Alumni Aimee Walleston and faculty member Nancy Princenthal are in the October 2012 issue of Art In America
Aimee Walleston (class of ’09) and faculty member Nancy Princenthal both have work published in the October 2012 issue of Art In America. Princenthal reviewed Richard Avedon’s show at Gagosian and Aimee Walleston reviewed Jasa’s exhibition at On Stellar Rays as well as Nicolas Guagnini at Miguel Abreu and Balice Hertling & Lewis.
Elaine Scarry October 11th , 7pm “Beauty and the Pact of Aliveness”
Elaine Scarry is the Cabot Professor of Aesthetics at Harvard University and is the author of The Body in Pain, On Beauty and Being Just, and Thinking in an Emergency. The lecture argues that beauty is a call to social justice. It draws on artists and philosophers from Plato to the present to show three different ways in which beauty presses us to repair the injuries of the world.
On October 11, 2012 at 5 pm, join us for an Open House and Information Session. Tour our new facilities, meet students and faculty, and join us for the Elaine Scarry lecture at the SVA Theatre at 7 pm. Call us for more information and register for this event at http://www.sva.edu/form/graduate-info-sessions.
Marcus Boon September 27th , 7pm “Abject Future: Tyler, the Creator, Azealia Banks and the Politics of Vibration”
Scholar Marcus Boon discusses recent music videos by controversial Los Angeles based hip-hop crew Odd Future, including Tyler, the Creator’s (in)famous “Yonkers” and New York rap sensation Azealia Banks’ remarkable “212” as a starting point to examine the role of sound and vibration in politics and aesthetics. Through readings of Sigmund Freud, Julia Kristeva and Roberto Esposito, he explores the problem of violence and its relation to sound and propose a different way of thinking about vibrational ontology and what it would mean to think of vibration as a political problem.
photo credit: Cylla von Tiedemann
Faculty members Ann Lauterbach and Alan Gilbert will give readings at Futurepoem’s 10th Anniversary celebration
192 Tenth Avenue at 21st St., Chelsea, NY
Thursday, September 27th @ 8PM
Readings by MFA Art Criticism and Writing Faculty members Ann Lauterbach and Alan Gilbert, and Wendy Walters
Futurepoem books is an award-winning New York City small press that
publishes innovative poetry, prose and cross-genre literature. To
celebrate its 10th anniversary, this event brings together poet Ann
Lauterbach, a member of Futurepoem’s advisory board, and two
Futurepoem authors, Alan Gilbert and Wendy Walters.
Ann Lauterbach, poet and essayist, is the author of eight books of
poetry, an essay collection, and has collaborated with visual artists
including Ann Hamilton, Joe Brainard and Lucio Pozzi. Her most recent
book of poems, Or To Begin Again (2009) was a finalist for a National
Book Award. She is Ruth and David Schwab Professor of Languages and
Literature at Bard College, where she is also co-Director of Writing
in the Milton Avery Graduate School of the Arts. Among her awards are
a Guggenheim Fellowship and a MacArthur Fellowship.
Alan Gilbert’s first book of poems, Late in the Antenna Fields
(Futurepoem, 2011) was a finalist for The Believer Poetry Award. A
second book of poems, The Treatment of Monuments, is forthcoming this
fall from Split Level Texts. He is the recipient of a 2009 New York
Foundation for the Arts Fellowship in Poetry and a 2006 Creative
Capital Foundation Award for Innovative Literature.
Wendy Walters is the author of the book of poems, Longer I wait, More
You Love Me and the forthcoming Troy, Michigan, from Futurepoem. She
is a 2011 New York Foundation for the Arts Fellow in Poetry. Her
poetry has appeared in Drunken Boat, Los Angeles Review, Callahoo,
HOW2 and Seneca Review and her prose has been published or is
forthcoming in The Iowa Review, Bookforum, and Harper’s Magazine. She
is Assistant Professor of Poetry at The New School’s Eugene Lang
College in New York City.
Methodology by Charlie Schultz
As an art critic I like to be well informed, maybe even the most informed. Being informed makes me feel secure, security makes me comfortable but comfort, eventually, makes me complacent. So I’ve created this little experiment to do what I do in a more vulnerable manner and see what happens.
Obviously the most pure form of NAC (if you haven’t gotten a grip on what nudity means on this blog pop over the About page) would be complete serendipity and total newness. You would stumble onto artwork you’d never seen, or heard of, in a place you didn’t expect it to be. ZOWIE! Those conditions might be feasible in a controlled lab experiment, but for a working critic in NYC it’s just not likely at all.
So, this methodology is the next best thing: choose a neighborhood, one or two artists who you know, and one or two you don’t. Go see those shows. It’s imperative to refrain from reading any press whatsoever, no press releases or artist statements, and where the title of the work is not written directly on the work, that’s to be avoided too. Zero Text is the way we try to achieve Zero Extraneous Info.
Here’s the key: choose shows from Andrew Ginzel’s list. Ginzel puts this list together for the School of Visual Art; it’s ideal for NAC because the only info Ginzel gives is the name of the artist and the gallery. That’s all you need.
Martha Rosler’s Virtual Minefield
Tuesday, June 12, 2012
Free and open to the public
Since the early 1970s, Martha Rosler has produced seminal work in the fields of video, performance, photography, critical writing, and theory. Her incisive, often humorous and transgressive, renderings of the social scene reflect her strong commitment to an art that engages with wider publics beyond the privileged spaces of the art world. Accessibility has always been a major concern of hers, as is the role of the viewer in constructing the meaning of the work. She presses viewers to rethink the boundaries between the public and the private as well as the social and the political.
Alan Gilbert is the author of the poetry book, Late in the Antenna Fields (Futurepoem, 2011), and a collection of essays and articles entitled Another Future: Poetry and Art in a Postmodern Twilight(Wesleyan University Press, 2006). His poems have appeared in BOMB, Boston Review, Chicago Review, Denver Quarterly, Fence, jubilat, and The Nation, among other places. His writings on art and literature have appeared in a variety of publications, including Artforum, The Believer, Bookforum, Cabinet, Modern Painters, Parkett, and the Village Voice. He has contributed catalogue essays and entries for a number of biennials, group shows, and solo exhibitions. He lives in Brooklyn.