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Announcement
November 10, 2016

New art from the Milton Avery Graduate School of the Arts at Bard College, and School Watch reports from the Haute École d’art et de design, Geneva and Mildred’s Lane

Art & Education
(1) Anne Libby and Judith Kakon, 2016. Installation view at Bard Exhibition Center. (2) Maryam Hoseini. Horizon #3, 2016. (3) Lili Reynaud Dewar and WORK.Master students, My Epidemic, 2015. Installation view at the Venice Biennale. (4) Seyoung Yoon, Territory and Jealousy, 2016. Installation view at Truth and Consequences. (5) Mildred’s Lane Main House and session field study. (6) ESTAR(SER), Social Saturday Performance, 2016.*

Art & Education features Yearbook – New Art, a platform for schools to present student work from MFA shows, open-studio presentations, and other annual student exhibitions.

Yearbook exhibition currently on view:

Milton Avery Graduate School of the Arts at Bard College
MFA Class of 2017 Thesis Exhibition

Coordinated by Emer Grant and Lisa Long of the Center for Curatorial Studies at Bard College, the MFA Class of 2017 thesis exhibition brings together twenty-three Master of Fine Arts candidates from the Milton Avery School of the Arts departments of Film/Video, Music/Sound, Painting, Photography, Sculpture, and Writing. View the exhibition here.

 

School Watch reports from Geneva and Mildred’s Lane:

CCC, TRANS, and WORK.Master at Geneva’s HEAD: Intergenerational MFAs of Non-Formatted Curricula
By Jennifer Teets
[WORK.Master’s] ambition is to help students develop a highly personal, singular, and distinctive concept of what it means to produce art today. The program seeks to adapt to the sensibility of each personality it hosts (professors and students alike), to the inventiveness of each methodology it constructs, and to the non-orthodox, emancipated propositions of its students. The modus operandi of the WORK.Master program is to wander and ponder, to take walks and trips, to extend conversations beyond their reasonable length, to produce books, exhibitions, and other formats apt to challenge the conditions of reception and production of art, and to be involved with Geneva’s art scene yet work both locally and internationally. [read more]

Reassembling Time: The Alternative Pedagogy of Mildred’s Lane
By Owen Duffy
As both a total work of art and a form of alternative pedagogy, the Mildred’s Lane program pushes the limits of what art can do beyond perpetuating its own discourse. “We take the three-letter word [art] out of it,” [J. Morgan] Puett remarks. [Mark] Dion understands Mildred’s Lane as a place that preserves the kind of education he had in the 1980s, in which “the pub was a pedagogic space.” Since 2007, hundreds of fellows—artists, writers, graduate students—have attended one of the three to six recurring or unique sessions each summer on truly diverse (and enigmatic) topics. [read more]

School Watch presents distilled perspectives on degree programs in the arts, with interviews, critical texts and editorial exposés on MFAs, Masters, Doctorates and certificate programs in fine arts, art history, curatorial, cultural and film studies, and other related areas of specialty.

 

*Images above: (1) Anne Libby and Judith Kakon, 2016. Installation view at Bard Exhibition Center. Courtesy of Pete Mauney. (2) Maryam Hoseini, Horizon #3, 2016. Acrylic and ink on paper on wood panel. Courtesy of Pete Mauney. (3) Lili Reynaud Dewar and WORK.Master students, My Epidemic , 2015. Installation view at the Venice Biennale. Photo: Etienne Chosson. © HEAD – Genève. (4) Seyoung Yoon, Territory and Jealousy, 2016. Installation view at Truth and Consequences. (5) Mildred’s Lane Main House and session field study. Courtesy of Mildred’s Lane. (6) ESTAR(SER), Social Saturday Performance, 2016. Part of Attention Lab: The Order of The Third Bird Session. Courtesy of Mildred’s Lane.

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