Curating Public Narratives 2015

Course Description

This course will investigate the ways in which artists have presented narratives in the public realm and the organizations that have made the presentation of those works central to their curatorial practices over the last 40 years. Focusing on recent works presented in New York’s public spaces by Creative Time, The Public Art Fund, the Percent for Art Program, Arts for Transit and other non-profits organizations, this course will look at what it meant to tell stories and open discourses that challenged or interrogated widely-held value systems, the events and the politics of their time. In addition to the specifics of current and other key works and projects, we will discuss the conditions that governed the development of public performance, temporary and permanent installations, the ways in which those works were influenced by public approval processes and governmental agencies, media coverage and community response. Each student’s final project will be an on-line proposal for an exhibition that conveys a “narrative“ developed in the context of this course, referencing other relevant works .

Monday, September 28, 2015

MTA Artworks

Delancey Street

The experience of seeing an outdoor landscape within an underground subway station is surreal. The illusion of there being something natural within an environment that is meant to be fast paced is almost odd but curious as it pops out to the passerby. It almost wants to say we are a traveler, exploring the world of a subway just as one would in the openness of a grove of trees, eager to wander and see what hidden sights lie beyond the redundant elements.

The feeling of depth further reinforces the idea of an illusion with further cements the boundary of the world we see this landscape from to a point of view from inside the landscape looking at us. Both perspectives are curious and bizarre.

MING FAY

Shad Crossing, Delancey Orchard, 2004

Glass mosaics on platform and mezzanine walls

Broadway-Lafayette

In a world where we constantly look down at our mobile devices, it proves the span of our awareness is limited. Signal is like a stranger that greets us as we walk by, lighting up, unwilling to be invisible to us as we would normally pass it by without even a single glance. Despite it being just a stationary piece, the lights take us by surprise as we look down at the curious designs that seem to pique at our human curiosity.

When not lit, it looks like a cobweb, formed over time as we constantly lose our surroundings. It becomes invisible, unworthy of our attention.

MEL CHIN

Signal, 1997

Stainless steel and glass sculpture with lights on mezzanine column bases; ceramic tile on station walls

Astor Place

A reminder of the past of America with the use of trade in beaver fur, tying with the history of Astor Place itself.

HEINS & lAFARGE / GRUEBY FALENCE COMPANY

1904

FALENCE PLAQUE WITH BEAVER

What is it? A series of seemingly bold colored squares that look like quilt patterns. Their purpose seems to provoke our nature to find an order within a chaotic environment. Frustration hits us as we drift into deep thought, overthinking something that merely had a simple explanation. Why make something so simple and not complex to tease our minds?

The constant variability of what we see is vague; is it a flower? Is it a baseball diamond? There is no answer.

MILTON GLASER

Untitled, 1986

Porcelain enamel on platform walls

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Divisional, Program and Class Policies

● Responsibility

Students are responsible for all assignments, even if they are absent. Late papers, failure to complete the readings assigned for class discussion, and lack of preparedness for in-class discussions and presentations will jeopardize your successful completion of this course.

● Participation

Class participation is an essential part of class and includes: keeping up with reading, contributing meaningfully to class discussions, active participation in group work, and coming to class regularly and on time.

● Attendance

Faculty members may fail any student who is absent for a significant portion of class time. A significant portion of class time is defined as three absences for classes that meet once per week and four absences for classes that meet two or more times per week. During intensive summer sessions a significant portion of class time is defined as two absences. Lateness or early departure from class may also translate into one full absence.

● Canvas

Use of Canvas may be an important resource for this class. Students should check it for announcements before coming to class each week.

● Delays

In rare instances, I may be delayed arriving to class. If I have not arrived by the time class is scheduled to start, you must wait a minimum of thirty minutes for my arrival. In the event that I will miss class entirely, a sign will be posted at the classroom indicating your assignment for the next class meeting.

● Academic Integrity

This is NSU’s Statement on Academic Integrity: Plagiarism and cheating of any kind in the course of academic work will not be tolerated. Academic honesty includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research findings or any aspect of the work of others (including that of instructors and other students). These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, computer work, art and design work, oral presentations, and other projects).

It is the responsibility of students to learn the procedures specific to their discipline for correctly and appropriately differentiating their own work from that of others. Compromising your academic integrity may lead to serious consequences, including (but not limited to) one or more of the following: failure of the assignment, failure of the course, academic warning, disciplinary probation, suspension from the university, or dismissal from the university.

Every student at Parsons signs an Academic Integrity Statement as a part of the registration process. Thus, you are held responsible for being familiar with, understanding, adhering to and upholding the spirit and standards of academic integrity as set forth by the Parsons Student Handbook.

Guidelines for Written Assignments

Plagiarism is the use of another person's words or ideas in any academic work using books, journals, internet postings, or other student papers without proper acknowledgment. For further information on proper acknowledgment and plagiarism, including expectations for paraphrasing source material and proper forms of citation in research and writing, students should consult the Chicago Manual of Style (cf. Turabian, 6^th edition). The New School University Writing Center also provides useful on-line resources to help students understand and avoid plagiarism. See www.newschool.edu/admin/writingcenter/usefullinks.html.

Students must receive prior permission from instructors to submit the same or substantially overlapping material for two different assignments. Submission of the same work for two assignments without the prior permission of instructors is plagiarism.

● Student Disability Services

In keeping with the University’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately. All conversations will be kept confidential. Students requesting any accommodations will also need to meet with Jason Luchs in the office of Student Disability Services, who will conduct an intake, and if appropriate, provide an academic accommodation notification letter to you to bring to me. At that point I will review the letter with you and discuss these accommodations in relation to this course. Mr. Luchs’ office is located in 79 Fifth Avenue, 5^th floor. His direct line is (212) 229-5626 x3135. You may also access more information through the University’s web site at www.newschool.edu/studentservices/disability/

Course Description

Monday, September 28, 2015

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