︎︎︎ Senior Colloquium & Individualized Major
NYU Gallatin School of Individualized Study
NYU Gallatin School of Individualized Study
Art for Our Sake: Curatorial Activism and Cultural Institutions as Civic Assets
My academic work at NYU Gallatin blended arts anthropology, critical writing, curatorial practice, social theory, and arts politics to explore how the arts are linked to ideas of collective and individual “good” or “benefit”. In my senior colloquium, I pulled from both my academic work and my practical experience in nonprofit arts organizations to discuss how relationships between art and “benefit” plays into business structures, public policy, and in the arts.
the philanthropic framing of nonprofit arts organizations as they relate to contemporary activist art, shifting curatorial practices, and public policy in the cultural industry.
What are the ideologies and policies behind the contemporary arts organization in the United States?
How do the arts and arts organizations enrich their communities and benefit the public? In what ways do they fail to do so?
How can established arts institutions become more democratic, equitable organizations?
What qualities or effects contribute to the idea that art can benefit people?
What is charity, and what role does it play in the arts?
What kinds of relationships do charity and donation-based business models create? What kinds of power or obligation do these forms of exchange confer upon the donor or the recipient?
How can arts organizations better fulfill their roles as civic assets in our current cultural landscape?
How can organizations engage in curatorial activism and make the structural and cultural changes necessary to build a more equitable cultural field?
What are the shifting roles and influences of government funding, corporate sponsorships, arts patronage, foundation grantmaking, and cultural institutions' leadership within this work?
- Aeschylus. The Oresteia: Agamemnon; The Libation Bearers; The Eumenides. Edited by W. B. Stanford. Translated by Robert Fagles, Penguin Classics, 1984.
- Focus on Part III: “The Eumenides”.
- Aristotle. Poetics. Translated by Anthony John Patrick Kenny, Oxford Univ. Press, 2013.
- Bharata, Muni. Nāṭyaśāstra: (Engl. Transl. with Crit. Notes). Translated by Adya Rangacharya, IBH Prakashana, 1986.
- Donatello. David. c. 1420, Museo Nazionale del Bargello, Florence, Italy.
- Selected images from The Getty Apocalypse, Illuminated Gothic Manuscript, mid-13th Century, as seen in: Lewis, Suzanne. “Beyond the Frame: Marginal Figures and Historiated Initials in the Getty Apocalypse.” The J. Paul Getty Museum Journal, vol. 20, 1992, pp. 53–76.
- Cathedral of Saint-Denis, Gothic Cathedral, 12th Century additions by Abbot Suger, in conversation with: Maines, Clarke. “Good Works, Social Ties, and the Hope for Salvation: Abbot Suger and Saint-Denis,” 76-94. In Abbot Suger and Saint-Denis: A Symposium, ed. Paula Lieber Gerson (New York: The Metropolitan Museum of Art, 1987).
- Shakespeare, William. The Merchant of Venice. Edited by Jay L. Halio, Oxford University Press, 2011.
- Berlant, Lauren. Cruel Optimism. Duke University Press, 2012.
- Bishop, Claire. Radical Museology or, "What's Contemporary" in Museums of Contemporary Art? Koenig Books, 2014.
- González, Jennifer A. Subject to Display: Reframing Race in Contemporary Installation Art. MIT, 2011.
- Reilly, Maura, and Lucy R. Lippard. Curatorial Activism: Towards an Ethics of Curating. Thames & Hudson, 2018.
Social & Natural Sciences
- Cherbo, Joni Maya, et al., editors. Understanding the Arts and Creative Sector in the United States. Rutgers Univ. Press, 2008.
- Brown, Adrienne M. Emergent Strategy: Shaping Change, Changing Worlds. AK Press, 2017.
- Odell, Jenny. How to Do Nothing: Resisting the Attention Economy. Melville House, 2019.
- Sansi, Roger. Art, Anthropology and the Gift. Bloomsbury Academic, an Imprint of Bloomsbury Publishing Plc, 2015.
- United States, NYC Office of the Mayor, et al. “Create NYC: A Cultural Plan for All New Yorkers”, City of New York, 2017. createnyc.cityofnewyork.us/.
Area of Concentration
- Broad, Eli, et al. The Private Museum of the Future. JRP Ringier Kunstverlag, 2018.
- Long Soldier, Layli. Whereas. Graywolf Press, 2017.
- Otake, Eiko. “A Body In Places.” 2014-present, Multiple Locations.
- Salcedo, Doris. Installations:
- Noviembre 6 y 7 (Palace of Justice, Bogotá, Colombia, 2000)
- Installation at the 8th International Istanbul Biennial (2003)
- Tuckey, Melissa, editor. Ghost Fishing: An Eco-Justice Poetry Anthology. The University of Georgia Press, 2018.
- Selected poems:
- “summer, somewhere (excerpt)” by Danez Smith, pp. 32––38.
- “Focus in Real Time” by June Jordan, pp. 111––112.
- “Eagle Poem” by Joy Harjo, pg. 299.
- “Culture and the Universe” by Simon J. Ortiz, pp. 306––307.
Art History, Anthropology & Curatial Practice
- Social Theory & Curatorial Practice – Prof. Eugenia Kisin
Art of the Anthropocene – Prof. Eugenia Kisin
Aesthetic Justice – Prof. Eugenia Kisin
Curatorial Activism (Tisch Art & Public Policy) – Prof. Grace Aneiza Ali
Women Activist Artists of the 21st Century (Tisch Art & Public Policy) – Prof. Grace Aneiza Ali
Gothic Art in Northern Europe
Renaissance Art (Florence, Italy Campus) – Prof. Silvia Giorgio
Writing & Criticism
- Criticism’s Possible Futures (Advanced Writing Workshop) – Prof. Ben Ratliff
Writing About Dance (Advanced Writing Workshop) – Prof. Julie Malnig
Language is/as Action (Tisch Art & Public Policy) – Prof. Kathy Engel
Arts Administration, Policy & Producing
- Producing Essentials (NYU Tisch)
- Business of Nonprofit Management (Wagner Graduate School) – Karen Finley
- Public Policy & the Arts (Wagner Graduate School) – Prof. Michael Botwinick
- Quantitative Analysis for Public Policy (Wagner Graduate School)
- Imagination & Change: Cultural Policy (Tisch Art & Public Policy) – Gonzalo Casales and Caron Atlas
Dance & Creative Workshops
- Postmodern Dance – Prof. Leslie Satin
Making Dance (Choreography) – Prof. Leslie Satin
A Body in Places (Workshop) – Eiko Otake
- Art as/and Research (Tisch Art & Public Policy) – Prof. Karen Finley