Graduate Courses

An introduction to understanding the investment potential of art & the art market. The course starts with a brief history of art as an asset class, then moves to exploring the various ways to construct viable art investment strategies as well as to track performance & return on investment. The importance of trend & opportunity identification is examined.

This course follows an arc from public funding of art through the artistic design of
public policy. The core aim of the class is to ask, in the U.S. and within a comparative global context, whether creative policy design is possible, and whether models in the arts—including resale royalties, fractional equity in art, and collaborative solidarity economies—can offer unexpected tools for the reimagination of reparations, redistribution, and revitalization of the democratic project in an age of, as Will Davies writes, the “disenchantment of politics by economics.

Traditional community planning and development has not always created equitable, healthy and sustainable communities. Arts and culture bring new tools and strategies to place-based community development. The emerging field of creative placemaking utilizes arts and culture to approach community planning and development. This course will focus on arts and culture in community planning and development across the United States – in both rural and urban communities. It will explore questions around the what, why, how, when and who of creative placemaking practice.

The goal of the course is to develop entrepreneurial thinking that can be applied in the development of new ventures. Because art businesses are often not purely profit-seeking, we engage explicitly with conflicting political and economic ideologies of growth including scalable technology platforms, socially engaged business practice, grass-roots activism, and collaborative social practice. The overarching method of the course is design thinking including industry mapping, interviews, and prototyping. The course will focus tools thematically on the area of cultural heritage.

This course explores the increasingly blurred boundaries between for-profit and non-profit structures in the arts. In the past ten years, an art museum has started an incubator. A for-profit gallery has started a research institute. Kickstarter has become a benefit corporation. Upstart Co-Labs has launched a creative-economy fund. ArtBuilt has used the tools of real estate investment to build artist support and anti-gentrification structures. Students explore this area of hybrid practice at the intersection of legal form, financial structure, and mission.

This course will examine the history of the art biennial in the context of

contemporary art from 1972 to the present, situating the work in its historical

& social context. It will explore how the format of the international biennial has

become, over the past four decades, the main outlet for the production and

presentation of contemporary visual art & performance, & the curatorial

strategies that have shaped public understanding of this material.

Description: Strategic communications encompasses the distinct but interrelated fields of public relations, advertising, marketing, and social media. It plays an essential role in the operations of both nonprofit and for profit entities, serving as the primary connection between an organization and its desired and existing audiences. This course seeks first to create a common understanding of the practical definitions of public relations, advertising, marketing, and social media, and then provides students with the basic tools to create a diversified and holistic communications strategy.

This course covers the common underlying linguistic components shared by various models of psychotherapy as they relate to music therapy. Students identify and explore issues concerning the relationship between nonverbal musical experiences and verbal exchanges, practice specific verbal interventions, and examine and discuss areas of verbal competency and the effects of culturally determined communication styles on verbal communication practices.

Course provides students with internship experience via arts-based research and
performance projects with the Verbatim Performance Lab (VPL). Students support all stages of the VPL process including project development, data collection, creation and production, dissemination, and assessment. Students attend biweekly lab meetings, receive individualized supervision and mentoring, give an oral presentation on their assigned project at a lab meeting, and generate an original written project proposal incorporating VPL’s techniques. Permission of
instructor required.

Course focuses on using verbatim performances and techniques to explore subject areas and disciplines outside of drama and theatre. Through readings, performance viewings, and interactive activities, students gain the ability to create curriculum utilizing verbatim performance as an investigative tool. Special emphasis placed on translating and adapting the language and experience of performance and theatre for teachers and students working in core curricular areas. Coursework is informed by the mission and work of NYU Steinhardt's Verbatim Performance Lab.

Study and performance of chamber music.

A performance class devoted to precise understanding of orchestral excerpts from standard repertoire found on auditions. Students study includes tempo, dynamics, articulation and precision.

An examination of scale fingerings, arpeggios, bowings, articulations and rhythmic patterns through single scales and double stops.

Study and performance of chamber music.

A performance class devoted to precise understanding of orchestral excerpts from standard repertoire found on auditions. Students study includes tempo, dynamics, articulation & precision.

An examination of graded technical material, repertoire & teaching methods. Studies will include how to teach various technical concepts, working with various fingerings & bowings & the correct progression of repertoire. The emphasis will be on understanding how students learn mentally & physically.

An examination of scale fingerings, arpeggios, bowings, articulations and rhythmic patterns through single scales and double stops.

This 9-week, Saturday practicum focuses on the teaching of visual arts in secondary school & the qualities that constitute meaningful learning through the visual arts. The course will cover the theoretical & practical aspects of teaching, understanding the relationship of art education to contemporary society as well as methods & strategies to deal with the demands of teaching in a variety of school settings. The practicum is taken in conjunction with is part of School Arts: Issues in Pedagogy & Curriculum II, ARTED GE 2272.

Individual studio visits with full-time & visiting faculty, visiting artists, curators, & writers are arranged by advance appointment for an in-depth discussion about the student’s work