2015 CREATIVE TIME SUMMIT: THE CURRICULUM NYC

NOVEMBER 14 & 15, 2015

BOYS AND GIRLS HIGH SCHOOL BROOKLYN NY 2 THE CURRICULUM NYC 4 WELCOME FROM KATIE HOLLANDER 6 MESSAGE FROM NATO THOMPSON 8 GETTING TO KNOW BOYS AND GIRLS HIGH SCHOOL CAMPUS 10 OPENING NIGHT 11 WITH GRATITUDE 12 SETTING THE STAGE DEBATE, DISCUSS, DISSEMINATE @CREATIVETIMENYC 14 DAY ONE #CTSUMMIT 16 SCHEDULE CREATIVETIME.ORG/SUMMIT 18 PRESENTATIONS 42 CLASSROOM SESSIONS 56 AFTERNOON PRESENTATIONS

58 DAY TWO 60 SCHEDULE 62 PRESENTATIONS 80 CLASSROOM SESSIONS 94 AFTERNOON PRESENTATIONS

100 ABOUT CREATIVE TIME The Curriculum NYC

2 3 Welcome from Katie Hollander Katie Hollander Acting Director, Creative Time

Welcome to the Creative Time Summit: where better to grapple with these and dig deep. In a new format for the Fund, and The Gladys Krieble Delmas The Curriculum NYC! It feels great to issues than in a public school that Summit, we are offering 36 classroom Foundation as well as our 2015 be back in New York, the Summit’s deals every day with the relationship sessions, comprising open discussions, programming supporters, the Ford historic home, and we’re thrilled to among pedagogy, social justice, and roundtables, and workshops that we Foundation, Lambent Foundation, and be returning to the Boys and Girls citizenship? hope will create a vibrant exchange of Stavros Niarchos Foundation, the New High School Campus, which we had ideas and information. York City Department of Cultural Affairs the great pleasure of collaborating The Creative Time Summit is intended in partnership with the City Council, with on our 2014 project Funk, God, to be a convening space for artists, Events like this do not happen without and the New York State Council on the Jazz and Medicine: Black Radical activists, and others, including a dedicated team, devoted supporters, Arts. They are all champions of artists Brooklyn, presented in partnership with like-minded organizations, who are and people like you who feel just as and education, and they understand Weeksville Heritage Center. committed to exploring the intersection strongly as we do that art matters in the value and impact that convenings of art and social justice. With this in society and that artists should weigh like the Creative Time Summit have With special thanks to Okwui Enwezor, mind, the Summit team has once again in on the most pressing issues of our on the world we live in. I also want Artistic Director of La Biennale di outdone itself and brought together time. I start by thanking the incredibly to acknowledge the dedication and Venezia, for inviting us to bring the an incredible range of presenters, hard working and devoted team at support of Creative Time’s wonderful Summit to Venice this past August from artists, writers, and musicians, Creative Time, in particular Chief Board of Directors. And finally, I salute to address the topic of learning and to politicians, educators, and student Curator Nato Thompson, who is the our former Director, Anne Pasternak, knowledge production, we are pleased activists from high school through force behind the Summit, and Curator who for two decades led Creative Time to be presenting The Curriculum graduate school, among others. These of Engagement Sally Szwed, without with great vision, who continues to be NYC, which will focus on the effects two days will cover a lot of ground whom none of this would happen. an unrelenting champion of artists and of specific education policies and and give participants and presenters Additionally, I’d like to recognize Sophie the role they play in society. phenomena in the United States. And the opportunity to discuss, debate, Landres, our Mellon Global Initiatives Fellow, Lynnette Miranda, our Summit I hope that being on this incredible Coordinator, and Suhaly Bautista- campus will bring us all back to when Carolina, our Engagement & Education we were in high school, and perhaps Manager. Lynette and Suhaly worked first developed the passionate belief with many of the students you’ll see that we could change the world. While this weekend from the Nelson Mandela roaming the halls, I encourage you School for Social Justice and Research to take in the extensive art collection and the Service High School—two and the rich history of this institution, schools that are part of the Boys and whose illustrious alumni range from Girls High School Campus. Lena Horn to Randy Weston, from Shirley Chisholm to Norman Mailer, I’d also like to express our deepest and from Alan King to Rita Hayworth. CREATIVE TIME STAFF ON STAGE AT AT THE CREATIVE TIME SUMMIT: THE CURRICULUM gratitude to Summit funders, the Trust AT LA BIENNALE DI VENEZIA 2015. PHOTO BY GINEVRA FORMENTINI, 2015 for Mutual Understanding, the Malka To a life of learning! Fund, the Mark Kruger Charitable 4 5 Message from Nato Thompson Nato Thompson Chief Curator, Creative Time

What should we learn? How should of social mobility and instead reinforce The Creative Time Summit serves He believed that beyond transforming we learn? Under what conditions class strata. as a gathering place for the growing individuals, education carries the should we learn? These questions act community of those interested in revolutionary potential to transform as a through line in both of Creative Higher education is also at a breaking discussing art in conjunction with the world. “Liberation is a praxis,” he Time’s 2015 Summits. The Creative point. The U.S. Department of Labor social issues such as these. Art wrote, “the action and reflection of men Time Summit: The Curriculum NYC predicts that in order to earn a living historian Grant Kester has used the and women upon their world in order to follows the Creative Time Summit: The wage in today’s economy, employees term “dialogic” to describe artworks transform it.” Curriculum, which took place at La need at least some postsecondary that emphasize dialogue and Biennale di Venezia as part of Okwui education. Yet almost three-quarters of discussion. Such art seems to create a And so we continue a relationship Enwezor’s exhibition All the World’s college graduates have nearly $30,000 pedagogic space that, while not always between Creative Time and the Boys Futures. That iteration took a broad of student loan debt, one-fifth of which utilitarian, can serve as an alternative and Girls High School (BGHS) that was and even abstract approach to thinking derives from predatory private loans form of knowledge-making, one that initiated when artist Xenobia Bailey about curriculum, while the New York with unforgiving repayment options. produces an engaged relationship with collaborated with the school in our Summit focuses on issues that are The administrative solution to this the viewer. This quality is ubiquitous 2014 exhibition Funk, God, Jazz, and particularly germane to the United crisis has been to defund liberal arts in socially engaged art today. Thus, Medicine: Black Radical Brooklyn. States. programs, rely on underpaid adjunct the dialogic is the underlying principle We are excited to have now forged faculty, and refashion education of the Summit’s presentations relationships with the other incredible The crisis in American education is as a relationship between student- on curriculum, testing, debt, high schools on the BGHS campus: far-reaching. Public schools have customers and teachers whose role infrastructure, and privatization. It will the Research and Service High School trouble maintaining good teachers. It it is to provide job-training services. also be the foundation of the afternoon and the Nelson Mandela School for has been estimated that 80 percent of classroom sessions, which focus more Social Justice. With its impressive students from low-income backgrounds American public schools no squarely on issues within socially collection of African American art and read below their grade level. According longer serve as the great, engaged art such as cultural equity, commitment to making the world a to Editorial Projects for Education democratic equalizer. They techniques of criticism, and how this better place, this dynamic campus (EPE), some 1.1 million American are no longer vehicles of field manifests in graduate programs. is the ideal setting for our learning students drop out of school every year, praxis. From within the very rooms and that for African-American and social mobility. As with previous Creative Time where pedagogical structures are being Hispanic students across the country, Summits dedicated to the intersection rethought and young scholars practice dropout rates are close to 40 percent, Meanwhile, approximately 20 percent of art and politics, The Curriculum NYC good citizenship, we welcome you to compared to the national average of 27 of college women will have been has a radical leaning. We keep in mind The Curriculum NYC. percent. The repercussions of this are sexually assaulted on campus by the a statement by Paulo Freire, the radical drastic. The Organization for Economic time they graduate and public schools educator who considered education Co-operation and Development has average one deadly school shooting to be a confrontation with power and found that American public schools no per week. Physically, economically, a source of agency for the powerless. longer serve as the great, democratic and intellectually, our students are in Freire believed that education was not equalizer. They are no longer vehicles danger. a passive act, but a radical practice.

6 7 Getting to Know Boys and Girls High School Campus

A Message from Stanley Kinard, About Boys and Girls High School Campus Manager, College and Career Care Center, Boys and Girls High Founded in 1878, Boys and Girls Chris Sheldon, Ernest Crichlow, School Campus High School is the oldest public high Norman Lewis, Vincent Smith, and school in Brooklyn. Its mission is to Eldzier Cortor. prepare students for achieving their full I would like to welcome the Creative Summit as a “creative time” to explore potential, making positive choices, and The mission of the Nelson Mandela Time Summit to the historic Boys how to undo that which is wrong and having a plan for life after high school. School for Social Justice is to create and Girls High School Campus. This to create a model that will inspire and It aims to teach its students to think lifelong, socially-conscious leaders Summit will advance the discussion of empower our youth and communities. critically and conscientiously about who use education as a powerful “curriculum,” which obviously means I am appealing to all of the activists themselves, their community, and their tool to change the world. In the spirit many different things to many different and artists to come out and participate global village. Notable alumni include of Ubuntu (human kindness) and people. At this historical juncture in roundtables, workshops, and Shirley Chisholm, Lena Horne, Rita Harambeehe (collective effort for the however, it is important that when we discussions where new models or Hayworth, Norman Mailer, Man Ray, common good), the school explores look at what we call the “curriculum,” ideas may be advanced. Let this be Randy Weston, Aaron Copland, and social justice themes through a it is in relation to the racial injustice the beginning of a sustainable and Alan King. challenging and engaging academic and miseducation that is prevalent in critical dialogue involving art, activism, curriculum in which students develop urban communities. At the same time creativity, social justice, and youth. critical thinking and problem-solving that we critique this, we must use the skills.

Research and Service High School fosters intellectual curiosity and lifelong learning through civic engagement and cultural relevancy. The school believes that students learn best when what ENTRANCE TO BOYS AND GIRLS HIGH they learn is personally meaningful SCHOOL CAMPUS. PHOTO BY HENRY MURPHY, 2015 and when they are empowered to take an active role in designing and implementing plans for community In addition to the Boys and Girls High economic, social, and political School, the campus is home to the development. Nelson Mandela School for Social Justice, the Research and Service High School, and an important collection of work by African American artists BOYS AND GIRLS HIGH SCHOOL CAMPUS'S THEATER. PHOTO BY BRIAN WELESKO, 2015 including Ed Wilson, Todd Williams,

8 9 Opening Night With Gratitude

Friday, November 13 Thank You Creative Time would like to thank Stanley Kinard for facilitating our ongoing partnership Visible on the High Line: with the Boys and Girls High School campus. Without his support, The Curriculum Making Collaboration NYC would not have been possible. We are also incredibly grateful to everyone at the Research and Service High School and the Nelson Mandela School for Social Curated by Visible (Matteo Lucchetti and Judith Wielander) Justice who have invited us into their classrooms and shared their expertise with us. In particular, it has been a privilege to collaborate with Principal Allison Farrington, The Curriculum NYC kicked off with an opening event, Visible on the High Line: Making Principal Tabari Bomani, and Ms. Sade Elhawary. We would also like to acknowledge Collaboration, co-presented with High Line Art. Curated by Matteo Lucchetti and all of the brilliant students we have had the pleasure to meet, as well as those we are Judith Wielander of the Visible Project, this event included site-specific performances thrilled to count among us at the 2015 Creative Time Summit: The Curriculum NYC! by Marinella Senatore and Nástio Mosquito. During the event, Visible announced the winner of the 2015 Visible Award. Staff Visible is a contemporary art research project devoted to producing and sustaining The Creative Time Summit is the result of profound teamwork. As an underlying value socially engaged art practices. Since 2010, it has taken a global and interdisciplinary system, we believe in a collective method of working and thus, want to acknowledge approach to researching the physical and theoretical spaces in which these practices that each role is important and critical in making a space for a shared experience. effect society. In 2011, Visible initiated the Visible Award, the first European award for socially engaged artistic practices. The Visible Project is supported by Cittadellarte – Creative Time Summit Team Fondazione Pistoletto in collaboration with Fondazione Zegna. Katie Hollander, Acting Director Summit Interns Nato Thompson, Chief Curator Katharine Suarez Sally Szwed, Curator of Engagement Sofie Jamal Sophie Landres, Mellon Global Initiatives Fellow Marloe Mens Lynnette Miranda, Summit Coordinator Lucy O’Brien, Public Relations Consultant Ben Bromley, Visuals Manager Suhaly Bautista-Carolina, Engagement and Education Manager

Leadership The 2015 Creative Time Summit at Boys and Girls High School Campus is made possible with the support of our dedicated friends and champions. Lead support has been generously provide by the Trust for Mutual Understanding, the Malka Fund, the Mark Krueger Charitable Fund, and The Gladys Krieble Delmas Foundation.

Major Creative Time programming support for 2015 has been provided by:

MARINELLA SENATORE’S SCHOOL OF NARRATIVE DANCE PROCESSION AT THE CREATIVE TIME SUMMIT: THE CURRICULUM AT LA BIENNALE DI VENEZIA 2015. Creative Time’s 2015 official lodging partner is Airbnb. PHOTO BY GINEVRA FORMENTINI, 2015

10 11 Setting the Stage

CHTO DELAT’S STAGE DESIGN AT THE CREATIVE TIME SUMMIT: THE CURRICULUM AT LA BIENNALE DI VENEZIA 2015. PHOTO BY ISABELLA BALENA, 2015

Chto Delat (What is to be done?) is a collective comprising artists, critics, philosophers, and writers from St. Petersburg and Moscow. Responding to a sense of urgency about the need to merge political theory, art, and activism, it was founded in St. Petersburg in 2003. Chto Delat produces art projects, theatrical plays, videos, radio programs, educational seminars, public murals, and political campaigns. It also publishes a newspaper called Chtodelat? Printed in Russian and English, this covers culture and politics from around the world. In 2013, the collective founded The School of Engaged Art in St. Petersburg. Recent exhibitions include Time Capsule. Artistic Report on Catastrophes and Utopia, Secession Building, Vienna (2014); Excluded: In a Moment of Danger, São Paulo Biennale (2014); Really Useful Knowledge, Museo Nacional Centro de Arte Reina Sofía, Madrid (2014–15); and Art Turning Left: How Values Changed Making 1789–2013, Tate Liverpool (2013).

Chto Delat derived its idea for the stage design of both the Venice and New York iterations of the 2015 Creative Time Summit: The Curriculum at la Biennale di Venezia from the way the Soviet Houses of Culture (venues established to house all recreational activities) decorated community events such as trade union meetings, political rallies, or celebrations. Traditionally, their designs were intended to greet visitors and didactically encourage them to participate in the event’s agenda. Applying this method to the Summit, Nikolay Oleynikov and Dmitry Vilensky have created a series of banners that correspond with the Summit’s main themes. Each banner contains image and word games that approach the themes DETAIL OF CHTO DELAT’S BANNERS AT THE CREATIVE TIME SUMMIT: THE CURRICULUM from various intellectual, political, and aesthetic perspectives. AT LA BIENNALE DI VENEZIA 2015. PHOTO BY ISABELLA BALENA, 2015

12 13 Day One

14 15 Schedule Day One: November 14

10:00 AM Introduction and Welcome Remarks 1:25 PM Power and Soul Lunch KATIE HOLLANDER FEATURING A SPECIAL PROJECT BY NYC COUNCIL MEMBER ROBERT E. CORNEGY, JR. DOUGLAS PAULSON AND VALERIA MOGILEVICH RASHANNA JACKMAN SEE PAGE 40 FOR DESCRIPTION CALVIN BROWN NATO THOMPSON 2:30 PM Classroom Sessions I OPEN DISCUSSIONS, WORKSHOPS, ROUNDTABLES 10:20 AM Keynote SEE PAGE 42 FOR FULL SCHEDULE AND DESCRIPTIONS BOOTS RILEY

3:30 PM Break 10:50 AM Section I: A Curriculum’s Contents SANDRA JACKSON-DUMONT MODERATOR 3:45 PM Classroom Sessions II NAEEM MOHAIEMEN TAHIR HEMPHILL OPEN DISCUSSIONS, WORKSHOPS, ROUNDTABLES HANS HAACKE SEE PAGE 42 FOR FULL SCHEDULE AND DESCRIPTIONS SIMONE LEIGH

4:45 PM Break 11:50 AM Break

5:00 PM Performance 12:05 PM Conversation JENNIFER REID LEONARD LOPATE ANDREW ROSS 5:15 PM Statement EMMA SULKOWICZ 12:35 PM Section II: Debt and Wages SARAH KENDZIOR MODERATOR 5:25 PM Wrap-Up EMILY BARNETT RASHIDA BUMBRAY THE DEBT COLLECTIVE (LAURA HANNA AND ASTRA TAYLOR) NATO THOMPSON MFA NO MFA

STAGE MUSICIANS MIKEL BANKS AND NGOMA 1:20 PM Classes in Session BURNTSUGARINDEX.COM/PERSONNEL/MIKEL-BANKS SALLY SZWED NGOMAZWORLD.COM 16 17 NOTES 19 The Creative Time Summit turns the stage over to a current student a current student the stage over to Summit turns Time The Creative of Research and Service High School. In and a recent graduate the stage for The Curriculum NYC. turn, their insights set High School alum Rashanna Jackson, Research and Service High School student Calvin Brown, Research and Service Democrat; Community Democrat; Community Organizer; Educator; NYC Council Member USA Brooklyn, NY,

As New York City Council Member for Member for City Council As New York northern Crown Bedford-Stuyvesant and chairs Jr., Heights, Robert E. Cornegy, Business and the Committee on Small a Law, Avonte’s is the lead sponsor of school safety by bill designed to improve of audible alarms increasing the number on public school doors. He previously taught marketing at Brooklyn College, ran a residential treatment center for chemically dependent men, and was a legislative policy analyst for the City Council, supporting the committees on Force to and the Task Aging and Veterans Combat Gun Violence. Presentations Day One

Robert E. Cornegy, Jr. E. Cornegy, Robert Council Member Council 18 Presentations Day One

KEYNOTE NOTES Boots Riley

Musician; Activist Oakland, CA, USA

Boots Riley is a provocative and prolifi c American poet, rapper, songwriter, producer, screenwriter, humorist, political organizer, community activist, lecturer, and public speaker. He is best known as the lead vocalist of political hip hop groups The Coup and Street Sweeper Social Club. Fervently dedicated to social change, Boots has been deeply involved with the Occupy Oakland movement and was the head of the activist group The Young Comrades.

20 21 Presentations Day One

SECTION I A Curriculum’s Contents

Within an infinite field of possible studies, any given curriculum is but a partial and subjective selection of information. Presentations in this section shed light on content that tends to be excluded and the politics behind the selection process.

Sandra Jackson-Dumont, Moderator Naeem Mohaiemen Tahir Hemphill Hans Haacke Simone Leigh

SIMONE LEIGH’S “FREE PEOPLE’S MEDICAL CLINIC,” PART OF FUNK, GOD, JAZZ, AND MEDICINE: BLACK RADICAL BROOKLYN. PHOTO BY SHULAMIT SEIDLER-FELLER, 2014.

22 23 NOTES 25 Section I: A Curriculum’s Contents A Curriculum’s Section I: a curriculum is but studies, any given eld of possible fi nite Within an infi of information. Presentations in this section partial and subjective selection the tends to be excluded and the politics behind shed light on content that selection process. Brooklyn, NY, USA; Brooklyn, NY, Dhaka, Bangladesh Historical Anthropologist; Historical Anthropologist; Artist; Ph.D. candidate, Columbia University Frederick P. and Sandra P. and Sandra P. Frederick P. Rose Chairman of Education, The Metropolitan Museum of Art USA City, New York

Naeem Mohaiemen researches borders, Naeem Mohaiemen researches borders, wars, and belonging after postcolonial ruptures. His long-term project, The Young , explores the revolutionary left as Man Was a form of tragic utopia. The latest chapter, Last Man in Dhaka Central, premiered at support 2015 with La Biennale di Venezia and a Guggenheim from Creative Time Fellowship. Sandra Jackson-Dumont is responsible is responsible Sandra Jackson-Dumont of The for the vision and management education and Metropolitan Museum’s for diverse public programs designed the audiences. She was previously and Deputy Director for Education Public Programs and an Adjunct Curator in the Modern and Contemporary Art Department at the Seattle Art Museum. Sandra is invested in curating experiences that foster dynamic exchanges between art/artists, past/present, public/private, and people/places. MODERATOR Presentations Day One

Jackson-Dumont Sandra

Mohaiemen Naeem 24 NOTES 27 Section I: A Curriculum’s Contents A Curriculum’s Section I: a curriculum is but studies, any given eld of possible fi nite Within an infi of information. Presentations in this section partial and subjective selection the tends to be excluded and the politics behind shed light on content that selection process. New York City, USA City, New York Artist Artist USA City, New York

(2010) he created a Rap Almanac (2010) he created a

Born in Germany, Hans Haacke lives Hans Haacke lives Born in Germany, He is widely City. and works in New York considered to be an artist who does not pull any punches. Since the 1970s he has often used his art to illuminate political and sociological issues. His work has been included in four Documentas and São Paulo, Venice, Sydney, in Tokyo, Gwangju, and Johannesburg, Whitney, Sharjah biennials. Tahir Hemphill is an award-winning Hemphill is an award-winning Tahir multimedia artist, advertising creative and collaboration, interested in interdisciplinary uenced by artistic Infl thought, and research. and by art that deploys approaches to science Tahir investigates how c method, the scientifi and makes art with systems generate form tools that remove his hand from the process. For database that analyzes the language in Hip Hop and enables him to draw shapes from the data, revealing a layer of aesthetics that is related to music yet non-musical. Tahir studied at Morehouse College (BA, 1995) and Pratt Institute (M.Sci., 2000). Presentations Day One

Haacke Hans

Hemphill Tahir 26 NOTES 29 Section I: A Curriculum’s Contents A Curriculum’s Section I: a curriculum is but studies, any given eld of possible fi nite Within an infi of information. Presentations in this section partial and subjective selection the tends to be excluded and the politics behind shed light on content that selection process. Artist USA City, New York

Infl uenced by feminism, African art, and uenced by feminism, African art, and Infl Simone Leigh ethnographic research, that subvert creates surreal juxtapositions systems and the traditional iconographic support. She was power structures they Asiko Art a facilitator of the roaming by Bisi Silva School program organized at The Centre for Contemporary Art in Lagos, Nigeria (2012), and in Dakar, Senegal (2014). Simone has appeared in exhibitions around the world, received numerous awards, and was a resident at the Studio Museum in Harlem (2010–11). Presentations Day One

Leigh Simone 28 Presentations Day One

CONVERSATION The University as Institution

A complicated political economy is part and parcel of any institution of higher education. As universities expand globally, how does this political economy operate and how does it impact the quality or purpose of education?

Leonard Lopate Andrew Ross

GULF LABOR INTERVENTION AT LA BIENNALE DI VENEZIA 2015, PHOTO BY GULF LABOR AND G.U.L.F (GLOBAL ULTRA LUXURY FACTION), 2015

30 31 NOTES 33 Conversation institution of higher part and parcel of any political economy is A complicated does this political economy how expand globally, education. As universities it impact the quality or purpose of education? operate and how does New York City, USA City, New York Professor; Social Activist Host, The Leonard Host, The Leonard Lopate Show USA City, New York The Nation,

Andrew Ross is a Professor of Social and Andrew Ross is a Professor of Social and University Cultural Analysis at New York and a contributor to the The Guardian, , Times The New York Artforum, and Al Jazeera. He recently book, The Gulf: High edited Gulf Labor’s Culture/Hard Labor (OR Books, 2015), and is the author of Creditocracy and the Case for Debt Refusal (OR Books, 2013), among other titles. Leonard Leonard As host of the celebrated Lopate Show, Leonard has interviewed gures including fi writers, actors, political president, ex-presidents and a future chefs, comedians, economists, scientists, stars, dancers, historians, movie lmmakers, and do-it-yourself experts. fi Thirty-eight of his guests have been Nobel Prize winners, and the program itself has been honored with numerous awards, three Associated including a Peabody, and three for Best Interview, Press Awards on Food. In addition to his work with New for Best Shows James Beard Awards interviewer Public Radio, Leonard has made frequent appearances as an York area. Metropolitan the New York and moderator at major venues throughout Day One Presentations

Ross Andrew

Lopate Leonard 32 Presentations Day One

SECTION II Debt and Wages

College tuition is rising so drastically, many students take out expensive loans in order to stay in school. At the same time, adjunct professors and university employees such as cafeteria workers and security guards often earn less than a living wage. This section invites students, employees, and activists to address the economic inequalities of higher education.

Sarah Kendzior, Moderator Emily Barnett The Debt Collective (Laura Hanna and Astra Taylor) MFA NO MFA

PART-TIME FACULTY AND MEMBERS OF THE ACT-UAW RALLY OUTSIDE THE NEW SCHOOL'S UNIVERSITY CENTER. PHOTO BY ANNELISE MCGOUGH, COURTESY THE NEW SCHOOL FREE PRESS, 2015 34 35 NOTES 37 Section II: Debt and Wages Section II: College tuition is rising so drastically, many students take out expensive loans out expensive loans many students take is rising so drastically, College tuition At the same time, adjunct professors and university in order to stay in school. less than workers and security guards often earn employees such as cafeteria to address invites students, employees, and activists a living wage. This section of higher education. the economic inequalities President, ACT-UAW Local Local President, ACT-UAW Assistant 7902; Part-Time The New School Professor, USA City, New York Writer St. Louis, MO, USA , Times The New York

and was previously an The Guardian and was previously an Emily Barnett serves as President of Local 7902, the union ACT-UAW representing adjuncts at New York University and part-time faculty at The New School. Emily also teaches Color Theory at The New School. She is a and collage and printmaker, painter, installation artist whose current work uses nature and science imagery to create visual dialogues. , and Education, and The Chronicle of Higher many other publications. She has a Ph.D. in anthropology from Washington University in St. Louis. Sarah Kendzior is a regular contributor contributor Sarah Kendzior is a regular to . op-ed columnist for Al Jazeera English in Politico, Her writing has also appeared Foreign Policy, MODERATOR Presentations Day One

Barnett Emily Emily

Kendzior Sarah 36 NOTES 39 Section II: Debt and Wages Section II: out expensive loans many students take is rising so drastically, College tuition At the same time, adjunct professors and university in order to stay in school. less than workers and security guards often earn employees such as cafeteria to address invites students, employees, and activists a living wage. This section of higher education. the economic inequalities Collective drop-out action; Collective drop-out action; Artists Los Angeles, CA, USA Membership organization USA City, New York Hammer, and Williams (2008–12). directed Zizek! (2005) and Taylor

Julie Beaufi ls, Lauren Davis Fisher, Sid M. Sid M. Davis Fisher, ls, Lauren Julie Beaufi Edie Duenas, George Egerton-Warburton, Fake, Lee Relvas, and Ellen Schafer are the seven artists who constituted the MFA class that entered the University of Southern Roski School of Art and Design California’s in September 2014. In protest against administrative malfeasance and “unnecessary institutional bullshit,” they collectively dropped in May 2015. In program out of the MFA shifting ways, under the collective drop-out they continue to work No MFA, action, MFA together toward more weirdness and more joy. The Debt Collective (represented by by The Debt Collective (represented left, and Astra co-founders Laura Hanna, is a debtors union. As part of Taylor) Jubilee education Rolling Strike Debt’s collective power to initiative, it leverages nanced. is fi challenge the way education with The Debt In addition to their work lmmakers Collective, Laura and Astra are fi and co-founded the multimedia activist Laura has directed website Hidden Driver. row inmates: Gattis, lms about death four fi James, The People’s Platform: Taking Back Power and Back Power and Platform: Taking Examined Life (2008), and wrote The People’s 2015), which won an American Book Award. Culture in the Digital Age (Picador, Presentations Day One

No MFA MFA

Collective The Debt The Debt 38 Power and Soul Lunch Day One

Power and Soul Lunch Douglas Cafeteria, 2nd Floor – 1:25 PM

Paulson Based on conversations with local residents and students from the Boys and Girls High School campus, Douglas Paulson and Valeria Mogilevich Douglas Paulson maintains collaborative turn the school cafeteria into space for refl ecting on "power lunches," "soul food," students' experiences, and the power dynamics sometimes practices with many of his favorite people. at play when we sit down to eat. He loves creating sprawling cultural and educational projects that bring together people with disparate backgrounds. In collaboration with Heidi Neilson, he recently staged Menu For Mars Kitchen (The Boiler, 2015), which was an interactive kitchen Artist; Educator created to prototype food for the Red Planet. New York City, USA

Valeria Mogilevich

Valeria Mogilevich is a visual storyteller who collaborates with social justice organizations to create tools for audience participation. She also consults with cultural institutions, education nonprofi ts, and other organizations on community engagement and youth education. She is the former Deputy Director of The Center for Urban Pedagogy (CUP). Designer; Consultant New York City, USA

40 41 Classroom Sessions Day One Open Discussions Session I

AUDITORIUM EDUCATION AND THE RIGHT TO THE CITY SESSIONS I AND II Ingrid Haftel, Rachel LaForest, Jennifer A. Scott 3RD FLOOR SOCIALLY ENGAGED ART IN THE GLOBAL CONTEXT Tania Bruguera, Matteo Lucchetti, Judith Wielander Open Discussions, 3RD FLOOR THE COLLECTIVE IMPACT OF STUDENT, ACTIVIST, AND ARTIST ENGAGEMENT IN CURRICULUM DESIGN Workshops, and Stanley Kinard and students from Boys and Girls High School Campus Open Discussions Roundtables Session II AUDITORIUM SOCIALLY ENGAGED ART AND THE UNIVERSITY Ann Messner, Marlène Ramírez-Cancio, Gregory Sholette, Daniel Tucker

Both afternoons of the Creative Time Summit: The Curriculum NYC 3RD FLOOR CONTEMPORARY PRACTICES IN SOCIAL MOVEMENTS are dedicated to open discussions, roundtables, and workshops Janisha Gabriel, Gan Golan, Silvia Juliana Mantilla Ortiz held in the school's auditorium and third floor classrooms. These 3RD FLOOR MUSEUMS AND PUBLIC ENGAGEMENT sessions will provide opportunities for more intimate exchanges Sandra Jackson-Dumont, Sheetal Prajapati, Sarah Schultz among attendees, special guests, Summit presenters, and both students and teachers from Boys and Girls High School campus. Workshops While diving deeper into urgent pedagogical issues, they will also Sessions I and II address issues specific to the field of socially engaged art. ALL ON CENTER FOR ARTISTIC ACTIVISM 3RD FLOOR Open Discussions put 3-4 speakers in dialogue in core topics in the AIMEE MEREDITH COX NOAH FISCHER socially engaged art field, followed by responses from the audience. FLUX FACTORY Workshops take the form of hands-on, discursive activities HOPE GINSBURG between small groups of attendees. ALICIA GRULLON Roundtables facilitate topic-driven conversations between speakers and a small group of participants. Roundtables Sessions I and II

Session I 2:30 – 3:30 PM ALL ON NAEEM MOHAIEMEN Session II 3:45 – 4:45 PM 3RD FLOOR ADEOLA ENIGBOKAN AND TRACEE WORLEY The open discussion topics are different each session. Workshop CHLOË BASS AND ERICA MAPP and roundtable topics are the same in Session I and Session II. BETTY’S DAUGHTER ARTS COLLABORATIVE DAONNE HUFF SIMONE LEIGH 42 43 Classroom Sessions – Day One Open Discussions Open Discussions

SESSION I 2:30 – 3:30 PM, AUDITORIUM SESSION I 2:30 – 3:30 PM, 3RD FLOOR EDUCATION AND THE RIGHT TO THE CITY SOCIALLY ENGAGED ART IN THE GLOBAL CONTEXT

Ingrid Rachel Jennifer A. Tania Matteo Judith Haftel LaForest Scott Bruguera Lucchetti Wielander

Program Manager, Social Activist; Community Director, Jane Addams Artist Co-director and Co-Curator Co-director and Co-Curator The Center for Urban Organizer; Executive Hull-House Museum Havana, Cuba; of the Visible Project of the Visible Project Pedagogy (CUP) Director, Right to the City Chicago, IL, USA New Haven, CT, USA Brussels, Belgium Brussels, Belgium Brooklyn, NY, USA New York City, USA

Ingrid Haftel manages Founded in 2007, Right to See bio on page 74. Tania Bruguera researches Interested in expanding the Since 2009, Judith Community Education the City, based in Brooklyn, the application of art to field of curatorial action, Wielander has co-curated programs at The Center for NY, is a national alliance of everyday political life, Matteo Lucchetti conceived the Visible Project with Urban Pedagogy (CUP), a economic, environmental, focusing on transforming of an exhibition as a pop-up Matteo Lucchetti. The Brooklyn-based nonprofit and racial justice “viewers” into active political party office in Paris Visible Project is a biennial that uses design and art to organizations, dedicated to “citizens” and social affect (Enacting Populism, 2012) research award on socially increase meaningful civic halting the displacement into political effectiveness. and curated a program in engaged artistic practices in engagement, particularly of marginalized groups Her long-term projects Edward Snowden’s hotel a global context (Pistoletto among historically from urban neighborhoods. intervene with the ways room in Hong Kong (Don’t Foundation and Fondazione underrepresented Before working there, institutions structure Embarrass the Bureau, Zegna). In 2010, Judith communities. Before joining Rachel directed the collective memory, 2014). He and Judith also curated Contemporary CUP, she was Curator of Organizing and Public education, and politics. Wielander have also turned Myths by Wael Shawky and Exhibitions at the Chicago Policy departments at the To define her practice, the announcement for in 2014 she co-curated the Architecture Foundation, Transport Workers Union Tania uses the terms Arte the Visible Project (the Belgian Pavillion at the 14th where she developed Local 100 in New York de Conducta (Conduct/ Pistoletto Foundation International Architecture creative public projects City, where she mobilized Behavior Art), Arte Útil and Fondazione Zegna’s Exhibition, La Biennale di on contemporary urban union members to confront (Useful Art), political-timing juried award for socially Venezia. She is currently planning and design. city and state government, specific, and aest-ethics. engaged artistic practices) co-curating Brussels designed public policy Cátedra Arte de Conducta into a public event (Van Parckdesign 2016. education, and was a lead (Behavior Art Department, Abbemuseum, 2013; Tate coordinator of the 2005 2002–9), the art school for Liverpool, 2015). New York City transit strike. performance and political She was also the first Public art that she founded in Policy Director for Actors' Havana, Cuba, has inspired Equity and served as Lead others to create similar Organizer and Co-campaign institutions, particularly in Director at Jobs with Justice. Latin America. 44 45 Classroom Sessions – Day One Open Discussions Open Discussions

SESSION I 2:30 – 3:30 PM, 3RD FLOOR SESSION II 3:45 – 4:45 PM, AUDITORIUM THE COLLECTIVE IMPACT OF STUDENT, ACTIVIST, AND ARTIST SOCIALLY ENGAGED ART AND THE UNIVERSITY ENGAGEMENT IN CURRICULUM DESIGN Ann Gregory Stanley Messner Sholette Kinard Artist; Teacher, Artist; Associate Pratt Institute, MFA Professor, Queens Interdisciplinary Practices College New York City, USA New York City, USA

Ann Messner’s multidisciplinary work has Gregory Sholette helped establish the MFA an interventionist strategy. She is currently Concentration in Social Practice at Queens co-developing a transdisciplinary program College. He is a founding member of in social practice at Pratt Institute, Brooklyn. Political Art Documentation/Distribution, Gulf Cultural Activist She is also working collaboratively on a Labor Coalition, and REPOhistory. In 2010, Brooklyn, NY, USA yet-to be-disclosed facility that will serve Sholette wrote Dark Matter: Art and Politics as a New York-based community resource in an Age of Enterprise Culture and he center for artists and activists. co-edited It’s The Political Economy, Stupid See bio on page 68. with Oliver Ressler in 2013. His recent art projects include The Precarious Workers Pageant (Venice, Italy) and Imaginary Stanley Kinard will be accompanied Marlène Archive (University of Pennsylvania; by students from Boys and Girls High Zeppelin University, Germany). School Campus. Ramírez- Cancio Daniel Associate Director, Arts & Media, Hemispheric Tucker Institute of Performance and Politics, New York Director, Social and University Studio Practices, Moore College of Art and Design New York City, USA Philadelphia, PA, USA

At the Hemispheric Institute of Daniel Tucker makes documentaries, Performance and Politics, Marlène publications, and events inspired by Ramírez-Cancio activates creative thinkers his interest in social movements and in the Americas who are involved in artistic the people and places from which they practice and cultural transformation. emerge. Tucker is currently curating the The Institute’s international network traveling exhibition Organize Your Own: The researches socially engaged performance Politics and Poetics of Self-Determination and disseminates it through gatherings, Movements and recently completed the publications, courses, and digital platforms. feature-length video essay Future Perfect: Its mission is to create new avenues for Time Capsules in Reagan Country. thought and action. 46 47 Classroom Sessions – Day One Open Discussions Open Discussions

SESSION II 3:45 – 4:45 PM, 3RD FLOOR SESSION II 3:45 – 4:45 PM, 3RD FLOOR CONTEMPORARY PRACTICES IN SOCIAL MOVEMENTS MUSEUMS AND PUBLIC ENGAGEMENT Silvia Juliana Sandra Janisha R. Gan Mantilla Jackson- Sheetal Sarah Gabriel Golan Ortiz Dumont Prajapati Schultz

Artist; Designer; Artist; Author; Artist; Educator; Frederick P. and Sandra Educator; Artist; Assistant Curator Organizer; Founder, Community Organizer Organizer P. Rose Chairman Director of Learning and New York City, USA; Speak My Name Project Brooklyn, NY, USA New York City, USA of Education, The Artists Initiatives, The Minneapolis, MN, USA Bronx, NY, USA Metropolitan Museum Museum of Modern Art of Art (MoMA) Janisha R. Gabriel is a Gan is a New York Times Silvia Juliana Mantilla New York City, USA Brooklyn, NY, USA Sarah Schultz has worked painter, graphic designer, bestselling author and an Ortiz’s work is located at in museum education for and web designer. She activist and artist who has the intersection of oral two decades. She was has been involved in worked in direct action and history, migration, and See bio on page 24. In addition to her work at previously the Director of numerous social justice social justice movements feminism. She is the MoMA, Sheetal Prajapati Education and Curator initiatives centering on for twenty-five years. By Immigrant Movement is a cultural producer. of Public Practice at the Black liberation, gender combining grassroots International Corona She co-organizes Open Walker Art Center, where justice, and LGBTQ community organizing Community Organizer and Engagement, an annual she launched Open Field, equality. Janisha is the with high-profile, media- the Queens Museum’s conference on art and an experimental platform founder of the Speak My genic public spectacles, Artist Services Coordinator, social practice. Sheetal for social interaction, Name Project, a board he creates work that alters as well as a member received her BA from collective action, and member of The BLK popular narratives and of the transdisciplinary Northwestern University socially engaged art. She ProjeK, and the Technology mobilizes communities. collective Talk Is Cheap: and her MA from the is currently working with and Design organizer for Recently, he helped design Unincorporated Languages School of the Art Institute of the Golden Gate Park #BlackLivesMatter. The People’s Climate Laboratories. Chicago. National Conservancy, City March, which was the of Philadelphia Mural Arts largest climate mobilization Program, Moore College of in history. Art and Design, and several artist-run institutions. Her publications include Open Field: Conversations on the Commons (Walker Art Center, 2011) and Cat is Art Spelled Wrong (Coffee House Press, 2015).

48 49 Classroom Sessions – Day One Workshops Workshops

SESSION I, 2:30 – 3:30 PM AND SESSION II, 3:45 – 4:45 PM SESSION I, 2:30 – 3:30 PM AND SESSION II, 3:45 – 4:45 PM

WHAT IS WINNING? SHAPESHIFTING: EXPRESSING MUSEUM OCCUPATIONS: ONE HOUR OF TRUST FALLS & HOW TO WIN! OUR LIVES THROUGH THE BACKSTAGE TOUR A troop of Flux Factory artists will lead Artists and activists often focus on MOVEMENT AND WORD Peek beyond the media screen. this fast-paced and playful workshop immediate problems, only rarely Participants in this workshop will use Contemplate the practical, emotional, that explores image-making and envisioning our desired outcomes. In their bodies to tell stories and share artistic, and conceptual dimensions obsolescence. Participants will work this two-part workshop, the directors experiences, using choreography of direct action. Participants will in teams to create rayograph images of the Center for Artistic Activism inspired by discussion and writing discuss the skills most essential using found objects in the classroom, will expand the possibilities of what's exercises. Through embodied creative to organizing, from writing pithy then display them in the school halls. Expect a healthy dose of surprise and possible and share practical tools for capacities, participants will collectively manifestos, to dealing with the press, competition! getting there. shapeshift and map new possibilities. knowing your legal rights, and learning from mistakes. Why does it take a community to do this work and what public action is most urgently needed?

LED BY LED BY LED BY LED BY Center for Artistic Aimee Noah Flux Activism Meredith Cox Fischer Factory

Noah Fischer initiated In August 1993, seven Stephen Duncombe Aimee Meredith Occupy Museums and is artists rented a former and Steve Lambert are Cox is the author a member of Gulf Labor spice factory on the East co-directors of the Center of Shapeshifters: Coalition and G.U.L.F. River, thus founding for Artistic Activism, a Black Girls and the (Global Ultra Luxury Flux Factory. The group research and training Choreography of Faction), which targets of artists was born from institute that aims to help Artists; Citizenship (Duke Cultural Artist; Non- the global systems and the needs of artists who activists think more like Educators University Press, 2015) Anthropologist; Occupy profit Arts local conditions that came to New York City artists and artists think New York and the forthcoming Movement Museums, Community Artist; jeopardize migrant Global Ultra to take part in the city’s Space more like activists. Steve City, USA book Gender & Space Professor, worker rights during Luxury cultural life. Decades Lambert is a practicing (MacMillan). She Queens, NY, African the construction of Faction later, Flux's DIY DNA USA artist whose work has has written peer- and African Guggenheim Abu Dhabi (G.U.L.F.) persists in Long Island been presented in Times reviewed articles and American and other museums Brooklyn, City, where the group Square, collected by book chapters on Studies on Saadiyat Island. He NY, USA has grown to become the Library of Congress, performance, race, Department, has co-organized direct a leading supporter of and incorporated into and gender in youth Fordham actions at The Museum emerging artists through protest marches around culture, and the politics University of Modern Art, the residencies, exhibitions, the world. Stephen of cultural production. New York Whitney Museum, ZKM, and collaborations. Duncombe is an activist She is the founder of City, USA the 7th Berlin Biennale, who has written and BlackLight, an activist and La Biennale di edited six books on art initiative, led by young women of color, Venezia 2015. Noah is politics and culture. that produces community-based projects currently collaborating on in Detroit, Newark, and New York City. Debtfair. 50 51 Classroom Sessions – Day One Workshops Roundtables

SESSION I, 2:30 – 3:30 PM AND SESSION II, 3:45 – 4:45 PM SESSION I, 2:30 – 3:30 PM AND SESSION II, 3:45 – 4:45 PM

PHYSICAL EDUCATION: A BEGINNER’S GUIDE THE WORK OF ART BY LAW OR BY DESIGN: LAND DIVE TEAM TO CLIMATE JUSTICE IN THE AGE OF BOYCOTT BUILDING LEARNING “Breathing on Land” is an endurance Don’t know much about climate Withdrawing one’s participation is a ENVIRONMENTS THAT WORK exercise that combines scuba diving justice? Learn how justice relates powerful and contested political option. Discuss current trends in education and meditation. Learn about Ginsburg’s to climate change and which The Gulf Labor Coalition boycott of the policy and legislation, such as No ongoing exploration with the “Land organizations are working on these Guggenheim Abu Dhabi is feted, while Child Left Behind, that promote high- Dive Team” and hone awareness of the issues. Leave with tools and tactics to the Boycott, Divestment, and Sanctions stakes testing and accountability. environment, sound, and breath in a embark on climate justice research and movement’s opposition to the occupation How do they promote or undermine group meditation that entails breathing take action! This workshop is part of a through non-violent non-participation educationally effective school through full scuba gear. PERCENT FOR GREEN, an art project faces criticism. What makes only one of architecture and design? focused on addressing climate change these forms of withdrawal a celebrated in New York City’s environmental example of artist activism? justice communities. LED BY

LED BY LED BY LED BY Adeola Enigbokan Hope Alicia Naeem and Tracee Worley Ginsburg Grullon Mohaiemen Adeola Enigbokan’s art and research investigates See bio on page 76. Alicia Grullon examines See bio on page 24. urban design and encounters between urban experience. She people as a way to explores the potential for open discussions about transformative exchanges Artist race, class, gender, in everyday interactions New York Artist; and activism. Her Artist Historical with institutional City, USA interdisciplinary projects Educator New York Anthropologist; authorities. She holds a consider the role and Richmond, City, USA Artist; Ph.D. Ph.D. in Environmental VA, USA service of the artist in Candidate, Psychology and has the community. She has Columbia taught in New York exhibited at El Museo University City public schools and del Barrio, the Bronx Brooklyn, universities since 2000. Museum of the Arts, NY, USA; Tracee Worley is an Designer; and Open Engagement, Dhaka, instructional designer Educator among other art spaces Bangladesh who loves to create in the United States and New York student-centered City, USA abroad. learning experiences. Her work forms connections between design and the theoretical and scientific study of learning. The intention is to create environments that enable communities to learn, work, play, and connect more richly. 52 53 Classroom Sessions – Day One Roundtables Roundtables

SESSION I, 2:30 – 3:30 PM AND SESSION II, 3:45 – 4:45 PM SESSION I, 2:30 – 3:30 PM AND SESSION II, 3:45 – 4:45 PM

WHO BENEFITS FROM FREEDOM IN THE TIME RECLAIMING COMMUNITY FREE PEOPLE’S MEDICAL THE​ AESTHETIC​S​ OF OF FERGUSON NARRATIVE AND IDENTITY CLINIC WITH MASTER DETERMINED AUTONOMY? Join this creative exploration of cultural FROM WITHIN HERBALIST KAREN ROSE Investigate self-sufficiency within organizing and performative strategies. Learn about “Transform/Restore: How does an art practice that is communities comprised of Discuss liberation pedagogy, actions Brownsville,” a two-year public art underground or strategically invisible racial minorities or low-income aimed at interrupting police brutality, initiative with the mission to transform serve a social justice, community- communities. What is its historic and ways to amplify self-determined the narrative of Brownsville, Brooklyn. oriented, and self-determined agenda? necessity, its legacy, and its impact on safety in our communities. Through five large-scale mural projects, neighborhood progress? residents reframed and reclaimed the power to tell their stories and lived experiences in their own way.

LED BY LED BY

Chloë Bass and Betty’s Daughter LED BY LED BY Erica Mapp Arts Collaborative Daonne Simone Chloë Bass is a Through rigorous Huff Leigh conceptual artist focusing community-designed, on the co-creation of culturally relevant, Daonne Huff is a See bio on page 28. performances, situations, creative projects, Project Manager installations, and Betty’s Daughter at Groundswell, a publications that are Artist; Public Arts Collaborative Cultural Practitioner Artist; CEO mural organization in dedicated to questioning works to inspire and Brooklyn, New York. the everyday. She is Brooklyn, incite progressive and Principal Engagement She is also the founding Arts Artist a native New Yorker NY, USA social change. Ebony Strategist curator and co-creator Administrator; New York and proud resident of Noelle Golden, who at Betty’s of Black Artstory Month Curator; City, USA General Bedford-Stuyvesant is at the helm of the Daughter Arts on Myrtle Avenue, a Creative organization, is a co- Collaborative, series of free exhibitions Brooklyn, Raised in Trinidad, Erica designer and principal LLC and events celebrating NY, USA Mapp has written two engagement strategist New York African Americans poetry manuscripts and for the organization's City, USA in the visual and is currently working on a project Freedom in the performing arts. A book of essays. Her visual Writer; Time of Ferguson. She Visual Artist native of Birmingham, art has been exhibited is also a director and AL, Daonne holds across the United States. New York choreographer who City, USA an MA in Visual Arts Erica received a BFA from stages site-specific Administration from Cooper Union and an rituals and live art New York University and MA in Art Education from projects that explore a BA in Art History from New York University’s the complexities of Vassar College. School of Education. freedom today.

54 55 NOTES 57 Artist USA City, New York Lancashire Folk Enthusiast UK Manchester,

Emma Sulkowicz’s senior thesis at senior thesis at Emma Sulkowicz’s Columbia University was an endurance performance-work titled Mattress Performance (Carry That Weight) (2014–15). By carrying a heavy dorm-style mattress with her until her alleged rapist Emma drew would leave the university, international attention to campus sexual assault. Her recent internet-based work, Ceci N’est Pas Un Viol, continues her interest in exploring the ways the public reacts to rape. Jennifer Reid has sung broadsides on BBC BBC on broadsides sung has Reid Jennifer artist Jeremy Deller. Radio and in work by 2015, Venezia During La Biennale di in Lancashire she trained Italian singers ballads and dialect songs and broadside in conjunction performed in the Giardini into All That is Solid Melts with Deller’s Air (2014) and Factory Records (2015). Jennifer has discussed nineteenth-century social revolution in Manchester on BBC2. She holds an Advanced Diploma in Local History from Oxford University. Day One Afternoon Presentations Afternoon

Sulkowicz Emma

Reid Jennifer 56 Day Two

58 59 Schedule Day Two 12:55 PM Lunch

10:00 AM Introduction and Welcome Remarks NATO THOMPSON 2:00 PM Classroom Sessions III PRINCIPAL, NELSON MANDELA SCHOOL FOR SOCIAL JUSTICE, TABARI ZAID BOMANI OPEN DISCUSSIONS, WORKSHOPS, ROUNDTABLES SEE PAGE 80 FOR FULL SCHEDULE AND DESCRIPTIONS

10:20 AM Section III: The Geography of Learning KEMI ILESANMI 3:00 PM Break MODERATOR JOLENE RICKARD STANLEY KINARD ATHI MONGEZELELI JOJA 3:15 PM Classroom Sessions IV OPEN DISCUSSIONS, WORKSHOPS, ROUNDTABLES SEE PAGE 80 FOR FULL SCHEDULE AND DESCRIPTIONS

11:10 AM Break

4:15 PM Break

11:25 AM Statement TIA POWELL HARRIS 4:30 PM Section V: The State of Education BILL AYERS PEPÓN OSORIO 11:35 AM Section IV: The Art of Pedagogy PRINCIPAL, RESEARCH AND SERVICE HIGH SCHOOL, ALLISON M. FARRINGTON JENNIFER A. SCOTT MODERATOR PEDRO LASCH HOPE GINSBURG 5:00 PM LUIS CAMNITZER Closing Statements and Wrap-Up RASHIDA BUMBRAY KATIE HOLLANDER

12:25 PM Keynote NIKOLE HANNAH-JONES

STAGE MUSICIANS MIKEL BANKS AND NGOMA 12:50 PM Classes in Session BURNTSUGARINDEX.COM/PERSONNEL/MIKEL-BANKS NGOMAZWORLD.COM SALLY SZWED 60 61 NOTES 63 Principal, Nelson Principal, Nelson Mandela School for Social Justice USA Brooklyn, NY,

Tabari Bomani, Principal of the Nelson Bomani, Principal of the Nelson Tabari Justice, has Mandela School for Social a social studies experience working as and dean of college advisor, teacher, High School, a Bushwick Community high school. Brooklyn-based transfer professor in He was also an adjunct the African Studies department at Manhattanville College in Purchase, Bomani is a member of the New York. MALIK fraternity and the Phi Alpha Theta He National Historian Honor Society. has lectured and performed poetry for community-based organizations, colleges, and universities. Presentations Day Two

Zaid Bomani Principal Tabari Principal 62 Presentations Day Two

SECTION III The Geography of Learning

Speakers in this section explore the way learning can be site specific. Rather than assume that knowledge systems are the same across the world, they focus on geographic influence and how information is presented differently from location to location.

Kemi Ilesanmi, Moderator Jolene Rickard Stanley Kinard Athi Mongezeleli Joja

“QGAGA-LOLA AMIRA” PERFORMANCE, GUGULECTIVE, 2009.

64 65 NOTES 67 Section III: The Geography of Learning The Geography of Section III: Speakers in this section explore the way learning can be site specifi c. Rather c. Rather site specifi way learning can be this section explore the Speakers in they focus systems are the same across the world, than assume that knowledge differently from uence and how information is presented on geographic infl location to location.

New York, USA New York, Visual Historian; Artist; Historian; Artist; Visual American Curator; Director, Indian Program, and History Associate Professor, of Art and Art Departments, Cornell University Executive Director, The Laundromat Project USA City, New York

Rickard Jolene Rickard explores indigeneity within a global context. She was recently an advisor for Sakahàn: 1st International Quinquennial of New Indigenous Art, at the National Gallery of Canada, Tihi Te participated in New Zealand’s Scholar/Artist Gathering, and co-curated the inaugural exhibition Our Lives for of National Museum the Smithsonian’s the American Indian, in Washington, Nation D.C. Jolene is from the Tuscarora (Haudenosaunee). Her book Visualizing Sovereignty will be published in 2016. Jolene Kemi Ilesanmi is inspired by the by the Kemi Ilesanmi is inspired social impact possibilities for joy and of art, that emerge at the intersection Under her justice, and community. Project leadership, The Laundromat es communities’ creativity by amplifi bringing art, artists, and arts programming into community spaces. Kemi came to the position with nearly twenty years of experience working in similar capacities. MODERATOR Presentations Day Two

Ilesanmi Kemi 66 NOTES 69 Section III: The Geography of Learning The Geography of Section III: c. Rather site specifi way learning can be this section explore the Speakers in they focus systems are the same across the world, than assume that knowledge differently from uence and how information is presented on geographic infl location to location. Art critic; Member, Art critic; Member, Gugulective Johannesburg, South Africa Cultural Activist; Manager, Cultural Activist; Manager, College and Career Care Boys and Girls High Center, School Campus USA Brooklyn, NY, Contemporary And, The The Postcolonialist, and The

The Con.

. He contributes art criticism Feminist Wire. He contributes art criticism to the Mail & Guardian, and Athi Mongezeleli Joja is an MFA student student Athi Mongezeleli Joja is an MFA at Wits University in Johannesburg and a member of the artist collective, Gugulective. He is also a visiting lecturer at Rhodes Grahamstown, and the editor of University, Critical Essays on the Black New Frank Talk: Condition. His writing has appeared in such international publications as Chimurenga, Savvy, Stanley Kinard was raised in the Black Arts in the Black Arts Stanley Kinard was raised a pivotal role as a Movement and played Dubois the W.E.B student leader establishing Studies and Department of Afro-American Center at the the New African Cultural Amherst. He University of Massachusetts, Director of the was the founding Executive Project Cultural Literacy Carter G. Woodson and the Brownsville Heritage House, both of which focused on teaching African history public school and culture to New York students. Stanley is currently developing the an alliance of artists and Communiversity, activists committed to establishing culturally relevant community schools. Presentations Day Two

Mongezeleli Joja Athi

Kinard Stanley 68 NOTES 71 President and Executive President and Executive Weeksville Director, Heritage Center USA Brooklyn, NY,

VIEW OF HISTORIC HUNTERFLY HOMES AT WEEKSVILLE HERITAGE CENTER, 2014. WEEKSVILLE HERITAGE HOMES AT VIEW OF HISTORIC HUNTERFLY Tia Powell Harris’s career as an arts career as an arts Powell Harris’s Tia spans educator and administrator She is currently more than thirty years. Director President and Executive a Heritage Center, of Weeksville dedicated to multidimensional museum preserving the history of the nineteenth- century African American community of Brooklyn. Weeksville, Day Two Presentations

Harris Tia Powell Tia 70 Presentations Day Two

SECTION IV The Art of Pedagogy

The artists in this section aim to engage their audiences in experiential learning activities. Their presentations consider the differences and similarities between their artworks and traditional forms of pedagogy.

Jennifer A. Scott, Moderator Pedro Lasch Hope Ginsburg Luis Camnitzer

BREATHING ON LAND: ZEKREET, QATAR III, HOPE GINSBURG, 2015.

72 73 NOTES 75 Section IV: The Art of Pedagogy The Art of Section IV: experiential learning their audiences in this section aim to engage The artists in between consider the differences and similarities activities. Their presentations forms of pedagogy. their artworks and traditional Carrboro, Carrboro, NC, USA Artist; Associate Research Artist; Associate Research Duke University Professor, Director, Jane Addams Hull- Director, House Museum Chicago, IL, USA

(Creative Time, 2015). Art of the MOOC (Creative Time,

Pedro Lasch has taught art, art theory, and and Pedro Lasch has taught art, art theory, visual studies at Duke University since 2002. Since 1999, he has led ongoing social projects in both rural and urban settings, undertaken with indigenous and immigrant organizations and as part of art collectives such as 16 Beaver Group. solo works include Black Mirror Pedro’s (Nasher Museum of Art, 2008), Abstract Nationalism (The Phillips Collection, 2014), and Jennifer Scott is an anthropologist and and Jennifer Scott is an anthropologist performed public historian who has research for arts historical and curatorial ts, and other nonprofi and history museums, twenty years. She organizations for almost arts and social taught cultural anthropology, engagement, race and ethnic studies, and museum studies at The New School for Public Engagement, Pratt Institute, and Parsons. Her article “Reimagining Freedom rst Century at a Post- in the Twenty-fi Emancipation Site” was published in the May 2015 issue of The Public Historian. MODERATOR Presentations Day Two

Lasch Pedro

Scott Jennifer A. Jennifer 74 NOTES 77 Section IV: The Art of Pedagogy The Art of Section IV: experiential learning their audiences in this section aim to engage The artists in between consider the differences and similarities activities. Their presentations forms of pedagogy. their artworks and traditional Artist USA New York, Artist; Educator USA Richmond, VA,

Uruguayan artist Luis Camnitzer has Uruguayan artist Luis Camnitzer has since 1964. In 1988, resided in New York he represented Uruguay in La Biennale di the 2000 and he has exhibited at Venezia Whitney Biennial, Documenta XI, and many other international events. Luis is the author of several books, including Conceptualism in Latin America: Didactics of Liberation Press, 2007). (University of Texas Hope Ginsburg makes work that pivots work that pivots Hope Ginsburg makes of live events. around the production world, “learning Curiosity about the natural interest by doing,” and a persistent underpin her in knowledge exchange Professor at practice. Hope is an Associate University School Virginia Commonwealth of the Arts, where her pedagogical project Sponge HQ is headquartered. Presentations Day Two

Camnitzer Luis

Ginsburg Hope 76 Presentations Day Two

KEYNOTE NOTES Nikole Hannah-Jones

Staff writer, The New York Times Magazine Brooklyn, NY, USA

Nikole Hannah-Jones covers racial injustice for The New York Times Magazine. Previously, at the nonprofi t investigative reporting organization ProPublica, she examined the way segregation in housing and schools is maintained through offi cial action. Her 2014 investigation into school resegregation won two Online Journalism Awards, the Sigma Delta Chi Award for public service, and the Fred M. Hechinger Grand Prize for Distinguished Education Reporting. Nikole is the National Association of Black Journalists’ 2015 Journalist of the Year.

78 79 Classroom Sessions Day Two Open Discussions Session III

AUDITORIUM ART AND POLITICS IN THE NEIGHBORHOOD SESSIONS III AND IV Allison Davis, Tia Powell Harris, Shay Wafer 3RD FLOOR THEORY OF PEDAGOGY Pedro Lasch, Luis Camnitzer, Jolene Rickard Open Discussions, 3RD FLOOR WHAT GOVERNMENT CAN LEARN FROM ARTISTS Elizabeth Corr, Jane Golden Workshops, and Open Discussions Session IV

AUDITORIUM WRITING ON SOCIALLY ENGAGED ART Roundtables Sue Bell Yank, Ben Davis, Chloë Bass

3RD FLOOR SUPPORTING SOCIALLY ENGAGED ART Both afternoons of the Creative Time Summit: The Curriculum NYC Lisa Dent, Deborah Fisher, Risë Wilson are dedicated to open discussions, roundtables, and workshops held in the school's auditorium and third floor classrooms. These sessions will provide opportunities for more intimate exchanges Workshops Sessions III and IV among attendees, special guests, Summit presenters, and both students and teachers from Boys and Girls High School campus. ALL ON BFAMFAPHD 3RD FLOOR JENNIFER REID While diving deeper into urgent pedagogical issues, they will also MARINELLA SENATORE address issues specific to the field of socially engaged art. KAMEELAH JANAN RASHEED Open Discussions put 3-4 speakers in dialogue in core topics in the CHTO DELAT socially engaged art field, followed by responses from the audience. Workshops take the form of hands-on, discursive activities Roundtables between small groups of attendees. Sessions III and IV ALL ON BILL AYERS Roundtables facilitate topic-driven conversations between 3RD FLOOR THE DEBT COLLECTIVE speakers and a small group of participants. FOKUS ATHI MONGEZELELI JOJA Session III 2:00 – 3:00 PM THE LAUNDROMAT PROJECT Session IV 3:15 – 4:15 PM NOT AN ALTERNATIVE The open discussion topics are different each session. Workshop PEPÓN OSORIO and roundtable topics are the same in Session III and Session IV. JASMINE WAHI

80 81 Classroom Sessions – Day Two Open Discussions Open Discussions

SESSION III 2:00 – 3:00 PM, AUDITORIUM SESSION III 2:00 – 3:00 PM, 3RD FLOOR ART AND POLITICS IN THE NEIGHBORHOOD THEORY OF PEDAGOGY

Allison Tia Shay Luis Pedro Jolene Davis Powell Harris Wafer Camnitzer Lasch Rickard

Playwright; Producer; President and Executive Executive Director, Artist Artist; Associate Research Visual Historian; Artist; Associate Artistic Director, Weeksville 651 ARTS New York City, USA Professor, Duke University Curator; Cornell University Director, Museum of Heritage Center Brooklyn, NY, USA Carrboro, NC, USA New York, USA Contemporary African Chicago, USA Diasporan Arts (MoCADA) Brooklyn, NY, USA See bio on page 70. Shay Wafer has held See bio on page 76. See bio on page 74. See bio on page 66. senior level positions at Allison Davis is passionate a number of nonprofit about using art and arts organizations that storytelling to enrich focus on African Diasporic culture and encourage programming and compassion. She has community engagement. spent much of her career Her many years of as a writer and producer service demonstrate a working across many dedication to community platforms, including development and the arts. network television, public Shay prides herself on radio, documentary film, balancing her passionate theater, and both print and vision with experience and online publications. She pragmatism. holds an MFAin Dramatic Writing from New York University's Tisch School of the Arts, and a BA from Emerson College.

82 83 Classroom Sessions – Day Two Open Discussions Open Discussions

SESSION III 2:00 – 3:00 PM, 3RD FLOOR SESSION IV 3:15 – 4:15 PM, AUDITORIUM WHAT GOVERNMENT CAN LEARN FROM ARTISTS WRITING ON SOCIALLY ENGAGED ART

Elizabeth Jane Sue Ben Chloë Corr Golden Bell Yank Davis Bass

Manager of Art Founder and Executive Writer; Producer; Art Critic Artist; Public Practitioner Partnerships, Natural Director, City of Arts Educator New York City, USA Brooklyn, NY, USA Resources Defense Philadelphia Mural Arts Los Angeles, CA, USA Council (NRDC) Philadelphia, PA, USA Chicago, IL, USA Under Jane Golden’s Sue Bell Yank’s writing on Ben Davis is currently Chloë Bass is a conceptual Elizabeth Corr works with direction, Mural Arts has socially engaged art and the National Art Critic for artist focusing on the co- artists and architects created more than 3,800 public cultural practice artnet News. He is the creation of performances, whose commitment to works of public art and has appeared in numerous author of 9.5 Theses on situations, installations, the environment dovetails developed programs publications, including Art and Class (Haymarket, and publications that are with the NRDC’s efforts to in youth art education, Field Journal, n.paradoxa 2013), which examines dedicated to questioning the increase public interest in restorative justice, and feminist journal, Journal how a clear understanding everyday. She is a native New the environmental problems behavioral health. Jane is of Aesthetics and Protest, of class can help make Yorker and proud resident facing our communities. As the recipient of numerous and The Huffington Post, sense of contemporary art’s of Bedford-Stuyvesant. an international nonprofit awards, including the as well as on her blog, most persistent debates, You can learn more about organization, NRDC 2012 Governor's Award Social Practice. She is including definitions of her projects and writing currently has over two for Innovation in the Arts, an advisor for the Asian political art, the troubled at chloebass.com. She million members and online Philadelphia Magazine’s Arts Initiative’s Social statuses of “outsider” and welcomes correspondence activists. In 2014, Elizabeth Trailblazer Award, and eight Practice Lab and SPArt street art, and questions on at [email protected]. started its first Artist-in honorary PhDs. She co- and is a board member of maintaining faith in art itself. Residence program. authored two books about the Clockshop. Formerly, Philadelphia murals and Sue was a graduate and co-edited Mural Arts @ 30 undergraduate lecturer and (Temple University Press, the Associate Director of 2014). Jane holds an MFA Academic Programs at The from Rutgers University, Hammer Museum at UCLA. and BA degrees in Fine Arts and Political Science from Stanford University.

84 85 Classroom Sessions – Day Two Open Discussions Workshops

SESSION IV 3:15 – 4:15 PM, 3RD FLOOR SESSION III, 2:00 – 3:00 PM AND SESSION IV, 3:15 – 4:15 PM SUPPORTING SOCIALLY ENGAGED ART OF SUPPLY CHAINS: BROADSIDE BALLADS: HOW A SOURCING-LABORING- FORGOTTEN WORKER SONGS Lisa Deborah Risë EXCHANGING-ENCOUNTERING- CAN INFLUENCE THE FUTURE Dent Fisher Wilson ACQUIRING-DEPARTING KIND Did the Industrial Revolution ever end? OF ART Discover 19th-century British worker’s What if the meaning of art could be ballads and assess their contemporary found in the laborious hours of its significance. Learn about the history production and deconstruction? Join of these ballads and participate in an interactive exercise that connects a facilitated conversation about artists’ history to contemporary labor issues. “work stories” and how narratives shift when the supply chain is taken into Director, Resources Founding Executive Director, Philanthropy, and Award Programs, Director, A Blade of Grass Robert Rauschenberg consideration. The teaching tools in Creative Capital New York City, USA Foundation this workshop were designed by Emilio New York City, USA New York City, USA Martinez Poppe, Susan Jahoda, and In addition to her work at Risë Wilson has spent Caroline Woolard. Prior to joining Creative A Blade of Grass, Deborah nearly two decades working Capital, Lisa Dent her own Fisher is a strategic and to increase the value of gallery in San Francisco, philanthropic advisor to creativity in our everyday LED BY LED BY served as the Associate Shelley and Donald Rubin. lives. She currently Curator of Contemporary Art She serves on the board serves as the Director of Jennifer at the Columbus Museum of BFAMFAPhD of the Center for Artistic Philanthropy for the Robert Art, in Ohio, held curatorial Activism and is a practicing Rauschenberg Foundation, Reid staff positions at the New artist working to expand the which invests in creative Museum of Contemporary roles art and artists play problem-solving and Concerned about the See bio on page 56. Art and the Whitney within communities. believes art can change the impact of debt, rent, Museum of American world. Risë was the founder and lack of job security Art, and was a director at of The Laundromat Project, on the lives of creative Friedrich Petzel Gallery, which brings art, artists, people, BFAMFAPhD all in New York City. Lisa and arts programming into (represented by Susan Artist Lancashire holds a BFA from Howard community spaces. Jahoda and Caroline Collective Folk University, and an MFA Woolard) asks: What New York Enthusiast from New York University’s is art in the age of City, USA Manchester, Tisch School of the Arts, and $120,000 art degrees? UK has completed the Whitney Their reports and Museum Independent Study installations, including Artists Report Program. She has taught at Back, Census Report, Statements, and Cooper Union; University of ...in which nothing can be finally paid California, Davis; Columbus off contextualize personal experience in College of Art and Design; relation to national data. Their work has and The Ohio State been exhibited at the Museum of Arts and University. Design in New York; Cleveland Institute of Art; and the Brooklyn Museum. 86 87 Classroom Sessions – Day Two Workshops Workshops

SESSION III, 2:00 – 3:00 PM AND SESSION IV, 3:15 – 4:15 PM SESSION III, 2:00 – 3:00 PM AND SESSION IV, 3:15 – 4:15 PM

THE SCHOOL OF NARRATIVE BEYOND THE SINGLE MOVEMENTS FROM THE DANCE: LESSON 0 AND NARRATIVE SCHOOL OF ENGAGED ART CHOREOGRAPHY FOR VOICES How can we develop learning How do you construct and organize Join the The School of Narrative environments wherein young people a collective body? Experiment with Dance, a free and nomadic school think critically about history by movements based on the morning that proposes an alternative system considering other perspectives, exercises of The School of Engaged Art, of education based on principles missing voices, and biases? and build a temporary collective body of inclusion, emancipation, and using experiential strategies. Physical skill-sharing. This is a two-part activity is a key component of Chto workshop that focuses on storytelling. Delat’s pedagogical practice. Participate in an experimental dance lesson or make a sound piece with narrative dance.

LED BY LED BY LED BY Marinella Kameelah Chto Delat (Nikolay Senatore Janan Rasheed Oleynikov and Dimitri Vilensky) Marinella Senatore’s Artist Kameelah Janan practice includes Rasheed is a former video, installation, public high school See bio on page 10. performance, teacher. Her work photography, and has been exhibited at drawing. She involves Artist the Studio Museum, Artist; crowds in works that Berlin, Queens Museum, Researcher; Educator initiate a dialogue Germany Bronx Museum of Artist between history, culture, London, UK the Arts, Schomburg Brooklyn, Collective NY, USA and social structures. Center for Research St. Petersburg, Senatore has received numerous in Black Culture, and Russia awards and has had solo exhibitions at the Weeksville Heritage MOT International, London; Museum Center. She currently of Contemporary Art, Santa Barbara, works in curriculum California; Castello di Rivoli, Turin, Italy; development, is the and Mendes Wood Gallery in São Paulo Arts Editor for Spook (upcoming). Her work has appeared in Magazine, and is a group exhibitions throughout Europe, contributing editor for the United States, Israel, China, Turkey, the New Inquiry. Ecuador, and Cuba.

88 89 Classroom Sessions – Day Two Roundtables Roundtables

SESSION III, 2:00 – 3:00 PM AND SESSION IV, 3:15 – 4:15 PM SESSION III, 2:00 – 3:00 PM AND SESSION IV, 3:15 – 4:15 PM

TEACHING TOWARD FREEDOM CHALLENGING ROGUE NAVIGATING THE COMMODIFICATION OF Explore classroom practices from FINANCIAL ENTITIES CONTEMPORARY DIVIDE EDUCATION: COLONIALIST preschool through adult education that COLLECTIVELY BETWEEN ARTS AND LEGACY IN SOUTH AFRICA are aimed at helping people become How can we work as a collective to EDUCATION What is the symbolic legacy of British more engaged citizens, better moral address economic inequality and Question prescribed roles for artists, imperialist, mining tycoon, politician, actors, and more courageous and challenge the way we finance and gain teachers, and schools. Discuss who and founder of Rhodesia (now imaginative thinkers. access to public goods? creates divisions between these roles Zimbabwe) Cecil John Rhodes in the and why. Consider the impact of wake of the recent #RhodesMustFall these divisions on young people and protest movement, which called for how we can better integrate the arts the decolonization of education across and education. South Africa? What are the socio- political and economic effects of white privilege vis-à-vis black abjection?

LED BY LED BY LED BY LED BY Bill The Debt Fighting Obstacles Athi Ayers Collective Knowing Ultimate Mongezeleli Joja Success (FOKUS) See bio on page 96. See Laura Hanna's (top) See bio on page 68. and Astra Taylor's bios FOKUS (represented on page 38. by Atiba T. Edwards, Giovanna Fischer, and JoLillian Zwerdling) uses Teacher; Filmmaker; the arts to educate, Art critic Activist Activist empower, and unite Non- Johannesburg, Chicago, IL, New York communities, focusing profit Arts South Africa USA City, USA on community-based Advocacy Organization events and arts education. It is also the Brooklyn, NY, USA publisher of INSIGHT magazine. All FOKUS projects are designed to increase the public's access to the arts Filmmaker; Author and foster creativity through traditional and New York City, USA nontraditional means.

90 91 Classroom Sessions – Day Two Roundtables Roundtables

SESSION III, 2:00 – 3:00 PM AND SESSION IV, 3:15 – 4:15 PM SESSION III, 2:00 – 3:00 PM AND SESSION IV, 3:15 – 4:15 PM

HOW CAN GATHERING SPACES THE YES MEN WITHOUT WHAT DOES IT MEAN TO BE REWRITING ART HISTORY BE USED TO MAINTAIN THE PUNCHLINE (OR SELF TAUGHT TODAY? CURRICULA BEYOND THE COMMUNITIES FACING THE PERMANENT Is a formal education worth it? What CANON GENTRIFICATION? AUTONOMOUS ZONE) practices are not taught in schools? Art and art history function not only as How do physical gathering spaces (like Social practice art frequently Can self-taught practices be as academic content, but as disciplines cultural institutions) and ephemeral experiments with temporary social valuable as institutionalized learning? that can boost the confidence, gathering spaces (like powwows relations. What if we aim to radically creativity, and long-term success of and Black Panther reunions) help alter the institutions that structure or students. Discuss cultivating new splintered communities maintain govern social relations? Can we do so curricula on the arts for young people their connection to the people and not as a one-off joke or intervention, that emphasize the histories of places that make them whole? How but as a permanent occupation or marginalized and overlooked artists. can we support these spaces in our take-over? communities?

LED BY LED BY LED BY LED BY The Laundromat Not An Pepón Jasmine Project Alternative Osorio Wahi

The Laundromat The mission of See bio on page 96. Jasmine Wahi Project (represented by Not An Alternative curates international Aisha Cousins, Kemi (represented by Beka exhibitions that are Ilesanmi, Rasu Jilani, Economopoulos) predominantly focused and Hatuey Ramos- is to affect popular on cultural identity, Fermin) amplifies the Nonprofit Arts understandings of Arts Artist; Laura female empowerment, Co-director, creativity that exists Organization events, symbols, Collective C. Carnell and race. Her work The Gateway within communities by institutions, and history. New York Professor, has been featured Project; Tyler School Co-founder using arts and culture New York Through engaged City, USA in the Wall Street of Art and Director, to build community City, USA critical research and Journal, Vice News, Philadelphia, Project for networks, solve design, the group curates and produces Hyperallergic, and PA, USA Empty Space problems, and enhance interventions in material and immaterial The Huffington Post. New York our sense of ownership in the places space. It uses art, architecture, exhibition Jasmine received her City, USA where we live, work, and grow. Committed design, and political organizing to BA in Art History from to long-term investment in communities redeploy popular vernacular, semiotics, New York University and of color, the Laundromat Project brings and memes. Not An Alternative’s most is currently a graduate socially engaged arts programming to recent ongoing project is The Natural student at NYU’s laundromats and other everyday spaces. History Museum, a mobile museum that Institute of Fine Arts. brings attention to the sociopolitical forces that shape nature.

92 93 Afternoon Presentations Day Two

SECTION V The State of Education

This section focuses on pertinent issues effecting pre-K through 12 education in the United States. It concludes with a conversation in which the speakers discuss topics such as charter schools, school safety, online classes, funding, and testing through their particular area of expertise. Bill Ayers Pepón Osorio Principal Allison M. Farrington

ELDZIOR CORTOR'S DANCE, MUSIC, ART (1976) HANGS IN THE HALLWAY OF BOYS AND GIRLS HIGH SCHOOL CAMPUS. PHOTO BY HENRY MURPHY, 2015

94 95 NOTES 97 Section V: The State of Education The State of Section V: 12 education effecting pre-K through focuses on pertinent issues This section concludes with a conversation in which the speakers in the United States. It online classes, funding, charter schools, school safety, discuss topics such as particular area of expertise. and testing through their Artist; Laura C. Carnell Artist; Laura C. Carnell School of Art Tyler Professor, USA Philadelphia, PA, Teacher; Activist Teacher; Chicago, IL, USA

Best known for his large-scale baroque Best known for his large-scale baroque and polemically charged installations, Pepón Osorio uses the exhibition space as an intermediary between the social architecture of communities and the mainstream art world. These installations are based on the experiences of communities he works with across the globe. By presenting installations in unconventional places, Pepón also explores how the meaning of art depends on its location. His work has been included in multiple international exhibitions and received numerous distinctions. William Ayers, formerly Distinguished formerly Distinguished William Ayers, at the University of Professor of Education written extensively Illinois at Chicago, has about social justice, participatory and teaching as an essentially democracy, enterprise. His intellectual and ethical books include A Kind and Just Parent Toward (Beacon Press, 1997), Teaching Freedom (Beacon Press, 2004), and To The Journey in Comics (Teachers Teach: College Press, 2010). Day Two Afternoon Presentations Afternoon Day Two

Osorio Pepón

Ayers Bill 96 NOTES 99 Section V: The State of Education The State of Section V: 12 education effecting pre-K through focuses on pertinent issues This section concludes with a conversation in which the speakers in the United States. It online classes, funding, charter schools, school safety, discuss topics such as particular area of expertise. and testing through their Curator; Choreographer; Curator; Choreographer; Senior Program Manager, Open Society Foundations for the Arts Exchange USA City, New York Principal and Founder, Principal and Founder, Research and Service High School (RSHS) USA Brooklyn, NY,

Rashida Bumbray was guest curator of Rashida Bumbray was guest curator of public art exhibition Funk, Creative Time’s God, Jazz, and Medicine: Black Radical Brooklyn (2014), Associate Curator at The Kitchen (2006–12), and Curatorial Assistant at The Studio Museum in Harlem (2001–6). She has organized exhibitions and commissions of work by Leslie Hewitt, Simone Leigh, Sanford Biggers, and Adam Pendleton, among others. Her choreography draws from traditional African American vernacular and folk forms and has been presented at such spaces as Summerstage, Harlem Stage, and Project Row Houses. In 2014, for Outstanding Emerging Choreography. she was nominated for the Bessie Award Principal of Research and Service and Service Principal of Research Farrington High School (RSHS) Allison believes that strong community-school to academic and relationships are essential any successful civic achievement. Find nd parents and fi school and you will also who are involved community members and supportive of the school. Therefore, RSHS expects students to excel both inside and outside of the classroom. Control, Optimism, Resilience, and Empowerment are the school's CORE values. Day Two Afternoon Presentations Afternoon Day Two

Bumbray Rashida

M. Farrington Principal Allison Principal 98 About Creative Time

Since its founding in 1974, Creative Time has worked with the world’s Creative Time Board best contemporary artists—including Maya Lin, Marina Abramovic, Laurie Anderson, Nick Cave, Kara Walker, Jenny Holzer, Tom Sachs, Tania Bruguera, Philip Aarons / Steven Alden / Jill Brienza / Joanne Leonhardt Cassullo / and David Byrne—to commission, produce, and present bold public art Rona Citrin / Suzanne Cochran / Judy Gordon Cox / Beth Rudin DeWoody projects that engage the dialogues, debates, and dreams of our times. Creative Marie Douglas / Dana Farouki (Co-Chair) / Thelma Golden / Cristina Time believes that it is essential to give artists opportunities to experiment and Grajales / Michael Gruenglas / Sharon Hayes / Tom Healy / Pablo Helguera grow their practice, to champion public spaces as places for free and creative Stephanie Ingrassia / Paul Ramirez Jonas / Stephen Kramarsky / Sarah expression, and that artists’ ideas serve an important role in a productive Lewis / Patrick Li / Vik Muniz / Jon Neidich / Shirin Neshat / Amy Phelan society. Though based in New York, the nonprofit’s innovative artworks engage Renee Rockefeller / Victoria Rogers / Elizabeth Sorensen / Melissa Schiff millions of people around the globe. Soros / Robert Stilin / Elizabeth Swig / Felicia Taylor / Ellen Taubman / Alice Tisch / Jamie Tisch / Bradley Tusk / Jed Walentas (Co-Chair) / Amanda Weil MORE INFORMATION AT CREATIVETIME.ORG Lily Johnson White

Creative Time Ambassadors Creative Time Staff Waris Ahluwalia / Desiree Almodovar / Julia Arnhold / Sarah Bacon / Ivana Katie Hollander / Donnamarie Baptiste / Teal Baskerville / Suhaly Bautista-Carolina Berendika / Claudia Cellini / Fischer Cherry / Lauren Cochran / Carlton Eric Bees / Ashley Chavis / Jean Cooney / Kat Fry / Meredith Johnson / Marisa DeWoody / Kyle DeWoody / Mandie Erickson / Jesse Finkelstein / Charles Gepp Mazria Katz / Sophie Landres / Laura Lupton / Lynnette Miranda / Henry Murphy / Catherine Henry / Suzanna Lee / Colleen Leth / Astrid de Maismont / Tomoko Alyssa Nitchun / Cynthia Pringle / Rachel Riederer / Drew Simmons / Ella Strauss / Ogura / Maura Pally / Nic Rad / Whitney R. Robinson / Roya Sachs / Andres Sally Szwed / Nato Thompson / Brian Welesko Santo Domingo / Pensiri Scott / Kasia Silverton / Justin Stanwix / Cara Thomas / Marcus Vinicius Ribeiro / Manish Vora / Margaret Wang / Blake Weinberg

100 101 CREATIVETIME.ORG/SUMMIT