Curating
Public Narratives - 7308
PLDS 4013 A
Instructor: Tony Whitfield
cell: 718 809 9791
landline: 718 638 4514
Fall 2018
Tuesdays 3:50-6:30
6 East 16th Street, Rm 600
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 .
Please note that this course will require
field trips during class time and as assignment activities.
This syllabus is subject to change based
upon the scheduling needs of guest speakers and the evolution of student needs.
Final
projects will be developed over the course of the semester.
Evaluations
and Grading
•
Class discussion, presentations and participation 30%• Assignments 30%
•
Final project including archive 30% blog
posts 10%
Class Calendar
Aug
28
In
class
Introductions
and a discussion of what constitutes a public narrative and how concensus is
developed or manifested. What indicates that a “story” is “worth” telling? We
will watch two TED Talks on the works of French artist, JR.
JR’s
TED Talk 2011
JR’s TED
Talk 2012
Assignment due Sept 4
·
By the next class, purchase the following books:
Creative Time: The Book: 33
Years of Public Art in New York
by Anne Pasternak
and Ruth Peltason
Public
Art New York by Jean Parker Phifer
· You will be made an
author for this blog by Sept 6. The blog address is http://publicnarratives2018.blogspot.com.
· Watch one week of
The Rachel Maddow Show (M-F, 9pm on MSNBC) and trace the development of a
public narrative that is being developed. Make notes of how the background for
that story is introduced and developed. Articulate what the narrative is and
key factors that are essential to understanding the story that is being
developed. Each weeknight’s show can be seen at http://www.msnbc.com/rachel-maddow-show the next day. Post
your notes, before our next in-class meeting on the blog.
· On the class blog,
in 50 words, describe a public narrative that has grabbed your attention this
week. Attach at least three illustration of how that narrative is materially
manifested in the world.
The following books
will also be on reserve in the library.
Out of Time, Out of
Place: Public Art (Now): by Claire Doherty
New York’s
Underground Art Museum by Sandra
Bloodworth & William Ayres
Sept.
4
In
class
Meet
at 14th St and 10th Avenue and together we will walk the
length of the Highline. Afterward, each student will retrace their steps and
create an annotated photo-essay that discusses a public narrative you perceive
in that site. Your narrative should include at least 12 images that illustrate
the concepts you perceive.
Assignment due Sept 11
·
Post your annotated photo-essay to our class blog for
discussion in class on Sept 11.
·
Read the conversation “Thinking About the Public In Public
Art by Tom Eccles and Tom Finkelpearl with Ann Pasternak In Creative Time: The Book…
Sept
11
In
class
·
Discussion of
Highline Narratives in relationship to the assigned interview, “Thinking About
the Public In Public Art by Tom Eccles and Tom Finkelpearl with Ann Pasternak
In Creative Time: The Book…
·
Assignment of
regions in NYC to students who will survey these areas for public narrative,
both formal and unofficial. Each student must write a 250 word discussion of
the narrative content of three “regions/works.” Please use Public Art New
York as a one of your references to help you identify defining aspects of
those narratives.
In
class discussion of the introduction to Public Art (Now): Out of Time, Out
of Place. Discussion of proposal processes and the individual artist’s
involvement in public projects.
Assignment due Sept. 25
·
Read pages 8 to 22 of New
York’s Underground Art Museum: MTA Arts & Design by Sandra
Bloodworth and William Ayres
· In preparation for
a visit to the African Burial Ground on Sept. 6 read the contents of the
website, https://www.nps.gov/afbg/index.htm .
· Read the
introduction to Public Art (Now): Out of Time, Out of Place.
·
Visit the subway
stations in the area you have been assigned and write 250 words on two of works
commissioned by the MTA. What is their
narrative content? Why are they in those
particular stations? How did that come
to be and is that story still as relevant as it was when the work was
installed? Attach at least five photographic records of how that narrative is
materially manifested at each station and its vicinity.
Sept
18
In
lieu of class on Sept.18
Meet
at African Burial Ground on Saturday Sept 22 at noon
Meet at the African Burial Ground at
4:00 (Ted Weiss Federal Building,
290 Broadway, just north of Chambers Street) to discuss the layered
history of that site and its narrative.
Sept
25
In
class discussion of the introduction to Public Art (Now): Out of Time, Out
of Place. Discussion of proposal processes and the individual artist’s
involvement in public projects.
Assignment due Oct. 2
·
Read the essay, A Very Brief History of Grafitti and Street
Art in Global Street Art and Trends
Taking Over the World by Lee Bofkin
· On the class blog,
in 100 words each describe 2 public narratives that have grabbed your attention
this week. Attach at least three illustration of how that narrative is
materially manifested in the world.
Oct.
2
Visit
Union Square Subway Station with project artist/designer, Mary Miss and survey
Union Square as a public site full of planned and spontaneous narratives
Assignment for Oct. 9
· On the class blog,
in 150 words describe a public narrative that grabbed your attention when we
visited Union Square this week. Attach at least one illustration of how that
narrative is materially manifested in the world.
· Using texts made
available to you in the New School’s Library as well as online research tools
as points of departure, research a topic you might like to pursue as a final
project for this class. In 250 words introduce us to this public narrative,
clearly stating the ideas and issues you would explore with annotated research
sources. Post that introduction on the
class blog.
Oct.
9
In
class presentation of your research on your segment of subway sites,
highlighting one site in your assigned region and the relationship that project
has to the adjacent communities in which they are located.
Small
group discussions of topics of interest that might be pursued as individual or
group projects.
Assignment for Oct 16
·
Develop and articulate three narratives you would like to
explore in a public context. Determine
what the impediments and the opportunities might be in entering into that
discussion. Then determine where that
discussion would most appropriately be sited.
Tell us, in detail, what has led you to that conclusion. Also tell us
what questions must be answered to determine if your assumptions are true.
Please post these discussions on the class blog.
Oct.
16
In
class
Presentation
by and discussion with Linda Bryant, Executive Director of Project EAT’s about
her work and career path that has lead her gallery director to urban farmer
entrepreneur.
Class
discussion of individual project or group concepts.
Assignment for Oct. 23
·
As part of your topic development process, answer the
following questions for each of the three topics: What are the demographics of
the community in which the project will be sited? Who is your audience? Are
there groups that can become involved in the realization of your project? Are there organizations that are doing
related work? What is the civic process that a project like this requires? What about permits? What about governmental agencies? What about social media? What about
documentation of the project? Please respond to these questions on our class
blog
Oct.
23
In
class
Small
group discussion of topic development.
Assignment for Oct. 30
·
Choose the project you would like to develop. In 250 words
with visual supporting materials present the argument behind the topic
selection you have made. Post this material on the class blog for in class
review on Oct. 30.
Oct.
30
In
class
Review
of individual projects posted on the class blog
Assignment for Nov. 6
·
Read http://www.actupny.org/indexfolder/GRAN%20FURY_on_ARTFORUM.pdf on Grand Fury and
the history of art against AIDS
· On the class blog,
in 150 words describe a public
narrative that is currently present in New York that you would like to discuss
in relationship to the public art strategies developed by Gran Fury. Attach
three illustrations of how that narrative is materially manifested.
Nov.
6
In
class
Watch
How To Survive A Plague, the documentary on ACT-UP and its impact on AIDS
treatment and visit NYC AIDS Memorial.
Assignment for Nov. 13
On the class blog, post a careful, grammar and spelling checked
first draft of a 500 word essay that introduces your project/exhibition. (This
is a draft and you will be expected to update this essay to 800 to 1000 words
to reflect the content of the final exhibition proposal) Make sure that
the essay covers the following: The concept you will develop in your
exhibition; The premise behind that concept and how it relates to public
life in an urban environment; why have you chosen this project as as a group of
curators?;Discuss who will be involved in this project, who are the
artists/participants and how they will be selected.
Nov.
13
In
class
Project
development working toward the completion of the following:
Assignment for Nov 20
Prepare
the following:
1.
Discussion of the site and the pertinent
conditions that will have an impact on your project;
2.
Discussion of how that project intersect with government
structures and regulations;
3.
Discussion of what you see as a realistic
planning, development and execution timeline;
4.
Initial outline of aspects of the project that
will have associated costs, make notes about what is required to determine real
costs
Nov. 20
In class
Project development of the preliminary design for the blog/site
you will use as the context for your exhibition. Be aware that you need create
summary page with a link to the site/blog you build for exhibition. You can use
any format wish (tumblr, wordpress, blogspot, squarepace, etc?) as long as it
is easily accessed from the page you post on the blog. That format should allow
you to include texts, images, video, audio, and any other materials that will
create four examples of entries for you exhibition and show how they will be
captioned and footnoted and how your format will allow comments for each entry;
this format should also provide a place for comments on the site as a whole.
You will work in small groups with TW on this material in class.
Present an updated draft of your site to TW that contains the
majority of content (images, texts, films, music, links, etc.) Begin to develop
literature and references that support the premise and the critical
underpinning of your project. Post this on our blog
Assignment for Dec. 4
Continue project development
Dec.
4
Present
a developed budget and public process plan. In addition, present a draft of
what one would present to potential participants in the project. Post these
items on our blog.
Present
a final draft of your project to the class in a ten minute projected summary
form that will highlight any unresolved issues that you will address or would
like response/input for before you complete your project.
Dec.
11
Your
completed exhibitions will be presented to the class and each student will
become part of a group that will review other projects in detail with written
responses that will be posted on the blogs/sites that have been created for
each project.
To
follow-up on this email, please contact Anthony Whitfield at WhitfieA@newschool.edu.
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. Because this class requires team participation
and project development absences are almost impossible to make up and more than
three absences make successful completion of this class impossible.
● 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, 6th 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, 5th 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/
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