Are you looking to join a team of passionate and creative people working to make the world a healthier place for all people? Healthy Materials Lab is looking for a Research Assistant with videography (both recording and video editing), graphic design, systems mapping, and/or data visualization skills to join our team.
This student will assist with recording and editing videos, including interviews and events; diagramming and mapping systems; visualizing complex information into accessible formats, and creating assets for events and general HML use.
Requirements: Undergraduate or Graduate student at The New School with strong representation abilities. Must be a team player, hard-working, and ready to dive into new material.
Apply Here to be considered for Spring Semester work!
A 280-page illustrated and hand-lettered visual memoir on a German family’s memory of WWII.
Belonging wrestles with the idea of Heimat, the German word for the place that first forms us, where the sensibilities and identity of one generation pass on to the next. In this highly inventive visual memoir—equal parts graphic novel, family scrapbook, and investigative narrative—Nora Krug draws on letters, archival material, flea market finds, and photographs to attempt to understand what it means to belong. A wholly original record of a German woman’s struggle with the weight of catastrophic history, Belonging is also a reflection on the responsibility that we all have as inheritors of our countries’ pasts.
Fall 2018 release in the following countries: USA (Scribner), UK (Particular Books), Germany (Penguin Hardcover), Holland (Balans), France (Gallimard). 2019 and 2020 release in the following countries: Norway (Spartacus), Sweden (Norstedts), Spain (Salamandra), Brazil (Companhia das Letras), Italy (Stile Libero), and Denmark (Gads).
Sheila C. Design Center, Arnold and Sheila Aronson Galleries
66 5th Ave, Ground Floor
New York, NY 10003
Closing reception with artist talk: October 27th, 6-8pm
(under)REPRESENT(ed) is an exhibition that features Parsons School of Design alumni of color whose creative practices explore the lived experience of race and aim to dismantle systems of racism. Initiated and organized by a collective of alumni of color, this exhibition features a range of disciplines which simultaneously address and resist the systemic exclusion that prevails in educational and professional institutions and practices.
A video from a digital and physical archive that affirms the future of people of African descent; a design research project lessens the impact of hurricane season on one alum’s hometown in the Dominican Republic; a children’s book fable reveals an allegory of the dangerous journey migrants often face to enter the United States; an online syllabus resource explores the intersections of fashion and race; photographs reflect on the historic status symbol and power of hair in Korean culture, which resonates in communities across the globe; and a multimedia project promotes citizen journalism and challenges the normalization of police violence.
“We are moved by an urgency to foreground the power generated by creative practices,” said the curators of the exhibition. “Our own experience as students, practicing artists, designers, educators and cultural organizers tells us that this work isn’t always given its due criticism or celebration in the classroom and other institutional spaces.”
People of color have been pioneers in fields of art and design, although they continue to be significantly underrepresented in positions of power and compensation. Despite the rich foundational contributions by Black, Latinx, Asian, and Indigenous communities to these industries, they are often rendered invisible. The curators of this exhibition stake a claim for the centrality of those most deeply impacted by these oppressive frameworks in an era which challenges our existing tools of resistance.
The Parsons alumni featured in the exhibition are (AMT Alums in bold):
Salome Asega, MFA Design and Technology ’14 Rikki Byrd, MA Fashion Studies ’16 Raquel de Anda, MS Design and Urban Ecologies ’15 Nelson de Jesus Ubri, BFA Architectural Design ’15 Patricia Encarnación, BFA Communication Design ’14 Noelle Flores Théard, MFA Photography ’14 Scherezade Garcia, BFA Illustration ’90 Alston Green, CGRD Illustration ’72 Kim Jenkins, MA Fashion Studies ’13 Leslie Jimenez, BFA Fine Arts ’12 Sara Jimenez, MFA Fine Arts ’13 Yuni Kim Lang, BFA Communication Design ’09 Jeana Lindo, BFA Photography ’17 Joy McKinney, MFA Photography ’14 Joiri Minaya, BFA Fine Arts ’13 Ron Morrison, MS Design and Urban Ecologies ’15 Inyegumena Nosegbe, BFA Communication Design ’16 Ayodamola Okunseinde, MFA Design and Technology ’15 Isaac Paris, BFA Communication Design ’78 Kaitlynn Redell, MFA Fine Arts ’13 Jeff Staple, Illustration Ken Tanabe, MFA Design and Technology ’04 James Terrell, MFA Painting ’02 Duncan Tonatiuh, BFA Integrated Design Curriculum ’08, BA Liberal Arts ’08 Robert Liu-Trujillo, BFA Illustration ’10 Christopher Udemezue, BFA Integrated Design Curriculum ’08
Organized by a collective of Parsons Alumni of Color
Havanna Fisher, BFA Fashion Design ’14, BA The Arts ’14 Scherezade García, BFA Illustration ’90 Joelle Riffle, BFA Communication Design ’13 Yelaine Rodríguez, BFA Fashion Design ’13 Sable Elyse Smith, MFA Design and Technology ’13 Nadia Williams, BFA Fashion Design ’01 (under)REPRESENT(ed) equity + social justice advisor: Gail Drakes (under)REPRESENT(ed) research assistant: Claudine Brantley, BFA Candidate of Photography ’18 (under)REPRESENT(ed) research assistant: Barbara Byrd, BFA Fine Arts ’17
Contact us at email@example.com
The exhibition will run from October 14, when an opening reception for Parsons alumni will be held, until October 29.
FERNANDEZ: What medium do you prefer to work in? Why?
COE: I prefer pencil then woodcut then litho. I prefer to draw as if it were painting and cut wood like a drawing. It’s elegant and simple.
The Veal Skinner, 1991. Stone lithograph.
FERNANDEZ:What do animals mean to you? How did your experience living near a slaughterhouse shape that meaning?
COE: The injustice of the way animals are bred to be slaughtered is intolerable. The pain animals feel is more than they can bear. The meat industry has exponentially become increasingly psychotic, murdering trillions of animals every year and devastating wildlife, human health, and the planet. Animal liberation is a social justice movement, like any other, it demands an end of all animal use. Slaughterhouses are concealed from most people, but in my childhood, the slaughterhouse was my house.
FERNANDEZ: In order to create graphic, violent imagery of animal cruelty, did you rely on visiting slaughterhouses or mostly work from memory?
COE: The imagery is the reflection of reality drawn to create change. Many of the scenes I have witnessed directly. Some I have not drawn at all, yet. As Beckmann said about being in the trenches of WW1 – my art eats here.
FERNANDEZ: As an illustrator who works in multiple mediums, what techniques do you use specifically to communicate these graphic scenes to an audience?
COE: When I started out as an illustrator there was little color in mass media publications, so I was trained to stay within black and white, and used tone to suggest color. I rarely work for commercial publications any more, as create my own words and images. I lean toward sequential reportage work. I invented my own art world, within the art world, but stay within the concept that technique is the test of sincerity. My gallery and my frequent book publisher are extremely supportive.
Sue Coe, Red Slaughterhouse, 1988. Excerpted from Cruel, page 71.
Butcher to the World, 1986. Excerpted from Cruel, page 20.
FERNANDEZ: Would you consider your artworks to be a form of activism? If so, what does it mean to you to be an activist/protester?
COE: I do consider art and activism to be one and the same. If people are not protesting by now, they are not paying attention. The crime is indifference. I can raise money for different non profits selling cheap prints, people get ‘art’ and the pleasure of knowing they are helping. Anyone can do this.
FERNANDEZ: With your artwork regarding animal cruelty and human injustice, what impact do you intend to have on an audience?
COE: I believe in truth based activism. Deteriorating social conditions create the resistance, as well as embolden the extreme right. We are the audience (now defined as product) witnessing the crime of corporate greed and destruction of life. How that impacts me personally, is making the art which slows time down long enough to resist.
FERNANDEZ: In the height of political chaos, what role do you feel that art and design hold in relation to politics?
COE: Art and design, if it is linked to mass struggle can be highly effective. You can’t have a political art uncoupled from political struggle. The ruling class are attempting to silence dissent, by blaming the victims. It’s the oldest trick in the book, along with divide and conquer. Art is a positive non-violent way people can speak to each other across walls and borders.
Wall Street Walk by Sue Coe, 2012. 2 Color Lithograph 36”x26”
Sue Coe’s work, Wall Street Walk, which she made in the Print Shop at Parsons and is now part of The New School Art Collection,details in the video below where the terms “wall street” and “stock market” originate from.
Anna O’Meara – Ja ja ja!: Isidore Isou on destroying words and pictures for their realization
The cinema is where words meet moving images in a continuum. Films seamlessly merge music, dialogue, narrative, and images. In 1951, Isidore Isou made a violent attempt to break film’s seamless continuum in Treatise on Drool and Eternity. An inspiration to filmmakers like Stan Brakage and Guy Debord, Isou’s film manifesto was a precursor to both American and French avant-garde art and politics. After working on a new translation of Isou’s film for Annex Press, I will discuss Isou’s methods in breaking traditional art forms in order to create new aesthetic and ideological standards. This discussion will use texts by Isou, many of which are untranslated, that wrestle with the creation of new forms through the deconstruction and reconstruction – through the merging and breaking – of the relationship between text and image in film.
Anna O’Meara is a French to English translator and historian based in Albany, NY. Her translations include a forthcoming publication with Annex Press of Isidore Isou’s Treatise on Drool and Eternity in partnership with translators Ian Thompson of Brisbane, Australia and Nadège LeJeune of Paris, France. She has also translated The Works of Arthur Cravan, which has appeared in Maintenant by Three Rooms Press. O’Meara received her M.A. in Art History from the University of Notre Dame in 2013 for which she wrote The Marxist Critique of Religion in the Films of Guy Debord. Currently, she serves as a Research Assistant to the New York State Historian, Devin Lander. O’Meara has conducted branding research and website development for a New York City production firm, Archivist Media, as well as exhibit development research for the Children’s Museum of Indianapolis. Previously, she served as the Director of Outreach & Development for the Museum Association of New York, and the Assistant Administrator of the Albany County Historical Association.
The 187th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, May 2, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby).
While popular prints had existed all over Europe for centuries, in the nineteenth-century they evolved into several new genres, including comic strips, children’s literature, and advertising. Subjects for their earliest rural semi-literate audiences, were limited to religion, rulers, crimes and disasters, and homilies, but with advances in printing technology, they began to appeal to an urban and eventually an international audience. These new audiences preferred multi-paneled sheets that abandoned the old verities and instead depicted the whimsical situations typical of modern popular culture in both comic strips and in advertising. This presentation will review the development of popular prints from the earliest examples to comic strips and superheroes.
Patricia Mainardi is an art historian specializing in the 18th and 19th centuries. Her book Another World: Nineteenth-Century European Print Culture was recently published by Yale University Press and discusses the explosion of printed imagery in books, newspapers, comics, and single-sheet images. Previous books include Art and Politics of the Second Empire (Yale University Press, 1987), which was awarded the College Art Association Distinguished Book Award, The End of the Salon (Cambridge University Press, 1983), and Husbands, Wives, and Lovers (Yale University Press, 2003), as well as numerous articles and museum catalogues. She has received fellowships and awards from the National Endowment for the Arts, the Institute for Advanced Study, the National Gallery of Art and the French Institut national de l’histoire de l’art, and was appointed chevalier (knight) in the Ordre des palmes academiques by the French government. This year she received the College Art Association Distinguished Teaching of Art History Award. She is professor emeritus in the Doctoral Program in Art History at the Graduate Center of the City University of New York.
The 186th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, April 25, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.