How can we harness collaborative culture, critical analysis, participatory technologies and aesthetics to incite social change?  What content and platforms can we create that will respond to the limits and possibilities of the ever-shifting contemporary media landscape?

Paper Tiger Television puts theory into practice — participants of the conference are challenged to collaboratively design prototypes for a new rrradical media, building on the ideals of non-hierarchical-participatory culture, critical analysis, activism and innovative aesthetics. A broad cross section of individuals, working together with varied proclivities, interests and abilities, opens up the potential for something truly revolutionary to develop.

Media Intensive: 10:30 a.m. – 12:00 p.m.
Succinct, fast-paced and provocative presentations on key topics of the design challenge: Justice & Autonomy, New Activism & Movement Building, Collectivism & Collaborative Culture, Materiality & Aesthetics

Lunch: 12:00 – 1:00 p.m.
Presenters and grassroots media advocates host informal discussions dedicated to conference themes.

Design Challenge: 1:00 – 4:30 p.m.
Groups of 8-10 participants will be challenged to collectively create prototypes for a new form of rrradical media.

Team Presentations: 4:30 – 6:00 p.m.
Each group gives 10 minutes to present their rrradical media prototype. Selected prototypes will be featured in Documentary Fortnight 2012: MoMA’s International Festival of Nonfiction Film and Media on February 24.

Media Studies Speakers
Jesse Drew, professor, Techno-cultural Studies, University of California, Davis
Pablillo Jose, hacktivist
Shannon Mattern, assistant professor, School of Media Studies, The New School
Martha Wallner, Media & Communications Coordinator, Legal Services for Prisoners with Children
Isaac Wilder, Executive Director, Free Network Foundation

Design Challenge Facilitators
Robby Herbst, artist
Tracy Luz, documentary filmmaker
Deep Dish TV, media laboratory since 1986

Democracy Now!, national, daily, independent, and award winning global news program
Housing Is A Human Right, documentary project
Manhattan Neighborhood Network, public access network
Media Action Grassroots Network, local-to-local advocacy network of grassroots community organizations
People’s Production House, journalism training and production institute

Follow the links to detailed event description and DAY ONE schedule.

* Presented by Paper Tiger Television, Vera List Center for Art and Politics, and School of Media Studies at The New School for Public Engagement , on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”

Posted on January 23, 2012

“The power of mass culture rests on the trust of the public. This legitimacy is a paper tiger.”
–PTTV Manifesto

Borne of the residual political optimism from the sixties and a flush of infatuation with small-format video, Paper Tiger Television (PTTV) began as a series on Communications Update on public access. Featuring Herb Schiller tearing apart the New York Times’ “all the news that is fit to print,” Paper Tiger’s penetrating and playful critiques of Time, Rolling Stone, National Geographicand Cosmopolitan soon followed.

The public access movement took root at a moment of disillusionment with network television, generating hope that cable would offer a genuine alternative to TV wasteland. Over the last thirty years, the accessibility of public access TV centers has significantly declined, while for-profit corporate media consolidated from fifty into five companies that control 90% of the public’s media consumption.

Yet, with the growth of the internet and the proliferation of consumer grade production equipment, social media, crowd sourcing, online video, live streaming, and wireless technology, today’s media environment is rife with opportunities for innovation and collaboration.  Still, from the digital divide, to online filter bubbles, to the echo chamber of social distribution of mass media, to SOPA and Net Neutrality, an analysis of how these developments are used coupled with the threats coming from the policy level reveals that even these seemingly promising trends are nuanced.

Given these developments, what does a vibrant, radical media look like, how could it function? What lessons can we apply from Paper Tiger’s innovative media activism?  How can we use media strategically and creatively in the pursuit of social justice?

Moderated by Daniela Capistrano, Multi-Platform Producer of DCAP Media, the festive event features a keynote address, a screening of Paper Tiger Television’s Greatest Hits, selected by current Tigers, followed by a panel discussion on the future of rrradical media.

Keynote Speaker
Malkia Cyril, Executive Director, Center for Media Justice

Panelist
Andy Bichlbaum, The Yes Lab
Jamilah King, News Editor, Colorlines
Jennifer Pozner, Founder, Women in Media & News

Follow the links to detailed event description and DAY TWO schedule.

* Presented by Paper Tiger Television, the Vera List Center for Art and Politics, and the School of Media Studies at The New School for Public Engagement , on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”

Posted on January 23, 2012

What is radical media? What has it been in the past? What can it be in the future? What is media’s relationship to social justice and movement building?

Paper Tiger Television, the Vera List Center for Art and Politics, and the School of Media Studies at The New School for Public Engagement present a two-day conference of activists, artists and media makers to celebrate, reflect and build on thirty roarin’ years (and counting!) of media art and activism.

In 1981, Paper Tiger Television (PTTV) pioneered a truly radical public access show, raising awareness amongst workers in the communication industries of the economic, political and social power structures perpetuated through the profit-driven mainstream media. Ever since then, the collective has been making fun, yet incisive video that demystifies the information industry and provides a platform for underrepresented perspectives. Collaborating with activists and artists, PTTV videos take many forms — from critical performative readings of the mass media & popular culture, to traditional style documentaries on social justice issues.

Thirty years later, how can we harness collaborative culture, critical analysis, participatory technologies and aesthetics to incite social change?  What content and platforms can we create that will respond to the limits and possibilities of the ever-shifting contemporary media landscape?

We invite artists, activists, scholars and media makers, movers and shakers of all stripes to explore these questions. Participants are challenged to collaboratively design prototypes for a new rrradical media, building on the ideals of non-hierarchical-participatory culture, critical analysis, activism and innovative aesthetics. A broad cross section of individuals, working together with varied proclivities, interests and abilities, opens up the potential for something truly revolutionary to develop.

Follow the links to detailed event schedules: DAY ONE and DAY TWO.

*Presented by Paper Tiger Television, the Vera List Center for Art and Politics, and the School of Media Studies at The New School for Public Engagement, on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”

Posted on December 8, 2011

Designed by artists Melanie Crean and Claire Picher, the Building Better Speech workshops investigate how issues of identity and power can be communicated as a form of text, either through the body’s gestures, or through network-based collective action. Building Better Speech workshops make use of performance, games, and open education models to collaboratively facilitate dialogue around issues defined by groups affected by political transformation and upheaval.

In the pilot iteration of Building Better Speech, a workshop has been designed with a group of female high school students from Turning Point for Women and Families, a Queens-based organization that supports Muslim American families dealing with issues of domestic violence. Over the course of the workshop, the young women first identify and then explore issues of faith and stereotypes through automatic writing assignments, serigraphy, theatrical games, reflection, and discussion. These various methods are a means of improving communication within groups and building ties to allies, as well as promoting mutual understanding. Physical and visual approaches to communication augment the spoken word to help overcome the greatest obstacle to communicating: the challenge of being heard.

On the occasion of Performa 11, and hosted by the Performa Institute, Crean, Picher and the young women of Turning Point for Women and Families will conduct an open workshop, inviting the public to explore issues of stereotyping and identity in a shared session of collective performance games.

The project is developed in collaboration with the Vera List Center for Art and Politics at The New School, and presented as part of the Performa Institute, a research and educational initiative of Performa 11.

Posted on November 7, 2011

Vera List Center for Art and Politics and Sheila C. Johnson Center for Design at Parsons celebrate the 99th Annual Conference of the College Art Association, with a reception and workshop featuring the artistic entrepreneurs of tomorrow.

Dark Matter: Art and Politics in the Age of Enterprise Culture is both a book launch for Gregory Sholette’s new work of the same title, and a concrete application of the principles laid out in the book. The book argues that imagination and creativity in the art world originate and thrive in the non-commercial sector. It examines the political economy of art and business by highlighting interventionist and collective art as the ‘dark matter’ of the art world. This dark matter is indispensable to the survival of mainstream culture which it frequently opposes.

Two projects are lifted from the book’s pages and installed installed in the Sheila C. Johnson Design Center lobby for passerby to participate.

Boston-based artist Cat Mazza offers a craftivism workshop, based on the work of her organization MicroRevolt. MicroRevolt projects investigate the dawn of sweatshops in early industrial capitalism to inform the current crisis of global expansion and the feminization of labor.

New York-based artist Jim Costanzo calls for the 2nd Whiskey Rebellion: A Distillation of American Spirit. The original Whiskey Rebellion was a tax protest in Pennsylvania in the 1790s, during the presidency of George Washington. The conflict was rooted in western dissatisfaction with a 1791 excise tax on whiskey. The tax was a part of treasury secretary Alexander Hamilton’s program to centralize and fund the national debt. Costanzo is acting on behalf of the Aaron Burr Society which has begun to distill whiskey without a license, in an act of flagrant civil disobedience.

Posted on January 26, 2011

Comprehensive and sly, “Change Encounters” is a new project by Lin + Lam, developed over the course of the duo’s 2009-10 Vera List Center at the New School Fellowship and now making its debut.

Conceived in response to the Vera List Center’s focus theme “Speculating on Change,” Lin + Lam have collected an interdisciplinary array of cultural and historical predictive devices, appropriations from popular culture, historical sources, and academic scholarship, including original interviews with professionals from diverse backgrounds, and arranged this archive into an interactive website. “Change Encounters” offers multiple vantage points on the nature and the process of change and speculation and is accessed through a random number generator based on the 64 hexagrams of the I-Ching, one of the oldest books in the world and a predictive device that is still commonly used today.

The project takes its name from the title of René Clair’s 1944 film It Happened Tomorrow, a comedy in which a journalist longs for the ability to know the future in advance in order to get a jump on breaking news. This desire for precognition determines human behavior across many fields of experience. Many a head of state – emperors, presidents and dictators, including Napoleon, Hitler and Reagan – has turned to oracles to authorize and consolidate their power. The capacity to aspire to a different future is, as anthropologist Arjun Appadurai writes, critical to the possibility for the underprivileged to overcome dire conditions. Can the capacity to aspire be learned and shared? What enables future thinking that is not a product of denial, defense or mere fantasy, but is constructive to change? For contemporary forecasting on our current recession and repressions, professionals from divergent fields join Lin + Lam and present their perspectives on how the future is speculated and formed.

Program

2:00 to 3:00 p.m. Introduction by Carin Kuoni, director, Vera List Center World Premiere of “Change Encounters” by Lin + Lam

3:00 to 4:00 p.m. Panel Discussion

Patricia Ticineto Clough Professor of Sociology and Women’s Studies at the Graduate Center and Queens College of the City University of New York

Mitch Horowitz Editor-in-chief of Tarcher/Penguin and author of Occult America: The Secret History of How Mysticism Shaped Our Nation

Orit Halpern Assistant Professor of Department of History at The New School for Social Research

H. Darrel Rutkin Independent scholar, historian of science with an emphasis on the history of medieval, Renaissance and early modern astrology 4:00 to 5:00 p.m. Celebratory Slideshow: Interactive demonstration of speculative devices and reception

Presented on occasion of the Vera List Center’s 2009/2011 focus theme “Speculating on Change.”

Posted on August 30, 2010

A three-day event explores the radical oeuvre of British experimental composer Cornelius Cardew and the activities of the Scratch Orchestra (co-founded by him in 1969), and illuminates their significance today as artistic, pedagogical and political tools. Workshops, sound installations, a film screening, and an exhibition bring together historians, musicians, artists, and New School faculty and students, and are presented at The New School. Among the participants are contemporary music ensemble Either/Or, artists Luke Fowler and Robert Sember, and New School faculty members Danielle Goldman, Sarah Montague, Simonetta Moro, Evan Rapport and Ivan Raykoff and their students. Pianist and Cardew biographer John Tilbury is contributing a (pre-recorded) Call-to-Action.

Inspired by The Cardew Object at the ICA London (November 2009), these events are organized by the Vera List Center for Art and Politics as part of its 2009-2010 program theme “Speculating on Change.” Vera List Center Fellow Robert Sember, a member of the sound-art collective Ultra-red and the School of Echoes, leads the colloquium and workshops in collaboration with faculty members from Eugene Lang College The New School for Liberal Arts and The New School for Jazz and Contemporary Music. DAY THREE PROGRAM Exhibition The Skybridge Art & Sound Space Opening Reception: Thursday, April 15, 2010 – 4:00 to 6:00 p.m. Exhibition Dates: Thursday, April 15 to Monday, May 10, 2010 Skybridge Gallery, Eugene Lang College, 65 West 11th Street, 3rd floor (enter at 66 West 12th Street) Admission: Free New School faculty Sarah Montague and Simonetta Moro and their students in the Skybridge Curatorial Project present an exhibition celebrating Cardew’s work and the events above. The Skybridge Art & Sound Space hosts multi-media exhibitions and curriculum-based projects in the arts, showcasing student projects that make the space a vibrant and exciting laboratory for visual, aural, and critical thinking. __________________________________________________________________ Cornelius Cardew (1936-1981) was a seminal figure of the British avant-garde of the 1960s and 1970s. A student of Karl-Heinz Stockhausen and a follower of John Cage, he formed the Scratch Orchestra with Michael Parsons and Howard Skempton in 1969 in London. Based on their experiments, Cardew published the book Scratch Music, now a classic resource for experimental musicians. In the late 1970s, Cardew became increasingly involved in a Marxist-Leninist discourse, eventually rejecting his own compositional work as elitist. Cardew died in an unresolved hit-and-run accident at the age of forty-five, estranged from most of his colleagues and challenged for his political convictions.

The Scratch Orchestra was a collaborative group of musically trained and untrained participants engaged in radical modes of improvisatory and cross-disciplinary art-making. In an effort to liberate performers from the constraints of traditional music notation as well, Cardew developed elaborate forms of graphic notation – all part of an explicit agenda of political consciousness and social action. These larger “ways of organizing,” including interpretations of two sections from Cardew’s The Great Learning (1968-71), are presented during The New School events in a structured environment that invites creative engagement and collaboration. __________________________________________________________________

Posted on March 31, 2010

A three-day event explores the radical oeuvre of British experimental composer Cornelius Cardew and the activities of the Scratch Orchestra (co-founded by him in 1969), and illuminates their significance today as artistic, pedagogical and political tools. Workshops, sound installations, a film screening, and an exhibition bring together historians, musicians, artists, and New School faculty and students, and are presented at The New School. Among the participants are contemporary music ensemble Either/Or, artists Luke Fowler and Robert Sember, and New School faculty members Danielle Goldman, Sarah Montague, Simonetta Moro, Evan Rapport and Ivan Raykoff and their students. Pianist and Cardew biographer John Tilbury is contributing a (pre-recorded) Call-to-Action.

Inspired by The Cardew Object at the ICA London (November 2009), these events are organized by the Vera List Center for Art and Politics as part of its 2009-2010 program theme “Speculating on Change.” Vera List Center Fellow Robert Sember, a member of the sound-art collective Ultra-red and the School of Echoes, leads the colloquium and workshops in collaboration with faculty members from Eugene Lang College The New School for Liberal Arts and The New School for Jazz and Contemporary Music.

DAY TWO PROGRAM

Workshop
How Can We Organize Collective Listening?
Saturday, April 10, 2010 – 12:00 to 6:00 p.m.
The New School, Theresa Lang Community and Student Center
55 West 13th Street, 2nd floor
Admission: Free, advance reservations recommended at vlc@newschool.edu

New School faculty members Evan Rapport and Ivan Raykoff host a public workshop developed in collaboration with Lang College classes New Ears for New Music (Raykoff), Punk & Noise (Rapport), Politics of Improvisation (Danielle Goldman), Image/Text (Simonetta Moro), and The New School for Jazz and Contemporary Music class Cross-Cultural Improvisation (Rapport). Workshop participants are asked to collect sounds in response to a specific question relating to local and current social or political concerns, then explore procedures for collective listening and organized action following some of Cardew’s models. Public participation encouraged – sound tools provided. __________________________________________________________________

Cornelius Cardew (1936-1981) was a seminal figure of the British avant-garde of the 1960s and 1970s. A student of Karl-Heinz Stockhausen and a follower of John Cage, he formed the Scratch Orchestra with Michael Parsons and Howard Skempton in 1969 in London. Based on their experiments, Cardew published the book Scratch Music, now a classic resource for experimental musicians. In the late 1970s, Cardew became increasingly involved in a Marxist-Leninist discourse, eventually rejecting his own compositional work as elitist. Cardew died in an unresolved hit-and-run accident at the age of forty-five, estranged from most of his colleagues and challenged for his political convictions.

The Scratch Orchestra was a collaborative group of musically trained and untrained participants engaged in radical modes of improvisatory and cross-disciplinary art-making. In an effort to liberate performers from the constraints of traditional music notation as well, Cardew developed elaborate forms of graphic notation – all part of an explicit agenda of political consciousness and social action. These larger “ways of organizing,” including interpretations of two sections from Cardew’s The Great Learning (1968-71), are presented during The New School events in a structured environment that invites creative engagement and collaboration. __________________________________________________________________

Posted on March 31, 2010

A three-day event explores the radical oeuvre of British experimental composer Cornelius Cardew and the activities of the Scratch Orchestra (co-founded by him in 1969), and illuminates their significance today as artistic, pedagogical and political tools. Workshops, sound installations, a film screening, and an exhibition bring together historians, musicians, artists, and New School faculty and students, and are presented at The New School. Among the participants are contemporary music ensemble Either/Or, artists Luke Fowler and Robert Sember, and New School faculty members Danielle Goldman, Sarah Montague, Simonetta Moro, Evan Rapport and Ivan Raykoff and their students. Pianist and Cardew biographer John Tilbury is contributing a (pre-recorded) Call-to-Action.

Inspired by The Cardew Object at the ICA London (November 2009), these events are organized by the Vera List Center for Art and Politics as part of its 2009-2010 program theme “Speculating on Change.” Vera List Center Fellow Robert Sember, a member of the sound-art collective Ultra-red and the School of Echoes, leads the colloquium and workshops in collaboration with faculty members from Eugene Lang College The New School for Liberal Arts and The New School for Jazz and Contemporary Music.

DAY ONE PROGRAM

Colloquium with Sound Installation and Film Screening

An Introduction to Cardew Friday, April 9, 2010 65 West 11th Street (enter at 66 West 12th Street) Admission: $8, free for all students as well as New School faculty, staff and alumni with valid ID Sound samples installation by New School students – 6:00 to 6:30 p.m. Introduction by Robert Sember – 6:30 to 7:00 p.m. Film screening, followed by discussion – 7:00 to 9:00 p.m. Cornelius Cardew’s music and ideas – and their significance today as an artistic as well as pedagogical and political project – are introduced by Vera List Center Fellow Robert Sember. A screening follows of Glasgow-based artist Luke Fowler’s Pilgrimage from Scattered Points (2006, 45”), a film that explores the internal contradictions and struggles of Cardew’s Scratch Orchestra through first person interviews, recent and archival footage and original recordings.

“Filmmaker Luke Fowler depicts the Scratch Orchestra’s composer Cornelius Cardew in action, resonating in a brilliant, impressionistic visual landscape. Sound and image unite to form a hypnotic and freely associating current, which reaches far into the subjective sphere of experimental film.” (hotdocs.com)

Robert Sember and Luke Fowler are then joined by art historian Claire MacDonald, New School faculty members Ivan Raykoff and Evan Rapport in a closing discussion.

Sound samples culled from previous workshops are installed in the lecture hall and ring in the evening’s events; pianist John Tilbury (via recording), Cardew’s biographer and one of his closest associates, provides a call-to-action. __________________________________________________________________

Cornelius Cardew (1936-1981) was a seminal figure of the British avant-garde of the 1960s and 1970s. A student of Karl-Heinz Stockhausen and a follower of John Cage, he formed the Scratch Orchestra with Michael Parsons and Howard Skempton in 1969 in London. Based on their experiments, Cardew published the book Scratch Music, now a classic resource for experimental musicians. In the late 1970s, Cardew became increasingly involved in a Marxist-Leninist discourse, eventually rejecting his own compositional work as elitist. Cardew died in an unresolved hit-and-run accident at the age of forty-five, estranged from most of his colleagues and challenged for his political convictions.

The Scratch Orchestra was a collaborative group of musically trained and untrained participants engaged in radical modes of improvisatory and cross-disciplinary art-making. In an effort to liberate performers from the constraints of traditional music notation as well, Cardew developed elaborate forms of graphic notation – all part of an explicit agenda of political consciousness and social action. These larger “ways of organizing,” including interpretations of two sections from Cardew’s The Great Learning (1968-71), are presented during The New School events in a structured environment that invites creative engagement and collaboration. __________________________________________________________________

Posted on December 21, 2009

Join Bichlbaum’s class as it consults resident psychic Sherene Schostak about their own future and the future of their teacher.

Presented as part of the week-long exhibition and event series, “By Any Name: Institutional Memory at The New School.”

Posted on October 7, 2009

This class is a query on the nature of history, interrogating the relationship of the things we collect to how we construct our pasts. We explore archives broadly defined, from the contents of family photo albums to vast collections housed in libraries to the design of buildings that contain such collections. Ultimately, the city itself is examined as an archive in its own right-a vibrant collection of interrelated artifacts that records the selective presence of the past in built form. Students visit archival sites and undertake projects that consider the history, condition, scope, format, and design of archives in New York City.

Presented as part of the week-long exhibition and event series, “By Any Name: Institutional Memory at The New School.”

Posted on September 20, 2009

Visitors are invited to explore how information is gathered, compiled, edited and ultimately, archived. In collaboration with two resident artists, participants are asked to describe an aspect of the installation which will-for the duration of the workshop-include a live model. Using color and drawing as their tools, the artists will then interpret the participants’ verbal communications through their own visual associations. In this way, the gallery will become an archive of itself, embodying the process of information collection, interpretation, and presentation.

Presented as part of the week-long exhibition and event series, “By Any Name: Institutional Memory at The New School.”

Posted on September 20, 2009

As The New School celebrates its 90th anniversary, this collaboration between Parts & Labor and the Vera List Center features a series of free events hosted in Parts & Labor’s mobile gallery, a truck parked outside Tishman auditorium. Discussions, lectures, and workshops presented inside the truck and in adjacent rooms in The New School’s “signature building” (designed by Joseph Urban in 1930) bring together a cast of contributors, members of the university community, and the public to examine the founding principles of The New School and to address the question of how these principles have fared over time. These participatory events investigate the institutional and pedagogical history of the university as they have grown alongside a community and its urban site. Through a variety of interactive strategies participants initiate reflections on recent calls for change at The New School by projecting them against the backdrop of the university’s unique history of critical engagement with the concepts of newness and change.

Parts & Labor’s stop at The New School is one in a series of encounters unfolding during a traveling exhibition that will subsequently tour the country and explore other site- and community-specific experiences of the transformation of the American landscape. In its New York manifestation, called “By Any Name,” the project takes the concept of a university archive and re-imagines it as a representational installation with the power to evoke–and possibly, to jog–institutional memory, serving as an aesthetic, systemic response to the diverse missions, traditions, and images now associated with The New School.

Composed of recycled texts and computer equipment, materials drawn from The New School library, and a new text penned by members of The New School community, this week-long on-campus environment involves a range of major and lesser-known events, figures, ideas, opinions, and reminiscences which inform the legacy of the university. “By Any Name” invites both The New School community and the general public to consider: How does The New School remember its past, and how can its approach to the past change its approach to the future? “By Any Name” insists that the university’s legacy be subject to further documentation.

These events are presented as part of the Vera List Center’s 2009/2010 program cycle “Speculating on Change.”

SCHEDULE OF EVENTS

Unless noted below, all events take place in Parts & Labor Gallery at The New School, parked outside of Tishman Auditorium at 66 West 12th Street, and are free and open to the public.

Consultation/Séance
The Future
Monday, October 19 through Friday, October 23, 2009
Open daily, 11:00 a.m. to 1:00 p.m.
Featuring psychics Sherene Schostak and Kiki T

Sound Installation
WHERE ARE WE GOING? AND WHAT ARE WE DOING?
Monday, October 19 through Saturday, October 24, 2009, Open daily
A project by Vera List Center Fellows Lin + Lam and Robert Sember

Drawing Workshop
Thomas Bosket
Monday, October 19, 2009 – 1:00 to 4:00 p.m.

Discussion Group
Ali Krasners on the history of The New School
Monday, October 19, 2009 – 4:00 to 4:50 p.m.

Discussion Group
Tess Harrison on the history of The  New School
Monday, October 19, 2009 – 5:00 to 5:50 p.m.

Lecture
Peter M. Rutkoff
The New School at 90: What Would Dewey Do?
Monday, October 19, 2009 – 6:00 to 8:30 p.m.
Tishman Auditorium, 66 West 12th Street
Reception to follow in Wollman Hall, 65 West 11th Street, 5th Floor (enter at 66 West 12th Street)

Workshop
Andy Bichlbaum’s Class, sans Andy
Tuesday, October 20, 2009 – 3:00 to 5:40 p.m.
Featuring psychic Sherene Schostak

Open Discussion
John Zinsser
The New York Art World and The New School: History and Possibility
Wednesday, October 21, 2009 – 1:00 to 2:45 p.m.
Parsons The New School for Design, Kellen Auditorium
Sheila C. Johnson Design Center
66 Fifth Avenue at 13th Street

Roundtable
The Librarians’ Circle
Wednesday, October 21, 2009 – 6:30 to 8:00 p.m.
The New School, Orozco Room
66 West 12th Street, 7th floor

Class Session
Joseph Heathcott: The City as Archive
Thursday, October 22, 2009 – 12:00 to 1:40 p.m.

Conversation and Art Walk
Art in the Institution/Art as the Institution:
The New School Art Collection and its Institutional Life
Thursday, October 22, 2009 – 4:00 to 5:00 p.m.
Vera List Courtyard, 66 West 12th Street, ground floor

Posted on September 20, 2009