along with project support from the Jewish Historical Institute, Warsaw and FestivALT, Kraków. Levy holds a MFA degree in Digital and Interdisciplinary Art Practice from The City College of New York, and a BA degree in Studio Art from Wesleyan University.
Ysabel Pinyol, Curatorial Director, Mana Contemporary Pinyol studied architecture in Barcelona and Chicago before opening a gallery in Barcelona and relocating to New York, where she now lives and works. She joined Mana Contemporary as a Chief Curator in 2010. In 2014, she co-founded Mana Residencies in Jersey City and Chicago, a yearly residency program for mid-career artists. She is currently developing a cultural exchange program in Miami, featuring a residency program for Latin American artists. She continues to create new exhibitions and special projects for Mana Contemporary.
Steven Sergiovanni, Art Advisor & Curator Sergiovanni’s experience as director, gallerist, and dealer hinges on a continued methodology of transparency. With over 20 years experience in the gallery world, Sergiovanni was the former Director of Mixed Greens, a gallery established in the late 1990s to support emerging artists so they could gain a wider audience. Mixed Greens had a reputation as an approachable and inventive gallery where artists were given their first New York solo exhibitions. It was also a gallery that pioneered promoting artists online and in experimental spaces. Prior to Mixed Greens, Sergiovanni worked for several galleries including Jack Shainman, Charles Cowles, Holly Solomon, and Andrea Rosen.
Sergiovanni is a member of the New Art Dealer’s Alliance (NADA) and was the former Vice President of the Board of Directors for Visual AIDS, a contemporary arts organization committed to HIV prevention and AIDS awareness. He is the co-founder of The Remix, a project-based curatorial team established to exhibit the work of underrepresented artists. The Remix’ first podcast was released in Summer 2018. He regularly speaks at institutions such as FIT, NYU, and New York Academy of Art. He is currently a visiting professor at Pratt Institute, teaching the courses “Professional Practices” and “Artist as Curator.” Sergiovanni holds a BA degree in Art History from Southwestern University in Georgetown, TX and a MA degree in Arts Administration from New York University.
Anne Wheeler, Director of Programs, One Million Years Foundation Wheeler is a New York-based curator, writer, and historian in Modern and Contemporary Art. In 2019, Wheeler joined the One Million Years Foundation, established by the artist On Kawara in 2001, as its inaugural Director of Programs. From 2018–19, Wheeler worked as a curatorial associate at the Whitney Museum of American Art, guiding the acquisition of a major gift from the Roy Lichtenstein Foundation. Wheeler curated the apexart Franchise Program exhibition Un-Working the Icon: Kurdish ‘Warrior-Divas’ in Berlin, Germany (2017). Wheeler joined the Solomon R. Guggenheim Museum in 2010 at the founding of its Panza Collection Initiative research project and served as assistant curator for the major international loan exhibitions On Kawara – Silence (2015) and Peter Fischli David Weiss: How to Work Better (2016). She received her BA degree from the University of California, Berkeley, in English and the Practice of Art, and is now an ABD doctoral candidate in Art History at The Institute of Fine Arts, New York University. Her in-progress doctoral dissertation is titled “Language as Material: Rereading Robert Smithson.”
Adeze Wilford, Curatorial Assistant, The Shed Prior to her work at The Shed, Wilford was an inaugural joint curatorial fellow at The Studio Museum in Harlem and the Museum of Modern Art. She organized Vernacular Interior at Hales Gallery (2019); Excerpt (2017) at the Studio Museum; and Black Intimacy (2017), a film series at MoMA. Other curatorial projects include Harlem Postcards (2016/2017) and Color in Shadows, the 2016 “Expanding The Walls” exhibition at Studio Museum. Prior to this, Wilford was the Public Programs and Community Engagement assistant at the Studio Museum. She graduated from Northwestern University with a BA degree in Art History and African-American Studies.
This program is presented by NYFA Learning. Sign up here to receive our bi-weekly newsletter for the latest updates and news about programs and opportunities for artists.
Image: Doctor’s Hours, June 2019, Photo Credit: NYFA Learning
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nyfacurrent · 7 years ago
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Event | ArtW Global Commemorates the Fifth Anniversary of Hurricane Sandy with WATERSHED Red Hook
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NYFA will participate in the large-scale public art project and public forum, taking place on October 26 and 28, 2017, in Red Hook, Brooklyn.
On October 26 and 28 at Red Hook Library, The New York Foundation for the Arts (NYFA) will participate in WATERSHED Red Hook, a large-scale public art project and public forum presented by ArtW Global in commemoration of the fifth anniversary of Hurricane Sandy and in collaboration with The Fifth Avenue Committee’s “Turning the Tide Environmental Justice Initiative,” a community-based collaboration for New York City Housing Authority residents who live in the Gowanus and Red Hook Houses. WATERSHED Red Hook will raise awareness and continue community dialogues regarding the climate change realities of the watershed, waterfront, and mixed-use community of Red Hook, Brooklyn.
The public art project will be realized by internationally-recognized, Brooklyn-based NYFA affiliated artist Anita Glesta on the sidewalk outside of Red Hook Library (7 Wolcott Street at Dwight Street, Red Hook, Brooklyn 11231) on Thursday, October 26 from 6:00 PM - 9:30 PM (Rain Date: Saturday, October 28, 6:00 PM - 9:30 PM). The site-specific work will transform the sidewalk of the library into a virtual seascape, where viewers are brought into dialogue with each other and their surroundings.
In tandem, speakers including Brooklyn Borough President Eric Adams, Glesta, NYFA Executive Director Michael L. Royce, and NYFA Board Member and ArtW Global Founder Marjorie W. Martay will deliver short remarks around climate change from various community-centric perspectives inside the library on Thursday, October 26 from 6:00 - 8:00 PM. Deputy Brooklyn Borough President Diana Reyna, NYFA Board Chair Judith K. Brodsky, community advocates, and design and sustainability experts will continue the conversation in a round table discussion at the library, led by Alexandros Washburn, Founding Director of the Center for Coastal Resilience and Urban Xcellence (CRUX) at Stevens Institute of Technology, on Saturday, October 28 from 1:30 PM - 4:30 PM. From 5:00 PM - 7:30 PM, ROODGALLERY (373 Van Brunt Street, Red Hook, Brooklyn 11231) will present an exhibition of Glesta’s prints, drawings, and a projection of WATERSHED (on through November 4). All events are free and open to the public (more below).
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“Red Hook has felt the devastation of Superstorm Sandy, and the succession of hurricanes across the Caribbean and the Southeast United States reminds us that the ‘new normal’ is the unprecedented destruction wrought by Hurricanes Harvey, Irma, and Maria,” said Glesta, a third-generation Brooklynite. “My goal in creating WATERSHED is to create a conversation that inspires action to help mitigate the effects of future storms in affected communities like Red Hook,” she added.
Glesta, a 2002 NYSCA/NYFA Artist Fellow in Architecture/Environmental Structures and 9/11 New York Arts Recovery Fund recipient (administered by NYFA) whose work has been Fiscally Sponsored through NYFA, is informed by the physical properties of a site, as well as by its traces of human history. Her realized works encompass numerous artistic approaches, from object-making to time-based installation sculpture and digital works, including the creation of mediascapes and actual landscapes. Glesta’s Red Hook installation is a continuation of her WATERSHED series, a public art/public space initiative that highlights how climate change is impacting peoples’ lives in intimate ways. In September 2015, WATERSHED was projected onto the face of the National Theatre in London, England, and in April 2016, WATERSHED was viewed as an immersive video production covering the entire floor of the lobby of the New York Customs House on Ellis Island.
Since 1971, NYFA has provided working artists and emerging arts organizations with the concrete resources that they need to survive. After Hurricane Sandy, NYFA administered a Hurricane Sandy Emergency Relief Fund for individual artists that was supported by The Andy Warhol Foundation for the Visual Arts, the Robert Rauschenberg Foundation, and the Lambent Foundation. The vast majority of grants ranged from $1,000 to $5,000 and were meant to assist artists who experienced damage or loss as a result of the hurricane.
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Title: WATERSHED at Red Hook Library Date and Time: Thursday, October 26, 6:00 PM - 9:30 PM Rain Date: Saturday, October 28, 6:00 PM - 9:30 PM Location: 7 Wolcott Street at Dwight Street, Brooklyn, NY 11231 Cost: Free and open to the public About: Debut of public art project by internationally-recognized, Brooklyn-based NYFA affiliated artist Anita Glesta. The site-specific work will transform the sidewalk outside the library into a virtual seascape where viewers are brought into dialogue with each other and their surroundings.
Title: Opening Remarks at Red Hook Library Date and Time: Thursday, October 26, 6:00 PM - 8:00 PM Location: 7 Wolcott Street at Dwight Street, Brooklyn, NY 11231 Cost: Free and open to the public Participants:
Eric Adams, Brooklyn Borough President
Karen Blondel, Fifth Avenue Committee, T3 Turning the Tide Environmental Justice Community Organizer
Brian Filiatraut, Director of Sustainability, Poly Prep Country Day
Anita Glesta, NYFA Affiliated Artist
William Kenworthey, Principal, Region Head of Planning, HOK
Marjorie W. Martay, NYFA Board Member and Founder/Director ArtW Global
Carlos Menchaca, City Councilman District 38
Michael L. Royce, Executive Director, NYFA
Carolina Salguero, Founder/Director, PortSide NewYork
Alexandros Washburn, Founding Director of the Center for Coastal Resilience and Urban Xcellence (CRUX) at Stevens Institute of Technology
Dan Wiley, Community Coordinator, Office of Congresswoman Nydia Velazquez
Title: Round Table Discussion at Red Hook Library Date and Time: Saturday, October 28, 1:30 PM - 4:30 PM Location: 7 Wolcott Street at Dwight Street, Brooklyn, NY 11231 Cost: Free and open to the public Participants:
Moderated by Alexandros Washburn, Founding Director of the Center for Coastal Resilience and Urban Xcellence (CRUX) at Stevens Institute of Technology
Karen Blondel, Fifth Avenue Committee, T3 Turning the Tide Environmental Justice Community Organizer
Judith K. Brodsky, Chairperson, NYFA
Ann Goodman, Author, Adapting to Change: The Business of Climate Resilience
Vlada Kenniff, Director of Sustainability Programs, NYCHA
William Kenworthey, Principal, Region Head of Planning, HOK
Dana Kochnower, Community Outreach and Senior Policy Advisor, NYC Mayor’s Office of Recovery and Resilience
Paul Mankiewicz, Visiting Associate Professor, Pratt Institute, and Executive Director of the Gaia Institute      
Carlos Menchaca, City Councilman District 38
Thaddeus Pawlowski, Associate Urban Designer for the Office of Chief Urban Designer of the City of New York, Department of City Planning
Diana Reyna, Deputy Brooklyn Borough President
Carolina Salguero, Founder/Director, PortSide NewYork
Aaron Scheinwald, Coordinating Attorney – Storm Response Unit, New York Legal Assistance Group (NLAG)
Dan Wiley, Community Coordinator, Office of Congresswoman Nydia Velazquez
Jason E. Smerdon, Associate Research Professor, Lamont-Doherty Earth Observatory
Title: WATERSHED at ROODGALLERY Date and Time: Saturday, October 28, 5:00 PM - 7:30 PM Location: 373 Van Brunt Street, Brooklyn 11231 Cost: Free and open to the public About: ROODGALLERY will present an expanded look at Glesta’s WATERSHED series by exhibiting prints, drawings, and a projection from the project. The exhibition will be on view through November 4, 2017 (gallery hours by appointment).
Sign up for NYFA’s bi-weekly newsletter, NYFA News, to receive announcements about future NYFA events and programs.
Images from top: Still from Anita Glesta’s WATERSHED installation at New York Customs House on Ellis Island, April 2016; Rendering of Anita Glesta’s forthcoming WATERSHED installation at Red Hook Library; and still from Anita Glesta’s WATERSHED installation at New York Customs House on Ellis Island, April 2016
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caveartfair · 8 years ago
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Can Only Rich Kids Afford to Work in the Art World?
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Excellences & Perfections (Episode 03) 13th September 2014, 2014. Amalia Ulman The Moving Museum
Naiomy Guerrero, 26, goes to at least a dozen art events a month; more during the art world’s busy fall season. She’s worked for several high-profile arts nonprofits, artist studios, and galleries, and began her master’s degree in art history.
But around two years ago, she left her job in the art world. Guerrero hasn’t lost her passion for the arts, and still blogs about art at GalleryGirl.nyc. But as the daughter of two immigrant parents, she chose financial stability. She now works as a financial aid counselor, earning over 50% more than she did at her most recent arts-related job.
“I grew up poor, and I never want to be poor again,” she says, even if “that means not working in the art world because there isn’t a stable enough position.”
Unlike some of her peers, Guerrero wasn’t able to fall back on a crucial resource: help from Mom and Dad. A recent report in the New York Times showed 22-, 23-, and 24-year-olds aspiring to work art and design are the most likely to receive financial assistance from their parents, with 53% reporting some help, compared with 40% of twenty-somethings overall. They also received the most money, an average of $3,600 a year, compared with an average of $3,000 for their peers in other fields.
While it’s hardly headline news that creative fields aren’t the most lucrative, the finding highlights the largely invisible role of class in the art world, at a time when efforts around gender and racial inclusion have become increasingly commonplace. It also points to some of the challenges in bringing economic diversity to a liberal-leaning industry that values humanism and resourcefulness, but also relies on the ability to engage and feel comfortable with deep-pocketed collectors.
It also highlights how, in some ways, the art world plays by its own economic rules. Many industries across the economy are making active efforts to diversify their workforces, driven by research showing that diversity is correlated with better economic performance. But key segments of the art market are built upon the spending habits, philanthropy, and social networks of the ultra-wealthy, a feature of the commercial art world that appears to immunize it against this workforce trend. Thanks to its structural dependence on a small group of high-net-worth collectors and donors, hiring in some quarters of art world tends to favor those with the right connections and similar frames of reference.
Of course, it’s not every part of the art world. A number of institutions across New York are taking steps to help bring down the barriers to a career in the arts, by providing paid internships or building affordable housing for artists. But the barriers arise early on. Guerrero, for example, was born and partially raised in New York (she also spent time in the Dominican Republic), but didn’t visit an art gallery until after her first year of college.
“I had no idea the cultural and artistic mecca that New York City was, because for me, in the Bronx, that didn’t exist,” she says.
Then there’s the cost of education. Undergraduate tuition at a private arts school is expensive, and scholarships are less common than at wealthier universities with large endowments.  New York’s Pratt Institute charged $46,140 for the 2016–2017 school year. The historically free Cooper Union, against the protests of many students and faculty members, began charging tuition in 2014.
Out of school, few artists sell enough work to survive in the early stages of their career, and many entry-level jobs in New York City’s large and flourishing culture industry pay very little, or even nothing at all. A 2011 study from Georgetown University’s Center on Education and the Workforce found that studio arts majors were among the top 10 majors with the lowest median earnings, highest unemployment rates, highest incidence of part-time work, and lowest average earnings boost from a graduate degree. President Barack Obama was so skeptical of the value of an art history degree he counseled students to study manufacturing instead, despite the rapid disappearance of manufacturing jobs since the 1970s.
At the auction house Sotheby’s, interns make $11.27 an hour, and entry-level jobs like department assistant and administrator pay around $40,000, according to career website Glassdoor. At the Metropolitan Museum of Art, research assistants make around $34,300, according to Glassdoor.
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But those early years are key: A 2014 study of Census Bureau data from The Hamilton Project found that fine arts majors are among the lowest-earning graduates, but their earnings trajectory is also among the steepest. Their initial earnings barely surpass $15,000, but more than double within the first five years of their careers, highlighting how critical financial support can be during those early twenty-something years. Art history majors make around $32,000 annually in the first year out of school, according to the study.
Internships, many of which are unpaid, present another barrier. When Guerrero worked at an arts nonprofit making $33,000 a year, two of her colleagues with similar responsibilities were unpaid interns.
Those unpaid internships help perpetuate inequality in the art world, says Tom Finkelpearl, the Commissioner for New York City’s Department of Cultural Affairs, helping those who can afford to work for free get their foot in the door.
“Every time you open the door for an unpaid internship, you’re closing the door on someone else,” says Finkelpearl, who received his MFA from New York’s public Hunter College and who is spearheading a number of initiatives to diversify New York’s cultural landscape.
Last year, the DCA launched the CUNY Cultural Corps, a $1 million program with the City University of New York to place over 70 CUNY students and recent graduates in paid internships across several dozen of the city’s cultural institutions. Corps members will earn $12 an hour and work up to 12 hours per week at places such as the Brooklyn Museum, MoMA PS1, and the Studio Museum in Harlem.
Another New York institution, the Metropolitan Museum of Art, offers approximately 75 paid internships for high school students and 40 paid internships each year to college undergraduates, graduate students, and recent graduates. There are opportunities and funding designated for interns who come from backgrounds underrepresented in the museum community, and every intern is paired with a mentor. High school students also receive a transportation subsidy, intended to remove an often-overlooked barrier to participation.
One position, the Lifchez/Stronach Curatorial Internship, specifically targets students and recent graduates “whose economic background might jeopardize the pursuit of a career in the arts or museum field.” The nine-month program pays $21,000, or less than $16 an hour, plus health and retirement benefits.
Sandra Jackson-Dumont, chair of education at the Met (and the first person in her family to graduate from college), says getting the word out about these programs was as important as funding them.
“Awareness and outreach is still the number one problem,” she says, noting the museum had recently held an event with 500 professors from around 100 New York-area colleges and universities to help them use the museum as a teaching tool and spread the word about internship programs and other resources.
It’s not clear those efforts go far enough, though, in a city where the median rent for a one-bedroom apartment was nearly $2,700 in January 2017, according to real estate website RentJungle. A living wage for a single adult in New York is $14.52 an hour, according to the living wage calculator from the Massachusetts Institute of Technology.
“The rents in New York City have increased substantially, but incomes for artists have not,” says Sharon Louden, an artist, teacher, and the editor of Living and Sustaining a Creative Life (2013), a collection of essays by artists. She points to efforts like the Minneapolis-based Artspace, which builds affordable housing for artists around the U.S., and which opened a space in East Harlem, New York, in 2014.
But Louden said the problem goes deeper than soaring rents. Low earnings across many sectors of the art world stem from Americans’ low esteem of the role culture plays in their lives, she says.
“If there was more value, and more understanding of the function of what the arts can do in society, I don’t think those numbers would occur,” she says. “The public doesn’t realize how [the arts] contributes to their well-being.”
To be sure, some people in the art world certainly do appreciate artists’ value, putting ever-higher price tags on works by certain superstars or long-dead masters.
That’s the part of the art world that Guerrero is keen to avoid. She’d still like to return to the art world, but not at a place where she feels excluded or tokenized.
“I could never work at an art gallery again,” she says, describing an environment “driven by people who cannot imagine or fathom” her life experience. That included her long daily commute to and from the Bronx, not always feeling safe in her neighborhood, or the fact that her father, although loving and supportive, understood little of what her career in the arts entailed. She sees herself at a more socially-oriented institution, such as El Museo del Barrio, or the Caribbean Cultural Center African Diaspora Institute.
“When the right opportunity comes my way, then I will gladly seize it,” she said. “But it has to fit. It has to be right.”
—Anna Louie Sussman
from Artsy News
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