This interdisciplinary, non-certification program combines coursework in contemporary artistic practice, educational theory, and social activism to prepare artists, educators, designers, community organizers, and other publicly situated activists to work within community-based settings, museums, NGOs, or broader public and civic contexts to initiate social change through the arts.
Brenda Hung & Vincente Cueto: Community Health and Well-being in the Lower East Side, 2017
This collaborative final project between Brenda Hung and Vincente Cueto in the Art, Education, & Community Practice program at NYU, focuses on the health and well-being of the communities of elders in the Lower East Side. It was developed in partnership with Anthony Feliciano, the Director of the Commission on the Public’s Health System (a community focused organization that advocates for people’s right to access health care) and the Director of the University Settlement’s Older Adults Program, Michele Rodriguez.
Rice Not Bullets, takes its name from one of the protest cries of the indigenous people of the Philippines following the Kidapawan Massacre in Kidapawan City in the Philippines in April, 2016, to respond to the massacre and the longer lineage of attacks on Indigenous people in the Philippines.
Emily Caruso and Erika Houle: #PrioritizeChildCare, 2016
#PrioritizeChildCare, conceived by Emily Caruso and Erika Houle, is the beginning of a grassroots initiative to bring child care and early learning to the forefront of legislation. Working from a social media foundation, and building upon the imagery of the crayon in their logo, #PrioritizeChildCare uses the theme of play to build a series of interactive games to engage adults and children alike, in public conversations about child care. Website: #PrioritizeChildCare
Through a series of strategically timed artistic interventions as well as conversations with Fairtrade America and a global floral company, artist activist Federico Hewson, with some of his classmates, engaged the public to draw attention to the labor of flowers, in the hope that this increased awareness points to ways to improve conditions for flower workers everywhere.
Universities are sites for pedagogies that both reproduce hierarchies of power while challenging the predominant hegemony. In 1969, Black and Puerto Rican students took over the New York City College Campus to demand open admissions. With their “fourth demand”, these students sought to include the voices of marginalized peoples into the classroom.
This exhibition demands the opening up of the private space of New York University to the public, pushing the students, faculty and administration to engage in political and economic action which shifts NYU’s relationship with the public.
Jackie Martinez: Timeline of Police Brutality in the US, 2015
This project was undertaken in the Spring 2015 semester, with a group of high school students at the Harvey MLK High School (NYC), in the aftermath of Ferguson, during the beginning of the BlackLivesMatter movement; at a time when the topic of police brutality was foremost in the minds of these youth. “Why do police kill black people and never get caught?”, asked one of the students in this class. This question became the catalyst for the timeline of police brutality and movements of resistants in the United States, as a way to educate the community on this history of institutionalized violence in the country.
When María León, an immigrant Chilean tattoo artist, met Sebastián Milla, a Peruvian-American performance artist, they decided to collaborate on a tattoo design, to be placed on Sebastián’s left arm as what is commonly referred to as a “sleeve tattoo”.
Given Peru and Chile’s long and complex histories as joined South American countries, León and Milla used the opportunity of artistic collaboration to unpack parts of their identities that otherwise might have gone unexplained and untouched. While planning the tattoo, they talked about Spanish colonization, the Incan Empire, pre-Incan civilizations, American involvement in Peru and Chile. As a way to brainstorm the aesthetics of the tattoo, they ended up constructing a shared timeline to map all of the events that they held in common, the events where their histories separated.
The “ah-ha” moment arrived when they traced their histories to the present-day, realizing that the same immigration policies that María was facing as a grad student mirrored the experiences Sebastián’s parents had faced in the 1980’s. In sharing similarities and differences, the artists found it interesting that the words “immigrant”, “illegal”, and “Latino” are often used to describe such a wide variety of people, like them, with such diverse stories and journeys to the US.
No Home Gallery was founded by Victoria Manganiello and Anastasia Voron in 2014 for the purpose of providing New York City residents educational and cultural, artistic experiences that foster collaborations between artists, local art enthusiasts and passionate patrons in familiar yet unexpected spaces. The projects feature original artwork responding to relevant and contemporary social topics. This handbook, created as a final project in the Art, Education and Community Practice Program, is a collection of the Gallery’s intentions and motivations, intended to provide an opportunity to start a dialogue or propose a project with the gallery.