Field-Site-In-Process-Catalogue.Pdf

1 FIELD Site-in-Process

Collaborative Studios| Exhibition | Expanded Field Pedagogy

2 3 FIELD Site-in-Process

Field / Site-in-Process is a collaborative studio, exhibition, and research within Expanded Field practices. Organized by Mrinalini Aggarwal, AICAD Fellow in Fine Arts, and co-hosted by Ane Gonzalez Lara, Assistant Professor in Architecture, and Swati Piparsania, AICAD Fellow in Design, this series offers students, faculty and interdisciplinary practitioners DeKalb Gallery shared spaces for experimentation and process- based inquiry. Addressing a variety of themes at the Pratt Institute intersections of ecology, politics, technology, objects, environments and the body, the exhibition features Nov 20-27, 2019 process collaborations between students and faculty across 9 departments at Pratt and a host of invited artists, musicians, designers, educators and critical researchers. This program is part of an experimental Opening Reception and participatory research that aims to foster new forms of cross-pollinating pedagogy at Pratt. Thursday, Nov 21 5-7pm

4 5 Monday Wednesday Wednesday 10am-1:30pm 9-12pm Performing Political Education Edible Projects: Natalia Ivanova Mount & Marshall Trammell Mold Making Candies & Jellies Amanda Huynh & Naomi Safran Hon 1:30-4:30pm In Relationship with Technology, Time, Nature Jean Shin & Natalie Moore

5-8pm Tuesday Design History of Objects 9:30am-5:30pm Erica Morawski & Swati Piparsania Explore, Shift, Shape: Collaborative Drawing Machines as Predictors: SCHEDULE Discerning Actions Rosemarie Fiore Public event at 5pm at the DeKalb Lawns Thursday WORKSHOP 1:30-3:30pm Unconference: Visualizing and Reframing Equitable Frameworks DESCRIPTIONS Judit Török & Rhonda Schaller 5-7pm Opening Reception: Recovering Recipes Dawn Weleski & Kate O’ Shea Free and Open to the Public Sunday

5-8pm Alien: Extraterrestrial Affairs Ana Maria Farina Free and Open to the Public

6 7 Performing Political Education In Relationship with Technology, Time and Nature Wednesday, November 20, 10am-1:30pm Wednesday, November 20, 1:30pm-4:30pm Natalia Mount, ProArts Gallery & COMMONS Jean Shin, Adjunct Professor, CCE, Fine Arts Marshall Trammell, Music Research Strategies Natalie Moore, Assistant Chair of Foundation

This workshop invites attendees to critique Capitalism and its machinations, through Digital detox challenge: can you go unplugged for a full day? This workshop explores the re-design of an array of Underground Railroad quilt block codes, as an artist- our complex relationship to technology, time, and nature. Artists’ presentations will driven reimagining of navigating the global economy. Participants will leave with an focus on site ideas, material, research process and collaborations. With ever-growing understanding of how we have gotten to the current predicament and how to move e-waste and accumulation of obsolete technology, how can we continue to innovate towards artistic and creative practices that build Solidarity, Cooperation, Mutualism, and work in ways that are sustainable and accountable? How can we harness the Equity, Participatory Democracy, Sustainability, and Pluralism. benefits of technology as a useful tool while restoring and reclaiming what it has taken from our lives, workplace, and the environment? How has technology changed the The workshop will include an introduction to the Solidarity Economics (SE) framework way we communicate, connect with people, and how we choose to spend our time? of concepts, and an introduction to the feminist, Chicana scholar Chela Sandoval’s “Five Participants will break up in small groups to unpack the realities and challenges we Technologies,” from her seminal book “Methodologies of the Oppressed.” During the face in the digital age and climate crisis. We’ll also exchange ideas about how we can workshop, we will also address the polemics of the art space and new organizational individually and collective navigate these pressing demands for our attention on our formations, such as the commons. Lastly, participants will collaborate on the drafting paths to building a better future. of a pledge letter, centering on the creation of common language and vocabulary that reflect the ethos of a new, creative economy. The themes of this workshop related to Jean Shin’s upcoming solo exhibition at the Asian Art Museum in San Francisco opening in Feb 2020. **Donate your old mobile Participating Classes: phones and it’ll be incorporated into the artwork in progress.

8 9 Design History of Objects Unconference: Visualizing and Reframing Wednesday, November 20, 5pm-8pm Equitable Frameworks Erica Morawski, Assistant Professor, History of Art and Design Thursday, November 21, 1:30pm-3:30pm Swati Piparsania, AICAD Post Graduate Teaching Fellow in Design Judit Török, Director, Center for Teaching and Learning This session brings together a design studio and history of design class to collaborate on Rhonda Schaller, Director of Career & Professional Development, Visiting Associate a number of activities that employ objects of memory. The activities invite participants Professor, Lecturer to engage in contemplative and inquisitive conversations about people’s history, the cultural lives of objects and the sustainability practices that surround them. Through Are you interested in engaging critically and creatively with pedagogical frameworks, direct engagement with objects that participants bring to the workshop, we will reflect but tired of the overused jargon that has come to define the field? Then this and interrogate through questions on the personal, intimate and social. collaboration is for you! At this unconference, we will be learning, exploring and exchanging ideas to create and deconstruct a variety of frameworks for teaching and learning. Moving away from dense academic definitions of inclusive pedagogies and Participating Classes: bullet points of empty strategies, participants in this ‘non-session interactive thing’ will Design for India | Faculty - Swati Piparsania | Industrial Design be collectively creating an agenda, sharing ideas, discovering possibilities, and learning History of Industrial Design | Faculty - Erica Morawski| History of Art and Design from each other. Wear your maker hats for this hands-on unconference to create physical models, prototypes, diagrams and research notes that re-think inclusive and equitable teaching frameworks in higher education.

Free and open to the public

10 11 Opening Reception: Recovering Recipes Alien: Extraterrestrial Affairs Thursday, November 21, 5pm-7pm Sunday, November 24, 5pm-8pm Dawn Weleski Ana Maria Farina

Artist and activist Dawn Weleski, in collaboration with Pratt Creative Writing students Inspired by the title that immigrants receive in America and the alien aspects of our from Gina Zucker’s “Community as Classroom” elective, Colgate University Social contemporary existence, this affair will take a sarcastic look at what being ‘alien’ means Practice students and printmaker Kate O’Shea, will present favorite childhood foods for artists and creators. Embrace your inner weird and wonderful, and join us for a night and recipes from local food service workers and Pratt students. Evoking memories of connection and commune to share a meal, talk, and play games together. We will take and networks of sensual relationship as medium, their collaboration will step outside over the FIELD and transform it into a whimsical alternative reality, where you will be of the gallery context to collectively process momentos of our shared experiences of able to play, chill, connect with others, and even collaborate in creation. This potluck is childhood and food. open to all - bring something to share that is a signifier of home and things far away.

Field, Site-in-Process, Panel Discussion facilitated by Mrinalini Aggarwal Free and open to the public Recovering Recipes, Dawn Weleski in conversation with Gina Zucker, students from Pratt’s Creative Writing Program and Colgate University’s Social Practice class.

Performance by Marshall Trammell. Tibetan Tsampa Demonstration by Dolma Lhamo, Staff at Cap’t Loui on Myrtle Avenue

Free and open to the public

Participating Classes:

Community as Classroom | Faculty - Gina Zucker | Creative Writing Social Practice | Faculty - Dawn Weleski | Art & Art History, Colgate University

12 13 Edible Projects: Mold Making Candies and Jellies Explore, Shift, Shape: Monday, November 25, 9am-12pm Collaborative Drawing Machines as Predictors: Amanda Huynh, Assistant Professor, Industrial Design Discerning Action Naomi Safran Hon, Visiting Assistant Professor, Fine Arts This workshop is devised as an interlude for two courses: an Industrial Design senior Tuesday, November 26, 9:30am-5:30pm studio and a Fine Arts technical mold-making course. Students will have an opportunity to play with mold making and casting edible materials such as jellies and candies, and Rosemarie Fiore come away with the workshop with some technical knowledge as well as designed hard candies. Students will hear from Amanda Huynh about her experiences in designing This workshop will explore the space where art and engineering meet in the form of for taste. We will consider the ephemeral nature of food and what it means to eat your sculpture, drawing and performance. In the studio, individual and collaborative drawing creative outcomes. machines will be engineered, designed and created from local reclaimed materials collected communally throughout the semester. As products of concept, material Participating Classes: exploration and vision, these machines will be used as performative drawing tools to explore actions and mark making. As performers, artists will experience the contraction Design in Context | Faculty - Amanda Huynh | Industrial Design and lengthening of the human body through the vehicle of the drawing machines they Mold Making | Faculty - Naomi Safran Hon | Fine Arts Tec create. The drawings generated will be a lasting record of their movement, performance and actions.

Participating Classes:

This workshop is co-sponsored by Legion

14 15 COLLABORATORS

16 17 Mrinalini Aggarwal Ana Maria Farina

Image: Plan View, Field and Surge, Frank H. Ogawa Plaza, Oakland.

Supermrin (Mrinalini Aggarwal) is an Indian artist working at the intersections of architecture, art and design. Her practice is an anti-disciplinary exploration of space that Image: Você Nunca Pediu Pra Eu Ficar (You Never Asked Me To Stay), 2018. Acrylic and pastel on canvas. seeks to reconsider the ways in which urban landscapes mediate human relationships. 30x40”. Through re-conceptions of site and experience, she creates installations and environments that seek to shift perceptions, beliefs and assumptions about the nature of the physical world. Ana Maria Farina is a Brazilian artist and educator based in between Brooklyn and New Paltz, NY. She received her masters degree in Art and Art Education from Columbia Supermrin has an MFA degree from the San Francisco Art Institute and an undergraduate University in 2016 and has most recently received a full scholarship to attend the MFA degree in Exhibition and Spatial Design from the National Institute of India. She worked program in Painting and Drawing at SUNY New Paltz. with Abaxial Architects, New Delhi, India for 8 years before moving to California. She is the founder of Streetlight, a critical spatial research and design laboratory for As both an artist and an educator, Ana is interested in experimentation, experiences of decolonizing public space. She presently teaches Undergraduate Fine Arts at Pratt release and constraint, expansion and collapse. Her work investigates themes of trauma Institute, Brooklyn, NY. and comfort in womanhood, as well as the body and identity through the lens of feminist theory and psychoanalysis. Lately, Ana has been exploring the materiality of textiles, creating sculptural, mixed-media and textile paintings as interactive textural translations.

18 19 Rosemarie Fiore Ane Gonzalez Lara

Image: Museum of Contemporary Art, Jacksonville. Smoke Painting performance. Photo courtesy of Image: Park Heure, Competition with Kathy Kambic and Katya Crawford Michelle Calloway, Space 42 and MOCA, Jacksonville, Florida

Rosemarie Fiore is a painter, sculptor and performance artist. Her studio is located in Ane Gonzalez Lara is the co-founder of Idyll Studio and an assistant professor at Pratt Bronx, NY. She combines painting, sculpture and performance to produce artwork out of Institute with wide-ranging interests in Ibero- and Latin-American contemporary design the actions of popular technology and mechanisms. Through her work, she investigates and urbanism. Her professional work with Idyll balances social and cultural concerns with the space that exists between chaos and control. extensive formal and material research. She has developed academic research initiatives as part of her studio teaching that have examined the United States-Mexican border and Fiore has worked on developing and constructing her “Smoke Painting Tools” for almost the Korean demilitarized zone, and she has hosted conferences on these topics including 20 years. Harnessing and mixing the colored smoke released from fireworks, these tools a roundtable at last years’ Venice Biennale. She received her Master and Bachelor of paint on paper. She used them to create large abstract works on paper for exhibitions, Architecture degrees from the Escuela Tenica Superior de Arquitectura in Navarra, Spain. commissions and performances around the world. Before working at Pratt she taught at the University of New Mexico and the University of Houston. She is an artist educator at the Metropolitan Museum of Art, serves on the Board of the MacDowell Colony and is the President of the MacDowell Fellows Executive Committee. In 2020, she will have a solo exhibition at Penn State University and performance and residency at the John Michael Kohler Arts Center. She is represented by Von Lintel Gallery, Los Angeles.

20 21 Amanda Huynh John Monti

Left: Prosecco and cherry blossom jelly. Image credit: Amanda Huynh.

Right: Edible Projects Vol 02: Sweet Ritual, a candle and candy pairing. Candies are cast from custom molds to enhance the experience of taste. Image credit: Mandy Chang, Edible Projects.

Amanda Huynh is a Canadian product and food designer working at the intersections of community-building, social innovation, and sustainable design. Amanda’s design career has allowed her to work across a variety of sectors in Vancouver, Bali, Shanghai, and London, England. Image: Heart Cluster: Magenta, 2018, 19 h x 15.5 w x 8 d inches, Urethane resin, pigment, glitter Amanda earned a Bachelor of Design (Industrial Design) from Emily Carr University of Art + Design and worked as a professional designer for several years before realizing she could combine her love of design and food. This led her to pursue a Master’s in Food Design Visually immersive, his work represents dense amalgams of organic forms, twisting vines from Scuola Politecnica di Design in Milan, Italy. and flora; all made meaningful through the evocation of memories, both the mundane and the spectacular. Somewhat fetishistic, the forms are cast in resin often finished with She co-founded Edible Projects in 2015, a creative partnership which aims to bring a high-gloss and glitter derived from custom car culture. Motivated by our current social a new perspective and experience to food, often satisfying senses other than taste. and political conditions the work metaphorically represents our contradictory sense of Edible Projects is two trained industrial designers who went on to study food design and aspiration, loss and denial. pâtisserie, working to create meaningful connections using food as the material. Through metaphorical representations, his work represents visual seduction, desire, denial and loss; all speaking to the beauty of failure.

Born in Portland, Oregon, John Monti received a BS from Portland State University in painting, and later an MFA in sculpture from Pratt Institute. Monti has exhibited extensively nationally and internationally both in museums and galleries and has completed public commissions and set-designs for dance. Monti lives in Brooklyn, NY and is Professor of Graduate Fine Arts at Pratt Institute.

22 23 Natalie Moore Erica Morawski

Image: Wind #2, 27” x 14” x 14,” hand woven stainless steel wire, hardware cloth, acrylic paint, 2017. Image: Havana, Cuba, January 2018. Photo by Erica Morawski. Photo Credit Thomas Barratt and Mark Waldhauser

Natalie Moore is an artist working in Brooklyn, NY, whose primary practice is sculpture Erica Morawski’s practice is dedicated to explorations in the intersection of design, and installation. Her work is often described at an intersection between drawing and politics, and identity. Her work traverses the nature of these relationships across sculpture. She is interested in the transformation of materials and visual perception. Her different scales, from individual interactions with a designed object to larger national or work often employs traditional craft techniques with new materials and methodologies. international frameworks of trade, manufacture, and knowledge systems. She is presently completing a book manuscript that examines design and development policy in Cuba, She has been featured on CNN international, and her work has been written about in Dominican Republic, and Cuba from roughly 1900-1950. This project focuses on design Sculpture Magazine, The New York Times, New York Post, and New York Newsday. Moore related to the tourism industry as a means to analyze Hispanic Caribbean responses has been featured in numerous solo and group exhibitions nationally and internationally. to and engagement with the co-constitutive projects of imperialism/ colonialism and modernity. She received her Bachelors of Art from the University of California, Santa Cruz and her Master’s degree from NYU. Moore is currently the Assistant Chairperson of the Erica Morawski is Assistant Professor in the History of Art and Design Department at Pratt Foundation program at Pratt Institute, where she has been teaching for many years. Institute. Her research and writing center on the history of design in the Americas, with a particular focus on the Hispanic Caribbean. Her work has been published in the Journal of the Society of Architectural Historians, Journal of Design History, and a number of edited volumes.

24 25 Natalia Ivanova Mount Kate O’ Shea

Natalia Ivanova Mount is a dynamic cultural organizer and sociologist of art with extensive experience in nonprofit leadership, development and strategic partnerships. She has organized numerous exhibitions and site-specific projects, experimental theatre Kate O’ Shea is an Irish artist with a social practice which includes printmaking, arts productions, sound-based performance, film, radio, and public programs and events. practice based research, the production of social spaces and publishing. From setting In the beginning of her career, Natalia worked at MoMA PS1 and the Clocktower, both up a social space in the south west of Ireland in 2009 to co-producing SPARE ROOM Art located in NYC. Currently, she is the Executive Director of Pro Arts Gallery & COMMONS Architecture Activism (www.spareroomproject.ie) with Eve Olney in Cork in 2019, Kate’s where she is actively engaged in the co-creation of the first art & culture commons collaborative practice is based on building spaces of solidarity and dialogue in order to model in Oakland. Her essay “Reframing the Value of Art and Fair Labor in the Context explore alternatives to the social relations of capitalism. of a Sharing Economy” was published by the Journal for Aesthetics & Protest, Shareable. net and Project Kalahati Press (Oakland.) Natalia’s research is centered on the commons, In 2018 she published the book Durty Words with graphic designer Victoria Brunetta. With and reframing the value of art and fair labor in the context of a sharing economy. As the 134 contributors from all over the world, this is the first book of their publishing house: Executive Director of Pro Arts, a 45 years-old independent art space in Oakland, she Durty Books. Kate has just completed an MA by Research in Printmaking as a space for has worked tirelessly over the past four years of tenure with the organization to bring solidarity and dialogue at Limerick School of Art and Design. Kate is currently working openness, inclusivity, and universal access to art and culture. with Dawn Weleski to develop The People’s Kitchen in Cork, Ireland which is being supported by Arts Council Ireland, managed by CREATE. Kate regularly exhibits nationally and internationally. www.kateosheablog.com

26 27 Swati Piparsania Naomi Safran-Hon

Image: Ramp no. 7, Photo by Clare Gatto

Image: The Memory of a Shifting Ceiling, 40x60 inches, acrylic, gouache, cement, archival ink jet on Swati Piparsania is an artist and designer from India. She has worked as a material designer, canvas, 2019 product manager and developer. She works primarily with object design and creates absurd props for performances. Recurring themes in her practice include dysfunctional comedy, restrained movements, and narrative studies. She is also a researcher and writer. Born in Oxford, England, Naomi Safran-Hon grew up in Haifa, Israel. She received her BA Summa Cum Laude from Brandeis University, 2008, in Studio Art and Art History and an MFA from Yale University School of Art in 2010. Safran-Hon attended the Skowhegan School of Painting and Sculpture in 2012 and Art Omi residency in 2016.

Safran-Hon’s creative journey works hand in hand with a close examination of the history of painting and its tradition of charged architectural spaces. She uses private spaces and everyday objects in order to address the fragility of human experience and the complex nature of one’s home. Destruction—both intentional, at the hands of the artist, and incidental, as the result of time and desertion—recasts the viewer’s notion of geopolitical conflict, irresolvable nostalgia, and the personal struggle to find one’s place in the world, both physical and psychological. Through her process, Safran-Hon’s pieces challenge the viewer to reconsider preconceptions about materials, the notion of home as a physical locus, and the role of destruction as a negative force.

28 29 Gaia Scagnetti Rhonda Schaller

Photo: Rhonda Schaller leading meditation with Esmilda Abreu on Nov 3 2019 Deliver Meditation Incu- bator: Mindful Making immersion workshop at Pratt Institute funding provided by Made in NYC 19

Rhonda is a long time meditator, artist, author and educator teaching visualization, mindfulness and meditation as life and art practices since 1985. She is a certified visualization meditation teacher and Mindfulness Based Stress Reduction trained teacher. She is a Visiting Associate Professor; Director of Career & Professional Development, founder of the Meditation Incubator project, and the Mindful Making immersion workshop for Made in NYC. She chairs the Mindfulness Initiatives in Student Affairs Image: Archeology of activism, Gaia Scagnetti and Sha Hwang, 2018. Establishing A Model Of Intimacy Committee. A recent scholar in residence and Fulbright Roster Scholar, she taught And Bodies, A Map Of Current Additive Explorations creativity and meditation at UNSW, Sydney as their artist in residence. She is the author of Create Your Art Career (2013, Allworth Press), Called or Not, Spirits are Present (2009, Blue Pearl Press), and contributed chapters for The Mindful Eye: Contemplative Pedagogies ‘All of my projects aim to understand how visual languages can play a fundamental role in Visual Arts Education (2018, Common Wealth Pub) and Starting Your Career in the Fine in generating knowledge and be a tool for decision making and strategic planning in Arts (2011, Allworth Press). She is the Director of Schaller + Jaquish Art Projects; Founder of multidisciplinary teams; how can we interrogate visual design practices to understand our Create Meditate and Cofounder of Ceres Gallery, NYC. She was a board member/faculty society and what is the changing role of the designer in this context.’ of the New York Feminist Art Institute. Her works are in the permanent collections of Memorial Art Gallery University of Rochester and Dartmouth University’s Medical School Dr. Gaia Scagnetti is a program co-coordinator and full-time Associate Professor at the Art of Healing Gallery Pratt Institute’s Graduate Communications Design department in New York. In 2009 she obtained a Ph.D. degree cum Meritus in Multimedia Communication at the Politecnico di Milano with a thesis on Visual Epistemology in Information Visualization and Mapping. Her current research projects discuss new pedagogies, strategies, and approaches for Higher education in design.

30 31 Analia Segal Jean Shin

Image: Solo exhibition “CONTRA LA PARED” May 20 - September 23, 2018, The Aldrich Contemporary Museum of Art, Ridgfield CT, Inland II, 2012–18, single-channel, wall projection, sound; 10:00 minutes, Instal- lation with wood architectural molding, wall compound, latex paint. Image: Allée Gathering, 2019. Recycled maple wood, tree stumps, steel and maple syrup. Dimensions variable Jean Shin: Outlooks exhibition at Storm King Art Center, NY

A home is a promise and a place embedded with some of our most resonant experiences. But at its core lies a paradoxical quicksand, it becomes significant and disquieting when we leave Jean Shin is recognized for her monumental installations that transform large our place of origin. accumulations of everyday objects into elaborate, labor intensive sculptures and site- ‘As a Latin American woman, born in Buenos Aires during the sixties, I grew up in in a country specific installations, giving new form to discarded materials. The artist solicits donations isolated from the rest of the world for political reasons. The “legacy of fear and silence” in from participants within a specific community and locale, creating expressions of identity which disappearing acts took place shaped my identity and work. Immigration also confronted and belonging. She explains, “I seek to recall an object’s past while suggesting greater me with the notion of the uncanny. connections to our collective memories, desires and failures.” Born in Seoul, South Korea and raised in the United States, and currently living in New York, she received a BFA and I have embarked on a quest of trying to understand life through the materials, surfaces and MS from Pratt Institute in Brooklyn. Her work has been widely exhibited in over 150 major objects that constitute our built environment. Through different mediums I intend to question museums and cultural institutions, including solo exhibitions at The Museum of Modern what objects reveal and conceal and how dreams and fears take material form while examining Art, Smithsonian American Art Museum, and The Philadelphia Museum of Art. the intricacies and complexity of citizenship.’ She is tenured Adjunct Professor of Fine Art at Pratt Institute and recipient of Pratt’s 2017 Alumni Achievement Award. Shin serves on the Board of Joan Mitchell Foundation. Analia Segal is a Guggenheim Fellow, received a Masters Degree in Studio Art from New York Her work is currently on view at Storm King Art Center. Next year she will be having a solo University (2001), and a Bachelors Degree in Graphic Design from Universidad de Buenos Aires exhibition at the Asian Art Museum, San Francisco curated by Marc Mayer. (1997). She is a professor of Sculpture + Integrated Practices at Pratt Institute, New York, where she has been teaching since 2008. 32 33 Judit Török Marshall Trammell

Image: Agatha Urbaniak (UK). Courtesy Marshall Trammell

Marshall Trammell is the experimental percussionist and critical ethnographer known as Image by Faizal Sugi from Pixabay Music Research Strategies (MRS). The identity of this arts engagement platform began as a critical ethnographic framework bridging obsessions with strategic, or compositional, UNCONFERENCE improvising strategies, organizational improvisation and psychology, and street-level, social justice, international organizing. MRS navigates the global economy as a touring V i s u a l i z i n g a n d R e f r a m i n g musician, performing-research and -political education nationally and internationally E q u i t a b l e F r a m e w o r k s through a battery of modular, social science-based systems producing several works for

fellowships, residencies, festivals, and investigations.

MRS organizational strategy mimics scholarship embedded in indigenous technologies in professional development pedagogy (guild) and simultaneous multi-dimensionality (cognitive embodiment/Dr. Anku) to serve as an interlocutor of new language Judit Török is a passionate educator, feminist philosopher, researcher of learning, and a development of Warrior Ethos amongst Warrior Ecologies from the Pacific Northwest, the global citizen. As the founding Director of the Center for Teaching and Learning at Pratt San Francisco Bay Area, Mexico City, the Southwest, the Midwest, and the Mid-Atlantic. Institute and with over 20 years of teaching experience, she supports collaborative faculty communities to critically reflect on, and ultimately inspire change in higher education pedagogy. In that role as a facilitator and a researcher, she strives to create... Meaningful, Embodied, Reflective, Connected, Authentic, and Relevant… learning experiences.

34 35 Dawn Weleski SeoKyeong Lee Yoon

Image: Jon Rubin & Dawn Weleski, Conflict Kitchen Cuban, Iranian, Afghan, Venezuelan storefronts, Image: Dear Lullaby, 2018, photograph - printed on metal sheet, mug cups, t-shirts. A chimera that 2010-17 contains life, death, love and trauma. It composes an environment of fantasy and tragedy and speaks of the vulnerability of the death and the disappointment, confusion and despair in life. Dawn Weleski’s art practice administers a political stress test, antagonizing routine cultural behavior by re-purposing underground brawls, revolutionary protests, and political offices as transformative social stages. Recent projects include The Black SeoKyeong Lee Yoon was born in a small town in the countryside of South Korea. Her Draft (with Justin Strong), a live mock sports draft event during which ten Black former favorite toys were animals and insects. After finishing her PB at San Francisco Art Institute, Pittsburghers, from all professions, are drafted to return home and City Council Wrestling, she moved to Brooklyn and completed her graduate studies at Pratt Institute in 2015. Yoon a series of public wrestling matches where citizens, pro-am wrestlers, and city council makes installations, performances, videos and sculptures. She lives and works in Brooklyn. members personified their political passions into wrestling characters. She co-founded and co-directed Conflict Kitchen (with Jon Rubin).

Currently, Weleski is NEH Visiting Assistant Professor of Art & Art History at Colgate University. In collaboration with CNY and Upstate New York residents, she is investigating the aesthetics and dramaturgy of historical and contemporary mutual aid societies, which will culminate in a participatory, public initiative that highlights how mutual aid contributes to belonging and othering and will problematize definitions of resiliency, community, and the rural radical. 36 37 Gina Zucker

‘I am a writer, mostly of fiction. I’m a part-time adjunct faculty member of Pratt’s Writing Department. I’m a mother and primary caretaker of two young children. Like the experience of motherhood, the practice of writing engenders feelings of torment, joy, and ambivalence in me. I would not give up either thing, though I do sometimes imagine what I would do if forced to choose, or die. This is the kind of story I might write.

‘I write when I can, which is to say, not every day. That’s unlike motherhood, which occurs every waking moment, and in sleep. I fit writing into the chopped-up hours of my weeks; sometimes the work flows; often it feels like the hours--choppy, interrupted. I have great admiration for people who work at full-time paying jobs, write copiously, publish books, and take excellent care of their children, like Toni Morrison did. I feel a kinship with Tillie Olsen, who published little, with long gaps between publications, while raising her children. I’ve been working on my first novel since 2016. It’s maybe half-way done, maybe more than that? I’m hoping to be finished with it soon. The novel is tentatively titled Panzy, after the girl who is adopted by the book’s protagonist, a woman who, in another time, might have been called a witch, and in this time, probably a slut, a cougar, an addict, a dysfunctional survivor of trauma. She is my hero. Her name is Andrea. I chose that name EXPANDED because it reminds me a bit of Medea, one of my inspirations for her character.

‘Before the novel, I wrote (and published) short stories and journalism. My style has been described to me as “experimental.” My writing voice has been characterized as “strange.” My subject matter is considered “dark,” or “disturbing.” I’m not consciously going for OBJECTS these qualities, though I don’t disagree with those descriptors. I write about what interests me: human behavior. It seems I’m particularly interested in relationships between adults and children, which I think of as a proxy for the dynamics of power between those with power and those without it. I find human behavior and its inherent dynamics of power upsetting and interesting. I should say that writing does take place in my sleep sometimes. I get good ideas from my dreams. Recently I dreamt that I’d grown a second face, on the back of my head; it looked just like me, only younger and prettier. I’m making it into a short story.’

Gina Zucker has her MFA in fiction from The New School. Her short fiction, journalism and essays have appeared in magazines and journals such as Tin House, Hobart, 05401, Salt Hill, Eyeshot, Failbetter, Opium, Esme, TueNight, Babble, Self, Elle, Cosmopolitan, Glamour, GQ, Rolling Stone, and the New York Post. Her work has been anthologized in collections such as Fantastic Women (Tin House Books), Labor Day (FSG), Altared (Vintage) and Before (Overlook Press). In 2015 the composer Libby Larsen set one of her essays to a libretto, “The Birth Project.” She teaches in the writing program at Pratt Institute, where she has been the recipient of two Mellon Foundation grants. She has been a Vermont Studio Center fellow and a resident of Hemingway House.

38 39 Field Grasslands Supermrin Swati Piparsania

Field is an experimental research landscape intervention at the DeKalb public lawns at In a series of six, Grasslands made of artificial grass lay scattered between concrete and Pratt Brooklyn Campus. From October 2019, in collaboration with Pratt Operations and wild. These landscape interventions are designed to function as pedestals for people. Rang- Facilities Departments, we will temporarily pause the routine mowing and fertilizing of the ing from one inch height to soft 8 inches they elevate peoples position in open space. Its like public lawn. The resulting growing, decaying and living grass field will host unexpected en- designing heels but independent of a shoe. These casual mounds and valleys aim to adapt counters amongst people, birds, animals, weeds, grasses, flowers, and bushes, and spawn themselves at most flat or incline grounds. In concrete, they spurts out like green resilience unique conditions through which natural and constructed systems interact within this and in wild, they compete for freshness. With this in place, all standing people can achieve urban campus space. Through a series of collective and shared inquiries into the ambigu- the same height. ous ecologies present within this manicured grass field, we will subtly alter the perceptual field of this Plaza to create opportunities for diverse, personal, poetic and shared experi- Funded by Academic Senate Grant, Pratt Institute ences of land.

This research is part of a series of ongoing collaborations with the City of Oakland and ProArts Gallery and COMMONS at the historic Frank H. Ogawa Plaza in Downtown Oak- land. The project will engage the plaza’s most abundant resource, its 20,000 sq ft manicured grass lawn, as an affective, speculative and experimental site for public gathering. Confronting the Plaza’s heavy modernist urban re-design and place-making schemas, Field is a call to tenderness, subjectivity, mutualism, and expanded ecology within public life.

40 41 TDICC An Unmade Shelf Ane Gonzalez Lara Fulla Abdul-Jabbar

Responding to Supermrin’s Field project, TDICC aims to bring awareness towards On a shelf, books stand one next to each other with no space between. Complete universes, oppressive and non-inclussive architectural spaces. closed and bound, press against one another. Perhaps it is because their voices speak so softly that they must lean in this close. Perhaps they depend on silence to speak. Perhaps they are An even number of classical columns placed in the “non-manicured” grass will start silent because they are asleep, resting, and waiting for activation by a reader. Marguerite Duras to disappear as the grass grows and they start to get decayed by mold. In classical once said a book is the night. An open book too. But what we are looking at is not a book, is not architecture, buildings impose order and rigidity towards landscaped spaces. However, in a night, but a shelf. There is no waiting here. this project, the landscape will do the opposite to the columns, converting them into soft and non-ordered ruins in the grass. This shelf is like any other. These texts were compiled casually and by methods that are not useful to reveal. But the invitation is clear. To run your finger across every title, to wear through the pages, to arrange them from tallest to shortest, to read each from cover to cover very closely, to look from the shelf to the window and back again. To add. To remove. To ignore. To envelop yourself in the darkness of night and watch the scenes of a mind unfold.

1. Mongolian cloud houses: how to make a yurt and live comfortably by Dan Frank Kuehn 2. Wind blown cloud by Alec Finlay 3. The oldest living things in the world by Rachel Sussman 4. The World is Round by Gertrude Stein 5. The Garden Squares of Boston by Phoebe S. Goodman 6. Dictionary of collective nouns and group terms ed. Ivan G. Sparkes 7. Snow crystals by W.A. Bentley and W.J. Humphreys 8. Soul of Woman by L’ombroso Ferrero 9. Maps of Consciousness by Ralph Metzner 10. Green: The History of a Color by Michel Pastoureau 11. Gulls: A Guide to Identification by P.J. Grant 12. The Seven Valleys and the Four Valleys 13. Reinforced Concrete Detailing by John A. Barker 14. Of Men Only: Brooklyn Museum 15. Letterheads: A Collection from around the World ed. Takenobu Igarashi

Fulla Abdul-Jabbar is a writer and artist. She teaches in the Department of Writing at the Pratt Institute and is Editor and Curator at the Green Lantern Press. 42 43 Field is a research project investigating new forms for collaborative and cross-pollinating pedagogy. The project was borne out of my interests and questions while teaching an Undergraduate Fine Arts course titled ‘Drawing in the Expanded Field” in Spring 2019. At Pratt Institute this course was created many years ago by artist and professor, Martine Kaczynski. The title was inspired by Rosalind Krauss’s seminal essay, ‘Sculpture in the Expanded Field’, published in 1979, that presented new frameworks that mapped relationships between sculpture, architecture and landscape.

The logical expansions offered through Krauss’s deconstructivist approach (transforming a binary set into a quaternary field) created space for a variety of intersectional, fringe, and emergent forms to find situation within and in relation to disciplinary knowledge. In the context of pedagogy, this expanded field also necessitates a questioning of process and methodology - complicating, expanding, intersecting and reconsidering some of the ways in which we define classroom experiences. The weeklong series at the DeKalb Gallery offers such situation - it is a messy mixture of site, context, content, interaction, collaboration. The site offers altered relationships with landscape and ground plane. Col- laborations between workshop facilitators, many of whom teach within different depart- FIELD ments at Pratt, offer opportunities for discourse, friendship, and shared vision. Interdisci- plinary learning and shared spaces may lead to new ideas for projects and practices.

As an exploratory action-research, Field has been an imperfect and instinctive site- INCLUSIVE in-process. Through the study of the context that we have created here, I hope to find alternative frameworks for shared knowledge that complement classroom learning. As a visitor, participant, student, professor, or facilitator within this space, I welcome you to PEDAGOGY collaborate with me in this seeking. You can do this in several ways. Please share post-session reflections, notes, and photographs of process with me via email or via instagram #dekalbgallery. Please include a cap- tion if you would like to be credited. You are also welcome to hang your work in the space to share with future participants. If you do not wish to participate, be photographed, or share in any other way, please let your facilitator know and we will edit you out of any- thing that will be made public. We will have note-takers in many of our sessions, we will be taking photographs occasionally. The finished research will be presented at the Pratt Research Open House in March 2020 and may be presented in public, or published as an article.

If you have any questions, or want to connect, contact me, Mrinalini Aggarwal, [email protected].

I hope you enjoy the week!

44 45 Field / Site -in-Process is organized by Mrinalini Aggarwal, AICAD Post Graduate Teaching Fellow in Fine Arts as part of a yearlong research in inclusive pedagogy for Expanded Field practices.

The event is co-hosted by Ane Gonzalez Lara, Assistant Professor, Undergraduate Architecture, and Swati Piparsania, AICAD Post Graduate Teaching Fellow in Design.

Field is co-sponsored by the Office of the Provost, the Fine Arts department, the Creative Writing department, and the Center for Teaching and Learning, Pratt Institute.

Additional support has been provided by Pratt Facilities and Operations, and the Pratt Brooklyn Library. Special thanks to Lisa Banke-Humann, SeoKyeong Lee Yoon, Kalinka Rogashka, the Inclusive Pedagogy Faculty Learning Community, and the many other faculty, students, and staff members who have contributed their time to make this collaborative series possible.

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