INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com INSTANT CLASS KIT Curated by VESNA KRSTICH :: Commissioned & Directed by STEPHANIE SPRINGGAY :: Publication Design by SHANNON GERARD

INSTANT CLASS KIT is a Fourteen contemporary artists have CONTRIBUTORS: she continues her archival investi- portable curriculum guide and pop-up contributed to Instant Class Kit. The Anthea Black, BFAMFAPhD gation into the histories of Fluxus exhibition dedicated to socially- contemporary artists strive to deliver (Caroline Woolard and Susan and Happenings, and curriculum engaged art as pedagogy. Produced a curriculum based on the values of Jahoda), Elana Mann, Helen reform. Krstich has received research as an edition of four, the kit brings critical democratic pedagogy, anti- Reed and Hannah Jickling, Jen grants from the Canada Council for together contemporary curriculum racist and anti-colonial logics, and Delos Reyes, Josh MacPhee, the Arts, Ontario Arts Council and materials in the form of artist social justice, as well as continuing the Mare Liberum, PA System (Alexa the Toronto Arts Council. She has multiples such as zines, scores, experimental and inventive collabora- Hatanaka and Patrick Thompson), published in C Magazine, Art Papers, games, newspapers and other tion that defined Fluxus. The lessons, People’s Kitchen Collective (Sita Parachute, Canadian Art, and Curator: sensory objects from a diverse group syllabi and classroom activities Bhaumik, Jocelyn Jackson, Saqib The Museum Journal, among others. of artist-educators across North produced by this new generation of Keval), Rodrigo Hernandez- Her recent publication, "Multiple America. Instant Class Kit is closely artists address topics and method- Gomez, Shannon Gerard (with Elementary, Multiple Leftovers, modelled on the multi-sensory and ologies including queer subjectivi- students: Maddie Bellino, Leah Multiple Learning" appears in a critical open-ended strategies of Fluxkits, ties and Indigenous epistemologies, Benetti, Geryl Cabrera, Rocio anthology of texts edited by Helen as well as hands-on learning kits social movements and collective Cardoso, Angelica Granados Lopez, Reed and Hannah Jickling, and jointly commonly used in K-12 education. protest, immigration, technology, Riel Hattori-Caspi, Megan Moore, published by YYZBOOKS (Toronto) Combining these influences,Instant and ecology. Alongside the rise of Cleo Peterson, Celina Sieh, Francis and Black Dog (UK) in 2017. Class Kit offers an interactive and digital culture and online platforms Tomkins, Rebecca Vaughan, Regina speculative approach to teaching for communicating and working, Xiao, Dana Zamzul and artist- STEPHANIE SPRINGGAY that is participatory, collabora- multiples, printed editions and other researcher Andrea Vela Alarcon), is an Associate Professor in the tive, and social justice oriented. types of instructional ephemera Syrus Marcus Ware, and Tania Department of Curriculum, Teaching, continue to be important strategies Willard. and Learning at the University of Instant Class Kit was conceived in for contemporary artists engaged Toronto. She is a leading scholar in response to art historical research in social practice and pedagogy. VESNA KRSTICH is an art critic, research-creation methodologies undertaken as part of The Pedgogical curator, and art historian who teaches with a focus on walking, affect, new Impulse, a research-creation project The artistic works in the kit await Visual Arts and Theory of Knowledge materialisms and posthumanisms, exploring contemporary art as activation. Instant Class Kit is at Upper Canada College in Toronto. queer theory, and contemporary pedagogy in schools. This research intended for K-12 and university-lev- Her research explores the interrela- art and pedagogy. Her most recent examined the experimental collabora- el art students and teachers, as well tionship between performance-based research-creation projects are tive practices of Fluxus, Happenings, as curators, activists, community practices and experimental pedagogy documented at www.thepedagogica- and other artist-teachers employed organizers, and others interested from the 1960s onwards. She holds limpulse.com, www.walkinglab.org at art institutions across Canada and in socially-engaged art practices an MA in Art Education from and www.artistsoupkitchen.com. She the US during the 1960s. Against the and pedagogy. Opening the kit for Concordia University and an MA in has published widely in academic backdrop of curriculum reforms, and the first time becomes a learning the History of Art from the Courtauld journals and is the co-author of the social and political change, these art- challenge unto itself, as participants Institute of Art, where she specialized book Walking Methodologies in a ist-teachers produced and distributed decide how to interpret, activate and in Contemporary Art. In 2013, she More- than-Human World: Walkinglab printed matter and other multiples respond to the instructional works, developed a curatorial residency (Routledge); co-editor of M/othering (such as posters, booklets and games) each dependent on time, space, and entitled Back to School at Gallery TPW a Bodied Curriculum: Emplacement, as documents of radical pedagogy. In context. In the tradition of mail in Toronto, which sought to examine Desire, Affect (University of Toronto recent years, there has been renewed art, the kit will travel to different performance instructions or ‘scores’ Press), co- editor of Curriculum interest in collecting, reprinting, and activators who will document and as curriculum material through a and the Cultural Body (Peter Lang); reactivating these obscure projects, share their experiences and findings program of workshops, screenings, and author of Body Knowledge and and in reappraising the merits of on The Pedagogical Impulse website and artist talks. As a collaborator Curriculum: Pedagogies of Touch in Fluxus-based pedagogy for education. as a series of online exhibitions. on The Pedagogical Impulseproject, Youth and Visual Culture (Peter Lang). INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com FROM FROEBEL TO FLUXUS: A Multisensory Guide to the Instant Class Kit Vesna Krstich AT FIRST, the name Instant performance instructions, posters, Watts, George Brecht, Geoffrey Class Kit feels like a misnomer. a curriculum plan in the form Hendricks, Allison Knowles, The title carries associations of a board game, essays, and and George Maciunas, as well as with the visual culture of 1960s response excerpts from students other loosely affiliated members, advertising and its promises of and guest artists – all contained such as Allan Kaprow – were immediate gratification, as well as within a cardboard storage box. at the forefront of curriculum the appropriation of these tropes reform in many postsecondary by Pop Art. Yet it also implies The project was funded by the institutions across the United States a degree of humour and irony. Carnegie Corporation and led and Canada during the 1960s. Does learning, or teaching, for by artist and educator Robert that matter, really happen in an Watts, art historian Sidney Simon, Maciunas’s Mock-up for Proposals instant? Can you create an “instant and anthropologist Edmund for Art Education is a unique class” as easily as you can make Carter, with the aim of delivering Fluxus document as it functions 1. As cited by Sidney a cup of instant soup? Maybe. a research-driven experiment both as a curriculum resource Simon in “1:The Course,” in “participatory education.”1 and artistic endeavour. What George Maciunas, Mock- up for Proposals for Art Instant Class Kit borrows its ludic Unfortunately, the complex if the mock-up had circulated? Education (1970), Special title from an obscure archival nature of this publication made it How would the complex and Collections & Archives, source: a white legal-size envelope challenging for the publisher to mysterious assemblage of items University of California, Santa Cruz. labeled “INSTANT CLASS KIT– reproduce and as a result, it never been handled and activated by with readymade responses,” circulated widely in its intended participants? The currentInstant designed by artist George format. Instead, a simplified, Class Kit we have assembled is Maciunas. The envelope contains bound edition was published as guided by a desire to reimagine black-and-white headshots of Proposals for Art Education, From how inventive works of curriculum students and instructors who a Year Long Study Supported could fulfill their original purpose took part in a curriculum-re- by the Carnegie Corporation by bringing them back into the form project at the University of of New York 1968-1969. This hands of learners themselves. California, Santa Cruz during publication was sent to various the 1968-69 academic year. The artists, educators, and theorists note on the front of the envelope, for consultation and use. presumably to the printer, contains instructions for the students’ eyes Maciunas and Watts both belonged to be die cut out of the headshots, to Fluxus – an international transforming each image into a network of poets, artists and mask. This unconventional class composers who worked across portrait forms part of a mock-up different media, and who sought for an elaborate three-dimen- to integrate art into everyday life. sional publication designed by Fluxus artists produced concerts Maciunas called Mock-up for and performances, as well as Proposals for Art Education (1970). instructional works, ready-made The mock-up consists of assorted objects, and printed editions. A documents – including unbound handful of these artists – Robert

Fig. 1. Gift 1: Balls, Kindergarten material based on the educational theories of Friedrich Froebel, Manufacturer: J. L. Hammett Co., ca.1898, wool, each: diam. 2” (5.1 cm). Gift of Lawrence Benenson, The Museum of Modern Art, New York (photograph provided by © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY) INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com

2. Froebel’s play-based curriculum was greatly influenced by Johann Fig. 2. Suggested exercises for Froebel’s First Gift, plate 1(b), in Johannes and Bertha Ronge, A Practical Guide to the Heinrich Pestalozzi, English Kinder Garten (Children’s Garden), For the Use of Mothers, Nursery Governesses, and Infant Teachers; Being a progressive Swiss an Exposition of Froebel’s System of Infant Training, Accompanied by a Great Variety of Instructive and Amusing educator who devised a Games, and Industrial and Gymnastic Exercises (London: Hodson and Son, 1858) teaching method centered on the idea of Anschau- ung, or “object lessons.” Pestalozzi abandoned CURRICULUM KITS aids used in the classroom to series of play-based curriculum kits traditional lecturing teach a host of subject areas. These that used interactive learning toys and memorization and instead offered children of The present-day Instant Class Kit mass-manufactured tools may take known as “gifts and occupations,” diverse socio-economic draws from the lineage of packaged the form of coloured dice, puzzles, which included geometric forms backgrounds the oppor- or games, while others are of a such as balls, wooden blocks and tunity to learn concepts kits such as Do-it-Yourself (DIY) and facts firsthand by kits and curriculum kits. DIY kits more conceptual nature, consisting spheres for building, coloured having them study and come in many formats and are of photographic reproductions, papers for folding, sticks for interact with objects. For maps, or instructions. assembling, and others.2 Each gift example, apples and designed for an array of purposes: stones were used to teach from building model airplanes was contained in its own wooden children about mathemat- to sewing, and from embroidery The impetus to use interactive, box and introduced to the children ical operations such as sensory objects in the classroom sequentially, gradually increasing addition and subtraction, to science experiments. Such and nature walks were kits come with all the necessary can be traced back to Friedrich in complexity to match the child’s seen as an opportunity to instructions and tools to assemble, Froebel, a nineteenth-century developmental ability. For example, study plant specimens. German early childhood educator the first gift consisted of six See Norman Brosterman, make, or perform an activity. In Inventing Kindergarden K-12 education, curriculum kits who coined the term kindergarten. crocheted woollen balls attached to (New York: Harry N. are common hands-on teaching Froebel conceived and designed a strings in primary and secondary Abrams, 1997), 19-21. INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com

Fig. 3. George Brecht, Water Yam, 1963, cardboard box with offset label, containing 69 offset cards, 5 7/8 x 6 5/16 x 1 3/4” (15 x 16 x 4.5 cm). Designer & Producer: George Maciunas. Publisher: Fluxus. The Gilbert and Lila Silverman Fluxus Collection Gift, The Museum of Modern Art, New York (artwork © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, photograph provided by © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY)

colours (Fig 1). Froebel believed avant-gardes of the early twentieth Yam as part of “Happenings, that children’s sensory play with century.3 During the 1960s, Events, and Advanced Musics,” 3. Early avant-garde these abstract shapes could later conceptual and performance which took place in the Old Gym examples in the form be applied to observing, analyzing, artists were able to harness the at Douglass College at Rutgers of illustrated textbooks and imagining with real spherical possibilities of print culture on a University. He was also invited by emerged from within major art education institutions. forms experienced by the children wider scale, employing multiples to Robert Watts to compile an “event For example, El Lissitsky in their everyday surroundings: for complement or supplement their book” with students enrolled in and Kazimir Malevich’s example, studying seedpods in the ephemeral works. This, in turn, Watts’s research-driven course O novykh systemakh v iskusstve. Statika i skorost’ garden or learning basic geometry, also helped to democratize their Experimental Workshop.⁴ (On New Systems in Art: motion, or direction. They were work by making it more accessible Such events began to shape the Statics and Speed), 1919 also used as the basis for lessons to a wider audience. Rather than curriculum at Rutgers as early as was published in an edition of 1000 by the Vitebsk Art on dancing, singing, or drama producing discrete, singular works 1958, when faculty members Allan Labour Cooperative as improvisations instigated by the of art, the circulation and dis- Kaprow and Robert Watts were part of the The People’s children. Instructional manuals tribution of multiples became a invited by the Dean, Mary Bunting, Art School in Vitebsk. Similarly, Paul Klee’s consisting of didactic illustrations way for artists to also circumvent to spearhead an interdisciplinary Pedagogical Sketchbook, were also published to complement the commercial gallery system program known as the Voorhees first published in 1925 the gifts. These visual aids provided and art market, paving the way Assemblies. The Voorhees Chapel and designed by Laszlo Moholy-Nagy, consists of teachers with suggestions for how for alternative economies and and the Old Gym, and other his observations, notes, to guide and facilitate the children’s systems of exchange. Some artist spaces around the Rutgers campus, drawings, patterns, interaction with the toys (Fig 2). multiples were also created and were transformed into alternative diagrams and calculations. It served as the primer for used inside the classroom. classroom environments through a a design theory course program of concerts, happenings, at the Bauhaus School in Multiples were a key field of and lectures. The Voorhees Germany. ARTIST MULTIPLES activity for the artists associated Assemblies also sought to involve with Fluxus. George Brecht’s Water undergraduate and graduate 4. Robert Watts, “Art Like curriculum kits, artist Yam (1963), the first Flux edition, students: initially as participants Seminar & Experimental multiples come in many formats. is a cardboard box housing an and, later, as members of the pro- Workshop, Pilot Study,” Typewritten proposal (c. They range from mass-pro- assortment of printed cards in gramming committee when the 1966?), The Robert Watts duced artist books, zines, posters, various sizes that contain abbre- program was rebranded in 1969 Papers, Getty Research printed instructions and games, viated, haiku-like prompts called as the New Voorhees Assembly Institute, Box 6, Folder 15. to limited-edition handmade “event scores” (Fig 3). These in- Programs. In the words of faculty objects. Although the production structions invite participants to member and fellow Fluxer Geoffrey 5. As cited in Geoffrey and circulation of multiples enact everyday actions or con- Hendricks, “the nature of the Hendricks (ed.), Critical template impossible scenarios. classroom changed, demonstrat- Mass: Happenings, Fluxus, are commonly associated with Performance, Intermedia performance and conceptual Brecht pioneered the idea of event ing that innovation in art and and Rutgers University practices of the late 1950s onwards, scores as a student in John Cage’s pedagogy go hand in hand.”⁵ 1958-1972 (New Bruns- Experimental Composition music wick, NJ: Rutgers University the artistic preoccupation with Press, 2003), 18. multiplicity, reproducibility, class at the New School for Social and democratization of the art Research in New York. In 1963, object can be traced back to the he enacted scores from Water INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com

FLUXKITS decision-making and a sense of or can it be shared with others? interconnectedness. In doing so, Nonetheless, the glove’s presence The current Instant Class Kit is she likens the experiential nature underscores the importance of inspired by the format and multi- of Fluxkits to the tactile tools touch: to slip one’s hand into the sensory nature of Fluxkits. Fluxkits found in the Lab School Kit used glove curtails fine motor dexterity contain printed event scores, news- by students enrolled in the Labo- and limits the opportunity to feel papers, and/or small, interactive ratory School in Chicago, which the objects’ individual textures three-dimensional objects housed was founded on the principles of and sizes. The kit functions as a in hinged boxes or retrofitted pragmatist educator and philoso- series of qualitative experiments attaché cases (Fig 4). Fluxkits were pher John Dewey.⁶ For example, for one’s inner child – a cure for 6. Hannah Higgins, produced in multiple editions, as George Brecht’s Valoche/A Flux travel boredom – a game of public Fluxus Experience Travel Aid (1959-1975) offers an mischief (if one is so inclined). (Berkeley: University of part of anthologies, and for distri- California Press, 2002), bution via mail order. Fluxkits and adult version of the Froebel gift 55. Flux editions were often presented (Fig 6). The French wordvaloche Today, interacting with the afore- to audiences during Fluxus per- translates as suitcase, which, in this mentioned multiples, primary formances. For example, during case, is filled with several playful, objects, or documents preserved in Flux-Sports (1970), organized by rather than practical, items. Remi- archives, involves similar processes: George Maciunas as part the New niscent of a wooden toy chest, the opening, touching, coaxing, Voorhees Assembly Programs, small box contains an assortment smelling, unfolding, unfurling, and students were invited to casually of rubber and plastic balls, marbles, listening as artifacts rattle and roll rummage through Flux editions and noisemakers in various shapes, around inside their small boxes. laid out on a long wooden bench sizes, textures and weights, along Yet, this experience of Fluxkits is in the Old Gym at Douglass with a single glove. Picking up the carefully controlled for conser- College (Fig 5). He also installed items with one’s fingers immedi- vation purposes by museums or a display of Fluxkits for students ately sets off a host of sensations: other institutions. The experience to examine firsthand as part of the cool, smooth marbles produce is often silent, and touch is occa- the Flux-Show (1970), which a click sound when they rub-up sionally conditioned by the use of took place in the Arts Building. against each other; rubber balls white archival gloves. Even while are warmer and softer; and the libraries or special collections make Today, Fluxkits and Fluxus editions noisemakers rattle unexpectedly. accessible multiples that are too have become precious, collectible How high could you bounce this rare or too fragile to circulate, the artifacts. However, according to art rubber ball? What kind of space experience remains incomplete historian Hannah Higgins, such do you need to play a game of and, for the most part, a solitary objects demand to be touched, marbles? How does the tin noise- rather than shared activity. smelled, tasted, and heard, in maker compare to the sound of addition to being observed, in the basket-woven variety? Will order to fulfill their pedagogical I disturb others or invite them function. Fluxkits can offer par- to join? The single glove offers ticipants a form of multisensory a curious juxtaposition: is this learning that encourages collective glove intended for a single user

Fig. 4. Various Artists, Flux Year Box 2, late 1960s, mixed media and technique, 20 x 20 x 8.5 cm (7 7/8 x 7 7/8 x 3 3/8 inches). Harvard Art Museums/Fogg Museum, Barbara and Peter Moore Fluxus Collection, Margaret Fisher Fund and gift of Barbara Moore/Bound & Unbound, M26448.1-43 (artwork © George Maciunas Foundation / Artists Rights Society (ARS) NY, photograph provided by Imaging Department © President and Fellows of Harvard College) INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com

7. The Pedagogical Impulse is a research- creation project at the intersections of social practice art and pedagogy. Social practice is a term used to describe artwork that focuses on human in- teraction, social discourse, and creative action. As a site for artistic-research in art and education, The Pedagogical Impulse has initiated a number of experimental, critical, and collaborative projects including Instant Class Kit. Documentation of projects can be found at https:// thepedagogicalimpulse. com/.

8. In 2010, curators Ginger Scott and Johanna Sher- idan initiated a rethinking of the David Askevold’s Projects Class (1969), a seminal example of experimental teaching in Canada that bridges the distinction between art and pedagogy. Askevold presented students with a Fig. 5. Peter Moore, Photo of students looking at Flux Boxes, Old Gym, Douglass College, February 7, 1970 (© 2019 series of collective class- Barbara Moore/Licensed by VAGA at Artists Rights Society (ARS), NY, Courtesy Paula Cooper Gallery, NY) room activities by inviting conceptual artists such as Robert Barry, Lawrence Weiner, Lucy Lippard, and (1963), sought: “To fuse the cadres cal, and playful spirit of Fluxus Jan Dibbets (to name a INSTANT CLASS KIT few) to submit lessons via of cultural, social and political has been seen as an antidote to telephone or mail in the The present-day Instant Class revolutionaries into unified front regimented instructional models form of instructions for and action.” These avant-gardist and an opportunity to engage students to activate. Edi- Kit responds to the process of tions of these instructional handling these primary objects. aspirations were arguably at play in multiple learning styles.⁹ In lessons were presented Rather than curating an exhibition the context of the Fluxus-inspired some cases, their integrative as a series of twelve white teaching experiments of the late approach towards media has typewritten notecards. The where similar materials would be notecards were contained encased in vitrines or available for 60s. The New Voorhees Assembly inspired schools to explore new in a manila envelope, manipulation within the confines Program mentioned earlier – now pathways for interdisciplinary which was rubber-stamped led by Geoffrey Hendricks and a collaborations across different with the school’s address. of a library or special collection, Scott and Sheridan’s Instant Class Kit was conceived committee of students, many of departments.10 Furthermore, later project engaged to circulate, and its curriculum them women – involved guest multiples continue to be important with students enrolled in artists, educators and theorists who strategies for contemporary performance-based studio materials to be handled, courses at OCAD Univer- anywhere. The instructions delivered lectures on the pressing artists engaged in social practice sity, graduate students are open-ended so as to allow issues of the day, including Black – as forms of documentation, of Philosophy from the liberation and women’s rights, as alternative economies, or as Institute for Christian participants to collectively decide Studies, and Art History how to interpret, manipulate and amongst others. This interdisciplin- pedagogical strategies both inside students from University activate the multiples housed ary program corresponded with a and outside the classroom. of Toronto, Mississauga, larger reform that was unfolding in amongst others. The inside. The unfolding process program was produced in and documentation of these select art schools and universities conjunction with the exhibi- experiences become research- across North America: namely, to tion Traffic: Conceptual art integrate more humanities-driven in Canada c. 1965-1980. creation events. This flexible In a similar gesture, at the curatorial model resists the discourse and urgent social issues Yukon School of Visual Art, typical fate of both Fluxkits and into studio practice, along with the founding director Charles concurrent breakdown of media- Stankievech harnessed historical curriculum materials: the “extreme remoteness” to lie dormant in the archive, specific art practices through the of the school’s location as without circulation, foreclosing use of Happenings, Fluxus events, an opportunity to organize and conceptual art practices as a unique course prospec- the promise of manipulation as tus. He invited a group of they were originally intended. forms of pedagogy. Institutions contemporary artists to such as Rutgers, California Institute mail him letters-as-lessons of the Arts, and the University for students to activate as Instant Class Kit arises from part of four-year long proj- an extensive research-creation of California, Santa Cruz, were ect entitled Over the Wire. project exploring the histories all part of this transformation See http://media.yukonso- of art education in the 1960s. va.ca/over-the-wire/ of social practice art and radical teaching practices in the work of performance and conceptual Over the past decade, 9. Higgins draws upon artists of the 1960s, as well as contemporary artists, educators Howard Gardner’s theory of contemporary artistic practices and scholars have tried to Multiple Intelligences and reimagine how performance Robert Filliou’s artist book, influenced by these histories.⁷ Teaching and Learning as Fluxus was a diverse international and conceptual instructional Performing Arts (1970), art association that included works of the 1960s could enliven which outlines a Fluxus- post-secondary training in art inspired built environment women, queer artists, and artists of and pedagogical model colour. The larger political agenda schools, colleges and universities.⁸ called the "Poipoidrome." of the group, as articulated by Higgins contends that the See Higgins, 190. Maciunas in the Fluxus Manifesto communitarian, non-hierarchi- INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com

Instant Class Kit contains sub- the potential for activation-as- missions from a diverse group of education can be more fully contemporary artists working at realized as a form of collaborative the intersection between art and play and hands-on learning. In this pedagogy, and offers an innova- manner, Instant Class Kit is a gift tive way of engaging people with for students and teachers alike. the methods and forms of social practice art. Their contributions Caution: learning may or may to the kit are not only experiential not happen in an instant. or interactive in nature, but also stem from a passionate commit- ment to social justice, activism and methodologies that challenge Western, white, heteronorma- tive narratives of both art history and education. The documents and objects housed inside Instant Class Kit offer participants alter- native methods for writing and researching the history of social 10. In 2016, the James Gallery at the City Uni- movements, queer and feminist versity of New York syllabi, and serve as entry points University created a into discussing Indigenous episte- cross-disciplinary program based on Allison Knowles’ mologies, as well as more playful, House of Dust (1967), a participatory tactics of learning. computer-generated poem The value of presenting and circu- produced with composer James Tenney. Knowles lating curriculum in this manner used the stanza (A house lies in the connectivity, experimen- of plastic/In a metrop- tation, and learning it can create olis/Using natural light/ Inhabited by people of all among multiple participants across walks of life) as a score different locations and spaces. for a built environment, which was originally installed at the Penn South Like Froebel’s kindergarten Housing Co-op in New children playing with their objects, York. When Knowles was or Rutgers students rummaging hired to teach at CalArts the following year, she through the Flux editions, Instant transported the structure Class Kit brings these multiples to the campus and used it into the classroom and to a as an alternative class- room space from 1970- larger network of curators and 72. The James Gallery community organizers where exhibition and parallel events included artists and scholars from diverse fields including music, architecture and computer science. The project also involved the collabora- tion of students from the Social Practice Program at Queens College and the Spitzer School of Architec- ture throughout the fall se- mester. See https://www. centerforthehumanities. org/james-gallery/exhibi- tions/house-of-dust.

In 2018, faculty members of the CalArts School of Critical Studies, Janet Sarbanes and Ken Ehrlich, and curators Maud Jacquin and Sébastien Pluot developed a similar project entitled: Reframing House of Dust (2018). The curatorial and academic team set out to explore the possibilities of digital technology, design, and the arts by reinventing the original score. They worked with students to erect a new structure made of glass as part of their “Wintersession” workshop, which was used as the stage for a program of community events, dis- cussions, and workshops. See https://eastofborneo. org/articles/reframing-the- house-of-dust-an-inter- Fig. 6. George Brecht, Valoche/A Flux Travel Aid, 1959-1975. Jean Brown Papers, Getty Research Institute, Los An- view-with-janet-sarbanes- geles, 890164 (artwork © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, photograph provided and-ken-ehrlich/ by Getty Research Institute, Los Angeles) INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com INSTANT CLASS KIT: INVENTORY

Susan Jahoda and Caroline Woolard contribute to the ongoing work of BFAMFAPhD collective. The artists are motivated by an understanding that, as teachers in Bachelor of Fine Arts and Masters of Fine Arts programs, their pedagogical spaces are rare places where students can gather and find a community of people who do not question the value of the ANTHEA BLACK SUSAN JAHODA arts. And yet, while Jahoda and & CAROLINE WOOLARD Woolard appreciate project- Keep Queering the Syllabus, based and experiential learning Keep Queering the Syllabus is of BFAMFAPhD 2019 a contemporary art fanzine that in studio arts pedagogy, they contains personal snapshots of believe studio programs may be 16-page zine with hand-stitched queer and trans artists, writers, Making and Being Cards, failing students and faculty who binding, limited edition letter- and cultural producers, compiled 2018 want to talk about collaboration, press bookmark on Mohawk by Black. The fanzine expands healing, politics or the political carnival yellow paper on the format developed by Black Set of 171 cards printed and economy, and who are often Zine: 7.5 x 4 .5 inches for the ‘Queering the Syllabus’ die cut on card stock with an isolated or discouraged from Bookmarks: 1 x 9 inches section of HANDBOOK: Support- instruction sheet. having these conversations in ing Queer and Trans Students in Booklet and excerpts from studio programs. In response, HANDBOOK: Supporting Art and Design Education, which Making and Being they created a card game to offer Queer and Trans Students in was the first resource book of its Cards: 3.5 x 5.5 x 2 inches students and faculty a resource Art and Design Education, kind to help faculty of all orienta- Card game instruction sheet: to encourage discussions and 2018 tions incorporate anti-oppressive 8.5 x 11 inches the development of art projects teaching practices and queer Booklet: 8.5 x 11 x .25 inches on these topics. Edited by Anthea Black and curricula into their classrooms. Shamina Chherawala The fanzine also includes a limit- Printed by Nick Shick and ed-edition bookmark that can be Queer Publishing Project detached and given as a gift to a 6 x 9 inches queer and/or trans student. Tacky Forms is a series of chewing prompts that invite participants to explore the sensory qualities of three raw gum materials (chicle, mastic, and larch resin) and the resulting forms sculpted by their tongues, teeth, jaw and cheeks. This body of work was inspired by Alina Szapocznikow’s Pho- tosculptures depicting miniature bloblike pieces of masticated chewing gum. Helen Reed and HELEN REED and Hannah Jickling’s investigation into the scientific and experiential HANNAH JICKLING qualities of gum is adapted from a workshop series called Tacky Forms, 2019 BUBBLETROUBLE, an extension ELANA MANN The People's Microphony Song- of their ongoing project platform book contains resistance songs Vinyl envelope, prompts, chicle, Big Rock Candy Mountain. For The People’s Microphony inspired by the People’s Micro- mastic and larch resin this project, the artists developed Songbook, 2013 phone (also known as the Peo- 9.5 x 7.5 x 1 inches a recipe in collaboration with ple's Mic or the Human Mic), Grade 6 & 7 students from Queen Contributors: Andrew Choate, which is a technology that en- “Pulling out of my mouth the Alexandra Elementary School Allison Adah Johnson, Arianne ables public speakers at large strangest forms / I suddenly in East Vancouver. The gum, Hoffmann, Audra Wolowiec, assemblies or gatherings to be realized / the existence of an specially sourced for Instant Class Chris Cuellar, Daniel Goode, heard without the use of electric extraordinary collection of Kit, is accompanied by chewing Danielle Adair, G Douglas amplification. Many contributors abstract sculptures / passing prompts for ‘mindful chewing’ Barrett, Douglas Wadle, originally wrote songs for the between my teeth.” - Alina activities that transform raw gum Elana Mann, Heather Warren- Los Angeles-based experimen- Szapocznikow into an alternative material for art. Crow, Iván Sánchez, James tal choir the People's Micro- Klopfleisch, Jenny Donovan, phony Camerata. The songs Juliana Snapper, Kala Pierson, explore human voice as mate- Kimberly Kim, Mikal Czech, rial, political and sensorial. The Michael Matthews, Pauline People’s Microphony Songbook Oliveros, Rachel Finkelstein, makes these songs available to Jen Delos Reyes’ instructions Sascha Goldhor, and Sibyl a wider public to navigate and invite students to collectively O'Malley. to engage with the People's produce a ‘phone sculpture’ with Mic, through active listening their cell phones; the phone Newsprint and the use of voice within a sculpture must be constructed at 9 x 11.5 inches collective space. the beginning of each class and then remain intact for its duration. The instructions are inspired by diverse art forms and practices JEN DELOS REYES from the history of modern and contemporary art, ranging from Phone Sculptures, Dada poetry to Conceptual art. 2016-present This provocative and participa- tory activity was designed by the Printed cards, acrylic cell artist to address what she refers phone case to as the ‘mental absences’ or 'digital distractions' caused by 6 x 3 x .25 inches excessive cell phone use. INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com

The Celebrate People’s History posters are rooted in the DIY tradition of mass-produced political propaganda. They bring moments in the history of social justice struggles to life such as the fight for LGBTQ rights, Black liberation, and labour reform. The posters tell stories of marginalized and oppressed peoples – such as Indigenous resistance leader Gabriel Dumont, and civil rights activist Sylvia Ray Rivera – and other public intellectuals, activists, and educators who are typically written out of official history. A number of different artists and JOSH MACPHEE designers contributed to the collection in an effort to embody Celebrate People’s History, the principles of democracy, 1998-present inclusion, and group participation in the writing and interpretation of Contributing artists: Jesus history. Today, Celebrate People’s MARE LIBERUM Barraza, Blanco & Peter Cole, History posters hang in dorm Dave Buchen, Jen Cartwright, rooms, apartments, community (Jean Barberis, Ben Cohen, Julio Cordova, Courtney Dailey & centers, classrooms and city Dylan Gauthier, Arthur Poisson, Act Up Philadelphia, Cheyenne streets. Over 125 different Sunita Prasad, Kendra Sullivan, Garrison, Shannon Gerard & designs have been printed over and Stephan von Muehlen) Mary Tremonte, Lana Grove, the past 20 years, with more Sam Kerson, Josh MacPhee, than 300,000 posters printed. Liberum Dory, 2008/2018 This set of broadsheets and Dylan Miner, Ricardo Levins 14 are included in this kit. These stencils is designed for amateur Morales, and Carrie Moyer. posters help to rupture dominant Reprinted broadsheet with boat builders and seafarers. narratives in school curricula and Dory stencils Step-by-step instructions guide 14 posters invite students to find alternative 22.5 x 33 inches participants through the fabrica- 2 color offset printed posters ways of understanding, tion of three vessel types: Dory, 11 x 17 inches each researching, and writing the past. Radical Seafaring Broadsheet, Punt and Kayak. Following a 2015/2018 methodology loosely drawn from radical designers such as Enzo Reprinted broadsheet with Mari, DIY boat builders such as Punt stencils John Gardner, and the critical 22.5 x 33 inches pedagogy of educator Paolo Resolution is an instructional Friere, the Mare Liberum collective card that playfully draws on Commissioned for the exhibition has designed and released plans self-help strategies or visual- Radical Seafaring, curated by for a number of water crafts to ization goal setting exercises. It Andrea Grover for the Parrish Art inspire others to build boats as invites the participant to make Museum, Southhamptom, New platforms for art, inquiry, environ- a miniature sculpture of a need, York, 2016 mental learning, and activism. desire, dream, or goal, thereby The name Mare Liberum is Latin, making their intention tangible. Liberum Kayak, 2011/2018 meaning ‘freedom of the seas.’ With this phrase, seventeenth-cen- The sculptures are meant to Reprinted broadsheet with tury jurist and philosopher Hugo function as a form of ‘sympa- Kayak stencils Grotius proclaimed that all nations thetic magic,’ which is based 22.5 x 33 inches should have equal access to the on the idea that objects can sea. Following his principles, symbolically imitate or represent Commissioned for the exhibition participants are encouraged to one’s desires or intentions. The SeaWorthy, EFA Project Space launch their newly constructed insert is paired with the Future and Flux Factory, curated by boats in local waterways, where Snowmachines in Kinngait Jean Barberis, Benjamin Cohen, they become vehicles to explore (Process Book), a booklet that Dylan Gauthier, Michelle Levy, issues such as local history, documents an ongoing project Georgia Muenster, and Kendra processes of gentrification, and with Kinngait youth living in Sullivan, New York, 2011 ecology and climate change. PA SYSTEM Cape Dorset, Nunavut. Youth sculpted imaginary snowmobiles Future Snowmachines in out of playdough, which were Kinngait (Process Book) then 3D printed and enlarged & Resolution, 2017-2019 into aluminum sculptures. The sales and commissions of these Hatanaka’s instructional Youth collaborators: Janice snowmobile sculptures fund booklet sends participants on Qimirpik, Lachaolasie Akesuk, Kinngait’s Lands and Cultural a surreal journey through city David Pudlat, Moe Kelly, Nathan Leadership Program. Since the streets in search of words with Adla and Christine Adamie sculptures fund real snowmo- which to construct their own biles for the leadership program, chance-based poems. Content Self-published book and the youth alchemically turned is recorded through relief instructional insert their playdough gestures into rubbings of historical plaques, 11 x 7 inches functional machines. maps, signage, or vanity license plates. Students then share the found words with one another. Hatanaka intends this exercise to ALEXA HATANAKA spark conversations about public space, local history, or social Cut & Paste, 2019 practice methodologies. The activity asks students to embrace Booklet uncertainty and to find intention 11 x 7 inches within the limitations it sets out. INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com

When you didn’t feel well as a child, what remedies did your parents, caretakers, or elders give you? In Kitchen Remedies, People’s Kitchen Collective invites participants to bring the stories, traditions and wisdom of our elders and ancestors into the kitchen. Hernandez-Gomez adapts the brief, open-ended and occasionally The collective seeks remedies RODRIGO absurd nature of the Fluxus score for everything from upset into a series of instructional pieces stomachs to the patriarchy HERNANDEZ-GOMEZ that can be performed either (because we know that these inside or outside the classroom. are, in fact, connected). Calling, 2019 The artist subverts the standard Ingredients hold stories of Seashell, textile, instructions form of Fluxus scores, which are our resilience. In the face of Dimensions variable typically printed on small white oppressive systems such as cards, by presenting his on silk White supremacy, capitalism, Class Feedback, 2019 and amate (a type of bark paper patriarchy, the prison industrial Amate paper, vinyl lettering used by Indigenous peoples of complex, and police violence, Dimensions variable central Mexico). Some prompts healing ourselves is an act of are also handwritten on found self-determination. Through Museum Without Entrance, materials like postcards and PEOPLE’S KITCHEN the act of healing we feel the 2019 album covers. The instructions strength of those who have Digital print on silk cover three levels of time and COLLECTIVE come before us. Kitchen Dimensions variable scale: immediate action, weeklong Remedies includes four cards activity, and longer-term field (Sita Kuratomi Bhaumik, Jocelyn corresponding to four remedies An Empty Shell, 2019 trips. The instructions call upon Jackson, Saqib Keval) from the People’s Kitchen Album cover, vinyl record participants to perform myriad Collective. Open a container Dimensions variable activities, including: whispering Kitchen Remedies, 2016 and pass it around. Read the into seashells, teaching art history matching remedy card. What Listening Exercise, 2019 from an Indigenous perspective, Duplicate forms, ingredients, does it smell like? Are the Permanent marker on found visiting the homes of collectors, aluminum foil pouches, remedies familiar or unfamiliar? postcard and performing esoteric numerical remedy cards Is there a sensation or feeling Dimensions variable calculations. Dimensions variable evoked with each remedy?

This multicoloured poster series, Activist Love Letters prompts created by Shannon Gerard and participants to consider their students enrolled in her Pressing own activism, and that of people Issues course at the OCAD who inspire them. The project University contains a whimsical is inspired by the powerful, and array of screen-printed images often hidden letters sent among SHANNON and textual descriptions. When activists and organizers—words of GERARD with unfolded, the posters reveal the support and encouragement, rage PRESSING ISSUES faces of important feminists, and fear, caution and inspiration writers, artists, and other radical SYRUS alike. Activist Love Letters asks, “If STUDENTS educators such as Sister Corita you could reach out to one per- Kent and Adrian Piper. Counter MARCUS WARE son who moves you through what Counter with Care Poster with Care was produced and they do, who would it be? What Series, 2018 designed in response to a Activist Love Letters, would you say?” The objects and curriculum document of the 2012-present exercises lead you through the Student contributors: Maddie counterculture movement from process of initiating a group writing Bellino, Leah Benetti, Geryl the 1970s called Blueprint for String, clothespins, poster and performance, including the steps Cabrera, Rocio Cardoso, Counter Education. Blueprint printed documents involved in hosting an event and Angelica Granados Lopez, for Counter Education is a Dimensions variable mailing the letters afterwards. Riel Hattori-Caspi, Megan box set containing three large Moore, Cleo Peterson, Celina diagrammatic posters and an Sieh, Francis Tomkins, instructional manual produced Rebecca Vaughan, Regina by Maurice Stein and his former Xiao, and Dana Zamzul, and student Larry Miller. After artist-researcher Andrea Vela studying the original posters, Alarcon. Gerard and her students made their own syllabus, one 4 posters, envelope. that pushes back against the Screenprint Western, white and male-centric Posters: 17 x 22 inches perspectives of the original and Envelope: 6 x 9 inches invites users to do the same. INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com

Making and Being is a contribution to BFAMFAPhD made by Susan Jahoda and Caroline Woolard. Susan Jahoda is a Professor in Studio Arts at the University Willard has curated a selection of Amherst, MA and Caroline Woolard is an Assistant Professor of Sculpture at of statements from the manifesto of BUSH gallery, a The University of Hartford, CT. Currently supporting this project are collective text that she often uses as a members Agnes Szanyi, and Vicky Virgin, members of BFAMFAPhD. Agnes starting point for talking about Szanyi is a Doctoral Student at The New School for Social Research in New Indigenous epistemologies York, NY and Vicky Virgin is a Research Associate with the Mayor's Office for with students. BUSH gallery is Economic Opportunity in New York, NY. From 2016-2018, Emilio Martinez an experimental, land-based Poppe was a Fellow supporting Making and Being. residency that examines how “gallery systems and art ELANA MANN brings a greater consciousness to the listening and mediums might be transfigured, speaking we practice in everyday life. She has presented her artwork in city translated and transformed by Indigenous knowledges, parks, museums, galleries, and buses including: Pitzer College Art Galleries, traditions, aesthetics, perfor- Claremont, CA; the Museum of Contemporary Art, San Diego; The Museum mance and land use systems.” of Contemporary Art, Chicago, IL; Commonwealth & Council, Los Angeles; BUSH GALLERY The statements are printed Ben Maltz Gallery, Otis College of Art and Design, Los Angeles; REDCAT, Los (Tania Willard, Peter Morin, on bark harvested from the Angeles; The Getty Villa, Los Angeles; Montalvo Arts Center, Saratoga, CA; Gabrielle Hill, and Birch Tree) Secwepemcul’ecw territory in and the Lu Xun Academy of Fine Arts, Shenyang, China. She is involved with British Columbia, where BUSH numerous collaborative/collective endeavors and most recently organized Chats BUSH Gallery Manifesto, 2018 gallery is located. By blending About Change with Robby Herbst, a series of grass-roots conversations with (written 2016) contemporary laser-etching artists involved in creative social change. She is a recipient of awards from the techniques with locally-sourced California Community Foundation, the Center for Creative Innovation, the Laster-etched Birchbark materials, Willard transposes harvested in Secwepemcúl’ecw, the time and space of BUSH Rema Hort Mann Foundation, and the Foundation for Contemporary Arts. In with muslin drawstring bag gallery into new pedagogical 2017 she was recognized as a Cultural Trailblazer by the City of Los Angeles and Dimensions variable settings. was the 2017-18 artist-in-residence at Pitzer College’s Ceramics Department. Her writing has been published in periodicals and books such as Afterall journal, Art 21, and In the Canyon, Revise the Canon.

HELEN REED AND HANNAH JICKLING have been collaborating since 2006. Their projects take shape as public installations, social situations, CONTRIBUTOR BIOS and events that circulate as photographs, videos, printed matter, and artists’ multiples. They are currently fascinated with the ‘contact high’ intrinsic to collaborative research, especially in their recent projects with children. Helen ALEXA HATANAKA is a visual artist working primarily in relief and Hannah have exhibited and performed internationally, with both individual print-making and textile based in Toronto. She also paints large-scale murals and collaborative work appearing in such venues as: The Portland Art Museum and creates work that is based in material exploration, craft and playful repre- (OR), The Dunlop Art Gallery (SK), Smack Mellon (NY), Doris McCarthy sentation. She employs different combinations of printmaking, weaving and Gallery (ON), The Yukon Arts Centre Gallery (YT), YYZ Artists’ Outlet (ON), dying, painting, and paper-making. In recent years, her colourful, tactile works Carleton University Art Gallery (ON), Dalhousie University Art Gallery (NS), have been shown at: the Nanjing Arts Institute, China; La Place Forte, Paris; Bästa Biennalen (SE), The Vancouver Art Gallery (BC), The Power Plant (ON) Articulate Baboon, Egypt; and the Manifesto Festival, Toronto. Hatanaka is and Flat Time House’s first issue of NOIT (UK). In Fall 2017, they released Japanese Canadian and embodies her heritage within her practice in its spirit of Multiple Elementary, a book that explores the elementary school classroom as solidarity, grit, and social justice. Hatanaka’s collaborative practice, PA System a site of invention and reception of contemporary art practices, published by with Patrick Thompson, creates public artwork, painting and video. They exhibit YYZBOOKS (Toronto) and Black Dog (UK). Jickling and Reed are recipients in institutions internationally, such as the Canada House in London, the Centre of the 2016 Ian Wallace Award for Teaching Excellence (Emily Carr University de Cultura Contemporània de Barcelona, and the Art Gallery of Ontario. PA of Art & Design), a 2017 Mayor’s Arts Award for Emerging Public Art (City of System has an ongoing project called Embassy of Imagination (EOI) based in Vancouver) and a 2018 VIVA Award (Jack and Doris Shadbolt Foundation for Kinngait (Cape Dorset, Nunavut) for and with Kinngait youth. the Visual Arts).

ANTHEA BLACK is a Canadian artist, writer, and cultural worker based JEN DELOS REYES is a creative labourer, educator, writer, and radical in San Francisco and Toronto. Her studio work addresses feminist and queer community arts organizer. Her practice is as much about working with history, collaboration, materiality, and labour, and has been exhibited in Canada, institutions as it is about creating and supporting sustainable artist-led culture. the US, France, Germany, The Netherlands and Norway. Black is co-editor of Delos Reyes worked within Portland State University from 2008-2014 to create Handbook: Supporting Queer and Trans Students in Art and Design Education the first flexible residency Art and Social Practice MFA program in the United with Shamina Chherawala, Craft on Demand: The New Politics of the Handmade States and devised the curriculum that focused on place, engagement, and with Nicole Burisch, and the co-publisher of The HIV Howler: Transmitting dialogue. The flexible residency program allows for artists embedded in their Art and Activism with Jessica Whitbread. Black’s curatorial projects include communities to remain on site throughout their course of study. She is the SINCERITY OVERDRIVE (2005), SUPERSTRING (2006), the ongoing research director and founder of Open Engagement, an international annual conference platform and touring exhibition No Place: Queer Geographies on Screen (initiated on socially-engaged art that has been active since 2007. She is the author of I’m in 2011), and PLEASURE CRAFT (2014), which have focused on embodied Going to Live the Life I Sing About in My Song: How Artists Make and Live Lives perspectives and politics in relational practice, contemporary textiles, queer of Meaning, a book exploring the artist impetus toward art and everyday life. film and video, and film craft respectively. Black is an Assistant Professor in Delos Reyes currently lives and works in Chicago, IL where she is the Associate Printmedia and Graduate Fine Arts at California College of the Arts. Director of the School of Art and Art History at the University of Illinois Chicago. BFAMFAPHD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. JOSH MACPHEE is a designer, artist, and archivist. He is a founding The work of the collective is to bring people together to analyze and reimagine member of both the Justseeds Artists’ Cooperative and Interference Archive, relationships of power in the arts. BFAMFAPhD received critical acclaim for a public collection of cultural materials produced by social movements based Artists Report Back (2014), which was presented as the 50th anniversary keynote in Brooklyn, NY (InterferenceArchive.org). MacPhee is also the curator of at the National Endowment for the Arts and was exhibited at the Brooklyn the politically charged printmaking exhibition Paper Politics, which has been Museum, the Museum of Art and Design, Gallery 400 in Chicago, Cornell touring North America since 2004. In 2001, he co-organized the Department University, and the Cleveland Institute of Art. Its work has been reviewed in of Space and Land Reclamation in Chicago with Emily Forman and Nato The Atlantic, the New York Times, the Washington Post, the New Yorker, Andrew Thompson. In 2018, he also co-organized the exhibition Free Education! The Free Sullivan’s The Dish, WNYC, and Hyperallergic, and it has been supported by University of New York, and the Liberation of Education, with exhibition curator, residencies and fellowships at the Queens Museum, Triangle Arts Association, Jacob Jackobsen. MacPhee is the author and editor of numerous publications, NEWINC and PROJECT THIRD at Pratt Institute. BFAMFAPhD members including Signs of Change: Social Movement Cultures 1960s to Now and Signal: Susan Jahoda and Caroline Woolard are now working on Making and Being, A Journal of International Political Graphics and Culture. He has organized the a multi-platform pedagogical project that offers practices of collaboration, Celebrate People's History poster series since 1998 and has designed book covers contemplation, and social-ecological analysis for visual artists. for many publishers over the past decade (AntumbraDesign.org). INSTANT CLASS KIT . THE PEDAGOGICAL IMPULSE . thepedagogicalimpulse.com

MARE LIBERUM (ML) is a collective of visual artists, designers, and beyond the presentation of texts and images, and how the social position of writers who formed around a shared engagement with New York’s waterways works (in other words, where we tend to encounter particular modes of art) in 2007. As part of a mobile, interdisciplinary and pedagogical practice, the mediates how we become engaged as readers/viewers. As a self-professed collective has: designed and built boats; published broadsides, essays and books; “professional mischief maker,” her work with public/pedagogical projects such invented water-related art and educational forums; and collaborated with as The Carl Wagan Bookmobile and Mountain School Bookhouse emphasizes the diverse institutions in order to produce public talks, collaborative exhibitions, materials and ethos of independent publishing as social-political engagements. participatory works and voyages. ML’s work bridges dialogues in art, activism, and science by remapping landscapes, reclaiming local ecologies, and observing SYRUS is a Vanier Scholar, visual artist, activist, curator and educator. Syrus and recording the overlaps of nature, industry and the polis. The collective’s uses painting, installation and performance to explore social justice frameworks projects connect divergent constituencies with shared environmental concerns, and black activist culture. His work has been shown widely, including at the create waterfront narratives ranging from the industrial to the personal, and Art Gallery of Ontario, the University of Lethbridge Art Gallery, Art Gallery of catalyze the creation of engaged publics. Employing the methodologies of York University, the Art Gallery of Windsor, and as part of the curated content civic hacking, participation, open source, social sculpture, and temporary at Nuit Blanche 2017 (The Stolen People; Won’t Back Down). His performance occupations, the collective extrapolates on Lefebvre’s or Harvey's ‘right to the works have been part of festivals across Canada, including at Cripping The Stage city’ to include its neglected waterways. Mare Liberum has presented work at the (Harbourfront Centre, 2016), Complex Social Change (University of Lethbridge Centre Pompidou - Musée national d'art moderne, Paris, the Carpenter Center Art Gallery, 2015), and Decolonizing and Decriminalizing Trans Genres for the Visual Arts at Harvard University, the Parrish Art Museum, MASS (University of Winnipeg, 2015). Syrus is a core-team member of Black Lives MoCA, the Neuberger Museum, and EFA Project Space, among others. The Matter - Toronto. Syrus is also part of Blackness Yes!/Blockorama. Syrus has won collective is Jean Barberis, Dylan Gauthier, Ben Cohen, Stephan von Muehlen, several awards, including the TD Diversity Award in 2017. Syrus was voted “Best Arthur Poisson, Sunita Prasad, and Kendra Sullivan. Queer Activist” by NOW Magazine (2005) and was awarded the Steinert and Ferreiro Award for LGBT community leadership and activism (2012). Syrus is a PA SYSTEM (Alexa Hatanaka and Patrick Thompson) create public PhD candidate at York University in the Faculty of Environmental Studies. artwork and work in textile, printmaking, painting, and video. They exhibit in institutions internationally, such as the Canada House in London, the Centre de TANIA WILLARD, Secwépemc Nation, works within the shifting ideas Cultura Contemporània de Barcelona and the Art Gallery of Ontario. PA System of contemporary and traditional as it relates to cultural arts and production. has an ongoing project called Embassy of Imagination (EOI) based in Kinngait Willard often works with bodies of knowledge and skills that are conceptually (Cape Dorset, Nunavut) for and with Kinngait youth. EOI animates yearly art linked to her interest in intersections between Aboriginal and other cultures. workshops and creates collaborative community art projects, including public Willard has worked as a curator in residence with grunt gallery and Kamloops murals, performances, and exhibitions, within Kinngait, and across Canada and Art Gallery. Willard’s curatorial work includes Beat Nation: Art Hip Hop and internationally. The youth have an important voice both as individual artists, and Aboriginal Culture, a national touring exhibition first presented at Vancouver through collectively contributing to Indigenous place-making, and challenging Art Gallery in 2011. Recently Willard curated CUSTOM MADE at Kamloops the expectations for youth-engaged art. EOI is a reciprocal sharing of knowledge Art Gallery and was selected as one of five National curators for a National and ideas, expressing cross-cultural collaboration and shared human experience scope exhibition in collaboration with Partners in Art and National Parks. Her as an embodied practice and in material form. PA System and EOI are creating a upcoming project co-curated by Karen Duffek will be a solo show,Unceded commission for the forthcoming Toronto Biennial of Art. Territories: Lawrence Paul Yuxweluptun at the Museum of Anthropology. Willard’s personal curatorial projects include BUSH gallery, a conceptual space PEOPLE'S KITCHEN COLLECTIVE (PKC) works at the intersection of art for land-based art and action led by Indigenous artists. and activism as a food-centered political education project. Based in Oakland, California, our creative practices reflect the diverse histories and backgrounds of co-founders Sita Kuratomi Bhaumik, Jocelyn Jackson, and Saqib Keval. Written in our families' recipes are the maps of our migrations and the stories of our ACKNOWLEDGEMENTS resilience. It is from this foundation that we create immersive experiences that honor the shared struggles of our people. We believe in radical hospitality as a strategy to address the urgent social issues of our time. We approach community Instant Class Kit was made possible through the generous support of a Social dining as a social practice, creating meals in collaboration with artists, poets, Sciences and Humanities Research Council (SSHRC) of Canada grant. researchers, and activists as multi-sensory productions of cultural resilience and joyous political critique. Through public speaking and workshops, we share A special thanks to The Pedagogical ImpulseGraduate Research Assistants for our expertise and research of food and social movements to build solidarity their on-going support. across race, class, nationality and gender. We create participatory projects with museums, galleries, and in public spaces that engage the social politic and Thank you to copy editor, David Ben Shannon, Manchester Metropolitan potential of food. For more information visit: peopleskitchencollective.com. University, and to Joseph Madura and Natalie Hadad for their editorial assistance. We also extend thanks to the following individuals for facilitating RODRIGO HERNANDEZ GOMEZ creates installations, artist multiples, rights and permissions for works of art reproduced in the curatorial essay: and socially-engaged projects. His installations explore non-dominant forms J’Aimee Cronin, Julie Markey, and Maria E. Murguia from the Artists Rights of cultural authenticity and co-instituting models through wall texts, video, Society (George Brecht Estate, Peter Moore Estate, and the George Maciunas and photo-collage. His civic-engaged projects deal with estates of migrant Foundation); and to Meghan Brown, Art Resource; Isabella Donadio, Harvard knowledge, value creation, and critical pedagogy. His artist multiples are Art Museums; and Virginia Mokslaveskas, The Getty Research Institute, for wearable pieces, such as goggles and headpieces, that situate Indigenous Nahua providing photographic reproductions. Numerous gallery, museum, and archival aesthetics in juxtaposition with diasporic expression. Rodrigo was born in staff helped to coordinate primary research: Special Collections staff, The the Anahuac (Mexico City) and raised near Cuicuilco. He is of Nahua descent Getty Research Institute; Olivian Cha, Collections Manager, Corita Art Center; and is currently making work in Canada, Italy and Scotland. His installations, Victoria Sigurdson, Head, Visual Resources & Special Collections, Dorothy H. new-media work, wearable art pieces and performative projects have been Hoover Library, OCAD University; Teresa Mora, Head Archivist, University presented internationally, including contributions to: the Hemispheric of California, Santa Cruz; Sara Seagull, Robert Watts Estate; and Tamara Encuentro, Sao Paolo, Brazil; the National Museum of Art, La Paz, Bolivia; Bloomberg, Estate of Allan Kaprow. and the Justina M. Barnicke Gallery, Toronto. In 2013, he was a co-organizer of the Decolonial Aesthetics Symposium in Toronto. Rodrigo is a founding Instant Class Kit was also produced in close collaboration with artist and member of AYOTZI 68; a cultural organization for supporting hemispheric Associate Professor, Shannon Gerard, who designed this publication and the kit Indigenous sharing in contemporary art, radical education and food sovereignty box cover. Her Print and Publications course, aptly titled Pressing Issues, served movements. As a member of La Lleca Collectiva (Mexico City), E-fagia LA as an incubator for examining historical and contemporary artist multiples and media arts (Toronto), AYOTZI 68 (Vancouver), and in his ongoing collabo- other “exhibition in a box” formats. rations with other artists, Rodrigo is committed to a critical, intellectual and collaborative artistic practice.

SHANNON GERARD is an artist and Associate Professor in Publications and Print Media at OCAD University. Her work spans a variety of media. She produces written and drawn artist multiples and editions, prints, crochet, and This research was supported by the Social Sciences and Humanities large-scale installations incorporating stop-motion animation and wheat paste. Research Council of Canada. Gerard’s work employs play as a research strategy. Her areas of interest include the mindset of the collector, the sculptural and performative possibilities suggested by books and book-objects, the conceptual space that books occupy